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So what's the problem? "When you sign up for this, you're signing your life away, and you're keeping yourself from any other franchises out there," says an agent whose client is one of the stars of Episode VII. "They will not let you be in another franchise. They're going to be cranking out a new movie every year. These actors never get to read the script before signing on. They don't even know which [subsequent] one they are in. And then they become known for that role, and it's hard to see them in [another] kind of movie." Still, agents keep pursuing roles in the upcoming films even though newcomers can only command a meager $65,000 to $125,000 for Episode VII. "It secures all involved a place in film history," says agent Sarah Fargo, "and guarantees a huge global audience, enhancing an actor's marketability."
In a recent podcast interview he had with Geoff Keighley, Valve CEO Gabe Newell opens up the current situation a bit more: "I'm a fan of TV shows, I'm a fan of writers, I'm a fan of movies, I'm a fan of games and I certainly understand why people are like, you know, hey I remember this awesome experience and I'm starting to get worried that I'm never going to have it again. I am a fan of Terry Pratchett and he has Alzheimer's, it's like, Oh my god, I may never get another great Discworld novel. [...] We aren't going to go all retro because there are too many interesting things that have been learned. The only reason we would go back and do a 'super classic' kind of product is if a whole bunch of people internally at Valve said they wanted to do it, and had a reasonable explanation for why it was."
The problem was that the view of the other side when travelling through a wormhole turns out to be visually indistinguishable from a conventional camera zoom and utterly unlike the impression Nolan wanted to portray, which was the sense of travelling through a shortcut from one part of the universe to another. So for the final cut, special effects artists had to add various animations to convey that impression. "The end result was a sequence of shots that told a story comprehensible by a general audience while resembling the wormhole's interior," admit Thorne and colleagues in a paper they have published about wormhole science in the film. In other words, they had to fudge it. Nevertheless, Thorne is adamant that the visualisations should help to inspire a new generation of students of film-making and of relativity.