Nearly 10 years ago, while on the set of John Wick, Keanu Reeves’ stuntman-turned-director Chad Stahelski felt fear in his bones. “We were terrified,” Stahelski tells Inverse about the making of the landmark first film in the series. “We didn’t know what we were doing.”

The latest, John Wick: Chapter 4, is an instant classic that expands the scope of John Wick’s underworld universe while delivering a satisfying conclusion for modern cinema’s sharply-dressed assassin. But the road to John Wick: Chapter 4 demanded daily persistence from Stahelski, who had no choice other than to muscle through his fears.

“I’m still terrified when I walk on a set,” Stahelski admits. “The hardest thing about directing is getting out of that car every morning. That’s why you got to love what you do. I love making movies.”

Science fiction has always revolved around the intersection of innovation and entertainment — how stories that exist on the precipice of new knowledge can be spun out and speculated upon. The stories have to be gripping, but so do the aesthetics, visuals, and scientific details.

Axiom Space kept this in mind when the company won the NASA contract for the next-generation spacesuit. The company needed to design an aesthetically appealing but still functional spacesuit, and turned to someone who had previously wed the two worlds on the small screen: Esther Marquis, costume designer on seasons three and four of For All Mankind, the Apple TV+ series following an alternate history where the space race never ended — requiring a number of new spacesuit designs for that divergent reality.