Sony Pictures’ “Jumanji: The Next Level” pulled off what’s been a difficult task in 2019: It topped its predecessor’s opening weekend at the box office with $60 million domestically over the weekend.
“It looks like ‘Jumanji’ is immune to the so-called sequel or reboot ‘curse’ that has plagued many films this year and is set for a long run throughout the holidays and into 2020,” Paul Dergarabedian, the Comscore senior media analyst, told Business Insider. “‘The Next Level’ should perform much like its predecessor that similarly had a ‘Star Wars’ movie to contend with in the early weeks of its release and have solid long-term success.”
“Jumanji: Welcome to the Jungle” rebooted the 1995 classic starring Robin Williams with a million domestic debut. And with 2 million globally and 4.5 million domestically, “Welcome to the Jungle” was 2017’s fifth biggest movie in the world and the fourth biggest movie in North America.
Jack Black and Karen Gillan in “Jumanji: The Next Level”
A sequel was inevitable, but not a guaranteed success if this year’s box office was any indication. While there have been exceptions (i.e. “John Wick: Chapter 3” and most things Disney), sequels and reboots this year have flopped hard. Here are some examples:
“Godzilla: King of the Monsters” grossed nearly 0 million less than 2014’s “Godzilla.”
“Dark Phoenix,” Fox’s final “X-Men” movie before joining Disney, was the lowest-grossing “X-Men” movie yet with just million domestically and 2 million worldwide.
“Men in Black: International” tanked with only million domestically and 4 million globally.
“It: Chapter Two” wasn’t a flop with 2 million worldwide, but performed far worse than the first “It,” which earned 0 million.
“Terminator: Dark Fate” could put an end to the “Terminator” franchise after a measly 8 million worldwide off of a nearly 0 million production budget.
And the “Shining” sequel “Doctor Sleep” fizzled out at only million worldwide.
Sony avoided those movies’ fates by dropping “The Next Level” during a smart weekend, according to box-office experts. And “Welcome to the Jungle” also debuted the same month as a new “Star Wars” movie (then “The Last Jedi,” this time “The Rise of Skywalker”), which didn’t stop it from being a box-office powerhouse.
“[‘The Next Level’] has time to build audience enthusiasm and become a part, not a casualty, of what should be an enormous weekend for the box office when ‘The Rise Of Skywalker’ opens this week,” Dergarabedian said.
Jeff Bock, the Exhibitor Relations senior box-office analyst, said that family-friendly movies are in high demand during the holiday season and the positive response to “Welcome to the Jungle” helped its chances even further.
But the all-star cast doesn’t hurt, either. It includes Kevin Hart, Jack Black, and Dwayne “The Rock” Johnson, a global superstar and Forbes’ highest-paid actor of the year.
“Big names [can still mean] big box office game,” Bock said. “It still works if you do it right.”
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
“Wonder Woman” hit theaters on June 2nd and has been a massive critical and box-office success. It’s a comic book/superhero movie, but it also happens to be a historical movie taking place in Europe during World War I.
So, while this movie’s main character is a bad-ass woman made of clay (she can also fly) who fights bad guys with a magical lasso, there are some things that are actually very real about who she’s fighting.
In the movie, General Ludendorff, played by Danny Huston, is a general in the Imperial German Army. He’s ruthless, ambitious, and will do whatever it takes to win the war for Germany, including using chemical weapons.
General Eric Ludendorff was a real German general in World War I. According to Uproxx, he was an advocate for “total war.” And from 1916 to 1918, he was the leader of Germany’s war efforts.
The real Ludendorff has been credited for coining the “stab in the back” myth. After World War I, right-wing Germans believed that the Germans didn’t lose the war on the battlefield, but instead that they lost the war because other Germans betrayed them on the homefront. Ludendorff blamed the Berlin government and German civilians for failing to support him.
In the 1920s, he became a prominent right-wing leader in Germany, serving in Parliament for the National Socialist Party. He also had associations with Adolf Hitler and other Nazis.
Ludendorff stood for war, and Wonder Woman stands for peace, so it makes sense that director Patty Jenkins and screenwriter Allan Heinberg turned to Ludendorff for their villain.
Roger Deakins has dazzled moviegoers for decades with visuals that have gone on to become the most memorable in modern film history.
The frigid vistas in “Fargo,” the dreamy Western plains in “The Assassination of Jesse James by the Coward Robert Ford,” the gritty underground world of drug cartels in “Sicario,” and the washed out future in “Blade Runner 2049” (which finally earned him his first-ever Oscar), all came from Deakins.
It’s hard to imagine he could do anything that would top this legendary body of work.
But he has with “1917.”
Marking Deakins’ latest collaboration with Sam Mendes (the two worked together on “Jarhead,” “Revolutionary Road,” and “Skyfall”), the story follows two British soldiers during World War I who have to travel behind enemy lines to deliver a message that will stop 1,600 of their allies from walking into a trap. And in telling that story, Deakins makes it feel like the entire movie is done in one continuous shot.
