Steve McQueen: The Lost Movie (2021) - full transcript

(racing car revving)

♫ Upbeat Music playing ♫

(racing car revving)

♫ Trumpet Music playing ♫

NARRATOR: This is the untold story

of the greatest movie, never made.

A movie that would have been the world's

first authentic motion
picture about Formula 1,

and starring the coolest man

to ever get behind the
wheel, Steve McQueen.

As far as reality is concerned
my education was very good.



We spent half our time
keeping him out of jail.

It was Steve McQueen driving this movie

and he was a racer.

NARRATOR: Of course, we
can't show you that film,

but by piecing together
never before seen rushes,

along with original on-set photos,

letters, scripts and interviews,

we aim to give you a sense
of what might have been,

for the audience and McQueen.

He embraced me; said
"You can have anything."

He is impossible to
take your eyes off of.

Completely magnetic.

A terrible window of death.

I think it's a very pure
thing; I'd like to learn more.



(racing car revving)

NARRATOR: This wasn't
just a race on the track.

It was a race between two
massive Hollywood studios,

determined to do whatever it took to win.

You have to have the skill

to create something people think is real.

CHRISTINA: He was determined
to make the definitive film

about Formula 1.

It would have been bigger
than "Jaws".

NARRATOR: This is the story
of "Day of the Champion".

(racing car revving)

♫ People see me but
they just don't know ♫

♫ What's in my heart,
and why I love you so ♫

♫ I love you baby like
a miner loves gold ♫

♫ So come on baby, let
the good times roll ♫

♫ Instrumental Music playing ♫

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NARRATOR: The 1960s gave
birth to a new America.

The country hoped for a new
direction with the election

of John F. Kennedy, only to
see him shot down in Dallas.

It sought harmony through
the civil rights movement,

while protests over Vietnam

and the Cuban Missile crisis
dominated the headlines.

America's cultural impact
on the world during

that decade is undeniable.

Bob Dylan, Aretha
Franklin, Andy Warhol Elvis

and a movie industry in transition.

Old men who could not
relate to the explosion

of youth culture were swiftly moved aside.

Films became brasher
and more socially aware.

The inmates were allowed
to take over the asylum,

so long as their movies made sense

and more importantly, dollars.

Hollywood in the early 60s

is essentially the wheels
are starting to come

off basically since the
end of the Second World War

the breaking apart of the studio system

is happening slowly across that period.

And by the early '60s, 1963ish,

you have the lowest domestic
output of movies ever

in American history.

TV was the enemy to
Hollywood for a long time

but as they started to
syndicate their movies

into TV and realized
how profitable it was,

that barrier started to come down a bit.

And so you had actors like Clint Eastwood

who started out in "Rawhide"

and with Steve McQueen with
"Wanted: Dead Or Alive",

it was a very popular show.

NARRATOR: From '58
to '61 McQueen starred

in a western TV show called
"Wanted: Dead or Alive".

His detached and mysterious
acting style made this stand out

from the average western serial.

It not only made him a household name

but helped to create his antihero persona,

which characterized so
many of his future roles.

His big break in the movies came thanks

to another man with piercing blue eyes

when Frank Sinatra
sacked Sammy Davis Junior

from "Never So Few" after an argument.

Sinatra and director
John Sturges gave McQueen

the role of Bill Ringa,

with Sinatra insisting that
McQueen got plenty of close ups

and screen time after seeing
something special in the,

then 29-year-old.

ACTOR: Josh!

I think everyone agrees, John Sturges,

one of his great strengths

was he could cast what he
called the gut of the picture.

Don't worry about who's starring in it,

that'll take care of
itself but cast that gut.

Intuitively, a very good actor

and exuberant about his work, he enjoyed,

a warrior, like most good actors are.

It was kind of a Pack
picture, kind of Sinatra's Pack,

but with this one, young outsider.

Frank kind of saw to it

that Steve was at the right
place at the right time.

I'm talking about on the
playing field, turning a scene,

and off the playing field.

Frank was careful that he got
the help when he needed it,

he got the angle when he needed it

and he got the brothering,

if you will, actor's
coaching when he needed it.

Certainly not an intellectual,
he didn't read much.

He didn't know very much

about what was happening in the world,

but he enjoyed life and we
became very good friends.

NARRATOR: McQueen would
be the first to admit he

was no intellectual.

His difficult and abusive
childhood giving no clues as

to the global stardom that would follow.

Born into poverty and raised

with a great deal of insecurity,

he was abandoned by his stunt
pilot father at six months,

then sent by his alcoholic
mother to live on his great,

uncle's farm aged just three,

he drifted through childhood
committing petty crimes

and later admitting;'I was
looking for a little love,

but there wasn't much of it around.'

I think the stepdad relationship

wasn't a good one, he
used to beat on Steve.

His mother didn't really
do anything about it

and he never forgave her for that.

NARRATOR: After several
arrests for shoplifting

and stealing hub caps,

in his mid-teens McQueen
ended up in a reform school

for 'delinquent' children
just outside of Los Angeles.

Steve ended up in Boy's Republic,

Chino and Steve hated it at first

and resented his mother for it greatly

but in later life he used to go back there

and meet the kids there
and he would take items

from his movie sets there

and I think although he
maybe didn't appreciate it

at the time, he came to
appreciate it in later life

just what it did for him.

His name was Mr Panter and
he was the superintendent,

I guess, of the place.

And Steve was getting into
all sorts of trouble at

that time and the guy
eventually took him aside

after he tried to run away,

and of course they
caught him, and he said,

You better adjust to some regimentation

or you'll just be a
very unhappy young man,

in this place anyway."

So with that, I guess he was able to learn

that maybe a little adapting
to society would be okay.

(laughs)

You have a choice in life

and he made a choice that
this is not the life I want

to go down, I don't want
to end up in prison,

I don't want to be just another statistic,

I want to use this as a springboard.

Let me use my anger, let me
use my pain and my poverty

and make it into something amazing,

which the fact that we're
talking about him now,

so many years later, is
actually what he did.

NARRATOR: In 1947,

and already branded as
one of life's "Outsiders",

the 17-year-old McQueen
enlisted in the US Marines.

He served as a tank driver,

an experience that fueled his obsession

for anything with an engine.

Although there were occasional rebellions,

he eventually embraced the rigor

and discipline of military life

and was honorably discharged in 1950.

He was on duty with the
Navy in the Aleutian Islands,

just above the Arctic Circle.

He was cold and he was
out somewhere in his jeep

and he was heating a can of
beans in the exhaust pipe

of the jeep, a McQueen manoeuvre.

And a General on inspection showed up

and Steve's standing there to attention

and the General is saying,
"What's going on soldier."

So the beans exploded and
wiped out the General!

So who but Steve McQueen
could be court martialled

for firing beans on a General, you know.

These things just happened to him."

NARRATOR: He was clearly aware

of his educational disadvantage,
but his extreme focus

and life experience allowed him

to tackle any fresh
conflict he encountered.

Well, my scholastic
standards weren't very good.

I went as far as the eighth grade but

as far as reality is concerned,
by education was very good.

And perhaps a man that
kicks around quite a bit

is a little stronger in quarters
he needs to be stronger in

as far as dignity is concerned,

and a little lenient

in quarters about
sensitivity and so forth.

I think if you've been kicked around,

you don't want to be kicked again.

With the G.I. Bill of Rights behind him,

McQueen had money to learn a trade

and settled on trying
to make it a profession

in which he would meet the most girls.

I hitchhiked to New
York and I studied there

and got a scholarship
to a dramatic school.

Then I did a couple very
small parts on television,

and then my first Broadway show,
which is a legitimate play,

and I did two of those.

Then I came West, I
hitchhiked to California,

I was broke again.

Then when I got to California,

I guess they were hunting for a cowboy

because they wanted me
for a series and I did it

and it lasted for 3 years
in the United States

and fortunately for me
it was very popular.

♫ Hopeful Music playing ♫

I think McQueen starts
to get good notices with

"The Magnificent Seven" and
he does everything he can,

he pulls out all the stops to
get the audience's attention

in this ensemble piece,

where Yul Brynner is really the big star.

And stories abound about
their relationship on set

and how much he was
kind of fiddling around

in the background, and
messing with his hat.

Always doing something to
draw the audience's eye

to himself.

John Sturges was a good bit
older than Steve McQueen.

He'd come up in Hollywood

in the 1930s as a jobbing Director.

Really found his niche in
the '50s with westerns,

with action-oriented westerns.

So, in 1955 he makes "Bad
Day At Black Rock" which

is sort of a contemporary
western starring "Spencer Tracy".

