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At a glass factory in Israel, mountains of broken bottles become art under photographer Oded Balilty’s creative eye.


In the heart of Israel’s desert, shimmering mountains of glass dominate the landscape. Broken glass bottles are piled up to be recycled at the Phoenicia Glass Works Ltd. factory in the southern Israeli town of Yeruham. 




“It's very difficult to find new things in your own backyard.”

So says Israeli photographer Oded Balilty, who lives in Tel Aviv and works for the Associated Press.
Every day, about 300,000 bottles come out of the ovens with defects. The glass is broken and recycled into new bottles.
A few years ago, Balilty was on assignment in Yeruham, Israel, photographing a factory that produced concrete bricks for the barrier between Israel and the West Bank. While he was shooting, something across the street caught his eye—mountains of colorful, sparkling, broken glass rising up from the lot behind a glass-bottle factory.

Balilty snuck in through the back, took one picture, and left. But the memory stayed with him. In all his years of photographing in Israel, he had never seen anything like it.
“The situation is so surreal,” says photographer Oded Balilty. “To find all these colors in the middle of nowhere—for me, it's like finding a gold mine.”
When he had a week off two years later, he went back to the factory to explore. “I said, ‘OK, well, the gate is open,’ so I entered without asking anyone,” he recalls. “And I started to take pictures, and I worked there for, like, two hours.”
Birds fly above broken glass that will later be recycled. The factory produces a million bottles and containers a day for beverage giants Coca-Cola, Pepsi, and Heineken, as well as for Israeli wineries and olive oil companies.




Then three employees came out and asked what he was doing, saying he wasn’t allowed to be there without permission. “They were very nice, actually.” Balilty says. “So they took me to the factory manager’s office.” When the manager arrived, she made him a cup of coffee and invited him to continue to photograph—after going through the proper channels. “That's something that I always do,” he told her. “But, you know, I was there, and those colors were so beautiful, so I just walked in.”
In the junkyard at Israel’s only glass-container factory, broken bottles await new life.
After a month, Balilty received the necessary permit and returned. The factory employees showed him around, explained their processes, and then allowed him to photograph unencumbered for five days.
A worker picks out plastic bottles from piles of broken glass. Glass from all over Israel is brought to the factory for recycling.
“And it was amazing,” he says, “to see all these colors in this monochromatic area of the country.”




The glass factory makes bottles for all the big beverage companies in Israel. They make more than a million bottles each day, and Balilty says they lose about 300,000 of those, either through breakage or while switching the color and style in production. Those broken bottles go outside, where they join glass that’s trucked in every day for recycling. All the glass is sorted by color, and the mountains change shape every day.
Israel’s only glass-container factory produces a million containers a day. Some 300,000 bottles a day come out with defects. The factory grinds these into shards and piles them in a desert lot to be melted into new bottles.
“It's like sand dunes, literally, because glass is made from sand,” he says. “But it's not that the wind moves them, but the production.” Even the change in seasons creates dramatic differences in the scenery.
A worker breaks defective glass bottles that will later be recycled. The glass pieces are shoveled into ovens and fired into new bottles.
“I've photographed in the winter and the spring, and I also went in the summer,” he says. “The light looks different, the sky looks different, the dust on the glasses make it look totally different.”
Countless shards of glass are piled into rolling hills of green and brown. The mountains are 50 feet high and span the length of a few soccer fields.




And for Balilty, the beauty is found not just in the shapes and colors but also in the symbolism. “They put the glasses in the desert,” he says. “It's very symbolic. It's like the bottles are dying there, and they get new life. It's like ‘from dust to dust.’ So to be in the middle of this circle, it’s something that I really enjoy watching.”
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Kaiau is photographed with a baby black bearded saki monkey. It probably belongs to a female family member as boys tend not to keep monkeys as pets. Posto Awã, Awã Community, Brazil





     




Charlie Hamilton James noticed something unusual when he was photographing the indigenous Matsigenka community a few years ago in the Peruvian Amazon:
Ayhuan carries a black bearded saki on her head. Juriti, Awã indigenous community, Brazil
     





“Every day all the kids from the community would skip through our camp on their way to take a bath in the river," he says. "There was one girl, Yoina, who would always carry her small tamarin monkey with her. The problem was that the monkey hated water, so it would sit shivering on Yoina’s head, looking most put out. I had never seen anyone wandering around so nonchalantly with a monkey on their head before and it caught my notice. It seemed that, to the monkey, Yoina’s head was a place of safety.”
Gazielly is photographed with her family's pet capuchin monkey. With the exception of the small tamarins, many of the monkeys Hamilton James observed were on strings, though they were allowed free range of the community. Tiracmbu Awã communtiy, Maranhão, Brazil

     
Ximirapi has never had children and lives with her monkey. Tiracambu Awã Community, Maranhão, Brazil

A portrait Hamilton James took of Yoina with her tamarin became one of his favorite images. From then on, he says, “I became a little obsessed with photographing people with their monkeys.”
     
