Andy Weir

You've got all this scientific jargon and, like, he stripped out a bunch of it, but some of it, like, still made the case there, right?

And then he meets someone who doesn't speak English.

So there's this, like, language barrier part of the script.

And then there's also, like, we'll talk about sort of the challenge of building Rocky, but, like, a character who cannot emote with facial features.

So, like, the language has to do a lot of work there as well.

So, like...

So, like, Neil Scanlon, who designed Rocky and also designed the Porgs and done a lot of great work with Star Wars, et cetera, et cetera, I get really excited whenever I see Neil Scanlon's name on, like, a creature design.

This is, like, what James Ortiz has said in interviews that Neil Scanlon said to him, right?

He's like, you're Frank Oz and I'm building you Yoda.

What a cool thing.

And they built it collaboratively.

And also, in one of the interviews I read, I think it was the inverse interview with Livvy Scott.

I think Livvy's observation was like, that comp is so apt, not just because Yoda is such an indelible creature and all of this, but when you think about Luke alone on Dagobah and how Mark Hamill talked about how important Frank Oz was for...

making that a successful sequence because otherwise it's just like Luke alone on a swamp well and then to your point about just like with all the respect to R2 R2 is also there obviously sorry don't get mad stop writing an email frankly good save stop it good save delete delete

There's a space film grammar that they are like fluent in.

You know what I mean?

That you can see inside of this.

And this is why it was like so fun for us to do like the space film draft or whatever and revisit all of those movies.

I also want to like on the creator front, I want to give Ryan Gosling the credit because he's the one who first got the manuscript for this before the book was even published.

He got the Project Hail Mary manuscript.