Iconic Car Chases Then and Now – How Filmmakers Drive Emotions

MZed Education

by Mascha DeikovaOctober 16^th, 2025

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Recently, I watched the new Paul Thomas Anderson film “One Battle After Another” and thoroughly enjoyed its plot, humor, pacing, suspense curve, acting, and cinematography. There was, though, one scene in particular that stood out for me. Namely, the car chase towards the end of the movie. It was so unique, so unexpected, and so viscerally intense that it made me want to rewatch other iconic car chases from cinematic history and analyze how they affect storytelling and viewers’ emotions. And that’s exactly what we’re going to do now!

If you’ve ever read my articles, then you know I’m a fan of intentional cinematography. Meaning, when filmmakers choose shot sizes, framing, camera movement, lighting, and so on, based on how they can enhance the storytelling and create an impact on the audience’s subconscious reaction. That’s why, to me, a good car chase isn’t only about who catches whom. It’s about how it makes us feel while it unfolds. Some scenes make us clutch the armrest, some make us laugh, and others move with the rhythm of a dance. And in P.T. Anderson’s case, they can leave us dizzy, as if we’ve been spinning right along with the camera.

Grounded but thrilling car chases

Before we jump into “One Battle After Another,” let’s travel back in history and look at some classic scenes that shaped how car chases work on screen. Starting, of course, with “Bullitt” from 1968. Steve McQueen’s pursuit through San Francisco in a dark green Ford Mustang is indeed one of the greatest car chase scenes in motion pictures:

Why is it legendary? Many reasons, and one of them is that this scene feels so grounded, so real! No CGI, no trickery, just cars flying over hills, roaring engines, and screeching brakes. The absence of music makes it feel even more authentic. Filmmakers achieved this overall effect by shooting on location in San Francisco, with professional drivers and extensive use of stunts. The whole sequence took two weeks to film.

Apart from that, note how the cinematography and editing work here in ensemble. Long-lensed pans combined with low angles, close to the wheels, make us feel every bump and dangerous corner. An over-the-shoulder perspective helps increase immersion: suddenly, we don’t see what’s coming over the hill, just as the characters don’t, and the suspense rises. The Oscar-winning editing is fast but never confusing, so you always know where each car is. Sometimes the shots linger just a moment after the action has passed, giving the audience a quick breath before they’re hurled back into the chase. All in all, the famous cuts sell continuity while the real physics sell the risk. That’s why the scene still works today: it’s grounded, physical, and thrilling.

Raw and documentary feel of a car chase

Fast forward a few years to 1971, and here’s another great scene to analyze – from “The French Connection” by William Friedkin. It has some similarities with Bullitt – that same grounded, real-world feel and the absence of any music. They even used the same famous stunt driver of that time – Bill Hickman. However, the chase in the “The French Connection” took a completely different filming and editing approach. Please watch and compare how it makes you feel:

Personally, I get a cortisol spike while watching it. The camera is often too close, handheld, and shaky. Cars scrape by, people barely get out of the way, and the chase feels reckless and uncontrolled, as if it could go wrong at any second. Well, it actually could, as the scene was filmed guerrilla-style, without proper permits and real, risky driving. Friedkin did design the chase and staged the action with the actors, but communicated very little to his cameramen, hoping to capture an “induced documentary feel.” They even had some unplanned accidents, which the director kept in the final cut.

In retrospect, William Friedkin admitted that the shoot had been life-threatening and a reckless decision — and it’s hard to disagree. Still, the scene’s raw, unpolished energy heightens the viewer’s sense of danger and is exactly what makes it iconic.

Pure choreography with a musical approach

Do you want to see something completely different? Let’s compare our previous examples to “Baby Driver” from 2017.

What an opening shot, right? Edgar Wright’s action thriller offers a different take on a classic car chase. Instead of leaning into realism, the director turns the scene into almost a musical number. Every gear shift, every turn, every cut is timed to the soundtrack. It seems as though the car is dancing through the streets, which naturally creates a feeling of joy rather than fear. Sure, we – the viewers – know that the characters are in the midst of dangerous action, but we don’t feel this danger. On the contrary, it feels controlled and fun: a robbery with style, rhythm, and adrenaline.  

When the whole film is a car chase

When we talk about car chase scenes, it’s impossible not to mention the “Mad Max” franchise, and especially “Fury Road.” The entire movie is essentially a prolonged chase sequence, although it could be aptly described as a “war on wheels,” with absolutely wild pursuits across a harsh landscape.

Setting aside the incredible post-apocalyptic production design, costumes, and custom-built vehicles, what makes these scenes so impressive? The way they were executed, with mostly practical effects, real cars and real stunts, some even involving Cirque du Soleil performers. Here’s a short behind-the-scenes clip that can make one’s jaw drop:

Just as in our first two examples, the practical filming approach here helps create a tangible sense of what’s truly at stake for the characters. Common sense tells us this dystopian world can’t possibly be real, yet our bodies respond as if it were – as if we were right there in the middle of it. As a result, the audience is visually overwhelmed, but also completely sucked into the action.

Car chases to the point of motion sickness

Okay, now we’re ready to return to “One Battle After Another.” The film is still playing in select theaters worldwide, making it almost impossible to find clips online. Yet, the subsequent featurette gives us a glimpse into the long, suspenseful car chase that I’d like to discuss (from 01:08):

Three cars on a road, and 100% motion sickness experienced in the cinema. No, really, I felt dizzy watching this scene, because it is truly a rollercoaster: both visually and emotionally. Anderson utilizes road topology and sight lines to tell the story, increase tension, and evoke an argument about the questionable choices the characters make. It’s not really about being fast. Sometimes, the camera movements are moderate or slow, as if it is on a crane, sliding just above the road, following its highs and lows. At other times, the sequences use rapid, tightly cut shots packed with action, keeping our attention right at its peak.

At the same time, I’ve never seen a car chase executed this way before. The question is whether P. T. Anderson was inspired by this specific location when he discovered the road, or if he intentionally sought out a steep, winding route to mirror the moral rollercoaster at the heart of the film. That’s an open question so far. What do you think?

And other iconic car chases

Of course, cinema is full of other examples of car chases. We could also talk about “Ronin” as a masterclass in clarity, with every maneuver carefully staged; or “The Bourne Identity,” which creates almost a claustrophobic feeling through tight European streets; or the “Fast and Furious” series with its constant street races… The list can go on and on.

What unites them is the amount of stunt work required. So, in case you plan to shoot a car chase of your own, the first and foremost thing to take into account is safety. We’ve gathered in the past some tips on working with a stunt coordinator and filming stunts safely, and you can read about that here. However, if you want a more in-depth guide to this topic, consider joining our MZed course “Selling the Punch,” which is full of useful information and workflows (not on car chases in particular, but on a general approach to stunt work).

Conclusion

This has given us a lot of different scenes to digest. Yet all these examples have one thing in common: Car chases are never just about cars. They are about story, rhythm, perspective, and emotion. Sound design is as important as the driving. The choice of camera angles defines whether the audience feels like a passenger or an observer. Editing can either give us an adrenaline spike or a relaxed feeling of joy and adventure. And practical stunts often carry more weight than VFX.

What is your favorite car chase scene? Have you had the chance to watch “One Battle After Another?” If so, how did you find the P.T. Anderson’s approach? Let’s exchange our thoughts in the comments below!

Feature image: film stills from “One Battle After Another” by Paul Thomas Anderson, 2025.

Full disclosure: MZed is owned by CineD.