(:: History ::)
1)Having been involved in a worldwide terrorist conspiracy, the agency Impossible Mission is forced to stop its activities. The Protocol Ghost is set up: Ethan Hunt and his new team have to operate in secret to whiten the name of their organisation. No help, no contact, complete insulation. This mission is going to prove to be be the most most dangerous and most intense that they have to fill.2)The IMF is shut down when it's implicated in the bombing of the Kremlin, causing Ethan Hunt and his new team to go rogue to clear their organization's name.
Date (s) of Exit (s):
December 14th, 2011 | 
December 21st, 2011| Accomplished by: | Brad Bird |
| With: | Tom Cruise, Jeremy Renner, Paula Patton, Simon Pegg, Ving Rhames, Josh Holloway, Léa Seydoux, Tom Wilkinson, Anil Kapoor, Michael Nyqvist, Miraj Grbic... |
| Distributor: | Pictures France Paramount |
| Type: | Action, Adventure, |
| Country: | USA |
| Length: | 2 h 18 |
| Original title: | Mission: Impossible - Ghost Protocol, Impossible Mission 4 |
Official Site (s):
France: http://www.missionimpossible.com/intl/fr/ USA: http://www.missionimpossible.com/
(:: Trailer for Mission Impossible: Ghost Protocol ::)
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(:: Scenes of the movie ::)
The team of the Protocol Ghost:The agent Ethan Hunt (Tom Cruise), who had habit to work alone, must lean from now on on a team. «Ethan counted only on himself in three previous episodes», explains the scriptwriter André Nemec. «But in this film, he must be backed up by others. It really costs to him because he was betrayed an innumerable number of faiths by his team mates and his organisation, but he doesn't have henceforth other choice anymore than to trust in these three agents whom he knows barely».
For this fourth opus, idea that an agent is a woman in strong temperament enticed the scriptwriters Josh Appelbaum and André Nemec. According to the own terms of the film director Brad Bird, the agent Jane Carter (Paula Patton) is «a hard to be cooked». Strong in a solid experience of ground, she isn't only enlivened by her will to complete mission successfully, but especially by a desire of revenge. «She is very gifted, she has a tremendous number of charisma and she completely took the very physical dimension of the role», underlines Tom Cruise. "Jane", adds the actress, «is as formidable as his team mates men, otherwise more still : it is necessary to count from now on with her».
Technical expert to the team in Mission: Impossible 3, Benji Dunn (Simon Pegg) was promoted agent of ground. «He handles new technologies wonderfully», underlines the actor. «It is a small genius of computer science with answer to everything». Josh Appelbaum resumes : «J.J. (Abrams) often said that he would well see Benji coming off of the screen of computer to go on the ground. Idea pleased us : they were so much accustomed to see these agents hardened by all these successive missions that they thought interesting to confront Ethan with this type really without experience of the ground. All that is very new for him». Simon Pegg also brings a good dose of humour to his character, what cuts MISSION in the world of saga: Impossible, reputed for his muscular sequences of action. Simon Pegg apporte également une bonne dose d’humour à son personnage, ce qui tranche dans l’univers de la saga MISSION: IMPOSSIBLE, réputée pour ses séquences d’action musclées.
Josh Appelbaum follows : «For the agent William Brandt (Jeremy Renner), they wished that the spectator has feeling first to be dealing with a banal administrative frame, then that he realises later that he has huge faculties. Brandt is a new agent in the team of Ethan, which is going to cause difficulties to him, what had been never made in the previous episodes».
Jeremy Renner was immediately enticed by his character. «Brandt is a scientist a bit rond-de-cuir seemingly but shrewd as a fox», signals the actor. «He contents himself with making his work without feeling. But they realise progressively that he conceals hidden talents and that he has physical capacities which wouldn't have been suspected at a so wedged scientist's as to him! He frankly doesn't feel like being part of the team but circumstances compel him to it».
Jeremy Renner arrived on the film almost incidentally, further to a quick appointment with J.j. Abrams for quite other plan. And yet it happens that Tom Cruise was on the spot for a meeting of preparation of filming. «It is at this instant when I met Brad Bird, Bryan Burk and Tom, they told me story, even though there wasn't scenario still», asserts the actor. «They described me the character whom I thought rather interesting. I couldn't say to them not …»
The film director was delighted to have united such team. «They are all actors of an extraordinary charisma», he says. «They have every four of the different personalities and a sense of rhythm which is peculiar to them but their alchemy very well worked on the screen», he says. Tom Cruise acquiesces: «I love the way they work and the characters whom they represented. Every agent, most unusual, brings his stone in the building and creates a tremendous dynamics in the team».
