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NARRATOR: So here's a
scene from "Aliens."
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And they've gone into
the colony base that's
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on the planet where we
know from the first film
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that the aliens have existed.
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And they've already seen
face huggers in jars.
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So Ripley is already
very nervous.
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And they've gone in, the whole
base seems to be deserted.
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There's evidence of violence,
evidence of weapons being used,
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but there are no people.
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We've been in a kind of
anxious, suspenseful state.
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We've come in, we've
been very subjective,
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we've searched the place.
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We keep expecting
something to jump out,
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keep expecting something
to jump out but it doesn't.
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And now we're going to win
things a little tighter.
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And this is a long game.
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We've been building and building
and building for a long time
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here.
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So how do we signal
to the audience
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that there is an escalation
or there's a swerve,
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something new is happening?
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Our character gets a signal.
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They've got these trackers.
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They've been walking around
the base with these trackers.
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Nothing's shown up.
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All of a sudden
there's movement.
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We got something here.
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He says we got something,
something moving.
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Where is it?
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Behind us.
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One of us?
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MAN: Hey [INAUDIBLE].
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Where are your people?
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You're 20 minutes
into a long game
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kind of suspenseful
sequence at this point.
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And now it's going
to come to a head.
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MAN (ON RADIO): Uh,
that's a negative.
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We're rolling operations.
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It's all up to me, Frosty.
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Just keep moving, baby.
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NARRATOR: He moves forward with
his gun, which is basically
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just a steadicam on.
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But I made the
assumption at the time,
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and this was in 1985, that the
steadicam was a tool that we
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used behind the scenes.
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But it wasn't well known.
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So we just basically
took a steadicam
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and dressed it up with a big
machine gun sitting on it.
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And it was Hell to operate
because it was really heavy.
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But the two actors that had
carry it did a great job.
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Okay, so we're in
a tracking shot.
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The lighting is very low key.
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We've got some sense of
source lighting here.
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And we've got source lighting
coming from their lights.
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So it feels very, very dim
and dark and suspenseful.
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These are just basic
ways of selling
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that you're in sort of a haunted
house, the spooky environment,
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as opposed to the brightly
lit kind of sterile lab
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that it could have been.
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I mean, it's a lab.
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It's a medical space, could
have been brightly lit.
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But it isn't.
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So the power is failing.
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There is the suggestion that
violence has happened and could
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happen again in a split second.
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Now we don't know
how jumpy Ripley is,
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so I did a little thing here
where he brushes the microscope
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arm, or whatever
it is, and there
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was this carefully balanced
flask sitting here.
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And Sigourney jumps.
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And it puts you subjectively
in her character for a moment.
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It's not meant to make
the audience jump,
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because they see it in progress.
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It's different
than a jump scare.
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In a jump scare the
audience doesn't know
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what's going to happen next.
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And something
moves very quickly.
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And there might
be a music sting.
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And we jump.
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This case is not us jumping,
this is her jumping.
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And it's to externalize
her mental state, which
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is hair trigger.
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She's trying to
process rationally,
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she's trying to be the
rational person that she
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imagines herself to be,
but her heart's pounding.
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Because she's the only one there
that's encountered this species
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before.
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So she's more keyed up
than everybody else is.
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They should be more
scared than they are.
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They're just treating it
as professional soldiers,
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military guys
doing what they do.
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So he's looking at the screen.
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He says it's straight in front
of us so we're going to move,
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we're going to go
in that direction.
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Because of course that's what
you do in a horror movie.
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You're going to go toward the
danger because of their hubris.
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So thematically, that was a
theme throughout the film.
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These guys thought
they were undefeatable.
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They had the big guns.
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They were against a non
intelligent species that
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had no weaponry whatsoever.
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What's to worry about?
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And it was always
in my mind writing
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this, kind of a metaphor
for the Vietnam War,
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where the big stomping
superpower was going
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to go into the little
backward developing country
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where all they had was a
bunch of hand-me-down AK 47s
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and they were running through
the jungle in bare feet.
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And we were going to go
in with our helicopters
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and our missiles and our
defoliants and our B52s.
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And we were going to bomb
them into the Stone Age
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and we were going to
win in six months.
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Cut to 10 years later, and the
US is pulling out of Vietnam
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with its tail between its legs.
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And that was 10 years
before this movie was made.
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The fall of Saigon was in 1975.
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So it was recent
history, it was something
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that I was paying attention to.
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And it was resonating into
a science fiction film that
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took place on another planet.
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We never specifically say
that these guys are Americans.
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In fact, you can
imagine that they are.
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Or do we?
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Wait a minute.
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Does he have an- oh, sorry.
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I take it back.
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There are a few extra
stars in the number
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of states because
presumably, America
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is a colonial superpower
in this imagined future.
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But we never say it
in dialogue, they're
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just the colonial Marines.
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And at the time, I didn't really
know any Marines personally.
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I didn't know their ethos.
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Later on in my life, my younger
brother would join the Marines,
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serve for six years.
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And I learned a whole new
appreciation and respect
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for the US Marine Corps.
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And I actually wouldn't
make this movie this way
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now, because of what I
know about the US Marines.
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But every filmmaker evolved.
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They learn, they observe
life, and sometimes
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their opinions on things change.
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So this is all classic suspense.
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So we have the moment where
you're at the door, the corner.
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The pieing of the
room, as they say
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in a police show or
something like that,
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where you sweep the space.
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Now we've just gone
into a subjective shot.
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We don't quite know why
we're in a subjective shot.
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But the camera's moving.
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Why is the camera moving?
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Is it something hiding?
