All Quotes

"Kate Winslet – Clementine"

"Kirsten Dunst – Mary"

"Elijah Wood – Patrick"

"Tom Wilkinson – Howard"

"Mark Ruffalo – Stan"

"RUUUUUN, GOOOOO! GET TO THE CHOPPER!"

"You're one... ugly motherf***er!"

"[after pinning a man to the wall with his knife] Stick around."

"[after knocking down a door to shoot two more soldiers] Knock-knock."

"Blain: Bunch of slack-jawed faggots around here. This stuff will make you a god damned sexual Tyrannosaurus, just like me."

"Blain: Come on in, you fuckers. Come on in. Ol' Painless is waitin'."

"Anna: When I was little, we found a man. He looked like—like butchered. The old women in the village crossed themselves, and whispered crazy things, said strange things. El diablo cazador de hombres. Only in the hottest years this happens. And this year it grows hot. We begin finding our men. We found them sometimes without their skin, and sometimes much, much worst. El que hace trofeos de los hombres means... "The demon who makès trophies of men.""

"Nothing like it has ever been on earth before."

"It came for the thrill of the hunt. It picked the wrong man to hunt."

"Soon the hunt will begin."

"[from trailer] In a part of the world where there are no rules, deep in the jungle where nothing that lives is safe, an elite rescue squad is being led by the ultimate warrior. But now, they're up against the ultimate enemy. Nothing like it has ever been on earth before. We cannot see it, but it sees the heat of our bodies and the heat of our fear. It kills for pleasure, it hunts for sport. But this time, it's picked the wrong man to hunt."

"I always wanted to see something with mandibles."

"One of the great science fiction horror films, often imitated, but never properly duplicated, not even by its own sequel."

"There's something deeply hypocritical about a film that first establishes that its guerrillas are the evil variety by having one of them cold-bloodedly execute a hostage, then gives its squad of "expendables" free rein to cold-bloodedly murder all of them minutes later. It's the Reagan era all over: tobacco-chewing, tough-talking, US of A military triumphalism on one hand and self-pitying, bugle-salute sentimentalism on the other (when Bill Duke – giving the one thing in Predator that could actually be termed a performance – goes all misty-eyed over his microwaved buddy Ventura). Most of the big 80s action directors displayed some ambivalence towards the mildly fascistic butt-kicking mores of their chosen form: James Cameron developed his My Little Pony eco side; Paul Verhoeven sharpened his satire. But the full mess and insincerity and dumb contradictions are there unapologetically in Predator, a piece of preening post-Vietnam powder-puff for the US ego."

"I think Predator has odd moments of self-consciousness too. The one interesting (as opposed to efficient) piece of screenwriting is the scene after they've stormed the rebel encampment, when the alien hunter is watching the soldiers in infrared. Carl Weathers's CIA agent thanks Duke for skewering a deadly scorpion on his back; Duke's reply – "Any time" – is played back with menacing distortion by the predator, until it sounds like a warning. The radio operator (played by Lethal Weapon screenwriter Shane Black) tells a variation of the dirty joke he tried out in the helicopter, also concerning an echo. Landham finally gets it, and his booming laugh is picked up by the alien and played back, grotesquely. Echoes, echoes, and more echoes … until all the machismo is hollow. Something telling is going on here, tonally. The final image of the sequence is the predator watching the heat fade out of the scorpion in its own palm. It's like the film is saying: there's always someone bigger."

"Predator presents a confused but not unsympathetic mix of genres: the in-your-face, shape-shifting horror of Alien (film) and the sweaty military mystique of Rambo and Top Gun, with the whole salted by the camp humor and comic book heroics of the typical Arnold Schwarzenegger vehicle. It`s also, if only half-consciously, a political allegory, with something unformed but urgent to say about U.S. involvement in Central America."

