Top Gun: Maverick (Movie)

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      Meet the ‘Top Gun: Maverick’ Cast

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      From trying not to vomit in flight to oiling up for a beach scene, the actors playing pilots got a crash course in the Tom Cruise school of action filmmaking.Thirty-six years after Iceman, Hollywood and Cougar took to the skies in “Top Gun,” a new team of colorfully nicknamed characters are suiting up in “Top Gun: Maverick.”This time, the aviators are recent graduates of the Navy’s elite fighter school, a.k.a. Top Gun, and they’re tasked with a near-impossible mission overseen by Pete “Maverick” Mitchell, the brash pilot played by Tom Cruise. Flying alongside Rooster, the son of the original film’s ill-fated Goose, are Hangman, Phoenix, Bob, Coyote, Fanboy and Payback, who must help destroy a foreign enemy’s uranium plant and get out alive. (Though the characters all have actual names, they’re introduced by their aviator call signs, and that’s how they’re known.)The intensive tutelage began offscreen: Cruise monitored the actors’ progress during a grueling five-month training program that culminated in the cast shooting their own action sequences from the back of real F/A-18 jets flown by Navy fighter pilots.Here’s a peek at the new generation of actors behind the call signs.Glen PowellThe actor initially auditioned for the role that went to Miles Teller.Scott Garfield/Paramount PicturesAge: 33“Maverick” role: HangmanWhere you’ve seen him before: “Set It Up,” “Hidden Figures,” “Scream Queens”‘Top Gun’: The Return of MaverickTom Cruise takes to the air once more in “Top Gun: Maverick,” the long-awaited sequel to a much-loved ’80s action blockbuster.Review: The central question posed by the movie has less to do with the need for combat pilots in the age of drones than with the relevance of movie stars, our critic writes.Tom Cruise: At a time when superheroes dominate the box office, the film industry is betting on the daredevil actor to bring grown-ups back to theaters.A New Class: Thirty-six years after Iceman, Hollywood and Cougar, a new team of colorfully nicknamed characters have suited up for the sequel.Filming Challenges: The aerial feats on show in “Top Gun: Maverick” look like the result of digital wizardry. They aren’t.Powell originally auditioned to play Rooster (then called Rascal) but lost out to Miles Teller. Then, when Powell was offered the role that would become Hangman, he turned it down for fear it would be a copy-and-paste take on Val Kilmer’s antagonistic Iceman in the 1986 film. Cruise persuaded Powell to sign on, and they worked together to make the character distinctly Powell’s own. Still, the cocky, confrontational pilot shares more than a few traits with Iceman — as does Powell with Kilmer. When Powell moved out of the San Diego hotel where he had stayed during filming, he bumped into Kilmer, who had just arrived to shoot his scene. “The last things that I moved out of my room were protein powder, weights and tequila,” Powell said. “I’m literally wheeling them on a luggage cart into the elevator, and as the doors are about to close, Val steps in. He looks at me. Then he looks at the luggage cart. And he just started dying laughing. He’s like, ‘This is ‘Top Gun’ right here.’”Monica BarbaroThough the actress could change her character’s call sign, she had good reason to stick with it.Scott Garfield/Paramount PicturesAge: 32“Maverick” role: PhoenixWhere you’ve seen her before: “The Good Cop,” “Chicago Justice,” “UnREAL”The military did not allow women to fly in combat until 1993, and in the first “Top Gun,” all of the Navy fighter pilot characters were men. Barbaro’s role in the sequel is a reflection of the service’s inclusive shift, and her filmed flights were all handled by female Navy fighter pilots. “When I found out I got the part, I was like, ‘Mom, I got it! And guess what? I get to play a pilot. I’m not a love interest!’” the Northern California native said. “We used the women that we got to fly with as role models for how we designed the character.” And while the actors were allowed to change their characters’ call signs, it quickly became clear during the cast’s downtime together that “Phoenix” was a good fit for Barbaro: “Let’s just say, we had one pretty wild night, and the next morning they were surprised that I arose from the ashes.”Greg Tarzan DavisHe was a schoolteacher not long before turning to acting.Scott Garfield/Paramount PicturesAge: 28“Maverick” role: CoyoteWhere you’ve seen him before: “Grey’s Anatomy,” “Good Trouble,” “Chicago P.D.”Not long before landing “Maverick,” Davis was an elementary schoolteacher in his home state of Louisiana. “I’m a big believer in following your dreams. I would preach that to my students,” Davis said. “But I realized I wasn’t doing that — because my dream was to be an actor. So I decided to give it a shot.” In a role reversal, Davis, who has gone by Tarzan since his own “wild” youth, said he felt like a kid throughout production, enthralled by the aviation toys and tasked with learning new things. While “Maverick” was in postproduction, he got a call from Christopher McQuarrie, the writer-director of “Mission: Impossible — Dead Reckoning Part One”; the frequent Cruise collaborator was asking him to join the cast, no audition required. “I put the phone on mute and jumped up and down and screamed,” Davis said. “That was my first offer, and having an offer is an actor’s dream.”Lewis PullmanThe back story for his character’s call sign didn’t make it into the movie.Scott Garfield/Paramount PicturesAge: 29“Maverick” role: BobWhere you’ve seen him before: “Outer Range,” “Bad Times at the El Royale,” “Catch-22”Of all the call signs, Pullman’s “Bob” (also his character’s first name) is the most mysteriously straightforward. “Bob is reclusive and quiet and a hard nut to crack,” Pullman said. “One of the original drafts had this moment where he kind of earned his stripes, and Hangman says, ‘I think I know what Bob stands for: Big Ol’ Balls.’ They didn’t end up using that, but it gave me a reference for Bob’s trajectory. He starts out as this unassuming guy, who then finds his strength.” Pullman needed strength of his own when Cruise walked into the first table read. Despite being the son of the actor Bill Pullman, Lewis was star-struck. “Tom basically ripped through the doors. His motorcycle in the background. He’s got his helmet on. The sun is glistening. He takes his helmet off, and his hair is perfect,” he said. “Tom is like Cary Grant and Buzz Aldrin and Buster Keaton and Evel Knievel all woven into one man.”Jay EllisAs a boy, the actor saw the original “Top Gun” with his father on an Air Force base.Scott Garfield/Paramount PicturesAge: 40“Maverick” role: PaybackWhere you’ve seen him before: “Insecure,” “Escape Room,” “The Game”Ellis distinctly recalls the day his father, who was then a mechanic in the Air Force, took him to see the first “Top Gun” in a theater on base in Austin, Texas. “I remember just looking up at the screen thinking, ‘I want to do that. Whatever those guys are up there doing, I want to be a part of that somehow,’” he said. Rather than enlist, Ellis became an actor. Fast forward three decades, and he found himself shooting “Maverick” and paying homage to the original’s beach volleyball scene with a game of beach football as the camera panned over the cast’s glistening muscles for a sun-dappled montage. “We probably went through five different types of oil because the makeup team was trying to figure out what wouldn’t soak into everyone’s skin so quickly,” Ellis said. “We started out with baby oil, then we moved on to argan oil, coconut oil, avocado oil. We switched to glycerin at one point. They were spraying us down with Evian bottles. It made for a very slippery game.”Danny RamirezHe thought he wouldn’t have to worry about his fear of flying. He was wrong.Paramount PicturesAge: 29“Maverick” role: FanboyWhere you’ve seen him before: “The Falcon and the Winter Soldier,” “On My Block,” “Assassination Nation”Before signing on, the actors had to check a box attesting they weren’t afraid of flying. “I lied,” Ramirez said with a laugh. “I was like, What’s the worst that could happen? It’s a Tom Cruise movie, that means he’ll be the one doing the stunts.” Without his usual commercial-flight routine of wine and noise-canceling headphones, Ramirez found himself struggling not to vomit as his F/A-18 rolled and dove through the air. The actors each had their own tricks to cope with motion sickness: Davis relied on Dramamine. Pullman preferred a preflight diet of rice and fresh ginger. For Ramirez, slowly building tolerance in incrementally smaller and faster planes was key. Adding to the degree of difficulty: They not only had to deliver their lines, but also set up the shots and adjust the cameras themselves once in the air. “I was like, ‘Are we going to get some kind of camera operator credit or what?’” he said. “Having to line up another jet going 500 miles an hour to stay within the frame was an experience I’m probably never going to have again.” More

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      Which Cannes Films Have the Best Oscar Odds?

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      Movies from Park Chan-wook, Lukas Dhont and Hirokazu Kore-eda could be what academy voters are looking for. But don’t count out “Top Gun: Maverick.”CANNES, France — Last year at the Cannes Film Festival, there was one question on everybody’s lips: “What’s the next ‘Parasite’?” You can see why people wondered, since that Bong Joon Ho film had used its Palme d’Or win to jump-start a historic Oscar campaign.But if last year’s festival had an heir to “Parasite,” it proved to be a very unlikely one.Ryusuke Hamaguchi’s talky drama “Drive My Car” didn’t win the Palme d’Or (it settled for a best-screenplay honor) and wasn’t anyone’s idea of the biggest contender coming out of Cannes. Still, after year-end critics’ groups went for it in a major way, “Drive My Car” picked up huge Oscar nominations for picture, directing and adapted screenplay in addition to one for best international film, the category it won.So as this year’s Cannes nears its end with no one film standing head and shoulders above the rest, I think that rather than searching for the next “Parasite,” it would be wiser to ask: What’s the next “Drive My Car”? In other words, which movie from this year’s Cannes crop could keep on building buzz and capitalize on the academy’s growing international user base to snag major Oscar nominations?I see three notable contenders. Foremost among them is “Close,” which is hotly tipped to pick up a major award at the fest on Saturday. It’s the second feature from the Belgian director Lukas Dhont, and it follows two 13-year-old boys as their intense friendship begins to unravel. Some crucial reviews in Variety and IndieWire have been notably mixed, calling out one of the film’s melodramatic plot twists, but Oscar voters have never minded melodrama — in fact, they often crave it, and the most ardent fans of “Close” consider it to be the four-hankie entry of the festival. A24 bought the film on the eve of its premiere, so expect a robust fall push.The South Korean director Park Chan-wook deserved Oscar notice for his twisty 2016 masterpiece “The Handmaiden,” and though his new Cannes film “Decision to Leave” isn’t quite on that level, it’s still a well-directed affair that could see