# From the Earth to the Moon (miniseries)

From the Earth to the Moon is a twelve-part 1998 HBO television miniseries co-produced by Ron Howard, Brian Grazer, Tom Hanks and Michael Bostick. In docudrama format, it tells the story of the Apollo program during the 1960s and early 1970s. Largely based on Andrew Chaikin's 1994 book, A Man on the Moon, the series is known for its accurate telling of the story of Apollo and the special effects under visual director Ernest D. Farino. The series takes its title from, but is not based upon, Jules Verne's 1865 science fiction novel From the Earth to the Moon.
Hanks appears in every episode, introducing each of the first eleven. The twelfth and final episode, represented in pseudo-documentary format, is narrated by Blythe Danner, interspersed with a reenactment of the production of Georges Méliès' 1902 film Le Voyage dans la Lune, also in part inspired by Verne's novel. Hanks narrates and appears in these scenes as Méliès' assistant, with Tchéky Karyo as Méliès.

## Cast

The miniseries has a fairly large cast. It portrays 30 of the 32 astronauts who flew, or were preparing to fly, the 12 missions of the Apollo program. (The only two Apollo astronauts not portrayed by credited actors are Apollo 13 Command Module pilot Jack Swigert, who is heard but not seen in Episode 8, and Apollo 17 Command Module pilot Ronald Evans, who has a brief appearance in the liftoff scene of Apollo 17 in the final episode.) Members of many of the astronauts' families, and other NASA and non-NASA personnel, are also portrayed.
Several fictional (or fictionalized) characters are also included, notably television newscaster Emmett Seaborn (Lane Smith) who appears in nine of the 12 episodes.
Astronaut David Scott, from Apollo 15, was the chief technological consultant.

