How we Filmed 25+ Cars and 45+ Interviews with AMC Employees | TLIA PODCAST Ep4

The TTAC Creators Series tells stories and amplifies creators from all corners of the car world, including culture, dealerships, collections, modified builds and more.

A transcript, cleaned up via AI and edited by a human staffer, is below.

[Image: YouTube Screenshot]

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Transcript:

0:00

Joe: Okay, we went to this place. There’s this guy who has this car in the middle of Ohio. We needed a place to film it, so we got on Google Maps and started looking—because we’d never been there before.

Narration:

The Last Independent Automaker podcast was sponsored in part by Visit Detroit, the Alfred P. Sloan Foundation, MotorCities National Heritage Area, and by the over 375 individuals and organizations who donated to this project. Thank you.

Joe: Hello, and welcome back to The Last Independent Automaker podcast. I’m producer-director Joe Ligo, joined by my co-producer Jim Needle. We’re going to have a fun time today because we’re talking about the technical side of things. When I started this project, I knew I needed somebody who understood cameras, editing, and equipment better than I did—so I called you. I was fresh out of college and had a lot of doubts about my abilities. I felt there were gaps in my knowledge, and you were the guy.

Jim: Well, good. I’m happy to hear that. From a technical standpoint, the one thing that stands out to me is that we didn’t have any major mishaps. We didn’t lose a hard drive, destroy footage, or deal with anything catastrophic. We followed a plan, talked through everything, and asked ourselves, “How are we going to set this up?” Then we did it—and it worked out. I was pretty pleased with that.

Joe: I was a few years out of college, and you were further along in your career. You had a graduate degree and professional experience, but it still felt like we were making it up as we went. I watched a lot of TV and documentaries and could identify things I liked, but I couldn’t figure out how they were doing them. So we invented our own process—what camera to use, what editing software, what computer equipment, how we’d store the footage.

The fact that we can look back now and say there were no major malfunctions is a testament to how hard we worked as a team. I backed up all our footage in triplicate—one copy at my house, one at yours, and one in a third secret location. If both our houses burned down overnight, we’d still have the documentary.

People always ask, “If your house were on fire, what would you save?” Your pet? Photo albums? I’d save my hard drives—but thankfully, I didn’t have to because we stored them in multiple locations. You also helped a lot with the camera equipment, so today I want to talk about how we filmed this documentary.

Jim: Filming interviews is almost a lost art form, especially on YouTube. Many documentaries rely on a few key individuals to carry the story, but we conducted around 40 interviews. That’s expensive—you have to find people, travel to them, set up a crew, and film everything. One thing we should be proud of is the effort that went into finding these people, filming them, and making them look good.

Joe: That’s a great point. We’ll talk more about the interviews later with our co-producer Pat. For now, let’s stick with the technical side.

Every interview meant either traveling to the subject or bringing them to us. This was pre-COVID—FedExing someone an iPad for a Zoom interview wasn’t an option. One reason I wanted you as co-producer was that you were the only person I knew who owned a 4K camera.

For non-technical listeners, resolution measures screen size: standard definition was about 480, then 720, then 1080. In the mid-2000s, 4K arrived—roughly 4,000 pixels wide—and when we started around 2015 or 2016, it was cutting-edge. I knew the project would take years, so I didn’t want to film it on an old high-definition camera. I wanted 4K. Today, you can shoot 4K on an iPhone—but not back then.

Jim: The camera was a RED Scarlet, basically a lower-tier version of what Hollywood used at the time. I bought it as a competitive advantage for my career and to create client content, and it helped us a lot. Each camera has its own look, and while I sometimes miss that one, moving on was the right decision.

Joe: RED is the brand name, and even the “lower-priced” models were cutting-edge. Hollywood was transitioning from film to RED, so it was exciting to shoot on one.

We started with interviews because we knew the people who worked at American Motors wouldn’t be around forever. Our process was a bit backward—we filmed interviews first, then figured out funding, distribution, and everything else—but capturing those stories was the priority. Sadly, some of the people we interviewed have since passed away, but their memories are preserved because we acted quickly.

Our interview process evolved, but a standard setup was one camera, lighting, and sound. What did that look like?

Jim: It was basic but repeatable. We used an old gray backdrop I found at the studio where I worked. Sometimes Joe would grab it if I couldn’t attend. It was basically a paper backdrop.

We also used LED lights, which were still relatively new around 2017. They were battery-powered or plug-in, which felt cutting-edge. We begged and borrowed equipment—friends helped us fill the gaps.

The goal was consistency. We needed a setup that looked the same whether Joe was there or I was there. Early on, it was all about keeping costs down until we figured out funding.

Joe: Exactly. Consistency keeps viewers focused. If one interview looks dramatically different from another, it becomes distracting.

