It’s a good thing Tom Holland is so adorable because he gets away with SO MANY SPOILERS, especially about the new Spider-Man 3. Marvel Studios President Kevin Feige is renowned for keeping the Marvel Cinematic Universe (MCU) films under lock and key. Marvel films will restrict scripts and shoot alternate endings so not even the cast and crew know exactly how a film will end.
And then there’s Tom Holland, one of the youngest members of the cast, whose enthusiasm and authenticity have probably saved his life career.
If this is the first you’re hearing of this, here’s a short compilation of Tom Holland spoiling things:
So the MCU team decided to have a little fun with it. Fans had a hunch something was going on when Holland and fellow cast members Jacob Batalon and Zendaya began sharing images with fake titles for the third Spider-Man film:
The actual film title was finally revealed today: Spider-Man: No Way Home, and, showing their love and support for their spoiler-y lead, they released a little video poking some fun at Holland.
“They gave us a fake name again. I just don’t understand why they keep doing this,” laments Holland.
“You don’t understand? I feel like it’s pretty obvious. It’s because you spoil things,” retorts Batalon.
Marvel and Sony are obviously having some fun with their promotion efforts for what should be another great addition to Marvel’s expansive universe of films and projects.
Spider-Man: No Way Home is set to premiere Dec. 17, 2021.
Recently, Oliva Wilde shared that she is slated to direct a feature film for Sony Pictures that will take place in the Marvel Universe. While the details are being kept quiet, rumors are that the story will be about Spider-Woman.
Plus, Wilde tweeted a spider emoji and Sony doesn’t have rights to Black Widow, so…
Though recently, and exceptionally, depicted in Spider-Man: Into the Spider-Verse, Spider-Woman has yet to appear in her own film, despite decades of popularity. With Disney’s Marvel films continuing to lead the way in superhero box-office triumphs, it’s never been a better time for Spider-Woman to hit the silver screen.
And Olivia Wilde is the perfect person to lead the charge. Last year, her feature film debut Booksmart delighted audiences and critics alike, thrusting Wilde forward as a powerhouse in her own right. The Independent Spirit Award winning director joins Booksmart writer Katie Silberman and Spider-Man: Into the Spider-Verse producer Amy Pascal to create the highly-anticipated film.
Wilde will follow in the footsteps of female filmmakers finally getting long overdue opportunities to bring superheroes to life, including Patty Jenkins, Cathy Yan, Chloe Zhao, and Nia DaCosta — as a result, we probably don’t have to worry about another Spider-Woman butt-gate.
Controversial Spider-Woman #1 cover art. (Marvel)
Instead, Wilde and Silberman ought to give us a pretty good time. Whether Wilde’s Spider-Woman will be Gwen Stacy (as she was in Spider-Man: Into the Spider-Verse), Mary Jane Watson, or the OG Jessica Drew is unknown. And of course, it’s always possible the film could be about another character altogether. Sony had been slated to bring forth a Madame Webb film — and there’s always Silk, the Cindy Moon character who was bit by the same spider and on the same day as Peter Parker but who was then locked in a bunker as a result of her powers (dark, right)?
All we have to go on is a little emoji in a big Twitterverse. And if we think we might be getting any more hints anytime soon, we appear to be, sadly, mistaken.
Okay, you’ve heard all the complaints about the F-35. It’s super-expensive. It’s got problems getting ready for combat. But in the real world, there’s no other option. And as WATM has already explained, the Marine Corps desperately needs to replace its F/A-18 Hornets.
But suppose, instead of blowing their RD money on the F-35, the Air Force, Navy, and Marines had decided to pull out File A56-7W and instead replicate Airwolf? They’d have gotten a much better deal – and it might even have helped the Army, too.
Airwolf’s specs (click here for another source) reveal this helicopter already took advantage of some stealth technology, had modern ECM systems and sensors, and very heavy armament (four 30mm cannon, two 40mm cannon, and various air-to-air and air-to-ground missiles). All in all, it’s very powerful, even if it was the brainchild of one of the big TV showrunners of the 1980s and 1990s.
So, why does it beat the F-35? Here are some of the reasons.
1. It can operate off any ship
With a top speed of over Mach 2, Airwolf may have the performance of a fighter jet, but it takes off and lands like a helicopter – without the need for the complex mechanisms used on the V-22 Osprey.
Think of it this way; with Airwolf in its hanger deck every surface combatant and amphibious ship could carry what amounts to a Generation 4.5 fighter. Even the Littoral Combat Ships could handle Airwolf, giving them a lot more punch in a fight than they currently have.
2. It would replace more airframes than the F-35 would
The F-35 is replacing the AV-8B Harrier, F/A-18 Hornet, F-16 Fighting Falcon, and A-10 Thunderbolt II in U.S. service. Airwolf not only would replace all four of those airframes, but it would also replace all of the AH-1 and AH-64 helicopters in Marine Corps and Army service. The promise of the TFX program as originally envisioned in the 1960s could be fulfilled at last!
3. Better performance
According to an Air Force fact sheet, the F-35 has a top speed of Mach 1.6, a ceiling of 50,000 feet, and a range of 1,350 miles without refueling. Airwolf hits a top speed of Mach 2, a ceiling of 100,000 feet, and a range of 1,450 miles.
In other words, Airwolf would have the F-35 beat in some crucial areas. Now, the F-35 might have an advantage in terms of payload (fixed-wing planes usually have that edge), but the fact remains, Airwolf would have been a very viable candidate for that competition – and might have had the edge, given that the Army would have bought airframes to replace the Apache.
Oh, and here’s the Season 1 opener, just for kicks:
Everyone knows Cuba is a bastion of great music — but most people probably don’t consider Guantanamo Bay when they’re thinking of all that great Cuban sound. They definitely don’t think of the Navy base for having a good time rockin’ in Fidel’s backyard — which happens to be the slogan of the radio station on base.
The truth is, there’s an amazing collection of music in that remote corner of the island — and the Navy takes full advantage by playing all of the greatest hits by the original artists.
Radio GTMO houses an amazing collection of some 22,000 pieces of music — some on reel-to-reel tape and many others on vinyl — including a reel-to-reel of the Beatles anthology. The collection is valued at over $2 million and is carefully cataloged in alphabetical order on a series of index cards.
“I believe this is one of the largest, if not the largest, collection in the Armed Services Network,” Kelly Wirfel, base spokeswoman, told Military Times.
Though the U.S. Navy base at Guantanamo has been in operation since 1903 (it’s the oldest overseas U.S. Navy installation), Radio GTMO has only been in operation since 1940. Unfortunately, Cubans outside of the base don’t get to hear the Classic Rock and Top 40 songs played by Radio Gitmo — the transmission signal stops at the base’s gate (Cubans get music and news from outside Cuba via another U.S. government entity — Radio Marti, run by the same folks who create Voice of America News).
