Space Recovery

(United States)

* 20th Century Fox

(International)

(Avco Cinema)

* November 13, 1987

***Space Recovery*** is a 1987 American adventure drama comedy film directed by Nicolas AVO and from a screenplay he wrote with Andres Vidal (in their feature directional and writing debut). The film stars Sean Astin as Miles Hidalgo, alongside Jeff Cohen and Corey Feldman. It follows Miles as he grieves over the death of his grandfather, an astronaut who was originally part of the final crewed Apollo Space Mission, but due to health reasons, he was ditched as NASA tries to reinstate the program in order to complete the canceled missions.

AVO conceived *Space Recovery* in 1982 after his fascination with rockets and engineering. And with his teenaged nephew wanting to be a rocket scientist, he thought about the idea of a young engineer going to the moon. He further thought about it after watching *Star Wars* (1977) and imagined the characters as young teenagers. He wrote a treatment for the story in 1983. But the concept was deemed to expensive and Andres Vidal was hired to re–write the treatment to make it more realistic. Production was underway by 1986. It was the first film to use NASA rockets in the special effects and to not use a green screen in the post production process. Paramount Pictures was concerned about it's high $39–42 Million budget and had little faith in it's box office potential. Filming took place from December 1986 to February 1987 in Atlanta, Georgia. Post Production ran from February to October 1987. Industrial Light & Magic employed entirely practical effects, such as shooting miniatures from the spacecrafts inside a dark room with similar lighting conditions to deep space.

*Space Recovery* premiered at the Avco Cinema on November 12, 1987, and received a wide release on November 13, to universal acclaim and became a cultural phenomenon. It was nominated for 5 Academy Awards (including Best Picture) and won 2, being Best Original Screenplay and Best Visual Effects. It was a box office success and grossed $281.8 Million worldwide, becoming the second highest grossing film of 1987 and the highest grossing film of the year in the United States. It was considered an innovation in visual effects and considered revolutionary in the way space films were made.

## Plot

In 1986, Soon to retire NASA test pilot Walter Hidalgo is flying his grandson Miles in an X-15 simulator, a rocket-powered spaceplane. Despite flying over the atmosphere, among other problems, he manages to bring the plane back under control to a landing. Later, Walter announces that he is going on his final fight, where he will fly a Space Shuttle in two weeks, much to praise by Miles and his friend Chris.

However, Walter in secret keeps a detailed log of the issues and faults with the spacecraft, and he dies soon afterward. Grief-stricken, Miles encloses himself in his room and doesn't come out. 3 years later, Miles, Chris and his friend Nick find out about rumors that NASA is trying to restart Project Apollo in order to complete the cancelled missions. The next day, the trio debunk those rumors which turn out to be true, and even find out that Miles' father, Emmet, is going to command the mission thanks to Chris' dad visiting them to announce the news. That night, Miles suffers a nightmare, in it, a fire kills Walter along with his crew mates. The next day, Emmet begins his rigorous training. Once the official announcement is made public, Miles, Chris and Nick visit Emmet during a training session involving the moon landing.

Due to an incident with a bird strike, the engine on the Lunar Landing Research Vehicle fails and Emmet ejects, breaking his leg in the process. With the launch due in two weeks, NASA bumps him off the mission. Devastated, Miles decides to sneak into the rocket as a stowaway to do the mission himself and later convinces his friends to join him with the motivation that an Hidalgo was destined to go to the moon. Miles trains in makeshift machines and studies the Saturn V's functions with his friends. In the early morning of the launch, Miles wakes his friends up and they take the bus to Cape Canaveral and sneak into the launch facility. After Miles sets the launch time to T-Minus 75 minutes, Chris' father Jeremy, who discovers activity in the rocket's engines, communicates with Miles, and after discovering who he is, Jeremy phones Emmet about the situation and he arrives soon afterward, after discovering all ejection systems have failed, Emmet decides to proceed with the launch and the rocket flies to space.

However, after docking with the Lunar Module, a malfunction causes the spacecraft to roll at an increasingly dangerous rate. After nearly blacking out, Chris activates the RCS thrusters and safely brings the spacecraft back under control and proceeds with the mission. Three days later, the crew arrives at the moon. Miles and Chris undock in the Lunar Module and begin the landing. The landing site terrain turns out to be much rougher than expected, forcing Miles to take manual control of the spacecraft. He lands successfully at an alternative site with less than 30 seconds of fuel remaining. After setting foot on the Moon, Miles looks out and explores, he later buries his only picture of his grandfather into the surface. With their mission complete, the astronauts return home and are placed in quarantine, after the quarantine, Miles is driven to Los Angeles to give a speech regarding his mission, before the speech, Miles and Emmet share a moment of tenderness.

