Predator (fictional species)
The Predators are a fictional extraterrestrial species characterized by their ritualistic trophy hunting of other lifeforms. Initially conceived by screenwriters Jim and John Thomas and designed by special effects artist Stan Winston, the species made its first appearance as the villain in the 1987 science fiction action film Predator, directed by John McTiernan. Depicted as large, sapient and sentient humanoid beings equipped with advanced technologies such as active camouflage, directed-energy weapons, and interstellar spacecraft, they became emblematic horror monsters of the late 20th century, blending the tropes of slasher villains with elements of alien invasion and militaristic survival narratives.
The success of Predator led to the establishment of the broader Predator franchise. This includes several direct sequels and prequels — Predator 2, Predators, The Predator, Prey, Predator: Killer of Killers, and Predator: Badlands — as well as a range of expanded universe media, including comic books, novels, and video games. These works further developed the species' fictional mythology, assigning the creatures names such as Yautja, Hish-Qu-Ten, and Skin Thieves, and exploring aspects of their language, social hierarchy, and cultural practices.
Beginning with crossover comic books published in the 1990s under the Alien vs. Predator imprint, the Predators later intersected with the Alien film series, pitting the Predators against the titular alien character. This narrative convergence led to two theatrical crossover films—Alien vs. Predator and Aliens vs. Predator: Requiem —which further integrated the two fictional universes and expanded the lore of both characters.
Concept and creation
Original conception
The Predator was initially developed by screenwriters Jim and John Thomas, who conceived of an alien big-game hunter, and determined that the most dangerous prey for it to hunt would be trained human soldiers. Their original concept evolved into a deadly extraterrestrial hunter stalking soldiers in the jungle, inspired in part by the brothers’ knowledge of military operations in Central America.Originally, 20th Century Fox had contracted the makeup effects for the creature from Richard Edlund's Boss Film Creature Shop. According to former Boss Films make-up supervisor Steve Johnson, the initial design—endorsed by director John McTiernan—included leg extensions that gave the Predator backward bent satyr-leg legs and extended arms, along with a long neck, a dog-like head, and a single eye. Jean-Claude Van Damme was cast with the idea that his martial arts skills would lend the creature an agile, ninja-like quality. However, the suit’s mantis-like proportions required him to walk on stilts, a task made nearly impossible by the muddy terrain of the Mexican jungle. After six weeks of shooting in Palenque, Mexico, the production shut down to redesign the creature.
Redesign
The Predator design is credited to special effects artist Stan Winston, whom Arnold Schwarzenegger recommended to the production after his experience working with the makeup artist on The Terminator. While flying to Japan with Aliens director James Cameron to promote that film, Winston was doing concept art for the Predator on the flight. Cameron saw what he was drawing and said, "I always wanted to see something with mandibles." Winston then included them in his designs. Winston also drew influence from a painting of a rastafarian warrior that was in producer Joel Silver’s office, adding dreadlocks to the design. When compared to actors like Arnold Schwarzenegger, Carl Weathers, and Jesse Ventura, who were known for their bodybuilding physiques, it became clear that a more physically imposing actor was required to replace Van Damme. Kevin Peter Hall, standing at, who had recently portrayed sasquatch in Harry and the Hendersons, was cast to play the Predator. Trained in mime, Hall incorporated tribal dance movements into his performance, notably during the final fight in the first film. Stan Winston's studio created all of the physical effects for Predator and Predator 2, creating the body suit for actor Kevin Peter Hall and the mechanical facial effects.Film portrayals
The Predator’s voice was provided by Peter Cullen, who used a clicking growl to prevent vocal strain, as he had done for the uncredited vocal effects of King Kong.In Predator 2, Danny Glover suggested using members of the Los Angeles Lakers as background Predators due to his fan status, and Hall persuaded some of them to appear on short notice. Hall died shortly after the release of Predator 2. The voices of the Predators in the film were provided by Hal Rayle.
In Alien vs. Predator, Welsh actor Ian Whyte, standing at, took over the Predator suit, portraying the "Scar" Predator. Whyte returned to play the "Wolf" Predator in Aliens vs. Predator: Requiem.
