Vin Diesel has never been shy about telling his 2 million Facebook fans what he's working on. And his fans are eager to learn what's going on with "Furious 8," especially after a story in The Hollywood Reporter said it did not have a director.

What's more, franchise favorite Justin Lin turned down what a THR source called "life-altering money" to do the eighth installment in the franchise. The story also noted that "Furious 7" director James Wan declined to come back because the demands of making "7" compromised his health.

Many fans have suggested that Diesel, who has been a producer on the franchise since "Fast & Furious" (2009), take the directing reins for "Furious 8."

Diesel took to Facebook and said he would not be the director, as it was "too special a franchise," but he said he would be announcing the director in his next post.

The actor also proclaimed: "I promised the studio I would deliver one last Trilogy to end the saga."

So get read for not one, but three more "Fast and the Furious" movies.

Below is Diesel's Facebook post.

SEE ALSO: "Furious 8" has a director dilemma

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NOW WATCH: Scientifically proven features men find attractive in women

It's not exactly news that blockbuster film productions cost a lot of money. Closing off big areas of major cities, staging giant action scenes, and hiring major stars all come at a pretty penny. These were surely expenditures made during the production of the new James Bond movie, "Spectre," but it seems that the movie's budget also had a very special allocation that allowed it to blow up £24 million-worth of Aston Martin DB10 sports cars.

The Daily Mail has the details about a big time chase scene set in Italy in "Spectre," and it was during the making of this sequence that the film managed to destroy many, many expensive cars.

According to the British newspaper, the car race goes through the Vatican, the Colosseum and along the River Tiber, and during shooting the production ruined a grand total of seven Aston Martins.

Speaking to stunt co-coordinator Gary Powell on the set of the movie while it was in production, he told the paper,  "We set the record for smashing up cars on 'Spectre.' In Rome, we wrecked millions of pounds worth. They were going into the Vatican at top speeds of 110 mph. We shot one entire night for four seconds of film."

It was further revealed that a total of 10 Aston Martin DB10s were specially created for the movie, and apparently outfitted with one of the most famous James Bond gadgets: an ejector seat. At least it's nice that three of these vehicles managed to survive all of the apparent chaos and destruction on set.

It seems that this is a pretty big year for the demolition of movie cars. First up, we had "Furious 7," which reportedly killed as many as 230 vehicles. And while it doesn't seem as though an exact number has arrived online just yet, one can only imagine what the machine slaughter was like on the set of George Miller's "Mad Max: Fury Road."

It's also interesting to note that just a few weeks ago, Burt Reynolds revealed that the filming of "Smokey and the Bandit" went through a total of 12 Trans Ams. It's a Hollywood tradition at this point.

"Spectre," which will be arriving in theaters in November, promises to be an action-packed blast — even on beyond the number of beautiful James Bond sports cars that were made.

The movie finally has Daniel Craig's version of 007 in a showdown with the titular notorious organization, and it will be a globe-trotting adventure that finds the spy hero not only racing around Rome, but also on snowbanks in Austria and beating the heat in Mexico City.

When "Spectre" arrives in theaters on November 6th, see if you can't differentiate between all of the Aston Martins that they use.

SEE ALSO: "Spectre" might be Daniel Craig's last movie as James Bond

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NOW WATCH: Why Putin is the most powerful man in the world

“The Walk” director Robert Zemeckis said in a press conference following the first screening of the film at the New York Film Festival that he wanted to give the audience a sense of vertigo while watching, and it seems he was successful.

The film recounts high wire artist Philippe Petit’s walk across the Twin Towers of the Wold Trade Center in the summer of 1974.

But unlike the previous retelling of Petit’s feat, the Oscar-winning 2008 documentary “Man on Wire,” Zemeckis wasn’t constrained to just first-hand accounts and photographs (there is no film footage of the walk).

Using 3D, Zemeckis takes us with Petit as he walks his wire between the towers numerous times. At one moment he lies down on the wire. He also does tricks while walking on it.

But perhaps the most jarring visuals is when Zemeckis has the camera show the insane height Petit (played by Joseph Gordon-Levitt) is at.

The Towers were 1,362 feet high.

The visuals have been too much for some who have watched it.

A reporter told Zemeckis and his cast at the press conference that the scenes above the towers made him feel a little sick.

Later that evening journalist/author Mark Harris tweeted this following the film opening the New York Film Festival.

This reporter did feel uncomfortable at one scene towards the end (won’t spoil it for anyone).

“The Walk” (opening October 9) certainly isn’t the first film that has caused some to feel nauseous, but it’s one of the few where watching it in 3D on an IMAX screen is almost a requirement. The visuals are that incredible.

Just don’t eat a big meal before going to see it.

Watch the trailer for "The Walk":

SEE ALSO: Here's why Robert Zemeckis would never convert his old movies to 3D

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NOW WATCH: Hugh Hefner's son has a plan to redefine the Playmate

There's a whole lot of great stuff coming to Netflix in October, from the company's first attempt at an Oscar nomination ("Beasts of No Nation"), to some modern classics, and fun horror movie.

So let's not waste any time and get into it. 

TV

"The Vampire Diaries (Season 6) - Available 10/2
Trapped in adolescent bodies, feuding vampire brothers Stefan and Damon vie for the affection of captivating teenager Elena. Get caught up on seasons 1-6.

"American Horror Story: Freak Show" (Season 4) - Available 10/6
This twisted Emmy-winning drama plays upon the power of supernatural fears and everyday horrors, exploring humankind's unsettling capacity for evil. Get caught up with seasons 1-4.

Movies

"Boogie Nights" - Available 10/1
A well-endowed busboy is taken in by a tight-knit group of 1970s porn actors and transforms himself into skin flick celebrity Dirk Diggler.

"Beasts of No Nation" - Available 10/16
When civil war tears his family apart, a young West African boy is forced to join a unit of  mercenary fighters and transform into a child soldier. Read our review of the movie.