(U.S. Army Photo by Sgt. Benjamin Cossel)
The radio station will still broadcast even its oldest vinyl records, even though Adrian Cronauer (a former Air Force DJ played by Robin Williams in the film Good Morning, Vietnam) says they belong in a museum. So, how did such a stash end up in a remote corner of Cuba? The reason for it is that the station never sent its analog collection back to the Armed Forces Network when it was all recalled in the 1990s in an effort to go digital.
Among the station’s other rare offerings are live performances by Chuck Berry, The Grateful Dead, Led Zeppelin, Bob Marley, and John Coltrane — among many, many others. It’s the third largest collection of music on any military base and the pearls of its collection rivals even the Library of Congress.
“If you think this has a happy ending, you haven’t been paying attention.”
This chilling line, spoken with gleeful malice by Ramsay Bolton in season 3 of Game of Thrones, always felt like the closest thing the HBO show had to a thesis statement. From the very beginning, Game of Thrones has made it abundantly clear that it was not in the business of pleasing its fans. Heroes like Ned and Robb Stark suffered brutal, shocking deaths that highlighted the cruel and chaotic nature of the world of Westeros. Oberyn, a man seeking vengeance for the death and rape of his sister, was instead killed by the very man who murdered his sister. A young girl was burnt alive by her own father seeking to further his claim to the throne.
Even George R.R. Martin made no efforts to hide the story’s unabashed acknowledgment of darkness, as he famously alluded to Game of Thrones ending as “bittersweet.” So naturally, heading into the final season, we all braced for the worst. Would the White Walkers end up on the throne? Would Arya’s bloodlust overcome her, sending her on a John Wick-esque killing spree of all the leaders of Westeros, including her siblings? The possibilities seemed endless, which is why it was such a surprise to see that season 8, episode 6, ‘The Iron Throne’ ended on such an uplifting and optimistic note.
If you think this has a happy ending, you haven’t been paying attention…
Of course, this is Game of Thrones, so obviously, its version of a happy ending is quite different than what you might expect from a rom-com or buddy comedy. Over the course of the final season, several beloved characters died, including Jaime, Cersei, Jorah, Lyanna, and, of course, Dany, who was stabbed by her lover-turned-nephew Jon Snow just as she finally reached the Iron Throne. And beyond characters that we knew, countless soldiers and innocent civilians were slaughtered during Dany’s takeover of King’s Landing. Death was always an essential part of the show’s DNA, so it should come as no surprise that it remained a core component in the final season.
However, once Drogon symbolically roasted the throne and headed off with Dany’s corpse, the show suddenly took a tonal shift that could almost be described as cheerful? Bran is chosen as the King of Six Kingdoms and absolves Tyrion’s treason charges by casually making him his Hand. As a result, Bronn, Brienne, Sam, and Davos are all appointed to the high council, despite some of their questionable qualifications. Whether or not these moments were earned is up for debate but what’s not up for debate is the fact that this is about the happiest ending Westeros could have hoped for.
Moving forward, the Six Kingdoms won’t be ruled by a drunken marauder like Robert Baratheon or a cruel psychopath like Joffrey Lannister; instead, they will get Bran, an emotionless, altruistic being who barely identifies as human but makes up for it by having the ability to see the present and the future. He’s basically a superhero who has no personal desires, making him the ideal ruler to an almost absurd degree. And on his high council sit a ragtag crew of the most beloved characters in the show, who joyfully trade barbs and witticisms as their King heads off to figure out if he can warg into a dragon.
And beyond the kingdom as a whole, the show protected the Starks with a sense of mercy that even Ned would have found excessive. In the early seasons, no family suffered more than the Starks, as each member of the family gets about as close to a happy ending as you could expect for them. Obviously, Bran is King but Sansa gets to remain Queen in the North, as Bran agrees to grant Winterfell independence. Jon might not be sitting on the throne but that’s never what he wanted. And thanks to Greyworm’s laughably bad negotiating skills, Jon’s “punishment” is abdicating his responsibility to join the free folk up north. Meanwhile, Arya ditches Westeros to explore the great unknown, for some reason.
For longtime Game of Thrones fans, the last half of “The Iron Throne” may have felt like a jarring shift of pace because we suddenly went from gritty realism to a conclusion that felt very much in line with Tolkien’s Return of the King, right down to the heartfelt goodbye at the docks. None of this is to say that a happy ending was impossible for Game of Thrones; it’s just the show needed to earn the pivot of hopefulness that feels out of step with so much of what we came to fundamentally understand about the Westeros. Was the answer really just let the Three-Eyed-Raven be king? If so, why hadn’t anyone thought of that before? Seems almost too obvious.
Perhaps in Martin’s books, the story will be told in a way that makes the bitter aspect of this bittersweet ending more clear but for now, it’s a finale that almost feels like it was pulled from a less nuanced fantasy series, where kings are impossibly noble and good men and women get to live the long and happy lives they deserve. We can’t help but wonder with such a happy ending, were creators David Benioff and Daniel Weiss the ones not paying attention?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Now you can audition for America’s Got Talent, Season 16, right from the comfort of your own home. Auditions are going virtual this year, so this will be a brand-new experience for everyone, and for the first time ever, everyone’s favorite talent show is in collaboration with WATM readers. That’s right, casting producers will be taking a special look at your submission, submitted through a custom-built platform specifically for the military community, here.
We know that the military community has lots of talent and now is the time to showcase it. This unique opportunity means that for the first time ever, it doesn’t matter where in the world you call home – as long as you’re a U.S. citizen, you’re able to audition for America’s Got Talent. Find the complete eligibility requirements here.
Here’s how to get started.
If you’ve already registered for AGT, then click the sign-in option and select a Virtual Open Call Date on your Performer Profile Page. If you’re not registered, follow this custom link to sign up.
If you’re part of a group, make sure to follow safety guidelines first! We strongly encourage groups to submit an existing video instead of gathering in-person to create a new audition video. Uploading pre-existing recordings is easy. All you need to do is follow the ”Submit a Video Online option.”
Keep in mind if you already had an account with AGT from a previous session, your credentials have expired, so you’ll need to create a new Season 16 account.
After you’ve registered for an audition date and time, your spot is confirmed. You can double-check your details by signing into your Performer Profile page. Make sure to add firstname.lastname@example.org to your address book to prevent essential emails from going to your spam folder.
Auditions are free – all you need is an internet connection and a device with a camera and a microphone capable of running Zoom.
You’ll be given up to 90 seconds to audition, so make sure you come prepared and ready to wow the producers and judges!
You have the option to select a time for your appointment when you register. But that’s not your specific time — auditions happen on a first-come, first seen basis. It’s a good idea to come around the time that you select to help keep the process moving.
If you register for an audition date but can no longer make it, you can submit an online audition that will be reviewed by a producer or you can choose to audition on a different date.
