Editorials
‘Prey’ – 8 Things We Learned from the Blu-ray Commentary Track
20th Century Studios deserves recognition for listening to fan demand, as not only has Prey received a physical media release — virtually unheard of for a Hulu original — but it’s an impressive one. Not only does it carry exclusive extras, but there are 4K UHD and Steelbook options to boot. (Hopefully we can convince them to do Hellraiser next!)
An audio commentary with writer-director Dan Trachtenberg, star Amber Midthunder, director of photography Jeff Cutter, and editor Angela M. Catanzaro is included alongside a making-of featurette, a FYC panel with cast and crew, and more.
Here are eight things I learned from the Prey commentary…
1. The Predator originally infiltrated the 20th Century Studios logo.
The 20th Century Studios opening title card originally featured Predator’s laser target and the logo went invisible like the creature’s cloaking mechanism as the fanfare dropped out.
“We fought for it, and then they gave it to us,” Trachtenberg reveals. “And then at the last second we added the prayer, the beginning of telling the story in Comanche, and it felt like the tone was more serious. It felt good. The cloaking felt too genre, like ‘Tune in for Predator!’ when actually we were saying this movie is doing more things.”
2. The opening scene was different in the script.
Rather than opening with Naru awakening, the script began with a sequence that would establish a theme of the movie.
“It originally started on an opening shot of a bug that got eaten by a fish, and the fish got picked up by a hawk, and the hawk was shot down [by the Predator],” Trachtenberg divulges.
That sequence begat a similar one moments later, with an ant being eaten by mouse, the mouse being eaten by a snake, and the snake being killed by the Predator.
“This was born out of the original opening of the movie, where we sort of do this chain of the natural world that the Predator comes in looking for the alpha. It became better suited tracking the Predator alongside Naru, putting the sequence in the middle, and then making it all more menacing.”
3. The film’s composer was found by playing video games.
Trachtenberg discovered composer Sarah Schachner through a video game:
“I was playing Assassin’s Creed Valhalla while we were prepping the movie, and I was like, ‘God, this music’s beautiful. Who did this?’ And I saw Sarah’s name and wasn’t familiar with it. I did a little bit of a dive on her and found other games she had scored that I loved, and she was incredible.
We had temp scored the whole movie with very modern, atmospheric, droney, brooding. A lot of Sicario score was used. I loved the idea of doing a movie set in a time period where the music didn’t necessarily always reflect the music you expect to hear in that time period. But that sequence where she sets out, we had temped with Maleficent or Snow White and the Huntsman; you know, really big fantasy.”
He continues, “Sarah found a way to have a score for this movie that oftentimes was more modern and not what you’d expect, but then these movies that were ginormous and heavy and inspiring and all those things.”
4. A thermal camera was used to achieve the Predator’s vision.
Although technology has advanced considerably since the original Predator, Prey utilized a thermal camera to show Predator’s point-of-view, just like the original production.
“We actually shot with a real thermal camera, like the original Predator, so that we wanted to have that as much in-camera as possible,” Cutter notes. “Although we did have the same problems they had, which is if it was too hot, everything would be red and yellow.”
“The production of this movie disproves the way that the Predator works,” Trachtenberg adds. “As we learned when we were shooting, when you put on the thermal vision, everything is hot, because we’re outside and the hot sun is baking the ground.”
5. Prey features a bloody nod to the original Predator.
Although Prey is set long before the events of 1987’s Predator, Trachtenberg inserted a subtle reference to the original: the way the French fur trappers cut Taabe is a nod to Sonny Landham’s character cutting his chest in Predator.
“This cut that happens is precisely how Billy in the original Predator cuts himself across the chest. That was by design. That is the exact angle,” Trachtenberg proudly beams.
6. Prey has film and video games homages.
Beyond the Predator franchise, Trachtenberg paid homage to other films and video games with Prey.
When the Predator types on its wrist gauntlet, it corresponds with the Close Encounters of the Third Kind theme.