Here's the full list of new October titles:

“A Christmas Carol” (1938)
“About Alex”
“Alexander: Theatrical Cut”
“American Pie”
“Batman Begins”
“Boogie Nights”
“Charlie and the Chocolate Factory” (2005)
“Curse of Chucky”
“Dark Was the Night”
“Glass Chin”
“Million Dollar Baby”
“On the Town”
“Pal Joey”
“Pepe”
“Pressure”
“Reasonable Doubt”
“Richard Pryor: Icon”
“Robin Williams Remembered - A Pioneers of Television Special”
“Some Came Running”
“Take Me Out to the Ball Game”
“The Bourne Supremacy”
“The Devil at 4 O'Clock”
“White Rabbit”
“Wild Horses”

Available 10/2/15

“Anjelah Johnson: Not Fancy” (NETFLIX ORIGINAL)
“The Vampire Diaries” (Season 6)

Available 10/6/15

“American Horror Story: Freak Show” (Season 4)
“Last Man Standing: (Season 4)
“The Flash” (Season 1)

Available 10/8/15

“American Heist”

Available 10/9/15

“The Mr. Peabody and Sherman Show” (NETFLIX ORIGINAL)
“Winter on Fire” (NETFLIX ORIGINAL)

Available 10/11/15

“Glen Campbell: I'll Be Me”

Available 10/12/15

“Jane the Virgin” (Season 1)

Available 10/14/15

“Lazarus” (2015)

Available 10/16/15

“All Hail King Julien” - Season 2 (NETFLIX ORIGINAL)
“Beasts of No Nation” (NETFLIX ORIGINAL)
“Circle” (NETFLIX EXCLUSIVE)
“Some Assembly Required” - Season 2 (NETFLIX ORIGINAL)

Available 10/18/15

“Ain't Them Bodies Saints”
“s” (NETFLIX ORIGINAL)

Available 10/22/15

“Results”

Available 10/27/15

“August: Osage County”

Available 10/29/15

“Return to Sender”

Available 10/30/15

“Popples” - Season 1 (NETFLIX ORIGINAL)

SEE ALSO: Netflix CEO Reed Hastings' favorite show is a hilarious satire you should probably be watching

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NOW WATCH: The 10 most incredible things about the 'real' Stephen Colbert

Another month, another set of titles leaving Netflix.

In October we say bye to great titles like "A Nightmare on Elm Street,""This Is Spinal Tap,""The Producers,""Interview With The Vampire,""The Exorcist," and "Annie Hall."

But perhaps the saddest to say goodbye to is cult favorite "The Big Lebowski."

Below are the rest. So let's grab a White Russian and see the damage. We've also highlighted the titles we think you should consider watching one last time.

Leaving 10/1/15

"A Nightmare on Elm Street" (1984)
"American Masters: Billie Jean King"
"Analyze That"
"Analyze This"
"Angela's Ashes"
"Annie Hall"

"Baby's Day Out"
"Bandits"
"Barnyard"
"Beyond Borders"
"Charlie Bartlett"
"Clockstoppers"
"Cold Mountain"
"Days of Heaven"
"Dead Man Walking"
"Domestic Disturbance"
"Down to Earth"
"Ella Enchanted"
"Interview with the Vampire"
"Kangaroo Jack"
"L!fe Happens"
"L'Auberge Espagnole"
"Maverick"
"Pee-wee's Big Adventure"
"Plankton Invasion"
"Rob Roy"
"Romeo + Juliet"
"The Big Lebowski"
"The Devil's Rejects"
"The Exorcist"
"The Hunt for Red October"
"The Phantom of the Opera" (1989)
"The Producers" (1968)
"The Scorpion King 3: Battle for Redemption"
"This Is Spinal Tap"
"Twilight"

"Twins"
"Windtalkers"
"You Got Served"

Leaving 10/9/15

"Crank"

Leaving 10/15/15

"Good Luck Chuck"

Leaving 10/16/15

"Brüno"

Leaving 10/22/15

"Machine Gun Preacher"

Leaving 10/27/15

"Alexandria"

Leaving 10/29/15

"America's Sweethearts"

SEE ALSO: Here's what's coming to Netflix in October

Join the conversation about this story »

NOW WATCH: The 10 most incredible things about the 'real' Stephen Colbert

Spoilers ahead if you haven't read "The Martian."

In the bestselling sci-fi novel and upcoming movie "The Martian," astronaut and botanist Mark Watney survives on Mars for over a year, largely thanks to his ingenious potato crop.

But is it possible to actually grow food in Martian soil? Yes, and not just potatoes, says Bruce Bugbee, a real-life botanist and NASA scientist.

In "The Martian," Watney grows his own food by planting potato eyes in the ground. He fertilizes the plants with human waste and creates liquid water out of rocket fuel. There's no reason why this wouldn't work, says Bugbee, director of the crop physiology lab at Utah State University, with one critical caveat:

"The book (and probably the movie) suggests that the human waste is put right on the plants," Bugbee told Tech Insider in an email. "This would be microbiologically dangerous and probably toxic to the plants. The waste has to be composted first – usually for several months in a rotating drum."

Jim Green, director of planetary science at NASA and a consultant on the film, said there's probably an easier method than the one used by Watney, played by Matt Damon in the upcoming movie (due out Friday, Oct. 2).

We know that Mars has frozen water and the soil contains nitrate, which is "a great fertilizer," Green told Tech Insider. With so much nitrate, he may have not needed all that "homemade" fertilizer.

Green also noted Watney also could have skipped the dangerous chemical reaction needed to transform rocket fuel into water. Instead, Watney could have figured out a way to extract water from below the surface — now more of a certainty, thanks to recent news of flowing water on Mars— or suck it right out of the air.

In fact, NASA has already grown food in soil designed to mimic what we know so far about the pH and chemical makeup of real Martian dirt. Scientists have successfully grown over a dozen kinds of crops in the simulated grit.

It's worth noting that a typical diet on Earth is the product of around 1,000 crops, Bugbee said. While we can't grow all those on Mars right away, it's a good start.

And crops on Mars would have other uses beyond food. Mars' thin atmosphere has a lot of carbon dioxide, which plants use to store energy from the sun. Plants take in carbon dioxide and release oxygen, so crops could be critical if humans ever attempt to transform Mars into a more hospitable planet — one with a breathable atmosphere.

Maybe something similar to Watney's precious potato crop will get us started.

Join the conversation about this story »

NOW WATCH: NASA just announced that 'liquid water has been found on Mars'

Warning: Spoilers ahead

Everyone went nuts over the announcement on Monday by NASA that it has discovered liquid saltwater on the surface of Mars.

That is, everyone except filmmaker Ridley Scott. 

The 77-year-old director of "The Martian" (opening Friday) told The New York Times on Monday that the head of NASA showed him the photos of water on the surface of Mars two months ago. 

In "The Martian," an adaption of Andy Weir's book of the same name, we follow Astronaut Mark Watney as he is stranded alone on Mars and must survive on the planet until NASA can mount a rescue (which would take years).

In the film, Watney (played by Matt Damon) must not only grow food but come up with a creative way to make water.

However, Scott told the Times that if he knew of the Mars water before production began he would have changed the story.

“He’d’ve found the edge of a glacier, definitely. It would be fascinating,” said Scott. “But then I would’ve lost a great sequence. He has to make water, and the steaming device, and put up the plastic tents, which creates the humidity, which grows the plants, which is the most basic form of irrigation. They still do it in Spain that way.”

