_______________________________

When soft-spoken Guy Small says he’s going to a movie, he doesn’t mean that he’s heading into town for a couple of hours at the local theatre. And getting ready to go involves a lot more than cleaning up and pulling on a fresh pair of jeans. For him, “going to a movie” entails packing for a considerable stint, and loading up livestock that will be used in the film.

A ranch-raised Montana native, Small got his first taste of the film business back when the far-from-typical western, The Missouri Breaks, was shot at Billings. The movie company needed some loose horses. Small, whose family owned a local rodeo company, leased them some bucking broncs – and he got to do some wrangling.

After that came the ABC mini-series, Son of the Morning Star. By now, Small was hooked, but it was the Ron Howard film, Far and Away, that set the hook. Big time.

“They hired me to wrangle,” he recalls, “but I turned out coordinating two hundred wagons and teams. We did a land race, with sixteen cameras, a helicopter, and a cannon. That was the most exciting thing I’d ever experienced. The boom of the cannon – the roar of the wagon wheels. It was wild.”

He laughs. “About half the teams ran off, so in the second take, all the guys who had started out in front were in back. But by the third take, everything was under control.”

Maybe one reason that memory stays so clear for Small is that it’s the sort of thing that can’t happen again. As he explains, there aren’t that many wooden wheeled wagons around anymore. At the time, though, Wyoming and Montana had both just celebrated their centennials. Howard’s timing couldn’t have been better. .

Since then, Small has evolved into one of the most respected horse and cattle wranglers in the business. He’s made eighteen movies in eighteen years, became a member of Hollywood Local 399 along the way, and has racked up experience in a variety of locations, including New Mexico. Not bad for a guy who can honestly say that he still manages to have a life. (He has the same wife he married a quarter century ago, two grown kids, and a dog — an Australian shepherd that he says is more a house dog than a stock dog.) To top it all off, he gets to spend his time between movies on his own ranch, doing what he loves most. Training horses.

“I used to train for the public,” says Small, “but now I just train my own stock. I try to always have some broke to pull wagons, and some gentle ones, for riding. I feed with my teams, so they don’t just stand around. They get used a lot. I don’t go to a movie with all new stock.”

For animal lovers who tend to worry about the plight of the livestock used in films, Small points out that things have changed a lot since the old days.

“I got in on the tail end of that era,” he says. “They used to use trip wires, and do things that were hard on the animals. But it’s been cleaned up since then. We teach them to lie down, and how to fall. Some of them actually like it. And there’s a representative from the American Humane Association on every shoot.”

Not all of Small’s training goes to four-legged creatures. Part of his job is teaching actors to ride. “Some actors are already good,” he says. “Duvall, Hackman, Tommy Lee Jones, Redford. They can all really ride. Others need help. I like to get ‘em before the movie starts. It’s like a couple of weeks of camp.” And if that doesn’t happen? Or happens, and doesn’t work out? “Then you just have the actor ride into a shot, and you use doubles.”

While acknowledging that it’s getting tougher for newcomers to get into the union, Small is convinced that there’s plenty of work for everybody, and that those who want it badly enough can make a place for themselves.

“Get a job with the head wrangler in your area,” he advises. “You don’t have to know a lot, but you have to be willing to learn. The main thing is to pay attention. To make a good wrangler, you need to know horses, know who has them, and develop good people skills. Everything’s easier if everyone is working together, helping each other. I’ve been around people who screamed and hollered, and I made up my mind that I’d never be like that. You accomplish a lot more with people if you treat ‘em right.”

Asked what changes he’d like to see in the film industry, Small admits to being bothered by two things: that more westerns aren’t being made these days, and that so many people assume that western movies have to follow old formulas.

“Everything doesn’t have to be about cowboys,” he says. “I just worked on The Burrowers, which was shot in Santa Fe. It’s a period piece about creatures that came up out of the earth to feed on this western town – and it was great. We need more young people to come into the business with a new way of looking at things. We need a new set of young actors to take hold.”

Although wrangling obviously isn’t for everybody, Small doesn’t see a time when he’d want to stop doing it.

“When you’re on location,” he explains, “you’re up at 3 a.m., and you work hours you wouldn’t necessarily enjoy if you were at home, working a regular job — but you don’t mind. It’s not like anything else.”

He pauses for a moment, then adds, in a voice that says he means it:

“I love it. I just love loading up and going.”

~~Story by Jenny Wingfield

__________________________

by Tech. Sgt. Larry A. Simmons
Air Force Print News

Movie director Michael Bay films an Airman on the set of the movie “Transformers” at Holloman Air Force Base, N.M., on May 31. Several Airmen had the opportunity to fill roles as extras during filming. The movie is scheduled for release in July 2007. (U.S. Air Force photo/Tech. Sgt. Larry A. Simmons)

7/11/2006 – SAN ANTONIO (AFPN) — Lights, camera, action! Airmen at Holloman Air Force Base, N.M., home to the Air Force’s only operational F-117 wing, got to experience a new kind of rush as Hollywood invaded their base.

The DreamWorks/Paramount Pictures live-action film “Transformers,” set to release in July 2007, will feature several different aircraft including the F-117 Nighthawk from Holloman and the CV-22 Osprey from Kirtland Air Force Base, N.M. More than 300 Airmen participated as extras in the movie and providing logistical support during the filming.

