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Forbes
9 hours ago
- Entertainment
- Forbes
‘Jaws @ 50' Gives Longtime Spielberg Historian Laurent Bouzereau Final Word On The Original Summer Blockbuster
Steven Spielberg, Director of Jaws and Director Laurent Bouzereau are pictured during an interview ... More for National Geographic's Jaws @ 50: The Definitive Inside Story. What can be said about Jaws that hasn't been said over the last 50 years? That was the big question for longtime Steven Spielberg documentarian Laurent Bouzereau (Faye, Music By John Williams) once he teamed up with Amblin and National Geographic to make Jaws @ 50: The Definitive Inside Story, a star-studded look back at the original summer blockbuster, featuring brand-new interviews with Spielberg, screenwriter Carl Gottlieb, production designer Joe Alves, and many more. 'When we set it up at NatGeo I was like, 'Oh my God, there are so many documentaries on Jaws!' [There are so many] books. [Even] I've done a book! What is left to say about Jaws?'' Bouzereau remembers over Zoom. A valid fear. As one of the most iconic and influential movies of all time, the big screen adaptation of Peter Benchley's bestselling novel has endlessly been picked over and analyzed since it first took a bite out of the big screen on June 20, 1975. But if anyone could pull off a new angle, it was Bouzereau, who is not only chummy with Spielberg (no pun intended), but also brings a uniquely international perspective to the topic. 'I grew up in France, and we didn't have summer blockbusters,' he explains. 'It's changed now, but essentially, big movies came out in the fall or the early fall. So I didn't really grow up with that concept of the summer blockbuster.' He wouldn't become familiar with the idea until arriving in the United States for the first time in 1977, the year of a certain game-changing space opera. One of the first things Bouzereau saw upon entering the airport in Athens, Georgia was an issue of People with R2-D2 and C-3PO on the front cover. 'I said, 'What's that? I want to see that!' So that's summer blockbuster [for me], it's People magazine. I think it established a certain type of expectation of big films … [Jaws] certainly gave birth to a much bigger recognition of the impact that a film can have on an audience and how the audience wants to live it [with] merchandising, books, and knowing the secrets behind them. Building a whole mythology around a cinematic experience, down to having a [theme] park ride. Jaws is beginning of that movement, which, of course, explodes even bigger with Star Wars." Nevertheless, Jaws (or Les Dents de la Mer — aka The Teeth of the Sea — as it was titled in French) sparked a major cinematic 'awakening' in the future filmmaker, who was around 13-years-old in the summer of '75. 'It was such a phenomenon, that it immediately [drove home] the importance of the director for me,' Bouzereau says. 'From that day on, I wanted to see everything Steven Spielberg ever made, and that name became symbolic of a dream for me, much more than the film itself. It was the realization of the power of images in the hands of an incredible artist … I was mesmerized by the shots and, of course, the economy of the first scene where you never see the shark and [hear] the music by John Williams. So everything was sort of summarized in that one movie, not to mention that I collected all the lobby cards and poster. My bedroom was wall-to-wall Jaws. But it was not a fanatical thing. It was really an awakening for me as an appreciator and it never left me. Sometimes, I go back to that initiation I got from Jaws as a young kid and remember those feelings of the very first time [I saw it]. It's like a first of anything." Half a century later, and Bouzereau found himself sitting across from Spielberg, free to ask any and all questions about the movie that changed both their lives. Rather than focus on the making of Jaws, a topic that had been covered so extensively over the years, the former angled for a thematic exploration of the classic picture, viewing its turbulent production as a reflection of the plot itself. Like Brody (Roy Scheider), Hooper (Richard Dreyfuss), and Quint (Robert Shaw) searching for and battling the man-eating shark, principal photography 'became a story of survival," Bouzereau notes, later adding, 'I think it's about not giving up. It's the human experience, right?' He continues: "The first time I sat down with Steven, I felt the humanity that we know from anything he's done — before Jaws and after. He was so young then, that it was still forming in a sense. But it was so mature and so much of it was there, that you can look at Jaws and say, 'That's the man who did Schindler's List years later,' and not blink at that association because his humanity is just so obvious. Not only in the story and the way that he put it