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Each one is just… they’re themselves. They are very much themselves. And they’re committed. When you watch my movies, my movies are very much ensemble. I love everyone to shine and I want a full story. I wanted those characters to come alive, I wanted them to shine. That’s why I train them in the planes, in the jets and taught them about editing and lighting so that they understood the tone, what we needed in those airplanes. Not just in the airplanes but on the ground, in those scenes.
You lead by example, you don’t have your cast do anything that you’re not prepared to do – why is that so important for you in leading this next generation of actors? I want to see them do well. I was fortunate to work with many great people who were very generous to share their craft with me and it’s an art form that needs to be handed down. And I’m saying, ‘Look, here’s the things that I did – are you interested? You don’t have to do it my way but if you’re interested in this, this is how I did it. You’ve got to find your own way but here’s some of things that I found worked.’ So, if they want it, it’s there for them. I’m interested in what movies they like, what do they think about performance, what do they think about cinema? And our door is always open to collaborate on things. I like to empower people and get them in a place where they’re owning the screen, their owning their characters, they’re owning their space. You just get very interesting performances and a better movie with it.
Lady Gaga is a part of the soundtrack – how did that come about? We saw you a picture of you both in Vegas recently? I called her. We’d shot most of the film and we had Lorne Balfe, who
produced the score, along with Hans Zimmer and Harold Faltermeyer. There was a door that we were trying to open just musically. The score is important to every film but with this one, we were searching for a long period of time, because it’s not just a needle drop. There’s elements that are the heartbeat of this film. So she sent the song over and we were in England and she was all the way over in America and it was almost as if she was talking to us. It was perfect. I was like, ‘Oh my gosh, your story and this story – how it comes together.’ It became the heartbeat of the score. Obviously, I went to Vegas to thank her and we were working on the music at that point and then I was going to come back and see her jazz show and then the pandemic hit. And the next live show that I was able to see was her jazz show, two years later. So it was a moment of celebration for us that finally people get to hear her music and it’s our film, it’s our film together. And it builds up, like the story of how her score is laid in to just build to that moment. I feel grateful to her for that.
Gaga is amazing isn’t she? I admire her so much. She is an incredible artist. I love Gaga. She can act, she can compose, she can do jazz and pop. And what she gave us, she’s like the guardian angel for the film. Her heart was the heartbeat of this film. It was almost like, she’s over there and we’re over here and when it just laid in and connected right down the line, it became our score and it became the beating heart of the film. Rare does that ever happen. I’ve always admired her work right from the beginning of her career. Who couldn’t love Gaga? I’m sorry, but that woman is a force of nature.
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CE L EBRIT Y INTERVI EW TOM CRUI S E
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