Of Predators And Men II: O Good Monster, Where Art Thou?

This time we talk about creature and sound design, and touch upon the future of the Predator franchise.

It’s hard to say what makes a good creature. There has to be something mythical to it for it to truly resonate, which is just another way of saying that is has to have something (hyper)real to it. A creature has to make sense.

The Predator, the creature I mean, is that interesting case of a somewhat frightening creature in an action setting, which shifts the tonality of the perception.

A better example of what a difference the genre in which the monster is situated in is Aliens, where the feeling that the viewer experiences towards the Xenomorph is significantly different from Alien.

This has a lot to do with the main characters. In Alien they are ordinary crew members, in Aliens soldiers. And if I as a viewer am identifying with the main protagonist(s), well, a soldier is someone who’s occupation it is to fight against very bad things, and in the case of colonial marines, to especially fight some sort of aliens. These are people that actually want a stand-up fight instead of a bug hunt.

It’s bad ass(es) versus monster(s), James Bond versus Hannibal Lecter – which actually is basically the plot of every bond movie. This is of course hugely satisfying. The idea behind it goes something like this: our greatest fear, incarnate in monster form, fighting our ideal come to life, which is what a hero is. The monsters are at the gates and noble humans – the viewer – must fight back.


The sound.

The sound aspect of a cinematic experience – and experience in general – is curious thing.

If it is done well it hugely increases the quality of a movie. Thinking complex thoughts (concerning sound) is a new thing to me, so I will simply let the video do the talking on that.


The future.

Or is it?

Bonus feature.



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