Latest / Houselights: A Film Director Podcast / Predator: Badlands (2025) - Dan Trachtenberg | Houselights #262: Wing of Predator

Transcript

Predator: Badlands (2025) - Dan Trachtenberg | Houselights #262: Wing of Predator · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the ned Palty.
• 0:20
  Speaker 2: Welcome back to House Lights, our director discussion show here
• 0:23
  Speaker 2: on the nerd Party Network. This week, we're finishing off
• 0:27
  Speaker 2: the wing of Predator with our latest installment of the franchise,
• 0:30
  Speaker 2: Dan Trektenberg's Predator bad Lands, following Deck, the runt of
• 0:35
  Speaker 2: the litter Predator eager to prove himself and use the
• 0:38
  Speaker 2: tools at his disposal to survive a deadly planet hunt.
• 0:43
  Speaker 2: Sounds like he might be teaming up with Adrian Brody.
• 0:46
  Speaker 2: I actually, I mean synth Thea as they try to
• 0:50
  Speaker 2: survive and figure out what it means to be a
• 0:53
  Speaker 2: part of a pack. I'm your host this evening, synthetic
• 0:56
  Speaker 2: daar Ron, consisting only of a left arm, and I'm
• 1:00
  Speaker 2: joined again by my friends quote brothers, trist of the
• 1:04
  Speaker 2: Utah and Mills of the Not Yet. Both Tristan and
• 1:09
  Speaker 2: John are chopping at the bit much like the trees
• 1:12
  Speaker 2: of this planet. It is time to bail out at
• 1:14
  Speaker 2: almost interplanetary speeds as we discuss Predator bad Lands. Very
• 1:22
  Speaker 2: very excited for this gentleman.
• 1:24
  Speaker 3: You know, Tristan's more excited than either one of us
• 1:27
  Speaker 3: could possibly be because he's been bothering us for a week,
• 1:29
  Speaker 3: like why have you watched it yet?
• 1:30
  Speaker 2: Why have you watched it yet?
• 1:32
  Speaker 3: Text every twelve.
• 1:33
  Speaker 4: Hours As we were just done recording last week and
• 1:38
  Speaker 4: it was the next day and I was like, I really,
• 1:40
  Speaker 4: let's record early, let's do.
• 1:41
  Speaker 5: It right now, let's do it tonight. You're like, shut up,
• 1:44
  Speaker 5: stop texting me.
• 1:45
  Speaker 2: We have a life outside the show, Tristan. But but no,
• 1:50
  Speaker 2: I mean yeah, I think once each of us had
• 1:54
  Speaker 2: finally had the time to watch it, I think we
• 1:56
  Speaker 2: were all like, Okay, we're ready, even though we're not ready,
• 2:00
  Speaker 2: but no, the time is finally here.
• 2:02
  Speaker 3: It's definitely a movie that spurs discussion because there's a
• 2:06
  Speaker 3: lot where, like, I know, through this entire discussion, I'm
• 2:11
  Speaker 3: going to be separating out in my brain like script
• 2:16
  Speaker 3: and story from technical stuff, because I think that both
• 2:21
  Speaker 3: of those things deserve their own discussions, because you know,
• 2:26
  Speaker 3: our director focused podcasts and everything this in terms of
• 2:30
  Speaker 3: technical prowess, in terms of what overall they're able to
• 2:34
  Speaker 3: pull off visually. I was so legitimately impressed with what
• 2:38
  Speaker 3: Trachtenberg did because the environments were convincing to me, I
• 2:44
  Speaker 3: know all of the tricks right, and to get me
• 2:47
  Speaker 3: to a place where there were certain moments where I
• 2:50
  Speaker 3: was like, oh wait, okay, hold on, I know the
• 2:52
  Speaker 3: tech how did they do this one that I think
• 2:55
  Speaker 3: deserves a special shout out because that's an achievement, especially
• 2:59
  Speaker 3: in today, is very very you know, affects savvy world.
• 3:05
  Speaker 3: To have a moment where I wasn't like in awe
• 3:09
  Speaker 3: or like weeping for its beauty, I was like, huh, okay,
• 3:12
  Speaker 3: that was that was kind of neat. How did they
• 3:14
  Speaker 3: How did they pull that one off? Like it was
• 3:16
  Speaker 3: just really something like I think Tractenberg really showed off
• 3:19
  Speaker 3: like a Kazinski level comfort with environment in terms of effects. Sorry,
• 3:26
  Speaker 3: I know I'm like going off that road, but like
• 3:28
  Speaker 3: that's right.
• 3:28
  Speaker 2: I think you are right up the right tree. I
• 3:30
  Speaker 2: think there's a lot of this movie where the effects disappear,
• 3:35
  Speaker 2: Like I forget that this is supposed to be an
• 3:37
  Speaker 2: alien world, Like I never think, oh they is he
• 3:41
  Speaker 2: on an entire green screen or are they just adding
• 3:43
  Speaker 2: a little bit of sci fi plants to a normal background,
• 3:48
  Speaker 2: like you know, just finding the right blend. And even
• 3:51
  Speaker 2: with the the main you know creature, I forget its name,
• 3:56
  Speaker 2: but the thing he's hunting, like it's a.
• 3:58
  Speaker 5: Completely something like that.
• 4:00
  Speaker 2: Yeah, it obviously is completely CG, but it it was
• 4:05
  Speaker 2: the right amount of They put the right amount of
• 4:09
  Speaker 2: money into it where it looked good. But I didn't
• 4:12
  Speaker 2: feel like it needed to be, Oh, this is so
• 4:15
  Speaker 2: photo real. I believe, like I'm never gonna believe it's
• 4:17
  Speaker 2: real because it just the nature of the character. But
• 4:22
  Speaker 2: they they I think they put the money where they
• 4:24
  Speaker 2: needed to. Things like you know, Deck's face, like that
• 4:29
  Speaker 2: had to be the number one. It had to be
• 4:32
  Speaker 2: convincing every shot, every time, or or the character falls apart.
• 4:39
  Speaker 2: And I think the fact that they incorporated his his
• 4:43
  Speaker 2: real eyes in the majority of the shots obviously not
• 4:46
  Speaker 2: one hundred percent. I'm sure there were moments where you know,
• 4:48
  Speaker 2: they had to replace it, but you know, he's there
• 4:51
  Speaker 2: in a you know, full on dread makeup ninety percent
• 4:55
  Speaker 2: of the body, all covered with just the you know,
• 4:58
  Speaker 2: the face cutout and tracking mark. And they're not only
• 5:02
  Speaker 2: replacing his face but figuring out how predator jowls are
• 5:10
  Speaker 2: going to move and sound and click every moment.
• 5:15
  Speaker 5: It's not like fet It's not.
• 5:17
  Speaker 4: Like a Nave or Gollum or something like that, where
• 5:20
  Speaker 4: there's two eyes and nose and a mouth and lists
• 5:23
  Speaker 4: and everything. Yeah, he has no lips. You're absolutely right.
• 5:26
  Speaker 4: And so they hired seven VFX houses, including the big
• 5:31
  Speaker 4: dogs like ILM, Weta and Rising Sun, Trickster, Important Looking Pirates,
• 5:37
  Speaker 4: the Yard Effects and Frame Store. So, in this being
• 5:41
  Speaker 4: Tractenberg's biggest film to date, especially special effects wise, the
• 5:46
  Speaker 4: fact that he was able to pull this off and
• 5:49
  Speaker 4: put his trust in his people, put his trust in
• 5:51
  Speaker 4: his effects houses because he he went on record talking
• 5:54
  Speaker 4: about how you know, like when you're cutting the film together,
• 5:57
  Speaker 4: you're cutting it without special effects, You're like, I hope
• 6:01
  Speaker 4: this comes together.
• 6:02
  Speaker 5: Like he was. He put a lot of faith.
• 6:05
  Speaker 4: In his vision as well as the vision of others,
• 6:08
  Speaker 4: and then as the special facts started coming in, he
• 6:10
  Speaker 4: thought it was really interesting because it started changing performances
• 6:14
  Speaker 4: and changing the tones of the scene to what he
• 6:17
  Speaker 4: initially expected. And he's like, sometimes it's good, sometimes it's bad,
• 6:20
  Speaker 4: and sometimes you have to kind of roll with it.
• 6:22
  Speaker 4: Other times you have to manipulate it. And I think
• 6:25
  Speaker 4: that's a director with a good head on his shoulders,
• 6:27
  Speaker 4: where he has an idea of where he wants to go,
• 6:30
  Speaker 4: but he lits the technology as well as the story
• 6:33
  Speaker 4: taken where it needs to go.
• 6:38
  Speaker 2: So we're going to talk about effects and all of that,
• 6:41
  Speaker 2: but I want to pivot to the prologue, to the beginning,
• 6:46
  Speaker 2: the setup, the kickoff of the story, because man, I
• 6:50
  Speaker 2: was hooked. You know, the line that did it for
• 6:56
  Speaker 2: me was, you know, between the brothers, when you now knew, Oh,
• 7:02
  Speaker 2: he's not trying to kill him, He's trying to prepare him.
• 7:05
  Speaker 2: He cares about it. He wants him to do better,
• 7:09
  Speaker 2: to train better. And you're like, oh, I've never seen
• 7:13
  Speaker 2: this dynamic in the Predators and to the father killing
• 7:18
  Speaker 2: his like that whole like it's like an opera just
• 7:22
  Speaker 2: playing out on it in our galactic stage. But I
• 7:27
  Speaker 2: was so hooked for our protagonist. I was like, this
• 7:32
  Speaker 2: is I want to know his story. I'm ready for
• 7:36
  Speaker 2: him to be in an adventure. You know. Here we
• 7:38
  Speaker 2: go and again they're explaining why he's smaller, why he
• 7:44
  Speaker 2: doesn't have his cloak, why, like all of these things
• 7:47
  Speaker 2: are shown and not like a scrolling text of on
• 7:52
  Speaker 2: day thirty five on this planet, this alien did this,
• 7:56
  Speaker 2: Like no, we were shown in such an interesting way
• 8:00
  Speaker 2: that we get character motivation, we get family dynamics, we
• 8:04
  Speaker 2: get more of the culture. Uh, John you know when
• 8:07
  Speaker 2: when you first watched this, were you just as nailed
• 8:11
  Speaker 2: for the premise or was it like show me a
• 8:15
  Speaker 2: little bit more. How did it come across to you? Oh?
