Film Director Shot by Alec Baldwin Says it Felt Like Being Hit by Baseball Bat

A still from a video clip played in court shows actor Alec Baldwin during a trial at the First Judicial District Courthouse in Santa Fe, New Mexico on February, 29, 2024. (Photo by Gabriela CAMPOS / POOL / AFP)
A still from a video clip played in court shows actor Alec Baldwin during a trial at the First Judicial District Courthouse in Santa Fe, New Mexico on February, 29, 2024. (Photo by Gabriela CAMPOS / POOL / AFP)
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Film Director Shot by Alec Baldwin Says it Felt Like Being Hit by Baseball Bat

A still from a video clip played in court shows actor Alec Baldwin during a trial at the First Judicial District Courthouse in Santa Fe, New Mexico on February, 29, 2024. (Photo by Gabriela CAMPOS / POOL / AFP)
A still from a video clip played in court shows actor Alec Baldwin during a trial at the First Judicial District Courthouse in Santa Fe, New Mexico on February, 29, 2024. (Photo by Gabriela CAMPOS / POOL / AFP)

A movie director who was shot by Alec Baldwin during a movie rehearsal — and survived — testified Friday at trial that he was approaching the cinematographer when he heard a loud bang and felt the bullet's impact.
“It felt like someone had taken a baseball bat to my shoulder,” said Joel Souza, who was wounded by the same bullet that killed cinematographer Halyna Hutchins on the New Mexico set for the upcoming Western movie “Rust” on Oct. 21, 2021.
Souza never filed a complaint but was called to testify as prosecutors pursue charges of involuntary manslaughter and tampering with evidence against movie weapons supervisor Hannah Gutierrez-Reed, who maintains her innocence. Baldwin, the lead actor and co-producer on “Rust,” was separately indicted by a grand jury last month. He has pleaded not guilty, and a trial is scheduled for July.
Prosecutors are reconstructing a complex chain of events that culminated in gunfire on a film set where live ammunition is expressly prohibited.
According to The Associated Press, Souza said his workday began before dawn with the realization that six camera-crew members had walked off set. Hutchins put out urgent calls for replacements, and filming was back underway by late-morning in an outdoor scene involving horses and wagons.
Work after lunch started with positioning a camera in preparation for an extreme close-up take of Baldwin drawing a gun from a holster inside a makeshift church. Souza said he moved in behind Hutchins for a closer look at the camera angle but never saw the gun that shot him.
“I got up behind her just to try to see on the monitor, and there was an incredibly loud bang,” Souza said. “This was deafening.”
Baldwin and his handling of firearms on set are coming under special scrutiny in questioning by prosecutor and defense attorneys.
On Thursday, prosecutors played video footage of Baldwin pressuring the movie armorer to hurry up as she reloads guns between scenes.
“One more, let's reload right away,” Baldwin says at the close of a scene. “Here we go, come on. We should have had two guns and both were reloading.”
Gutierrez-Reed can be seen quickly loading a revolver.
Expert witness Bryan Carpenter, a Mississippi-based specialist in firearms safety on film sets, said Baldwin's commands infringed on basic industry safety protocols and responsibilities of the armorer.
“He's basically instructing the armorer on how to do their job ... ‘Hurry up, give it to me fast,’" Carpenter said. “Rushing with firearms and telling someone to rush with firearms is not — not normal or accepted.”
On Friday, defense attorney Jason Bowles pressed Souza to remember whether the script explicitly called for Baldwin to point the gun toward the camera, where he and Hutchins were standing.
“And do you know whether, from the script, whether that firearm was supposed to be pointed towards the camera?” Bowles inquired.
“It’s not a matter of the script, really. For that specific shot, it was literally supposed to be the gun being pulled out sideways,” Souza said.
Prosecutors say Gutierrez-Reed is to blame for unwittingly bringing live ammunition on set and that she flouted basic safety protocols for weapons — partly by leaving the church rehearsal while a gun still was in use. Defense attorneys say it wasn't Gutierrez-Reed's decision to leave.
Souza said he only recalled seeing Gutierrez-Reed inside the church after he was shot.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.