The hugely ambitious idea paid off. The movie, currently in theaters, has found critical acclaim, box-office glory, and award-season praise as it won three Golden Globes (including best director for Mendes and best drama) followed by 10 Oscar nominations.
“Blade Runner 2049” is the only movie for which Roger Deakins has won an Oscar.
Among them was Deakins for best cinematography, the 15th time he’s been nominated.
If you were looking for a sure bet this Oscars, it’s that Deakins will take home his second Oscar when the awards are handed out on February 9. But don’t count on the man himself to get too excited.
The 70-year-old Englishman has been the frontrunner too many times before, only to leave empty-handed, to listen to any Oscars handicapping. In fact, he’s so modest it’s hard to get many details out of him on how he actually pulled off the ambitious shooting technique that has become the biggest draw of the movie.
“We had a lot of prep and we could just work through all the problems,” he said in a laid-back tone to Business Insider hours after the Oscar nominations were announced on Monday.
But finally he let out something that did scare him. It was something that even a legend like himself, who has come across seemingly every scenario behind the camera, could not control: the weather.
“That was a bit tricky,” he said, with just the hint of dry English humor.
Most of “1917,” which takes place over two days, is shot over grey skies. The gloom adds to the despair of the story’s war-torn surroundings. But Deakins said it was also a choice he kept pushing for early on in preproduction.
“Just practically we had to shoot in cloud,” he said, looking back. “Either you shoot it in real time, at the right time of day, which you never do unless you have months and months of time. Or you shoot in cloud and time it to look that way.”
Knowing most of the filming would be done at Shepperton Studios in Scotland, the movie’s production office looked up what the weather was in the area the year before at the time they were going to shoot. Deakins was disappointed in the answer: “Apparently it was gorgeous.”
But the movie moved forward, which included Deakins and his team rehearsing the shots constantly with the small, light-weight cameras made especially for the movie from Arri Alexa.
Everyone was ready when the first day of shooting came in April of last year, but there was one problem.
“There wasn’t a cloud in the sky,” Deakins said. “It certainly made me anxious.”
While producers were on the phone explaining to the studio, Universal, and financiers why they couldn’t begin production because the weather was too nice, Mendes, Deakins, and the rest of the actors and crew were back to rehearsing in the trenches made for the movie.
Thankfully, the second day was a cloudy one and production was able to get back on track as they also made up the previous day’s shooting. Deakins said that’s how it was for most of production. If clouds weren’t in the forecast, everyone waited around until the day came when there was — and then everyone doubled their efforts to stay on schedule.
“We would literally stand around for hours waiting for a cloud to come by,” Deakins said. “I had five different weather apps on my iPhone. Every radar I could get. You look at them and try to find the one that will tell you what you want.”
Shooting a scene from ‘1917.’
(Francois Duhamel / Universal Pictures and DreamWorks Pictures)
Then the day came when he wanted some sun. At the end of the movie, for a shot where the movie’s lead, Schofield (George MacKay), is sitting by a tree, Deakins said he wanted the shot to show some rays of sunlight in the sky.
“There was this little cloud coming over the sun so before we shot that section we called everyone over and said, ‘Let’s shoot it, we might get lucky,’ and sure enough when it got to the end of the take the sun came out,” he said.
“That was the first take,” Deakins continued, with a certain pride he didn’t show earlier in our conversation. “We shot it another fifteen or twenty times, but Sam liked that first one. And it was the only one where the sun came out. We never got that again.”
Looking back on the experience, Deakins said he would be up for shooting a movie again like this — though he wonders if anyone would want to.
“I don’t think many directors would want to tell the story in that way,” he said. “But it doesn’t scare me off at all. It would be quite fascinating to do it on something else.”
It’s good to see that even a legend has dreams for what the future could hold.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
Marvel officially announced its massive upcoming slate that will kick off phase 4 of the MCU starting with “The Black Widow” solo movie coming to theaters May 1, 2020. Black Widow finally getting her own movie should come as no surprise, as the superspy is one of the OG Avengers and is played by Scarlett Johansson, one of the biggest actresses in the world.
However, there is one big potential problem: Black Widow is, for lack of a better word, dead, as she sacrificed herself to help the other Avengers get a hold of the Soul Stone. Obviously, this means that “The Black Widow” will be an origin story set in the past but it also begs the question: could “Black Widow” being the first movie in phase 4 mean that the MCU is finally ready to embrace the multiverse?
Confused? Well, it’s possible that “The Black Widow” could just be a standalone origin film but given the interconnectivity of the MCU, that feels unlikely. “Captain Marvel,” the last movie before “Endgame,” took place in the 90s but it still managed to connect itself to the larger narrative (“Captain America” did the same thing). This makes it feel highly unlikely that “Black Widow” will be a stand-alone story that marks the end of Johansson’s time with Marvel, especially considering the fact that it has been chosen as the movie to start the post-Iron Man and Captain America era of the MCU.
