Making a movie is so tangible and physical. Your feet hurt. Your hair gets too long. Your jeans develop character (holes). For months you are together as a crew (what a crew!) until you become a unit.
Releasing a movie on the other hand is completely abstract. You get an email saying how it’s doing. The one thing that makes it feel real are the stories people like you share about it.
A film in fact never exists by itself. It is shot out at the speed of light and sound 24 times a second and instantly disappears. It only exists in the minds and hearts of people who see and hear it and think and talk about it. So what we feel today is just immense gratitude to so many people, for seeing it early, for staying up late, for sitting in the front row all the way to the left, for reading the book, for going in blind, for bringing a friend, for your precious and generous undivided attention, for the posts and the drawings and edits and animations and costumes and homemade figurines fer crackin’ ice. You have brought the movie to life with your big beautiful empathetic human brains. You are part of the movie now. So if you are one of the 1000+ artists who worked on it or one of the folks around the world who came out and watched it…
Thank. Thank. Thank.
❤️ Chris and Phil
( v - the day we wrapped - v)
It’s a privilege to make a movie. A bigger one to do it with your best friend. Bigger still to have so much help from so many brilliant artists and friends old and new. But the biggest privilege of all is when people you’ve never met give you their time and attention and take a seat. Without that generosity a film cannot exist. Thank you, friends. Thank you strangers. Hope you love it.
Some clarification here: "no green screen" doesn’t mean "no VFX”.
There were, in fact, thousands of VFX shots in the film (2018!)
Green screen is sometimes used in lieu of building sets or figuring out locations/lighting in advance, which can be noticeable if not done carefully, and is something we didn’t want to do. We built the entire interior of the Hail Mary ship - but within the ship, there were still wire and puppeteer removals and ceiling replacements, etc. When Ryan is outside on the hull of the ship, we shot him in front of a black background for space and a shifting hue background when he was up against the aurora of a planet which allowed for truer interactive light on him than a green screen would. The wide space exteriors and spaceship shots were entirely digital and beautifully done by ILM. Rocky was a seamless blend of puppetry and animation from Framestore. And other great work from many more. It really does take a village and we had the best of the best on our side.
Had the opportunity to attend a screening of Project Hail Mary, and it is E.T.-level great. One of those "laugh...cry...feel things" movies that don't come around often. Congrats, @LucyKitada@philiplord@chrizmillr
#SpiderVerse friends! if you get to the theater early and you want a fun mission ask someone to check that the theater volume is set at reference (7)! If it sounds a bit quiet, invite them to turn it up a touch to 7.5! If they give you flack... tell them we said it was okay.
Phil Lord and Chris Miller on the WGA writers strike: “The guild is being reasonable and fair... Pay is declining as business is growing. There is a fair deal to be made. The sooner the studios get serious about making one, the better for all of us." https://t.co/37EwvZwxDv
In a world where anything is a possible (and everything is cool when you’re part of a team), we’re bringing the #Dartmouth23s not one but two commencement speakers. Coming June 11 to the Dartmouth Green, @PhilipLord ’97 and @ChrizMillr ’97!
Learn more: https://t.co/B59FNmkkXF