Audi's Truth in 24 may be Best Automotive Movie of All Time

Rebuilding a marketing team from virtually the ground up, picking a new ad agency, and buying time not once, but twice during the much-hyped and high-priced Super Bowl, it’s very easy to see that Audi of America marketing boss Scott Keogh has been given a long, long rope lead with which to work in his role at Audi. Long enough to make major marketing waves for Audi or perhaps enough to hang himself before he can see the fruits of his labor. All these actions assume a high degree of trust in the charismatic New Yorker who now sits pen-in-hand atop Audi of America’s marketing checkbook. Nevertheless, we suspect that with the new documentary, Truth in 24, Keogh has perhaps embarked on his riskiest move yet in the quest to make Audi a mainstream brand and, at the same time, succeed in making one of the greatest racing films ever.

The idea of communicating Audi’s illustrious motorsports endeavors on a broader scale began just days after Keogh began his position at Audi. Fresh off a stint at Mercedes, the newly-hired executive boarded a plane with his colleague - an equally fresh face at Audi of America - Jeff Kuhlman. Kuhlman who heads Audi of America’s communications, had been to Le Mans before with his former employer Cadillac, but neither of the two was prepared for the level of play by Audi Sport to which they’d be exposed as they watched the brand win its maiden run at Le Mans with the then-new diesel-powered R10 TDI.

Keogh and Kuhlman both agreed that all the dollars spent on such a world class effort at the iconic 24 Hours of Le Mans was lost on very few beyond sports car racing enthusiasts. They needed to figure out a wide-reaching way to share what they had witnessed - something that was becoming old hat for the staff at Audi Sport.

Of course, racing took a more prominent place in Audi advertising and communications. There were the gratuitous race win ads in AutoWeek and extra detail was placed in on-location race hospitality and VIP involvement. This might seem typical for a car company investing significantly in a top tier race program, but if Keogh has shown anything since his 2006 arrival, it’s that when he does ‘the typical’ he’s barely getting started.

Over time, a plan began to form between Keogh and his contacts at Chicago’s InterSport to make a documentary about Audi and the 24 Hours of Le Mans. The theory, as Keogh tells it, was to make something that was a credible account of what actually goes on at Le Mans and not simply an Audi commercial.

With that in mind, InterSport suggested signing New Jersey-based NFL Films. As the name implies, the company has built an unsurpassed reputation in sports documentary film-making. Their reputation is based on gladiatorial story-telling of American football in NFL Films’ own unique way, enunciated with the trademark slow-motion shots of spiraling footballs and the like. Trouble is, the company had never shot a car race and their staff wasn’t even into racing. NFL’s Keith Cossrow describes his prior resume of race experience as going to a NASCAR race back in college, though he admitted that inebriation might have hindered his memory of that particular event.

From Intersport’s perspective, this was a plus. NFL’s team of racing newbs had an outsider’s perspective on the sport and an amazing ability to relay a story. They reasoned that the group could tell it in a way more palatable to an audience beyond the faithful who camp out at races or in front of SPEED TV on the weekends. A wider appeal would be critical and Intersport lobbied that NFL Films was perfect for the job. Keogh agreed.

If things went as planned, Keogh would get his message out there and the product of the team's labor would go down as one of the great racing films of all time, on DVD shelves of car enthusiasts far and wide and next to such greats as John Frankenheimer’s Grand Prix or Steve McQueen’s Le Mans. On the other hand, Keogh could end up much like McQueen – placing his reputation and his fortunes, or at least Audi's fortunes, on the line as he pursued his quest to tell the story of Audi at Le Mans on the big screen.

Ink was laid to paper, locking in the Jersey-based film company just before the 2008 running of the 12 Hours of Sebring. NFL’s own Emmy-winning Cossrow would direct alongside Emmy-winning co-director Bennett Viseltear and InterSport would produce. Cossrow and a small team of three grabbed a few cameras and jumped on a plane bound for Florida.

When Cossrow and his crew arrived in Sebring, they would soon encounter a major learning curve. The large size of a racetrack as compared to a football field meant a total rethink on camera position and scope. The film team knew their limits and immediately went to drivers and Audi Sport technical staff to ask where they might get the best shots.