McQueen really was lucky

in that Sturges was equally interested

in cars as he was, he
was kind of a man's man.

And he had McQueen's respect

because even at that point in his career,

McQueen was known for being stubborn

and sort of temperamental.

I think what John Sturges
and Steve McQueen had in common

was just an attitude of;
"Let's get on with it!"

There was a sort of workman-like
charm about both of them.

And that's not to say that
they didn't create amazing,

artistic and poetic
moments on film together.

And I think they both really appreciated

that trait in one another.

Well, Sturges also
grew up without a father

so maybe there was a link
there between them in that way.

NARRATOR: So the
street-kid had made it.

By the age of 30, he was earning big money

and was now a family
man with a wife, Neile,

and two children, Chad and Terry.

A lot of actors nowadays,
you know, are making it,

they are successful see?

And they're very angry.

Now what have they got to be angry about?

If they were really broke
and they had a hassle,

But if they are successful,
they should be very happy.

I'm happy, I've got a
beautiful wife, two kids,

two houses, a couple of cars
and my own film company.

I'm not buggin' nothing!

(laughs)

Steve, why are you here?

To make a picture?

We are doing "The War
Lover", John Hersey's novel.

It's the story of daylight
bombing in World War Two

and the American flyers
who fought here in London.

There's only two things
that mean anything to me,

flying and women.

In that order?

In any order, or both together.

(engine plane revving)

NARRATOR: With his newfound fame

and wealth came the opportunity
to indulge his passion

for motorcycles and cars.

So, as well as starring
opposite Robert Wagner

and Shirley Anne Field,

McQueen's main motivation

for spending three months in rural Norfolk

in 1962 was the film unit's
proximity to Snetterton Circuit,

at that time, the world's foremost school

for people who wanted to
learn to how to race cars.

♫ Trumpet Music playing ♫

Yeah, when McQueen first came over here

to film "The War Lover",

he was really keen to drive racing cars

and learn to drive racing cars, well,

I think Jim Russell was an American driver

who was actually pretty good

and he started this new concept

of a race driver school
based at Snetterton

and because it was the only
one of its type at the time,

it was like, 'Wow what a great thing!

You know, we can go
and sit in a racing car

and learn how to be race drivers.'

And that hadn't happened before

and I think it's quite interesting

that Steve McQueen knew about that

and was attracted by that, it says a lot.

It speaks a lot to the purity
of Steve's love of racing,

I think that he thought, "Wow, Snetterton.

Bleak, cold, rainy,

but it's the Jim Russell
School I wanna be there!"

Steve, talking about cars.

You race them and you race them very fast.

Now I don't know any
other actor who does this

sort of activity the way you do.

Why do you do it?

Why are you in such a hurry?

I think perhaps a lot
of it has to do with fear.

I think that race driving is an art,

and I don't put myself in the class

of Stirling Moss or
Dan Gurney or Phil Hill

or some of the people who are driving here

in your Formula 1 or
your international races,

but I remember the first time
I raced I was very frightened,

it scared me and I didn't like
the idea of being frightened

and I wanted to overcome it.

That was one element.

The other elements is
it's a very pure thing.

It's one of the few things
in life you can't fix.

You can't fix this.

You can go to somebody and say;

"I'm going to buy my way out of this."

When you are out there by
yourself you are very much

by yourself.

I think it's a very pure thing,

I'd like to learn more and I
plan on doing a little racing

while I'm in your county, I like to learn.

Yes, I would.

I think your courses are very fast

and I could learn quite
a bit from your drivers

so I'd like to learn as much as I can.

The United States really

only became aware of
European-style racing,

sports car racing,

Formula 1 single-seater racing
through the rich young men

in California just after the war

who started off racing
hot-rod type cars on circuits

but then found that if you
had the money to buy a Ferrari

or a Maserati from Europe,
they could then win races.

Steve McQueen, certainly,

was much more interested
in European-style racing

and he picked up on the glamor

and romanticism of Formula 1 racing.

NARRATOR: One driver
seemingly fitted the bill

as McQueen's "UK racing mentor".

A tall, slim aristocrat by
the name of John Whitmore.

His background and lifestyle
could not have been

more different from rural
Indiana or indeed Hollywood.

We grew up knowing each other very well.

And he had a lovely house
that he had in Balfour Place

just one back from Park Lane.

He was one of Jimmy Clark's best friends

and one of my best friends.

But John, he wasn't a
gentleman racing driver.

He was a racing driver
er no gentlemanly manners

or anything like that.

Of course, he was well-mannered,

of course he was so well, educated,

but he just wanted to be one of the boys.

Steve was over here making a black

and white film actually.

And he and I just happened
to meet and we got talking

and we talked for about two hours

and found that we had a
lot of common interests.

Steve was riding motorcycles,

he was a very good motorcyclist

and also was interested in cars.

And y then, Steve had
done his Jim Russell course

and John Whitmore was a
massive hot shot in Minis

and it was a perfect thing.

It says a lot about Steve
that he wanted to race Minis.

I think that shows that
he'd thought it through

and it was exactly the
right sort of category

of racing for him.

McQueen was very
competitive at that level

and there was that great
race at Brands Hatch

when Whitmore and Carlisle

and McQueen were backing together

and McQueen very nearly
beat Carlisle to the flag.

John Whitmore, I knew from early days

because in fact we both
raced at Sebring together

in the same car.

But he was a great
friend of Steve McQueen's

and he was keen to race in England

and John Whitmore had already
won a saloon car championship.

So he lent Steve McQueen his Mini

to race at the beginning
of October at Brands Hatch.

The race was amazing.

There were five of us Minis
who were continually passing

and re-passing each other.

♫ Guitar Music Playing ♫

I was told we were the three

of us together going round a corner.

Anyhow the race ended with
Vic Alford winning, me behind,

just in front of Steve McQueen.

And the commentator
had gone absolutely mad

and demanded that we, us three,

should go up onto the podium.

It was very exciting.

Oh, you can't ask him now but
I don't know what he thought

about that!

But he was a good sport.

He did drive me back to
London on one occasion

and he was charming.

Chatty, talkative, wonderful blue eyes.

He behaved extremely well!

(laughs)

There was a Mini, a small car,

on the side of the M1 and I was going down

in my bigger car going a bit faster

and as we went passed the Mini,

there were two girls
and Steve said, "Stop."

And I said, 'You can't stop on the M1,

you know, you're not allowed to do that.'

And he said 'Oh yes,

you know, you ran out of
petrol or something like that,

you can stop.'

He jumped out of my car,
took a bag with him,

and jumped into the Mini.

And he stayed in the
car with these two girls

and nobody saw him for two days.

♫ Upbeat Music playing ♫

NARRATOR: The result of racing Minis

and his Jim Russell course
was the addition of a

so-called Asphalt Rider
in his future contracts.

Nothing was to get in the way

of his love for cars and bikes.

So, in 1963, with "The War Lover"

and many laps of English
racetracks behind him,

Steve McQueen once again teamed up

with director John Sturges for what was

to become one of the most iconic
movies of the 20th Century.

And with the character of Captain Hilts

in "The Great Escape",

he cemented his status as a
bonafide "Hollywood Superstar".

He looked at James Garner,
who was "The Scrounger",

he looked at Charles Bronson with his pick

and he knew I'm the star of this movie

and I've got nothing here.

Sturges was big enough to give Steve

that opportunity to go away and come back

with his own ideas and that was

where the motorcycling across the Alps

and all that kind of thing,

really took off and made Steve
the huge star after that.

We spent half our time
keeping him out of jail.

Every time he'd show up at
work there'd be this collection

of police who would come in
and they'd all come over to me

and we'd have a consultation
with Steve over,

You cannot drive through
flocks of chickens

and you cannot go off into the woods

and back onto the road to
pass somebody,

Wasn't it a while ago

that the studios prohibited
you doing any racing

while you were actually in production?

Ssssh!

I mean I see all

kinds of executive-looking
people standing around

with their fingers crossed!

Well, they're being real
nice to me on this film.

Steve drove faster than made sense

and Steve's emotional outlet

when he was troubled was drive a car.

So one of the amazing things
about McQueen was really

for the first time since silent
cinema and the "Daredevils"

of silent cinema like Harold
Lloyd and Buster Keaton,

he was someone who made it
very clear that he did a lot

of his own stunt work, and was
celebrated because of that.

People loved to see him do actions scenes

because they knew it was for real.

But Steve McQueen really
started that in the modern era.

You've got to remember about Steve,

he not only loved cars

and loved everything to
do with mechanical things,

but he was also very good at it.

Steve was very good at
handling automobiles,

that's why he could race competitively.

There's another issue,

too, that people have mentioned
and it's absolutely true.

