tom cruise p.g.a

Producers Guild Awards honor 'Top Gun' Tom Cruise, give top prize to 'Everything Everywhere All At Once'

LOS ANGELES – "Top Gun: Maverick" producer and star Tom Cruise was honored Saturday with a career achievement award at the 34th annual Producers Guild of America Awards.

However, the producers awards show bestowed the top prize of the night to  "Everything Everywhere All At Once," widening the sci-fi drama's lead as best picture front-runner.

The PGA is often seen as an Oscar bellwether. Eleven of the past 14 PGA winners have gone on to win best picture – meaning losing  the award  might have crushed the best picture hopes for "Top Gun: Maverick" at the Oscars on March 12.

How 'Top Gun: Maverick' can win best pic: The PGA is crucial

Tom Cruise is 'Top Gun' schmoozer: Academy calls Will Smith response 'inadequate'

Former Paramount CEO Sherry Lansing presented the David O. Selznick Achievement Award to Cruise, 60. Lansing recalled casting the actor for the 1981 drama "Taps."

"He had that magical undefinable quality called charisma.  Equally important, Tom had an incredible work ethic. Even then, he was always the first on the set, always well prepared and respectful to everyone," said Lansing. "Over 42 years later, despite phenomenal success, Tom Cruise is still that very same person."

Tom Cruise on making his dreams come true

Lansing greenlit 1996's "Mission: Impossible," the movie that began Cruise's producing career. As a studio head, Lansing admitted she was initially concerned that Cruise, already one of the biggest stars in the world, wanted to take on a movie version of the classic TV ensemble drama.

But Lansing's fears of diluting Cruise's star power with a movie ensemble disappeared when she read the first draft script Cruise sent over.

"I have to admit that I was delighted to find that in the very first few pages of the script, the entire 'Mission: Impossible' team is killed, except for Ethan Hunt, which is Tom's character," said Lansing. "And he spends the rest of the movie avenging their murders."

Cruise recalled his early days shooting "Taps" with Timothy Hutton and then-newcomer Sean Penn.

"I was certain this was something I wanted to do for the rest of my life," Cruise said, recalling that he studied the movie-making process. "I was overwhelmed by what I didn’t know."

Tom Cruise thanks movie audience for 'Tom Gun: Maverick'

Cruise thanked Jerry Bruckheimer, his producer of the original 1986 “Top Gun” and his producing partner on the long-awaited sequel "Maverick."

"You opened the door for me," Cruise told Bruckheimer. "You welcomed me in and I will be grateful forever."

Cruise paid tribute to the producers in the ballroom along with mentors like Steven Spielberg and Lansing,

"You’ve all enabled me the adventurous life that I wanted,” he said.

Cruise has been lauded for fighting to keep the theatrical window for "Top Gun: Maverick" despite pandemic theater closures. At the PGA, Cruise gave thanks to movie audiences "for whom I work first and foremost. Thank you for letting me entertain you, and I promise I'll always do everything I can to accomplish that goal."

Other movies (and TV) honored by the PGA:

•  "Navalny" won for best documentary feature,
• “Guillermo del Toro’s Pinocchio,”  took best animated film.
• "Till" won the Stanley Kramer Award honoring a production or producer that illuminates and raises public awareness of important social issues.
• TV's “The Bear” won for best comedy.
• “The White Lotus” won for best drama.
• “Lizzo’s Watch Out For The Big Grrrls” won for best reality or competition series.
•  “Stanley Tucci: Searching for Italy” won for non-fiction series, “The Dropout” won best limited series and “Weird: The Al Yankovic Story” won best TV movie.
• Mindy Kaling received the Norman Lear Achievement Award in Television for her work producing shows including “The Mindy Project,” “The Sex Lives of College Girls,” “Never Have I Ever,” “Velma” and “The Office.”

Things you buy through our links may earn  Vox Media  a commission.

Tom Cruise Thanks Hollywood for Enabling His ‘Adventurous Life’

Tom Cruise has transitioned from piloting his own stunts to piloting blockbuster motion pictures (and also still doing his own stunts). During the 34th annual Producers Guild Awards at the Beverly Hilton Hotel in Los Angeles, Cruise accepted the David O. Selznick Achievement Award for his work producing films since 1996, including the Oscar-nominated film Top Gun: Maverick . Introduced by Paramount legend Sherry Lansing , who was an intricate collaborator in Cruise’s career, she green-lit one of his most recognizable franchises, Mission Impossible , starting off Cruise’s career as a multi-hyphenate.

During his speech, Cruise thanked Lansing for their work together and remembered his beginning in Hollywood, starring in 1981’s Taps , the film that inspired him to become a producer. “I was absolutely amazed by the craftsmanship and also the tremendous efforts that it took to make a film,” said Cruise. “I was overwhelmed by what I didn’t know.” He went on to thank those closest to him in his career, including filmmakers Christopher McQuarrie and Brian De Palma and his first agent, Paula Wagner. Lastly, Cruise thanked the producers in the room for his decades-long career in Hollywood: “You’ve all enabled me the adventurous life that I wanted.”

• top gun: maverick
• pga awards 2023
• from pilot to producer
• 34th annual producers guild awards
• awards season
• award shows

Most Viewed Stories

• Cinematrix No. 40: April 19, 2024
• The Rise, Fall, and Rise Again of Taylor Swift and Matty Healy’s Relationship
• Diddy’s Open Secrets
• A Hidden Sexual-Assault Scandal at the New York Philharmonic
• Taylor Swift’s Double-Album Theory Is Real
• Who’s In? Who’s Out? An Exhaustive Timeline of Taylor Swift’s Squad.

Editor’s Picks

Most Popular

What is your email.

This email will be used to sign into all New York sites. By submitting your email, you agree to our Terms and Privacy Policy and to receive email correspondence from us.

Sign In To Continue Reading

Create your free account.

Password must be at least 8 characters and contain:

• Lower case letters (a-z)
• Upper case letters (A-Z)
• Numbers (0-9)
• Special Characters (!@#$%^&*)

As part of your account, you’ll receive occasional updates and offers from New York , which you can opt out of anytime.

Tom Cruise Used One Of His Own Planes In Top Gun: Maverick's Final Scene

Nearly 40 years after Tom Cruise flew into our hearts with 1986's "Top Gun," its sequel, "Top Gun: Maverick," has proven that there is still plenty of fuel in the tank for audiences to enjoy. Released during the 2022 Memorial Day weekend, the film, which follows Pete Maverick ( Tom Cruise ) returning to the Top Gun program in order to train a new crop of pilots for a dangerous mission, became a record-breaking juggernaut at the box office. Upon its opening weekend, the film earned over $160 million, becoming the most successful film to open during Memorial Day weekend, besting the previous record-holder, "Pirates of the Caribbean: At World's End" (via Deadline ). "Maverick" would go on to become the year's current highest-grossing title (via Variety ) with a worldwide box office gross of over $1.4 billion (via Box Office Mojo ). On top of that, the film was lauded by critics and audiences alike, boasting a 96% score on Rotten Tomatoes . 

Among the film's most beloved aspects are its daring arrays of stunts and plane flying sequences. "Maverick" saw a different challenge as the rest of the cast had to go through rigorous training in order to direct themselves while simultaneously performing their many high-flying action scenes (via The Independent ). For stunt guru Cruise, however, this was clearly a great chance for him to allow his immense love of aviation to shine once again. And he would do this by showing off his own impressive air vessel in the film. 

Cruise's P-51 Mustang is his pride and joy

The end of "Top Gun: Maverick" would see the use of a P-51 Mustang where Rooster, which Maverick uses to fly with his love interest, Penny (Jennifer Connelly). The impressive machine, which was originally built as a fighter jet in the 1940s for use in World War II, belongs to Tom Cruise. "You know if 'Top Gun' was made in the 1940s ... this airplane is the star of the show," says "Top Gun: Maverick" technical advisor Steve Hinton in a behind-the-scenes featurette (via YouTube ). "Airplanes today are very computer-oriented and P-51 is all push, pull, cables, nothing's automatic." To promote the film's release, Cruise even brought late-night television host James Corden into the plane for a special flight — much to Corden's dismay (via YouTube ).

While Cruise may be well-known for his daring array of stunts within such movies as the "Mission: Impossible" franchise, the actor also has a real-life need for speed, owning a varied collection of valuable automobiles, motorcycles, and planes. This should come as no surprise, considering that Cruise obtained his pilot's license in 1994 (via Style ). His plane collection is especially impressive, as he is reported to own upwards of five private jets, including a Gulfstream IV G4 jet, which he originally got for his then-wife, Katie Holmes. Even his famous Mustang would sport "Kiss Me, Kate" on its side for some time until the two broke up (via Forbes ). 

• International edition
• Australia edition
• Europe edition

Top Gun: Maverick review – irresistible Tom Cruise soars in a blockbuster sequel

Cinema’s favourite ageless fighter pilot returns with all the nail-biting aeronautics and emotional sucker punches that made the original an 80s-defining hit

A nd we’re back. A full 36 years (including some Covid-related runway delays) after Tony Scott’s big-screen recruitment advert for US naval aviators became an epoch-defining cinema hit, Tom Cruise is back doing what he does best – flashing his cute/crazy superstar smile and flexing his bizarrely ageless body in an eye-popping blockbuster that, for all its daft macho contrivances, still manages to take your breath away, dammit.