• 8:18
  Speaker 3: I it was a little like, uh, I'm looking for
• 8:22
  Speaker 3: the right word. But it threw me a little off
• 8:24
  Speaker 3: balance because there's a decision here, a very important decision
• 8:29
  Speaker 3: point wherein this is the first time we're seeing predator
• 8:33
  Speaker 3: culture quote unquote, something we've talked about in like previous ones.
• 8:36
  Speaker 3: It was like, oh, who was the scientist who built
• 8:37
  Speaker 3: the ships? That sort of thing, And it's like, in
• 8:40
  Speaker 3: this case, we're seeing that there is a functional culture.
• 8:43
  Speaker 3: I still have questions about how certain things function, but
• 8:45
  Speaker 3: that's okay. But like this is just with the opening
• 8:49
  Speaker 3: epigraph that there's a codex and they're like, so, okay,
• 8:53
  Speaker 3: so this is like a code, this is like a
• 8:55
  Speaker 3: religious thing, like this is you know, it's it like
• 9:00
  Speaker 3: they immediately throw things out there, and then seeing an
• 9:03
  Speaker 3: actual family dynamic happening and seeing how not just you know,
• 9:09
  Speaker 3: not just our protagonist predator, but his brother are showing
• 9:14
  Speaker 3: something that that's recognizable to us as a quote unquote,
• 9:18
  Speaker 3: you know, like a human audience can recognize what's going
• 9:20
  Speaker 3: on here that the father is regarding the brother as
• 9:24
  Speaker 3: a failure because he didn't kill the runt like he
• 9:27
  Speaker 3: was supposed to. So the brother failed his test and
• 9:32
  Speaker 3: you know, gets killed as a result. Like it's one
• 9:35
  Speaker 3: of those things where I think they're in very tricky
• 9:37
  Speaker 3: territory because I don't know that I want them to
• 9:42
  Speaker 3: recast the predator from the first one or the second
• 9:46
  Speaker 3: one so that I'm like, oh, well, he's just out
• 9:50
  Speaker 3: for his hunt sort of thing. It's like, you get
• 9:53
  Speaker 3: into really tricky territory. What do you mean, by god
• 9:56
  Speaker 3: to sell it? And I think that, well, the in
• 10:00
  Speaker 3: the first one, in the second one, and even in
• 10:02
  Speaker 3: Predators and in Prey, it's a monster. It's a scary monster.
• 10:08
  Speaker 3: And it's one of those things where when you start
• 10:11
  Speaker 3: layering on this sort of cultural backstory to the monster,
• 10:16
  Speaker 3: it makes it a little trickier to go back and
• 10:18
  Speaker 3: watch the first one if you're going to apply what
• 10:20
  Speaker 3: you learn here to the same monster dynamic. There is
• 10:24
  Speaker 3: no depth to the predator in the first one. It's
• 10:27
  Speaker 3: simply an adversary. It's a it's an it's an animal,
• 10:31
  Speaker 3: it's a rank or it's a you know, a Dianoga.
• 10:34
  Speaker 3: It's it's all of these things that are out there
• 10:37
  Speaker 3: that we're scared of. An alligator, you know, whatever it
• 10:41
  Speaker 3: whatever it is, and like when you start thinking about
• 10:43
  Speaker 3: it in different terms, it can change the experience of
• 10:47
  Speaker 3: everything else around it. So I think it's tricky territory.
• 10:50
  Speaker 3: But for this film, you know, it's establishing why I
• 10:55
  Speaker 3: should care about this predator, and I think it's successful
• 10:58
  Speaker 3: in that. In that regard, I'm talking that point there
• 11:01
  Speaker 3: is about like you know, applying it to the franchise
• 11:03
  Speaker 3: as a whole, whereas within the film, yes, it sells
• 11:07
  Speaker 3: me from the beginning, I'm like, Okay, well, I want
• 11:09
  Speaker 3: to follow this character now because this is interesting.
• 11:12
  Speaker 5: What's going on?
• 11:14
  Speaker 2: Well, Tristan, I want your thoughts on that. The only
• 11:17
  Speaker 2: piece I want to add in is I agree that
• 11:21
  Speaker 2: the Predator is like the monster is the opposition force.
• 11:25
  Speaker 2: But I will say it's slightly elevated above like a
• 11:29
  Speaker 2: rank core or an animal because of its use of tech,
• 11:33
  Speaker 2: like the way we've seen you know, it's smart. It's
• 11:37
  Speaker 2: it's basically like the movies where we see man hunting man,
• 11:41
  Speaker 2: and that is such an interesting aspect because it has cunning,
• 11:45
  Speaker 2: it has traps, it has technology. So but but Tristan
• 11:49
  Speaker 2: with this, you know, like John says, you know, now
• 11:52
  Speaker 2: we're double downing on the culture and this which we've
• 11:58
  Speaker 2: always seen the fringes of the story and you always
• 12:02
  Speaker 2: were left wanting more. And this is like Ma and
• 12:05
  Speaker 2: Pa Predator, you know, on the farm, I mean with
• 12:10
  Speaker 2: pointy rocks, I guess. But but now, how did you
• 12:13
  Speaker 2: know the beginning of this sell you on the journey
• 12:17
  Speaker 2: we were going to take, or any of your thoughts
• 12:20
  Speaker 2: on what John and I are saying.
• 12:22
  Speaker 4: I think they did a really good job of figuring
• 12:25
  Speaker 4: out how to make it interesting and make it different,
• 12:28
  Speaker 4: because you know, the Predator always loses. Every single movie,
• 12:33
  Speaker 4: the Predator loses and he dies. I think the only
• 12:37
  Speaker 4: time that he doesn't lose is a Predator versus Alien,
• 12:42
  Speaker 4: But that's not really canon anymore. So it's really just
• 12:45
  Speaker 4: like if you're just utilizing the Schwarzenegger onward that that
• 12:49
  Speaker 4: line of canon, then yeah, the Predator always loses, and
• 12:53
  Speaker 4: so if you're going to do something different, you know,
• 12:56
  Speaker 4: tracton Bird asked the question, what if the Predator didn't lose?
• 13:00
  Speaker 4: What if the Predator wins? But yet he is the protagonist,
• 13:05
  Speaker 4: how does that work? And I think the first idea
• 13:07
  Speaker 4: that he came up with is like, Okay, what if
• 13:09
  Speaker 4: he's like fighting the Nazis or something, And it kind
• 13:11
  Speaker 4: of sounded like a throwaway thing where like, Okay, of
• 13:14
  Speaker 4: course kill a nazis pretty cool, so yeah, they're just
• 13:17
  Speaker 4: going to do that. But having him go on a
• 13:21
  Speaker 4: ritualistic hunt on another planet and going after an animal
• 13:26
  Speaker 4: like creature, I think was a really smart move because,
• 13:30
  Speaker 4: you know, to John to your point, I don't think
• 13:32
  Speaker 4: it and I'm not saying you were saying this, but
• 13:35
  Speaker 4: I don't think it takes anything away from the initial
• 13:37
  Speaker 4: forces of nature that the predators were in Schwarzenegger and
• 13:41
  Speaker 4: Glover and everything like that, because I felt like, you know,
• 13:45
  Speaker 4: to Darren's point, with them being smart and technological and
• 13:51
  Speaker 4: so ritualistic with their hunt, you knew that there was
• 13:55
  Speaker 4: some culture behind that. You knew there had to be
• 13:58
  Speaker 4: some reason, like and you look at our and you
• 14:01
  Speaker 4: look at our own culture where you know, like a
• 14:06
  Speaker 4: young man goes out on his first hunt. You look
• 14:08
  Speaker 4: at so many cultures in the Americas or in Asia
• 14:12
  Speaker 4: or Europe or in Africa where it's such a cornerstone
• 14:16
  Speaker 4: of the maturity experience, and I think it's just kind
• 14:20
  Speaker 4: of showing us that the Yucha are just amped up
• 14:24
  Speaker 4: to eleven. It's like a mixture of klingon and herosion.
• 14:28
  Speaker 3: But let me let me also throw out there though,
• 14:31
  Speaker 3: what's interesting about it because the journey that this specific
• 14:34
  Speaker 3: predator goes on is one where when he recognizes the
• 14:39
  Speaker 3: intelligence in the creature he's going after, he changes his goal.
• 14:44
  Speaker 3: It's no longer hunting, it's it's protection and family and
• 14:49
  Speaker 3: that sort of stuff, and which is beautiful. I think
• 14:52
  Speaker 3: it's actually a beautiful thing. But then it makes if anything.
• 14:58
  Speaker 5: You know.
• 15:00
  Speaker 3: What I like about that is that it then very
• 15:04
  Speaker 3: trickily undercuts how abnormal this predator's journey is, where now
• 15:12
  Speaker 3: the predators that we've encountered before are even more monstrous,
• 15:15
  Speaker 3: because this predator, upon recognizing intelligence, is like, it's wrong
• 15:19
  Speaker 3: to kill something like this or treat it this way.
• 15:22
  Speaker 3: Whereas the other predators they encounter arguably reasonably intelligent primates
• 15:29
  Speaker 3: who they're like, yeah, I don't care smart, but whatever,
• 15:32
  Speaker 3: I'll hunt whatever it is, whereas like this predator, like,
• 15:35
  Speaker 3: I think that that's actually a very interesting dynamic that
• 15:39
  Speaker 3: the movie winds up playing with and I think that
• 15:43
  Speaker 3: there would be other instances where I think people could
• 15:46
  Speaker 3: be dismissive, But I think Trachtenberg has shown at this
• 15:49
  Speaker 3: point that he's very consciously doing that. He's very consciously
• 15:54
  Speaker 3: setting up how different this guy is, how unique. This flip,
• 16:00
  Speaker 3: you know, the switch goes in his brain to recognize
• 16:04
  Speaker 3: intelligence means I shouldn't do this to the thing which
• 16:07
  Speaker 3: makes him, if anything, more human than the company that
• 16:12
  Speaker 3: sends robots out to go treat the intelligent animals like this.
• 16:17
  Speaker 2: Well, and it's yeah, there's there's some key lines of dialogue,
• 16:21
  Speaker 2: you know, when he starts to refer to his brother
• 16:24
  Speaker 2: as the wolf, or when he's talking you know with
• 16:27
  Speaker 2: the synth about you know, weakness and about and she's
• 16:34
  Speaker 2: teaching him about you know, different species that work as
• 16:38
  Speaker 2: a pack. And it's not a monoculture of you know
• 16:42
  Speaker 2: that that's I really like seeing what Drachtenberg is doing
• 16:48
  Speaker 2: with the predator culture because I don't want it to
• 16:50
  Speaker 2: be a monoculture. I don't want it to be because
• 16:54
  Speaker 2: monocultures break down when you really start to think about it,
• 16:57
  Speaker 2: where you're like, so if tactically an alliance makes sense,
• 17:02
  Speaker 2: but your culture says everyone for themselves, like you're not
• 17:06
  Speaker 2: gonna get very far. There's only so much you can do.
