Most war movies aren’t complete without plenty of explosions, firefights, and of course a dramatic medical moment of some sort. And a dramatic injury requires an equally dramatic movie medic.
Although audience members might get squeamish when an American service member gets a nasty injury on the silver screen, they also root for the on-scene medical support to (hopefully) revive their fellow brother- or sister-in-arms.
Even though many war films may not nail all the medicinal science correctly, they manage to reveal the dynamic aspect of how important and well trained medics have to be in the field.
Every infantry squad wishes they have the most medically fluent “Doc” available.
Courtney B. Vance plays the field medic in 1987’s John Irvin directed “Hamburger Hill,” which told the story of one of the most brutal friendly fire accidents in history. Johnson managed to use his in-country experience to mentor the incoming combat replacements and save a few lives along the way.
2. John Bradley (non-fiction)
Ryan Phillippe plays the real-life World War II hero who was awarded the Navy Cross for Extraordinary Heroism. He served as a Hospital Corpsman and was one of the six flag raisers in the famous Iwo Jima picture.
Giovanni Ribisi filled the role as the steady hand T-4 Medic Wade in “Saving Private Ryan.” Wade’s quick thinking under fire earns him a spot on this list when he managed to stop a Battalion Surgeon’s arterial bleed during the Normandy invasion.
He also instructed his brothers how to render aid on his own person after suffering a fatal wound.
4. Danny Kelley
2003 brought us “Tears of the Sun,” where Special Ops Corpsman Doc Kelley (Paul Francis) helped suture wounded Nigerian men and women to quicken the evacuation of a medical doctor before dangerous rebels made it to their location.
5. Desmond Doss (non-fiction)
Andrew Garfield portrays the legendary combat medic and Medal of Honor winner who saved 75 of his brothers in a single night while battling his own wounds after refusing to carry a weapon into battle.
During the 1993 Mogadishu raid, two UH-60 Black Hawk helicopters were shot down, 18 Americans were killed, and 73 were wounded.
Although Sgt. 1st Class Kurt Schmid (played by Hugh Dancy) was a Delta medic, he was portrayed as a Ranger in the film “Black Hawk Down;” regardless of his service, his knowledge kept many of his soldiers alive for several hours as they waited for the convoy to arrive.
We’ve all seen the classic movie trope where the slacker guy who failed at life because of missed opportunities and maybe a little laziness wants to pull out of his personal nose dive and succeed. In the early 1980s, Hollywood gave us some hilarious films like “History of the World: Part 1,” “Cannonball Run,” and one of the most authentic military comedies of all-time, “Stripes.”
Although the film does have a slapstick “don’t take me too seriously” comedic tone, we can learn a lot about life if we take a deeper look into the classic hit.
So check out these life lessons that we could all learn from our beloved “Stripes.”
1. Answering the call
Most people have thought about joining the military at one point in their life, but it takes a personal epiphany to decide you’re ready to take the first step.
2. Only tell the government what they need to hear
And not a single word more.
3. Always set goals for yourself
In the military, what you put into it is what you get out of it. True story.
4. Don’t let your battle buddy quit
Military training can be difficult, but it’s up to your battle buddies to keep your motivation high and physically threaten the people that are trying to quit.
5. Leadership can be found in anyone
It’s amazing just what you’ll find in a person when you peel back some of their raw layers.
6. Brain takes brawn
You can be up against a dangerous force, but some intelligence and quick thinking can get you out of nearly any jam.
7. Never count out the lovable loser
They always seem to surprise us in those awesome 80’s comedies.
Weeks prior to the 2017 NFL draft, service members from Joint Base McGuire-Dix-Lakehurst in Mount Laurel, New Jersey, were given the chance of a lifetime to undergo a surprise mission as part of the “Salute to Service” program.
Hosted by USAA, these unexpected military analysts from the Army, Navy, and Air Force, received the opportunity to team up with NFL broadcasters Ron Jaworski and Sal Paolantonio (US Navy vet) for a chance of a lifetime and partake in a draft strategy session.
John Wayne never was able to join the military — when the draft first started in 1939, the then-unknown actor had a 3-A deferment because he was the sole supporter of four children — but that didn’t stop him from hopping in an armored personnel carrier and mounting an invasion with the 5th Armored Cavalry Troop. He had a cigar clenched in his teeth.
