Eva Stratt carrying around Grace like a stuffed animal.
"Look what I found in the dumpster. He figured out how to breed astrophage so I can fuel my Hail Mary. This makes him the most valid person in the world and I have the power to decide that. Isn't he the bestest and most specialest and wonderfullest little scientist around? He talks like that because he's a teacher. You will get used to it. Or else. He is doing so well. Look at him. Clap for him. I said clap for him."
Twice, Ryland Grace is faced with the same pivotal decision: to save himself, or to save an entire planet.
The first time:
He is surrounded by white (bravery) and is wearing yellow (cowardice)
The world is telling him to be brave, but he can’t, not yet, because he is a coward.
He has lost his identity and autonomy
The decision is already made (he must die)
He is all alone (he doesn’t have the bravery gene)
The second time:
He is surrounded by yellow (cowardice) and is wearing white (bravery)
He is in the middle of his namesake: a field of rye. The field is the yellow of cowardice; that is who he was, but he can’t be that, not anymore, because he is brave.
You know who you are. You’ll do great.
The decision is already made (Rocky must live)
Rocky’s ball is beside him (he has found someone to be brave for)
Score by Daniel Pemberton, for Project Hail Mary (2026), directed by Phil Lord and Christopher Miller.
I'm really not a score girlie (shoutout the one true exception to all rules, lotr). That being said, on first watch in theatres, the music for this film was doing something obvious, original, and captivating.
For the nerds (like me) there is a whole 50-minute piece Pemberton did with Dolby to discuss the development of the score which took two years and involved building a sound library from scratch (I'm sorry WHAT).
For the tumblr heads who will never switch apps, please enjoy my blathering.
Pemberton talked a LOT about texture and natural elements - water, glass, wood, steel, etc. as opposed to going Full Orchestra, which would anchor it fully in a Western sensibility. He didn't want to lose the opportunity to capture a more universal otherworldliness. He talked about using the orchestra as one instrument (WHAT), along with his own recorded sound library, live choir recordings, electronic libraries, and so on.
My brother in Christ you are doing TOO MUCH. But we thank you for this perfection.
He also discussed not using themes or motifs in a traditional way, i.e. "the Rocky motif" or "the Grace motif." You can feel that when you listen; there is absolutely repetition, callbacks, building on themes throughout the score, but they just don't feel as identifiable, and that leads to something a bit more surprising. When the themes come around again later in the score, stronger, more developed, I feel a bit of delight and wonder to see them there.
There are many, many choral elements representing humanity - that Grace is not alone. He is being cheered on by every soul he left behind on Earth. But what Pemberton also talked about was how after Rocky is introduced, there is electronic layering over some of the choral pieces to introduce that element of being from another world. And that represents all the Eridians who are also on their side, cheering them on ughhhhh I want to die over that.
My personal favorite is the hand claps. Give me a hand clap and I'll show you my new favorite song. For me, it's that little bit of Andy Weir in the score - it's the little flair of science-guy grit, determination, and stick-tuitiveness (not a word) that is emblematic of his writing. But Pemberton talked about having a children's choir come to Abbey Road to lay those hand clap parts. Box in a Box with a children's choir? DELIGHTFUL.
There are many reasons to love Project Hail Mary but over the weekend, listening to the score in isolation, it has become abundantly clear that for me personally, the music is a foundational part of that love.
ALLLLLLLL of that being said - I have my favorites and would love to rap about yours.
"Box in a Box"
"Petrova Line"
"Centrifuge" (ofc)
"The Message"
"Learning to Communicate"
"A Moment"
"Time Go Fishing" (maybe one of the most brilliant pieces of music composed for film but holy shit listen with caution and make sure you're in the right frame of mind to be tightened like an overturned screw until you want to run screaming from the room)
someone in comments about petrova line art across his throat pointed out that not only is it his (supposed) death sentence (were he not saved by a rock alien in deep space) but it is also symbolism of his voice being silenced - because he had no say whatsoever in his own fate.
and if that is the depth of storytelling we are getting from just set/wardrobe design/scene framing/etc. then iiiiiiiii
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