After you perform, you might be asked some follow up questions by the AGT producers. Acts that are selected to move forward in the competition will be notified by the end of March.
An estimated 300,000 “war brides,” as they were known, left home to make the intrepid voyage to the United States after falling in love with American soldiers who were stationed abroad during World War II. There were so many that the United States passed a series of War Brides Acts in 1945 and 1946. This legislation provided them with an immigration pathway that didn’t previously exist under the Immigration Act of 1924, which imposed quotas on immigrants based on their nation of origin and strategically excluded or limited immigration from certain parts of the world, particularly Asia.
Equipped with little but a feeling and a sense of promise, war brides left everything that was familiar behind to forge a new identity in the United States. Many spoke little to no English upon their arrival in the country, and they were introduced to post-war American culture through specially designed curricula and communities. To this day, organizations for war brides in the United States provide networks for military spouses and their children, helping them keep their heritage alive and share their experiences of their adopted home.
To commemorate the 75th anniversary of the end of World War II on September 2, 2020, We Are The Mighty is proud to collaborate with Babbel, the new way to learn a foreign language. Babbel conducted interviews with surviving war brides as much of the world endured lockdown. Many of these women are now in their 80s and 90s, and their oral histories celebrate the challenges and successes of adapting to a new culture and language, as well as reflect on the leap of faith they all took to travel across the world to an unknown country. Spoiler alert: there are few regrets.
War Brides is a 5 part series.
My full name is Antonina, but I go by Nina. I’m 92, almost 92 and a half. I was born in Manila and we lived in a compound where the superintendent of city schools also lived. There were several American teachers and their families in that compound, so we were speaking English a lot.
Growing up wasn’t easy, because the war broke out when I was in seventh grade. They had sentry boxes every few miles, and everyone who passed by had to bow. And if you didn’t bow correctly, they’d slap you. The Japanese would come out of the sentry box and slap you and show you that this is the way to bow to them. So my dad said, “Don’t go outside if it isn’t necessary.”
During the war, our house was burned down and we had run for our lives because the Japanese were trying to kill as many civilians as they could while the American soldiers were pursuing them. We tried to shelter in one of the burned-out houses, and we went under the foundations to try to hide. But before that, we had to cross a big wall. It took me a long time to get in through the passage, and a Japanese soldier came over to me and poked me in the back with his bayonet. That’s why even now, I don’t want anyone touching me from the back. It has remained with me. I was so scared. I was 13, 14 at that time.
That night we could hear the Japanese yelling and running and then at around 2 or 3 o’clock when it started getting light, I saw a pair of feet. I knew that the Japanese did not have boots like that. And then after a while, I said, “Oh my God, these are different. These are big feet.” One of the soldiers bent down and said, “Oh, hello there.” When he said “hello,” I knew he was an American!
He told us we were in the firing line and to go as far back as we could. I was so excited. I said, “The Americans are here!” While I was running I looked down, and I didn’t realize that I was running over dead bodies. I said, “Please help me, dear God, help me.” I couldn’t walk anymore because I saw so many of them. And I was in the midst of them. Dead people. That was terrible. I still occasionally dream of that, and then I can’t sleep.
Eventually, we were able to get to a Red Cross station. They were standing there serving cookies and food, so we grabbed some and ate like there was no tomorrow. Thank God we didn’t get sick when we ate, especially me!
It was in early 1945 that I met my husband. We hadn’t seen the ocean for three years, so my sister said, “Let’s go and see how the beach is.” That was where we met a few soldiers, and my sister said to me, “Don’t say anything. I’ll do the talking!”
They introduced themselves and said they were Filipinos from the United States, and they said that they wanted to meet some of the Ilocano, which is my parents’ language and dialect.
They asked, “Would you like some candy?” Well, God, due to the war I hadn’t tasted candy for years! So they gave us some Hershey’s candies, and that’s why some of the war brides call me “Hershey Girl!”
A month after that I met my husband, in May 1945. I didn’t know who he was at that time, but he walked in singing “Sleepy Lagoon.” My sister said, “Oh, he has a beautiful voice.” I said, “No, he can’t sing!”. He was a Filipino man in the U.S. Army and could speak the same dialect that my parents spoke. He was very nice and polite, and they liked him.
We married on December 2, 1945. It was in a small church, and I wore a short dress that my friend made for me. We didn’t have buttons, so she found what looked like little pebbles that she covered to make the buttons. We didn’t have zippers or anything like that, so it was buttons all the way down the back. Another friend had found an old Communion veil that her daughter wore, and they made that into my little veil.
When my husband finished his tour of duty in Japan, we came home to the United States. I had two children at that point, who were both born in Tokyo. In Tokyo, my children learned to speak a bit of Japanese, and I couldn’t understand them. They would come home and tell me things in Japanese, and I would say, “Just speak in English. I don’t understand Japanese!” They would laugh. They had such fun doing it.
When we came to America, we arrived in San Francisco. I was seasick the whole time, so I was anxious to get off the ship. But we sailed under the Golden Gate Bridge at night, and it was all lit up, and it was just beautiful. The first thing that struck me about San Francisco was the cars. There were so many cars! They were just whizzing by. In Japan, there were not many cars around. Usually, the soldiers were the ones who had cars — and some of the richer Japanese people — but the Japanese tended to rely on streetcars and the subway. It was 1954, and San Francisco seemed so bright and crowded.
The way people spoke in America was also very different. In Japan they don’t speak slang, and it took me a while to understand American lingo. My husband eventually found a job in Los Gatos, California, for the Sisters of the Holy Names of Jesus and Mary. He worked for them as a second cook, and they provided us with a home.
Los Gatos was a very small town at that time. There were barely 5,000 people living there. We were the only Filipinos in that area, and they did not know what to make of me. When I took my eldest daughter to kindergarten, the children would say, “What are you? Chinese, Native American?” And I said, “No, we’re from the Philippines!” They didn’t have any idea where that was.
I was a seamstress for the convent the whole time. I made habits out of thick wool. There was a lot of hand sewing involved, and making the skirt required about five yards alone that I had to pleat to fit each person, and it was heavy!
On the whole, people were very nice. I missed my parents, but my sister ended up coming to America as well. I get to speak Ilocano with her still, which is nice because I haven’t been back to the Philippines since 1950. It was too expensive to travel back when I first came to America. I regret that, though. I don’t know if I’m strong enough to travel now.
For me, America hasn’t really changed from the time when I first arrived, because the way people of color are being treated now seems to be the same as when I first got here.
Technology, though, is one change that is so overwhelming for me. Going to the moon left me in awe. And my massage chair — I like my massage chair.
My advice for young people moving to another culture or country is: Love conquers all. That’s my philosophy. I loved my husband and he loved me, too. He took good care of me. I miss him so much. We were married almost 57 years. It was fun to hear him sing.