## Episodes

The 12 episodes, each directed by a different person, use a variety of viewpoints and themes, while sequentially covering the Mercury, Gemini, and Apollo programs. Lane Smith portrays Emmett Seaborn, a seasoned reporter for a fictional television network who covers the U.S. space program from its earliest days, providing continuity for most of the episodes.
| No. | Title | Directed by | Written by | Original release date |
| 1 | "Can We Do This?" | Tom Hanks | Steven Katz | April 5, 1998 (1998-04-05) |
| Covers the early years of the United States' "Space Race" with the Soviet Union, including the creation of NASA and the decision to send men to the Moon. Provides an overview of the Mercury and Gemini programs, concentrating on reconstructions of Alan Shepard's pioneering Freedom 7 Mercury flight; Ed White's first US spacewalk on Gemini 4, the near-disastrous in-flight failure during Neil Armstrong's and David Scott's Gemini 8 mission; and the successful completion of Gemini with Buzz Aldrin's perfection of extravehicular activity on Gemini 12. |||||
| 2 | "Apollo One" | David Frankel | Graham Yost | April 5, 1998 (1998-04-05) |
| Portrays the tragedy of the Apollo 1 fire from the perspective of its subsequent investigation by NASA and the US Congress. Its effects on key individuals are shown, including Harrison Storms of North American Aviation, Joseph Shea of NASA, astronaut Frank Borman charged with supporting NASA's investigation, and the widows of Gus Grissom, Ed White and Roger Chaffee. |||||
| 3 | "We Have Cleared the Tower" | Lili Fini Zanuck | Remi Aubuchon | April 12, 1998 (1998-04-12) |
| Portrays the Apollo program's recovery to crewed flight after the Apollo 1 tragedy, from the perspective of a fictional documentary team covering the flight of Apollo 7. This flight is commanded by strong-willed Mercury veteran Wally Schirra, who is focused on safety after the death of his colleague Grissom. Pad Leader Guenter Wendt, another zealous guardian of astronaut safety, is featured by the documentary team. |||||
| 4 | "1968" | David Frankel | Al Reinert | April 12, 1998 (1998-04-12) |
| Depicts Apollo 8's historic first crewed lunar flight, as the redemption of an otherwise strife-torn year filled with political assassinations, war, and unrest. Documentary footage of the turbulent political events are interspersed with the drama, which is mostly filmed in black and white except for scenes aboard the spacecraft and some color newsreel footage. The fears of mission commander Frank Borman's wife Susan of the possibility of her husband dying in a spacecraft trapped in lunar orbit are highlighted. Includes the Apollo 8 Genesis reading. |||||
| 5 | "Spider" | Graham Yost | Andy Wolk | April 19, 1998 (1998-04-19) |
| Returns to 1961, and NASA engineer John Houbolt's lonely fight to convince management that the easiest way to land men on the Moon will be to use a separate landing craft employing lunar orbit rendezvous. It then traces the design and development of the Lunar Module by a team led by Grumman engineer Tom Kelly. Covers the selection and training of the first crew to fly it, James McDivitt and Rusty Schweickart (along with Command Module pilot David Scott), and culminates with their first flight of Spider in Earth orbit on Apollo 9 and Apollo 10's lunar "dress rehearsal". |||||
| 6 | "Mare Tranquilitatis" | Frank Marshall | Al Reinert Graham Yost Tom Hanks | April 19, 1998 (1998-04-19) |
| A dramatization of the Apollo 11 first Moon landing at Tranquility Base in Mare Tranquillitatis ("Sea of Tranquility") is interspersed with flashback sequences of Emmett Seaborn's television interview with the crew of Neil Armstrong, Lunar Module pilot Buzz Aldrin, and Command Module pilot Michael Collins. |||||
| 7 | "That's All There Is" | Jon Turteltaub | Paul McCudden Erik Bork Tom Hanks | April 26, 1998 (1998-04-26) |
| The story of the Apollo 12 second lunar landing mission is told by Lunar Module Pilot Alan Bean. Bean, the last member of NASA Astronaut Group 3 to fly in space, narrates his experience with the tightly-knit, all-Navy crew commanded by Gemini veteran Pete Conrad, and accepts with humor and grace his responsibility for the failure of the first color TV camera on the lunar surface, and for almost fracturing his own skull by failing to properly secure the Command Module's TV camera before splashdown. |||||
| 8 | "We Interrupt This Program" | David Frankel | Peter Osterlund Amy Brooke Baker | April 26, 1998 (1998-04-26) |
