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To create each inline required four passes.
That's 60 passes.
And if you made a mistake on one,
you had to chuck the whole thing.
It required a lot of discipline
to put those shots together.
And back then you couldn't see
a shot as you were creating it.
You'd have to visualise it
as you went along.
The printer heads were motorised,
driven by computers.
We had a program that when
the last photographic pass was finished,
it would hit a microswitch.
The microswitch would
activate a tape recorder,
which would wake up
the sleeping operator by blaring
"Feed me, Eugene!"
The machine guns Dillon carries are MP5s.
The MP5 is one of
the smaller weapons used in the film,
but like all the weapons,
its sound is distinctive.
It emits a lethal little snap.
Unlike Blain's Minigun,
or Dutch's machine gun/grenade launcher,
the MP5 does not sound
like it's trying to be impressive.
(Stone) It doesn't need to. (laughs)
(Anderson) Orchestrally, we'd decided
the Minigun was like the bass section,
like the tubas,
and the MP5s would be like the trumpets.
The MP5 would be featured
in other Joel Silver movies,
most prominently in
John McTiernan's next film "Die Hard".
In "Die Hard", however, the same weapon
sounds different- fuller, with more bass.
Anderson explains:
Not only do we have more
than one recording of those guns,
but on some of the guns, we have
recordings from different perspectives.
The other thing is, when you're premixing,
the mixer can EQ the guns
and add reverb to match the space.
Even if you had the exact same
library-recording shot with the same mike,
the dubbing mixers will
make it fit the environment.
Film Journalist/Historian Eric Lichtenfeld:
This is a transitional sequence for "Predator".
Not only are we about
to enter the third and final act,
but the tone of the movie is shifting as well.
We are leaving behind the technological
and entering a much more
primal adventure film.
Billy's stand and sacrifice embody this.
The setting expresses this visually:
Billy, alone, is perched
halfway across the canyon,
while his comrades have practically
made it to the other side.
Casting off his weapons and his clothes,
he reduces himself to his most natural state
to confront the Predator
as though it were a force of nature.
The ritualistic tone of this sequence
predicts the primal battle
Dutch will later enter.
Similarly, the style of the editing here
is a shade of the editing we will
see as Dutch makes his preparations.
Also, Billy's death
is the only one we don't see happen.
Throughout the movie, Billy has been
the most mysterious character,
which makes it fitting
that his is the only mysterious death.
The only image is
a point-of-view shot of the jungle.
It's as if Billy is simply
consumed by the jungle
with which he shared
a seemingly mystical relationship.
Stunt Coordinator/Second-Unit Director
Craig Baxley
on Dutch's slide through the brush:
I was very passionate that the action
on Predator should be cutting-edge
and set the audience back on their heels.
It was important to put the audience
in the midst of the action.
John McTiernan was going
to put a rope on Arnold,
drag him on the ground,
and skew the angle on the trees.
Instead, I suggested we take a hill,
build the equivalent of a mini roller coaster,
put tracks down the hill,
build a small platform
to accommodate Arnold,
then mount a camera on the front
looking back on him,
have the greensmen dress the set
with plants and bamboo.
Then we'd send Arnold down the hill.
So the audience is with it, rather
than on the outside looking in.
Arnold laughed, said "Fuck you,
I'm not doing that. You

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