Star Wars fans are going to have to wait a bit longer for the opening of the highly-anticipated “Rise of the Resistance” ride. The immersive experience is set to take over Disney World in Orlando on Dec. 5, 2019, (which also happens to be Walt Disney’s birthday), but won’t land in Anaheim’s Disneyland until Jan. 17, 2020.
The new addition to the parks’ Galaxy’s Edge was announced in May 2019 and initially expected to open by the end of 2019. Given that the Millennium Falcon: Smugglers Run space flight simulator is currently the only Star Wars themed ride open at Galaxy’s Edge, some park-goers are a tad disappointed. “These are not the dates we’re looking for,” a disgruntled fan cleverly wrote on Twitter.
Earlier this year, Galaxy’s Edge’s executive producer Jon Georges told ABC News, that the Rise of the Resistance ride will feature an “epic battle between the First Order and the Resistance and culminates in a face-to-face confrontation with Kylo Ren.” The experience promises to “blur the lines between fantasy and reality,” transporting guests from the “Ready Room” to the cockpit of a transport ship. As the ship begins to “fly”, the floors will shake to simulate the sensation of takeoff. Later, guests will be separated and thrown into “jail cells” for questioning. From there, it’s every man for himself to evade the First Order.
It’s easy to see why fans are eagerly anticipating the ride, which CEO Bob Iger also called “the most technologically advanced and immersive attraction” the park has ever seen. To stay updated on this and other rides, check out the Disney Parks blog.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
You could be turning your passion into profit by teaching like-minded Thrones fans the language of Essos.
That’s according to leading local services marketplace Bark.com who say that tutors can earn upwards of £40 ($53) per hour teaching High Valyrian, the language spoken by Daenerys Targaryen and Lord Varys.
The tuition service is available for fans across the US and UK, who can either sign up to be a tutor here or to hire tutors here.
Bark.com says those who sign up to be High Valyrian tutor will be required to provide proof of their knowledge of the language.
The role will involve creating a variety of reading, writing and speaking exercises for students, alongside role-playing scenarios to enhance the learning experience.
Daenerys Targaryen is a High Valyrian speaker.
Kai Feller, co-founder of Bark.com, said: “Game of Thrones is more than another hit show — it’s become a worldwide sensation! And with the highly anticipated final season fast approaching, the show is more popular than it has ever been. That’s why we’ve launched our latest service — High Valyrian tuition.
“At Bark.com, we love giving people different ways to earn and this is the latest service we’ve launched to do that. High Valyrian is a complex language and this is a fantastic opportunity for anyone who has worked hard to become fluent to share their knowledge — not to mention it would be a fantastic string to any fan’s bow!”
Though the High Valyrian dialect appears occasionally in George R.R. Martin’s “A Song of Ice and Fire” series of fantasy novels, the author did not develop it beyond a few words and phrases. The actual language, which now comprises of around 2,000 words, was created for the HBO TV adaption by linguist David J. Peterson, who also fleshed out the language of the Dothraki.
Tyrion Speaking Valyrian and Banter with Jorah, Grey Worm
The Economist called Peterson’s take on Dothraki and Valyrian “the most convincing fictional tongues since Elvish,” which was created by J.R.R. Tolkien himself for Middle Earth.
New learners of the language will have to deal with verb conjugation and possessives but, fortunately, not a different writing system, which Peterson said might look something like “Egyptian’s system of hieroglyphs — not in style, necessarily, but in their functionality.”
Those wishing to get a head start on the competition can start learning High Valyrian in bite-sized lessons on Duolingo, taking courses which Peterson himself contributed to.
Those taking on the challenge of learning the fictional language will have to try harder than Tyrion Lannister, whose Valyrian was “a bit nostril” by his own admission.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
By the time Nate Ellis reached the sixth grade he knew there were two things he wanted to do with his life: make movies and fly airplanes for the military.
