Production Notes Chapter 2 Stunt driver Samuel Hubinette behind the wheel of a Mazda RX7 Drift Modifie, Controlling the Uncontrollable: Filmmakers and Cast Drift into Production In contemplating a return to this world of fast cars and faster attitude, filmmakers behind The Fast and the Furious: Tokyo Drift knew they must retain what was unique about the franchise:  misunderstood people on the outskirts of society who are drawn into a world of fantastic cars… a metaphor for losing control in an insane world.  For successful filmmaker Neal H. Moritz, producing a third movie in the immensely popular series warranted a fresh take on the car culture of street racers that has continued to intrigue audiences around the world. Moritz offers, “We didn't want to do a third in the series unless we had somewhere else to go with the storyline.  One day, the idea of Tokyo came up, and the team was discussing that it was the birthplace of this new side of racing called `drifting.'  I thought, `this is something we have to do.'  The results speak for themselves, and I couldn't be happier with the film.” He continues, “When we saw underground footage of it, it sparked my interest.  It puts you in this trance.  You throw caution to the wind.  It's controlled chaos where you're sliding into turns…you go around corners…taking fenders so close to any object as you glide around it gracefully.” Vital to Moritz was maintaining the combination of fast-paced action and super-charged riders that established the franchise.  The next chapter of the story, set amidst the city's sexy counterculture where the old rules no longer apply, would need to be told under the direction of a young filmmaker who could deliver pulse-pounding action with a new cast of characters.  That man was Justin Lin. “If we were going to do a third Fast and Furious, it needed to feel fresh,” says Moritz.  “After I'd seen Better Luck Tomorrow, I knew Justin was a director I wanted to do business with.  He was the first we approached, and…he loved the idea of filming it. This movie needed enthusiasm, and he was the director to do it. Absolutely tireless.” Recalls Lin, who wasn't intimately familiar with drifting when approached to helm the project, “I was in film school when The Fast and the Furious came out, and I saw it along with a sold-out crowd who just ate it up.  What really excited me about directing this film was the chance to harness that energy-create a whole new chapter and up the ante by bringing something new to the table for the audience who loves action and speed.” The director knew that if he was going to tackle the project, he had to stay true to the sport of drifting, and the spirit behind it. Lin remarks, “Drifting came about from a working-class group of kids living in the mountains of Japan on really windy roads. They were attempting to find the fastest way to get down these trails. Visually, that's stunning to observe.” It was fortunate for Lin and Moritz that they found a screenwriter who was obsessed with the series. Chris Morgan-an avid car enthusiast whose unabashed delight at the prospect of owning, let alone driving, a “wicked short block Toyota Supra that puts out 900 horsepower at the rear wheels”-knew that drifting was a natural fit for the next story in The Fast and the Furious franchise. Morgan laid out the story for the filmmakers, and a new chapter chronicling the next generation of renegades and the newest models of tricked-out rides was set in motion.  “Drifting isn't about pushing buttons and stomping pedals and holding on. It's about knowing your car better than the guy who made it. These guys are magicians who take their rides to the very brink of physics, then hold them there, surfing it out on the razor-edge of control. It's loud and dirty and beautiful.  Dangerous as hell, and I fell in love with it the instant I saw it.” Key to Lin's approach to the project was to capture an authenticity when it came to the complexities of modern teen life and to create a believable world of young outsiders who live on the edge. The Fast and the Furious franchise has catapulted the careers of its leading men (including Paul Walker, Tyrese Gibson and Vin Diesel). Actor Lucas Black, who starred in the high-school football thriller Friday Night Lights and co-starred in the military drama Jarhead, is set on that same trajectory with his tremendous onscreen charisma and natural acting style. Moritz relates, “The hallmark of Fast and Furious is to introduce fresh, great actors into the series. And the idea of an outsider anywhere makes for a good story. We brought Sean and the concept to Tokyo to have him as a fish out of water that falls into this underground world. I had seen Lucas in Slingblade, Friday Night Lights and Jarhead and thought he was an incredible actor who fit this movie we wanted to make.” The 23-year-old actor, who was coming off back-to-back dramas, wryly admits that his initial excitement, upon hearing the filmmakers were interested in him for the lead role, was all about working around fast cars. The character of renegade Sean Boswell would have to take a back seat. “The decision was pretty easy.  