When four high-school kids discover an old video game console with a game they’ve never heard of–Jumanji–they are immediately drawn into the game’s jungle setting, literally becoming the avatars they chose: gamer Spencer becomes a brawny adventurer (Dwayne Johnson); football jock Fridge loses (in his words) “the top two feet of his body” and becomes an Einstein (Kevin Hart); popular girl Bethany becomes a middle-aged male professor (Jack Black); and wallflower Martha becomes a badass warrior (Karen Gillan). What they discover is that you don’t just play Jumanji–you must survive it. To beat the game and return to the real world, they’ll have to go on the most dangerous adventure of their lives, discover what Alan Parrish left 20 years ago, and change the way they think about themselves–or they’ll be stuck in the game forever…
Filmed in 2016 in Oahu Hawaii and Atlanta, GA . For the 2017 version of Jumanji, we were called in to build 8 bikes that would be ridden by the dreaded “Dragoons”. The Dragoons are the evil army and spend the film chasing our heroes. The scenes original called for minor riding shots, but as the project advanced, we saw the sequences become much more advanced and requiring more modifications. The bikes that we used were Suzuki DRZ 400’s for the single rider Dragoons, and DR650’s for our two sidecar bikes. The DRZ’s are great workhorses, but required extensive suspension upgrade for the size of our jumps and the amount of work we put them through. Cosmetically, they were designed by the Art Directors and fit the characters perfectly. The sidecars presented a fairly difficult problem for us because of the rough riding and jumping required. Because we lacked the time to custom make “moncoque” (one piece frame/sidecar), we modified a road sidecar. After a few test jumps, we were able to fine tune the construction and make it through 8 grueling weeks of filming in the Hawaiian jungle.
The film has been wildly successful, and is currently on track to become Sony Picture’s highest grossing film of all time.
Directed by Anthony and Joe Russo
Political pressure mounts to install a system of accountability when the actions of the Avengers lead to collateral damage. The new status quo deeply divides members of the team. Captain America (Chris Evans) believes superheroes should remain free to defend humanity without government interference. Iron Man (Robert Downey Jr.) sharply disagrees and supports oversight. As the debate escalates into an all-out feud, Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner) must pick a side.
Filmed in 205 in Berlin , Germany and Atlanta, GA. For the 3rd Captain America, we once again teamed up with Harley-Davidson. We used a few different models in this film ranging from vintage to the latest incarnation of the Street platform. In Atlanta, we used a customized Sportster as the main “Black Widow” ridden bike. For this sequence, we set the bike up in a “street tracker” style. The action sequence consisted of some great traffic weaving and eventually, seeing Black Widow plow into a few taxis in a very congested African market place. At the end of the sequence, we had the bike being laid down and used as a weapon to take out a row of bad guys. For this, we made slide cages that protected our stunt rider, and allowed us to perform multiple takes without damaging the bike (too much…)
The main stunt sequence was shot in Berlin. For this chase scene, we used the 750 Street model and prototyped the components that would be come the “Urban Street” model. These bikes were heavily modified for an assortment of action scenes. The scene centers around a high-speed chase involving Bucky and Captain America. We also introduced a new Marvel character called Black Panther. While filming in Berlin for 6 weeks, we performed many mods including crash cages, lightweight SFX bikes and even a left hand throttle set up for a fight scene.
The sequence directed by Spiro Razatas turned out fantastic. The film has gone on to become a very important part of the Marvel catalogue, and one of our favorites so far.
Directed by Joss Whedon
When Tony Stark and Bruce Banner try to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong and it’s up to Earth’s Mightiest Heroes to stop the villainous Ultron from enacting his terrible plans.