In Predators, Brian Steele and Carey Jones portrayed the "Black Super Predators," a new breed who had been dropping humans on their planet for years to play a survival game against them. In a nod to the original film, Derek Mears played the "Classic Predator," resembling the original creature from Predator.
In The Predator, stuntman Brian A. Prince, standing, portrayed the "standard" Predator, while a larger genetically-enhanced Predator was CGI, though both Prince and Canadian actor Kyle Strauts, standing at served as stand-ins on set.
In the prequel Prey, Dane DiLiegro plays a more primitive version of the Predator. This iteration relies more on brute strength and hand-to-hand combat than the stealth-based tactics of later Predators, using metal spear tips and arrows instead of plasma-based weaponry. Its mask is made of bone rather than the smooth steel of later Predators, though it functions the same way. While visually distinct, this version of the Predator adheres to the species' honor code and spares those it doesn't deem a threat.
For Predator: Badlands, Dimitrius Schuster-Koloamatangi portrays a young runt Predator named Dek. For this iteration, Dek's body was portrayed by a traditional Predator suit, while the face was CGI motion capture.
Special and make-up effects
The portrayal of the Predator throughout the film franchise has relied on a combination of practical effects and visual effects techniques. To create the creature’s distinctive green luminescent blood, filmmakers used a mixture of glow stick fluid and K-Y Jelly. Green was chosen after attempts at making the creatures blood orange failed. The blend produced a bright glow on camera but degraded quickly, requiring frequent reapplication between takes. First developed for the original film, variations of this method were later used in subsequent installments. The thermal vision effect for the Predator’s point of view was achieved using a low-resolution thermal imaging camera. The camera’s output was reflected through a beam splitter onto a monitor, which was then filmed alongside the optical background using a standard film camera. Because high temperatures reduced the visibility of human figures, portions of the jungle were cooled with ice water to maintain contrast. The final effect combined the heat-sensor imagery with the filmed background to produce the Predator’s thermal vision. For the 2018 film The Predator the effect was achieved by digitally manipulating the camera footages colour instead of with a thermal camera.The Predator’s invisibility cloak in the first two films was achieved through an intricate optical compositing process developed by R/Greenberg Associates under visual effects supervisor Joel Hynek. The concept was reportedly inspired by a dream described by one of the screenwriters, involving a chrome figure inside a reflective sphere that became visible only when it moved. To replicate this effect, filmmakers created a background-refracting distortion using photochemical techniques. A performer wore a bright red Predator suit, selected for its strong contrast with jungle greens and sky blues to facilitate chroma key compositing. Each shot was filmed twice from the same camera position—once with the red-suited performer and once as a clean background plate, using different camera lens focal lengths. When composited together the resulting visual distortion produced concentric inline mattes creating a semi-invisible appearance. Later entries in the franchise replaced this analog method with digital versions created through computer-generated imagery.
Creature suit design and execution for the first two films were handled by Stan Winston Studio. For the Alien vs. Predator films, these duties shifted to Amalgamated Dynamics, founded by Stan Winston alumni Tom Woodruff Jr. and Alec Gillis; the company later returned for The Predator, Prey, and Predator: Badlands, the latter in collaboration with Wētā Workshop. The 2010 film Predators employed KNB EFX Group. Various visual effects studios have contributed to the depiction of the Predator’s technologies, including its cloaking devices and energy-based weaponry.
Name
Across the first five films in the series—Predator, Predator 2, Predators, The Predator, and Prey —, as well as in Aliens vs Predator: Requiem, the creatures are identified in the end credits as Predators. The term is also used diegetically by human characters in Predator 2 and The Predator, establishing it as the principal designation within the franchise. Various incidental descriptors are used by human characters in individual films, such as references as a “hunter” or “the demon who makes trophies of men” in Predator, or “Mupitsi” in Prey, the latter derived from Pia Mupitsi, a monster in Comanche folklore.In licensed expanded-universe media, the species has been given additional nomenclature. Yautja was introduced in the 1994 novel Alien vs. Predator: Prey, while Hish-qu-Ten was later introduced in the 2006 novel Predator: Forever Midnight, where it is presented as an ancestral or alternative designation. The term Yautja was incorporated into film continuity in 2025, appearing in Predator: Killer of Killers and in Predator: Badlands.