Predator’s Dan Trachtenberg Talks Badlands, Killer of Killers, and More

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In 2022, Dan Trachtenberg released the film “Prey” to viewers, a Predator movie set before any other installment in the sci-fi series. The Hulu premiere of this film garnered widespread acclaim from both audiences and critics. Although it didn’t hit theaters, the film’s intriguing plotline and intense action reignited excitement for the franchise. As a result, Trachtenberg was chosen to create more installments for the series. Not only did he direct “Predator: Badlands,” where the alien hunter becomes the main character instead of the antagonist, but he also helmed “Predator: Killer of Killers,” an animated series that showcases the fierce figure in various periods of human history.

Recently, Trachtenberg shared at a press event ComicBook attended, he had three outstanding ideas. The one he was most thrilled about initially was ‘Badlands’, but then there was another concept, ‘Prey’, that caught his interest. He explained, ‘We got to place the Predator in various time periods and tell that tale.’ What made ‘Prey’ unique, he added, wasn’t just the Predator in a different era; it was that our story enhanced the Predator’s narrative. I didn’t simply want to move them into a different timeframe; instead, I wanted to explore how we could make it special again if we were to revisit this concept. The question was, what kind of story could we tell that would be equally action-packed and captivating, yet emotional and thematic, focusing on characters?

He went on to say, “As I contemplated various timeframes, an intriguing concept emerged: What if we created an animated film that allowed us to convey ourselves in a way uncommon to our usual mediums? With numerous Predator films under our belt, this project stands out as something entirely unique, yet still retaining the essence… I’ve always admired the intense violence and R-rated elements in the Predator movies. Wouldn’t it be fascinating to explore that in a new format? Simultaneously, though perhaps foolishly, we developed another film titled Killer of Killers.

In order to make the Predator the main character in the movie “Badlands”, screenwriter and director Trachtenberg had to create an extensive background story for the Yautja civilization. A significant hurdle was crafting their language, which he tackled naturally by following an organic process.

The filmmaker explained that one fascinating aspect of the movie is its exploration of Yautja Prime, a location only briefly hinted at in previous films, primarily through extended universe material. He added that the language used in the movie was given special attention. They collaborated with the creator of the Na’vi language from Avatar, who recommended his apprentice, and approached it similarly to how Elvish was developed for The Lord of the Rings or Dothraki for Game of Thrones. However, unlike those examples, there is less precedent for this in Predator movies, so they had to start from scratch. As it turns out, according to the language expert, much of what has been portrayed as Yautja language in other Predator films lacks coherence and purpose. Fans on the internet have tried to make sense of it, but none was created with intent.

The speaker went on to explain, “We purposefully crafted this language with a definite structure and set of rules, both for spoken and written communication. Right from the start, we delved into artistic explorations to visualize what the Yautja could look like. I was determined to avoid creating something that became overly focused on the lore at the expense of the story. Often, when expanding a franchise, there’s a tendency to dive deep into political committees and such. Instead, we opted for a subtle touch of that, but not let the movie give the impression that it would delve extensively into the culture of the Yautja. Our aim was to maintain a genre feel, keep it unique. Essentially, this story flips the original premise: instead of the Predator on Earth, he’s now being hunted and must use his wit to navigate the situation.

Apart from expanding the universe of the Yautja in Badlands, the creative team also employed novel techniques to make the primary hunter, called Dek in the film, seem more alive.

In a new approach, we integrated the Predator character into our storyline in an innovative way. What sets Predator apart is its practical suit effects, being one of the earliest pioneers in this field. All the movies have showcased this unique craft. However, during early tests for this film, we discovered a challenge: the Predator is primarily a horror character that emerges from the shadows briefly and remains cloaked for extended periods. This movie aimed to let audiences connect with Dek, but the rotors inside the mask, which traditionally enhances the Predator’s appearance, affected its physicality and movement in ways that didn’t allow for emotional connection. Our goal was to foster an emotional bond with a terrifying-looking creature. The solution was a blend of practical suit effects (for the creature’s body) and digital technology (for the face), skillfully handled by Wētā Workshop.