Filmed in 2014 in Seoul, South Korea and London, England. For the 2nd installment of the Avengers films, H-D used this Marvel Film as the vehicle to release the public’s first view of another new model. This new bike from H-D is what we consider one of the most important new motorcycles in the history of the Harley-Davidson Motor Company. This is the all electric Livewire. The security behind the development of this bike was unlike anything that we’ve seen in the motorcycle industry. Meeting took place in secure buildings in Milwaukee with only key players on board. We were brought in to use this machine for some very serious stunt sequences that would highlight Scarlett Johansson’s Black Widow character. Using this bike meant a whole new learning curve would be introduced. We worked with the developers of the Livewire to tweak the computer settings of the bike to give us exceptional power bands and torque. The bike was amazing to work with and ride. French stunt rider Sara Lezito doubled Scarlett, and absolutely blew everyone away with her ability to control a motorcycle. Sara is definitely one of the best riders that we have ever worked with. Filming in Seoul was exciting and we managed to keep the bike out of all paparazzi press with the help of a private security force that was with us at all times. For the second leg of the film, we traveled to London to shoot the films opening scene. For this sequence, we used a modified 750 Street. We set the bike up to MX specs to accommodate a 40’ jump. This was done by our old friend Lee Morrison who is one of the few guys that can man handle this kind of machine for extreme off road riding. The sequence was great, and once again we finished filming with spectacular results. This job was a career highlight for many reasons. Being able to assist in the release of the Livewire was definitely something for the history books. It’s an incredible machine, and will definitely change the way motorcyclists view Milwaukee.
Directed by Frank Lotito
In 1979, an Indian family moves to America with hopes of living the American Dream. While their 10-year-old boy Smith falls head-over-heels for the girl next door, his desire to become a “good old boy” propels him further away from his family’s ideals than ever before.
Filmed in 2014 in Kingston, NY. This is a small budget independent film that was brought to Glory Motorworks by our friend Jason lee. After reading the script, we definitely wanted to help out any way that we could. The production was on a shoestring budget to say the least, so we tried to figure out how to get an Indian Motorcycle on set in New York without shipping from LA. Some time on the phone reaching out to Indian owners clubs in New York brought us to Dennis Billa and his Chief. Dennis graciously brought his bike to set for us to teach Jason to ride it and use it for shooting. Jason is a good rider, so he had the Indian wired in a few minutes. As predicted, he bought his own Indian after filming. The sets were great, with suburban America in the 1970’s captured perfectly. Justin Kell added a few details to the story to give the bike a bit more presence, and by all accounts, the film is great. Hopefully people get to see this gem.
Directed by Terry Sanders
A coming-of-age California motorcycle road trip set in the 60’s, combining elements of “Romeo & Juliet” and “The Odyssey”.
Filmed in 2014 in California. We were contacted about this film while still in the UK on Avengers 2. After reading the script, it was definitely a project that Justin Kell wanted to be involved in. The story called for a period correct Triumph. Director terry Sanders love the photograph of Bob Dylan on a ’64 500, so we wanted to stay in that color palette. The budget constraints of the film made it impossible to finance a long term rental, so we located an original owner ’66 TR6 and purchased it to use in the film. We painted the bike to the red and silver and then went through the bike to make it a reliable runner for lots of road use. Justin was enlisted to direct the 2nd Unit as well as coordinate the stunts. The stunt sequences included precision driving, fights motorcycle riding and a small bike lay down. This film was a labor of love for all involved. It really shows that people who love films can come together and help a director make his vision come true. Terry Sanders is an Academy Award winning documentary director, but had written this script in the 1960’s. We were proud to help his vision make it to the screen after all of those years. With Glory Motorworks good fortune in the film industry, it was satisfying to be able to contribute our knowledge to this kind of project that is more about art than commerce.
Directed by Anthony Russo & Joe Russo
As Steve Rogers struggles to embrace his role in the modern world, he teams up with another super soldier, the Black Widow, to battle a new threat from history: an assassin known as the Winter Soldier.
Filmed in 2013 in Cleveland, OH. This was the first film the Glory Motorworks did for the Harley-Davidson Motor Company. H-D was building a great partnership with marvel Studios, and wanted to make the machines that they provide specialty built for film work. The new 750 Streets were development, but not yet ready for delivery. Harley-Davidson provided us with 8 new bikes for the build. We were tasked with bringing all of the prototype elements of the new machine into existence for work on the film. H-D supplied us with many of the design notes and styling details as well as the modeling data. We fabricated and produced all of the components for a total of 8 bikes. The scope of work included all bodywork, custom exhausts, experimental fuel pumps as well as making wheel sets. Both H-D and the Marvel Art Dept mandated all of the bike’s final finish details. This was the platform for Harley-Davidson to give the public it’s fist view of the water cooled 750’s, no the finishes and lines had to be spot on. The production models were released after the release of the film, and the public’s response to this bike has been great. The film set box office records world wide and galvanized the relationship between H-D and Marvel. Having the opportunity to assist Milwaukee in development was a great opportunity, and we have continued to do so for many film projects.
