PREDATORS - MOVIE INFO
- Thread starter seviz
- Start date
cujo66
New Member
For sure. And more of the preds. Maybe a little on what they do when they're not killin' everything. Just a little. And a female pred.
cayman shen
Master Member
You ever see a moose? There's no reason that thing should have survived natural selection, moving through dense forest with that huge rack of horns. But it does, quite gracefully. I've seen many of them, and they' re never hung up in the branches...
SixSinsFor66
New Member
Lot's of gore. Last thing I wanna hear is a cheesey "The enemy of my enemy is my friend" crap. I don't want to see any stupid bonds formed. All chaos,death,carnage and no hope for any human
hellonearth
New Member
well i want to see as much well done gore as possible without being stupid (which from what i understand, theres lot's of unique and bloody kill scenes
i also hope for some mimickery!! dammit!! what ever happened to that?!
and maybe a new little gadget or two to obsess over.
i just want to be scared again, i want to be in awe of the new creatures ( and their faces), and i want lot's of human blood! and a creepy score... and good acting... and... more predators than we think are in it... i hope to god there's a pred for every one of those tri-lasers, that would change a lot. and i want lot's of other stuff too, but i'll stop there....
OH! and i really wanna see topher's head danglin from a predators hand, but we all have our dreams...
i also hope for some mimickery!! dammit!! what ever happened to that?!
and maybe a new little gadget or two to obsess over.
i just want to be scared again, i want to be in awe of the new creatures ( and their faces), and i want lot's of human blood! and a creepy score... and good acting... and... more predators than we think are in it... i hope to god there's a pred for every one of those tri-lasers, that would change a lot. and i want lot's of other stuff too, but i'll stop there....
OH! and i really wanna see topher's head danglin from a predators hand, but we all have our dreams...
PredatrHuntr
Master Member
I just wanna walk up to old Tusky and flick his stupid tusks right off!!!!
PS - the comment about the moose made me laugh!
PS - the comment about the moose made me laugh!
PredatrHuntr
Master Member
I second that Scott.
All I want to see is **** hit the fan...and a few Predators of course!
All I want to see is **** hit the fan...and a few Predators of course!
hellonearth
New Member
i wish there was an option to skip over anything that had "tusky" in it. not sure how some simple accent can cause so much controversy ( me seemingly being the only one on the other side) but oh, well, id love to say i'm not gonna watch this thread if all we're gonna talk about is "tusks", but unfortunately i can't seem to stay away.
predator666
New Member
Hope to see kick ass bloody gorey f*cking predators movie
Roydraven
New Member
yeah I heard there was concept art for a female pred behind robert rodriguez where they screened the trailer so hope there is a female pred too
and hope to see **** loads of action and in depth story I have faith that this movie will bring the pred back XD
Sara
New Member
Continuity! I just hope the producers didn't go nuts and deviate too much from the original movie (and what made the original so great). I want something to the effect where I can watch both Predator and Predators and not feel like there's a gap of some sort. I am glad there's more characterization for each pred, in their bio design and even their method of hunting. And the pred-dog? Too cool.
svehunter
New Member
PredatrHuntr
Master Member
Fangoria Reports on the Set of Predators:
http://www.fangoria.com/index.php?option=c...s&Itemid=56
“We first walk out to one of the film’s most important sets: the hunting camp. You see glimpses of this set in a few shots in the trailer, and it looks even more incredible in person. As we enter, the dense jungle opens up to reveal the camp area, which looks to be where the Predators prepare and skin their prey. Carcasses are strung up, and sharp, tusklike bones jut out of the ground. Director Nimrod Antal wanted a creek of blood to run throughout, and there’s a large metal spike jutting up from the ground, covered in alien markings. It looks like someone or something could wind up being impaled on it, and makeup FX creator Greg Nicotero seems to verify that later in the day.
As we cross this area, it’s clear Avellan is still impressed with what she and the PREDATORS team have been able to accomplish. “There are 29 cargo containers stacked up to make a wall so we could build the rock faces,” she tells Fango. “Three semi-truck trailers with plants from Florida came in to help create the jungle. Literally every leaf was attached by hand. Nimrod wanted the hunting camp to be in a ravine so that it feels very closed off. You feel channeled in, and that’s always a good technique to build up a little fear.” I later learn that Antal wanted the Hunting Camp to look like it came right out of a Hieronymus Bosch painting, and the set definitely reflects the disturbing and hellish imagery in some of the artist’s work.