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This foreground object is meant
to suggest that there's a place
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to conceal, and we're looking
out from behind concealment.
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It's totally subconscious.
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It's not meant to be
a conscious statement.
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It's a subconscious statement.
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The camera just came to life.
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So these guys are
moving forward.
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The sound design, the
chirp of the tracker,
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it's getting louder.
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And it's getting faster.
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It's an increasing tension
through sound design.
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We want to milk out that state.
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We want the audience to be
on the edge of their seats.
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So here in the graphic,
is it moving toward us
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or are we moving toward it?
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But again, the
underpinning to this scene
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is the presumption going
in that this is an alien.
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And that presumption
is fed at least,
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I would say, 50% by our
knowledge of the prior film.
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So this is a sequel
intentionally
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resonating with the film
that came before it.
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Intentionally and I
think successfully.
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Not overly so, but
definitely that's a factor.
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So now we've just
gone subjective again.
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We're handheld from behind
the Marine, Hicks, moving up.
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So we're with them.
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We're moving with them.
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We're on their journey
just for that moment,
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which is the point of the shot.
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To be there and to see that
there's nothing ahead of them.
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They can't see
anything ahead of them.
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But here is this foreground
thing, the shadowy foreground
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thing.
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And they're not looking at it.
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The camera's moving
ever so slightly.
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And then something shadowy
breaks across the frame.
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Sudden lunge and a
sudden music sting.
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Classic.
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Classic music sting.
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And Drake, this was a tough one
from an editorial standpoint.
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Drake, our smart gun
operator, opens fire.
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But Hicks, with lightning quick
reflexes, deflects his weapon.
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A little hard to see, and if
I'd had a little more money
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or maybe I'd seen the dailies,
if I was looking at a monitor,
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I'd say, I don't see his gun.
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I don't see Hicks hit Drake.
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I probably would
have gone again.
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But this was in the day of film.
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So you waited the
next day and then
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there was no time to go back.
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But the audience still gets it.
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Because two shots
later, you see Hicks
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having blocked Drake's gun.
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You're seeing the questions
being answered after the fact
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but that's okay.
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That's okay.
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So there's an interim shot of
the rounds hitting the wall.
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And we see the destructive
power of the smart gun.
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And then we see that Hicks
has deflected his weapon.
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And Drake's pissed off about it.
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Because he would
have made the shot
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if Hick's hadn't done that.
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But Hicks has clearly
seen something
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to stop him from shooting.
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And then he does
something strange.
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Ripley.
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NARRATOR: He calls to Ripley.
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So now you know
it's not an alien.
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But what is it?
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So now you've just toggled
out of suspense mode.
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The suspense has
been alleviated.
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It's now dropped to zero.
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Now you're into curiosity.
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It's been replaced by
curiosity different emotion.
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Different
physiological response.
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Now you're leaning forward.
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What is it that Hicks has seen?
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We're not telling you.
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We saw something, but we
don't know what it is.
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00:10:01,950 --> 00:10:04,200
And we're not going to answer
the question right away.
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Now she's seeing something.
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00:10:05,880 --> 00:10:07,320
And we can tell
by her expression
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that it's interesting.
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But we don't know what it is.
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Holy shit.
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Now to me this is the
right order of information.
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You see the character
see something.
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00:10:18,380 --> 00:10:20,780
And it's clearly
there in her face.
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Unmistakable.
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I'm looking, I'm looking,
and I see something.
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Sigourney was not looking at
Carrie Henn, who played Newt.
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00:10:29,485 --> 00:10:31,360
She was probably looking
at a dot on the wall
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and creating that in her mind.
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If she had felt that she
needed Carrie to be there,
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we might have had Carrie there.
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00:10:38,620 --> 00:10:39,340
I don't remember.
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00:10:39,340 --> 00:10:42,500
But it depends on
the individual actor.
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00:10:42,500 --> 00:10:46,390
But she might have been
reacting to nothing.
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And this is what she sees.
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And so now we have the reveal.
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We've just introduced
a character.
254
00:10:50,810 --> 00:10:54,730
Now as the film was written,
we've already met her.
255
00:10:54,730 --> 00:10:58,540
And there was a whole sort of
eight minute sequence with her
256
00:10:58,540 --> 00:11:04,630
when she was not the unkempt
little savage animal.
257
00:11:04,630 --> 00:11:07,240
My intention there
was to draw a contrast
258
00:11:07,240 --> 00:11:09,850
to see her before and after.
259
00:11:09,850 --> 00:11:13,250
As the film was finally
cut and released,
260
00:11:13,250 --> 00:11:16,510
we took out all of reel
two and basically threw it
261
00:11:16,510 --> 00:11:17,970
in the trash.
262
00:11:17,970 --> 00:11:19,370
And so we didn't see Newt.
263
00:11:19,370 --> 00:11:21,470
This is now her
introduction shot.
264
00:11:21,470 --> 00:11:23,180
So this was an
unplanned introduction
265
00:11:23,180 --> 00:11:26,340
that works very well.
266
00:11:26,340 --> 00:11:29,310
But I think it's critical to
understand that every shot is
267
00:11:29,310 --> 00:11:31,050
always doing something.
268
00:11:31,050 --> 00:11:33,060
The audience is learning.
269
00:11:33,060 --> 00:11:36,270
And once the audience
jumps hip to the fact
270
00:11:36,270 --> 00:11:38,160
that the film is
teaching you things
271
00:11:38,160 --> 00:11:40,770
you need to know
further on in the film,
272
00:11:40,770 --> 00:11:42,600
you'll continue
to pay attention.
273
00:11:42,600 --> 00:11:45,110
You start to play the game.
21158
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