He was about to lead the U.S. Army in an invasion of Harvard University.
In January, 1974, the Duke invaded Harvard Square with some of the Army’s finest in response to a letter he received from the campus satirical newspaper, The Harvard Lampoon. In the letter, the paper said,
“You’re not so tough, the halls of academia may not be the halls of Montezuma and maybe ivy doesn’t smell like sagebrush, but we know a thing or two about guts.”
The paper then challenged the conservative Wayne to come to Harvard, a place The Harvard Lampoon described as, “the most intellectual, the most traditionally radical, in short, the most hostile territory on Earth.” They were challenging the actor to come to Harvard and debate against the students who called him, “the biggest fraud in history.”
The letter was purely goading, but John Wayne wasn’t about to let that bother him — he took the opportunity to visit in style.
He mounted the procession from the halls of The Harvard Lampoon’s on-campus castle, then drove to the door of the Harvard Square Theater through policemen, television crews, ‘Poonies dressed in tuxedos, students, and even some Native American protesters. There was even a marching band in his honor. In the heart of liberal Harvard, the conservative actor was met by thousands of admirers.
After signing autographs for a while, he took the stage. The first thing representatives of The Harvard Lampoon did was present Wayne with a trophy — made of just two brass balls. It was created just for him and awarded simply for coming to Harvard.
“I accepted this invitation over a wonderful invitation to be at a Jane Fonda rally,” he joked.
The Duke graciously accepted the award, noting that their previous guest was porn starlet Linda Lovelace and that seeing his invitation in a unmarked brown envelope was akin to being asked to lunch with the Borgias, a reference to the historical family’s propensity for murdering their guests.
With the pleasantries out of the way, Harvard’s debate with John Wayne, a spokesman for the right, began. Taking questions from the audience, the Duke sat on a chair on the stage. The New York Times described the debate as one with “little antagonism, the questions often whimsical and the actor frequently drew loud applause.”
John Wayne was a conservative in his political views, but he answered the students’ questions thoughtfully and honestly, often with a wry smile. Asked what he thinks of women’s lib, he said:
“I think they have a right to work anywhere they want to [long pause] as long as they have dinner ready when we want it.”
The only question he seemed to rebuff was one asked about his testifying against fellow Hollywood personalities during the Communist witch hunts of the 1950s, which led to some being placed on the infamous Hollywood blacklist. The actor said he could not hear the question, even when it was repeated.
“Is your toupee made of mole hair?” One student asked. “No,” the Duke replied. “That’s real hair. It’s not my hair, but it’s real hair.”
Today, John Wayne and Harvard doesn’t seem like a controversial mixture. In 1974, however, the students at Harvard were very much anti-establishment and John Wayne was a symbol of everything they mistrusted about their country, its history, and its government — especially while the Vietnam War and the draft remained a very recent memory.
By 1974, Wayne’s career was threatened by his well-known politics, so it’s not really an exaggeration to say the actor was on his way into hostile territory. The Lampoon ended up doing what amounted to a celebrity roast with Wayne and he took it with a smile, even adding some funny jabs of his own:
“Has President Nixon ever given you any suggestions for your movies?” a student asked. “No, they’ve all been successful,” came the reply.
John Wayne never lost his sense of humor over politics — a lesson we should all take to heart today, liberal and conservative alike. What could have been a moment of sharp political divisiveness was settled with good humor and in the end, thunderous applause.
If you were taken aback by Tony Stark’s face during his final moments in “Avengers: Endgame,” it could have looked a lot more grisly.
“We gave the filmmakers a full range [of looks] to choose from and one of those was where the energy from the stones had acted right up into his face and popped one of his eyeballs out and it was hanging out on his cheek,” Weta digital VFX supervisor Matt Aitken told Insider of one of the most gruesome designs they did for Iron Man’s death.
“They didn’t go for that one,” Aitken chuckled.
The “Endgame” visual effects team, consisting of Industrial Light and Magic (ILM), Marvel, and Weta Digital, put together a full range of looks for Marvel Studios and directors Anthony and Joe Russo to look over.