• 17:09
  Speaker 2: And so as you know, this Ucha is able to
• 17:15
  Speaker 2: kind of be the not the first first we've seen
• 17:18
  Speaker 2: you know, who has this different clan aspect, has this
• 17:22
  Speaker 2: different way of looking at things because of his upbringing,
• 17:25
  Speaker 2: because of being the right, Like you see his story
• 17:30
  Speaker 2: forming this type of what his tribe is going to be,
• 17:33
  Speaker 2: and it so it's not like why is he different,
• 17:36
  Speaker 2: It's like, no, you see why he's different because of
• 17:39
  Speaker 2: all the building blocks into his character, and that's just
• 17:43
  Speaker 2: good storytelling. So it's not all the Ucha. It's not
• 17:48
  Speaker 2: all Deck here. El Fanning as our amazing synth the
• 17:56
  Speaker 2: actually both since which she played so differently. I did
• 18:00
  Speaker 2: not realize at first that it was the same actress
• 18:03
  Speaker 2: playing both like I assumed that it would be, but
• 18:08
  Speaker 2: maybe just the one missing eye or something did it.
• 18:11
  Speaker 2: But again, a fun character, a great way of writing
• 18:16
  Speaker 2: comedic beats into the story, but not heavy handing, not
• 18:21
  Speaker 2: taking it too far. I mean, technically, I know she's
• 18:26
  Speaker 2: a synth, but technically she's the only quote unquote human
• 18:29
  Speaker 2: expression in this movie. There are no humans. In this
• 18:33
  Speaker 2: entire story, So her being there also acts as a grounding.
• 18:40
  Speaker 2: She's using expressions were you know, used to she talks
• 18:44
  Speaker 2: in English the entire time, you know, through a handy
• 18:47
  Speaker 2: wave of is this gonna be a new category of translation? Tristan,
• 18:51
  Speaker 2: We had the Armageddon step over in One Hunter for
• 18:57
  Speaker 2: Ad October. Is this, Oh my translation circuit makes it
• 19:00
  Speaker 2: sound like you can hear whatever you're meant to hear.
• 19:03
  Speaker 2: I'm like, oh, actually, I kind of like that Universal Translator.
• 19:06
  Speaker 3: It's it's such a I considered it such I got
• 19:09
  Speaker 3: a chuckle out of that because it was such a
• 19:11
  Speaker 3: clever wink at the audience, like we're not going to
• 19:15
  Speaker 3: subtitle Predator the whole time, guys, it's okay, we're gonna
• 19:19
  Speaker 3: make it through.
• 19:20
  Speaker 5: Yeah.
• 19:21
  Speaker 3: I thought that was such a such a that's the
• 19:24
  Speaker 3: type of wink at the audience that I enjoy where
• 19:26
  Speaker 3: it was just it was very cute to insert the
• 19:29
  Speaker 3: line where it was like, oh, you're just gonna hear
• 19:31
  Speaker 3: what you're supposed to hear.
• 19:32
  Speaker 4: I was like, don't think about it, yeah, don't think
• 19:35
  Speaker 4: about it.
• 19:36
  Speaker 5: Don't think about it. Uh, Yeah, I enjoy I enjoyed that.
• 19:39
  Speaker 4: Although I was a little confused at first because I
• 19:43
  Speaker 4: was like, okay, so what are they hearing?
• 19:46
  Speaker 5: What are they saying?
• 19:48
  Speaker 4: And then it made it It made me doubly confused
• 19:52
  Speaker 4: later on when she started speaking the language like Yucha,
• 19:56
  Speaker 4: the Yuca language, I was like, okay, how is this working?
• 20:00
  Speaker 5: What is this happening?
• 20:00
  Speaker 4: And it's just basically everyone hears their own language, and
• 20:07
  Speaker 4: she was. She was actually speaking Yucha in that scene,
• 20:12
  Speaker 4: and to the to the fact that the other synth
• 20:15
  Speaker 4: was like, why are you speaking as language? So it
• 20:18
  Speaker 4: that one was that one made my brain.
• 20:20
  Speaker 5: Break just a little bit.
• 20:22
  Speaker 2: It I agree. Later it does get a little muddled
• 20:26
  Speaker 2: the way. I think because it had been so long
• 20:29
  Speaker 2: since the first scene where she explains it, we kind
• 20:32
  Speaker 2: of needed a refresher of what's going on. I viewed
• 20:35
  Speaker 2: it as there are two times she's talking in his language.
• 20:39
  Speaker 2: She's talking specifically in Yucha language when she says the
• 20:44
  Speaker 2: words and we hear predator language, and then she switches
• 20:48
  Speaker 2: to this handwave universal translator mode in which we hear
• 20:54
  Speaker 2: English because we're human, and he hears Ucha. And then
• 20:59
  Speaker 2: later I think where she's twisting it is she's switching
• 21:03
  Speaker 2: back to Uchcha so that the sense aren't hearing Universal
• 21:07
  Speaker 2: Translator English, and it's her covert way of talking, which
• 21:13
  Speaker 2: also kind of again, they could have explained it a
• 21:15
  Speaker 2: little better, where I was like, why do the other
• 21:18
  Speaker 2: sense not understand this language? Like I understand she's a
• 21:21
  Speaker 2: little more specialized. And I got there, but I had
• 21:25
  Speaker 2: to get there really quickly because the scene kept going. Again,
• 21:29
  Speaker 2: not a terrible thing, but if.
• 21:31
  Speaker 3: I'm willing to overlook klingon swear words in kellikams when
• 21:34
  Speaker 3: they're supposedly speaking the Universal Translator.
• 21:37
  Speaker 5: Let this one go too.
• 21:38
  Speaker 2: It's always there.
• 21:39
  Speaker 4: Yeah, So I want to know what you guys thought
• 21:42
  Speaker 4: of the actual Yucha language and actually, let me get
• 21:47
  Speaker 4: a little bit more specific. So so the lead, the
• 21:52
  Speaker 4: guy who played Deck, actually spoke that during the movie,
• 21:56
  Speaker 4: like that that's him speaking I mean, obviously affected, but
• 22:00
  Speaker 4: that's him speaking that made up language. They brought an
• 22:02
  Speaker 4: a linguist who was a student of the guy who
• 22:06
  Speaker 4: created the Navi language in Avatar, and so they they
• 22:11
  Speaker 4: actually made the Yuta language. So whenever he wanted to
• 22:13
  Speaker 4: improvise or say something else, he had to teach himself
• 22:17
  Speaker 4: how to say it in Yucha before he could actually
• 22:20
  Speaker 4: say it. And part of me is going, why did
• 22:24
  Speaker 4: you do that? You're gonna be cgiing his face the
• 22:29
  Speaker 4: entire time. Why wouldn't you just let the actor speak English,
• 22:34
  Speaker 4: speak the language he wanted to speak, and then that
• 22:37
  Speaker 4: way he get to improvise or like changes verbiage or
• 22:40
  Speaker 4: kind of roll with it if he needed to, and
• 22:43
  Speaker 4: then you're gonna Seegi's face and then just eighty r
• 22:46
  Speaker 4: it later. I don't understand that. Why wouldn't you do that?
• 22:49
  Speaker 2: Uh?
• 22:49
  Speaker 3: I'll you know what, I'll throw this out there to you.
• 22:52
  Speaker 2: I have an idea.
• 22:53
  Speaker 3: But go go ahead, John, I'm gonna go out. Go
• 22:57
  Speaker 3: out on two limbs here. First limb. It makes it
• 23:00
  Speaker 3: easier on the people mapping the face because they the
• 23:05
  Speaker 3: lip movement will remain real. And two, it's a way
• 23:10
  Speaker 3: to punish your actor for trying to change the lines
• 23:12
  Speaker 3: in your script. And he has to really want to
• 23:15
  Speaker 3: do it. He can't just say something all with the
• 23:17
  Speaker 3: fly the choices.
• 23:20
  Speaker 2: Yes, I agree. I think there is a subtlety in
• 23:25
  Speaker 2: the performance that you're not going to get with English.
• 23:30
  Speaker 2: The bounce of ahead, the rhythm of emotion even though
• 23:34
  Speaker 2: they're cg and eying the face, the fact that they're
• 23:36
  Speaker 2: carrying through the eyes. They're carrying through as much as
• 23:39
  Speaker 2: they can. We've all seen it with a bad dub
• 23:44
  Speaker 2: when someone's like I'm so happy and they're bouncing on
• 23:47
  Speaker 2: a one, two, three, and then you put in a
• 23:50
  Speaker 2: different beat of words and it doesn't match and it
• 23:53
  Speaker 2: doesn't flow. Also, I honestly think it helps the actor
• 24:01
  Speaker 2: portray an alien better, like talking in different words and
• 24:07
  Speaker 2: having different you know, guttur role and and trill sounds like.
• 24:13
  Speaker 2: I think it's just even more of the performance is
• 24:16
  Speaker 2: coming through. So I totally see like they could have
• 24:19
  Speaker 2: done it the English way and and the dubbing way,
• 24:22
  Speaker 2: but it was I think they got a better performance
• 24:26
  Speaker 2: the way they did it.
• 24:28
  Speaker 4: Oh, I'm I'm sure you're right, and you make you
• 24:31
  Speaker 4: guys make some really solid points. I just I'm so
• 24:34
  Speaker 4: terrible with languages that I absolutely would have punked out
• 24:39
  Speaker 4: and said, like I'll just we'll just double.
• 24:41
  Speaker 2: Note right right right right right, okay, uh yeah no,
• 24:48
  Speaker 2: And so we we have our characters were putting them together.
• 24:52
  Speaker 2: We're on this planet and again this planet, I'm glad.
• 24:57
  Speaker 2: I can see why there's no humans on this planet.
• 24:59
  Speaker 2: This planet is like death. Everything everything is trying to
• 25:04
  Speaker 2: kill you, the trees, the birds, like.
• 25:06
  Speaker 4: Even that opening shot when they have the title on it,
• 25:09
  Speaker 4: you know, like everything's killing everything in that one shot, Like.
