Though Goldfinger and Blofeld rank among the most famous among cinematic James Bond villains, the first Bond baddie onscreen was the robot-handed Dr. No, the titular character of a little movie called…”Dr. No.” And now, some 007 fans think that actor Rami Malek might be playing a rebooted version of Dr. No in the next big Bond film, “No Time To Die.”
Back in August 2019, during a big casting announcement, Malek said: “I’ll be sure that Mr. Bond doesn’t have an easy ride of it,” which solidified the idea that he would be playing the big bad in the 25th James Bond film, which will be Daniel Craig’s swan song in the role. It’s also been confirmed that “No Time To Die” will be filming in Jamaica, in the exact spot where a huge chunk of the action in “Dr. No,” happened, too. So, some people have put 2 and 007 together and come up with…a new Dr. No!
Is it crazy? Well, considering the fact that the film “Spectre” secretly rebooted Blofeld in the form of Christoph Waltz, it’s not that nuts to think “No Time To Die” could bring back Dr. No. Because this movie is Daniel Craig’s last James Bond movie, added with the fact that some people think a male James Bond might not happen ever again, it would make a lot of sense to bring the Bond franchise full circle.
The question remains though, would it be cooler if Malek was a new villain or a rebooted “Dr. No?” And the answer to that kind of depends on how cool the movie is. So far, it seems like this could be Daniel Craig’s best Bond film, but still. Both “Casino Royale” and “Skyfall” had villians who were contained in those movies. True, one of them originated from the first bond novel ever, and one of them was Javier Bardem, but still. In terms of on-screen Bond baddies, they were unique. In “Spectre,” it almost didn’t matter that Waltz was really Blofeld. He could have just as easily been another character. So if Malek is Dr. No, it could be cool. But, let’s just hope is robot hands are really sweet, otherwise this whole shebang won’t work.
“No Time To Die” is out everywhere on April 8, 2020.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
We all have our favorite gear, for whatever reason. Maybe it saved our asses, maybe it repaired a weapon, maybe it just made it possible to get a few hours sleep through a long, cold night. There’s nothing better than a reliable piece of gear to keep coming back to over and over. Often, troops will try to keep as much of their field gear as possible when they separate.
After reading through a few Amazon reviews, it’s easy to understand why. What’s your favorite?
1. 550 Cord – 5 Stars
Also known as parachute cord, the 550 comes from its breaking strength of at least 550 pounds. It’s made of nylon, wrapped around an internal core which increases strength and keeps the main rope from fraying. The cord was originally used in parachute suspension lines, but its use became widespread as paratroopers would cut the cord from the chutes as a useful tool for the future. These days, troops use it to secure packs to vehicles, set up camouflage nets, make lanyards, or tie up bracelets or belts that can be unraveled when needed.
2. Issue Anglehead Flashlight – 5 Stars
The anglehead design was first used by the U.S. military in World War II and has been a staple of all branches ever since. The chief supplier of these lights, Fulton, supplied them to the U.S. government since the Vietnam War. There are plenty of knockoff versions of it. If yours is a real one, it will have “MX-991/U” imprinted on the side of the light.
Here’s one review:
“I served in the Army over 20 years ago under SOCOM, so this flashlight has a minimum of that many years under its belt and all the action marks that comes with it… I clicked on the power button – not expecting anything special, and… IT TURNED ON.”
3. Woobie – 4.5 Stars
The “Woobie” is a nylon-polyester blanket, really the liner for the standard-issue poncho. It’s known as a Woobie because of the great affection troops have for it, the way a baby loves its blanket. Woobies are lightweight, easily packed, and do a great job of keeping troops warm in cooler temperatures.
A reviewer writes:
“Of all the pieces of U.S. military kit I’ve ever seen (through 20+ years of military service), none equal the Wubbie [sic] for value for money, utility, and comfort.
I bought my first poncho liner in Vietnam in 1964. It was one of the old ones from back when they were made from parachute silk. Now, almost fifty years later, I’m still using it. I guess I’m a 65 year old man with a blankie!”
4. Chem-lights – 4.5 Stars
Chem-lights are designed for 360-degree visibility up to a mile away for up to 12 hours. There are, of course, some variances. They also need to be durable, waterproof, and flame retardant. They have a number of uses when a flashlight or fire isn’t the right tool, and the light gets brighter as the temperature gets warmer.
“In my decade and a half in the military I have probably gone through thousands of Cyalume ChemLight just myself. They have a million uses, both fun and functional. But most important the Cyalume models have proven to be utterly reliable and bright.”
They can also be used as flares to mark an area without worrying about fire or flame. The uses for them are only limited by imagination, from Christmas lights to Fourth of July ‘rockets’ there is a lot of fun and use to be had.”
5. Gerber MP600 Multi-Tool – 4.5 Stars
This tool’s usefulness practically speaks for itself. With 14 components, providing knives with different edges, screwdrivers, a ruler, bottle and can openers, wire cutters, crimpers, and a file, all with a lanyard ring (perfect for 550 cord loops), the multitool is perfect for minimizing space and weight while providing myriad uses.
“It has all the tools I need as a soldier and it has done very nicely for me.
With a potential need to carry in a deployed environment, the matte black finish is certainly a plus.”
6. 100mph Tape (Duct Tape) – 4 Stars
Also known as “olive drab green reinforcement tape,” it covers shiny objects and tapes things down to reduce rattling noises when on patrol, but it’s so much more than that. Since supplies have historically been an issue in the large scale wars of the past, troops needed an all-purpose way to make quick fixes without all the necessary equipment.
From one review:
“The only downside that I can find is that it is literally so strong that anything even touching the edge of the roll will stick to it just from the small amount of adhesive that comes in contact with it.
All duct tape is not created equal
I always have a roll of this stuff, and 550 Cord in my Gear. I’ve used it for everything from quick repairs, marking my luggage, to camouflaging my gear for Patrols. Not sure about the 100 MPH thing, but I do know that once you tape it to your gear, you’ll need to cut it off.”
