Predator (franchise)

Predator is an American science fiction action anthology media franchise primarily centered on encounters between humans and a fictional species of extraterrestrial trophy hunters known as the Predators. Produced and distributed by 20th Century Studios, the series was initially conceived by screenwriters Jim and John Thomas. The series began with the film Predator (1987), directed by John McTiernan, and was followed by several sequels—Predator 2 (1990), Predators (2010), The Predator (2018), Prey (2022), Predator: Killer of Killers (2025), and Predator: Badlands (2025)—as well as a range of expanded universe media, including comic books, novels, and video games, including Predator: Concrete Jungle (2005) and Predator: Hunting Grounds (2020).

Beginning with crossover comic books published in the 1990s under the Alien vs. Predator (AVP) imprint, the Predators later intersected with the Alien franchise, pitting the Predators against the titular Alien characters. This narrative convergence led to two theatrical crossover films—Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007)—and the AVP series having its own associated expanded universe of tie in novels, comics and video games.

The Predator franchise centers on recurring storylines in which human characters encounter a technologically advanced extraterrestrial species that hunts other lifeforms for sport. These extraterrestrials—credited as Predators in the films and alternatively named Yautja, Hish-Qu-Ten, and Skin Thieves in expanded universe media—serve as antagonists in largely self-contained narratives that blend military science fiction, action, and horror elements.

Although the films vary in setting and time period, they typically follow a familiar structure: a group of humans, often military personnel or other combatants, find themselves targeted by a Predator during a mission or survival scenario. The creatures are portrayed as adhering to a ritualized code of conduct, selectively targeting dangerous opponents they deem worthy prey. Over time, expanded media introduced additional layers to the fictional mythology, including the species' social hierarchy, interstellar hunting culture, and internal rivalries.

Predator was John McTiernan's first studio film as director. The studio hired screenplay writer Shane Black not only to play a supporting role in the film, but to keep an eye on McTiernan due to the director's inexperience. Jean-Claude Van Damme was originally cast as the film's creature, the idea being that the physical action star would use his martial arts skills to make the creature an agile, ninja-esque hunter. When compared to Arnold Schwarzenegger, Carl Weathers, and Jesse Ventura, actors known for their bodybuilding regimes, it became apparent a more physically imposing man was needed to make the creature appear threatening. Eventually, Van Damme was removed from the film and replaced by the actor and mime artist Kevin Peter Hall. A Van Damme easter egg was eventually featured in The Predator.

The Yautja's design is credited to special effects artist Stan Winston. While flying to Japan with Aliens director James Cameron, Winston, who had been hired to design the Predator, was doing concept art on the flight. Cameron saw what he was drawing and said, "I always wanted to see something with mandibles", and Winston subsequently included them in his designs. Schwarzenegger recommended Winston after his experience working on The Terminator.

The film's creature was originally designed with a long neck, a dog-like head and a single eye. This design was abandoned when it became apparent that the jungle locations would make shooting the complex design too difficult. Originally, the studio contracted the makeup effects for the creature from Richard Edlund's Boss Film Creature Shop. However, with problems filming the creature in Mexico and attempts to create a convincing monster of Van Damme, wearing a very different body suit, failing, makeup effects responsibilities were given to Winston and his studio, R/Greenberg Associates. According to former Boss Film Creature Shop makeup supervisor Steve Johnson, the makeup failed because of an impractical design by McTiernan that included 12-inch-length (300 mm) extensions that gave the creature a backward bent satyr-leg. The design did not work in the jungle locations. After six weeks of shooting in the jungles of Palenque, Mexico, the production had to shut down so that Winston could make the new creature. This took eight months and then filming resumed for five weeks.

The clicking sound of the creature was provided by Peter Cullen. Despite his resolution not to voice any more monsters following injuries to his throat sustained during the ADR of King Kong, his agent convinced him to audition. The clicking sound was inspired by a mixture of the visual of the creature and his recollection of a dying horseshoe crab.