Maverick’ handles naval location and partnership –

From filming drones over 12,000 feet of mountain waterfalls to filming dynamic floating series in San Francisco behind the production crew. Top Gun: Maverick Visit remote areas of the West Coast working with the Navy to bring the high-visibility scenery to life on the big screen. The decision makers behind the film, which joined the billion-dollar club over the weekend, met on Wednesday to discuss the logistics of filming a blockbuster.

Hollywood sources reviewed the film at a branch dedicated to the industry’s top physical professionals June 27-30 during a multi-day networking event hosted by the Association of Film Commissioners International (AFCI), a group of more than 300 curators. . Continente Branch, a joint effort by AFCI and hollywood reporterI saw dozens of production executives at major studios talking about quinces, fruit plates and cakes.

The panel included Lee Rosenthal, president of Paramount Studios Physical Production, as well as Top Gun: Maverick Executive producer Tommy Harper, location manager Mike Fantasy and air coordinator Kevin Laroza. The conversation had to be moderated. THR Publisher Nekesa Mumbi Moody covered the scout’s footage and partnered with the Navy to shoot the film.

“We had to quickly come up with a plan to set foot in California,” said Harper. “But one thing we all talked to the Navy about is that we need to understand where the planes were. You don’t want to open a store somewhere and then travel by plane. You want to be where the planes are and handle the taxi and schedule accordingly. We were grateful to be able to do the entire movie in California and a little bit in Nevada and Washington.”

After discovering where the planes were, Fantasia researched the individual geographic areas in detail for every flight sequence available for Navy production.

“You don’t fly an F-18 anywhere at 650,000 miles per hour,” he said. “We looked at areas of military operations and saw how they fit into some scenarios and not others. We set up stages and locations and finally flew a lot… around Death Valley. It was part of the sequel. Then we flew out of Fellon in some other sequels. Then we head north to Widbay Island to fly over the waterfalls, which is probably the hardest place in terms of air as you fly into very deep valleys – the 12,000 foot mountains that surround you. If there’s a problem, you’ll need some time before they find it, because you’re not in the middle.

Fantasia added that the Navy played a big role in the reconnaissance process to see how the aircraft’s translation would translate on the big screen. He recalled, “We’d say, ‘Jazz, wonderful reception [a view of the] Landscape, but it would be nice to see a plane there. The Navy said, “Get up tomorrow and let’s fly.”

Rosenthal noted that director Joseph Kosinki actually “made two films: an aerial story and a land story”. On filming logistics in two categories, Harper said, “We developed a production schedule. Okay, let’s shoot it as a basic story like every other movie filmed as a full group. And then we had our crew… we had such a wonderful and detailed number of people, maybe 70, which is not a lot of people, traveling when we took the Andes. “We did our best to film the aerial story separately from the terrestrial story.”

Panelists recalled a time when they had to change their production schedule and move when an aircraft was unable to leave the port where it was loaded.

“We have to move,” Harper said. “We had to figure something out for two days. We don’t close. We had to unplug the aircraft crane on the conveyor overnight so we could film the next day and place hundreds of additional items on the conveyor. We detained the crew at the aircraft carrier dock, so we never closed. We were always maneuvering.”

Harper noted that stopping production was never an option. And she added: “There is no insurance for this type of case. You know you’re going to spend money to get the planes out of the warehouse. You know you spend money on a crane operator. I do not know how much this money. I know it’s a lot cheaper than turning it off.”

But sources said the operator’s malfunction was not the biggest obstacle to filming. That honor is said to have passed from Jennifer Connelly’s character to the nautical scene. They said the problem was that there was no wind in the port of San Pedro, where they had to shoot first. They eventually decided to move the scene to San Francisco to film.

When asked why the film resonated with viewers, Laroza said the production will spare no expense and will never be satisfied with mediocrity.

“Here best weapon “The rule I like: there’s always a plane behind the lens,” he said. “There is always a subject plan. A pilot always flies over.