Securities prepare vor the arrival of the celebrities Exterior Shots of Venetian Hotel with american flaggs Venetian gondolieres practise song for the arrival of the VIP’s (cut: view in the direction of arrival; street Las Vegas Boulevard/ Strip) BMW Motorcycle crew with VIPs and guests arrive VIPs parking and getting of; a lot of press around Photoshooting with VIPs Hollywood-Stars and their most famous films: Jeremy Irons „The Mission“ (1986), „Das Ghosthouse“ (1993), „Die Hard III“ (1995), „The Man with the iron mask“ (1997), „Dungeons & Dragons“ (12/2000) Dennis Hopper classic film “Easy Rider” (1968), scenario, direction and main role; Classic film with James Dean “Rebel without a cause” (1955) Lauren Hutton model and actess “Timestalkers” (1987), “Prisoners” (1991), “Daddy Cool” (1994), “The story of Monty Spinnerratz” (1997)VIP’s walking through the Venetian Casion to the Guggenheim Museum (Jeremy Irons mit Frau outside shot; Dennis Hopper outside and inside passing the casion; Jeremy Irons walking through casino) pictures of parked BMW motorcycles

Advertising poster for the exhibition with different VIPs (Jeremy Irons, Laurence Fishburne) Speech of Tom Krens (director of museum) with press and VIPs close writing on tachograph, insertion; different views; photographs and VIPs Dennis Hopper talking, journalists, photographs and camerateams sitting on the steps Short shot Tom Krens on panel speaking; close up Pan over Jeremy Irons, Lauren Hutton listening; Dennis Hopper close; long shot of all three persons Hands and helmet Dennis Hopper close; Lauren Hutton face close Press and journalists clapping hands; long shots press event Dennis Hopper, Jeremy Irons, Lauren Hutton at the motorcycle model of film „Easy Rider“ (1968); different views Close Otis Chandler sitting; editor of LA Times and sponsor of Oskar-building in LA, it has the name of his mother, Otis Chandler has loan a lot of motocycles to the museum pan from motorcycle to interview Lyle Lovett, ex-husband of Hoolywood-Star Julia Roberts and country singer; Lyle Lovett with girl sitting and listening at the speech Three VIPs standing together in front of motorcycle; Dennis Hopper, Lauren Hutton, Jeremy Irons

Plans of Guggenheim museum made by star architect Rem Koolhaas, Interior Design by star architect Frank O. Gary, he has already created the design of the Guggenheim museum in New York and Bilbao/ Spain Illuminated advertising for the exhibition on a post, “made possible by BMW”; different views Blue illuminated sign “The Art of the Motorcycle”; different views Motorcycles 1868-1919 Old motorcycle 1899 De Dion-Bouton France, 240 cc; 1,8 hp Short shot old motorcycle with extremely high back wheel; Copeland Steam, 1884, USA Zoom out of mirror wall and pan over oldtimer bikes from 1868-1919 Detail Geneva 1896 USA with 5 hp, wooden fender and spoke secure out of threads; leather saddle; pan over front power unit, steam exhale power unit Brake lever of modern motorbike close, zoom out on motorcycle Geneva Walk around Daimler Einspur, 264 cc from 1885, Germany, 5 hp Detail Daimler Einspur, vaulted saddle with leather blanket; zoom out in long shot Example for motorcycle power unit ca. 1970 close Pan over old motorcycles e.g. Hildebrand & Wolfmüller Munich/ Germany 1894 to Indian Singe 1901 USA Old advertising poster for Flying Merkel 1912, GB; pan to long shot motorcycles Harley Davidson Model 7D; zoom on fuel tank and saddle Yellow Cyclone 1914, USA close fuel tank engine Cyclone close, 61 ci; pan to fuel tank USA Peugeot Paris-Nice 1914, frontal; zoom out on Flying Merkel Model V, 1911, USA Flying Merkel back side shot close, pan over engine to handle-bar, 54 ci fuel tank Flying Merkel close; pan over engine and chain drive long shot pan over old motorcycles since 1908 top close; zoom out on old motorcycles designed art, presented like statues long shot motorcycles, played with mirror walls; with design and architecture of exhibition Old Peugeot motorcycle Paris-Nice 500, 1913, France; pan from power unit to fuel tank Motorcycles 1922-1929 BMW R 32, 1923, Deutschland, long shot with zoom on BMW emblem Engine close, 494 cc starting ignition plug close; pan over drive train leather saddle close with springs; pan/ zoom out on fuel tank chrome clutch lever on handle-bar close pan over chrome handle-bar with rubber handles and tachometer front wheel with brakes black fender with back ermitter and elektronic back light, munich/ German country code plate; zoom out in long shot back drive train close; pan on engine cc pan curtain on Böhmerland with side car, 1925, Czechoslovakia, 598 cc front wheel close; zoom out in long shot Motorcycles 1930-1944 Majestic 350, 1939 France; 349 cc long shot with other motorcycles and design of exhibition close reflection of motorcycle; zoom out in long shot of exhibition long shot two motorcycles on platforms; zoom on old poster old motorcycle Imme R 100 1949; pan over front wheel, engine, saddle to back wheel of another motorcycle pan from back to front of Majestic 350 pan over time epoch 1930-1944 with motorcycles and information sign long shot example of this epoch, for a co-driver, bench close handle-bar with integrated light pan side cover on fuel tank front light with chrome button close front wheel close with chrome spikes engine in cover short shot, zoom Part of back side shot close, pan to footrest for co-driver close vollverkleidet walk around BMW World Land-Speed Record, 1937, Germany, 493 cc, whole motorcycle with coverclose front part with aeration grill; short shot with zoom Motorcycles 1946-1958 pan over exhibition part 1946-1958 close fuel tank Ariel Square Four 1931, United Kingdom; zoom out on Sun

