Development[ edit ] 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.
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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". 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, make fast 2 million hoped to increase the series' audience.
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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.
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. The main cast were required to travel to Rio at the behest of Lin, who felt it important make fast 2 million understand the area and its culture to give the film a good sense of place. Establishing shots of the heist team members were make fast 2 million 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 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 trading with a additional income internet reviews them suitable for filming.
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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.
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 make fast 2 million of the action, and cameras on cranes were set up on rooftops and in alleyways. 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.
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,  the chaotic scene demanded specific timing that had to be synchronized with the various character interactions also occurring during the scene.
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Razatos chose to use a series of camera cars including a crane-mounted camera atop a Porsche Cayennewhich 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.
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 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. 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.
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By buying these tickets in-game, players were given promotional codes which in turn allowed them to unlock a virtual s Dodge Chargerused 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.
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  and avoided competition from forthcoming summer films,  although this placed it in direct competition with Thor in some countries. For make fast 2 million overall weekend, it ranked second behind Thor.