“It’s a thrill to know my face will be seen in a movie. It outweighs the long hours,” said Airman 1st Class Mehtar Sullivan, an emergency management technician with the 49th Civil Engineer Squadron at Holloman.

While participating as extras in the movie, Airmen had to be on leave and available all day for shooting scenes. Some Airmen have speaking roles in the film. The days were long and sometimes lasted until early morning the next day.

“This was a great way to highlight what our mission is, what our people do and what our equipment does at no expense to the taxpayer,” said Capt. Trisha Raynoha of the 49th Fighter Wing Public Affairs Office.

The production crew sent scouts to seven different Air Force bases and several Army installations before deciding on Holloman and the F-117 wing.

F-117s and the CV-22 Osprey are featured prominently in the movie as both static background and taxiing aircraft. Also featured will be the A-10 Thunderbolt II, C-17 Globemaster III, MH-53 Pave Low, HH-53 Super Jolly Green Giant, AC-130 Gunship, C-130 Hercules, MQ-1 Predator unmanned aerial vehicle and Air Force One.

“The CV-22 Osprey is scheduled to make its feature film debut in this movie, along with the F-22 Raptor,” said 1st Lt. Christian Hodge, chief, industry relations, Secretary of the Air Force Public Affairs entertainment liaison.

With the movie set in full swing, it gave Airmen a peek into Hollywood life and a moment in the spotlight.

“It has been a wonderful experience seeing how they actually make a movie and all the work that goes into it. It has been fun,” said Airman 1st Class Toby Schultz from Holloman Air Force Base, N.M.

This is the largest movie project since “Black Hawk Down” to receive Department of Defense approval as selection is based on how accurately forces are portrayed. With Michael Bay as the director, known for his special effects-driven movies like “The Rock” and “Pearl Harbor,” the approval was easy.

“We’ve worked with Michael Bay before; we like the way he operates. He understands how the military operates,” said Army Lt. Col. Paul Sinor, lead public affairs representative for DOD.

Airmen filling the roles of movie extras run on the set of the movie “Transformers” during filming at Holloman Air Force Base, N.M., on May 30. The movie is scheduled for release in July 2007. (U.S. Air Force photo/Tech. Sgt. Larry A. Simmons)

You, Too, Can Take a New Mexico Road Trip
By Elizabeth Mitchell, About.com

Wild Hogs – Wild Over Beautiful New Mexico                                                                                 
                                                                                                                                                 Tim Allen of Wild Hogs in New Mexico
                                                                                                                                                      Copyright: Touchstone Pictures

                                                                                                                                                                

In the new Disney Touchstone Pictures comedy Wild Hogs, starring John Travolta, Tim Allen, Martin Lawrence, and William H. Macy, four middle-aged wannabe bikers take a road trip from Ohio to the West Coast spending time in New Mexico. The movie was almost entirely filmed in New Mexico and although the state’s diverse landscape filled in for other parts of the country, much of the movie is set in the state.

Head for Madrid, New Mexico

The majority of the film is shot in the colorful former mining town of Madrid, New Mexico. After the town’s mine closed in the 1800s, it became somewhat of a ghost town until the 1970s when artists began to settle in the charming village. Today, it is a thriving artists’ colony complete with shops, galleries, restaurants, and bed and breakfasts. Madrid is located on the Turquoise Trail National Scenic Byway, approximately 50 miles northeast of Albuquerque amongst the Sandia Mountains. The open roads, breathtaking vistas, magnificent mountain views, and parking and picnic spots along the way have made this a popular scenic route for tourists, motorcyclists and outdoor enthusiasts alike.

Albuquerque, Hot Air Balloon Capital of the World

Madrid is one of many reasons to visit the Albuquerque area. The “Hot Air Balloon Capital of the World” offers something for everyone. For outdoor enthusiasts, the high desert climate, more than 310 days of sunshine annually, and spectacular scenery make Albuquerque a dream come true. Within an hour’s drive of the city are the Sandia, Jemez and Manzano Mountains as well as the Turquoise Trail. Hikers, skiers, mountain bikers and motorcyclists delight in the outdoor opportunities afforded by the varied terrain. Elevations ranging from 5,000 feet to over 12,000 feet offer majestic mountain vistas, bright blue skies, towering ponderosa pines and crystal-clear streams. The vivid colors, wildlife, climate and scenery of the high desert region offer a sharp contrast to the common perceptions of the Southwestern landscape.

Travel Like the Wild Hogs

To experience the natural splendor and the open roads of the West as seen in Wild Hogs, Albuquerque serves as an excellent starting point. Visitors will find a variety of options for lodging, dining, shopping and attractions in the metropolitan area. Outdoor outfitters providing equipment, supplies and tours will maximize enjoyment of the scenic wilderness, which is easily accessible from the city. Learn more about visiting Albuquerque with our Albuquerque Travel Guide.

Information Courtesy: Albuquerque Convention and Visitors Bureau

By Bill Jackson, Cars.com
You probably remember them — maybe fondly, maybe not. The eight-track player. Manual windows. Locks you actually had to lift. As cars get more technically advanced, many of the features we once knew are heading to the dustbin of history.

After reviewing Cars.com’s vast data banks and scouring through automaker press kits, we’ve come up with a list of once-common features now on the way out.

No. 1: Crank windows

A crank window on a 2001 Ford Ranger.
These can still be found in entry-level vehicles, but as soon as you step up from the least-expensive vehicle in an automaker’s lineup, they disappear. Holding a button to raise a window is easier — and probably safer — when you’re pulling away from a tollbooth or drive-through window.