The incredible speed of the cars was another factor. The film company’s trademark slow motion effect to capture defining action – imagine a bone-crushing tackle being laid down – doesn’t directly translate to racecars, which end up simply looking like they are going slow. To make it work, NFL added more high-definition cameras using a shutter effect to help the cars really pop off the screen. They also began to focus on detail elements like rain dancing off of bodywork or suspension compression as cars jostle over pavement imperfections and bumps.

It’s safe to say they learned a lot at Sebring, as did Audi, who lost its first race after an eight-year winning streak. The risk taken on by Keogh became a lot more apparent in those late, sobering hours following the 12-hour Florida enduro.

It’s doubtful anyone at Audi Sport would have perceived the Sebring loss this way, but in defeat Cossrow and his team only saw opportunity. Audi had basically dominated the world of sports car racing in America and at Le Mans since 2000. Casting Ingolstadt as an easy-to-root-for underdog would be nearly impossible, but this significant loss helped show a chink in Audi’s normally invulnerable armor.

The size and proficiency of NFL Films’ team grew with each passing race. Two more ALMS events were covered, but they never make the final cut of the film. Like perhaps many more, there’s a 12-minute segment on Long Beach (an Audi win) that was cut but may make it as an added feature on any DVD release.


Two more were shot in the European-based Le Mans Series and it is the eventful contest in Monza, Italy that gets screen time and helps to further set the stage. In Monza, Audi Sport lost again – this time to Peugeot. A dramatic, high-speed accident involving Dindo Capello saw his R10 TDI impact hard against the barriers after contact with another car. The Italian limped the heavily damaged Audi back to the pits allowing the Audi Sport team to show off their ability to rebuild the crumpled car and return to the race after just 15 minutes. Later in the race, a harrowing near miss of an airborne LM P1 sportscar over the top of Capello’s co-driver Allan McNish in the very same R10 TDI shows just how dangerous the sport can be.

The amazing comeback drive by McNish and Capello make for great excitement but the early accident means the #1 Audi was out of contention in Monza. Rather, it is contact by the leading Audi driven by Rockenfeller with the one-lap-down Peugeot that caused the German squad to lose another race. For Cossrow telling the story, this would produce more tension and adversity for the team to overcome. For executives like Keogh with skin in the game, this must have surely been cause for sleepless nights.


When asked about this, Keogh laughs and mentions that there was talk of “Plan B” if the unthinkable happened and Audi lost at Le Mans. “Someone suggested we end the movie when the cars cross the starting line of the 24 Hours.”

By the time Le Mans came around, Cossrow set out for France with a crew of thirty, packing eight cameras. Once on the ground, they didn’t miss a beat. The Le Mans test day, scrutineering, qualifying—even the pageantry of the driver parade all aid in the build-up.

By France, the team had hit a cadence, with 6-8 cameras shooting at any given time. Raceday preparations included a minute-by-minute schedule of where and when crew members would be working or sleeping. Control was kept via a central war room that managed the endeavor.

As with racing, things fell together seemingly in the nick of time for the film team. Twenty minutes before start, approval came down to put a mic on Howden ‘H’ Haynes, the lead engineer for the #2 Capello/Kristensen/McNish car. With a microphone on H, the whole shooting plan had to be changed in those last minutes. As Cossrow put it, “Once you wire someone, you’ve got to have a camera on them the whole time. You never know when the moment is going to happen.”

H ends up playing a pivotal role in the story, and this would have been completely missed had that last-minute decision not been made. Permission was granted however, and minutes later the competing cars roared across the starting line.

Had Audi lost and Plan B been implemented, this would have been the end of the movie. Roll credits.


Since making the movie Truth in 24, Audi has begun to show the current final cut to limited audiences at film festivals like November’s AFI Film Fest in Los Angeles. With an R10 TDI parked in front of Mann’s Chinese Theatre and spotlights shining off into the night sky, stars of the documentary including Dindo Capello, Emanuele Pirro, Mike Rockenfeller, Alexandre Prémat, Brad Kettler and even the narrator, actor Jason Statham – himself no newcomer to Audis –posed for the paparazzi before being ushered inside. After a quick intro and much anticipation, the house lights at Mann’s dropped and the film began.

Narration is written by Cossrow, Viseltear and Gerry Reimel and offers some interesting insights. It was shot in seven-channel surround sound and backed up with an original score performed by the Philadelphia Orchestra. Statham’s gritty British accent subtly offers the international flair that is a hallmark of Audi.


