If a killer asteroid or comet comes our way, don’t expect Bruce Willis or Robert Duvall to try flying to the rescue. And don’t expect doom to arrive in one big dose.
Those are two of the lessons that Hollywood has learned since 1998, when “Armageddon” and “Deep Impact” put death from the skies on the big screen. The killer-comet theme returns in “Greenland,” a big-budget movie that’s making its debut on premium video-on-demand this weekend. But the plot twists are dramatically different.
There’s a different look to the movie as well, thanks in part to the research that was done by visual effects supervisor Marc Massicotte.
“The movies of the past have had a large creative influence on the direction we wanted to take, but at the same time, we didn’t want to repeat what had been done,” he told me. “We wanted to update and also be as close [as possible] to what reality as we know it now is.”
Massicotte discussed his vision of doomsday for the Fiction Science podcast, which focuses on the intersection of science and fiction. And to even out the proportion of science to fiction, I also checked in with Danica Remy, president of the B612 Foundation. Remy’s group focuses on the threats posed by asteroids and comets, as well as strategies to head off such threats — none of which involve Bruce Willis.
“Every movie that talks about this subject is a way to educate the public and raise awareness about the issue,” Remy told me. “The science in the movies may not be correct, but certainly the discussion and the education aspect — you know, the fact that these things do happen — we think is a plus.”
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Massicotte was especially taken by the idea that incoming space objects may not hit the ground at all, but instead break apart as they plunge through the atmosphere, setting off a powerful airburst.
That was the case for the Tunguska blast that flattened half a million acres of Siberian forest in 1908, and for the Chelyabinsk meteor that injured hundreds of Russians in 2013.
For Massicotte, the fact that an airburst would look so good on the big screen was a bonus. “You’d have an asteroid that would come in and have an airburst — and in nighttime it would pretty much light up the sky, and light up its whole environment as if we were in total daytime, having beautiful shifting shadows and shadow play on vehicles that were driving at night on the road,” he said.
Several other choices were made with a nod toward scientific findings. For example, the filmmakers went with a killer comet rather than a killer asteroid, because comets are typically harder to track than asteroids. Virtually all of the near-Earth asteroids capable of causing mass extinctions are already being monitored, thanks largely to an effort that started around the time that “Armageddon” made its debut.
Even better, the comet in “Greenland” is an interstellar object, which plays off the first-ever detection of an interstellar asteroid in 2017. And the filmmakers set up the plot so that the comet broke up as it rounded the sun, turning a single object into thousands of unpredictable pieces.
As Massicotte and his teammates created the visuals for the movie’s latter scenes, they took their cues from the wildfires that were sweeping over Australia while the movie was being made. That explains the reddish sky that gives everything an eerie glow as the world burns.
“Considering the time frame within the film, the time that has passed, the amount of impacts that have hit the Earth and the devastation of ongoing fires from these impacts, we wanted to show how it had started to affect the climate,” Massicotte said.
There are also parallels to yet another real-world crisis, the coronavirus pandemic. The movie’s name, “Greenland,” refers to the location of a huge military shelter that was held over from the Cold War. Who decides which people survive? How do the deciders enforce their will? The failings and sacrifices that come to light in the course of the comet crisis may strike a chord for those concerned about COVID-19.
The script for “Greenland” doesn’t include parts for the brave astronauts who try to subdue the killer comet — which is pretty much how it would be in real life.
Remy said that none of the three generally accepted methods for diverting a potentially hazardous asteroid would involve sending humans. One calls for a kinetic impactor to smash into the asteroid, changing its course just enough to result in a miss. Another would use a “gravity tractor” to tug the asteroid into a slightly different orbit.
“The third one, which we hope we never have to use, is a nuclear standoff,” Remy said, “where you don’t blow it up, like in ‘Armageddon,’ but where you would explode it near the asteroid, and then the explosion will push the asteroid away.”
Scientists still have a lot to learn about comets, asteroids and interstellar objects — and about the best ways to keep our planet safe from cosmic threats — but perhaps the most promising plot development is that scientists are quick learners.
This month, Japan’s Hayabusa 2 probe delivered fresh samples from a carbon-rich asteroid that’s likely to help scientists figure out how such asteroids are put together. NASA’s OSIRIS-REx probe is carrying an even bigger load of asteroid samples back to Earth. And a future mission known as the Double Asteroid Redirection Test, or DART, will actually try out the kinetic impactor method for diverting an asteroid.
Even Massicotte is fascinated by the real-life science behind big-screen tales of killer asteroids and comets. “It’s all these little aspects that I’m still very curious about and would love to learn more about, obviously,” he told me. “It has shone a light on our little place in the universe — and how we’re not so indestructible.”
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