long shot press conference; speech of Tom Krens/ Director of Guggenheim museum; zoom in short shot Dr. Mikhail Piotrovsky/ Director State Hermitage Museum of St. Petersburg with Lisa Dennison/ Deputy Director and Chief Curator of Guggenheim museum New York (has organized this exhibition); both sitting on panel Rem Koolhaas on panel; Dutch star architect, has planned the museum; pan over Lisa Dennison, Mikhail Piotrovsky, Vladimir Poranin and Dr. Mikhail Schwydkoi Mikhail Piotrovsky close Vladimir Poranin close; President of INTERROS Holding Company Dr. Mikhail Schwydkoi, Russian minister of culture Sheldon G. Adelson close; Chairman Las Vegas Sands und Owner of Venetian Hotel Wife of Sheldon G. Adelson; from Israel Peter B. Lewis; Chairman of the Board of Solomon Guggenheim Foundation, has organized this exhibition with Lisa Dennison Rob Goldstein, President/ Director of Venetian Resort-Hotel-Casinos Photograph and press in background long shot international press sitting in conference pan over cameramen with cameras close journalists writing Jeremy Irons, Hollywood-Star sitting in audience; short shot; zoom out in long shot long shot of press event, side view; zoom on sign „Guggenheim Hermitage Museum“ Opening of Guggenheim Hermitage Museum in front of glass door; panellists cutting strap together; scene with Atmo-sound

Einführungsbriefing long shot BMW motorcycle in front of Venetian Hotel; pan on briefing Close BMW Overall; pan to guide of tour, explaining long shot motorcycles starting Motorcycles starting, side shot; side shot and back view while riding through Las Vegas Motorcycles passing on Highway, Valley long shot close passing a corner; pan in long shot sign „Valley of Fire State Park” and price for entrance; pan to a driver stopping, long shot short shot of bikers at motorcycles Motorcycles riding towards camera, long shot in red valley; zooms close small group of biker passing, co-driver shows his fun long shot Biker riding over hill around a corner Biker leaving, back view, zoom driving in front of group, dynamic view bikes riding through rocks and curves Subjective view on bike, back wheel while driving; zoom out on other drivers starting subjective; driving behind them subjective on cockpit; pan to mirror with picture of driver boxer engine subjective view; pan to drivers back view camera in front of motorcycles; biker take over drivers passing short shot and pan long shot motorcycles at lake Mead; driving over bridge; zoom out in absolutely long shot Motorcycle reaching parking place for a having a break; some are still waiting close BMW emblem; zoom out on BMW promotion truck entrance; press walking in long shot on truck on parking place with palms; zoom to drivers area promotion woman explaining things about safety and cloths; journalists listening, different BMW stuff walk along motorcycles parked in one line

drive on Las Vegas Boulevard/ Strip on blue hour; flashy lights everywhere, Luxor Hotel for Egypt, MGM- arena, Eiffel Tower for Paris, Holiday Inn, waterfalls, casinos, Mirage with advertising for Siegfried and Roy, Venetian Hotel with Madame Tussaud’s wax figures girls at fountain Venetian Hotel at night; pan from bridge to towers

