COVER
222 MIAMI LIVING
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.