plenty of awards attention. A Hitchcockian romantic thriller, “Decision to Leave” stars Park Hae-il as a detective investigating a murdered man’s widow (Tang Wei) who, in her own femme fatale way, seems to welcome the stakeout. After the explicit sex scenes of “The Handmaiden,” it’s surprising how chaste the director’s follow-up is, but that may actually work to the movie’s favor with older Oscar voters.Our Coverage of the Cannes Film Festival 2022The Cannes Film Festival returns with its typical glitz, glamour and red-carpet looks, and with nearly 50 movies projected for the event.Politics and Grace: In Cannes, politics and polemics are always part of the movie mix. But there is still room for scenes of lyrical beauty.Oscar Odds: Which movie from the Cannes crop could capitalize on the academy’s growing international user base to snag major nominations? There are three top contenders.David Cronenberg: The body-horror auteur shared some thoughts on aging and his new film “Crimes of the Future,” which premiered at the festival.‘Elvis’: Baz Luhrmann brought the King to Cannes with a hyperventilated, fitfully entertaining and thoroughly deranged biopic.Ask a Cameraman: The festival is known for its elongated standing ovations. One of the men tasked with filming them explained what it takes to capture those moments.Hirokazu Kore-eda scored the Palme d’Or in 2018 for his sensitive drama “Shoplifters,” which went on to compete for the international-film Oscar; though it lost to the Netflix-funded juggernaut “Roma,” I suspect a film like “Shoplifters” would play better today and contend for more nominations across different categories. Keep an eye on Kore-eda’s “Broker,” then: This affectionate character study stars “Parasite” lead Song Kang Ho as one of two good-natured criminals who try to sell an abandoned baby. At times, the movie is so sweet that it verges on gooey, but I doubt the “CODA” wing of the academy will complain.Some other Cannes entries could pop up throughout awards season, including “Armageddon Time,” from the director James Gray, about a middle-class Jewish family whose progressive attitudes mask a willingness to climb a few rungs at the expense of those less privileged. Gray is well-liked in France and may pick up a trophy here, but Oscar voters have yet to break for him in any significant way. Stars Anne Hathaway, Jeremy Strong, and Anthony Hopkins will at least attract attention.Vicky Krieps should already have one Oscar nomination under her belt for “Phantom Thread”: since she was snubbed then, perhaps voters could make it up to her for “Corsage,” in which she’s fun and spiky as the Empress Elisabeth of Austria. I’d also be pleased if critics’ groups rally behind Léa Seydoux as a single mother attempting a tricky romance in Mia Hansen-Love’s “One Fine Morning,” my favorite entry of the festival.Seydoux is also quite good in David Cronenberg’s “Crimes of the Future,” where she stars opposite Viggo Mortensen and Kristen Stewart, but the film may prove too out-there for awards voters; ditto “Triangle of Sadness,” from “The Square” director Ruben Ostlund, though that class comedy does provide some of the most gonzo gross-out sequences of the year and contains a memorable supporting turn from Woody Harrelson.Léa Seydoux and Viggo Mortensen in “Crimes of the Future.”Nikos Nikolopoulos/NeonWhat about the expensive Hollywood movies that premiered at Cannes? “Elvis” hails from the director Baz Luhrmann, who managed an Oscar breakthrough with “Moulin Rouge” but whose last film, “The Great Gatsby,” earned nominations only for its costumes and production design. The glittery “Elvis” seems likely to continue that trend: Reviews have been polarizing, and though up-and-comer Austin Butler impresses as Elvis Presley, young hunks usually face an uphill battle in the lead-actor category. (And the less said about the misbegotten supporting performance from Tom Hanks as Elvis’s manager, the better.)The last time George Miller was at Cannes, he premiered “Mad Max: Fury Road,” which went on to earn 10 Oscar nominations (including picture and director) and ultimately picked up six statuettes. Action movies rarely fare that well with Oscar, but Miller broke the mold, and he’s made something else unique with “Three Thousand Years of Longing,” his new film about a djinn (Idris Elba), a scholar (Tilda Swinton) and the unique love that blooms between them. It’s got drama, fantasy, romance, comedy … and you’ll either thrill to all of that, or find it a bit overstuffed. The tech elements of the film deserve notice, but other categories could be a long shot.And then there’s “Top Gun: Maverick,” which launched on the Croisette with a flyby from fighter jets and an opaque conversation with star Tom Cruise. This long-in-the-making sequel is earning stellar reviews and it’s expertly directed. If the academy really wants to push well-done blockbuster material into the best picture race, this could be the summer’s strongest hope. “Drive My Fighter Jet,” anyone? More

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      Your Burning Questions About ‘Top Gun: Maverick’ Answered

