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Two Dead on a Tom Cruise Movie Shoot: A Plane Crash in Colombia, Lawsuits and a Survivor Speaks Out. The villagers saw lights flashing through thick clouds. Then they heard a sound like an explosion. When they stumbled upon the wreckage of a small plane close to a dairy finca near the village of La Clarita, in the Colombian province of Antioquia, there were three men inside, trapped in the fuselage and badly injured but alive. The plane's tail had sheared off, and the cockpit was a mangled lump of glass and metal. The fuselage and wings were warped and bruised, covered by fallen branches, just a hundred yards below a ridgeline.

The villagers ran to get help. When they returned with rescue workers, only one of the occupants was still breathing. He flashed them a thumbs- up sign and even talked.

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The other two had died. Plenty of planes go down each year in the mountains and jungles of South America. This one, a twin- engine Piper Smith Aerostar 6. Alan Purwin, 5. 1, one of Hollywood's most sought- after helicopter stunt operators; Carlos Berl, 5. Georgia native Jimmy Lee Garland, 5.

The flight took off after a long day of filming for American Made, a Doug Liman feature starring Tom Cruise, 5. CIA pilot, which is set to be released by Universal Pictures on Sept.

Filming had been underway for weeks in the hills in northeast Colombia, near the border with Panama. But the filmmakers were based in Medellin, 3. Watch I Don`T Want To Be A Man Streaming there. This early- evening flight on Sept.

American Made depicts the intricacies of flying small airplanes in dangerous conditions, and so in a strange life- imitates- art moment, the crash highlighted one of the film's central themes. The tragedy since has shifted to a wider set of questions about what happened and who is responsible.

More broadly, the crash has raised new concerns about the adequacy of industry standards governing aerial work, including pilot safety. Berl and Purwin are dead, while Garland has been left without feeling across much of his lower body. The families of Purwin and Berl are suing producers Imagine Entertainment, Vendian Entertainment and Cross Creek Pictures for wrongful death and other damages, alleging that, in a rush to wrap up filming and save money, production and aviation companies ignored basic safety considerations.

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The families of both dead men also are suing each other, and Berl's family is going after Garland, the survivor, alleging negligence. To complicate matters, Great American Insurance, which initially indemnified the production companies, recently filed suit in a federal district court in California to disclaim responsibility and look for relief from having to pay under the $5. As each party scrambles to assign blame about what happened in Colombia, allegations suggest that the process to ensure pilots were properly trained and licensed may have been flawed. A judge has placed a gag order on the ongoing legal proceedings, and multiple attorneys representing different parties declined to speak to THR. But in court records, the litigants accuse the production companies and other parties of behaving "unlawfully and carelessly."Meanwhile, interviews with those involved and an analysis of court and FAA documents have revealed other troubling developments. The Federal Aviation Administration frequently conducts "surveillance" of movie sets and pilots, which often amounts to routine pilot checks, equipment installations and protocol issues.

But federal documents show that Purwin and one of his companies, Helinet, were on the FAA's radar often. In 1. 99. 6, Purwin was the pilot in command of a helicopter when it crashed, killing his fellow pilot and business partner. And Purwin had a broad restriction on his Airline Transport Pilot certificate that would have prevented him from piloting any fixed- wing aircraft in some of the weather and regulatory conditions encountered during the filming of American Made. Several pilots and safety experts with entertainment industry experience say Purwin was one of a handful of maverick Hollywood pilots known for taking unnecessary risks and being "dangerous." Three people in the Hollywood flying community say in interviews that Purwin had been placed into what a group of pilots casually referred to as a "death pool," a group of risk- taking pilots who were deemed to be the next ones most likely to perish in a crash. What this means for the rash of lawsuits ramping up in court is unclear. Jeff Korek, a New York- based attorney representing the Berl family, argues his client's suit is an attempt to hold the industry responsible for its poor safety standards.