Night Close sign “Venetian” Venetian Hotel Exterior with fountain and lamps with US-flags picture of Canale Grande exterior with gondoliere; different views Daytime Venetian Hotel Exterior daytime; tower, gondoliere, lion made of stone; pan over front close US-flags pan of Hermitage-sign in front of hotel Interior pictures in casino; long shots and walks between gambling machines, poker roulette and black jack games close gambling machine working long shot through gambling hall with waitress gambling machine without a player; zoom out on whole machine Entrance hall of Venetian Hotel; pan from the top walk around golden fountain in lobby pan of unnatural sky at faced Markus place; whole Venice built on second floor of Venetian Hotel pan of sky and top of houses, rotation of 360° close emblem of Venetian Hotel, Lion; zoom out in long shot pan from bottom to top of lights on Markus place Artists in white costume on panel close; zoom out in long shot Faced Canale Grande with gondoliere in blue and red shirts; pan to presented motorcycle K14 and poster with advertising of opening of exhibition “The Art of the Motorcycle” with Laurence Fishburne, to Canale, bridges pan over exclusive shops at the Canale, people shopping sky while sunrise; pan to fronts of houses; light situation: „Sun“ seems to shine behind houses gondoliere close; zoom out on gondola with couple; gondoliere walking over bridge and singing Italian song zoom out from shopping road with Venetian houses Hotel suit; walk from entrance to sleeping and living room with eating area bathroom with golden washing place; zoom out of mirror on bath tube and shower long shot view from hotel room to mountains and other hotels; pan to pool area on roof of other part of the Venetian building Hotel area at the pool, with guests, pool and flowers; outside Sign with „Venetian Hotel” on it; pan to fountain, long shot Short shot Fountains and close fountains as spiting lions made of stone close tower with bell; zoom out on fountain long shot

O-Tone Jeremy Irons: “It’s extraordinary. I haven’t seen all of it yet. But it’s an amazing space and I think it will be able to adapt to many different sorts of show. But for this show, for the motorcycle show, it’s spectacular.” O-Tone Jeremy Irons: “No, I used to ride horses. It’s not possible to have horses in towns. But motorcycles are easier, give you a similar sort of pleasure. How does it jump. That’s about it.” O-Tone Jeremy Irons: ”I still feel part of a secret society when I ride bikes. I don’t understand why everybody doesn’t it. It’s such a civilized way to get about. Of course it’s something you need to learn to do, it has dangers and it attracts young people. I remember my brother saying: Don’t drive bikes before you’ve driven a car for ten years. And I think that’s very good.” O-Tone Jeremy Irons: “I think everybody over thirty should have a motorcycle. It would change their life. It changed mine.” O-Tone Jeremy Irons: “I have a BMW: a RT100.” O-Tone Jeremy Irons: “They protect you well, they ride in all weathers. They make good fairings, they make bikes which don’t let you down, big engines. I like the shock drive. I like the boxer engine this is what I have. But now it’s a new generation of bikes which we rode on our trip from Los Angeles, I’ve been riding the RT1200, which is a tremendous touring bike for big long roads. And I had my wife on the back and it was very comfortable for her.” O-Tone Jeremy Irons: “We rode in St. Petersburg and I was lucky enough to see the Hermitage. And I was amazed by the pictures that it has. And I’m thrilled that we gonna get a chance now to see that threw the world. The partnership between Guggenheim and the Hermitage, I think it’s tremendous for both museums.”

Oxnard. We went up through O-Highs, we went up through the farm land outside the Bakersfield and the cotton, the sugar cane, the sheep and the cattle, we drove through there and we went to the…stayed their at night,…we went from there down to Death Valley, up 500 feeds where we were, we had lunch…last night we stayed at Furnace Creek and this morning we drove in from Death Valley to Las Vegas. It was a great ride. We were about 20 of us. It was most of the inspiring ride I’ve ever been on in my life, including Easy Rider. It was just sensational. And also the idea bringing… Thomas Krens made a statement some time ago about fine arts. He said: Fine art is a very small group of people who are really involved in the fine arts. That he considered himself a missionary. And I asked: Why would he take fine art to Las Vegas? Well, as a missionary I wonna go where the reasons are, take culture where the reasons are and show people the difference between fine arts and duplicates and replicates. So I think the marriage between Guggenheim and the Hermitage and St. Petersburg, the fact that they built two world class museums here in the Venetian Hotel, it’s a sensational thing for the United States, for Las Vegas and for Russia. It’s just a wonderful thing. And also for Russia. So many people come here and so many people, mothers and children don’t necessarily go for it when they come and gamble. And they will find some culture. And that’s just a wonderful thing. I think it’s a great contribution for everybody. And also to give the Hermitage money which they does really need in Russia to maintain they great master pieces they have, so that their walls don’t fall down, so they can put special air conditioning in, keep the temperature of the paintings that they won’t be destroyed. And also that art can become a business, that we always have rich people sponsoring that it can become freer and freer from thinking…I think that is a very good thing for everyone.”O-Tone Dennis Hopper: “I have a personal love of movies. I’ve ridden a lot of motorcycles in movies. I directed Easy Rider from the back of a motorcycle. I never owned a motorcycle for myself. I’ve only ridden it in movies. I wrote an article in a official catalogue for the Guggenheim about motorcycles that always work to me. I’ve had a great experience on motorcycles right now. But every time when I get on, I have a great respect for them because I know how dangerous they are.”