The film opens immediately speaking to those in the audience who may not be motorsports aficionados. Mentions of acting greats such as Steve McQueen and Paul Newman, as well as those actors’ own history in the French endurance race effectively drops names that are more renowned outside of racing circles. Early on you get some background on the race, with a quick education from Radio Le Mans on-air talent John Hindhaugh as he walks you through the nuance of musical Ferrari engine or the guttural blaring of a Corvette.

The characters – those key players on the Audi Sport squad - are then introduced. Seven minutes in, Audi Sport engine czar Ulrich Baretzky begins to describe the inner workings of the Audi R10’s V12 TDI. The monologue takes about 30 seconds – long enough to make you wonder if the film is going to quickly lose those who don’t care or understand the tech. Could it be the film is too inside baseball?

The narrative moves along to the quietness of the R10 TDI’s V12 turbo diesel engine. Drivers Pirro, McNish and Kristensen talk about what they now hear as drivers that they had never heard before over the roar of the engine.

The film returns to Baretzky, lecturing again on how sound is a form of energy, suggesting loudness might equate to a loss of energy – interesting to the techies, but you can almost hear the collective yawn from the audience. And then it happens. With a gleam in his eye, Baretzky makes the jump from sexy sounding engines to sounds of sex itself.

Did he just say that? The theatre erupts in laughter. This isn’t your typical PR piece. One can sense the veil lifting.

Comments this frank and unpolished are abnormal for a tightly run ship like Audi. Audi Sport is a close-knit family with plenty of joking and obscenities dropped in the privacy of a race garage, but this reality is almost always smoothed to a presentable sugar-coated product as it is communicated via the official routes. What you begin to see in Truth in 24 is a reality that’s more, well, real.

It’s also much more enjoyable and surprisingly humorous. Baretzky finishes the short segment with a Cheshire cat-like grin on his face. From a stoic German, you start to see the wry humor and the pride with which he refers to his baby–a 12-cylinder monster of a racing engine that has broken the boundaries of what one envisions when the word ‘diesel’ is uttered.

After the basic introduction, the filmmakers introduce Peugeot and begin to position Audi as the underdog – not hard to do given the losses they’d experienced in front of the rolling cameras earlier in the season. That the newer Peugeot was significantly faster than the Audi R10 TDI only helped in making the case. The grim outlook for Audi’s chances isn’t just fancy story-telling. It was reality.


The film introduces perhaps Audi’s most famous driver at 15:30 into the film and you are taught or reminded of the greatness of Tom Kristensen’s career. As John Hindhaugh comments, “It took Jacky Ickx three times as long in terms of years and appearances to win (just) six.”

Tom’s nabbed eight wins – six for Audi – in just 10 appearances.


At 17:05, they introduce Allan McNish. The Scotsman is one of Audi’s fastest drivers but he’s only won here once prior to the start of filming and that was ten years ago. You feel for McNish when they point out that his name’s been misspelled (MacNish) on the celebratory plaque in the center of town. The dry spell is used in the storyline to emphasize Allan’s tenacity, belief in the benefits of hard work and disbelief in luck.

The intro continues through races in Sebring and Monza, but it’s at Le Mans where the stage is set in a finer degree of detail. The sights and sounds of downtown Le Mans are vivid, and even mundane tasks such as the bolting together of barriers along public road stages of the course are catalogued with surprising beauty.


You get deeper into the heads of the key players. Tom Kristensen, being driven around the track in a team van, describes what’s going through his head at certain segments. Baretzky talks about his moment of solace, a tradition for the mustachioed German, on the seventh floor of the grandstands at sunrise when there are no spectators around.

Clips of drivers are candid. Lucas Luhr explains the things men just don’t share in life. McNish, having just sat in the dampened seat of his R10 TDI, inquires with Tom Kristensen if Mr. Le Mans has just had a “pee-pee.”

It’s an interview with rookie Mike Rockenfeller that goes the deepest though. “Rocky” brings it on himself, saying how he did the “finish”. last year during his maiden run in an Audi at Le Mans. Over-exuberant perhaps, young Rockenfeller backed the R10 TDI into the wall at Tertre Rouge, taking his car out of the race – having just completed the fastest Audi flying lap thus far in the race, he followed it up with the first retirement ever of a “factory” Audi at Le Mans.

Rocky hasn’t really been pushed on the subject until now, at least that we’ve seen. We remember Audi staff not close to the race team theorizing that 2007 would be Rockenfeller’s last race for the company. That he was back for 2008 is impressive and speaks to the familial nature of Audi Sport.