Figuring out all the obscure references to random deep-cut Star Wars nerd stuff at Disneyland’s new Galaxy’s Edge attraction is a fool’s errand. But, there is one deep-cut Easter egg that even the most devoted Star Wars fan would be confused about; and that’s because its a reference to a Star Wars film that was never made. Before Episode IX was called The Rise of Skywalker and directed by J.J. Abrams, that film was originally going to be directed by Jurassic World director Colin Trevorrow. And, one very obvious thing from Trevorrow’s unmade Episode IX is on full-display at Galaxy’s Edge, hiding in plain sight.
“It was just a natural part of the process,” Trevorrow told Collider. “The Imagineering team asked us to develop a new ship for the park while we were designing the film. I took it pretty seriously — it’s not every day you get to be a part of something like that.” Trevorrow also said that he could absolutely not reveal what aspect of his canceled-Episode IX the Tie Echelon would have been a part of, but did say that ” It was part of an upgraded First Order fleet. An armed troop transport — the equivalent of a Blackhawk stealth helicopter. We wanted it to evoke memories of earlier ships while still being its own thing.”
A UH-60 Black Hawk helicopter.
(DoD photo by Gertrud Zach, U.S. Army)
As of this writing, it seems like the Tie Echelon will not be in Episode IX: The Rise of Skywalker. Back in 2017, a few months before the release of The Last Jedi, Trevorrow was seemingly fired by Disney from the movie, though the official announcement claimed: “Lucasfilm and Colin Trevorrow have mutually chosen to part ways on Episode IX.”
Presumably, nothing from Trevorrow’s script or design — including this ship — will be used in The Rise of Skywalker. Meaning, the only place this ship exists is the Star Wars canon is in Galaxy’s Edge at Disneyland.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
The actor Tom Cruise on May 31, 2018, tweeted a teaser for the long-awaited sequel to the movie “Top Gun” — and in doing so, he wandered into one of the most heated debates in modern combat aviation and delivered a savage burn to the F-35.
The original “Top Gun” film was nothing short of a revelation for the US Navy. People around the US and the world saw fighter jets in a whole new light, and naval aviation recruitment shot up by 500%.
A new “Top Gun” movie, now 32 years after the first, could again spike interest in combat aviation at a time when the US military struggles to retain and attract top talent. But for the most expensive weapons system in history, it already looks like a bust.
Here’s the poster for the new “Top Gun.”
Notice anything? The F-35C, the US Navy’s long overdue, massively expensive new carrier aircraft, is nowhere to be seen. Instead, the F-18 Super Hornet, the F-35’s main competitor, can be seen.
The F-35 community was not thrilled.
“Everybody that’s flown a fighter in the last 25 years, we all watched ‘Top Gun,'” retired US Marine Corps Lt. Col. David Berke, who flew F-35s and actually attended the US Navy’s Top Gun school, previously told Business Insider.
“Damn shame,” Berke said in response to the new movie’s choice of fighter. “I guess it will be a movie about the past!”
While experts agree that the F-35’s carrier-based variant, the F-35C, and its vertical-takeoff sister, the F-35B, represent the future of naval aviation, they’re just not ready for the big time yet.
In short, it’s an embarrassment to the F-35 program that mounting setbacks have pushed it out of a potentially massive public-relations boost.
“It’s a capable aircraft,” retired Lt. Gen. David Deptula, the dean of the Mitchell Institute of Aerospace Studies, told Business Insider of the Super Hornet. “It’s just last century’s design.”
He added: “It is a missed opportunity.”
Berke pointed out that the producers of the new “Top Gun” may have gone with the Super Hornet over the F-35 because the Super Hornet has two seats, which could facilitate filming and possibly on-screen dynamics.
The popular aviation blog The Aviationist also pointed out that Cruise is holding an outdated helmet and that the photo does not appear to take place at the US Navy’s Top Gun school. But Hollywood sometimes makes mistakes.
“Hollywood doesn’t build movies around what makes sense — they build movies around what makes money,” Deptula said.
But despite what might have come as a slight sting to F-35 boosters hoping a new film could help usher in what they call a revolution in combat aviation, both Berke and Deptula said they were looking forward to the film.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
Christopher Lee cemented himself as an icon of the silver screen. During his long and prestigious acting career he was in hundreds of films. His most notable roles were Dracula and later the Wizard Saruman in The Lord of the Rings. However, long before his acting career began, Lee had a lesser known, but just as impressive, career in the British Royal Air Force (RAF) and the British Army during World War II.
Lee enlisted in the RAF in 1940. He worked as an intelligence officer and specialized in decoding German cyphers. In 1943 Lee was seconded to the Army in an officer swap scheme. After this swap he served with the Gurkhas of the 8th Indian Infantry Division during the Battle of Monte Cassino.
There is little known about much of Lee’s time in service, as his records remain classified and he was “reluctant” to discuss anything to do with his service. Between the time he enlisted in the RAF and he was seconded to the Army, Lee was attached to the Long Range Desert Group (LRDG), which was the precursor to the Special Air Service (SAS). When pressed about his time serving with the SAS Lee said, “I was attached to the SAS from time to time, but we are forbidden – former, present, or future – to discuss any specific operations. Let’s just say I was in Special Forces and leave it at that. People can read into that what they like.”
After his time with the LRDG, Lee was assigned to the Special Operations Executive (SOE). During his time with the SOE, he conducted espionage, sabotage, and reconnaissance in the Axis occupied Europe. During his final few months of service Lee, who was fluent in several languages including French and German, was tasked with tracking down Nazi war criminals alongside the Central Registry of War Criminals.
When Lee described his time with the organization he stated, “We were given dossiers of what they’d done, and told to find them, interrogate them as much as we could and hand them over to the appropriate authority.” Lee retired from the RAF in 1946 as a Flight Lieutenant. Post retirement he was decorated for battlefield bravery by the Czech, Yugoslav, British, and Polish governments.
Flying Officer C. F. C. Lee in Vatican City, 1944, soon after the Liberation of Rome. (Wikimedia Commons.)
Not long after his retirement from the RAF, Lee began his film career. It wasn’t long before he proved himself as a true legend of the film industry. This legendary icon of the silver screen, Sir Christopher Lee, passed away in June of 2015 after a lengthy battle with heart problems. His loss was greatly mourned by those who knew him, and those who loved him through his prolific work on screen.