As a major part of the movie is how Watney survives on Mars, including the Mars water in the story would have vastly changed "The Martian." Not to mention that Scott and screenwriter Drew Goddard would have veered far from Weir's book.

Regardless, the new discovery shouldn't disrupt your enjoyment of the movie when you see it this weekend. Water is vital, but it's not the only challenge Watney has to face. 

SEE ALSO: 9 tripped-out sci-fi technologies in "The Martian" that NASA really uses

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NOW WATCH: Neil deGrasse Tyson explains why he's so excited for 'The Martian'

Streaming has largely taken over the way we watch movies at home. Netflix, Hulu, Amazon Prime, and many other outlets have helped institutions like video rental stores go the way of the do-do.

But that doesn’t mean that physical media is without its ardent supporters, and one of them is fan favorite director Quentin Tarantino, who recently shared why he’s not a fan of this new way of viewing movies.

Tom Roston’s new book, I Lost it at the Video Store: A Filmmakers’ Oral History of a Vanished Era, was just released, collecting thoughts from movie industry players on what has now become a bygone age.

Indiewire published an excerpt about the rise of streaming, and Tarantino shared his thoughts, saying:

"I am not excited about streaming at all. I like something hard and tangible in my hand. And I can't watch a movie on a laptop. I don't use Netflix at all. I don't have any sort of delivery system. I have the videos from Video Archives. They went out of business, and I bought their inventory. Probably close to eight thousand tapes and DVDs."

For anyone familiar with Quentin Tarantino’s story — he worked at a video store for years, which is where he built up his encyclopedic knowledge of the medium — it isn’t a shock that he is still holding it down for physical media.

He even goes on to reveal that he actually still tapes movies off the TV onto VHS tapes just so he can continue to bolster his collection.

This isn’t the only slowly disappearing medium that Tarantino has become the champion of in recent years.

Not only is he a huge proponent of using actual film when making movies, his next movie, the grim, gritty western "The Hateful Eight," is going to resurrect 70mm for the biggest release in that format in more than 20 years, retrofitting numerous theaters.

The last big release we can think of was Ron Howard’s "Far and Away" starring the then-married Tom Cruise and Nicole Kidman, which opened in 70mm in more than 1800 theaters. Though Paul Thomas Anderson’s "The Master" did have a 70mm opening in 2012, it was only in 864 theaters.

Despite the fact that the corner video store, and even the likes of Blockbuster in most areas, have become a thing of the past, there are still those passionately keeping the faith.

Though it’s a constant struggle, there are still places like Scarecrow Video in Seattle (the greatest destination a movie fan can ever visit, it’s seriously like a cinephile Mecca) and Vulcan Video in Austin are still holding on.

As much as I use various streaming platforms on a daily basis, I miss the weekend childhood ritual of going to the video store and finding something I’d never heard of but that looked awesome. That’s where I first really became a film fan, where I first encountered countless filmmakers, not to mention the endless parade of horror movies I watched at probably way too young an age.

You can still get that experience, but it’s much less universal now than it used to be, and somehow aimlessly scrolling through a list of Netflix recommendations isn’t the same as aimlessly wandering through the aisles of a video store.

If you know what that feels like, take comfort in knowing that Quentin Tarantino has your back. "The Hateful Eight" opens on Christmas Day, and a new QT movie is always worth getting excited about.

SEE ALSO: Netflix CEO Reed Hastings' favorite Netflix show is a hilarious satire you should probably be watching

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NOW WATCH: Meet 'Iceman' and 'Wolverine' — the 2 coolest robots in Tesla's factory

As we turn the calendar to another month it’s time to give you the new titles coming to your favorite streaming services.

Highlights include hits like “Inside Out,” Trainwreck,” and the latest season of shows like “Fargo” and “Nathan For You.” But view movies like “Pixels” and “Vacation” at your own risk.

Check out all new titles below:

iTunes

Available October 6

“Pixels”

Available October 13

“Inside Out”
“Vacation”
“Mississippi Grind”
“The Wolfpack”

Available October 20

“Trainwreck”
“Terminator Genisys”
“The Gift”

Amazon Prime

Available October 1

“American Horror Story: Freak Show”
“Astro Boy”
“Chicago P.D.” (Season 3)
“Eternal Sunshine of the Spotless Mind”
“The Fly” (1958)
“The Impostors”
“John Carpenter's Vampires”
“Jurassic World”
“Light It Up”
“March of the Penguins”
“Max Dugan Returns”
“Nell”
“The Other Son”
“Pee-wee's Big Adventure”
“The Secret Garden”
“Someone Like You”

Available October 2

“Blacklist” (Season 3)
“Dr. Ken”
“Sleepy Hollow”
“Bones”

Available October 5

“Family Takeover”
“Bar Rescue” (Season 6)

Available October 6

“Ador”
“Cartel Land”
“Pixels”
“Testament of Youth”
“Tremors 5: Bloodline”

Available October 7

“The Flash” (Season 2)
“iZombie: (Season 2)

Available October 8

“American Horror Story: Hotel”
“Couples Therapy” (Season 6)
“Arrow” (Season 4)
“Supernatural” (Season 11)

Available October 9

“”Ridiculousness” (Season 11)
“Colony”
“The Vampire Diaries” (Season 7)

Available October 12

“The Walking Dead” (Season 6)

Available October 13

“Fargo” (Season 2)

Available October 14

“Chicago Fire” (Season 4)

Available October 16

“Nathan for You” (Season 3)

Available October 20

“Terminator Genisys”
“The Vatican Tapes”

Available October 23

“The Hunger Games: Mockingjay Pt1”

Available October 23

“While We're Young”

Available October 30

“Danny Collins”

Available October 31

“Grimm” (Season 6)

HULU

Available October 1
 
“Chicago P.D.” (Season 3 Premiere)
“MythBusters” (Complete Season 16)
“All Is Lost” (
“Anchorman 2: The Legend Continues”
“The Blair Witch Project”
“Blood Simple”
“Blue Chips”
“Carrie” (2013)
“Dear White People”        
“The Expendables 3”
“G.I. Joe: Retaliation”
“Hannah And Her Sisters”
“Hercules” (2014)
“Hugo”
“The Hunger Games: Catching Fire”
“In A World…”
“Jack Ryan: Shadow Recruit”
“Jackass Presents: Bad Grandpa”
“Joe”
“Labor Day”
“A Most Wanted Man”
“Much Ado About Nothing”
“Nebraska”
“Noah”
“Pain & Gain”
“Paranormal Activity: The Marked Ones”
“Primal Fear”
“Private Parts”
“Pulp Fiction”
“Rabbit Hole”
“Robocop” (2014)
“Serendipity”
“The Skeleton Twins”
“Star Trek: Into Darkness”
“Tales from the Hood”
“Teenage Mutant Ninja Turtles” (2014)
“The Innkeepers”
“The Program”
“Transformers: Age of Extinction”
“The Wolf of Wall Street”
“World War Z”
“You’re Next”

