Robert Pearlman is a space historian, journalist and the founder and editor of collectSPACE.com, an online publication and community devoted to space history with a particular focus on how and where space exploration intersects with pop culture. Pearlman is also a contributing writer for Space.
In"Fly Me to the Moon," director Greg Berlanti faked both real and fake moon landings to let the truth shine through.For his new movie"Fly Me to the Moon," director Greg Berlanti faked the historic first moon landing. But fear not, space fans, that does not mean what you might think it means.
Not that"Fly Me to the Moon," which opened in theaters on Friday , is a documentary. The film is a fictional romantic comedy set against the backdrop of a sometimes accurate, sometimes not depiction of the"So much in the movie, and so much of the time and effort and energy of the film, really goes into recreating the amazing things we were able to recreate. That is, what people saw with their own eyes about what was, in fact, accomplished," he said.
We put the whole room on rockers, and then we brought in all our extras, all of our background and everybody. We had all the video screens aligned in real time in camera. So everything played as though you were at the actual Apollo 11 launch.and repurposed a lot of the 65-millimeter footage that NASA shot with all their state-of-the-art equipment. There are still hours of that has not been pored through by the public or repurposed. So we used a lot of that footage as well.
So for our fake moon set, it's actually as they would have constructed it in 1969, which means one giant light that simulatesthat has to be high enough and far enough away and a set big enough that you're going to be at the right angle or it's. Additionally, there's going to have to be a backdrop that's far enough away that it's going to fall off, so our set was really the size of a baseball field and about five stories high.
And then you throw in the cameras, which, again, for the the joy of the audience, we wanted it to be in camera. I didn't want to just burn stuff in afterwards; I think in a lot of '60s films, you see things burned in and they feel not real. So a lot our video work is happening live, while we were shooting.
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