Tom's Blog on Life

“He who lives in harmony with himself lives in harmony with the universe.” – Marcus Aurelius, Roman Emperor (121 -180 AD)

On the set of “Indiana Jones and the Last Crusade“ in 1988, Harrison Ford and Sean Connery found themselves in a tight space, literally. During the iconic biplane escape scene, both actors had to squeeze into the tiny cockpit of a World War I-era plane, crammed shoulder to shoulder. Ford, already used to performing stunts and working in difficult conditions, cracked a joke to lighten the moment. Connery, wearing his thick costume, leaned over and quipped, “This is not what I thought archaeology would feel like.” The chemistry that shone on-screen as father and son was not a creation of editing or dialogue, it had been alive from the first day of shooting.

Steven Spielberg had originally considered other actors to play Indiana Jones’s father, but George Lucas pushed for Connery. He argued that only the former James Bond could convincingly play the father of cinema’s most famous adventurer. Ford didn’t hesitate when Connery was brought on board. He admired Connery’s legacy and charisma, saying in an interview, “You bring someone like Sean in, and it raises the level for everybody. The respect is real. We were all aware we were working with a titan.”

Sean Connery, born on August 25, 1930, was 12 years older than Ford, who was born on July 13, 1942. Though the age gap between the actors didn’t leave much room for a believable father-son dynamic at first glance, their offscreen camaraderie and the smart script filled in the gap. Connery made the relationship feel authentic, grounding it with a blend of stern warmth and light-hearted humor. Ford once revealed, “Sean didn’t play the character like a dad from an action film. He played him like a man who loved books more than bullets, and that tension is what made it real.”

During one lunch break in Almería, Spain, where parts of the tank chase were filmed, Ford sat down with Connery to talk about acting choices. The casual conversation turned into a storytelling session, with Connery reminiscing about working on “Dr. No“ and what it meant to carry a global franchise. Ford listened intently, absorbing every word. “He had this way of talking where every line sounded like a secret. Like he was letting you into something ancient and true,” Ford later said.

The two actors also shared a bond over their skepticism of celebrity culture. Connery, who had dealt with tabloid attention for decades, advised Ford on how to maintain privacy. He once told him, “Your work is for the public, not your life. Never forget the difference.” Ford carried that wisdom forward, becoming one of Hollywood’s most elusive stars off-camera.

On set, Connery’s improvisation during the motorcycle chase scene left everyone in stitches. In one take, after they escape the Nazis, Connery added the line, “It’s a new experience for me, happily, one I hope never to repeat.” Spielberg laughed so hard he insisted the line be kept. Ford loved those unscripted moments. “He knew when to deliver the gravitas and when to make it fun,” he said.

What made their bond unique was their mutual humility. Neither tried to outshine the other. Connery often praised Ford’s work ethic, telling a reporter from Empire magazine in 1989, “He’s not in love with the camera. He’s in love with the story. That’s why he’s Indiana Jones.”

Their last day filming together was on a chilly morning in Utah. Spielberg gathered the crew to shoot the final shot of the movie, with the four main characters riding off into the horizon. Connery shook Ford’s hand and then pulled him into a hug. A crew member overheard Connery saying, “Thank you, lad. You made it a joy.”

Ford later described that as one of the most meaningful compliments he had ever received on set.

Their on-screen bond was rooted in something deeper, a shared respect for the craft, a love for story, and an unspoken understanding of what it means to carry iconic roles without letting them define the man behind the character.

In a film filled with ancient myths, the real treasure was two icons laughing side by side between takes, sharing wisdom and warmth beneath the desert sun.

In Munich, 1972, a whisper became a roar. Olga Korbut—just 17, slight as a breeze, yet fierce as a flame—stood on the uneven bars and did the unthinkable. In front of a breathless global audience, she launched into a standing backflip atop the high bar—a move never seen before, a move the code of points hadn’t even imagined.

It wasn’t just that she landed it. It was that she dared. That flip, immortalized as the “Korbut Flip,” didn’t just break gymnastics convention—it broke it open. The sport, once rooted in balletic delicacy, was suddenly alive with danger, risk, and raw emotional energy. And in that moment, a Soviet schoolgirl from Minsk became the spark that redefined women’s gymnastics.

Korbut would go on to win three gold medals and one silver at the 1972 Munich Games, but medals were only a footnote to her legacy. What she offered was something deeper: vulnerability on the mat, joy in motion, tears without shame. “I wasn’t perfect,” she once said, “but I was real.” She returned in 1976, adding another gold and silver to her collection, but by then her revolution had already taken root. Little girls around the world weren’t just dreaming of winning—they were dreaming of flying.

Her influence reverberates in every daring release, every boundary-pushing routine. Without Olga, there might be no Comaneci 10.0, no Biles twisting through space with unapologetic audacity. She didn’t just raise the bar—she made us question where it should even be. Her story reminds us that greatness isn’t always about dominance; sometimes, it’s about disruption. It’s about choosing to leap, knowing the world might never be the same when you land.