{"id":122588,"date":"2020-11-29T21:16:25","date_gmt":"2020-11-29T18:16:25","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/how-they-shot-the-sorcerer-bridge-scene\/"},"modified":"2020-11-29T21:16:25","modified_gmt":"2020-11-29T18:16:25","slug":"how-they-shot-the-sorcerer-bridge-scene","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-sorcerer-bridge-scene\/","title":{"rendered":"#How They Shot the Sorcerer Bridge Scene"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a2c12c103d20\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a2c12c103d20\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-sorcerer-bridge-scene\/#Howd_they_do_that\" >How\u2019d they do that?<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-sorcerer-bridge-scene\/#Long_story_short\" >Long story short:<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-sorcerer-bridge-scene\/#Long_story_long\" >Long story long:<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/buradabiliyorum.com\/en\/how-they-shot-the-sorcerer-bridge-scene\/#Whats_the_precedent\" >What\u2019s the precedent?<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#How They Shot the Sorcerer Bridge Scene<\/strong>&#8221;<\/p>\n<div>\n<aside class=\"mashsb-container mashsb-main mashsb-stretched\">\n                <\/aside>\n<p><!-- Share buttons by mashshare.net - Version: 3.7.8--><em>Welcome to <strong>How\u2019d They Do That?<\/strong>, a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off.<\/em> <em>This entry explains the making of the scene in William Friedkin\u2019s \u2018Sorcerer\u2019 where two enormous trucks cross a rotting suspension bridge.<\/em><\/p>\n<hr class=\"wp-block-separator is-style-wide\"\/><strong>William Friedkin<\/strong>\u2018s nihilistic opus may share its name with \u201cSorcerer,\u201d one of the two hulking transport trucks that propel the film\u2019s nail-biting second half, but the film\u2019s ultimate fate took after the second vehicle\u2019s namesake: \u201cLazarus.\u201d Despite its commercial and critical death in 1977, <em><strong>Sorcerer<\/strong> <\/em>was later revived, in large part thanks to Friedkin\u2019s efforts to ensure the film\u2019s survival on home video. Today, many regard the film as a grueling, beautiful, and under<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>reciated triumph. <\/p>\n<p>The film follows four criminals who have sought refuge in a remote village: Jackie Scanlon (<strong>Roy Scheider<\/strong>), a getaway driver marked for death; Victor Manzon (<strong>Bruno Cremer<\/strong>), a disgraced investment banker; Kassem (<strong>Amidou<\/strong>), a politically-motivated terrorist, and Nilo (<strong>Francisco Rabal)<\/strong>, an assassin. <\/p>\n<p>One day, a nearby oil rig explodes, sending a turret of fire scorching into the sky. To stifle the flames, the oil company needs explosives. And the only dynamite available is rotting in a shed 218 miles away, sweating volatile nitroglycerine that could explode with the slightest jostle. The only way to transport the stuff through the hostile terrain is by truck. Incentivized by a financial reward that could pay their way home, the four men volunteer for the job.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"451\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2.gif\" alt=\"Sorcerer Bridge\" class=\"wp-image-360032\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2-768x433.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>Well into their journey, the two trucks come to a crossroads. Despite taking different paths, fate ultimately dumps them both at the same place: the bank of a raging river. A dilapidated bridge lies ahead, stitched together with loosening rope and soggy, splintering wood. Wind gusts violently, spraying torrents of rain in every imaginable direction. <\/p>\n<p>The task is clear but impossible: to cross this bridge, in these trucks, and to make it to the other side alive. The Lazaro arrives first and incrementally begins its agonizingly slow crawl. Nilo guides Scanlon as the bridge buckles and tilts, cracking under their weight. Each sway is a threat, but somehow they make it across. And before you can catch your breath, Sorcerer arrives to attempt the same treacherous negotiation. Which it does. <em>Barely<\/em>.<\/p>\n<p>While studio executives may have found its title misleading, the effect of <em>Sorcerer <\/em>is, ultimately, an otherworldly one where lumbering metal tanks growl like tigers and purgatory takes on a decaying, desperate aspect. The bridge sequence is no different: it is a spellbinding Sisyphean centerpiece that dangles redemption in the face of assured catastrophe. It is one of the most astonishing sequences ever put to film; cinematic magic performed by an accomplished \u2014 if wantonly reckless \u2014 sorcerer.<\/p>\n<hr class=\"wp-block-separator is-style-wide\"\/>\n<h2 id=\"h-how-d-they-do-that\"><span class=\"ez-toc-section\" id=\"Howd_they_do_that\"><\/span>How\u2019d they do that?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<h4 id=\"h-long-story-short\"><span class=\"ez-toc-section\" id=\"Long_story_short\"><\/span>Long story short:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>While the core of the bridge was made of steel and hydraulics instead of decayed wood and rope, ultimately: they drove a real truck, across a real bridge, over a real river.