## Cast

* Sean Astin as Miles Hidalgo, a teen who became the youngest and first person of Spanish descent to walk on the moon.
* Corey Feldman as Chris Parker, Miles' best friend who assists him with the mission.
* Jeff Cohen as Nick Brown, Miles' other friend.
* Crispin Glover as Emmet Hidalgo, Miles' father who was originally assigned as commander of Apollo 18.
* Lea Thompson as Emily Hidalgo, Miles' mother and Emmet's wife.
* Tom Selleck as Walter Hidalgo, Miles' deceased grandfather.
* Bryan Cranston as Jeremy, Chris' father.

## Production

### Development

Writer and Director Nicolas AVO drew inspiration for *Space Recovery* after watching Star Wars (1977) with his 5-year-old nephew in 1982. He wondered what space traveling would look like with a crew full of children. Due to his interest in the Apollo Space Program, he pictured Neil Armstrong as a 13-year-old that went to the moon. He would later visit the San Diego Air & Space Museum and imagined a teen in a space capsule. He later expressed his idea with film school roommates Edward Rodriguez and Andres Vidal, who expressed interest in the idea as a feature film revolving around a fictional space program by NASA that involved youngsters as the main crew. AVO wanted the film to be realistic in terms of physics and visuals as wells as accuracy to how rockets worked. AVO read an article about the Apollo Project and the Saturn V rocket and implemented the rocket into his idea.

AVO wrote a treatment in December 1982, originally, the treatment involved a remodeled Saturn V with two more seats and the most recent technology. Originally, Miles was named Marty in the script. Emily was named Linda, and two more characters named Jane and Natalie and would start with Marty, Chris and Nick trying to unbury the remains of the final Apollo mission which were located at a remote area in Florida. The concept was relatively similar to the final version. Emmet, Marty's father would be placed in command of the mission, however, due to an accident, he's kicked off the mission and Marty decides to take on the mission himself with his friends. After he finished writing the treatment, he presented it to Andres Vidal and Edward Rodriguez, who liked story, but considered it needed significant changes. Vidal said to AVO that the concept would be "impossible to make" and suggested removing Jane and Natalie, since their roles weren't to large or important in the story. And that focusing on realism would make the story more believable by the end. Rodriguez began a budget forecast and the next day he came to AVO and said "it would have cost something like $100 Million to make." AVO's original 70-to 80-page script treatment was more lighthearted in tone and intended to be funny.

AVO and Rodriguez wrote down notes as they read the treatment in order to see what could make the budget decline so that the film could be made. Rodriguez suggested giving brief backstories for each of the main characters in order to give some development for the characters. After reading the script, Vidal wanted to join as AVO's co-writer, which he accepted. Vidal suggested changing back the Saturn V's seat count back to 3. He also liked the dynamic that the characters carried, having a "sick and heavy way of getting along with each other." And figured that the dynamic would be entertaining to watch. Vidal also suggested giving Marty a motivation to go to the moon, and that's how the character of Walt was created. They wrote in the script the subplot that Walt died before achieving his dream of going to the moon and making Marty and Walt's relationship very close, AVO initially had doubt in the idea, as he thought it would be to heavily themed for a comedy film. Rodriguez countered this idea and said that the film could appear to more audiences if it was a drama-comedy instead, AVO considered it for a few weeks and ultimately accepted.

Despite the script requiring considerable changes, AVO pitched the script to Columbia Pictures executive Frank Price in March of 1983. Price found the concept interesting but was unsure of the budget, as space movies were often seen as the most expensive genre to make. he said the film would take a big budget due to it's special effects and realistically detailed rocket models. AVO said they could work with $39-42 Million. Price accepted, as long as the film could be released by November of 1984. Adjusted for inflation, the production budget was $105-113 million. This left 13 months to finish the film. With no finished script, effects studio or filming start date. Originally, the script was named *A Little Astronaut*, however, AVO disagreed, as he didn't want the film to be seen as a "typical kids movie" and possibly affect the box office performance. Price wanted the film's protagonist to be renamed to Miles, since Robert Zemeckis' Back to the Future had it's protagonist with the same name and wanted to avoid issues. AVO agreed and renamed the main character to Miles. Price requested another draft of the script since he believed there was still potential to achieve.

