Some people just dream big things, and a few people live those dreams. That’s the story of how one man’s vision to make a film about John DeLorean became a reality. All it took was 15 years of patience, determination and passion for producer Tamir Ardon to make his cinematic dream come true.

Although the genesis of the DeLorean film started 15 years ago, Ardon admits that his obsession with the iconic carmaker and car started when he was about six years old when he saw his first DeLorean, and the car owner let him sit inside of it. It was love at first sight. As his mother said, “He got into a DeLorean when he was six, and he never got out.”

Head of Documentaries for Los Angeles based XYZ Films, Ardon oversees original documentary production and works with the firm’s North American sales team to expand its sales slate. He had been director of development at Zodiak USA and MME FilmPool USA, where he produced and distributed unscripted TV for both cable and network.

In an exclusive interview with The Hispanic Outlook on Education, Ardon talks about his long journey to bring his film “Framing John DeLorean” to life. Perhaps his experience will encourage aspiring filmmakers, particularly those, like Hispanics, who feel underrepresented in mass media, to flex their artistic muscles and make their voices heard.

HO – “Framing John DeLorean” is not a typical documentary. It’s been described as a hybrid film because it weaves standard narrative with reenactments and segments that show behind the scenes planning and production analysis.  Was that the plan all along or did the project evolve into that?

ARDON – We set out from the beginning to do this hybrid project where we would be very experimental in terms of the way we shot it. We sort of knew where all the pieces of the puzzle were, but in terms of executing it, there was always a question of how grandiose it was going to be and how it was going to end up looking. The wow moment for us came when we got everything solidified with Alec [Baldwin] to play John DeLorean. It all came into focus. We were all excited because we know we were going to be able to pull off exactly what we wanted to do from the start. That moment came about a year and a half after we started shooting the documentary stuff. It wasn’t to say we weren’t excited about shooting just that, but our vision now became very real.

HO – How did Alec feel about your ambitious approach? Was he onboard with it?

ARDON – Alec was a little hesitant about filming the behind the scenes aspect because it was somewhat like an invasion of the art of preparing for a role. But the more we intellectualized it with him, and he started to understand why we were doing it, he became more open to it. And then once he was open to it, getting the supporting actors to come on board with it was a lot easier. They trusted Alec would be able to work with the filmmakers to pull this off, and they wanted to be part of the journey.

HO – Part of the risk a filmmaker takes is banking on their vision and approach being well-received not only by critics, but by audience members who are well versed or connected to the subject matter. What kind of feedback have you gotten so far?

ARDON – The critics have been very positive about it, especially because of how experimental it is. They seem to think for this particular film and the way we approached this story, it really worked. One of the more satisfying responses has been from John’s daughter Kathryn.  She called me up crying after watching it for the first time. She just loved it. It felt very personal for her. The screenings in Michigan where DeLorean was from was really telling because a lot of people knew John. I had people come up to me and say I worked with John or my dad worked with John. Everyone seemed to be excited about the fact that it was a true portrayal of the man and the story. We didn’t go off and fantasize or fictionalize any aspect of it, and we got the balance just right. That was very gratifying.

HO – To young filmmakers, you are living their dream. What advice would you give them if they hope to follow your lead?

ARDON – What I have been telling young filmmakers going back 20 years is just go make stuff. It’s so different now. You can make a film on your phone. The problem is that a lot of people talk about the grandiose ideas they have. They say, ‘Oh, if I only had this or that, I could make this.’ In reality people are making films on YouTube, and they are being picked up by major networks. You have to have the passion and some chutzpah to go out there. You have to find unique access or interesting stories and go out and try to make them. You have to network, but when you do, you have to have something to show. And I think that’s where people get hung up. They think I need to get an agent. No. Just go make stuff and then, as long as you make something good, you will reap the benefits. Someone will discover it. There are so many outlets. You just have to do and not talk.

HO – And never give up?

ARDON – I’ve been doing this for 15 years. I could have called it quits several times and packed up and gone back to Chicago and lived a very good life. But if you really want to do this, you stick with it and figure out a way to continue working at it. “Framing John DeLorean” is the culmination of 34 or 35 years of my life. It’s exciting because I’ve been working on it a long time, and now people who know me can finally get to see what I’ve been working on. •