{"id":549958,"date":"2026-03-20T23:01:12","date_gmt":"2026-03-20T23:01:12","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/549958\/"},"modified":"2026-03-20T23:01:12","modified_gmt":"2026-03-20T23:01:12","slug":"phil-lord-christopher-miller-interview","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/549958\/","title":{"rendered":"Phil Lord, Christopher Miller Interview"},"content":{"rendered":"

\n\tPhil Lord<\/a> and Chris Miller<\/a>\u2018s Project Hail Mary<\/a> is, at its core, the story of a guy who wakes up alone in space and has to befriend a rock. It\u2019s also one of the most purely enjoyable<\/a> and uplifting movies of the last decade or so, imbued with very un-2026 optimism and near-relentless levity by the directors, from a screenplay by Drew Goddard (adapted from Andy Weir\u2019s novel, like another Goddard script, for 2015\u2019s also awesome The Martian, directed by Ridley Scott). In the lead role of reluctant non-astronaut Ryland Grace is Ryan Gosling<\/a>, whose performance is a career milestone, proving that he\u2019s one of a tiny number of actors\/flat-out movie stars who could carry an entire blockbuster nearly on his own.<\/p>\n

\n\tIt\u2019s Lord and Miller\u2019s first movie as directors since 2014\u2019s classic sequel 22 Jump Street, even though they\u2019ve kept more than busy in the intervening years as producers, screenwriters, and creative forces on projects including the Lego movies, the still-in-progress Spider-Verse saga, and more. They were, infamously, the original directors of another giant space movie, 2018\u2019s Solo: A Star Wars Story<\/a>, until Lucasfilm president Kathleen Kennedy removed them from the project in favor of Ron Howard, reportedly fearing a too-light, too-improvisational tone.<\/p>\n

\n\tChatting over burgers in a midtown Manhattan hotel room, a few hours before Project Hail Mary\u2018s premiere, Lord and Miller told Rolling Stone why Gosling reminds them of Warren Beatty, how Sandra H\u00fcller<\/a>\u2018s showstopping karaoke scene came together in 36 hours, what they really took from the Solo experience, the status of Beyond the Spider-Verse, learning to love Star Wars again, and more.<\/p>\n

\n\tYou guys know how to please a crowd and you want to please a crowd. Is there ever a moment where you pull yourselves back and think, this is too crowd-pleasing?
Miller: You can\u2019t give them ice cream for every meal.<\/p>\n

\n\tLord: It\u2019s such an interesting question because it\u2019s a word that is following the movie around a lot \u2014 crowd-pleasing, blockbuster, feel-good. And I can\u2019t say we ever think about, \u201cOh, this joke\u2019s gonna knock \u2019em dead.\u201d We\u2019re not gaming the audience. We are just trying to make the movie really good.<\/p>\n

\t\tEditor\u2019s picks<\/p>\n

\n\tMiller: Trying to have engagement from the audience. When you go to a movie you just want to be engaged from beginning to end. And we do show our movies to friends and family and filmmakers again and again, and watch the audience to see where they\u2019re lagging, where they\u2019re shifting their seats. But if we have their attention and they\u2019re laughing at the things that are supposed to be funny and crying at the parts that are supposed to be sad, that\u2019s a success.<\/p>\n

\n\tLord: And there are definitely times when we go, \u201cThey\u2019re fine with this moment. [But] we love it. And it stays. It belongs here. It\u2019s part of the story. And they don\u2019t know it yet, but they\u2019re gonna think about it tomorrow.\u201d We don\u2019t feel like we\u2019re beholden to the audience. If they don\u2019t laugh big, we\u2019re not that brutal. And we\u2019ve been proven right on this movie. You can\u2019t hear it when people have their breath taken away. It doesn\u2019t come up on the scorecards. You don\u2019t get the same satisfaction as a laugh, but you can feel it when the audience are enraptured \u2014 you hear them be quiet. And that\u2019s a big deal. But we do come from comedy, so we do spend the time going, did it land? That\u2019s important.<\/p>\n