The team needed to strike the perfect balance between a look that was believable enough that Tony could die, but that wasn’t too scary for kids and families to watch together.
This was one of many designs made for Tony’s death scene.
“With any development item, you want to be able to give the filmmakers a full gamut, from sort of a light touch all the way to horror, and this will never be in it,” said Marvel VFX producer Jen Underdahl. “But by doing that exercise and by letting them see sort of every stage, they can kind of pinpoint and circle the drain on where they think the look is going to settle.”
“We did go several rounds on that guy from grisly to not so grisly to more light of a touch, back to OK this is the spot where we think the audience is not going to get too freaked out, but also really understand that Tony has reached the point of no return,” Underdahl added.
The film helped lay out viewer’s expectations for Tony’s impending death by physically showing the damage the stones did to two other larger, powerful characters. The idea was that, hopefully, by the time Tony snapped and used the gauntlet viewers would be able to see the consequences of him wielding the stones.
“We had seeded in the film this notion of Thanos having damage. There are consequences to him snapping and pursuing this ideology. You see the damage in his face and what that did to him, and he’s built for this,” said Underdahl. “Then [you] see the consequences to Smart Hulk, who was made of gamma radiation and the damage that it did there.”
If this is what the stones did to Hulk, then you had to know it wasn’t going to go well for Tony.
(Marvel Studios, composite by Kirsten Acuna)
“You knew somewhere in the math that Tony himself, even though he’s got this suit and it’s going to fight for him, ultimately what’s going to result would be something he couldn’t recover from,” she added.
Atkins, Underdahl, and Marvel visual effects supervisor Swen Gillberg said they pushed the design past where they wanted to go so that they ultimately fell somewhere right in the middle of two extremes.
Another one of those extreme looks involved a nod to one of Batman’s most famous villains.
“We did do a Two-Face version where you got inside and you saw the sinews and you saw them in the teeth and that,” said Underdahl of another one of the more grisly Tony Stark designs.
In “The Dark Knight,” the Batman villain, Harvey Dent, is severely burned after half of his face is lit on fire.
For reference, here’s how Dent/Two-Face looks. I think it’s safe to say no one would have wanted to see this version of Tony.
“It takes you away from this really powerful moment,” said Underdahl of why that wouldn’t have been the right move for that moment. “You don’t want to be focusing on that or grossed out.”
“When he’s collapsing against the tree stump, you’ve got to know that he’s in a really bad predicament, that he has made this terrible sacrifice,” Atkins added. “But then you also didn’t want it to distract from his performance. And it’s a really subtle performance that he has in those intimate moments with Spidey and then with Pepper. So yeah we definitely worked quite hard on achieving that one, but we got there.”
“Avengers: Endgame” is one of 10 films on the shortlist for the visual effects category at the 92nd Academy Awards. The five final Oscar nominees will be announced Monday morning.
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
Disney had an unprecedented year at the box office in 2019.
The company grossed a record $11.12 billion worldwide (and counting), with six movies earning more than $1 billion. “Star Wars: The Rise of Skywalker,” currently in theaters, is on track to become its seventh. Disney accounted for nearly 40% of the domestic box office.
But experts believe 2020 will be slower for the company and the box office will be more evenly distributed among the major Hollywood studios.
“Next year is more wide open for the rival studios and they’ll share the wealth more evenly,” Paul Dergarabedian, the Comscore senior media analyst, told Business Insider in October. “Disney will still be a major factor in 2020, but it will be a great year for studios to present a diversity of content.”
While 2020 will likely not reach the box-office highs of the last two years, or even the expected highs of 2021 (which will see four Marvel movies, three DC movies, and the “Avatar” sequel), there are still plenty of potential blockbusters on the way that could give Disney a run for its money.
Below are 12 movies not from Disney that could give rival studios a boost at the box office this year:
Margot Robbie as Harley Quinn in “Birds of Prey”
“Bird of Prey (and the Fantabulous Emancipation of One Harley Quinn)” — Warner Bros., February 7
Warner Bros.’ DC movies have been on a roll with the blockbusters “Aquaman” and “Joker” and the critically acclaimed “Shazam!” Next up is “Birds of Prey,” which brings back Margot Robbie’s Harley Quinn, who was easily the highlight of “Suicide Squad.”
