Behind the Wheel: The Art of Picture Car Coordination in Film and TV

When you think of the vibrant scenes of cars speeding across your screen, it might escape your imagination just how intricate the process is behind getting those vehicles there. Especially in the age of social media, where every detail can be scrutinized, creating a seamless mistranslation of time and space with vehicles becomes a mammoth task. As Ted Moser, picture car coordinator for the new series Duster, points out, the expectations for historically accurate vehicles are higher than ever.

The Demanding Role of a Picture Car Coordinator

Moser’s journey in the world of film began over 30 years ago, a passion that has allowed him to help craft narratives through the wheels on which characters drive. His title encompasses both transportation coordinator and picture car coordinator, yet he wears many hats on set. He runs Picture Car Warehouse, a sprawling facility in Los Angeles, housing over 500 vehicles. Here, Moser meticulously curates a collection that serves as the backbone for numerous productions, from Rush Hour 3 to Sons of Anarchy.

Authenticity in the Age of Instant Critique

In the era of websites dedicated to dissecting every frame of a show like Mad Men, where even the minutest details about car appearances can be critiqued, maintaining period-correct elements is crucial. Moser reflects on the changing landscape of television: “People are watching us more closely. Every mistake on camera can lead to a tidal wave of commentary online. We strive for authenticity at every turn.”

The Challenge of Period-Accurate Vehicles

Moser highlights that achieving authenticity is particularly challenging when working on period pieces. Choosing vehicles that represent a specific era accurately requires extensive research. For Duster, set in the early 1970s, this means scouring through potential vehicles and ensuring they are reminiscent of the times. However, the time constraints can often be suffocating: while films have a set shooting schedule, the frenetic pace of television demands a quicker turnaround.

“In television, you get a script, but you only have 10 days to shoot and then you get another script,” Moser explains. This endless cycle creates a unique challenge, especially when crucial elements can change week to week.

Finding the Right Cars for the Scene

Shooting Duster in Albuquerque—set in Tucson and Phoenix—adds another layer of complexity to Moser’s role. Vehicle casting agents receive a request for all potential cars from before 1972, but the reality can be starkly limiting; in a city like Albuquerque, the selection is often meager. “In Albuquerque, they might only have 45 cars from the specified period,” Moser notes, “and many aren’t even equipped with the right features we’re looking for.”

Sometimes, he faces a harsh reality where he’s left with just 12 or 15 viable options after rigorous vetting.

The Tension Between Star Cars and Background Vehicles

It’s often easier to find high-profile cars like GTOs or Mustang Mach 1s that steal the show than it is to secure the more mundane background vehicles essential for verifying the authenticity of a scene. “In 1972, not everyone drove a Chevelle,” Moser points out, emphasizing the importance of variety in casting background cars that reflect the community of the time.

“I specialize in background vehicles,” Moser adds, revealing a focus on capturing the essence of the time. “To recreate 1972 Tucson authentically means finding cars that truly look like they’ve spent 20 years in the desert. We often recycle and repaint as necessary.”

Overcoming Challenges with Ingenuity

Moser’s ingenuity shines as he discusses the process behind making vintage cars presentable for modern cameras. “It’s vital that they don’t look showroom-new,” he emphasizes. A blend of faux wear, strategically applied dirt, and careful selection help create the illusion of age.

Moreover, reusing background shots is a common yet clever tactic. “In the first episode, a diner scene had many car club vehicles. By strategically placing them around different blocks, we maintain authenticity while maximizing efficiency. What you see in episodes might overlap,” states Moser.

The Final Touches

Every detail matters in filmmaking, especially elements seen through the lens. For Moser, even the smallest oversight can create challenges during production. “If you see the shifter on a car through a shot, we must ensure it’s not stuck in park,” he notes. Coordination is key, given the tight timelines and the need for constant adaptability.

As Duster seasons unfold, Moser anticipates that understanding character dynamics will ease some of these challenges. Learning on the job doesn’t just yield a wealth of experience; it also streamlines car selection. With characters’ vehicles sometimes specified in scripts, discussions with creators can yield more fitting options.

With upcoming seasons promising more classic cars—along with Moser’s adjustments to fit the vision better—viewers are set for a visual treat. “Look out for a BMW Bavaria, and expect a mix of great and not-so-great cars from 1972,” he concludes with excitement.

In the world of picture car coordination, it’s a remarkable blend of art, engineering, and sharp instincts, ensuring that every chase, every quiet moment captured among the cars continues to resonate for years to come on screen.