\n\tJames Gunn recently told me<\/a> he was trying to pull back from his instinct to always need a laugh \u2014 what he called his tendency to \u201ctap dance for the audience.\u201d His example was the long dialogue sequence between Lois and Clark in Superman that he would\u2019ve been afraid of before, because it was too sincere and didn\u2019t undercut itself with a joke.
Lord: The best part of that movie is the relationship between Clark and Lois, and Superman getting dumped. And how sweet Superman was. I texted James right after I walked out of that movie going, \u201cThis is your best film. Your most sincere.\u201d<\/p>\n

\t\tRelated Content<\/p>\n

\n\tMiller: We\u2019re not really afraid of sincerity, as I think is pretty clear from this movie. Those Spider-Verse movies \u2014 that\u2019s what makes them tick. There\u2019s so much emotion in them. You think it\u2019s flipping and zipping around the city, but the most iconic scenes are [the characters] Gwen and Miles talking on the top of a building. In [Project Hail Mary], the book was funny and emotional. The book was thrilling and it made you feel a lot of things. And that was our goal. We always feel like if the audience can feel different feelings, sometimes even in the same scene, they\u2019ll come out of it and be like, \u201cI feel different from how I felt when I came into the building.\u201d<\/p>\n

\n\tLord: And I do think it\u2019s OK for a dramatic scene to have laughs in it. Life is full of people making jokes to ease the tension. At funerals, you get some of the biggest laughs because the dramatic tension is so hot. Everyone who speaks is totally set up for a laugh. We\u2019re dying for a laugh.<\/p>\n

\n\tMiller: There\u2019s a moment when [Gosling] is looking in the mirror and goes, \u201cI pause on you,\u201d and the whole audience erupts because you\u2019re desperate. It\u2019s such an emotional moment. And then here he is trying on being a good person for two seconds. And it\u2019s really funny. It\u2019s a catharsis.<\/p>\n

\n\tLord: And if you see 2001 with an audience \u2014 which we\u2019ve had the luck to do; we never had the Cinerama Dome in 70mm, RIP Cinerama Dome \u2014 it gets hard laughs and you can\u2019t believe it because this is held up on a pedestal, this movie, and you realize it\u2019s a crowd pleaser. It\u2019s a haunted-house movie that gets hard laughs with a cliffhanger intermission. So I think we try not to be snobs about putting a laugh in a dramatic scene.<\/p>\n

\n\tThere are levels to movie stardom, and I feel like Gosling hit a new one here. Other than the flashbacks, he had to do the thing Tom Hanks did in Cast Away \u2014 hold the screen alone for practically the whole thing, with nothing but a rock. And he more than met the challenge.
Miller: You see him in Half Nelson or Drive and you see his incredible dramatic acting chops. And then you see him in Nice Guys or Crazy, Stupid, Love and you\u2019re like, oh, he can do anything. But you haven\u2019t seen him do all of those things in the same movie. We knew he had the range \u2026 We didn\u2019t know just the extent of how many different moves he had that were ones we\u2019d never even seen before. Watching a person who has complete control over every aspect of his body \u2014 we were putting him on wires, doing physical shenanigans for weeks.<\/p>\n

\n\tLord: He created with his body and his silhouette. Which is what it was like working with Channing Tatum, whose creativity is about how he moves.<\/p>\n

\n\tMiller: He\u2019s a dancer.<\/p>\n

\n\tLord: What\u2019s fun about the movie and the tremendous value is you get to see all those moves in one place. What\u2019s fun about watching Ryan\u2019s career is he adds talents, like LeBron James or something. Every season it\u2019s, \u201cOh, you learned how to do that?\u201d And then watching him put it all together into one film is really exciting.<\/p>\n

\n\tMiller: The secret for him isn\u2019t that he just naturally can do it all, though he can. It\u2019s that he\u2019s really thoughtful and he really cares and he puts a lot of creativity and thought into every scene, every moment, every costume. He comes in the morning with ideas for the scene.<\/p>\n