That 2016 movie didn’t fare well with critics, but still managed to gross 6 million worldwide. While diehard DC Extended Universe fans who loved “Batman v Superman” and “Suicide Squad” might be turned away by “Birds of Prey’s” more fun tone, general audiences could turn out for this female-centric action movie.
Emily Blunt in “A Quiet Place: Part II”
“A Quiet Place: Part II” — Paramount, March 20
“A Quiet Place” was one of the biggest box-office surprises of 2018, pulling in 0 million off of a million budget. A sequel was inevitable, especially considering Paramount’s otherwise dismal box-office results the last few years.
Daniel Craig as James Bond in “No Time to Die”
“No Time to Die” — Universal, April 10
“Skyfall” and “Spectre” were major box-office hits for Sony, with over id=”listicle-2644510669″ billion and 0 million worldwide, respectively. Universal is hoping the 25th James Bond movie, and star Daniel Craig’s last, can replicate that success.
Vin Diesel as Dom Toretto in “The Fate of the Furious”
“Fast and Furious 9” — Universal, May 22
The last two movies in the main “Fast and Furious” series, “Furious 7” and “The Fate of the Furious,” both grossed over id=”listicle-2644510669″ billion globally. Last year’s spin-off, “Hobbs and Shaw,” wasn’t as huge but still made nearly 0 million, suggesting the series still has gas. The upcoming ninth installment will pair the main cast of Vin Diesel and Michelle Rodriguez with newcomers like John Cena.
Gal Gadot as Wonder Woman in “Wonder Woman 1984”
“Wonder Woman 1984” — Warner Bros., June 5
2017’s “Wonder Woman” was a global success with 1 million worldwide. As noted, DC movies are on a roll and with the first “Wonder Woman” being such a hit, there’s no reason to think that this sequel can’t capitalize on that.
Anthony Ramos in “In the Heights”
“In the Heights” — Warner Bros., June 26
“Crazy Rich Asians” director John M. Chu is directing “In the Heights,” based on “Hamilton” creator Lin-Manuel Miranda’s Tony-winning musical of the same name. It seems to be a recipe for success.
Tom Cruise in “Top Gun: Maverick”
“Top Gun: Maverick” — Paramount, June 26
Some sequels to decades-old movies didn’t fare well at the box office in 2019, from “Terminator: Dark Fate” to the “Shining” follow up, “Doctor Sleep.” But “Maverick” will look to avoid the sequel curse by targeting adult moviegoers with nostalgia for the 1986 original “Top Gun” starring Tom Cruise.
Minions in “Minions”
“Minions: The Rise of Gru” — Universal, July 3
The first “Minions” in 2015 made over id=”listicle-2644510669″ billion worldwide, as did 2017’s “Despicable Me 3.” This “Minions” sequel will try to replicate the Dreamworks franchise’s success. Pixar’s “Soul” will enter theaters two weeks prior, but the name recognition of “Minions” could give it a competitive edge.
John David Washington in “Tenet”
“Tenet” — Warner Bros., July 17
Christopher Nolan follows up his box-office hit, the Oscar-nominated “Dunkirk,” with “Tenet.” Nolan churns out original movies that get audiences to the theater. 2010’s “Inception” made 0 million worldwide and 2014’s “Interstellar” earned 7 million. “Tenet” looks to be his latest mind-bending spectacle.
“The Conjuring: The Devil Made Me Do It” — Warner Bros., September 11
The “Conjuring” franchise, including its spin-offs like “The Nun” and “Annabelle” movies, is a consistent presence at the box office. The first two “Conjuring” movies grossed a combined 0 million worldwide off of modest budgets ( million and million, respectively). This third “Conjuring” film will likely continue the series’ success.
Venom in “Venom”
“Venom 2” — Sony, October 2
“Venom” was a surprise hit in 2018 with 6 million worldwide and suggested that Sony could still carry its own Marvel movie universe after its “Amazing Spider-Man” movies disappointed at the box office. The studio has other movies in development, including a movie about Spider-Man’s vampire villain Morbius starring Jared Leto, but it’s following up “Venom” this year first.