together, but in his own journey as an artist making it, what he's learned from it, and how it affected him. I felt that story had not been told.' Director Steven Spielberg on the set of Jaws with the mechanical shark in the background. (Courtesy ... More of Universal Studios Licensing LLC) While the film's runaway success skyrocketed the 26-year-old wunderkind to the top of Hollywood's A-list pretty much overnight, Spielberg understandably did not recover from the trauma of a production marked by one setback after another (the most notable obstacle being an animatronic shark that refused to cooperate in salty water) for years after. Such commitment to realism, a fierce desire to shoot on the Atlantic and work the local Martha's Vineyard populace into the frame, proved to be a double-edged sword. 'A few years before, Jaws would have been made on a soundstage with local background artists who were just coming off the set of another movie,' Bouzereau says. 'There would have been no sort of colorful characters like Craig Kingsbury [who played the ill-fated Ben Gardner] from Martha's Vineyard. Going there and realizing that Jaws is something that is passed on generation after generation on that particular island —that's a microcosm of what the impact of Jaws is.' But as Spielberg reveals in the documentary, he'd often sneak aboard the screen-used Orca on the Universal Studios Hollywood backlot tour and cry. 'Everybody knows it was a nightmare, but they all say it with laugh, because we can laugh at the fact that here is one of the best movies of all time,' Bouzereau adds. 'It could have been a disaster, but I think [Steven] said it with heart and humility in a truly inspiring way that I think feels relatable for anyone, especially young people who are starting a career in anything, and feel like, 'Wow, I just learned that from my own craft.'' Speaking of which, Jaws @ 50 devotes a good amount of attention to the acclaimed storytellers who, like Bouzereau, grew up to be directors after seeing Jaws: Guillermo del Toro, J.J. Abrams, Cameron Crowe, Jordan Peele, Steven Soderbergh, Robert Zemeckis, and James Cameron. 'To really see the impact it had on some of the most important filmmakers of our times, to see the the lessons that they got from Jaws, was was eye-opening to me," admits Bouzereau. 'Because it wasn't just, 'Oh, I love the movie. It scared me.' You know, the usual sound bites. It was a very profound and big discovery for me. I also think the other aspect of the film that I had not really known about, even though it was in plain sight, was how it affected the ocean and [led to] sharks being massacred … The fascination with this novel and this movie have changed the dialogue about the ocean. I don't know if there are many movies that have had that kind of social impact. "Very few works of art turn 50 and are relevant today. I don't have any children, but I have nieces and nephews, and I have forced them to watch Jaws, and now they're forcing their kids to watch it. So it's something that's passed on, and it's pretty extraordinary to see that 50 years later. Listen, I asked myself a lot of questions if I was still relevant when I turned 50. Jaws doesn't have that problem.' 'Jaws @ 50: The Definitive Inside Story' Jaws @ 50 premieres exclusively on Disney+ and Hulu Thursday, July 10
Khaleej Times
2 days ago
- Entertainment
- Khaleej Times
'Jaws' at 50: Steven Spielberg says he was surprised by Oscar snub
For acclaimed director Steven Spielberg, making Jaws was an unforgettable and stressful experience. So much so that he thought the ordeal would land him a best director nod at the Academy Awards. The famed filmmaker recalled in National Geographic's upcoming documentary Jaws @ 50: The Definitive Inside Story. "When a film is on the cusp of being considered for awards, it's not so much what you want for yourself — it's what everyone else says is going to happen for you," said Spielberg. "So I just understood, 'I guess I'm getting nominated." "So when I wasn't, I was surprised. And I was disappointed," he said. "Because I was believing the noise, and you have to not believe that stuff." Despite Spielberg missing out on a best director nomination, Jaws was nominated for four Oscars in 1976 and won three, only missing out in the best picture category. John Williams took home best original score for his iconic music, while the shark thriller also clinched trophies for best film editing and best sound. Directed by Laurent Bouzereau and produced in partnership with Spielberg's Amblin Documentaries, Jaws @ 50 includes the only interview with Spielberg about the movie's milestone. Other famed directors who appear in the documentary to reflect on Jaws' legacy include James Cameron, JJ Abrams, George Lucas, Jordan Peele and Guillermo del Toro. Jaws @ 50: The Definitive Inside Story premieres July 10 on National Geographic.