\n\tLord: And we sweat the details and we work well with people like that.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t(L to R) Directors Christopher Miller and Phil Lord with actor Ryan Gosling on the set of their film PROJECT HAIL MARY, from Amazon MGM Studios.<\/p>\n

\t\t\t\t\t\t\t\t\tJonathan Olley\/Amazon Studios<\/p>\n

\n\tIt was pretty interesting that Gosling came up with the karaoke idea \u2014 the idea that Sandra H\u00fcller\u2019s character would sing.
Lord: Yeah, it was like, she\u2019s a great singer. We\u2019re crazy not to put her in the thing. So we were like, alright, how do we craft a scene that makes the movie better? It isn\u2019t just a sideshow. And then we all came up with this thing of, oh, it\u2019s her way of revealing herself. It\u2019s a dare that Ryan gives her.<\/p>\n

\n\tMiller: And then we had to ask Sandra, will you sing a karaoke song in 36 hours from now? Which is not a thing you\u2019d want to do. Normally, you give weeks to practice and have a singing coach and get comfortable with the piece. And she was like, \u201cI\u2019ll do it, but I get to pick the song.\u201d So she picked the song. So the creativity of Ryan going, \u201cIsn\u2019t it crazy that we have a person with the voice of an angel who we have this karaoke scene and it\u2019s about how she can\u2019t be part of it? Wouldn\u2019t it be great if she did sing.\u201d And then the creativity of Sandra to pick that Harry Styles song where the lyrics were so poignant for the moment and be able to do it without much preparation at all. We shot the reactions first to give her a chance to warm up. But the other actors didn\u2019t know what was coming.<\/p>\n

\n\tLord: We didn\u2019t tell them. So they were really surprised for real. And then we went back and altered that scene and made sure that Ryan\u2019s character challenged her to sing, so that it was accepting a dare.<\/p>\n

\n\tWas there a licensing scramble to clear that song?
Lord: The funniest one ever. We were in a little country town in England and people are making calls like, \u201cWhen does L.A. wake up?\u201d<\/p>\n

\n\tMiller: It\u2019s our last day on this location and we tried to push it as late as we could to give her time to practice. We were like, oh, that song is not gonna be easy to clear. Get a public domain song as a backup. Our music supervisor got us most of the way there that we felt confident enough.<\/p>\n

\n\tAnd now that\u2019s the centerpiece of the movie.
Miller: When she started singing, it was very clear that, oh, this is something special.<\/p>\n

\n\tThere\u2019s a thing James Cameron supposedly said to Leonardo DiCaprio during the casting of Titanic \u2014 Leo wanted to give the character a drug addiction or a missing leg or something, and Cameron told him, \u201cYou\u2019ve gotta learn how to hold the center without all that stuff.\u201d This felt like that kind of performance.
Lord: We talked about a lot of backstory stuff with Drew [Goddard], because we all did wonder, do we need to know more about this guy? But every time we tried to shunt something in, it just didn\u2019t fit. We tried to figure out what relationship was he leaving behind on Earth. And ultimately, to pack Earth with a lot of relationships that needed to be resolved at the end of the movie was not what the book did. This is a story about someone who\u2019s lonely on Earth, makes a friend in space, and stays there.<\/p>\n

\n\tMiller: Rather than a person who\u2019s got a rich life on earth and goes and becomes sad and lonely in space \u2014 like most space movies are.<\/p>\n

\n\tDid Ryan want that kind of backstory for a while?
Miller: We were trying to dig into the character. We had lots of conversations about that type of stuff. And then we shot the movie relatively in order with the space stuff first. The first week of shooting was him waking up out of the coma and making his way into the cockpit with the beard and crazy space caveman.<\/p>\n

\n\tLord: And all the Earth stuff\u2019s at the end. So there was a hope to know, do we need something to hold onto to drive this performance? And by the time we got to the end of the movie, it was clear it wasn\u2019t necessary.<\/p>\n

