With the Covid pandemic’s stop-start filmmaking and postponed releases, several films have had it tough over the past few years. Tom Cruise is prepared to release Mission: Impossible 8, a.k.a Mission: Impossible – Dead Reckoning Part One, this summer after experiencing one of the worst delays with the release of Top Gun: Maverick. However, the action hero will have to be restrained once more in Dead Reckoning Part Two, this time due to the WGA writers’ strike.
Christopher McQuarrie, who is the director of the MI franchise, in the most recent issue of Empire Magazine, expressed his irritation over yet another significant obstacle that has prevented production on the series’ upcoming edition from starting. McQuarrie addressed what he called the “unrelenting” string of production delays that have plagued the two-part film, which is anticipated to be Tom Cruise’s final performance as Ethan Hunt,
He said, “It’s unrelenting. Behind each tsunami is another tsunami. We live in a state of 24-hour tsunami awareness. That’s just what we do.”
The filmmaker acknowledged that 40% of the picture has already been shot, so if production can resume, there will still be some work to do. The movie’s release date had been scheduled for the summer of 2024, so whenever the industry restarts itself for the second time, there’d be news of another shifting wave affecting movie release schedules.
McQuarrie has collaborated with franchise hero Tom Cruise on a number of projects, including Mission: Impossible – Rogue Nation, Mission: Impossible – Fallout, and 2022’s Top Gun: Maverick. He later came on to write and direct the final two films in the series. Despite not directing the eagerly anticipated Top Gun sequel, he was nominated for Best Adapted Screenplay and Best Picture at the Oscars for the film.
Why are the writers on strike?
Last month, thousands of writers of films and television went on strike, which significantly slowed down production. It is the first strike in Hollywood since 2007. The Writers Guild of America’s East and West branches negotiate a new contract with the major Hollywood studios on behalf of 11,500 TV and feature writers every three years.
Over the past ten years, television production has increased significantly as a result of media companies’ massive investments in streaming services. However, the authors claim that their pay has remained the same. Leaders of the W.G.A. claim that the current system is flawed and that “the survival of writing as a profession is at stake in this negotiation.”
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