There is the, I don't
like the term "macho",

but he had that thing about,

I don't want people doubling me

and then I have to face my peers
saying, "Here comes candy."

NARRATOR: The cavalier leading man

might seem like a
director's worst nightmare.

Let alone the studio's insurance company.

But it showed Sturges that
McQueen was the real deal

and his love of blurring
the lines between acting,

action and reality brought
them even closer together.

With McQueen's insistence on doing most

of his own motorbike stunts
in "The Great Escape",

only an insurance clause kept
him from doing that jump,

which whetted his appetite
for more onscreen action.

And what better subject than
the machinery with which he was

so in love.

STEVE: I don't like acting
when it's "Playing house"?

You know, I believe that
I try to extract out

of my life the same reality

that I am existing in if I'm working.

Anyone watching films in 2020
probably doesn't appreciate

the difference between an
actor and a movie star.

But in the 1960s and 1970s,
there was a huge difference.

It was a choice of getting
a script and turning up

and doing your job, which an actor did.

A movie star had control;
they could change scenes.

JAMES: Well there were lots of actors.

Movie stars are much rarer.

As a movie star, he's impossible
to take your eyes off of.

Completely magnetic, I think
attractive to men and women

because he has a salt of the earth energy.

He doesn't put on airs and graces.

He feels like he has
the hands of a mechanic,

he has the face of somebody who has lived.

After "The Great Escape",

it took his movie star
capabilities to another level.

So for him it was very
important to make a film

that he was passionate about.

So we move into Warner Bros,
we have a six-picture deal.

When we had our moving in party

with all the William Morris people there,

trying to make a joke I said,

We're going to make a
picture about racing.

That'll be the end of this
company and our relationship!"

And we all had a big laugh.

Turned out not to be that funny.

What McQueen and Sturges wanted to do

was to exploit highly charged writing,

intelligent writing about sport.

It hadn't really happened before

and a lot of it came
consciously or subconsciously

from the style of
writing that one had seen

with Hemingway's "Death in the Afternoon".

It was dramatizing death.

It was acknowledging that
it was a central part

of what was going on.

Well, it was Hemingway's
great statement about

there are only three sports; bullfighting,

mountaineering and motor racing.

All the others are just games.

NARRATOR: So motor racing
was maybe the next logical step

and in 1963 a book by American
photojournalist Robert Daley,

shed new light onto Grand Prix racing,

exposing the sometimes,

uncomfortable truth
about the less glamorous

and often deadly nature of the sport.

"The Cruel Sport" came
out with a lot of fanfare

and being a nerd of motor racing,

I was very nervous
about "The Cruel Sport",

but we all had to be because we knew

it was gonna have things in
there that you aren't supposed

to be talking about or showing.

NIGEL: Well, the more I read the book,

the more I realized how different
it was from most writing

about the sport at that time.

It was unflinching.

The sport at that
time was poorly managed

and in those days, the drivers
were sitting in a fuel tank.

It was all wrapping around you.

And when you had an impact,

they usually caught fire in a big way

and they never got it out.

They never got it out.

So it was a colorful,
glamorous and exciting window,

but a terrible window of death.

Daley was facing the
fact that motor racing was

so dangerous in those days.

OK he was making that
the theme of his books;

maybe he was glorifying it.

But he was writing about it
intelligently and openly.

Helen and I counted 57 people

who died who were our friends.

We traveled with them,
we holidayed with them,

we raced with them, we dined with them,

it was just one big happy family.

"The Cruel Sport" highlighted
the number of accidents

and the number of deaths
and various serious injuries

that were taking place in
motor sport to the shock,

I think, of the people
involved in motor sport.

But the Americans got
hold of that in a way

that you could touch and feel
and you could smell the blood.

And I think this was the
role of "The Cruel Sport",

it opened the doors to a Steve McQueen

to be able to go to a Warner Bros and say;

This is Formula 1,

and this is what I want
to make a movie about.

♫ Dramatic Music playing ♫

CRAIG: 'John secured the
rights to 'The Cruel Sport'

and we started developing a script.

In Sturges' mind, there was only one actor

who had the skills to play the lead

in a realistic film about car racing."

NARRATOR: The
ingredients were all there.

Dangerous and dramatic source material

would give the film legitimacy.

The glamor and excitement
of the swinging '60s

would provide the perfect backdrop.

Surely this would be a
guaranteed Hollywood hit?

It was to be called,
"Day of The Champion".

Somehow or other there
was a magic about the '60s.

Carnaby Street was there, sex was safe,

motor racing was dangerous,
it was glamorous,

it was colorful, it was exciting,

and everybody would come
to Monaco every year.

It was a special time
because Princess Grace was

like a magnet to Hollywood

so all the big stars would come as well.

It's just a different culture altogether

and I just feel so fortunate

that I was living in that window.

RICHARD: Well, Steve
always had this concept

that he wanted his racing movie

that he would eventually
make to be authentic.

It had to be a film
that his racing buddies

would appreciate.

So, the script of "Day of the Champion"

certainly has more of a
traditional narrative to it.

There is a romance

with a posh British
girl called Kyla Bonham.

(laughs)

I think she crashes her Jaguar in a field.

And that's how the romance starts.

But even when you look at the script now,

it's certainly more about
the racing than it is

about the characters.

NARRATOR: The mark of the film was

to be absolute authenticity.

No compromise when it came to accuracy

and attention to detail.

Stirling Moss, who had
retired from full-time racing

after his crash at Goodwood in 1962,

was hired by McQueen and Sturges
as a technical consultant

for the "Day of the Champion" team.

You know, there was a
time when Grand Prix drivers

were household names in America.

In the days of when there were two races,

one at Long Beach at the start

of the year and one at Watkins
Glen at the end of the year.

Used to have huge crowds at those races

and knowledgeable crowds who
really knew who Jim Clark was

and what he had done.

And Stirling Moss, periodically,

raced in America in the late '50s

on so he was the kind
of pioneer if you like,

in that respect.

And that was where the
drivers began to know,

the James Garner's and so on,

who were American US film
stars who liked racing.

Stirling Moss was way ahead of his time

as an ambassador of the sport

and as an ambassador of his own brand.

He had a great name.

He always said, 'If I'd
have been christened Hamish,

I wouldn't be as well-known as I was."

But he worked really hard
I mean he'd win a race

and that night he would
always make a point

of going out into the
town and meeting people

and going to the movies, wherever he was.

And then he'd go to Hong
Kong and order a new suit.

But it was all in the newspapers.

The press loved him.

Stirling was a big,

big name and it was interesting
that Stirling was involved

with "The Day of the Champion"

because he was a team owner by the time

that happened and one of his
drivers was Sir John Whitmore.

And Whitmore would have
said to Steve McQueen;

You've got to get Stirling Moss involved,

I know Stirling very
well, I drive for him.

And that's how that
would've all come together.

CRAIG: There was a benefit
dinner in Hollywood the Night

before our film was to be
announced to the trade newspapers

and by chance John Sturges was seated next

to fellow director,

John Frankenheimer who had
just directed "The Train"

with Burt Lancaster

and "The Manchurian
Candidate" prior to that.

Frankenheimer was a
long-time admirer of Sturges

and he gushed to his idol about
this film he was preparing.

"It's about car racing!"

Frankenheimer claimed.

Sturges just kept picking at his meal.

"Car racing, really?"

We're calling it, Grand
Prix", Frankenheimer added.

I'm basing it on this fantastic booked

I've discovered called 'The Cruel Sport'.

Sturges just kept picking at his food.

As it turned out, while
Sturges was making a deal

for the book with the author's agent,

Frankenheimer was making
the same deal with

the author himself, Robert Daley.

Apparently, Daley

and his agent didn't communicate
very well, or very often.

So, the day after that dinner,

both movies based on the
same book were announced

to the trade papers, and
the real race was on.

Both sides were determined to do whatever

and spend whatever it took to win.

Frankenheimer was really
from a generation of directors

that had cut their teeth
on literally hundreds

of television dramas.

He had a string of really popular films

that borrowed from the realism

and the low budget black
and white of television,

with some more highbrow influences

and progressive politics
often were involved.

So Frankenheimer belonged
more to the late '60s than

the early '60s in terms
of his subject matter.

It seemed to me at the time

that we could do two kinds of movies.

We could either do "Test Pilot" ?

Which is one driver
with his mechanic going

through the whole thing and
finally getting up to Formula 1.

Or we could do "Grand Hotel",

which is to take a group of people

and put them in one situation
and see what happens.

Which is basically what "Grand Hotel" was.

So we chose to do "Grand Hotel".

