Main image: Kelly McGillis and Tom Cruise in Top Gun, directed by Tony Scott. He concluded: “I hope you guys enjoyed the movie.” I moved to LA permanently, got a Ferrari, got a motorcycle, lost my second marriage.” But life change definitely changed after Top Gun. “After Top Gun the phone didn’t stop ringing. Between The Hunger and Top Gun the phone never rang,” Scott recalled on the DVD. “After The Hunger it took me four years to get Top Gun, and after Top Gun it was a different life. Top Gun was a huge career boost for Scott, who went on to direct films like True Romance, Crimson Tide and Unstoppable. We never actually find out who the enemy is, in Top Gun or Top Gun: Maverick.
When you watch the film, you’ll note that the final compromise is quite clever, from a storytelling standpoint: The American pilots we’re supposed to relate to have visible faces, for the most part, while the enemy MiG pilots have their visors down, so they seem remote and imposing.
But obviously it obscured our lead actors a little bit.” I wanted to see the sky and everything around. “The third firing was when I pulled the visors down on the helmets for the guys flying in the jets. And the studio took away my nine-inch pumps and they took away my makeup lady, in an effort to actually get Kelly looking a little more down to earth.” I made her look beautiful in a sort of - what’s the word? Whorish way, I suppose. He got the job back, only to be fired again. Here’s the stirring opening of Top Gun, as Tony Scott intended it: But we were stuck on the aircraft carrier and couldn’t get back because the weather sucked, so I just kept shooting.” Unfortunately they sent the wrong rolls back - they sent the slow-motion rolls back. I shot one roll of normal footage and continued to shoot all the rest of it in slow motion, because I had a vision about how the beginning should look. For the film’s opening-credits sequence on an aircraft carrier, he “shot it in slow motion with graduated filters, and that was sort of artsy and dark and again esoteric, and Paramount saw these dailies when I was still on the aircraft carrier and they panicked and forbade me to shoot another foot of slow-motion footage,” he recalled.Īlso Read: When Tom Cruise Got Mistaken for a Hippie “I said, ‘This is rock and roll stars flying silver jets against blue-black skies,” he recalled.īut Tony Scott still held onto lofty artistic intentions. They wanted something much more commercial, which Scott finally came to understand.
Scott envisioned “ Apocalypse Now on an aircraft carrier,” which wasn’t at all what Simpson and Bruckheimer had in mind. He and the producers didn’t initially see eye-to-eye on what the film should be. So that’s how I got into running for Top Gun,” Scott recalled. “I think that was the only bit of footage they could find that was contemporary that involved jets. You can watch it here - the Top Gun vibes are strong: Scott for the job because he wasn’t only a feature film director: He was also known for commercials, including an ambitious SAAB spot that juxtaposed the power of a Saab with that of a fighter jet. Won’t You Take 10 Seconds to Sign Up for Our Newsletter? They said, God, this guy’s dangerous.”Īll together now: “That’s right, Ice… man. “They were the only guys who had the courage after The Hunger to reemploy me. He was grateful when Top Gun producers Don Simpson and Jerry Bruckheimer took a chance on him. But studio executives didn’t always feel so warmly about the director: Scott once recounted for a Top Gun DVD commentary that he was fired three times from the 1986 film.īefore Top Gun opened, Scott might have seemed an odd choice to direct a future blockbuster: His divisive erotic vampire film, 1983’s The Hunger, performed quite modestly at the box office. The new Top Gun: Maverick includes a tribute in the end credits to Tony Scott, the director of the original Top Gun, who died in 2012.
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