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Full-tilt franchise turns it up in BԪַMission: Impossible - Dead ReckoningBԪַ

Old-school technique and star power lead state-of-the-art action extravaganza
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Actor Tom Cruise, left and director Chris McQuarrie pose for photographers on the red carpet of the world premiere for the movie 'Mission: Impossible - Dead Reckoning' at the Spanish Steps in Rome Monday, June 19, 2023. (AP Photo/Alessandra Tarantino)

There are, as a rule, only so many places you can go as an action movie after leaving Tom Cruise and flinging him

But in the kinetic, headlong world of BԪַMission: Impossible,BԪַ the pressure to keep upping the ante BԪַ like the filmsBԪַ always-running star BԪַ never stops.

BԪַEvery time we finish a movie, the first thing Tom says to me is: We can do better,BԪַ says Christopher McQuarrie.

McQuarrie, the writer-director of 2015BԪַs BԪַMission: Impossible BԪַ Rogue NationBԪַ and the 2018 franchise high point, BԪַMission: Impossible BԪַ Fallout,BԪַ was working with Cruise on BԪַ (which McQuarrie co-wrote and co-produced) when they started talking about their ambitions for the next iteration of BԪַMission: Impossible.BԪַ

Their plan was to make not one but two sequels: Back-to-back blockbusters that would feature even bigger stunts BԪַ Cruise envisioned a motorcycle jump-slash-skydive BԪַ and a massive train sequence that McQuarrie pined to realize. The heady experience on BԪַMaverick,BԪַ a pop-culture juggernaut that grossed nearly $1.5 billion worldwide, only further ratcheted up their aspirations.

BԪַBԪַTop Gun: MaverickBԪַ really taught us a lot in terms of character dynamics and the emotional payoff of the movie overall,BԪַ McQuarrie said in a recent interview. BԪַTo be making movies on this scale, you really need to think about, more than anything, the feeling that the audience is left with going away.BԪַ

A year after the box-office dominance of BԪַMaverickBԪַ, McQuarrie and Cruise are back with another high-flying spectacle of daring-do. Similar to BԪַMaverick,BԪַ BԪַMission: Impossible BԪַ Dead Reckoning Part OneBԪַ is a state-of-the-art action extravaganza of old-school technique, made with star power, practical effects and stunt work designed to prompt exclamations of BԪַHe did what?BԪַ

It was also their most nearly impossible mission yet BԪַ and not just because of, according to Paramount Pictures, that Cruise did in preparation for his climactic stunt. BԪַDead ReckoningBԪַ was just days away from beginning production in Venice when COVID-19 cases began skyrocketing in Italy, an early epicenter.

BԪַMission: ImpossibleBԪַ was one of the first major productions to be shut down by the pandemic. Months later, Cruise and BԪַDead ReckoningBԪַ BԪַ a globe-trotting $290 million movie so logistically complicated that it for initial plans to blow up a century-old bridge in Poland BԪַ led an industry-wide effort to get movie business back on line during the pandemic. An already high-stress production became even more tense. In December 2020, yelling at two crew members for not obeying COVID-19 protocols.

BԪַWe are the gold standard,BԪַ Cruise said in the recording. BԪַTheyBԪַre back there in Hollywood making movies right now because of us. Because they believe in us and what weBԪַre doing.BԪַ

There were numerous delays and pivots along the way. But McQuarrie says he never thought BԪַDead ReckoningBԪַ wouldnBԪַt get finished.

BԪַWe just kept moving forward because if you stopped, if you were trying to find the end of the tunnel, you would just reach a place of such despair,BԪַ says McQuarrie.

McQuarrie and Cruise first collaborated on the 2008 Hitler assassination drama BԪַValkyrie.BԪַ McQuarrie, the famed screenwriter of BԪַThe Usual Suspects,BԪַ was then in proverbial movie jail for his poorly received directorial debut, BԪַThe Way of the Gun.BԪַ

BԪַWhen I met Tom in 2006, I had not directed a film in seven years,BԪַ McQuarrie says. BԪַI wouldnBԪַt direct a film again for another five years. I had really put any ambitions I had to direct out of my mind. I certainly never imagined being considered an action director, let alone directing four action films.BԪַ

BԪַIn BԪַDead Reckoning,BԪַ youBԪַre seeing the ghosts of all the movies that I was never allowed to make,BԪַ he adds.