This is where the multiverse comes into play because it could potentially allow the titular secret agent to find her way back into the story while also finally opening up the MCU to other universes. The MCU has been hinting at the multiverse theory for a long time, most recently via Mysterio in “Spider-Man: Far From Home,” but so far, it has only dipped its toes into the complex tapestry of parallel realities.
The multiverse theory makes even more sense when you look down the rest of the phase 4 schedule, as a lot of the upcoming shows and movies seem to suggest the possibility of alternative universes, as they are packed with dead members of the MCU. Loki, who died in “Infinity War,” will be getting his own show in 2021, while Vision, who was murdered by Thanos, is set to have a major role in “WandaVision,” another show set to air on Disney+.
Is Marvel just getting really into prequels? Maybe (although Vision and Wanda don’t meet until Ultron so that doesn’t really make sense) but how would that explain “Doctor Strange in the Multiverse of Madness?” At this point, Marvel is basically winking at comic book fans with its seeming embrace of the multiverse.
So when “Black Widow” hits theaters next year, don’t be surprised if its a badass espionage flick that also sets the foundation of the Avengers diving deep into the wonderfully weird world of the multiverse. This would open it up to infinite possibilities, including rebooting storylines and bringing back characters who are currently dead.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Dune is a legendary sci-fi/fantasy novel that has just been waiting for the right filmmaker to bring it to life (much like The Lord of the Rings). Many have tried. All have failed (sorry, David Lynch). Frank Herbert’s novel built a rich world with fascinating characters but — for modern readers who have honed their tastes on Patrick Rothfuss and even Orson Scott Card — Dune is boring dense, yo.
And I’ll just say it. The Lord of the Rings was dense, too. The pacing of these novels do not hold up for readers — but, as Peter Jackson proved, they can still make for epic films.
Enter Denis Villeneuve (Arrival, Blade Runner 2049). The Oscar nominee will direct the latest adaptation of the iconic film — and I gotta say, based on the trailer, I’m feeling hopeful:
Dune tells the story of Paul Atreides (played by Little Women’s Timothée Chalamet), a young man destined to rule the most dangerous planet in the universe, where forces battle over a substance with the ability to unlock humanity’s greatest potential. When betrayal leaves him and his gifted mother exiled in the unforgiving sands of Arrakis, only their unique powers — and their mastery over the mind-killer — can save them.
Villaneuve set himself up for success with an absolutely killer cast: obviously, Chalamet is super hot right now, as are Zendaya (Euphoria, Spider-Man: Homecoming), Oscar Isaac (Star Wars Episodes VII-IX), Marvel alumni Josh Brolin and Stellan Skarsgård, and Rebecca Ferguson (Stephen King’s Doctor Sleep, Mission: Impossible – Fallout).
Hebert’s book is so detailed that the film will be told in two parts, with the first set to release December 18, 2020 (if humans can survive that long). Villaneuve’s adaptation has been a massive undertaking — he spent a year on the design of the iconic sandworms alone.
“We talked about every little detail that would make such a beast possible, from the texture of the skin, to the way the mouth opens, to the system to eat its food in the sand,” the director told Empire magazine for the publication’s Summer 2020 issue. “It was a year of work to design and to find the perfect shape that looked prehistoric enough.”
Check out the trailer above to see one in action and to behold the glory of Arrakis.
The 2016 film “The Finest Hours” depicts the events of Feb. 18, 1952, when a horrendous winter storm broke two large tankers in half. Coast Guardsmen operating out of the Chatham, Massachusetts lifeboat station managed to save 70 of the men from death by hypothermia or drowning.
The two tankers, both 520 feet long and carrying kerosene and heating oil, were called the Pendleton and the Fort Mercer. The Pendleton broke first, cracking in half near dawn in the middle of a nor’easter that created 60-foot waves and 70-knot winds.
The way the Pendleton broke resulted in a circuit tripping, cutting electricity to the front of the ship where the captain could have sent out an S.O.S. signal. The captain and seven other men in the front of the ship would die before anyone knew to rescue them.
In the bow of the Pendleton, 33 men were fighting for their survival. They struggled to keep their ship afloat and sound alarms while knowing they had only hours to live.
A short time later, the Fort Mercer was broken in half by the same storm. The Coast Guard first learned about the Fort Mercer and dispatched a motor boat from Chatham and a number of Coast Guard cutters and aircraft responded.
The rescue of the Fort Mercer crew was dramatic. Crew members tried to climb on ropes from their sinking vessel to a cutter, but were thrown around by the wind and waves. A particularly brave cutter captain ordered his vessel to make runs beneath the stern, allowing survivors to jump from one ship to another as the waves tried to crash them together.