Yoina is photographed with her saddle-backed tamarin. Manu National Park, Peru

     




He has since found the same thing happening with other indigenous groups he has visited in Peru and Brazil’s eastern Amazon. The monkeys are different species, he noticed, but the way they ride on the heads of their mainly female hosts, is the same. And as he has discovered, there is a surprising story to go with it, which he shares below:
Amápiranawy ia photographed along the Káru River. Juriti, Awã indigenous community, Brazil

     




“All the people I've photographed with their monkeys live in the forest, where monkey makes up a hugely important part of their diet. Monkeys are hunted with bows and arrows; if they are mothers with babies, the babies cling on when the mother falls dead from the tree. When the mother’s body is collected the baby is taken and kept as a pet.
Ayuana is photographed with a black tamarin. Black tamarins, otherwise known as black-handed tamarins, are one of the smallest primates weighing just 500g (just a little over one pound). Tamarins tend to be more ‘free range’ than monkeys when living in communities. Tiracmbu Awã communtiy, Brazil

A strong bond then forms between the baby monkey and it’s new ‘parent’, usually one of the women in the community who is given the monkey. The monkey goes everywhere with its new mother and tends to spend most of its time on her head. As the monkeys grow older and get more independent they move around more and between people; although they remain firmly bonded to their particular host.
Imuniin is photographed with her pet baby black bearded saki. Awã Community of Posto Awã in Maranhão, Brazil

Rosaura is photogaphed with her monkey. Yurua River, Peru

Despite the brutal start, the love and bond between people and their monkeys represents a deep relationship between indigenous people of the Amazon and the natural world and that’s what I’ve tried to capture in my portraits.”

Source: Nat Geo
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Tiny life-forms can move easily between these recently described planets, according to a study of the travel times between worlds.

The discovery of alien life would be revolutionary. But what if we uncovered it on two—or even seven—planets all orbiting the same star?




That’s the tantalizing possibility offered by the cosmic grouping called TRAPPIST-1, where seven Earth-size worlds circle a star roughly 39 light-years away. According to a new study, those planets are packed so tightly around their stellar host that the seeds of life could be hopping between them with ease.

The study, conducted by Manasvi Lingam and Abraham Loeb of the Harvard-Smithsonian Center for Astrophysics, is based on a theory known as panspermia, which in turn is based on the fact that planetary debris can be swapped between the worlds in our solar system. This is especially true for neighboring rocky planets—for instance, asteroid strikes have sent fragments of Mars crash-landing onto Earth.






Panspermia takes this a step further and suggests that life could catch a ride on that debris, hitchhiking from one planet to the next. It might sound wild, but recent research shows that some extreme forms of life can survive conditions akin to an interplanetary journey. Some scientists even argue that the seeds of life on Earth could have come from Mars.

In the TRAPPIST-1 system, all seven planets are nestled within a region that’s more than 20 times smaller than the distance between Mars and Earth. Such close proximity raises the tantalizing possibility that panspermia could take place in this system with ease.


BLOWIN’ IN THE WIND

Of course, right now there’s no direct evidence that panspermia happens in our solar system or beyond. And some astronomers are doubtful that hitchhikers could survive such a traumatic journey.

First, the building blocks of life would have to endure extreme heat and pressure from the impact that spewed them into space. Out in the open void, they would be subjected to harsh ultraviolet radiation from their host star for potentially millions of years. Finally, they would once again face blazing temperatures as they fell from the sky and crash-landed in yet another violent impact.

“The poor organism would be fried twice and would be radiated by ultraviolet photons,” says Brice-Olivier Demory of the University of Bern, a co-author on the study that announced the TRAPPIST-1 discovery last month.




Amaury Triaud, a University of Cambridge astronomer who also co-discovered the TRAPPIST-1 planets, is on the fence: “I'm a skeptic about this,” he says. “But I also have to remind myself that life has managed to survive in extreme conditions.”


