Hacker Cinema
Babe
1995 · Film · 92 min
Part of Babe Collection
Directed by Chris Noonan
Babe is a little pig who doesn't quite know his place in the world. With a bunch of odd friends, like Ferdinand the duck who thinks he is a rooster and Fly the dog he calls mum, Babe realises that he has the makings to become the greatest sheep pig of all time, and Farmer Hoggett knows it. With the help of the sheep dogs, Babe learns that a pig can be anything that he wants to be.
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15 comments on Hacker News
In related news please note that the Big Potato in Robertson Australia has been painted and is now the Big Babe in celebration of the 30th Anniversary of the making of Babe the movie.
https://robertson.nsw.au/bigpotato.html
Don't forget Picnic at Hanging Rock!
I really love Peter Weir -- I don't think all of his movies are amazing, but many of them are, and they're all really ambitious and unique. He never rests on his laurels. (Reminds me in that respect of George Miller, director of Babe and Mad Max)
Malaysia famously banned the movie Babe because a talking pig might offend religious sensibilities. It’s a safe to say that freedom of expression is not a high priority over there.
I’d like to see this argument in the context of music.
Not just samples, in their contemporary usage, which has been thoroughly discussed.
I think of the best and most memorable melodies that I sing from church hymnals, or in pop music - which often come from classical compositions.
Like “Thaxted”, which comes from Gustav’s Planets.
Or Celine Dion’s “All By Myself”, which comes from Rachmaninoff's Piano Concerto No. 2 in C minor.
Or the theme from the movie Babe, which comes from a reggae song that reused the melody from Saint-Saen’s Symphony 3
That's true.
But regarding nostalgia and colours I can tell you a personal anecdote:
I first saw Blade (1998, yes, that one with Snipes) on a pirated VHS copy on a not new Funai recorder on a 14" SHARP TV.
It was a dark, grainy film, blue on black, with occasional red and white splashes. Visually it was close to Sin City.
Years later I stuck on it on a public TV. It was so bright it's almost made sense for Snipes protagonist to wear sunglasses everywhere - it was bright as day even at night scenes.
I can't watch "a proper" Blade, but not because it's quite a shitty movie (it's fine for it's niche) but because I first saw a dark, noir-like action film.
And we watched Babe (1995) on that set too, but I needed to constantly correct the tracking because the video was out of sync all the time. Years later I found about Macrovision and years after that I put two and two together.
If your narrative was true, we would always see critics scores lower than the audience (assuming statistically significant number of critics reviewing a given movie). But we see so many counterexamples with radically different ratings: Spy kids, Ad Astra, Noah, King Kong (2005), Babe, The Blair Witch Project, Chicken Run, and thousands of others.
I distinctly remember feeling like 1995 was absolutely amazing year for cinema.
Toy story, Braveheart, Apollo 13, Usual Suspects, Heat, Casino, Seven, Clueless, 12 Monkeys, Babe, Get Shorty, Leaving Las Vegas, etc.
A great time to be going to the Cinema.
I did a startup for this specific purpose. I wrote an acquired a global patent on automated actor replacement in filmed media, which included replacing actors, set pieces, backgrounds, audio elements, and pretty much anything that could be modified with personally relevant replacements. I wrote the patent in 2004, and with great personal expense it was global by 2008. My team was the VFX Academy Award winning team behind the film "Babe" (the talking pig), and our system worked. But we launch in 2008, right as the financial crisis hit, nobody believed our demonstrations of inserting their own people into video right before their eyes, but they wanted to pursue pornography. I refused to pursue phonography. Three times I managed to put together angel investment teams only to have them group-wide choose to pursue porn. I was not going to be "that guy" who ends up hated by every female alive, after a public fantasy sex site allowing anyone to Deep-Porn-Fake anyone they want goes public. So, anyway, I spent far too long pursuing the idea, went personally bankrupt, and switched to working in facial recognition. At least there nobody wants to do porn.
Approximately no one in Australia has 'natural immunity', because approximately no one here has had COVID.
Those people who are advised by their docotrs not to get vaccinated are few and far between, but it turns out the current vaccine push takes those figures into account.
The people who deem the risk of COVID lower than the vaccine are just straight up incorrect. They're either misled or just deliberately contrarian, and I don't care what they think.
All autonomy is important, except where that autonomy would endanger others in society.
> If you are vaccinated you are mostly protected so why worry over those who do not get vaccinated?
If they also opt-out of taking up hospital care necessary for treating those people who didn't refuse a vaccine, honestly, I'd be okay with it. But we both know that won't happen. It'll end up like the US where there are people dying in the ER because there's no room due to COVID cases, and I do not want Australia to end up like the US.
