RUSH – A Film by Ron Howard

Planning Application

Proposal Document

Blackbushe Airfield, Camberley GU17 9LQ

Rush Films Ltd Proposal to film at Blackbushe Airfield

Planning Application: key points to consider

Application Form: To be submitted by PLANIT CONSULTING.

Brief Outline Synopsis of the Film

Every generation has its sporting titans. Legendary Formula 1 racers Niki Lauda and James Hunt were more than rivals, they were totemic figures that defined an era. Their struggle for the 1976 World Championship is one of the great stories in Twentieth-century sport. Colourful personalities, controversial and charismatic, they approached their private lives and their profession in totally different ways, but both were willing to risk their lives in pursuit of victory. A study in ambition, competition, courage, suffering and triumph, RUSH is the story of that remarkable 1976 season, and of that unforgettable rivalry - the like of which has never been seen since.

Location Description: Blackbushe Airfield

Paddocks, Pit-lanes, Starting Grids and Spectator Stands from all over the world are scripted in this film. Rush Films Ltd proposes to build a temporary composite set (that in various reconfigurations incorporates all these elements) on the disused runway in the northern part of Blackbushe Airfield and this document seeks to provide the relevant information for the planning application for permission to erect a series of temporary structures.

Details oftemporary buildings / structures

See following designer’s impression of how the set will look. These design department visuals are provisional ideas and architectural plans will be submitted in due course.

A 300m section of race-track will be re-created on the runway, in the position as outlined in the attached aerial plan (see Appendix 1). Armco barrier will flank the edges of the runway for a length of 300m. In the middle of this stretch of racetrack a 72m run of pit garages will be constructed between pit lanes on either side, thereby creating two sections of track either side of a central line of pit lanes and pit garages. Localised spot repairs to the surface of the tarmac will be required to create a uniform surface.

Design department concept visuals – the pit garages will have different facades attached to replicate the starting-grid and pit lanes of circuits from around the world.

The approximate dimensions for the run of garages are: 72m long x 6m wide x 2.9m high. Either side of these garages, we will create a 7.5m wide pit lane, the edge of which will be marked by double width Armco barrier which is approximately 60cm-80cm high.

See separate CAD plans to be submitted alongside the Application Form.

The construction of the pit lane garages will be entirely temporary. Essentially being just a timber framework, the structure would need to be attached to the existing surface with the use of Hilti-bolts.

To one side of the pit straight a run of grandstands will be erected, the approximate size of this is 78m long x 10m wide x 4.5m high. The grandstand is assembled in modular sections and will be installed by a professional grandstand hire company. See below grandstand photo-reference and plan specifications as provided by the 3rd party supplier.

Scaled drawings, method statements and risk assessments will be supplied for all elements as required.

Details of additional site facilities

In addition a to the temporary structures as outlined above, for shoot days that feature large numbers of extras we intend to erect temporary free-standing marquee(s) to use as changing rooms and dining facilities.

The ‘Unit Base’ (collective term for facility vehicles) will comprise of approx 15 Winnebago-type trailers, various other large trucks with equipment, race-car transporters and a number of private vehicles. Appropriate areas will be allocated to each facility and marshals will be deployed to greet each vehicle to ensure all drivers follow a safe code of practice when moving around on-site.

Access

To limit congestion all crew-members and deliveries will be directed onto the site via the A30 entrance. We will designate areas within the site for the various types of vehicle and put in place a system for entering and exiting the site.

Helicopter

On one isolated day - date as yet to be confirmed – we intend to film air to ground via the use of a helicopter. Liaison for this will go through the relative contacts at the airfield to ensure we have the correct permission for our flight path.

Dates, Times, Activity and Personnel

Dates / Approx. timings / Activity on site / Number of personnel
Mon 9th Jan – Fri 2nd March / 0800 – 1800 / Set build / Approx 20-30
Mon 5th March – Thurs 22nd March / 0600 – 2000 / Shoot / Approx 150 – depending on numbers of extras
Fri 23rd March – Weds 2nd May / 0800 – 1800 / Standing set / minor adjustments / Approx. 10-20
Thurs 3rd – Fri 4th May / 0600 – 2000 / Shoot / Approx. 150 – depending on numbers of extras
Mon 7th – Tues 15th May / 0800 – 1800 / Standing set / minor adjustments / Approx. 10-20
Weds 16th – Fri 18th May / 0600 – 2000 / Shoot / Approx. 150 – depending on numbers of extras
Mon 21st – Sunday 27th May / 0800 – 1800 / Strike / Approx. 10-20

In general terms it should be assumed that there will be minimal activity on-site at the weekends.

