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One of the butterflies comes back
and lands on a tree limb.
It fans its wings for a moment,
then picks up and leaves.
The image of the butterfly stays on
the branch, and then the branch moves.
It's the Predator's arm with the butterfly,
camouflaging itself, reacting to it.
They shot it, but at the time
they had to do it with an optical camera.
They thought itjust wasn't good enough,
so it didn't make it in.
Co-Supervising Sound Editor
Richard L Anderson:
I was impressed when
the guerilla executes the CIA guy.
Even though we're seeing it through
binoculars, you hear the distance.
It's this relatively light little crack.
Like when you fire a small-calibre bullet.
In a way, it was more horrifying
than a lot of movies
where people get shot in slow-motion
and their blood very artistically
splatters in just the right place.
This looks like a snuff film,
like McTiernan had tricked
some poor actor into really getting shot!
Stunt Coordinator/Second-Unit Director
Craig Baxley:
The guy who gets shot in the head,
Steve Boyum, I got into the business.
I met him on Rollerball.
We were both the same age.
Co-Supervising Sound Editor David Stone:
This was my first opportunity - thank
you, Richard - to co-supervise a track.
I had just seen Platoon.
I was struck by how,
in handling the military in the jungle,
the foley people had not created
a sense of crackling leaves
that sounded like old quarter-inch tape.
Instead, all of the green, lush leaves
of the jungle sounded fresh and alive.
So I wanted to work with those people.
It turned out to be
Vanessa Ament and Robin Harlan.
We put them on the foley stage
and, before each session, we would
walk around the neighbourhood
and steal fresh foliage from trees
and plants in people's yards.
And Vanessa got that real jungle
sound like she had in Platoon.
(Anderson) Some of the foley
wasn't strictly realistic,
but it worked dramatically.
These guys are such good commandos,
they can sneak through a pile
of dead leaves and no one can hear them.
In some cases, it is the second-unit director
who shoots a movie's action sequences.
(Baxley) Joel wanted me to write and
construct a shot list for all the action
as I did on The Warriors,
when Joel and I first worked together.
Not necessarily in script form,
but in terms of blocking it,
so he could get a feel for the sequence.
Initially, the schedule allocated
four weeks for the guerilla encampment.
Joel was concerned
that the first unit was falling behind.
So he said "Make a pass at it. "
Jim and John Thomas
were cool with it, so I did.
I said "How much time do
I have to shoot it, Joel?"
He said "How much do you need?"
I said "First unit had four weeks. "
He smiled and said "How about a week?"
I said "What about the cast?"
He said "First unit needs them. "
"Figure out a way to shoot it
with one actor at a time
and I'll make sure they're there. "
Special Effects Coordinator Al Di Sarro
first worked with Baxley
and Unit Production Manager Beau Marks
on "The A-Team".
Baxley and Marks persuaded Joel Silver
to hire Di Sarro for "Predator",
which would be Di Sarro's first film.
His next would be "Die Hard",
reuniting him with McTiernan.
Both films would earn Oscar
nominations for Best Visual Effects.
Here, Di Sarro remembers working
with Baxley on this sequence:
Craig Baxley? Work of art.
He spent weeks while we were prepping
and filming the first-unit stuff.
It's archaic now because we have the laptops,
but everything you got from Baxley was
eloquently written on a yellow legal pad.
Beautiful handwriting. Very legible.
His shot list was almost a mini-script.
You could read it and see it in your mind.
When the commandos come in
and kill all the guerillas,
that's where I learned words like
"In scene 53 will

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