From the burnished opening shots of planes waltzing off an aircraft carrier to the strains of Kenny Loggins’s Danger Zone , little has changed in the world of Top Gun – least of all Cruise. Maverick may be testing jets out in the Mojave desert, but he’s still got the jacket, the bike(s), the aviator shades and (most importantly) the “need for speed” that made him a hit back in 1986. He also has the machine-tooled rebellious streak that has prevented him rising above the level of captain – showcased in an opening Mach 10 sequence that doesn’t so much tip its hat to Philip Kaufman’s The Right Stuff as fly straight past it with a super-smug popcorn-eating grin. See ya, serious movie suckers!

“Your kind is headed for extinction,” growls Ed Harris’s forward-looking rear admiral (nicknamed the “Drone Ranger”) before admitting through gritted teeth that Maverick has in fact been called back to the Top Gun programme – not to fly, but to teach the “best of the best” how to blow up a uranium enrichment plant at face-melting velocity, a mission that will require not one but “ two consecutive miracles”. “I’m not a teacher,” Maverick insists, “I’m a fighter pilot.” But, of course, he can be both.

True to form, Maverick promptly throws the rulebook in the bin ( literally – the metaphors are not subtle) and tells his team of fresh-faced hopefuls that the only thing that matters is “your limits; I intend to find them, and test them”. Cue dog-fight training sequences played out to classic jukebox cuts, while thrusting young guns do 200 push-ups on the runway. In the local bar, an underused Jennifer Connelly serves up drinks and love-interest sass (Kelly McGillis was apparently not invited to this party) while Miles Teller ’s Rooster bangs out Great Balls of Fire on the piano, prompting a flashback to Maverick cradling Anthony Edwards’s Goose, who got famously cooked in the first film.

And therein lies what passes for the heart of the piece; because Rooster is Goose’s son, and Maverick (who still blames himself) doesn’t want to be responsible for history repeating itself. “If I send him on this mission,” Cruise emotes, “he might not come back; if I don’t send him, he’ll never forgive me. Either way I could lose him for ever.” Tough call, bro.

Cruise has described making a Top Gun sequel as being like trying to hit a bullet with a bullet – which is exactly the kind of thing that Maverick would say. Yet working with director Joseph Kosinski (with whom Cruise made Oblivion ) and scriptwriters including regular collaborator Christopher McQuarrie, he has done just that. For all its nostalgic, Miller Time sequences of shirtless beach sports and oddly touching character callbacks (a cameo from Val Kilmer ’s Iceman proves unexpectedly affecting), Top Gun: Maverick offers exactly the kind of air-punching spectacle that reminds people why a trip to the cinema beats staying at home and watching Netflix.

The plot trajectory may be predictable to the point of ridicule (like Richard Gere in An Officer and a Gentleman , Tom is going up where he belongs) but the emotional beats are as finely choreographed as the stunts. As for the “don’t think, just do” mantra (a cheeky rehash of Star Wars ’s “Use the force, Luke”), it’s as much an instruction to the audience as to the pilots.

Personally, I found myself powerless to resist; overawed by the ‘“real flight” aeronautics and nail-biting sky dances, bludgeoned by the sugar-frosted glow of Cruise’s mercilessly engaging facial muscles, and shamefully brought to tears by moments of hate-yourself-for-going-with-it manipulation. In the immortal words of Abba’s Waterloo, “I was defeated, you won the war”. I give up.

• Top Gun: Maverick
• Mark Kermode's film of the week
• Action and adventure films
• Miles Teller

Most viewed

Cookie banner

We use cookies and other tracking technologies to improve your browsing experience on our site, show personalized content and targeted ads, analyze site traffic, and understand where our audiences come from. To learn more or opt-out, read our Cookie Policy . Please also read our Privacy Notice and Terms of Use , which became effective December 20, 2019.

By choosing I Accept , you consent to our use of cookies and other tracking technologies.

Filed under:

Welcome to Tom Cruise’s Flight School for ‘Top Gun: Maverick’

If there was to be a sequel to the ’80s classic ‘Top Gun,’ it was going to need to be even better than the original—and way more realistic. Before the movie hits theaters, the cast of ‘Maverick’ explains what it took to become on-screen pilots.

Share this story

• Share this on Facebook
• Share this on Twitter
• Share All sharing options

Share All sharing options for: Welcome to Tom Cruise’s Flight School for ‘Top Gun: Maverick’

In the middle of shooting Top Gun , producer Jerry Bruckheimer realized he had a huge problem: With the exception of Tom Cruise, all the actors playing Navy pilots kept vomiting in the cockpit. “Their heads were down, and when they got their heads up, their eyes were rolling back,” Bruckheimer says. “It was terrible. They were all sick.”

On a scrappy budget with clunky 1980s technology, an untrained cast, and new studio leadership, filming eventually moved to an L.A. soundstage, where those actors could settle their stomachs while pretending to fly on a gimbal instead. The disrupted, piecemealed experience stuck with Cruise long after—despite the movie’s eventual massive box office success and canonization as a modern classic, the A-list actor had little desire to revive Pete “Maverick” Mitchell. “Originally, I wasn’t interested in doing a sequel,” he told Total Film magazine , at least not until technology—and his castmates—could “put the audience inside that F-18.”

Three decades later, Bruckheimer and director Joseph Kosinski flew to Paris to convince him they could. During a 20-minute break on the set of Mission: Impossible—Fallout , Kosinski pitched a sequel centered on Cruise’s aging fighter pilot and his strained relationship with his best friend Goose’s son. “I wanted it to be a rite-of-passage story for Maverick,” says Kosinski, who tried appealing to his star’s extremist sensibilities by promising to shoot everything practically. The director had seen Navy pilots use GoPros on their flights, documenting a first-person experience above the clouds that was “better than any aerial footage I’d seen from any movie,” he says. “I showed that to [Tom] and said this is available for free on the internet. If we can’t beat this, there’s no point in making this movie—and he agreed.”

Over the next 15 months, Kosinski collaborated with naval advisers and aerospace corporations, building six specialized IMAX cameras for an F-18 cockpit, mapping out highwire action sequences through tight canyons, and developing a specialized “CineJet” with aerial coordinator Kevin LaRosa II to capture it all from the air. “A lot of what we did was cutting-edge,” LaRosa says. “That technology came to fruition as the story came to fruition, and Top Gun: Maverick became a real thing.” At the same time, Cruise started his own preparations, vetting a cast of young pilots—Miles Teller, Glen Powell, Jay Ellis, Monica Barbaro, Greg Tarzan Davis, Lewis Pullman, and Danny Ramirez—before developing a specialized flight training gauntlet so that everyone could conquer the sky. “He knew the goal was to not only get his footage in the plane, but to get them all in the planes,” Kosinski says. “He just wanted them to be prepared, and he knew exactly what it was going to take.”

Leaning on years of his own piloting experience, Cruise put together a detailed aviation curriculum, connecting actors with trusted flight instructors, building up their G-force tolerance to unthinkable levels, and readying their transition into the F-18 cockpit. The result is breathtaking, a collage of immersive, madcap flying sequences and high-octane performances—a testament to Cruise’s unrelenting drive to pack as much thrill-seeking euphoria into Top Gun: Maverick as humanly possible. “He will do whatever it takes to give audiences the ride of a lifetime,” Powell says. “It’s so infectious to be a part of.”

Part 1: “I Never Signed That Waiver.”

Because Top Gun: Maverick would be shot practically, Kosinski and Bruckheimer needed actors who were unafraid to fly and could subject themselves to intensive training. Not everyone who auditioned was truthful right away.

Joseph Kosinski (director): I made it very clear from the very first meeting: We’re going to shoot this for real. This means you’re going in a real F-18 and flying in these scenes. A lot of people tapped out.

Lewis Pullman (Robert “Bob” Floyd): You go to an audition like that and you’re like, “Damn, that would be cool but it’s never going to happen.” Then they said, “We want to sign you up as long as you’re not scared of flying.” I fly all the time commercially—Spirit Airlines, all the greats. They were like, “It might be a little different than that.”

Monica Barbaro (Natasha “Phoenix” Trace): Joe asked me if I was afraid of flying, to which I said, “No”—then he told me that we’d be flying in jets. I got goosebumps.

Greg Tarzan Davis (Javy “Coyote” Machado): I lied to Joe. I was just given a piece of paper for the audition saying, “Are you afraid of flying?” “Are you afraid of heights?” Of course I said, “No.”

Danny Ramirez (Mickey “Fanboy” Garcia): We had to sign a paper before we stepped into the audition room because otherwise I would have lied to him, and that would have started the relationship on the wrong foot.

Glen Powell (Jake “Hangman” Seresin): I keep hearing all the other guys talk about signing a waiver that you were not afraid of flying. I never signed that waiver.

Pullman: It kind of snuck up on me what we were really doing. They were like, “You’re going to actually fly in these planes.”

Ramirez: I was absolutely terrified whenever I was on commercial flights. My routine was two glasses of wine and Bose headphones to tune everything out.