<\/p>\n<h4 id=\"h-long-story-long\"><span class=\"ez-toc-section\" id=\"Long_story_long\"><\/span>Long story long:<span class=\"ez-toc-section-end\"><\/span><\/h4>\n<p>Friedkin regularly describes the suspension bridge scene in <em>Sorcerer<\/em> as the most arduous sequence of his career. Which, considering all of Friedkin\u2019s shenanigans, is saying something. Despite the danger, according to Friedkin, there was no resistance from the crew or the financiers. \u201cThat was never an issue,\u201d stresses Friedkin in an <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/thedissolve.com\/features\/interview\/543-william-friedkin-on-sorcerer-his-career-and-fate\/\">interview with The Dissolve<\/a>. \u201cI must say that while they were concerned, they had total faith in me. And I had a kind of sleepwalker\u2019s certainty that I could pull it off.\u201d<\/p>\n<p>The trucks on-screen were two and a half-ton capacity GMC M211 military transport vehicles, first deployed during the Korean War. Per the <em>Sorcerer <\/em>press booklet, Freidkin hired a local Dominican artist to decorate the trucks like the haulers he\u2019d seen while location-scouting in Ecuador.<\/p>\n<p>Champion motorcyclist\u00a0and repeat Steve McQueen collaborator <strong>Bud Ekins<\/strong> served as the film\u2019s stunt coordinator \u2014 it is perhaps not unrelated that McQueen was Friedkin\u2019s first choice to play Jackie Scanlon. Famously, the main cast did much of the driving themselves. \u201cEvery time you see one of the actors in the truck, they are driving,\u201d emphasizes Friedkin in a 2018 interview with <em>Empire<\/em>. \u201cThe fear they show and the caution that they show is real\u2026It\u2019s only in the long-shot sequences that there\u2019s a stuntman.\u201d <\/p>\n<p><a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/web.archive.org\/web\/20140424064633\/http:\/\/select.nytimes.com\/gst\/abstract.html?res=F50F1EFB3F5D167493C3AB178AD85F438785F9\">Speaking with <\/a><em><a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/web.archive.org\/web\/20140424064633\/http:\/\/select.nytimes.com\/gst\/abstract.html?res=F50F1EFB3F5D167493C3AB178AD85F438785F9\">The New York Times<\/a> <\/em>in 1977, Scheider stressed that shooting <em>Sorcerer <\/em>\u201cmade <em>Jaws <\/em>look like a picnic.\u201d He adds that what you see in the suspension bridge scene is \u201cwhat really happened.\u201d No optical effects. No rear projection. \u201cToday it would be computer-generated, and it wouldn\u2019t be life-threatening,\u201d supposes Friedkin, correctly.  <\/p>\n<figure class=\"wp-block-gallery columns-2 is-cropped\">\n<ul class=\"blocks-gallery-grid\">\n<li class=\"blocks-gallery-item\">\n<figure><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2.jpg\" alt=\"Sorcerer Bridge\" data-id=\"360026\" data-full-url=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2.jpg\" data-link=\"https:\/\/filmschoolrejects.com\/?attachment_id=360026\" class=\"wp-image-360026\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-2-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<\/li>\n<li class=\"blocks-gallery-item\">\n<figure><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-4.jpg\" alt=\"Sorcerer Bridge\" data-id=\"360027\" data-full-url=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-4.jpg\" data-link=\"https:\/\/filmschoolrejects.com\/?attachment_id=360027\" class=\"wp-image-360027\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-4.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-4-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-4-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-4-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<\/li>\n<\/ul>\n<\/figure>\n<p>The bridge itself was the creation of legendary production designer <strong>John Box<\/strong>, whose previous credits include <em>Laurence of Arabia<\/em> and <em>Doctor Zhivago<\/em>. The bridge was originally constructed and assembled in the Dominican Republic at a cost of one million dollars, a price tag justified because this was, after all, the big set-piece of the film. As Friedkin tells it, the river was reliably deep during the months they planned to shoot. <\/p>\n<p>And the river dried up. The studio executives suggested that Friedkin scrap the scene for something less sophisticated. But Friedkin, of course, ignored them and im<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a>tely sent Box to find a different river. Box found a promising alternative near Tuxtepec, Mexico. The section of Papaloapan River had a similar topography and deep rushing waters that \u201chad not diminished in living memory,\u201d as Friedkin puts it. The bridge was dismantled, shipped to Mexico, and re-anchored. And then, like a cosmic joke, the Papaloapan started to dry up too.