“Halloween Kills” — Universal, October 16
Blumhouse’s “Halloween” sequel/reboot grossed 5 million off of just a million budget. “Halloween Kills” is the first of two sequels coming — one this year and “Halloween Ends” in 2021.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
It’s one of the most cinematic forms of storytelling in war or action movies. Morale is down and all of the dejected troops look up to their great leader, the protagonist of the film, to deliver some sage words of wisdom and inspire them onto the pathway to glory.
We, the audience, know that the protagonist is more than likely going to win the battle and we can assume that, in real life, there’s no speech powerful enough to miraculously change troops’ minds about wanting to, you know, not die. That being said, whenever we see our sublime hero stand in front of their troops and deliver one hell of a speech, it gets our blood pumping.
And don’t just take our word for it — the films that feature the top four speeches on this list also swept the Oscars when they were released. Critics and moviegoers both love a powerful, pre-battle speech.
Ragnar Lothbrok — ‘Vikings’
There’s a disconnect between Hollywood and actual warfare. Normally, before a gigantic battle or fight, a leader won’t stand in front of their warfighters and give a rousing speech. The fight is just moments away — there’s no time to wax eloquent. In History’s Vikings, they get it right.
This is typically how pre-battle speeches typically go down in real life: “Don’t do anything stupid. Let’s kill the enemy. Here’s a a few tactics we should follow.”
In the brief speech below, delivered during the first episode of the series, we get a good look at how these speeches probably looked during the viking golden age.
Agent Maya — ‘Zero Dark Thirty’
This one also falls under the “how it actually happens” category. The fact is, the closest that pre-battle speeches usually get to the front lines is on base, miles away. The speech outlines mission objectives and is (typically) subject to questions/snarky comments from the people going into the fight.
There is honestly no better example in film history of this actually being done right than in Zero Dark Thirty, moments before SEAL Team Six flies out to finally get Osama Bin Laden. The speech is even complete with a “he’s there… and you’re going to kill him for me.”
President Whitmore — ‘Independence Day’
The world is under attack by hostile aliens and it’s up to the what remains of the military to stop them. Realistically, there’s no chance at survival, but just the right people are listening in to this speech, gaining the strength to fight on.
Not only does the speech unite everyone that’s about to go fight the aliens, but it also calls for human to unite and stand together. And you know, it also includes one of the best title drops in cinematic history.
General Maximus — ‘Gladiator’
Character introductions are one of the hardest parts of a script to write. The audience needs to know, in an instant, who a character was before the movie started, what we need to know about them now, and why they deserve to be the main character. There is perhaps no greater introduction than the one for Roman General Maximus, shown at the height of his power
After making sure that everything is going according to plan, Maximus has a little time to joke with his troops and tells them that he will be going back to his farm. It takes Maximus all of twenty seconds to put instill his men with pride and confidence as the enemy rides ever nearer.
General George S. Patton — ‘Patton’
This speech is far deeper than most people realize today. Yeah, it’s technically being given to the Third Army right before battle, but the film, instead, depicts it as being delivered in a theater.
That’s because the speech isn’t being directed at the troops. It’s directed at the audience, 1970s movie-going America. It’s brilliantly re-purposed and given a new meaning by being presented in a way that highlighted much of the uncertainty and debate surrounding the then-ongoing Vietnam War.
Aragorn — ‘The Lord of the Rings: The Return of the King’
Everything in the Lord of the Rings leads up to one moment. A gathering all of the living warriors across Middle-Earth is charged with taking down the unstoppable scourge of Sauron’s forces. While the audience knows that Frodo and Sam are alright, Aragorn and his men believe them to be dead. They believe that Frodo has been killed, the ring was not destroyed, and it is instead in the hands of the enemy.
In their eyes, there was no way to win. They were all gathered just to die in front of the Black Gates. But not this day. They may all die, but they’ll make a valorous attempt to survive, spurned on by Aragorn’s courage.
William Wallace — ‘Braveheart’
William Wallace had finally banded the clans of Scotland together to finally make their stand against the English, but when they see the massive army they’re going against, they lose the will to fight. They come to the sudden realization that this “mythical” William Wallace that was supposed to lead them in battle is a mere man and, just as quickly, everyone wants to go home.