Thirty eight men were eventually rescued from the Mercer. It was during this that a Coast Guard aircraft spotted a floating section of the Pendleton and reported that there were two broken ships out there.
So, a second motorboat was dispatched from Chatham station. It is this one that “The Finest Hours” seems to focus on. A small crew of 3 volunteers led by a young boatswain’s mate, Bernard Webber, set out into the storm to attempt the rescue.
En route, their 36-foot lifeboat was twice swamped by the waves. The first simply flipped the self-righting ship, while the second flipped it and broke out the windshield, threw Webber against the deck, and broke the small vessels compass. Webber and his men would complete the rest of the rescue without being sure of where they were going at any time.
When they made it to the Pendleton, the survivors lined the deck and waved their arms to get the Coast Guardsmen’s attention. A nearby cutter had also come to the aid of the Pendleton, but was unable to assist because the Pendleton stern section was crashing against an underwater bar that would destroy the cutter.
So the small motorboat, designed to hold just a few people, began taking on the crew of the Pendleton. It took twenty passes of the motorboat for the entire crew to make it off. For each man that jumped onto the motorboat, the vessel became harder to maneuver and more sluggish, a potentially lethal problem in the turbulent storm.
Finally, on the last pass, the Coast Guardsmen had taken on 32 of the 33 survivors from the Pendleton. But the final survivor dropped too early, crashing into the water between the ship’s stern and the Coast Guard boat. When he floated back to the surface, a wave pushed the vessels together and the man was crushed between them.
Though Webber was hurt by the loss of the man, he began the challenging process of getting his crew and the 32 remaining survivors back to safety. With no compass for guidance, he radioed the shore for help. As Chatham Lifeboat Station and a Coast Guard cutter argued about the best course of action, Webber got fed up and shut off his radio.
He headed in a direction that he thought would let him beach the craft, allowing men to scramble ashore. As he moved forward though, he spotted a navigational buoy and alerted Chatham Station that he was coming up to the pier with his survivors.
Other Coast Guardsmen and civilians from Chatham came out to meet the heroes and help the survivors. The next day, Coast Guard Rear Admiral H. G. Bradbury wrote a letter thanking the men for their heroism. Each member of the crew later received Gold Lifesaving Medals from the Treasury Department for their efforts. The Finest Hours tells their story.
(h/t to the U.S. Coast Guard for their articles “The Fort Mercer and Pendleton Rescues” and “The Pendleton Rescue,” which provided most of the information for this article.)
Disney’s “The Finest Hours” is currently available on Amazon Prime.
Comfort is one of the last things in mind when the U.S. Navy designs a submarine. There’s little room to walk around, restrooms and showers are kept as cramped as possible to make room for ordnance and mechanics, and the perpetual lack of sunlight and fresh air will make you forget what time of the day it is.
Add all that up and you’ll quickly realize being deployed for months on end on a submarine is enough to make most people go crazy with cabin fever — but the submariners of the United States Navy are legitimate badasses, so they make due.
We Are The Mighty is proud to support the release of ‘Hunter Killer,’ a submarine thriller starring Gerard Butler and Gary Oldman that hits theaters on October 26, 2018.
An extra two hours of duty is nothing if it means not losing your freakin’ mind.
(U.S. Navy photo by Mass Communication Specialist 1st Class Jeffrey M. Richardson)
There’s a certain flow that gets developed while underway. The lack of sunlight actually makes it easier on the human body to adapt to a new circadian rhythm, which makes splitting shifts a little easier. There’s a running joke among submariners that the only reliable way to tell the time it is by what the mess hall is cooking. If it’s waffles, it’s probably morning. If it’s leftovers, it’s definitely midnight.
The crew takes turns cycling through three eight-hour shifts: eight hours of sleep, eight hours of duty, and eight hours of free-time. Prior to 2014, submariners endured an 18-hour day that was split into three sections of six hours of each, but it was decided by the powers that be that shifting people off of a 24-hour cycle was a terrible idea for everyone’s sanity.
This 15 sq. foot rack can be all yours for the low, low price of a one enlistment contract!
(U.S. Navy photo by Mass Communication Specialist 1st Class Jeffrey M. Richardson)
When it comes to sleeping, it’s not an exaggeration to say that the racks resemble coffins. Stacked two high and barely arms-width apart, the only way you can get any kind of privacy is via a tiny, little curtain. If you can get used to that, great. If you can’t, well, sucks to be you…
The space for your personal belongings amounts to all of a single drawer under your rack and a cabinet above your pillow. To everyone else in the military, that’s about a duffel bag’s load of stuff to last you an average of 90 days. What this means is that you’ll usually take changes of uniforms, the occasional personal memento, and that’s about it.