It’s doubtful that main rival Peugeot would have volunteered access to their drivers to a team of filmmakers doing a documentary for Audi, but NFL Films was crafty enough to make this happen anyway. They attended Peugeot’s press conference and left cameras rolling on the drivers even after public questioning was completed. From this, there was plenty of footage to introduce other key players like Canadian racing great Jacques Villeneuve and the sharing of candid track strategy comments between teammates.

Like Villeneuve, who’s won the Indy 500 and the F1 Championship, the rest of the Peugeot squad is impressive to be sure, but Audi’s experience is on a different level at Le Mans. It’s here that the NFL Films trademark slow motion shot is used artfully and most humorously to emphasize the fact as they show Audi veteran Frank Biela dressed in his racing suit and slowly taking a drag on a politically incorrect cigarette. The theatre erupts in laughter.


As if that doesn’t drive the point home, this scene is shortly followed by one in which Allan McNish walks you through the entire track in one sitting. As the Scot watches in-car footage shot from one of the many Audi safety cars doing a high-speed lap of the 8.467-mile course, Allan deftly describes every corner, most every gear change, what’s going through his head as a driver, and more. And he does so in one take and seemingly in one breath. You could say he knows Le Mans like the back of his hand, but he probably knows it better than that.

Then there’s Dindo Capello. The normally quiet Italian isn’t shown on camera as much as his teammates, but he’s happy to show his sense of humor when speaking to a crowd of Danish fans who’ve gathered to cheer on him and his Danish teammate Tom Kristensen. “This year, the Lion is very fast. But sometimes when you go to the circus, you see the Lion jumping through the ring. Jumping through one ring is easy. Through two rings is not so difficult. But jumping through four rings probably gets a little bit more difficult. And sometimes he fall down, the Lion.”


By the 52-minute mark, you’re finally officially introduced to Howden Haynes (a.k.a. H), the lead engineer for the #2 Audi driven by Capello, Kristensen and McNish. By this time the audience has seen him in interviews and directing action in the pits, but it’s nearly an hour into the film that H takes his place as one of the key characters in the film.

It is H’s role that perhaps is the most appropriate and maybe not so surprising to those who are familiar with the Audi brand. In a film about racing, you would expect the drivers to be the stars, and maybe the team directors in supporting roles. An engineer, even a lead engineer, for one of the teams is an unlikely focus, unless of course you’re Audi and engineering is such a fundamental pillar of the brand.

Watching the movie, H’s role is a poetic note and one thematic of the brand. His position as such is a testament to Cossrow’s filmmaking abilities and his quick learning of what makes Audi, Audi. You may recall H was only wired with a microphone 20 minutes before the race.


When that race begins, the filmmakers don’t waste any time showing just how much of a speed disadvantage Audi had to deal with. One of the most poignant scenes in the movie is used to show just this with a simple and repetitive shot of the first three laps from the upper grandstands. The lead Peugeots and the Audi cross the starting line with no cuts between the race-leading Peugeot and the leading Audi, showing the gap of time between them that grows painfully by only the third time around.

Lap 1 – Peugeot, Peugeot, Peugeot… Audi (3.0 seconds behind).
Lap 2 – Peugeot, Peugeot, Peugeot… … Audi (6.5 seconds behind).
Lap 3 – Peugeot, Peugeot… Peugeot … … … Audi (10 seconds behind).

Showing ten seconds of an empty racetrack with no action might seem like it would invite distraction from the audience. Instead, those watching the movie are drawn in even further.

From there, the film sets out to show how the Audi team does absolutely everything they can to equalize the playing field. Most notable is the idea of quadruple stinting for drivers. One stint is 45 minutes. The film points out that four is essentially the same length of time as the Indy 500. That may not sound bad as plenty of IRL drivers do this each year. However, when you have to be back in the car in three hours in order to do it all over again and probably in the middle of the night, that’s a bit more difficult.

With the Audi team running like clockwork and pushing so hard, mechanical difficulties begin to plague the Peugeots. After nightfall, it begins to rain. There’s the shot of Baretzky on the grandstand. By morning, the #2 car of Capello/Kristensen/McNish is more than a minute up.


As the track begins to dry, choices become more critical. Will Audi be able to retain the lead from the advancing Peugeots? Will Kristensen be knocked out of the race when another prototype collides with his Audi R10 TDI and sends him into a spin? This couldn’t have been scripted better.