• 25:14
  Speaker 2: You see a little bird and then it like gets
• 25:15
  Speaker 2: too close to something, it goes and it's like, oh,
• 25:18
  Speaker 2: oh oh, there's always a bigger fish in every shot
• 25:21
  Speaker 2: of this movie. But but again.
• 25:25
  Speaker 5: There were I liked all the alien monsters.
• 25:28
  Speaker 2: It didn't nothing felt reused, nothing felt like all I've
• 25:31
  Speaker 2: seen that monster before, Like it was fresh and unique.
• 25:36
  Speaker 2: And again having you know, our synth be able to
• 25:41
  Speaker 2: give us Englishish words, you know, like the the rock
• 25:45
  Speaker 2: monster this or the boulder beast or the like that
• 25:48
  Speaker 2: makes more sense than the Ucha saying something in his
• 25:51
  Speaker 2: leg like that. We would have no context, there'd be
• 25:54
  Speaker 2: no connection. It's like, oh, it's like a fail or beast.
• 25:56
  Speaker 2: It's like, sure, I don't know what that means. But okay.
• 26:01
  Speaker 4: I mentioned Star Trek a couple of times in this
• 26:05
  Speaker 4: but like one thing I always kind of wished that
• 26:08
  Speaker 4: Star Trek did more was what you just talked about, Darren,
• 26:11
  Speaker 4: where they're just like, oh my god, it looks like
• 26:13
  Speaker 4: a failure, you know, and like in the audience just
• 26:15
  Speaker 4: doesn't know but they're like, but it's in Star Trek.
• 26:17
  Speaker 4: It's always like, oh man, my goodness, that looks like
• 26:19
  Speaker 4: a Filorian spider or that's a Watusian falcon. You're like, yeah,
• 26:24
  Speaker 4: don't don't just put in front of it.
• 26:28
  Speaker 2: Alien place human species, Like that's the pairing you always get.
• 26:34
  Speaker 2: Yeah the time, you know.
• 26:37
  Speaker 3: The thing that I liked a whole lot. Actually, what
• 26:42
  Speaker 3: I thought was really clever on the part of everybody
• 26:46
  Speaker 3: that that worked on this, and of course you got
• 26:48
  Speaker 3: to give credit to the director for giving it shape,
• 26:51
  Speaker 3: is the fact that they had something that was cute
• 26:55
  Speaker 3: that paid off later because the moment where you figure
• 26:59
  Speaker 3: out and you go, oh, oh, that's a grown up
• 27:02
  Speaker 3: one that's oh yeah, that's such a great moment where
• 27:07
  Speaker 3: you see it pay off story wise, where you're like, oh, oh, okay,
• 27:12
  Speaker 3: I really.
• 27:13
  Speaker 2: Enjoyed that Tristan agrees with you, Joane.
• 27:15
  Speaker 3: Tristan doesn't need to agree with me, but he's you know,
• 27:18
  Speaker 3: he's wrong in this case. That's fine. I enjoyed it
• 27:20
  Speaker 3: a great deal.
• 27:22
  Speaker 4: No, I liked I liked the reveal. I think that
• 27:27
  Speaker 4: was interesting. I didn't like how cute Bud was. It
• 27:32
  Speaker 4: was really off putting and he was too monkey Like.
• 27:37
  Speaker 4: I think if they made him less, like like keep
• 27:39
  Speaker 4: the cuteness factor, that's fine, make him less like a monkey,
• 27:43
  Speaker 4: I would have been I would have been on board. Honestly.
• 27:46
  Speaker 4: It deterred my my enjoyment of this film quite a
• 27:50
  Speaker 4: lot because of how monkey like Bud was. I was
• 27:55
  Speaker 4: just like, okay, because like movies that have a monkey
• 27:57
  Speaker 4: in them, Like that's a negative. When I say, like,
• 28:01
  Speaker 4: if I'm reading a script, or if I'm talking to
• 28:04
  Speaker 4: a friend about an idea, or if I'm seeing a
• 28:06
  Speaker 4: trailer and all of a sudden a monkey pops up,
• 28:09
  Speaker 4: that's when I say, well, the script is good or
• 28:11
  Speaker 4: the movie is good, but it has a monkey in it, right,
• 28:15
  Speaker 4: Like that's how it would say.
• 28:17
  Speaker 2: Me, what is it? Uh? Blurg from Lost in Space?
• 28:23
  Speaker 2: Lost in Space eight movie, Like, oh.
• 28:26
  Speaker 3: Hold on, that movie had a lot more problems than
• 28:28
  Speaker 3: just but.
• 28:29
  Speaker 2: Okay, I had a monkey. It had a monkey. It
• 28:32
  Speaker 2: had a monkey. Yeah that's a space monkey. It had
• 28:35
  Speaker 2: a space money.
• 28:36
  Speaker 3: Floxy and space monkey was in there.
• 28:38
  Speaker 5: Yes, a Floxy and space monkey, and think that's the thing.
• 28:40
  Speaker 4: It's just like that's how I would just describe this
• 28:42
  Speaker 4: as like, oh yeah, Predator bad leins.
• 28:44
  Speaker 5: It's really cool.
• 28:45
  Speaker 4: It's got this, it's got a sense, it's got a
• 28:47
  Speaker 4: it's got an alien connection. You really connect with the protagonist.
• 28:51
  Speaker 4: It has a monkey though, but you.
• 28:52
  Speaker 3: Know you can, you can, you can move past that,
• 28:54
  Speaker 3: all right, all right now, but see but see the
• 28:56
  Speaker 3: thing is they didn't they didn't dwell on the monkey
• 28:59
  Speaker 3: too much, I don't think. And the thing is to
• 29:02
  Speaker 3: have it pay off in the fact that it, you know,
• 29:06
  Speaker 3: marking the predator is what saves them all in the end.
• 29:10
  Speaker 3: Like I thought that was actually like it made the
• 29:14
  Speaker 3: cuteness pay off, and I think in a very significant way.
• 29:17
  Speaker 3: And also, you know, in a strange way, you know,
• 29:23
  Speaker 3: plays on this whole thing where people love to see
• 29:26
  Speaker 3: the cute animal like or it's the animal is cute,
• 29:29
  Speaker 3: like a tiger cub is adorable, but that thing is
• 29:32
  Speaker 3: gonna eat your face, right, it gets angry, you're dead
• 29:36
  Speaker 3: sort of thing when it's grown up. But like you know,
• 29:38
  Speaker 3: people fall prey to it. Hey, another predator reference, fall
• 29:43
  Speaker 3: prey to that cuteness impulse.
• 29:45
  Speaker 5: I love.
• 29:46
  Speaker 2: That just makes you think of a Galaxy Quest's open
• 29:50
  Speaker 2: guy where he's like yeah, where he's like yeah, he's cute. Now,
• 29:55
  Speaker 2: but there's too there's gonna be mean and it's gonna
• 29:57
  Speaker 2: be on ten thousand more of them, and that's exactly
• 29:59
  Speaker 2: what happen Pits.
• 30:00
  Speaker 3: Yeah, yeah, there you go, there you go.
• 30:04
  Speaker 2: Yeah. No, I see your point, Tristan. I think also
• 30:10
  Speaker 2: the second phase we see of the monkey, I'm just
• 30:14
  Speaker 2: calling him that now, but like when they get back
• 30:16
  Speaker 2: to the predator's home planet and he's actually grown and
• 30:19
  Speaker 2: he's a little more like I see though, why they
• 30:22
  Speaker 2: didn't use that form in the first form because it's
• 30:27
  Speaker 2: too much like the mom You would have made the
• 30:29
  Speaker 2: connection right away.
• 30:31
  Speaker 4: M h Yeah, I'm with you on that one. Like
• 30:34
  Speaker 4: when when they showed up to the back on his
• 30:36
  Speaker 4: home planet, I was like, Okay, that's cool, Like that's
• 30:39
  Speaker 4: a cool design.
• 30:40
  Speaker 5: I like that.
• 30:41
  Speaker 4: If they just kind of shrunk that I would I
• 30:44
  Speaker 4: would be into it, honestly. Like again, I don't mind
• 30:46
  Speaker 4: the cuteness factor. I just don't like that it looked
• 30:49
  Speaker 4: like a monkey, maget, any other kind of animals.
• 30:54
  Speaker 3: We're gonna really have to, like sort of at some
• 30:56
  Speaker 3: future point, not during a show, We're gonna have to
• 30:59
  Speaker 3: really like sit down and like analyze this whole monkey
• 31:01
  Speaker 3: hatred that you have. It's very intriguing.
• 31:04
  Speaker 4: No freaking love here, No, I freaking love monkeys.
• 31:09
  Speaker 3: You just don't want to give them a voice in Hollywood.
• 31:12
  Speaker 3: That's that's wrong. That's I don't know, just saying.
• 31:14
  Speaker 5: That's what I'm saying.
• 31:15
  Speaker 4: No, monkeys, monkeys and apes are my favorite animals, hands down.
• 31:20
  Speaker 4: I just don't want a cute sy monkey in my
• 31:23
  Speaker 4: Predator movie.
• 31:25
  Speaker 5: This.
• 31:26
  Speaker 3: This is definitely a conversation I did not dissipate having
• 31:31
  Speaker 3: about Predator bad Lands, so you know.
• 31:36
  Speaker 5: We're having it. I felt the need to put it
• 31:39
  Speaker 5: in there.
• 31:40
  Speaker 3: All of these years that we've known each other, I
• 31:42
  Speaker 3: never knew this specific aspect of your movie going habits.
• 31:46
  Speaker 3: And now I'm just gonna ship you copies of monkey
• 31:49
  Speaker 3: horror movies like Monkey Shines, and you know what, we'll
• 31:52
  Speaker 3: have to go primate sometime soon.
• 31:55
  Speaker 5: So, oh god, that movie.
• 31:59
  Speaker 2: So bringing it back around, let's talk about the music
• 32:03
  Speaker 2: a bit. So we had a dual composer situation. But
• 32:07
  Speaker 2: for Sarah Shackner, thank you. She returned from Prey so
• 32:15
  Speaker 2: we've seen her, you know, paired with dam before. I
• 32:19
  Speaker 2: really enjoyed the music for this. It was very up
• 32:22
  Speaker 2: and go had a lot of you know, great moments.
• 32:26
  Speaker 2: I don't think I remember hearing a quote unquote Predator theme.
• 32:31
  Speaker 2: There was no Da da dad. I didn't need it.