### Writing

Rodriguez, AVO and Vidal began reworking the script, first at Price's office and then they flew to Toronto, Canada, AVO had relatives there, and they would work inn the basement of his Aunt's house, and they would work day and night for about two weeks. AVO was willing to rework his script; in order to better work the script, AVO divided his and Vidal's roles, he would create the funny and dramatic situations while Vidal refined the jokes and dialogue. They wrote separately, then rewrote each other's drafts. AVO recalled writing the lunar landing scene when he received a call from Price, informing him that Columbia was about to be purchased by Coca-Cola. From then, the project went into turnaround (a process allowing other studios to purchase the script). The script was rejected 40 times, sometimes multiple times by the same studios. Reasons given including the concept being too mature for younger audiences or not being mature enough for older audiences. In December of 1984, the project was pitched to Walt Disney Pictures, who dismissed the idea for it being too mature and expensive. Many studios thought it was too ambitious for a first time director and producers. Universal Pictures briefly considered the idea but ultimately turned it down. Paramount Pictures chairman and CEO Frank Mancuso, Sr. considered the idea and accepted, since he saw potential in the film.

The writers wanted the lead trio's dynamic to be funny while also being capable of going through difficult emotional times. "Take Miles, Chris and Nick and you have The Ghostbusters but in space and 20 years younger." During the writing of the third draft in 1985, AVO went to see *The Goonies* (1985), and saw the dynamic between Mikey, Mouth, Chunk and Data, the main characters of the story, similar to the one between Miles, Chris and Nick, and considered they might be the perfect roles for the characters. Mancuso requested another draft of the script to proceed with casting. AVO began the final draft on May 24, 1985, in the draft, during the Lunar Landing Research Vehicle (LLRV) accident, instead of a loose fuel cap, a bird strike is what causes the aircraft to crash and burn to the ground. And instead of throwing a picture of his grandfather into a crater, Miles instead buries all important items to him and his grandfather on the surface of the moon, including the photo. And Emily was originally named Skyler but was renamed to her current name. The final change made in the script was the profanity present, since AVO didn't want to risk an R rating, he downplayed the cursing to mild levels, using words such as "Damn" "Crap" and "Hell" to receive a PG rating instead in order to appeal to wider audiences. The fourth draft was completed on July 28, 1985 and was slated for a November 1986 release.

### Casting and Pre-Production

Sean Astin was the first choice to portray Miles. However, his agent doubted his role, as he again, had little faith in the box office performance. However, AVO strongly believed in his acting capabilities. he offered Astin a $3 Million dollar base salary, but as well as a 10% of the film's profits, despite Astin declining his percentage of the film's profits, he embraced the role wholeheartedly and accepted the project in August of 1985. Later in September, Corey Feldman joined the project as Chris, and was payed $3 Million dollars. Jeff Cohen accepted his role as Nick in October, the same time that Lea Thompson and Crispin Glover joined the cast as Emily and Emmet. Tom Selleck was initially uninterested in his role as Walter, but was later talked into it by a friend, committing to the project in late October. Astin likened his reunion with Feldman and Cohen as hanging out with friends again.

Frank Mancuso approached AVO and explained that principal photography would have to be delayed once again, due to the intervening post-production schedule of the 1986 blockbuster *Top Gun*. Despite this, AVO took advantage of the extra time he had to do one more re-write of the script, which he began in January 7, 1986, this time, his final re-write included more scenes that weren't shown in the final cut. He refined the dialogue a little more. Faced with the significant budget cut, AVO embarked on a creative journey to work within the financial constraints, finding innovative solutions to bring their vision to life. Filming was ultimately slated to commence on November 20, 1986, setting the stage for a momentous period of film production and realization of the film. This period was characterized by a blend of anticipation, meticulous preparation, and the resilience of a dedicated creative team working in tandem to achieve their artistic aspirations.

### Filming

Principal photography for *Space Recovery* commenced on November 20, 1986, with the ambitious project operating on an estimated production budget of $30 million. The initial location for filming was Melbourne, Florida, and the production later transitioned to Atlanta, Georgia, where scenes inside the spacecraft were captured. Notably, "Space Recovery" adopted a more relaxed shooting schedule compared to the typical feature film, averaging only two-and-a-half to five pages of the script filmed per day. The film was shot on 35mm film utilizing the Panavision Panaflex Gold camera, ensuring a cinematic quality to the visuals.