Directed by Paul Thomas Anderson
A Naval veteran arrives home from war unsettled and uncertain of his future – until he is tantalized by The Cause and its charismatic leader.
Filmed in 2011 in Los Angeles, CA. This was a great film be a part of. We were brought in to provide period correct picture and stunt bikes for two major scenes. Our first order of business was training our actor to ride different bikes. We had both leads on tank shift H-D’s as well as post war Brit bikes. The first bike that we needed was to be used in the dessert scene with Philip Seymour Hoffman (RIP) and Joaquin Phoenix. We needed a fairly old bike, one that would have been a beater in the post war time period. We settled on a 1936 Norton Model 50. This bike is the personal bike of Andy Holmes our restoration foreman at the shop. Because we needed to run the bike for hours in the desert sun, we set up a BSA M20 to visually match the Norton. Our prediction on the desert heat was correct. Temperatures reached 115 F on the shoot days. The camera cars and working trucks were all overheating, but the M20 ran strong. Our second bike was a ’47 Knuckle. The script called for this bike to do a big crash scene. Because of the value involved with the Knuckle, we built an Evo motored Knuckle replica. This bike was a spot on match to our hero bike. We added a few extras to make the stunts a bit easier (disc brakes,ect). At the end of the day, the scene was cut so the Evo stunt Knuckle was never used. The Master was classic Paul Thomas Anderson. He makes the kind of films that get under your skin. It was an extreme pleasure to get to know Mr. Hoffman. He was a true talent and asset to the film industry. He will be missed.
Directed by Jon M. Chu
The G.I. Joes are not only fighting their mortal enemy Cobra; they are forced to contend with threats from within the government that jeopardize their very existence.
Filmed in 2010 in New Orleans, LA. This was one of the most unusual builds that we have done. The bikes were needed for some fairly big stunt sequences as well as having very specific needs based on the physical size of the actor and stunt performer. Our main actor was 6’4 in height, so the build centered around creating a machine that would be scaled accurately. The original concept drawings showed an inline 3 wheel motorcycle. Because of the nature of our riding sequences, we needed to move to a more traditional platform. Our base bikes for this project were Ducati Hypermotards. Because we had such extreme size issues, we had to make almost everything. We had 20” wheels made as well as fabricating an extended single sided swing arm. Massive Triple trees were designed and cut. It was so big that anyone under 6’ tall needed some help to mount the bike. The bodywork was a mixture of cast fiberglass and laser cut break metals. We also had to make stable mounts for weapons. The action saw this bike drifting as well as jumping to a flat surface. We shot most of the motorcycle scenes at night in different locations around New Orleans. The bikes performed very well and stunt rider Joe Bucaro managed the giant machines very well. It was definitely a challenging build, but being able to enlarge the machine and keep it totally functional was a great result.
Directed by Ruben Fleischer
It’s 1949 Los Angeles, the city is run by gangsters and a malicious mobster, Mickey Cohen. Determined to end the corruption, John O’Mara assembles a team of cops, ready to take down the ruthless leader and restore peace to the city.
Filmed in 2012 in Los Angeles, CA. This was a really fun job to do. We were brought in by Picture Cars to supply and ride some 1940’s Indian police bikes. It’s always a lot of fun to get the Police uniforms on. The bikes were pretty period correct. We didn’t have to do much work to them aside from having the correct decals made. The period correct uniforms an guns were the perfect addition. Later on in the filming, our friend Robert Patrick called up to get a Boozefighter riding a bike through a shot. We rustled up a ’37 Sport Scout and had a fun day on set for the last day of principal photography. The film was great fun to watch and the Picture Cars done by Tim Woods were spot on.
