Andy Weir

It really does take a village.

We had the best of the best on our side.

And then they've talked about like Chris Miller on Twitter has talked about how the process of how they shot this, which is like a process that Greg Frazier has used on both Dune and the Batman, which is shooting it digitally.

They shot it in Letterboxd for flashbacks, like widescreen for flashbacks, and then IMAX for space, like bigger format.

So the ratio changes in the memories versus when you're in space, depending on where you see the movie.

And, like, but they shot it digitally.

They transfer onto film and they transfer it back digitally, which is, like, sounds like an insane process.

But, as Chris puts it, adds warmth and texture to the final format.

So, you get this, like, though it's shot digitally, it has this warmth and texture to it.

So, like, this movie, from the intentionality of the set deck to everything else, the fact that, I think it's, is it...

I think Charlie Wood is the production designer, but the way in which they built the ship to have all these different like panels and monitors and different languages because the Hail Mary is the production of like many different space programs working together.

So they sort of cobbled the spaceship together from all these different programs.

So, like, there's this patchwork.

It's like a metaphor for the whole story is the patchwork of the ship itself.

The way that they, you know, much like the way they made Joseph Gordon-Levitt, you know, be able to run around a hallway in Inception.

They're on a gimbal.

They're turning the set.

You know what I mean?

There's, like—

And Lord and Miller talked about how—this is a long way to my answer, but I will give you an answer.