Ellis was raised in a family with military experience. His father had joined the Coast Guard during the Vietnam era as a way to avoid the draft and his older brother had joined the Air Force ROTC program as a way to pay for college. He says he was the first among them to go in actually motivated to serve.
“All I wanted to do was Army aviation,” he said.
Ellis attended Austin Peay State University in Tennessee on a ROTC scholarship and wound up the top-ranked cadet nationwide among aviation selectees. Three days after graduation he found himself at Fort Rucker ready to start flight school. A year or so later he was a Blackhawk pilot.
In time he found himself in Afghanistan, stationed at Shindand Air Base in the western area of the country as part of the 4th CAB contingent there. He was assigned as the “battle captain,” overseeing all of the unit’s air operations, a position of great responsibility.
He was also flying Blackhawk sorties, and one night he launched as part of an air assault package comprised of three Blackhawks and two Chinooks. The helicopters carried a total of 99 troops — Italian special operators and Afghan National Army regulars — for a raid to capture a “high-value target,” one of the Taliban’s bad guys.
The helicopters touched down at the LZ around 3 AM, and after the troops jumped out they immediately came under fire. The helos took off and held nearby.
“We were at the holding point listening to the chaos, waiting, burning gas,” Ellis said. “It was the worst.”
There were two Apache attack helicopters on station, but one ran out of ammo and the other took an enemy round through the cockpit. The ground force, facing overwhelming numbers, wanted to get out of there immediately. But, by the helicopters’ operating procedures, it was too hot for them to fly back in to pick them up.
The mission commander, a lieutenant colonel, made the call to go in, but only after taking a quick survey of his fellow pilots over the radio to see what they thought about the risk.
“We went up and down the line, and all aircrews said they wanted to go in,” Ellis remembered. “But everyone was concerned at the same time. Everyone knew what they were getting into.”
The LZ was in the middle of a valley, what Ellis described as “the worst place to fly into.”
He saw the gunner in the Blackhawk ahead of him return fire on a group behind a wall as his own gunner froze, unable to pull the trigger. Sixty of the troops came running at them trying to load up. The Blackhawk only had room for 12 of them, so Ellis’ crew chief heroically jumped out and sorted the situation out as the bullets landed around them. After “the longest 3 minutes of my life,” they lurched back into the air at the Blackhawk’s maximum takeoff weight.
“Because we were heavy we couldn’t yank and bank,” Ellis said. “We had to fly straight ahead. My missile warning gear was going off the whole time.”
Once he was out of harm’s way, he had an epiphany.
“I was more present than I ‘d ever been in my life,” he said. “It was like all of the bullshit in my life came to the surface and skimmed off. I heard my inner voice: ‘Life is short. Live with a purpose. Do what you love.'”
And Ellis realized — along with flying Army helicopters — that he loved making movies, something he’d continue to dabble in even during the most demanding parts of his military life.
“I was always working on something while I was in,” Ellis said. “Short films — writing and directing. I’d edit them on my computer and post them to YouTube or wherever.”
After his war tour, he was stationed in South Korea while his marriage to another Army helicopter pilot came apart. “Long story short, we were separated for 18 months,” he said.
He was ready for a change in his life. So after 7 years of active duty, he resigned his commission and entered USC to get a master’s degree in filmmaking. While he immersed himself in the curriculum, he also found himself processing a lot of anger.
“I’d lose my temper if somebody jumped in front of me at a bar or cut me off in traffic,” he admitted. “I felt this sense of entitlement, like, who are they to treat me like that? Don’t they know who I am and what I’ve done?”
By his own account, it took him three years of grad school to process his emotions.
“I don’t want to be that person,” he said. “I don’t want to feel that way. Now it’s more like who cares? That guy, that girl, they have their own thing going on. They have their own path.”
He made a name for himself among the talented grad students at USC. He created five short films, including “10,000 Miles,” his thesis film that had a $30,000 budget plus a $350,000 Panavision grant.
