Since the summer of 2005 I’ve posted countless scoops about both movies and television that have been confirmed by the people involved.
The Big Picture The idea for The Blue Angels was the "brainchild" of producer and actor Rob Stone and former Blue Angels Commanding Officer Greg "Boss" Wooldridge to celebrate the Flight Demonstration Squadron's 75th anniversary. Four years ago, they were struggling to get the documentary off the ground before contacting Glen Powell of Top Gun: Maverick fame, who then got filmmaker J.J. Abrams involved with his production company Bad Robot.
Blue Angels is in IMAX theaters beginning May 17 and will run for one week only. Following its theatrical run, the documentary will be available to stream on Prime Video on May 23. The other thing that I read is that you were studio engineer and you got to work with George Michael on “Last Christmas” and “Careless Whisper,” and you worked with A-ha on “Take on Me.”
How Glen Powell and J.J. Abrams Got Involved With 'Blue Angels' Jumping into why we're here, how did this project happen? Give us some background. CROWDER: We had at least one or two camera people. I would always prefer to have two for the shoot so we could have someone with a handheld device and someone with sticks because there's just so much to cover. The crucial thing about it is that we don't get to tell them, “Hey, can you shoot that again? Oh, sorry. Can you go back and do that one more time?” You just get them in the day when they're doing their walk down, when they're doing their briefs, their debriefs.
CROWDER: Well, I don't know. That's a tough one. There was one that was really tough to get for no other reason than I just couldn't seem to find the right time because I wanted either a sunset to cheat for a sunrise shot or a sunrise shot.
What happens when you watch the long cut, while it's interesting and exciting and everything, there's a routine happening here every day — the same routine. Nothing changes. The only thing that changes is occasionally you change locations, but they're doing the same thing. They're getting up, they're having a debrief, doing a show or doing a practice debrief, leave, go home. Come back the next day, same thing. Go, come back the day, same thing.
But, yeah, that was a shame that we couldn't get some of that stuff. A couple of the other people got married. One of the pilots had a baby. I wanted to get a bit more of those things in, but again, there wasn't a real fit for it with everything else we were doing. I can understand their perspective. They want to put out the best version, but there's also that element of, “Well, this is really happening.”
When you looked at the shooting schedule, what day did you have circled in terms of, “I cannot wait to film this,” and was there anything circled in terms of, “How the F are we gonna film this?” CROWDER: Well, obviously, some of the editing techniques that you might be able to do for TV you have to rethink a little bit for the big screen. You can fast cut on there, but you don't want to. You want to let the audience, as much as they can, immerse themselves in some of the images on the screen so you have to consider that. The other thing, of course, is that you've got to use Venice cameras to shoot the quality good enough for these.
I mean, these guys were just so incredible to be around, so inspiring to be around. I was inspired to be on the base. I'm a rebel, you know? You tell me to slow down, I'm speeding up. You tell me be quiet, I'm getting louder. I don't respond to authority or telling me what to do at all. I was completely and utterly taken in by the army base and the attitude to everybody on the base. That completely grabbed me emotionally. I was really moved, as I say.
What was really good was we had the helicopter and the pylon stuff that we did with the Venice that was all shot later in the season, so they were doing the diamond 360, they were at the Yankee set by now, so we were able to get all that with those cameras as well. The helicopter shot was getting it. They were doing it at that point. So, that was just amazing. And to be able to try and get the audience into it and see it from every angle and get the sense of just how they're off their heads.
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