Slackers, rejoice! You probably won’t be PTing that much while you’re underway. Just remember that PT standards still apply when you’re back on land, so there’s that…
(U.S. Navy photo by Mass Communication Specialist 1st Class Steven Khor)
After the submariner finishes their assigned watch, their time is their own until they head back to bed. They’ll often get called back for work or get stuck on some mind-numbing detail — but sometimes, it’s a nice break in the monotony.
Since you can’t really chill out in the living quarters if you’re lower rank, the preferred way to relax is to crowd into the mess hall and watch TV. New submarines are being fitted with internet access to give submariners something to do — but don’t expect speeds greater than old-school dial-up all the way down there. There are gyms on board, but you’ll have to stretch your definition of “gym” to mean two machines that are shared among the crew.
Life isn’t easy on a submarine. It’s not for everyone. But if you can endure the extensive training to earn your Submarine Warfare Insignia and knock out a deployment-at-sea in a cramped tin can, you’ve earned the right to be objectively cooler than (nearly) everyone else in the Navy.
We Are The Mighty is proud to support the release of ‘Hunter Killer,’ a submarine thriller starring Gerard Butler and Gary Oldman that hits theaters on October 26, 2018.
Everyone has their own opinion of what makes a good war movie. Unfortunately very few can offer anything of substance.
Yes, I’m talking to you, orange grime Cheeto finger-licking video game player in your momma’s basement. You can kick my ass in Call of Duty but in real life, you’d pee your pants in a kill house live-fire training mission.
So lick the cheese off your fingers and take notes, some man stuff coming at you.
Below is my small contribution to the best war movies of all time. I carefully selected my 10 favorites and put them in no particular order other than my #1 of all time, The Great Escape, at the top.
After serving in the SEAL Teams I find it really hard to sit through most action movies without being overly critical of the tactics. For me sitting through a bad action movie is pure torture. Worse than the Notebook. Worse than ingernails on a chalkboard. And like my old chief would say, fucked up as a football bat.
Top War Movie Pet Peeves
Sweeping your own guys with a loaded weapon. Just not cool, and a punishable offense in the SEAL Teams. Find a loud mouth Special Ops guys on social media and chances are he’s not really Special Ops, or worse, was kicked out of the community for a safety violation like this.
Representing the military as unprofessional. Some of the most professional people I’ve met in my life are from the military and it’s crazy to see that scene in American Sniper where the instructors are yelling at students on the firing line like boot camp kids. Not realistic, and doesn’t represent the high level of professionalism at the SEAL sniper program.
Unlimited bullets. Just doesn’t happen outside of video games folks. That ten-round magazine doesn’t last forever, Johnny.
Bad unit tactics. Take your pick… oh yeah, on Zero Dark Thirty the producers had the guys talking on target… not going to happen that way! It’s a squeeze on the shoulder or a hushed communication via inter-squad radio. Just corny…
Poor mission planning. Parachuting onto the roof of a target for example. Not going to happen unless you’re Tom Cruise in Mission Impossible.
The list goes on but you get the idea.
Here’s my top 10.
The Great Escape (1963) Official Trailer – Steve McQueen Movie
If you can get past Charlie Sheen (he hadn’t lost his mind in ’86) this is a great gritty movie about Vietnam. The same kind of movie you can expect to see rebooted with our modern-day Vietnam of Afghanistan. Drugs, stealing cash off-target, war crimes, hookers, this one has it all. I actually wrote a one-page pitch for a similar war movie called, The Reservation, about guys going haywire in Afghanistan post-2004 when it turned into a complete shit show. Stay tuned…
? PREDATOR (1987) | Full Movie Trailer in Full HD | 1080p
Just look at who’s in the movie and enough said. Ex-Special Ops taking on an alien inter-planetary hunter-kill? Fuck me, I’m in! “Head to the chaupper!” Move over Parasite…Que, the Academy award for manliest movie of the year, Predator.
Black Hawk Down (2001) Official Trailer 1 – Ewan McGregor Movie
Based on true events. Great movie but like most great war movies, when you peel it back, usually you find the guys on the ground totally let down by the guys at the top. This time, the name rhymes with “Bill Clinton”… Left our boys hanging in the breeze to fend for themselves in another half-baked country intervention. Fortunately for Delta and the Rangers they did an extremely good job at it while Bill was getting a his daily brief from a White House intern. Epic movie, but I was triggered for sure.
You may ask yourself why a sniper picked this one. Well, before I was a sniper I was an anti-submarine warfare operator and search and rescue swimmer helicopter aircrewman. (Have they now changed it to aircrew person? What the hell is the politically correct version of it? I wrote about this in The Red Circle.) So before I was born again hard in SEAL Training, I geeked out on Russian submarine profiles and harmonic sounds generated by diesel-electric subs. This is a great movie by one of the best military fiction writers ever, Clancy.
Want to know why you shouldn’t ask your military buddy, “How many kills you have bro?” Watch Deer Hunter and then STFU. Great movie. Gives a new meaning to Russian Roulette as well. Look at the cast as well, All Star!