Gizmodo
10-06-2025
- Entertainment
- Gizmodo
You'll Eat Up All This Eye-Popping ‘Jaws' Art Work
The Steven Spielberg shark classic is 50 years old this year and a new art show will celebrate its brilliance. With all the awesome art you're about to see for Steven Spielberg's masterpiece Jaws, the Sheriff Brody in your life will only be thinking one thing. 'You're gonna need a bigger wallet.' Later this month, Coda, along with Universal, Amblin, and PopCore, is opening a fully licensed art exhibit celebrating the 50th anniversary of Jaws and io9 has an early look at some of the incredible work in the show. Complete with lots of original art as well as screenprinted, limited edition movie posters, the exhibit opens June 28 at the Art Alliance of Monmouth County in Red Bank, New Jersey, and will remain on display there through July 13. So, yes, there's a good chance the gallery will be open for the 4th of July. You can get more specifics here, and below we've got a bunch of images from the show. Click on each for the details. Also, in addition to those pieces, we're excited to exclusively debut this piece by io9 favorite Jason Edmiston. It'll be available as an original painting as well as a print. You can't keep this one down with three barrels. Besides the artists above, you can expect to see work by the likes of Sam Wolfe Connelly, Sachin Teng, Sonny Day, Josh Keyes, Danielle Murray, Adam Lister, Neil M Perry, Greg 'Craola' Simkins, Geoff Trapp, and Tyler Stout to name a few. And, yes, there will be much, much more Jaws on the way this summer. There's that upcoming documentary, a live concert at the Hollywood Bowl, lots of wild new merch at Universal Studios, plus Universal and Amblin have some very exciting things planned later this year, which have yet to be announced. Keep it locked here for more Jaws and over at CodaCurates for news on when any leftovers not sold at the opening will make it online.
Gizmodo
30-05-2025
- Entertainment
- Gizmodo
A Definitive ‘Jaws' Documentary Is Coming Very Soon—Here's the Trailer
In the history of movies, only a select few have had an impact like Jaws. Impact that doesn't just reverberate through film history, but culture at large. Jaws supercharged the careers of iconic director Steven Spielberg, composer John Williams, and others, giving us so much magic in the decades that followed. It changed the way Hollywood made and marketed movies and inspired an entire new generation to make movies themselves. Plus, who hasn't had the movie on their mind as they tiptoe into the ocean? All of that and so much more promise to be part of a brand new documentary coming this summer, and it's completely official. Directed by Spielberg's longtime collaborator Laurent Bouzereau (Music by John Williams, Timeless Heroes), the 90-minute documentary is called Jaws @ 50: The Definitive Inside Story. It's premiering on July 10 on National Geographic as part of Sharkfest and will debut the next day on Disney+, Hulu, and Nat Geo. Spielberg's Amblin Documentaries produced it in conjunction with Wendy Benchley, a renowned shark and ocean advocate, who also happened to be married to the late, great, author of Jaws, Peter Benchley. In addition to Spielberg and Benchley, the film promises a who's who of people who worked on the film (such as Williams; cast members Jonathan Filley, Lorraine Gray, and Jeffrey Voorhees; Ian Shaw, the son of the late Robert Shaw; screenwriter Carl Gottlieb; and others), as well as a laundry list of superfans. Among those are J.J. Abrams, Emily Blunt, James Cameron, Cameron Crowe, George Lucas, Greg Nicotero, Jordan Peele, Steven Soderbergh, Guillermo del Toro, and Robert Zemeckis, to name a few. Here's the trailer for the documentary, which not only teases that we'll get to see a lot of fantastic footage from the actual production of the film, but also Spielberg diving deeper than ever before into his feelings about it. If you've seen any of Bouzereau's other films with Spielberg connections, such as his documentaries on Harrison Ford and John Williams, you know he has an incredible ability to be honest about the subjects, but also remind you why you care about them in the first place. And if you haven't seen those, watch them ASAP. We can't wait to see how that carries over to Jaws, one of the most important movies in history. Here's the awesome poster for the doc.