Bacteria have persevered inside nuclear reactors and on the outer rim of the International Space Station. Tardigrades—tiny water-dwelling invertebrates that look like chubby bears—have endured the vacuum of space for up to 10 days. And organisms frozen in Antarctic ice for centuries have been revived in labs. (Also see “Weird Life Found Trapped in Giant Underground Crystals.”)

“We might find forms of life that survive under conditions that we haven't anticipated,” says Loeb. “That's why it's exciting. We shouldn't have any prejudice, but should look at all seven planets in TRAPPIST-1.”
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This year's peak will deliver dozens of shooting stars an hour—followed by a close flyby of the strange asteroid that created the sky show.
A bright shooting star streaks across the heavens during an annual Geminid meteor shower.




With near-perfect conditions in the offing, sky-watchers should get ready for an early holiday treat. The Geminid meteor shower is upon us, and it promises to be one of the best shooting star shows of the year.


The annual shower will peak tonight and into the early morning of December 14, when viewers can expect to see dozens of meteors an hour. And in just a few days, viewers with backyard telescopes will get an extra gift: a rare glimpse of the asteroid that created the shower zipping across the sky.
Geminid meteors appear to radiate from the constellation Gemini, the twins.





Meteor showers happen when Earth plows through a cloud of debris left behind by a passing space rock. The vast majority of meteors are no bigger than grains of sand, and they burn up when they slam into the planet’s upper atmosphere, creating brilliant streaks of light.

Last year’s Geminid show peaked around the same time as a supermoon, and the intense glare from this larger-than-average full moon made it difficult to see fainter meteors. But this year, the overnight hours during the shower’s peak will be dark and almost moonless—the waning crescent moon won’t rise until 4:30 a.m. local time on December 14.
The asteroid 3200 Phaethon will be a fairly easy target for sky-watchers with small telescopes on December 16.


The Geminids are fun to watch because the meteors travel at slower speeds than most other annual showers, which means the streaks last longer. Moving through our atmosphere at around 20 miles a second, these meteors produce beautiful long arcs that are visible for at least a second or two.




The Geminids get their name from the Gemini constellation, because the meteors appear to radiate from that part of the sky. The best time to begin watching is when the constellation rises above the eastern horizon, which will occur after 9 p.m. local time.

Gemini will rise highest in the sky for viewers in the Northern Hemisphere, which means people in North America will see the shower really kick into gear in the darkest part of the night. Star-gazers in northern mid-latitude regions with pristine skies away from city lights can expect to see up to 120 meteors an hour. Observers stuck in light-polluted city suburbs can expect more modest numbers ranging from 20 to 60 meteors an hour.
During its elongated orbit, 3200 Phaethon comes closer to the sun than any other known asteroid.


For sky-watchers in the Southern Hemisphere, the show will be slightly less impressive, as Gemini never rises high above the local horizon. People in southern regions will still get splendid views, just with fewer meteors an hour.


METEOR MAKER

Most of the annual meteor showers we see were created by passing comets, which shed dust as they get close to the sun and their ices vaporize. The Geminids are a bit different, because their debris comes from 3200 Phaethon, an odd object that astronomers have dubbed a “rock comet.” When this type of asteroid passes close to the sun, heat causes it to fracture and cough out rocky particles.


Measuring about three miles across, 3200 Phaethon’s orbit takes it closer to the sun than any other known asteroid. And on December 16, the object will make an historically close flyby of Earth, coming within 6.4 million miles of the planet. It hasn’t gotten this close to us since 1974, and it won’t come so near again until 2093.


Luckily, there’s very little chance of an impact. While the asteroid does regularly cross Earth’s orbital path, astronomers predict that it won’t come close enough to pose a threat for at least the next thousand years.




Instead, 3200 Phaethon will be a fairly easy target for sky-watchers with small telescopes. The asteroid will make its closest approach at 6 p.m. ET on the 16th, appearing as a bright ball of light streaking along at a relatively fast clip. Check out Sky and Telescope’s website for detailed charts of the asteroid’s path in the heavens.


