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Despite its scale, Project Hail Mary takes a notably different approach from most modern sci-fi blockbusters. Rather than relying heavily on greenscreens, the filmmakers prioritized physical sets and real-time interaction, a decision that shaped both the film’s aesthetic and performances. Miller explained the philosophy in an interview with ComicBook.com: “What’s fun about the movie is that there is no greenscreen in the movie whatsoever. Not a single green- or bluescreen was used. The whole ship was built as a set from the inside… The alien character Rocky was really with us at all times. And so, that’s what makes it feel real and makes it feel natural.” He added that even exterior sequences were designed to preserve authenticity: “When Ryan is outside on the hull of the ship, we shot him in front of a black background for space… which allowed for truer interactive light on him than a green screen would.” That commitment to realism extends to one of the film’s most memorable elements, Rocky, an alien character brought to life through a blend of puppetry and visual effects. Theater artist James Ortiz performed Rocky on set using a detailed puppet, delivering lines live so Gosling could respond naturally. The performance proved so effective that Ortiz’s voice was ultimately retained in the final cut, reinforcing the emotional core of the film. While visual effects studios including Industrial Light & Magic and Framestore handled large-scale space environments and select animated sequences, the production consistently grounded its most important interactions in practical performance.