This is the perfect example of how the pre-war speech is supposed to go down. It’s up to William Wallace to remind everyone that there is no going back. There is no alternative to fighting, even if it means many of them will die. But if they die, they’ll go knowing they were slain for freedom.
What makes a movie “the most Russian movie possible?” In this case, it isn’t the long takes and subtle camera movement that trademarked films of the late Soviet Union. It instead features modern-day Soviet-level superheroes drawn together from all corners of the former USSR in order to fight an evil super villain who destroys Moscow and wants to take on the whole of Russia.
One of them is a military-trained, literal Russian Bear who mows down robotic drones with a minigun.
In the Russian action flick “Zaschitniki” (which translates to “Guardians“), the bear and other Russian superheroes are formed as an Guardians of the Galaxy-meets-Suicide Squad super unit who must take down a force of robots and henchmen who threaten all of Russia after they destroy the Russian Army and burn Moscow to the ground. The Guardians are superheroes formed through science during the Cold War, intended to protect the USSR from invaders.
Xenia has the power of invisibility and can change her body into water, Lernik can control Earth and rocks with his mind. Temirkhan has super speed and kills people with curved swords, and Arseniy turns into a giant bear-man who wields an equally giant machine gun. The creator of a subsequent superhero creation program flees the Soviet government and hides in Siberia, continuing his experiments and turning himself into a cyborg and creating clones of himself.
All of the heroes hide for decades after the fall of the USSR, emerging only because the Russian government wants to restart the program.
You see where this is going.
To shots like this.
The Guardians are quickly captured by the evil cyborg doctor. While he’s off controlling an army of robots and tanks to gain control of all the Russian satellites in orbit so he can control all the technology in the world. Somehow, a Russian officer frees the Guardians. She trains them to fight and gives them special suits and weapons. An all-out Avengers-level brawl takes place in Moscow with the Guardians just murdering the other side.
Eventually they have to come together to defeat the villain. They touch each other and release a blast of energy, which the Russian officer forgets to tell them while they’re training for this big battle.
Listen, what you need to know is that Guardians isn’t a great movie, even by international action flick standards. What it does have is an awesome werebear and some other cool action scenes, which is all we ever really wanted. It also has a setup for a sequel which will be the worst movie I ever watch from start to finish.
Recently, Brie Larson paid a visit to Nellis Air Force Base in preparation for the upcoming Marvel film, Captain Marvel, set for a 2019 release. Accompanying her was Staff Sgt. Don Wallace, an F-15 crew chief with the 57th Maintenance Group. Larson donned a flight suit, toured the base while learning the history of the F-15C, and met with Brig. Gen. Jeannie Leavitt, the commander of the 57th Wing at Nellis AFB.
Brig. Gen. Leavitt became the first female fighter pilot in 1993 after the Defense Secretary lifted the ban on women flying in combat — over sixty-one years after Amelia Earhart made her historic, transatlantic flight. Brig. Gen. Leavitt is a major, real-life inspiration behind the character, Captain Marvel.
A post shared by Don (@dwallace85) on Jan 18, 2018 at 7:04pm PST
Larson was said to be very friendly, down-to-earth, and eager to learn everything she could about the U.S. Air Force. She was very interested in learning on how G-forces act on a pilot during intense maneuvers and the mission capabilities of the F-15.
Larson was very accommodating with fans, taking photos with airmen and even getting on an airman’s FaceTime for a friend.
A post shared by Don (@dwallace85) on Jan 18, 2018 at 1:29pm PST
Not many details about Captain Marvel are known other than it is set in the 1990’s Marvel Cinematic Universe and it will follow the comic book character, Carol Danvers. In the comics, Danvers is a fighter pilot who gains superpowers after an alien invasion. She’s also key member of The Avengers. Since the film is set in the 90’s and Samuel L. Jackson is confirmed to appear in the film, it’s safe to assume that this film will center around the superhero world between Captain America: The First Avenger and Iron Man.
ProPublica senior reporter Sebastian Rotella, author of “Rip Crew,” lays out what popular TV shows and movies like “Narcos” and “Sicario” get right and wrong about Mexican drug cartels. Following is a transcript of the video.