If you miss the peak dates, there should be plenty of meteors falling a few days before and after the main event. And if clouds get in the way, you can watch online thanks to the Virtual Telescope Project, which will have live webcasts from Italy and Arizona on December 13 and 14 for the Geminds and on December 15 and 16 for 3200 Phaethon.
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Clay Enos - © 2015 Warner Bros. Entertainment Inc. and Ratpac-Dune Entertainment LLC
CLAY ENOS - © 2015 WARNER BROS. ENTERTAINMENT INC. AND RATPAC-DUNE ENTERTAINMENT LLC




From Beauty and the Beast to Baby Driver, 2017 was a big year for movies. And going by Google’s 2017 Year In Search lists, film lovers were hungry for as much information as they could find on killer clowns, superheroes, wonder women, and baby drivers. Here are 30 things you might not have known about the most Googled movies of 2017.


1. FOR DIRECTOR PATTY JENKINS, WONDER WOMAN WAS A DREAM PROJECT.

Director Patty Jenkins has long wanted to make a big-screen version of Wonder Woman. Following the success of her Oscar-winning feature directorial debut, Monster (2003), Jenkins was clear about what she wanted her next project to be: “I want to make Wonder Woman,” she told anyone who asked. “Everybody knew I wanted to make a superhero movie.”
In 2005, she was presented with a script for Wonder Woman and the opportunity to direct, but Jenkins was pregnant with her son at the time and couldn’t fathom leaving a newborn at home to go off to make a movie—even if it was her dream project. “When I’m on a movie, I’m unavailable, everyday for a year and a half,” Jenkins told Entertainment Weekly. “You can’t do that with a little baby. Somebody might be able to do it, but not me.” Fortunately, though it was in development, the project never got off the ground, and it eventually landed back in Jenkins’s lap. “Part of the reason I’m in such a good mood is this is the movie I’ve wanted to make my entire life,” said. “I feel so grateful that I get to be able to do this.”


2. FILMMAKERS HAD TO GET CREATIVE TO HIDE GAL GADOT’S PREGNANCY.


Speaking of pregnancy and superheroes: In November 2016, Gal Gadot had to slip back into her Wonder Woman suit in order to film some reshoots for the movie. There was just one hitch: She was five months pregnant. In order to hide her pregnancy from the cameras, and make sure the new footage matched the original footage, the production team had to get creative. Essentially, they covered her stomach with a piece of bright green cloth that they could use to digitally alter her appearance in post-production. “On close-up I looked very much like Wonder Woman,” Gadot told Entertainment Weekly. “On wide shots I looked very funny, like Wonder Woman pregnant with Kermit the Frog.”



3. IT BROKE ALL SORTS OF HORROR BOX OFFICE RECORDS.

Bill Skarsgård stars as Pennywise in It (2017)
BROOKE PALMER - © 2016 WARNER BROS. ENTERTAINMENT INC.




Andy Muschietti’s big-screen adaptation of Stephen King’s It was undoubtedly one of the summer’s most anticipated movies, and the box office numbers proved it. In addition to posting the biggest opening weekend of any horror movie in history (it raked in $123,403,419), it also ousted The Sixth Sense from the top spot as the highest grossing horror/supernatural movie of all time.

4. BILL SKARSGÅRD SCARED THE HELL OUT OF HIS YOUNG CO-STARS.

In order to up the fear factor in the scenes between Bill Skarsgård, who played Pennywise, and the kid members of The Losers Club in It, director Andy Muschetti kept Skarsgård away from his young co-stars until it was time to film. As such, “Pennywise was this looming force they knew was coming but hadn’t seen yet,” Skarsgård told The New York Times. “That built an excitement in the kids you could feel when they saw him for the first time. They were probably a bit scared.”

5. BEAUTY AND THE BEAST AND LA LA LAND COULD HAVE BEEN VERY DIFFERENT MOVIES.

La La Land and Beauty and the Beast were two of the most highly anticipated movies in recent years, but they both could have looked a lot different. Emma Watson was offered the role of Mia in La La Land (the same part that earned Emma Stone her first Oscar), but ultimately passed in order to make Beauty and the Beast. “I knew I had horse training, I knew I had dancing, I knew I had three months of singing ahead of me, and I knew I had to be in London to really do that,” Watson said. “And [Beauty and the Beast] wasn’t a movie I could just kind of parachute into. I knew I had to do the work, and I had to be where I had to be. So scheduling conflict-wise, it just didn’t work out.”

At the same time, La La Land’s Ryan Gosling passed on playing the Beast so that he could make La La Land. (And everyone lived happily ever after.)