That said, the terrain also remains in line with the environment of the first PREDATOR movie. In fact, I can’t help imagining the extraterrestrial hunters crouching at the top of the embankment, watching us as we slowly make our way back out of the camp and head to some of the indoor sets. Truly remarkable work here.
We next move into a massive greenscreen room, where the entirety of Rodriguez’s SIN CITY was shot. I ask Avellan how much practical material has been shot up to this point as opposed to CGI shots, and how the working relationship between Rodriguez and Antal has been going. “We haven’t had one day of greenscreen yet,” she reveals. “Nimrod is really into doing a lot of in-camera stuff. It’s an effects-heavy movie, obviously, and we’re going to enhance things, but I’m really amazed with how much he’s doing practical. It’s a lot of fun to watch him. Robert and Nimrod have different ways of working, but Nimrod is a great filmmaker, and he came in, started working with all of our crew and doing all the pre-viz with our visual effects department. He’s been collaborating closely with the production design team from the start as well.” Rodriguez has been busy shooting the exploitation shocker MACHETE, based on his trailer from GRINDHOUSE, during the PREDATORS shoot, which has allowed Antal to work very closely with everyone at Troublemaker. It’s the first time an outside director has worked this intimately with the studio, in fact.
Moving on, we meet up with Steve Joyner and Caylah Eddleblute, the PREDATORS production design team behind PREDATORS who have been part of every Robert Rodriguez film since FROM DUSK TILL DAWN. The duo have worked on numerous genre films over the years, but PREDATORS in particular has brought unique challenges. “The thing that was interesting about this movie was that it’s an entirely alien planet,” Joyner says. “No human elements, except what the characters bring with them. The bulk of the script takes place in this alien environment.”
Even though this production is attempting to distance itself from the recent combinations of the ALIEN and PREDATOR franchises, the filmmaking team is aware of how much the fans have wanted to see the iconic creatures’ home worlds. “There are a couple of differences here worth mentioning,” Joyner says. “I don’t know how many spoilers we want to give away at this point, but this is not the Predator home planet. This is a game-range planet. When the characters appear on this world, having been transported there, they don’t know where they are. They believe they’re on Earth, just in some strange jungle. That was one of the really interesting things about this project.”
Eddleblute chimes in, adding, “They have to realize where they are, and more importantly why they’re all there. And of course, we wanted to make every shot as cool as in the original. I’ve probably watched the original PREDATOR eight times and studied every frame. In every scene, there’s someone camouflaged, and every frame is composed perfectly and the characters are spot-on. We want to do everything we can in creating the environments to really bring those characters to life, and create a sense of wonder—whether good or bad—and a sense of discovery, and have that suspended moment with every beat.”
So if it’s a hunting planet intended specifically for that purpose, one has to wonder if we can expect to see other alien critters that the Predators have brought in to stalk, in addition to the humans. “It’s definitely set up so there’s a series of discoveries that they make, and the audience will be carried along with that and everyone knows what to expect. But with this script, the horror just builds, on a lot of levels. Where are we? Why are we here? When are we? What happened to us? So they have all these great discoveries. That was one of the challenging things: not giving away anything at first, and then slowly figuring out that they’re not in Kansas anymore. This story [scripted by Alex Litvak and Michael Finch] builds like THE MOST DANGEROUS GAME, which here is a double entendre. The primary game is not who you go into the theater thinking it is, so there are a number of good surprises.”
http://www.fangoria.com/index.php?option=c...s&Itemid=56
“We first walk out to one of the film’s most important sets: the hunting camp. You see glimpses of this set in a few shots in the trailer, and it looks even more incredible in person. As we enter, the dense jungle opens up to reveal the camp area, which looks to be where the Predators prepare and skin their prey. Carcasses are strung up, and sharp, tusklike bones jut out of the ground. Director Nimrod Antal wanted a creek of blood to run throughout, and there’s a large metal spike jutting up from the ground, covered in alien markings. It looks like someone or something could wind up being impaled on it, and makeup FX creator Greg Nicotero seems to verify that later in the day.
