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Apollo 13 Movie Was Engineers' "Failure is Not an Option" Moment in the Spotlight – DesignNews

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Image source: Universal Pictures

April 11, 2020 is the 50th anniversary of the launch of NASA’s Apollo 13 lunar mission, and this year is also the 25th anniversary of the 1995 film version, directed by Ron Howard. It is this theatrical version of events that is the definitive story of Apollo now for many people, an outcome that was predicted at the time of the movie’s filming by Apollo 15 astronaut Dave Scott, who served as a consultant on the film.

“I don’t think anybody’s going to go to the moon for a long time,” Howard recalled Scott telling him. Speaking for the bonus features on the Collector’s Edition DVD, Howard told the story of Scott’s prediction that future moon voyagers would look back at the film as documentation of the Apollo era.

“Everybody involved is going to be dead and all you’re going to have is some of this archival footage and you’ve seen how incomplete that is,” Howard said, speaking for Scott. “But you know what they’re going to be able to do? They’re going to be able to look at this movie, Apollo 13, and say ‘That’s how they went to the moon.’”

The film scored nine Oscar nominations, including for Best Picture, with Tom Hanks as Commander Jim Lovell, Kevin Bacon as Backup Lunar Module Pilot Jack Swigert, the late Bill Paxton as Command Module Pilot Fred Haise, Gary Sinise as grounded Prime Lunar Module Pilot Ken Mattingly and Ed Harris as Flight Director Gene Kranz. It won two Academy Awards, for Best Sound and for Film Editing and grossed 174 million 1995 dollars at the box office.

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Hollywood isn’t known for its keen study of the outside world, but a book proposal by astronaut Lovell caught the attention of people who brought the story to director Howard. “The more I kept learning about the actual mission,” he said, “the more I realized just how dramatic the truth, in this particular instance, is.”

He soon recruited A-lister Hanks to play Lovell. “There’s something about the story of getting back home, which is one of the seven great stories of literature: How do you get back home? And that’s what this is,” Hanks said.

As a longtime space geek, Hanks was already predisposed to favoring the film. “I’ve always wanted to play an astronaut. I’ve always wanted to shoot a vast section of a movie completely encapsulated by nothing but metal, glass and switches, and I finally had a chance to do that,” he said. “This is real dream-come-true stuff here.”

1995 marked the dawn of computer-generated animation, and Apollo 13 uses the early technology to good effect to create some flight scenes. Fortunately, the production crew recognized the shortcomings of CGI and limited its use. For the dramatic splashdown scene near the end of the film, they employed a scale model of the command module on real parachutes, dropped from a helicopter to provide the necessary realism.

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But the real challenge was replicating the zero-gravity environment inside the spacecraft during the flight. To gain some insight into this, the cast and crew arranged for a flight in NASA’s zero-g simulating KC-135 cargo aircraft. The experience motivated Howard to investigate actually building sets inside the plane and shooting the movie inside it during zero-g flights. 

“If we really would have had to try to create the weightlessness with wires (on the actors), I sort of shudder to think what the movie would have really looked like,” Howard said.

Instead, the cast flew 612 25-second cycles in the Vomit Comet, totally 3 hours and 54 minutes of weightlessness. “The KC135 was used for most shots where you see our whole bodies,” explained Bacon. “Then we did a lot of the closeups on the ground, and they cut amazingly well. I can’t even remember if this is a KC135 shot or this is a ground shot.”

“Nobody wanted to let this story down,” Howard stated. “Not the actors, not the crew members, no one. I didn’t have to make any motivational speeches on this one. People were coming to work every day ready to give a hundred and fifty percent.”

“I had an acute sense of anxiety that I would be the one who became violently ill and totally incapacitated and a failure to the group,” said Paxton.

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Further, with expert advice available, the actors could be confident that they weren’t doing anything grossly unrealistic. “I’m really impressed with the authenticity of how we’re doing this,” observed Apollo 15 commander Dave Scott. “They are interested in getting this accurate and precise, down to not only the word, but the inflection of the word, and the meaning behind the word.”

“With Dave Scott from Apollo 15 here every day,” said Hanks, “we don’t have to do that thing that can happen in films where the director says, ‘Flick some switches.’” 

“Working on the film was kind of like cramming for your final exam or something,” said Ed Harris. “You’ve got all this information in your head, you’re really focused on it, you’re doing your homework the night before about the scene you’re going to do the next day.”

Nevertheless, the film’s defining characteristic turned out not to be the heroism of the astronauts, but that of the engineers on the ground who fought to find a way to save the astronauts. Apollo 13 made stars of engineers and brought the phrase “Failure is not an option,” into popular culture.

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“One of the first things that we did once we committed to making the movie was go to Houston, see mission control,” said Howard. “And I realized just how intense it was. How personally they took it. And I began to try to find ways to tell their story too.”

“Once the rocket leaves the launch pad, the flight director, he’s God,” Harris noted. “He’s got more power than the President of the United States at that point. He calls the shots.”

