Samizdata

In 1982, Disney released the movie Tron, the first film incorporating large amounts of computer graphics. (Actually it only included about 15 minutes of actual graphics. The rest of the film was drawn art designed to look like computer graphics, whereas today’s films are often full of computer graphics being used to look like more naturalistic things). The film was not successful at the box office, possibly because as well as being made by computer nerds, the film was also about computer nerds, and what might be referred to as the Silicon Valley culture was at that point extremely marginal, particularly in pop cultural terms. (Having said that, the film was set in Los Angeles, but I will forgive it that). However, for those of us that saw it, the film was rather mind blowing. It became a tremendous influence on many people working in computer animation and special effects today, and on people who were inspired by that technological culture in general. When these things did become mainstream, many of the people who were behind the scenes were people who had loved Tron.

However, the people who made Tron itself generally did not prosper from it. The film was too far ahead of its time, and Hollywood did not know what to make of it or what to do with the people who had made it. In what now seems staggering given that this is possibly the most groundbreaking film ever made from a special effects point of view, the film did not receive an Academy Award nomination for Best Visual Effects. This was partly because the film was perceived as a failure, and the academy doesn’t often reward failure, but it also had to do with a peculiarity of the Academy Awards nomination process, which is that (usually) the people who nominate films in a particular category are those who have been nominated in that category before. In 1982 “Special Effects” meant mattes (ie drawn artwork) and models. Using computer graphics was seen almost as “cheating”, and as a minimum an entirely different thing from what members of the Visual Effects branch of the Academy did. So, no nomination. (Things have changed since then. A couple of years ago I made an observation to another blogger that Master and Commander had excellent effects, and in response I was told that they were “not special effects”, because it was done with models in a tank in Mexico rather than with computer graphics.

To many people today, “special effects” means computer graphics, and that is that). That said, Master and Commander does use some computer graphics, just nowhere near as intensively as, say, The Lord of the Rings). However, as far as I am concerned Master and Commander does use special effects, computer based or not, and in fact it uses them dazzlingly, as I felt that a 19th century ship in the Royal Navy was really like that. Getting this kind of thing right is breathtakingly hard, which is why that film a couple of years ago deserved the visual effects Academy Award. But (although it was nominated) it didn’t get it. (It did win a very well deserved Academy Award for cinematography, however).

If Tron had been nominated for an Academy Award when it was released in 1982, it might or might not have actually won. And this may even have been fair. It would have been up against Blade Runner, possibly the greatest achievement ever in matte based special effects. However, although that film was nominated, it didn’t win either. (Steven Spielberg’s E.T. The Extra-Terrestrial won). Such once again is the academy’s reluctance to give awards to movies not perceived as successes. But in retrospect the lack of a nomination was a travesty.

And as sometimes happens in Hollywood, it has been decided to acknowledge retrospectively that it was a travesty. Gary Demos, who was largely responsible for the computer graphics in “Tron”, has been awarded an honorary Academy Award this year. This may be ultimately unimportant and trivial, but it is nonetheless about time.

“You can’t fight in here – this is the War Room!”
– Peter Sellers, playing the President of the United States in Dr Strangelove.

Since we are talking about MP3s, music and the like – okay, a degree or two of separation exists here – I want to point out a rather fascinating music video clip that I saw recently. It is a dance track by British group Faithless, called I Want More (link for streaming video). The song will not be to everyone’s taste, but the video clip offers a pretty remarkable view of the preparation and execution of a North Korean propaganda spectacular. Parts of it are surprisingly candid – in one shot of the Pyongyang skyline, the viewer catches a shadowy glimpse of the sinister-looking Ryugyong Hotel.

I am led to believe, by a fellow I know who has visited the North, that this monument to collectivist misallocation of resources officially does not exist in the Hermit Kingdom (despite the highly convincing optical illusion) so it is surprising to see it turn up in a clip that must have been sanctioned by the authorities. I like the way the vision of a gymnast with a sore back is juxtaposed with an onlooker writing down presumably critical pointers in a notepad. The expression on the boy’s face when he is late to turn a page in his giant colour display book made me laugh. I also like the shot of the utterly bored and po-faced military brass clapping along like robots.

As the track rolls on, the show starts getting highly impressive. However, by the time the song’s over the sinister and tragic undercurrents are resonating the most. So much talent – such potential – is wasted celebrating the hideous reign of men who routinely deny their people the basic necessities of life, like food and freedom. It surprised me how such a dazzling display of skill and synchronicity could provoke such a combination of fascination and revulsion.

The other night, while getting better from having been rather ill (which was why I contributed so little here over Christmas), I channel-hop-watched TV.

Here were the two best things I heard on my travels up and down the channel numbers.

First, during a reshowing of an earlier Dr Who episode, a very anxious person said:

“That Dalek just absorbed the entire Internet! It knows everything!”

And the second fun snippet I heard was from a show about crumpet, i.e. nice looking and happy looking ladies with fine cleavages but not much to say for themselves in seventies comedy shows and horror movies. The unashamedly excited interviewer asked the one and only Ingrid Pitt if she ever had any reservations about taking her clothes off? Replied La Pitt:

“Only if it was cold.”

I am not yet a hundred per cent. Still coughing, alas, and with my ears afflicted by tape hiss, although the headache is largely gone. But those two snatches of chat did help me get a bit better.

TV also tells me that I am not the only one thus suffering. The cold cure adverts do not sell anything that will cure you, but they do provide definite evidence that you have only got a dose of what lots of other people have also got.

I could have had it far worse, and far scarier. Patrick Crozier was recently struck down by appendicitis. In Japan.