Filmmaker James Gray and key collaborators on creating the world of 'Ad Astra,' which takes Brad Pitt on an emotional journey from Earth to the moon to Mars to Neptune.
An opening title card declares that “Ad Astra” takes place in the near future. That means far enough away from now that there is a populated colony on the moon, but also close enough to our time that within that colony is a Subway sandwich franchise and a DHL shipping outpost.convincingly creates a world that is both familiar and fantastic.
“We tried to sort of illustrate the interiority by going as far out as we could,” he said. “We thought the contrast would be effective dramatically.”Anchored by Pitt’s subtle performance, “Ad Astra” moves between large-scale set pieces and quieter moments, often finding McBride reflecting on his estranged relationship with a woman back on Earth played by Liv Tyler.
“It was completely different for both of us,” Thompson said of his renewed collaboration with Gray. “We entered it together, exploring how the approach was going to be — what were our references and what kinds of things did we like. I think that we did want it to feel fairly naturalistic and real, and not space-age, not too futuristic.
For the lunar rover vehicles that are part of a thrilling chase sequence on the surface of the moon, Thompson began with the same sort of thin, lightweight materials used for actual moon vehicles but then had to modify and reinforce them based on the needs of second-unit director Dan Bradley, changing elements of the set as well for the practicalities of production.
“And I think that has had implications across the board on this film,” said Kleiner. “You never lost the sense of that when people are on the moon, they’re not all of a sudden living in a ‘Jetsons’ world. They still get checked in at a table that you get at Ikea or something. And even the visual effects, it took a long time to get those right and really hone those and make sure that they didn’t feel too futuristic and synthetic and apart from our reality.
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