> Have you seen the movie 'Babe', the one about the pig which acted like a dog? [...] Don't be a sheep, Australia has enough of them already.
All of this is very ironic, given that the group you are implying are the wolves are the ones taking livestock medication.
> I would rather anti-vaxers leave the country than continue to hang around, yes
Those supposed 'anti-vaxers' are more or less guaranteed to be vaccinated for nearly all diseases just like I assume you (and others who insist on calling anyone who is not toeing the party line by that epithet) are.
Some people have natural immunity from having had SARS2.
Some people are being advised by their doctors not to take the current crop of vaccines.
Some people deem their risk from contracting SARS2 lower than the risk of side-effects from the current crop of vaccines.
Bodily autonomy is an essential part of a liberal democracy.
If you are vaccinated you are mostly protected so why worry over those who do not get vaccinated? They run a higher risk of contracting SARS2, they have a higher risk of ending up in a hospital, they run a higher risk of needing intensive care and they have a higher risk of succumbing to the disease compared to vaccinated people in their own age and risk group. These are all risks to their own health, something you might find stupid and unreasonable but... it is their own choice. The only possible argument you might have in a country with socialised health care (like Oz) is that they may run up health care costs due to their refusal to take the vaccine. Those same people might respond that they do not want the vaccines because they fear potential side effects somewhere down the line. Given the limited amount of long-time experience with mRNA vaccines in humans this is not an unfounded risk, although most side effects seem to occur within 6 months of vaccination and as such should have already become visible.
Have you seen the movie 'Babe', the one about the pig which acted like a dog? Do you remember how the sheep in that movie called anything which they deemed to be a threat a 'wolf', leading to a field full of sheep bleating 'wolf' in sheep-speak to each other and to the supposed wolf? Calling anyone who shows the slightest hesitancy towards these rather new vaccines 'anti-vaxxers' (the word seems to be mostly spelled with two 'x'-es) is comparable to how those sheep reacted.
Don't be a sheep, Australia has enough of them already.
That is not the meaning used in the article. Of course any script can be messed up with a sufficiently bad production. The question is if there is a high risk that a competent disaster-free production will still lead to a bad movie. "Babe" is a great example - it could very easily have been a ridiculous movie even in the hands of a competent director. But somehow it worked.
I think it's a spoiler-culture, where the movie/show/book isn't even worth reading if there isn't some prospect of a petty thrill or twist.
storytelling isn't something to be taken lightly, it's been ingrained in us since the dawn of language. it can affect entire generations in ways nobody understands and very few care to study. The movie 'babe' created vegetarians, scully from 'x-files' inspired women to study STEM, scotty inspired a generation of engineers.
A weak argument. Of course animals are sentient - with some sense of self, able to experience pain, fear and so on. I think this is even true to a limited degree of fish and insects.
But that doesn't mean they're conscious of their own mortality, or experience existential suffering in contemplating it; when we project such worries onto animals as in the film Babe, we're committing an anthropomorphic fallacy and equating sentience with sapience. I'm OK with animals being raised for meat and killed painlessly, because animals don't seem the least bit burdened by temporal concerns such as whether their lives have purpose or what sort of life expectancy they enjoy.
I have a large number of pets that I took in as abandoned animals and think about this sort of issue pretty frequently. Although I value their companionship a great deal and even find things worth learning from them, I don't believe they have any abstract concept of mortality, only of discomfort or danger in the present moment. This article assumes such abstract knowledge as an unstated premise and then builds its entire argument upon that. It lacks foundation.
Jesus, if there's one movie that ought to be seen without commercial interruption, that's it. The whole thing is about condemning the commercial interruption of the biosphere. Koyaanisqatsi on Hulu a bit like seeing advertisements for bacon during "Babe".
Rhythm & Hues is in a strategic position which several of the Hollywood majors have to support, or the competition between these studios is going to seriously heat up.
R&H is the #1 studio in the world for digital animals: they did almost all the coca cola polar bears ads and "Babe the Talking Pig" nearly 20 years ago! Since that time they have dominated in the digital animal arena, doing pretty much every quality realistic digital animal in a major release film since, including "The Life of PI" (which is expected to get Best Visual Effects this year.)
Now look at the VFX studios left: ImageWorks is Sony's, ILM is Disney's, Weta is Peter Jackson's... What about Universal, Warner Bros, Paramount, Fox, & Paramount? They will have no one 'of scale' to produce their cute, talking animal pictures... This may seem minor, but it's not. Not at all. If is in the serious interest of these non-VFX studio owning film studios to keep R&H alive and well.