Howard put the same attention to detail that went into shooting authentic weightless scenes into recreating NASA’s mission control in Houston. “Ron is an absolute fanatic about every little detail being correct,” said Apollo 13 flight dynamics officer Jerry Bostic, who consulted on Apollo 13 and worked on the set daily. “I spend 14 hours a day here and I leave and I go look for the elevator,” he laughed. “Because the real control center in Houston was up on the third floor, and I forget because this thing is so real.

“You have a great story and you have all this incredible technology and you have something that was very important historically,” observed Bacon. “This moment was, in so many ways, NASA’s finest hour.”

For engineers, the film Apollo 13 might have been their finest hour too.

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Dan Carney is a Design News senior editor, covering automotive technology, engineering and design, especially emerging electric vehicle and autonomous technologies.

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Here’s how Helene and other storms dumped a whopping 40 trillion gallons of rain on the South

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More than 40 trillion gallons of rain drenched the Southeast United States in the last week from Hurricane Helene and a run-of-the-mill rainstorm that sloshed in ahead of it — an unheard of amount of water that has stunned experts.

That’s enough to fill the Dallas Cowboys’ stadium 51,000 times, or Lake Tahoe just once. If it was concentrated just on the state of North Carolina that much water would be 3.5 feet deep (more than 1 meter). It’s enough to fill more than 60 million Olympic-size swimming pools.

“That’s an astronomical amount of precipitation,” said Ed Clark, head of the National Oceanic and Atmospheric Administration’s National Water Center in Tuscaloosa, Alabama. “I have not seen something in my 25 years of working at the weather service that is this geographically large of an extent and the sheer volume of water that fell from the sky.”

The flood damage from the rain is apocalyptic, meteorologists said. More than 100 people are dead, according to officials.

Private meteorologist Ryan Maue, a former NOAA chief scientist, calculated the amount of rain, using precipitation measurements made in 2.5-mile-by-2.5 mile grids as measured by satellites and ground observations. He came up with 40 trillion gallons through Sunday for the eastern United States, with 20 trillion gallons of that hitting just Georgia, Tennessee, the Carolinas and Florida from Hurricane Helene.

Clark did the calculations independently and said the 40 trillion gallon figure (151 trillion liters) is about right and, if anything, conservative. Maue said maybe 1 to 2 trillion more gallons of rain had fallen, much if it in Virginia, since his calculations.

Clark, who spends much of his work on issues of shrinking western water supplies, said to put the amount of rain in perspective, it’s more than twice the combined amount of water stored by two key Colorado River basin reservoirs: Lake Powell and Lake Mead.

Several meteorologists said this was a combination of two, maybe three storm systems. Before Helene struck, rain had fallen heavily for days because a low pressure system had “cut off” from the jet stream — which moves weather systems along west to east — and stalled over the Southeast. That funneled plenty of warm water from the Gulf of Mexico. And a storm that fell just short of named status parked along North Carolina’s Atlantic coast, dumping as much as 20 inches of rain, said North Carolina state climatologist Kathie Dello.

Then add Helene, one of the largest storms in the last couple decades and one that held plenty of rain because it was young and moved fast before it hit the Appalachians, said University of Albany hurricane expert Kristen Corbosiero.

“It was not just a perfect storm, but it was a combination of multiple storms that that led to the enormous amount of rain,” Maue said. “That collected at high elevation, we’re talking 3,000 to 6000 feet. And when you drop trillions of gallons on a mountain, that has to go down.”

The fact that these storms hit the mountains made everything worse, and not just because of runoff. The interaction between the mountains and the storm systems wrings more moisture out of the air, Clark, Maue and Corbosiero said.

North Carolina weather officials said their top measurement total was 31.33 inches in the tiny town of Busick. Mount Mitchell also got more than 2 feet of rainfall.

Before 2017’s Hurricane Harvey, “I said to our colleagues, you know, I never thought in my career that we would measure rainfall in feet,” Clark said. “And after Harvey, Florence, the more isolated events in eastern Kentucky, portions of South Dakota. We’re seeing events year in and year out where we are measuring rainfall in feet.”

Storms are getting wetter as the climate change s, said Corbosiero and Dello. A basic law of physics says the air holds nearly 4% more moisture for every degree Fahrenheit warmer (7% for every degree Celsius) and the world has warmed more than 2 degrees (1.2 degrees Celsius) since pre-industrial times.

Corbosiero said meteorologists are vigorously debating how much of Helene is due to worsening climate change and how much is random.

For Dello, the “fingerprints of climate change” were clear.

“We’ve seen tropical storm impacts in western North Carolina. But these storms are wetter and these storms are warmer. And there would have been a time when a tropical storm would have been heading toward North Carolina and would have caused some rain and some damage, but not apocalyptic destruction. ”

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Follow AP’s climate coverage at https://apnews.com/hub/climate

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Follow Seth Borenstein on Twitter at @borenbears

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Associated Press climate and environmental coverage receives support from several private foundations. See more about AP’s climate initiative here. The AP is solely responsible for all content.

