LEGENDARY CHEVY II FIBERGLASS FASTBACK | BILL THOMAS’ BADASS BUILD FOR CKC RACING

The amazing story of Bill Thomas’ Race Cars badass (pre-Charger) Chevy II / Nova Fastback, bought by CKC Racing Team back in 1964 for $2500! Supposedly it has survived and resides somewhere in PA after changing hands–

“Up until that time, the fastest car I had ever driven was a Corvette. That Chevy II used to do some incredible wheelstands, which made it a handful to drive. There was no way you could get off the throttle and get back on it again once it stood up on the back bumper, and it used to do that a lot! I remember one time at Houston Raceway during a match race with Dickie [Harrell], we both stood our cars up on the back bumpers, and the crowd went absolutely wild. Another time, I bent the front axle so badly on re-entry that J.E. had to use a floor jack and a torch to straighten it out just so we could load the car back on the trailer.” –Driver, Cal Callier via

1964 Callier Kristek orange car team's Chevrolet small-block-powered AA:FD ran 190.00 Bill Thomas Race Cars '64 A:FX Chevy II powered 427 Z11 carbureted big-block

1964, Callier and Kristek posing with the “orange car,” the team’s Chevrolet small-block-powered AA/FD that ran consistently at 190.00, and the team’s new Bill Thomas Race Cars ’64 A/FX Chevy II powered by a 427 Z11 carbureted big-block. Photo by Peter Peters via

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TWO-LANE BLACKTOP | UNDER THE HOOD OF THE EPIC 1971 ROAD FLICK

 

“The whole idea of the road, of going from one place to another, is essentially American.”

Two-Lane Blacktop Screenwriter, Rudy Wurlitzer

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Esquire magazine printed the entire screenplay in its April ’71 issue before the movie was even released and boldly declared Two-Lane Blacktop as, “The Film of the Year.”  Set largely on old Route 66, which had seen better days, filming locations stretched from California to Tennessee, and the project was wrapped up in two months for mere pocket change– $950,000.  And while it wouldn’t quite live up to Universal’s expectations (who did little to promote it) and become a commercial success by anyone’s standards– it would survive the test of time to become a cultural icon, and one of the most loved road films ever made.

There still a lot of love for Two-Lane Blacktop even after all these ears.  Sadly, there aren’t a lot of great studio stills that have survived– finding decent pics on the internet was slim pickings.  I’ve had a few squirreled away for a spell (courtesy of Performance Pontiac Magazine, go figure) and so out they now shall come– along with a few tidbits from behind the camera.

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“I saw a picture of James Taylor on a billboard on the Sunset Strip promoting his new album.  I thought his look was right for the part of The Driver.  Regarding Laurie Bird, I took a trip to New York to meet with Rudy Wurlitzer, and, while there, met with a number of modeling agencies just to explore that field.  When you’re looking for someone that age to play that role, it’s impossible to find someone who is established, so I anticipated finding an unknown.  I checked out modeling agencies and met with people in L.A. as well and she was recommended.  Laurie was so inexperienced it never occurred to me that I would actually cast her.  She seemed so typical of what we had in mind for the character, however, that we used her as a prototype.  Rudy and I did a three-hour taped interview with her; she became the template for the character.  I still thought I could cast an actress who could play the part, but I couldn’t.  Someone then had the bright idea of screen-testing Laurie.”   –Director Monte Hellman

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“Dennis Wilson (of Beach Boys fame) was the last one to come onboard, after I ran through every actor and some other musicians.  As a matter of fact, we even met with Randy Newman.  Fred Roos, the casting director, finally suggested Dennis.  If memory serves, I saw Robert DeNiro, Al Pacino, and James Caan; I think I saw every young actor in Hollywood.  Dennis was very easy going. The only problem was that he was having so much fun that it was hard to find him when we were ready to shoot because he was off somewhere playing all the time.”   –Director Monte Hellman

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