\n\tThe Rocky character is incredibly lovable, but in theory it could have been very difficult \u2014 he\u2019s naughty, he\u2019s not expressive, he\u2019s not Yoda. There were a lot of challenges.
Miller: You look at him in a still image, you\u2019re like, what is it? It\u2019s a bunch of rocks. I don\u2019t see where\u2019s the appeal. But it\u2019s the way he moves, [puppeteer and voice actor] James Ortiz\u2019s personality, all of that stuff that makes him so appealing. I think that\u2019s part of the fun of it \u2014 he doesn\u2019t look conventionally cute, but he worms his way into your heart in the movie. As an audience, you\u2019re like, \u201cWhat is this thing? I\u2019m not sure I get it or I like it.\u201d And then he really grows on you. But I think that\u2019s because of all the work we did designing the puppet with Neil Scanlan and the creature shop team, all the details. And then James and the Rocketeers \u2014 what we called the puppet team \u2014 the way they developed how he would move and these specific idiosyncratic quirks of his movement. And then complimented by Arslan [Elver] and the Framestore team that did animation of him. It ended up being about 50\/50 puppetry and animation. And you really can\u2019t tell which is which. It\u2019s so seamless. In post, we would get confused, going, \u201cIs this animation or is this a puppet?\u201d And they wouldn\u2019t even know sometimes.<\/p>\n

\n\tWhat were your early discussions about the challenge of making this inert-seeming thing as lovable as he ended up being?
Lord: One of the X factors is Ryan and his belief in the other person in the scene with him. So the first thought we had was, it\u2019s gonna be a puppet. It has to be, because we need a scene partner for Ryan. We can\u2019t fake the relationship. You can\u2019t fake the delight when somebody says something you don\u2019t expect. We kept thinking, it\u2019s gonna be like doing a movie with a child actor where that actor\u2019s gonna do things that throw you off and are surprising. And the best version of that is the movie star has to think on his feet. And watching someone do that is so charming. So when you\u2019re seeing Ryan delighted by Rocky, that\u2019s real. Because he\u2019s watching a real puppet and it\u2019s doing something and it\u2019s magical when it comes together.<\/p>\n

\n\tMiller: There\u2019s a scene where he\u2019s messing with a tape measure and the puppeteer is wrapping the tape around himself. He is really reacting. You can feel that it\u2019s really happening.<\/p>\n

\n\tLord: It\u2019s movie magic. And what\u2019s wonderful about seeing it onscreen is you\u2019ve got a character who\u2019s cynical and beaten down and now suddenly he\u2019s feeling like a child and optimistic in a way that as adults we very rarely have access to. We rarely get to experience wonder because we know too much. But if you go to space and you meet an alien friend and he\u2019s doing the Watusi [dance] or whatever, you get that.<\/p>\n

\n\tYou mentioned Harold and Maude as a reference.
Miller: Unlikely friendship, very funny, but about death.<\/p>\n

\n\tLord: A funny movie about death.<\/p>\n

\n\tMiller: Trying to talk about the human condition. It\u2019s not the most obvious connection, but it\u2019s a touchstone movie for us in a lot of things.<\/p>\n

\n\tAt what point did that reference come in?
Lord: Pretty early. It\u2019s one of our favorite movies, we\u2019re always thinking about it. But we had so much to rely on with the book and the script that it wasn\u2019t like we went around referencing movies. Paper Moon I guess we talked about, because Ryan O\u2019Neal is playing low status to his daughter the whole movie. And we often think \u2014 some of our favorite movie stars, like Tom Cruise, is not popular because he\u2019s always winning. He\u2019s popular because his back is always against the wall. Even in Rain Man. He\u2019s low status in all his iconic roles. He\u2019s in trouble. And one of the things I love about watching Ryan is he always elevates the other person in the scene over him. He\u2019s Warren Beatty or Robert Redford. Warren Beatty only wanted to play characters that were low status, even though he was the sexiest man alive. And so Ryan is always going, \u201cYou know who I want to elevate this time?\u201d \u2014 the scene with Lionel Boyce as the security guard, and he\u2019s going to invite him into this story with him and make him his equal. He\u2019s going to take Rocky and look up to him like \u201che\u2019s cooler than me and I want to impress him.\u201d He\u2019s playing \u201cget on the team\u201d that whole time.<\/p>\n

