Joseph Kosinski Q&A: ‘Top Gun: Maverick’ & ‘Spiderhead’ Director On Opening Two Back To Back, A Gander At Finding Goose’s Son In Miles Teller And The Tom Cruise Call To The Studio He’ll Never Forget

Justin Kroll
·7 min read
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Given how busy an actor’s schedule can get, it’s not that rare to have multiple projects premiering over a short period of time. It’s rarer for directors. Joseph Kosinski not only has Top Gun: Maverick opening worldwide on Memorial Day weekend; his Netflix thriller Spiderhead premieres June 17.

“I’d prefer some space but the circumstances have demanded otherwise,” Kosinski tells Deadline. “The good thing is that they are very different films playing in different mediums (theatrical vs streaming).  I’m going to try and embrace the madness of opening two movies back to back,.”

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After being handpicked by Tom Cruise to lead the next chapter in the long-awaited sequel to the blockbuster classic that launched the movie star’s career, Kosinski has spent that last five years getting this film in front of audiences. Of course, like with so many films, the COVID-19 pandemic forced those fans to wait a little longer. The silver lining of this delay led to an opening in Kosinski’s schedule which allowed him to get Spiderhead into production, and he tapped his Top Gun: Maverick co-pilot Miles Teller to star alongside Chris Hemsworth and Jurnee Smollett.

Prior to tonight’s Top Gun: Maverick‘s Cannes Film Festival premiere, Kosinski talked with Deadline to chat about the pitch that won him the job, and his plans for his untitled F1 racing pic at Apple starring Brad Pitt:

DEADLINE: During the San Diego premiere of Top Gun: Maverick, Cruise joked that you were bugging him about this film all the way back to the Oblivion shoot. How much did you seriously talk about the idea of a sequel during that film? How did your initial pitch go?

KOSINSKI: He says we talked about it but honestly I don’t remember any specific conversations.  That being said, the crew t-shirt featured the Oblivion title in the style of the Top Gun logo — so maybe the idea was floating around in my subconscious.  

 

This project started when Jerry and I flew to Paris to pitch Tom on what my approach would be.  I started the discussion with what I thought should be the emotional core of the film:  the severed relationship between Maverick and Goose’s son set against a dangerous combat mission that would take them both deep into enemy territory.  As soon as I said that, I could see the wheels in Tom’s head starting to turn.  

 

The second part of the pitch was my idea of what Maverick is doing in the Navy when we meet him at the opening of the film, the whole top secret “Darkstar” sequence.  Then I talked about how we would be able to shoot the whole thing practically by using a new camera system that would allow us to put a camera in the cockpit (we eventually figured out how to fit six cameras in there).  And finally, I said that we shouldn’t call it Top Gun 2, it should be Top Gun: Maverick because it is a character driven rite-of-passage story just like the first one.  I also mocked up a poster that ended up being the thing he dropped on Instagram when we started shooting.  After I finished my pitch, Tom picked up his phone and called the head of the studio and said that we’re making the movie.  Definitely a moment I won’t forget.

 

DEADLINE: The film does a fantastic job of balancing the nostalgia of the first film with new elements. Once you landed the job, what was most important for you, Tom and the team when it came to paying homage to the original while also making it feel fresh?

 

KOSINSKI: We said from the beginning we didn’t want to make the “cover band” version of Top Gun. The film should acknowledge the past, but also bring new elements to the table through story, characters and visuals.  Sometimes it did feel like we were looking backward a little too much so we would make adjustments by either changing a scene or cutting it entirely.

 

DEADLINE: The ensemble cast is impressive from top to bottom. Rooster, the son of Maverick’s co-pilot Goose played by Anthony Edwards was pivotal and there were endless auditions. You previously worked with Miles on ‘Only the Brave;’ what was it about his initial meetings and tests that made you feel he was the right guy to play Goose’s son?

 

KOSINSKI: One of the scenes we tested with was the confrontation between Maverick and Rooster in the “ready room”— a pretty tense confrontation between the two that is the result of years of harbored resentment and guilt.  It’s the kind of scene that is in Miles’ wheelhouse and affirmed the idea that the actor playing the part needed to have strong dramatic chops and be able to go toe to toe with TC’s intensity.

 

DEADLINE: The original ‘Top Gun’ was ahead of its time for its cinematography during those aerial scenes yet the new movie gives more of a feel of being in the cockpit. How did you plan and execute those scenes?