Sir Christopher Lee will always be remembered for his iconic roles in major motion pictures, it can be said that he was one of, if not the, most prolific actors in motion picture history. However, the life he led before his film career is one that should be remembered and celebrated as well. Though details remain unknown and classified, and he never truly spoke of them, his service during World War II was nothing short of heroic. The world will never know what men like Christopher Lee did during the war, but they are heroes nonetheless.
In an interview with a somewhat eager reporter, Lee showed his cheeky yet firm stance on the discussion of his time with the SAS during the war. He leaned forward and whispered to the reporter, “Can you keep a secret?” The interviewer replied with an excited, “Yes!” Lee smiled and leaned back in his chair as he replied, “So can I.”
Stories of heroism have been a fascination for humans for as far back as we can trace our sentient history. From ancient tales like The Epic of Gilgamesh and The Iliad to modern blockbusters like Saving Private Ryan and Band of Brothers, war stories permeate our culture and entertainment.
It’s especially poignant when warfighters themselves share their own experiences. As military veterans transition from their service to a career in the arts, so too do the military stories themselves begin to morph, adding insight into the warrior that hasn’t always been associated with the archetype.
It can be easy to place the hero on a pedestal, but it is critical to remember that every war story is, at its core, a story about mankind. With this in mind, stories told from the perspectives of the veterans themselves carry with them the authenticity and the humanity of the military.
These are five veteran storytellers to watch in the coming months:
“SEAL Team” partners with former special forces for guidance
“What we’re trying to do as a group is make something that’s not real, obviously, but to make something that’s authentic and feels authentic,” said Tyler Grey about SEAL Team on CBS. Former Army Ranger Tyler Grey was, in his own words, “blown up on a nighttime raid in Sadr City, Baghdad, in 2005.” He was medically retired after sustaining a critical injury to his arm, which still bears the scars from that attack.
Now, he gets to use his training and experience to help tell the stories of U.S. Navy SEALs. His role on SEAL Team has ranged from consultant to actor to producer. This season, Grey tackled another title: Director. He helmed Season 3 Episode 10, which will mark his first foray into television directing.
After his military service, U.S. Marine Graham Roland started his writing career working for iconic projects like LOST, Fringe, and Prison Break. In 2018, he released Tom Clancy’s Jack Ryan on Amazon with co-Showrunner Carlton Cuse.
“I may never do a show that big again, in terms of budget,” he told We Are The Mighty. “We shot all over the world, on five continents. It was awesome and a huge learning experience. It was a huge property and there were a lot of people involved with a lot at stake.”
After creating a second season of the successful show, Roland has now shifted his focus to a new project with HBO that is based on the Navajo Nation in the 1970s.
Fox has given a put pilot commitment to #ChainOfCommand, a one-hour drama from writer April Fitzsimmons, @jamieleecurtis, Berlanti Productions and Warner Bros. TVhttps://deadline.com/2019/10/fox-drama-chain-of-command-april-fitzsimmons-jamie-lee-curtis-greg-berlanti-put-pilot-1202766505/ …
U.S. Air Force veteran April Fitzsimmons is writing Chain of Command, a Fox pilot that will tell the story of “a young Air Force investigator with radical crime-solving methodology who returns to her hometown to join a military task force that doesn’t want her, a family who has traumatized her, and must confront the secrets that drove her away,” reports Deadline.
This isn’t the first adventure into military storytelling for Fitzsimmons, whose credits also include Doom Patrol, Valor, Chicago P.D., and Chicago Justice. She is also the director of the Veterans Workshop at the Geffen Playhouse in Los Angeles, where she mentors veterans as they write and perform original monologues that deconstruct the idea of a hero.
She’s also a mentor for the Veterans Writing Workshop at the Writers Guild Foundation, paying it forward to a community of future writers who served.
ABC Developing Navy Flight School Drama Produced By Freddie Highmore http://dlvr.it/RFmSGy pic.twitter.com/0iDHPb6V4n
After his active duty service in the United States Navy, David Daitch joined the Naval Reserves and started working as a technical advisor and a writer. Together with his writing partner, Katie J. Stone, Daitch’s writing credits include USA’s Shooter and Call of Duty: Modern Warfare Remastered. In October 2019, Deadline announced that Daitch’s next endeavor will be Adversaries, a drama that centers on the leader of the Navy’s Top Gun fighter pilot school in Key West.
Daitch and Stone have teamed up with Sean Finegan to write and executive produce the pilot, with Freddie Highmore producing. Adversaries will tackle the intensity of the male-dominated pilot training environment.
Our writer for the finale…. Brian Anthony and our very own @monty11bravo who was an actor this evening @NBCNightShift #NightShiftpic.twitter.com/3RHTsnFxKj
U.S. Army vet Brian Anthony has a steady career in service of adding authenticity to film and television’s portrayal of the military. Most notably, he has been a producer and writer for series like FBI and The Night Shift, the latter of which notably created an episode that was both written and directed by military veterans and featured them in multiple guest roles on camera.
Anthony also serves as a mentor for the Writers Guild Foundation Veterans Writing Workshop, where he helps his fellow vets develop their writing careers.
Featured Image: David Boreanaz and Tyler Grey in SEAL Team (CBS Image)
Francis Ford Coppola was originally worried his soon-to-be iconic Apocalypse Now would be “too weird” for audiences, so he made major cuts to his film. Now, you’ll be able to see it in all its wacky glory, including 300,173 restored frames of depth, detail, and napalm.
Turn on your sound and watch this epic trailer, people:
APOCALYPSE NOW FINAL CUT – 4K Restoration in Theaters 8/15 & on 4K Combo Pack 8/27!
If Walkürenritt or Ritt der Walküren Ride of the Valkyries doesn’t get your juices flowing, I don’t know what will.
On Aug. 27, 2019, in honor of the 40th anniversary of the film, Lionsgate will release Apocalypse Now on a 4K Ultra HD™ Combo Pack (4K disc, plus three Blu-ray discs and Digital copy) and on Digital 4K Ultra HD for the first time ever.
But more importantly, on Aug. 15, 2019, you can see it in select theaters.