\n\tMiller: It\u2019s \u201cI\u2019m really looking forward to working together\u201d \u2014 that\u2019s why it\u2019s moving. It is not the, \u201cI\u2019m a person who thinks he\u2019s better than you.\u201d<\/p>\n

\n\tLord: And when he\u2019s complaining about Rocky being a tough roommate to live with, he\u2019s conferring all this power onto Rocky. He\u2019s expressing his helplessness. And Rocky\u2019s in there against his will and he is bossing him around.<\/p>\n

\n\tThe novel does a better job than, say, Armageddon in establishing why a non-astronaut would be in space. If you\u2019re familiar with the Ben Affleck commentary<\/a> on that \u2014
Miller: One of the funniest things I\u2019ve ever heard.<\/p>\n

\n\tLord: I love that movie. And one of the things I love the most about it\u2014<\/p>\n

\n\tMiller: He\u2019s clearly drunk in that audio commentary.<\/p>\n

\n\tLord: And have you heard the audio commentary with all the scientists? It\u2019s the rare Michael Bay movie to make an appearance in the Criterion Collection. And there\u2019s six audio tracks. And one of them is the scientist talking about all the things they told Michael wouldn\u2019t work. And he said, \u201cShut up.\u201d And he did them anyway.<\/p>\n

\n\tHow worried were you about scientific accuracy beyond what the novel established?
Lord: We were pretty uptight. We tried to treat the novel like it was a nonfiction book. And that everything in it is true and we are trying to represent it as accurately as we possibly can. So we were always having specialists on set.<\/p>\n

\n\tMiller: Thankfully we had Andy [Weir] on set quite a bit, and every time we were like, \u201cOh, we need Ryan to write some equations on this board \u2014 what would they be?\u201d He would write out the equations. And then we would feed what [Andy] said in [Ryan\u2019s] ear so that Ryan could write the actual math based on the size and scale of the ship from the movie \u2014 which is a different size and scale of the ship from the book. So he redid all the math and figured it all out.<\/p>\n

\n\tLord: If there\u2019s inaccuracies in how he\u2019s doing the science, it\u2019s from editing. On the day, he did every single thing.<\/p>\n

\n\tWere there moments when Andy\u2019s feedback on set was impactful or surprising?
Miller: All the time. Making a movie is a different venture than writing the book, where you can have a chapter about how we turned the ship around. This was a situation where we\u2019d be like, uh-oh, we need to figure out a way to get from here to here in a simpler way. And his whole bag is \u2014 you have a problem that needs to be solved, I\u2019ll come up with five different ways to solve it. All his books are people solving problems creatively. He\u2019d be like, \u201cOK, you could do this, or you could do this, or you could do this.\u201d And we\u2019re like, \u201cThat third one\u2019s perfect, thank you.\u201d<\/p>\n

\n\tWas there weight attached to picking which film you\u2019d direct next after all this time?
Lord: We were certainly in a mode after making the Spider-Verse stuff and The Afterparty, looking for what we were gonna direct next as a feature. But this was a surprise that it showed up. \u201cThere\u2019s a new manuscript, read it tonight. Ryan\u2019s attached. Are you in or are you out?\u201d And we talked about it very quickly with Aditya [Sood], who runs our company and discovered Andy as a self-published novelist and built The Martian. And we brought Drew onto The Martian, so he was like, \u201cGuys, this is what it feels like when a movie comes together. This is the one.\u201d And for us reading it, it was like, it has everything I want. It has impossible filmmaking challenges \u2014 the character with no face. There\u2019s a million obstructions for us to overcome, which is what gets us excited. And it\u2019s about friendship. In order to save the universe, you have to make a friend. And we know how to tell that story. A lot of times how we assess it is, is this something I want to spend two years thinking about?<\/p>\n