Ellis also made “The Fog,” which he describes as “very personal,” another short that won a faculty screenwriting award and “Best Narrative Short” at the 2016 GI Film Festival. “The Fog” was also a semi-finalist for the student Academy Awards.
Ellis left USC with an impressive body of work, and an effective Hollywood network that included his USC-assigned mentor who also happened to be the president of a major studio. With his master’s degree in hand, he’s wasted little time in making some things happen. He wrote a screenplay based on “Chickenhawk,” the classic Vietnam-era story about a helicopter pilot, and he said Harrison Ford is “interested.”
At the same time, he worked as a production assistant on “The Wall,” directed by Doug Liman (who also directed “Mr. and Mrs. Smith” and “Bourne Identity”), wrote another screenplay targeting both Chinese and American audiences, and co-created an animated web series called “Thrift Video” that he described as “‘Adult Swim’-type humor.”
And, somewhat ironically, Ellis’ work in Hollywood placed him behind the controls of a helicopter again.
“My USC mentor introduced me to the president of Studio Wings, Steve Stafford, a Marine vet,” he explained. “I’ve been flying a Huey, one of the types of helicopters I flew during my time in the Army.”
And the Studio Wings Huey is owned by one Vince Gilligan, the creator of the hit series “Breaking Bad.” Ellis and Gilligan have co-piloted the Huey on several occasions.
“Vince is a super-nice guy and very interested in my active duty experience,” Ellis said. “He’s also interested in my screenplay.”
Ellis is quickly learning that success in the movie business is about two things: who you know and how much talent you have.
“All this stuff is just coming out of the blue,” Ellis said. “But I love the non-linear aspect of Hollywood. You’re thrown into the big mix with everybody. How do you set yourself apart?”
Ellis has also learned when and where to leverage his military experience and the limits of it.
“The whole reason I’m flying helicopters with Vince Gilligan is because I flew helicopters in the Army,” he said. “But after that, it’s about the quality of my work.”
Comedian Kevin Hart stepped down from hosting the coming Academy Awards Presentation, leaving the job empty for the time being. Enter Adam Keys: A veteran and triple amputee, Adam lost his limbs after suffering from an IED attack in Afghanistan that left him with a massive infection. 100 surgeries later, Keys has never lost his sense of humor.
Now, he wants to showcase that humor by stepping up to host this year’s Oscar ceremonies.
Keys isn’t aiming for the Oscar job just because he wants to further his comedy career. As the video says, he wants to show that veterans aren’t broken and people with disabilities are as capable as anyone else. He wants to showcase that on Hollywood’s biggest night, with the whole world watching.
There’s not much Adam Keys can’t do, despite his disabilities. As the video states, he climbed Kilimanjaro and performs stand-up comedy in the DC area. Considering how he came to his injuries, his spirit and good humor are the stuff of legend. The blast broke the combat engineer’s jaw, left shoulder, humerus, and ankles. It killed three of his friends and nearly killed him, too. He wasn’t even able to speak for two months.
When he came to, he thought he was still in Afghanistan and needed to know where his rifle was. He was in a hospital in Bethesda – and the nurse had no idea what he meant. He was a wounded warrior, but now he’s ready to move past that. He says terms like “disabled veteran”and “wounded warrior” don’t apply to him.
“Yes, I was wounded,” he says. “But now I’m not. I want to get rid of that title and move past it, move forward. Move us all forward.”
There’s literally nothing he can’t do.
The idea for hosting the Oscars in place of Hart came to him while watching TMZ, looking for material for his standup act. The thought occurred to him, why not? He’d be nervous, but he’s nervous before any show he does.
“It will be a challenge for me,” Keys says. “I love challenging myself. And I get to help people and try to move us [veterans] all forward. I don’t know where it’ll take me, but anything is a step forward. I will hope I’ve done the right thing and made people proud of me, of us. Helping people is the added benefit.“
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.