Sebastian Rotella: I’m Sebastian Rotella. I’m the author of the novel Rip Crew and I’m a senior reporter at Propublica.
“Sicario” was a, was a good movie, and some of the things it portrayed were very accurate, for example that shootout at the border, if you remember in “Sicario” when they’re at the border crossing, stuck in traffic, that has happened, and something that I was very worried about when I was covering the border, because you know that is a sort of a prime vulnerability moment when you’re stuck in that traffic at the border.
There were other things in, for example, in “Sicario” that I thought pushed the envelope, the sort of gratuitous and casual torture taking place on US territory, that in my experience, you know, it happens very rarely, I’m really not aware of it. And that isn’t because there aren’t particularly Latin American law enforcement and intelligence and military units that work with the US that engage in that kind of activity, but it tends to happen precisely in those countries. You know, the idea that you would bring someone into the US to do that and expose yourself to all kinds of potential prosecution and scandal, that did not ring true, for example. So it really depends.
I think “Narcos” is quite well-researched. What happens is, and I’ve done this having written fiction, and having been involved in projects where you move this stuff to the big screen, things have to be simplified, they have to be made dramatic, they have, you lose nuance, and oftentimes, they’ll be things that happen in real life that I think would make for good, it would be good on, on a TV show or a movie, but they’re harder to portray because oftentimes they happen out of ineptitude.
Right, I mean the scary thing sometimes about this world is the combination of that, how lethal, but sometimes how inept or how unsophisticated some of these actors are, that factor that is hard to portray in the best series this question of ineptitude of the mix of sophistication and coincidence and sort of human flaws, I think when that is draw out in series, that is when they’re at their best, because I think that is very human and that is very real. There is still a sense of the drug lords in Mexico. You know people talk a lot about Chapo Guzman, who was just captured.
The thing about Chapo Guzman is he was kind of the last of the drug lords of his style, and one of the reasons that Mexico was so violent, and the drug violence and drug corruption has gotten so bad is precisely because the generation of drug lords like Chapo Guzman has kind of died out, and the people who run most of the cartels now, the cartels are adamized and fragmented for one thing. And the other thing is what you have is a phenomenon, is as the drug lords like Chapo Guzman have faded out, the trigger men, the gun men, who pretty much resolve everything through violence have risen.
So it’s not to say that Chapo Guzman and the Arellano-Felix brothers whom I covered in Tijuana years ago and others, weren’t violent. They were bloodthirsty and sadistic, but they also had a sense of when to corrupt, rather than kill, when to do packs, when to, how to, how to, how to approach this as a, as a business, as a violent business, but a business, none the less. Whereas the drug cartels like the Zetas, and some of the remnants of other cartels that have risen, the Zetas were former commandos in Mexico actually military men who took over and created their own cartel. Pretty much they resolve everything through violence, so people think about a drug lord sort of sitting on a throne somewhere and running this vast empire and it’s much more a series of smaller, very anarchic, dangerous, chaotic empires, that are, you know, that have been splintered and fractured and that unfortunately has created more violence and not less.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
If you haven’t given Triple Frontier a go on Netflix, you definitely should. If you’re unfamiliar, the story follows five Special Forces veterans who travel to a multi-bordered region of South America to take money from a drug lord. It stars Ben Affleck, Oscar Isaac, Charlie Hunnam, Pedro Pascal, and Garrett Hedlund, who all do a fantastic job capturing the attitudes of their characters. But one thing especially helped make this film feel realistic: the presence of Special Forces veterans.
While Hollywood productions generally do have military advisors, it isn’t necessarily common that those advisors take the time to work with the cast to really nail down things like tactics and weapons handling. In this case, J.C. Chandor had two Special Forces veterans who did just that — Nick John and Kevin Vance.
Here’s why they were the most important part of the production:
This may not seem like a big deal but nicknames are a huge part of military culture and knowing how service members earn their nicknames can help you really understand the culture itself.
They taught the actors about nicknames
Charlie Hunnam plays William Miller who goes by the nickname “Ironhead,” and, of course, he wanted to know why, so he asked one of the advisors who explained that the nickname likely comes from the character having survived a gunshot to the head.
This film will have you saying, “Wow, these actors actually know what they’re doing with that weapon.”