No. 2: Cassette-tape decks

Tape decks are still available in some U.S. models.
Yes, you can still find them. Many European carmakers still insist on them, and some people have stuff on tape they can’t transfer to a CD for whatever reason. But, really, the car world today is one of CDs and MP3s — and that sounds just fine to us.

No. 3: Keys/locks/any mechanical means of getting into your car

Keyholes are used less and less thanks to the prevalence of fobs.
We’re a nation of fobs these days. Press the button, unlock the driver’s door. Press it again, unlock all the doors. If you’re really high-end, you don’t even know what a key is because of your fob that talks to the car and unlocks the door as you approach. A start button rids you of the trouble of putting a key in the ignition and turning it.

No. 4: Lap-only seat belts for the center rear seat

Most lap-only seat belts have been replaced by much safer three-point belts.
This one is a marked improvement as far as safety is concerned. Most cars now provide the person sitting in the most uncomfortable seat in the car the same three-point belt the other passengers enjoy. Sure, you could find a car that still offers a lap-only seat belt back there, but why would you want to?

No. 5: Cars priced less than $13,000

The 2007 Chevrolet Aveo is one of few cars that can still be had for less than $13,000.
Yes, everything is getting more expensive; that’s just how the world works. If you want all the latest safety features and amenities, it’s going to cost you. Go shopping through our Research section and it may appear many automakers offer cars less than $13,000, but it’s usually just one stripped-down model.

No. 6: 85-mph speedometers

Speedometers on most new cars now exceed 100 mph.
They say optimism is a virtue, and it shows in the car world. Even econoboxes that could probably only shimmy their way to 100 mph with the help of a hill, a tailwind and a brave driver have speedometers that go to 120. (Sigh.) Just as some drivers should not be allowed to drive, some cars should not be allowed anywhere over the posted speed limit … in a school zone. Rectangular speedometers that span the entire instrument cluster have also gone away, but you never know; they might still return one day.

No. 7: Motorized antennas

Antennas on new cars are much smaller than their predecessors.
These are so rare you might have to ask your parents about them. In many higher-end cars of the 1970s and ’80s, a motor would extend the car’s antenna to better receive radio broadcasts, then retract it later. That meant drivers didn’t have to either manually extend the antenna or just leave it up. Hmm. This from the generation that walked to school, worked three jobs and taught themselves to read on the back of a shovel. Manually extending an antenna must be tougher than it sounds.

No. 8: Three-speed automatic transmissions

Today’s teen drivers will likely never drive a three-speed automatic like this Dodge Neon.
Three on the tree means nothing to kids now, and it’s not because carmakers have moved the gearshift from the steering column. Three-speed transmissions are at least one speed too slow for nearly all of today’s cars. If the current trend toward five- and six-speed transmissions continues, we’ll soon be saying the same thing about four-speed models.

No. 9: True compact pickup trucks

The 2007 Ford Ranger is considered a compact pickup truck.
Not only are things getting more expensive, they’re getting bigger as well. Just as houses are McMansions and drivers are increasingly — ahem — husky, the small pickup of ages past is expanding to what could legitimately be called midsize.

No. 10: Six-passenger, rear-wheel-drive, body-on-frame cars

The Ford Crown Victoria is one of only three body-on-frame cars still made.
This used to be the way all cars were made: You built a frame, attached the engine and transmission, slapped on the body and off you went. There was a front bench to carry Mom, Dad and one child, and a rear bench for Grandma, Grandpa and the other child. No more. Only the Ford Crown Victoria, Mercury Grand Marquis and Lincoln Town Car meet all these criteria now. Front bench seats in particular are going the way of the dodo; Buick joins Ford and Lincoln as one of few automakers to put them in their cars. Larger SUVs and trucks are the best bet these days if you really want a front bench.
Honorable mention:

These didn’t make the list because they’re either taking a long time to die off or we just don’t miss them:
• Trunk releases in the glove box
• Full-size spare tires
• Floor-mounted headlight dimmer switches
• Completely manual mirrors
Posted on 12/14/06

http://www.cars.com/go/advice/Story.jsp?section=top&story=disappearFeat&subject=more&referer=&aff=national

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By Amanda Wegrzyn, Cars.com
Ever since radios started popping up in cars, music and car culture have been inextricably linked, and everyone has a strong opinion about both. While the Grammy Awards honor the best music of 2007, we wanted to dig a little deeper and pay tribute to the top 10 songs ever written about cars.

10. “Red Barchetta”
Rush
In an era where large SUVs seem to block out the sun and the U.S. government is trying its darndest to regulate fuel economy, a 1981 sci-fi song about a nearly extinct Ferrari doesn’t seem so far off. Although the abundant safety features in today’s cars may not lead to the reckless driving mentioned in the song, it’s a scary future for any sports-car nut.

9. “I Can’t Drive 55″
Sammy Hagar
Some musicians use their talent to rail against political injustice, war and poverty. Sammy Hagar, however, used his musical gifts to protest a federally imposed maximum speed limit. The song isn’t actually about one car, and the former Van Halen frontman’s talent may be questionable, but the song is still enjoyed by speed enthusiasts everywhere; it was rerecorded for NASCAR as “I Can’t Drive 65.”

8. “Bitchin’ Camaro”
Dead Milkmen
How did a song that includes a two-minute dialog about going to the shore and seeing a Doors cover band make it on our list? Well, we’re not entirely sure, but we dare you to listen to it and not want to do doughnuts on your neighbor’s lawn.

