Issue link: https://digital.copcomm.com/i/1474575
T O P G U N : M AV E R I C K | P E R S P E C T I V E 7 9 Tommy mentioned to me that he was working on Top Gun 2, but it was still very early in the writing process. That being said, I kept circling back for updates. In uly , it was announced that oseph osinski would be directing the Top Gun sequel. Later that November, Tommy introduced me to Top Gun Production Designer eremy indle. e had a great meeting and then the waiting for a start date began. eremy and I did work on an pple commercial while biding our time, but it wouldn't be until May that we would finally begin Top Gun: Maverick. The production started with approximately three days of early photography on the film at the home of dm. Tom azansky Played by al ilmer, along with shooting a teaser image of Maverick Tom Cruise in front of an F. y this point, I knew I would be creating an assortment of helmets for the newest aviators, but the opportunity with al and Tom gave me a brief moment to research the helmets from 1986. Through various conversations with crew from , I was able to locate a vendor in El Caon, C, called Gibson arnes, who created the original helmets. They provided a lot of details about making screen accurate helmets, but the specifics were a Gentex G helmet, side communications cord, visor knob and visor. nfortunately, none of this could be done in time for the early shoot date, so we had to improvise. e were able to find some Gentex helmets with a local prop house and worked with some vendors that had flexible vinyl films used to wrap vehicles. It was not a completely successful process, but it worked well for background set dressing in al's oce. e A. F-18A TANDEM FIGHTERS WITH PHOENIX, BOB, PAYBACK AND FANBOY. PHOTO COURTESY OF PARAMOUNT PICTURES.