Before you “get to da choppa” and head out to see The Predator, how about you take a look at a few fun tidbits we found about Predator, the original Arnold Schwarzenegger action classic that started it all.
1. THE MOVIE WAS ALMOST TITLED HUNTER.
The name wasn't switched to Predator until after production.
2. THE PITCH FOR THE MOVIE NAME-DROPPED SOME RECOGNIZABLE HITS.
In the film's DVD commentary, director John McTiernan shared that the film was pitched as “Rocky meets Alien," but McTiernan saw it more like King Kong: "Bunch of guys go to an island, and go deeper and deeper in, and shazam the thing they’re chasing turns out to be a lot bigger than they thought, and they have to turn around and run away!”
3. THE FILM WAS SHOT ENTIRELY ON LOCATION IN MEXICO.
The fictional jungles of Val Verde are actually locations in Puerto Vallarta and Palenque, Mexico. However, because the Mexican jungle is deciduous, tons of fake leaves had to be added to the trees in order to make the jungle seem lush and inescapable.
4. SHANE BLACK WAS CAST FOR HIS SCRIPT EXPERTISE, NOT HIS ACTING CHOPS.
Shane Black, who plays Hawkins, had previously written the screenplay for Lethal Weapon; he was covertly cast in the film so that he would be available to make on-the-fly and uncredited script changes while on set. Which makes it even more befitting that Black wrote and directedThe Predator, the latest installment in the series.
5. THE LOOK OF THE COMMANDOS WAS BASED ON THE SGT. ROCK COMICS.
Hawkins can be seen reading a Sgt. Rock comic in the end credits (see above).
6. PREDATOR IS PROFESSIONAL WRESTLER JESSE VENTURA’S FIRST MOVIE.
Jesse Ventura would later serve as the Governor of Minnesota from 1999 to 2003.
7. “OLD PAINLESS” SHOT BLANKS…
… but was still extremely deadly. The GE M134 Minigun wielded by Ventura’s character didn’t shoot live rounds, but for safety reasons, the cast and crew were required to stand at least 50 feet away when it was fired.
8. THE PREDATOR’S HEAT VISION ISN’T ACTUALLY HEAT VISION.
The filmmakers attempted to use actual heat vision for the Predator, but the specific camera proved impractical for the on-location shoot. Instead, normal footage was made into a negative image in post-production and exaggerated “heat vision” colors were added to create the effect.
9. THE PREDATOR’S GREEN BLOOD WAS MADE FROM GLOW STICKS.
The filmmakers originally used an orange substance for the creature’s blood, figuring they would spiff it up with special effects in post-production. But the orange goop looked so bad on camera, they decided they had to make a change. They wound up using the luminescent liquid from the inside of glow sticks, which they bought over the counter.
10. JEAN-CLAUDE VAN DAMME WAS THE ORIGINAL GUY IN THE PREDATOR SUIT.
The “Muscles from Brussels” was reportedly fired from the movie because he complained too much about how uncomfortable the suit was.
11. THE ORIGINAL DESIGN FOR THE PREDATOR WAS SCRAPPED IN THE MIDDLE OF PRODUCTION.
The original suit resembled a lanky, bug-eyed insect, but McTiernan didn't think it was scary enough. He halted production on the entire movie so it could be redesigned. Arnold Schwarzenegger personally tapped effects wizard Stan Winston to revamp the Predator design. Winston had previously designed Schwarzenegger’s famous robot skeleton in The Terminator.
12. THE BREAK IN PRODUCTION WAS A BLESSING IN DISGUISE.
The stop in production to redesign the Predator allowed the filmmakers to edit an hour of the movie together to show to the studio. They liked it so much that they gave the production more money to create bigger action sequences in the last third of the movie once filming picked back up
13. JAMES CAMERON PARTLY INSPIRED THE CREATURE’S NEW DESIGN.
While on a flight during the production of Aliens, Cameron mentioned to Winston (who was sketching ideas for the new Predator) that he’d always wanted to see a monster with mandibles. Winston added the oral appendages to the final drawing of the updated Predator.