7. “Let Me Ride”
Dr. Dre
The lyrics aren’t even kinda close to being G-rated (we don’t recommend singing it at your next office karaoke outing), but that doesn’t diminish its importance as a song about cars. One look at the video, featuring shots of Compton, Snoop Dogg and a cameo from Ice Cube, and it’s clear why this is a West Coast rap classic.

6. “Drive My Car”
The Beatles
How do you know you’ve made it? According to John Lennon and Paul McCartney, it’s when you can afford a chauffeur. The wannabe starlet in the song may not yet be famous enough to actually have a car, but she already has a driver lined up. Lindsay and Britney, are you taking notes? You should be.

5. “Mustang Sally”
Wilson Pickett
Pickett wasn’t the first to record “Mustang Sally,” but he’s the one who put it on the map. Luckily for Pickett and everyone who’s covered it since, this blues standard sounds just as relevant now as it did more than 40 years ago.

4. “Low Rider”
War
With its distinctive bass line and the lead singer’s deep growl, this song begs to be blasted while cruising. Hydraulically modified classic cars are an important chapter of American car culture, and considering the number of times this song has been covered and sampled, it’s clear neither the song nor the car is going to fade out anytime soon.

3. “Fun, Fun, Fun”
The Beach Boys
This list could have easily included three or four Beach Boys tunes, but in the interest of variety we limited it to the one we consider most universal. For many teens, car keys equal freedom, and what 16-year-old hasn’t daydreamed about borrowing his parents’ T-Bird — or really sweet minivan — and playing hooky?

2. “Pink Cadillac”
Bruce Springsteen
Originally released as a B-side to “Dancing in the Dark,” “Pink Cadillac” is one of many Springsteen songs to feature car imagery. Regardless of what you think the song is actually about, the description of the car will make you wish you were driving something other than a responsible four-door sedan with antilock brakes.

1. “Little Red Corvette”
Prince
“Little Red Corvette” isn’t the only song to equate a woman with a car, but it is probably one of the most blatantly sexual of those songs. Fortunately, Prince was smart enough to disguise the references just enough to get the song past the censors. Despite the innuendo, “Little Red Corvette” is still considered one of Prince’s biggest hits, and was often the first song that came to mind when we asked people to name their favorite car song.
Posted on 1/31/08

By Tom and Ray Magliozzi, Car Talk
With Halloween coming, we asked Tom and Ray to give us their Top 10 scariest cars. They came through and were even kind enough to tell us for whom exactly the cars are scary. Read on, if you dare (imagine spooky laughter here)…

1969 Ford Mustang
Scary for: Bystanders and other drivers

Looks like an early Ford Mustang, right? It is, on the outside anyway. The inside, however, is all Ford Falcon, a pedestrian vehicle if ever there was one. So what, you say? Well, drop a Boss V-8 into a Ford Falcon and what do you get? An overpowered car that doesn’t have the shocks, brakes or structural rigidity to turn or stop well. In other words … look out!

1969 Pontiac Trans Am
Scary for: Bystanders and other drivers

Garish? Sure, but that’s not our complaint. This was the height of muscle-cardom. This was when American car manufacturers figured out how to make humongous, powerful engines. Sadly, they hadn’t yet figured out how to do handling, so you had an overpowered rear-wheel-drive car with no weight in the rear end. As a result, when there was half a drop of rain on the ground this thing spun around like Dizzy Dan from the Battling Tops. Anything but perfect weather, and it was totally uncontrollable.

1971 Ford Pinto
Scary for: Firefighters and plastic surgeons

What could possibly be scarier than a car endorsed by both the Shriners’ Burn Ward Fundraising Division and the League of Asbestos-Clothing Manufacturers? These cars had an unfortunate tendency to explode when hit from behind, since that’s where the gas tank was located. Ford did eventually fix the problem, but the damage was done, so to speak. Being anywhere near a Pinto still gives us visions of Robert Duvall calling in airstrikes in “Apocalypse Now.”

1973 Volkswagen Microbus
Scary for: Drivers

Here’s a scary idea: Design a car so the occupants’ legs are the very first line of defense in a frontal crash. Then add poor stability. Shaped like a pizza box standing on end, the Microbus blew around on the highway like Calista Flockhart in a wind tunnel. Drivers never had time to worry about these issues, though; they were too busy trying to keep themselves warm in the chilly Bus.

1974 Volkswagen Thing
Scary for: Onlookers

Just take a gander at this. No wonder they named it the Thing; it was styled by the same guy who invented the cookie sheet. Thankfully, they rusted quickly enough that few remain to invoke PTSD for former owners.

1980 Chevrolet Monza
Scary for: Mechanics

The Monza was designed as an economy car, so it was built to have a four-cylinder engine. Unfortunately, when sales slowed down, some geniuses at Chevy decided that what the Monza needed was a V-8, so they shoehorned one in there. The result? Half the spark plugs are almost impossible to reach; to get at them you need rappelling equipment and an air chisel. Whenever one of these beauties reared its ugly grille in front of the garage, every mechanic with more than six weeks’ experience would go running for the men’s room and lock the door.

