“My name’s Todd Douglas Miller. I’m the director of “Apollo 11.” So this is a very important scene in the film. It’s the moment on July 20, 1969, the landing of Apollo 11. This was the first time that humanity set foot on another world. We spent a lot of time on this scene. It’s really the culmination of everyone’s talents, from the sound design to Matt Morton’s music score. Even to this animation, which was something we decided to utilize, which is traditional cell animation. We came across that in some industrial films in NASA’s archives.” — from which point the powered descent to the lunar surface will be initiated.” “Apollo 11. Houston, we are go for undocking, over.” “The landing itself was obviously a giant technical hurdle. It involved hundreds of thousands of people, but certainly, here, the doors in mission control are closed. The three astronauts performing these complex maneuvers were very much focused on the task at hand. One of the things that we chose to utilize, not only here, but throughout the film, was the use of split screens. Here, for the first time, the two vehicles are separated, Neil Armstrong and Buzz Aldrin being on the right, and Michael Collins in the command module on the left. As we shift back into mission control, we always thought it was very important to showcase as many flight controllers interjecting as much humanity on screen as possible. So when we have these go, no go commands — “ “Go.” “GUIDO.” “Go.” “Guidance.” “Go.” “Control.” “Go.” “Telcom” “Go.” “GNC.” “Go.” “EECOM.” “Go.” “Surgeon.” “Go.” “CAPCOM — “ “These individuals were pushing the buttons to make these things happen, and we always thought that it would be important to showcase as much of these people as we could. The on-screen graphics, we spent a lot of time working with the historians — and also the astronauts, both Michael Collins and Buzz Aldrin — to get that as accurate as we possibly could. Neil’s sons Rick and Mark also contributed a lot to the making of the film. And then this is one of the most famous shots in cinematic history, as far as I’m concerned. Buzz Aldrin shot this with a 16-millimeter camera out his window, and then we in the film show it as an unbroken shot to the moment of touchdown. My music composer, Matt Morton, decided to do a period score using only instrumentation that was around pre-1969. Most notably, he went out and got a 1968 edition Moog synthesizer.” [tense music]