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You fall in love with poetry. I’d been in love with Shakespeare since I was fourteen. I was able to do the job not because I was in love with Melville, but because I was in love with Shakespeare. Shakespeare wrote Moby-Dick, using Melville as a Ouija board. Whatever is right or wrong about the screenplay will be yours, so we can at least say the skin around it is your skin. I had to borrow bits and pieces from late in the book and push them up front, because the novel is not constructed like a screenplay. It’s all over the place, a giant cannonade of impressions. Shakespearean asides, stage directions, everything. The ghost of Melville spoke to me and on that day I rewrote the last thirty pages of the screenplay. To adapt for the screen you’ve got to decide what to throw overboard. I didn’t want Fedallah, the mysterious Parsi harpooner, because he’s a terrible bore and he’d turn the whole thing into comedy. He’s the extra mystical symbol that breaks the whale’s back. If you’re not careful in tragedy, one extra rape, one extra incest, one extra murder and it’s hoo-haw time all of a sudden. So I got rid of Fedallah, and that leaves us at the end with no one to go down with the whale. So, hell, it’s only natural that Moby Dick takes Ahab down with him and comes back up with all these harpoon lines, and Ahab gestures, so when the men follow him they are destroyed. The short story, if you really are intense and you have an exciting idea, writes itself in a few hours. I try to encourage my student friends and my writer friends to write a short story in one day so it has a skin around it, its own intensity, its own life, its own reason for being. There’s a reason why the idea occurred to you at that hour anyway, so go with that and investigate it, get it down. Two or three thousand words in a few hours is not that hard. Boot ’em out, turn off the phone, hide away, get it done.

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It also found less lightning than expected, though what it did find was significantly more powerful than anything on Earth. Galileo also found Io was still volcanically active; its face had been resurfaced by erupting volcanoes since the Voyagers flew past it decades earlier. Galileo also evidence that Europa might have a subsurface ocean. But Galileo also revealed that we really didn't know Jupiter as well as we thought we did. The spacecraft found less water on Jupiter than the Voyager probes detected, which meant there was more to learn about its composition and makeup. This also meant that some leading theories about planetary formation were wrong, but without knowing what Jupiter was really made of there was no way to know which were right. Communications with the spacecraft ceased on February 28, 2003. The spacecraft came back to life briefly to transmit some final data as it plunged into Jupiter’s thick clouds on September 21. The Galileo mission left us needing to know more about Jupiter, but NASA set its sights elsewhere and we were left with flyby missions. The Ulysses, Cassini, and New Horizons spacecraft all gathered data about Jupiter during flybys that sent them on trajectories to their primary targets of the Sun, Saturn, and Pluto respectively. But the next phase of Jupiter research wasn't far behind. The crew of Apollo 8 was already strapped into their command module, and as sunlight spread over the scene the launch countdown moved steadily forward. The voice over the loudspeaker told the crowds that the guidance computer was making its final checks for the flight azimuth, then, at T-minus eight seconds announced that the ignition sequence had started. At 7:51 that morning, the Saturn V lumbered off the launch pad, gaining speed as it climbed higher. Fourteen seconds later, commander Frank Borman called “roll and pitch program. Astute viewers would have seen the rocket rolling around its vertical axis and wondered why - the rocket looked symmetrical, so why did it have to roll before pitching over into orbit. Those observers would have asked themselves a very interesting question. The launch pads at Launch Complex 39 in Florida were built such that they lined up with the cardinal directions of north, south, east, and west. The flame trench under the pad pointed north and south, and the umbilical tower that held the rocket until it left the Earth sat north of the rocket. The astronauts, lying supine on their couches, had their head pointed due east, which meant that the command module's hatch also pointed east.

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The spaceships are an extravagant sight to behold, resembling flying cathedrals dripping with decadent that wouldn’t have been out of place in ancient Rome. It may be unclear in the promotional material, but the world is populated with strikingly unusual creatures from anthropomorphised flying dinosaurs to a literal elephant man. The production design, costumes and make-up are excellent, expertly helping to bring the fantastical world to life. Despite her initial potential for stirring heroism, Jupiter is more damsel-in-distress than kick-ass heroine; it’s quite surprising that the Wachowskis had saddled her with such a thankless part. T atum, on the other hand, is a considerably more enjoyable presence, delivering a reliably earnest performance. He’s rather loveable, appropriately like an endearingly loyal pooch; in a recent interview Lana Wachowski actually likened him to Toto from The Wizard of Oz. In fact, his chemistry with the half-bee Sean Bean (his name is Stinger ) is more palpable than his with Kunis. As the villain of the piece, Redmayne is a maniacal delight, chewing up the scenery in large, hearty chunks. Given little screentime, he’s a camp joy to be savoured whenever onscreen. A tonal jumble, it is quite a mess, with the earth-bound scenes and those set in outer space never gelling; it often feels like two different films fumblingly spliced together. The script itself is leaden with exposition and over-(and under)-plotting. Moreover, the Wachowskis continue to (unintentionally) display their inability to deliver successful comedy. It’s actually many of the serious moments that end up generating laughs, particularly those involving Redmayne. At the centre of the film is a jarring homage to the 1985 dystopian masterpiece Brazil, which concludes with a cameo from its director, Terry Gilliam, looking like a bemusing cross between a steampunk Santa and an extra from The Hobbit. It’s a deeply intriguing sequence, but simply does not work. It’s replete with thrilling setpieces, particularly the aerial chase that takes place over the streets of Chicago during the twilight hours. Complementing proceedings is another terrific score from Michael Giacchino, here channelling his inner John Williams with thrilling results. Similar to the aforementioned Speed Racer, this is a movie whose flaws can overlooked and can simply be enjoyed as a well-crafted, utterly bonkers audio-visual experience. It’s defiantly different, brazenly bizarre and a worthy addition to its directors impressively original repertoire. From the multi-stranded Magnolia to the earthshattering brilliance of There Will Be Blood, he’s established a unique and consistently singular voice that refuses to adhere to cinematic conventions.

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