Big Terry Is Done For
I was ecstatic when the all-dominating Avatar lost out to the relatively miniscule by comparison The Hurt Locker on a slew of awards at the 2010 Oscars. Not because I particularly disliked Avatar or enjoyed The Hurt Locker, but because there’s a lot to be said for real acting and real directing, just as there is to be said for Tattoo removal if you have a big fat one on your forehead; after all, with it being almost entirely CGI, how can a film like Avatar be considered a film by traditional standards?
Recently I had this debate in the pub. There was my Hurt Locker representing team on one side—small and comprising of only my friend and I—and a whole pub-full of people. The situation, I felt, accurately reflected the status of the two films: over the course of that evening my friend and I bought about four drinks, and the rest of the pub bought about 60.
Their collective argument was this: “It must have been a nightmare to direct, that Avatar, what with so much going on. That’s why it should have beaten your tiny film with ease!” And our argument went like this, and was, I felt, approximately 3000% more solid: “Yes, but The Hurt Locker was a real film, and the award was for best director–all the awards were about real film–therefore it had to win, don’t you see?”
They didn’t see, and we didn’t desire to make them see (big Terry wasn’t on our team and could get pretty het-up over film debates). But in the end the dust settled and we won: at least in my mind that is. Here’s the thing: real film should be awarded for its hard work. As good as CGI can be, it’s no substitute for some good old-fashioned acting.
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