1986 Suzuki Samurai
Scary for: Drivers

Rolling over is fine if you’ve got personal knowledge of Knuckles Goldberg’s wrongdoings and you’re heading into the witness protection program. Rolling over at 70 miles per hour on asphalt, when you’re swerving to avoid an errant chipmunk? Not so good. These cars were cheap, so they were purchased mostly by young drivers — the people most likely to end up hanging from the seat belt with four wheels in the air. Scarier still, the Samurai wasn’t that much worse than other SUVs of the era.

1987 Ford Festiva
Scary for: Drivers

Take a good look at this car. Kind of small, wouldn’t you say? Now imagine yourself in a Festiva surrounded by amphetamine-snacking tractor-trailer drivers. Going 75 miles per hour. At night. In the rain. Scared yet? We sure are. We once got in trouble for saying this car came right from the factory with a funeral wreath on the grille.

2004 Hummer H1
Scary for: Society, the environment and therapists

When you stop to think about what kind of person would buy a Hummer, you begin to worry about the future of our country. This is a person who feels so inadequate inside that he has to drive around pretending the 82nd Airborne will be backing him up in his next argument over a parking space. On the environmental side, the Hummer burns through resources like there’s no tomorrow. And if enough idiots keep driving them, there won’t be.

2005 Pontiac Aztek
Scary for: Onlookers

Well, now we know where the designers of the Volkswagen Thing went to work after VW canned their sorry butts. Take a good look at this vehicle — it’s a tribute to the art of unfortunate compromises. Someone at GM said “take a minivan, whack off a few corners and make something we can call a utility vehicle.” The car itself was not bad — rather utilitarian, actually — but it pinned the needle on the visual pollution scale.
Posted on 10/2/06

By Amanda Wegrzyn, Cars.com
When we posted our list of Top 10 Movie Cars we got more than a few write-in suggestions for TV cars, so, with the so-called “Second Season” upon us — you know, when September’s flops get replaced — we decided to give the wheels of the small screen their due. If you think we missed anything, or if you want to sound off on some of our picks, stop by our blog and let us know.
No. 10: 2005 Maserati Quattroporte, “Entourage”

If you’re lucky enough to ride Aquaman’s coattails all the way to a glamorous Hollywood lifestyle, a new Maserati is just icing on the cake. “Entourage” got a whole new generation of drivers drooling over this classy Italian exotic.

No. 9: Mach 5, “Speed Racer”

This 5,000-horsepower racing machine had seven buttons on the steering wheel that could adjust road traction, slice obstacles out of the way, turn the car into a submarine and more — and that was 40 years ago. Using a button on the steering wheel to adjust your stereo doesn’t seem nearly as exciting anymore, does it?

No. 8: 1983 GMC G-Series, “The A-Team”

Who better to own a van that’s continually crashed, chased, disassembled and shot at than former military man and master mechanic B.A. Baracus? You would think, though, that a band of do-gooding fugitives trying to keep a low profile would drive something with a less distinctive paint job.

No. 7: 1973 Chevrolet El Camino, “My Name is Earl”

This is by no means the best-looking car on the list — far from it. It’s dusty, full of trash and repaired with enough spare parts to create a multicolored mess. Still, there’s something poetic about Earl embarking on his karmic quest in a pieced-together El Camino.

No. 6: 1975 Ford Gran Torino, “Starsky and Hutch”

Although the Gran Torino wasn’t quite as popular as other muscle cars of its era, this “Striped Tomato” wasn’t without fans. Ford even released a limited-edition version painted to look like David Starsky’s ride — crime-fighting sidekick not included.

No. 5: Batmobile, modified 1955 Lincoln Futura concept, “Batman”

George Clooney? Michael Keaton? Pshaw! Adam West’s Batmobile is the one everyone remembers best. With the long fins, afterburner and assorted bat-gizmos, the Penguin never stood a chance.

No. 4: Ferrari 308 GTS, “Magnum, P.I.”

So, Thomas Magnum lives in a guest house on a gorgeous Hawaiian estate, works sporadically and drives his employer’s cherry red Ferrari whenever and wherever he wants? It seems my college career counselor did not adequately outline all of the job options for me.

No. 3: The Mystery Machine, “Scooby-Doo”

Not only could this multicolored van hold a quizzical Great Dane and four meddling kids, but there was also plenty of room for the Harlem Globetrotters, Don Knotts and whatever other guest stars dropped by for some ghost hunting. Forget Scooby Snacks: Why the heck was Mr. Furley hunting ghosts?

No. 2: The General Lee, 1969 Dodge Charger, “The Dukes of Hazzard”

To be fair, The General Lee and KITT were neck and neck (or chassis and chassis) for the top spot. Although the iconic orange Charger had legions of teens attempting Luke Duke’s opening-credits hood slide, KITT won out for having enough gadgets to make James Bond jealous. That awful movie didn’t help the General’s chances, either.

No. 1: KITT, 1982 Pontiac Trans Am, “Knight Rider”

David Hasselhoff may have been the show’s star, but KITT was the main attraction. The supercomputer controlling this black Trans Am rendered it intelligent, sarcastic, bulletproof and able to jump over obstacles, if not tall buildings. The closest most of us will get to a talking car is using a navigation system.
Honorable Mentions:
The Flintmobile, “The Flintstones”
We just couldn’t justify putting a car without an engine or real brakes into the Top 10.

1971 Plymouth Barracuda convertible, “Nash Bridges”
Sonny Crockett — er, I mean Don Johnson — revisits the police drama in a bright yellow convertible.