Dirty Dozen (1967) Official Trailer – Lee Marvin, John Cassavetes World War 2 Movie HD
Back when it was ok for men to be men and pronouns weren’t weaponized by the hipster elite. The Dirty Dozen. What’s not to like about Americans kicking Nazi ass?! Plus, take a bunch of guys from the brig and put them on a special ops suicide mission and you have the makings of a great war movie. A lot of great actors in this one as well — A list for sure.
SAVING PRIVATE RYAN Official Trailer (1998) Tom Hanks HD Movie | TrueMovies Trailer
The epic and ultra-realistic D-Day scene won me over from the get-go. Plus some good sniper footage as well. Again, common theme here with allied forces kicking Hitler ass. Doom on you Nazi bastards. Great directing and great acting all around. It kicked off the amazing series, “Band of Brothers” (also a must-watch).
The Hurt Locker (2008) Official Trailer – Jeremy Renner, Anthony Mackie Movie HD
Jeremy Renner comes out swinging in this gritty movie that showcases the true toll of war. I have several friends who I lost to similar combat addictions. It’s a real thing and one of the reasons I really liked this movie, because it shows the toll it takes at home.
There you have it. I’d also like to hear from you. What are your top 10? Thanks for listening. Out here. – Brandon
Today, with its prevalence in pop culture and its sequel waiting in the wings, it’s difficult to imagine that Top Gun was anything but a surefire hit. But, in the time leading up its 1986 release, Top Gun‘s production had its share of problems and setbacks. In fact, plenty of people doubted that the idea of fighter jets would even work as a movie.
1. People didn’t want to be part of Top Gun
After producer Jerry Bruckheimer saw a picture of an F-14 in a magazine, he came up with the idea of a fighter jet movie that would be like “Star Wars on earth.” After their successes with Flashdance and Beverly Hills Cop, Bruckheimer and his production partner, Don Simpson, went around pitching the idea to Hollywood studios. Though they were rejected by studio after studio, Paramount Pictures eventually picked up the movie and cautiously agreed to fund it.
The next challenge was getting actors onboard. At that time, a young Tom Cruise was known only for his role in Risky Business. Bruckheimer and Simpson were adamant that he be cast as their lead actor and sent him script after script to get him to sign on.
Cruise rejected every offer made to him, so Bruckheimer pulled out all the stops.
He called up Navy Admiral Peter Garrow and asked him to send Cruise up in a fighter jet to convince him to join the film. The Admiral arranged for Cruise to ride along in a Blue Angels A-4 Skyhawk and be put through his paces. After a wild ride (during which he reportedly threw up on everything), Cruise stumbled from the jet to the nearest payphone and called Bruckheimer to take the part. The only non-negotiable part in his contract was that he had to fly in an F-14 Tomcat.
Pete and Charlotte sing with the Bradshaws, Nick, Carole, and their son. Weird hearing their real names, isn’t it? (Credit Paramount Pictures)
With no real script and unable to send every potential actor up in a fighter jet, it was difficult for the producers to cast the rest of the movie. The part of Charlie was originally pitched to Ally Sheedy of Brat Pack fame, but she turned it down reportedly saying, “No one would want to see Tom Cruise flying around in an airplane.” Fresh off of filming Witness, Kelly McGillis only signed on because she didn’t expect the film to be the blockbuster hit that it would become. Val Kilmer was actually forced into the role of Iceman due to a contractual obligation with the studio. The rest of the cast like Tim Robbins, Meg Ryan and Anthony Edwards were still years away from becoming household names for their roles in The Shawshank Redemption, When Harry Met Sally and ER, respectively.
2. Danger Zone was attempted by Toto and REO Speedwagon
Bruckheimer and Simpson implemented the same formula that worked for them with Flashdance and Beverly Hills Cop and put together a top-notch soundtrack for Top Gun. Soundtrack producer Giorgio Moroder originally had Toto record the song, “Danger Zone,” but Bruckheimer disliked it and the recording was scrapped. The song was then offered to REO Speedwagon who wanted to be part of the film, but insisted that the song be their own. They recorded an original song and submitted it to the producers, but it was never used.
Kenny Loggins and his collaborators were hot off of their successes with Caddyshack and Footloose and decided to write the song “Playing with the Boys” for the volleyball scene. Assuming that other bands would be vying for the opening song, they figured that this scene would have less competition. While recording “Playing with the Boys,” Loggins was asked by Moroder to give “Danger Zone” a shot. “I walked in and I sang ‘Danger Zone’ and messed with it a little bit, you know, and had a good time with it,” Loggins recalled. The rest is history. “I wasn’t supposed to be the guy to sing it. I just lucked into it.”