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      How similar is it to the original? Who’s back? Who’s absent? We have answers.Listen to This ArticleTo hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.“Top Gun: Maverick” turns and burns its way into theaters this week, landing 36 years after the 1986 original. That’s a lot of time to form a lot of questions about the new film and its relationship to its predecessor — and we’ve got answers.Didn’t this already come out?You would think! Thanks to its complex production, the Covid-19 pandemic and Paramount’s insistence on holding out for a proper theatrical rollout, “Top Gun: Maverick” has set and missed five previous release dates: July 2019, June 2020, Christmas 2020, the 2021 Fourth of July weekend, Thanksgiving of 2021, and then finally, its current Friday berth.How similar are the stories?Very. Both films begin with Maverick (Cruise) engaging in a display of hot-dogging that gets him called on the carpet — but not really, since he’s sent to Top Gun, essentially promoted, by its conclusion. (This time, he’ll instruct a class of hotshot young fliers for a dangerous mission.) The goings-on at the Navy flight school include dogfight exercises, philosophical conflicts and a love story. Plus, a devastating loss is followed by a crisis of conscience before the eventual triumph.The original film’s primary conflict was between Maverick, the cocky risk-taker, and Iceman (Val Kilmer), a by-the-book pilot who finds Maverick’s rule-breaking dangerous. In the sequel, that dynamic is replicated between adrenaline junkie Hangman (Glen Powell) and the more conservative Rooster (Miles Teller), whose tendency to play it safe in the air is rooted in the premature death of his father: Maverick’s old flying buddy Goose (Anthony Edwards).Miles Teller as Rooster.Scott Garfield/Paramount PicturesWho’s back?Only one actor, aside from Cruise, returns: Val Kilmer’s Iceman, now the commander of the Pacific fleet. Teller did not play little Rooster in the original film, but the character was present, bouncing on a bar piano as Maverick and his old man sing and play “Great Balls of Fire”; here, Rooster leads a piano singalong of the same tune, and the director Joseph Kosinski flashes back to that scene (just in case Rooster’s costume, mustache and aviators, identical to Goose’s, aren’t enough of a giveaway).And, as the film critic Alison Wilmore noted, Maverick’s love interest, Penny Benjamin (Jennifer Connelly), while not seen in the first film, was mentioned in an early scene.Who’s noticeably absent?That new love interest means that Kelly McGillis, who played the instructor Charlie Blackwood in the original, does not appear — she’s not even mentioned. Nor does Meg Ryan, whose brief but memorable turn as Goose’s widow was an early career highlight, or Rick Rossovich, who played Iceman’s fly buddy Slider to memorable effect.Do we hear “Danger Zone”?Do we ever. The opening minutes are a painstaking recreation of the same stretch in “Top Gun”: Harold Faltermeyer’s distinctive “bong” and synthesizer score accompany the exact same opening text explaining what Top Gun is and what it does (with one notable alteration: it now notes that the school trains a “handful of men and women”), before we see planes taking off from Navy carriers and roaring into the sky as the score gives way to Kenny Loggins’s pulse-pounding hit “Danger Zone.”The detail of the replication is meticulous, approaching the level of Gus Van Sant’s shot-for-shot “Psycho” remake. But it turns out to be a head-fake, framing “Maverick” as exactly the kind of empty nostalgia play that it turns out not to be.Jennifer Connelly as Penny, Maverick’s love interest.Paramount PicturesWhat about “Take My Breath Away”?Surprisingly, Berlin’s love ballad (the soundtrack’s other big hit) is nowhere to be found, though Cruise and Connolly’s love scene initially apes some of the compositions of the original scene when it was used. But their foreplay ends quickly for a tasteful cut to the afterglow, as Kosinski seems more interested in (gasp) what they have to say to each other than what they want to do to each other.This is true to the picture’s general approach to romance, replacing the entirely physical attraction of the first film with a solid, complicated relationship between two adults, who’ve lived a life and shared a history. But yes, she rides on the back of his Kawasaki, and her hair looks great blowing in the breeze.How homoerotic is it?Barely, sadly. The guy-on-guy overtones of the original film were so pronounced that they became part of the picture’s lore, articulated by no less a pop culture expert than Quentin Tarantino (in a cameo appearance in the 1994 comedy “Sleep With Me”). But this one mostly plays it straight, so to speak.OK, but is there at least a beach volleyball scene?There is a beach football scene, but it’s comparatively chaste — skin is bared and muscles are flexed, but it feels like the sequence is actually about the game they’re playing, and not, y’know, other stuff.From left, Jay Ellis, Monica Barbaro and Danny Ramirez in the film.Scott Garfield/Paramount PicturesHow propagandistic is it?The original “Top Gun” was such an effective piece of rah-rah flag-waving that Navy recruiting officials notoriously posted up outside screenings to field inquiries from would-be Mavericks. The new film isn’t quite as jingoistic (though it was again made with the full cooperation of the Department of Defense), emphasizing personal over political conflict. But the central mission, to bomb an unnamed enemy’s “unsanctioned uranium plant” that threatens “our allies in the region,” has some troubling historical analogues.Will I like it if I loved the original?Probably. The culture-war inclined may decry the film’s inclusivity (beyond the opening text alteration, the flying crew is more racially and sexually diverse), but “Maverick” checks all the expected boxes: thrilling action, shades and leather jackets aplenty, and Cruise at his coolest.Will I like it if I hated the original?Speaking as part of this demographic: yes. Cruise and the screenwriters make the deliberate (and frankly risky) choice of making Hangman, the character most reminiscent of Maverick in the first film, the most unlikable character in this one. It proves a genuinely thoughtful and effective method of grappling with what “Top Gun” was, what it said and what it represented at that moment in history — and in this one.Audio produced by More