Kosinski: I looked at hundreds of actors, narrowed it down to my favorite two or three [for each role] and then I sat with Jerry and Tom and, drawing on their decades of experience, we selected our final team.

Jerry Bruckheimer (producer): You look at their body of work, you look at who they are. They sit down in front of you, look you in the eye, and you can tell that they’re committed and that they want to advance their career through a movie like Top Gun .

Kosinski: I think it’s gut instinct, really.

Barbaro: I genuinely love flying. I told Joe in the room that I weirdly enjoy turbulence, and he quietly looked down at his notes like, “OK.” I was like, “That was a weird thing to say.” And then later I thought about it—that was probably the perfect thing to say.

Powell: None of that stuff had ever fazed me. One of the reasons I decided to sign on to the movie was the opportunity to be in the back of real F-18s and shoot this thing all practically. I didn’t want to pass it up. I was all in.

Ramirez: The first week, Monica was like, “It’s crazy this is going to be the peak of our careers,” and Tom’s like, “No, no, no, don’t you repeat that.” He’s like, “We didn’t just cast you guys because you’re great for [your roles]. We cast you because we think you’re going to be the next great movie stars.”

Part 2: “It Feels Like You’re Strapped in by a Couple Shoelaces.”

As part of Cruise’s extensive training program, actors learned to fly inside single-engine Cessnas before graduating to the EA-300 and L-39—aerobatic planes capable of pulling more G’s—to mimic the feeling of being inside an F-18.

Pullman: Tom had personally designed a training regimen that would basically condense two years of flight training into three months—and it was all done in a way that Tom had wished he’d had for himself on the original Top Gun .

Kosinski: He’s a licensed pilot. He flies aerobatics, he flies helicopters, he’s very familiar with what it takes to be in these planes.

Ramirez: Before we even got on a flight, they taught us about what creates lift and the physics of flight. That popped the bubble of fear for me.

Davis: Tom makes sure you feel comfortable with it, then he lets the instructors do what they need to do.

Kevin LaRosa Jr. (aerial coordinator): My dad and I started training all the cast in Cessna 172s. Where to look, how to talk on the radio, how to take off and land, basic flying technique—where and how to look like pilots while flying.

Barbaro: We never flew solo because legally you can’t unless you have a pilot’s license, but we got to a point where we were talking with the tower.

Powell: I’d been cast first, so I’d had a couple more opportunities to be in the Cessna. But I’d never done a takeoff and landing.

Ramirez: We showed up at Van Nuys Airport. I see Glen’s car parked with a big Texas license plate, and I’m like, “Oh, I’ve seen this guy from Scream Queens , he was pretty funny.”

Powell: I remember grabbing a Subway sandwich, getting to know each other in the parking lot. And then it’s like, “All right you guys, ready to fly?!”

Ramirez: It’s my first time, so I’m also a little nervous. As we’re on the runway and taking off, I’m looking at Kevin LaRosa Sr.’s hands, but they’re really relaxed, and they slowly start slipping off. I look over and we’re taking off because Glen is the one pulling back on the controls. I just panicked: Glen Powell from Scream Queens is the first person in this whole movie that’s taking me up in the air? What the hell?

Powell: We got up in the air and I could see he was kind of breathing a little heavier than normal. I looked back and said, “Everything good?”

Ramirez: We ended up flying for about an hour. He lands the plane, and I was like, “I would have never sat in that Cessna had I known that Glen was going to be the one that took me up.”

Powell: We were thrown in the deep end. The amount of trust that these guys had in us from the get-go was wild.

LaRosa: There were definitely actors who were very forward-leaning—fearless, loved every second of it. And then the normal person who’d be like, “Oh my goodness, I can’t believe I’m going to do this.”

Barbaro: We moved on to an Extra-300, which does all kinds of crazy loops and can pull nine G’s with two people in it.

LaRosa: G-forces are created when we apply a velocity or direction change to mass. They can be formed by the jet changing direction. The best analogy is when you’re on a roller coaster and you enter a corkscrew or loop, you feel your body being pressed into the seat—that might only be two G’s.

Pullman: Tom figured you could pull more G’s in the Extra-300 than the F-18, so if we could master that without a G-suit, once we got up in the F-18s, it would be like we had been running with weights on.

Powell: It’s almost like you’re spiraling down in a tornado formation, and you get these big wide turns that get smaller and smaller to increase the G’s until you’re on the verge of blacking out.

Davis: I have video footage of my face being distorted to the maximum. All the life drained out of my body.

Pullman: When you go inverted and you’re upside down, you’re just dangling over nothing. It feels like you’re strapped in by a couple shoelaces. I basically took it upon myself to go skydive. I was like, “If I can jump out of a plane willingly, then I can do all this stuff.”

Powell: Monica and I had this amazing competition every time where we could see who could pull more G’s. You’d do these fake bombing runs over and over, and I think Monica and I got to 6 or 7 at one point. That girl is tough.

Barbaro: We moved on to an L-39 jet. We did some dogfighting with each other, and then we got to fly in the F-18s. And then as refreshers we would fly in the EA-300 just to keep up with our training.

Pullman : We would do these little surveys after each flight. You write down how many G’s you pulled, what maneuvers you did, what challenges you may have had.

Davis: It was like a review-all questionnaire. How do you feel up there? What did you learn? How can we improve on your experience to make you more comfortable?

Pullman: In the beginning, we were all just filling them out not really thinking, Who is reading this? But whenever we saw Tom, he would come up to us and say, “Hey man, I saw that on your last flight you had a little trouble pulling zero G’s. Here’s what I do.” It was like, “Holy smokes, Tom Cruise is taking the time out of his jam-packed day to give me personal tips.”

Kosinski: We had our hands full. It was great to have Tom.

Bruckheimer: He checked the log, found out if somebody didn’t show up. He made sure everybody was there and did what they had to do.

Davis: He’s like the greatest Yelp reviewer ever.

In addition to the aerial training, the cast also needed to pass a Naval Aviation Survival Training course to simulate an ocean landing.

Kosinski: For people who didn’t like to swim, it was really difficult.

Ramirez: Tarzan didn’t even know how to swim when the whole thing started. We all felt like little tadpoles, but our instructor was a U.S. Olympic coach.

Pullman: I grew up swimming a lot, but it’s still different from swimming. It was like forced drowning. They drag you on a zip line to simulate being ejected overseas.

Davis: We had to gear up in about 40 pounds of Navy equipment. The helo-dunker submerges itself in water and flips upside down—it’s a complete 180, and you’re tied to a chair and you have to make your way out through a window.

Pullman: You have to have one hand on some part of the cockpit at all points, and if you have both hands off, you get disqualified. It was a challenge, to say the least.

Davis: Then we had a few tries with blackout goggles on our faces, and that’s when Lewis tried to drown me. [ Laughs .] He couldn’t get out the window fast enough.

Pullman: I also had a 101-degree fever that day and I couldn’t change the appointment so I basically had to do it all while incredibly sick.

Powell: You’re literally in a washing machine under water blindfolded and strapped in.

Ramirez: Glen and I had just passed the blindfold test, but Tarzan had failed one of the runs, so Glen was like, “Let’s go in there with him out of solidarity.” I felt a little cocky like, “Hell yeah, I’ve done it already.” We’re upside down, and I keep trying to open this harness, and Glen’s like, “All right, see you later.”

Powell: I’m literally blindfolded trying to find my way out like he is. He tells this story like I looked at him in the eyes and then abandoned him. Danny, you know that’s not how it happened, man.

Ramirez: I’d forgotten the emergency sign for the scuba divers to pull me out. I was about to open my mouth and swallow a bunch of water. Finally the harness slightly opens up, I squiggle my way out of there, break through the window, breach, and take the biggest gasp of air I’ve ever taken. I went up to the guys: “You didn’t see me down there unable to get loose on the screens?” And they were like, “No dude, we thought you were just chilling, you looked so composed and collected.”

Powell: I thought it was really fun, but if you’re having trouble with your harness and something gets stuck, it’s a pretty scary environment. I never panicked, but that moment for Danny I know is pretty scary. If I knew he was having a problem I would have totally gone over to help him. But I had a blindfold on.

Pullman: At the end of the day, everyone was always checking in on each other, making sure nobody was falling behind. It felt like a very safe space and everyone wanted each other to succeed.

Ramirez: The swim element was more like trauma-bonding.

Part 3: “You Can See the Tunnel Start to Close.”

Though none of the actors actually flew F-18s by themselves, they rehearsed repeatedly on the ground with their professional pilots to mimic each other’s movements and maneuvers, making it easier to perform and stay coordinated in the air. Still, sustaining eight G’s and flying at low altitudes provided all kinds of challenges.

Kosinski: We would do a two-hour brief every morning where we would go through everybody’s work—storyboard by storyboard, line by line, where the sun had to be, what the terrain had to be, what the choreography of the planes had to be. We had to make sure the Navy pilots and actors were in perfect sync.

Pullman: That was pivotal. Once you’re up there in the cockpit, you’re kind of on your own. You can’t walk down to Joe Kosinski and be like, “Did we get that take? Can we move on?”

LaRosa: He can’t be in the air with his cast, so he’s so involved in the planning and briefing stage. We always went through the same formula: What are we going to do on this flight? How are we going to obtain all of that on this flight? And we end it with safety being paramount.

