Cinematographer Greig Fraser's Innovative Approach in "Project Hail Mary"

Cinematographer Greig Fraser describes "Project Hail Mary" as his most challenging film to date. Directed by Phil Lord and Chris Miller and based on Andy Weir's novel, the film stars Ryan Gosling as Ryland Grace, a science teacher enlisted to save Earth from an impending catastrophe. The narrative takes Grace on an interstellar journey where he encounters an alien named Rocky. Fraser's work on the film is notable for its departure from traditional space visuals, opting for warmer tones instead of the typical cold, desaturated colors.

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One of the film's pivotal scenes involves a tunnel where Grace first meets Rocky. Fraser faced significant challenges in lighting this 70-foot tunnel, which required sunlight to penetrate through a fictional material called xenonite. He drew inspiration from deep-sea submersible footage, where darkness is illuminated solely by artificial lights. To achieve the desired effect, Fraser and his team constructed lighting rigs using vintage tungsten lights, as they found it difficult to source enough LEDs for the scene.

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Fraser utilized an Alexa 65 camera, which is designed for wide-screen formats, and experimented with lens adjustments to create a unique visual style. He chose to squeeze the image vertically, allowing for a distinctive presentation of light flares throughout the film. Collaborating closely with production designer Charles Wood, Fraser ensured that the tunnel's interior finish balanced light transmission without appearing overly transparent. His visual references included classic films such as "Solaris," "Alien," and "2001: A Space Odyssey," aiming for an analog aesthetic reminiscent of the 1970s and 1980s.

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The character of Rocky presented additional challenges for Fraser. Since Rocky could only be front-lit and could not emit light, Fraser had to devise a lighting strategy that effectively illuminated the character without facial features. He humorously noted the complexity of lighting a character that resembles a rock and relies on puppetry for expression. Fraser described the experience as layered with challenges, emphasizing the intricacies involved in achieving the film's visual goals.

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Fraser highlighted the importance of collaboration with the film's creative team, stating, “We worked closely with Charlie to make sure that the finish on the inside of the tunnel allowed enough light through, but not so much light through that it made it look transparent.” He also expressed the necessity of achieving a more human and analog feel in the film's visuals, reflecting on the influence of childhood favorites like "E.T: The Extra-Terrestrial."

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• “most challenging film I’ve ever done, by far.” — Greig Fraser, Cinematographer

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• “The challenges were compounded. It was front lighting a rock with no face that emoted just through puppetry.” — Greig Fraser, Cinematographer

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• “We had to discover what this thing was,” — Greig Fraser, Cinematographer

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Fraser's innovative techniques and collaborative efforts in "Project Hail Mary" illustrate the complexities of modern cinematography, particularly in creating a visually engaging narrative that diverges from conventional portrayals of space.

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