<\/p>\n<p>Without the time or money to find another river, the production had to make the Papaloapan work. In addition to clever camera angles to disguise the true depth of the river, the production employed a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">series<\/a> of mechanical effects: piping and pumping equipment re-routed the water and the river was dammed to inflate the current; wind machines and giant hoses gave the impression of a monsoon, and a massive sprinkler system created an artificial rainstorm that obscured the low water levels. Because the rain required cloud-coverage, they could only film in the morning and the evening with a hiatus in between. <\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"451\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-bridge-1.gif\" alt=\"Sorcerer Bridge\" class=\"wp-image-360029\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-bridge-1.gif 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-bridge-1-768x433.gif 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>A carefully concealed hydraulic system controlled the movement of the bridge and the trucks. The frayed ropes along the bridge\u2019s sides cleverly disguised supporting steel cables. And, as a precaution, the crew lashed the trucks to the bridge so that as it tilted and swayed, they wouldn\u2019t topple over. In theory.<\/p>\n<p>Despite the cast and crew\u2019s best efforts, the trucks <em>did<\/em> topple over into the shallow water <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.esquire.com\/entertainment\/movies\/a28501\/sorcerer-william-friedkin\/\">often with <u>actors and stuntmen<\/u> inside them<\/a>. In <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.yahoo.com\/entertainment\/blogs\/movie-news\/-sorcerer---the-film-that--star-wars--buried-rises-again-203000378.html\">an interview with Yahoo Entertainment<\/a>, Friedkin estimates this happened seven or eight times, after which they would repair the damaged section and keep going.<em> <\/em>According to<a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"http:\/\/www.filmforno.com\/?p=462\"> Ekins\u2019 obituary<\/a>, <em>right<\/em> <em>after <\/em>the frame reproduced on the poster that adorns <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/open.spotify.com\/album\/78BeLVh1ko9oOELJCEJ0o6?si=Z--Z56zQTH6YWFid8HkQfA\">the Tangerine Dream album<\/a>, the truck fell in the drink.<\/p>\n<p>In fact, even Friedkin\u2019s truck overturned while he was filming handheld footage over the dashboard. Describing the experience, he explains: \u201cyou fell in the water\u2026and you counted yourself lucky that the truck didn\u2019t fall on you or anyone else.\u201d Personally, I like to think that as Friedkin was launched into the water, he recalled the words of Robert Mitchum, who turned down a role in <em>Sorcerer <\/em>with the following dismissal: \u201cWhy would I want to go to Ecuador for two or three months to fall out of a truck? I can do that outside my house.\u201d<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-3.jpg\" alt=\"Sorcerer Bridge\" class=\"wp-image-360028\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-3.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-3-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-3-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-Bridge-3-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>In a 2017 interview with British film critic Mark Kermode <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www2.bfi.org.uk\/news-opinion\/sight-sound-magazine\/december-2017-issue\">for <em>Sight &amp; Sound<\/em><\/a>, Friedkin reminds us that during the shoot a good deal of the crew (Friedkin included) contracted gangrene and malaria. To make matters worse, during the reconstruction of the bridge, an undercover Mexican federal officer took issue with the drug use of certain crew members (twenty-some stuntmen, key grips, makeup artists, and special effects artists). Friedkin was forced to send the offenders home to the US \u2014 the alternative was that everyone working on the production would be imprisoned.<\/p>\n<p>Ultimately, the bridge sequence took months and a mostly un-budgeted three million dollars to film. But all told: that money, toil, fear, and desperation is up there on the screen. <\/p>\n<hr class=\"wp-block-separator is-style-wide\"\/>\n<h2 id=\"h-what-s-the-precedent\"><span class=\"ez-toc-section\" id=\"Whats_the_precedent\"><\/span>What\u2019s the precedent?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p><em>Sorcerer <\/em>is the second film based on <strong>Gerges Arnaud<\/strong>\u2018s 1950 French novel <em>Le Salaire de la Peur<\/em>. The first adaptation, 1953\u2019s <em><strong>The Wages of Fear<\/strong><\/em>, is <strong>Henri-Georges Clouzot<\/strong>\u2018s masterpiece. Friedkin is vocal (as ever) that <em>Sorcerer<\/em> is not a remake of Clouzot\u2019s film but rather is a separate, distinct adaptation of Arnaud\u2019s novel. In fact, another rarely-discussed American adaptation proceeds Friedkin\u2019s: 1958\u2019s <em><strong>Violent Road.<\/strong><\/em><\/p>\n<p>Neither Arnaud\u2019s novel nor Clouzot\u2019s film contains a stormy river crossing. As far as I can tell, it is an original invention of Friedkin and screenwriter <strong>Walon Green<\/strong>.