14. THE UPDATED PREDATOR SUIT WAS NO PICNIC TO WEAR.
The fully functioning suit weighed upwards of 200 pounds, which was a lot of weight for Kevin Peter Hall, the seven-foot-tall ballet dancer, martial arts expert, and actor they brought on to replace Van Damme.
15. OPTIMUS PRIME AND THE PREDATOR HAVE THE SAME VOICE.
Peter Cullen, who is uncredited in Predator, provided the voice for both Optimus Prime and the Predator.
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Science fiction has found its way into countless books, movies, TV shows, and video games over the years, making it tough to figure out which products are actually worth your time when shopping for a fan of the genre. We’re taking the thought out of it with these 11 recommendations for the sci-fi fan in your life.
1. Star Trek: The Original Topps Trading Card Series; $22
Topps trading cards were the essential collectible during the ‘70s, ‘80s, and ‘90s—so it was only right that Star Trek would have its own set for fans to obsess over (though it actually debuted seven years after the original series was canceled). In this chunky coffee-table book from Abrams, high-quality scans of the fronts and backs of all 88 standard cards are featured alongside insights and essays from Trek experts Paula M. Block and Terry J. Erdmann.
Though you might not want your loved one to walk around the house in a Starfleet uniform, you should definitely get them these Next Generation socks to make their feet feel a bit more official. And whether they relate to the command, engineering, or science division of the Enterprise, there’s a pair here for them.
With a new take on the Dune movie franchise hitting theaters soon, there’s no better time to make sure the sci-fi buff in your life has the first three installments—Dune, Dune Messiah, and Children of Dune—in author Frank Herbert’s landmark book series.
One of the most striking aspects of the sci-fi genre is the imaginative, if not downright weird, book covers that come along with it. This collection of postcards features reproductions of 100 covers from publisher Penguin’s past, featuring work from H. G. Wells, Aldous Huxley, J. G. Ballard, Philip K. Dick, Kurt Vonnegut, and Ray Bradbury. This set is ideal for any avid collector, especially ones that want to turn the postcards into unique crafts and decorations for the home.
5. and 6. The Making of Alien and The Making of Aliens; $31-$42
If you ever want a comprehensive behind-the-scenes book about your favorite movie, look for the name J.W. Rinzler. He’s best known for his in-depth accounts of the original Star Wars trilogy, but he’s also dabbled in other franchises, like the first two movies in the Alien series. Packed with rare photos, unused concepts, original script drafts details, and more, these books contain all the anecdotes and details a fanatic could ever want.
7. The Future Is Female! 25 Classic Science Fiction Stories by Women; $20
Some of sci-fi’s best women writers get the spotlight in this expansive anthology collection from the Library of America. The stories themselves range from the campier pulps of the '20 and '30s through the more thoughtful and serious evolution of the genre in the ‘60s. This is a crash course in sci-fi history, told through the lens of an often-unappreciated group of authors, including James Tiptree, Jr. (real name Alice Bradley Sheldon) and Leigh Brackett, who was responsible for the first draft of 1980's Star Wars: The Empire Strikes Back.
Though sci-fi is usually exclusive to novels and blockbuster movies today, it really got its start thanks to the plethora of genre magazines on stands during the ‘30s and ‘40s. And now, you can put together those striking—and impeccably surreal—covers to Fantastic Adventures, Amazing Stories, and more in this 1000-piece jigsaw puzzle.
Cyberpunk 2077 has arguably been the most anticipated piece of sci-fi media over the last five years. CD Projekt Red already created one of this generation’s best games with The Witcher 3, and now the studio is throwing players into a Blade Runner-esque cyberpunk world, where every choice you make will shape the world around you in different ways. Plus, you’ve got an arsenal of weapons and augmentations at your disposal. This one hits shelves on December 10.
Godzilla’s unique charms resides in the way the franchise seamlessly alternates between thought-provoking and schlocky. And in this handsome, 15-movie Blu-ray set from Criterion, fans can revisit the series’s most influential installments, from 1954's groundbreaking original all the way through the campier later days of Megalon and Mechagodzilla. The set also contains both the U.S. and Japanese versions of 1963’s cringe classic King Kong vs. Godzilla. In typical Criterion fashion, the whole package is accompanied by hours of extras and a gorgeous hardcover book filled with original artwork.