As we cross this area, it’s clear Avellan is still impressed with what she and the PREDATORS team have been able to accomplish. “There are 29 cargo containers stacked up to make a wall so we could build the rock faces,” she tells Fango. “Three semi-truck trailers with plants from Florida came in to help create the jungle. Literally every leaf was attached by hand. Nimrod wanted the hunting camp to be in a ravine so that it feels very closed off. You feel channeled in, and that’s always a good technique to build up a little fear.” I later learn that Antal wanted the Hunting Camp to look like it came right out of a Hieronymus Bosch painting, and the set definitely reflects the disturbing and hellish imagery in some of the artist’s work.
That said, the terrain also remains in line with the environment of the first PREDATOR movie. In fact, I can’t help imagining the extraterrestrial hunters crouching at the top of the embankment, watching us as we slowly make our way back out of the camp and head to some of the indoor sets. Truly remarkable work here.
We next move into a massive greenscreen room, where the entirety of Rodriguez’s SIN CITY was shot. I ask Avellan how much practical material has been shot up to this point as opposed to CGI shots, and how the working relationship between Rodriguez and Antal has been going. “We haven’t had one day of greenscreen yet,” she reveals. “Nimrod is really into doing a lot of in-camera stuff. It’s an effects-heavy movie, obviously, and we’re going to enhance things, but I’m really amazed with how much he’s doing practical. It’s a lot of fun to watch him. Robert and Nimrod have different ways of working, but Nimrod is a great filmmaker, and he came in, started working with all of our crew and doing all the pre-viz with our visual effects department. He’s been collaborating closely with the production design team from the start as well.” Rodriguez has been busy shooting the exploitation shocker MACHETE, based on his trailer from GRINDHOUSE, during the PREDATORS shoot, which has allowed Antal to work very closely with everyone at Troublemaker. It’s the first time an outside director has worked this intimately with the studio, in fact.
Moving on, we meet up with Steve Joyner and Caylah Eddleblute, the PREDATORS production design team behind PREDATORS who have been part of every Robert Rodriguez film since FROM DUSK TILL DAWN. The duo have worked on numerous genre films over the years, but PREDATORS in particular has brought unique challenges. “The thing that was interesting about this movie was that it’s an entirely alien planet,” Joyner says. “No human elements, except what the characters bring with them. The bulk of the script takes place in this alien environment.”
Even though this production is attempting to distance itself from the recent combinations of the ALIEN and PREDATOR franchises, the filmmaking team is aware of how much the fans have wanted to see the iconic creatures’ home worlds. “There are a couple of differences here worth mentioning,” Joyner says. “I don’t know how many spoilers we want to give away at this point, but this is not the Predator home planet. This is a game-range planet. When the characters appear on this world, having been transported there, they don’t know where they are. They believe they’re on Earth, just in some strange jungle. That was one of the really interesting things about this project.”
Eddleblute chimes in, adding, “They have to realize where they are, and more importantly why they’re all there. And of course, we wanted to make every shot as cool as in the original. I’ve probably watched the original PREDATOR eight times and studied every frame. In every scene, there’s someone camouflaged, and every frame is composed perfectly and the characters are spot-on. We want to do everything we can in creating the environments to really bring those characters to life, and create a sense of wonder—whether good or bad—and a sense of discovery, and have that suspended moment with every beat.”
So if it’s a hunting planet intended specifically for that purpose, one has to wonder if we can expect to see other alien critters that the Predators have brought in to stalk, in addition to the humans. “It’s definitely set up so there’s a series of discoveries that they make, and the audience will be carried along with that and everyone knows what to expect. But with this script, the horror just builds, on a lot of levels. Where are we? Why are we here? When are we? What happened to us? So they have all these great discoveries. That was one of the challenging things: not giving away anything at first, and then slowly figuring out that they’re not in Kansas anymore. This story [scripted by Alex Litvak and Michael Finch] builds like THE MOST DANGEROUS GAME, which here is a double entendre. The primary game is not who you go into the theater thinking it is, so there are a number of good surprises.”