<strong> <\/strong>If <em>The Wages of Fear<\/em> has an analog stunt, it is the scene in which the trucks are forced to make a hairpin turn up a mountain using only a rotted-wood outcropping as their support. Like <em>Sorcerer<\/em>\u2018s bridge sequence, the stunt makes ample use of clever camera placement and editing to elevate its stakes. <\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/The-Wages-of-Fear.png\" alt=\"The Wages Of Fear\" class=\"wp-image-360030\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/The-Wages-of-Fear.png 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/The-Wages-of-Fear-768x576.png 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/The-Wages-of-Fear-160x120.png 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/The-Wages-of-Fear-320x240.png 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>Ultimately, the two sequences (like their two directors) have very different strengths and priorities: one tension, the other dread; one details, the other spectacle. To compare the two of them feels unfair. After all, <em>Sorcerer <\/em>is not a slow-burning thriller. It is a document, on-screen and off, of a desperate, often arrogant attempt \u2014 and only an attempt \u2014 to overcome and control the uncontrollable. <\/p>\n<p>In this vein, it makes more sense to seat <em>Sorcerer <\/em>at the same table as Werner Herzog\u2019s <em><strong>Aguirre, the Wrath of God<\/strong><\/em> (1972), a destructive journey down the Amazon River in search of El Dorado. Or better yet, Herzog\u2019s later Klaus Kinski joint <em><strong>Fitzcarraldo<\/strong> <\/em>(1982), where a rubber baron\u2019s quest to drag a steamship through the Brazillian jungle reflects the real-life production where Herzog forced his crew to haul a three-hundred-and-sixty-five-ton boat up a hill. <\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Aguirre-the-Wrath-of-God-1.jpg\" alt=\"Aguirre The Wrath Of God\" class=\"wp-image-360031\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Aguirre-the-Wrath-of-God-1.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Aguirre-the-Wrath-of-God-1-768x576.jpg 768w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Aguirre-the-Wrath-of-God-1-160x120.jpg 160w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Aguirre-the-Wrath-of-God-1-320x240.jpg 320w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><\/figure>\n<p>While it premiered two years after <em>Sorcerer<\/em>, Francis Ford Coppola\u2019s infamously troubled <em><strong>Apocalypse Now<\/strong><\/em> (1979) also deserves a mention as a film whose making-of documentary proved a more faithful adaptation of <em>Heart of Darkness <\/em>than the film itself.<\/p>\n<p>All to say:<em> <\/em>despite its source material and preceding peers, <em>Sorcerer<\/em>\u2018s suspension bridge stunt was born from a very specific and often dangerous attitude particular to the \u201970s auteur brats. Namely: that, no matter the risk or the price, the most important thing was to realize the vision. <\/p>\n<p>And if you\u2019re thinking to yourself <em>no one could make a film like that today<\/em>, Friedkin agrees! \u201cNor should they,\u201d he states in <a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.esquire.com\/entertainment\/movies\/a28501\/sorcerer-william-friedkin\/\">a 2014 <\/a><em><a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.esquire.com\/entertainment\/movies\/a28501\/sorcerer-william-friedkin\/\">Esquire <\/a><\/em><a rel=\"nofollow noopener noreferrer\" target=\"_blank\" href=\"https:\/\/www.esquire.com\/entertainment\/movies\/a28501\/sorcerer-william-friedkin\/\">interview<\/a>. \u201cI believe today that there is no film and no shot in a film that is worth a squirrel getting a sprained ankle. We were irresponsible in that regard.\u201d <\/p>\n<p>And so, there it is: a perilous if astounding journey, concluding not in redemption, but in too-late understanding.\n<\/p><\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener noreferrer\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/how-they-shot-the-bridge-scene-in-sorcerer\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=how-they-shot-the-bridge-scene-in-sorcerer\" target=\"_blank\" rel=\"noopener noreferrer\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#How They Shot the Sorcerer Bridge Scene&#8221; Welcome to How\u2019d They Do That?, a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry explains the making of the scene in William Friedkin\u2019s \u2018Sorcerer\u2019 where two enormous trucks cross a rotting suspension bridge. William Friedkin\u2018s nihilistic&#8230;<\/p>\n","protected":false},"author":1,"featured_media":122589,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2020\/11\/Sorcerer-bridge-scene.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[44129,82171,75301],"class_list":["post-122588","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-howd-they-do-that","tag-sorcerer","tag-william-friedkin"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/122588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=122588"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/122588\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/122589"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=122588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=122588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=122588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}