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      Inside the ‘Top Gun: Maverick’ Flying Sequences

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      The makers of the “Top Gun” sequel discuss the challenges of filming practical aerial stunts.Before Tom Cruise signed on to star in the original “Top Gun,” he asked to take a test flight in a jet. Cruise wasn’t yet world famous, so when he arrived at the hangar, his long hair still in a ponytail left over from “Legend,” the pilots, according to one of the film’s producers, Jerry Bruckheimer, decided to give this Hollywood hippie the ride of his life. Zipping at 6.5 G’s — more than twice the G-forces some astronauts endure during rocket launches — Cruise felt the blood drain from his head. He vomited in his fighter-pilot mask.He agreed to make the film.Cruise continued to fly so fast, and so frequently, that he learned to squeeze his thighs and abs to stay conscious. His stomach adjusted to the speed. When the director Tony Scott put a camera in the cockpit, Cruise could smile for his close-ups. His castmates weren’t as prepared.“They all threw up and their eyes rolled back in their heads,” Bruckheimer said in a phone interview. The original footage “was just a mess,” he admitted. “We couldn’t use any of it.”“Top Gun” made Cruise a superstar — and the experience of shooting it stuck with him so much, he was convinced he needed to lead a three-month flight course for the cast of “Top Gun: Maverick,” a sequel, now in theaters, that has had 35 years to build up suspense. In the new movie, Cruise’s Capt. Pete Mitchell (known as Maverick) readies a dozen young pilots for a dangerous mission to destroy an underground uranium plant in an enemy land. Behind the scenes, Cruise did roughly the same thing, gradually raising the actors’ aerial tolerance, and confidence, from small prop planes to F-18 fighter jets. “He’s got every kind of pilot’s license that you could possibly imagine — helicopters, jets, whatever,” Bruckheimer said.In essence, “Top Gun: Maverick” is a 450 mile-an-hour flying-heist caper. The mission leaders devise a difficult set of challenges for the pilots: zoom low and quick, vault a steep mountain, spin upside-down, plummet into a basin and survive a near-vertical climb at 9 G’s while dodging missiles.Cruise, a contender for the most daredevil actor since Buster Keaton, was adamant that every stunt be accomplished with practical effects. Each jet had a U.S. Navy pilot at the controls, while its actor spun like a leaf in a windstorm. The deserts and snow-capped peaks in the background are real, and so are many of the performers’ grimaces, squints, gasps and moans.“You can’t fake the forces that are put on your body during combat,” the director Joseph Kosinski said by phone. “You can’t do it on a sound stage, you can’t do it on a blue screen. You can’t do it with visual effects.”From the safety of theater seats, the audience faces its own challenge: unlearning the computer-generated complacency that’s turned modern blockbusters into bedazzled bores. The imagery of the sky and ground spiraling behind the actors’ heads in “Top Gun: Maverick” looks like it must be digital wizardry. It isn’t.Cast and crew members on the set of “Top Gun: Maverick.”Paramount PicturesThe movie’s aerial coordinator, Kevin LaRosa II, and its aerial unit director of photography, Michael FitzMaurice, filmed from above using three aircraft: two types of jets with exterior cameras mounted on wind-resistant gimbals, and a helicopter, which proved best at capturing the speed of actors whizzing by. One specialized jet could film the same scene using two different lens focal lengths to double the footage captured on a single flight. Once LaRosa heard that the long-anticipated sequel was finally going to become a reality, he also developed his own aircraft, a shiny black plane with cameras that can withstand up to 3 G’s.“That had never been done before,” LaRosa said in a video interview. As he flew next to the cast, LaRosa dodged trees while keeping an eye on the monitors to make sure FitzMaurice, controlling the cameras from the back of the plane, had gotten the shot.Kosinski, the director, also spent 15 months working with the Navy to develop and install six cameras in each F-18 cockpit, which meant passing rigorous safety tests and securing the military’s all-clear to remove its own equipment. Luckily, Kosinski said, there were “Top Gun” fans among the commanding officers. “All the admirals that are in charge right now were 21 in 1986, or around there when they signed up,” he said. “They supported us and let us do all this crazy stuff.”Usually, the Navy forbids pilots from flying below 200 feet during training. One of the film’s most staggering images is of Cruise in an F-18 whooshing just 50 feet above the ground, a height roughly equal to its wingspan. The plane flew so close to the earth that it kicked up dust and made the ground cameras shake. The pilot landed, turned to Cruise, and told the superstar that he’d never do that again.The actor Monica Barbaro didn’t know how nervous she should be when she agreed to play the pilot Natasha Trace (nickname: Phoenix).