Since the initial release of Predator in 1987, there have been numerous technological advancements in visual effects. However, the filmmakers faced the challenge of striking a balance between preserving the original’s essence and employing modern, state-of-the-art methods.

The director explained something I missed earlier, which he finds fascinating about our approach to rendering faces – in Prey, we often enhanced certain scenes, and this time, there’s a mix of practical and digital effects, such as when the character handles objects or interacts with them. However, some transitions were a bit noticeable, especially during scenes where human faces transform into creature ones. What makes our work unique is that the digital aspects are designed to match the actor’s suit, not the creature’s flesh. This gives it a distinct look, different from full CG creatures like Gollum or aliens in Alien, as the suit has its own quality. The aim is for the digitally enhanced face to seamlessly blend with the suit material, making it appear as if it’s made of real material.

Translating the tangible essence of such a renowned creature is no small feat, yet performer Dimitrius Schuster-Koloamatangi not only accepted the challenge of embodying the Predator in Badlands, but also provided an unexpected chance to delve into aspects of the Yautja that weren’t initially anticipated.

In simpler terms, Director Trachtenberg explained that they were looking for a very particular actor, Dimitrius Schuster-Koloamatangi, for the role of Dek in their production. They initially thought they needed a stuntman due to the unique requirements – all other Predators had to be extremely tall, around seven feet six inches. However, such individuals who are also trained stuntmen are not common. Dane DiLiegro was cast as the feral in their previous project.

This time, Trachtenberg was excited about finding a real stuntman for the Predator role. During auditions, they saw several stuntmen and then met Dimitrius. His movement had a unique grace, making him stand out. They set up a small physical challenge to assess his skills. This is how they decided to cast him.

Dimitrius not only excelled in the physical aspects but also in dramatic scenes from the movie, impressing Trachtenberg greatly. The director was surprised by Dimitrius’s abilities, as he seemed like an unexpected find. He learned the language for the role and could mimic specific sounds that are challenging for many, even mastering it on the spot if changes were made in the script. This ability added significantly to the movie.

Schuster-Koloamatangi played a significant role in shaping Dek’s facial expressions, as Trachtenberg explained. He was the primary force behind the animation, but the process was collaborative. If certain elements of the look didn’t quite fit the desired outcome, the team would adjust and experiment. This project was unlike Gollum or Planet of the Apes, where facial movements were directly translated from human expressions. Dek has mandibles, and they presented unique challenges, such as finding the right balance between blinking and eyebrow movement to convey emotions effectively. Additionally, the smiles, snarls, and other expressions had to be adapted to suit Dek’s mandibles, which function differently than a human mouth. Overall, it’s been a challenging but rewarding process, and they are gradually finding solutions to these intricate issues.

Just as Prey signified a fresh direction within the Predator series, Killer of Killers marked a significant departure into an animated chapter for the franchise. Although there’s immense possibility in the animated genre, Trachtenberg clarified that the new film was not solely intended to pave the way for future projects.

When asked if they had more concepts for animated films, the filmmaker replied positively, stating that ideas for creative and interesting movies constantly pop up in their mind, such as when you watch a cool movie and think “What if…” These thoughts never stop flowing, so there are plenty of great ideas. However, whether we get to bring them to life depends on whether people like them. The key point is that the films aren’t made to feel like they’re only the beginning of a larger story. Instead, the filmmaker wants each movie to stand alone as a complete experience without leaving viewers feeling shortchanged or incomplete. Essentially, they want to pour all their passion into these films and ensure they effectively communicate everything they intended with both movies.

The movie titled “Predator: Hunter of Hunters” will be available on Hulu starting June 6th, while “Predator: Wastelands” is scheduled for theater release on November 7th.

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2025-04-08 22:40