• 32:34
  Speaker 2: I'm saying I wanted it. I'm just saying I'm glad
• 32:35
  Speaker 2: it wasn't there. But I enjoyed it. It really worked
• 32:41
  Speaker 2: with the visuals, with what we were getting with the moments. Yeah,
• 32:45
  Speaker 2: but any you know, I didn't have a ton to
• 32:48
  Speaker 2: say about it, but any thoughts John on the music, I.
• 32:51
  Speaker 3: Thought the music was good. I don't find it particularly memorable, granted,
• 32:56
  Speaker 3: But what's interesting is Shackner partners with Ben Benjamin Wallfish
• 33:04
  Speaker 3: and he did like Blade Runner twenty forty nine and
• 33:07
  Speaker 3: stuff like that. So I'd be very interested to see
• 33:10
  Speaker 3: how they approached that, right. Was this something where they
• 33:14
  Speaker 3: were truly collaborators or was it something or was like, hey,
• 33:17
  Speaker 3: you take this type of music, you take this type
• 33:20
  Speaker 3: of music, and you give me what you like. I
• 33:22
  Speaker 3: would love to know more about what that working process
• 33:26
  Speaker 3: was so that I can, you know, get a lens
• 33:28
  Speaker 3: into it, Like was it a Last of the Mohicans
• 33:31
  Speaker 3: where it wasn't really a collaborative but it still wound
• 33:34
  Speaker 3: up you know, I mean, this is not last of
• 33:37
  Speaker 3: the Mohicans level of course, but no, you know, like
• 33:40
  Speaker 3: that sort of thing though, you know, but like just
• 33:43
  Speaker 3: in terms of a working relationship, were they were they
• 33:45
  Speaker 3: in the studio together and like you know, splitting things
• 33:48
  Speaker 3: up that way.
• 33:48
  Speaker 2: It composed every other note like you do when you
• 33:50
  Speaker 2: work together.
• 33:51
  Speaker 5: Yes, exactly, John, did you.
• 33:53
  Speaker 2: What do you think?
• 33:53
  Speaker 5: Did you get me the twenty forty nine vinyl? Did
• 33:56
  Speaker 5: you buy me that? You know?
• 33:59
  Speaker 3: What I will say that I did sounds like sounds
• 34:02
  Speaker 3: you know to a friend. I am a very thoughtful person,
• 34:05
  Speaker 3: So yes, I did that.
• 34:06
  Speaker 4: Yes, I mean Waalfish's work on twenty forty nine is
• 34:10
  Speaker 4: just brilliant, and Shackner on Prey was really distinct. I
• 34:15
  Speaker 4: think I think Prey was much more distinct than bad
• 34:20
  Speaker 4: Lands or Killer of Killers in terms of music. So
• 34:24
  Speaker 4: I really what I would what I'd love to do
• 34:26
  Speaker 4: is actually, like probably tomorrow when I'm working, I'm going
• 34:29
  Speaker 4: to listen to Prey, Killer of Killers and bad Lands.
• 34:31
  Speaker 4: I'm just going to do it all three in a row.
• 34:34
  Speaker 4: And I really want to take take a listen and
• 34:36
  Speaker 4: kind of compare and figure out where I can hear Shackner,
• 34:39
  Speaker 4: where I can hear Wallfish because you have two really
• 34:43
  Speaker 4: great composers and I need to sit down and listen.
• 34:47
  Speaker 4: One thing I really did like was the choir piece
• 34:49
  Speaker 4: at the end during the end credits. I thought that
• 34:51
  Speaker 4: was really nice. That was really interesting, and apparently that
• 34:54
  Speaker 4: was in the language of Yucha, which I think is
• 34:57
  Speaker 4: a really nice touch.
• 34:59
  Speaker 5: You know. I yeah, you know.
• 35:02
  Speaker 3: I actually I hadn't really thought about the closing credits music,
• 35:06
  Speaker 3: but you're right. I left the closing credits going because
• 35:08
  Speaker 3: I was enjoying that piece. That was actually something very
• 35:12
  Speaker 3: nice to listen to.
• 35:14
  Speaker 5: The anti James Cameron.
• 35:15
  Speaker 2: And Marvel has conditioned me to wait for extra trailer bits,
• 35:20
  Speaker 2: so I just there was none. But I was like,
• 35:22
  Speaker 2: you know, it's what are you talking about?
• 35:24
  Speaker 5: Like a post? There was a post thing.
• 35:27
  Speaker 2: Like for a moment, like after a time.
• 35:28
  Speaker 5: I mean it was pretty quick. Yeah, yeah, yeah, yeah.
• 35:32
  Speaker 2: It wasn't like the end of the credits and that
• 35:33
  Speaker 2: was bid credit.
• 35:34
  Speaker 3: But that was actually one of the things that I
• 35:37
  Speaker 3: didn't care for about the film was that, oh, it's
• 35:41
  Speaker 3: just my mom no you The reason I did not
• 35:44
  Speaker 3: like it was because of the It was a very
• 35:49
  Speaker 3: marvel esque sort of thing where it was like and
• 35:52
  Speaker 3: what zany hyjinks are they going to get into next time?
• 35:55
  Speaker 3: And I was like, oh, this is sort of like undercut,
• 35:57
  Speaker 3: sort of the emotional weight of the actual ending. And
• 36:02
  Speaker 3: I understand why they did it, but I didn't care
• 36:06
  Speaker 3: for it at all. I thought it was much stronger
• 36:11
  Speaker 3: to leave it at like, you know, we just killed
• 36:14
  Speaker 3: my dad, I've got my cloak. We are we are
• 36:18
  Speaker 3: the Klan, you know, like like Dom from Fast and
• 36:21
  Speaker 3: Furious they found their family.
• 36:24
  Speaker 5: Oh my god, they were ready to go.
• 36:28
  Speaker 2: Family. No, not together. I'll see that point. Yes, I mean, yeah,
• 36:36
  Speaker 2: I was because it raised questions, but I think that's
• 36:39
  Speaker 2: the point of it. It's supposed to be like, oh,
• 36:41
  Speaker 2: why are they getting their swords out? Who is this
• 36:43
  Speaker 2: coming here? Like? And then you're over and you're like, oh,
• 36:45
  Speaker 2: I mean you're left wanting more in a tiny bit,
• 36:48
  Speaker 2: which I don't think is necessarily wrong. Also, I kind
• 36:52
  Speaker 2: of gave it a pass because I think tracton Berg
• 36:56
  Speaker 2: can totally deliver on whatever he sets up and does.
• 37:00
  Speaker 2: So you know, if he wants to tease a tiny
• 37:02
  Speaker 2: bit for where this might go, I say give it
• 37:06
  Speaker 2: to him.
• 37:07
  Speaker 3: You know, your mileage may vary. That's just where I
• 37:10
  Speaker 3: ended with it.
• 37:11
  Speaker 4: But like you texted me that today and I had
• 37:14
  Speaker 4: to look up the acronym because I had no idea
• 37:16
  Speaker 4: what that acronym was.
• 37:17
  Speaker 3: Well, I'm hip like the kids, and so that's you know,
• 37:20
  Speaker 3: that's me. That's my gift to you. But in all honesty,
• 37:24
  Speaker 3: because like Darren, you're saying, like you know, he's setting
• 37:27
  Speaker 3: up the next chapter, and he was very open if
• 37:30
  Speaker 3: this is successful, we're going to have another one. It
• 37:33
  Speaker 3: makes worldwide one hundred and eighty four and a half
• 37:37
  Speaker 3: on a.
• 37:37
  Speaker 2: One domestic eight ninety three international budget, but it's one
• 37:42
  Speaker 2: hundred and five.
• 37:44
  Speaker 5: Yeah, yeah, that's a shouble.
• 37:47
  Speaker 2: Not a smash. But I mean it's also getting really
• 37:51
  Speaker 2: good ratings and really good word of mouth.
• 37:53
  Speaker 3: So but it has to win awards with that margin.
• 37:57
  Speaker 3: I think it has to win like a visual effect
• 37:59
  Speaker 3: toward or something right that.
• 38:00
  Speaker 2: I think it will. It's in there.
• 38:02
  Speaker 4: I mean, they gave him three movies and two at once.
• 38:05
  Speaker 4: I'm really hoping that they put some faith into him
• 38:09
  Speaker 4: saying like okay, like this big budget, yeah, and you know,
• 38:13
  Speaker 4: a special effects movie, didn't.
• 38:15
  Speaker 5: You know what.
• 38:16
  Speaker 4: I'm hoping that their expectations for this was not like,
• 38:19
  Speaker 4: oh we were hoping to get make five hundred million
• 38:22
  Speaker 4: on this. I'm really hoping that that twentieth century Fox
• 38:26
  Speaker 4: or whatever the hell it's called now is you know,
• 38:29
  Speaker 4: had I had normalized expectations for this.
• 38:33
  Speaker 2: I was interesting. I was just looking up Prey to see, oh,
• 38:36
  Speaker 2: what did it make? Well, it has no box office
• 38:39
  Speaker 2: because it was on hoolage. So all we have is
• 38:42
  Speaker 2: the sixty five million budget. So when we have sixty
• 38:46
  Speaker 2: five million budget, you keep it on Earth when you
• 38:48
  Speaker 2: get one hundred million deaths when you go to the
• 38:50
  Speaker 2: other planet.
• 38:51
  Speaker 3: But I gotta be honest with you guys. If we're
• 38:52
  Speaker 3: talking alien trilogies, not alien as in like the elongated
• 38:57
  Speaker 3: head hr Giger thing, but like sci fi alien sci
• 39:00
  Speaker 3: fi alien trilogies. I know, okay, I'm gonna take the
• 39:05
  Speaker 3: hate here from whomever for this, But in terms of
• 39:10
  Speaker 3: really creating something that I will come back and rewatch
• 39:13
  Speaker 3: more frequently tracked and Berg beat Cameron with the with
• 39:16
  Speaker 3: these three movies, I'm just gonna go ahead. I'm just
• 39:19
  Speaker 3: gonna leave it right there. I know I'm a terrible,
• 39:21
  Speaker 3: terrible as opposed to avatars. Yes, oh hell yeah, no,
• 39:26
  Speaker 3: I'll watch this instead of Avatar any day of the week.
• 39:31
  Speaker 4: I'm a huge I'm a huge Avatar fan, and like
• 39:34
  Speaker 4: I I have defended the two thousand and nine Avatar
• 39:36
  Speaker 4: film ever since two thousand and nine, and Way of
• 39:40
  Speaker 4: the Water I thought was a great experience.