Kosinski: After that we would move to something called “the buck,” which was a plywood mockup of the F-18 cockpit with all the instruments and switches in the same place, but on the ground. We would walk through the entire day’s work shot by shot—spray the sweat on, turn the camera on, turn the camera off. It was a very tedious process to go through.

Pullman: Tom would sit on the outside of the buck and run the scene with you and give you direction and tips about how to make it more dynamic or more intense. Because these cameras are more stagnant and fixed onto the frame of the F-18, you have to kind of create your own dynamics within the frame.

Barbaro: There were four cameras facing us that were fastened to the cockpit, and two pointing toward the front of the plane over the shoulder of the actual pilot that was flying us.

Ramirez: As weapons system operators, [Lewis and I] had a tougher task of being back there and not looking in the direction we were flying. When we were banking to the right, we’re looking to the left.

Barbaro: We would have to sort of direct or remind our pilot exactly where to line up with the sun. For example, if I was flying in a certain direction in the morning and Lewis was flying with the same pilot later in the day, they had to fly in the opposite direction so that there was continuity.

Kosinski: I wanted it to be muscle memory because when you’re pulling six or seven G’s, you don’t want to think about anything.

LaRosa: Typically, jets would go on an hour-and-a-half mission, return, and then debrief. We’d sit there and watch all the footage with the pilots and the cast and Joe would say, “Oh I need you to look a little more this way, need you to fix your mask here, furrow your brow more.”

Powell: You’re running cameras, you’ve got to remember your lines, you’ve got to [remember] sun position and keep that consistent, know where the other airplane is so you don’t run into another aircraft, the altitude, the airspeed—all these things have to be together. When you’re up there, you’re the pilot in command, you’re the only one who is in charge of this stuff. It’s a very empowering experience.

During a training run in Top Gun: Maverick, in which the pilots must ascend at a vertical angle to eclipse a mountain peak, Coyote (Davis) blacks out at eight G’s and descends into a free fall before regaining consciousness. One of the movie’s most extreme scenes, it epitomizes the physical toll required to be an F-18 pilot.

Kosinski: It was one of the first sequences we shot, and it was such an important one because the footage that Tarzan got on that flight was so spectacular that when we put it on the big screen, it really motivated everybody.

LaRosa: There’s a shot from behind the F-18 slow-rolling toward the ground. That is a real, practical shot. That’s me in the CineJet chasing an F-18 toward the earth as if the pilot has passed out. We’re doing 400 miles per hour.

Pullman: What we learned in preparation of getting into the F-18 and pulling G’s was you have to do this thing called the “Hick maneuver” to stop the blood from leaving your brain and rushing to your legs. You flex from your calves, to your thighs, to your core, to your chest, to your head in succession so it flushes all the blood up to your head.

Davis: I realized if I were to do the Hick maneuver well, I’m not really passed out, and the audience would see that on camera. So as I’m going, I am literally dying not being able to do the Hick maneuver—and I still have to act.

LaRosa: For Tarzan, he’s on a jet rolling toward the ground.

Davis: I definitely have to trust my freaking pilot. He also played limp, so they could match the cut in the edit. I’m like “Yo, when are you going to pull up?” At one moment we were really close to the ground. Pull up! Pull up!

Kosinski: He swore to God he didn’t pass out, but we all think he might have.

Davis: People thought I really passed out. I did not—that was just some damn good acting.

Barbaro: It takes a lot of core strength and a lot of clenching to stay awake and control the aircraft.

LaRosa: You have like 1,700 pounds of pressure on your chest.

Pullman: It’s sort of like your spine is sliding back into the chair and a rhinoceros just popped a squat on your lap.

Powell: In order to breathe in those face masks, you have to push out air in order to suck in air, so you’re almost hyperventilating in order to breathe. If you’re not doing the Hick maneuver correctly, you can see the tunnel start to close in and you’re like, “Oh no.” You just try to keep pushing blood back in your head so you don’t black out.

Davis: When you have motion sickness, they say to look at the horizon and it will settle your stomach. You can’t do that in the F-18 because the cameras are directly in front of you. You have to look inside the cockpit—that makes you even sicker.

Powell: I’ve got to give Lewis and Danny credit as WSOs. They’re looking all around this canopy and when a turn happens, they’re looking in the opposite direction, which is the easiest way to get sick. It is brutal.

Pullman: I tried [Dramamine] on the first flight, but you have to be so cognitively alert. I couldn’t have any fog, I had to be incredibly sharp up there. So I had to find some ways to settle the stomach.

Ramirez: Lewis and I will be the first to admit that we puked.

Powell: You keep your puke bag in your leg pocket. Sometimes when you’re pulling these really dynamic maneuvers with high G’s, you can’t even bend your body to grab that bag.

Ramirez: You just open it up and send your lunch back down.

Davis: You have to push through, you have to rally. You have to know once you get down, everybody’s going to be watching you.

LaRosa: If someone goes out in an aircraft and gets sick, typically you’re done for the day. You feel washed out and tired, you want to rest. We got our cast to a level where they would get sick and fight through it. There’s no pulling over.

Powell: The rite of passage after every flight is you have to go straight from the plane to the briefing room. You would show your empty puke bag to kind of be like, “Did it.” So I would end up taking two puke bags back there—one to puke in and one to show. And then at a certain point I just owned it.

Ramirez: Monica for sure never puked. She was also the person that pulled the most G’s on the EA-300. But Lewis has the most grit of anyone I’ve ever met. He was going to puke and instead said, “Not today,” and swallowed it all back down.

Powell: I’d have a stick and throttle in the back, and if I could put my hand on the stick and throttle and do some kind of maneuvers, there was something mentally [about] controlling the aircraft instead of being a passenger, it changed everything.

Kosinski: Every day was a struggle for those pilots—and the Top Gun pilots themselves. If you haven’t flown in a week or two, and you get back in that jet, they get sick as well. But you have to just learn how to work through it.

Ramirez: In college, I never learned how to puke and rally. So in a confined space, and to be able to push through it, I was very proud of it. I was like, “I don’t want to be cut out of this movie.”

Part 4: “Tom Cruise Is Maverick.”

Cruise’s reputation as an extreme stunt performer and adrenaline junkie preceded his arrival to set, but throughout shooting Top Gun: Maverick , his ambition and daredevilish feats blended with his character and continued to defy the cast and crew’s expectations.

Kosinski: We were shooting the third-act scene in the snow-covered mountains at Whidbey Island. One day, the weather was so spectacular and we had so much work to do, so Tom flew three sorties in a day. Most of our actors would fly once a day. On the last flight, he came back to the debrief room. I could tell he was exhausted and he just sat down on the chair and he put his black Ray-Bans from Risky Business on. I was like, “How did it go?” And he said, “We crushed it.” And he did crush it.

Davis: At one point we were too high up above the canyons, and Tom saw the footage and was like, “This doesn’t work, there’s no danger in this.” And when he says it, you’re like, “Oh, God, Tom, no.”

Bruckheimer: They were 50 feet off the ground, it’s unbelievable. When the pilot got on the ground, he turned to Tom and said, “I’ll never do that again.” Tom pushes them. He said, “We’ve got to make this look real, we’ve got to do this right, it’s got to be a love letter to aviation. We’ve got to be able to make people feel what it’s like to be in one of these planes.”

Powell: The rules are not the rules, the accepted boundaries are not the accepted boundaries. He’s a guy that is constantly pushing everyone around them to do things they never thought were possible.

Barbaro: He really was an incredible resource. Not only did he design the entire aviation training course, but he also taught us how to make a film, how to study film. He would really look you in the eye, and talk to you, and make you feel heard.

LaRosa: There was one day where he came out of the parachute and helmet shop and passed me to the F-18. He was in his Maverick helmet and his full getup. I just remember looking at him going, “That’s Pete ‘Maverick’ Mitchell.” Instant goosebumps.

Davis: You’re like, “Wow, this is Maverick. This is the real life Maverick.”

Powell: Tom Cruise is Maverick.

Davis: What is Tom not good at? I remember I threw a pass to him [playing football] and he just went gunning. He took off down the sideline in the sand in jeans, and nobody was catching him. I was like “OK, I’m glad you’re on my team.”

Ramirez: I had just finished my last F-18 flight—we were doing a really intense sequence. We land, we’re in the briefing room, we show the footage. Tom is super excited. “Ah, you nailed it.” We’re all hyped. And then Tom’s like, “You heading back to L.A. today? Grab your bags.” So, Tarzan and I are flying back with Tom in his private jet. He’s like, “Yeah, I just bought this.” We land, and then he just jumps onto his motorcycle and hauls ass away. We’re like, “What the hell?” It was the most Hollywood thing I could have ever imagined.

Davis: He may seem intense, because what we’re doing is serious, but he’s a character.

Bruckheimer: I work with actors that can’t wait to go home. It’s so much fun when you have an actor like Tom who understands all this.

Powell: On this movie I’m doing next with Richard Linklater , Tom’s already given me notes on the script, how to build character. That level of TLC and the fact that I can actually call him a real friend … he’s not just bouncing after wrap, he’s really special.

