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[DRAMATIC MUSIC]
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I don't really love
the term "villain."
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Because I don't
think people ever
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think they're villains,
even people that are doing
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horrific things, cruel things.
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They have their own rationale.
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We may not agree with it.
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And it may be warped
or delusional.
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But they have their
own rationale.
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They don't think they're
villains, for the most part.
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So I like the term "adversary."
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So an adversary can
be nature itself.
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It could be the tornado
in "Twister," for example.
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But generally, we like
human adversaries.
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Because, first of
all, they're more fun.
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And we see interesting
interpretations by actors.
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So you can go from a relatively
simplistic adversary,
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like the Terminator, who
basically is just death.
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He's just unstoppable.
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He's just very clear.
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And you take a
very simple concept
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and you execute it in
a disciplined way that
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becomes extraordinary, because
of the perfect synchronicity
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between the actor,
Arnold, and his character,
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and the way that
that was realized,
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and the fact that he's
an unstoppable force.
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And it's stated by
one of the characters.
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It can't be bargained with.
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It can't be reasoned with.
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It doesn't feel pity,
or remorse, or fear.
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And it absolutely
will not stop--
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ever-- until you are dead.
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JAMES CAMERON:
You've just made him
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a very, very simple character.
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So that's kind of the
opposite of subtlety.
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That's simple in extremity,
which is kind of terrifying.
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Because humans are complex,
and there's always the chance
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that we could maybe
talk our way out of it,
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or we could negotiate,
or we could buy them off,
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or something like that.
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Not going to work
with the Terminator.
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When I got the great opportunity
to direct the sequel to Ridley
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Scott's classic film, "Alien,"
where I went for the detail
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was the Alien Queen.
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The Alien Queen was not
quite so simple a character.
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Because there's an
interesting scene
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in that film where Ripley does
negotiate with the Alien Queen.
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[SNARLING]
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JAMES CAMERON: She says,
I've got the flamethrower.
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There's a lot of
eggs in this room.
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I know you care,
because you're a mother.
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So already, that
simple character
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was made more complex.
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Even though we never heard
the Alien Queen utter
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a line of dialogue,
we knew exactly what
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she was thinking, which
was interesting and fun.
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Who was the villain
in "Titanic?"
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The fiancee?
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I mean, I think he was
an interesting character.
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There were a number of
people who were adversarial
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to our main characters.
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But really it was fate.
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It was circumstance.
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It was destiny.
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So to say that there was
a "villain" in that film,
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I think the villain was death.
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[BELL RINGING]
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The villain was
the death that you
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knew was there from the
beginning from the moment
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you bought a ticket to go
see a movie called "Titanic,"
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where thousands of people died.
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You could say, us against
nature, but it was really--
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nature wasn't the enemy.
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It was human mismanagement
that created a catastrophe.
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So that's a villain in
its own sort of category.
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[DRAMATIC MUSIC]
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The introduction
of the adversary
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is I think as important
as the introduction
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of the protagonist.
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We need to invest in
the adversary, as well.
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We have to imbue that
adversary with power.
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We have to feel that they are
a worthy adversary, that this
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is someone who can be very
threatening-- maybe threatening
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to everybody, or maybe
just specifically
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threatening to our character.
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If we don't believe in their
power, their lethality,
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or their ability to do
harm to our character,
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then we're not
invested in the story.
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So we have to spend
time with them.
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And I believe that
any character you're
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spending time with in a
movie should be interesting.
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They should be unique.
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They should be different.
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They should be quirky.
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Or they should be
fascinating in some way.
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So Arnold's Terminator character
was introduced essentially
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appearing in a ball of
lightning from somewhere else.
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Just-- [POP NOISE]
--he's just there.
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And he's crouched in this
kind of almost Greek God
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sculptural way in a cloud
of smoke, rises out of that,
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and all of a sudden
you're interested.
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Like who is this guy?
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Why is he naked?
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And who is he?
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What's he do?
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And then he walks forward, and
he looks out over the city.
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And there's-- to me, even that
shot is an implied threat.
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He's about to go out
there into that city
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and do something harmful.
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You just know right away
he's there to do bad.
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And then that question gets
answered within the next minute
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or so, where he encounters
these guys hanging out
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up at Griffith
Observatory and kills them
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all for one simple thing--
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Your clothes.
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Give them to me.
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Now.
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JAMES CAMERON: He needed their
clothing so he could blend in.
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So he could perform his mission.
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So you start to very quickly
declare that he's relentless.
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He's mission-focused.
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He has-- he kind of stands out.
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He doesn't blend in.
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So his attempt to basically
kind of camouflage himself
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is always going
to be challenged.
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I think the more an actor tries
to make a villain "scary,"
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the more they fail.
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Sometimes it's the absolute
banality of how they talk
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and how they express
themselves, and the fact
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that they seem real,
they seem to be
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a real person makes it scarier.
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Because it seems more plausible.
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You know?
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I think that it's important
to resist the desire
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to do Dracula, or Darth
Vader, or the Terminator
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unless you're really
confident that you
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can sell that in an
extraordinary way that
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hasn't been seen before.
139
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I think quirkiness,
nuance, detail, humor--
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you create an adversary
that's humorous,
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now you're getting
conflicting signals.
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Because you innately
like funny people.
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But wait a minute?
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This guy's a killer.
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You make them compelling.
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You make them not necessarily
subtle, but detailed
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and a little bit against
the simple expectation.
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[DRAMATIC MUSIC]
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With the Terminator, I think
you knew what was on his mind.
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You even went inside his mind.
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We did an interesting
thing there,
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which is we literally go inside
the Terminator's processing.
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You see what the outside
world looks like to him.
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And you see all the
graphic overlays
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of the processing
that's going on.
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So it's a metaphor for
how his mind works.
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He's working from
a visual basis.
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He's processing it.
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He's identifying targets.
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It's sort of printing out what
his analysis of that target is.
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And people were
interested in that.
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So once again, it's engagement.
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It's making the villain
subjective for a moment.
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You're briefly in the
Terminator's reality.
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You're in the reality of a
machine killer for a moment.
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And I think that that's
a very powerful tool.
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Put your audience
subjectively in the reality
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of the adversary, and the
adversary becomes real.
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[DRAMATIC MUSIC]
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In the case of
the Alien Queen, I
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was trying to create a character
whose motivation I understood,
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but who was terrifying
and very other--
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other from us-- and dangerous
and terrifying in a very almost
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subconscious way
because of that.
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So the Alien Queen, following
on the motifs of the first film,
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doesn't have eyes.
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She's all mouth.
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She has no eyes at all.
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And so we think of the eyes
as the window of the soul.
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We think of the eyes as being
an incredibly expressive part
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of the face.
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But the mouth is the way
we communicate verbally.
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And so much of our expression,
really more so than the eyes,
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is in our mouth.
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So the Alien Queen had
an exaggerated mouth.
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She even had a mouth within
her mouth that extended out.
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So she didn't use
language, at least not
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a language we could understand.
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Although, presumably,
she had a way
190
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of communicating in
complex symbolic forms
191
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with her other Alien warriors.
192
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Because she basically hisses at
them, and they understand what
193
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she means.
194
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Now when my mother
used to hiss at me,
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I understood what she meant.
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But I think the implication
was there was probably
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some high frequency coded
data in that hiss, and/or, who
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knows, a telepathic connection.
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Whatever.
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But the point is we
couldn't understand what
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the Alien Queen was saying.
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But it didn't matter.
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[SNARLING]
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[HISSING]
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[NERVOUS EXHALE]
15890
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