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By February 3, , it was confirmed that a fifth film, referred to as Fast Five , was going into production in the Fast and Furious series, and that a sixth film was being planned.

Moritz would all return to their roles for the new installment. Diesel felt that the story between the characters portrayed by himself and Walker should continue, envisioning it as three chapters, of which Fast Five would be the last.

Diesel also wanted to bring back a variety of characters that had been in previous films without interacting, put them together and "have a lot of fun".

The production had originally intended to film on location in Rio de Janeiro. Universal intended to transform the series from street-racing action into a series of heist films with car chases in the vein of The Italian Job and The French Connection , with Fast Five as the transitional movie.

The question putting Fast Five and Fast Six together for us was: Can we take it out of being a pure car culture movie and into being a true action franchise in the spirit of those great heist films made 10 or 15 years ago?

Fogelson said that the racing aspect had put a "ceiling" on the number of people willing to see films in the series, and that, by turning it into a series where car driving ability is just one aspect of the film, he hoped to increase the series' audience.

Lin wanted to explore the elements of "freedom and family" in the film and collaborated with Morgan towards that ideal, both having worked together on previous installments of the franchise.

Morgan worked with Diesel to produce a story arc that would further explore and develop Diesel's character. He later incorporated it into Fast Five.

Three film units worked simultaneously. The main cast were required to travel to Rio at the behest of Lin, who felt it important to understand the area and its culture to give the film a good sense of place.

Establishing shots of the heist team members were taken as each arrived in Rio. A similar situation occurred while Ludacris was shooting a scene in which his character buys a car to drive around the city.

The rooftop chase across favelas was filmed in Puerto Rico, where the production could have more control over the area. The main and second filming units began filming in and around the capital, San Juan.

The island's mixture of tropical greenery and wide streets allowed the production to re-create the densely populated favelas of Rio while completing the larger action and external scenes without incident.

Production designer Peter Wenham had the task of transforming Puerto Rico and Atlanta into the previously scouted Rio locations in four weeks, as the production deemed Rio unsuitable for filming many of the larger scenes.

Wenham had to reinforce buildings to support the heavy camera equipment, and to alter the colors of more than 30 buildings in the city to make them suitable for filming.

His team needed to alter the buildings and strew debris to make the area look disheveled and appear as a Rio favela.

Wenham remarked that, though the development was difficult, in part due to the heat, it was "a walk in the park" compared with filming in the Rio favelas themselves.

He only chose to add a multitude of colors in the favela set. Navy base pier 60 miles outside San Juan stood in for the bridge for scenes involving the vault smashing cars.

A foot pursuit in which Diesel, Brewster and Walker are chased across favela rooftops by Johnson and his team was filmed over the course of a week in the small hillside town of Naranjito, Puerto Rico.

The scene was considered difficult to shoot, as pathways were slippery from moist tropical heat and the scene involved actors and stunt doubles running while avoiding dogs, chickens and other stray animals loose in the area.

To capture the scene, a foot cable-camera rig was used to allow for a fast moving, birds-eye view of the action, and cameras on cranes were set up on rooftops and in alleyways.

Filming moved to Atlanta, Georgia for the final phase. It was required to allow enough space for stunt drivers to drive into the building, and it had to include an integrated lighting system.

The design team removed walls, hauled out old railway cars, suspended rusted car parts and auto-plant car rails, and constructed smaller buildings within the main building to transform the site.

With twenty-five pages of script to shoot in a limited time, cinematographer Stephen Windon and his team spent three weeks setting up a series of high-powered, motorized lights in the rafters of the building, that could be controlled remotely to allow lighting to be altered quickly while fully illuminating the set.

A brawl scene between Johnson's and Diesel's characters was considered difficult to choreograph. The characters were written to be equally formidable, so the fight was punctuated with moments of character development, as Moritz felt this made the fight more exciting.

The scene required several weeks of rehearsal and more than a week of filming by the actors and their stunt doubles, who incurred several minor injuries.

The climactic vault heist required four weeks of preparation with every scene and camera angle determined in advance.

Filmed on the streets of Hato Rey, [46] the chaotic scene demanded specific timing that had to be synchronized with the various character interactions also occurring during the scene.

Razatos chose to use a series of camera cars including a crane-mounted camera atop a Porsche Cayenne , which allowed him to film from a variety of angles and heights while the vehicles were in motion, and a Subaru Impreza with a steel cage built around it that allowed for tracking shots.

Padelford also developed a top-mount dual-drive system for the Chargers that allowed a stunt driver to control the vehicle from the roof, while the actor focused on their performance inside the car.

Six versions of the 8-foot high vault were built, each with specific uses. Another vault was a reinforced, four-wheel self-drive vehicle that was connected to foot 9.

This stunt was abandoned when it was determined that even the powerful Chargers would not be able to support the vault's weight.

The train heist presented several challenges. The filmmakers were required to effectively purchase a length of working railroad for filming and the trains necessary to ride the tracks.

Then trucks had to be built that could race the train and meet the needs of the heist itself. Lin also required that the cars being carried on the train be able to jump out of the train at full speed.

The scene took precise execution. That goal is accomplished with this beat-heavy music and the gruff, aggressive Latin rapping.

