In Popular Culture
In the movie Lethal Weapon (1987), a scene in which officer Murtaugh (Danny Glover) tries to recover his kidnapped daughter was filmed at El Mirage. In addition to being a filming location, the unique flat terrain allowed the pilot of a Bell 206 Jetranger helicopter to perform a very difficult sideway landing at very low altitude and very high airspeed.
Shania Twain's music video for "That Don't Impress Me Much" was filmed at El Mirage, as was the 1997 Star Wars mockumentary, Troops.
The plane chase sequence from Metallica's I Disappear music video was filmed at El Mirage in 2000.
Parts of Maverick were filmed at this lake in 1994.
Josh Groban shot photos and music video frames for his album, "Awake", including "February Song" and "You Are Loved" here.
Shia LaBeouf's cover of a July issue of Vanity Fair was shot here.
The opening sequence of the TV show Knight Rider was filmed behind its Mountain Range.
El Mirage is often a filming location for movies and TV programs where high speed time trials are depicted. Examples of this are the jet car sequence from The Adventures of Buckaroo Banzai Across the 8th Dimension, and a sequence in Herbie Fully Loaded.
El Mirage was featured in the second episode of Top Gear USA's first season.
Dr. Dre's and Tupac's music video California Dreamin' was filmed here as well as scenes to Mad Max:Thunderdome
El Mirage was a filming location for Punishment Park.
Brad Paisley's Music Video for "Remind me" was filmed here.
Blush's music video for "Warrior" was also filmed here.
GM Eternal filmed a video at El Mirage Dry Lake bed. See www.gmeternal.com
Read more about this topic: El Mirage Lake
Famous quotes containing the words popular and/or culture:
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)