Potential impact on local community and implicated liaison

For the significant majority of the shooting schedule, the cars that will be featured at Blackbushe will be our manufactured replicas of the real historic F1 cars from the 1970’s. These will have been specifically engineered to reduce engine noise, outputting no more than 90dB(A) in a static test (a similar noise level to a standard road car). A large part of what the production is proposing to film at Blackbushe are simple dialogue sequences and, what’s more, it is important to stress here that our use of the airfield for the purpose of filming choreographed ‘race’ material is a very different proposition to that of a real racing event.

However on a few specified shoot dates (one in our first visit and two to four in our final visit), we are required to run our real historic (HF1) cars. The precise dates for this are still to be confirmed, at the moment we are reviewing the prospect of 1 day in March and 2-4 days in May. In advance of any filming with real HF1 cars, the production would propose to distribute information to the local community (most usually in the form of a letter) and in this particular case perhaps suggest a community liaison meeting where the implications of the marginally increased noise levels can be explained in greater detail. By way of an interim clarification here, on a given day when the HF1 cars are being featured, they would only run for intermittent bursts during the day. These bursts would not amount to more than 2-3 hours across the duration of the shooting day.

In addition to our bringing economic investment to the local area (through all the ancillary services we require: hotels, taxis, restaurants, 3rd party service providers, local crew, extras, etc), it would also be our intention to provide opportunities to people living in the nearby community to experience first-hand the filmmaking process. There is a background of very successful examples where a local community has benefitted from a high-profile production locating in their area. The first offer that could be made to the nearby community would be to appear in the film as a background artist.

Production Support: Background Politics

Film is fast becoming one of the major contributors to the UK economy and 2010 was the most successful year to date for feature film inward investment with a combined UK spend of £930 million. 2011 is likely to equal, if not exceed, last year’s total. The British Film Industry, perhaps second only to Hollywood, is one of the most well-respected in the world and, as a result, Central and Local Government have invested significant time and money in establishing the United Kingdom as a viable film location for the world stage. Playing host to many of the highest-profile feature films in recent years, productions made in the UK are often now referenced in the on-going discussion of what is now achievable in a country that may have been previously blocked by bureaucracy. Now, with all the previous success stories in mind, Ron Howard’s “RUSH” is another very important project for the British Film Industry and, therefore, has all the necessary backing from Film London and The British Film Commission, the Government’s strategic agencies for the media sectors in London and the UK.

The following statistics further reinforce why support for the British film industry is endorsed by Central and Local Government:

·Tourism: films depicting the UK are responsible for generating around a tenth of revenues from overseas visitors, totaling around £1.9 billion year

·Multiplier effect: for every job supported in the core UK film industry a further job is supported through indirect and induced multiplier effects. In addition, the showing of UK films helps UK TV broadcasters generate about £245 million of revenues. Total multiplier activity contributes a further £1.6 billion a year to UK GDP and £425 million to UK tax revenues

·Inward investment is estimated to account for around £3.6 billion of film’s contribution to GDP and £960 million in Exchequer revenues

·The UK film industry contributes a total of over £4.5 billion a year to UK GDP and more than £1.2 billion to the Exchequer

·The film industry is amongst the UK’s more carbon-friendly sectors. Emissions are below average in relation to GDP and the sector is taking proactive steps to measure, manage and reduce its carbon footprint.

Long-term impact

Except allowance for a minimal amount of wear and tear, the site will be left in an improved state than it is currently in. The production proposes to clear the runway of weeds, leaves and detritus. There will be no long-term impact.

Summary and Assurances

As the production Location Manager, it is my responsibility to source, facilitate and manage all aspects of the Location filming. My Department and the Production as a whole are very experienced and have filmed in a number of challenging environments, including some the country’s most prized historic homes and palaces. We work in very sensitive Locations on all our projects and take every step to protect property, people and places. You should be confident that we are a very conscientious Crew that will bear in mind the sensitive needs and requirements of all those potentially affected by our proposed filming. With careful consideration for scheduling, it is hoped you agree that there is sufficient scope for removing the potential for disruption and that you also agree that we could achieve the required elements in a comparatively short amount of time.

As a board member at The Guild Of Location Managers it is imperative for me to ensure that all filming coordinated by my team and the Productions on which I work abide by a strict code of practice. I have an impressive list of credits attached to my name and have helped productions collaborate with businesses and organisations in all industry sectors – from central government and local authorities, to international commerce and global sports companies and entertainment bodies.

Appendix 1 – aerial site-plan

Scale = 1 : 2500

Jonah Coombes / Location Manager (UK) – M: +44(0)7956 496 351 / E:

RUSH Films Ltd, 4th Floor Vista Business Centre, 50 Salisbury Road, Hounslow TW4 6JQ