This isn’t the first time Coppola has made changes to his film. In 2001, Coppola released Apocalypse Now Redux, which added an additional 49 minutes to the original film, and while Roger Ebert gave Redux 4 stars, Coppola still wasn’t satisfied. With Apocalypse Now: Final Cut, Coppola has finally released his vision (which will run 183 minutes, about a half hour longer than the original).
But it’s not just the visuals that are being remastered. Sound technology has advanced since 1979, allowing Coppola to achieve effects that weren’t available in the 70s, including low frequency sound design meant to create a visceral reaction during war scenes.
Make no mistake, this is a sensory theater experience fans of the original film should take advantage of.
Bishop and motion capture actors for EA’s Battlefield4 video game.
Greg Bishop advanced from private in the Army to Lieutenant Colonel, across a spectrum of specialties from Infantry to the Signals Corps and finally to Public Affairs. He had a dream to work in Hollywood when he was young which he fulfilled through his military service. Bishop runs MUSA Consulting now for the entertainment industry advising on different projects. Bishop has produced his own feature Ktown Cowboys and worked on projects such as Transformers: Revenge of the Fallen, The Day the Earth Stood Still, GI Joe: The Rise of Cobra, Battlefield4 and Snitch.
1. Can you share about your family and your life growing up?
I grew up in the suburbs of Louisville, KY, in a normal, all-American, middle-class family and experience. I was the third of four boys, I had loving parents who are still married today. My father, who was a Marine Corps officer and Vietnam Veteran, was tough but a great role model. My mother took great care of us boys and she was our superhero. We grew up in the pre-home-video game era, so we spent most of our time outside, playing sports, riding bikes, chasing girls and getting into normal boyhood trouble complete with skinned knees and elbows, broken bones and hearts.
2. What values were stressed at home?
With my father being a Marine, and having four boys within six years of one another, discipline, hard work and personal responsibility were paramount in the Bishop household. A strong work ethic was instilled in all of us, so all of the Bishop Boys worked as soon as we were big enough to rake leaves, shovel snow, or cut grass. Our family also pretty much had a newspaper delivery dynasty in the neighborhood for several years. All of us delivered papers until we were old enough to have a regular job, and that was back in the days when newspapers were delivered two times a day. Once old enough, we all had after school jobs washing dishes, busing tables, working in fast food, or whatever we could do to make money legally.
We all went to private Catholic high schools and we were expected to pay half of our tuition for the first three years; our parents covered all of it in our senior year. At the time it was tough. My friend’s parents were giving them money for their hobbies and entertainment while I had to work to pay for the things I wanted or wanted to do. My Mom would slide us a couple bucks if she knew we were tight on cash, but for the most part if I wanted to go to the arcade and play video games, those were my quarters going in the machine. I bought my first car at 15 before I even had a driver’s license. It was a lot of work for a kid, but in the end, my parent’s lessons paid off. All of my brothers currently work for themselves in one capacity or another.
3. What made you want to become a soldier and what was your experience like?
I wasn’t the best student in high school. I had to go to summer school my freshman year, and I think I only had two A’s in my four years…one in Physics and one in Film Appreciation. Don’t ask me to explain that. In my junior year I was cast as an actor in a local educational video on teen suicide. The director allowed me to tag along throughout the production and post-production process. That was my first taste of video production and I really loved it. My senior year, in the film appreciation class, I made a Super-8 movie as the final project, and that’s when I really fell in love with film and video production. I loved the process and everything about it. I knew I needed to go to film school.
Now, there were no film schools in Louisville, so I attended a couple regional colleges for a couple of years, but it wasn’t really doing anything for me. I desperately wanted to go to film school. Then one day I saw an Army commercial promoting the GI Bill and the Army College Fund which just so happened to be the amount of money I needed. I went to see a recruiter; told him I wanted the college money and if I was going to join the Army, I also wanted to paint my face green and run through the woods with a gun. I signed up for the infantry and I shipped off to Basic Training February 27, 1989. While at Fort Benning, I was offered the opportunity to apply for Army OCS (Officer Candidate School). I was accepted and made it through OCS. I was commissioned a year and a day after I arrived at Basic Training and spent the first half of my career as an Army Signal Officer serving in Korea, Fort Campbell and Germany. I wasn’t really thrilled with being a Signal Officer.
While at Fort Campbell I met, fell in love and married my amazing wife, and then the Army let me finish my degree through their Degree Completion Program. I got my bachelor’s degree from Austin Peay State University, which is right outside of Fort Campbell. I studied public relations there and did a summer internship in an advertising firm. At this point the film school dreams began to dwindle, but I enjoyed advertising because it was still very creative. So while still serving I took the GMAT, applied for MBA programs, all with the intention of getting out of the Army and going to work in advertising.
I still owed the Army a few years because of the time they gave me to finish my degree, so fast forward a couple of years, in the mid-90’s, I was stationed in Germany and deployed to Bosnia. One day I stumbled on an article in the Stars and Stripes, about Army Advertising, that changed my life. I learned that I could do advertising IN the Army. I loved being a Soldier, I just didn’t like the Signal Corps. I learned I needed to become a public affairs officer to get that job, so after my company command time in the Signal Corps, I transitioned over to Army Public Affairs, and my first job in that career field was with Army Recruiting Command’s Advertising Directorate at Fort Knox.
While stationed at Fort Knox I was accepted into the Army’s Advanced Civil Schooling program and I went to USC (University of Southern California) where I got my MA in Strategic Public Relations. While there, I learned about this awesome job in LA where a Public Affairs Officer served as the Army’s liaison to the entertainment industry. I really wanted THAT job one day.
While at USC, OIF and OEF started, so after graduating I was assigned to Fort Campbell and deployed to Iraq with the 101st Airborne Division from ’05-’06. I was one of the first brigade combat team PAOs during the Army’s “Transformation” period. I had a great team, an important mission, and was part of one of the best divisions in the Army. It was a tough but rewarding year.