One of sci-fi comics’ most important artists, Moebius helped define a visual style that would influence George Lucas, Ridley Scott, and pretty much every other major force in the genre for decades to come. In this collection, Moebius’s The World of Edna stories are reprinted in beautiful hardcover format, complete with lush colors that perfectly complement the strange worlds to which he transports readers.
Behind every club banger and power ballad is an eclectic team of individuals, each with their own role in its creation and promotion. Needless to say, it couldn’t happen without the songwriters. These gifted musicians don’t just pen the lyrics that fuel all your car concerts and karaoke nights—they also manage egos, help artists articulate their innermost feelings, and juggle their own side gigs. So what does a songwriting career actually look like? Mental Floss chatted with three experienced songwriters about everything from how they make money to how they make hits.
1. It’s common for songwriters to have their own music careers.
From Carole King to Pharrell Williams, the music industry has long teemed with talented artists who’ve written songs for other acts—so it’s not exactly surprising that so many songwriters are nurturing what they call their own “artist projects.” In fact, all three songwriters interviewed for this article have released new music in the last few months. Daniel Capellaro released the EP Nightside [A] in November under the moniker “Dvniel”; Skyler Stonestreet’s first single as “The Sunshine State” dropped in late October; and Trent Park has been unveiling a steady stream of singles and corresponding music videos since June.
Though it seems like it could be difficult to constantly fork over songs that they might want to release themselves, the collaborative nature of the business prevents this from being a major issue. Often, the songwriter is working off ideas and emotions specific to the artist they’re writing for, so the song truly feels like it belongs to that artist. Other times, the song gets tweaked by so many writers and producers that it’s no longer the original songwriter’s personal opus. “When a song comes out, sometimes I’m like, ‘Ah that was good, but I would’ve done it a totally different way,” Park says. “But that means it wouldn’t be the song that it is.”
2. Songwriters sometimes have to fake it ’til they make it.
In a business built on relationships, it’s pivotal for up-and-coming songwriters to always be on the lookout for new connections. Sometimes, this means acting first and thinking later. During Capellaro’s early days in Los Angeles, his demo CD was his de facto business card. About a month after giving one to an executive from Universal Music Group, he got a call from the company asking when he was playing next. Having no dates lined up, he picked one at random: March 16. “So I hang up and I'm like, ‘OK, I’ve just committed to playing a show. I've got no venue. I've got no band. I have to get all this put together in the next 30 days,” Capellaro remembers.
He found a former bass player from the band Lifehouse on Craigslist, and the two set about securing the rest of the band. For the venue, Capellaro chose a well-known rehearsal space called SIR (Studio Instrument Rentals), only to find out that the Universal exec slated to see the show “[had] never signed a single act at SIR—she hates that place.” It was too late to switch venues, so Capellaro reassured his Universal contact over the phone that “she won’t recognize it” and immediately transported everything in his recently furnished living room to the stage to give it a whole new look. “I had a couch, a rug, tea candles,” he says. “I wanted it to feel like MTV Unplugged.” The hard-to-please executive was duly impressed. “She’s like ‘You sound great. How long have you guys been playing together?’ and I’m like, ‘Ah, you know, for a while.’ I didn’t want to tell her ‘Four days.’”
When asked what surprised him most about the industry, Park answered without hesitation: “That nobody knows what they’re doing.” He, too, confessed to occasional fibbery. “There are some times when I reach out to an artist and I say, ‘I love your stuff. I have a song for you,'” he says. “I’m completely lying. I just want to work with that person, and once they reach out I end up formulating songs in the vein of their stuff.”
3. Songwriters don’t just write for career music artists.
Songwriters like Capellaro and Stonestreet, who are signed to music publishing companies, mainly do work on songs for fellow artists. Park, on the other hand, is an independent songwriter—so his clients sometimes come from other industries altogether. “Right now I'm writing for a couple lawyers that are just doing it as a passion, but they pay me really well,” he says. “I’m there for everyone. Honestly, it’s way better money.” Park also spent a few weeks writing songs for the wife of a billionaire app developer. Not only did she pay him triple his per-song rate and triple his per-diem rate, she also insisted on posting him up in a luxury hotel and giving him an additional $500 each day for food and other expenses. “That was a really cool [scenario],” Park says, “I’m hoping for more of those.”
