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Why Neil Marshall Is Perfect For Predators
8 reasons we're glad he's close to signing...
Rumours that Neil Marshall is in talks to direct Predators for Robert Rodriguez has us smiling.
While it might still just be a rumour, we think it sounds like a great idea – a solid blend of director, genre and subject.
Not convinced? Here's our pitch…
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"With Doomsday I had a 28 million dollar budget and I wanted to make a movie that looked like 50-60 million dollars. I always want to get as much as humanly possible out of that money, so that does require an awful lot of creativity and hard work regardless of the scale or budget.”
Article continues below Next: What He Could Do With More Money
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"This one is suddenly – bam! – whole countries. There’s fifty or more speaking parts, I’m dealing with thousands of extras, logistical action sequences, explosions, car chases – the works. It’s been an adventure.”
Just imagine what he might be able to do with an actual $60 million budget, or even more?
Marshall loves his practical work and would be able to add in more CG to give Predators a strong contemporary look.
It would certainly blow AVP: Requiem out of the water...
Next: Dog Soldiers
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4. Dog Soldiers
If you need the purest example of what Marshall is able to achieve when everything combines to work perfectly, look no further than this - his first stab at feature-length filmmaking.
It has plenty of action, shocks, gore and a dark vein of humour (“Sausages!â€) running right through it. Imagine what he could do with a pack of Predators squaring off against British squaddies...
“Action is what I love directing. It’s what I want to see in movies," he said about his wolfish debut.
"I love the thrill of action filmmaking. With Dog Soldiers , I wanted to combine a war movie with a werewolf movie. It’s fun!"
Next: Mayhem!
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Next: Strong Female Characters
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Next: The Rodriguez Effect
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Next: Pertwee!
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James White is a freelance journalist who has been covering film and TV for over two decades. In that time, James has written for a wide variety of publications including Total Film and SFX. He has also worked for BAFTA and on ODEON's in-cinema magazine.