When H has Kristensen begrudgingly pit to change to intermediate rain tires and the Peugeot gets faster-in-the-dry slicks, that’s when the engineer cements his pivotal role in the Audi race.

What isn’t explained in the movie, but rather what was happening at the time made this a clear gamble by Peugeot to catch the lead Audi. On the long straights of Mulsanne, reports said the track was bone dry. Tom’s intermediate tires might overheat if he didn’t watch his pace. But on the front part of the track, rain had soaked tricky turns like the Ford chicane and the curves by the Dunlop bridge. Peugeot was hoping slow and careful running on the front of the course and all-out speed on the back of the course would bring them back into contention. This was clearly on the mind of Kristensen as he questions Howden’s wisdom in the choice of intermediate tires. In the end, the engineer wins the argument.

Unfortunately for Peugeot, the leading 908 spins. “These tires are perfect,” Tom says over the radio after he sees the gamble pay off.

H doesn’t gloat. He’s calm, cool and collected. Still on mic, the engineer rather modestly accepts congratulations from drivers and teammates on his way back into the garage. He skips the massive revelry going down on Le Mans’ front straight and sits down to catch his breath, text someone, and have a cigarette, sitting, ironically,on the one rain tire in a mound of slicks.


Of course then there is the expected emotional trophy ceremony. Cossrow does an admirable job capturing the sea of fans that always rush the front straight to cheer on the winners as they take to the podium high up by the iconic Rolex clock.

H’s gamble has paid off. Audi Sport has won. Kristensen has his record eighth win. McNish has broken the dry spell. NFL Films has their storybook ending and the high stakes gamble made by Scott Keogh has paid off, at least in the form of a win for the cameras.

It would take months of production to sort through 175 hours of race footage and 100 hours of additional footage (25 hours just of Howden Haynes) and pare it down to 95 captivating minutes. Getting Germany to sign off on some of the racier scenes was also a challenge, but Audi of America staff and NFL Films lobbied hard to keep these elements as they rightly make the movie so much more interesting and they make the often machine-like Audi that often all-out dominates a racing series much, much more human.


Staff in the room during the first showing with Audi Sport boss Dr. Wolfgang Ullrich say the German was silent for a few moments after the lights came on. No question the making of the movie was a gamble, regardless of whether Audi won or lost, but the result is one of the finest racing documentaries ever and a true testament to the era of dominance delivered by Ullrich. At a time when the economy or maybe politics from Audi’s new owners at Porsche (another legendary sportscar racing company) may jeopardize Audi’s future at Le Mans, Ullrich can point to Truth in 24 at least as perhaps the greatest telling of his efforts. Ullrich, a giant among racing strategists and team leaders was visibly moved.

Screenings of the film by Audi staff and the public have been just as well received, whether that audience be team insiders or those who are not into racing at all. In the end this was Cossrow’s goal. “I wanted something my wife would watch, but also one that would keep someone interested if they’d been attending Le Mans for decades.”

In the end, Cossrow’s film is successful on many levels. For racing aficionados, so many racing movies are ruined with unbelievable plots, poorly developed characters and unlikely racing scenarios. For those not into racing, watching a car race on TV or even at the track can simply be boring. Truth in 24 finds that sweet spot in between. It focuses less on the race than on the story. That story, with its rich characters, is real and needed no script. It simply needed someone to tell it in the right way.

Thus far, Truth in 24 has debuted at several film festivals. Audi has announced a TV debut on ESPN at 8PM EST on March 20 - the night before the 12 Hours of Sebring. Further showings across the ESPN network will follow and there’s been the suggestion of a limited run in theatres as well before the movie inevitably ends up on DVD.

