It will prove invinciblewww.lettersofnote.com

Only today did I come across this letter by Philip K. Dick, published in the excellent Letters of Note last September, addressed to the production company for Blade Runner. He loved how the film was developing, but died before it was actually released.

I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison [Ford] said: futurism. The impact of BLADE RUNNER is simply going to be overwhelming, both on the public and on creative people — and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches BLADE RUNNER. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day “reality” pallid by comparison.

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Roger Ebert gets his voice backrogerebert.suntimes.com

Well, kind of, thanks to a company that custom builds text-to-speech voices. Ebert’s new voice is compiled from his vast accumulated archive of reviews and commentary tracks.

CereProc didn’t need to hear me speaking a specific word in order for my “voice” to say it. They needed lots of words to determine the general idea of how I might say a word. They transcribed and programmed and tweaked and fiddled, and early this February, sent me the files for a beta version of my voice. I played it for Chaz, and she said, yes, she could tell it was me. For one thing it knew exactly how I said “I.”

CereProc is now blending in my audio snippets for “Casablanca,” where I sound enthusiastic, and “Floating Weeds,” where I sound calm and respectful. It’s nice to think of all these great movies sloshing around and coming out as my voice.

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