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Director Jeff Nichols captures 1960s rebel cool in 㽶ƵֱThe Bikeriders㽶Ƶֱ

Austin Butler, Tom Hardy, Jodie Comer star in film offering cool cred, pathos and wistfulness
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This image released by Focus Features shows Jodie Comer, left, and Austin Butler in a scene from 㽶ƵֱThe Bikeriders.㽶Ƶֱ (Focus Features via AP)

Jeff Nichols had dreamt of making a film about a 1960s motorcycle clubs for over 20 years.

The obsession started when he first cracked open Danny Lyon㽶Ƶֱs book 㽶ƵֱThe Bikeriders,㽶Ƶֱ a New Journalism-style account of the Chicago Outlaws Motorcycle Club in the mid-1960s. He saw it as a story about rebels, romantics, frauds and the end of an era.

But he didn㽶Ƶֱt quite realize just how terrifying it would be to film the motorcycles in motion.

The bikes were vintage. The actors, including and Tom Hardy, would be riding at high speeds. And there would be no helmets. At some point, one of his stunt coordinators just came out with it: 㽶ƵֱThere is no way to make this 100% safe.㽶Ƶֱ

They went for it. The danger was kind of the point. And everyone made it out unscathed.

㽶ƵֱThe Bikeriders㽶Ƶֱ ( ) is a rare summer gem: An original film with stars (including Jodie Comer, Michael Shannon, and Mike Faist), cool cred, pathos and a clear-eyed wistfulness for a brief moment and a type of guy.

㽶ƵֱThis is a film that㽶Ƶֱs really about nostalgia,㽶Ƶֱ Nichols said. There is a sadness that comes with that. But there㽶Ƶֱs also a joy in remembering it.㽶Ƶֱ

Catching a star on the rise

Nichols has always had luck with casting, getting movie stars in his films right as they㽶Ƶֱre about to break big (like Jessica Chastain in 㽶ƵֱTake Shelter㽶Ƶֱ).

For 㽶ƵֱThe Bikeriders,㽶Ƶֱ it was Butler. 㽶Ƶֱ 㽶Ƶֱ had yet to come out, but when he met him, he was certain: This is a movie star.

㽶ƵֱI read a lot of scripts and this one just felt different,㽶Ƶֱ Butler said. 㽶ƵֱIt felt full of humanity and these cinematic moments㽶ƵֱI felt like I was being invited into this other world. And he was one of the coolest characters I㽶Ƶֱve ever read.㽶Ƶֱ

Butler㽶Ƶֱs Benny is also the most enigmatic of the bunch: A guy whose face is never shown in Lyon㽶Ƶֱs book and who is never interviewed 㽶Ƶֱ just talked about.

㽶ƵֱI love how Jeff talks about him as being this empty cup that everybody wants to fill with their own expectations and their own responsibilities. He doesn㽶Ƶֱt want any of that,㽶Ƶֱ Butler said. 㽶ƵֱThat㽶Ƶֱs when he wants to cut loose and be free.㽶Ƶֱ

Nichols wanted Benny to be bottled up until the end and remembered telling his star to 㽶Ƶֱpull it back㽶Ƶֱ a few times.

㽶ƵֱLike, stop smiling,㽶Ƶֱ Nichols laughed. 㽶ƵֱWhen that kid smiles the whole world smiles.㽶Ƶֱ

But he soon realized that was missing the point of casting someone like Butler 㽶Ƶֱ an emotive actor with a big heart.

㽶ƵֱThat character got better because of him,㽶Ƶֱ Nichols said.

A different point of view

One of Nichols㽶Ƶֱ biggest breakthroughs was when he realized the narrator should be Kathy, who falls for Benny at first sight and gets wrapped up in the club.

㽶ƵֱShe just pops off the page,㽶Ƶֱ Nichols said. 㽶ƵֱShe㽶Ƶֱs witty, she㽶Ƶֱs introspective, she㽶Ƶֱs self-deprecating, she㽶Ƶֱs infuriating at times. She is a real person.㽶Ƶֱ

Comer saw in her a fascinating character, an 㽶Ƶֱordinary㽶Ƶֱ but still extraordinary person that reminded her of women she knew growing up in Liverpool. She worked tirelessly to nail Kathy㽶Ƶֱs very specific working-class Chicago accent.

But on another level, she was just a better voice for what he wanted to say.

㽶ƵֱThe ultimate truth, and a subtext of the film, is that men are really bad at sharing their emotions,㽶Ƶֱ he said. 㽶ƵֱObserving this group in the hands of a male narrator I think would be really boring.㽶Ƶֱ

Fact, fiction and telling a good story

㽶ƵֱThe Bikeriders㽶Ƶֱ is a work of fiction. Nichols didn㽶Ƶֱt want to be the historian of the Outlaws, a group which still exists. He mostly wanted to capture this time and culture and evoke the feeling he got when he opened that book so many years ago.

But he also draws heavily on Lyon㽶Ƶֱs images, some of which are recreated, and reporting. Much of Kathy㽶Ƶֱs dialogue are things the real Kathy, who was married to Benny, said. Hardy㽶Ƶֱs character Johnny was also apparently inspired by the Marlon Brando film 㽶ƵֱThe Wild One㽶Ƶֱ to start the club. He was the leader and also a bit of a fraud 㽶Ƶֱ a suburban dad with a real job on the side.

Nichols chose to make the film in color, instead of mimicking Lyon㽶Ƶֱs famous use of black-and-white photography.

㽶ƵֱThey㽶Ƶֱre beautiful, but they are romanticized,㽶Ƶֱ Nichols said. 㽶ƵֱI think when you put them in color, they become less affected. They become more realistic.㽶Ƶֱ

The joys and pains of riding those bikes

Like Butler, Hardy came into the film with some motorcycle know-how. But neither would describe it as a leg up 㽶Ƶֱ antique bikes are a different beast.

㽶ƵֱIt just happens to be a convenience because I can ride as opposed to lying about skiing,㽶Ƶֱ Hardy said.

Still, once they got it down it could be rather exciting.

㽶ƵֱIt was exhilarating riding in a giant group,㽶Ƶֱ Butler said. 㽶ƵֱYou feel the energy of every motorcycle coming together.㽶Ƶֱ

Comer said riding on the back of Benny㽶Ƶֱs bike, in the Cincinnati night with engines roaring and street lights twinkling, was 㽶Ƶֱa really magical kind of movie moment.㽶Ƶֱ

And the danger was ever-present. But it also resulted in some real movie magic, like the near-impossible recreation of one of Lyon㽶Ƶֱs most famous photographs with a single rider speeding across the Ohio Bridge.

In the film, Butler is the rider. They had shut down a bridge. They couldn㽶Ƶֱt do it more than twice (both logistically and because they couldn㽶Ƶֱt risk anything with their star). They had a 35mm film camera mounted on a car with a moving crane, attempting to speed alongside Butler.

㽶ƵֱAll of a sudden we lock in the cameras in the right spot, the bridge is in the right spot, Austin looks back, then he drives off,㽶Ƶֱ Nichols said. 㽶ƵֱAnd you㽶Ƶֱre like holy (expletive): 㽶ƵֱWe got it.㽶Ƶֱ㽶Ƶֱ

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