The sets used for the production were generously provided by NASA, contributing to the film's authenticity and attention to detail. To convincingly simulate weightlessness, the crew employed transparent wires, carefully lit the sets, and orchestrated camera angles that made the wires difficult to discern in close-up shots. This innovative approach not only enhanced the realism of the film but also saved time and resources for post-production. A groundbreaking aspect of "Space Recovery" was the use of the vomit comet, an aircraft used to achieve brief periods of weightlessness. This technique was employed for wide shots and required capsule sets to be adapted for use on the plane, featuring cut-out interiors for filming. Given the limited time available for filming, the crew carefully broke down each scene into manageable segments to optimize efficiency and ensure all essential shots were captured.

For scenes depicting space exteriors, the crew employed a blue screen technique, covering the windows on the set to facilitate the addition of the space exterior during post-production. This approach allowed for flexibility in achieving the desired visual effects while maintaining the film's high production standards.

One of the film's standout sequences involved the Saturn V rocket lifting off from the Earth's surface. To capture this monumental moment, the crew constructed a 14-foot tall replica of the rocket positioned against a backdrop featuring an early morning sky, enhancing the authenticity of wide shots. Notably, for the pivotal scene in which Miles, his friends, and Emmet eject off the flying bedstead, the crew executed a daring and explosive practical effect. They dropped a 1:1 replica of the aircraft toward the surface, and the explosion was created using actual C4 explosives on a designated clear location.

The landing scene, which unfolds on the lunar surface, was primarily shot inside the Lunar Module, with occasional cuts to footage of the moon. The use of a quarry location at night facilitated the creation of this sequence. The ambitious and resourceful filmmaking strategies employed throughout the production underlined the commitment to achieving the film's creative vision. The filming concluded on January 16, 1987, marking a significant milestone in the realization of this captivating space adventure.

### Post-Production

The completion of principal photography in January 1987 marked a pivotal juncture in the ambitious production of "Space Recovery." What lay ahead was a meticulous and arduous journey through post-production, where the disparate elements captured on camera would be woven together to create the final, cohesive cinematic experience. The task of post-production for "Space Recovery" was undeniably colossal, given the film's complex visual effects and innovative shooting techniques. With a generous budget of approximately $30 million, the filmmakers had allocated the necessary resources to bring the story's space-based elements to life with precision and authenticity.

One of the defining challenges during post-production was the integration of visual effects to depict the weightless environment of space. The extensive use of transparent wires during filming, combined with careful lighting techniques, ensured that the characters appeared convincingly weightless in close-up shots. Still, for wide shots and sequences requiring elaborate floating maneuvers, a groundbreaking method was employed—shooting on the "vomit comet." The vomit comet, a specially modified aircraft capable of creating brief periods of microgravity, allowed the crew to capture wide shots of characters in simulated weightlessness. This technique was groundbreaking at the time, and the sequences shot on the aircraft presented unique challenges in post-production. The need for seamless integration of the live-action footage with space backgrounds, combined with the necessity of removing the aircraft's interior from the scenes, required the expertise of a skilled visual effects team.

The blue screen technology employed for the space exterior scenes was another aspect that demanded meticulous post-production work. The process involved replacing the blue screen with the stunning visual depictions of space. This approach allowed for flexibility in creating the otherworldly vistas seen through the spacecraft's windows. The integration of these visuals was essential for conveying the sense of vastness and wonder of outer space, a crucial element of the film's overall narrative. The sequences involving the liftoff of the Saturn V rocket and the dramatic ejection from the flying bedstead were central to the film's action and excitement. Achieving these effects, particularly with practical explosions and the scale model rocket, necessitated skilled editing, sound design, and visual effects work in post-production. These scenes were pivotal in creating the sensation of a thrilling and authentic space adventure.

