 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Why is Solium obsessed with this film?
The public has a right to know!
|
|
|
|
|
|
I was reading an old magazine article about the film. The original special effects for the film were trashed because they were considered below standards. Almost a million dollars went down the drain.
The studio hired a new effects company but then the studio fell into financial trouble and the new effects company were let go. At the time of the writing the film was in limbo.
Obviously the film was eventually released in the theater. But did they ever redo the special effects? Because from my recollection the effects in the film were terrible.
So I'm wondering if they ever redid the effects shots or went with what was originally produced for the film?
The film had some very serious issues in post production due to several companies failing to deliver acceptable effects.
The final company had to co e up with the SPX with the money that the production company had left over.
To make up for this the producers used the avalanche footage such as the skier in red was taken from the then recent AIP film Avalanche (1978).
This cause the film to be delayed and John Williams (Who was supposed to score it) had to withdraw due to this and due to his Doctor telling him that he needed to take some time off after scoring SUPERMAN.
As the story goes, Williams suggested Laurence Rosenthal to the producers who engaged him to score the film.
Ford A. Thaxton
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Mar 20, 2019 - 1:56 AM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
As outlined in a 5 July 1978 Los Angeles Times article, the subway mud sequence proved to be the most difficult and expensive to shoot. Filming took place over eight days at a cost of $1.5 million. On Stage 30 at MGM, the filmmakers modified the swimming tank used for Esther Williams's aqua-musicals to spew a million pounds of the mud-like substance, bentonite. The scenery was the second largest set constructed in Hollywood in its time, ranking just behind the wall built for 1976's KING KONG.
The film's release, originally scheduled for 15 June 1979, was postponed until 19 October 1979 due to special effects reshoots. An additional $1.25 million was required from the film’s financial investors. According to interviews in the December 1979 issue of Starlog magazine, the special effects department was replaced more than once. Frank Van der Veer was originally hired for photographic effects, but “virtually all of his work was discarded” after a year into production. His contribution remains uncredited. A visual effects crew, led by William Cruse and Margot Anderson, was hired for reshoots, but they also were eventually dismissed.
Gene Warren, founder of Excelsior Animated Motion Pictures, and Rob Blalack were recruited two months before the October 1979 release date. One of Warren’s technicians, Paul Kassler, explained in a March 1980 Starlog article that their effects team re-purposed footage from 1978's AVALANCHE to depict the meteor hitting a ski slope. The names of Blalack, Warren, and Kassler do not appear onscreen. Another uncredited effects artist, George Mather, who was dismissed in October 1977 after ten weeks of work, filed a $100,000 lawsuit against the filmmakers for “breach of oral contract.”
American International Pictures (AIP) president Samuel Z. Arkoff indicated that METEOR was the most difficult picture in the company’s history. Final production costs were cited as $20 million. In addition, Arkoff noted that AIP planned to spend $6 million on marketing, the company’s largest promotional budget to date. Production notes mentioned that set construction was approximately $5 million while post-production effects amounted to $3 million. A 14 February 1979 Daily Variety article speculated that the picture’s cost overrun could explain the merger talks between AIP and Filmways, Inc.
According to a 5 December 1979 Variety chart of the “50 Top-Grossing Films for the week ending 28 November 1979,” METEOR’s cumulative domestic gross, after six weeks in theaters, was just over $2.4 million.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Mar 20, 2019 - 8:24 AM
|
|
|
|
By: |
Solium
(Member)
|
Of course Hollywood always gets it wrong!
"We just need to change that speed by maybe a couple of centimeters per second," Johnson said. "If we do that several years in advance, the change that occurs in the orbit as it comes around several years later to that impact point — the change in velocity will cause it to arrive early or late to the impact point. That's all we need."
To get that change in velocity from a nuclear explosion, however, there's no need to actually touch the asteroid directly, Johnson said. Instead, the trick is to set off the explosion a few hundreds of meters up. "That causes an irradiation of the surface of the asteroid on that side, heats it up, superheats the surface," he said. "That surface will then blow off from the asteroid."
And because the laws of physics still apply, that dramatic action triggers an equal and opposite reaction, with the asteroid rebounding away — precisely what's needed to avert a catastrophe here on Earth. You wouldn't even need to fall into orbit around the object if you planned the mission carefully enough, Johnson said, a flyby would do.
Source: https://www.space.com/how-to-nuke-an-asteroid.html
|
|
|
|
|
|
|
I made a nice profit reselling the CD.
EDIT: actually I traded it to Kipling who purchased MASK OF PHANTASM for me.
Those were the days my friend when trades were made with friends.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"Fuck the Dodgers!"
|
|
|
|
|
|
|
|
|
|
|
