Joseph Kosinski worked with the Navy and his cinematographer to place six cameras into the cockpit of an F-18.
about adding women to the cockpit, fitting cameras into F-18s and the question about the sequel that people wouldn’t stop asking .I saw it in the theater when I was 12 years old in Martial Town, Iowa, where I grew up. It was the perfect age to see that movie, and I had always loved aviation, so it was right up my alley in terms of interests. And it didn’t look like any blockbuster movie; Tony Scott had such a distinct style.
And then from an aerial sequence point of view, I had to innovate in the same way Tony Scott did. We had to capture flight in a way that had never been done before. The first thought was, “Can I shoot Tom in an F-18 for real?” Which then became, “Can I shoot everyone in F-18s?” So, Tom designed a course that got everyone into “Tom Shape” to be able to get into those Super Hornets and shoot the scenes. Because everyone is in the plane, it opens the whole movie up.
Heading into production, was there any one shot or sequence that you thought would be the most difficult to pull off? Probably the most dangerous and daring is in the middle of the film where Maverick flies the course to prove the mission can be flown. For that sequence, Tom went through the real Top Gun low-level training course at less than 50 feet above the ground at 500 miles per hour. He was flown by the top pilot in the Navy, a Blue Angel pilot named “Walleye”. He had special permission from the Nay to even attempt it.
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