Yahoo
22-05-2025
- Entertainment
- Yahoo
Josh O'Connor On ‘The Mastermind', ‘The History Of Sound', His Secret Spielberg Film & How Harris Dickinson Has Inspired Him To Direct
Josh O'Connor experienced the splendor of Cannes in 2023, when he was there with Alice Rohrwacher's La Chimera. This year, he's back with two movies in contention for the Palme d'Or: Kelly Reichardt's art heist picture The Mastermind and Oliver Hermanus' The History of Sound, in which O'Connor stars with Paul Mescal. While en route to the New York set of the untitled Steven Spielberg/Amblin/Universal film where he's been cast alongside Colin Firth, Colman Domingo, Eve Hewson and Emily Blunt, O'Connor said of Spielberg, 'He's great. He is the dream, the best in the world,' but he admits being on set makes him miss home and tending to his fig trees and vegetables. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Mario Martone's 'Fuori' With Valeria Golino Gets 7½-Minute Ovation At Cannes Premiere DEADLINE: JOSH O'CONNOR: I'll tell you what I'll say. It's like old-school Spielberg. I think people will be excited. DEADLINE: O'CONNOR: Close Encounters, E.T.; that world. DEADLINE: O'CONNOR: I guess I'm in my American period at the moment. DEADLINE: The Mastermind O'CONNOR: It's the 1970s. The Vietnam War was going on. Kelly's really one of my favorite filmmakers in the world. Truly. There's a handful of directors that I have dreamt of working with, and Kelly's one of them. So, I've had the best time working with her. It's in the traditional Kelly fashion. It's looking at the world through the people that fall between the cracks and not necessarily the people you'd expect. Often, she's looking at artists and stuff like that, and it's got that vibe. It's almost like she's looking at the Vietnam War, but averting her eyes. RELATED: Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' DEADLINE: O'CONNOR: It's in the background, really. It's about this guy James Mooney who's desperately trying to support his family and make a name for himself. He's sort of a failed artist. He works as a carpenter. DEADLINE: O'CONNOR: I guess in my head, when I hear 'perimeters of society,' I would normally pick someone ostracized in some way or left behind. And in many ways, this character isn't that. He's middle-class, he's from a perfectly good family, but he's in the outside of society insofar as he lives quite a plain life, an unfulfilled life. That's what's pulling him to make a name for himself. It's almost more tragic in that he just feels forgotten. He just feels like a regular Joe. And I guess Kelly's asking, 'What's worse than being regular Joe?' For someone who has a big ego, that's not great. RELATED: 'Bono: Stories Of Surrender': On Irish Fathers & Sons, Processing Family Tragedy & How A Need To Be Heard Propelled A Dublin Kid To Become One Of The World's Biggest Rock Stars DEADLINE: O'CONNOR: He's got two kids, two boys and a wife. Alana Haim plays my wife in it. DEADLINE: O'CONNOR: Outside of Boston, in the Cambridge area, but we shot in Cincinnati, Ohio, which is architecturally very interesting for the period we're in, the '70s. Again, it's that middletown, quiet suburbia. DEADLINE: O'CONNOR: If you're looking at the moment in time, that's the relevance. An interesting angle on it, is that shooting somewhere like Ohio as the election was just going on was a very interesting place to be, and that's where J.D. Vance is from. I think, politically, that period in the '70s for America and the Vietnam War was really interesting. Kelly is diverting her eyes to the politics always in every film. It's there in the background and she is talking about it, but she isn't. It's like, she's never crude about it. It's not obvious like in so many scripts I read, and in many movies, and I understand why. They are movies that are built to, 'How can we get these things awards?' [With Kelly] a tear would be welling up in a scene and she'd be like, 'Cut! What are you doing? We don't cry in these movies.' She's the antithesis of that. She wants to keep it real. She doesn't want to get too earnest about things. There's a lightness to it. There's comedy, but there's depth. RELATED: DEADLINE: O'CONNOR: That's not the primary purpose. She's not seeking that. DEADLINE: O'CONNOR: The majority of the film is my character on the run. We come across John Magaro, who is an old friend of mine from art school, and there are all sorts of characters I come into play with. Todd Haynes had this great quote about Kelly, where he said, 'The thing about a Kelly Reichardt movie, is it's like a road movie that never quite hits the road.' They never quite get that joy. DEADLINE: O'CONNOR: It's someone who is the perfect