6. DAN STEVENS SPENT THE BULK OF BEAUTY AND THE BEAST WEARING STILTS.





In order to help Dan Stevens cut an appropriately menacing figure as The Beast, he spent most of the movie walking around on stilts. “I was in a muscle suit on stilts covered in grey Lycra with dots on my face,” Stevens told Metro. “And every couple of weeks I would go into a booth—a kind of cage—they’d spray my face with UV paint, and 27 little cameras with UV light would capture what I was doing with my face in those scenes. And Emma would very graciously sit on the other side of this weird cage and we’d play all of the scenes whether they were arguing scenes, or waltzing scenes, and we’d gaze longingly at each other, just everything I could do with my face I did in that cage.”



7. JAMAL WOOLARD HAD SOME EXPERIENCE PLAYING CHRISTOPHER “BIGGIE SMALLS” WALLACE.


Playing The Notorious B.I.G. wasn’t a big stretch for Jamal Woolard in All Eyez on Me, Benny Boom’s Tupac Shakur biopic. Woolard made his big-screen debut starring as Biggie in 2009’s Notorious.



8. BABY DRIVER’S OPENING CAR CHASE WAS SHOT ON ONE OF ATLANTA’S BUSIEST HIGHWAYS.


The opening scene of Edgar Wright’s Baby Driver is a stellar piece of vehicular choreography, but it was no easy task to create. “The first chase is on the I-85, which is the main freeway in Atlanta, and you cannot shut down the I-85,” director Edgar Wright told Inverse. “That’s impossible, but what you can do is have a police motorcade, which is miles wide.” Because they couldn’t shut the road—which sees about 200,000 motorists per day—down, they had to plan their shot, and timing, very, very carefully.

“We were given a Sunday that didn’t have any ball games, and they said, ‘we’ve got 6 a.m. until 2 p.m. and then that’s it’—2 p.m. was a hard kick-off,’” Wright explained. “We had police cars on all lanes of the freeway, 50 stunts cars, actors and the camera cars, all in the middle of what is called The Bubble. This big flotilla of cars is going down the freeway at 70 miles an hour shooting, and sometimes the actors are in the car as well, and it’s insane.”

9. EDGAR WRIGHT HAD TO PERFORM A SCENE OVER THE PHONE TO GET MIKE MYERS’S PERMISSION TO USE THOSE AUSTIN POWERS MASKS.

In a comedic moment of miscommunication, Baby Driver’s gang of bank robbers pull off a job wearing Austin Powers masks when the original instruction to get Michael Myers (as in Halloween’s blank-faced serial killer) causes some confusion. According to the movie’s Blu-ray commentary, in order to receive permission to use those shagadelic disguises, Wright had to ask Mike Myers’s permission directly. He agreed, but asked Wright to perform the scene for him over the phone.

10. THE BIG SICK LANDED A SWEET DISTRIBUTION DEAL AT SUNDANCE.


Zoe Kazan and Kumail Nanjiani in The Big Sick (2017)




After making its premiere at the Sundance Film Festival, Michael Showalter’s The Big Sick—based on a script by (and the real-life relationship of) Kumail Nanjiani and Emily V. Gordon—became the subject of a major bidding war. Netflix was hot to buy the rights, but Nanjiani wanted the film to have a theatrical release. Eventually, they sold the film to Amazon for $12 million, one of the biggest deals ever brokered at the Park City fest.

11. CHRISTOPHER NOLAN ORIGINALLY PLANNED TO MAKE DUNKIRK AN EXPERIMENT IN IMPROVISATION.

Director Christopher Nolan first conceived of shooting Dunkirk without a script, and just improvising the dialogue as they went along. His wife, Emma Thomas, advised him against this approach. “Emma looked at me like I was a bit crazy and was like, ‘okay, that’s not really gonna work,’” Nolan said. Fortunately, Nolan listened.

12. THE DARK TOWER SPENT A LONG TIME IN DEVELOPMENT.




The Dark Tower, Nikolaj Arcel’s adaptation of Stephen King’s The Dark Tower series of books, took several years to come together. Both J.J. Abrams and Ron Howard were attached to direct the film at different points during its development.

13. DAVID BOWIE WAS DENIS VILLENEUVE'S FIRST CHOICE FOR THE PART OF NIANDER WALLACE IN BLADE RUNNER 2049.

From the earliest days of his involvement in Blade Runner 2049, director Denis Villeneuve had his eye on David Bowie for the role of Niander Wallace. Unfortunately, the iconic rocker passed away before production began. The part eventually went to Jared Leto.