Moroder had more luck pitching “Take My Breath Away” to Berlin lead-singer Terry Nunn. After hearing the song and watching the love-making scene that it would be set to, Nunn was on board. Less enthused was her bandmate, John Crawford, who didn’t want to perform a song written by someone else. Their band manager, Perry Watts-Russell, also had his doubts and said that he would shave his head if the song became a number one hit. Of course, Berlin recorded the song and it did reach number one. While Watts-Russell kept his word and shaved his head, Crawford was less pleased with the song’s performance as it meant that Berlin had to play it at every live performance following Top Gun‘s release.
3. There was a constant struggle between the producers, the director, Paramount and the Navy
Director Tony Scott was unpopular in Hollywood after his box office flop The Hunger, and clashed constantly with Paramount Pictures over the creative direction of the film. In fact, Scott was fired and rehired by studio execs three times over the course of Top Gun.
While filming aboard the USSEnterprise on a foggy Sunday morning, Scott lost the ideal lighting for his shot when the carrier altered its course. He implored that the captain return to his previous course so that they could film the scene. When the captain refused, Scott asked, “What does it cost for this aircraft carrier to run per minute?” The captain gave him a figure and Scott retrieved his checkbook from his bunk and wrote the captain a check for ,000. The captain returned the ship to its previous course and Scott was able to get his shot. He later bounced the check.
The opening scene gives me goosebumps every time (Credit Paramount Pictures)
Rear Admiral (ret.) Pete “Viper” Pettigrew, whose callsign was loaned to Tom Skerrit’s character, was hired as the film’s technical advisor for a sum of ,000 and served as a liaison with the Navy. Per his contract, he had a brief cameo in the film as Charlie’s boss, the “older guy” in the bar that she sits down with after Maverick’s rendition of “You’ve Lost That Loving Feeling.” Pettigrew’s job was to keep the film grounded in reality, though his protests to the film’s eccentricities were always overridden by Bruckheimer and Simpson.
He argued against the locker room argument between Maverick and Iceman and the shower scene, saying that pilots just get changed after a hop and go to the bar. However, paying id=”listicle-2646420686″ million to have Cruise in the film, the producers insisted that Cruise show as much skin as possible to appeal to a female audience. As the script took shape, the Navy raised concerns regarding the increased focus on the relationships between the characters over the fighter jets and aerial combat. “Right now, I’m just trying to keep it from turning into a musical,” Pettigrew responded.
Though it played a major role in production, the Navy authorized only two missile shots to be filmed for the movie due to the cost of the weapon system. The shots were filmed from several angles to make the most of them. Additional missile shots were filmed using models of the planes and missiles. However, the company that produced and fired the model missiles did such a good job that the Navy launched an investigation to determine if additional missiles were fired beyond the two that were previously authorized.
One of the two authorized missile shots (Credit Paramount Pictures)
4. More trouble off-screen
Bruckheimer and Simpson worked well together because they complemented each other. While Simpson was bold and brash, Bruckheimer was calm and collected. However, Simpson’s alleged love of fast cars, women, hookers and drugs were reportedly negatively impacting his job as a producer. Having already been to rehab at least twice before, he checked himself in again midway through production. Little had changed by the time he checked out though. After renting a car, he sped down to the production office, crashed the car in the parking lot, barged into a meeting and declared, “We’re not shooting that f***ing scene!” He then proceeded to fire people and start rewrites to the script. Simpson’s self-destructive lifestyle came to a head when he overdosed in 1996.
Though Cruise and McGillis had to maintain a sexual tension and chemistry on set, McGillis had fallen for another actor during the filming of Top Gun. “We were walking across the street and she actually fell down, and I thought it was the funniest thing I’d ever seen,” Barry Tubb remembered of McGillis. “She fell down on her face in the middle of the street and she had my heart.” Tubb played a supporting role in the film as Wolfman.
Tubb and McGillis’ relationship off-screen threatened to weaken Charlie and Maverick’s relationship on-screen. To create more tension and add more lead-up to their eventual chase and kiss on W. Laurel Street, McGillis and Cruise were brought back to film one more scene months after production had wrapped.
In the elevator scene that follows the dinner at Charlie’s Oceanside house, Maverick’s hair is wet and slicked back while Charlie’s is hidden under a hat. Both actors had different hairstyles by that time which needed to be masked in order to preserve the continuity of the film. The scene succeeded though in adding more tension and lead-up to the relationship.
5. A tragedy occurred
Top Gun‘s production also saw a real-life death. While capturing footage for Maverick and Goose’s flat spin, stunt actor Art Scholl lost control of his Pitts S-2 camera plane. Filming about five miles off the coast of Carlsbad, California, Scholl radioed to his ground spotter, “I have a problem – I have a serious problem.” He was unable to recover from the spin and crashed into the ocean. The aircraft and his body were never recovered. As a tribute, Top Gun was dedicated to Scholl.