They also discover in the casting of this fourth episode of the actors native to Russia, to India, to Sweden and to France.
«Kurt Hendricks (Michael Nyqvist) belongs to this tradition of nasty types which clamped down at the time of Cold War. It has a plan of mass destruction and it is solved to carry him out», underlines André Nemec. «He is very old-fashioned, »confirm Michael Nyqvist, actor of Swedish origin. After several debates, Brad Bird, Tom Cruise and J.j. Abrams had the idea of a dreadful sociopathe caused to destroy the world. «They really wanted that his plan isn't either too complex, or too much abstracted», Josh Appelbaum adds. «It is the emblematic stratagem of the bastards that there was habit to see in the traditional films of spying. What is modern, on the other hand, it is the way the agents try to neutralise him and the method to avoid them». Simon Pegg adds :« Most disconcerting, it is because he is persuaded to act in accordance with morality and it is what makes a formidable enemy because he thinks that his actions are legitimate and that he fights for a fair reason». Simon Pegg ajoute : «Le plus déconcertant, c’est qu’il est convaincu d’agir conformément à la morale et c’est ce qui en fait un ennemi redoutable car il pense que ses actions sont légitimes et qu’il se bat pour une juste cause ».
Sabine Moreau, interpreted by Léa Seydoux, is an emblematic character of the cinema of spying. «It is a killer with pledges who kills for some money but who, in this film, contents herself with diamonds», points out the actress. «She is violent, while being able to be a bit loving, what makes her more diabolic still», underlines Josh Holloway, who camps Trevor Hanaway, agent of the IMF whose meeting with Sabine Moreau is unforgettable., souligne Josh Holloway, qui campe Trevor Hanaway, agent de l’IMF dont la rencontre avec Sabine Moreau est mémorable.
The film is also interpreted by the Indian actor Anil Kapoor, who became famous worldwide thanks to Slum-dog Millionaire and who camps here a magnate of the media of Indian origin, or else by the Russian Vladimir Mashkov, in the role of the secret agent Anatoly Sidirov.
Mission: impossible - Discredited and the only in the world:
The agents of the IMF Jane Carter (Paula Patton) and Trevor Hanaway (Josh Holloway), as well as the expert in new technologies Benji Dunn (Simon Pegg), are made responsible for finding a "conveyor" who keeps the codes of launching of nuclear missiles. Unfortunately, their mission turns badly : it is killer as sensual as formidable, Sabine Moreau (Léa Seydoux), who takes over codes.
Meantime, the leader of the team Ethan Hunt (Tom Cruise) must be exfiltré of a prison of Moscow : his team mates therefore have to enter in the middle of Kremlin and unite information on the final addressee of codes, some "Cobalt". Shortly afterwards, this last reveals their identity and, even before Ethan and Benji couldn't flee, a terrible explosion occurs on Red Square. Ethan – and the IMF agency – are accused of being the authors of the assassination attempt and the President launches the «Protocol Ghost», in other words a complete dismantling of the agency.
Forced to welcome a new team mate, William Brandt (Jeremy Renner), Hunt must, for the first time of the life, work with a team which he didn't choose. Seemingly, Brandt is a scientist who seldom leaves his office, but he has, in reality, a cloudier past than he appears to it. Very in spite of himself, Ethan must work in close cooperation with this new team, without the support of the ex-IMF, to whiten his reputation, to complete his mission and to prevent a nuclear disaster.
Josh Appelbaum, who developed scenario, tells : «J.J. called us to ask us if it was possible to imagine an intrigue in which Ethan under new day would be discovered. Certainly, Ethan Hunt is the spindle of saga but it was this time to build a history around its reports with the team and around its will to preserve her, at all costs». That's how the idea of the Protocol Ghost was born which, once launched, discredits IMF completely. «They told themselves that by depriving him of resources, Ethan would get closer to his team mates and that, suddenly, the spectator would become attached to these characters», the co-writer André Nemec resumes.« They wanted to make of Ethan, at the same time a "player" and a "coach", in other words a type which isn't only part of the team, but that must run partners frankly without the taste of the collective. He must therefore make sure permanently that his team mates are a little more welded». C’est ainsi qu’est née l’idée du Protocole Fantôme qui, une fois enclenché, discrédite totalement l’IMF. «On s’est dit qu’en le privant de ressources, Ethan se rapprocherait de ses coéquipiers et que, du coup, le spectateur s’attacherait à ces personnages», reprend le co-scénariste André Nemec. «On voulait faire d'Ethan, à la fois un "joueur" et un "entraîneur", autrement dit un type qui fait non seulement partie de l’équipe, mais qui doit diriger des partenaires qui n’ont pas franchement le goût du collectif. Il doit donc en permanence faire en sorte que ses coéquipiers soient un peu plus soudés».