\n\tMiller: Are we the right people to tell this story?<\/p>\n

\n\tLord: And could someone else do a better job?<\/p>\n

\n\tMiller: And this one we were like, no \u2014 this is literally a story about friendship that\u2019s funny and emotional with massive stakes and big scale, and a character that needs someone who has animation brains to realize in a way that will be as emotional as it needs to be. In addition to the fact that the book was just \u2014 we were smitten with it. It had all of the pieces of things that we care about and like to do.<\/p>\n

\n\t\u201cAnimation brain\u201d is interesting, because it\u2019s not just \u201cwe know how to do Rocky.\u201d Even in 21 Jump Street, there\u2019s things like the drug-effect scene \u2014 one of the greatest things ever made, frankly \u2014 where you can feel that animation brain coming in.
Miller: There\u2019s a visual language. It\u2019s a tone. One of the things we learned on the Spider-Verse movies was, with those characters being able to walk on walls, we were able to move the camera and orient the camera all sorts of crazy ways in those movies and the audience went with it. And first thing we think is, oh, there\u2019s no up or down in space. We should be freed of having to have our camera upright all the time. And so we talked with Greig [Fraser] about that and he was really excited to find interesting ways to twist the camera around to project a mood. It became a thematic of how we did the movie. When you\u2019re trying to make an animated movie, you want to give people a visual spectacle they haven\u2019t seen before and a visual language they haven\u2019t seen before. And we were like, OK, we\u2019re gonna be in space. How are we going to show space in a way that doesn\u2019t feel like every other space movie?<\/p>\n

\n\tLord: And when you make an animated movie, you\u2019re building everything from scratch. You\u2019re designing outer space. You\u2019re designing the light. Every single thing is driven by the story. So we bring that into live action. The ship is made by every country on Earth. So it\u2019s a quilt. Every room should look different. It should feel like it was a custom quilted blanket for a person who was just born. Space is usually really inhospitable in movies, and cold and scary, and we do that, but ultimately space is the place where he is from. It\u2019s where we live. So as the movie goes on, we turn up the volume on the house \u2014 bright and colorful \u2014 the stars, so that the thing gets warmer and more inviting.<\/p>\n

\n\tYou had a particular experience with Solo. What lessons or scars did that leave?
Lord: We have many spectacular failures in our career. That\u2019s just one that people know about. What\u2019s really interesting is we shared so many department heads on this movie with that movie. No matter what happens, they can\u2019t take away what you learn. We shot almost the whole movie. We learned so much. We worked with the greatest people in the world. And a lot of teammates that we brought onto this one. The main feeling was it was a reunion.<\/p>\n

\n\tMiller: One of our first calls after getting Drew on board was to Neil [Scanlan] and the creature shop team we had worked with on that movie. We were like, it has to be Neil and his team. Nobody else will be able to do it the way he will. It was the same sound team, same costume people. We were able to amass a lot of the same folks. We learned a great deal making that movie and applied a lot of it to this one.<\/p>\n

\n\tBut it\u2019s not like you thought you were doing anything wrong on Solo. It\u2019s not like, \u201cWe made these mistakes, this time we won\u2019t do that.\u201d
Miller: I think it was just a different situation. That\u2019s a big franchise and this is an original movie that is its own standalone piece. We wanted to make it as great as we possibly could so that they don\u2019t go, \u201cOK, we\u2019re not doing this type of thing ever again.\u201d<\/p>\n

\n\tLord: We approach all these movies the same way. How can this feel different? How can it have the soul of the source material and expand upon it? How do we design a production so that it gives everyone space to hand-make the movie, so that you feel everybody\u2019s fingerprints on it? It feels like the work of 200 human hands, not a system or a company, but rather a troop. We have a live Rocky performance in front of Ryan so that they can play and discover as the movie happens. Our department heads know that we work well with people with ideas \u2014 ideas that are different than ours. They\u2019re welcome to come and be like, \u201cHey, I thought of this,\u201d even if it\u2019s right before we shoot. So we try to have a movie that \u2014 while it is meticulously planned \u2014 accommodates spontaneity. Which is unbelievably rare at this scale.<\/p>\n

