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Roger Moore

Making the Cannonball Run Movie P1

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The owner of the Countach (left) with Tom Nash (center) and Guy Anderson (right).

Story by Guy Anderson
Photos copyright Guy Anderson

In 1980 I received a call from my good friend Jeff Glasserow, who worked in the film industry. Jeff worked for Ted Turner at the ‘Super Station’ WTBS and the all-new CNN center here in Atlanta.

Jeff called to inform me there was a new Burt Reynolds movie that was going to begin shooting in Atlanta in a few weeks. The subject of the movie was racing a Lamborghini in a coast to coast race called the “Cannonball Run.” The race invented by Brock Yates was officially called: “The Cannonball Baker Sea-to-Shining Sea Memorial Trophy Dash.” Brock Yates had written the script for the movie to be called The Cannonball Run and directed by famed stunt man and a participant in the original Cannonball run, Hal Needham.

[Readers: You do NOT want to miss this exclusive story! Editor]

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Making the Cannonball Run Movie, P2

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Rodger Moore standing still for the camera shot with Adrienne Barbeau.

Story by Guy Anderson
Photos copyright Guy Anderson

In Part 1 of the Making of the Cannonball Run, Anderson left our readers with a description of a special lighting prop used in the night scenes:

The crane was positioned before the overhang outside of the double row of cars used in the movie. The hydraulic expanding arms were extended outward and lowered to plant the crane firmly on concrete while the boom was extended. However, the rear arm was extended and its pad was placed on the ground, which was still damp from rain the day before.

As the moonlight crane sat for hours, no one noticed that the soft ground had given way for the crane to tilt ever so slightly. Then someone yelled out that the crane was sinking – just moments before gravity took its toll. The loud crash was heard by all and the film set was filled with screaming that echoed from the walls of the English Inn. Smoke as thick as a London fog filled the area where the crane fell as the bulbs exploded and smoke covered the complete area.

The smoke started to clear around the fallen crane and it was obvious there was something wrong. Initially no one could see what happened, and then as the air cleared, the extent of the destruction was confirmed. An all original, white-with-black leather 1965 AC Cobra 289 roadster was sitting under the crane.

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Making of the Cannonball Run, Part 2

By

Rodger Moore standing still for the camera shot with Adrienne Barbeau.

Story by Guy Anderson
Photos copyright Guy Anderson
Warning: It is a violation of US copyright law to use these photos including use on Pinterest without express permission of copyright holder.

In Part 1 of the Making of the Cannonball Run, Anderson left our readers with a description of a special lighting prop used in the night scenes:

The crane was positioned before the overhang outside of the double row of cars used in the movie. The hydraulic expanding arms were extended outward and lowered to plant the crane firmly on concrete while the boom was extended. However, the rear arm was extended and its pad was placed on the ground, which was still damp from rain the day before.

As the moonlight crane sat for hours, no one noticed that the soft ground had given way for the crane to tilt ever so slightly. Then someone yelled out that the crane was sinking – just moments before gravity took its toll. The loud crash was heard by all and the film set was filled with screaming that echoed from the walls of the English Inn. Smoke as thick as a London fog filled the area where the crane fell as the bulbs exploded and smoke covered the complete area.

The smoke started to clear around the fallen crane and it was obvious there was something wrong. Initially no one could see what happened, and then as the air cleared, the extent of the destruction was confirmed. An all original, white-with-black leather 1965 AC Cobra 289 roadster was sitting under the crane.

This content is for Premium Subscriber members only.
LoginSubscribe

Making of the Cannonball Run Part 1

By

The owner of the Countach (left) with Tom Nash (center) and Guy Anderson (right).

Story by Guy Anderson
Photos copyright Guy Anderson
Warning: It is a violation of US copyright law to use these photos including use on Pinterest without express permission of copyright holder.

In 1980 I received a call from my good friend Jeff Glasserow, who worked in the film industry. Jeff worked for Ted Turner at the ‘Super Station WTBS and the all-new CNN center here in Atlanta.

Jeff called to inform me there was a new Burt Reynolds movie that was going to begin shooting in Atlanta in a few weeks. The subject of the movie was racing a Lamborghini in a coast to coast race called the “Cannonball Run.” The race invented by Brock Yates was officially called: “The Cannonball Baker Sea-to-Shining Sea Memorial Trophy Dash.” Brock Yates had written the script for the movie to be called The Cannonball Run and directed by famed stunt man and a participant in the original Cannonball run, Hal Needham.

[Readers: You do NOT want to miss this exclusive story! Editor]

The shooting location for the movie was located on the perimeter of I-285 close to the entrance of I-20 on the east side of Atlanta, Georgia. The Inn that was commandeered for filming was called the Old English Inn for obvious reasons. The movie execs, including the actors and extras, took over the property for quite some time.

The movie making at the Inn was almost non- stop. The action began in the morning and was still going into the night, depending on what sequence were being filmed. Outside of the film area, behind the barriers, is where the starlets could be found that wanted nothing more than to be “DISCOVERED”. These women were lined up behind the barricades in bunches. They wore full makeup and were dressed to the hilt including heels. Some of the ladies were so gorgeous that it was impossible to concentrate on what we needed to do.

My part was to supply some cars for the production and it was a toss-up on what cars would be most fitting for this movie. One of the cars we were going to include was a 1968 Lamborghini Miura P400 that was recently restored. Others that we used were a 1969 De Tomaso Mangusta, a 1972 De Tomaso Pantera GTS and a 1974 Dino Ferrari GTS that a close friend owned at that time.

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