Scholl and his dog, Aileron (Credit Smithsonian Institution)
6. Bruckheimer and Scott thought the movie was a flop
Having wrapped production, an advance screening of Top Gun was scheduled for January 29, 1986, in Houston, Texas. With the rather lukewarm release of Iron Eagle two weeks before, receiving mixed reviews and grossing just million more at the box office than its budget, Top Gun‘s future as the second fighter jet movie of the year seemed unsure.
The advance screening was also clouded by the Space Shuttle Challenger disaster just the day before. “We’re in that theater, and I tell you, it was like a funeral,” Bruckheimer recalled. “I watched the movie with this audience and nobody reacted. I mean, they didn’t laugh, they didn’t applaud, it was nothing.” As a result of this screening, Bruckheimer thought that the movie would be a disaster upon its full release.
Director Tony Scott felt similarly following the Houston screening. “It was the worst experience of my life,” Scott said. “I can’t remember even hearing the audience.” Thinking he had failed directing another movie, Scott left the screening and went to a bar to get drunk.
However, contradicting the lack-luster advance screening, Top Gun was well-received by the rest of the cast and crew when it was screened for them. During that screening, Kenny Loggins was thoroughly impressed with what they had created. “I just held my wife’s hand and went ‘Holy s**t’,” he recalled.
Of course, Bruckheimer and Scott’s fears were misplaced and the film’s release in the summer of 1986 was perfect; Ronald Reagan was in the White House, the military was cool again and the country was going through a patriotic renaissance. Since its blockbuster release, Top Gun has gone on to become one of the most successful and iconic films of all time.
The term “military grade” gets tossed around too frequently on consumer products. It evokes feelings of durability and strength, whereas troops laugh at it because to them, it often means “lowest bidder quality.” Then there are consumer products, like the Nokia 3310, that are strong — but not that strong.
None of that compares to the Gulf War Game Boy.
The story begins with a U.S. Army medic stationed with the 44th Evacuation Hospital named Stephan Scoggins. He was a Police Officer from Oklahoma City and deployed in support of Operation Desert Storm. The barracks he was at was bombed and the fire destroyed much of the living area. No one was harmed, but nearly all of his belongings were destroyed, including his Nintendo Game Boy — or so he thought.
Scoggins then wrote to Nintendo Power hesitantly hoping for a replacement. So he sent it in while still deployed.
The technicians that received the Game Boy didn’t expect much. The front had been destroyed and the Control Pad and A and B buttons were melted down. They deemed it a “lost cause,” but just as an experiement, they put in a copy of Tetris and changed out the destroyed battery pack.
After that, the Nintendo Game Boy gave it’s iconic “Ping!” sound. The Start and Select buttons worked just fine and if you pressed kinda hard enough, you could get it to work. The screen was heavily damaged, but you could still make out what was being played.
They sent Scoggins a replacement Game Boy. The Gulf War Game Boy has become a gaming relic of the era and still to this day is on display on the second floor of the Nintendo NY in Rockefeller Center. Ever since then, they just slightly repaired the screen and keep it on a constant power supply to show the world how strong Nintendo products really are.
Amazon Studios along with Lionsgate shows the inspirational power of brotherhood amongst service members in Richard Linklater’s film “Last Flag Flying.”
The film sheds a charismatic light on Larry “Doc” Shepherd, a former Navy Corpsman and Vietnam veteran who loses his only son while serving in the Iraq war.
Faced with this surprising tragedy, Shepard looks to reunite with his former Marine brothers for their most crucial mission yet: to bury Shepherd’s son and ultimately reconnect the brotherhood they shared 30 years ago.
“Last Flag Flying” stars Steve Carell, Bryan Cranston, and Laurence Fishburne and chronicles an uplifting cross-country adventure and the genuine strength of the military fraternity.
Since it was announced that Spider-Man would no longer be a part of the MCU, fans around the world have been devastated by the thought of the web-slinger no longer getting to fight alongside Thor, Doctor Strange, and the rest of the Avengers gang. However, it turns out at least one person is happy to see Peter Parker return to Sony Studios, as Joan Celia Lee, the daughter of Marvel Comics legend Stan Lee, called out Marvel for failing to respect her dad and the career he built.
“When my father died, no one from Marvel or Disney reached out to me,” Joan told TMZ. “From day one, they have commoditized my father’s work and never shown him or his legacy any respect or decency. In the end, no one could have treated my father worse than Marvel and Disney’s executives.”
It’s not entirely clear what Joan is referring to beyond Disney and Marvel not reaching out to her after her father’s death in November 2018 but it is abundantly clear that she feels the studios mistreated her dad. She also showed her support for Sony Studios getting another shot at bringing Spider-Man to the big screen.
“Marvel and Disney seeking total control of my father’s creations must be checked and balanced by others who, while still seeking to profit, have genuine respect for Stan Lee and his legacy,” she said. “Whether it’s Sony or someone else’s, the continued evolution of Stan’s characters and his legacy deserves multiple points of view.”
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.