The Predator’s retractable shield is “a direct lift from the video game God of War, that also is a favorite of mine that I was playing before making the movie,” the director admits.
7. Glow stick fluid was used for some of the Predator’s blood.
There were at least three different versions of the Predator’s fluorescent green blood: pure glow stick fluid was applied to objects but could not touch human skin, a diluted glow stick mixture was used on the Predator suit but would eventually eat through it, and a nontoxic alternative was developed for human skin.
“It all was a substance that was specifically designed to be enhanced,” says Trachtenberg, referring to digital augmentation.
8. Midthunder’s whistle was mimed due to a cultural belief.
Naru’s whistle to the Predator during the finale was an idea from Comanche producer Jhane Myers, but the sound effect was added in post-production due to cultural beliefs.
Midthunder explains, “As part of [Trachtenberg’s] wanting to always be open to ideas and especially putting in as much culture as possible, [Myers] had said, ‘Well, what if we do a whistle in the scene right before the Predator comes because she’s calling it in?’ And also she kind of, at this point, has nothing to lose. She wants it to come to her.”
“And you perform it in a way, if you didn’t know that fact, it just feels badass, but if you know it, it’s a whole nother gear,” Trachtenberg interjects.
As Midthunder elucidates, “Different Plains tribes believe if you whistle at night you’re calling bad things or calling spirits, and it’s not a good thing” Since they were actually shooting outside at night, Midthunder declined to whistle. “I was not gonna do that,” she laughs. “So I just made my lips look like I was whistling and then you guys put in a different whistle later.”
Prey is available now on 4K UHD, Blu-ray, and DVD.
No conversation about cartoons based on live-action movies is ever complete without mentioning The Real Ghostbusters.
This animated continuation is, warts and all, a notable example of turning a hit movie into a hit series. And although the new target demographic skewed a little younger, even kids-at-heart could partake in the further adventures of Peter Venkman, Ray Stantz, Winston Zeddemore and Egon Spengler.
For a good part of its run, the show required fans to wait at least a week for more Ghostbustin’. That’s torture for a kiddo. Luckily, though, the entire series, or at least most of it, is now available for streaming.
So, as you revisit The Real Ghostbusters on Tubi—for now it’s just the first five seasons there—use this guide to help prioritize some must-see episodes.
The Boogieman Cometh
“The Boogieman Cometh” (Season 1)
Season One’s “The Boogieman Cometh” is a classic episode featuring one of the show’s more iconic villains. It’s hard to forget the unique character design used for the Boogieman (whose creepy voice was provided by Ray and Slimer’s actor, Frank Welker). In this story, Egon is reunited with that bump-in-the-night entity who haunted his own childhood, all while trying to keep him away from his latest targets: the brother and sister claiming to have the Boogieman in their closet. Although the Ghostbusters do save the day here, the Boogieman eventually returns (“The Bogeyman Is Back“). That same episode also features the love-’em-or-hate-’em Junior Ghostbusters.
Mr. Sandman, Dream Me a Dream
“Mr. Sandman, Dream Me a Dream” (Season 1)
You could say the namesake of “Mr. Sandman, Dream Me a Dream” had good intentions for putting mankind to sleep for the next few centuries—he wanted to end war and keep everyone dreaming. Sounds nice until you remember that whole free will business. But when it seems like the Ghostbusters have lost to their latest foe, the last one standing, Winston, gains a sudden ally. Janine’s dream of becoming a Ghostbuster is manifested, and she helps put this rogue spirit to bed.
When Halloween Was Forever
“When Halloween Was Forever” (Season 1)
Before the show’s execs capitalized on Slimer’s popularity by making him the focus of later episodes, early stories like “When Halloween Was Forever” better utilized that gooey ghost. Here, the spirit of Halloween itself, Samhain, hopes to make the holiday a permanent thing by stopping time. And who does the embodiment of All Hallows’ Eve use in his nefarious plot? Slimer, of course. Thankfully, the lil’ green bud knows where he really belongs, and Samhain is banished (at least until Season 3’s “Halloween II 1/2“).