Available October 2

“Bones” (Season 11 Premiere)
“Sleepy Hollow” (Season 3 Premiere)
“Frank Miller's Sin City: A Dame to Kill For”

HBO NOW

Available October 1

“28 Days”
“Alvin and the Chipmunks” (2007)
“Bee Movie”
“Blazing Saddles”
“Blood Diamond”
“Brick”
“Burn After Reading”
“Ella Enchanted”
“Happy Feet”
“House on Haunted Hill” (1999)
“The Kid”
“License to Drive”
“Little Miss Sunshine”
“Lost in Translation”
“Magnolia”
“Mrs. Doubtfire”
“Return to House on Haunted Hill”
“Revenge of the Nerds”
“Rugrats in Paris: The Movie”
“Rumor Has It”
“Shrek”
“The Rock”
“Trick ‘R Treat”
 
Available October 3

“American Sniper”

Available October 4

"The Leftovers" (Season 2 Premiere)

Available October 9

“Magnífica 70” (Season 1 Premiere)

Available October 10

“Focus”

Available October 17

“Amy Schumer: Live at the Apollo”
“Taken 3”

Available October 18

“Doll & Em” (Season 2 Finale)

Available October 24

“Bad Words”

Available October 31

“The Purge: Anarchy”

Redbox

Available October 2

“Avengers: Age of Ultron”

Available October 6

“Insidious Chapter 3”
“Dark Places”
“Air”
“Justice League Bizarro League”

Available October 13

“Furious 7”
“Tomorrowland”
“The Ouija Exorcisms”

Available October 20

“Pitch Perfect 2”
“The Vatican Tapes”
“Z For Zachariah”

Available October 27

“Spy”
“Pixels”
“Poltergeist”
“Entourage”
“Southpaw”
“Trace”

SEE ALSO: Here's what's coming to Netflix in October

Join the conversation about this story »

NOW WATCH: This is what it's like inside Elon Musk's futuristic Tesla factory

One of the biggest issues with Robert Zemeckis' "The Walk," the film about Philippe Petit's 1974 tightrope walk between the two towers of the World Trade Center, is evident in the very opening sequence.

The film opens with Petit (Joseph Gordon-Levitt, donning a comically thick French accent and actually speaking quite a bit of French) addressing us, the audience, as he prepares to take us through his incredible journey firsthand.

At first, the camera is framed eerily close to his face, but once the camera pulls away, we realize Petit is standing in the torch of the (poorly computer-generated) Statue of Liberty, with the twin towers framed prominently in the background. The film cuts back to this sequence throughout, and Petit tells us how he feels every single step of the way.

By repeatedly breaking the fourth wall, Zemeckis is doubling down on the audience's interest in Petit. Gordon-Levitt's accented narration is the film's main narrative drive, which feels like a safety net to ensure that the audience is properly thrilled and impressed with Petit's passion and achievement. This is wildly unnecessary.

A film about one of the most daring and memorable feats in New York City history shouldn't have to do any heavy lifting to engage an audience. A better film would show that Petit was a madman determined to achieve to dreams, not let him yell it at the camera.

Any time "The Walk" gets you in its hold, Petit is seconds away from interrupting the flow to tell you how impressed you should be. He's constantly dictating his feelings and talking about his dream in an attempt to instill a sense of wonder that's already inherently there.

This irritating narration is rather disappointing, because when the film works, it works quite well. It's at its best when it circumvents these generic "true story" pitfalls and just lets the characters breathe.

Technically speaking, the film is a mixed bag. Some of the CGI is just terrible (the aforementioned opening sequence is pretty rough, as well as a weird scene with a bird), but once things kick into high gear during the finale, the effects are incredibly spellbinding.

"The Walk" culminates in a sequence that is undeniably visceral and an absolute technical marvel. It's hard to not get caught up in the spectacle as you're dangling 110 stories off the ground along with Petit, especially in IMAX 3D. I still despise 3D as a general rule, but I was happy to be getting the full experience once the titular walk actually began.

Zemeckis is a seasoned filmmaking veteran, so it's a bit of a surprise to see him lack the faith to fully commit here. The material is so ripe for a blockbuster experience, and while the last 30 minutes definitely deliver that, the film's many misfires really weigh it down. The acclaimed documentary "Man on Wire" is still the definitive take on this story.

Watch the trailer below.

"The Walk" opens in theaters nationwide October 9 and in IMAX 3D on September 30.

Join the conversation about this story »

NOW WATCH: The truth about 'the most interesting man in the world'

Warning: Spoilers ahead

When Drew Goddard began reading Andy Weir’s book, “The Martian,” he couldn’t help but think back on his youth.

Weir’s tale of astronaut Mark Watney being stranded on Mars definitely sucked in Goddard, but it was Watney’s MacGyver-like task to survive on the Red Planet that kept him reading. The science behind it reminded him of his hometown, Los Alamos, New Mexico.

“Los Alamos is a town of rocket scientists,” Goddard told Business Insider at the Toronto International Film Festival. “There’s a combination of intelligence but gallows humor that I always found scientists have that I never saw captured on screen; that was my big attraction to this book.”

That attraction led Goddard, who is know best for being the screenwriter of titles like “World War Z” and “Lost” and the director of “The Cabin in the Woods,” to adapt the book into a screenplay for 20th Century Fox.

But he told the Fox executives one thing before he started.

“I told them, ‘Don’t make this if you’re going to simplify it.’” Goddard told Business Insider.

Directed by Ridley Scott, “The Martian” is filled with 3D effects that put you on the edge of your seat as you watch Matt Damon (Watney) use his wits and limited supplies to stay alive.

But unlike Scott’s previous ventures into space with “Alien” and “Prometheus,” there’s a more realistic feel to “The Martian” and a big reason is the science and math that plays a major factor in the story.

“We’re treating science as a religion,” Goddard said about the story. “It’s less about Mark thinking he’s so smart and more about this is what he’s devoted his life to and he knows he may not have the answer but he knows how to get to the answer.”

Goddard said the process of adapting the book for the screen was a quick by Hollywood standards. Six months after he began reading the book, Fox greenlit the film.

After handing in the script, Goddard, Scott and Weir combined forces to figure out how to visually translate that science on the page to something audiences would understand.

“It was less about what should the movie be and much more about how do we get this done,” Goddard said. “Andy is the smart one of the group, so much of it was Andy explaining to Ridley and I, and we would figure out how to translate that to the audience. Because we didn’t understand it.”