Directed by Joseph Kosinski
A veteran assigned to extract Earth’s remaining resources begins to question what he knows about his mission and himself.
Filmed in 2012 in Baton Rouge, LA and Reykjavik, Iceland. This job consisted of building multiple (3) stunt and picture bikes. The design level of these machines was at the highest level we had worked at. Designer Darren Gilford and Prop Master Doug Harlocker are both known in the film industry for their stellar attention to detail and design standards. The bike was one of the first that we had worked with that was primarily conceived in 3-D modeling programs. We were tasked with providing the three operational machines as well as creating the transformation sequence prop bikes. We started with Honda CRF450X models. The electric start feature on this model allowed us to be able to run the bikes without having to keep the kick start arm accessible. All of the mechanical modifications were done to accommodate the bodywork as well as the stunts. Tom Cruise is a very good rider and very particular about how his bikes are set up. Knowing this, we were able to tailor the bike to his needs first, and then adapt our design changes around this. We fabricated most of this machine and worked with some of the highest quality materials. Everything from the LED lighting boards and carbon fiber wheels were designed to fit this machine. The finish qualities were of the highest level that we had produced for a film. The transformation sequence was quite tricky. We produce 7 different pieces that functioned to emulate the action that would be on screen. These pieces were also slightly scaled down for access in the Bubble Ship. This job pushed our levels of working with computer technology, and is now the basis on how we approach design. The film was beautiful, and the experience of filming in Iceland is something that we will never forget.
Directed by David Fincher
Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.
Filmed in 20010 in Stockholm, Sweden and Los Angeles, CA. Glory Motorworks built and designed the now world famous “Lisbeth” bike. Originally, director David Fincher wanted to use a modern machine for this bike. With a push from the Art Dept., Justin Kell was given the task of convincing Mr. Fincher that a vintage machine would both match the character aesthetic as well as be able to perform reliably on camera while shooting. The idea to use the CB 350 Honda was based on both the look and size of the main actress Rooney Mara. We knew that she was small, so scale wise, the bike was perfect. We also thought that this is the kind of bike that this character would be riding. The approach was to make this machine as much a part of Lisbeth Salander as the wardrobe. The three picture bikes were cosmetically built to be rough around the edges while packing a stellar performance punch. Many modifications were made with the mindset that this is how this character would set up her bike. Rooney was sent to Justin on the day she was cast to start riding training. She had never been on a bike. An additional 350 was purchased for a training bike, and Ms. Mara learned quickly. Her training continued through the course of the film. The motorcycle became a big part of the marketing campaign, and some of the first photos of Rooney in character were on the bike. During the marketing campaign, it became apparent the public reacted very favorably to the motorcycle. To this day, it’s still our most inquired about movie bikes. We owe a big debt of gratitude to Mr. Fincher for allowing us to follow our vision. The film is spectacular, and one of the most important jobs of our career.
Directed by Stephen Sommers
An elite military unit comprised of special operatives known as G.I. Joe, operating out of The Pit, takes on an evil organization led by a notorious arms dealer.
Filmed in 2009 in Prague. Glory Motorworks was came in to help with rider training, vehicle placement and stunt upgrades. The training focused on preparing the lead actor to ride on camera. The motorcycle that our actor was riding was the newest (at the time) incarnation of Indian Motorcycles. This was a fairly large motorcycle, so it was important to have our actor appear comfortable on this machine. For our Prague stunt sequences, we used MV Agusta Brutales that came straight from the Italian factory. The bikes were pretty well equipped stock, but SFX plates were fabricated at our Los Angeles workshop to provide “steps” discretely mounted on the bike. This allowed or stunt performers access point to stand and jump while filming fight scenes.
Directed by JJ ABRAHMS
The brash James T. Kirk tries to live up to his father’s legacy with Mr. Spock keeping him in check as a vengeful, time-traveling Romulan creates black holes to destroy the Federation one planet at a time.