Our first major interview session was in 2017 in the basement of former AMC stylist Vince Geraci. Later that summer in Kenosha, we ditched the backdrop because the History Center had cars inside the museum. Over time, we experimented—natural light from a garage door, an interview in front of a fireplace—adding character while maintaining a consistent look.

That’s especially impressive since we switched cameras around 2020 when you sold the RED and bought a Blackmagic Pocket Cinema 6K.

Jim: Yes—mid-2020. COVID slowed everything down, and we were halfway across the country from each other for a while, but we still managed to finish.

Joe: Shooting in 6K filled hard drives fast, so we had to be careful. But across the project, we filmed interviews and cars in nearly ten states—from Connecticut to Wisconsin.

Interviews were fun, but filming cars was exciting. Instead of sitting indoors, we were outside chasing shots.

Jim: I actually prefer interviews—but filming cars is definitely a different challenge. You need the right sunlight, the right roads, and often you have very specific preferences about locations.

Joe: Being from Pennsylvania, we’re used to hills and curves. Then we went to Indiana—flat grids everywhere.

For each car, we needed four types of footage: interiors, exteriors, drive-bys, and GoPro shots. Interiors and exteriors alone took hours, and drive-bys depended heavily on finding the right roads without modern traffic ruining the shot.

Sometimes luck helped. In Dayton, Ohio, we filmed a Renault Alliance near a statue that gave the scene a Parisian vibe. In Michigan, a sailboat appeared in the background while filming a Matador. A local AMC club member let us drive a Jeep through his woods.

We were blessed—not just by generous owners, but by finding great locations.

Jim: Everyone wanted the project to succeed.

Joe: Technology costs dropped dramatically over the years. The Blackmagic camera cost a fraction of the RED. Yet our tripod—the same one I bought in 2014 for about $250—held thousands of dollars of gear.

In many ways, the project reflected American Motors itself: doing more with less.

We also made tough decisions. Early on, we decided against drone footage. Neither of us was licensed, and hiring a drone pilot would have cost at least $750 to $1,000 per day—money we didn’t have.

Instead, we invested in archival footage, which turned out to be many viewers’ favorite part.

Jim: Drone shots can become a crutch. I’d rather see historical footage than modern aerials if we’re spending money.

Joe: Looking back, this is the first project where I thought, “This looks like real television.” Most productions have crews ten times our size, yet we rarely exceeded three or four people.

But technical skill is only part of the equation—the people we interviewed are the heart of the documentary.

Jim: That’s why I did it: to meet the people, preserve their history, and ensure their voices endure.

(Later segment with Pat Foster)

Joe: Let’s talk about Vince’s role in helping us find AMC employees to interview.

Pat: I knew many top people, but Vince knew everyone—including interior stylists who worked under him. When he called and vouched for the project, it made all the difference. I doubt we would have gotten half those interviews otherwise.

Joe: He welcomed us into his home and gave us full access. His friend Dolly provided food the entire time—we filmed from morning to evening for several days.

It was physically and mentally exhausting, but incredibly rewarding.

Pat: Those were some of the best days of my life.

Joe: We also had an intern scanning personal photos people brought with them. The AMC community was generous—sharing stories, buying us lunch, even giving us memorabilia.

Pat: One thing I realized that week: Joe is an exceptional interviewer. He comes prepared, asks the right questions, and builds trust.

Jim: And he adapted quickly when unexpected interviewees showed up.

Joe: Preparation helps—but so does remembering that people trust you with their memories.

One standout moment was interviewing Mitt Romney. Jim suggested a final question about America’s relationship with cars in the 1960s, and Romney delivered a perfect soundbite about how cars defined identity at the time.

His team was professional, punctual, and accommodating—it made the experience seamless.

Pat: Walking through the Senate building to his office was surreal.

Jim: That week at Vince’s house was special for all of us.

Joe: Vince meant a great deal to this project. During the long years when finishing felt impossible, he’d call and jokingly introduce me as a “famous filmmaker.” That encouragement helped push us to complete it.

I’m proud we finished all six episodes while he was still alive to watch them. His email afterward is something I’ll always treasure.

American Motors was unique—something that will never be replicated.

Closing:

Listening to these memories reminds me how fortunate we were to have people like Vince—and viewers like you—support this project. Without your views, donations, and shares, it wouldn’t have been possible.

If you haven’t watched the documentary, it’s available for free on YouTube. If you have, consider revisiting it—you might notice something new after hearing these behind-the-scenes stories.

Stay tuned for more podcasts coming your way, and thanks again for watching.

Narration:

The Last Independent Automaker podcast was sponsored in part by Visit Detroit, the Alfred P. Sloan Foundation, MotorCities National Heritage Area, and by over 375 individuals and organizations who donated to this project. Thank you.