For All Mankind - Creating the Mars colony of 2003
For All Mankind - Creating the Mars colony of 2003 - There’s more than meets the eye when it comes to the logistics of life on Mars. For All Mankind Season 4 is now streaming on Apple TV+
Rocketing into the new millennium in the eight years since Season 3, Happy Valley has rapidly expanded its footprint on Mars by turning former foes into partners. Now 2003, the focus of the space program has turned to the capture and mining of extremely valuable, mineral-rich asteroids that could change the future of both Earth and Mars. But simmering tensions between the residents of the now-sprawling international base threaten to undo everything they are working towards.
The ensemble cast returning for Season 4 includes Joel Kinnaman, Wrenn Schmidt, Krys Marshall, Edi Gathegi, Cynthy Wu and Coral Peña along with new series regulars Toby Kebbell, Tyner Rushing, Daniel Stern and Svetlana Efremova.
“For All Mankind” is created by Emmy Award winner Moore, and Emmy nominees Nedivi and Wolpert. Nedivi and Wolpert serve as showrunners and executive produce alongside Moore and Maril Davis of Tall Ship Productions, as well as David Weddle, Bradley Thompson and Seth Edelstein. “For All Mankind” is produced by Sony Pictures Television.:
Rocketing into the new millennium in the eight years since Season 3, Happy Valley has rapidly expanded its footprint on Mars by turning former foes into partners. Now 2003, the focus of the space program has turned to the capture and mining of extremely valuable, mineral-rich asteroids that could change the future of both Earth and Mars. But simmering tensions between the residents of the now-sprawling international base threaten to undo everything they are working towards.
The ensemble cast returning for Season 4 includes Joel Kinnaman, Wrenn Schmidt, Krys Marshall, Edi Gathegi, Cynthy Wu and Coral Peña along with new series regulars Toby Kebbell, Tyner Rushing, Daniel Stern and Svetlana Efremova.
“For All Mankind” is created by Emmy Award winner Moore, and Emmy nominees Nedivi and Wolpert. Nedivi and Wolpert serve as showrunners and executive produce alongside Moore and Maril Davis of Tall Ship Productions, as well as David Weddle, Bradley Thompson and Seth Edelstein. “For All Mankind” is produced by Sony Pictures Television.:
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TVTranscript
00:00 [MUSIC PLAYING]
00:11 Our production designer and his team
00:13 have done such a fantastic job of not only creating
00:16 cool environments, but sticking to this idea
00:18 that I think is so central to their show of functionality.
00:21 When I met Matt and Ben, I felt like we
00:23 had a connection right away.
00:24 I was attracted to this show for all of the possibilities
00:28 of where we had been and where we were going to go.
00:30 In the writer's room, we're throwing things out.
00:33 And we're like, well, what if there's
00:34 the surface level of the base, but then there's
00:36 an underground level?
00:37 And what if there's an asteroid hunting ship,
00:39 but then there's also other types of ships and rovers?
00:42 And Seth was able to give us like 95%
00:45 of what we came up with, which is insane.
00:49 Let's just hope this doesn't get to his head.
00:51 I'm surprised it still fits in his helmet.
00:55 Both on the moon and even on Mars,
00:58 shapes will not be square.
01:00 They'll be round or oval because of the difference
01:03 between inside pressure and outside pressure.
01:06 One of the big things we keep coming up against
01:08 is that building a lot of structures on the surface
01:10 makes no sense because of the radiation risk.
01:12 That was a real exciting idea of like, what does that
01:14 mean to go underground?
01:15 And how do you make the world underground feel different?
01:19 We used references from naval vessels.
01:22 You walk down a hallway.
01:24 Do you feel like you're at the bottom of a battleship?
01:26 Astronauts and cosmonauts, scientists and pilots,
01:29 they all work together.
01:31 But us down here, at the end of the day,
01:33 we are just the help.
01:35 The barrel vaulted spaces like the commissary
01:38 or the greenhouse are an incredible look
01:41 because it's translucent.
01:42 You can see that there's orange light coming in.
01:46 The most beautiful thing I have ever seen.
01:52 In the United States, of course, we ended season three
01:55 with everything getting blown up.
01:57 Mission Control was destroyed to the point
02:00 that it needed to be rebuilt within the same existing shell.
02:05 So now it has a whole new look.
02:07 It's got new consoles, new lighting.
02:10 Everything's been redone, the colors, the finishes.
02:13 Today we embrace the 21st century,
02:18 the beginning of a new era.
02:21 We have a whole side of our story
02:22 that's in the Soviet Union.
02:24 I was fortunate to be part of a scout
02:27 to two countries, Bulgaria and to Lithuania,
02:30 where we were able to gather a lot of research.
02:33 It highlighted for me the differences stylistically
02:36 that's so different between here and there.
02:39 The work we will do together
02:41 will take us far into the cosmos.
02:44 I could never have done this project
02:46 without the support that I've had.
02:47 The cinematographers, the visual effects people, everybody.
02:51 It's an incredible collaboration.
02:54 None of it would have been possible without all of you.
03:01 (dramatic music)
03:04 (gentle music)
03:07 (gentle music)
03:09 (gentle music)
03:12 (music fades)
03:14 [BLANK_AUDIO]