• 39:42
  Speaker 5: I saw that.
• 39:43
  Speaker 4: I loved Way of Water. Yeah, I saw the third one,
• 39:47
  Speaker 4: which is basically just Way of the Water again. But
• 39:51
  Speaker 4: the thing is is that like the rewatchability, Like you
• 39:54
  Speaker 4: have such distinct differences between a Killer of Killers and
• 40:02
  Speaker 4: bad Lands that you know, like you can sit down
• 40:05
  Speaker 4: and watch that trilogy and get a different experience with
• 40:08
  Speaker 4: each single movie, not just in like, not just in story,
• 40:12
  Speaker 4: but also in style. With Avatar, specifically Avatar two and three,
• 40:17
  Speaker 4: you're basically getting the same movie with two and three,
• 40:21
  Speaker 4: and so with this one, it's just so varied and different.
• 40:26
  Speaker 5: It's yeah.
• 40:26
  Speaker 4: Absolutely And I say that as an Avatar fan and
• 40:30
  Speaker 4: defender hardcore. Yeah, absolutely great.
• 40:33
  Speaker 3: I'm really happy about that. But like, yeah, okay, cool, great.
• 40:38
  Speaker 4: I want to ask the question though, I want to
• 40:40
  Speaker 4: ask you a guy a question. I really hope that
• 40:43
  Speaker 4: John doesn't roll his eyes. So with this question, I
• 40:48
  Speaker 4: really thought that his journey, that Deck's journey was you know, like, Okay, So,
• 40:55
  Speaker 4: like people made the joke that this was gen Z
• 40:58
  Speaker 4: predator because he's he's younger, it's new, he's got like
• 41:04
  Speaker 4: the dreads that kind of going back with the shave
• 41:06
  Speaker 4: sides and everything like that. I thought that was funny.
• 41:08
  Speaker 4: But I felt like this was a fantastic metaphor for
• 41:14
  Speaker 4: online toxic masculinity. And I know that that phrase. Okay,
• 41:19
  Speaker 4: he's rolling his eyes, he's rolling his ice, he's falling over. Okay,
• 41:22
  Speaker 4: I get I get it, I get it. I totally
• 41:25
  Speaker 4: get it.
• 41:26
  Speaker 3: I didn't just roll my eyes. I gouged them out. Yeah,
• 41:29
  Speaker 3: anything fell over.
• 41:30
  Speaker 4: Okay, Yes, I fully admit that that phrase has been
• 41:35
  Speaker 4: overused and abused.
• 41:37
  Speaker 5: Totally get it. But hear me out.
• 41:41
  Speaker 4: So with Deck's journey, he has an abusive childhood where
• 41:48
  Speaker 4: he is not up to the stanzards of what is
• 41:52
  Speaker 4: a yucha I e man like, he's not up to
• 41:55
  Speaker 4: the standards. He's not big enough, he's not strong enough.
• 41:58
  Speaker 4: He's not he's too emotional, he cares too much, you know. Okay,
• 42:02
  Speaker 4: but so he's been. They're trying to beat it out
• 42:04
  Speaker 4: of him, and since they can't beat about of him,
• 42:06
  Speaker 4: they're going to kill him, and then he moves on
• 42:09
  Speaker 4: and then he gets to this new world and he's like,
• 42:11
  Speaker 4: I'm going to prove myself. I'm going to be the
• 42:13
  Speaker 4: manliest man that there is who is ever manned. And
• 42:17
  Speaker 4: as he goes on, he sees this woman, this female
• 42:21
  Speaker 4: figure who knows a lot more than he does about
• 42:24
  Speaker 4: the region. And he's like, oh, I got a hunt alone,
• 42:27
  Speaker 4: and she's like, well, you know, I can help you.
• 42:30
  Speaker 4: He's like, he's like, so you're like a tool. And
• 42:34
  Speaker 4: so he sees her like a thing, and that's his
• 42:37
  Speaker 4: justification for utilizing her knowledge and her abilities, and so
• 42:43
  Speaker 4: he sees her as just something that he can use,
• 42:45
  Speaker 4: something that is just going to progress his story forward,
• 42:49
  Speaker 4: his hunt. And as he's going on, we see his arc,
• 42:53
  Speaker 4: We see her start. We see him start to respect her,
• 42:56
  Speaker 4: start to understand her reasoning, her rationale, see her as
• 43:00
  Speaker 4: an individual, not as a tool, but as a being.
• 43:03
  Speaker 4: And then that allowed, like his empathy towards her allows
• 43:07
  Speaker 4: him to see Bud the monkey, the space monkey, and
• 43:12
  Speaker 4: the callusk or whatever you call it, and recognize intelligence.
• 43:17
  Speaker 4: And then he goes back home with his newfound family
• 43:21
  Speaker 4: and his newfound respect for intelligence and women and say
• 43:25
  Speaker 4: I'm not going to be like you, dad. I'm going
• 43:27
  Speaker 4: to grow on and evolve in this generation. That's what
• 43:31
  Speaker 4: I took from this, And I want to know what
• 43:33
  Speaker 4: you guys took.
• 43:35
  Speaker 3: I did not take the same thing. I'm not dismissing
• 43:40
  Speaker 3: what you're saying here.
• 43:41
  Speaker 2: I took.
• 43:43
  Speaker 3: I took it in a slightly more macro sense. I
• 43:45
  Speaker 3: guess in the fact that it wasn't a specific commentary
• 43:49
  Speaker 3: on toxic masculinity, but on challenging the way a you know,
• 43:55
  Speaker 3: your family or your culture is set up and saying
• 43:58
  Speaker 3: this isn't necessarily right, guys, right, it's it's it's not
• 44:04
  Speaker 3: I'm not drilling down at that level. And I think
• 44:07
  Speaker 3: that probably I didn't view l Fanning as a woman either,
• 44:12
  Speaker 3: because I viewed l Fanning the way I saw Deck
• 44:15
  Speaker 3: view her, which was you're just wrote of the problem, John, Yes, obviously.
• 44:19
  Speaker 3: So seeing a robot as a robot, I obviously you know,
• 44:24
  Speaker 3: I'm antiquated at this point. I saw the tool thing
• 44:28
  Speaker 3: more as oh, you're a robot, and more of a
• 44:32
  Speaker 3: discussion about, you know, when the tool gets to be
• 44:36
  Speaker 3: intelligent and reasoning. At what point do we draw a
• 44:40
  Speaker 3: distinction as to whether the machine deserves its own autonomous respect,
• 44:48
  Speaker 3: you know. So I maybe that's just me coming at
• 44:51
  Speaker 3: it from an android perspective, But in terms of the
• 44:53
  Speaker 3: hunting animals, I definitely see that where it's like there
• 44:57
  Speaker 3: is a line where most most human cultures will look
• 45:02
  Speaker 3: at an intelligent animal, like look at the way we
• 45:04
  Speaker 3: look at dolphins now versus the way we looked at
• 45:06
  Speaker 3: them before, or whales or anything like that, where it's like,
• 45:09
  Speaker 3: once we recognize a spark of actual intelligence, we start
• 45:12
  Speaker 3: to have a problem with it in terms of hunting,
• 45:16
  Speaker 3: and we're like, okay, we kind of you know, I mean,
• 45:18
  Speaker 3: we all make our we draw our lines in different places.
• 45:22
  Speaker 3: So it's like, it's not that I'm dismissing what you're saying.
• 45:24
  Speaker 3: I just think that that's a very specific way to
• 45:28
  Speaker 3: look at it, and I'm maybe looking at it from
• 45:29
  Speaker 3: a a you know, from a different facet And that's
• 45:33
  Speaker 3: just where I came at from it. Like I and
• 45:37
  Speaker 3: maybe I'm poisoned a little bit from watching, uh, you know,
• 45:40
  Speaker 3: the latest Tron movie or something like that, which you know,
• 45:43
  Speaker 3: it'll take a couple of weeks to get that out
• 45:45
  Speaker 3: of my brain anyway, But like you know, I just
• 45:48
  Speaker 3: I do. I see it more in the context with
• 45:51
  Speaker 3: with her character, specifically being the discussion about when we
• 45:56
  Speaker 3: give personality to the machine, at what point is that
• 46:00
  Speaker 3: personality making it a person? And that that's how I
• 46:04
  Speaker 3: saw that.
• 46:05
  Speaker 2: I mean, I think, yeah, I'm kind of like right
• 46:08
  Speaker 2: there in the middle. I think overall, just the way
• 46:11
  Speaker 2: the writing works is you can take it in different ways.
• 46:14
  Speaker 2: You can take it at a deeper level and a
• 46:18
  Speaker 2: more sci fi speaking to modern issues level, which sci
• 46:22
  Speaker 2: fi is great at, but you can also take it
• 46:26
  Speaker 2: at a more surface level. And the way I kind
• 46:29
  Speaker 2: of viewed it was more on the Yucha culture. There's
• 46:33
  Speaker 2: a lot of key lines that Deck says on you know,
• 46:37
  Speaker 2: all about me, I'm hunting a lot like I only
• 46:40
  Speaker 2: hunt alone. I don't need anyone. And it had less
• 46:44
  Speaker 2: to do with her being a sentient being and more
• 46:47
  Speaker 2: like she could have been a human, she could have
• 46:49
  Speaker 2: been anything, and he would have still been like, Nope,
• 46:51
  Speaker 2: I hunt alone. And even when she's saying like, oh,
• 46:55
  Speaker 2: he saved you when we were in the tree, and
• 46:57
  Speaker 2: he's like I'm on the tree now, it's like, oh,
• 46:59
  Speaker 2: that lying right there speaks so much to the Mutua
• 47:03
  Speaker 2: culture of like using alliances and partnerships and moments, and
• 47:09
  Speaker 2: then once that moment is gone, you're back to the
• 47:14
  Speaker 2: loan hunter. And that's really Deck's arc is moving from
• 47:17
  Speaker 2: the loan Hunter to viewing the pack mentality. So no,
• 47:25
  Speaker 2: I had not seen it quite that way, Tristan, but
• 47:28
  Speaker 2: I also think it could be written with that in regard.
• 47:32
  Speaker 2: I think it just works without It definitely doesn't hit
• 47:35
  Speaker 2: you over the head with it because you can view
• 47:37
  Speaker 2: it without totally well, absolutely.