After Iraq I was assigned as the Deputy PAO for the Headquarters of the U.S. Army Corps of Engineers in downtown DC. After serving there for a couple of years it was again time for a reassignment. I learned an important lesson from a senior officer once and it was to not just accept any assignment the Army offers you. If you want something, you have to fight for it. I fought very hard to get the PAO job in Hollywood. My branch manager told me that the entertainment office position was open, but he would not fill the slot because the Chief of Public Affairs (2-star general) believed it didn’t need to be filled. I told my branch manager that that position was one of the most important public affairs jobs in the Army, but he assured me the general had made his decision, and it was “final.” I told him that I was going to write a white paper on why it was such a critical position and why I was the right guy for it…I asked him to promise me that he’d read it. He did, and he agreed, but now had to go change the mind of a 2-star general to put me into that position.
The general called me into his office a couple weeks later, told me my white paper made sense and he thanked me for keeping him from making a mistake. I admired him for his humility. He told me to pack my bags, you’re going to Hollywood. A few months later, I was on the set of Transformers: Revenge of the Fallen and I thought to myself, “Holy shit, the Army got me to Hollywood.” It was a surreal experience. I retired from the Army about 10-years ago and have been working in the entertainment industry ever since.
Bishop with his Drill Sergeant on Basic Training graduation day.
4. What are you most proud of from your service in the Army?
I am most proud of just being a soldier and serving. I am proud to represent our country. I’m proud that I began my Army career as a Private First Class with no degree and finished as a Lieutenant Colonel with a master’s degree. My proudest achievement in service was the year I spent in Iraq where I like to say we fought the information war. Serving as a PAO doing media relations with major news agencies was interesting but working with the Iraqi people to set up their own newspapers and media outlets was the most rewarding. I helped Iraqi citizens run their own businesses, instructing them on how to create a revenue model for their newspapers, radio and TV stations. I also helped my two interpreters create a market research company that helped the local government, the U.S. Army and the U.S. State Department understand the concerns and opinions of local Iraqi citizens. We advised the police, fire and government public affairs of what it means to tell their citizens the truth. We were there for the first election in Iraq and I got to be a small part of it. It was an incredible experience.
Bishop (top left) deployed in Bosnia.
5. What values have you carried over from the Army into Hollywood?
The military and entertainment business are very similar. I told Michael Bay once that, “you shoot film and we (the Army) shoot bullets, everything else is the same.” People in entertainment might be shocked to hear this, but both industries require teamwork, leadership, planning, and even OPSEC. You deal with fiefdoms, budgets and timelines. Hard work and discipline are key. Understanding the commander’s intent, or the director’s vision, it’s the same. Neither culture suffers fools for very long. Both are meritocracies for the most part. I think it’s more so in the military than in Hollywood, and Hollywood is more nepotistic that the military, even though that exists in both worlds. But if you’re good at what you do, you’ll succeed. I knew the Army trained me to be a producer, I just needed to learn the entertainment industry language.
6. What project did you most enjoy doing while working in Hollywood?
I worked in Hollywood as a soldier and as a civilian. As a soldier, Transformers: Revenge of the Fallen was the most fun. It was a Michael Bay movie, so we blew things up and we fired thousands of rounds on set. We had nearly everything in the Army inventory in that movie. There were so many explosions. We shot live rounds from Abrams tanks and Bradley Fighting Vehicles on set. The set caught on fire a couple times. Everybody was out there putting the fire out. Even Michael Bay had a hose in his hand putting out the fire. Every day was just a blast.
As a civilian, it has to be producing my first movie Ktown Cowboys with my business partner Brian Chung. We took it from script all the way to distribution. It premiered at SWSX (South-by-Southwest) in 2015 and it was a nerve-racking experience having so many strangers watching our film. But there’s nothing more rewarding than watching an audience laugh and enjoy a film that your team made. Finishing a movie is very tough. Making a bad movie is hard, making a great film is almost impossible. The military trained us to face challenges and solve difficult situations. That’s true in a military operation and it’s true in the film business.
MLRS from the Army in Transformers Revenge of the Fallen. Photo credit Paramount Studios.
MLRS from the Army in Transformers Revenge of the Fallen. Photo credit Paramount Studios.
The film that Greg produced. Photo credit IMDB.com
7. What was it like transitioning to Hollywood?
Even though I had worked in the Entertainment industry for the Army it was harder than you may think. The industry doesn’t have the time to help anybody else achieve their dreams unless it’s a family member. Most people stop returning my phone calls once I no longer “had the keys” to Army helicopters, troops, vehicles, locations, etc.
I knew some people at Electronic Arts who worked on the Battlefield franchise. Working with them was one of our first gigs. One of the early challenges we had was knowing how much to charge for our services. As a Soldier, you work as long as it takes to accomplish the mission and your pay is the same regardless of outside circumstances. There’s really no relationship between pay and time in the military. I remember in one of our early phone calls with EA one of the producers asked us how much we charge for our services. At the time we had no idea what our time and expertise was worth. We threw out a number and the EA guys laughed at us. They literally said, “We can pay you more than that!” Lesson learned.
We probably wasted a lot of money and time starting a business immediately after retirement because we were career military guys and not trained businessmen. We made some mistakes, learned a lot, but we’ve been doing this for more than 10-years now.
One other similarity between Hollywood and the military is both cultures tend to slap labels on people. In the military we literally wear those labels on our uniform. That’s one of the things that always bothered me about the military culture. Promotions and career paths tend to be very rigid and bureaucratic. In the civilian world there are 25-year old CEOs and they’re judged on performance of their leadership and the company. There aren’t any 25-year-old generals. The entertainment industry is similar though because if you’re a consultant, in their mind you’ll always be a consultant. It’s tough to use that role as a stepping stone into something bigger like acting, or directing, or producing.
Our consulting company was essentially our film school. It helped us learn the language of the industry. In 2012 we created our production company, and while our consulting company is still operating and growing, our production company is our primary focus these days.
Bishop working with Norman Lear on Netflix’s reboot of “One Day at a Time”.
Keanu Reeves in The Day the Earth Stood Still. Photo credit IMDB.com
A screenshot of Battlefield 4. Photo credit imdb.com.
GI Joe: The Rise of Cobra released in 2009. Photo credit IMDB.com.
8. What leadership lessons in life and from the Army have helped you most in your career?
I have a few leadership lessons.
For big challenges, eat the elephant one bite at a time. Don’t let the scope of the challenge intimidate you. Take it on incrementally.