In a decade full of big mustaches and goucho pants, bell bottoms ruled the earth; something about extra ankle space was all the rage. Meanwhile, military surplus clothing was a must-have hit, and when it came to hair styles, bigger was better. These are only a few attributes that describe the 1970s. It’s also a decade that loved a good macho war flick — gruff soldiers with heartfelt stories fit right in with the counterculture and everything it stood for.
From these titles which are still modern favorites, to the films that changed the face of cinema as we know it today, take a look at these blockbusters and campy faves.
Released in 1970, Catch-22 is the film adaptation of the classic war novel of the same name. It’s considered a black comedy, “anti-war” movie where the main character tries to get himself declared insane so he no longer has to participate in the war — therefore a catch-22. It’s known for starring big names such as Art Garfunkel, Bob Newhart, Martin Sheen, Jon Voight, and Orson Welles.
2. M*A*S*H, 1970
Yes, MASH made a movie! In fact, the movie came before the show. An acronym for Mobile Army Surgical Hospital, MASH was first based on a book, then made into a film starring Donald Sutherland, Elliott Gould, and Robert Duvall. The Korean War film won an Academy Award for best film adaptation, as well as taking home the title for Grand Prix du Festival International du Film at the Cannes Film Festival.
3. Johnny Got His Gun, 1971
Another anti-war flick — a common theme in the 70s — comes with Johnny Got His Gun. Donald Sutherland also plays in this film, however, it was a box office bomb and not well received. Years later, in 1988, the band Metallica used clips from the movie in their music video. They even purchased the rights to avoid paying ongoing royalties, and in the process, brough the film to prominence and turned it into a cult classic.
4. The Last Valley, 1971
Michael Caine stars in this movie covering the thirty-years war in Central Europe. Set in the 1600s, the flick follows Caine as a mercenary soldier, during a religious war. Despite being one of the most popular movies at the box office, it still became a financial failure, only gaining popularity in decades since.
5. The Hiding Place, 1975
Another WW2 classic, The Hiding Place follows a Jewish family who’s taken into captivity and their hardships within a concentration camp. The film is based off of Corrie ten Boom and her family’s struggles and her famous book of the same name.
6. Midway, 1976
The Battle of Midway is arguably one of the more famous battles from WW2, partly thanks to this film. Midway covers the invasion of Midway Island when the U.S. attacked the Japanese Navy in April of 1942. The movie comes with a star-studded cast, including: Charlton Heston, Henry Fonda, James Coburn, Glenn Ford, and Hal Holbrook.
7. The Eagle Has Landed, 1976
This flick takes place in a world where the Germans plotted to kidnap Winston Churchill at the end of WW2. It was directed by John Sturgess in his last film as a director. Donald Sutherland, Michael Caine, and Robert Duvall star in yet another war film, this time playing Germans in their attempt to find and take down the British Prime Minister.
8. Coming Home, 1978
Set in the timeframe of Vietnam, Coming Home brings a fresh twist to war films; it’s set back in the states and covers a love triangle between a military spouse, her husband, and another injured soldier. Jane Fonda stars as the film’s temptress, with Jon Voight playing another leading role.
9. The Inglorious Bastards, 1978
The original title to this film is actually an Italian film. The translation means, “That damned armored train.” A Euro War movie, the film was pitched to American filmmakers, but moved to Italy when it was not picked up. The film gained most of its success decades later when director Quentin Tarantino made his own war flick reusing the name Inglorious Basterds.
The 1970s was certainly a power decade for WW2 films, among others. Whether you’ve seen them or simply have these titles on your “must watch” list, don’t overlook the power they can bring to modern day viewers in cultural and historical importance.
Look, it is easy, and deeply enjoyable, to give Oscar Mike host Ryan Curtis boatloads of crap for the shenanigans and mannerisms (shenannerisms?) he regularly deploys in the line of duty. It’s easy because he’s a good sport. It’s enjoyable because, well:
But credit where credit is due, it is no easy thing to drop in on a recording studio unprepared, be played a brand new beat, compose a non-wack verse and then get into the booth and spit your best whiteboy flow in front of a hot producer and a rapper at the top of his game.
TMR served 10 years in the Middle East as a Marine Corps combat correspondent, ala Joker from Full Metal Jacket. Though he started rapping young, he found he had to put his passion on ice during active duty — no time to think, let alone rhyme.
When he finally left the service, the transition was rough.
“It was a reality shock. I didn’t know where to go. You’re like, ‘I have all this time on my hands,’ and you get to thinking… ‘I was such a super hero in the military, but now I’m just a regular civilian. Nobody cares about me. I’m nothing now. Why should I even live?'”
Finding himself in a dark headspace familiar to many vets exiting the military, TMR did a hard thing: he asked for help.
With the assistance of the VA, he was able to reorient, finding an outlet in his long-dormant passion for rap. He now lives in Hollywood, CA, cutting tracks and shooting music videos to support his budding career as a musician.
And, no joke, in a single day of working together, TMR, producer Louden and the Artist Formerly Known as Ryan Curtis may just have succeeded in dropping the U.S. military’s first ever chart-topping hip hop track:
It’s a lock for New Oscar Mike Theme Song at the very least.
Watch as Curtis looks for lyrics in a Magic 8 Ball and TMR proves there’s no room in his game for shame, in the video embedded at the top.
When “Black Hawk Down” hit theatres in 2001, it was marketed as a cast of ‘no names’. The real “stars” were the elite troops depicted onscreen: the Army Rangers, Delta Force soldiers and 160th SOAR pilots who made up Task Force Ranger in the fall of 1993 in Mogadishu, Somalia. The movie chronicles their 18-hour battle with Somali militias in which 18 Americans died.
But in the 15 years since, Black Hawk Down’s cast has turned into a roster of certified Hollywood A-listers or perennial movie “That Guys.” In fact, BHD’s alumni have made more big movies than any other military ensemble cast.
BoxOfficeMojo.com is a website that tracks career box office earnings of hundreds of actors. All told, the movies featuring Black Hawk Down alumni have been in have earned a staggering $12.6 billion – more than the combined career box office for the cast of Oceans 11.
The cast falls into three military groups:
The $B-Boys – Black Hawk Down actors who crossed the billion-dollar line (in the book, though less so in the movie, Delta Force is nicknamed “D-boys”)
The Regulars – you know their faces, if not their names
Asymmetric Warriors – Two roles – a Delta Force operator and a 24th Special Tactics Squadron pararescueman – were played by actors who now have massive careers, but not as traditional movie stars. We had to measure their careers differently (leave it to JSOC to be hard to pin down).
Orlando Bloom, “PFC Todd Blackburn”
Career Box Office: $2,815,831,431
You hardly recognize him when he’s not: an elf or a pirate.
The wispy, slightly-sour-faced Brit spends just a few minutes on screen and hardly speaks. But after five installments of “Lord of the Rings” and three “Pirates of the Caribbean,” movies starring Bloom have made more money than those starring George Clooney or Brad Pitt (whom Bloom starred with in “Troy”).