4. There are countless ways to create a song—and countless people involved.
Songwriting isn’t exactly a linear process. “You can start from any place,” Capellaro says. “You can start with someone toe-tapping, or have a piano pulled up and just start playing a C chord over and over again.” Often, the record label has already started for you—they’ll send an instrumental track to multiple songwriters, who each adds their own lyrics and melody. Then, the label simply chooses their favorite.
Other songs originate in songwriting camps. Basically, a record label will gather various songwriters in a house, split them into small groups, and “see if magic happens,” Stonestreet says. During a camp meant to generate hits for Dua Lipa a few years ago, it did: Stonestreet and several other writers penned her 2018 single “IDGAF.”
But even after a track has lyrics and a melody, there’s always a chance it’ll undergo another round of edits. Maybe a label liked a certain producer’s work on another song, so they ask them to tweak this one; or they bring in a new writer to fine-tune a few words or add a post-chorus. Big artists also sometimes have personal collaborators that they want credited on the song, whether or not they actually helped create it. “That’s why when you look at a Katy Perry song, you’re like ‘How did 14 people write this one song that has the most juvenile lyrics I’ve ever heard in my life?’ They didn’t—it’s all politics,” Capellaro says.
5. Songwriters don’t make much from music streaming services like Spotify.
Music streaming services like Spotify and Apple Music are notorious for pocketing most of the earnings from artists’ work. Spotify, for example, pays the rights holder as little as $0.006 for each stream—and that paltry sum must then be split among all the people involved in making the song. Songwriters, producers, musicians, managers, label executives, and any number of other people could each be entitled to a certain percentage of the profits. “I have over a million streams on one catalog, and that translated to $785,” Capellaro says. “If I sold a million copies, I would’ve had a house up in [Beverly Hills].” Not only are the rates low, but artists also have to somehow make their songs stand out from the tens of thousands of other new songs released each week, which Capellaro admits is “virtually impossible.”
6. Songwriters often juggle other jobs.
Since songwriters can’t rely on streaming dividends for income—and salaried music publishing positions don’t always come easy—they often make ends meet with a variety of side gigs. Park realized early in his career that while songwriters were mainly earning money from royalties, producers were often paid an hourly rate or up-front lump sum. “So I learned how to produce,” he says. Then, he purchased a mic and other equipment so he could record vocals at home—like hooks for people’s rap or EDM songs. “Basically, I’m an a la carte thing,” he explained. Park eventually branched out into music video production, and he’s now directed videos for chart-topping artists like G-Eazy and Ty Dolla $ign. He also served as a music technical consultant for 2020’s The High Note, starring Tracee Ellis Ross and Dakota Johnson; in that position, he made sure the dialogue, instruments, and other music-related details matched real life.
Even when a songwriter appears to be working a job entirely unrelated to the music industry, there could be a shrewd reason for doing so. Capellaro spent more than a decade running a restaurant called Amici in Brentwood, California. “I knew I wanted to be there because that’s where the celebrities live,” he explains. Sure enough, he connected with people like J.J. Abrams, Laura Dern, and Bonnie Hunt, who was hosting her NBC talk show at the time. One evening while refilling Hunt’s water glass, Capellaro posed a question: “Hey Bonnie, what would it take to be on your show?” She asked if he had a CD on hand, which he did, and booked him as a musical guest within weeks. The day after the taping, Hunt dined at Amici again and lauded Capellaro for his performance. “I’m like, ‘This is so surreal. I was just on your show yesterday, and now I’m bringing you sea bass.” A producer who caught the performance later reached out to Capellaro and ended up inviting him to his studio for songwriting sessions—which yielded hits for Chris Brown and Boyz II Men.
It was also at Amici that Capellaro developed a friendship with Marc Caruso, a music engineer who happened to be the founder of a music publishing company called Angry Mob Music Group. About five years ago, Caruso, knowing Capellaro was itching to give up his restaurant job and focus on music full-time, offered him a music publishing deal; Capellaro’s been there ever since.
