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Why Hollywood Fudged the Relativity-Based Wormhole Scenes In Interstellar
KentuckyFC writes: When Christopher Nolan teamed up with physicist Kip Thorne of Caltech to discuss the science behind his movie Interstellar, the idea was that Thorne would bring some much-needed scientific gravitas to the all-important scenes involving travel through a wormhole. Indeed, Thorne used the equations of general relativity to calculate the various possible shapes of wormhole and how they would distort the view through it. A London-based special effects team then created footage of a far away galaxy as seen through such a wormhole. It showed the galaxy fantastically distorted as a result, just as relativity predicts. But when it came to travelling through a wormhole, Nolan was disappointed with the footage.
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.
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.
In understand why he did it. If he made it accurate looking, a large percentage of the non-geek public wouldn't understand they went to a different part of the universe.
Bibliophiles and science-literates. The lesson is: stop trying.
And much the same reasoning goes to why NASA uses false color images for release: many of the colors out in space are pretty muted and there's a whole lot of brown and grey. There are some striking exceptions, but mostly, the universe looks pretty boring compared to the special effects laden adventure you'd expect from an sci-fi movie.
It's a movie. Most people don't care but for those sticklers, all they have to do is release a special edition that contains a "director's cut" of the film as well as a "science advisor's cut." They would eat it up and it would be a fun way to spark discussion.
Make it so, movie guys.
"Here Lies Philip J. Fry, named for his uncle, to carry on his spirit"
Those who complain deserve the goat-se edition of the wormhole
Table-ized A.I.
In movies machine gun fire does not generally sound like machine gun fire.
Explosions are caricatures of the real thing largely done with diesel to create the big fiery plumes we love to see.
A stick of C4 going off does not create a giant fireball. It's just not good eye candy.