Ewan McGregor, “PFC John Grimes”
Career Box Office: $2,080,785,955
You hardly recognize him when he’s not: a Jedi; lusting for life.
He was a brash talking, un-Tabbed underachiever consigned to coffee duty until pushed outside the wire, but McGregor’s John Grimes – “Grimesy” – was the closest thing to an Everyman in the movie. But by the time Black Hawk Down hit screens, McGregor had already played Obi Wan Kenobi in the “Phantom Menace,” with two other mega Star Wars prequels just ahead. Together, they pulled in $1.1 Billion.
William Fichtner, “SFC Jeff Sanderson”
Estimated Box Office*: $1,495,000,000
You hardly recognize him when he’s not: getting killed.
Fichtner, one of the all-time That Guys in movie history, might be America’s answer to Sean Bean, the oft-murdered Englishman. Fichtner dies a lot. He’s met his on-screen fate on George Clooney’s doomed fishing boat (“The Perfect Storm”) and as an outlaw in Johnnie Depp’s wild west (“The Lone Ranger”), and only barely survived Bruce Willis’ doomed space shuttle (“Armageddon”). In Black Hawk Down, Fichtner’s fiction Delta soldier Sanderson is a battlefield Svengali, coaxing a team of scared, out-gunned Rangers through the day’s fight. He grows ever cooler as the fire gets heavier, dispensing tactical hints that also serve as deep life wisdom (“stay off the walls”).
*Fichtner, like several Black Hawk Down actors, doesn’t register on BoxOfficeMojo. So we added up only the giant hits you’ve almost definitely forgotten he was in.
Tom Hardy, “Pvt. Lance Twombly”
Box Office: $1,242,535,310
Oh, it’s the guy from: “driving for his life in a desert hell hole. But with girls.”
For 12 years after the movie’s release, Hardy wasn’t even the most famous actor among his small trio of Rangers separated from the main force. One of the soldiers, Nelson, is temporarily deaf, a condition played for laughs by Ewan Bremner, a.k.a. Spud from “Trainspotting.” But in 2012, he played Bane in “The Dark Knight Rises” and stole the summer of 2015 in “Mad Max: Fury Road.”
Jason Isaacs, “Cpt. Michael Steele”
Box office: $1,952,955,239
Oh, it’s the guy who is usually: a punchable, dickish authority figure. But in a wig.
Some guy you definitely don’t know has made two billion dollars – pretty funny, hooah? As one of many roles in a classic “That Guy” career, Isaacs plays Cpt. Steele, the uptight Ranger commander who spends most of the movie not getting along with Delta’s cool kids. His most famous moment is as the butt of Eric Bana’s classic joke, “this is my safety, sir.” Steele was right on type for Isaacs, who was also a total dick to Harry Potter as Lucius Malfoy and to 18th-century churchgoers in “The Patriot.”
Ioan Gruffudd, “Lt. John Beales”
Oh, I think he was in: A total disaster, probably (“San Andreas,” “Titanic”).
A career character actor, Gruffudd has played small-to-medium roles in almost 20 films that, combined, have brought in a little over $800 million. He also played a bit part in one of the biggest hits of all time, “Titanic.” The role was so small that BoxOfficeMojo doesn’t count it, but we’re giving it to him. Grufford plays 5th Officer Harold Lowe, who in both the movie and real life, was the only officer who went back to rescue survivors in the water. It’s Grufford who rescues Kate Winslet – and what is “Black Hawk Down” at heart if not a rescue mission? We’re counting it in Gruffudd’s total.
Eric Bana, “Sgt. 1st Class Norm ‘Hoot’ Gibson”
Box Office: $1,029,166,799
Oh, isn’t that the guy from: Tough one. You know you know Bana.
He’s definitely “a movie star.” But he’s never held top billing in a major hit. His fictionalized Delta operator Gibson – who bookends the movie with meditative soliloquies on combat and soldiering – might be Bana’s defining role. Still, Bana is a hell of a 2nd Chair, scoring 9-digit box office in “Troy,” “Star Trek,” and “Lone Survivor.” And as a sheer badass, he reached near-“Hoot” levels as an Israeli assassin in “Munich.”
Tom Sizemore, “Col. Danny McKnight”
Box Office*: $780,000,000
Oh, it’s that guy from: same character type, different war.
Sizemore’s career has been a string of grizzled combat leaders, including Sgt. Horvath in Saving Private Ryan, another NCO in Pearl Harbor and shoot-first detective Sgt. Jack Scagnetti (great name!) in Natural Born Killers. In BHD, when gunfire breaks out, he memorably orders a nervous Ranger: “shoot back.”
*Like Fichtner, we looked at Sizemore’s biggest hits and rounded up.
Josh Hartnett, “Sgt. Matt Eversmann”
Box Office: $678,425,308
Wait, was he in…: not much lately, tbh.
With all the future superstars and famous faces, it’s a little jarring to look back and realize that Hartnett was the guy featured on BHD’s original movie poster. Much of the movie tracks his trial by fire as a new Ranger team leader. But after BHD, Hartnett’s career stalled. He played the lead in Pearl Harbor, as bad a military movie as BHD is a good one, and hasn’t been in a big hit – or big poster – since.
Jeremy Piven, “CW3 Cliff ‘Elvis’ Walcott”
Box Office: $575,659,624
Hey, it’s: Ari!
Jeremy Piven has played in about 60 films but he’ll never escape being Ari Gold, the preening talent agent in HBO’s “Entourage.” Unfortunately, Piven plays his role as 160th pilot Walcott in full proto-Gold style, with cocky, hot-shot dialogue that sound more like “Top Gun” than 160th operators. Piven isn’t on BoxOfficeMojo, but he did make six movies with John Cusak, so we modified Cusak’s career box office total for Piven.
Tom Guiry, “Staff Sgt. Ed Yurek”
Box Office: $388,375*
Guiry is a chalk leader in BHD, where he’s unrecognizable from his only other well-known role, the kid-classic “The Sandlot.” I just hope that when he “fired” his weapon on set, his intended target always yelled, “You’re killing me, Smalls!”
(*the record price paid for a Babe Ruth autographed baseball)
Oh, it’s the guy who: hasn’t been funny since Season 2.
In late 1998, about when BHD came out as a book, I was a trainee at the Pararescue Indoctrination course in San Antonio – a ‘cone’ as you’re called before graduating – when Wilkinson visited. Our class knew Wilkinson as one of two Air Force PJs that fast-roped into the heart of the fighting. He gave our class a great pep talk about sticking together and, even more impressively, jumped into our training for a day. That night, our class went out for a team dinner at an Outback. Wilkinson and two of our instructors were there. After eating, we tried to sneak out but the instructors caught us and put us through several sets of feet-up pushups in the parking lot as confused diners looked on. As we knocked them out, I remember seeing Wilkinson with his arms folded, laughing his ass off.