"McTiernan had a good idea in making his monster all but invisible. (through the film`s first hour, his presence is suggested only through a clever optical effect). Schwarzenegger and his team are, to say the least, very definite physical presences; the only force that could possibly threaten them would be their opposite, something airy and unseen. McTiernan, regrettably, seems more interested in spectacle than suspense, and the attack sequences are filmed for splashy visual impact. And an apocalyptic finale that raises the antiwar message to the nuclear level is more than McTiernan's metaphor can bear. But Predator remains, if not exactly a thinking man`s Arnold Schwarzenegger movie, at least an Arnold Schwarzenegger movie that reflects some thought."

"In the context of racially charged white anxieties about immigration and social order, the historical demonization of Black men is a trope, a stereotype, that easily maps onto cinematic typecasting. The 1987 Hollywood film that launched the Predator franchise fits this pattern. Predator depicted a Black, dreadlocked, large and super-virile male in a way that converged white art with white political history. A white man once said he thought it was cool that I had dreadlocks like the Predator. This is not a compliment."

"Predator starts out as a second cousin to Rambo and Missing in Action, with Arnold Schwarzenegger (as Maj. Dutch Schaefer) leading a covert mission to find military operatives missing in Latin America. After 45 long minutes, he and his cohorts (among them Carl Weathers) find an enemy camp and conduct a raid. Knock, knock, says Mr. Schwarzenegger, kicking down the door to a hut. Stick around, he says, running somebody through with a sword."

"Predator, which opens today at the National and other theaters, is alternately grisly and dull, with few surprises, though the creature's face, when finally revealed, has an interesting claw configuration where its mouth ought to be. The habitat is a good deal more interesting than the action, since it contains both floristy-looking palm fronds and large, deciduous trees that have produced some autumn leaves. The film was shot in Mexico."

"Grisly and dull, with few surprises."

"Yeah, I think there’s something very unique about that movie. For one, the movie itself is something that inspired me to do mixed-genre pictures later. I remember going to see it with my older brother who was a bodybuilder and we saw every Arnold Schwarzenegger movie that came out and we went to see that one thinking it was a Commando type film and then it starts turning – I remember the audience reaction to the film in the theater, they were kinda confused when it turned sci-fi and horror and Arnold didn’t really win at the end, a Predator blows himself up and flies off looking like he’s going to a looney bin in a helicopter. And they were a little like "wow what was that movie?" And it just caught on and kept growing in popularity. And the movie itself was very unique."

""Predator" is an ominous high-tech Stone-Age mixture—ominous because the production is high tech and the script, and its values and mentality, are Stone Age. It's in the bare-bones action-adventure mode that producers Joel Silver and Lawrence Gordon used in "The Warriors" and "The Driver," chic action-fables where nothing impedes the streamlined flow—neither logic, originality nor a single naturalistic moment. Sometimes the form works, but in "Predator," they've hit nada. There's a difference between Walter Hill's minimalism and vacuity—which is what we get from Jim and John Thomas' screenplay. It's arguably one of the emptiest, feeblest, most derivative scripts ever made as a major studio movie. There's no need to do a Mad magazine movie parody of this; it's already on the screen."

"Slightly above-average actioner that tries to compensate for tissue-thin-plot with ever-more-grisly death sequences and impressive visual effects."

"Arnold Schwarzenegger - Major 'Dutch' Schaeffer"

"Carl Weathers - Agent Al Dillon"

"Elpidia Carrillo - Anna"

"Bill Duke - Sergeant 'Mac' Eliot"

"Jesse Ventura - Blain Cooper"

"Sonny Landham - Billy"

"Richard Chaves - Poncho"

"Shane Black - Hawkins"

"RG Armstrong - General Phillips"

"Kevin Peter Hall - Predator"

"The rest of the team was like, ‘I dunno man, space vampires are pretty wack. We want to do something a little broader."

