“Prey” composer Sarah Schachner factored in two elements when scoring the 1700s-set entry in the “Predator” franchise. “We were making a ‘Predator’ film with all the f…
factored in two elements when scoring the 1700s-set entry in the “Predator” franchise. “We were making a ‘Predator’ film with all the fun gory action and suspense you’d expect, but the music had to simultaneously tell Naru’s emotional story and her evolution,” she says.
Schanchner’s biggest challenge, she says, was to find the balance of the score feeling equally large and expansive as well as intimate and raw to match the 18th-century natural setting. Says Schachner, “The key was to not be afraid to say something in a film with so little dialogue.” She didn’t write the score to picture and the version of Naru’s theme that features on the soundtrack is longer than in the film. “They told me they went out and shot more footage to accommodate the length,” reveals Schachner.
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