You have to do the work. A lot of young people think accomplishing something is as easy as Googling it. It isn’t. You have to do the work, and oftentimes the work is more difficult than you imagine.
Don’t take “no” for an answer. Write the white paper telling the two-star general he is making a mistake.
Teamwork. It’s critical that you come together to achieve a common mission or objective. You won’t do it alone.
For those getting out of the military soon, I recommend that you find and do something you’re passionate about. Do something that excites you. Do something that will make you look at weekends as a distraction and look forward to Monday mornings. Whatever you are passionate about and love doing, find a way to do it and make money from it. If it doesn’t work, you can always get a government job or contracting job or whatever job other retired military people do.
9. As a service, how do we get more veteran stories told in the Hollywood arena?
In 1927 the first Academy Award for Best Picture went to the Army for a movie called Wings. The military has been part of Hollywood ever since and military stories have always been a part of the DNA of filmmaking and storytelling in Hollywood. For decades Hollywood was patriotic and told mostly pro-American stories portraying our troops against foreign enemies. Yes, it was probably borderline propaganda, but it was a unifying effort from people who loved their country. After the Vietnam War, and even more so after 9/11, most films and television programs about our troops were about fighting their own government, their chain of command or themselves. The politics in the industry shifted along with the way Hollywood portrayed our military. Hollywood struggles with telling authentic stories about our military. It seems we’re mostly portrayed as superheroes or broken mental patients. To answer your question, the only way we can change Hollywood is to do it ourselves. That is the only way it is going to get done authentically. We need to work to become the writers, or producers, or financiers to fund our own content. It’s easier to do that today than it’s ever been, but it’s still extremely difficult.
A scene from Wings in 1927 that won the first Oscar for Best Picture. Photo credit Paramount Studios.
10. What are you most proud of in life and your career?
Personally, I am most proud of my marriage to my wife of 25 years. She is my life’s purpose. Career wise, building three businesses with my business partner Brian Chung. But I am not done yet, so we will see what comes next.
I went to the LA Film Festival to watch a film about a female Marine, expecting to be bored and disappointed. I was neither.
“Blood Stripe” is a well-crafted piece of cinematic art that describes bluntly – and accurately – the difficulties faced by the main character “Sarge” (Kate Nowlin) when she comes back home after serving in the Marine Corps. She realizes she has changed, and those around her cannot fully relate to the person she has become. Her circle questions her emotions, reactions, and behavior, oblivious to the trauma she just left.
As I said, my initial expectations were low. What could civilians know about making war movies, especially war movies about women? I assumed the film would be some “GI-Jane” type of nonsense, a cliché like Jessica Simpson’s character in the atrocious “Private Valentine.” Simpson, clad in a full face of makeup, hair out of regs, clean, and completely un-military is the type of Hollywood characterization that could well make women avoid watching military movies at all. I anticipated a tepid film with a fairytale ending where everyone solves their problems and proclaims “the war is over, let’s all be happy!” In life, especially the military, there is rarely a fairytale ending.
In life, especially the military, there is rarely a fairytale ending. Sarge comes home to the husband she left behind, she gets a job, she drinks a lot of beer; her life may not be great, but it’s okay. Something deep inside keeps nagging at her, memories she would rather forget bubble to the surface. We see a very broken woman, unable to put the pieces of her life back together after an intense military experience. As she slides deeper into alcoholism, Sarge decides to run away from her life and work at Camp Vermillion, the summer camp snuggled deep in the woods of Minnesota, which she attended as a child.
But something deep inside keeps nagging at her, memories she would rather forget bubble to the surface. We see a very broken woman, unable to put the pieces of her life back together after an intense military experience. As she slides deeper into alcoholism, Sarge decides to run away from her life and work at Camp Vermillion, the summer camp snuggled deep in the woods of Minnesota, which she attended as a child.
Sarge is dealing with issues normally portrayed by male characters — dark emotions and feelings not typically associated with women veterans. She is not looking to be a hero nor trying to find a savior; she does not want a parade nor does she want accolades. The war has followed her home, and the tentacles of a vile monster called PTSD are beginning to creep into her life.
The metaphor of running is used throughout the film. Sarge vainly attempts to work out her issues in the typical military manner: She PTs. She does scores of push-ups and sit-ups and tries to literally run from her problems. She can run, but the deep-seated internal turmoil of combat is always there.
The film highlights not only the struggles of most service members to successfully readjust to post-military life but accurately shows the obstacles female veterans explicitly face. One of Sarge’s new friends at Camp Vermillion repeats a line not dissimilar to what many female veterans often hear: “You’re a girl Marine–do they even make those?”
Yes, yes they do. These words demonstrate what females face once they have left the military: disbelief about their military service and treated as if they are not true veterans.
Society has still not fully embraced the notion that women are capable of both giving and taking life; that women can struggle with a war long after arriving back home. Kate Nowlin does an excellent job portraying a woman coming to grips with herself. Her character is both credible and authentic, and alarmingly real. Military women come from all walks of life, they look like your sister or mother or cousin or neighbor; they are unassuming women accomplishing extraordinary feats – although most of them keep their remarkable achievements to themselves.
The war gave Sarge a lot of things: a sense of purpose, pride, strength, and courage. It also took a lot of things away from her: identity, her sense of security, camaraderie. War changes us, life changes us. In the end, this was a film not merely about war and women, but also the struggles we all face during this unique human experience and a longing to find our way back home, wherever that may be.
“Blood Stripe” had its world premiere in June 2016 at the Los Angeles Film Festival to a sold-out audience. It won the coveted U.S. Fiction Award.
Outside of Hollywood, the South Korean film industry is one of the most successful. It’s affectionately known as “Hallyu-wood” and is responsible for some great movies, like Oldboy, Train to Busan, and 3-Iron, which have all reached a level of commercial and critical success.
The same, however, cannot be said for North Korea, whose only not-entirely-propaganda (but totally is) film is so campy that it makes The Room look like a masterpiece. We’re talking, of course, about Pulgasari.
