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How Building a Black Hole for Interstellar Led to an Amazing from freemexy's blog

KIP THORNE LOOKS into the black hole he helped create and thinks, “Why, of course. That's what it would do.” This particular black hole is a simulation of unprecedented accuracy. It appears to spin at nearly the speed of light, dragging bits of the universe along with it. (That's gravity for you; relativity is superweird.) In theory it was once a star, but instead of fading or exploding, it collapsed like a failed soufflé into a tiny point of inescapable singularity. A glowing ring orbiting the spheroidal maelstrom seems to curve over the top and below the bottom simultaneously.To get more interstellar black hole, you can visit shine news official website.

All this is only natural, because weird things happen near black holes. For example, their gravity is so strong that they bend the fabric of the universe. Einstein explained this: The more massive something is, the more gravity it produces. Objects like stars and black holes do this so powerfully that they actually bend light and pull space and time with it. And it gets weirder: If you were closer to a black hole than I was, our perceptions of space and time would diverge. Relatively speaking, time would seem to be going faster for me.

What does Thorne see in there? He's an astrophysicist; his math guided the creation of this mesmerizing visual effect, the most accurate simulation ever of what a black hole would look like. It's the product of a year of work by 30 people and thousands of computers. And alongside a small galaxy of Hollywood stars—Matthew McConaughey, Anne Hathaway, Jessica Chastain, Bill Irwin, Casey Affleck, John Lithgow—the simulation plays a central role in Interstellar, the prestige space travel epic directed by Christopher Nolan opening November 7. Thorne sees truth. Nolan, the consummate image maker, sees beauty. Black holes, even fictional ones, can warp perception.

Thorne Isn't your average astrophysicist. Sure, he's a famous theorist, but even before his retirement from Caltech in 2009 he was deeply interested in explaining the heady ideas of relativity to the general public. Just before his retirement, Thorne and film producer Lynda Obst, whom he'd known since Carl Sagan set them up on a blind date three decades earlier, were playing around with an idea for a movie that would involve the mysterious properties of black holes and wormholes.
Before long, Steven Spielberg signed on to direct; screenwriter Jonathan “Jonah” Nolan wrote a script. Eventually Spielberg dropped out; Jonathan's brother Chris—known for directing mind-bendy movies like Memento and Inception (plus Batman) dropped in. And while Chris Nolan was rewriting his brother's script, he wanted to get a handle on the science at the heart of his story. So he started meeting with Thorne.

Over the course of a couple months in early 2013, Thorne and Nolan delved into what the physicist calls “the warped side of the universe”—curved spacetime, holes in the fabric of reality, how gravity bends light. “The story is now essentially all Chris and Jonah's,” Thorne says. “But the spirit of it, the goal of having a movie in which science is embedded in the fabric from the beginning—and it's great science—that was preserved.”

The story the filmmakers came up with is set in a dystopian near future when crops have failed and humanity is on the verge of extinction. A former astronaut (McConaughey) gets recruited for one last flight, a desperate attempt to reach other star systems where humans can once again thrive.

And therein lies a problem. See, other stars are really far away. Reaching even the nearest ones would take decades at speeds we humans have no idea how to attain. Back in 1983, when Sagan needed a plausible solution to this problem for the story that would become the movie Contact, Thorne suggested the wormhole, a hypothetical tear in the universe connecting two distant points via dimensions beyond the four we experience as space and time. A wormhole was a natural choice for Interstellar too. As Thorne talked about the movie with Nolan, their discussions about the physical properties of wormholes led to an inevitable question for a filmmaker: How do you actually show one onscreen?

That's not the only headache inducing bit of physics that the film's special effects team had to grapple with. Nolan's story relied on time dilation: time passing at different rates for different characters. To make this scientifically plausible, Thorne told him, he'd need a massive black hole—in the movie it's called Gargantua—spinning at nearly the speed of light. As a filmmaker, Nolan had no idea how to make something like that look realistic. But he had an idea how to make it happen. “Chris called me and said he wanted to send a guy over to my house to talk to me about the visual effects,” Thorne says. “I said, ‘Sure, send him over.’” It wasn't long before Paul Franklin showed up on Thorne's doorstep.

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