7. Songwriters have to form close bonds with artists in a few hours or less.
Because the goal is to create a song that feels personal to the artist, songwriters usually prefer to work directly with them whenever possible. And getting the artist to give them some seed of inspiration means forging a deep friendship with them within minutes of entering the studio.
“There’s so much trust that needs to happen in the room. You’re telling potentially intimate details about yourself that would be uncomfortable sharing [with a stranger]. So much of it is trying to create a safe place for the artist and a safe place for the writers, all the while dealing with egos the size of tall buildings,” Capellaro says. “It’s almost like a therapy session: What’s your mood today? What happened over the weekend? What’re you pissed off about? What’re you inspired by at this very moment? Because it can change at 5 p.m. today, and maybe that inspires the song.”
Stonestreet expressed a similar sentiment. “I honestly love when the artist is involved. You won’t know anything specific unless you’re sitting there having a conversation—it can be emotional. You form a relationship, and you trust each other to handle the information.”
8. Songwriters have to say “no” without actually saying “no.”
Songwriters have to find creative ways of steering a song in the right direction without flatly rejecting an artist’s not-so-great suggestion. Stonestreet might toss out a compliment and lean on the lackluster reaction of the room as evidence that they haven’t yet struck gold. Something to the effect of: “‘That’s cool, and I like it, but maybe it’s not jumping out, and it’s not making everyone jump around the room and [giving everyone] that feeling of ‘This is so exciting.’”
“I always say, ‘Let’s try it,’” Park says. “‘I don’t necessarily hear what you’re talking about, but let’s try it.’” Sometimes, hearing their idea come to life is enough to make the artist realize it isn’t a great fit. Park also occasionally asks the artist’s manager, significant other, or another trusted party to weigh in, hoping they’ll side with him. “But I am always honest. I’m like, ‘Yeah, I don’t think the idea works. If you like it, 100-percent do it. It’s not my vibe, but it’s your song.'”
And since the artist does have final say, the writers also need to know when to cut their losses. If the artist is hell-bent on certain subpar lyrics? “You’re going to go with whatever they’re going to like,” Capellaro says.
9. Songs sometimes get lost in the abyss.
Earlier this year, Stonestreet wrote Ariana Grande and Justin Bieber’s duet “Stuck with U,” which got released mere weeks later. “I just heard the demo of it last week, and it’s coming out Friday. I don’t understand what’s going on,” she thought at the time. “That was a freak thing. Usually you do have to wait a minute.” A minute could be a year—or never. “So many people have to say yes to the song for it to come out … All the label’s people, the artist’s team, your team.” Even after getting all those green lights, a single could still test poorly among advance radio reviewers and end up stalling indefinitely.
Sometimes, a record label neglects to send the finished product back to the songwriter. “I think some songs can go into a complete abyss where they just sit on a hard drive for years and years,” Stonestreet says.
10. Songwriters have mixed feelings about making music via Zoom.
Since songwriting often involves multiple people spending long hours in a small studio, the coronavirus pandemic threatened to upend the whole system. So songwriters went virtual. Some, like Park and Stonestreet, already had recording equipment at home; Capellaro, meanwhile, quickly invested in a mic, a monitor, cables, and all the other requisite gadgets. To shift the workflow online, they’ve had to more clearly define each person’s task for each song.
“I’m a vocalist, so I’m going to record vocals in my house, and I will send the stems to producer X, Y, or Z, have them tune them for me [and] put them into the rest of the track," Capellaro says. “I can have another guy master it, [and] we can always hop on a FaceTime or Zoom call to get it written and recorded.” This streamlined process has actually helped with productivity. “I have been writing more music since March than I was previously,” Capellaro says.
Making music via video chat tends to work better with fewer people, so Stonestreet has enjoyed the opportunity for more one-on-one sessions. When there are several people on the call, they cut down on confusion over who’s speaking (and singing) by thoroughly explaining each suggestion. “You really talk things through, which has been really nice,” she says. That said, the camaraderie born in the studio is hard to recreate on a computer screen, and songwriters are eager to experience that again. “I love Zoom, but I also really miss people in the room with me,” Stonestreet says.