QUOTES & COMMENTARY:

Dindo Capello "Truth in 24 is the very best sports documentary I have ever seen. It is a very special production. The footage, the story and music is all very good - it's all 100%. The film increased my respect for our team - I didn't think that could be possible - because it film showed me things I didn't realise happened. As a driver you are in your own world and so once you're out of the car, had a brief talk with 'H', I would either be eating, or having a massage, or just resting in the unit I share with Allan and Tom behind the pit. But the film showed me the bigger picture and so I learnt a lot - it was a big surprise for me." Tom Kristensen "Truth in 24 is a great film - a perfect documentary of the Le Mans race, of the cars and especially the manpower and teamwork it takes to overcome last year's great race. It tells a very good and interesting story featuring some nice Danish flags! I enjoyed seeing what the others were up to at different times during the race - like when ‘H’ was looking for me, what they were doing when I was in the car, with our doctor or physio or eating in the hospitality. The build up and preperations to the big race was well captured as well and the crispy voice of Jason Statham makes for great narration. The film shows perfectly what it really takes to be a driver, mechanic or engineer at Le Mans. The scene with the Joest guys rebuilding a badly damaged R10 TDI in 15 minutes witnessed by the motorsport boss of the year 2008 and the thumbs up by Allan directly afterwards was team spirit to its maximum! "We knew that a film was being made and you never know how it'll turn out but these guys were great ‘flys’ on the wall. Importantly we weren't distracted at all during the entire process. The movie makers all did a fantastic job especially considering their limited knowledge of motorsport at one of the toughest environments. Hats off to them all and I can understand why our big boss, Dr. Ullrich, shared a tear after seeing the movie first time. "I'll enjoy taking this film off the shelf to show my grand children; ‘Look here and shut up: This is how your Grandad was part of a great Audi team (including Big McNish and Gentle Capello) with the right attitude and mental strengths to overcome Le Mans and the French favourites a looooong time ago’…" Allan McNish “I think what the film does is show you yourself in a mirror very, very well. You don’t appreciate the efforts that are put into things because it’s sort of natural. It showed me the efforts and some of the difficulties that some of our crew go through. I know that “H” sits on the wall for 24 hours. I know that Leena (Allan’s data engineer) is there for 24 hours. But I didn’t realize they had that little alarm clock that went off. I didn’t realize some of the little things that were going on for them and it gave me a better understanding of their life, even though our lives are so interlinked - we speak most days and we spend so much time together that they understand Dindo, Tom and me intrinsically. There was an element of things that came out in that film that I didn’t even appreciate because I was so focused on doing my job. What came across is that there is a tremendous amount of pressure boiling up. There’s a tremendous amount at stake. There’s a tremendous amount of heart, a tremendous amount of emotion and I don’t think you could have written a better script than the way this year turned out. Also, I don’t think it could have been captured in any better way than it was in Truth in 24.” Howden "H" Haynes "NFL films have produced an amazing film with “Truth In 24”. Hollywood could not have written a better script! In fact, permission was only granted 20 minutes before the start of the race to have a microphone on me for the whole 24 hours. I was the only one with a mic and luckily it was my car that won; it was a huge risk. If you look at the statistics before the race then the risk was even bigger. The R10 was in its third competitive season and 3 seconds off the pace at Le Mans! Audi of America took a big risk but I think it certainly paid off. Even using NFL films was a risk; they had no motorsport experience and had never been to Le Mans. But that is a big part of the success of the film. They came with no preconceived ideas and that has given the film an appeal to both the die hard racing fan and to people who aren’t so interested in what we do. A rare insight is given into our team with the focus being on the human element. Not the cars or the technology but the people that make it happen. Race Engineers, like me, are not normally the focus of media attention as the cars and drivers are the face of our brand. The truth is we are a team; the Audi “family” and the film shows how many people it really takes, how much preparation, dedication and commitment is required from everybody to succeed. I am extremely proud to be a part of this team and to have our greatest achievement to date captured on film is something very special. When I watched the film with some of my team mates, we all commented on how it was exactly like reliving the event. The emotions all came back and we were in France again; that is a measure of the success of the film and a big credit to NFL Films for capturing the events and portraying them in the way they did. In years to come I’ll be able to show my kids and say that’s what your old man and his team managed to achieve against the odds in 2008 and they made a film about it!" Mike Rockenfeller “I never imagined something like this happens on our level. I’ve never seen it done like this. I think it’s really special, and I’m very… I don’t want to say proud because I had no part of it. I was part of it because I drove. I did nothing to help with the movie. I just did what I did like the others, but I’m still proud and very happy that I’m part of it. In 20 years or whatever, I can show my kids and say, ‘hey… look'." Emanuele Pirro “I think a lot of credit must be given to Audi of America. I don’t know, but I think this movie was probably very expensive. When you think about it, you have to be very brave. At the end of some achievement, everything seems easy. But, to have the idea and to have the courage to sign the check, to organize everything is very difficult. I believe this movie will stand for many, many years.