![]() " have purposely created lovable creatures that everyone - the taxpayers that are paying for this - can fall in love with and go along for the journey," he said. "It is a creature that you fall in love with, a non-human creature that you say goodbye to at the end of the film."Īnd to a degree, he argues, it's by design. To the people involved in the mission, he says, the rovers were not just robots. "She says, 'I know this is going to sound crazy because it seems like I'm talking about a person, and she wasn't a person.'" "When Spirit dies, kind of tears up in her interview," he said. ![]() That emotional attachment is mirrored by other engineers and scientists in the film, according to White. Opportunity catches its own silhouette in this late-afternoon image taken by the rover's rear hazard avoidance camera. ![]() "You see the emotion in the movie from all the people when we land - and it really is the most incredible accomplishment that I have ever felt, when we've landed something." ![]() All of the pieces have to fit together perfectly. Siegfriedt said there's a lot of work that goes into building rovers - and about "a thousand, million things have to go right" for a successful landing. "But time and time again, we were shocked when we interviewed these people, how much they wore their heart on their sleeve." "Now we have to go to NASA and find scientists and engineers who I thought, in my preconceived notions, would be very unemotional, detached people." White said he was "hooked" the moment Steven Spielberg's Amblin Entertainment production company pitched the film idea, but was concerned about finding people who could communicate the story with emotion. (NASA/JPL-Caltech/Cornell/ASU) A feeling like childbirth The Opportunity rover during the exploration of Meridiani Planum on Mars, where jarosite was first discovered on the planet.
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