“When I met Joe in my callback, first thing he had me sign a waver saying that I didn’t have a fear of flying,” Barbaro said by phone. “I just got goose bumps. I was so excited.”Monica Barbaro as Natasha Trace (known as Phoenix) in the film.Paramount PicturesEach flight day kicked off with a two-hour briefing for the pilots and film crew to go over every upcoming shot, movement and line of dialogue. Next, that sequence’s actors and pilots would rehearse the maneuvers in a wooden mock-up of the jet cockpit until the motions were ingrained. Then, they took to the sky to film as many takes as possible before the jet, or the performers, ran out of fuel. In the afternoon, they did it again.Soaring above the crew, Barbaro and the rest of the cast took on a Swiss Army knife of skills. Instead of hitting her mark on the ground, she had to hit it in the air. The sun was her spotlight. A pilot’s kneeboard on her lap displayed her script, her movements and her necessary coordinates, plus reminders to check her parachute and shoulder straps, fix her hair and makeup, adjust her flight visor, flip on the bright red switch that controlled the cameras, and note down the time codes. Finally, Barbaro had to do her actual job: act.“Tom just really encouraged everybody, if you are going to throw up, just learn how to do it and move past,” Barbaro said. “We would applaud when anyone threw up, so it became celebrated.” Glen Powell (he plays the hot shot Lt. Jake Seresin, who is called Hangman) even brandished his barf bag while gliding upside-down and flashing a thumbs up.Barbaro held onto her lunch. But after her first dailies, she said, her face appeared so calm, it gave the impression that the clouds whooshing behind her were simply a green screen. Cruise’s training had prepared her too well.She was sent back into the sky for a retake. More

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      Tom Cruise Aims to Fly High at the Box Office With ‘Top Gun: Maverick’

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      The helicopter had the star’s name painted on it, the letters coming into focus as it landed on the retired aircraft carrier, which was adorned for the occasion with an expansive red carpet and a smattering of fighter jets. Tom Cruise. Top Gun. Maverick.It couldn’t have been anyone else.Decked out in a slim-fitting suit, his hair a little shaggier and his face a little craggier than when he first played Lt. Pete “Maverick” Mitchell more than three decades ago, Mr. Cruise took the stage on the U.S.S. Midway while Harold Faltermeyer’s iconic theme music played in the background.Gesturing to the spectacle around him, including the crowd of fans and media members, Mr. Cruise said: “This moment right here, to see everybody at this time, no masks. Everyone. This is, this is pretty epic.”Tom Cruise arrived at the world premiere of “Top Gun: Maverick” in a helicopter that he landed on an aircraft carrier in San Diego.Robyn Beck/Agence France-Presse — Getty ImagesIt also felt like a time capsule. The three-hour promotional escapade — which included a batch of F-18 fighter jets executing a flyover to the sound of a Lady Gaga song from the film — harkened back to the halcyon days of Hollywood glamour. Days when Disney didn’t think twice about shuttling an aircraft carrier from San Diego to Hawaii for the premiere of Michael Bay’s “Pearl Harbor” in 2001. Or when the same studio built a 500-seat theater at the Kennedy Space Center in Cape Canaveral, Fla., for the premiere of “Armageddon.” That kind of extravagance seems almost unthinkable today, when the streaming algorithm and its accompanying digital marketing efforts have replaced the old-fashioned boots-on-the-ground publicity tour with stars circumnavigating the globe, and studios spending millions to turn movie openings into cultural events.Making these events go were the film’s megastars. In Hollywood, stardom has an elastic definition. There are screen legends who are not box office stars. A global movie star is someone whose name is the draw. They have broad appeal, transcending language, international borders and generational differences. In short, they can get people of all ages into theaters around the world by virtue of their screen personas.They are the kind of stars — like Arnold Schwarzenegger and Sylvester Stallone — that box office blockbusters were built around for decades.And they are the kind of stars who no longer really exist. Actors like Dwayne Johnson, Zendaya, Tom Holland, Ryan Reynolds and Chris Pratt are ultra successful but they are also either closely tied to a specific franchise or superhero film or have yet to prove that multigenerational appeal.Now, it’s the characters that count. Three actors have portrayed Spider-Man and six have donned the Batman cowl for the big screen. Audiences have shown up for all of them. The Avengers may unite to huge box office returns but how much does it matter who’s wearing the tights?Yet there is Mr. Cruise, trundling along as if the world hasn’t changed at all. For him, in many ways, it hasn’t. He was 24 when “Top Gun” made him box office royalty and he has basically stayed there since, outlasting his contemporaries. He’s the last remaining global star who still only makes movies for movie theaters. He hasn’t ventured into streaming. He hasn’t signed up for a limited series. He hasn’t started his own tequila brand.The Great ReadMore fascinating tales you can’t help but read all the way to the end.A small Colorado town maintains the country’s only public outdoor funeral pyre. One man saw it as his own perfect ending.The singer-songwriter Ethel Cain has an elaborate vision of becoming a different kind of pop star. She’s doing it from rural Alabama.The #MeToo movement has swept through Hollywood studios and corporate boardrooms. But it has struggled to take root in places like the insular underground tattoo industry.Instead, his promotional tour for “Top Gun: Maverick,” which opens on May 27, will last close to three weeks and extend from Mexico City to Japan with a stop in Cannes for the annual film festival. In London, he walked the red carpet with the Duke and Duchess of Cambridge. (The tour would have