Steve was originally
slated to do that movie

but he couldn't get
along with Frankenheimer

and so that lasted about 30
minutes and Steve was out

and I was in.

Well, it's never
really been totally clear

to me what happened.

He had this disastrous meeting

with my partner, Edward Lewis.

It's a meeting that I should've been at

and for professional reasons
I was doing something else,

so I said to my partner; "You
take the meeting with Steve."

Well, it just was a
disaster and what happened

was Steve walked out of the movie

and we were without Steve McQueen.

I still think if we'd had
Steve McQueen in that movie,

it would have been bigger than "Jaws".

INTERVIEWER: Really?

I mean, yeah.

I mean that's my contention.

He was definitely number
one choice for "Grand Prix".

I think in hindsight,
MGM got off lightly there

because Steve would not have been an actor

that would have just executed
a script as they wanted.

He was so passionate about
racing that he would have wanted

to have brought his own
ideas to that movie.

What they got with James
Garner would have been an actor

who was a lot easier to handle let's say,

in terms of executing
a proper movie script,

as opposed to wanting to create
the definitive racing movie.

So, when I got the part in "Grand Prix",

I called him and I said,
Steve I want to tell you

before you hear it from somebody else,

that I'm gonna do "Grand Prix".

Well, there was about
a twenty-dollar silence

there on the telephone!

(laughs)

He didn't know what to
say and finally he said,

"Oh that's great, great,
I'm glad to hear it."

He didn't talk to me for about a year

and a half and we were
next-door neighbors!

(laughs)

One of the things that
really disappointed McQueen

was Garner didn't have the
love for cars that he had.

It wasn't a personal
obsession with cars or racing

to Garner, it was another job.

So when you look at the script,

it does seem like McQueen
wanted to show off

a little bit some of his racing
skills with Formula 1 cars,

Formula 2 cars, sports
cars, a Mini-Cooper,

which could be a little nod
back to his years racing

with John Whitmore in a Mini.

It's definitely all
about McQueen's prowess

behind the wheel.

With the arguments and
egos seemingly smoothed

and top billing for
each movie established,

Warner Bros released this
memo proudly declaring

that "Day of the Champion" was up

and running with an all-star
crew and technical line up.

ANNOUNCER: From Warner
Bros Studios, Burbank,

California, Jack L. Warner announced today

that photography on a
multi-million-dollar picture

"Day of the Champion" will
commence in Europe this summer.

Filming will include the
"Grand Prix" of Germany

at the famed Nurburgring
Circuit on August 1st.

John Sturges will produce

and direct and Steve McQueen
will star in the Technicolor

and Panavision production
which is being financed

and distributed worldwide by Warner Bros.

Stirling Moss, one of
the legendary figures

in the world of motor racing,

is serving as production
consultant and Sir John Whitmore,

noted English sports car racer,

is acting as technical advisor.

Sturges and cinematographer John Wilcox

will utilize four Panavision
cameras to capture

the exciting action.

GEOFF: I'd been working with

the Director of Photography John Wilcox

for a number of years as his
First Assistant Cameraman.

John Sturges was a great name
and it sounds a great film

and Steve McQueen and motor racing.

Yes, why not?

SIMON: We all expected that
a motor racing film directed

by Sturges and starring
Steve McQueen was going

to be wonderful.

We didn't really have very
much view about Frankenheimer

and "Grand Prix" and James Garner.

The McQueen movie looked
like the serious one,

if you like.

NARRATOR: So the warring
films were literally off

to the races as both Warner

and MGM sent recce crews to
the 1965 Monaco Grand Prix.

The first race in that year's
Formula 1 World Championship.

(racing car revving)

So '65 Monaco was an
interesting race altogether

because well for a number of reasons.

One, Jim Clark wasn't there

'cause he was away winning the Indy 500.

Two, Graham Hill won the
race having spun early on,

climbed out of his car,

got back into his car and then continued

and went on to win the race.

And three, you had the crews from MGM

and Warner Bros there in Monaco
in this tiny principality,

both receiving for the
movies they we're gonna make.

And you can only imagine what
that would have been like,

in terms of a vying for position,

there aren't many great
positions at Monaco

because the marshals had
to be standing somewhere

and there isn't a lot of space anyway.

There definitely would have
been some serious discussions

between the two groups.

You can imagine, I guess,

the impact it would have made
to have had Jim Clark winning

the Indy 500 the same weekend
and for the movie crews

at Monaco this was like 'Wow!

What a world this is.'

♫ Upbeat Trumpet Music playing ♫

(racing car revving)

♫ I said can't explain it ♫

♫ Yeah, down in my soul ♫

♫ I feel hot and cold ♫

♫ I said can't explain it ♫

(congregation applauds)

♫ Dramatic Music playing ♫

NARRATOR: As well as the
thrill of being in Monaco

and hanging around with his
new racing driver chums,

McQueen, along with Sturges,

Bob Relyea and their racing
consultant Stirling Moss,

had used the trip to pay a visit

to an unassuming garage in Woking, Surrey.

The Alan Mann Racing Company not

only modified and raced Ford road cars

in the British Touring Car Championship

but they had also
developed a handy sideline

in adapting cars for the Silver Screen.

Bond's DB5 Aston Martin and
"Chitty Chitty Bang Bang" being

the most iconic.

So, it was no surprise
when they were instructed

to acquire and develop cars to
use in "Day of the Champion".

My father's background in motor racing

was really it was all tied up with Ford

from the very beginning.

He met Steve McQueen through
John Whitmore who I think

was a friend of Steve's
early on in the '60s

and they'd shared Mini driving together

and been motorcycle racing in California

and all part of that
group of friends I think

that they met each other

and Steve was obviously
a big fan of racing

and so they had a bit in common.

He was asked to prepare
the cars for the film

and manage the racing scenes
of he film and also build one

of the camera cars, which
was a modified Lola T70.

The cars had been prepared
to a certain extent

and they came to review
some of the pictures

that they needed to shoot and the angles

and how they were practically
going to make the film.

And presumably make some
requests about engineering

on the cars to allow them to do so.

My dad said McQueen was quite absorbed

by all the racing detail
and the car preparation,

and all the mechanics of the operation

and yeah was very friendly

with all the team members and everything.

But he also was obviously
quite a colorful character

and after hours was quite good company.

But I think he was kicked
out of The Dorchester Hotel

when he decided in his
suite to cook up some chili

or beans or something and fell asleep,

naked on the bed and it
dried out and caught fire.

Ran down the corridor to try
and find a fire extinguisher

and the next morning at breakfast,

he saw all his bags in the lobby area,

all having been packed up

and asked Sturges where
they were going that day

and he said, 'Well we're
not going anywhere,

I think that's just a polite
way of kicking you out.'

♫ Suspenseful Music playing ♫

♫ It's so too beautiful ♫

♫ It's so too beautiful ♫

♫ It's so too beautiful ♫

NARRATOR: The claims of
the Warner Bros memo were,

so far, proving true.

McQueen and "Day of the Champion" seemed

to be several steps ahead of Frankenheimer

and MGM in the battle to the silver screen

and had everything in place to capture

the 1965 German Grand
Prix at the Nurburgring

in true technicolor glory.

What they captured that day
has never been publicly seen.

(helicopter engine revving)

(congregations applauds)

♫ Slow Dramatic Music playing ♫

(racing car revving)

PETER: I mean the thing about

this is we never saw any footage.

We saw a little bit of black

and white Movietone News perhaps.

It was in color.

It actually happened in color!

(racing car revving)

It's amazing, very relaxed.

Great footage though.

♫ Dramatic Music playing ♫

(racing car revving)

WINDSOR: And there's
Stirl in the camera car.

SAMUELSON: You had a
400-foot roll of film,

so you had about our minutes in each go

and then you had to reload because this

was obviously decades
before there was digital,

so we were on 35 millimeter Eastman Color.

Samuelson Film Service
was run by four brothers,

three of whom were my uncles,

and one was my dad and David
was the technical partner

and he was responsible for all manner

of extraordinary bits of brand new,

never-been-thought-of-before technology

and a number of his things are still used.

He built some of it for
"Day of the Champion".

♫ Upbeat Music playing ♫

(racing car revving)

There is a racing car flat out

and all you can see around it is green.

Nothing else.

The Carousel.

I mean it was a wonderful racetrack,

it was a terrific racetrack, but crazy.

You know, 14.7 miles, 187 corners per lap.

You know, it was a great
race in so many ways.

This is the race

in which Jim Clark clinched
the '65 World Championship.

It's just amazing footage to have seen it

after all this time.

There's Jimmy after the race
and the mechanics running,

that's real film.

It's just amazing.

And what a trio on the podium.

