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David Poland

By David Poland poland@moviecitynews.com

On Their Tows: 'Brave One,' NYPD Make New Fans on Upper East Side

Good morning, New York–especially those of you on the Upper East Side! I know it can be kind of tough to get up and at ’em on such a sluggish, sultry day, but a few of you might take a cue from the NYPD, which arrived in Yorkville at 7 a.m. to tow your cars before Jodie Foster and Neil Jordan showed up to work on their new film The Brave One.

Consider yourself warned (Photos: STV)

The parking enforcement unit and the production company had posted some pretty conspicuous notices around the neighborhood sometime last weekend, politely if not directly warning residents that any cars parked on East 87th, 88th, or 89th Streets and the bordering stretches of Lexington and Third Avenue on the morning of June 20 would be subject to removal–towed to the “nearest legal parking space.” And they were not messing around: By 9 a.m., a pair of tow trucks had relocated at least a half-dozen vehicles to Third Avenue just above 90th Street.
“There is no cost or penalty to owners of relocated cars,” read the notices supplied by Redemption Pictures (IMDB lists Warner Bros. as the attached studio). “In the event that your car is relocated, contact either one of our parking assistants or your local police precinct. With a description and/or a plate number, they will tell you where your car can be found.”

Good morning, gentlemen. Who wants to make a movie?

So with all of this in mind, who are Jodie Foster’s biggest fans this morning?

The owner of this Pathfinder will be thrilled to have had this tow truck driver in his car, just as nearby residents were overjoyed by the two minutes of car-alarm noise that resulted at 8 a.m.


To the driver with the New York license plate DJV 9746….


… and the driver with the Florida plate A54 2IE …


And the owner of this Toyota Sienna from Pennsylvania, FSM 3911 …


… your cars are a few blocks uptown.

Really, it didn’t seem like anybody parked on East 88th Street had heeded the yellow notices the city had posted, but it seemed unreasonable that the NYPD would devote two trucks to towing every car parked between Third and Lexington–easily more than 20 in all. I asked a member of the film crew how the drivers decided which cars they would take away.
“They’re taking all of them,” he said.
“All of them?” I asked, stunned.

Brave One crew members cordon off East 88th Street, which will be used, however ironically, as the location of a traffic jam

The man nodded, inducing me to wonder who pays for all of that. Surely, the Mayor’s film office, which provides free police presence for film shoots and hands out location permits like Chinese restaurant menus, could not be so generous as to pick up the tab for a pair of NYPD tow truck drivers at roughly three hours each. Indeed, a film office spokeswoman told me this morning, the production company incurs the cost, but she said she did not have the specifcs on what that amount might be.
Next I called the NYPD, from whom I figured I could get a ballpark figure or even a few charges for previous films. I also thought New Yorkers might want to know how much money is outstanding while the city waits for reimbursement. Alas, after 10 minutes on hold, I was required to leave a message.
So–anyone want to place any bets on the going rate for a morning’s worth of parking enforcement? And does anybody have any fun stories about your own cars being relocated for the sake of cinema?
UPDATE: OMG! OMG! Fuck the car! It’s Terrence Howard!

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7 Responses to “On Their Tows: 'Brave One,' NYPD Make New Fans on Upper East Side”

  1. James Stone says:

    Many years ago, on the morning after a bachelor party, we headed downstairs. As I didn’t have much luggage, I offered to carry down one of the pieces of drug paraphenelia, a “Kab-Boom”. For those unfamiliar with such an animal, it’s one of the world’s largest Bongs, made up of 3″ PVC tubing.
    Everything was fine until we went out to 45th street (Near Grand Central Station). When we got outside, what should we see, but the area crawling with cops, who had come there for a movie shoot or parade. So, there I was, with the worlds largest Bong, and not only did I have to walk through all these cops, but we also had to ask them where they had moved our car to!
    Needless to say, I was very happy that nobody asked to look into the bag, nor what was in our pockets.
    Therefore, be very careful about what’s in your pockets before you approach the Po-Lice.

  2. the onion says:

    this is based on charges from 3-4 years ago. the city charged production companies $200-300 per tow truck for 4 hrs. max.
    in addition, 1-4 tow trucks required payment for the supervisor in charge, it’s approx. $50-$60/per hour. 4 hr minimum.
    for the tow truck drivers, it’s approx. $30-$40/per hour, 4 hr minimum.

  3. alexis says:

    Hi,
    The production companies pay hundreds of dollars for the tow trucks and police enforcement which are otherwise off duty. The police are paid the next week and I believe the tow trucks need to be paid in advance. So the city doesn’t wait for any reimbursement nor is it out any tow trucks or police personnel because they are off-duty.

  4. Remo says:

    Production companies do not pay for these tow trucks. It is an effort by the mayor’s office to actually lessen the impact of films on a neighborhood and provide residents with parking up until the last possible moment. Before this was instituted, the production company would take the parking from the last street cleaning date…thus holding parking for up to three days for one day of filming. Now it is up to the residents due diligence to be aware of their parking. ps- signs are always posted previous to the last street sweepeing.

  5. Anonymous says:

    Welcome to New York

  6. The Reeler says:

    BREAKING: Wong Kar Wai Captured in NYC Bakery Shooting

    For those of you for whom production of Ridley Scott’s American Gangster here in town just does not possess the glimmering urbane fabulousness of, say, Jodie Foster’s fleet of tow trucks, IndieWIRE kingpin Eugene Hernandez offers up this tantalizing…

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon