Jhane Myers, who helped reshape the script from the inside out. To match up to these illustrious predecessors, Midthunder, along with the rest of the cast, attended the Native American version of the now-traditional Hollywood bootcamp, learning archery, tomahawk and spear-fighting. But in fact, Myers points out, there are many precedents in Native American history, including Buffalo Calf Road Woman, who killed General Custer, according to some sources, and the Apache warrior Lozen. The plot device of a young woman who wants to break custom and become a warrior sounds like a modern concoction. Myers compiled a hefty manual of Comanche customs that Prey’s various production departments could make reference to: everything from the earth pigments used to make the tribe’s signature black, red and white colours, to how they cured meat. But when you’re there in person and hands-on, it makes a big difference.” “If somebody’s a consultant, they’re not on there full-time – maybe they’re on the phone or whatever. You can voice that, but doesn’t always mean that’s going to happen.” Having full producer status on Prey was a major step up, she says. “A director may have something written, and that’s just the way it’s going to be whether it’s true or not. The kind of cultural consultancy work she had done before on the likes of The Lone Ranger and Wind River can be limited in scope, she says. “He said talking to me was like talking to the grownup Naru,” says Myers. With her CV – Comanche and Blackfoot advocate, traditional artist and craftsperson, and world-champion buckskin dancer – she reminded him of the film’s resourceful protagonist. She was hired by the director, Dan Trachtenberg, to ensure this frontier sci-fi remained grounded in Native American reality. That this Hollywood-produced film doesn’t step into any cultural mantraps is down to its Comanche producer, Jhane Myers.
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