Other postulate of departure: the members of the IMF are deprived from now on of their habitual resources: they can't count any more either on their logistical support, or on the possibility of being exfiltrés. «In the world where reign new technologies, they didn't want that the agents could lean on an immediate access to the most strategical information and not to make their job easier, that the gadgets which they use don't always work very well», takes back Nemec. For example, Ethan doesn't have the gloves anymore Gecko to climb a building or its necessary machine to masks when he more needs it. Josh Appelbaum adds :« It is idea that, in life, everything doesn't take place always as it had been envisaged and they wanted that it is also valid for our agents. They can't count any more on the agency or on their gadgets and their tools – they can't count more than on themselves. It was important that the characters aren't in omnipotence. On the other hand, they have good intuitions, they have a solid training and they often find clever solutions to take out».
The producers even encouraged Brad Bird to give them his conception of a film of successful spying. «When I boarded in adventure, they said to me that they had an intrigue but they asked me if I had ideas which I would really like to see transposed into the film. In other words, I was instead of the spectator who goes to the cinema by dreaming of all what he would like to see on the screen». It is so the film director who had the idea of the lens Eyecam de Brandt (a contact lens which works as a video screen) who allows a stealthy meeting with Sabine Moreau or else of chase in full storm of sand. «For him, it was really important that mission doesn't work willy-nilly in 100 %», underlines Nemec. «Brad had a vision a bit brought forward by the things which very much pleased us». C’est ainsi le réalisateur qui a eu l’idée de la lentille Eyecam de Brandt (une lentille de contact qui fonctionne comme un écran vidéo) qui permet une rencontre furtive avec Sabine Moreau ou encore de la course-poursuite en pleine tempête de sable. «Pour lui, c’était vraiment important que la mission ne fonctionne pas forcément à 100%», souligne Nemec. «Brad avait une vision un peu décalée des choses qui nous a beaucoup plu».
Ethan's reputation within the agency, well-known of team mates of the protagonist, still complicates things. «What interested us by discovering Ethan in prison at the beginning of the film, it is that they wonder if he didn't deserve his fate», points out Nemec. «His partners aren't frankly ready to follow him blindly but tell themselves rather than if he is incarcerated, it is that he a bit searched him. Suddenly, throughout the film, they always wonder about its capacity to make good decisions».
The producers also wished that the film, while registering in saga MISSION: IMPOSSIBLE, could be seen independently of three others. «They made sure that the spectator could appreciate Protocol Ghost, even if he has never seen the single shutter of saga», explains Bryan Burk. «It is possible to see this film following intrigue and by understanding what lived Ethan and where he is there currently because it is about an autonomous history. Therefore, if the previous episodes were seen, he will be more still appreciated».
A powerhouse:
“I loved series television when I was youthful”, entrusts Tom Cruise. «I told myself that if he was adapted to the cinema, the spectator would be transported in several countries, action would be hectic and innovative visual effects. It is the first film which I produced. As producer and actor, I always think of the public. I want that he has a good time and that he has feeling to board in a new adventure every time».
Film director of the previous episode, J.j. Abrams endorses producer's role here. «I want to work with people whom I admire, as J.J., who are clever and gifted», follows Tom Cruise. «I loved his series television and particularly ALIAS, and I wanted that he accomplishes his first feature-length film with me. A tremendous experience with MISSION was lived: IMPOSSIBLE – III and, as I love J.J. very much, I knew that by revising together, a new palpitating film is going to burst and be made».
For this new opus, Abrams called Josh Appelbaum and André Nemec, who collaborated on series ALIAS during three years. «When Tom contacted us for this plan, we immediately thought of them», declares Bryan Burk, associate of Abrams. «Their taste for this type of film and their capacity were known to imagine captivating and original intrigues of spying, as well as to stage bravura. They can instill life at their characters and give them density».
«It is an extremely difficult type», asserts Tom Cruise. «It is continuously necessary to renew intrigue and I wonder always how make her interesting and support the spectator in breath». First three episodes gathered in in total more than 2 thousand million dollars of worldwide recipes. Given that films are signed by different film-makers, the style of each is unique.
Film director of animation, Brad Bird undoubtedly didn't establish himself as an obviousness to make a big action film but this choice proved to be judicious. Although he accomplishes only three films of animation until then, he won the Oscar of the best film of animation for Indéstructibles and Ratatouille. One might as well say that he already has a solid reputation.