They taught the actors how to handle weapons
Most of us who spent a lot of time training in tactics can really tell when the actors on screen haven’t had enough training, if any at all. It’s probably most evident in the way they handle weapons. In the case of Triple Frontier, Nick John and Kevin Vance really took the time to train the actors, and it shows.
They trained the actors with live ammunition
When learning how to handle a weapon, it helps to shoot live ammunition. Well, at the end of the first day of the two-week training, Nick John felt the actors were prepared to handle it. So, they gave them live ammunition and let them shoot real bullets, which is not standard for a film production, but it really pays off in this film.
The way these actors clear buildings is very smooth and convincing.
They taught tactics
After trusting the actors with live ammunition, Nick John and Kevin Vance ran them through tactics. From ambushes to moving with cover fire, the actors learned the basic essentials to sell their characters on screen, and they do so extremely well.
Actor Charlie Hunnam said, “It was amazing. I was shocked by how much trust they put in us. Very, very quickly, they allowed us to be on the range with live fire, doing increasingly complex maneuvers. We started ambush scenarios, shooting through windows and panes of glass, doing cover fire, and operating movements I’ve never done before.”
Veterans have a tendency to spot inaccuracies immediately. But, what Triple Frontier brings to the table is realism. While not perfect, it does a great job of really making you believe these characters are real and all the work Nick John and Kevin Vance put into teaching the actors really pays off.
If you haven’t checked out Triple Frontier on Netflix yet, you definitely should.
Robin Williams went on six separate USO tours from 2002 to 2013. Williams inspired countless other comedians and performers to pack their bags and head overseas to share their light with the world. There are hundreds of stories that surround the humanity of each and every visit Williams had.
For example, take the time on the 2007 USO Chairman’s Holiday Tour, where Williams saw a group of soldiers waving at him from behind a fence across a grassy berm. A wave and a loud joke across the field would’ve surely made those soldiers day… But according to USO VP of Entertainment Rachel Tischler, “… he jumped across the berm and went running over to them. Obviously, our security team completely freaked out. Again – height of the war here. But he didn’t care. He just wanted to go over and shake their hands and thank them. And that is what he was like.”
That’s the thing with Williams. He didn’t just go overseas and perform a couple of comedy sets and dip out. That, in and of itself, would still be a beautiful act of service. But that wasn’t enough for Williams. He jumped the berm in everything he did.
“What was great about him on tour was that he always took the time to sit down and talk to people about what they were going through, what life on the base was like, about personal experiences,” Tischler said. “And then he’d get on stage and he’d be telling a joke about Mexican Night in the [dining facility].”
Robin Williams as troops “Retreat” at Camp Arifjan, Kuwait
Williams wasn’t just a loose cannon of human decency on USO Tours, either. He was also a respectful observer of military tacit codes. Just watch this video of Williams’s set being cut short by Taps at Camp Arifjan, Kuwait.
At the first sound of the beagle, you can almost feel his gut lurching to make a joke. Every single time that Williams had gone on stage, he was a comedic amoeba, calling out things happening in the present moment. He had conditioned himself to make a joke there. But he resisted. He pulled against his greater impulses, and respectfully lowered his head.
You can tell it meant something to him, as he said “I’m never going to forget that.” And what happened next is quintessential Robin Williams— he made a joke about the present moment that unified the entire camp.
Holiday Tour, International Airport in Baghdad (2003)
(Mike Theiler. EPA.)
Unity is the central theme of Robin Williams USO tours, and that’s the legacy left behind. Every man and woman stationed who got to see him took a piece of Williams back with them. Williams loved it too, “There’s nothing I enjoy more than traveling with the USO and giving back to our troops in whatever way I can,” he said, “They work hard, sacrifice a lot and deserve to be treated like the heroes they are. The very least I can do is bring a smile to their faces.”
Many comedians have followed in his footsteps of unity since: Lewis Black, Louis CK, Ralphie May, and Stephen Colbert, just to name a few. As our country feels increasingly disjointed, it’s important to focus on the “Robin Williams” moments; we can reach across the aisle and truly connect with each other.
Whenever we feel distant from each other, we don’t have to shout from behind a fence. We can jump the berm.