Interviews
Shane Black’s ‘The Predator’ Will See a New Suit Design
Shane Black is really ramping up the hype train for The Predator, the fourth film in the Predator franchise. He’s been letting little bits of information slip here and there to get people ready for the March 2nd, 2018 release date, such as calling the film a “…spectacle“, saying that the film takes place in present day, and stoking the possibility of Arnold Schwarzenegger’s return.
But now Black tells ComingSoon.net that there might be a change in design when it comes to the visual appearance of the one of the universe’s deadliest and most cunning hunters:
It’s not to ‘improve,’ it’s make it fun, make it different, make it organically different. So what’s the extension of it that makes sense, that’s exciting? There have been a lot of changes to Stan’s design over the years. These different Predator movies have done different things. Ultimately it’s not about design to me, it’s about the story you want to tell. There are people who are always going to agonize over Iron Man, what color his suit is. Maybe this weapon does a new thing, but if the story is not good I don’t give a sh*t what color the suit is. In ‘The Predator’ we’re doing a lot of upgrades to what you would consider to be the traditional Predator technology and look, but hopefully the story is what’s going to drag people in, not just the attention to the minutiae.
My biggest hope is that they’ll find a way to stop making the heads look so damn big on the predators. Has anyone else noticed this or is it just me? I swear that the predator in the first film had a reasonable head-to-body size ratio but it only got worse with each film. Just look at this picture. That head looks ENORMOUS when compared to this.
As the inaugural season of Apple TV+’s stellar new series “Widow’s Bay” barrels toward its finale in two weeks, the latest episode gives Kate O’Flynn the spotlight as her character revisits her trauma with the Boogeyman.
“Your Baggage“, directed by Andrew DeYoung (Friendship), sees O’Flynn’s scene-stealing Patricia once again renew her fight with the Michael Myers-like stalker that slaughtered her peers during her adolescence. Thrillingly, it makes for one extended chase sequence that sees Patricia trying to warn others, while evading the undead killer.
In short, this episode’s incredible riff on Halloween and the slasher subgenre transformed Patricia into a fierce Final Girl.
“Well, that felt like a bucket list that I didn’t know was on my bucket list until I did it, but when I did it, I just lapped up every minute,” O’Flynn tells Bloody Disgusting of her triumphant turn this episode. “It felt fantastic for her to get that moment where she is becoming a badass. That was amazing.”
The actress turned to a few notable references for her performance. “Horror-wise, I go back to my youth, which was referenced in some of the episodes: Wicker Man, Carrie, and Rosemary’s Baby, that sort of thing is my kind of vibe.”
O’Flynn also notes how the series’ unique tone allows for so much creative freedom to make bold swings. “There’s something very freeing about it. Every moment is up for grabs, so it’s like we don’t have to totally land in one direction or another. It keeps it alive.“
Patricia is the eccentric assistant to Matthew Rhys‘ Mayor Tom Loftis, who’s at the forefront of trying to solve the island’s pesky curse predicament. Rhys felt the same about “Widow’s Bay” and its rare ability to make you laugh and scream in equal measure, stemming from series creator Katie Dippold.
“The mandate was, ‘It’s a real world with real people. You play for real.’ There’s no playing for comedy or horror,” Rhys echoes O’Flynn’s sentiments on how freeing the series’ tone has been.
New episodes will release every Wednesday through June 17 only on Apple TV+.
Kate O’Flynn in “Widow’s Bay,” now streaming on Apple TV.
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