He literally only cares about the entire story having a heart, and finding the beats that make the story effective.” Melfi had unsuccessfully sought to get the life rights from certain NASA ex-directors for the script, he told Costner.
Says Melfi, “The first day I met him at his house and we went through the script, I realized that this is the ultimate filmmaker. “I knew it was about the girls,” says Costner of the film, “and that was OK.”
It doesn’t feel complete.” Melfi knew Costner wasn’t looking for a bigger role or more lines. “I told him that I thought the women were written just right, everybody loves this movie, but I don’t think the Harrison part stands up. “So this was a real moment of reckoning - what am I going to say to this guy, because there’s really not a lot of time for us. “The real story,” says Costner, “is that Al is the character I liked least when I read it.” This was early in 2016 with the film racing toward production.
Nasa movie movie#
2 Paul Stafford (an initially spiky martinet nicely played by Jim Parsons) and the entire agency come to realize that their own prejudices were blocking progress.Īs both a long-tenured movie star and a socially conscious filmmaker who put his own money in 2014’s “Black or White” and scored admiring reviews for his role as a marginally racist character, Costner was a logical go-to, and he quickly warmed to the script. The deftest part of the script Melfi wrote with Allison Schroeder from a nonfiction book by Margot Shetterly is to show how Harrison, his No. Henson’s character, Katherine Johnson, a mix of awkward charm and steely resolve. There they perform invaluable (if initially undervalued, due to the casual racism of the time) computations in service of the nation’s space race with Russia. The film (which will see limited December release before going wider in January) centers on three female African American NASA employees, all small-town Virginia math wizards, who are seen early on driving to their jobs at the space agency in 1961. In a curious way, that hunk of aging aluminum figures large in the story told by Ted Melfi (“St.
Nasa movie pro#
Considering he once made a movie about the meaninglessness of a tin cup of the sort a scuffling second-tier golf pro might win on the circuit, it’s perhaps not such an odd artifact that Kevin Costner kept once he’d completed work on the heart-stirring chunk of ‘60s racial history “Hidden Figures.” The one souvenir he took home with him after the shoot was a humble prop coffee pot.
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