It's The Fast and the Furious series; it's all about the action and the cars,” remarks Black. After reading the script, however, he found the character of Sean Boswell, a true renegade with a predilection for street racing, provided as much enticement as the cars could-another welcome challenge for the actor. Lin knew he'd need a lead with the kind of enthusiasm (and skills) Black could show. “Lucas really knows how to drift now. I think he and Brian [Tee] had a field day out there. They were able to go out onto the Speedway and not worry about having to swap out tires every 20 minutes. I think that really shows in their performance.” Recording artist-turned-actor Bow Wow was looking to take a break from his recent work co-starring in a string of family comedies (Johnson Family Vacation and Roll Bounce) and mix it up on the set of The Fast and the Furious: Tokyo Drift.  He found that in the hustler character of Twinkie. “I loved the character,” Bow says.  “Twinkie is so smart and has fun-whether he's hustling in Harajuku, kickin' it with the girls in the club, or chillin' with his friends.  Underneath it all…it's business, and he knows what he's doing.” From 21-year-old Australian beauty Nathalie Kelley, who makes her feature film debut in Tokyo Drift, to Brian Tee cast as Sean's archrival D.K.-Tokyo's reigning king of drifting-Lin and Moritz felt it vital to tap into fresh new talent for each key role of the film. “We needed a fresh-faced actress who could hold her own against all these tough guys,” remarks Lin.  “I found that in Nathalie…when she's on screen, you can't take your eyes off her.” Recalls Moritz, “We wanted truth with D.K.'s character.  He starts very adversarial with Sean. We found actor Brian Tee, who happens to be the sweetest guy, but looks so tough on screen. As soon as we saw him come in with that face and those muscles…he was our D.K.” The filmmakers further assembled an eclectic ensemble cast including Sung Kang and Jason Tobin, who previously collaborated with the director on his critically acclaimed directorial debut Better Luck Tomorrow.  Also joining the cast are Leonardo Nam, Japanese actress Keiko Kitagawa, Zachery Ty Bryan and Nikki Griffin-providing an international flavor to the production. For Kang, transitioning from a low budget independent with Lin to a big budget summer release was a bit surreal. “Beautiful cars, beautiful women, beautiful locations,” he explains with a grin…“I thank Justin every day.  We went from an independent feature to a big studio project. It's a world of difference, and it's nice that you can share it with friends.” Anchoring the youthful cast with a healthy dose of gravitas is Sonny Chiba-the '70s martial arts powerhouse and star of the cult classic The Street Fighter-as D.K.'s menacing uncle/Yakuza boss Kamata.  Recounts Lin, “One of the highlights for me is getting to work with the legendary Sonny Chiba.  When we began prepping this film, it was very important for us to cast the role of Kamata with someone who has that iconic value, but also the presence and strength as an actor.” With only two cast members fluent in Japanese (Kitagawa and Chiba), and fewer aware of the burgeoning phenomenon of drifting, Lin knew he had to be meticulous in his research and education. He subsequently developed the curriculum for his young cast of actors to prepare for their roles. Lin made sure his team was immersed in all aspects of the underground culture. He recruited the film's U.S. technical consultant, Toshi Hayama, to inform the production, and even based the character of drift purist Virgil on numerous conversations with Hayama-promising not to dilute the art form Hayama loved. Lin also gave his students Japanese language lessons replete with Tokyo slang and intense drift training sessions. Depending upon the cast member, it was either learning the nuances of the Japanese language, or sitting behind the wheel of a $50,000 tuner car and hitting the gas pedal, that made for his or her favorite rite of passage in preparation for shooting. Training day in the controlled environs of a local Southern California speedway was comprised of ride-a-longs with the film's drift drivers Rhys Millen, the current U.S. Formula Drift Champion, and the film's fellow drift racing stunt driver Tanner Foust. To the delight of the actors, there was even a chance to burn their own rubber in the driver's seat. Recalls Black, “When they took us to the racetrack for the first time and showed us how to drift…man, it was awesome. I was addicted. I was more comfortable in the driver's seat than I was in the passenger's seat. Even if it was Rhys driving, there were still some trust issues as you're spinning out with the G-forces slamming you.” Adds Tee, “I'm an adrenaline junkie, so when they gave me the keys to the Z (the '02 Nissan Fairlady 350Z) and said, `Burn as much rubber as you want,' I was all over it.  They had to kick me off the track.” It paid off, particularly for Black, who admits that he moved naturally and with surprising ease, whether punching the accelerator at the precise moment or easing into slide when filming his driving sequences. Prior to filming Tokyo Drift, Kelley-who like Bow Wow-only knew how to drive an automatic (and recently earned her driver's license), gamely took on the simultaneous task of learning how to use a stick shift, timing her braking and understanding the art of drifting. Ironically, as much as the guys eagerly embraced their instruction on the art of the drift, it was Kelley-as the lone female on the track-who executed the difficult driving style and drifted as effortlessly as her character, Neela.  A proficient drifter who utilizes the organic, Zen approach to the sport, Kelley chalks it up to the fact that she listened. The actor notes, “I paid attention, because I understood going in that I knew nothing about the sport. Whereas, some of the boys got a bit cocky and decided to take things into their own hands…”  Next Page: Hello, Ladies: Drifting Hot Wheels in Tokyo Drift