O-Tone Lauren Hutton: “Well I can hardly wait to see it. I’ve seen it in Bilbao and I’ve seen it in New York and I’ve heart that it’s better here than it has ever been. And mostly I’m really glad to get back on the motorcycle. It has been eleven month. I wasn’t sure if I can ride again and I forgot how sexy they were and how much I love them. And also you have seen everything. And there is some awesome land in this country. Just incredible. I have never been in the west of California, in the middle it’s beautiful. And Death Valley is extraordinary. It’s the hardest I’ve ever been. And I was in Gobi, in the Sahara, otherwise it’s boring. We’re harder than anybody. It was wonderful. I can hardly wait to ride again.” O-Tone Lauren Hutton: “Since I was 18. And now I’m 247. That’s a long time.” What’s your favourite bike? BMWs, like Rolls Royce is that quiet.” O-Tone Lauren Hutton: “Evolution is important for us. And that’s what art is, it’s evolution. Some people who are very smart think it’s a sort o shameful, something beautiful that also works. As a piece of art I think it really is. And they are snobs. They are a sort of… And I remember when I was 22, when I first had the idea. I saw some incredibly beautiful piece of sculpture. And it was a motorcycle. I wished to have one in my living-room. And actually I do have one or two in my living-room. And I ride them. And this is an amazing show. Is it not? Is there no sculpture and art all around us? They are brilliant. This is Dennis, Jeremy…”

O-Tone Tom Krens: “I took us a lot to get this designed and built in one year. I mean if you remember one year ago, there was nothing here. That’s phenomenal what has been accomplished. And extremely important comes what is suggested that art museums could be.” O-Tone Tom Krens: “I think that this is largely a function of the opportunity. I mean I wasn’t invited by the city fathers to go walking up and down the strip in Las Vegas and pick a piece of land. I mean this was a very specific situation. And I think that me made the best of it to tell the truth. We concentrated on the interior here since there is no exterior. And this was the side that I chose. I loved it as a kind of exercise in inverting the design process. Instead of thinking about the sculpture image of architecture, think about pure interiority. And if you had a built to build up a space that was completely flexible for anything. And that is was it is. I can tell you, think through the transition here. See…all that stuff…(describes how to change the rooms by a flexible crane, size of rooms, etc.)…and then image that we put the trench covers in and we decide that we want to do the great exhibition of Rembrandt and Rubens…by bringing sections of gallery in and creating a architectural Guggenheim inside this space.” O-Tone Tom Krens: “This is a highly regulated form of entertainment. That’s what it is. I mean that takes place up in the casino. And I’m not disturbed by it. I think about where the authority is. If we did not have a manifestation on the exterior I probably would be a lot more concerned about it. But we do have manifestation on the exterior with the Hermitage Guggenheim.” O-Tone Tom Krens: “Look. This is what we talk about. South West culture. I mean this is south west culture…And it’s also that Frank (O. Gehry-star architect who designed the exhibition) came up with this sketch of the design.” O-Tone Tom Krens: “Part of this whole proposal is, that we had a very strong relationship with the Russians for a very long time. We did the great utopian exhibition in 1992, …Avant-garde…And I’m very close to Mikhail Piotrovsky and the Hermitage. One of my best friends was…The idea that we might do well here and to be able to support the renovation and the stabilisation of perhaps the greatest museum in the world is not lost on me, believe me. It’s the populist interest what we are going to do. The only way we can do this is that we make a complain about…the world is not perfect…we try to find ways of gathering this resources and raising the standard not lowering it. This is a critical point. We are criticized from time to time that we are lowering the standard by doing an exhibition like this. All the kind of like people that don’t deserved to be a museum or coming. That’s ridiculous.”