| This episode covers the perilous flight of Apollo 13 entirely from the ground point of view; the astronauts are only heard on radio. Veteran TV spaceflight reporter Emmett Seaborn (Lane Smith) is summoned to broadcast the breaking news of the in-flight failure, as young reporter Brett Hutchings (Jay Mohr) is pulled off of sports to help with the coverage. As the crisis unfolds, Seaborn finds himself at odds with Hutchings' style of sensationalizing its impact on the astronauts' families, and criticizing NASA. Seaborn starts to feel he is being marginalized when the network decides to leave Hutchings on location in Houston, while sending him back to headquarters to provide only background coverage. The last straw falls when, after the successful recovery of the astronauts, Hutchings horns in on his traditional post-flight interview with flight controller Gene Kranz. Seaborn leaves dejectedly, not to be seen again until the flight of Apollo 17 in the final episode. |||||
| 9 | "For Miles and Miles" | Gary Fleder | Erik Bork | May 3, 1998 (1998-05-03) |
| In 1964, while riding high on his fame as America's first man in space and his expected command of the first Gemini mission, Alan Shepard is suddenly struck with Ménière's disease, characterized by vertigo and nausea. Flight operations director Deke Slayton must ground him, but offers him the job of chief astronaut, effectively making Shepard Slayton's assistant as supervisor of all the astronauts. A few years later, a surgeon tries an experimental surgery which cures Shepard's symptoms, and he is returned to the flight rotation, commanding Apollo 14 in early 1971, which accomplishes Apollo 13's failed Fra Mauro landing. Shepard brings a six-iron golf club head on board, which he fastens to a soil-collecting tool handle and uses to hit a ball "for miles and miles". |||||
| 10 | "Galileo Was Right" | David Carson | Jeffrey Fiskin Remi Aubuchon | May 3, 1998 (1998-05-03) |
| Scientist astronaut Harrison "Jack" Schmitt, a geologist, persuades his mentor, professor Lee Silver, to train the Apollo astronauts in selecting appropriate rock samples to collect through field experience, rather than the boring classroom lectures NASA has been using. Silver takes the four Apollo 15 prime and backup landing crew members (David Scott, James Irwin, Richard F. Gordon, Jr., and Schmitt) to the southwestern desert, while lunar geologist Farouk El-Baz trains the Command Module pilots (Alfred Worden and Vance D. Brand) in high-altitude recognition of geological features using airplane flights over Hawaii. Schmitt is disappointed to learn his own Apollo 18 flight will be cancelled, but he still believes the training of the other astronauts is vital. It pays off when Scott and Irwin find the "Genesis Rock", originally believed to come from the Moon's primordial crust. The title refers to Scott's reproduction of an experiment proving Galileo's hypothesis that gravity will cause bodies of differing masses to fall at the same rate in a vacuum, by dropping a hammer and a feather. |||||
| 11 | "The Original Wives Club" | Sally Field | Karen Janszen Tom Hanks Erik Bork | May 10, 1998 (1998-05-10) |
| Shows the Apollo program from the point of view of the nine wives of NASA's second group of astronauts, from 1962 beyond the end of the program. The burdens placed on them include maintaining a home while presenting a positive image to the news media, shielding their husbands from any family concerns which could affect their position in the flight rotation or ability to return to Earth safely, and comforting each other in the face of tragedies which kill Elliot See and Ed White. The episode is anchored by the Apollo 16 mission, during which recently married Ken Mattingly loses his wedding ring in the Command Module, and Lunar Module pilot Charles Duke finds it while Mattingly is performing a walk in deep space. |||||
| 12 | "Le Voyage Dans La Lune" | Jonathan Mostow | Tom Hanks | May 10, 1998 (1998-05-10) |
| The story of the final lunar mission, Apollo 17, is told as a pseudo-documentary set several decades after the fact. Simulated interviews of various characters such as Emmett Seaborn and flight director Christopher C. Kraft Jr., in old-age makeup, are included. The documentary is interspersed with the story of early French film maker Georges Méliès' creation of his vision of a trip to the Moon, the 1902 Le Voyage dans la Lune. Scenes from the original film are merged with the recreation of its filming. |||||