Jim Clark in the middle,
Dan Guerney, Graham Hill,

doesn't get much better
than that in terms of

the drivers you had to beat.

And then for Jim Clark at
that moment he's driving off

in the Merc and he's just won
his second World Championship,

in the same year he's won the Indy 500.

No driver will ever do that.

One of the guy's around us
I knew, and he was a driver,

he used to drive camera cars and he said,

"Well, I brought some American guys up."

Oh, yeah?

Where are they?

"In the Ferrari pit."

I said, "Oh that's interesting."

So, I said to John Sturges,

You've got some Americans
in the Ferrari pit.

It probably might be the director.

And I remember Sturges being
very, very upset about it.

There was obviously a
bit of animosity going on

between the two.

SAMUELSON: We very
explicitly used Panavision,

not just any old Panavision,

but we shot it in a 2.35
ratio meaning the screen,

the shape of the frame is 2.35
times as wide as it is tall.

It's called Panavision Anamorphic

and that gives you the shape you want

for a motor racing film

because you are certainly wider than

a regular 1.85 television
kind of shape of frame.

It's interesting to remember

that they then stayed at the Nurburgring

and filmed the week after that race,

ostensibly to test the camera
mounts they were gonna put

on the cars and that's
where Alan Mann came

in as obviously camera
mounts were gonna be

part of his brief.

And this has to be seen
against the '62 accident

at the Nurburgring.

In practice, Graham Hill
had a camera on the BRM

and it came off and he had
a big shunt, very big shunt.

Very lucky to get away with
his life in that accident.

So here we are,

long before on board cameras
even became a phrase,

we have Warner Bros with Alan Mann,

with John Whitmore and Stirling
Moss hiring the Nurburgring,

the 14-mile circuit.

Some of the footage we
see is an indication of

how good that was and how
good it would have been.

ROBERT: When you start
to deal with cameras

on cars at very high speed,

you have a number of built-in problems.

If the track is wet,

there is water flying around the lenses.

There has to be design
the cameras so they become

as aerodynamic as the car is

to avoid getting water all over them.

It requires mounts that do
not disturb the aerodynamics

of the car too much and can be balanced in

some other way so the car can

still handle at competitive speeds.

This requires some trial and error,

it requires the drivers to
take the cars out and see

when camera's in certain position,

how the car stills handles so
they can adjust accordingly.

It requires the cars that
are around them to sense

what problems that driver has

and about 10 or 12 of our drivers

have been in this same situation,

including Steve, to deal with a car

that has a new set up
aerodynamically because of camera

or cameras placed on it.

SAMUELSON: So we had to
build mounts that were able

to cope with that, not fall off.

So not only did the mount
have to not fall off,

but the consequences of it
falling off would have been dire

for whoever was in the car
behind and got a 40-pound piece

of filming equipment into their head.

That wouldn't have been good.

So it was all done very very carefully.

JOHN: You have to have the skill

to create something people think is real.

Now we were in a good area to do that.

Steve is a race driver and
he looks like a race driver

and he understands race
drivers, he knows them all.

He can drive a car.

We had the real cars,
we had the real circuit.

So that part was alright.

GEOFF: MGM claimed they
had the shooting rights

with all the "Grand Prix" circuits.

The Nurburgring was under question

because Warner Bros claim they had it

and there was going to be a court case

and they'd be looking for
evidence to sue each other.

I was also told that there

was a 16 millimeter
crew filming us filming.

We never saw anybody,
it may have been true,

it may not have been true,
but we also slipped into

some film cans with the
dummy labels and put sand

in them.

If somebody's going to steal our rushes,

they might steal the wrong rushes

and they'd find they'd
got a can full of sand.

Stirling always remembered that day

and made the point of saying

that when he drove at the Nurburgring,

doing some filming for
"Day of the Champion",

he just said, 'That day
boy I just felt like I had

when I won there in '61.'

(car racing revving)

NARRATOR: "Day of the Champion" was off

to a flying start.

This truly breathtaking footage

was just what McQueen
and Sturges had hoped for

and put them substantially ahead

of Frankenheimer and MGM.

Warner Bros even cheekily released

this poster to further
rub salt into the wounds,

knowing full well that Frankenheimer

and Garner would not be up

and running with principal photography

for another nine months at the
start of the '66 F1 season.

And I think it's also
interesting to think about

why Jim Clark and Jackie
Stewart originally signed

with Steve McQueen and
not with Frankenheimer

and "Grand Prix".

In my opinion it's because
it was Steve McQueen driving

this movie and he was a racer,

as well as he was an actor and a star.

Whereas "Grand Prix" was
driven by a movie director

like Frankenheimer, and in
the minds of Jimmy and Jackie,

probably more Jimmy than Jackie,

"Grand Prix" was going
to be all about crashes

and spectacular this and lots of things

that weren't true to life.

Whereas Steve McQueen, with
this closely knit group,

could produce a film
that was gonna be more

about racing drivers and
who racing drivers are

and the craft that they create.

I think Jimmy and I thought

that everybody was going
with Frankenheimer,

why don't we go with McQueen?

And Steve McQueen,

in those days was bigger
than Frankenheimer.

Well, who wants to get married?

And I think that was one of the things.

And he was making great movies.

MAN: Steve McQueen
works by instinct, reflex,

unconsciously concealed know-how.

Above all is his
reverence to authenticity.

And Jimmy and I didn't
talk an awful lot about it.

We just decided it was a good idea.

Everybody else was going to "Grand Prix"

and we decided to go with Steve.

NARRATOR: In a memo from
September 1965 John Sturges,

states that principal filming with McQueen

will start the following spring

after he has finished
directing "Ice Station Zebra",

ironically for MGM, and McQueen
has completed his next film,

"The Sand Pebbles".

He took on "The Sand Pebbles" knowing

that the book had been a hit.

The book was about the Chinese
Civil War in the 1920s.

RICHARD: He of course
respected Robert Wise greatly,

who'd directed "West Side Story",

"The Sound of Music",

so I think he saw a lot of
potential in that movie.

NARRATOR: Back in
Europe, John Frankenheimer,

realizing he would have
a big task on his hands

to get his racing epic
released ahead of Warner's,

had stayed with the traveling
F1 circus throughout 1965.

Embedding himself in the lifestyle

and the culture of "The Cruel Sport".

In the meantime,

I had been going to all the
races and they all knew me

as somebody who was going to make a movie.

And they knew nothing about movies,

I mean they knew nothing about
the movies I'd ever made,

I don't think they'd
ever seen most of them.

Those cameras, turn them
on as soon as you get up

to speed here.

But they did know that I was
really very very interested

in cars and they did know that
I raced on an amateur basis,

so at least I knew something
about what they did.

Come on!

Get somebody to push here!

Push!

And I became friendly with some of them,

like Graham Hill and Phil
Hill and Richie Ginther.

Everyone was very,

very sceptical of another
film being made about racing.

In fact to the point where Ferrari said

they didn't want anything to do with it.

He just said "You go make your movie,

it has nothing to do with what we do

and you can't use the word
Ferrari in this picture

or have any of my cars
or anything like that.'

ANNOUNCER: They get you like-

Oh my God get out!

Oh Jesus look, give his
guy hell this driver.

He's coming out.

Get out of here!

Come on get out!

So, we were lucky
enough, not lucky enough,

if you'll forgive me, smart
enough to go to Carrol Shelby

who had great credentials.

And Carrol Shelby kind of embraced us

and he kind of opened up a lot of doors,

including arranging to have the replicas

of all the cars made.

And he took charge of that.

And through Carrol Shelby,

I got to Dan Gurney who was a great friend

of Shelby's and also to Phil Hill.

Yeah, but this doesn't work.

And I signed these guys up.

And I actually I paid them money,

which also helped,

convince them that maybe

this was a good idea!

And for 2 years exclusivity
to movies, to me.

(congregation chatting)

Cut!

Cut!

Get everybody in here again.

For John Frankenheimer,

Phil Hill was manor from heaven
because he still was very,

very quick but he was kind of available,

and he was American,
and he was intelligent,

and he loved photography.

This was the perfect
man to drive that side

of things for "Grand Prix".

ALAN: I've just seen the
most terrible skid there.

What happened to Yves Montand?

Well, that's what he was supposed to do!

ALAN: He wasn't supposed
to go all over the pavement?

Oh yeah!

Up all over the kerb and
swing around backwards!

Wasn't that a beautiful job though?

He's like a stunt driver!

Are you serious?
Ha!

No.
(laughs)

Well, he was a wonderful guy.

He was a great driver, but
also the most delightful guy,

the most delightful bloke.

Very, very dry sense of humor,

one of the funniest people I've ever met.

