The Thing 2011 Full [CRACKED] Movie Youtube Download

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]

The Thing was storyboarded extensively by Mike Ploog and Mentor Huebner before filming began. Their work was so detailed that many of the film's shots replicate the image layout completely.[46] Cundey pushed for the use of anamorphic format aspect ratio, believing that it allowed for placing several actors in an environment, and making use of the scenic vistas available, while still creating a sense of confinement within the image. It also enabled the use of negative space around the actors to imply something may be lurking just offscreen.[14]

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Several scenes in the script were omitted from the film, sometimes because there was too much dialogue that slowed the pace and undermined the suspense. Carpenter blamed some of the issues on his directorial method, noting that several scenes appeared to be repeating events or information. Another scene featuring a snowmobile chase pursuing dogs was removed from the shooting script as it would have been too expensive to film. One scene present in the film, but not the script, features a monologue by MacReady. Carpenter added this partly to establish what was happening in the story and because he wanted to highlight Russell's heroic character after taking over the camp. Carpenter said that Lancaster's experience writing ensemble pieces did not emphasize single characters. Since Halloween, several horror films had replicated many of the scare elements of that film, something Carpenter wanted to move away from for The Thing. He removed scenes from Lancaster's script that had been filmed, such as a body suddenly falling into view at the Norwegian camp, which he felt were too clichd.[23] Approximately three minutes of scenes were filmed from Lancaster's script that elaborated on the characters' backgrounds.[40]

Carpenter filmed multiple endings for The Thing, including a "happier" ending because editor Todd Ramsay thought that the bleak, nihilistic conclusion would not test well with audiences. In the alternate take, MacReady is rescued and given a blood test that proves he is not infected.[52][55] Carpenter said that stylistically this ending would have been "cheesy".[23] Editor Verna Fields was tasked with reworking the ending to add clarity and resolution. It was finally decided to create an entirely new scene, which omitted the suspicion of Childs being infected by removing him completely, leaving MacReady alone.[23] This new ending tested only slightly better with audiences than the original, and the production team agreed to the studio's request to use it.[56][57] It was set to go to print for theaters when the producers, Carpenter, and executive Helena Hacker decided that the film was better left with ambiguity instead of nothing at all. Carpenter gave his approval to restore the ambiguous ending, but a scream was inserted over the outpost explosion to posit the monster's death.[23][56] Universal executive Sidney Sheinberg disliked the ending's nihilism and, according to Carpenter, said, "Think about how the audience will react if we see the [Thing] die with a giant orchestra playing".[23][57] Carpenter later noted that both the original ending and the ending without Childs tested poorly with audiences, which he interpreted as the film simply not being heroic enough.[23]

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]

The plot was criticized as "boring",[87] and undermined by the special effects.[88] The Los Angeles Times's Linda Gross said that The Thing was "bereft, despairing, and nihilistic", and lacking in feeling, meaning the characters' deaths did not matter.[89] Spencer said it featured sloppy continuity, lacked pacing, and was devoid of warmth or humanity.[86] David Ansen of Newsweek felt the film confused the use of effects with creating suspense, and that it lacked drama by "sacrificing everything at the altar of gore".[88] The Chicago Reader's Dave Kehr considered the dialogue to be banal and interchangeable, making the characters seem and sound alike.[90] The Washington Post's Gary Arnold said it was a witty touch to open with the Thing having already overcome the Norwegian base, defeating the type of traps seen in the 1951 version,[85] while New York's David Denby lamented that the Thing's threat is shown only externally, without focusing on what it is like for someone who thinks they have been taken over.[87] Roger Ebert considered the film to be scary, but offering nothing original beyond the special effects,[91] while The New York Times's Vincent Canby said it was entertaining only if the viewer needed to see spider-legged heads and dog autopsies.[9]

The Atlantic's Noah Berlatsky said that unlike typical horror genre films, women are excluded, allowing the Thing to be identified as a fear of not being a man, or being homosexual.[139] Vice's Patrick Marlborough considered The Thing to be a "scathing examination" of manliness, noting that identifying the Thing requires intimacy, confession, and empathy to out the creature, but "male frailty" prevents this as an option. Trapped by pride and stunted emotional growth, the men are unable to confront the truth out of fear of embarrassment or exposure.[144] Berlatsky noted that MacReady avoids emotional attachments and is the most paranoid, allowing him to be the hero. This detachment works against him in the finale, which leaves MacReady locked in a futile mistrust with Childs, each not really knowing the other.[139]

Since its release, many theories have been developed to attempt to answer the film's ambiguous ending shared by MacReady and Childs.[152] Several suggest that Childs was infected, citing Dean Cundey's statement that he deliberately provided a subtle illumination to the eyes of uninfected characters, something absent from Childs. Similarly, others have noted a lack of visible breath from the character in the frigid air. While both aspects are present in MacReady, their absence in Childs has been explained as a technical issue with the filming.[153][154] During production, Carpenter considered having MacReady be infected,[155] and an alternate ending showed MacReady having been rescued and definitively tested as uninfected.[52] Russell has said that analyzing the scene for clues is "missing the point". He continued, "[Carpenter] and I worked on the ending of that movie together a long time. We were both bringing the audience right back to square one. At the end of the day, that was the position these people were in. They just didn't know anything ... They didn't know if they knew who they were ... I love that, over the years, that movie has gotten its due because people were able to get past the horrificness of the monster ... to see what the movie was about, which was paranoia."[152] However, Carpenter has teased, "Now, I do know, in the end, who the Thing is, but I cannot tell you."[156]

Thing T. Thing, often referred to as just Thing,[1] is a fictional character in The Addams Family series. The Addamses called it "Thing" because it was something that could not be identified, being originally an unseen creature in the original cartoons but starting with the live-action television series it was settled to be a disembodied hand. It is known as "Cosa" (Thing) in Spain, "Dedos" (Fingers) in Hispanic America, "Mano" (Hand) in Italy ,"La Chose" (the Thing) in French speaking countries, and "eiskaltes Hndchen" (icecold hand) in German. "Rczka" (Small hand) in Polish. e24fc04721