The producers didn't stop in the fact that the film-maker comes from animation because they knew its talent : «We are mad with his job for a long time», points out Bryan Burk. «They knew that he would pass to real shot some day. And luckily, it is with us that he skipped the step». For his/her part, Tom Cruise admires Brad Bird since he saw his films of animation. «Tom had loved Indéstructibles and wanted to meet me», brings back the film director. «He therefore invited me at home and cinema was spoken. They belong right away really heard and they had a feeling that they were on the same wavelength in cinematographic art». De son côté, Tom Cruise admire Brad Bird depuis qu’il a vu ses films d’animation. «Tom avait adoré Les Indéstructibles et souhaitait me rencontrer», rapporte le réalisateur. «Il m’a donc invité chez lui et on a parlé cinéma. On s’est tout de suite bien entendus et on a senti qu’on était sur la même longueur d’ondes en matière de septième art».
«I called him to offer him to pass at home», Tom Cruise resumes. «I longed to meet him. I had feeling to find an old friend and they started to speak about our favourite films. At some point, I said to him "if one day you want to pass to real shot, I would love very much to play for you". Even in his films of animation, he works as a film director of cinema in real shots. His production is extraordinary, just as his characters. He is percussive, he composes his plans remarkably and he has a tremendous sense of rhythm and of suspense».
Brad Bird adds : «I know J.J. many years and it has been therefore for a long time since they search a plan on which it would be possible to work together but they have never been available at the same time. They saw themselves and I said to him that I had moved a plan aside : I therefore asked him if he had something nice to offer me. He answered me : "Mission: Impossible? "He told me the story which right away hung me and then, from there, everything went very quickly». As producer of saga, Tom Cruise wishes that the film directors set their own style on every episode. «He doesn't push the movie directors to submit to a predetermined style, what would return to put on in automatic pilot and to abandon any creativity», takes back Brad Bird, that appreciates its approach.« All films of saga have a common woof since Ethan Hunt must attack insurmountable problems but they have each their own tonality and their own style. It was unique opportunity to work at the same time with J.J. and Tom, and I couldn't let her through!» En tant que producteur de la saga, Tom Cruise souhaite que les réalisateurs imposent leur propre style sur chaque épisode. «Il ne pousse pas les metteurs en scène à se plier à un style prédéterminé, ce qui reviendrait à se mettre en pilote automatique et à renoncer à toute créativité», reprend Brad Bird, qui apprécie son approche. «Tous les films de la saga ont une trame commune puisque Ethan Hunt doit s’attaquer à des problèmes insurmontables mais ils ont chacun leur propre tonalité et leur propre style. C’était l’opportunité unique de travailler à la fois avec J.J. et Tom, et je ne pouvais pas la laisser passer !»
Around the world:
Mission: Impossible – Protocol Ghost is an action film set a fast pace which puts waterfalls in chains of incredible and multiplies the natural decors all over the planet. The film was indeed made between Los Angeles, Moscow, Prague, Dubai, Mumbai and Vancouver, over a period of five months, from October, 2010 till March, 2011.
«It is films which make us travel across the world», signals Brad Bird. «It is what explains their success partly». The executive producer Jeffrey Chernov adds : «When we left in locations, we set out to discover the most exotic possible places. It was very important for Tom. They really wanted to make a captivating action film which takes place in unaccustomed decors».
Filming started in Prague in October, 2010. «I find that it is one from the nicest cities to the world», notes Brad Bird. The stages of prison were turned at home of stopping of Mladá Boleslav (in the northeast of the Czech capital), closed for a long time. «It was rather frightening to cross this building and to think that it was a true prison in which criminals had been locked up», brings back André Nemec. The disused prison was besides renovated by the leader-interior decorator Jim Bissell for three days of filming. «It is a very old building which had to have the air of an ultramodern prison and Jim very well took out», the film director resumes.
The spectacular explosion which shakes Red Square and Kremlin was accomplished thanks to a photographic plate of authentic Red Square located in the background, then filmed by the master of visual effects John Knoll (star Wars, Mishap). «Displacements of every actor were planned and they were precisely timed», points out Knoll. «Then, they filmed the catches of high view - resolution of Red Square under several angles». Later, these plans were included into the pictures of Tom Cruise and his partners cast in air, themselves turned in Canadian Motion Picture Park of Vancouver. It is there, indeed, that production established its HQ and occupied six different sets.