been longer and more expansive if Covid protocols didn’t make things so complicated and if he wasn’t in the middle of finishing two “Mission Impossible” movies.)The actor still commands first dollar gross, which means that in addition to a significant upfront fee, he receives a percentage of the box office gross from the moment the film hits theaters. He is one of the last stars in Hollywood to earn such a sweetheart deal, buoyed by the fact that his 44 films have brought in $4.4 billion at the box office in the United States and Canada alone, according to Box Office Mojo. (Most stars today are paid a salary up front, with bonuses if a film makes certain amounts at the box office.) So if his movies hit, Mr. Cruise makes money. And right now, Hollywood is in dire need of a hit.Audiences have started creeping back to theaters since the pandemic closed them in 2020. The box office analyst David Gross said that the major Hollywood studios were expected to release roughly 108 films theatrically this year, a 22 percent drop from 2019. Total box office numbers for the year still remain down some 40 percent but the recent performances of “The Batman,” and “Doctor Strange in the Multiverse of Madness” have theater owners optimistic that the audience demand is still there. The question is whether the business still works for anything other than special effects-laden superhero movies.“They just don’t make movies like this anymore,” Brian Robbins, the new chief executive of Paramount Pictures, the studio that financed and produced the $170 million “Top Gun: Maverick,” said in an interview. “This isn’t a big visual effects movie. Tom really trained these actors to be able to fly and perform in real F-18s. No one’s ever done what they’ve done in this movie practically. Its got scale and scope, and it’s also a really emotional movie. That’s not typically what we see in big tent-pole movies today.”A big box office showing for “Top Gun: Maverick,” would depend in no small part on the over-40 crowd. They are the moviegoers who most fondly recall the original “Top Gun” from 36 years ago — and they are the ones who have been the most reluctant to return to cinemas.To reinforce his commitment to the industry, Mr. Cruise sent a video message to theater operators at their annual conference in Las Vegas late last month. From the set of “Mission Impossible” in South Africa, standing atop an airborne biplane, Mr. Cruise introduced new footage from his spy movie and the first public screening of “Top Gun: Maverick.” “Let’s go have a great summer,” he said, before his director, flying his own biplane next to Mr. Cruise, shouted “action” and the two planes tore off across the sky.The release of “Top Gun: Maverick” was delayed because of the pandemic, but Mr. Cruise said putting it on a streaming platform was never an option.Paramount Pictures“Top Gun: Maverick” finished production in 2020 but its release was delayed for two years because of the pandemic. Mr. Cruise declined to comment for this article. But when asked during an interview on the stage of the Cannes Film Festival on Wednesday (where eight fighter jets coursed across the skyline, blowing red and blue smoke to match the colors of the French flag) whether there was ever talk of turning the film into a streaming release, Mr. Cruise swatted the idea away. “That was never going to happen,” he said to applause.Now, theater owners across the country are keeping their fingers crossed that Mr. Cruise’s million-watt smile and his commitment to doing his own stunts — no matter the cost or the fact that he will turn 60 in July — will bring moviegoers back to theaters for what they hope will be a long and fruitful summer.“There’s been a lot of questions about the older audience and their affinity of going back to the theatrical experience,” Rolando Rodriguez, the chief executive of the Wisconsin-based Marcus Theatres, the fourth-largest theater chain in the country, said in an interview. “‘Top Gun’ is certainly going to bring out the audience of 40 and over and momentum builds momentum.”Audiences have remained loyal to Mr. Cruise through his offscreen controversies — his connection to Scientology, the infamous couch-jumping interview on “Oprah,” his failed marriages, including to the actress Katie Holmes. And he has remained focused on the process of making movies and then promoting them to as many people as possible — often through very controlled public appearances where he is unlikely to face any uncomfortable questions about his personal life that could embarrass him or turn off moviegoers.“He eats, sleeps and dreams this job,” said Wyck Godfrey, the former president of production for Paramount. “There is nothing else that takes his attention away. He outworks everyone else. He knows every detail.”The question now, in the world of streaming and superhero intellectual property, is does it still matter?‘We Don’t Create Movie Stars Anymore’In the 1980s, Mr. Cruise starred in a string of hits including, clockwise from top left, “Taps,” “Risky Business,” “Cocktail,” “Top Gun,” “Rain Man” and “The Color of Money,” cementing him as a bona fide movie star.Mr. Cruise came of age in Hollywood in the shadow of movie stars like Mr. Schwarzenegger and Mr. Stallone, where the name above the title meant everything. Show up to see Mr. Schwarzenegger play a cyborg assassin? Sure. How about a cop forced to play with kindergartners? Absolutely. What about a twin separated at birth from an unlikely Danny DeVito? Why not? In those days, the genre didn’t matter. Moviegoers showed up for the actors.That is not the case today.