answer for this, because it's someone who is not headline-grabbing at all. It's someone worth a bit of money, but not quite worth what they should be worth. It's Arthur Dove [a pioneer of American abstraction]. His artwork is kind of surreal, but it's also, well, in my opinion, not that attractive. It's funny because he is brilliant and he would sell for money, but it's not stealing a Picasso. Even in his grand thievery it's sort of underwhelming. DEADLINE: O'CONNOR: I remember thinking, 'Oh, that makes sense to me,' just for someone who is led by story to have grown up in that environment. But once we got to work it wasn't talked about an awful lot. So, I think it's in the background. These aren't stories that come from her father or anything like that, but I imagine it must've had an influence on her. DEADLINE: O'CONNOR: I would say as a Kelly fan, I watched this movie, and you can see Kelly Reichardt in it. You can see all of the humor. You can see the messaging that's not overt or crude. I think people won't be disappointed. RELATED: Ooh-La-La Land: Everything You Always Wanted To Know About Sex* (*And The Cannes Film Festival) DEADLINE: O'CONNOR: That really resonates with me. I think that's so true. Although, just to counter it a little bit, I would say, the thing is that first of all, she loves that mystery. She loves that she doesn't understand what we do, but I think she understands more than she makes out. I think actually she has a very clear idea of who the characters are. But, like any brilliant director, and I've been fortunate enough to witness this, there's this real gift you can have as a director where you say you have an idea. And rather than go to the actor and say, 'This is my idea, OK? Do it.' You just find a way of allowing the actor to discover the same idea you always had in the first place, because we then feel like we have an ownership over it. And that's not to downplay what actors do in any way. She's worked with some of the greats, like Michelle [Williams]. It's just that I think Kelly undervalues her talent and she does have those ideas. What you're doing is fitting into a Kelly Reichardt vision, and it's a negotiation, of course, but she is somehow imprinting these ideas in us. That's my belief anyway. DEADLINE: O'CONNOR: First of all, she's an art lover. She loves film so very much. She's one of those filmmakers that has an encyclopedic knowledge of movies, particularly old movies. We've often forgotten with Kelly, she does teach at Bard. She's a great teacher. Again, that's a similar thing to being a great director. She worked with Todd Haynes at the start. She's worked in film for years in different roles and capacities. She went to art school, she's got all that history there, and it just comes through in all of her movies. It's just Kelly. It's so obviously her. DEADLINE: O'CONNOR: She sent me some documentary footage from the '70s. I can't remember the name of it, but that was more just to get this idea of how families are together. There's a couple of scenes [in The Mastermind] where it's Bill Camp, Hope Davis, me, Alana, and we all sat around the table. RELATED: Brazilian Comeback: How The Cannes 2025 Country Of Honor Is Following The Success Of 'I'm Still Here' DEADLINE: O'CONNOR: It's kind of an undercurrent of the movie. We don't go to Vietnam. We don't ever really talk about it. There might be a brief moment over the dinner table where Bill Camp comments on it. And the reason it's an undercurrent is like, here is a man of age who isn't at war. DEADLINE: The History of Sound O'CONNOR: Then they go on this journey. The film follows Lionel who has this synesthesia, where he can see color and see and feel emotions when he listens to music. He also has an incredible singing voice. And David is like an archivist and has a fascination with collecting the old folk songs of America. And then they go on this very beautiful journey together. And I go missing for a long time. DEADLINE: O'CONNOR: I couldn't play the piano until I did this movie. I still can't, but I can play it better than I could. I took a few lessons and I just learned in the end. I'd like to think the truth is I didn't have an awfully long time to prep for this movie, and I jumped in between projects. He's a very beautiful character that is so meaningful to me and to the movie, of course, but I didn't have an awful lot of time, so I just learned those songs on piano. DEADLINE: O'CONNOR: I think it's that thing of what the film does incredibly well is it plays into that feeling of nostalgia and regret and loss. I came in and they shot all of my stuff, which is mostly this traveling through America which is very beautiful. So that was really just