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‘Big Sam’: Paleontologists unearth giant skull of Pachyrhinosaurus in Alberta

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It’s a dinosaur that roamed Alberta’s badlands more than 70 million years ago, sporting a big, bumpy, bony head the size of a baby elephant.

On Wednesday, paleontologists near Grande Prairie pulled its 272-kilogram skull from the ground.

They call it “Big Sam.”

The adult Pachyrhinosaurus is the second plant-eating dinosaur to be unearthed from a dense bonebed belonging to a herd that died together on the edge of a valley that now sits 450 kilometres northwest of Edmonton.

It didn’t die alone.

“We have hundreds of juvenile bones in the bonebed, so we know that there are many babies and some adults among all of the big adults,” Emily Bamforth, a paleontologist with the nearby Philip J. Currie Dinosaur Museum, said in an interview on the way to the dig site.

She described the horned Pachyrhinosaurus as “the smaller, older cousin of the triceratops.”

“This species of dinosaur is endemic to the Grand Prairie area, so it’s found here and nowhere else in the world. They are … kind of about the size of an Indian elephant and a rhino,” she added.

The head alone, she said, is about the size of a baby elephant.

The discovery was a long time coming.

The bonebed was first discovered by a high school teacher out for a walk about 50 years ago. It took the teacher a decade to get anyone from southern Alberta to come to take a look.

“At the time, sort of in the ’70s and ’80s, paleontology in northern Alberta was virtually unknown,” said Bamforth.

When paleontogists eventually got to the site, Bamforth said, they learned “it’s actually one of the densest dinosaur bonebeds in North America.”

“It contains about 100 to 300 bones per square metre,” she said.

Paleontologists have been at the site sporadically ever since, combing through bones belonging to turtles, dinosaurs and lizards. Sixteen years ago, they discovered a large skull of an approximately 30-year-old Pachyrhinosaurus, which is now at the museum.

About a year ago, they found the second adult: Big Sam.

Bamforth said both dinosaurs are believed to have been the elders in the herd.

“Their distinguishing feature is that, instead of having a horn on their nose like a triceratops, they had this big, bony bump called a boss. And they have big, bony bumps over their eyes as well,” she said.

“It makes them look a little strange. It’s the one dinosaur that if you find it, it’s the only possible thing it can be.”

The genders of the two adults are unknown.

Bamforth said the extraction was difficult because Big Sam was intertwined in a cluster of about 300 other bones.

The skull was found upside down, “as if the animal was lying on its back,” but was well preserved, she said.

She said the excavation process involved putting plaster on the skull and wooden planks around if for stability. From there, it was lifted out — very carefully — with a crane, and was to be shipped on a trolley to the museum for study.

“I have extracted skulls in the past. This is probably the biggest one I’ve ever done though,” said Bamforth.

“It’s pretty exciting.”

This report by The Canadian Press was first published Sept. 25, 2024.

The Canadian Press. All rights reserved.

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The ancient jar smashed by a 4-year-old is back on display at an Israeli museum after repair

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TEL AVIV, Israel (AP) — A rare Bronze-Era jar accidentally smashed by a 4-year-old visiting a museum was back on display Wednesday after restoration experts were able to carefully piece the artifact back together.

Last month, a family from northern Israel was visiting the museum when their youngest son tipped over the jar, which smashed into pieces.

Alex Geller, the boy’s father, said his son — the youngest of three — is exceptionally curious, and that the moment he heard the crash, “please let that not be my child” was the first thought that raced through his head.

The jar has been on display at the Hecht Museum in Haifa for 35 years. It was one of the only containers of its size and from that period still complete when it was discovered.

The Bronze Age jar is one of many artifacts exhibited out in the open, part of the Hecht Museum’s vision of letting visitors explore history without glass barriers, said Inbal Rivlin, the director of the museum, which is associated with Haifa University in northern Israel.

It was likely used to hold wine or oil, and dates back to between 2200 and 1500 B.C.

Rivlin and the museum decided to turn the moment, which captured international attention, into a teaching moment, inviting the Geller family back for a special visit and hands-on activity to illustrate the restoration process.

Rivlin added that the incident provided a welcome distraction from the ongoing war in Gaza. “Well, he’s just a kid. So I think that somehow it touches the heart of the people in Israel and around the world,“ said Rivlin.

Roee Shafir, a restoration expert at the museum, said the repairs would be fairly simple, as the pieces were from a single, complete jar. Archaeologists often face the more daunting task of sifting through piles of shards from multiple objects and trying to piece them together.

Experts used 3D technology, hi-resolution videos, and special glue to painstakingly reconstruct the large jar.

Less than two weeks after it broke, the jar went back on display at the museum. The gluing process left small hairline cracks, and a few pieces are missing, but the jar’s impressive size remains.

The only noticeable difference in the exhibit was a new sign reading “please don’t touch.”

The Canadian Press. All rights reserved.

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