Pullman: There was this moment where Tom brought us into his trailer to show us the first trailer of Top Gun: Maverick . I will always remember Glen Powell looking at Tom and sort of jokingly going, “Tom, you realize now the only way to top yourself is to shoot a movie in space.” Everyone was laughing. And with a sense of seriousness, Tom just nodded: “Yes, that’s true.” Like, this is what’s next for me, this is my duty . And I think he is going to space with Doug Liman .

Powell: You’ve got to watch saying things like that, because Tom will figure out a way to get there.

Part 5: “Welcome to the Skies.”

During the more than 10 months of shooting (and 800 hours’ worth of footage), Top Gun: Maverick pushed everyone’s technological, physical, and mental limits to the brink, creating an instant bond and camaraderie between the cast and crew.

LaRosa: It is no joke what they were doing every single day.

Kosinski: Nothing was easy on this film. We’d only get a few minutes of usable stuff every day, but it’s the only way to get what we got. That was the way it had to be done.

LaRosa: With practical aerial stunts and aerial cinematography, it’s a more visceral feel. You’re not watching a cartoon, you’re not looking at anything fake. You’re looking at something that actually happened. And that means something to people.

Bruckheimer: When the aerial stuff was done, that was my biggest relief. Machines can break, they can have problems. But the pilots were so terrific; the Navy was so great surrounding us with the best mechanics, best aviators—and the precautions that Tom took, which he always does, made sure our actors were all safe.

Barbaro: There was a scene we shot before we did all our pilot training. But after we learned how to become pilots, we apparently walked with more swagger. They were like, “Oh, you guys are walking differently, we have to go reshoot that scene.”

Davis: When you see us in the bar, those are some cocky mothersuckers in there. Why? Because we went through it.

Powell: I’m really proud to look back and go, “Wow, I accomplished way more than I ever thought was possible,” and it’s because of a guy like Tom, who has been pushing for 40 years.

Barbaro: It’s kind of incredible, we stay in touch all the time. Ten months after being in a particular character’s world, it takes a minute to shed that.

Kosinski: It was clear there was a natural chemistry there that got stronger as they went through the flight training and swim training—and the shoot itself.

Pullman: I definitely miss it. I miss going up there.

Powell: For Christmas, Tom gave all the young guns the iPad with ground school on it, and so we all had the opportunity to study it and pick it up.

Pullman: Everyone wants to continue their aviation journey in some sense or another.

Barbaro: I’m almost done with ground school. I’m kicking myself for not just doubling down during the pandemic, but I have every intention of doing it.

Powell: I started flying on my own, and Tom was with me every step of the way. After I got my private pilot’s license, there was a note waiting for me on the ground from Tom that said, “Welcome to the Skies.”

Davis: Tom got us skydiving lessons. Then we went through drifting lessons. Then weaponry training. Dirt bike lessons. I’ve done everything I can think of.

Pullman: I was craving those adrenaline spikes because there’s nothing like it.

Davis: There’s nothing I can say I’m afraid of. Maybe a bee. Other than that, I can do whatever the hell I want now.

Jake Kring-Schreifels is a sports and entertainment writer based in New York. His work has also appeared in Esquire.com, GQ.com, and The New York Times .

Coachella Thoughts, Alleged Taylor Swift Album Leak, and More!

The 10 most anticipated movies of summer 2024. plus: tarantino’s pivot, scorsese’s sinatra, and spielberg’s ufos., taylor swift’s questionable return to tiktok.

Tom Cruise Is ‘So Busy’ That ‘You Never Know’ When ‘Top Gun 3’ Will Get Made, Says Franchise Producer: He ‘Really’ Likes the ‘Wonderful Story Idea’

By Zack Sharf

Digital News Director

• Kit Harington Pushes Back Against Hero Roles After Jon Snow: ‘They’re Hard to Make Interesting’ and I’d Rather Play ‘F—ed Up People’ 5 hours ago
• ‘Furiosa’ Has a 15-Minute Action Scene That ‘Took Us 78 Days to Shoot’ and Required Nearly 200 Stunt Workers on Set Daily: ‘It Was Very Important’ 7 hours ago
• ‘She-Hulk’ Star Tatiana Maslany Was ‘So Heated Up’ When She Called Disney CEO Bob Iger ‘Out of Touch’ During the Strike: ‘It’s Hard to Articulate Yourself’ on the Picket Line 9 hours ago

Tom Cruise is a busy man, which makes it all but impossible to put a timeline on when “ Top Gun ” fans might finally get to see a third installment in the beloved action-drama franchise. Variety confirmed in January that Paramount was developing “Top Gun 3”  and had tapped its “Top Gun: Maverick” co-writer Ehren Kruger to work on the screenplay. Franchise producer Jerry Bruckheimer now tells ScreenRant he has no idea when Cruise might even have free time in his schedule to shoot the third “Top Gun” film.

Popular on Variety

“People looked at me like I knew what was going on,” Powell told Variety at Sundance earlier this year about the next “Top Gun ” movie. “There is going to be some fun stuff being announced soon…but it was confidential to me. I talk to [Joseph] Kosinski, Cruise and Jerry [Bruckheimer] all the time. There is stuff happening and it sounds very exciting. I don’t know when I’ll be going back…I’m sure there is a jet waiting for me sometime in the future.”

“Top Gun: Maverick” was a huge hit for Paramount, which tried for decades to find a way to get Cruise back in aviators. The film was nominated for the Oscar for best picture and grossed nearly $1.5 billion, making it the most popular film of Cruise’s career.

More From Our Brands

Meet laundry day, the funniest band on your ‘for you’ page, this insane hydrogen hypercar prototype is now headed to auction, sprinter gabby thomas says diamond league flosports deal is a drag, be tough on dirt but gentle on your body with the best soaps for sensitive skin, cbs cancels two dramas, including so help me todd, verify it's you, please log in.

Review: Tom Cruise is out to save the movies. Is ‘Mission: Impossible 7’ enough?

• Show more sharing options
• Copy Link URL Copied!

It begins with a plunge into the icy deep, where a submarine is menaced by an invisible threat — a scene that induces shivery memories of “The Hunt for Red October” and “Das Boot” (and also triggers inevitable thoughts of a certain ill-fated submersible ). Then it shifts to a hot orange desert, billed as Arabia though it might as well be Arrakis , where a dust-storm pursuit gives way to some tricky sleight-of-sand. Ludicrously entertaining and even more ludicrously titled, “Mission: Impossible — Dead Reckoning Part One” doesn’t just rack up the miles in style. Like so many globe-trotting thrillers and big-screen tourist brochures, it’s also a gleaming advertisement for Hollywood itself, a celebration and a reminder of how profoundly the movies have shaped our views of the world.

The task of saving that world once again falls to Ethan Hunt, a.k.a. Tom Cruise — and if the world can’t be saved, well, maybe at least the movies can. Or can they? Even if not, just try and stop Cruise, now 61, from taking the weight of the entire industry on his shoulders. His gargantuan cine-savior complex was apparent back in 2020, when he railed against COVID protocol violators on the U.K. set of “Dead Reckoning Part One,” captured in an audio recording that did not exactly self-destruct in five seconds. If the rant was overblown, this actor-producer is hardly alone in having bought into his own mythos: Earlier this year, Cruise was praised by none other than Steven Spielberg for having single-handedly “saved Hollywood’s ass” with the stunning success of “Top Gun: Maverick.”

Now, on the eve of this seventh “M:I” caper’s release, Cruise is playing the familiar role of the exhibitors’ evangelist, urging audiences on social media to seek out some of the summer’s biggest titles ( “Indiana Jones and the Dial of Destiny,” “Barbie” and “Oppenheimer”) in theaters. The cross-studio solidarity is touching; it also reflects some of the industry’s deep existential anxieties around moviemaking and moviegoing. No single picture, no matter how successful, is going to lay those anxieties to rest, though “Dead Reckoning Part One,” with its queasily apocalyptic stakes and enjoyably kinked-up plot, at least seems to be in conversation with some of the underlying issues. Is it a coincidence that this time around, the movie’s big bad villain is artificial intelligence?

That would be something called the “Entity” — no, not the horror-movie incubus that menaced Barbara Hershey back in 1982, but rather a frighteningly self-aware robo-weapon powerful enough to bring data systems, economies and entire nations to their knees. Ethan and his loyal Impossible Mission Force gizmo experts, Luther (Ving Rhames) and Benji (Simon Pegg), are tasked with neutralizing this threat before it falls into the hands of the wrong country — which, as the movie cynically asserts, pretty much means any country. Fortunately, the Entity hasn’t reached Skynet levels of techno-malevolence yet; presumably that’s still to come in “Mission: Impossible — Dead Reckoning Part Two,” due out in theaters next year. For now, AI proves a frustratingly elusive phantom, one that acts primarily through a powerful human emissary, more devilish than angelic, named Gabriel (Esai Morales).

Flashbacks shed light on Gabriel and Ethan’s ugly, not always compelling history, which involves a confrontation, a betrayal and, surprise surprise, a beautiful dead woman. She’s a throwback to the many beautiful dead women from Ethan’s past, including three of his doomed IMF colleagues (played by Kristin Scott Thomas, Ingeborga Dapkūnaitė and Emmanuelle Béart) from the Brian De Palma-directed first “Mission: Impossible” feature (1996). Christopher McQuarrie, who directed the series’ two previous movies ( “Rogue Nation” and “Fallout” ) as well as both halves of “Dead Reckoning,” has a more restrained, less operatic visual style than De Palma (which could be said of most filmmakers). But in many respects he’s paying tribute to that 1996 caper, not only by staging a doozy of a runaway-train sequence, but also by reintroducing Ethan’s old IMF nemesis Eugene Kittridge, played once again by a banally sinister Henry Czerny.