The impact of the loss of their father and only real parent simply cannot be overstated," says Korek. We hope to put a dent in the pocketbook of the motion picture industry. We want the industry to understand and practice one concept, which the Berl family would expect to be put ahead of all other considerations in the making of a film, namely, safety before profits at all times."In many ways, working on American Made was a pilot's dream. Based on real events, the film is set in the 1. Colombian cocaine kingpin Pablo Escobar and others were funneling tons of drugs north via mules, boats and maneuverable twin- engine planes. The movie follows the true story of Barry Seal (Cruise), a drug runner recruited by the CIA to go after Escobar. The production called for plenty of flying in remote, dramatic landscapes over jungle canopies or a few feet off the ocean.

And the pilots would get a chance to fly a plane that other pilots often view as racy and daring, the airborne equivalent of Formula One race cars. The Aerostar 6. 00 was designed to be light, very fast and able to carry large payloads.

But the plane had a poor safety record and, among many pilots, a reputation as a "widow- maker."Carlos Berl grew up in a family of pilots in Venezuela, where his parents had settled after fleeing Austria and the Nazis after World War II. The perils of piloting small planes in South America during the 1. Berls' twin- engine Turbo Commander. The Berls bought another one, but the cartel returned and said they would take it if the family didn't sell. Carlos, the second of the four brothers, eventually moved to Florida and later New York. He kept flying, racking up an array of licenses.

The rules guiding airplane licenses and certificates are complex; pilots need different licenses to pilot various types of planes, and those certifications require maintenance, medical checks and frequent training. By 2. 01. 5, he had a G- IV, one of the most difficult licenses to obtain, usually reserved for corporate jet pilots.

That year, Javier Diaz, a family friend who lived not far from Berl's home in Dobbs Ferry, New York, approached Berl with a proposition. A former investment banker, Diaz had parlayed his passion for flying into a gig as a helicopter pilot and ran a company in the area. Diaz told Berl he wanted help with some routine flying on the set of a movie starring Cruise about drug smuggling in South America.

Berl's family says he placed a premium on safety, and FAA records appear to support that claim. Between 2. 00. 8 and 2. Berl voluntarily took 1.

FAA's Safety Team programs, where he received online training and attended in- person courses with certificated instructors. His younger brother Andres, who learned to fly at Carlos' side, says his brother always used instrumentation meticulously and participated in annual factory training sessions. On paper at least, Berl seemed to be a pilot's pilot. Still, Diaz's offer initially didn't excite him. He told his family he was worried about getting dragged into a contractual relationship that might hinder his life. But Diaz persisted.

Berl had long experience bringing airplanes in and out of South America; he knew the regulations well; he spoke Spanish. Eventually, Berl agreed to help with some initial flight plans and with ferrying a plane from Fort Lauderdale, Florida, to Colombia. Eventually, he grew excited, says Jenny, Berl's 2.

Josh Becker: Q & AName:             Nikolay Yeriomin. E- mail:            nikolayyeriomin@gmail. Date. 6/5/1. 6Dear Josh : Loved previous q& a's with Keith and Tim because it is quite an interesting "food for thoughts".

If it is okay, I have a few comments and questions regarding what they were writing, so this message may be a little bit long (I hope that it may be separated if that will be more comfortable for you and/or webmasters). Firstly, regarding Alfred Hitchcock (by the way, my all- time favorite director) - it should be noted that "Hitchock/Truffault", even though it is one of the greatest books on Hitchcock and movie- making in general is quite flawed by one thing in nearly any translation, that thing being the fact that all of the Hitchcock statements were translated in French and then book was again translated in English from that translation, so at times what Hitchcock actually said was somewhat paraphrased and may have affected the sense of a few statements.