"I grew up reading a lot of Thor — which has a Shakespearean component to the language — back from those Stan Lee days, or the Walt Simonson days, my favorite. I gave the Zerg campaign a Shakespeare meets Old Testament kind of vibe. But I needed that that human-like character down the line, and it was toward the end of the Terran campaign like, whoa, what if she becomes — again, we stumbled on those connector points."

"At the time it was the big figure-skating to-do with Tonya Harding and Nancy Kerrigan. So we’ll just name ours Kerrigan, after the girl who gets her knee beat in. We thought, aw, that’s so funny! It’s so stupid."

"The races of Starcraft are now renowned for their balance and distinctive features but all started as being influenced by other science fiction properties and tropes. The Terrans were conceived of as “outlaw cowboys,” who would have a clunky, heavy feel to them, Art Director Sam Didier explains. “We wanted our human race, the Terrans, to be a bit more of scoundrels, rather than the uptight and polished humans of most science fiction stories.” The Protoss, in contrast, were meant to embody the trope of the little “gray aliens” you see in science-fiction films. They were designed to be the “most intelligent, advanced race in the game, but also the highest evolved warriors,” Didier explains. These “little gray aliens” ended up being seven feet tall and resembling “space samurai” where everything— their buildings, units, and armor— all were “ aesthetically pleasing to the eye.” The Zerg, finally, were always meant to be these frighteningly adaptive aliens that were heavily influenced by Aliens and Robert A. Heinlein’s Starship Troopers. “They devoured and consumed and then took what was special about you and made it a part of their race. Oh, and they had teeth…lots of teeth,” Didier says."

"StarCraft, a video game, is often compared to chess: it is strategic and extremely difficult, requiring a mathematical cast of mind, and, unlike many other video games, with their scrolling or first-person vantages, it affords a bird’s-eye perspective of the board, or map. But the analogy breaks down in countless ways. The map changes from game to game. (In this instance, it was called Habitation Station, and shaped somewhat like a butterfly.) Instead of black or white, players choose from among three “races,” called Zerg, Terran, and Protoss, with different strengths and vulnerabilities. In the early stages, players cannot see one another’s armies, and must dispatch scouts to illuminate darkened corners; they must also develop economies, with which to fund the inevitable battles. It’s as if Garry Kasparov had to plot a pawnless endgame while simultaneously harvesting minerals, building fuel extractors, and searching in vain for Spassky’s queen. Academic researchers now use StarCraft II—the “drosophila” of brain science, as one paper suggested—when studying people who expertly perform cognitively complex tasks. Chess may soon be eclipsed as the standard-bearer of competitive I.Q. “Imagine playing a concerto on a piano, and if you miss one note the entire orchestra stops playing and you’re kicked off and you lose your job,” Sean Plott, one of the official commentators on the Scarlett-Bomber match, told me recently. “That’s what this is like.” The piano reference was not arbitrary; top-level StarCraft requires as many as three hundred actions per minute, or A.P.M.; an élite practitioner’s left hand, as it manipulates the keyboard, can appear almost to be playing Chopin. The right hand, meanwhile, darts and clicks with a mouse, contrapuntally, so frantic that carpal-tunnel syndrome and tendinitis are common side effects."

"At its peak, in Korea, where w:Esports grew and led the world, there were three cable channels broadcasting StarCraft 24/7. That was both awesome and something that we hadn’t necessarily predicted, forecast."

"Wil: [Politically correct version of 'baa, baa black sheep'] Blah, blah, blah. I hate myself Pass the weed. I have to testify in court."

"Dave: [In response to an American panellist saying, "If [Australians] don't vote, you get fined."] Yeah, and if you don't vote you get George Bush!"

""Two Australians Kidnapped in Iraq: Unfortunately not Will Anderson" (September 17, 2004)"

""Will Anderson to write and star in a comedy show with Rove: Australian comedy dies" (September 25, 2004)"

""Dicko boycotts ARIAs: No one gives a shit" (September 25, 2004)"