The grandiose beauty of Dubai, in the United Arab Emirates, enticed the team which decided to locate one of the most resounding acrobatic sequences of the film there.
«When they arrive at Dubai, they are impressed», underlines Bryan Burk. «It is a city of the XXIth century that literally came into sight from the desert». The film director explains : «This city had yet ever acted as frame for a film. The film-makers had never exploited the verticality of the architecture of Dubai. It is a properly film site. Most buildings testify a big creativeness and have a very futuristic style. The fact that the city is encircled with deserts gives him a surrealist side : in the middle of this large expanse of sand and of dunes, comes into sight this city, such the country of Oz. I understand that other film directors feel like turning there and using the visual wealth of the site».
In 2009, while Burk and Abrams went up and down the planet for star's promotion TREK, they spent a night in Dubai before going to Kuwait to show the film to the American soldiers who parked there. «While the city was visited, J.J. turned to me and said to me : "They HAVE to come back here to make a film there"», to they underline Burk. One year later, both men planned to undertake a new episode of Mission: Impossible. «They wondered where some stages could take place and J.J. said to me "and why not Dubai? It would be possible to locate the sequence of Burj Khalifa" there», concludes Bryan Burk.
From the writing, the producers had suggested to the scriptwriters Josh Appelbaum and André Nemec to use the tower Burj Khalifa. «It is one of the first buildings which are seen when they arrive at Dubai», points out Brad Bird. «It is a splendid tower which rises skyward, raised as an arrow». Tom Cruise had also thought of this sky-scraper which he had still seen in jobs. «I look at all times at this or that building by asking me how I could climb him or skip him of the top floor», explains the actor.
«When they decided to use this building in the film, they wondered: "what is the most frightening thing which it is possible to imagine?" and answer was: "Let's make it climb the outside of the tower". Tom loved this idea »declares Nemec. In the film, Ethan must climb Burj Khalifa, higher tower to the world culminating in 828 metres, to attain the PC of security without being spotted. Dans le film, Ethan doit escalader la Burj Khalifa, plus haute tour au monde culminant à 828 mètres, afin d’atteindre le PC de sécurité sans être repéré.
The building, which shelters a hotel, offices and flats, was several times visited by the leader stunt man Gregg Smrz and his team. Indeed, these last detailed structure to know how Tom Cruise would be possible be outside the building without taking risks. Production first envisaged the simplest means : construct a decor in studio representing a part of the sky-scraper which Tom Cruise could then climb in optimum conditions of security. «They got ready to fabricate this decor, then to turn the stage there, before supplementing the missing parts of the building in the numerical palette», explains the producer of visual effects Tom C. Peitzman.« Several meetings were organised, they made several sessions of previsualization and of visionnage of story-boards and they dedicated a lot of time to conceive thoroughly all these plans. And then, they saw themselves with Tom and, of course, he wanted to climb the true building! The situation under a very new angle was therefore approached …»
Months of repetitions and of training were needed so that Tom Cruise appropriates completely the movements of escalation and so that these seem natural at the time of filming. A scaffolding was built around the site of training, then lightings were fixed there to heat the glass wall of the building : it was a question of making sure that the temperature is comparable to the one who reigns in Dubai. «We had taken the temperature of the building», points out Smrz. «Tom was very clear thereupon. The glass was therefore heated until it attains 37,7 degrees».
The team of filming could become established on the 123rd floor, still in jobs, to route cameras, cranes and equipment there necessary for the filming of the stages of escalation. To achieve the external part of the building, about twenty windows were disassembled on several floors : across these openings, cameras taken up on articulated arms could so film the ascent of the actor. But they fast noted that during day, the glass wall of the tower heated up so much that it wasn't possible to work by directly displayed on sun's rays.« It wasn't even possible to touch the glass», they point Smrz out. Luckily, the team discovered a site sheltered from the sun – located just above one of many panoramic terraces of the sky-scraper – which allowed to Srmz to instal in it its equipment for waterfalls, without depriving therefore completely of natural lighting the manager of the photograph, Robert Elswit. «When they arrived on the spot, sequence had been so much repeated that they felt knowing places by heart», notes the leader stunt man. «They entered the building, he was climbed and they had the feeling that it was about a military operation».