## Integration with existing films

The miniseries, concentrating on the Apollo space program, was produced with an intent not to repeat other dramatic portrayals of events of the space race.
Project Mercury, which was portrayed in the 1983 film The Right Stuff, was briefly summarized in the first episode. Miniseries producers Hanks, Howard and Grazer, who had previously produced the 1995 film Apollo 13, shot the episode "We Interrupt This Program" from the perspective of the media covering that flight, as the film had already covered the story from the point of view of the crew and the mission control team.

## Production

Many of the actors had opportunity to interact and form friendships with the real life astronauts they were portraying. Brett Cullen, who played Apollo 9 Command Module pilot and Apollo 15 commander David Scott, was invited to the Scott family home each time an episode he appeared in was first televised. Two short clips from the final scenes of Apollo 13 were used in "That's All There Is"; a splashdown sequence, and a view of the recovery ship USS Iwo Jima (portrayed by USS New Orleans).
The original series was shot in Super 35, intended to be viewed on standard television sets of the time in 1.33:1 aspect ratio. With the proliferation of widescreen flat-panel TV sets the series was remastered in the 1.78:1 aspect ratio and re-released in 2005 as a 5-disc DVD box set. As is the case with most material shot in this format, the widescreen framing causes the loss (in some shots) of the top and bottom parts of the frames from the original broadcast, but reveals additional information on the left and right. This is not always noticeable because of careful transfer process, but in some scenes important details are lost. For example, in the first episode, when the Gemini 8 / Agena assembly is tumbling around in space with a stuck thruster, the thruster is not visible in the new widescreen version, as it is cut off by the top of the frame. Some captions have also been compromised.
Parts of the miniseries were filmed at the Disney-MGM Studios (now Disney's Hollywood Studios) in Orlando, Florida. Scenes of the moonwalks were shot inside the blimp hangars on a former Marine base in Tustin, California. Approximately half the area inside was converted to the Moon's surface, with the remainder used to hold production trailers. To simulate lunar surface gravity, weather balloons filled with helium were attached to the backs of the actors playing the astronauts in the lunar extravehicular activity scenes, effectively reducing their weights to one-sixth.
The score of "Spider" prominently features an imitation of the main title theme from the 1963 World War II movie The Great Escape, and Tom Kelly jokes about having a crew digging a tunnel out of the Grumman plant. The episode also featured a real Apollo Lunar Module (LM-13), which had been built for the Apollo 18 mission but was never used due to budget cuts.

