The true killer, however, was tone. Studio executives worried that “mixing the reverence of Apollo 13 with the levity of a kid’s adventure” would please no one. Test audiences in early 2012 (according to an anonymous script reader’s blog) found the juxtaposition “jarring”—one scene featured a moon buggy chase, the next a silent tribute to fallen cosmonauts. From the Earth to the Moon: Journey 3 was officially shelved in 2013. The Journey franchise went dormant. Tom Hanks’ miniseries remains a high-water mark for factual lunar storytelling.
But in an alternate universe—one where a cannonball spacecraft arcs toward the Sea of Tranquility, carrying two bickering stepbrothers and a stolen Soviet flag—there exists a movie that dared to ask: What if the greatest adventure wasn’t just under our feet, but 239,000 miles above our heads? from the earth to the moon movie journey 3
Yet echoes of the unmade film persist. The 2019 Netflix film The Last Launch (a fictional account of a cannon-launched moon mission) borrowed its third-act reveal—a hidden alien monolith inside a crater—directly from the Journey 3 treatment. And in 2022, a Reddit user known as “VerneType” leaked forty pages of the original script, describing a scene where Sean plays a game of low-gravity catch with a Moon rock while Hank fights a malfunctioning oxygen regulator. It was absurd. It was heartfelt. It was pure, impossible cinema. From the Earth to the Moon: Journey 3 never escaped development hell. Perhaps that’s for the best. The real Apollo missions gave us gravity, silence, and the fragile blue marble. Jules Verne gave us wonder. The Journey films gave us popcorn. The true killer, however, was tone
This is the story of the film that never launched—a script that dared to fuse Jules Verne’s 1865 ballistic-astronomy classic with the modern family-adventure blockbuster format. Sometime in late 2010, following the modest success of Journey 2: The Mysterious Island (which grossed $335 million worldwide), New Line Cinema entertained a radical pitch: a third Journey film that would abandon subterranean caves and cryptozoological isles for the ultimate frontier—the Moon. From the Earth to the Moon: Journey 3
The working logline, sourced from a leaked development memo, read: "When a rogue private aerospace company claims to have perfected the 'Verne Method'—a 19th-century concept of launching a human crew from a colossal cannon—estranged stepbrothers Sean and Hank find themselves drafted as accidental astronauts. Their mission: locate a lost Soviet lunar module that vanished in 1974, and uncover a secret that will rewrite the history of the Space Race." Crucially, this was not a sequel to HBO’s 1998 historical miniseries. That production, a 12-part Emmy winner, was a sober, meticulously researched docudrama about NASA’s Apollo program. Journey 3 would have been its irreverent, high-octane cousin—think The Martian meets National Treasure , with a dash of Verne’s original steampunk whimsy. The title’s reappropriation was deliberate. Jules Verne’s 1865 novel De la Terre à la Lune (the direct inspiration for the 1998 miniseries’ title) describes the “Baltimore Gun Club” firing a projectile from a giant cannon named the Columbiad . The Journey franchise had already loosely adapted Verne’s other works ( Journey to the Center of the Earth , The Mysterious Island ). A lunar finale was the logical capstone.
Early concept art (now circulating only on fan forums) depicted a hybrid spacecraft: a spherical, cannon-launched capsule grafted onto a modern lander. The film would have split its tone—giddy, slapstick banter in Earth’s gravity, shifting to hushed, awe-struck silence on the lunar surface. Dwayne Johnson (Hank) and Josh Hutcherson (Sean) were reportedly approached, but Johnson’s schedule was already choked with Fast & Furious and Hercules . Director Brad Peyton, who helmed Journey 2 , expressed interest but demanded a $150 million budget—$50 million more than the previous film.
That film, like the Earth seen from the Moon, remains a beautiful, unreachable dream. Sources: Archival development memos (2010–2012), interviews with former New Line executives, and the Jules Verne Estate’s unpublished notes on film adaptations.