I think this film's going to surprise a lot of people." It's very gritty and edgy, really, to be honest. has a very specific, unique vision of what he wants for this film. That's what so cool about this movie: it's kind of a blank canvas. So it kind of makes you feel like you're playing the game in a way." When asked if Paul had played any of the NFS games himself, he replied, "I did! Need for Speed was the first app I downloaded for my iPhone when I got my iPhone. "There's a lot of scenes where the audience actually feels like they're driving the car, and that's what you see when you're playing the game. Here's a wide view of the outdoor set in Detroit."We use helmet cam quite a bit," Aaron Paul said of the technology. Of course, we could also see the action from afar, but in the several takes we got to sit in on, it was the helmet cam footage that kept drawing our attention. While on set, we actually got to see some helmet cam footage during shooting, as Paul swiftly turned corners on the streets of Detroit. Indeed, one of the more unique aspects of Need for Speed was the use of a "helmet cam" perspective, which gives the audience a behind-the-wheel POV from inside the car. As far as the action is concerned, though, Need for Speed serves up stunt work that is at once classic, daring, and innovative. Please be okay.' Seeing that happen, I was like, 'Thank god that isn't me.'" We'll steer clear of plot particulars for now, to avoid spoilers. "There were, I think, 27 cameras rolling for that stunt," Paul said of the Grasshopper. Paul wasn't in the car that is swept up by a helicopter after driving off a cliff, nor did he personally perform the "Grasshopper" stunt in which the car careens across a freeway at unfathomable speeds, flies up a ramp and goes soaring over three or four lanes of traffic. “Of course trained professionals stepped in for the legitimately death inviting stunts. Much like the film, it was a cross-country affair. Once the creative team was in place, along with the cast, shooting began throughout Georgia and Alabama, followed by Detroit, Utah, Mendocino and San Francisco. Smith and Last Action Hero, directed 2012's modern war film Act of Valor. So by the end, we had a script, we had a game with a great title and a great following, and then we were able to go out and meet with DreamWorks." Shortly thereafter, DreamWorks picked up director Scott Waugh, who in addition to coordinating stunts for films like Mr. We want to create this ensemble of young guys, and this is what we think we should put them through,' and had input all way. "It wasn't like we turned in a script and they went, 'Oh my God, what did you do?' It was like, along the way, we had really detailed treatments and said, 'This is what we want to do.
"That was great because there was no shocker for them," Gatins continued. From there, the Gatins Brothers partnered with EA and began developing the script alongside the game company.