Throughout his career, [Tony Scott] returned to stories about men struggling to dominate massive, potentially deadly machinery, from Top Gun to Days of Thunder all the way to 2010’s Unstoppable. Was he drawn to those projects because — as an art-school boy who boarded Don Simpson’s crazy-train early and never really figured out how to make art outside the weird context of the blockbuster — he understood on some level what that experience felt like?
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