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สาธารณะ·สมาชิก 19 คน

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Several writers developed drafts for The Thing before Carpenter became involved, including Logan's Run (1967) writer William F. Nolan, novelist David Wiltse, and Hooper and Henkel, whose draft was set at least partially underwater, and which Cohen described as a Moby-Dick-like story in which "The Captain" did battle with a large, non-shapeshifting creature.[11] As Carpenter said in a 2014 interview, "they were just trying to make it work".[27] The writers left before Carpenter joined the project.[27][28][29] He said the scripts were "awful", as they changed the story into something it was not, and ignored the chameleon-like aspect of the Thing.[21] Carpenter did not want to write the project himself, after recently completing work on Escape from New York (1981), and having struggled to complete a screenplay for The Philadelphia Experiment (1984). He was wary of taking on writing duties, preferring to let someone else do it.[23] Once Carpenter was confirmed as the director, several writers were asked to script The Thing, including Richard Matheson, Nigel Kneale, and Deric Washburn.[11]




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Bill Lancaster initially met with Turman, Foster and Cohen in 1977, but he was given the impression that they wanted to closely replicate The Thing from Another World, and he did not want to remake the film.[30] In August 1979, Lancaster was contacted again. By this time he had read the original Who Goes There? novella, and Carpenter had become involved in the project.[30] Lancaster was hired to write the script after describing his vision for the film, and his intention to stick closely to the original story, to Carpenter, who was a fan of Lancaster's work on The Bad News Bears (1976).[23][30][29] Lancaster conceived several key scenes in the film, including the Norris-Thing biting Dr. Copper, and the use of blood tests to identify the Thing, which Carpenter cited as the reason he wanted to work on the film.[23] Lancaster said he found some difficulty in translating Who Goes There? to film, as it features very little action. He also made some significant changes to the story, such as reducing the number of characters from 37 to 12. Lancaster said that 37 was excessive and would be difficult for audiences to follow, leaving little screen time for characterization. He also opted to alter the story's structure, choosing to open his in the middle of the action, instead of using a flashback as in the novella.[30] Several characters were modernized for contemporary audiences; MacReady, originally a meteorologist, became a tough loner described in the script as "35. Helicopter pilot. Likes chess. Hates the cold. The pay is good." Lancaster aimed to create an ensemble piece where one person emerged as the hero, instead of having a Doc Savage-type hero from the start.[31]


The Thing's special effects were largely designed by Bottin,[32] who had previously worked with Carpenter on The Fog (1980).[64] When Bottin joined the project in mid-1981, pre-production was in progress, but no design had been settled on for the alien.[64] Artist Dale Kuipers had created some preliminary paintings of the creature's look, but he left the project after being hospitalized following a traffic accident before he could develop them further with Bottin.[12][64] Carpenter conceived the Thing as a single creature, but Bottin suggested that it should be constantly changing and able to look like anything.[28] Carpenter initially considered Bottin's description of his ideas as "too weird", and had him work with Ploog to sketch them instead.[64] As part of the Thing's design, it was agreed anyone assimilated by it would be a perfect imitation and would not know they were the Thing.[14] The actors spent hours during rehearsals discussing whether they would know they were the Thing when taken over. Clennon said that it did not matter, because everyone acted, looked and smelled exactly the same before (or after) being taken over.[40] At its peak, Bottin had a 35-person crew of artists and technicians, and he found it difficult to work with so many people. To help manage the team, he hired Erik Jensen, a special effects line producer who he had worked with on The Howling (1981), to be in charge of the special make-up effects unit.[65] Bottin's crew also included mechanical aspect supervisor Dave Kelsey, make-up aspect coordinator Ken Diaz, moldmaker Gunnar Ferdinansen, and Bottin's longtime friend Margaret Beserra, who managed painting and hair work.[65]


A jump scare (also spelled jumpscare) is a technique often used in horror films and video games, intended to scare the audience by surprising them with an abrupt change in image or event, usually co-occurring with a loud, jarring sound.[1][2] The jump scare has been described as "one of the most basic building blocks of horror movies".[2] Jump scares can startle the viewer by appearing at a point in the film where the soundtrack is quiet and the viewer is not expecting anything alarming to happen,[3] or can be the sudden payoff to a long period of suspense.[4]


The 2014 video game franchise Five Nights at Freddy's was described as "perfect for live streaming" in part due to its use of jump scares. It is also credited with popularizing the term jumpscare.[17]


The third section of the film depicts the chaotic shooting of One Cut of the Dead from behind the scenes. Two main actors could not make filming, forcing director Takayuki Higurashi and his wife Harumi Higurashi to step in to fill the roles of the director and the makeup artist. It is revealed that during the shooting, Takayuki Higurashi overacted his first scene by physically accosting his fellow actor, then Manabu Hosoda (who played the cameraman) passed out drunk and later vomited, Shunsuke Yamagoe's diarrhea led to his character leaving the plant off-script, the main cameraman suffered a back injury and was replaced, Harumi Higurashi went off-script and attacked various real cast and crew during the scene of Nao chasing Chinatsu, forcing Takayuki Higurashi to choke her out, and later forcibly remove a revived Harumi Higurashi from interrupting the ending scene between Chinatsu and Ko. It is also revealed that the zombie which did not attack Chinatsu was a crew member giving instructions, while the camera crane was broken in an accident, leading to the real cast and crew forming a human pyramid to mimic a crane shot for the end of the first section. The faux-crane shot is successful, and the real cast and crew are elated at the successful filming. 041b061a72


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