So a couple of California teenagers have taken it upon themselves to tell these stories before they’re lost.
Rishi Sharma of Agoura Hills, California, has set up the website Heroes of the Second World War. At the time of writing this article, he has interviewed, recorded, and published 360 interviews.
On his website, Rishi states “These men are my biggest heroes and my closest friends. I am just trying to get a better understanding of what they had to go through in order for me and so many others to be here today and to get a better appreciation for how good I have it.”
After just over 14 months, he has traveled all over the country and sits down with each WWII veteran for the interview. He sends the Library of Congress’ Veterans History Project some of the videos. With the veteran’s permission, he posts videos on Heroes of the Second World War’s Facebook page.
He doesn’t profit off the project, nor will he ever. He has a GoFundMe page that he uses to pay for the expenses of travel, maintaining the non-profit, and production costs. Currently, he is just shy of his initial goal.
Meanwhile in North Texas, Andy Fancher has launched a YouTube series to also share the stories of veterans.
In his video series “Andy Fancher Presents,” Andy has published many videos highlighting the life of the veteran. He goes in detail about their service, life after the military, and the impact of battle.
His series doesn’t focus specifically on World War II, but he does get into the mindset of the people he interviews. The stories get emotional. He told NBC5 Dallas-Fort Worth, “I realized that I didn’t have much of a strong stomach. I’ve teared up a lot behind the camera.”
EDITOR’S NOTE:An earlier version of this story incorrectly characterized the operating system and capacity of the M1. It is a gas operated rifle that has an eight-round capacity.
This is his rifle. There are many like it, but “Ginger Dinger” is his.
That was the name ‘Gunny’ R. Lee Ermey gave his beloved M1 Garand rifle. It’s been heralded by General George S. Patton as “the greatest battle implement ever devised.”
In an era of lever-action or bolt-action rifles, nothing can compare the speed and accuracy of a semi-automatic that uses the high-pressured gas from the cartridge being fired to do all the work for you. All troops had to do was just pull the trigger, the spent shell is ejected, the next round is chambered, and you’re ready to fire again. At the time of it’s creation in 1936, this was an absolute game changer.
Once you pop in a eight round en-bloc clip of .30-06, the M1 Garand becomes one of the most reliable weapons any service member has been issued. It was issued to the U.S. Army in 1938 and has seen service in World War II, Korean War, and selectively used in a sniper variation for the Vietnam War.
Currently, it is still available for civilian ownership and is widely praised by collectors and marksmanship competitors.
The U.S. Military still uses the M1 Garand for ceremonial purposes by drill teams. It’s said that they are also very well balanced, spin easily, and present well.
Also, both pronunciations are widely accepted. As in it’s either “Gahr-rund,” as if it rhymed with ‘errand,’ or “gur-rand,” as if Tony the Tiger was trying to say ‘grand.’
Check out the video down below if you want to watch R. Lee Ermey sh*t talk during a shooting competition with British Rifle Expert Gary Archer in his show “Lock ‘N Load with R. Lee Ermey.”
*Writer’s Note: At first I mistakenly attributed the M1 Garand as a recoil operated rifle with a five round clip. This is not the case and I own up to my mistakes. Thank you to everyone in the comment section.
As the pinnacle of a decade-plus of storytelling, “Avengers: Endgame” sews up a lot of loose ends. But with so many characters and so many storylines from the 21 films that came before it, even three-plus hours isn’t enough to answer every question fans have, questions like “Is true love real?”
Let us explain. One of the things fans have been wondering about since the end credits rolled on “Endgame” is why Cap designated Falcon as his successor and not Bucky, his best friend. An exchange between director Joe Russo and screenwriter Stephen McFeely — who also co-wrote the three Captain America films — on the commentary track reveals the answer.