14. VILLENEUVE KNEW HE HAD BIG SHOES TO FILL, AND HE WAS OK WITH THAT.









The fact that he was rebooting one of the most iconic and inventive sci-fi films of all time was certainly not lost on Blade Runner 2049 director Denis Villeneuve. "I know that every single fan will walk into the theater with a baseball bat,” he said. “I'm aware of that and I respect that, and it's okay with me because it's art. Art is risk, and I have to take risks. It's gonna be the biggest risk of my life but I'm okay with that. For me it's very exciting ... It's just so inspiring, I'm so inspired. I've been dreaming to do sci-fi since I was 10 years old, and I said 'no' to a lot of sequels. I couldn't say 'no' to Blade Runner 2049. I love it too much, so I said, 'Alright, I will do it and give everything I have to make it great.'"


15. CRITIC ARMOND WHITE RUINED GET OUT’S PERFECT ROTTEN TOMATOES SCORE.

National Review film critic Armond White has developed somewhat of a reputation for his dissenting opinions. This is the man, after all, who gave a poor review to Toy Story 3, writing that: “Toy Story 3 is so besotted with brand names and product-placement that it stops being about the innocent pleasures of imagination—the usefulness of toys—and strictly celebrates consumerism.” So it was hardly surprising when he became the first critic to give a bad review to Jordan Peele’s Get Out, thus knocking its 100 percent fresh rate down to 99 percent. White’s problem with the film, which he called a “horror-comedy for Black History Month”? “In Get Out, just as Obama did, Peele exploits racial discomfort, irresponsibly playing racial grief and racist relief off against each other, subjecting imagination and identification to political sway,” White wrote.


16. A SINGLE CRITIC KILLED LADY BIRD'S PERFECT SCORE, TOO.

Saoirse Ronan in Lady Bird (2017)

Like Get Out, Greta Gerwig's Lady Bird held a 100 percent score on Rotten Tomatoes ... until critic Cole Smithey ruined it all, knocking the film from its perch as the site's best reviewed movie. Following an internet backlash, Smithey took to Twitter to explain himself:





Context is everything. I had to consider whether to cast “Lady Bird” as Fresh or Rotten in the context of a perfect score that people were using to trumpet “Lady Bird” as the all-time best reviewed movie on RT. A "B-" does not an "A+" make. @RottenTomatoes @LadyBirdMovie pic.twitter.com/fR7PJ5GfZD

— Cole Smithey (@colesmithey) December 13, 2017

17. THOR: RAGNAROK HAS A CONNECTION TO DEVO.

The music for Thor: Ragnarok was composed by Mark Mothersbaugh, who is the lead singer and keyboardist for Devo. Not only did he integrate musical pieces from earlier Marvel films into the movie, but he included the famous “Lonely Man” theme from the ‘70s Incredible Hulk TV show.


18. THE ROOM’S TOMMY WISEAU APPROVES OF "99.9 PERCENT" OF THE DISASTER ARTIST.


James Franco in The Disaster Artist (2017)

James Franco’s A-list retelling of indie filmmaker Tommy Wiseau’s so-bad-it’s-kind-of-good movie The Room has been getting lots of acclaim, including from the original film’s creator. When Franco asked Wiseau what he thought of the film after seeing it at SXSW. “I was like, ‘So, Tommy, what did you think of the movie?’ And he said, ‘I approve 99.9 percent,’” Franco told Entertainment Weekly. “And we were like, ‘What was the 0.1 percent?’ He said, ‘I think the lighting, in the beginning, a little off.’ [Laughs] I told Brandon [Trost, The Disaster Artist‘s cinematographer]. He was like, Yeah, maybe we should watch The Room, get some lighting pointers!”


19. JAMES GUNN HAD TO FIGHT TO KEEP ADAM WARLOCK’S POST-CREDIT CAMEO IN GUARDIANS OF THE GALAXY VOL. 2.

James Gunn had to fight to keep Adam Warlock’s post-credit cameo in the movie, despite the character not showing up in 2018’s Avengers: Infinity War. To get it cleared by Marvel, he promised the studio that he would confirm on Twitter that the character is not scheduled to appear in the third or fourth Avengers films, “Because I didn't want people to have false expectations of what they thought was going to happen with Adam.”