Toyota Pickup, “Baywatch”
Wasn’t everyone watching “Baywatch” for the shots of Mitch’s yellow truck speeding down the beach to a dramatic rescue?

Pontiac Firebird, “Rockford Files”
Who needs Magnum’s Hawaiian estate and red Ferrari when you have Jim Rockford’s rundown L.A. trailer and a gold Firebird?
Posted on 1/29/07

http://www.cars.com/go/advice/Story.jsp?section=top&story=TVcars&subject=more&referer=&aff=national

By Kelsey Mays and Amanda Wegrzyn Cars.com
When we came up with our list of Top 10 Movie Cars we had no idea our readers would be so passionate about their favorite films and the automotive characters in them. With “Transformers” coming soon, we revisited our list, listening to last year’s reader feedback and arguing — once again — over which cars deserved to make the top 10. Some cars were able to hold on to their spots, while others were shuffled around to make room for more worthy contenders. With “Speed Racer” coming next year, expect another round of arguing.

No. 10: 2003 Mini Cooper S, “The Italian Job”

Drivetrain:, supercharged 1.6-liter four-cylinder engine with six-speed manual transmission; front-wheel drive
Notable Features: 200 pounds lighter than stock Cooper S; painted red, white or blue
Larger cars would have rubbed fenders with light poles and tunnel walls, but thanks to a nimble fleet of Mini Coopers, a band of conspirators manages to escape captors down congested streets, parks and subway tunnels. Computer-rigged signals aid the getaway, stopping cross traffic at red lights. Sounds like California dreaming for drivers.

No. 9: 1959 Cadillac Ambulance, “Ghostbusters”

Drivetrain:, 6.4-liter V-8; rear-wheel drive
Notable Features: Tailfins, flashing lights, sirens, attached ladder Though it plays a relatively small part in its film, the Ectomobile is the finest medical movie car to date. What it lacks in brute force it makes up in style, with red tailfins, strobe lights and more roof gear than a fire truck. Should there ever be a remake, our pick for the new Ectomobile would be the Dodge Magnum. Right, Egon?

No. 8: 1974 Dodge Monaco, “The Blues Brothers”

Drivetrain:, 7.1-liter V-8 with three-speed automatic transmission; rear-wheel drive
Notable Features: Cop motor, cop tires, cop suspension, cop shocks
You usually don’t come out ahead when swapping a Caddy for a Dodge — unless the Dodge has a 440-cubic-inch V-8. The Bluesmobile would be our pick if we had to outrun the better half of Illinois police, not to mention a neo-Nazi outfit and a country-and-western band. The car totally falls apart in the end, but you’d be hard-pressed to find a vehicle that could do better on “a mission from God.”

No. 7: 1932 Ford coupe, “American Graffiti”

Drivetrain: 60-hp, 3.6-liter V-8 with three-speed manual transmission
Notable Features: Bright yellow paint job bound to be noticed by bored teens in Modesto, Calif.

Nicknamed the “Deuce,” this five-window ‘32 Ford coupe is the quintessential American hot rod. As built, it came with the engine mentioned above, but in the movie, it’s clear the coupe has been souped up. It was the car’s awesome growl and the cool drag race at the end of the movie that lodged this hot rod into the hearts of American teens for a decade.

No. 6: 1976 AMC Pacer, “Wayne’s World”

Drivetrain: 100-hp inline-six with three-speed automatic transmission; rear-wheel drive
Notable Features: Flame decal, licorice dispenser, “Bohemian Rhapsody” on continuous playback

Although this movie may not have driven thousands of people to track down a baby blue Mirth Mobile of their own, it did inspire a number of in-car, head-banging singalongs by fans of the film.

No. 5: 1968 Ford Mustang GT 390, “Bullitt”

Drivetrain: 325-hp, 6.4-liter V-8 with four-speed manual transmission; rear-wheel drive
Notable Features: Fastback roof, higher engine note than the Charger

Never mind the continuity mishaps; just tell yourself there were a lot of green Volkswagen Beetles in San Francisco that day. The seven-minute chase scene between Frank Bullitt’s Mustang GT 390 and a hit man’s 1968 Dodge Charger is among the best of its kind. Voters gave Bullitt’s car the edge because, in the end, you have to root for the good guy.

No. 4: 1964 Aston Martin DB5, “Goldfinger”

Drivetrain: 282-hp, 4.0-liter six-cylinder with four-speed manual transmission; rear-wheel drive
Notable Features: Bulletproof glass, machine guns, incessantly beeping radar screen

Save for the anemic BMW Z3 1.9 in “GoldenEye,” Bond cars are top-notch — the list includes Aston Martins, Bentleys and Lotuses — but voters agreed the champ is the Aston Martin DB5 in “Goldfinger.” Not only is it gorgeous, it outruns and out-gadgets all of its competitors. Plus it gets plenty of screen time with the best Bond, Sean Connery. Any dissenters, of course, are welcome to ride in the “power” passenger seat.

No. 3: 1961 Ferrari 250 GT, “Ferris Bueller’s Day Off”

Drivetrain: 280-hp, 3.0-liter V-12 with four-speed manual transmission; rear-wheel drive
Notable Features: Cherry-red exterior, wire grille, Cameron-sized tonneau compartment

This movie is probably responsible for thousands of teens cutting class to joyride in their father’s car. Of course, none hold a candle to Mr. Frye’s convertible Ferrari. It won votes for all the obvious reasons: It’s red, Italian and bloody fast. If our fathers owned something like this, we’d ditch Econ 101 in a heartbeat to take a spin — especially if Dad didn’t lock the garage. (And yes, we know this was a kit car.)

