Not long after they land, Dutch and his team discover that they have been sent in under false pretenses. This deception turns out to be the least of their worries though, when they find themselves being methodically hunted by something not of this world. As an unidentified interstellar spacecraft penetrates the Earth's atmosphere, landing somewhere on the tangled jungle of Central America, the battle-hardened leader of an elite military team, Major Alan "Dutch" Schaefer, and his hand-picked men begin to deploy to the region.
Entrusted with locating a cabinet minister and eliminating the area's scattered guerrilla pockets, before long, this routine rescue mission turns into a bloodbath, as macabre findings of ritualistically mutilated bodies can only mean one thing: someone, or better yet, something, is hunting them down for sport.
Now, outgunned, and above all, outmatched, Dutch must put his extensive combat experience to good use, and summon up the strength to make a last stand against the pitiless, highly advanced extraterrestrial hunter. But, the major's primitive weaponry is no match for the humanoid creature's state-of-the-art armament. Is there an escape from the wrath of the Predator? Dutch and his group of commandos are assigned to rescue downed airmen from guerillas in a Central American jungle.
The mission goes well but as they return they find that something is hunting them. Nearly invisible, it blends in with the forest, taking trophies from the bodies of its victims as it goes along.
Occasionally seeing through its eyes, the audience sees it is an intelligent alien hunter, hunting them for sport, killing them off one at a time.
The challenge is in finding a combination of different elements to create something that looks and feels new. It's about execution. McTiernan was very confident. He had a lot of great ideas, and as a filmmaker it's wonderful to have ideas, but you also have to know how to execute. McTiernan has talked about this famous scene as representing the opposite of what it appears to show. I was taking the piss, as the Australians say. The whole point is the impotence of all of the guns.
It was exactly the opposite of what I believed I was being hired to sell. It also needs a power source: three truck batteries for preference. Bill still 'firing' the gun after the bullets were all spent was an idea I came up with when I constructed the scene. I used outtakes when the gun didn't fire to over-extend the carriage rotation at the end, and then I added a whirring sound over the reaction shots and inserts, prolonging the moment.
It worked very well dramatically. Back to the homoerotic subtext here: the relationship between Mac and Blain is one to keep an eye on. The moment in the film, post Blain's combustion, when Mac tells Dutch "He was… my friend ," is pretty loaded, and Mac's behaviour here, charging off after the Predator alone — Dillon is lagglng behind, trying to fetch him back - is rooted in those feelings. Slightly earlier, to hammer the point home, Duke even gets an emotional, moonlit soliloquy, toasting his special friend on his journey beyond the mortal coil.
The film's novelisation was written by the gay poet Paul Monette. This is Sonny Landham's big moment, and the pay-off for a strange thread running through the film that suggests some sort of supernatural connection between Billy and the alien.
Billy's is the only off-screen death, as he stands to face the pursuing creature while ritually slicing his chest. All we hear is his final scream, while the POV shot, from the perspectives of Dutch,. Poncho and Anna, shows nothing but jungle. It's a subtle echo of Anna's earlier line about Hawkins: "The jungle came alive and took him. His temper was so volatile that he had a bodyguard on set, not to shield him from the rest of the crew, but to protect the crew from him.
And because his vision and breathing were constricted, it was pretty much impossible for him to do the thing that got him hired in the first place: move like Jean-Claude Van Damme. It was also a safety issue. He was being asked to move around — in a fashion that would convince audiences that the Predator possessed superhuman levels of agility and stealth — on stilts, on uneven terrain, in a jungle. Also the suit was rubber and it was degrees and humid. In a jungle.
It was these not-ideal conditions which, according to Van Damme, ultimately led to his dismissal. Crack [ makes snapping motion ]. And then they stopped the film, and they did a new, more safe, outfit. And Stan decided that the way to do the suit is to start with the tallest, biggest guy he could find, not someone who was the agile mover that Van Damme was. He also offered up a fourth, mutually exclusive, eyewitness account of the firing itself, because at this point why not?
He started off as nice as anybody could possibly start off, and then he just ended where he told Claude that he wanted to take his fucking head, go out there, put it on the concrete and have one of those big fucking trucks run over his head fucking-thousand times.
It was released in February , eight months after Predator , and his aborted role as an extraterrestrial ant ninja became a footnote.
He thought I was the type of alien with a human face and body, where people would be able to recognize me. See the section of the oral history concerning Van Damme below, or read the whole thing here. But when it comes to why, exactly, he got fired, nearly everyone THR spoke with had a different explanation — including three separate first-person accounts of the actual moment he was fired. Burch: Jean-Claude Van Damme was someone who used to constantly come into my office, jumping up in the air, showing me his moves, begging me for work.
He was nobody. He even stored his furniture in my garage!
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