A significant element of "Space Recovery" was the film's ability to balance drama and comedy. The post-production phase played a crucial role in achieving this delicate balance. The film evolved from an initially lighthearted tone to embrace the complexities of a drama-comedy. Careful editing, along with skillful handling of character development and emotional arcs, contributed to this evolution, ensuring that the film resonated with a wide audience. The film's sound design was a fundamental component of post-production. The creation of a believable soundscape for the spacecraft, the lunar surface, and the thrilling moments of liftoff and ejection added depth and immersion to the viewing experience. The original score was composed to complement the film's emotional beats, heightening the impact of key moments in the story. The challenges encountered in post-production were considerable, but they were met with ingenuity and a dedicated team of post-production professionals. The film's tight budget and accelerated production schedule only added to the pressure. However, the collective efforts of editors, visual effects artists, sound designers, and the director's vision ultimately resulted in the creation of a captivating cinematic journey.

### Music

The process of bringing "Space Recovery" to life was not confined to the realms of cinematography and post-production. Music, an integral component of the film, played a vital role in elevating the viewing experience, enhancing emotional resonance, and guiding audiences through the captivating narrative set in the cosmos. The musical and soundtrack composition history of "Space Recovery" is a fascinating tale of collaboration, innovation, and creative exploration. As the post-production phase of the film commenced in early 1987, the first steps towards crafting the film's musical identity were taken. Director Nicolas AVO recognized the importance of music in conveying the depth of emotions and the grandeur of space. To embark on this musical journey, AVO enlisted the expertise of renowned composer Michael Giacchino. Giacchino's previous work, characterized by its melodic richness and ability to infuse films with emotional depth, made him an ideal choice for the project. However, due to salary disagreements, Giacchino left the project.

James Horner, the acclaimed composer known for his work on various film scores, was chosen as the composer for "Space Recovery." Horner's previous compositions, including those for space-themed films like "Star Trek II: The Wrath of Khan" (1982), made him a fitting choice for the project. His ability to infuse emotion and grandeur into his compositions aligned with the film's requirements. Horner immersed himself in the world of "Space Recovery" to create a score that would complement the narrative's blend of drama and comedy. Drawing inspiration from the awe of space exploration and iconic science fiction scores, he embarked on the task of crafting a musical backdrop that would elevate the film's storytelling.

James Horner's composition process for "Space Recovery" involved the creation of melodic themes that would resonate with audiences. The overarching theme, "Journey to the Stars," served as the film's musical centerpiece. This majestic theme captured the wonder, ambition, and adventure that defined the characters' journey through space. As the film's central motif, it would evolve to adapt to various narrative moods and character arcs. Horner also developed character-specific leitmotifs, with Miles Hidalgo's character having a distinct musical theme that evolved with his story. The camaraderie between the young astronauts was celebrated through a playful and heartwarming theme. Moments of suspense and tension in the film were underscored by intricate musical motifs that conveyed the challenges and perils of space exploration.

The next phase involved orchestrating and recording the score. James Horner collaborated with a team of skilled orchestrators and conductors to translate his compositions into a full orchestral score. The film's budget allowed for the assembly of a full orchestra, ensuring that the music would be both rich and dynamic. Recording sessions were conducted over several weeks, with the orchestra and choir working in harmony to bring the score to life. Under Horner's meticulous guidance, every note and passage were carefully recorded to capture the film's grandeur and emotional depth. Following the recording process, the integration of the music with the film's visual elements commenced. Horner worked alongside a team of sound designers and editors to synchronize the score with the on-screen action, creating a seamless and emotionally resonant audiovisual experience. The final sound mix was a critical step in post-production, ensuring that dialogue, sound effects, and music were balanced to create an immersive and coherent soundscape. This careful phase allowed the film's emotional beats and narrative arcs to be enhanced by the evocative score, maintaining music's pivotal role in the viewing experience.

## Release

### Theatrical

The film premiered at the Avco Cinema on November 12, 1987 and was released in the United States by Paramount and Internationally by 20th Century Fox. The original box office estimates were $15-19 Million, however, the film grossed $17 Million on it's first day and $35 Million on opening weekend. The film grossed $102.3 million at the domestic box office and $179.5 Million in other territories for a worldwide total of $281.8 Million, it became the highest grossing film of 1987 in the United States and the second highest grossing film worldwide, it closed on January 25, 1988.

### Home Media

The film was released on VHS on June 13, 1988. 25 years later, it would be released on DVD and Blu-Ray on June 12, 2013, grossing $120 Million from these two media combined.

## Reception

### Critical Response

The film recieved universal acclaim, on the review aggregator website Rotten Tomatoes, 96% of the reviews are positive, with an average ratring of 8.80 out of 10.