Andy Weir

But Lord and Miller talked about how working on Spider-Verse inspired them to just sort of, like, move the camera wherever they wanted to move it and move the set wherever they wanted to move it.

They wanted to add this level of surreality to everything.

So, like, places on the spaceship would have, like, chairs on the walls.

Right.

Or, you know, when—

when Rylan's writing on the whiteboard and then, like, the cup is magnetic on the side, you know what I mean?

It's because, like, the ship might turn in a different way and the room is still usable from a different angle.

Like, all of that stuff is really cool and really inspired by the both

Spider-Verse and Cloudy with a Chance of Meatballs background that they have in animation of just sort of like we learned, especially in Spider-Verse, like, you know, you think about that final fight and into the Spider-Verse where your camera's just going all over the place and reality is like blurring everywhere and the audience is just with you.

And so they're just sort of like, take that ethos over here.

All that's to say, I'm actually going to pick

The moment when Grace is outside the ship and they flip to the Petrova setting.

That's an indelible movie moment.

Combination of score, sound, visual effects, performance from El Gonsito, Ryan Gosling himself.

It's just like, you know.

It's incredible.

Just incredible.

We've seen, like, glimpses of that.

So we, like, are prepared for that on a small scale to know what that visual means.

Yeah.