And also, probably as
intelligent as anybody

who ever drove a racing car.

He must have been enormously
helpful to Frankenheimer.

Just because he was such a bright man.

Daley had written extensively, of course,

about Phil Hill because he

was America's first World Champion.

NARRATOR: With
Frankenheimer buying friends up

and down the grid, he was now starting

to close the gap to "Day of the Champion".

Garner and the other stars were learning

what Grand Prix racing was all about,

but McQueen was still in
Taiwan and "The Sand Pebbles"

was starting to spiral out of control.

♫ Upbeat Music playing ♫

The plan was to go and
shoot "The Sand Pebbles"

and ideally they'd be back to
shoot "Day of the Champion"

in '66 at the end of "The Sand Pebbles".

The shoot in some ways is as memorable

as the film because it was
supposed to be a nine-week shoot

and it ended up taking
something like seven months.

RICHARD: The conditions over there

in Taiwan were horrendous.

Everyone got ill, Steve included.

♫ Upbeat Music playing ♫

CRAIG: We knew that the first team

to get their picture shot,

edited, scored and into
theaters before the other guy

would be the winner.

Neither side wanted

to be the second racing
picture out that year.

(racing car revving)

NARRATOR: Sturges and his
crew could still continue

to capture stunning race footage

while they waited for McQueen
to return from the Far East.

They regrouped and in late
April '66 headed to Oulton Park

in Cheshire to shoot a round
of the British GT Championship,

which would double for a
sports car race described

in the loose "Day of the Champion" script.

There was The Steering Wheel Club

in the south of Park Lane

where all the motor racing
enthusiasts used to go.

And Stirling had started

The Stirling Moss Automobile Racing Team

and so I drove his Elan which was his car

and then I entered my
own cars under his name.

(racing car revving)

There was agreement that
this car should be repainted

in the colors that Steve
McQueen planned to have

in his film, so it was
repainted to a green

and I drove the car in
this race and was filmed.

Well, we had the name "PEARCE" on the car

because that was the
name that Steve McQueen

was being given in the film.

Of course, what you have to
remember is that in the '50s

and '60s, a top driver
wouldn't just drive Formula 1

as happens today, they
would drive sports cars,

he would do the Le Mans 24 hours,

he would probably race
in touring cars as well

and that's why it was
completely appropriate

that McQueen's character in
the film drives single-seaters,

but also drives sports cars.

That's how it was in those days.

Bloody hell was I in the front row?

Six, well, I just fucked up the start.

(racing car revving)

Part of the deal was that
I should wear a helmet

which was approved by Steve McQueen

and then the production
team sent me the photograph

with the words which said;

If this is what Dunlop overalls achieve,

then I think we'll go with Firestone.

So, I was in fact Steve McQueen's double.

NARRATOR: The pieces
of the puzzle were falling

into place for "Day of the Champion".

But with the start of
the 1966 Formula 1 season

in Monaco just a month away
they needed their Hollywood icon

back from Taiwan and ready to race.

Frankenheimer and MGM
were about to descend

on the principality to get their
movie underway with a bang!

(racing car bangs)

♫ Trumpet Music playing ♫

Late May 1966.

Steve McQueen is in Taiwan,

behind schedule on "The Sand Pebbles"

and desperate to get back

to Europe to star in his
dream Formula 1 movie project

"Day of the Champion".

In Monaco, MGM and John
Frankenheimer are underway

with their rival picture, "Grand Prix".

Nine months behind "Day of the Champion"

but now shooting real race
scenes, with real actors,

in real race cars.

(racing cars revving)

ANNOUNCER: These are
the Cinerama cameras

of Metro-Goldwyn-Mayer,

about to attempt one of
the most challenging feats

in motion picture history
with these exciting,

international stars from America,

James Garner; the celebrated French star,

Yves Montand; Italy's
sensational young talent,

Antonio Sabato; and
England's Brian Bedford.

For Frankenheimer, for any film maker,

this is a monumental challenge.

Less than an hour before the actual race,

he is staging his own start.

FRANKENHEIMER: Well, what
we hope to be able to do is

to show them what a real race

is really like from the driver's viewpoint

ANNOUNCER: The crowds are
real, so is the excitement.

And for Frankenheimer,
the suspense is very real.

This is not a studio;
these are not stuntmen.

In just seconds,

Phil Hill in the camera
car will lead Garner,

Montand and the others
around the Monaco circuit

at actual speeds of
over 125 miles an hour.

(racing car engine revs)

FRANKENHEIMER: In Monte Carlo,

they began to see we
knew what we were doing.

We were very well organized,

we went out there and we
were doing real stuff.

And that began to get their attention.

(racing cars engines revs)

(crowd chatting)

WINDSOR: 1966 Monaco, I mean you can't

even get your head around it

in terms of today's
standards of operation.

Princess Grace was just
the beginning of it.

She was there obviously.

It was Jackie Stewart's
second Grand Prix win but

while all this was going on,

Frankenheimer in his mind

was creating another Monaco Grand Prix,

which was the "Grand Prix", "Grand Prix".

And to think about that happening today

and to have the camera cars
there in the way they did,

and the changing liveries of the cars

and of the driver's helmet.

You know, one of the few
people who wasn't involved

in either movie was John Surtees.

He got absolutely fed
up to the teeth with it,

he had it up to here.

"Bloody film people I
wish they'd push off!"

But of course typical John,

he just said, 'But well, you
know, there's always a way

around these things and
the Hollywood people stuff

their mouths with money
and stop them talking.'

It didn't worry me at all.

It didn't, Francoise Hardy
occasionally would upset me.

She was a very pretty looking
girl walking down the pits.

It really didn't matter.

I can't say at any time
was it an intrusion

into my preparation for a
race or in the race at all.

It didn't bother me at all.

But, generally, the chaos
would have been incredible

and whilst Jackie was accepting

the trophy from Princess Grace,

just a little bit further down the road,

there was Sarti, Yves Montand,

accepting the trophy for
the "Grand Prix" Grand Prix.

ALAN: Their own winner
will need a victor's cup

but they plan to use the
excitement at the end of

the race to slip a cuckoo
into the nest to film the man

who won the celluloid race,

wearing an open wreath and
looking modest, as well he might.

The actual winner today is Jackie Stewart.

As his car comes home,

Yves Montand, face glistening
with instant sweat,

prepares for his moment of hollow victory.

I was not aware of it,
I was perfectly naive.

(laughs)

And you know, when you win a Grand Prix,

in Monaco in those days,

the Grand Prix was 100 laps.

Something like 8,600 gear
changes, all by hand,

and you were fairly tired
when it was finished.

(crowd applauds)

When you're in a car,
particularly a Formula car,

but any car, you cannot
think of anything else.

I mean if you don't think of going

from one point to another,

from your braking point
to your gearing down

to make your turn into a
corner, if you stray from that,

and you worry about where that camera

is or anything like that,
then you're off the course.

So, we strictly do not worry about it,

we'll do our acting in the pits.

NARRATOR: Another member of the

"Day of the Champion" team was
also in Monaco that weekend.

Stirling Moss was keeping a close eye

on Frankenheimer's team
and sent a telegram back

to the Alan Mann garage
after seeing how the cars

on "Grand Prix" were
slowing down the filming.

ANNOUNCER: 'Dear Alan,
Having just returned

from Monte Carlo and seeing how
the other lot are operating,

I feel we need to make some adjustments

to our cars so we don't
have to stop and start

with such regularity.

Please can you start to
adjust the compression rates,

dampers and engine idle
before we get to Germany.

Kind regards, Stirling Moss."

NARRATOR: Panic was also setting

in amongst the Warners' management.

Panic about McQueen's physical condition

but also about the unrealistic schedule

of 'Day of the Champion',

given their A-list star
was still in Taiwan,

where 'The Sand Pebbles'
was seriously over-running.

By June 1966,

John Sturges was already in
London to work on pre-production

for the remaining 'Day
of the Champion' shoots,

when he received an
extraordinary telegram.

ANNOUNCER: Dear John,
It is needless to tell you

that I am very worried
because of the possibility

of "Grand Prix" coming out in Cinerama

or any other format ahead of our picture.

I would not put it by these
boys to release their picture

on 35 millimeter at the same time

that it's released in Cinerama.

Isn't there some way you can
start your pre-production

sooner and also have McQueen
get over to England sooner,

or something of this order?

I would hate like hell to be
given the bird and huge laugh

by all concerned with GRAND PRIX.

I don't want to say I would
not have gone into this

if I had known of the unfortunate
delay that has been caused

by "The Sand Pebbles".

What about phoning Bob Wise to see

if he can release McQueen earlier?

