Navigation Bar - Text Links at Bottom of Page


About The Production
One of the great challenges for the filmmakers was to envision and create a world of the future with only the words on a page to create that world. Building a world that includes clones, robots and one-sixth gravity demands an enormous amount of creativity and effort.

To begin with, as you get off the subway in Little America, one of the colonies located on the Moon, you will see a sign, a visual timeline of the colonization of the Moon. It starts in 1969 with man's first landing on the Moon. Then an important mineral is discovered in 2010, which creates a modern day gold rush. The first mining settlement is established in 2012 and in a span of fifty years they build and develop a city. The city just expands with people raising their families on the Moon, thus ensuring further generations. Amazingly life isn't all that different from the way we live now.

Underwood explains, "Essentially, life is pretty much as we know it today with all the foibles of mankind that we've brought from the Earth up to the Moon. They have pretty much the same problems we have down here. ‘What do we do with the garbage? Do we have enough water?'" says Underwood.

Production designer Bill Brzeski was tasked with helping create this world on the moon. Brzeski researched a variety of periods – the twenties and thirties, the sixties and Russian constructionism in terms of the graphics.

Bill Brzeski explains, "We wanted it to be realistic, yet we wanted to have fun with it. We tried to base it in reality enough to make it so people weren't constantly questioning, ‘How can you be on the moon?' If you make it so preposterous, nobody will believe that it's possible. As much as you think that there will be a new invention that will come along and impact the world, it's difficult to predict. The possibilities are endless. To incorporate this world we put together a stylebook and had all the departments incorporate and prescribe to this style for the entire movie. The color palate was fairly tight – thirty to forty colors. To build a city this big, there are many questions that you must have answers to. If you go through it you will see that we borrowed a little from every era."

Louis A. Stroller describes the catharsis for the set of "The Adventures of Pluto Nash." "At the beginning it was really interesting to watch because you could see the evolution right before your eyes. It was amazing to see the set emerge and become a city in itself."

The Moon the filmmakers created has the feeling of the old west, devoid of most laws and where people have entirely more freedom than they have on earth.

Brzeski explains, "Even though we created the moon to be a place where people go to get away from all the rules and regulations of earth. It is not entirely devoid of faults. For instance, you have to figure that a hundred years from now you won't be able to move or do anything without somebody knowing what you're doing. The Moon created in the film delves into that territory."

To create the Moon, the filmmakers found an empty warehouse and built an entire city. Brzeski explains, "We made a point of building in an old fashioned way to create a real space, so every shot didn't have to be a digital shot. When we first saw the warehouse, it was filled with defunct trains. Nobody really saw it as a place where you could make a movie. It took a talented team to turn a warehouse into the Moon."

Many of the actors were impressed by the incredible set that was in es


Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.

2018 6,  All Rights Reserved.


Find:  HELP!