Kittridge’s return can’t help but serve as a marker of how far Ethan, Cruise himself and this ever-durable series have come over nearly 30 years. It also suggests that the IMF, the utterly vital, eternally disavowable, brutally underloved bastard child of American intelligence, may not survive this latest and severest test of its abilities and resources. The “Dead” in the movie’s title certainly doesn’t bode well for anyone on-screen; neither does Ethan’s unnerving habit of reminding his closest colleagues that their survival means more to him than his own life. The sentiment may be cheesy, to the point where you half expect Ethan to pull off his latex mask and reveal Vin Diesel underneath. But it also reminds you that the “Mission: Impossible” movie franchise began with Ethan being framed for his teammates’ coolly premeditated murders, a formative trauma that he has never fully shaken off.

For the record:

10:50 a.m. July 5, 2023 An earlier version of this review said Tom Cruise’s character maneuvered a yellow Beetle through the streets of Rome in one scene. It was a yellow Fiat.

It’s enough to make you fear for Ethan’s closest allies, among them Luther, Benji and the always-on-the-run Ilsa Faust (Rebecca Ferguson), all of whom are put in varying degrees of escalating danger as the typically serpentine narrative leaps from one spectacular piece of on-location fight choreography to the next. Notably, Ethan also finds himself a new sparring partner named Grace (a terrific Hayley Atwell), a wily thief who first pops up during an undercover operation at the Abu Dhabi airport before taking Ethan on a harrowing, sometimes hilarious ride (by yellow Fiat) through the streets of Rome. That Italian escapade soon leads to another in spooky nighttime Venice, where, in tight alleys and on haunted canals, the combat takes on a murderous close-quarters intimacy.

The quality of the action here is, for the most part, more fluid and satisfying than jaw-dropping; there’s nothing here to rival De Palma’s snazziest set pieces, or Ethan’s vertiginous climb up the walls of the Burj Khalifa in “Mission: Impossible — Ghost Protocol” (2011), or his men’s room demolition derby in 2018’s “Fallout.” But McQuarrie’s typically fastidious writing (undertaken this time with Erik Jendresen) makes up for whatever his direction may lack in sheer verve. And he does pull off one major cinematic coup: a triumphantly visceral, spatially disorienting, pull-out-the-stops ripsnorter of a climax that seems designed to ensure that no one dares set a movie aboard the Orient Express ever again, for fear of inviting unfavorable comparisons.

There’s more to the story, of course, which, though relatively fleeting at 163 minutes, feels generously overstuffed for a first-parter. I haven’t yet mentioned Pom Klementieff’s role as Paris, a lethally lithe newcomer of mysterious motives, killer threads and very few words. Or Vanessa Kirby, who, reprising her “Fallout” role as a ruthless arms dealer, has only to sit in a train car with a smartphone to deliver the movie’s single most impressive performance.

Maybe that’s unfair to Cruise, who once again suffers for our pleasure like no one else, hurling himself and his motorcycle from great heights, fighting in claustrophobically tight spaces and, yes, running and running and running some more. For all that, he knows how to temper his usual superhuman self-seriousness with lightness and wit. He’s even gracious enough to cede some of the spotlight to his co-stars this time around, spending a fair chunk of the movie’s endgame amusingly on the sidelines. He returns for the big-bang finish, of course, in a spirit of goofy optimism and eternal vigilance. “Dead Reckoning Part One” ends on his watch, but the movies will not.

‘Mission: Impossible — Dead Reckoning Part One’

Rating: PG-13, for intense sequences of violence and action, some language and suggestive material

Running time: 2 hours, 43 minutes

Playing: Starts July 12 in general release

More to Read

David Fincher talks us through the off-screen torture of making ‘Seven’

April 18, 2024

‘Barbenheimer’ gave us a fun summer ... until you stop to think what they’re really about

Feb. 13, 2024

Tom Cruise teams with Warner Bros. in a deal to make new movies

Jan. 9, 2024

Only good movies

Get the Indie Focus newsletter, Mark Olsen's weekly guide to the world of cinema.

You may occasionally receive promotional content from the Los Angeles Times.

Justin Chang was a film critic for the Los Angeles Times from 2016 to 2024. He is the author of the book “FilmCraft: Editing” and serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Assn.

More From the Los Angeles Times

How accurate is a new movie about the real-life spies who inspired Bond? We checked

‘The Sympathizer’ depicts war from a Vietnamese point of view, but how does the community see it?

April 19, 2024

Sydney Sweeney’s team fires back at producer who said ‘she’s not pretty’ and ‘can’t act’

‘Civil War’: What you need to know about A24’s dystopian action movie

• Cast & crew
• User reviews

As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taugh... Read all As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom. As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom.

• Jack Epps Jr.
• Tim Robbins
• Kelly McGillis
• 853 User reviews
• 192 Critic reviews
• 50 Metascore
• 11 wins & 9 nominations total

• Air Boss Johnson

• All cast & crew
• Production, box office & more at IMDbPro

Who Was Almost Cast in 'Top Gun'?

More like this

Did you know

• Trivia Stunt pilot Art Scholl was killed during the production of the movie, aged 54. He died when his Pitts S-2 camera plane failed to recover from a flat spin and plunged into the Pacific Ocean. Scholl's last words over the radio were "I have a problem - I have a real problem." The exact cause of the crash was never determined, and neither the aircraft nor Scholl's body were ever recovered. The film is dedicated to him.
• Goofs The term "bogey" is misused throughout the movie. A bogey is an unidentified aircraft. Once identified, it is referred to as a "friendly" (for friendly aircraft), "bandit" (for non-friendly aircraft) or "hostile" (for non-friendly aircraft that may be fired at). In USN terminology, a non-friendly surface radar contact is a "skunk".

Iceman : You! You are still dangerous. But you can be my wingman any time.

Maverick : Bullshit! You can be mine.

• Crazy credits The opening credits sequence features a history of the Top Gun program before the title of the film appears on screen, with the remainder of the opening credits devoted to footage of planes being launched from and landing on an aircraft carrier.
• Alternate versions The version of the film shown on the Paramount Network has nearly all of the profane language intact (basically everything but the word "shit"). However, this version also randomly cuts out several scenes and parts of scenes, presumably to fit in the network time slot allotted. Scenes missing altogether include (but are certainly not limited to) Maverick and Goose conversing in their housing regarding whether or not they'll graduate, and Jester and Viper conversing, with Viper revealing hew knew Maverick's "old man." The latter is especially surprising considering this plot point plays a major role in a later scene.
• Connections Edited into MacGyver: GX-1 (1987)
• Soundtracks Danger Zone Written by Giorgio Moroder & Tom Whitlock Performed by Kenny Loggins Produced by Giorgio Moroder Kenny Loggins courtesy of CBS Records

User reviews 853

• SnoopyStyle
• Jun 15, 2014

Everything New on Prime Video in April

• How long is Top Gun? Powered by Alexa
• What military conflict is going on in the movie? Is there an actual war, or just one isolated incident against Soviet fighter planes for some reason?
• What is Top Gun about?
• The soundtrack has a song called "Through The Fire" but does that song actually appear in the movie?
• May 16, 1986 (United States)
• United States
• 102 Pacific Street, Oceanside, California, USA (Charlie's house)
• Paramount Pictures
• Don Simpson/Jerry Bruckheimer Films
• See more company credits at IMDbPro
• $15,000,000 (estimated)
• $180,258,178
• May 18, 1986
• $357,288,178

Technical specs

• Runtime 1 hour 49 minutes
• Dolby Stereo
• Dolby Digital
• Dolby Digital EX
• Dolby Atmos

Related news

Contribute to this page.

• See more gaps
• Learn more about contributing

More to explore

Recently viewed

'Top Gun 3' Will Still Have Tom Cruise as The Lead, Confirms Jerry Bruckheimer

"Joe Kosinski had a wonderful story idea for it."

The Big Picture

• Tom Cruise's star power shines in Top Gun: Maverick , with the film grossing $1.4 billion and earning rave reviews.
• Producer Jerry Bruckheimer confirms Cruise will return as Maverick for Top Gun 3 , with a promising story in the works.
• Top Gun: Maverick won Best Sound at the Oscars and is available to stream on Paramount+.

Inspired by producer and star Tom Cruise , Paramount's Top Gun: Maverick powered up its jet engines and made a rapid climb up the ladder of success in what was a thrilling sequel to the beloved original 1986 film, Top Gun . Described by some as the film that “saved Hollywood,” after the effects of the pandemic on the entertainment industry, the action sequel grossed an astonishingly impressive run, $1.4 billion at the global box office . Given the heights of success Top Gun: Maverick attained, it came as no surprise when it was announced that a third movie was in development with Cruise returning as the titular character, Maverick.