• 47:40
  Speaker 3: The one thing where I'll give you know, you know,
• 47:46
  Speaker 3: I can definitely see the facet because of the discussion
• 47:49
  Speaker 3: about the alpha where she calls out because alpha is
• 47:53
  Speaker 3: obviously a term that's thrown out there, and there's some
• 47:55
  Speaker 3: other term that my kids have told me that it's
• 47:57
  Speaker 3: out there where I'm like, what, that doesn't even make sense,
• 48:00
  Speaker 3: But like there there's that whole alpha thing that was
• 48:04
  Speaker 3: out in the culture for a bit. I don't know
• 48:06
  Speaker 3: if it still is or not. And her recasting it
• 48:10
  Speaker 3: as it's not about being dominant, it's about being a protector.
• 48:13
  Speaker 3: It's about being a positive, it's about making sure everybody's safe,
• 48:19
  Speaker 3: not asserting dominance over everybody. That is definitely something where
• 48:24
  Speaker 3: I could see that very clearly speaking to that aspect
• 48:29
  Speaker 3: of because I've never encountered it in real life. I
• 48:34
  Speaker 3: was considered it an aspect of online culture, so you know,
• 48:38
  Speaker 3: but but I can definitely see where you could layer
• 48:40
  Speaker 3: that on. My My reticence to listen to Tristan had
• 48:45
  Speaker 3: less to do with the point than the fact that
• 48:48
  Speaker 3: I just don't like listening to Tristan, so, you know,
• 48:51
  Speaker 3: just qualifying it there.
• 48:52
  Speaker 2: I think it's like the fact that that Dick first
• 48:56
  Speaker 2: talks about alpha and wolf and wolf, especially with his brother.
• 49:01
  Speaker 2: His brother is the first one he sees as the wolf,
• 49:04
  Speaker 2: as the wolf, Alpha as the you know, being the protector.
• 49:08
  Speaker 2: And again that's his journey having a brother, Like honestly,
• 49:13
  Speaker 2: his brother has more of an impact on this one
• 49:16
  Speaker 2: character than any other character combine. He sets him on
• 49:19
  Speaker 2: this journey, he saves his life, like it's really if
• 49:25
  Speaker 2: he didn't have his brother, we would have no story.
• 49:27
  Speaker 2: And so for him to finally come around and be like, oh,
• 49:31
  Speaker 2: it makes me understand how Deck can make the jumps
• 49:35
  Speaker 2: in his culture because of that representation and that figure
• 49:40
  Speaker 2: he had in his life.
• 49:41
  Speaker 3: Well, and while my father was nothing like the father
• 49:44
  Speaker 3: in this Deck brother, you know, he had his moments,
• 49:49
  Speaker 3: but like, no, I'm kidding. I'm kidding. God rest your soul, Dad.
• 49:52
  Speaker 3: I was just just making a joke that you love
• 49:54
  Speaker 3: your father. Shut up, Yeah, immensely. God rest him. But
• 49:59
  Speaker 3: like the dynamic of that older brother dynamic is very
• 50:04
  Speaker 3: recognizable for any kid brother, and I am a kid brother,
• 50:07
  Speaker 3: so it's like that aspect, I was like, yeah, that's
• 50:10
  Speaker 3: exactly what my brother would have done. Is my brother
• 50:13
  Speaker 3: is to this day as old as I am. He's
• 50:15
  Speaker 3: still the quote unquote alpha of the two of us.
• 50:18
  Speaker 3: But I'm perfectly comfortable with it. I'm like, yeah, okay,
• 50:21
  Speaker 3: you got this, champ, But like, you know, he would
• 50:24
  Speaker 3: have been the one to be like, no, you know,
• 50:25
  Speaker 3: I'm going to send you off. I'm going to make
• 50:27
  Speaker 3: sure you have a shot at this at the very least.
• 50:29
  Speaker 3: That's always what a good older brother does, is that,
• 50:33
  Speaker 3: you know, he makes sure the kid brother has a
• 50:35
  Speaker 3: shot at things.
• 50:38
  Speaker 2: All Right, Well, I think we're running out of steam
• 50:41
  Speaker 2: and the ship's going to come pick us up any moment.
• 50:43
  Speaker 2: So let's get to our ratings, because as this is
• 50:47
  Speaker 2: the end of this wing with Predator, we can also
• 50:52
  Speaker 2: after our ratings go through and rank our feelings on
• 50:56
  Speaker 2: the Predator franchise as it is, and hope they keep
• 50:59
  Speaker 2: making them because as I definitely want to see more.
• 51:02
  Speaker 2: Uh So I'm gonna start as I eject from my
• 51:06
  Speaker 2: Sasis pod at turbinal velocity. I don't know how he
• 51:10
  Speaker 2: survived that, but you know, it felt made me feel
• 51:14
  Speaker 2: like Riddick, like where he's coming out. They're coming out
• 51:16
  Speaker 2: in the ice storm and the thinnest suspension of disbelief.
• 51:22
  Speaker 2: But hey, like Indian and Fridge, Yeah, they're built really tough.
• 51:25
  Speaker 2: Their technology is really tough.
• 51:27
  Speaker 3: They got they got structural integrity fields in case the shields.
• 51:32
  Speaker 2: That's why the glass just lacking.
• 51:34
  Speaker 3: No, just like the just like the Enterprise, you know,
• 51:36
  Speaker 3: they got the structural integrity fields.
• 51:38
  Speaker 2: All right, I'm giving I'm giving this a five. This
• 51:42
  Speaker 2: was an amazing movie. See it again. I love the characters.
• 51:46
  Speaker 2: I want to watch it again. I want to dissect it.
• 51:48
  Speaker 2: I want to look into the nuances of the performance,
• 51:53
  Speaker 2: just all of the pieces. I loved all the the
• 51:55
  Speaker 2: little the male sense that they all kind of look
• 51:58
  Speaker 2: the same and they're just cop like. I love all
• 52:01
  Speaker 2: the little bits in it. I love the super mech
• 52:04
  Speaker 2: that was kind of like The Powerlifter, but with like
• 52:06
  Speaker 2: a giant buzzsaw and a giant fight like it it
• 52:10
  Speaker 2: felt and this movie wasn't. I did not feel any
• 52:15
  Speaker 2: fan service in this. I didn't feel like, you know, oh,
• 52:19
  Speaker 2: and here's an alien skull, like we have to put
• 52:21
  Speaker 2: that in, and we have to put that Like, yes,
• 52:23
  Speaker 2: whale and utani and a synth is enough, That's all
• 52:26
  Speaker 2: I needed.
• 52:27
  Speaker 4: Well, how we barely talked about that, But I mean
• 52:30
  Speaker 4: it showed great restraint. It's not reallysomorph in there where
• 52:35
  Speaker 4: like if you never saw a single alien movie, you
• 52:38
  Speaker 4: would still understand everything that's going on in this movie.
• 52:42
  Speaker 2: Yes, and you know that this is in the future
• 52:45
  Speaker 2: enough that we're in the time of Alien of the company.
• 52:49
  Speaker 2: The company is in existence. It's twenty one, twenty two something,
• 52:53
  Speaker 2: you know, but it doesn't matter. We don't get any dates,
• 52:56
  Speaker 2: we don't know exactly where we are. But I didn't
• 53:00
  Speaker 2: any of that. It was again, a very small movie
• 53:03
  Speaker 2: as far as it's this tiny portion of this planet
• 53:06
  Speaker 2: and the company and the cast, very very small. But
• 53:10
  Speaker 2: that told a very intimate story. So I'm giving it
• 53:14
  Speaker 2: five you juzz Wow, that's my big clan. John take
• 53:19
  Speaker 2: us away for your rating on bad Lands.
• 53:23
  Speaker 3: Coming into the discussion, I had a lower rating then
• 53:26
  Speaker 3: I'm going to wind up giving it. I was not
• 53:31
  Speaker 3: particularly bowled over by the experience of watching it, but
• 53:35
  Speaker 3: as I thought about it and as we've discussed it,
• 53:38
  Speaker 3: my esteem for it has grown, in no small part
• 53:43
  Speaker 3: because when I started talking, you know, at the beginning
• 53:46
  Speaker 3: of the episode, I think that there's a whole star
• 53:50
  Speaker 3: I'm giving this film forest technical achievement. I think that
• 53:55
  Speaker 3: it is positively amazing in terms of design, in terms
• 54:01
  Speaker 3: of thoughtfulness about the environment, in terms of how it
• 54:04
  Speaker 3: pulls off the vast majority of its shots, in terms
• 54:07
  Speaker 3: of the face replacement, with the way they did him
• 54:11
  Speaker 3: like it's virtually flawless, like there is and there's definitely
• 54:16
  Speaker 3: precedence for this too. I have to acknowledge technical prowess
• 54:20
  Speaker 3: like that. That is directorial excellence right there. In terms
• 54:26
  Speaker 3: of is this a movie that lights me on fire?
• 54:29
  Speaker 3: I wasn't quite there with it. I enjoyed it, but
• 54:33
  Speaker 3: I wasn't quite there with it. So overall it was
• 54:37
  Speaker 3: like a three where I was like, Okay, this sort
• 54:39
  Speaker 3: of like sets up a series. And I really can't
• 54:44
  Speaker 3: stress enough how much I hated the Oh, it's my
• 54:49
  Speaker 3: mom bit. I was like, ah, you just dragged this
• 54:53
  Speaker 3: all the way down to a series premiere sort of
• 54:57
  Speaker 3: thing where I'm like, gosh, darn it this Ah. But
• 55:02
  Speaker 3: because of the technical prowess, I am willing to vary
• 55:05
  Speaker 3: generously and I think very rightly bump it up, so
• 55:08
  Speaker 3: I will wind up giving it a four.
• 55:10
  Speaker 4: I trustly hate that I'm giving it the lowest score.
• 55:16
  Speaker 4: You can still give it whatever score you watch by
• 55:20
  Speaker 4: your peers. So I gave it when I watched it,
• 55:23
  Speaker 4: I gave it a three point five. And but a
• 55:26
  Speaker 4: good three point five, Like I like, three point five
• 55:29
  Speaker 4: is a good score. It's a really good score. And
• 55:33
  Speaker 4: I think I think I want to stay with that
• 55:35
  Speaker 4: because I want to watch it again. I want to
• 55:38
  Speaker 4: enjoy it again, and I'm going to enjoy it again.