Goddard recalls how they created the sequence in the movie where Watney finally communicates with NASA.

In the book, after rebooting a long-forgotten Pathfinder probe left on Mars, Watney uses the camera on it to send images back to NASA. However, there is no audio. To communicate, Watney came up with the idea of using a numbers and letters system known as hexadecimal (or hex) to communicate.

Watney placed the hex symbols around the Pathfinder in a circle. The Pathfinder camera would then point to specific hex symbols that they would decode to communicate.

“I remember me, Ridley, and Andy were in a room figuring out how many degrees the camera has, recreating what happens in the book. So when I saw that scene in the movie I was like, ‘Oh, we were in a board room figuring that out.’”

“That’s an example where if you don’t know what hex is you will see it visually and figure it out,” said Goddard.

“Part of the fun of this movie is watching people that are smarter than we are work it out.”

And then there’s the biting charm that Damon brought to the Watney character once production began.

Watney is our guide as he talks directly into tiny cameras throughout his base on Mars, almost giving us a layman’s play-by-play. And though there’s a lot of math and science the audience has to take in, he doesn’t deliver dry science jargon. Damon gives the characters a funny sarcasm that makes what we’re taking in seem less like we’re sitting in on a professor’s lecture.

“Some of my favorite moments in the movie are the things Matt did,” said Goddard. “It’s little and subtle but it all adds up. He’s one of the rare actors that you can point the camera at and leave on and magic happens.”

But would the combination of geeky science talk and Damon staring at a camera cracking jokes be enough to get audiences through a 130 minute movie?

The test audiences gave the only answer needed.

“I’m confident that I will never have a movie that I’m part of test as well as this movie tested,” said Goddard. “I was fully expecting [the studio] to say ‘We’re going to need to simplify this,’ and the opposite was true.”

Goddard said that when they looked over the audience responses the most popular comment they got back was, “We love the science.”

Perhaps another factor in the audience’s enjoyment in the film was the smart space movies that preceded it. “The Martian” was being made when both “Gravity” (Goddard noted he handed in the script the day that movie opened) and “Interstellar” were released. And in the latter, Damon plays an astronaut stranded on a planet beyond the Milky Way.

“‘Wait, Matt’s playing an astronaut in that? And he’s all by himself?!’” Goddard recalls reacting. “But we watched it and it was very different. It made us feel good that both movies were intelligent and about science and space and audiences responded.”

“You realize the mistake we all make in Hollywood,” Goddard went on to say. “We talk down to the audience when they prefer to be talked up. The lesson I keep learning is audiences are always so much smarter than you think. It was nice to see that play out in this movie.”

“The Martian” opens in theaters Friday.

Watch the trailer:

SEE ALSO: Ridley Scott learned about water on Mars two months ago but couldn't put it in "The Martian"

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Ever dream of having dinner in Hogwarts' Great Hall? Now you can! On December 3rd, Warner Brothers' London Studio will hold the first "Dinner in the Great Hall," and it sounds awesome.

The dining room will be "dressed for the occasion." Guests will be served authentic meals featured in the Harry Potter films. There will be "butterbeer" and even flaming Christmas puddings.

It's an Harry Potter fan's dream.

Story by Tony Manfred, editing by Stephen Parkhurst

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For lovers of cinema, "De Palma" is about as close to cinematic bliss as it gets. 

Jake Paltrow & Noah Baumbach's intimate documentary is essentially an autobiography of legendary filmmaker Brian De Palma, the director responsible for classics like "Scarface,""The Untouchables," and "Carrie" as well as the less successful "Mission to Mars,""Snake Eyes" and many more in between.

The beauty of the film is its simplicity.

"De Palma" is a guided walk-through of the filmmaker's prolific career, from the early classics to his more recent misfires. De Palma literally does all the talking and is the only figure on screen besides all the characters featured in clips from other films. 

Brian De Palma himself is delightfully candid as he takes us through what worked, what absolutely didn't work, and shares a myriad of fascinating on-set stories that offer a new perspective on his films.

Cinephiles will be thrilled to hear the untold details about De Palma's many conflicts over the years, like what a debacle filming the first "Mission: Impossible" movie was in 1996 when he clashed with screenwriter Robert Towne over the final sequence.

One of the more interesting reveals is that Steven Spielberg visited the set of "Scarface" to help shoot the infamous shootout sequence because Al Pacino was out for two weeks with a hand injury and they had nothing better to do. There's also some great home-movie (Super 8!) footage of Spielberg calling De Palma on his car phone in 1976.

The film is full of wonderful primary-source insights like these.

We learn that the on-screen hostility between Sean Penn & Michael J. Fox in "Casualties of War" was actually very real, and during the scene in which Penn whispers something in his ear that ignites a fight, he actually berated Fox by calling him a "TV actor."

We also get to see how difficult it was to shoot the train sequence in "Carlito's Way," as Pacino was running around the sweltering hot NYC subway in a leather jacket.

Though "De Palma" certainly has the aesthetic of a DVD bonus feature or commentary track, its brisk pace and efficient editing ensure not a second is wasted. It never dwells on one sequence long enough to get boring, and his insights are equally enlightening whether he's talking about a well-regarded film like "Scarface" or a critically-maligned one like "Snake Eyes" or "The Black Dahlia." 

The biggest surprise of the film is how funny it, or rather Brian De Palma, is. He has a terrific sense of humor about his filmography, warts and all. The film's tagline could be "Holy mackerel," as De Palma proclaims this throughout a number of times as he waxes poetic. 

While he never lingers too long on the subject of his alleged misogyny that permeates through a number of his films, he's very sincere when discussing his "failures." It's all incredibly compelling, and those most familiar with his body of work will get the most out of it.

That's not to say it's for aficionados only — it also works as a decent introduction to his oeuvre that will inspire new fans to seek out the material.

"De Palma" may be a little rough around the edges and not as polished as most festival-bound documentaries, but it's hardly a detriment. The film skates by purely on the joy associated with letting its subject do all the talking. 

With its countless revelations — amusing, insightful, or otherwise — "De Palma" is a movie-lover's paradise. 

SEE ALSO: 'The Walk' really wants you to know how impressive it is

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Neil deGrasse Tyson is choosing sides in entertainment's space race between "Star Trek" and "Star Wars"– on scientific grounds, of course.

"I'm 'Star Wars' fluent, but I'm a bigger 'Trek' fan," Tyson, 56, told Rolling Stone as excitement around the next "Star Wars" chapter, "The Force Awakens," climbs.

He continued, "There's a promise of actual science going on in 'Star Trek'— but not so much in 'Star Wars.' I won't be first in line to see the new 'Star Wars.' I can wait until it's on video! But I applaud the fact that it has people thinking about space."

