conversations.from: human
conversations.value: What could be a title for a book about Herbert's, Secrets, Frank with the genre: Literature & Fiction, History & Criticism?
conversations.from: assistant
conversations.value: A title for this book could be 'The Secrets Of Frank Herbert'S Dune'
conversations.from: human
conversations.value: What is the first five paragraphs for this book?
conversations.from: assistant
conversations.value: The Secrets Of Frank Herbert'S Dune
  My heartfelt thanks go out to all who helped make it happen including the legions of fans of Frank Herbert's novel that told us they were ready for another adaptation. 
  Now it was up to Richard and Mitchell to put together the production. And it wasn't easy. But, thankfully, their dedication and perseverance even during the most difficult periods finally paid off and we head-ed to Europe to start facing the myriad decisions that would have to be made. With the uncompromising help and patient management skills of David Kappes, our producer, we were able to assemble an army of first-rate artists and technicians to bring this novel to life and deliver production values exceeding expectations.
  Luckily Theodor became intrigued, and within a week, I had a pile of phenomenal drawings for all the principal characters. Then we start-ed working with Vittorio in terms of color schemes. Like the production design, every wardrobe identifies the world that we're in. Each one gives you a psychological insight into the character, the tribe and the culture with which we're dealing.
  The final pieces of the creative puzzle fell into place when Ernie Farino agreed to handle the visual effects and Harry Miller joined me to edit this epic. Having worked with both many times, I knew the great burden of pulling this six-hour leviathan together was in great hands.
  Ernie was integrally involved with Kreka, Vittorio and myself designing every one of the visual effects in this production. Everything from set extensions to worm attacks. Everything from crowd replication to Heighliners folding space. Without his expert collaboration day in and day out we would have been lost and the scope of "Frank Herbert's Dune" would have been lost. Furthermore, Ernie took on the difficult task of directing the 2nd unit.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: The Secrets Of Frank Herbert'S Dune
  My heartfelt thanks go out to all who helped make it happen including the legions of fans of Frank Herbert's novel that told us they were ready for another adaptation. 
  Now it was up to Richard and Mitchell to put together the production. And it wasn't easy. But, thankfully, their dedication and perseverance even during the most difficult periods finally paid off and we head-ed to Europe to start facing the myriad decisions that would have to be made. With the uncompromising help and patient management skills of David Kappes, our producer, we were able to assemble an army of first-rate artists and technicians to bring this novel to life and deliver production values exceeding expectations.
  Luckily Theodor became intrigued, and within a week, I had a pile of phenomenal drawings for all the principal characters. Then we start-ed working with Vittorio in terms of color schemes. Like the production design, every wardrobe identifies the world that we're in. Each one gives you a psychological insight into the character, the tribe and the culture with which we're dealing.
  The final pieces of the creative puzzle fell into place when Ernie Farino agreed to handle the visual effects and Harry Miller joined me to edit this epic. Having worked with both many times, I knew the great burden of pulling this six-hour leviathan together was in great hands.
  Ernie was integrally involved with Kreka, Vittorio and myself designing every one of the visual effects in this production. Everything from set extensions to worm attacks. Everything from crowd replication to Heighliners folding space. Without his expert collaboration day in and day out we would have been lost and the scope of "Frank Herbert's Dune" would have been lost.
conversations.from: human
conversations.value: What is five more paragraphs? Start with the sentence 'The actress is impressed by not just the craftsmanship of the filmmakers, but by her co-workers as well'.
conversations.from: assistant
conversations.value: The actress is impressed by not just the craftsmanship of the filmmakers, but by her co-workers as well.
  Fremen are the native inhabitants of Arrakis. Mysterious and secretive, they know more than they seem to and in fact help contribute to the life cycle of the gigantic sandworms and the method by which the worms produce Spice. The Fremen are a loosely ordered group of 'tribes' who are united by common goals and heritage. While they seem to be a patriarchal society, they are nonetheless strongly influenced by the "wise women" called Reverend Mothers and the beliefs of the Bene Gesserit which have been sown on their world.
  Because water on Arrakis is so scarce, the Fremen have developed a method of recycling their personal water in what are called "Stillsuits." A Stillsuit is made from a micro-sandwich fabric, which filters bodily wastes and heat dissipation and reclaims their moisture in catchpockets. The wearer can then access the water in the catchpockets via a straw-like tube. The Fremen also use a Stilltent when they are outside the Sietch (the cave warrens where the Fremen communities live). The Stilltent is made of the same micro-sandwich fabric as the Stillsuit, and is designed to reclaim the moisture from the air exhaled by those who are within the Stilltent.
  In keeping with his desire to set the Fremen apart from the other inhabitants of Dune, director John Harrison conceived of the notion that the Fremen would probably pass down cultural information and moral teachings to their children in the form of stories, and that some of these stories could be related in puppet shows. To accomplish this he turned to Petr and Matej Forman, twin brothers who are master puppeteers in the Czech Republic. They still carve their own puppets, just as the master puppeteers of old did. Petr and Matej Forman (sons of Oscar winning director Milos Forman) appear on screen as Fremen bards, using puppet shows to teach history and morality to Fremen children.
  The lives of the Fremen were first changed by the arrival of the plan-etary ecologist, Pardot Kynes, and then again by the arrival of the House Atreides and Paul Atreides, the "Mah'di"--the messiah. Pardot Kynes became the leader of the Fremen and his leadership was succeeded by his son, Liet-Kynes. Liet-Kynes worked with the Fremen in their goal to make Arrakis a paradise at some future time by creating an ecosystem that contained water. Although he was the Fremen leader, Liet-Kynes did not interfere with the leadership of the individual tribes and allowed the "Naibs" (Fremen word for "Chief") of each tribe to lead. His daughter Chani is the Fremen woman who becomes Paul Atreides' true love.
conversations.from: human
conversations.value: What is the last three paragraphs? End with the sentence '"'.
conversations.from: assistant
conversations.value: In photographing the mini-series, Vittorio conceived an entire thematic program for the use and representation of color. Each major group would be identified and defined by a distinct color--the warm, earth-tone of ocher for the Atreides, violent red for the Harkonnen, blue for the Emperor, green for the Fremen, black for the Bene Gesserit and white for Paul. Color Timer Lou Levinson at Post Logic had the difficult task of color correcting all the richly saturated film that Vittorio shot.
  While Vittorio has strong views about his work, he recognizes and appreciates the cooperative effort inherent in filmmaking. "Film is not a single expression," he said. "It is a common expression between the writer, the producer, the actor, the cinematographer, the production designer, the costume designer, the editor, musician; all together, linked and directed by the director, of course. Each one of us is giving some kind of energy into it. And each movie is different because the chemistry is different."
  Reflecting on what appealed to him most about the story of "Frank Herbert's Dune," Vittorio said, "The journey of the main character, Paul Atreides, is a symbol. A symbol of the journey for all of us."