Night Game
“Night Game” (Season 2)
Because Season Two was rather long, in comparison to other seasons, it accumulated quite a few solid episodes. One of the most beloved, though, is that ultimate good-versus-evil story, “Night Game“. Winston gets to shine here as he participates in a battle that was 500 years in the making. Except this time, the fighting is done on the baseball field. The other-dimensional settings in The Real Ghostbusters are always great, but the one here is particularly memorable.
Drool, the Dog-Faced Goblin
“Drool, the Dog-Faced Goblin” (Season 2)
Not all ghosts and whatnot were bad in The Real Ghostbusters. As “Drool, the Dog-Faced Goblin” showed, some were actually benevolent. Sadly, it took a lot of convincing, and one very heroic act, for Peter and the others to see past this goblin’s grotesque appearance. The heroes find more than one shapeshifter at a sideshow carnival in the Poconos; a sinister Class-4er called the Metamorph does a swell job of menacing the Ghostbusters before they finally realize Drool’s not their culprit. The good guys indeed win here, but that victory is a bittersweet one.
The Collect Call of Cathulhu
“The Collect Call of Cathulhu” (Season 2)
While “The Collect Call of Cathulhu” does misspell “Cthulhu” in the title (probably to avoid legal issues), it is clearly the Old One in this Lovecraft-inspired episode. The story kicks off with the Necronomicon being stolen by the deity’s modern-day cult, who then raise their ancient god at Coney Island. From there, the Ghostbusters’ typical methods don’t work on the big guy, so they seek advice from an old issue of Weird Tales (or “Wierd Tales”, as it’s spelled on screen). That build-up to the finale comes with a decent amount of dread before the Ghostbusters, as well as a scholar named Alice, face off with one of the show’s most powerful entities.
Knock, Knock
“Knock, Knock” (Season 2)
A number of Real Ghostbusters episodes could be reworked into big-screen features, but perhaps “Knock, Knock” is the most hopeful. It helps that this story feels in step with the first two movies. Here, some ignorant construction workers accidentally uncover and open an ancient door in the subway. What’s behind said door is none other than those unspeakable evils that only the Ghostbusters can quell. A good deal of the imagery here is prime for adaptation.
The Grundel
“The Grundel” (Season 3)
One of the darker episodes, which was written by the prominent J. Michael Straczynski, is “The Grundel“. Here, a boy is being influenced by the titular entity, a type of ghost who ultimately turns his targets into new Grundels. The episode does have something of an after-school special quality to it, but that doesn’t take away from the eerier moments. For more Grundel lore, be sure to check out the episode “Grundelesque” from the sequel series, Extreme Ghostbusters.
Standing Room Only
“Standing Room Only” (Season 4)
It’s no secret that The Real Ghostbusters experienced multiple changes after the second season. Out of all of them, though, retooling the show so that Slimer would get more of the spotlight is maybe the most egregious. Thankfully, Season Four (the first to be called Slimer! and the Real Ghostbusters) didn’t completely obey that new directive; episodes like “Standing Room Only” felt more like the old days. The focus here was on the well-being of the city and its people, rather than on the series’ green mascot (or the Junior Ghostbusters). In the episode, Peter’s new ghost attractor isn’t to blame for the ensuing chaos; the ghost-eating Mee-Krah is what’s really imperiling everyone. And the Ghostbusters must dish out everything they have to avoid a doomsday situation.
The Halloween Door
“The Halloween Door” (Season 5)
While many fans will skip the later seasons in their rewatches, episodes like “The Halloween Door” are still worth checking out. This colorful helping of Halloween pandemonium premiered on primetime, so the animation is better than usual. And save for a random musical moment, it’s an enjoyable event. Here, a group of anti-Halloweeners tries to cancel the holiday, but they only end up making things worse by unleashing a baddie named Boogaloo.
The first five seasons of The Real Ghostbusters are available on Tubi, starting on July 15.
You must be logged in to post a comment.