“We don’t create movie stars anymore,” said Mr. Godfrey, adding that studios have been pulling back on marketing and publicity commitments for years. “As a result, there are less and less meaningful names who will help open a movie.”Mr. Robbins agreed that it was much more difficult today to become a global star in the vein of Mr. Cruise, not because of the studios’ commitments but rather the state of the industry.“It’s Batman. It’s Spiderman. It’s very different,” he said in an interview from Cannes. “And it’s not just because a lot of these characters are hidden by a mask and tights and a cape. It’s a very different type of filmmaking. And the world is different because of streaming, and all of the other content, the fight for attention is just much more fierce than ever before. Thirty-six years ago when ‘Top Gun’ came out, there was no streaming, there was no cellphone. There was no internet. We went to the theater to be entertained. There’s just so much choice now.”The entertainment world has undergone seismic change. But Mr. Cruise’s success also owes a debt to his tirelessness. Will Smith, in his 2021 memoir, affectionately called Mr. Cruise a “cyborg” when it came to his endurance on the promotional circuit. Reminiscing about his own efforts to reach the pinnacle of stardom, Mr. Smith said that whenever he’d land in a country to hype a new movie, he would ask the local executives for Mr. Cruise’s promotional schedule, which often included four-and-a-half-hour stretches on a red carpet. “And I vowed to do two hours more than whatever he did in every country,” Mr. Smith wrote.Mr. Cruise tirelessly promotes his films, often through public appearances that are tightly controlled.Emmanuel Wong/Getty ImagesMr. Smith wasn’t the only one to notice. Studio executives have come to rely on Mr. Cruise’s commitment to promotion as his superpower.“He’s one of a dying breed that will literally work the world and treat the world as though each region is massively important. Because it is,” said Chris Aronson, Paramount’s president of domestic distribution. “So many others roll their eyes. ‘I don’t want to do that.’ With Tom, it’s always built in. It’s a massive undertaking. But it pays off. It’s why he has legions of fans around the world.”Some would argue that the age of the movie star died when the Marvel Cinematic Universe took over pop culture and movies based on known intellectual property seemed to be the only way to get large numbers of people into theaters. Mr. Cruise has not been immune to these changes.In the past decade, Mr. Cruise starred in original titles like “American Made,” “Oblivion,” and “Edge of Tomorrow”— all movies that played up his action bona fides. None were hits. His reboot of “The Mummy,” which was supposed to jump start Universal Pictures’ monster movie series, was a disappointment for the studio, generating only $80 million in domestic receipts. The series never took off.Mr. Cruise has had box-office success playing the homicide investigator Jack Reacher and in the “Mission: Impossible” series.Chiabella JamesBut while not taking part in any superhero franchises, Mr. Cruise has managed to capitalize on intellectual property that he’s already successfully exploited. Roles like the homicide investigator Jack Reacher, and the secret agent Ethan Hunt in “Mission Impossible,” have performed well at the box office. He’s hoping to pull that off again with “Top Gun: Maverick.”“I think there is so much choice in the world right now with the amount of content that is produced that every movie has turned into a bull’s-eye movie,” said David Ellison, chief executive of Skydance, the producer of “Top Gun: Maverick” and a number of other films with Mr. Cruise. “The opportunity to have something work and be anything less than A-plus is simply not the marketplace that we’re living in.”Glen Powell, one of Mr. Cruise’s co-stars in “Top Gun: Maverick,” cites him as one of the reasons he pursued acting. Mr. Cruise is also the reason Mr. Powell is in the film. Mr. Powell initially tried out for the role of Rooster, the tough guy son of Maverick’s former wingman Goose — a part that went to Miles Teller. Disappointed when he was offered the role of the cocksure daredevil Hangman instead, Mr. Powell only took the part after Mr. Cruise gave him some advice: Don’t pick the best parts, pick the best movies and make the parts the best you can.“I will never forget that moment,” Mr. Powell said in an interview. “He asked me, ‘What kind of career do you want?’ And I’m like, ‘You man, I’m trying to be you.’”Mr. Cruise’s 44 films have made more than $4 billion at the Canadian and U.S. box offices.Isa Foltin/Getty ImagesAs such, he’s studied Mr. Cruise’s career and is trying to emulate it. He’s shied away from the superhero genre, so far, and has some theories on what makes Mr. Cruise unique.“He is the guy that’s not trying to occupy the I.P. He’s trying to tell a compelling story that just ends up becoming the I.P. because it’s so good,” Mr. Powell said. He sees a substantive difference there — the difference between going to the movies to see Tom Cruise, the movie star, or going to see other I.P. Or, as Mr. Powell puts it: “There’s a difference between stepping into fandom rather than creating your own fandom.”He knows he’s learned from the master. “Even if I pick up a little of what Tom taught me,” he said, “I’m going to be way more prepared than any other actor out there.”He might. Or he might be learning from an outdated playbook.There is a moment in “Top Gun: Maverick” where Ed Harris, playing Maverick’s superior, tells him, “The end is inevitable. Your kind is headed to extinction.”And Mr. Cruise, still holding on to that brash self-confidence that made him a movie star four decades ago, grins at him and replies, “Maybe so, sir. But not today.”There are plenty of people in the movie industry who hope he’s right. More