No. 2: 1977 Pontiac Trans Am, “Smokey and the Bandit”

Drivetrain: 200-hp, 6.6-liter V-8 with three-speed automatic
Notable Features: T-top, CB radio, runaway bride in the passenger seat

The mission seemed simple enough: Get a truckload of bootleg beer from Texarkana, Texas, to Atlanta while Bo “Bandit” Darville runs interference in his Trans Am. The combination of the comical car chases and Burt Reynolds’ mustache sold more than a few black and gold versions of Bandit’s car.

No. 1: 1981 DeLorean DMC-12, “Back to the Future”

Drivetrain: 1.21-gigawatt nuclear/electric hybrid with five-speed manual transmission; rear-wheel drive
Notable Features: Gull-wing doors, 16-port twin exhaust boxes, flux capacitor

This was an overwhelming choice for voters, and why not? Doc Brown’s smoke-spewing DeLorean achieves time travel at 88 mph thanks to a plutonium-powered nuclear reactor and onboard flux capacitor. By the end of the first movie, it runs solely on trash — and it can fly. That’s still futuristic two decades after the movie debuted. Sure, the ignition seems to have some reliability issues, but this car easily won our hearts.

Honorable Mentions:
• 1958 Plymouth Fury, “Christine”
• 1973 Ford Falcon, “The Road Warrior”
• 1975 Lotus Esprit, “The Spy Who Loved Me”
Posted on 6/26/07

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By Wolf Schneider
Sept 18, 2007

When Paul Haggis began searching for locations to shoot his intense Army drama “In the Valley of Elah,” he knew he wanted a place in the South with a 1960s-style motel adjacent to a diner and an Army base nearby — and, of course, in a state with generous tax incentives. Although he had booked scouting trips to New Mexico, Louisiana and South Carolina, he landed first in Albuquerque and quickly discovered he’d found the perfect spot to begin production.

“Within an hour and a half, I’d locked in four locations! Not found them — I mean, locked them,” Haggis says. “I said, ‘It’s great. It’s perfect. Move on!’ So that was just remarkable. I really found a terrific variety of architecture where I thought I’d just find unending adobe.”

The Oscar-winning writer-director-producer isn’t the only filmmaker who’s been lured to the Land of Enchantment recently. Since Gov. Bill Richardson, now a presidential candidate, pushed through an aggressive package of tax rebates and no-interest loans in 2002, New Mexico has become one of the top five filmmaking destinations in the U.S. More than 80 feature film and television projects have been made in the state since then, and annual direct expenditures from film and television production have skyrocketed from $3 million in 2002 to $159 million in 2007. This year alone, the state has attracted more than 30 feature films and television projects.

And it looks as though Hollywood is here to stay. Infrastructure is now solidifying in this artists’ mecca of high chaparral and low population density, striated by the southernmost Rocky Mountains. The crew base has deepened to almost 1,500 — or four to five crews — with homegrown training programs at schools like the University of New Mexico cranking out a new generation. Sustainability is the strategy now, with three seminal events coalescing in the last year.

First, Albuquerque Studios, a $74 million 28-acre site, opened its first six soundstages in April and is already fully booked up.

Second, Sony Pictures Imageworks broke ground on a 100,000-square-foot satellite facility at Albuquerque Studios. It’ll open in June 2008 with 100 jobs in animation, visual effects and digital media, eventually growing to 300.

Third, the “sunset” clause on the 25% tax rebate was removed, so that rebate is now permanently in place. What’s more, the loan fund has been increased so it now holds about $280 million that can be outstanding at anytime — and the state is about to receive its first profits on the loan program from Lionsgate, which advanced $500,000 against the profits of 2006’s “Employee of the Month” and ABC Family’s “Wildfire,” according to state investment council topper Greg Kulka.

Entertainment attorney Peter Dekom helped structure the up-to-$15 million loans that protect the state’s principal since the qualifications include a solid guarantor, distribution in place and the hiring of New Mexico residents for 60% of the below-the-line crew payroll. Mind you, Dekom doesn’t actually read any of the 50 to 100 scripts a year he puts into serious evaluation; his forte is assessing deal elements — which is why the political comedy “Swing Vote” obtained a loan with just foreign distribution in place, plus a personal guarantee from star Kevin Costner, who’s also producing it with Jim Wilson. In midproduction now, the picture just got a domestic deal with Disney.

“Kevin’s an amazing guy,” comments Dekom. “Kevin is in it so deeply. It’s his money that guaranteed the letter of credit that guarantees us. And I think he’s going to make a lot of money on it.”

In return, Costner says, “I have several films that feel like they could work here. I feel like there is a great crew base here.”

“Swing Vote” writer-director Joshua Michael Stern explains of his film: “It’s about the presidential election coming down to one vote, and it had to come from a swing state — a state that was sort of independent, that was a free-spirited, free-thinking kind of place. So I set the script in New Mexico.” Stern imagined his setting to be “a little desert town like in (1971’s) ‘The Last Picture Show.’”

Producer Wilson found that sleepy town in Belen — complete with an area they could use as a backlot. Wilson found everything else in the script here, too. “It was like, I need some stately buildings for the capitol — that’s in Santa Fe,” he recounts. “I need large warehouses. I need chicken factories. I need something that looks like Vermont for Dennis Hopper’s character’s palatial house — we found a big A-frame home in the Sandia Mountains. I need Santa Barbara for where Kelsey Grammer, (who plays) the incumbent president, can live — that’s in Corrales.”