Don’t worry. The communist propaganda film was, unironically, also a merchandising opportunity. (Photo by Claw Mark Toys)
The film’s origins lie in the 1970s when Kim Jong-il was still just the head of the state propaganda department. Jong-il was a huge movie buff and wanted to create his own. One obvious downfall of living in an authoritarian dictatorship that shuns artistic expression, however, is that it’s hard to find artists who haven’t already been executed. So, he set his sights on the man known as the “prince of South Korean cinema,” Shin Sang-ok, and his actress ex-wife, Choi Eun-hee. In their prime, the power couple was compared to Orson Welles and Rita Hayworth. While the two South Korean film magnates were visiting Hong Kong, North Korean agents abducted them.
Shin Sang-ok was forced to create six propaganda films for Kim Jong-il between 1978 and 1983 — all of which were terrible because Shin sabotaged his own art in protest. Then, Kim Jong-il pitched Pulgasari, a pro-communist knock-off of Godzilla. In order to get the special effects right, Jong-il also got staff from Toho Studios (the studio behind the Godzilla films) to North Korea. He did this by saying there was a very lucrative film being shot in China. They only realized something was up when they instead landed in North Korea.
The budget was so high that it almost bankrupted the nation, but Kim Jong-il was still happy. Author Paul Fischer wrote about the filming in his book, A Kim Jong-il Production. In it, he describes how Kim Jong-il was as giddy as schoolkid throughout production even though everyone half-assed everything.
The film is about a Feudal Korean blacksmith who turns into a giant metal-eating monster called Pulgasari. An evil, corrupt king tries to stomp out all of the rebellions and it’s up to the blacksmith and his daughter to overthrow the evil, capitalist monarchy. Shin was very heavy-handed about how this metaphor also applied to the Kim dynasty.
After production wrapped, the world watched the kidnapping in horror. To prove that Shin Sang-ok, Choi Eun-hee, and the crew weren’t kidnapped, Kim Jong-il sent them (with the film) on a world tour. They were also sent to talk to investors for Kim’s next great masterpiece about Genghis Khan. The first chance they got — at the Vienna Film Festival — they all bolted and went into hiding.
If you haven’t seen it, know that it’s painful to watch — seriously, it takes a lot of beer to get through it.
I wish every veteran could get a makeover from the Queer Eye Fab Five — and before you reach for your beers and bullets, hear me out: the military teaches us to suck it up and prepares us for the worst conditions on earth…and that gruffness becomes the standard of living even after we get out.
It doesn’t have to be that way. Not for us. Not for our families.
Just ask Brandonn Mixon, U.S. Army veteran and co-founder of Veterans Community Project, an organization that provides housing and walk-in services for service members in order to end veteran homelessness. Mixon literally builds houses for homeless vets.
The Queer Eye team decided to return the favor, helping Mixon finish his own home, upgrade his professional look, and learn to process his service-connected Traumatic Brain Injury. In spite of all the good Mixon does for his brothers and sisters in arms, Mixon confided to Karamo Brown that he feels like he’s failing in life.
“Who told you that you’re failing?” Brown pressed.
Microsoft’s Xbox One is losing to Sony’s PlayStation 4 — badly.
With nearly 80 million PlayStation 4 consoles in the wild, Microsoft’s Xbox One is getting trounced. Estimates put Xbox sales number somewhere in the range of 30 to 50 million — Microsoft stopped reporting hardware sales numbers some time ago.
But don’t count Xbox out just yet.
Between its Netflix-like Game Pass service, the company’s game streaming ambitions, several new studio acquisitions, and the brilliant decision to add backwards compatibility, Microsoft is building a strong foundation for the future.
Here’s a look into the future of Xbox, straight from Microsoft’s Xbox leader Phil Spencer:
1. Creating the Netflix of gaming with Game Pass.
For $10/month, Xbox Game Pass offers access to over 100 games. That includes every first-party game that Microsoft makes, loads of indies, and — as of very recently — some heavy-hitters from third-party publishers like Bethesda Softworks.
Instead of streaming the games, a la Netflix, you download each game to your Xbox console. As long as you’re paying for Game Pass, you keep all the games you download.
Best of all, any new Xbox One games that come out from Microsoft are included with Game Pass.
When “Forza Horizon 4” arrives this fall, you could drop $10 on a Game Pass subscription to download and play the game — a whopping $50 savings over the normal $60 price of a new game. Microsoft’s betting that you’ll like the arrangement so much that you’ll keep paying for the service every month, like Netflix.
“We’re finding people in Game Pass actually play more games,” Xbox leader Phil Spencer told me in an interview in June 2018, at E3, the annual video game trade show in Los Angeles. “And they’re trying some franchises where, if they had to buy the franchise — even if they’re $30, $60, whatever the amount might be — it’s way easier for them to be invested at $10/month.”
In the long term, Spencer said the goal for Game Pass is offer a safe platform for potentially risky, creative games.
“I want it to be a place where creators feel like they can take risks in things that they wanna do, and know that they have an audience of people who are already invested in the service, such that the marginal cost for them to click on the next icon and give it a try is very, very low.”
The comparison to Netflix becomes apt once more. Netflix funds lots of creative, bizarre stuff because it can afford to fail — with millions of paying subscribers, Netflix has a sturdy financial foundation from which to experiment. It also has a large platform to surface content that otherwise might get lost in a digital storefront.
2. Building a platform to let people play games anywhere, whether you own a game console or not.
On a stage in the Microsoft Theater in downtown Los Angeles on June 10, 2018, Xbox leader Phil Spencer offered the clearest picture yet into Microsoft’s vision for the future of the Xbox brand.
“Our cloud engineers are building a game streaming network to unlock console-quality gaming on any device,” Spencer said. “Not only that — we are dedicated to perfecting your experience everywhere you want to play. On your Xbox, your PC, or your phone.”
It’s an echo of sentiments he’s expressed previously, but it’s the most definitive testament to Microsoft’s plans for the future of gaming.
“There are 2 billion people who play video games on the planet today. We’re not gonna sell 2 billion consoles,” Spencer told me in an interview following his stage presentation. “Many of those people don’t own a television, many have never owned a PC. For many people on the planet, the phone is their compute device,” he said. “It’s really about reaching a customer wherever they are, on the devices that they have.”
That said, logic dictates that the ability to stream “console-quality gaming on any device” depends on some pretty major upgrades to internet speeds around the world. It also faces hurdles like the uncertain future of net-neutrality laws and consumer internet data caps.