Tom Cruise was equipped with an adjusted harness-himself and sometimes hard to be carried – fixed to a wiring. A special cable, of the diameter of a rope of piano, was tightened on all height of the building, then attached to the harness of the actor across a miniature pulley (called " ventral pulley ") to control its sticking to the wall of the building. This cable was fixed to the building by points of tie disposed throughout the facade, themselves located in ancient supervision of small windows which had been disassembled with this effect. «It is what supported him against the building», underlines Smrz.« Our job was to be synchronous in comparison with displacements of Tom. We tried to pilot it, but ideal, it was still when our efforts galvanised it». To be sure that sequence takes place gently, the leader stunt man called the experienced mountaineer Dave Schultz, reputed for his escalations on films as CLIFFHANGER and Vertical Limit. «Dave drew Tom away so that he climbs the building exactly as a mountaineer would make it», asserts Brad Bird. Pour être certain que la séquence se déroule en douceur, le chef cascadeur a fait appel à l’alpiniste chevronné Dave Schultz, réputé pour ses escalades sur des films comme CLIFFHANGER et Vertical Limit. «Dave a entraîné Tom pour qu’il escalade l’immeuble exactement comme un alpiniste le ferait», affirme Brad Bird.
Facing the fall of Tom Cruise – when, having lost a tool, he loses grip and tumbles down of a dozen metres before making up for it – even the most experienced stunt men were astounded. «We dropped him on several floors, and he agreed to take part in it several times», specifies Brad Bird. «When he fell of four floors», tells the leader interior decorator Jim Bissell, «it was really spectacular».
Tom Cruise also showed skill by carrying out another perilous waterfall, called " Australian recall ". Ethan is in the impossibility of borrowing the itinerary which he knows to regain to the floor where wait for him his team mates, he is therefore forced to cross the building by rushing head the first one across the window. «A descent face against earth is performed», explains Smrz. «It is most unusual and terrible».
While two days of filming had been envisaged outside the building – before being followed by eight days on a decor in studio – the team stayed four days close to the tower. «While they felt comfortable more and more in the sky-scraper and that they started repetitions, Bob Elswit, Gregg Smrz and Tom came to see me and said to me, "Jeffrey, it is possible to turn more plans than envisaged here, and they would therefore like to have some additional days of filming". They ended up turning 13 plans in Burj which, at origin, must be filmed in studio. All the most difficult pictures, and notably close-ups, in real decors were therefore turned».
Filming marked a lot Paula Patton. «A stage was turned where Brandt catches Ethan by the leg, and then I catch Brandt, and they hold on tightly to him to bring him back inside the building by the window», she says. «I saw Tom who clung to the facade of Burj Khalifa, and he looked at me and said to me, very calmly, "Greeting, Paula" and me I answered him, "Greeting". And there, I looked towards the soil and I realised that I had dangerously leant by the window. It was dizzy to have such point of view since this tower. Anyhow, they are astounded by the beauty of this city. I would have never thought I should be capable of turning the similar stage».
Tom Cruise and Gregg Smrz, accompanied with a photographer, became at the top of the tower Burj Khalifa for a session photo, what testifies their absence of vertigo once again. «It is necessary to take the lift, and even to take many staircases up, before attaining the top floor», points out Bryan Burk. «And then, they are in this tube-shaped space which ends by an arrow, and there is only the single ladder to reach the height. It will have been needed 20 minutes to Tom to arrive at it, while I would have needed 45».
A system of valves, as on a submarine, recuperates the summit of the building to prevent that the wind rushes there. Once reached everything in the top of the tower, Tom Cruise couldn't resist the desire to ask the leader stunt man to take it down in recall on a 4-metre distance to affix his autograph on the building. «The only person who will use it will be the architect charged to repaint the tower over the years», Gregg Smrz is ironic.
Spectacular waterfalls:
In one of the most gasping stages of the film, Ethan Hunt escapes from a building by the window of the fourth floor and, while Russian agents expect that he makes weapon, he catches his belt, dashes forward of the ledge of the window, uses a high voltage line to land on the roof of a van passing thereabouts and finds himself safe and sound in the street. «It was one of the acrobatics the most difficult to carry out the film», asserts the leader stunt man. «It was repeated in studio an innumerable number of time until this Tom Cruise she completely include her and was filmed on the spot. Tom brilliantly took out in some catches only».