Tyson, who hosts National Geographic Channel's "Star Talk," also explained which TV shows he preferred during his youth. This time, "Star Trek" doesn't fare as well.

"I was a mild 'Star Trek' fan, but my favorite show then and now is 'The Twilight Zone,' especially the episode called 'The Invaders,'" he said.

Watch highlights from Tyson's favorite "Twilight Zone" episode below:

SEE ALSO: Neil deGrasse Tyson reveals the biggest misconceptions about the universe

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"People in this business are always looking at other people and comparing," says a top Hollywood attorney. "I always have clients calling me and saying, 'Am I being paid enough? Should I be paid more?' "

Luckily for all, there's lots of comparing to do in THR's second annual What Hollywood Earns report. To research the salaries of everyone from key grips to movie stars, the magazine consulted with executives, producers, payroll service companies, the industry guilds and others who have inside information about how and where the money is flowing in 2015 (including a horse farm in upstate New York that "FedExes" its animal actors to Hollywood shooting locations).

This year, thanks to North Korean cybercriminals, there were other sources as well — the thousands of emails and employment contracts that spilled Hollywood salary secrets all over the internet during last November's Sony hack.

The takeaway? TV-producing fees are up (to as much as $75,000 an episode), Meryl Streep gets rich even from flops ($5 million for "Ricki and the Flash"?), and extras love it when it rains.

WHO MAKES WHAT ON THE LOT

Studio Tour Guide

Yukking it up with tourists around the lot pays $26 an hour, but only after a training period during which compensation is $20 an hour.

Television Actor

Newcomers can expect to earn just $15,000 to $20,000 per episode on a network or cable series. Experienced actors take home as much as $75,000 to $100,000 an episode, and bigger stars can earn $150,000 to topline a series in its first season.

Raises (usually about 4%) come each subsequent season (James Spader made $160,000 per episode for season two of "The Blacklist"; Jeff Garlin made $84,000 per episode on season two of "The Goldbergs"), but the real money comes after contract renegotiations (usually for season three). In breakout success, the stars of hit shows eventually can earn as much as a cool $1 million an episode ("The Big Bang Theory's"Johnny Galecki and Jim Parsons).

Film Writer

Established movie scribes can make $1 million a script, plus a bonus if they get final credit. Selling a spec screenplay can range from the low six figures to $3 million (what Sony paid James Vanderbilt for "White House Down") or more. The most lucrative work can come via rewrites or touch-ups, where bankable script doctors can make $500,000 for just a few weeks of effort.

Craft Services

Dispensing celery sticks and Twizzlers to the cast and crew earns these workers about $1,200 a week.

Television Writer

Staff writers can start at WGA scale — $37,368 for an hourlong script, $25,408 for a half-hour — or earn $7,000 to $15,000 an episode in weekly fees. Seasoned scribes also get episodic producing fees of $20,000 to $30,000, even for episodes they don't write. Raises come in subsequent seasons.

Gaffer

They make $45 an hour and work 10 to 15 weeks per film.

Film Producer

On-the-lot overhead deals have been squeezed, but for a studio release, seasoned producers can make $1.5 million to $2 million upfront and often much more in backend (though first-dollar-gross deals are nearly extinct.)

Will Smith and James Lassiter's Overbrook Entertainment made $2 million for producing last year's "Annie."

Publicist

A unit publicist hired by a studio earns about $2,750 a week, or $41,000 per film.

Personal publicists employed by stars earn much more, with some making $400,000 or more a year.

TV Show Creator

They make most of their money in producing fees, with raises in subsequent seasons. Vince Gilligan got $50,000 per episode of "Better Call Saul," Jon Bokenkamp earned $37,500 per episode for season two of "The Blacklist," and Adam Goldberg got $50,000 per episode for season two of "The Goldbergs."

Film Actor

A-list stars still can make between $5 million (Meryl Streep's pay for "Ricki and the Flash") and $20 million (what Denzel Washington got upfront for "The Equalizer") to much more with backend (Robert Downey Jr. reportedly made $50 million for "The Avengers"). Supporting actors don't fare as well (Kevin Kline made $350,000 for his part in "Ricki").

First AD

First assistant directors get paid about $8,000 a week and generally work 15 to 20 weeks on a major shoot, for a total of $120,000 to $160,000 per film.

Script Supervisor

They get paid about $40 an hour and typically work 12 days on an hourlong TV drama, taking home $7,000 an episode.

Supporting Actor

Sidekicks, next-door neighbors, and other nonstarring TV roles pay in the mid-five-figures per episode. Jonathan Banks got $65,000 per episode on "Better Call Saul's" first season, and the kids on season two of "The Goldbergs" earned $20,000 to $25,000 each.

Warm-Up Comedian

Those super-pumped comics who keep studio audiences entertained before TV tapings get paid $3,000 to $5,000 a show.

Studio Chief

Running a studio pays a base salary of $3 million to $5 million (what Jeff Robinov reportedly got at Warner Bros.), but bonuses can bring the amount to the mid-eight figures.

DP

The director of photography makes $10,000 to $20,000 a week on a 15-week shoot. A few, like Roger Deakins, earn much more ($30,000 or more).

Film Director

Studio paychecks range from $500,000 (what newcomer J Blakeson got for "The 5th Wave") to $3 million (what Sony offered Danny Boyle for "Steve Jobs") to much more (Michael Bay reportedly earns $80 million from backend on "Transformers" movies).

Makeup Artist

They earn about $60 an hour and work about 14 weeks per film.

TV Cameraman

Lead camera operators make $75 an hour, or about $8,000 for an hourlong drama episode (which takes eight days to shoot; sitcoms are about five days and pay less).

TV Director

Directors of hourlong dramas make about $42,000 an episode; sitcom directors earn $35,000. But direct a pilot and you'll get paid for every future episode, even if you never set foot on set again. Joe Carnahan, who directed the pilot for "The Blacklist," got a $5,000 check for every episode of the latest season.

TV Studio Chief

Sony's Steve Mosko earned $2.8 million (plus bonuses) as president, with execs that oversee both a studio and a network potentially making more.

Head of Distribution

Typical base pay is nearly $1 million (plus bonus). The person with this title at Sony, for instance, makes $885,000.

CFO

The top bean counters earn a lot of beans: Sony's financial chief makes $900,000 a year, not including bonuses.

Production Chief

He or she usually earns about $1 million a year, though Michael De Luca was making more than his Sony coworker with the same title, Hannah Minghella ($1.5 million vs. $900,000).

General Counsel

The top attorney at a studio can expect to earn in the high six figures. Sony's top lawyer earns a base salary of $800,000 plus bonuses.

Head of Marketing

The job usually pays about $1 million a year. Sometimes more if the executive is heavily recruited.

