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 ------------------------------ Читайте также: - текст Сто дней после детства на английском - текст Жидкое небо на английском - текст Хорнблауэр: Лягушатники и Раки на английском - текст Старухи на английском - текст Последняя Ночь на английском |