KOSINSKI: It was a 15-month process from concept to execution working very closely with the Navy to do the design and get the approvals to put 6 IMAX-quality cameras in the cockpit.  The actors went through 3 months of pilot training designed by Tom to get them ready for the forces on their bodies.  They also had to complete Navy underwater training before they were allowed in the F-18.  We did over 3800 storyboards for the film in preparation for the aerial sequences as well as pre-vis for certain sections.  Every day we would start with a two-hour brief attended by all the pilots and actors.  We would go through every shot and talk about camera angle, jet choreography, lighting, weather, and most importantly, safety.  Then I would rehearse with the actors and their Navy pilots in a wood mockup of the F-18 (called a “buck”) for an hour before they got into the real aircraft.  They would do their flight, record the footage completely on their own, then we would review it immediately after they landed, give notes, and send them up again in the afternoon.  It was a tedious way to shoot but the only way to get the footage we wanted.  I’ve got to give our actors tremendous credit for all the blood, sweat, and tears.  It was a monumental team effort.

 

DEADLINE: As for the non-flying scenes, the script that delivers the emotional tone especially when it came to Maverick and Rooster’s relationship arc. How much help was McQuarrie when it came to the final product?

 

KOSINSKI: The Mav/Rooster and Mav/Penny scenes were the ones we spent the most time writing, re-writing (and re-re-writing).  The bones of the story were there but one of McQ’s superpowers is his ability to tailor a scene in a way that suits the specific actor playing the part.  He knows how to lean into their strengths and really allow them to shine.  That’s just one reason why he and Tom are so successful together.

 

DEADLINE: Timing is everything in this industry and I do feel this film coming out on Memorial Day to jump start the summer box-office is an enviable slot. Given the Covid delays, did you fear the film might never be seen in a crowded theater?

 

KOSINSKI: I never doubted we would wait for theaters to come back but I did worry that somehow the film could become a bit stale sitting on the shelf.  The surprising thing is that the pandemic and state of the world actually have made the film feel more relevant now than ever.  People are excited to return to the movies and I can’t wait to watch it with a packed house.  

 

DEADLINE: Has there been talk at all at the future of the franchise and if sequels or spin-offs — a Hangman limited series on Paramount + for example — are possible?

 

KOSINSKI: This was such a monumental task. We are all going to just enjoy getting it out there for the world to see.  But, I can’t wait to see where this cast goes with their future careers.

 

DEADLINE: Switching gears to Spiderhead, it is different from your event films. What was it about the story that drew you, and did the Top Gun delays provide an opening to allow you to get this film done sooner then you expected?

 

KOSINSKI: The script was like nothing else I’d read before.  It had a very distinct tone and a fascinating character in the center of it.  It’s a genre-spanning film that offered a unique directorial challenge both in the very contained nature of the story/world but also the manic performances required from the actors.  I went straight into pre-production in Australia on Spiderhead right after finishing Top Gun: Maverick so it gave me plenty to do while Maverick was sitting on the shelf and the world was stuck in lockdown.

 

DEADLINE: Chris Hemsworth surprises here with what feels like his first real turn as a villain. 

 

KOSINSKI: Yes I agree.  Every day he impressed me (and the whole cast/crew) with his preparation and dedication to this incredible performance.  I can’t wait for people to see the character he created and how wickedly complex and funny he can be. 

 

DEADLINE: Before I Let you go, what about your F1 pic at Apple with Brad Pitt? Will this be your next project and do you have any idea when you might get that in front of cameras?

 

KOSINSKI: We are prepping it now and my hope is that we will be shooting next year during the 2023 F1 season.  I am producing it along with Jerry Bruckheimer, Lewis Hamilton, and Plan B so I’ve got a dream team of collaborators on this one.  

 

DEADLINE: Finally, now that you are finally able to get both these films in front of audiences what is your hope they takeaway from both and also how they see you as a director in the years to come?

 

KOSINSKI: With Top Gun: Maverick I hope it shows people why we make movies for theaters.  The film was designed to be enjoyed on the biggest screen with a packed audience.  Spiderhead is a reminder that not everything needs to be based on known IP and that the best special effect can be a fantastic performance.  I hope to be known as a director who works hard to deliver at the highest level regardless of the size of the film and, hopefully, tells a story in a way you’ve never seen or heard it before.  That’s it.

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