I tell this story here to distract you from noticing that one of the most decorated PJs in history is played by the dad from “Modern Family.”
*guess-timate of Modern Family’s total ad and syndication revenue
Nikolaj Coster-Waldau, “SFC Gary Gordon”
Box Office: $560,000,000*
Oh, it’s: Cersei’s Bro With Benefits.
Waldau plays Gary Gordon, one of two Delta soldiers awarded the Medal of Honor for volunteering to be dropped on a crash site to defend an injured crew. Both were killed in the firefight. And now he’s the Kingslayer. That’s about as badass as a “That Guy” gets.
(*we used the total revenue Game of Thrones effect on HBO in subscriptions, DVD sales and rights fees).
Just a few years ago, Americans were stunned at the amount of oil spilled into the Gulf of Mexico by the British Petroleum-leased oil rig Deepwater Horizon. On April 20, 2010, a blowout during the drilling of an exploratory well caused an explosion visible from 40 miles away that killed 11 of its crew.
Over nearly three months, the spill from the Deepwater Horizondumped 210 million barrels of oil into the Gulf of Mexico.
Now a film about the disaster, “Deepwater Horizon,” is set to hit theaters Sept. 30.
Mark Wahlberg plays Mike Williams, an electrician and Deepwater Horizon survivor, in a film that takes an in-depth look at the people who were working on the rig that night. Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O’Brien, and Kate Hudson round out the ensemble cast.
We Are The Mighty met up with the cast – and the real Mike Williams – at the film’s premiere in New Orleans and talked with them about the film and the motivations behind it.
From original programming to the biggest movies released in theaters (albeit, a while ago), there’s a lot to watch on HBO. So we’re here to point out what you need to see right away on HBO Go or HBO Now.
In August 2019, you can finally watch the lord of the seas, “Aquaman,” from the comfort of your own home. You can also check out one of the best movies of 2018, “The Favourite.” And if you are looking for a classic, can we interest you in “The Lost Boys”?
Here are 7 movies to check out on HBO in August 2019:
1. “Body Heat” (Available August 1)
A modern-day telling of the classic film noir “Double Indemnity,” William Hurt is persuaded by his lover, played by Kathleen Turner, to murder her rich husband.
2. “The Lost Boys” (Available August 1)
This late 1980s classic stars Jason Patric and Corey Haim as two brothers who move into a town that turns out to be a haven for young, good looking vampires, led by Kiefer Sutherland.
3. “The Favourite” (Available August 3)
Olivia Colman walked away with the best actress Oscar for her role as Queen Anne in this twisted dark comedy set in early 18th century England. Emma Stone and Rachel Weisz also deliver incredible performances.
4. “Aquaman” (Available August 10)
James Wan’s ridiculously fun superhero movie looks at the origin story of Aquaman. Jason Momoa is perfect in the role of Arthur, while the CGI in this movie is mind-blowing.
5. “Mortal Engines” (Available August 24)
I still have no clue what “Mortal Engines” is. I guess it was a book people liked? Peter Jackson is involved? Hey, this is an example of why HBO exists — see movies you would never dare buy a ticket for.
6. “The Mule” (Available August 27)
Clint Eastwood plays a 90-year-old Korean War vet who, in the hopes of getting some cash, finds himself becoming a drug mule for the Mexican cartel.
You may know Tom Skerritt for his iconic roles (Viper in Top Gun, anyone?) or his tell-tale mustache. But did you know he is an Air Force veteran? WATM had the opportunity to sit down with this Hollywood legend to learn more about his childhood, his work ethic and his time in service. Here are 10 questions with the unbeatable Tom Skerritt:
Can you share about your family and your life growing up?
My parents suffered through the Depression and lost quite a bit through it. I was born toward the end of the Depression and we had hard times and lived in Detroit. Detroit was a depression ridden city; I didn’t know the differences as a kid. I thought it was how life is. My school had creative programs where we were in public schools growing up. We had dance, shop, painting and similar programs. One Saturday morning a month, a school bus would take us to creative venues and I remember getting off the bus in front of the Detroit Institute of Arts. The first thing I see is Rodin’s The Thinker in front of the museum. I was about 7 or 8 years old then and am thinking, “naked guy, sitting on the toilet without the sports section.” We go into the museum and see a bronze plaque with a Shakespeare phrase, “There is nothing either good or bad, but thinking makes it so.” It stands as a distinct memory because the teacher had us write these things down, so it sticks with me. I then remember seeing a painting at the museum by Diego Rivera that was just so powerful. I had not seen anything like that so full of opinion, feeling, talent and genius.
The next time was a Saturday morning where they took us to a rehearsal for a concert to be done that night. We were setting in the hall and out comes this guest conductor. He was Arturo Toscanini, who was a great conductor of the 20th century. He was very old and physically in bad shape. He was dressed in white and his hair was shooting off in every direction like Albert Einstein. He looked like a white angel. He raised the baton and physically he became thirty years old. He straightened out and came alive like a ballerina conducting this orchestra. The sound of it was unbelievable and he was yelling at them in Italian throughout the rehearsal. These two moments compelled me by knowing there was another world out there beyond the common neighborhood I grew up in. It stayed with me — to know there is something more to this life than the Depression.
What made you want to join the Air Force and what was your experience like?
My father instructed me to get a trade after high school and nothing really registered to me, so I enlisted in the Air Force. I knew I needed direction and discipline. I needed something to accept as progress. I thought I could learn to fly… what did I know at 17? My older brother was a P-51 Mustang pilot in WWII so there was a dream there to do something bigger. I was very proud of my older brother where he was more like a father than my father could be. The Air Force gave me a purpose. I learned so much about the country by just being in the Air Force. It is a wonderful frame of reference that informs my intelligence and how I look at life.
The Air Force was about me taking in where I was. My duty station was the Bergstrom Air Force Base, which is now closed. I got a lot out of living close to Austin, Texas. They offered me a promotion if I re-enlisted where I decided I needed an education and should use the GI Bill. The military made me feel like I needed to have that college education. I didn’t get to fly, but I sure tried. I didn’t know the math or anything towards flying. I didn’t have a frame of reference of what was required to be a pilot.
After service for four years in the Air Force I used the GI Bill to go to UCLA. At that time UCLA was affordable where it was about $150 a year to study there. The GI Bill basically helped me pay the rent. I could go over to the West LA VA center for anything else I needed. LA in the 1960’s was laid back, easy and was nice then. I look back at LA with a great favor and what it gave me from going to school, learning to write, act and direct and the career I have. It makes me so damn appreciative of all it. The military was good for me and hope I was good for it.
I went to the university and studied English. The previous experiences with creative endeavors pushed more towards doing something creative. My other older brother used to play music for me as well when we were growing up, especially when our parents were out. My brother introduced me to classical music and jazz like Charlie Parker and Billie Holliday. The exuberance my brother exhibited when listening to the music and speaking of it left an indelible impression on me. I saw Citizen Kane growing up and was so impressed with it I decided I am going to write and direct that movie. I set the bar high.