... AND ON LOCATION

Stunt Horse

They earn up to $1,000 a day ($500 for a "background horse") but can cost studios much more in transport fees (the farm in upstate New York that provided horses for "The Patriot" and "Winter's Tale" says they've even "FedExed" horses to sets).

Stunt Person

Most get paid $889 a day, or about $50,000 a film, if they work every day of a 12-week shoot (and don't break a leg). But they pay for their own insurance.

Second Unit Director

The director responsible for shooting stunts and other supplementary footage, usually on location, earns about $20,000 a week.

Extras

These unsung actors earn about $150 a day, or $200 if they're wearing a hairpiece or working in rain or smoke.

Wigmaker

The craftsman who gives Bruce Willis and Nicolas Cage full heads of hair gets paid about $1,500 a week.

Location Manager

They make about $3,000 a week but work many more weeks than most of the crew and cast — as many as 30 weeks per film.

Driver

Piloting a StarWagon pays between $30 and $36 an hour.

Prop Master

The person in charge of the fake swords and alien artifacts makes $45 an hour, usually working 20 weeks on a film (including preproduction).

Costume Designer

Pay rates range from $3,000 a day up to $12,000 or more, depending on the size of the film and the experience of the designer. Renee Kalfus earned $6,500 a week for "Annie," while David Robinson got $4,500 a week for "The Equalizer."

SEE ALSO: Dr. Dre earned $620 million last year, but this year Diddy, Jay Z, and Drake all surpassed him

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While his five colleagues were sleeping, astronaut Alexander Gerst photographed the International Space Station (ISS) at night — and ended up with this enchanting series of images. 

Gerst, a European Space Agency (ESA) astronaut from Germany, took the photos during a six-month mission last year that ended in November.

He's been shooting his surroundings while working at ISS and these pictures are a spooky insight into the research centre after hours, capturing the silent, floating world of living in space.

In October, the ESA reported that Gerst left the relative safety of the station to venture into open space with NASA astronaut Reid Wiseman — a brave guy. 

A green, mesmerising hue in the darkness makes the station look like something out of the movie "Alien".

Two empty space suits don't make things any less creepy.

A lone astronaut peers up from a door.

"Sicario" is as ugly and hopeless as the drug war itself. 

The film wastes no time getting to the nitty-gritty as it opens with Kate Macer (Emily Blunt) leading the charge on her own FBI kidnapping task force. During the opening raid, forty-plus corpses are discovered in the walls of a home owned by a vicious Mexican cartel.

A Department of Defense "consultant" (Josh Brolin) then plucks a shell-shocked Kate from the field to join his interagency operation, along with Alejandro (Benicio del Toro), another alleged DoD "consultant." 

From the very moment Kate agrees to join her new team, she is systematically lied to. She is told they're going on a trip to El Paso, but wind up in the war-torn streets of Ciuadad Juarez, where limbless bodies hang in public view. Kate is never briefed on the operation and remains entirely in the dark and even when she thinks she's got all the facts, they're not entirely accurate. This is par for the course.

As Kate becomes embedded deeper into this lawless world, her repeated attempts to play things "by the book" are systematically rejected. By the end of the film, the ugly truth is revealed: There's no room for morals or ethics here.

Welcome to the war on drugs.

"Sicario" quite masterfully presents the harsh realities of life during a drug war. We are introduced to characters on all sides, and even dirty cops and cartel members are humanized, which makes the drama incredibly impactful and hard to swallow. This is a film so bleak that there are no rules — anything can happen and to anyone. 

"Sicario" is deliberately slow and meanders in its second act to a fault. Kate is a conduit for the audience, so we are just as sheltered by the lack of information as Kate herself, and this can be aggravating at times and make the film feel a bit airy and aimless.

That being said, it does all build to an intense, uniquely shot sequence, and an ending that gave me chills. By then, I had forgiven the film's (thematically intentional) disorientation. It's a hauntingly graceful film, and the methodical pacing ultimately works in its favor.  

Emily Blunt is fantastic as Kate Macer and nails the nuance associated with doing all she can to be on the right side of the law and still winding up on the dark side.

Benicio del Toro, however, is the film's greatest asset as a mysterious force whose allegiances are not made explicitly clear until all is said and done. He's equal parts thoughtful and brooding, which makes his rage and determination that much more palpable. 

It's hard to not crack a smile whenever Brolin's character is on screen, as he's constantly busting balls and being so purposefully vague with his team. He's hilarious yet so cold that it's almost alarming that we find him so amusing. 

Technically speaking, the film is gorgeous. The urgency of its pulsating score, the gorgeous photography (by cinema legend Roger Deakins), and the commanding performances — every element works towards a full, truly cinematic experience. All the violence is handled in such a way that pops with intensity and dread.

The real beauty of "Sicario" is that it is entirely apolitical and amoral; it presents the horrors and lets them speak for themselves. It's not pushing any sort of agenda, but it's so relentlessly in your face that you'll leave the theater mortified at how real it all might be. 

Watch the trailer below. 

"Sicario" is now playing in theaters nationwide. 

SEE ALSO: 'Everest' is a harrowing moviegoing experience, but it's missing something

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The film adaptation of Andy Weir's sci-fi novel "The Martian" opens everywhere on Friday, October 2, and it has amassed a huge fan following — partly thanks to the book's scientific accuracy and realism.

But does the story's dedication hold up under scrutiny from real scientists and astronauts?

We've rounded up some of the best critiques of "The Martian" from space experts who've seen the movie. The reception so far has been positive, but some of the movie's most discerning critics couldn't help but point out a few glaring errors.

Keep scrolling to see what they had to say.

Warning: Spoilers ahead if you haven't read the book "The Martian."

"The Martian" looks a lot like a real mission to Mars will probably look.

As NASA's planetary science director, Jim Green knows a thing or two about Mars. So director Ridley Scott recruited him as a consultant for the movie adaptation.

Green told Tech Insider that he spent hours talking with Scott about Mars in the beginning stages of the movie's production. Green answered questions, and he sent Scott mockups of NASA's plans for a real Mars mission tentatively slated for the 2030s.

All that research and NASA consultation really comes through in the movie.

"It's a visually stunning movie that doesn't look much different than the real versions," Green told Tech Insider.

Astronauts said it's a pretty accurate portrayal of the inner workings of NASA.

"There’s a lot of NASA in there, which they captured quite nicely," astronaut Michael Barratt said during an appearance on KING-TV’s "New Day Northwest" program.

Leroy Chiao, former NASA astronaut and commander of the International Space Station, pointed out a more specific example in an op-ed for Space.com:

The movie portrays the operational side of things pretty well. Astronauts and NASA think through every scenario as thoroughly as possible, and plan for every reasonable contingency. Still, we sometimes get surprised. In those cases, it is up to individual and collective creativity to solve the problem and try for a good outcome. The movie holds up on this account.

