The tariff is interesting because I’ve never heard of a 100% tariff before. I’m not an expert in that area of economics, but I feel that means he’s saying he’s going to take all the money. And then what do we what do we get? So it’s complicated to me. Can you hold up the movie in customs? It doesn’t ship that way.

Not long after Trump’s post, someone else claimed responsibility for its origins: the Oscar-winning actor and Trump supporter Jon Voight, who has been tapped by the president to explore ways to bolster the American film and television industries. The president’s tariffs comment was reportedly plucked from a wider list of recommendations drafted by Voight; the actor’s business partner, who served as an adviser on the plan, stated that it was “crafted solely for the purpose of discussion.”

But the tentative list of solutions does have somewhat concrete recommendations in it, codified after Voight took meetings in Hollywood with unnamed industry figures. Levying tariffs on works created abroad is just one part of the package of ideas, which range from the fanciful to the practical, that he presented to the president.

American productions that took advantage of overseas tax breaks would be subject to a tariff “equal to 120% of the value of the foreign incentive.” Voight’s outline doesn’t specify how those tariffs would be imposed; perhaps the studios would be able to absorb the cost themselves, but if not, it’s hard to imagine that they would charge more for certain theatrical releases just because they were filmed in Europe, for example.

Voight also proposed that all subsidized projects “meet a minimum threshold AMERICAN ‘Cultural Test,’” an idea borrowed from programs in places such as the U.K. that funnel government money toward domestically made works that benefit the country in some way.

Perhaps the more pressing concern, especially to domestic audiences and studios, should be the decline of theatergoing. Instead, Hollywood is busy reckoning with new alarmist proclamations.

What’s amazing is his opening frame, when I'm going out the window. That's the shot that sells the vertigo. To get that IMAX camera there to get that shot was very complex. I had to figure out how to do it, so I built, on a soundstage, an entire wall of metal and glass, and we had it as hot as it could be. I knew I needed gloves, because of the heat of the building. What happens if it’s so hot I can't touch it? What’s the wind like? So I would sprint up and down the building on the soundstage, just to get used to it.

When we got to Dubai, I only had one night to rehearse on the actual building itself. I padded up – on the day I'm doing it, I don't have pads – and the sun is starting to set. I’ve spent time climbing the building, but this is me running across the building, holding on, and then going across. So I start sprinting, holding on to this rope, on a very small single pick. And the wire is so tiny. Before I go, I look down at this little bolt and, for the first time, start recognizing, ‘Well, that's very small! I didn't realize how small it is!’ And your mind starts thinking about things like this. But I push off, and suddenly I’m out there in space, and I’m arcing, and I feel the wind and I’m picking up speed. I’m headed toward the building, and I thought I was going to be able to naturally slow and land on my feet, but I realize the impact is going to be on my skull and my neck and I'm going to have compression. At the last second, I was able to wrench my body around and go, like Wile E. Coyote, bang into this picture-window glass. I hit it so hard. I saw stars. I could even see the windows vibrating. And I checked my body. Nothing’s broken. And then I see all the crew look at me with big eyes going, ‘Oh my God.’ And it’s okay. I’m okay.

I wake up in the morning and the sun is bright, and I have no pads, and I go out and I was able to do it correctly. It’s such a beautiful sequence. It was a privilege.