The conversation in question comes as Cap is saying goodbye on his way back to return the Infinity Stones to their natural places in the timeline. Bucky says “I’m gonna miss you,” which is a strange thing to say if, as the rest of the Avengers believe, Cap will reappear in a matter of seconds.
Russo asks McFeely if Bucky knows something is up. “Yeah I think it’s clear from Sebastian’s performance here that he’s been clued into Steve’s decision,” he replies. “Why would he say ‘I’m gonna miss you’ if it’s gonna be five seconds?”
Now Cap, of course, does reappear seconds later, but as an old man, having lived a long life in his own era with Peggy Carter. Bucky spots him, which does come as a surprise, but Russo and McFeely make it clear that Cap tipped off his friend.
What does this have to do with true love? Well there’s obviously Cap’s decision to live his life with Peggy, but this exchange confirms that a negative reading of the situation — that Cap didn’t tell his best friend they’d never see each other again and chose someone else to carry on his legacy — is flatly wrong.
Fate might have pulled them apart, but when Bucky spots Old Man Cap he’s not angry. Their bromance is so strong that even living on different parts of the space-time continuum can damage their bond. If that’s not true love, what is?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
The sinking of the USS Indianapolis was the greatest single loss of American lives in the history of the U.S. Navy. The story of how it ended up at the bottom of the Pacific Ocean started with the Manhattan Project and wouldn’t end until her captain, Charles B. McVay III, was exonerated in a court-marital.
In the first official trailer for “USS Indianapolis: Men of Courage,” (directed by Mario Van Peebles!) we see Nicolas Cage as the skipper of the Indianapolis, given a highly classified mission and then surviving the sinking of his ship. We also see his court-martial, which, as mentioned, is part of the ship’s real world story. In fact, much of what we see in this trailer really did happen to the ship’s crew.
The Indianapolis served with campaigns in New Guinea, the Aleutians, and the Gilbert Islands. As the flagship for the U.S. Fifth Fleet, she not only supported the Gilbert invasions but also Tarawa, Marshall Islands, Western Carolines, Saipan, Okinawa, and fought in the famous “Marianas Turkey Shoot.”
Her most famous mission sent her from San Francisco to Hawaii, carrying the bomb components for the atomic bomb Little Boy which would be dropped on Hiroshima. The ship also left port with half the world supply of Uranium-235. It departed San Francisco on July 16, 1945, delivering the parts ten days later. Because of its top secret mission, the Indianapolis had no escort and few knew the ship’s location.
On its way to join Task Force 95 for its next assignment, it was torpedoed by a Japanese submarine and sunk in 12 minutes, with the loss of 300 of the 1,196 crewmen. The rest were adrift in the open water. The ordeal wasn’t over for the crew. For days, they fought exposure to the elements, dehydration, and extreme shark attacks – the most in human history. Only 321 of the surviving 880 were recovered alive.
In November 1945, Captain McVay was court-martialed and convicted for hazarding his ship with his failure to follow the Navy’s guidelines for avoiding submarines and torpedoes. McVay said he moved the ship in a zig-zag pattern, consistent with those guidelines. The star witness at McVay’s trial was Hashimoto Mochitsura, the commander of the submarine that sank the Indianapolis. He testified that zig-zagging would not have saved the ship, whether McVay followed the regs or not. McVay was the only captain in World War II to be court-martialed for the loss of his ship.
Some families still blamed McVay for the deaths of their sailors. McVay retired in 1949, but the guilt of losing the sailors stayed with him until the end of his life. He committed suicide in 1968 at age 70, found on his front lawn with a toy sailor in his hand.
There’s a constant debate within the nerd-o-sphere about which superhero film is best. Some score points for being accurate to the source material, some are of a higher quality than others, and some are just downright enjoyable to sit through while munching down a tub of popcorn.