While it might seem a bit too soon for a third installment in the franchise, given it took 36 years for Maverick to arrive after Tony Scott 's 1986 original film, Top Gun 3 already has a story in the wings. Speaking with ScreenRant in an interview promoting his latest project, The Ministry of Ungentlemanly Warfare , Top Gun: Maverick producer Jerry Bruckheimer provided an update on the third installment's story and production timeline.

Bruckheimer confirmed that there is a "wonderful story" on the ground that Cruise "really" likes. The producer then confirms that Cruise will be back in the cockpit as Maverick once more. Bruckheimer's comments in full read:

"It will be Tom Cruise. Tom is amazing. We spent time with him. We have a story. Joe Kosinski had a wonderful story idea for it, and he (Tom Cruise) said I really like that, so we’re developing it. But you never know when it’s going to get made because Tom is so busy. He’s doing Mission: Impossible right now, he’s got a picture after it. Hopefully, we’ll get a screenplay that he loves, and we’ll be back in the air again."

Tom Cruise Still Has Star Power

Top Gun: Maverick holds a 96% critic rating and an audience score of 99% on the review aggregator, Rotten Tomatoes . Joseph Kosinski helmed the feature with a screenplay by Ehren Kruger , Eric Warren Singer , and Christopher McQuarrie . The film went on to bag six Academy Award nominations, including Best Picture , Best Achievement in Film Editing, Best Achievement in Music Written for Motion Pictures (Original Song), Best Sound, and Best Achievement in Visual Effects.

Top Gun: Maverick went on to claim the gong for Best Sound, further cementing Cruise's star power . Top Gun 3 likely means a return for Miles Teller as Rooster and Glen Powell as Hangman alongside Cruise's Maverick, and while there might have been suggestions that Cruise might not return, it seems scheduling might be the only challenge left to navigate.

Top Gun: Maverick is currently streaming on Paramount+ in the U.S.

Top Gun: Maverick

After thirty years, Maverick is still pushing the envelope as a top naval aviator, but must confront ghosts of his past when he leads TOP GUN's elite graduates on a mission that demands the ultimate sacrifice from those chosen to fly it.

WATCH ON PARAMOUNT+

• Search Please fill out this field.
• Manage Your Subscription
• Give a Gift Subscription
• Newsletters
• Sweepstakes

Prince William and Tom Cruise Talked Fashion at Gala After the Royal's Top Gun Shoes Were a Hit

The Prince of Wales joked about his headline-making velvet slippers in conversation with the American actor

Janine Henni is a Royals Staff Writer for PEOPLE Digital, covering modern monarchies and the world's most famous families. Like Queen Elizabeth, she loves horses and a great tiara moment.

DANIEL LEAL/POOL/AFP via Getty

Prince William reminded Tom Cruise of his fancy flying-themed footwear at London’s Air Ambulance Charity Gala Dinner .

The Prince of Wales, 41, and the Top Gun star, 61, reunited at the fundraiser at The OWO hotel on Wednesday evening. Their photo opp in matching tuxedos and black bow ties, captured on video and shared to X by Rebecca English of the Daily Mail, prompted the royal to recall one of the most stylish pieces in his closet.

Prince William motioned towards his feet and told the American actor, "I haven’t got my Top Gun slippers on tonight."

Prince William completed his look with shiny black dress shoes for the charity gala, but he was referring to his Crockett & Jones black velvet loafers embroidered with airplanes that made headlines at the U.K. premiere of Top Gun: Maverick in May 2022, the last time he saw Cruise. Each slipper featured an F-18 Super Hornet in honor of the aircraft famously featured in the Top Gun films, but the detail was no surprise for royal watchers. Prince William previously served as a pilot with the Royal Air Force and as an air ambulance helicopter pilot, making his interest in the film — and the fun choice of footwear — a natural fit. 

Daniel Leal - WPA Pool/Getty

"Having the Royal Warrant for HRH Prince Charles meant that we were gratefully approached to produce the slippers for HRH Prince William on this occasion, proudly turning the slippers around in just 2 weeks, usually a 2-month process. One has little choice but to jump around for such a prestigious customer," a spokesperson for Crockett & Jones said at the time.

"It gives us great pride to be associated with such a wonderful and historic family, and to have two members of the royal family wear our footwear, a just a few weeks before the Jubilee celebration [for Queen Elizabeth ], is nothing short of incredible,” they added.

Can't get enough of PEOPLE's Royals coverage? Sign up for our free Royals newsletter to get the latest updates on Kate Middleton, Meghan Markle and more!

Cruise has met members of the British royal family on several occasions through the years, and attended the funeral of Prince William's mother, Princess Diana, in 1997. He and Prince William most recently crossed paths at Top Gun: Maverick premiere in London, where the actor chivalrously lent Kate Middleton a hand as she navigated stairs in a long Roland Mouret gown. 

Prince William’s appearance at the London’s Air Ambulance Charity Gala Dinner came on the first day he returned to royal duty after Princess Kate had abdominal surgery on Jan. 16 and was discharged following a 13-day hospital stay on Jan. 29. Prince William cleared his calendar to support his wife and their three children, Prince George , 10, Princess Charlotte , 8, and Prince Louis , 5, during that time, and he expressed gratitude for the well-wishes sent to his family during his speech at the gala dinner on Wednesday.

One week after the palace announced that Princess Kate was home from the hospital, they revealed that King Charles was diagnosed with cancer . The news was publicized shortly after the King, 75, underwent a procedure to treat a benign enlarged prostate on Jan. 26. The update came one week after the King left the London Clinic , the same hospital where Princess Kate was treated, following a three-day stay after his surgery. (The palace clarified that the monarch does not have prostate cancer.)

Dan Kitwood/POOL/AFP/Getty 

Prince William took the stage at the charity gala on Wednesday to give a speech, where he thanked those who made the event possible.

"I'd like to take this opportunity to say thank you, also, for the kind messages of support for Catherine and for my father, especially in recent days,” he continued. "It means a great deal to us all."

Keeping the mood light, the Prince of Wales quipped, "It's fair to say the past few weeks have had a rather 'medical' focus. So I thought I'd come to an air ambulance function to get away from it all!"

Prince William praised the "top class care" provided by London's Air Ambulance team, which can bring the hospital emergency department to the scene of an incident anywhere in the city. He spoke from personal experience as a former air ambulance pilot in East Anglia and a patron of London's Air Ambulance since 2020. 

The organization is hoping to raise $19 million by the fall, and Prince William stressed the urgency of the campaign.

"Here in London, the current aircraft have served magnificently," he said. "But our capital city needs a new fleet. And we are Up Against Time. The clue really is in the Appeal's name. By September, we need the two new red birds — decked with the latest kit such as night vision — in our skies.”

Prince William then gave Cruise a special shoutout, referencing his skills in the skies in another film franchise.

"I should also take this opportunity to give a mention to my — our — fellow pilot, Tom Cruise," the royal continued. "Tom, huge thanks for supporting us tonight. And Tom, if you wouldn't mind not borrowing either of the new helicopters for the next Mission Impossible , it would be appreciated. We have all seen on our screens that — how can I put it — you seem to have a different take on 'normal wear and tear' to the rest of us. It's not the kind that buffs out."

Prince William wrapped up his speech by saying, "Anyway, my thanks to everyone. You are all, each and everyone, lifesavers."

The Prince of Wales’ first day back at work began with a morning of investitures at Windsor Castle, conducted on behalf of his father the King. While the duty was announced before Buckingham Palace shared the news about the King’s health, Prince William is expected to step out (like Queen Camilla ) and be the face of the monarchy.

“It is hard with Kate being ill as well, but he will step up,” a source close to the royal household tells PEOPLE exclusively in this week's issue.

Related Articles

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

What tom cruise’s new deal really means.

How the star’s Warner Bros. deal came together — and why it is both more and less than it appears.

By Kim Masters

Kim Masters

Editor-at-Large

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Email
• Show additional share options
• Share this article on Linkedin
• Share this article on Pinit
• Share this article on Reddit
• Share this article on Tumblr
• Share this article on Whatsapp
• Share this article on Print
• Share this article on Comment

Last February, David Zaslav made his way to CAA’s offices, accompanied by his film-studio chiefs, Michael De Luca and Pam Abdy. The delegation gathered in agent Maha Dakhil’s office, where Kevin Huvane and Joel Lubin were in attendance. Also there was a prized client: Tom Cruise .

Related Stories

Dakota fanning says tom cruise has given her a birthday gift every year since 'war of the worlds', 'joker 2' trailer unites joaquin phoenix and lady gaga in song.

The CAA meeting went on for two hours. Cruise is a true veteran when it comes to dealing with Hollywood executives, and he and Zaslav instantly clicked on the importance of keeping movies and theaters alive. By the time the meeting adjourned, it was clear that a deal was going to be done. 

It’s notable that Paramount — then spending hundreds of millions on two  Mission: Impossible  installments — was never looped in on the discussion. Cruise doesn’t have any kind of formal deal at the studio, but he’s had a long relationship there through multiple executive regimes. Five of his past seven movies were for Paramount, but some of the bloom seems to be off that rose. 

Sources say Cruise was not happy with the way Paramount dealt with him on a number of issues. He had lawyered up in 2021, when the studio announced that Top Gun: Maverick would have a mere 45-day theatrical run (which of course did not happen). The studio also pressed Cruise to approve the making of a television show based on  Mission: Impossible  or  Days of Thunder  for its streamer. 