The first trailer for Fast Five was released on Diesel's Facebook page on December 14, , in what was believed to be the first ever use of this marketing approach.

Following this debut, other members of the cast with personal social media platforms released the teaser trailer to their own fans.

Car Town allowed players to view the trailer for the film in an REG-branded , in-game drive-in theater and race around a virtual Rio de Janeiro.

The game also featured missions and locations based on the plot of the film, while allowing players to race against Fast Five characters and take part in a bank heist.

By buying these tickets in-game, players were given promotional codes which in turn allowed them to unlock a virtual s Dodge Charger , used by Diesel's character in the original film.

REG promoted the partnership between the film and the game in their theaters across 37 states, online and through social media, while Universal promoted it via their own Facebook, Twitter and YouTube sites.

Automobile manufacturer Dodge collaborated with Universal in marketing the film, supplying several Dodge Chargers to use in it.

Dodge also sponsored the world premiere of the film in Rio de Janeiro. The earlier start in these countries was timed to coincide with their Easter holidays [68] and avoided competition from forthcoming summer films, [69] although this placed it in direct competition with Thor in some countries.

For the overall weekend, it ranked second behind Thor. Fast Five received positive reviews from critics. The site's critical consensus reads, "Sleek, loud, and over the top, Fast Five proudly embraces its brainless action thrills and injects new life into the franchise.

Drop [Johnson] on it. The best thing, by far, in Fast Five Dwayne Johnson hulks through the movie leaving testosterone trails in his wake.

Variety commented that, based on Fast Five , a "sixth entry could be something worth waiting for". Total Film welcomed the return of Ludacris and Tyrese Gibson to "[inject] the film with much-needed laughs" and felt that Johnson fit into the established cast with ease, though it believed the film itself was "no mould-breaker.

Not all reviews were positive, however. Film4 criticized both the film's long running time and its treatment of female characters, remarking "[Females] cameo strikingly in buttock form.

Others actually have first names". But Film4 praised Johnson's role as DSS agent Luke Hobbs, saying he "provides a more credible anti-antagonist to our anti-heroes than the straight up villains can manage".

Brazilian reviewers criticized the use of Rio de Janeiro in the film, claiming it was stereotyped as "dominated by heavily armed drug traffickers, corrupt police, and sexy women".

Globo also reacted negatively to the use of "foreigners" to represent Brazilians, "speaking Portuguese with laughable accents".

But the image that will spread across the world is exactly what the city doesn't want. In December, , Richard Corliss ranked the film number 10 on his list of the Top 10 Best Movies of , saying, "A carnival of roguish heroes and pretty girls, car chases and cliffhangers, Fast Five is as much a tribute as The Artist or Hugo to the cinema's primal thrills.

Both the DVD and the Blu-ray contain a theatrical and extended cut of the film, [] director commentary, deleted scenes, a gag reel and features on the three central characters.

The event, renamed as the " Fast Five " , took place on September 16, , with Gibson and Brewster as Grand Marshals ; Gibson sang the American national anthem for the event and Brewster acted as honorary starter.

The event served as the kickoff for the first weekend of the Chase for the Sprint Cup and was won by Austin Dillon. A sixth film in The Fast and The Furious series was planned in February as development on Fast Five began, and in April , it was confirmed that Morgan had begun work on a script for the potential sixth film.

Fast Five. This article is about the film. For other uses, see Fast Five disambiguation. Theatrical release poster. Neal H. Moritz Vin Diesel Michael Fottrell.

Original Film One Race Films. It is always a privilege to be able to revisit a good character-driven story.

This franchise is more than street racing and tuner cars; it really is about this larger family and community of racers.

Main articles: Fast Five soundtrack and Fast Five score. British Board of Film Classification. April 13, Archived from the original on August 25, Retrieved August 1, Archived from the original on July 5, Box Office Mojo.

Archived from the original on October 5, Retrieved October 5, Archived from the original on July 4, Chicago Sun-Times.

Sun-Times Media Group. Archived from the original on May 2, Retrieved May 2, Los Angeles Times.

Tribune Company. Retrieved May 10, Bauer Media Group. Archived from the original on January 21, Retrieved May 6, Channel Four Television Corporation.

Retrieved May 23, Vanity Fair. March Archived from the original on March 1, Retrieved March 7, News Corporation.

Retrieved November 11, Latino Review. July 12, Retrieved March 9, Reed Business Information. April 21, Retrieved November 10, November 15, June 24, Screen Crush.

Townsquare Media, LLC. Archived from the original on November 10, Retrieved May 1, Archived from the original on November 16, Screen Rant.

Retrieved January 13, Archived from the original on November 13, Retrieved November 13, Deadline Hollywood.

April 25, May 27, Archived from the original on October 8, Retrieved October 4, Archived from the original on October 14, Archived from the original on May 10, All Music.

Rovi Corporation. Complex Media. Archived from the original on February 29, Retrieved February 29, Billboard Prometheus Global Media.

Retrieved March 27, The Rock". The Film Stage. Banquet Media. Retrieved December 15, Retrieved August 27, Archived from the original on August 27, The Wall Street Journal.

Retrieved March 14, South Florida Sun-Sentinel.

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