Watch Brad Pitt in a Chase on the Moon in ‘Ad Astra’ | Anatomy of a Scene

Watch Brad Pitt in a Chase on the Moon in ‘Ad Astra’ | Anatomy of a Scene
Watch Brad Pitt in a Chase on the Moon in ‘Ad Astra’ | Anatomy of a Scene
I am James, Graham Nico writer and director of Ad Astra. We had thought for a while about what the moon might be like in the next 50 to 100 years and what it would take to settle and how we probably wouldn’t be able to settle the moon. Certain parts, so we tried to conceive of the sequence which Illustrated the chaos of what it might mean to adhere to treaties about certain place. You couldn’t couldn’t go to the Moon. That would mean lunar Pirates, probably it would, and so we created an action scene around that concept. The goal for the scene was really too full.. I say it one was to have it play as a very subjective experience. The strangeness of being on the moon sells a kind of 1/6 gravitational pull what it means when there’s a total lack of order, and that was really the ambition. But it was really our attempt to extrapolate to think about essentially what it would mean to settle territory and who gets to own what, and that has never was to self peacefully in the entire history of the human race. So why would be different on the moon? We have no idea shoot a stunt safely and superbly with a lot of impact, but this represented some very weird difficult challenges, one of which was how to simulate 1/6 gravitational pull. Additionally, how make sure that it looks like the moon, so my first idea – which of course is always wrong – was we’re going to shoot the desert and we will then figure out a way to ColorTyme the sky. That’S blue at jet-black and then we’ll take the color out of the sand and we’ve got it well. What we wound up doing was shooting the sequence in the desert and it presented huge and almost impossible, didn’t the physical challenges. The first was, of course, while the desert does have life so below the surface has turned out to be useless II was that the sky sometimes had clouds sometimes have gradations. So what even, though we shot it in part with an infrared camera which would turn the blue to Black still didn’t turn it all the way black sew sequins had to be almost like visual-effects heavily augmenting, the Practical stunts that we did and then, of course, there Was the attempt to simulate one-sixth gravity – and that was a lengthy trial, where we experimented the different frame rates for the film and ultimately, we decided between 32 and 36 frames per second, as opposed to the usual 24 frames-per-second simulated. For some reason. What experiences of what 1/6 gravity would look like when we had to replace all of the surface and get rid of the desert get rid of the vegetation? We found ourselves using the very high-quality Hasselblad photographs that were taken on the moon in the Apollo missions with the computer when you cut out around the wheels when you cut around the shape of the rope with stealth, and you replace the ground and the replacement background Was the photographs of the Moon that were taken over 20 to 30 year., And so when they’re driving was zooming past the wheel is the series of lunar photographs and so the actual surface you’re seeing surfaced.
How do you make it look like you’re shooting a scene on the surface of the moon without going to the moon? How about a little help from … the moon?

The science-fiction tale “Ad Astra” takes place in a near future where the moon has become, to some degree, the Wild West, with treaties being made to create settlements. This scene has lunar pirates trying to thwart the work of astronauts, including one played by Brad Pitt.

In this video, the director James Gray explains his two goals for this sequence. He wanted it to play as a subjective kind of experience, immersing you in “the strangeness of the moon,” he says. But he also wanted to “illustrate what it means when there is a total lack of order.” That plays out here in harrowing ways.

Gray describes the challenges of making the scene feel authentic, including shooting in the desert at another frame rate to make it look as if the moon rovers were affected by the different gravitational pull, then enhancing that footage with visual effects. And he elaborates on how he and his team used photography of the moon and digitally covered it over the desert lands to help simulate the moon’s surface in a convincing way.

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