lovely. We did that for a couple of weeks, then I left. Then I was on Challengers, and then I was shooting Knives Out [Wake Up Dead Man]. So it was all kind of busy and I felt like that movie was over. But of course they had all of the rest of the movie to shoot. And when I saw it, seeing what they'd done, what they created without me was just … I was so proud of them. It was such a nice feeling. But what's so beautiful about it is this feeling of song and of music. When you listen to a piece of music and it transports you to a certain place or a time, and if you close your eyes, you can feel like you are actually there. DEADLINE: O'CONNOR: David is a connector, he pulls people together, but his ultimate aim is to collect these songs. Whereas Lionel, Paul's character, starts to see that what they're getting isn't just these songs. As you said, it's community. DEADLINE: Knives Out O'CONNOR: I wish we did. I am so boring nowadays. I'm in bed by nine o'clock. I don't know what's happened to me. But no, I am afraid I didn't. But we had a great time. And on Knives Out, James Bond was in it, Andrew Scott, some of my closest friends. It was lovely. Even though I'm again playing an American, we shot it in London. So, it was the first time I could be home for ages. DEADLINE: Knives Out Emma O'CONNOR: I said to Rian Johnson, 'My favorite role I think I've ever played was Mr. Elton.' I remember when I saw that movie, thinking, there's all these brilliant actors, Johnny Flynn, Anya [Taylor-Joy], Mia Goth, Callum Turner, all these guys are doing one movie and then me and Tanya Reynolds are doing, I don't know what we're doing, but it's not the same movie. But I had the time of my life. Unfortunately, I'm not allowed to go quite so over the top on this movie. ChallengersSeparate Rooms O'CONNOR: Unfortunately not. Luca's working all the time. He's such a busy bee and rightly so. We're constantly talking. He may well do it, but unfortunately it won't be with me. DEADLINE: O'CONNOR: I'm shooting this summer in Europe with an American director, more of which I can't say. But then I am going to go and do some other stuff for a little bit. I love my ceramics, I love gardening. My poor garden is suffering when I go away. And I'm definitely looking forward to some time to just try some other things and maybe get back on stage. It's been too long. There are conversations around various places. Maybe not exclusively in London as well. DEADLINE: O'CONNOR: I think there's an element of that. Like Alice Rohrwacher's who for me is … the filmmakers I always loved were Pasolini, Rossellini, Bellocchio, to me she's that. Luca's a hero of mine. But one of my first films, with Francis Lee, was God's Own Country in the UK. I think he's one of our greats. And he's extremely thoughtful. And because of that, his films come when they come. You have to wait. But I'll always work with him again. I think we've also suffered a little bit in the British film industry with arts funding being cut. And I think that's been difficult for places like the BFI for supporting young filmmakers. I don't think that's the reason people are doing more films in America. I think that's just sometimes what happens. But I'm always on the lookout to be at home. DEADLINE: O'CONNOR: About this time last year, I was in New York and on the night of the Met Gala, I got a text from my agent saying, 'Can you meet Steven Spielberg tomorrow for coffee?' And I was like, 'Yes!' And I went to his office, Amblin. He told me he didn't have a script, but he told me the story of the movie and he said, 'Would you like to do it?' And I sort of feigned, 'Let me think about it.' But obviously… DEADLINE: Good joke. O'CONNOR: It was kind of straightforward. He's just the most special person. He seems to have the most incredible amount of energy I've ever witnessed. He comes up to you, he whispers in your ear like an excited child about an idea, a thought, and it's truly inspiring. DEADLINE: O'CONNOR: Emily Blunt and myself are kind of following that track. DEADLINE: O'CONNOR: In some way. DEADLINE: O'CONNOR: I've got to dash, I've got to go to makeup. DEADLINE: Oh, you're not an alien, are you? O'CONNOR: Maybe. [laughing] I wouldn't need any makeup for that! DEADLINE: Bonus Track O'CONNOR: Hopefully. Maybe something down the line. I noticed that Harris Dickinson's got his movie [Urchin] at Cannes, which I'm delighted about. I think he's really inspired me actually go and maybe try it. You know what it's like, it gets busy, but it is definitely a dream of mine. Best of Deadline Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds All The 'Mission: Impossible' Movies In Order - See Tom Cruise's 30-Year Journey As Ethan Hunt