I thought of having to understand writing and how it is to be an actor. So, I decided to take courses in acting and it would help me get through my shy phase. I was doing some local theater outside of UCLA to work with professional actors. Everything was about the challenge and going after it. After I got hired on a small film, I came out wanting to know how it was all put together, the sets, the actors and the writing. During this time, two people I became friends with were Robert Redford and Sydney Pollack.
I found the quotes on leadership by John Wooden, a UCLA coach and professor at the time, to be so life giving, especially with how he influenced the players. He gave his guys a way of looking at things that they wouldn’t consider as athletes. I think the small things that your brain picks up across life sticks with you, which he taught the players. Wooden had a great philosophy approach to doing what you got to do. Whether it was passing a ball to another player where you just pass the damn thing or bigger in life. Wooden would instruct in such a way that was a lot more than just passing a ball.
While at UCLA, I became friends with a neighbor who was a TV director where he hired me to do a couple acting jobs and TV work. I was mentored by him in film making, editing them and how he looked at the business. One day he calls up and says, ‘I have a movie to direct’. That movie turned out to be M*A*S*H and the director was Robert Altman. The studio initially hated the film where they weren’t going to release it. Altman got the critics to review it and they went berserk. Mentorship was a day to day thing from those in the industry where it was very important to me and my career.
When I had completed M*A*S*H, an up and coming director named Hal Ashby connected with me. I started mentoring with him for about three years, so I was being mentored by Ashby and Altman at the same time. These guys invited me to see their work and wanted to be friends. I was then hired to do movies in Italy for over four years.
What are you most proud of from your service in the USAF?
My service in the Air Force… I was a classification specialist at Bergstrom. If there was a motor vehicle airman in some air base in Italy, I would have to select them to be sent to Korea or wherever off the base. It was not what I wanted to have, but it was okay.
What values have you carried over from the Air Force back into the civilian world?
Focus and discipline with a better sense of who I was.
What was one of the toughest lessons to learn coming from the service to Hollywood?
I don’t have one other than a lesson from childhood — an old man told us young kids to “just keep moving.” Every day I am writing, and people ask me why I work so hard. I am busy working on Triple Squirrels where we are collecting a lot of documentaries that have been on shelves for years. All of this stuff is still related to film. We are covering artists doing unique things in the Pacific North West from great fishing rivers from Idaho to the Pacific Ocean or some guy who claims he saw the sasquatch which is a legendary character in the forest. The man filmed it and it looks like a moose and not the sasquatch where the man was so serious about the event. Five guys up in Bellingham all had that common purpose, let’s put a motorcycle together that can break the land speed record. Unfortunately, the motor blew out on the motorcycle while running it at the salt flats before it could break the record.
It is all wonderful, entertaining stuff such as glass workers like Dale Chihuly, one of the great glass artists in the world lives up here. It’s guys doing imaginative stuff. I keep going back to that and the imagination is such a gift to us human beings and sets us apart from all the other animals. It makes us curious and gives us the highs and lows that we have emotionally. It gives us the questions we have where it is all driven by our imaginative experience. The Air Force is the same thing with imagining to fly and being able to fly. I had a little bit of that experience in Top Gun, which made me feel like I was the real thing.
All of these things of being an actor and writer and director where I look back on all of it and say, “Holy shit man, did you really cover some territory where you have some advantages that you could employ to give to other people?” There is one thing from the service such as having the back of the other person and you are looking out for them. That was one of the big things I loved about the military. In the military, you have the training to be aware of other people for their benefit and your own. Not always the same in the civilian world
What are your most favorite projects to have worked on?
I was fortunate to have worked with Ashby, Altman and then into The Turning Point which starred Mikhail Baryshnikov, Anne Bancroft and Shirley MacLaine. All of these extraordinary people that I worked with where how could I pick out one favorite from M*A*S*H to Alien with Ridley Scott? Alton, Ashby and Ridley Scott were new when I worked with them. I met Tony Scott on the set of Alien, which led me to being involved in Top Gun. Being in films with just wonderful people from craft and how they approached life itself and how they applied it to the work they did. M*A*S*H was the best time I ever had in anything where I knew we had something and no one else did except, Altman and I. I just knew he was going to do something remarkable with all of the shooting he was doing. Alien was done about seven to eight years after M*A*S*H where those two films are in the top twenty-five films of the 20th century. So, I wanted to work to the level of Citizen Kane…*Tom laughs.
My getting close to Citizen Kane is being in two of the top films of the 20th century and then Top Gun and A River Runs Through It. All quite different with different approaches as an actor to each one of them. Doing interesting real people in every one of them where you had to make it real. It is hard to pick one out.
You bring all your past experiences into the roles you do in the future. My whole sense about life itself its how much of the good and not so good that you ingest and reject. All of it is there. This goes back to the Shakespeare quote from earlier, “there is nothing either good or bad, but thinking makes it so.” The creative process I began and later on understood what that meant. You have to have thinking processes based on what your imagination has to draw upon. I understand this through writing and looking back. I understand that everything leads to the next day, everything I got from life, the military, which has given me this discipline to write every day, it has given me a sense that words have value. That is not something you are conscious of, it is just who you are and part of who you are.
For me having been in a situation to the military and bringing it to a role, you’re damn right it is still with me. I appreciate it and still do. I still have my gig line and can remember my serial number 16401805! Why would I remember these things if they didn’t have something meaningful for me? You know about your posture as well from the military.
Doing “Picket Fences” in the 90s for four years and getting sixteen Emmys over four years for best show, actor, writer and that sort of stuff. To be in that environment, especially high end, you get spoiled in it and I admit that. It is an unusual career for a person that wants to be a writer and director. I did some directing on David E. Kelly’s TV shows such as “Picket Fences” and “Big Little Lies”. Kelley was another mentor of mine which he makes about the best TV can get.
What I am trying to give people through Triple Squirrels is the enjoyment of their own imagination. I ought to try and fish, or try to mess around with some glass, or get some scrap metal and make a motorcycle. You feel better about yourself when you feel there is something you might be able to do that makes you feel good. Life is largely a stew with salt, pepper and onions where you come up with this extraordinary stew of life.
I am trying to share a lot about life where I have been working with young filmmakers to get in touch with themselves. They want to make a movie like someone else where you make your own movie based on who you are and what comes out of that.
Can you share about some of your experiences working on “Gunsmoke”, “The FBI”, “Bonanza”, “The Virginian”, “Combat!”, “12 O’Clock High”, “Pickett Fences” and then on M*A*S*H, Alien, The Dead Zone, Top Gun, A River Runs Through It, Tears of the Sun and the like?
