Assisting Ryland on his journey is an extra-terrestrial who, in a very “Close Encounters of the Third Kind”-style twist, communicates through musical sounds rather than a fully-formed language. “Having one of your main characters have no face and speak through music is a challenge that’s crazy enough that we would want to take it on,” noted Chris Miller. Adding to that challenge, Weir’s original novel has a non-linear structure, intercutting flashbacks to Ryland’s past with his experiences aboard the Hail Mary. But Miller isn’t concerned about audiences being able to keep up, telling THR:
“When we were doing ‘Spider-Verse’ the first time, there was a lot of nervousness at the studio that people wouldn’t understand the concept and that it would be too confusing. And our attitude was, ‘Audiences are smarter than you think.'”
One could argue that’s always Miller and Phil Lord’s guiding philosophy as filmmakers. They’ve always trusted viewers will be able to keep up with their movies, whether it’s their layered meta-humor or their self-reflexive commentary on the experience of making commercial art. It’s good to see the “failure” of “Solo” has only motivated them to double down on that approach.