Wilson knew New Mexico, having teamed with Costner on 1994’s “Wyatt Earp.” “The industry has come a long way here in the last 10 years. There’s an infrastructure now that’s capable of handling numerous movies,” he observes.

Albuquerque, with a population of half a million, is New Mexico’s biggest production center — though Santa Fe and other points north attract the atmospheric Westerns, like New Line Cinema’s “Appaloosa,” directed by and starring Ed Harris. “That area seemed right for what we were looking for. It was the dramatic quality of the landscape, I guess you’d say — the water, the cliffs, the sky, the clouds,” says Harris, who also considered — then nixed — Canada, Texas and Arizona, because “the great rebate situation is difficult to pass up.”

The master strategist behind those 25% tax rebates (which are true tax rebates on New Mexico spends, not tax credits as so many other states offer), and indeed the whole production boom, is Eric Witt, Gov. Richardson’s director of media arts and entertainment development. Since Richardson took office in 2003, film production has brought the state $409 million in direct expenditures. “The key now is our reputation and the relationships we develop, and because of that, companies like Sony Imageworks are relocating on a permanent basis here as opposed to sending individual productions,” evaluates the savvy Witt, who was vp finance at Dino De Laurentiis Communications before donning his cowboy boots.

“Yes, we are a case study in a general economic development sense,” allows Witt. “But the film business doesn’t always make sense for every state.” Hosting film and television productions requires more than just varied locations and, in the case of New Mexico, 300 days a year of sunshine, Witt elaborates: “You have to design your program in way that makes economic sense for your state, and that largely depends on your tax structure and your job base. Do you have crew? The reason we are able to give a 25% tax rebate and still make money — we are one of, if not the only state that makes money on its rebate program — is because of our gross receipts tax and personal income tax and corporate income tax.”

“States that don’t have that tax structure — like Nevada or Texas — can’t just take New Mexico’s model and co-op it lock, stock and barrel,” he continues.

With 15 projects either here or coming, New Mexico is now the busiest ever. Two futuristic films both in the $50 million range are headquartering at Albuquerque Studios: Lakeshore Entertainment’s “Game,” in which a fictional prison institutes a process whereby convicts can commute their sentences by participating in a deadly game, and Lionsgate’s “The Spirit.” Other projects include Paramount Pictures’ latest installment of the “Indiana Jones” franchise, USA Network’s drama series “In Plain Sight” and AMC’s crime series “Breaking Bad.” “The Burrowers,” a sci-fi thriller about underground creatures who prey on the inhabitants of a 19th century Western town, just wrapped, as did the Cuba Gooding Jr. action thriller “Linewatch,” which was promptly picked up by Sony Pictures Entertainment, and there’s talk about a Taylor Hackford movie coming.

State film commissioner Lisa Strout observes, “To have the infrastructure with a major company like Sony here on the ground has already spurred other people to want to be here too in a sort of media cluster.”

“We’re scouting a lot these days for Iraq and Afghanistan and Pakistan on the western face of the Sandia Mountains and the Florida Mountains near Deming,” Strout adds.

Anticipating more activity, producer Lance Hool is in advanced talks to open a soundstage complex in Santa Fe County called Santa Fe Studios, and Lionsgate has a soundstage in the planning for north of Albuquerque. Says Lionsgate executive vp Mark Manuel, “We are looking at numerous options for our film studio. If anything, we have seen the volume of production in New Mexico pick up dramatically over the past few months.”

It’s enough to make Dekom punningly promise, “You’ll never get a chile reception in Tamalewood!” And to drive it home with “We can keep our crews busy all the time — we are a hot tamale.”

IN PRODUCTION: Projects currently shooting in New Mexico

“Breaking Bad” (AMC) “Malcolm in the Middle’s” Bryan Cranston stars as a high school teacher who suffers a midlife crisis and becomes a criminal.

“Five Dollars a Day” (ThinkFilm) Christopher Walken toplines as a con man on a road trip with his conservative son, played by Alessandro Nivola.

“In Plain Sight” (USA Network) Mary McCormack stars as a federal marshal who works with people in the witness protection program.

“To Live and Die” (MGM) Joe Pantoliano plays an assassin on the run in Albuquerque.

“Swing Vote” (Disney) Political comedy stars Kevin Costner.

“The War Boys” Drama based on the acclaimed play by Naomi Wallace about vigilantes who police the Mexican border.

COMING UP

“Appaloosa” (New Line Cinema) Ed Harris, who co-adapted the Western drama, will produce and direct, as well as co-star with Viggo Mortensen and Renee Zellweger.

“The Burning Plain” Charlize Theron stars in this drama, which marks the directorial debut of Guillermo Arriaga, screenwriter of 2006’s “Babel.”

“Game” This high-concept thriller stars Gerald Butler.

“Hamlet II” A high school teacher attempts to write a sequel to Shakespeare’s “Hamlet” in this comedy starring Catherine Keener and Steve Coogan.

“The Spirit” (Lionsgate) Graphic novelist Frank Miller’s first solo directorial effort stars Gabriel Macht as a cop who returns from the dead to fight crime. Also stars Samuel L. Jackson, Scarlett Johansson and Eva Mendes.

Source: Hollywood Reporter