Englisch EnglishO-Tone David Robb: “I think it’s amazing, it’s certain something unusual to think of Las Vegas for me, coming from the outside. What’s been very nice, is the contrast. As a visitor you think of Las Vegas as very flashy, think of the casinos. But really this museum here is a contrast to that. Very clean and very straight forward, offering motorcycles as pieces of work which is also a concept we don’t always think of. So it’s really great to work with these contrasts and get the chance to work of motorcycles in this very unusual setting.” O-Tone David Robb: “What’s very interesting with the examples here, today any company that develops and sells motorcycles has a very integrated process with marketing which means customers tell us what they like, the engineering and the design, So you are getting the function and the technology with a look what does the technology look like. Today it’s a very kind of refine machinery. Every company doing it in their own fashion. What’s very interesting about some of the early works is often times it was a couple of people doing all that together. So you are really looking at pieces of genius how do you get it to work and in fact of most days it was just an amazing thing to get it to work but with unique solutions. So again it’s unique to see these things and looking at the history and see where we are today.” O-Tone David Robb: “We rode from Oxnard in Los Angeles yesterday to Death Valley yesterday...and then here this morning. It was hot, it was beautiful, magnificent, things that we’re not use to see in Germany, just fantastic.” O-Tone David Robb: “It’s unusual to have motorcycles in a museum as art. Are there many car and motorcycle museums in the world. Technology generally you have in a kind of parking lodge. This is very different here, because it’s celebrating the motorcycle as an art piece. It is something that a lot of love and creativity of all these motorcycles. They are from many different companies, they are from all around the world. Celebrating not just the creativity but the genius behind them and the beauty behind them. They’ve been selected from the Guggenheim for their unique qualities of aesthetics and also their role they played in society in their particular times. So this is an unusual setting not out in the road, where we mostly see motorcycles. Oh but not many of these will you see very often. But that’s what’s very unique about the setting. ...put the motorcycles up on a cancel to give you a new perspective of motorcycles.” O-Tone David Robb: “The R32 was the beginning for BMW. It was very unusual for the time. We often talk about the R32 as an example of Bauhaus. Bauhaus architecture an art was very interesting for its time because it was getting rid of things which is very decretive some kind of cut away all those unnecessary things and say that is all you need. This motorcycle is really an example from the technical side, but also the aesthetic side, you don’t need all that other stuff. This is straight forward, it works well, this is it.”

Englisch EnglishO-Tone Marco von Maltzan: “The market in North America is the largest motorcycle market in the world and since a couple of years we push a lot our sales in the United States. We are building up our dealer organization. We sold over 12.000 units last year. This year we’re trying to top this figure once again. It would be our 10th record year in a row. The American market is a very important one and that’s the reason why we support this special event like this exhibition in form of a partnership with Guggenheim museum and BMW.” O-Tone Marco von Maltzan: “First exhibition look place in New York in the Guggenheim museum. It was a big success. Second one was in Bilbao. Actually the head to lounge this exhibition because I think the exhibition was visited by more than 1 million people. So it was a big success. I think the idea of having a third exhibition here in Las Vegas was a very good one. Since Las Vegas is the growing city in the United States with more than 40 to 50 million visitors every year coming to see this place. We have on the one hand all this gambling thing and motorcycle how does it fit together? We said there is a fit because people are curious, motorcycles are part of our life, are lifestyle, so we think it’s an idea to show our products and to push the motion of motorcycle riding. And on top of that you know especially in this area it’s a very famous area for motorcycle riding. So it was more than natural to come here.” O-Tone Marco von Maltzan: “BMW as a manufacturer of motorcycles indeed is a very technical product. And for many people it’s surprising to have a sort of a partnership with a world famous museum. But on the other hand I say motorcycle riding is part of our life, is lifestyle. I think it’s a rather natural process that on one hand you have a museum and you have a motorcycle manufacturer or BMW as a group working together and trying to set up something like this great exhibition.”

O-Tone Sheldon G. Adelson: “I own the hotel that’s the sense. And we had a lot of land. I went to the architect and I wanted …because it couldn’t stay competitive with all the new mega resorts. So I went to the architect and said I have so many acres of land, what’s the maximum number of rooms I get on it. So he said 6000. I looked what was here, the MGM-Grand and people don’t like it, because 5000 rooms is much too big. No, I don’t said lots of people do not like it, lots of people do like it but some people say it’s too big in experience. So I decided that I want two three thousand room properties. And it would look like two hotels from the front but operate as one hotel from the back. And I would appeal to different tastes. So that would spread my risk. In case I couldn’t get enough people to want the first presentation maybe I can get enough to want the second. And if I succeeded in both, 3000 won’t be enough to combine in both tastes. So I built the first one and then I’ll be building the second one. Why was it Venice? My wife told me to do Venice and I’m a very obedient husband.” O-Tone Sheldon G. Adelson: “Try to combine romance with lottery and excitement which is Las Vegas.”