| Videos (see all 3) |
| Clark Bartram | ... | Orin Jericho / Croyer | |
| Damion Poitier | ... | Centauri 7 / Landing Party Guard #2 | |
| Isaac C. Singleton Jr. | ... | Commander Karza | |
| Sandy Collora | ... | Slyak | |
| Erin Gray | ... | Clea (voice) | |
| Simon Potter | ... | Logan | |
| Alec Gillis | ... | Landing Party Commander | |
| Patrick Magee | ... | Landing Party Guard #1 (as Pat Magee) | |
| Mary Divine | ... | Omicron (voice) | |
| Toby Divine | ... | Alpha Base |
Directed by | |||
| Sandy Collora | |||
Writing credits | ||
| Nick Damon | (written by) and | |
| Sandy Collora | (written by) | |
Produced by | |||
| James Atherton | .... | executive producer | |
| Julie Caitlin Brown | .... | co-producer | |
| Julio Caro | .... | executive producer | |
| Sandy Collora | .... | producer | |
| Nick Damon | .... | co-producer | |
| Daren Hicks | .... | producer | |
| Jan Pace | .... | executive producer | |
| Dale Pearson | .... | associate producer | |
| Gary Phillips | .... | executive producer | |
| Damion Poitier | .... | associate producer | |
| Simon Tams | .... | producer | |
| Mark Vennis | .... | executive producer | |
Original Music by | |||
| Christopher Hoag | |||
Cinematography by | |||
| Edward A. Gutentag | |||
Film Editing by | |||
| Toby Divine | |||
Production Design by | |||
| Sandy Collora | |||
Art Direction by | |||
| Sandy Collora | |||
Costume Design by | |||
| Michael MacFarlane | |||
Makeup Department | |||
| Saul Gallegos | .... | special makeup effects artist | |
| Kizuku Kitano | .... | special makeup effects artist | |
| Patrick Magee | .... | lead special makeup effects artist | |
| Nikki Smith | .... | special makeup effects artist | |
Second Unit Director or Assistant Director | |||
| C.J. Izzo | .... | second assistant director | |
| Mark G. Mathis | .... | first assistant director (as Mark Mathis) | |
Art Department | |||
| Brian Healy | .... | props/armourer | |
| Max Lewin | .... | assistant props | |
| J.J. Oracz | .... | assistant props | |
| Mark Pacella | .... | storyboard artist | |
| Scott Paige | .... | props/armourer | |
| Gregory Ramoundos | .... | model maker | |
Sound Department | |||
| Rickley W. Dumm | .... | supervising sound editor | |
| Alexandra Gallo | .... | sound mixer | |
| Judah Getz | .... | adr mixer | |
| John Guentner | .... | foley mixer | |
| Tom Marks | .... | sound re-recording mixer | |
| Ryan McBride | .... | supervising sound editor | |
| Nick Neutra | .... | foley supervisor | |
| Kunal Rajan | .... | foley editor | |
| Sebastian Sheehan Visconti | .... | sound recordist (as Sebastian Sheehan) | |
| Justin W. Walker | .... | dialogue editor | |
Special Effects by | |||
| Peter W. Clarke | .... | special effects technician (as Peter Clarke) | |
Visual Effects by | |||
| Christopher Bernier | .... | visual effects artist | |
| Todd Brous | .... | technical director | |
| Carey Gattyan | .... | visual effects executive producer | |
| Ian Glaum | .... | designer | |
| Ariana Kolitsopoulos | .... | compositor | |
| Marsha Movshovich | .... | designer | |
| John Semerad | .... | visual effects | |
| John Skeffington | .... | visual effects producer | |
| Colin Stackpole | .... | compositor | |
| Sandor Toledo | .... | visual effects artist | |
| Dino Tsaousis | .... | compositor | |
| Richard Weissman | .... | compositor | |
Stunts | |||
| Simon Potter | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Luis Flores Jr. | .... | digital imaging technician | |
| Markus Lanxinger | .... | additional cinematographer | |
| George Mikhail | .... | assistant camera | |
| Felipe Perez-Burchard | .... | camera operator: "b" camera | |
| Charles Scheinblum | .... | camera assistant | |
| Jon YonKondy | .... | first assistant camera | |
Editorial Department | |||
| Milton Adamou | .... | digital intermediate supervisor | |
| Matthew Blackshear | .... | on-line editor | |
| Michael Cioni | .... | post production consultant | |
| Myke Dixon | .... | data management | |
| Eric Dow | .... | assistant editor | |
| Paul Rehder | .... | data management | |
| Ryan Vega | .... | data management | |
| Oscar Velasquez | .... | post-production assistant | |
| Ian Vertovec | .... | digital intermediate colorist | |
Other crew | |||
| Rey Boemi | .... | production assistant | |
| Carlos P. Cunha | .... | caterer | |
| Juan 'Juanito' Galindo | .... | production assistant | |
| Orlando R. Gonzales | .... | production coordinator | |
| Natividad 'Naty' Guadalupe Ruiz Chaides | .... | location liaison | |
| Nick Leach | .... | production assistant | |
| Christopher Snow | .... | medic | |
Thanks | |||
| Julie Caitlin Brown | .... | very special thanks | |
| Guillermo del Toro | .... | special thanks | |
| Tom DeSanto | .... | special thanks | |
| Jason Holly | .... | special thanks | |
| Markus Lanxinger | .... | special thanks | |
| Scott Leva | .... | special thanks | |
| AJ Wedding | .... | special thanks | |
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| Planet of the Apes | The Man from Planet X | AVP: Alien vs. Predator | The Chronicles of Riddick | Lost in Space |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Sci-Fi section | IMDb USA section |
I would have liked to have seen the version of Hunter Prey where Collora followed his gut instincts and made a pure art film, instead of trying to make it more commercial or sellable. I see this all the time with indie genre films, particularly ones that don't have a bankable star in them. The producers feel they need an element that can take the place of a notable actor, especially in the foreign markets. What that usually ends up being is some really awful, bad CG ridden, formulaic mess that ends up on the SciFi channel. What we have here, is a film that thankfully isn't that, but what it does end up being is a bit of a confused movie, unable to define itself.
It's good, but it's clunky in places. Sometimes this is a result of performance issues, but sometimes it lies more in the writing and editing choices. There are a few elements of Hunter Prey that simply don't match up or make much sense.
The most glaring example of this, is the score. It's fantastic, but doesn't fit the movie, especially after the first act. It's way too big for a small, personal movie like this. I just felt like the filmmaker was trying to pound me over the head with music that maybe was representing what he wanted to be there visually and perhaps didn't have the budget to do. It seemed like they took the score from a big, popcorn action movie and stuck it on Hunter Prey in an effort to make it seem bigger or more commercial, but all it does, is make the audience wish there was more movie or less music. A more subdued, un-inflected, moody soundtrack would have served this film much better.
I'm predicting this film will eventually become Collora's "Blade Runner" of sorts... An awe inspiring, visual feast with a story that some people will get into and some won't. Like most art films, it will be unsuccessful and commercially disappointing at first, with an audience that slowly builds over time. As his body of work grows and he makes more films, people will come to appreciate Hunter Prey.