Word: rightfully
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Blomkamp, who directed three shorts in the Halo video-game universe, was hired by Jackson to make a Halo feature. That project foundered after a few months, and Jackson proposed that Blomkamp make a different feature right away. He resuscitated the Alive in Joburg idea, expanding and improving it into District 9. Jackson even let Blomkamp cast Copley, a high school pal who had never acted, in the lead. Amazingly, Copley carries the film, bringing to a most demanding role the scheming dimness of Harry Dean Stanton mixed with the dogged, unwarranted optimism of Steve Carell. Jackson, says Blomkamp...
...might once have been intended for Brad Pitt, who serves as an executive producer on the film. But it's well served by Bana, switching gears after playing the villain in Star Trek and a much less sympathetic wandering husband (for laughs) in Funny People. Here Bana hits the right tone of hangdog perplexity and stalwart romance...
...like poking new holes in player-piano music to make new melodies, or, at 13, disconnecting a console-radio speaker and attaching a phonograph pickup. He bought his first Gibson guitar, an L-5 acoustic, which he promptly electrified. In local performances, he wired his guitar to radios stage right and left - voilà, stereo! "If you can be an engineer and a musician," he told David John Farinella for a biographical sketch in the 1999 Encyclopedia of Record Producers, "that's very complementary...
...though they didn't marry until the end of 1949, back in Milwaukee. (Paul got his blood test from the father of Steve Miller, the blues-guitar man.) Summers was with Paul when their car crashed and he broke his back, both collarbones, six ribs and his nose. His right arm and elbow were crushed. Doctors suggested it be amputated, but he said no, so they took part of his leg and grafted it onto the pulpy bone. Fearing that his arm wouldn't regain its movement, Paul insisted that it be set at a right angle so he could...
...Right from the start, Paul's arrangement has more hooks than a Chicago abattoir. ("We used to start our gigs with the opening riffs from 'How High the Moon,' " said another Paul, the one with the Beatles. "Everybody was trying to be a Les Paul clone in those days.") Do you remember that descending pattern (C, C7, F, F-minor, G) that concluded primal rock-'n'-roll numbers like Billy Haley's "Rock Around the Clock"? Here, Paul begins with that lick; he also anticipates and reverses the fade-out ending of so many early rock-'n'-roll songs...