Bigger Than Us by White Lies
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White Lies | Bigger Than Us
And I feel like I’m breaking up,
and I wanted to stay,
Headlights on the hillside,
don’t take me this way,
I don’t want you to hold me,
I don’t want you to pray,
This is bigger than us
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Incredible concept art sketches created by production designer Ondrej Nekvasil for Bong Joon-Ho’s visionary science fiction film, “Snowpiercer”.
01. Typical view of a cramped, dark, and grimy corridor within the residential areas of the Tail Section.
02. Gilliam’s Tent, located at the very end of the Snowpiercer, as seen on the outside.
03. Living spaces inside the Tail Section intended to mimic the claustrophobic feel of slums in third-world countries.
04. A sketch depicting a violent, blood-soaked scene onboard the train, which was eventually realized in the film as the memorable battle between the Tail Section rebels and the Front Section soldiers at the Yekaterina Bridge and Tunnel.
05. A verdant rendering of the Greenhouse Section, where it marks the first time the Tail Section rebels encounter the vivid colors of the train. Notice a key difference: the old lady in the sketch is reading a book, whereas in the film, she is leisurely doing her knitting by the fountain.
06. Beyond the fountain stand boxes of carefully cultivated and strictly controlled plants, fruits, and vegetables all flourishing within the limited spaces of the Greenhouse Section.
07. Perhaps one of the most beautiful parts of the Snowpiercer that made Yona Minsoo stare in joyous wonder: a floor-to-ceiling wraparound Aquarium Section filled with marine life.
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"Galileo Galilei did not invent the telescope. The honor is usually reserved for Hans Libbershey, a Dutch eyeglass maker, who was at least the first person to apply for a patent, in 1608. But Galileo was a very early adopter, and improver, of the instrument.
In 1609, he made the drawings above ‘from life,’ the very first realistic renderings of the Moon (now housed at the Biblioteca Nazionale Centrale in Florence).
Prior to Galileo’s illustrations, virtually no one bothered to represent the Moon with its spots the way it actually appeared.
After his observations, Galileo planned the following year to create an entire series of illustrations, presumably ‘to show how the shadows of individual features changed with the illumination.’
This, however, became unnecessary since ‘even the Jesuit fathers in Rome were convinced that that the Moon’s surface was uneven.
He explained his observations of a coruscated, pitted, and mountainous Moon and included several additional drawings. (He also made scores of drawings of Jupiter and several constellations.)
Like many scholars of his day, Galileo was also an accomplished draftsman, and like scholars still today, he was required to excel at the fine art of self-promotion, forced not only to compete with his contemporaries, but also to persuade his patrons as well as mollify the institutional authorities.”