No doubt Cruise also knows that Paramount is a melting ice cube, a company very much in search of a deal, and he might think Warners would be a more secure home base. (While Cruise didn’t have offices on the Paramount lot, he plans to set up shop at Warners.)

“Tensions have gotten higher between Tom and Paramount as relates to budget and collaboration,” says a source with knowledge of the situation. “He doesn’t send script pages, doesn’t let them see dailies. He used to be very responsible on budgets. That changed on  Dead Reckoning .”

At 61, Cruise is still a big international movie star, one of the last of that species. “He’s probably got another 10 or 20 years, maybe not hanging off buildings, but as a movie star,” says an executive who has worked with the star. Cruise appears to think he can still hang off any building he chooses. Rather than returning to making films like  Born on the Fourth of July  or  Lions for Lambs , studio sources say Cruise is intent on launching another big franchise. Sources say the Warner deal includes a greenlight on a yet-to-be-identified project, maybe a thriller or an action movie.  

De Luca and Abdy have also hoped to lure Cruise back for a follow-up to the 2014 film  Edge of Tomorrow , which the studio already had in development before they took over. (The well-reviewed picture, which cost $175 million, only grossed a disappointing $370.5 million but developed a cult fan base after its release. McQuarrie said in 2014 that Cruise had an idea for a prequel; director Doug Liman said it would be better than the original.)

Zaslav has stepped on some rakes during his tenure in Hollywood, starting with the infamous dumping of  Batgirl . But he has also dreamed of restoring Warner Bros. to its glory days, and told De Luca and Abdy when he hired them that he wanted to see the biggest stars and directors make a home on the studio lot. How that dream will work in terms of the Cruise deal remains to be seen: Zaslav has worked to slash the company’s heavy debt, while Cruise has a way of prying wallets open. “Good luck to them with Tom,” says an executive who has worked with the star.

But another veteran executive who has dealt with Cruise sees potential value to the deal even before it produces anything beyond an announcement. “Their ability to say, ‘This is the home of Tom Cruise’ — I think they perceive it as a coup,” this person says. “It never hurts to have a very close relationship with the biggest movie star in the world. It does provide cachet. It says, `This is a real place.’”

THR Newsletters

Sign up for THR news straight to your inbox every day

More from The Hollywood Reporter

Sesame workshop averts strike: tentative deal struck with writers, john malone exits as director emeritus of charter, citing clayton act concerns, netflix subscriber numbers fueled a decade of frenzied streaming bets. that chapter is over, how modern hollywood doomed jeff skoll’s participant media dream, iatse local 705 reaches tentative agreement on craft-specific issues with studios, “to have them disappear is devastating”: doc filmmakers reckon with participant’s abrupt end.

Screen Rant

Top gun 2: why tom cruise wasn't allowed to fly an f-18 fighter jet.

Although he pilots several different aircraft in Top Gun: Maverick, Tom Cruise was denied clearance by the U.S. Navy to fly the F-18 jet.

• Tom Cruise insisted on prioritizing practical effects over CGI in Top Gun: Maverick , adding authenticity to the aerial action.
• Cruise originally wanted to fly a real Boeing F-18 fighter jet in the film, but the US Navy denied his request due to insurance concerns and the high cost of the plane.
• Cruise's dedication to doing his own stunts enhances the storytelling and creates a level of authenticity that can't be achieved in any other way.

Given the actor's reputation for wild stunts, it's not surprising that many viewers were wondering did Tom Cruise actually fly in T op Gun: Maverick . Joseph Kosinski's sequel has surpassed the original 1986 Top Gun with its box office success and a Best Picture nomination. Much of this has to do with how the movie prioritized practical effects over CGI, adding authenticity to the aerial action. That said, while it's no secret that Tom Cruise does his own stunts a lot, some of the tricks proposed for Top Gun: Maverick were a little too ambitious, even by Cruise's standards.

When it came to the long-awaited sequel, Cruise signed on for the project only with the assurance that the film's effects would not be reliant on CGI. Cruise was so ambitious, in fact, that he had initially hoped to fly a real Boeing F-18 fighter jet. A certified pilot, Top Gun: Maverick's Cruise is well-accustomed to high-octane aviation stunts . Many Cruise fans will already be aware that many of the more impressive helicopter stunts in 2018's Mission: Impossible - Fallout were performed by Cruise. However, Bruckheimer maintains that the US Navy ultimately denied Cruise's requests to fly the Super Hornet, which boasts a price tag in excess of $70 million.

How Fast Is Mach 10? What Speed Maverick Travels In Top Gun 2

Why it’s sensible that tom cruise wasn’t allowed to fly a fighter jet, the navy denied his application.

The Super Hornet jet does feature in the sequel, but Tom Cruise did not fly them in Top Gun: Maverick as those scenes were all completed with assistance from Navy pilots. According to producer Bruckheimer, Cruise does fly a P-51 propeller-driven fighter plane, as well as some helicopters. With the assistance of skilled editing, the action sequences are convincing to even the best-trained eye.

There's no confirmation about why the US Navy might have denied Cruise's aspirations to pilot a Super Hornet , even though the actor has experience flying Top Gun 's supersonic military aircraft . However, the most logical reason would be insurance concerns, which is always enough of a consideration to prevent actors from doing their own stunts.

The cost of the plane also figures into this – a real F-18 Super Hornet would make up roughly half of Top Gun: Maverick 's $152 million budget. That would be likely to create logistical nightmares for the insurance of the film. That's not even to mention insuring Cruise himself, who, though already a certified pilot, may not have the specific training required to fly the F-18 safely.

Insurance woes aside, should an inexperienced pilot such as Cruise lose control of a high-speed aircraft, it could also mean peril for civilians and/or military personnel on the ground. Besides, while Tom Cruise does his own stunts to great effect, the real Navy pilots in Top Gun: Maverick 's brought more than enough authenticity to the sequel.

Top Gun 2: All 6 Jet Fighter Planes That Appear In Maverick

Why does tom cruise like to do his own stunts, a passion for story telling is why tom cruise doesn't use stunt doubles much.

The real reason why Tom Cruise does his own stunts is simple: it's the best way to tell whatever story is at hand . In the actor's own words, “It has to do with storytelling… It allows us to put cameras in places that you’re not normally able to do.” Indeed, if the lead actor in an action movie is able to physically perform the character's stunts, this removes the necessity to shoot from strange angles or use editing tricks to make dangerous scenes appear real. This ultimately translates to smoother action sequences and scenes closer to the writer, stunt coordinator, and director's vision.

Moreover, whenever Cruise puts himself in danger for a risky stunt, everyone involved - from the film crew to the audience - is much more invested in the results, a level of authenticity that simply can't be achieved in any other way. Outside of the Top Gun series, this stunning effect can also be observed in the stunt-filled Mission Impossible franchise .

The F/A-18 Super Hornet Requires An Advanced Pilot

The aircraft in top gun: maverick are among the hardest to fly.

While Tom Cruise did really fly in Top Gun: Maverick with certain aircraft, confirming his exceptional pilot skills, the F/A-18 Super Hornets are not the kind of plane just anyone can jump into and take off . It requires specially trained pilots to operate these aircraft given their immense power and the danger involved. Some of the impressive specifics about the plane (via: Military.com ) include its maximum speed of 1,190 mph and the ability to climb 45,000 ft per minute. Such power is needed as the Super Hornets have a 30,500 lb weight while empty which can increase to 66,000 lbs with its maximum weapons load.

It seems as though Tom Cruise will do anything for his stunts , and that likely includes the necessary training to handle an aircraft like this. However, even if he was denied that opportunity, the Super Hornets didn't come at a discounted price. It was reported (via Bloomberg ) that the movie r ented the Super Hornets from the U.S. Navy for over $11,000 an hour . However, given that Top Gun: Maverick more than surpassed box office expectations, it seems as though it was a price worth paying.

How Much Of Top Gun 2 Is Real & How Much Is CGI

Tom cruise’s wildest stunt, top gun: maverick isn't his most dangerous filming experience.

By Tom Cruise's own reckoning, the wildest and most dangerous stunt he's ever performed is when he hung on to a moving plane in Mission Impossible: Rogue Nation , the fifth movie in the MI series. Not surprisingly, for Tom Cruise, flying a Super Hornet would qualify as a less dangerous stunt, as that would have at least required the actor to be inside the plane. Although Cruise was harnessed to the plane in Mission Impossible: Rogue Nation , no amount of safety precautions could account for all the inherent dangers involved with a person wearing virtually no protection while hanging onto a moving aircraft. This just goes to show the level of sheer dedication Cruise brings to his movie projects.

However, recently Cruise has suggested a new stunt in Mission: Impossible - Dead Reckoning Part 1 might be his wildest stunt yet, which involves Cruise jumping a motorcycle off of a cliff and then parachuting to safety. It is a stunt that took years of planning and training to get right and promises to be another spectacle from the dedicated actor. Clearly, even if Tom Cruise didn't really fly the F-18s in Top Gun: Maverick , he is not slowing down at all when it comes to his onscreen stunts.

Top Gun: Maverick