## Awards and nominations

| Year | Award | Category | Nominee(s) | Result |
| 1998 | Artios Awards | Best Casting for Mini-Series | Meg Liberman, Marc Hirschfeld, and Deborah Brown | Nominated |
| 1998 | Online Film & Television Association Awards | Best Miniseries | Best Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Direction of a Motion Picture or Miniseries | Best Direction of a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Writing of a Motion Picture or Miniseries | Best Writing of a Motion Picture or Miniseries | Won |
| 1998 | Online Film & Television Association Awards | Best Ensemble in a Motion Picture or Miniseries | Best Ensemble in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Costume Design in a Motion Picture or Miniseries | Best Costume Design in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Editing in a Motion Picture or Miniseries | Best Editing in a Motion Picture or Miniseries | Won |
| 1998 | Online Film & Television Association Awards | Best Lighting in a Motion Picture or Miniseries | Best Lighting in a Motion Picture or Miniseries | Won |
| 1998 | Online Film & Television Association Awards | Best Music in a Motion Picture or Miniseries | Best Music in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best New Titles Sequence in a Motion Picture or Miniseries | Best New Titles Sequence in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best New Theme Song in a Motion Picture or Miniseries | Best New Theme Song in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Production Design in a Motion Picture or Miniseries | Best Production Design in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Sound in a Motion Picture or Miniseries | Best Sound in a Motion Picture or Miniseries | Nominated |
| 1998 | Online Film & Television Association Awards | Best Visual Effects in a Motion Picture or Miniseries | Best Visual Effects in a Motion Picture or Miniseries | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Miniseries | Tom Hanks, Tony To, John Melfi, Graham Yost, Michael Bostick, Brian Grazer, Ron Howard, Erik Bork, Bruce Richmond, and Janace Tashjian | Won |
| 1998 | Primetime Emmy Awards | Outstanding Directing for a Miniseries or a Movie | Tom Hanks (for "Can We Do This?") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Writing for a Miniseries or a Movie | Graham Yost (for "Apollo One") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Art Direction for a Miniseries or a Movie | Richard Toyon, Kitty Doris-Bates, Seth Reed, Amy Wells, and Michele Poulik (for "Le Voyage Dans La Lune") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Casting for a Miniseries or a Movie | Craig Fincannon, Mark Fincannon, Marc Hirschfeld, Sharon Klein, Meg Liberman, Lisa Mae Wells Fincannon, and Deborah Brown | Won |
| 1998 | Primetime Emmy Awards | Outstanding Cinematography for a Miniseries or a Movie | Gale Tattersall (for "Can We Do This?") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Costumes for a Miniseries or a Movie | Chrisi Karvonides-Dushenko (for "Le Voyage Dans La Lune") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Hairstyling for a Miniseries, Movie or a Special | Vicky Phillips and Lynda Gurasich | Won |
| 1998 | Primetime Emmy Awards | Outstanding Makeup for a Miniseries, Movie or a Special | Gina Lamendola, Greg Cannom, and Ve Neill | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Music Composition for a Miniseries or a Movie (Dramatic Underscore) | Michael Kamen (for "1968") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Single-Camera Picture Editing for a Miniseries or a Movie | Laurie Grotstein (for "Can We Do This?") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Single-Camera Picture Editing for a Miniseries or a Movie | Richard Pearson (for "1968") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Sound Editing for a Miniseries, Movie or a Special | Richard Taylor, Barbara Issak, Brian Thomas Nist, Joe Earle, Christopher Brooks, Jerry Edemann, David Melhase, James A. Williams, Benjamin Beardwood, Dennis Gray, Alyson Dee Moore, and Patricia Nedd (for "Can We Do This?") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Sound Mixing for a Drama Miniseries or a Movie | Joe Foglia, Scott Millan, and Brad Sherman (for "1968") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Sound Mixing for a Drama Miniseries or a Movie | Joe Foglia, Rick Ash, and Adam Sawelson (for "That's All There Is") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Sound Mixing for a Drama Miniseries or a Movie | Joe Foglia, Kevin Patrick Burns, and Todd Orr (for "La Voyage Dans La Lune") | Nominated |
| 1998 | Primetime Emmy Awards | Outstanding Special Visual Effects for a Miniseries, Movie or a Special | David Altenau, Tony Cutrono, Burt Dalton, Ernest Farino, Matthew Gratzner, John Hoffman, Evan Jacobs, Adam Lovell, Eroc Moralls, James Roberts, and Ariel Velasco Shaw (for "1968") | Nominated |
| 1998 | Television Critics Association Awards | Program of the Year | Program of the Year | Won |
| 1998 | Television Critics Association Awards | Outstanding Achievement in Movies, Miniseries and Specials | Outstanding Achievement in Movies, Miniseries and Specials | Won |
| 1999 | American Cinema Editors Awards | Best Edited Two-Hour Movie for Non-Commercial Television | Richard Pearson (for "1968") | Nominated |
| 1999 | Art Directors Guild Awards | Excellence in Production Design Award – Television Movie or Mini-Series | Richard Toyon, Kitty Doris-Bates, and Seth Reed | Won |
| 1999 | Cinema Audio Society Awards | Outstanding Achievement in Sound Mixing for Television – Movie of the Week, Mini-Series or Specials | Joe Foglia, Kevin Patrick Burns, and Todd Orr (for "Le Voyage Dans La Lune") | Won |
| 1999 | Costume Designers Guild Awards | Excellence in Costume Design for Television | Chrisi Karvonides-Dushenko | Nominated |
| 1999 | Critics' Choice Awards | Best Picture Made for Television | Best Picture Made for Television | Won |
| 1999 | Directors Guild of America Awards | Outstanding Directorial Achievement in Movies for Television or Miniseries | Jon Turteltaub (for "That's All There Is") | Nominated |
| 1999 | Golden Globe Awards | Best Miniseries or Motion Picture Made for Television | Best Miniseries or Motion Picture Made for Television | Won |
| 1999 | Producers Guild of America Awards | Best Long-Form Television | Tom Hanks, Tony To, John P. Melfi, Graham Yost, Brian Grazer, Ron Howard, Michael Bostick, Erik Bork, Bruce Richmond, and Janace Tashjian | Won |
| 1999 | Producers Guild of America Awards | Visionary Award | Tom Hanks | Won |
| 1999 | Satellite Awards | Best Miniseries or Motion Picture Made for Television | Best Miniseries or Motion Picture Made for Television | Won |
| 1999 | Satellite Awards | Best Actor in a Miniseries or a Motion Picture Made for Television | Kevin Pollak | Nominated |
| 1999 | Satellite Awards | Best Actor in a Supporting Role in a Miniseries or a Motion Picture Made for Television | David Clennon | Won |
| 1999 | Satellite Awards | Best Actress in a Supporting Role in a Miniseries or a Motion Picture Made for Television | Rita Wilson | Won |
| 1999 | Writers Guild of America Awards | Television: Episodic Drama | Graham Yost (for "Apollo One") | Nominated |
| 1999 | Young Artist Awards | Best Educational TV Show or Series | Best Educational TV Show or Series | Won |
| 2005 | Satellite Awards | Outstanding Overall DVD | Outstanding Overall DVD | Won |