Secondly, a little thought on Hitchcock's movies - last summer I've discovered that I've actually haven't seen that much of his directorial works, mainly because in cases of one of the favorite directors dying or working rarely I usually postpone some movies in advance, just to have a few if I'll have some specific mood. In case of Hitchcock, though, I understood it was quite pointless, because if counting his TV episodes and some other things he has quite a big filmography. So, I've started a tradition of sorts that I hope to continue this year - to pick five Hitchcock directorial works (from each decade of his career excluding the 7. I've seen everything) mostly at random and watch them on and around his birthday. What I've picked in 2. The Pleasure Garden", "Jamaica Inn", "Spellbound", "The Trouble with Harry" and an episode of "Startime" named "Incident at a Corner". I can highly recommend each one of them (though "Spellbound" is probably the better one of them), but "Incident at a Corner" is especially recommended because it is mostly overlooked and forgotten, despite this little gem is actually pretty impressive.

Thirdly, while I can understand your and Tim's concern of culture being "rotted", I have some optimism for it and I just believe that we're living in a period of quite a big shift and it's hard to judge the society which is in a constant stress and undergoes a process of certain social and cultural mutations. I'm quite concerned about culture as well because, well - mainstream culture seems less and less appealing to me. Especially since younger people (of which I am, to some unfortunate extent) seem less and less tolerant to more individual and "unconventional" tastes and will try to force you to watch what they like, massively overreacting if you dislike their choice, forgetting that anyone has right to choose what he or she wants to watch. I'm quite tired of people shaming me for my dislike of "Game of Thrones" and "The Walking Dead" - while both series are very popular and acclaimed I just can't find anything of strong interest in both of them (not to mention that people fail to notice how much "Game of Thrones" is derivative to works of William Shakespeare) so I don't have a point to watch them. But I hope that such "Age of Overreacting" will eventually pass and we'll have some kind of renaissance. I don't lose that hope because, well, even my dorm roommate (1. I'm of the same age gap and yet I can easily watch anything regardless of time period) loved "Lawrence of Arabia" and is amazed by Buster Keaton stunts (despite him being a parkour practitioner he just can't understand how some of them were executed) and another one of the same age is reading a lot and tries quite thoughtfully to compare and balance mainstream, independent and classic art.

One of my best friends who is essentially of my age disliked "The Hateful Eight", by the way and while I was okay with that movie I can totally see why and approve both his and yours concerns about it. Fourthly as you've asked for someone to pick ten greatest movies and albums of the past ten years (that should be the period of 2. I guess?) I might as well try to name at least movies. But I should warn you that I'm casually watching some movies two or three years after the initial release, so I'm quite surely missed at least a few great titles. I'm also subjective, of course and will try to balance those movies which both I've found great and at least some significant amount of people enjoyed a lot as well, trying hard to limit it for one- two movies per year. My picks are (in chronological order): 1."Shaun of the Dead" (2. Dir. Edgar Wright (UK); 2."Takeshis'" (2.

Dir. Takeshi Kitano (Japan); 3."A Scanner Darkly" (2. Dir. Richard Linklater (USA); 4."Reign Over Me" (2.

Dir. Mike Binder (USA); 5."Serce na dloni" (2. US as "And a Warm Heart" though the translation is "Heart in the Hand") Dir. Krzysztof Zanussi (Poland); 6."Drive" (2. Dir. Nicolas Winding Refn (USA); 7."Fire. Crosser" (Toy. Khto. Proyshov. Kriz. Vohon) (2. Dir. Mykhailo Illienko (Ukraine); 8."L'écume des jours" (2.

US as "Mood Indigo", though the translation is "The Foam of Days") Dir. Michel Gondry (France); 9."The Guest" (2. Watch MVP: Most Valuable Primate Streaming. Dir. Adam Wingard (USA); 1.

Mad Max: Fury Road" (2. Dir. George Miller, (Australia and USA). The problem is - great rarely equals life- changing personal favorites - if you'd asked to put a list of ten personal favorites a fewer of those will move from one list to another. Yours sincerely,Nikolay Yeriomin.