• 55:40
  Speaker 4: I'm going to stick with a three point five because
• 55:44
  Speaker 4: the monkey pissed me off. I think that the monkey
• 55:48
  Speaker 4: pissed me off. And also I feel like it dragged
• 55:50
  Speaker 4: a lot in the second act. Oh I didn't agree completely. Yeah, No,
• 55:55
  Speaker 4: I think I think I think it dragged. I think
• 55:58
  Speaker 4: it had some pacing issues a little bit. I could
• 56:03
  Speaker 4: I could easily, I could easily give this a four
• 56:07
  Speaker 4: if I watch it again. I really I cannot give
• 56:09
  Speaker 4: it a four at the time of this recording, but
• 56:12
  Speaker 4: I could easily lean towards it because as of right now,
• 56:17
  Speaker 4: it's like it's my third favorite Predator film, where at
• 56:21
  Speaker 4: the top is Prey the Original Predator, which I only
• 56:24
  Speaker 4: gave a four because of the history that it brings,
• 56:29
  Speaker 4: then Predator bad Lands. Then I'm cheating and putting in
• 56:34
  Speaker 4: a VP and number four.
• 56:36
  Speaker 3: No, no, your list is now invalid.
• 56:39
  Speaker 2: No.
• 56:39
  Speaker 5: I didn't say Recreem. I didn't say rec Room.
• 56:42
  Speaker 3: Oh the Requiem. I'm just going to hang up right now.
• 56:45
  Speaker 3: I'm not even going to finish the show.
• 56:47
  Speaker 4: Rec Room is not even on the list. AVP is
• 56:49
  Speaker 4: a good movie. I don't care, screw you. I like AVP.
• 56:53
  Speaker 4: And then we go the Predator from twenty eighteen, then
• 56:56
  Speaker 4: Predators with Brody, and then finally with Predator or two.
• 57:00
  Speaker 3: That's that's that's insane, that's insane.
• 57:04
  Speaker 4: Never mind, this is this is the sane person's list.
• 57:07
  Speaker 4: So I don't know why you're saying insight right, So you.
• 57:10
  Speaker 2: Gave it a three point five. Yeah, my my overall
• 57:13
  Speaker 2: ranking very similar. One I give to Predator, it's just
• 57:19
  Speaker 2: as a standalone. Often for me, if it works as
• 57:22
  Speaker 2: a standalone, This is all we got was the first
• 57:25
  Speaker 2: one from eighty seven. I die happy man like that.
• 57:29
  Speaker 2: It set it up. It gave us all this interesting bits.
• 57:32
  Speaker 2: So it has to be number one for me. I'm
• 57:35
  Speaker 2: giving this my number two slot. This was really enjoyable.
• 57:39
  Speaker 2: If I'll say, if I was introducing someone to Predator,
• 57:44
  Speaker 2: I would show them the original and then this one
• 57:46
  Speaker 2: is the second one, and I'd and they'd be off
• 57:48
  Speaker 2: to the races like and then they could pick what
• 57:51
  Speaker 2: they wanted from, you know, the back catalog. Three I
• 57:55
  Speaker 2: give Predators. I really enjoyed that, just the the whole
• 57:59
  Speaker 2: different people on the planet and all of that made
• 58:01
  Speaker 2: the Adrian Brodie joke at the beginning. Four I Give
• 58:04
  Speaker 2: to Prey was unique in its aspects, you know, a
• 58:09
  Speaker 2: different time period. Five Predators show. I have a bit
• 58:13
  Speaker 2: nostalgia for it, you know it. It's a very nineties movie,
• 58:18
  Speaker 2: and I give you see and all that stuff. It's
• 58:21
  Speaker 2: just fun. It's Is it a great movie? No, absolutely not,
• 58:24
  Speaker 2: But I give it my number five slot. Six Killers
• 58:29
  Speaker 2: of Killers. It didn't really do it for me. We
• 58:31
  Speaker 2: kind of talked about it last week. Not that I
• 58:32
  Speaker 2: didn't enjoy it, but it was just not my Oh.
• 58:35
  Speaker 5: Crap, I didn't put Killer of Killers in there.
• 58:38
  Speaker 2: Now you had, you put a VP in, you made
• 58:40
  Speaker 2: your bed.
• 58:41
  Speaker 3: So see, like I said, like I said, your entire
• 58:44
  Speaker 3: list is invalid.
• 58:46
  Speaker 2: Your vote is. It's totally the other tracted bird. It's
• 58:49
  Speaker 2: literally the director we're talking about, Tristan. If the three
• 58:53
  Speaker 2: that should have been on your list, it's one of
• 58:55
  Speaker 2: those three. Uh. And then my last is the Predator.
• 58:58
  Speaker 2: God that I will never watch that movie again, and
• 58:59
  Speaker 2: one of earn it from all time. That movie was
• 59:01
  Speaker 2: so so bad, John, if you have embrace us with
• 59:06
  Speaker 2: your order for Predators.
• 59:09
  Speaker 3: I'm want to very clearly say here that, especially looking
• 59:12
  Speaker 3: back at my ratings, the distinctions here, like everything that
• 59:18
  Speaker 3: exists between my number one and my last slot can
• 59:22
  Speaker 3: shift at any time depending on.
• 59:24
  Speaker 2: Those Those are the touchstones.
• 59:26
  Speaker 3: Everything in the middle is mood and everything that everything
• 59:29
  Speaker 3: in the middle, like, everything in the middle is sort
• 59:31
  Speaker 3: of like tied for second sort of thing.
• 59:33
  Speaker 2: Including a Killer of Killers. You wouldn't make a list
• 59:35
  Speaker 2: of not put that on it, John.
• 59:36
  Speaker 3: No, I you know when I make a list, Darren,
• 59:39
  Speaker 3: I pay attention to detail. And I don't just go
• 59:41
  Speaker 3: to chat ept and have it done. I just go
• 59:45
  Speaker 3: and I.
• 59:45
  Speaker 5: Heard together Claude.
• 59:47
  Speaker 3: Okay, no, you use Claude for coding, Tristan. Come on, now,
• 59:51
  Speaker 3: that's not give us your list, John. My number one
• 59:54
  Speaker 3: obviously is Predator. Fine, whatever say I'm looking at through
• 59:57
  Speaker 3: rose colored glasses off. Obviously, obviously Predator is just it's
• 1:00:04
  Speaker 3: John mctiernan's on fire at that point in his career.
• 1:00:07
  Speaker 3: Absolutely adore it. Now it gets a little trickier because
• 1:00:11
  Speaker 3: I want to give second spot to Predator too, just
• 1:00:13
  Speaker 3: because I love angering Tristan. But I'll be honest with
• 1:00:18
  Speaker 3: you that in terms of overall enjoyment, my number two
• 1:00:21
  Speaker 3: is Predators with Adrian Brody. As much as I hate
• 1:00:24
  Speaker 3: the last line, I really enjoy Predators. Then coming in
• 1:00:30
  Speaker 3: at number three, coming in at a strong number three
• 1:00:32
  Speaker 3: is actually gonna be bad Lands, because I enjoy the fact.
• 1:00:37
  Speaker 3: You'll notice with Predator you have the set alone thing Predators,
• 1:00:41
  Speaker 3: you expand the lore. Predator bad Lands you expand it
• 1:00:45
  Speaker 3: even further. Then you're gonna come in with Predator, killer
• 1:00:48
  Speaker 3: of killers, because and you're gonna expand it even You'll notice,
• 1:00:52
  Speaker 3: like this, this goes in expanding world sort of thing,
• 1:00:55
  Speaker 3: and then again keeping in mind all the distinctions are
• 1:00:58
  Speaker 3: very tiny. Okay, it depends on mood. Predator too comes
• 1:01:02
  Speaker 3: in just because cocaine bucy and the insanity being in
• 1:01:08
  Speaker 3: LA and like what they thought LA was gonna look
• 1:01:10
  Speaker 3: like in nineteen ninety seven. It's a drug, just mainline.
• 1:01:14
  Speaker 3: It put it into my chest like Uma Thurman and
• 1:01:16
  Speaker 3: pulp fiction. Then Pray, which is a really enjoyable experience,
• 1:01:22
  Speaker 3: and then The Predator, which is a movie that I
• 1:01:24
  Speaker 3: have trouble acknowledging even exists. And that's my list.
• 1:01:29
  Speaker 2: I think we all put that at the very end.
• 1:01:31
  Speaker 3: No, no, no, Kristen did not put the Predator at
• 1:01:34
  Speaker 3: the end because he was too busy making sure that
• 1:01:37
  Speaker 3: a VP could make it into his list instead of
• 1:01:40
  Speaker 3: Killer Killers.
• 1:01:41
  Speaker 5: I put the Predator above Predators.
• 1:01:44
  Speaker 2: That's insane. Okay, that's insane. That's a choice choice.
• 1:01:49
  Speaker 5: Okay.
• 1:01:49
  Speaker 4: So I redid my list and I moved everything down
• 1:01:52
  Speaker 4: and it's locked in.
• 1:01:53
  Speaker 2: Screw moving everything down, and Killer of Killers.
• 1:01:57
  Speaker 4: Killer of Killers is number in the two spot. Interesting, okay,
• 1:02:02
  Speaker 4: So it goes Pray, then Killer of Killers, then everything else.
• 1:02:07
  Speaker 4: Like I said, than Pretor Predator, Bad Lens.
• 1:02:10
  Speaker 2: Okay, all right, well that was a really fun discussion.
• 1:02:15
  Speaker 2: I think an amazing movie. I'm really excited. I hope
• 1:02:20
  Speaker 2: that he that tracten Berg gets another I give him,
• 1:02:22
  Speaker 2: give him two more, give him another two more movies
• 1:02:25
  Speaker 2: to round out his plot, will carry on his protagonist Deck.
• 1:02:29
  Speaker 2: I want to see it. I want to see what
• 1:02:31
  Speaker 2: he does as he's because I know he's gonna change
• 1:02:34
  Speaker 2: it up. It's going to give us something you new
• 1:02:36
  Speaker 2: it's not going to be. Although granted, if he went
• 1:02:39
  Speaker 2: back in time to the nineties of la during a
• 1:02:43
  Speaker 2: summer heat wave, I would still watch it. I would
• 1:02:46
  Speaker 2: buckle up for mainlining that, as John would say. So
• 1:02:50
  Speaker 2: that continues. That That concludes our wing of Predator here
• 1:02:54
  Speaker 2: on House Slides. Next week, we're going to go back
• 1:02:58
  Speaker 2: to Michael Kurtiz, an amazing director, back to nineteen thirty
• 1:03:02
  Speaker 2: eight with the adventures of Robin Hood. Here on House
• 1:03:06
  Speaker 2: Slights
• 1:03:07
  Speaker 1: Join the Revolution, Join the Nerd Party.