20. THE THREE MAIN FEMALE CHARACTERS IN HIDDEN FIGURES WORE VINTAGE UNDERGARMENTS, FOR AUTHENTICITY.


To add an extra layer of authenticity to the costumes in Hidden Figures, the three main actresses wore vintage undergarments, including corsets and girdles. “That snatches you into a perfect stature,” Taraji P. Henson said. “You have no choice. Women back then carried themselves not as loosely as the women do today because they were strapped down and pinned down.”


21. TREY EDWARD SHULTS WROTE IT COMES AT NIGHT JUST DAYS AFTER HIS FATHER’S DEATH.

In an interview with Den of Geek, Trey Edward Shults talked about how he wrote the script for It Comes at Night in just a couple of days following the death of his father, then revisited it a few years later to tweak it. “I would say that the final film is about 85 percent of what that first three days view was,” he said. “I’m not entirely sure, but it always really important to me, because it was stuff just coming out of me [at the time], stuff I didn’t fully understand even, that I went back and psychoanalyzed. But it was important for me to retain that, to convey the mood and tone and emotion of where I was at.”


22. JUSTICE LEAGUE COULD HAVE BEEN A GEORGE MILLER MOVIE.

In the mid-2000s, Mad Max: Fury Road director George Miller had been in production on a Justice League movie, getting so far as to have a completed script, costumes designed, and most of the main cast assembled. A writers strike and the ongoing work of Christopher Nolan’s Dark Knight trilogy delayed and eventually shut down the movie just weeks before it was set to film.






23. DENZEL WASHINGTON AND VIOLA DAVIS WERE KNOWN FOR THEIR ROLES IN FENCES LONG BEFORE THE MOVIE ARRIVED.

Denzel Washington and Viola Davis in Fences (2016)

Denzel Washington and Viola Davis starred in the 2010 Broadway revival of August Wilson’s Fences, and both won Tony Awards for their roles.


24. SABRETOOTH WAS SUPPOSED TO MAKE AN APPEARANCE IN LOGAN.

In one version of the script for Logan, longtime Wolverine foe Sabretooth was set to make an appearance during the casino scene, but his character was removed as the movie went through different drafts.


25. NAOMIE HARRIS HAD TO WORK FAST FOR MOONLIGHT.



Naomie Harris shot all of her scenes for Moonlight in just three days, in the middle of an international publicity tour for Spectre. All that work paid off; she received an Oscar nomination for Best Supporting Actress.

26. THE MUMMY'S STUNTS LEFT SEVERAL CREW MEMBERS SICK TO THEIR STOMACHS.

The Mummy's zero gravity plane crash stunt was shot in actual weightless conditions and took 64 takes, leaving many of the crew sick to their stomachs as a result.


27. AUDIENCES SEEMED PRETTY EXCITED FOR THE POWER RANGERS MOVIE.

Executives at Lionsgate had reason to be excited about the potentially huge audience for Power Rangers. The film's teaser trailer generated more than 150 million views within 48 hours of first dropping in October 2016.

28. ALIEN: COVENANT’S NEOMORPH WAS MODELED AFTER THE GOBLIN SHARK.



Even if you don’t know much about the nightmare-inducing goblin shark, its name sort of says it all. The animal is able to extend its teeth forward when attacking its prey in order to allow for a better grip, and to do more damage. It’s this creepy sea dweller that inspired the look of the Neomorph in Ridley Scott’s Alien: Covenant. "Some of those nature videos are so stomach-churning that they don't pay me enough to watch them," writer John Logan said. “But Ridley will see something to do with insects swarming, for example, which eventually finds its way into a movie. Usually there's some sort of grotesqueness we find interesting.”

29. SPIDER-MAN: HOMECOMING’S TOM HOLLAND IS VERY, VERY YOUNG.

Want to feel old? New Spider-Man Tom Holland wasn’t even born when Michael Keaton, who plays the movie’s villain The Vulture, was Batman in the early 1990s.


30. KENNETH BRANAGH'S MUSTACHE WAS EXTREMELY IMPORTANT TO MURDER ON THE ORIENT EXPRESS.







Though Kenneth Branagh's remake of Agatha Christie's Murder on the Orient Express was met with mixed reviews, viewers and critics agreed that his mustache was spectacular. And it's a good thing—as getting that facial hair right was extremely important to Christie's family, who served as advisers on the film. "The first thing they asked in their creative meeting was, ‘What are you doing about the mustache?'" Branagh said. "There was no twinkle in the eye. I knew it was critical. This mustache is serious business."
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