It is on the actor that everything rests because it is it which accomplished this waterfall, as all those who follow. «Tom wants to make everything, even when he isn't obliged to it», points out Gregg Smrz. «For some stages, the producers were very anxious but he was of an absolute intransigence and wanted to go until the end. I said to him, "Tom, person won't know that it isn't you who are seen in the stage. Nothing makes you make this : your double could make it and you would have only to notice it". He looked at me and said to me to me : "But I have a good time! "»
Brad Bird adds : «I agree with Tom on the fact that when it is the actor who carries out his own waterfalls, is got a baby something there more and the spectator feels him. Not only the face of the interpreter is differentiated but it is precisely because it is about an actor who a person as Tom gives a true tension in the stage. When he falls, he plays the anxious type which has just been dangled. There is in the benefit a true game of actor and the public doesn't make a mistake» there. Tom Cruise puts himself completely into the holding of waterfalls. «He loves the cinema of action and it is a type which he gets in no way from the light», points out Brad Bird.« Suddenly, he devotes himself thoroughly and trains as a madman for acrobatics. For a leader stunt man, it is brilliant to work with an actor as him because he puts himself at the farthest into job. He wants to include every stage of the slightest waterfall and the way they are orchestrated. And the day of filming, he is all set. He is really sharpened for this type of film». Paula Patton adds : «It is for it that he represents Ethan Hunt in perfection. He is bold. Danger stimulates him, he wants to undertake the impossible, and it is besides what he makes since his beginning». Tom Cruise s’investit totalement dans le déroulement des cascades. «Il adore le cinéma d’action et c’est un genre qu’il ne prend pas du tout à la légère», remarque Brad Bird. «Du coup, il se donne à fond et s’entraîne comme un fou pour les acrobaties. Pour un chef cascadeur, c’est génial de travailler avec un acteur comme lui car il s’investit au maximum dans le travail. Il tient à comprendre chaque étape de la moindre cascade et la manière dont elles sont orchestrées. Et le jour du tournage, il est fin prêt. Il est vraiment taillé pour ce genre de film». Paula Patton renchérit : «C’est pour cela qu’il incarne Ethan Hunt à la perfection. Il est intrépide. Le danger le stimule, il aime entreprendre l’impossible, et c’est d’ailleurs ce qu’il fait depuis ses débuts».
Other actors followed the example of Tom Cruise : completely invested in their job, they, with a view to realism, carried out most their waterfalls and particularly stages of battle.
The actors trained every day during four months with the choreographer battles Rob Alonzo. This one was fond that the actors know perfectly the slightest movement so that they could disembark in a sequence and devote themselves to a battle in a realistic way. «He instilled in us the gestures which it was necessary to acquire to be able to fight, not to launch into a choreographed battle», notices Paula Patton. «But, as the filming of the stage gets closer, some faces are imagined, so at the time of filming sequence, they don't think of it any more and they content themselves with being as plausible as with possible».
Training proved to be useful for Paula Patton and Léa Seydoux when they end up confronting one another. «They wanted that it is a cruel and persevered battle», points out the film director. «At first, Léa was supposed to turn only some close-ups, before a stunt woman takes the relay, but she was taken in game and insisted to turn the stage itself». Both actresses trained during months with Gregg Smrz and Alonzo to perfect the stage perfectly. Les deux comédiennes se sont entraînées pendant des mois avec Gregg Smrz et Alonzo pour mettre la scène parfaitement au point.
Sequence where Ethan confronts Kurt Hendricks (Michael Nyqvist) to recover the cheget – the briefcase of launching of the nuclear weapon in Russia – and to check a disaster required complex waterfalls and building of an extremely sophisticated set. Both men fight at bare hands in an automated garage, where vehicles don't cease going and coming around them.
«This stage corresponds to our will not to have recourse too much for this film to guns», explains André Nemec. «With Josh, they wanted to organise a hand-to-hand combat, in ancient, in an extravagant decor. I remembered a dialogue with a friend architect who had spoken to me about automated parkings; researches on Internet were done and they found one who belonged in Volkswagen. Some photos were looked and they told themselves that it could constitute the most deranged decor never imagined for a battle between two men who argue a nuclear briefcase!»
The supervisor special effects Mike Meinardus and his team put six months to build the decor which, in the final, was completely operational. Structure supported a central column of 23 metres high and of about 16 tons on which were fixed two forklifts 7 metres long weighing each three tons. The garage could receive about 70 cars – 18 on every level – which, mostly, were parked.
The holding of this stage of a big complexity was perfected by Brad Bird thanks to an animatique, in other words a visual model detailing every stage of sequence. «It is a tremendous way to imagine the decor in three dimensions», points out Jim Bissell. «It is the illustration of the capacity of Brad Bird to make us discover the topography of places», adds the co-producer Tom Peitzman. Film director of films of animation, the film-maker indeed has habit to show beforehand the plans which he gets ready to turn. But for Mission: Impossible, the film director fitted to necessities of a filming in real shots. «It wasn't a question of imagining fantastic plans», underlines Burk. «Everything has first of all to have authentic air»., ajoute le coproducteur Tom Peitzman. Réalisateur de films d’animation, le cinéaste a en effet l’habitude de visualiser à l’avance les plans qu’il s’apprête à tourner. Mais pour Mission : Impossible, le réalisateur s’est adapté aux nécessités d’un tournage en prises de vue réelles. «Il ne s’agissait pas d’imaginer des plans fantastiques», souligne Burk. «Il fallait avant tout que tout ait l’air authentique».