Unlikely as it may be, McQuarrie (whoBԪַs also directing the already-shooting part two of BԪַDead ReckoningBԪַ) has emerged as the architect of one of the most visceral action franchises.

In BԪַDead Reckoning,BԪַ Ethan Hunt faces off with a rogue artificial intelligence, a prescient and well-suited antagonist for a movie universe built less on CGI than practical effects. McQuarrie told Cruise he wanted to wanted to take BԪַMission: ImpossibleBԪַ beyond the threat of a terrorist getting hold of a deadly weapon.

BԪַAnother lesson we took from BԪַTop GunBԪַ was: What is the audience bringing to the movie? BԪַTop GunBԪַ came out of Cold War anxieties. I said to Tom in 2019: What anxiety is it now?BԪַ says McQuarrie. BԪַWhat we didnBԪַt anticipate was the level to which it would accelerate.BԪַ

In BԪַMission: Impossible,BԪַ what you see is rarely what you get. Hunt and his team of spies are masters of deception. At the same time, McQuarrie and his crew, including cinematographer Fraser Taggart, go to considerable lengths to ensure what the audience is watching feels authentic and immersive.

BԪַThe challenge normally is hiding the fact that itBԪַs not the actor doing it,BԪַ says McQuarrie. BԪַAnd here the reverse is the case. YouBԪַre actually going to great lengths to show that TomBԪַs actually doing it.BԪַ

Taggart, who had shot the helicopter sequence in BԪַFallout,BԪַ says heBԪַs never worked with an actor so resistant to stunt doubles as Cruise BԪַ even in the most innocuous of shots.

BԪַTom wonBԪַt do it. He just refuses, even to the extent of youBԪַll do an insert of hand,BԪַ says Taggart. BԪַIt canBԪַt be anyone else doing it, as you would on other projects. Tom will insist thatBԪַs him.BԪַ

Just as BԪַTop Gun: MaverickBԪַ strove to get as many cameras in the cockpits of fighter jets, the set-pieces of BԪַMission: ImpossibleBԪַ are choreographed to get cameras as close to Cruise and the cast BԪַ here that includes Hayley Atwell, Rebecca Ferguson and Vanessa Kirby BԪַ as possible.

For Taggart, that meant getting his head around often dizzying challenges like shooting a scene involving a train moving 60 miles an hour through a mountainous Scandinavian landscape with uncontrollable weather conditions. He didnBԪַt want just fixed cameras.

BԪַSo now weBԪַve got to get a whole camera crew involved and some lighting and weBԪַll probably end up with 10 people strapped to the top of a train carriage, including an old-fashioned physical camera up there,BԪַ says Taggart. BԪַYou think: Can we actually get 10 people on top of the train doing 60 miles an hour? ThatBԪַs the challenge because youBԪַd really like all of your crew and actors to survive the shoot.BԪַ

In another sequence with characters inside a falling train cabin, they suspended a camera operator, Chunky Richmond, on stunt wires so he was hanging alongside the actors. For a nighttime chase through the byzantine passageways of Venice BԪַ for Taggart one of the most complex tasks of BԪַDead ReckoningBԪַ because of the inherent darkness of the city BԪַ they knocked on doors everywhere along the route to get cameras on terraces and pointed out windows.

For an elaborate car chase in Rome, Taggart used robotic arms on vehicles that were mounted but could also move.

BԪַWe always try technology but we usually break it all,BԪַ he says.

McQuarrie has said he likes to write BԪַMission: ImpossibleBԪַ movies as theyBԪַre shooting; BԪַFalloutBԪַ began without just an outline. Production on BԪַPart TwoBԪַ has been paused during the promotion on BԪַPart One,BԪַ and itBԪַs unclear if the ongoing writers strike would threaten production on the sequel. But for McQuarrie and company, the only way to make a BԪַMission: ImpossibleBԪַ movie is full tilt.

BԪַEverything weBԪַre doing is by the seat of our pants,BԪַ says McQuarrie. BԪַWe want you to come to the movie and experience it the same way the characters are, which is: I donBԪַt know whatBԪַs going to happen next.BԪַ

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