Howdy all!
Just a note to say that my write up of Up and its Best Picture nomination is now at the Large Association of Movie Blogs (LAMB) for their LAMB Devours the Oscars event.
Go there NOW!!!
I love to be entertained. Movies, music, books, you name it. This is my opinion space for these things.
I know, I know, another Oscar post lamenting the popularity of Avatar. But I watched District 9 again last night and 2 cents jumped into my hand so I’m giving it to you whether you like it or not.
Look, as I’ve said before, I really did enjoy Avatar. It was a fun movie and the special effects were fabulous. For $300 million USD they’d fucking want to be! But here’s the thing. District 9 had a budget of $30 million USD, and the effects were as good, if not better. See where I’m going here?
The effects of District 9 were grittier and more realistic, and they demonstrated the quality that could be accomplished without a Cameron-sized budget. It’s not like the aliens only appeared in shadows, and it’s not like the aliens and humans never interact. You also can’t tell me that the cost was because the horizon needed to be generated, because District 9 has a dirty, great, big spaceship in the horizon for most shots!
But the other night, during my re-watch, I realised something that I believe puts District 9 over the edge. The lighting. One of the most difficult things to do right in graphics is lighting. Most filmmakers try to avoid well lit shots that involve CG. The reason is that if you don’t have the light source coming from exactly the right place, the shot looks fake. Basically, you shouldn’t be able to do shots like this without a budget higher than some countries GDP:![]()
Alas, the likelihood of District 9 beating Avatar in the Best Visual Effects category is about as likely as it winning Best Picture. *Sigh* I know. Give it up.


Back to the gig.
It was also a relief to hear Faris Badwan sing and know that his vocals are actually him and not some machine. There are too many "musicians" around nowadays that started in the studio. These guys are the real deal, thank God! Furthermore, Rhys Webb and Tom Cowan would swap instruments between them (bass and synthesizer) depending on the song (and album it came from).