\n\tDid it take you a while to get back to being able to enjoy Star Wars after that experience?
Miller: It was Andor, honestly. That brought me back to Star Wars. I was like, this is just really well-executed storytelling. It was a different vibe, but also we\u2019d be like, \u201cOh, I recognize that prop because we designed that.\u201d<\/p>\n

\n\tLord: For me it was the pandemic. I finally caught up with Rian [Johnson]\u2019s Episode Eight [The Last Jedi], which itself is a \u201cburn the scrolls\u201d movie. It\u2019s a \u201clet\u2019s make our own new thing\u201d statement about how to take these legacy things into the future.<\/p>\n

\n\tWhere are you guys with Beyond the Spider-Verse?
Miller: We are in the middle of that process.<\/p>\n

\n\tLord: Dead center. We\u2019re moonlighting on this tour.<\/p>\n

\n\tMiller: While we were editing this film, we set up our editing offices in the building where Sony Animation was moving so that we could spend mornings over at Spider-Verse and then spend the rest of the day editing this movie. The day after we finished color and sound on this movie, we were back in the offices again, where we will be for the next calendar year.<\/p>\n

\n\tSo it\u2019s being written and being animated?
Miller: It\u2019s being animated, there are storyboards, there\u2019s animatics of the whole thing, but it continues to evolve. We\u2019re on schedule. And the movie\u2019s very emotional \u2014 the most emotional of the three. We\u2019re doing a bunch of crazy visual stuff that\u2019s even wilder than the first two. The team is an all-star team. And this is the first time we\u2019ve been working with a live-action DP in animation \u2014 Alice Brooks. The two worlds are converging.<\/p>\n

\n\tLast time we talked, right when the last Spider-Verse came out, you guys were saying it was gonna take a while. And Sony was insistent that the next one was coming out in, like, 10 months.
Lord: Maybe you guys don\u2019t need to have announced a specific release date. It\u2019s your money.<\/p>\n

\n\tBut it wasn\u2019t physically possible.
Lord: No, it wasn\u2019t physically possible. But it did make for a really interesting movie.<\/p>\n

\n\tIs an Archie movie still happening from you guys?
Lord: Yeah. There\u2019s a really great idea and script for that.<\/p>\n

\n\tMiller: Or outline, I guess, well on its way to being a script.<\/p>\n

\n\tLord: It\u2019s nice when a good idea walks in the door.<\/p>\n

\n\tI recently rewatched the 21 Jump Street movies and they are so good. Now I know you blew up all the sequel possibilities at the end of the second one \u2014
Lord: Or we left a roadmap!<\/p>\n

\t\tTrending Stories<\/p>\n

\n\tBut some part of you must want to try one more.
Lord: I love those guys. And those movies are dear to our hearts. Who knows? Never say never, but it\u2019s hard to get everything to line up. We\u2019re so busy. Jonah [Hill] is directing movies now.<\/p>\n

\n\tI wish we lived in the universe where the 21 Jump Street\/Men in Black crossover idea actually happened.
Lord: Me too. That thing was great. It would\u2019ve taken maybe an unrealistic amount of chutzpah.<\/p>\n","protected":false},"excerpt":{"rendered":"Phil Lord and Chris Miller\u2018s Project Hail Mary is, at its core, the story of a guy who…\n","protected":false},"author":2,"featured_media":549959,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[213829,43,44,21360,21344,1354,193019,175444,8041,41,39,42,40],"class_list":["post-549958","post","type-post","status-publish","format-standard","has-post-thumbnail","category-headlines","tag-chris-miller","tag-headlines","tag-news","tag-phil-lord","tag-project-hail-mary","tag-ryan-gosling","tag-sandra-hu00fcller","tag-solo-a-star-wars-story","tag-spider-man-beyond-the-spider-verse","tag-top-news","tag-top-stories","tag-topnews","tag-topstories"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/549958","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=549958"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/549958\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/549959"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=549958"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=549958"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=549958"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}