A great sense of gratitude and appreciation and good fortune to be able to do all of that. I don’t think many people in the business I am in have not had that overreaching of two or three decades of extraordinary projects. Stage acting is quite different than TV and motion pictures. Each one has a different approach to it. TV is always geared for twelve-minute segments before going to commercial. You have an unreal behavioral pattern in TV more so than film or stage or real life. In TV you have to get the answers real quick, respond real quick and draw that gun and shoot a guy. In film you want to resolve the issue more without the shooting. Let’s get down to see what we really want to work out here. On stage it becomes never getting around to shoot each other it is about getting to understand each other. Your honest engagement of that story in resolving our difference of opinion in theater, film is different and in TV you are working towards a commercial. TV lacks the grace of film and the courage stage has.
For Top Gun I read the script where I didn’t know who the director was at the time. I thought it was really solid and then heard that Tony Scott was going to direct it. I heard about the film like having heard about Ridley doing Alien. I read the Alien script and thought it was solid where they had only been to me, so Ridley was not attached to it that early on. Top Gun was already going to be done with the budget and good producers. I knew nothing else and then found out Tony was going to direct. It came together and then met Tom Cruise in the office to meet with Tony and with the producers. Tom was out in the waiting area with me. I had seen Tom act in Risky Business and thought he was a good young actor. I said to him, “you are a pretty good actor, where did you come up with that juice?” Tom responded, “By watching guys like you, Sir.” I thought, “Wow, a young gentleman that appreciated his opportunity in Top Gun.” He was not egomaniacal the way some actors can be in the movie business where it is all about me. For me I am always learning so I never felt that way where Top Gun is that type of thing where Tony is teaching me as well.
I get it from Ridley on Alien and then from Tony where they were both similar. They were both soccer players and believe in getting into rhythms as athletes and musicians do. All of these rhythms come into what we do. I felt very strong about Tony and for one of the few times really pushed to get into the film. Some of the producers felt I was too lethargic or casual and not military enough. I had been in the military so I could pull that one off going back with the gig line on and pack into that presence you had when you were in the service.
Once I got the role, I met the actual Top Gun commander. I used him as he was a thoughtful guy. I think the producers wanted someone who would be barking at the guys and getting on them all the time. I didn’t think the officer had to be someone shouting at other people. You just look them in the eye and say, “Why would do such a dumb thing as that? What accounts for that behavior you pulled off out there because you didn’t pull it off that’s why you are in this office right now?”
The reality of our life informs us in how we perform and that’s really all I could do in getting that role. To work with Tony, that script and then Tom Cruise pulled it all together. I was very sure about that film being very successful before I got into it. The instincts come back to me from going back into the Air Force where they never leave you. It becomes all things if you are conscious of them or not. They do lead our behavior patterns and how we pursue our life we have to live. I am delighted to have the life I have even with all of the not so good.
What leadership lessons in life and from the USAF have helped you most in your career?
Self worth and the will to do more. I don’t feel all that I need to do and all that I can do. There is a lot to learn still. When you have that in your life it is a big purpose.
When I started hearing about veterans coming home from the Middle East with severe PTSD during the 2000s, I felt responsibility for them. I was not in a position to do it for them when it pulled on me. I was able to level out through setting up a writing program for them. In some way this is all a gift where you just fully appreciate the best you can give. We, through the Red Badge Program, took veterans down to Ft. Lewis-McChord AFB to teach those guys coming back how to utilize PTSD experience in terms of telling a story. Usually the bad stuff of what happened took place when under extreme stress. We had teachers come in to teach them how to tell their story and the best way they possibly can. It has to do with these dealing with their own feelings and being able to express that.
The best way for me to relate to veterans is from some of my own PTS experiences. During the 60s and 70s as a young father and husband I had to deal with some intense family issues, many times dealing with the safety of my children. I was on 24/7 surveillance and did not always know when and who to trust. It was a tough time for me personally, but a good time for me professionally where acting was this cathartic release for me. Things did get better for me and my family thankfully.
We had musicians come in to play music for them so they could write lyrics to the music. The veterans came out of their feeling so much better about themselves. I had veterans come up to me and tell me, “I was ready to do myself in. You saved my life.” We had it for about seven or eight years where it was a hot news item with so many veterans committing suicide. We had to teach the veterans off base at the University of Washington-Tacoma branch because the military was not consistent with us since we were some soft, fluffy thing. The military was keeping veterans from coming at times, which stood in the way of what we were doing. We were able to set up a community away from the military where they can feel comfortable in that environment without being evaluated. I gave the veterans my stories and they gave me theirs where we could trust each other. That’s really what they got. Most often they said, “I could trust myself; I got a trust of people and I felt like I could be true.” That sounds simple, but it’s not simple.
How do we get more veteran stories told in the Hollywood arena?
The Hollywood arena has changed so much where I don’t know how it works anymore. Most of the films I was involved had a good story line. It was always about the story first. Hollywood has gotten so much into nine-digit budget films in the summer being a financial resource. Once you get to there its like saying, “I know it all.” They would make their own audience, age 17-39, from the early 90s on with every generation that came along they would replicate the same special effects, same story line just realigned to where they lost touch with the good stories they could tell. The screenplays became soft from then on and once they are soft there is nothing shocking about it. When you make films that have a lot to do with shooting and killing, some of it may be comedy, but it is the most influential of mediums, so you must be responsible. We have a responsibility to do the best we possibly can for the audience. It’s not the right approach to have aggressive, hostile and angry films like how to blow some up. Whatever it may be, and it does influence impressionable young minds. It does influence some kids in high schools killing other students. It does influence people.
The concern with studios and blockbuster ran out about six summers ago. All of those films had a sense of darkness and fear in them. We are running downhill where people are not reacting the same way they used to be scared. It is the same in so many ways that you have seen before. Once the reaction is gone you don’t return to the movies where less tickets have been sold the last six summers. Studios realized how in debt they were and always relied on big blockbusters to bring revenue back to the studios. When the revenue falls out you still have a lot of bills to pay. We are in a pit now in the lion’s den with movies. Hollywood will make some crafty films but will not be making as many as before.
What are you most proud of in life and your career?
I don’t think that way, where I am just grateful to have done so many projects. It has been extraordinary where working in Europe and Italy for three or four years and seeing ruins of great civilizations and the Renaissance buildings. Finding that only culture can come from conflict and resolution. We are in the deepest conflict here in America right now. We should be concerned about where we are going. What am I most proud of? I don’t know how to answer that because I have had a lot of good fortune. I am proud of what I can say to you and proud to have the capabilities and the wife I have and the children that I have. I know what they have had to go through with me, and they are still with me and we have that love. I have this wonderful woman, Julia where we have been together for 25 years. I have to tell you I appreciate her beyond words in a way that I could not if I hadn’t had all of these other life experiences, I related to you. That is the first time I ever said that. I have this woman I have now. I am also proud to have been in the US military.