How Tom Cruise and Miles Teller pulled off those insane, high-flying stunts in Top Gun: Maverick
By Jack King
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According to the aviation website Aerocorner, in today's money, a Boeing F/A-18 Super Hornet — the fighter jet du jour used by the U.S. Navy since 1995 — costs the American government $67.4 million. That isn't a bulk deal, folks: it's per plane. It should come as no surprise to anyone with a sliver of critical thought, then, that Tom Cruise, Miles Teller and Co. didn't actually pilot the vehicles we see in Top Gun: Maverick.
“But it looks real!” Yeah, it does. That's movie magic, baby.
Nevertheless, Tom Cruise knew from experience on the first Top Gun just how physically taxing the face-melting forces of extreme flight can be: on his debut test run, rocketing up to double the speed of launching astronauts, he hurled inside his oxygen mask. While they might not have actually hit the throttle and handled the joysticks, Cruise did insist that they actually go up into the air, albeit as passengers, not pilots.
Ergo, he put the ensemble of Top Gun candidates through an intensive training course in the run-up to production. Going from smaller prop planes to, eventually, actual F-18s — loaned to the filmmakers by the Department of Defence for a measly $11,000 an hour — they learned not to fly the things, but how best to mitigate the ill effects of jet flight. In part, this was a three-month boot camp to avoid air sickness en masse.
But it worked: “There was never a time on Top Gun: Maverick where we had to delay or stop filming because somebody felt sick,” says Kevin LaRosa II, the movie's aerial stunt coordinator. Sitting down with LaRosa for just under an hour, we got all the goss from the making of the Top Gun sequel.
"We had what I like to call rules on Top Gun: Maverick as far as aerials were concerned. And the first and foremost rule, it all had to be real. However: not every aircraft we used in the movie is readily available in the United States, or they're not flyable here, and we show their aircraft flying.
“So here's the other rule: there has to be an aircraft in front of the lens, but a subject [stand-in] aircraft could be used — like another F-18. And then visual effects comes in, they tweak or retexture it to look like a different aircraft. [See: the ambiguously-defined ”fifth-generation jets" the equally nebulous bad guys fly.]
“But the beauty of that is the audience should know that there really is an aircraft out there — the vapour's going to be real, the flight dynamics are going to be real, it's simply a digital reskin of a real fighter. When it came to VFX plane shots? Always a real aircraft.”
"Our cast had to be in the aircraft for every shot. So when they're delivering those epic performances, they are really in there pulling those Gs. Production went to great lengths to design that in-cockpit IMAX camera set up so those actors could be in there, doing that.
"This was a process that was built in and heavily driven by Tom Cruise. They had me build the training programme: we started them in Cessna 172s — my father and I were actually the first cast flight instructors — and those little single-engine aeroplanes are entry-level aircraft that anyone would learn to fly.
"This gave the actors spatial orientation, and an understanding of what flying was all about, where to look where, where to move their hands, what all of the gauges do, the basic things. How to turn, land, takeoff.
"We graduated from there to an aircraft called the Extra 300. Their new instructor there was Chuck Coleman, a great friend of mine — again, this is all being heavily monitored by Tom Cruise every day, every step of the way. [Cruise earned his pilot license in the mid ‘90s.]
"This is the aircraft the general public would’ve seen in Red Bull Air Races or other stunt shows. It's a single-engine, piston-driven aeroplane that's extremely manoeuvrable and capable of pulling a lot of Gs. This part was to build up their G tolerance.
"From there, we moved on to the L-39 Albatross, a Czechoslovakian fighter trainer jet imported to the US — it's readily available, very manoeuvrable, very fun. And this was for the cast to learn how to pull heavy Gs. By the time they graduated from this one, and got into the F-18s, they were seasoned pros.
“This process lasted for three months, all in parts of Southern and Central California. That's why even for a guy like me, who can watch something and pick it apart, I watched Top Gun: Maverick and it looks like they're real naval aviators.”
"The Cinejet platform is something that I dreamt up: I needed a camera platform that would match the story quality of Top Gun: Maverick, something that'd really let us get in there, into the dogfights and canyon runs, really put the audience through a thrill ride.
"I was struggling to find the right platform and, again, I landed on the L-39 Albatros. I put a picture of a camera gimbal over the nose of the jet — in an old programme called Microsoft Paint — and said, you know what, that's it. We had to work with the manufacturers to make it a reality but, a year later, the L-39 Cinejet was a real thing.
"Previous jet-based platforms worked with partially stabilised camera technology, meaning that if I'm flying that aircraft, and I rock my wings at all, it could disturb the shot. It was a lot harder for the aerial director of photography, or the camera operators sitting in the back of the jet — they'd have to stabilise my movements, which is very difficult to do.
“With the Cinejet, the gimbal is fully stabilised. It doesn't matter what I do while I'm flying, that thing's gonna be rock steady. Now you can get very aggressive, really get the camera in there so we're shoving the audience in the face of these afterburners.”
"We were working with F/A-18 F Models, which are two-seat F-18s — basically a pilot up front, and typically a weapon system operator in the back seat. They look very, very similar. So we'd have forward-facing cameras over the shoulder of actual naval aviators in the front seat at the controls, and four rear-facing cameras [facing the cast] in the back.
"For the exterior sequences — say when we see Tom flying an F-18, we're enhancing that F-18 with CGI to change it from a two-seat to a single seat. The beauty is that really is a shot of Tom in the back seat of that F-18, so he is there, being piloted by a genuine naval aviator.
"The cast would have an hour and a half to two hours in the morning, and another period in the afternoon, but typically no more than four hours a day. But that's a lot of flying. When you're pulling those days and doing the type of manoeuvres that we were doing, that's a lot.
“Obviously everything in the cockpit needs to be stowed away. They would unzip their flight suit, pull out whatever they need to do their own hair and makeup — you know, spray their face if they needed extra sweat, make sure their mask was centred, their googles were clean.
“Once that was all done they'd stow all that stuff, hit the big red button and start rolling the camera. This is where they became like a [director of photography]: they'd tell their pilots, 'Hey, I need the sun back here at five o'clock, I need a thirty-degree right bank, and I'm gonna hit these lines!'
"Remember, in a jet, you're moving really fast, you're covering a lot of terrain — it's not like you can just get the perfect background and leave it there, you have to hit it, say your line, and come all the way back to get [another take]. By the time we'd get to the debrief, we'd sit there and watch maybe ten takes, and two would be perfect.
“So it's a lot of work — not just sitting there taking a joy ride!”
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