To reach it, Brad Bird solicited advice of the supervisor visual effects and from the leader stunt man which tried to implement the ideas of the film-maker, while respecting likelihood. Tom Cruise repeated the stage with his double waterfall to plan the movements of camera and the functioning of forklifts, but it is Tom Cruise and Michael Nyqvist which carried out their own waterfalls. Production carefully made sure that the actors don't hurt themselves while wagons, were operated especially since they had very few place to be held between cars. «Every wagon weighs three tons at least and articulates on some centimetres barely; the actors were therefore taken in vise», points out Meinardus. «When the device was in motion, a system of security was set up to be sure that nobody finds himself wedged in the decor». Brad Bird concludes :« I want to pay tribute to all team because this sequence demanded a coordination of a big precision».
Both actors were hanging in cables, fixed to the ceiling of the set and to the ends of wagons to avoid any accidental fall between the platforms of vehicles and to orchestrate acrobatics. At some point, Tom Cruise performs a colossal jump and lands on the roof of a car, itself supported by the forklift, but he is slowed down in his fall by an engine brake. «It was an extremely complex job because it was necessary to co-ordinate the movements of the actors, while trying to instal cameras in sure places», points out the 2nd film director equip Dan Bradley, who turned sequence.
The necessary gadgets:
«The saga Mission: Impossible is an absolute dream for a technician such as me», underlines the leader props man Kristopher E. Peck who held the same position on the second episode.
The train of IMF counts full-scale gadgets among decors – or – favourites of Brad Bird. Imagined by Jim Bissell and constructed in studio in Vancouver, it was conceived to resist the detonation of a bomb. «He is in oval form, he is supposed to be able to cash a frontal shock and he constitutes a tremendous centre of command», brings back the film director. «The train is stuffed with gadgets which the characters use». Jim Bissell adds : «Sliding sets are found there to line up weapon there, extractibles television sets that it is possible to make swivel anywhere thanks to a hydraulic arm».
Other emblematic accessory of saga : the machine to fabricate masks, conceived in collaboration with the department effects making-up. «It is one of the gadgets the most unforgettable of series television», declares Peck. «Benji is obsessed by this machine», Simon Pegg adds. «I think that he feeds secretly the desire to carry one. It is odd coach, when they know the time which it is necessary to spend for making-up so that the face is transformed you, I like idea although by pressing on the button of a machine, they become somebody else».
Kristopher E. Peck also conceived gloves Gecko whom carries Ethan to climb the tower Burj Khalifa. «Kris imagined technology and history of these gloves», underlines Tom Peitzman. «These are tremendous accessories. From our first appointment, Tom Cruise had a rather definite conception of these gloves. He had spotted problems likely to settle, as the fact that gloves could slip or not adhere, or that they aren't adjusted enough, or else in the fact that a luminous clairvoyant starts to point out the good sticking to the surface».
The leader props man and his team also conceived the device of communication which uses Ethan while he climbs the tower Burj. «It is supposed to give the feeling that he uses it to announce with his team mates but they realised that we would need a means to communicate with him when he was outside the building», he says. «Suddenly, they worked with the engineers of the sound so that this device is really functional : Tom Cruise is indeed in contact with the film director and the leader stunt man during his escalation».
The cheget – or nuclear briefcase – is another accessory which held the attention of production. «It is a solid object which includes a felt technology and that includes a system of integrated security», points out Peck. This one couldn't perform ample researches to draw inspiration from an existent model because little is. «We began by contacting people who are very well introduced into this world», he resumes. «We got into contact with Sandia Labs with its own museum of nuclear briefcases dating the sixties. We left from there and we fabricated a modern version of the briefcase».
The den of IMF, located in what resembles a wagon in pitiful state parked in a Russian railway store, shelters the gadgets of the team. «Seemingly, it would be possible to think that a jazz musician lives there», Simon Pegg is ironic. On the other hand, indoors, it is about Ali's true cavern - Gobsmacked for every agent of the IMF who wants to change identity, to have a new arms cache or to perform repairs. Following the example of three previous episodes Protocol Fanttôme gives to all his fans of the saga of the spectacular sessions of action. "It is the summit of the cinema of pure entertainment", concludes Tom Cruise.