Again, in closing, see if
you can't beat GRAND PRIX

after you leave the starting gate.

Jack Warner."

(chuckles)

(racing bangs)

(chuckles) just blown out.

That's your job.

No wait a minute, that's your
job to make it really look

like, where's Beady Eyes?

NARRATOR: With production
moving at a frantic pace

for "Grand Prix" in Monaco,

an unscripted halt is
brought to proceedings

when local shop keepers protest

about street closures harming their trade.

Tempers flare, proving
that even Hollywood's

most consummate leading men
can still lose their cool.

I am freezing my ass off,

now get your butt out of
here or I'm gonna throw you

in the fucking water!

Just get out or I'm gonna bust you,

I'm gonna put in there

and I'm gonna hold you under now get out!

What is your problem?

I am freezing to death
out here for a half hour

while you talk!

If you want to talk,
I'll talk to you later.

How much money do you want?

I speak English, Mr Garner.

Well then you get the
hell out of that shot

or I'm gonna put you out!

FRENCH MALE: Yes sir.

JAMES: I tell you!

You better count to 60 and
get your ass out of here!

(racing car bangs)

After Monte Carlo was over,

I put together a quick 30
minutes of stuff I shot

at Monte Carlo,

called Ferrari and asked
him if he would look at it.

He said 'well I don't have
any projection equipment,

I don't have anything like that.

I said, "Just tell me you'll look at it."

So he said "Yes I will."

So I shut the movie
down, chartered a plane,

brought the film, a projectionist,

projectors and everything
else to Maranello,

to his office, set it up
and ran him the 30 minutes.

When it was over the lights came up,

he embraced me, he said,
You can have anything.

And he said, "I don't even
want to talk to you about money"

"because I don't want any money
from you,"

"because when Ferrari gives you
something,"

"he gives it to you."

So he never charged us a penny.

He gave us the Ferrari team,
he gave us the factory,

he gave us everything!

Well, of course, once we
got that kind of acceptance

from Ferrari, I mean that was that.

We were less than a week away

from filming principal
photography in Germany

in July of 1966 and Steve McQueen

was still busy filming "The Sand Pebbles".

At midnight one evening,

Jack Warner called my
office at Pinewood Studios.

"How are ya, Bob?"

Well, I'm cramming to
get everything in order

before I leave for Germany,
how are you, Jack?

I'm great, great thanks.

Right Bob, listen, about
that racing picture:

close it down.

"Excuse me?"

"Listen," Bob said, "Bob
Wise won't release McQueen."

That means "Grand Prix" will
be first to the theaters,

and am not gonna to be
second so shut it down.

But, we've already got loads of footage,

I've got an entire crew
in Germany ready to go,

you've already committed a ton of money.

Bob, listen to me.

Send everybody home and shut
it down now, it's over.

McQueen went mad on the
set of "The Sand Pebbles".

Sturges tried to get him to
leave as soon as possible,

but Robert Wise wouldn't let McQueen go.

He needed him.

His wife said to him at the time

You can't get that angry
because you turned down

this role, but that
didn't really stop him.

He was determined to
make the definitive film

about Formula 1, about
motor racing and yeah,

he'd been beaten to the punch.

I think the trucks were

in Dover already about to
depart for the Rheims Grand Prix

when a telegram came in from Warner Bros

to say stop all transport and
the whole thing's canceled

and go back to base.

CRAIG: The next morning,

I called Sturges to give him the news.

He was completely void of any emotion.

"Well that's that", he said.

I said, Sorry John, we
would've made a great film,

I'm sure of it.

Well, I think I'll take a few
weeks vacation, John mused.

"Maybe I'll go to Europe."

Before departing for
the continent, Sturges,

ever the gentleman,

sent a telegram to Alan Mann
conveying his deep regret

over the collapse of
"Day of the Champion."

ANNOUNCER: Dear Alan,
As all of us are depressed

and unhappy over the
collapse of the project.

I think we would have achieved
some marvellous results

and it's a shame to miss the fun

and excitement we'd have had getting them.

You must know I'm very
grateful for the enthusiasm

and efficient help you gave us

and I'm truly sorry for any disruption

there has been to your plans.

I look forward to when we
meet again and once more,

my thanks for Le Mans.

With all the best, John.

He had quite a good
relationship with Sturges

and they were obviously both disappointed

that it didn't come to any
fruition but they obviously had

some mutual respect for each other.

I had a letter from
Brookwood Productions,

Pinewood Studios, 'Regret,

here's a cheque for two weeks money.

Steve McQueen is ill and
he cannot make this shoot.

NARRATOR: With Frankenheimer
seemingly victorious,

his Cinerama circus moved

onto other locations around Europe.

Filming in Clermont
Ferrand, Spa-Francorchamps,

Brands Hatch and Monza.

Not content with the drivers
he had already signed

to exclusive deals,

he also wanted the two
remaining big F1 stars

who had signed to Warner.

My understanding is that
the insurance company,

that was what we were told,

that the insurance company
wouldn't allow Steve

to do a full-blown motor racing series

that we was directly involved in.

So, when that fell through,

Frankenheimer already had the
program going and in fact,

I don't know how long after we were told

that the movie wasn't going to happen,

Frankenheimer offered me another amount

of money to do some stuff with him

because one of the featured
drivers in his movie

was wearing my helmet colors.

And so I got paid twice really!

And so did Jimmy.

(laughs)

We got these guys to drive
for us at $200 dollars a day.

So you put it in today's dollars
that's $2000 dollars a day.

The picture in 1966 all-in

with accelerated
post-production cost about nine

and a half million.

Put that in the context of
today's Formula 1 and imagine

what it would be like
having a Hollywood crew

in the pit lane at a
proper Formula 1 race,

it would never happen in a million years.

But Frankenheimer was able
to do that and to his credit,

and I think to the credit
of the actors involved,

it all worked.

Probably it was the Francoise
Hardy accept of it all!

The drivers found her
very friendly to the eye,

I think, but no in general I
think they did a very good job

of understanding what it was all about

and they became part of the fabric

of Formula 1 throughout that '66 season.

Making a picture is a strange thing

because everybody hates
you when you are making it.

It's when the picture comes
out that they say, 'Oh boy,

you know, it's really pretty good.'

Or visa versa, everybody loves
you when you are making it

and the picture comes out and
you never work again you know.

It can work that way too!

(racing car revving)

NARRATOR: August 1966 and Steve McQueen

is finally back in
California after wrapping

on "The Sand Pebbles".

Six months behind schedule

and his dream Formula 1
movie project in tatters.

Steve was exhausted
after "The Sand Pebbles",

probably he did his best
acting of his career possibly

with the exception of
"Papillon" and he'd put so much

of himself and his energy
into "The Sand Pebbles"

that he needed a rest.

There was no way he could go

and make "Day of the Champion" after that.

He and Bob Relyea, his
great producer friend,

they felt they'd got their butts kicked

when "Day of the
Champion" didn't get made.

But by early '67,
McQueen was back riding

the crest of a wave.

"The Sand Pebbles" was a
critical and box office hit.

The only thing that McQueen seemed

to really focus on when he got back

to America was the Oscars
campaign for "The Sand Pebbles".

He was determined that he
deserved a Best Actor nominee

and he did in fact get it.

A little bit of brokenness,
I think, comes to that role,

aided and abetted by the fact

that he actually quite ill
through a lot of the filming

so he does actually look kind
of dissipated or off-kilter

in some of the scenes and that
was a way to throw himself

into something which,

was not colored by the disappointment

of not being able to make
this passion project.

McQueen must have been gutted

to think that he got his
first Oscar nomination

for a film that actually stopped
him making the film he had

always dreamt of making.

RICHARD: "Sand Pebbles"
and "Grand Prix" were released

the same week in December '66.

CHRISTINA: "Grand
Prix" was a huge success.

It was up against "The
Sand Pebbles" at the Oscars

in several categories
and it won three Oscars

so that really added
probably insult to injury,

in some ways, for McQueen.

At that time, there was,

you could get little hand
grenade-looking things made

of compressed paper with a
small French banger inside.

James Garner's and Steve
McQueen's houses were adjacent

to each other in Hollywood

and Steve's was a little uphill
from Garner's and so he used

to throw his grenades down into the yard

of Garner's house and
illicit a big police reaction

and everything and wait for all that

to dissipate and lob another one over

and generally wind him up.

Finally his son, Chad,

made him go and take
him to see "Grand Prix"

and from that time on
we were talking again.

But Steve was a wild
kid, he was a wild kid.

He didn't know where he wanted to be

or what he wanted to do.

Tell him exactly where
Garner's going to pass him.

Jimmy Garner!

Jimmy Garner!

