Investors who heard Tom Cruise speak via video at Paramount’s Feb. 15 investors’ event must have come away thinking his relationship with the company was all harmony. Calling Shari Redstone his “dear friend,” he lavished praise on the studio and noted his “over 37-year relationship with Paramount that I’m very proud of and very grateful for.”
The audience would never suspect that the infuriated star had lawyered up a year earlier when the studio notified him that Mission: Impossible 7 would have a 45-day theatrical window — far shorter than his usual three-month run — before streaming on Paramount+. It’s a fight that remains unresolved as the parties agreed to postpone the battle until the film is finished, which it isn’t. Cruise has balked at getting it done until he’s put a great deal of M:I 8 in the can.
That wasn’t the only point of friction. As Paramount flailed for material to pump up its fledgling streaming service, would Cruise allow his longtime studio home to develop a Days of Thunder series for the streamer? That idea was strangled in its cradle. The idea of developing a Mission: Impossible series was no-go, too, even though the property had begun life in the 1960s as a television show starring Peter Graves.
M:I 7‘s release date has been pushed four times; it’s now set for July 2023. By holding on to the film as a work in progress while working on the eighth, Cruise and his writer-director, Christopher McQuarrie, ensure that Paramount won’t have much luck imposing budget restrictions on what is allegedly the final installment in the franchise. It also gives Cruise — who has creative control — flexibility with respect to the cliffhanger ending of M:I 7.
With hundreds of millions on the line, says a knowledgeable source, Cruise and McQuarrie take a perhaps surprisingly improvisational approach to filmmaking. McQuarrie first encountered Cruise on the 2008 film Valkyrie, which McQuarrie co-wrote and co-produced. He started collaborating on the Mission movies when he went to work on the script for the fourth installment, 2011’s Ghost Protocol, mid-production. He directed the fifth, 2015’s Rogue Nation, during which he figured out the third act only in the middle of shooting. The sixth installment, 2018’s Fallout, involved more of the same budget-fracturing spontaneity. This unpredictable approach is Cruise exercising the power he’s accrued from bringing in $3.6 billion in box office starring as Ethan Hunt over three decades.
The notion that a studio can control spending on a Cruise movie is dismissed by executives who have been in the trenches with him. One says a studio can only hope to “influence” Cruise and McQuarrie. “Tom looks at [the money] he delivers to the studio,” says another. “Why wouldn’t you go do whatever you want? Who’s going to tell you not to?” These executives say Cruise is driven by his own perfectionism. “It’s not always in the best interest of the budget, but he is incredibly detailed and willing to put in an enormous amount of time and effort on every aspect,” says a source on M:I 7. “The guy does give every ounce of his being to this endeavor,” confirms another.
The still-unfinished M:I 7 has already hit a breathtaking $290 million budget, with tax incentives. Cruise and McQuarrie did a little work on 8 as 7 got underway — enough to say they had started the film — but shooting on 8 is underway now. Sources say Cruise has persuaded Brian Robbins, the new president and CEO of Paramount Pictures, to give him more money to finish the seventh film and make the eighth, arguing (with some…
Read More: Saying “No” to Tom Cruise – The Hollywood Reporter