Filmed in 2008 in Los Angeles, CA. Glory Motorworks was enlisted to bring production designer Curt Beech’s vision into reality. The action did not call for a lot of stunt work, so the base of the build was cosmetic. There were two motorcycles that had to be built. The first was the bike that Captain Kirk would ride, and the second being Police “hover” bikes. The Kirk bike was single, and the Police bikes were a quantity of five. This was the first time that we did large amounts of molded bodywork. This was just before 3-D modeling was easily accessible, so it was old school clay and sculpting. The Kirk bike was built around a Buell. This bike was chosen because of the short wheel base as well as the wheel/brake set-ups. We used BMW FGS650’s as the base for the Police bikes. Many parts were fabricated for both of these machines. We did everything from the fiberglass work, to sand castings. This was the 1st film in the series re-boot for the iconic Star Trek franchise, so being part of this film was very cool.
Directed by Larry Bishop
Starring: Dennis Hopper, Michael Madsen and Vinnie Jones
Two rival bikers gangs, the Victors and the Six-Six-Six’s, refuel their decades-old rivalry.
Filmed in 2007 in Los Angeles, CA. Justin Kell was brought in as the Motorcycle Coordinator. Justin designed and built all of the 12 Picture bikes with the Glory Motorworks crew as well as consulting on wardrobe, dialogue, photography and riding training. The main character bikes were built in multiples of two each. We used late 40’s Indian Chiefs for the “Trigger” bikes ridden by Eric Balfour. Early 70’s Shovel Heads were used for Larry Bishop’s bikes with new S&S motors, which were generously supplied by S&S. We used kit choppers with new S&S motors for Michael Madsen’s “The Gent”. Michael loved this bike and kept his after the shoot. It can still be seen riding around Malibu. We used a 1938 Indian Chief for Dennis Hopper. This was also fitted with a Steib sidecar. Everything about this film was spectacular. As a coordinator, JK was given full reign to make the bikes right and fit the characters. We even saw Justin Kell and Eric Orr ride as double in the “flashback” scene. Being able to work such an iconic cast is truly one of the best memories about making this film. We celebrated Dennis Hoppers 70th birthday while on set. With limited theater showings and advertising, the film has gone on to become a cult classic, and is still on of our favorite films that we have worked on.
Tells the story of Benjamin Button, a man who starts aging backwards with bizarre consequences.
Filmed in 2007 in New Orleans, LA. Glory Motorworks provided The 1929 Indian and the 1956 Triumph that were ridden by Brad Pitt. Justin Kell and Paul Greenstein worked the set as Motorcycle Techs, with Justin Kell riding camera tests on both bikes. This was our first major feature film, and was a truly great experience. We had to prepare both bikes for the rigors of daily shooting as well as having to train the main actor to ride both machines. Brad Pitt is a good rider, and adapted to the Indian remarkably quick. The New Orleans weather did not cooperate while filming, and most motorcycle shots were done in between rainstorms. The city of New Orleans was still reeling from Hurricane Katrina, so it was a challenging environment to shoot in. Watching a director like David Fincher work was really eye opening on how to shoot art for the sake of commerce. The film was visually beautiful, and the cast was stellar. Working on this film was not only educational, but a good learning curve on preparing vintage machines for multiple take shooting.
Directed by Stephen Spielberg
Famed archaeologist/adventurer Dr. Henry “Indiana” Jones is called back into action when he becomes entangled in a Soviet plot to uncover the secret behind mysterious artifacts known as the Crystal Skulls.
Filmed in 2007 in Los Angeles, CA and New Haven, CT. The Glory Motorworks team was brought in to design and build 5 matching “hero” and “stunt” bikes. The stunt work was quite intensive with all motorcycle sequence being shot at full speed. The base bikes were 2007 Harley-Davidson Springer Soft Tails that were supplied by H-D. The bikes were modified quite extensively with the needed fabrication of exhausts, suspensions and fuel delivery systems, as well as cosmetic alterations. Leading UK stunt performer Lee Morrison expertly rode all of the stunt bikes on camera with spectacular results. The majority of the 2nd Unit stunt sequences involving the motorcycles were shot on the Yale University campus with the exception of the diner fight scene which was shot at Paramount Studios in Los Angeles, CA. The diner scene called in 15 high-end vintage machines that were also supplied by Glory Motorworks. The vintage machines used were a mixture of post war American and British bikes. Being able to be part of this historic motion picture franchise was an honor.