I fear that with the absence of Douglas Adams, the results of the rewrites will be far more significant then the lack of 6 pints of bitter in the first 15 minutes of the movie.
Adams has been floating the script around Hollywood for a very long time; The preface in the '93 Hardback (A Trilogy in Four Parts) has him suggesting that he started work on a screenplay shortly after finishing Life, The Universe And Everything (3rd book, '82), suggesting the 4th book (along with Mostly Harmless) could be a sequel (or give a clue where the movie will end in the book series -- the original TV series ended with the 3rd book after 2 hours). In '98 he commented "Disney is the studio which is making this movie, which is financing it, which will be distributing it. [...] The important issues as far as I'm concerned is - who are the individual people I'm working with? The director, the producer, the studio executive etc."
Screenwriting credits go to Kary Kirkpatrick who's previous work includes Chicken Run and The Little Vampire. Directing credit go to Garth Jennings, an unknown who's stepping up from the music video scene (who's also listed as a screenwriter by IMDB). Art Direction comes from Frank Walsh (Tomb Raider: Cradle of Life). Spyglass Entertainment (The Sixth Sense; Shanghai Noon) is Disney's controller in this endevour.
It seems to me that Disney is handing production over to a group which will create something which is pretty much guaranteed to at least break-even in the long run, even if it does lousy on innitial release. If the story is strong enough to survive the first movie they can hand sequels over to the trendy film makers to bleed the story dry.
It would be unfortunate to see the move adaptation turned into a PG-13 practice vehicle for Hollywoods search for new production talent.
As unfortunate an accident as this has been for NASA, I believe it would be prudent to wait for further discussion on the first Volume of NASA's report before we can simply be content that the investigation is complete and we can simply move forward.
As Interesting+1 a report as it is, I couldn't help but feel a certain amount of politics working its way into it -- See Chapter 5 of the first volume for details, although I may simply be seeing what other/._ are referring to as the 'culture' at NASA.
Good idea. Not being a chemical expert, I visited an industry leader to gain a chemical enginnering degree and learn about the latest in organic dye technology. E2 taught me Quantum mechanics so another prevention method is now obvious.
Take a burned disk and a blank one and rub the 2 together. Rub vigerously, we need to entagle a good number of them 'purty quantums. Now re-burn the same stuff onto the blank disc as the written one. Easy eh?
Try to ensure you use the same image and burner otherwise you'll get a ghosting effect of the data and you'll have to re-orientate your antenna.
People have already posted they've had write-once CDR media last for years; I myself have media I created nearly a decade ago which doesn't show any (obvious) signs of degradation; admittedly I can't see in that cool color spectragraph they've produced (how did they make that, anyway?).
The only problem I've observed over the last few years is problems between CDR hardware vendors. People bring me something they've burned on their new 52 speed writer and it only works on their reading hardware (or, more accurately, doesn't work in mine;) but my original 2^2 writer still works everywhere, including DVD players and portables (and, more importantly, on other peoples DVD players and portables). My own experience suggests that the burner is the more important factor then the media -- you can spot bad media right away because you start producing coasters at a higher rate.
If the price for faster burns or newer vendor equipment is a short(er) media shelf life, I'll stick with my original stuff and grow a beard instead.
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I fear that with the absence of Douglas Adams, the results of the rewrites will be far more significant then the lack of 6 pints of bitter in the first 15 minutes of the movie.
Adams has been floating the script around Hollywood for a very long time; The preface in the '93 Hardback (A Trilogy in Four Parts) has him suggesting that he started work on a screenplay shortly after finishing Life, The Universe And Everything (3rd book, '82), suggesting the 4th book (along with Mostly Harmless) could be a sequel (or give a clue where the movie will end in the book series -- the original TV series ended with the 3rd book after 2 hours). In '98 he commented "Disney is the studio which is making this movie, which is financing it, which will be distributing it. [...] The important issues as far as I'm concerned is - who are the individual people I'm working with? The director, the producer, the studio executive etc."
Screenwriting credits go to Kary Kirkpatrick who's previous work includes Chicken Run and The Little Vampire. Directing credit go to Garth Jennings, an unknown who's stepping up from the music video scene (who's also listed as a screenwriter by IMDB). Art Direction comes from Frank Walsh (Tomb Raider: Cradle of Life). Spyglass Entertainment (The Sixth Sense; Shanghai Noon) is Disney's controller in this endevour.
It seems to me that Disney is handing production over to a group which will create something which is pretty much guaranteed to at least break-even in the long run, even if it does lousy on innitial release. If the story is strong enough to survive the first movie they can hand sequels over to the trendy film makers to bleed the story dry.
It would be unfortunate to see the move adaptation turned into a PG-13 practice vehicle for Hollywoods search for new production talent.
As unfortunate an accident as this has been for NASA, I believe it would be prudent to wait for further discussion on the first Volume of NASA's report before we can simply be content that the investigation is complete and we can simply move forward.
/._ are referring to as the 'culture' at NASA.
As Interesting+1 a report as it is, I couldn't help but feel a certain amount of politics working its way into it -- See Chapter 5 of the first volume for details, although I may simply be seeing what other
Good idea. Not being a chemical expert, I visited an industry leader to gain a chemical enginnering degree and learn about the latest in organic dye technology. E2 taught me Quantum mechanics so another prevention method is now obvious.
Take a burned disk and a blank one and rub the 2 together. Rub vigerously, we need to entagle a good number of them 'purty quantums. Now re-burn the same stuff onto the blank disc as the written one. Easy eh?
Try to ensure you use the same image and burner otherwise you'll get a ghosting effect of the data and you'll have to re-orientate your antenna.
People have already posted they've had write-once CDR media last for years; I myself have media I created nearly a decade ago which doesn't show any (obvious) signs of degradation; admittedly I can't see in that cool color spectragraph they've produced (how did they make that, anyway?).
;) but my original 2^2 writer still works everywhere, including DVD players and portables (and, more importantly, on other peoples DVD players and portables). My own experience suggests that the burner is the more important factor then the media -- you can spot bad media right away because you start producing coasters at a higher rate.
The only problem I've observed over the last few years is problems between CDR hardware vendors. People bring me something they've burned on their new 52 speed writer and it only works on their reading hardware (or, more accurately, doesn't work in mine
If the price for faster burns or newer vendor equipment is a short(er) media shelf life, I'll stick with my original stuff and grow a beard instead.
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