On this week’s Little Gold Men podcast, Prey director Dan Trachtenberg reflects on his horror-adventure movie’s unlikely journey from Predator spinoff to major Emmy contender
Well, frankly, just to be the best movie possible. I think I get frustrated when I'm watching something and it doesn't exist by its own merits. The dream is to make something that holds up years from now. And so you don't want anyone to tune in and feel the need to see something else to fully understand what something is. I think that's what allows something to be a more elegant, elevated entry into genre, when it can exist on its own merit.
And also the character story should exist on its own merit. You should be invested in the conflict and the part of the impulse to have there be a conflict that Naru is dealing with before a Predator even shows up. It's saying to and you're investing in her struggle, and so you care about her accomplishing her goal separate from any of the genre trappings. And then when the genre trappings enter, it just makes those that much groovier.
So when you were starting with this movie, I think you referenced somewhere else that you compared it toknowing that Shane Black's movie was happening. I think that the attitude toward Universe expansions has changed a lot since then. Would this movie get made today? Do you feel like that the attitude in Hollywood is changing?
It's a good point, and I think part of what makes this movie tick is it doesn't need to feel like this isPredator ." There's something somewhat enjoyable in that it feels like a one-off story that has a finite conclusion, with little tease of there could be more, but in much in the way that the firstsimilarly could be watched without having seen the first Terminator, and yet was certainly better with that, but a lot of us watched it having not seen the first one.
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