In the end, this debate always boils down to personal preference, but there’s no denying that just one film truly cemented the audience’s desire for more superhero films — and that’s 2002’s Spider-Man, starring Tobey Maguire. Sure, it’s not the best filmmaking that the genre’s ever seen, nor is it even close to being the highest grossing, but what this film can claim that no other superhero film can is a crucial role in American pop culture following the horrific events that occurred the morning of September 11th, 2001.
I mean, the guy is so down on his luck that he has to live with his aunt.
For anyone unfamiliar with his role in the comic books, Peter Parker was never some big, strong superhero. He never wore a cape and he he was never really a permanent member of some greater superhero alliance. In fact, he was generally the opposite of what most people would assume a superhero would be. He’s a quiet, shy nerd who works a low-paying, entry-level job for a boss that hates him.
In both the films and the comics, Peter Parker is actually the stand-in for the audience. The general public isn’t made up of rich billionaire philanthropists or Norse gods — they’re just average Joes trying to make ends meet.
We told ourselves we would rebuild. And we did.
The film was in production for years and, just like in the comics, it showcased New York City a character, as much as anyone else in the film. So, in much of the film’s advertisements, they used the two most iconic buildings in the New York skyline: the Twin Towers. In promotional posters and even a stand-alone story trailer that showed Spider-Man stopping bank robbers in a getaway helicopter, the Towers placed a fairly central role.
Then, the day that none will forget came. Four passenger airliners were hijacked. Two successfully struck their target, the World Trade Center in New York City, and another hit the Pentagon. The fourth was brought down in Shanksville, Pennsylvania.
What seemed like an eternity to onlookers took one hour and seventeen minutes. There’s no denying that, in this moment, all American felt scared and, for once, vulnerable.
America was hurting bad. Meanwhile, certain scenes had to be re-shot that featured the New York skyline. This, of course, shuffled the release date back. But in the process, Sam Raimi, the director of the film, added one iconic moment that made the most lasting impression on pop culture — the very last twenty seconds of the film.
Spider-Man had saved the day, saved a hurting New York City, swung up to the top of the Empire State Building, and stood in front of a proud, billowing American flag.
It was exactly what most people, especially the film’s target demographic — a younger crowd that couldn’t really comprehend what had happened — needed to hear. Your average, everyday guy who just happened to be bit by a radioactive spider, is there to save the day.
“Transpecos,” winner of the SXSW Film Festival’s Audience Award, deals with what happens to a Border Patrol agent when he gets dragged to the other side by a drug cartel. It’s an impressive directorial debut from independent filmmaker Greg Kwedar.
Kwedar, whose work includes commercials, documentaries, and short films, took six years to make “Transpecos.” To research the film, he worked with the U.S. Border Patrol, an agency that’s reluctant to share its methods – for good reason. Their mission isn’t just keeping illegal immigrants out of the United States, they’re also fighting a massive, brutal enemy with unlimited funding and firepower, and no rules.
“Transpecos” is the story of three Border Patrol agents, a rookie named Davis (played by Johnny Simmons), a seasoned professional, Flores (Gabriel Luna), and salty veteran Hobbs (Clifton Collins, Jr.). They man a remote checkpoint somewhere near the U.S.-Mexican border. When one stop goes from routine to nightmarish, all three end up fighting for their lives.
“There’s this famous Western line: ‘silver or lead?,'” says Greg Kwedar, the director who co-wrote the script with Clint Bentley. “Money’s not a vulnerability for everyone. They [Border Patrol] have higher standards to live by. The leverage can be their own personal safety or that of their family. If an agent can rise above that then the cartel might say, “Who do you care about? We’ll use them.”
That’s exactly what happens in the film. Drug cartels use an agent’s family to force him to allow shipments of cocaine across the border. The Border Patrol agents find themselves torn between duty and family, between fulfilling their mission and protecting their own.
(Samuel Goldwyn Films)
To get access to the real Border Patrol agents Kwedar and his team went out into the desert and got lost (or pretended to be) in the hopes of finding agents who were on the job — a highly unorthodox and potentially dangerous process.
