{"id":19804,"date":"2022-08-05T10:03:24","date_gmt":"2022-08-05T08:03:24","guid":{"rendered":"https:\/\/www.radiotimes.com\/?p=1690367"},"modified":"2022-08-05T10:28:51","modified_gmt":"2022-08-05T08:28:51","slug":"how-the-predator-prequel-prey-draws-on-real-history","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/radiotimes\/rss_feed\/how-the-predator-prequel-prey-draws-on-real-history\/","title":{"rendered":"How the Predator prequel Prey draws on real history"},"content":{"rendered":"

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By Patrick Cremona\n \t\t<\/p>

Published: Friday, 05 August 2022 at 12:00 am<\/p>

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The term \u2018historical accuracy\u2019 isn\u2019t normally one you\u2019d associate with a Predator movie \u2013 what with every previous entry in the franchise having been set either in the present or the near future.<\/p>\n

But Prey<\/a> \u2013 the new prequel from 10 Cloverfield Lane director Dan Trachtenberg \u2013 is a very different beast. The film is set in the Native American Comanche Nation in 1719, and painstaking amounts of research went into ensuring it reflected that setting as accurately as possible.<\/p>\n

\u201cThat was all like, way before pre-production,\u201d producer Jhane Myers, who is Comanche herself, told RadioTimes.com<\/a> in an exclusive interview. \u201cWe worked with native historians and we worked with the Comanche Nation themselves.<\/p>\n

\u201cI had Comanche Nation people involved in almost every aspect,\u201d she added. \u201cWhether it was doing renderings, because there aren\u2019t any pictures from back then \u2013 and we checked museum archives and the oldest thing we found was in the 1790s.<\/p>\n

\u201cSo you know we had to do renderings to influence wardrobe and costuming, and just everything. It was like I had to create this whole book for the time period, that went out to each department, so they could flip through and get an idea and figure out how they wanted to do this.\u201d<\/p>

She continued: \u201cWe had colour swatches from Earth paint, because we used certain Earth paints during that time, and there were only about four or five colours.<\/p>\n

\u201cSo that\u2019s what we had to base the whole tone of what all of the Comanches were wearing, what they were painting with, even what they had in the parts of their hair.\u201d<\/p>\n

Myers, whose previous credits include working on the TV series 1883 and films such as Apocalypto and Wind River \u2013 said that her producer role on the film was by some distance the greatest undertaking of her career so far.<\/p>\n

\u201cWhen I work on projects, I usually get hired for Native content,\u201d she explained. \u201cAnd usually it\u2019s like maybe 20 to 25 per cent of the show, right?<\/p>\n

\u201cBut this one was 110 per cent. And I add that extra 10 per cent because it came on in the end in post-production, when we got the green light to go ahead and do a whole Comanche dub.<\/p>\n

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Prey<\/span><\/figcaption> 20th Century<\/i><\/span><\/div>\n

\u201cSo that\u2019s another extra budget \u2013 that\u2019s a job in itself to get the whole movie dubbed into Comanche, that\u2019s it in a nutshell!\u201d<\/p>\n

One other area in which Myers\u2019s expertise came in especially handy was when advising on the use of horses in the picture. She said there were originally no horses in the script, which would have been a major error when it came to depicting the Comanche people.<\/p>\n

\u201cWe\u2019re a horse culture, so you can see that in [the character of] Taabe and his horse riding, \u201d she said. \u201cAnd then you can see that in the camps where we have horses.<\/p>\n

\u201cWhen I originally saw the first script, there were no horses in it. And I said \u2018You can\u2019t have Comanches without horses!\u2019 So that\u2019s where that came in, and when we wrote the Taabe scene.\u201d<\/p>\n

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