Astronaut Clayton Anderson told Quartz something similar:

Rather for me, the highlight was the film’s refreshing and inspiring depiction of NASA. I’m not talking about physical depictions mind you (the Vertical Assembly Building does not reside at the Johnson Space Center) but instead the film’s sense of an ever-present drive on the part of NASA employees to pull together to win the day, even in the midst of seemingly insurmountable odds. Just as I witnessed so often throughout my own 30-year NASA career, a team of ordinary, caring people with little regard to their personal needs put in just a little bit extra, to do something extraordinary.

Most scientists give props to "The Martian" for its scientific accuracy. But they can't resist pointing out a few problems.

RAW Embed

Like the dust storm on Mars that happens at the very beginning of "The Martian."

"The big windstorm on Mars—that's just not going to happen," Fred Calef, a geologist and geospatial information scientist with NASA's Jet Propulsion Laboratory told Smithsonian Magazine. "Even hurricane-force wind on Mars is going to feel like having paper balls thrown at you."

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With the overwhelmingly positive reviews and high ticket pre-sales for this weekend, Ridley Scott’s latest sci-fi odyssey “The Martian” looks like it will be a big hit.

But will Academy voters remember it when the Oscars come around?

The film has the pedigree of Scott (nominated three times for Best Director) at the helm and Matt Damon (an Oscar winner for screenwriting but never for acting), who plays a lone astronaut stranded on Mars.

However, space movies have divided voters recently.

On one hand, “Gravity” garnered nine Oscar nominations in 2014 including Best Picture and it won Best Director (Alfonso Cuarón). But in the same year, “Interstellar” garnered five Oscar nominations and only won for Visual Effects.

One thing “The Martian” has going for it is it won’t be in competition with another high-concept space movie during this awards season.

But at the same time, “The Martian” isn’t a technical marvel like “Gravity,” which ambitiously showcased outer space, including a 17-minute single-shot opening sequence.

Fandango’s managing editor Erik Davis believes there's hope for Damon's film though.

“Hands down, 'The Martian' is a Best Picture contender,” Davis told Business Insider in an email. “It's a film that has everything — a great cast, a captivating story, and a fantastic lead performance from a beloved actor in need of a fantastic lead performance.”

Along with Damon, “The Martian” also stars Jessica Chastain, Jeff Daniels, Kate Mara, Kristen Wiig, and Michael Peña.

Yahoo! Movies’ Kevin Polowy believes it’s the film’s mass appeal, from people who love lots of science and math in their space tales to those who just want to watch something big and cool on the screen, that gives it a “decent chance.”

“Unlike other recent sci-fi contenders like ‘Gravity’ and ‘Interstellar,’ it's essentially a feel-good popcorn flick,” he told Business Insider. “When's the last time we had one of those in the Best Picture race?”

Gold Derby, which is one of the prominent award season forecasters, currently has “The Martian” in 15th place in the Best Picture category, according to its experts.

If we go off the last two years, the 2014 Oscars had nine Best Picture nominees and in 2015 the Academy chose eight nominees.

Polowy points out “The Martian” still has to battle against yet-to-be-released titles like "The Revenant,""Joy," and "The Hateful Eight" (“Spotlight,” “Room,” and “Steve Jobs” are on many of the expert’s lists for Best Picture, too).

Gold Derby’s Tom O’Neil says “The Martian” has a chance, but it will have to work harder than the others contenders this year.

“It must overcome the traditional academy bias against sci-fi, a genre that’s never won Best Picture,” said O’Neil. “But academy voters may be willing to take the leap – or rocket ride – if ‘The Martian’ stays a hit with film critics and moviegoers like ‘Gravity’ did.”

“The Martian,” opening in theaters on Friday, is projecting to make in the low $40 million range this weekend, according to Deadline.

“Gravity” opened on the same weekend in 2013 and posted the month’s all-time highest opening with $55.8 million. 

SEE ALSO: "Science as a religion": The screenwriter for "The Martian" tells us his key demand for the film

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Director Ridley Scott's highly-anticipated movie "The Martian" is now open in theaters everywhere.

Whether you're curious about about the film or are emerging bleary-eyed from a showing with a bunch of questions, you've come to the right place.

Tech Insider has seen and reviewed the movie, interviewed scientific experts, and chatted with filmmakers.

Below is every story we've published about "The Martian" in one handy place. Keep checking back — we'll be adding more articles soon.

Is 'The Martian' any good?

• 'The Martian' is the best space sci-fi movie of my time — here's why
• What real scientists and astronauts think of 'The Martian'
• 'The Martian is basically 'Cast Away' in space — and that's a great thing
• NASA’s top planetary scientist told us what he thinks of the science in 'The Martian'

Is the science real?

• 10 things you need to know before seeing 'The Martian'
• The fake spacesuits in 'The Martian' are almost as incredible as real ones
• 12 ways Matt Damon uses science to survive in 'The Martian'
• These are some of the most Mars-like landscapes on Earth
• Could we really mix feces into Martian dirt and grow potatoes?
• This would be the hardest part of being stranded like Matt Damon in 'The Martian'
• 9 tripped-out sci-fi technologies in 'The Martian' that NASA really uses
• Radical, science fiction-inspired reasons humans should colonize Mars​

How was it made?

• 13 gorgeous photos of the desert where they shot 'The Martian'
• 'Science as a religion': The screenwriter for 'The Martian' tells us his key demand for the film
• Ridley Scott knew about water on Mars two months ago but couldn't put it in 'The Martian'
• The surprising story of how Andy Weir's self-published book 'The Martian' topped best seller lists and got a movie deal

Videos and trailers

• 9 ways Matt Damon sciences the s--t out of Mars in 'The Martian'
• NASA challenged designers to make a Martian home — one company created something incredible
• Neil deGrasse Tyson explains why he's so excited for 'The Martian'
• Matt Damon is left to die on Mars in first trailer for ‘The Martian’

Trivia and teasers

• Neil deGrasse Tyson explains a fake Mars mission so well it almost hurts
• There's a really clever "Lord of the Rings" reference in "The Martian"
• 'The Martian' is going to be the perfect picture of what it will take to survive on Mars
• Why 'The Martian' is going to blow 'Interstellar' and 'Gravity' out of the water
• Here's why the author of 'The Martian' says he's never setting foot on a spaceship
• This comic explains why we are so excited for 'The Martian'
• The author of 'The Martian' doesn't think there's life on Mars

Join the conversation about this story »

NOW WATCH: 9 ways Matt Damon sciences the s--- out of Mars in 'The Martian'