“Once they realized we weren’t antagonistic, that we really wanted to know more about them and their work, they really opened up to us,” Kwedar says. “They invited us into their world and from that we found real friendships, running the gamut from grabbing a beer in a one-stoplight town to sitting down with their families at dinner.”
The characters – Davis, Flores, and Hobbs – are the heart of the film. The Border Patrol depicted in “Transpecos” could just as well be any military checkpoint or remote combat outpost anywhere in the world. It’s hot and desolate. The guys manning the checkpoint can be just as bored as any troops on deployment at any given time. They even have to go out on foot patrols.
“It was 110 degrees Fahrenheit on some of those days,” says Johnny Simmons, who portrays the green Agent Davis. “Our boots were melting, we were covered in sweat at the end of the day when we took off our Kevlar. My brother is a Marine and working on this film brought me a little closer to what it must be like for him … only he and so many others do it every day.”
The credit for this realism goes to the film’s technical advisor, Sam Sadler. Sadler is a retired Border Patrol agent who joined the service at age 17. Before he retired, he was the second in command at Deming Station, New Mexico, the area where “Transpecos” was filmed. He rode ATVs; he rode horseback. He tracked people through the desert by their footprints, the way Native American tribes used to – a practice still in use by agents today. By the end of his 25 years on the border, Sadler was the go-to guy.
“[Kwedar and Sadler] gave us a great roadmap to the script,” said Clifton Collins, Jr., who plays the experienced, by-the-book Agent Hobbs. “They took us off the leash in regards to the research and I really brought a lot of that to the table.”
At heart, Kwedar made the film for Border Patrol agents and their families. Sadler taught the actors the protocol and search methods to make sure they got the details right.
“These guys are so isolated, and it takes a special person to be able to do that,” Gabriel Luna, who plays Agent Flores, said. “Working on this film really cleared up my view of the Border Patrol. These men and women are just regular people. They’re human, they’re doing this job day in and day out, and it’s such an incredible thing.”
“Transpecos” is now available nationwide on demand and digital including Comcast, DirecTV and iTunes. It will be released on DVD September 27, 2016.
“I can’t comment on the screenplay, but we all know what we want to see!” Kilmer wrote on Facebook.
The biggest news in terms of casting came in early July 2018, when Miles Teller (Whiplash) announced via Twitter that he had been cast to play the son of Goose, Maverick’s original flying partner, in the highly anticipated sequel. It is believed that Goose’s son will be one of Maverick’s proteges in the new film.
Tony Scott, who directed the original film, was attached to direct until his death in 2012. Joseph Kosinski (Tron: Legacy) has been brought on as Maverick‘s director in Scott’s place. Cruise and Kosinski previously worked together on Oblivion (2013), which received mixed reviews from critics and underperformed at the box office.
Initially, it was believed that the movie might focus on drones and how they have changed warfare and made fighter pilots, like Maverick, increasingly less relevant in society. However, it has been reported that the drone storyline has been abandoned in favor of a more action-focused plot.
“Personally, I would never want to see a movie about drones,” Kosinski explained. “For me, Top Gun has always been not about fighter planes. It’s been about fighter pilots.”
Based on Cruise’s tweet, it appears that Maverick began filming on May 31, 2018, a date that was confirmed by the Department of Defense. Cruise and a crew shot for two days at the Naval Air Station North Island in San Diego before Cruise headed off to promote his upcoming film Mission Impossible: Fallout. Shooting will continue in September 2018.
So when will Top Gun: Maverick actually fly into theaters? The sequel is currently slated to be released on July 12, 2019.
Perhaps most importantly of all, Cruise said in an interview with ET Canada that the sequel could revisit the iconic volleyball scene, which featured an epic showdown between Maverick and Iceman.
“There could be a beach scene,” Cruise said. “That’s all I can tell you.”
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.