In the meantime, Microsoft’s Azure cloud platform offers an infrastructure that few other companies have. “Fifty data centers in different parts of the planet? Billions of dollars of investment in building that out? It allows us to accelerate our growth in this space,” Spencer told me.
3. Building the next Xbox.
In a surprise move, Spencer outright announced Microsoft’s work on the successor to the Xbox One.
You read that correctly: Microsoft has already announced the next Xbox, after the Xbox One.
“The same team that delivered unprecedented performance with Xbox One X is deep into architecting the next Xbox consoles,” he said on stage on June 10, 2018. “Where we will once again deliver on our commitment to set the benchmark for console gaming.”
Of note, Spencer said “consoles” — as in Microsoft is apparently working on more than one future console. Perhaps a smaller, less expensive, streaming-focused Xbox, in addition to a more traditional, larger, $300 to $400 Xbox?
Spencer didn’t specify, but did offer more information on the announcement during an interview with Giant Bomb’s Jeff Gerstmann in June 2018. “Everybody knows what’s happening,” Spencer said in reference to Sony and Microsoft making new consoles. “It’s this kind of unsaid thing, of, like, ‘Well, they shipped Xbox One X. They didn’t lay off their whole hardware team. What do you think they’re doing?'”
He said the announcement was a means of easing potential concerns of longtime console buyers: “It’s not tomorrow, but I didn’t want people to think that we’re walking away from that part of the brand and the business, because it’s really important to us.”
In terms of what that console (or consoles) will actually be, Spencer isn’t offering any major details just yet. From the sound of things, we’re still a few years away from new consoles.
4. Buying several game studios to build new franchises.
If there’s one thing Microsoft is lacking, it’s major first-party game franchises. Even if such franchises existed, Microsoft only owns so many studios capable of producing blockbuster games.
“Halo” and “Forza” and “Gears of War” are all important franchises — to say nothing of “Minecraft,” still one of the biggest games on the planet. With the exception of “Minecraft,” many of these franchises are suffering from franchise fatigue.
Sony’s PlayStation 4 and Nintendo’s Switch, meanwhile, are getting huge first-party games — games that can only be played on their respective consoles — like “God of War” and “Super Mario Odyssey” that re-invented staid franchises.
And that’s why Microsoft just announced the acquisition of five studios. “We know that we want to create new franchises,” Spencer told me. “We really thought we needed five or six new teams, and products that we really believed in.”
“We are committed to building an industry-leading first-party studios organization,” Spencer said on stage. “And we are making one of our greatest single year investments in teams by adding five new creative studios.”
Why not buy one big publisher, like EA or Activision, with a bunch of major game franchises? It’s complicated, but here’s Spencer’s answer: “I couldn’t find a collection out there in one entity to do it.”
5. Multiplayer gaming that crosses Xbox, PlayStation, Nintendo, PC, and mobile platforms.
Microsoft’s been banging the drum for interoperability between competing game consoles for awhile now. Ever since announcing the “Better Together” update for “Minecraft,” which allowed players on all “Minecraft” platforms to play the game together, the entire game industry has begun moving toward cross-platform multiplayer.
It makes a lot of logical sense if you think about it: Games like “Call of Duty,” “Overwatch,” and “Minecraft” are functionally identical across platforms. Why shouldn’t I be able to play “Overwatch” on Xbox One with my friend on PlayStation 4?
The reason, of course, is business.
Sony’s in the lead by a large margin, and has no real incentive — financially — to work with Microsoft on getting cross-platform play working between PlayStation 4 and Xbox One. That’s become a less defensible position for Sony to take as more and more huge games offer cross-platform play, such as “Fortnite” and “Rocket League.”
In sort, it makes Sony look like the bad guy for not offering players a choice that the competition is championing.
“I just get stuck in who this is helping,” Spencer told me. “It doesn’t help the developer — the developer just wants more people to play their game. It doesn’t help the player — the players just want to play with their friends who also play games on console.”
It’s hard to argue with his logic, even if it is easier for him to say from second place.
A senior Army modernization official said that the service needs to look to the visionaries of Hollywood for ideas on how future tech could change the Army in 20 years.
“I often tell people ‘hey, if you want look to the future … don’t look toward the people that wear this,'” said Lt. Gen. Paul Ostrowski, principal military deputy to the Assistant Secretary of the Army for Acquisition, Logistics and Technology, pointing to his camouflage uniform.
“Where are you going to look? Hollywood. Think about it. How many things do we have in our hands today, or just right around the corner, that you saw on the movies when you were growing up?”
But it’s up to Ostrowski, and other senior Army leaders, to carry out the service’s ambitious new modernization strategy.
The Army announced its new modernization effort in October 2017 that’s designed to replace its Cold-War era, Big Five combat platforms — the M1Abrams tank, Bradley fighting vehicle, Black Hawk helicopter, Apache attack helicopter and Patriot air defense system.
UH-60 Black Hawk helicopter
(U.S. navy photo by Clayton Weis)
Speaking at a breakfast, hosted by the Association of the United States Army, Ostrowski explained how the new Army Futures Command — to be based in Austin, Texas — will create a future force capable of operating in the unknowns of 2036.
“What is the battlefield going to look like in 2036?” Ostrowski said. “What are … the tactics, techniques and procedures that we are going to need to have to fight and win in that war, in that battle?
“Where is it going to be conducted?” He continued. “Megacities? What will be our unit of action? Right now we are organized around brigade combat teams. Is that what we are going to need to be organized in the future?”
The futures and concepts group within Army Futures Command will be working on these issues as well as figuring out how future technologies such as quantum computing, high-energy lasers, directed-energy weapon, hypersonics and artificial intelligence will play a role in the future force, Ostrowski said.
“What is going to be capable of being produced and available in 2036? The visionaries of the futures and concepts group have to get after that particular piece,” Ostrowski said.
The Army is actively recruiting talent to work on the technological challenges of the future — Hollywood may be the place to start, Ostrowski said.
“We have to get after those visionaries to help us get after that fight and what it is going to look like in 2036,” he said.
This article originally appeared on Military.com. Follow @military.com on Twitter.