Where is the exact place you pass him?

Just before the overpass,
he's gone that way.

Just before the overpass,
alright we gotta go.

(chuckles)

Which side?

Which side?

I pass him on the left!

Okay!

Okay!

When I first saw "Grand
Prix", sitting at a cinema,

the impact was tremendous

because you were seeing
Formula 1 cars racing

on a big screen, in color,
close-ups on the drivers.

There was a whole depth there

which we never had on television.

Television coverage in the
1960s was extremely primitive

and for people who'd never
been to a motor race,

which is where a lot of the
audience would have come from,

they would have seen this on television,

but the impact of seeing it
on a proper cinema screen.

Enormous.

Frankenheimer did hire me

as a consultant when he was thinking

about doing a "Grand Prix 2".

I'm talking early '80s now.

But then of course like
everybody at that time,

he was completely shocked
at how much Formula 1 i.e.

Bernie Ecclestone wanted
in order to have the same

sort of access that he'd back in '66

and at that point it became a non-starter,

like a lot of other movies
that people have tried

to make about Formula 1.

NIGEL: I will always be grateful

that "Grand Prix" exists because
apart from anything else,

it amounts to such, in effect,

a record of how Formula 1 was in the '60s.

NARRATOR: During the
second half of the 1960s,

Steve McQueen's Hollywood
career went stratospheric.

The outsider had made it inside,

becoming the highest
paid actor in the world.

His disappointment over the failure of

"Day of the Champion" only
served to fuel his obsession

with cars in the movies.

In 1968, "Bullit"' was
the result of his efforts.

Again, he insisted on doing the majority

of the stunt work involved

and this is widely considered

to be the greatest car chase of all time.

(brakes screeching)
(racing car revving)

Those mid '60s years
were the hottest years

of his career.

He had five hits one after the other,

starting with "The Cincinnati Kid",

and "Nevada Smith", "The Sand Pebbles",

"The Thomas Crown Affair", and "Bullitt".

Now if we'd have seen
"Day of the Champion"

in the middle of that,

we might never have seen
"The Thomas Crown Affair"

and "Bullitt".

NARRATOR: But he was
still obsessed with his dream

of a motor racing film
and now had a great deal

of star power, the juice as he called it.

He did, of course,
finally make that movie.

"Le Mans" was released in 1971.

JAMES: With "Bullitt",

"Thomas Crown" being such
massive hits, essentially,

he's allowed to do
whatever he wants to do.

That's when "Le Mans"
comes back into the mix

and he thinks I am gonna make
the ultimate racing car movie.

By the time he got to "Le Mans",

he was feeling so much pressure that

this film had to succeed

that it definitely affected
his personal relationships,

with his wife, with his
friend Robert Relyea,

with his director friend from
over a decade, John Sturges.

I think he was dead set that
this movie had to be a success.

JOHN: I think, at
least from my standpoint,

in an action film,

it gives you an opportunity
to put people under pressure.

And when they're under
pressure, they're emotions,

good or bad, come out.

What you're really looking for is emotion.

A fight is no more meaningful than

how much care somebody wins.

Two unknown people could
beat each other to death,

balanced on a girder,
40 stories in the air,

you wouldn't care unless
you were pulling for one

or the other.

INTERVIEWER: I think the thing

that fascinated most people

about "Bullitt" was that
sensational car chase

in San Francisco.

Are you going to try for
anything like that in this film?

JOHN: Well, we hope
to do as well of course.

It won't be a chase in any sense

and they will be cars
driven under control as they

are here in the circuit,

as opposed to a kind of flat-out stunt.

It's similar in that there
are cars and there is speed,

but totally different otherwise.

(racing car revving)

NATASHA: When something
is a passion project,

logic goes out of the window.

For McQueen, it stopped
being about creating

an amazing piece of cinema and it became

about fulfilling a dream

and those two are never going to marry,

even more so when
Sturges left the project.

SAMUELSON: Steve,
who's production company

was making the film,

really didn't know how you make a film,

how you string a script
together, how you block a scene,

and I think it must have
been awful for John Sturges.

Steve was very, very famous

and also I think in many
ways, out of control.

CHRISTINA: I think "Le
Mans" is a cult classic

because it,

yes, largely appeals to people
that are really interested

and passionate about cars and racing,

but that film kind of speaks

to a particular style of filmmaking

which is unique to its moment

and had this kind of existentialism to it,

this kind of minimalism,

this story which was
completely self-contained

which didn't need the various
complications of traditional,

classical Hollywood cinema.

I felt very strongly

that racing would be a
great background to a story.

I believe that Steve felt
racing would be a great film

with some story around it.

It may be oversimplifying but
even if it is that simple,

that's a big difference.

Well, I'll go with you that
we concentrate on the race,

yes, whether anything else
is kept to a minimum or not,

I don't know.

SAMUELSON: I don't
think Steve really cared

about the story and the
love interest and so forth.

He just wanted to film the definitive,

really documentary of cars going fast

and the fiction side of it
was I think a bit shrug.

I don't know if
anybody's ever discovered

the beginnings of a plot.

(laughs)

I don't think I ever detected one!

(chuckles)

ROBERT: Steve has from the beginning,

pushed and insisted upon a
reality approach to the picture.

The real cars that were
really in the race,

driving at real speed.

Not trick photography,
not rear projection,

not on a location that
looks like "Le Mans"

for a certain time,

but racing conditions
with the actual machinery.

If you look at the script
for "Day of the Champion",

it's actually quite similar to
"Grand Prix" in certain ways.

Much more of a traditional narrative

than "Le Mans" ended up being.

And like "Grand Prix",

it follows several drivers
over a whole season.

There are elements that
were retained for "Le Man".

He's called Mike Pearce
in the original script,

Mike Delaney, of course, in "Le Mans".

But there are still a couple of lines

in the "Day of the Champion" script

that end up in the finished
version of "Le Mans".

CHRISTINA: McQueen
says in "Le Mans" that...

Racing's important
to men who do it well.

Racing, it's life.

Anything that happens before
or after, it's just waiting.

CHRISTINA: That's actually originally

from "Day of the Champion".

MARTULLO: Do you remember
a man called Karl Wallenda,

the greatest of the high wire walkers?

After he fell and was broken,
when he went back, he said,

To be on the wire is life.

The rest is waiting.

This was a wise man, do you know that?

♫ Hopeful Music playing ♫

MIKE: I hope so...

MARTULLO: Only those of
us who have been on the wire,

who have held the wheel, only us.

No one else, the others, they cannot know

and it is foolish to try and tell them.

Never try and tell anybody.

They know or they can never know.

♫ Hopeful Music playing ♫

NARRATOR: "Day of the
Champion" remains one

of Hollywood's great "What
If's" Fragments of rushes

and an impoverished
script are all that remain

of the dream project of one
of the great movie stars

of the 20th century.

A contemporary F1 movie has
not been achieved since 1966,

while the sport grew exponentially
over the next 50 years.

After "Le Mans",

McQueen never did hit the
highs of the 60s again.

He divorced and remarried.

Then, divorced and remarried.

His relationships with Sturges

and Relyea remained strained
for the next decade.

I think the best movie stars work

on variations on a theme,

in a way, or variations on a persona

that's always existed.

And so McQueen feels like Americana,

I think, to us now and, you know,

a slightly more old-fashioned,

traditionalism that I think
people kind of yearn for.

Steve McQueen, away from the camera,

was a very complex

person with lots of moods,

lots of swings of those moods,

one of the most loyal
people I've ever known.

Very street smart.

♫ Dramatic Music playing ♫

(racing car revving)

♫ I'm gonna raise a fuss,
I'm gonna raise a holler ♫

♫ About a-workin' all summer
just to try to earn a dollar ♫

♫ Every time I call my
baby, try to get a date ♫

♫ My boss says, "no dice
son, you gotta work late" ♫

♫ Sometimes I wonder
what I'm a-gonna do ♫

♫ But there ain't no cure
for the summertime blues ♫

But more important to Steve

than anything in the world
would be to be remembered

as being a good human
being, not a good actor,

and most of all was
respected by his peers.

That the other race drivers,

whether they thought
he was an actor or not,

thought he could cut it on an even field

and I think the idea of getting
respect from other people,

which probably goes all the
way back to Boys Republic,

was probably what he would
want more than anything else.

♫ Sometimes I wonder
what I'm a-gonna do ♫

♫ But there ain't no cure
for the summertime blues ♫

(racing car revving)
♫ Dramatic Music playing ♫

You see the problem here,
man, is you gotta be happy.

If you're not happy,

you might as well chuck
the whole business.

♫ Dramatic Music playing ♫

♫ Hopeful Music playing ♫