Prometheus

[The Eternal]

Premières images.

[MeThod]

C'est le film qui est censer ce passer dans l'univers d'alien ?

[The Eternal]

C'est exact. Le film ne sera pas un prequel centré sur les Aliens mais développera supposément une nouvelle mythologie basé sur le fameux Space Jockey aperçu dans le premier Alien.

D'ailleurs avec les nouvelles photos de sortis, sur l'une d'elle on peux y voir ce qui semble être le cadavre d'un autre Space Jockey.

Le synopsis en tant que tel.

A team of explorers discover a clue to the origins of mankind on Earth, leading them on a journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.

Modifié 2 décembre 2011 par The Eternal

[Carriériste]

LE blockbuster de l'été 2012 avec Batman III.

[Jason Frost]

J'ai vu le teaser trailer la semaine passé avant qu'il soit enlevé du web et je crois que ça va être un prequel d'Alien même si le monde dit le contraire.

La musique avec le défilement d'image rappelait beaucoup le style angoissant du premier Alien et le mot Prometheus apparaissait lentement à l'écran comme le titre d'Alien le faisait à l'époque.

J'ai retrouvé le vidéo, mais je ne sais pas s'il va être en ligne longtemps par contre..

http://www.youtube.com/watch?v=2r5YGGKRIEI

[The Eternal]

[Dionne]

Suis-je le seul à n'avoir jamais accroché sur la franchise Aliens et compagnie ?

[B~E]

J'espère que le film va restaurer un peu de la magie qui a été perdu dans Aliens, Alien Résurection, et surtout AVP. Fuck AVP.

[MackBlack]

AVP:R, c'est encore plus de la marde.

[The Eternal]

J'ai trouvé ça sur le forum d' AVP Galaxy. Il s'agirait d'un bout d'interview d'un article provenant du dernier Empire Magazine avec Scott qui donne plus d'info sur le film.

"He was marvellous, but he's cooked," laughs 74 year old Ridley Scott of the Nostromo's unforgettable chestbursting stowaway. "He's now got an orange in his mouth." What Alien's famous director wants to make clear, as post production on his much-vaunted $100 million, 3D return to the science-fiction genre, draws close, is that he has gone back to the universe of his groundbreaking classic, but he's also moved on. "I felt there was still life in the old sod, but it has evolved into something else. To stick to the story, you don't really get it until about eight minutes from the end." Deep down in its scaly heart, Prometheus is an Alien prequel, but not as we know it.

It certainly embraces the Alien aesthetic; that biomechanoid phantasmagoria born of H.R. Gigers pervy art and his director's unerring eye. "It does," agrees Scott ",but it's also different..." This is as much a metter of scope as anything. With a much bigger budget, Scott has been utlising all the tools availible to him: high-end digital effects ("Avatar set the bar high"), filming in 3D ("You engage more, you're drawn in") and building massive Giger-esque sets across Pinewood that oozed the atmosphere that defined his career ("I still believe in putting in the proscenium")

The cast went giddy at the belly-of-the-beast effect of the giant sets. If Alien was a souped-up B-Movie, then Prometheus is a biblical epic. "Alien felt epic," says Scott ", but this one is Epic."

Barring a beach scene in the long cut of Alien 3, the new film will feature the franchise's first genuine exterior, with Iceland's black lava fields providing the new planet's hardscrabble surface (LV-426 was created on a soundstage). Thematically, too, it's gone big. This is God versus Science, and the survival of not just the crew (most of whom probably don't) but mankind itself. In other words, there is a whole 2001-vibe going on. "It's gone off in a new direction," boasts Scott ", but I promise it will engage you in the first five minutes."

The script, written by Jon Spaihts and Lost's Damon Lindelof, based on "one single thought" Scott drew from the original, initially follows a familiar arc. The crew of the Prometheus (the ship's name designed to echo the Greek myth) follow a perplexing message to a planet that will open their eyes and their chests to a new alien race. "A crew of scientists embark on a journey somebody else is paying for," says the director, referring to the fact Charlize Theron's Meredith Vickers is a "suit" for a certain Weyland-Yutani. Meanwhile, Michael Fassbender may or may not be an early model of Ash's android and may or may not be trustworthy. And Noomi Rapace's archaeologist heroine, Elizabeth Shaw - a spiritual cousin to "Rippers" - is one half of a conflicted couple of Logan Marshall-Green's Holloway: "One comes from a position of faith, and the other is pure scientist," details Scott. Both are going to have a lot to swallow.

Even at the time of Alien, some 32 years ago, Scott mentioned he was interested in exploring the origins of the 'Space Jockey', the dead pilot of the derelict "space croissant". He talked about bioengineering and biological warfare as potential themes. Has he been able to satisfy his curiosity in that respect? "Definitely." And what significance can we draw from the pictures slowly being released, especially the giant humanoid 'head' that looms over what Scott terms the "ampule chamber"? "Oh there's a lot more to it," he says wafting explanations away, "I've locked up all the sweet stuff..." Including something familiar, perhaps?

[Gamin]

Suis-je le seul à n'avoir jamais accroché sur la franchise Aliens et compagnie ?

Je m'en venais justement demander si ça valait vraiment la peine que je m'y essaie? Je connais Alien, j'ai surement déjà vu plein de bout, mais j'ai jamais consciemment écouté le film, ça m'a toujours semblé comme un film d'horreur de monstre d'espace typique.

[Carriériste]

Je m'en venais justement demander si ça valait vraiment la peine que je m'y essaie? Je connais Alien, j'ai surement déjà vu plein de bout, mais j'ai jamais consciemment écouté le film, ça m'a toujours semblé comme un film d'horreur de monstre d'espace typique.

C'est exactement ça.

L'avantage de la série est d'être très réussie dans son genre, Alien étant probablement le précurseur du genre en question.

[B~E]

Je m'en venais justement demander si ça valait vraiment la peine que je m'y essaie? Je connais Alien, j'ai surement déjà vu plein de bout, mais j'ai jamais consciemment écouté le film, ça m'a toujours semblé comme un film d'horreur de monstre d'espace typique.

Les films inspirés par Alien, incluant Aliens (qui reste un excellent, excellent film, pour d'autres raisons), Alien 3 et AvP, sont des films d'horreur typiques. Mais Alien en est pas un. C'est davantage un film sur le surnaturel, de possession, qu'un film de monstre typique.

Dans Alien, la créature est plus bizzard, une sorte d'ange noir bioméchanique, éthéré, mais aussi seulement une fraction d'un cycle de vie extrêmement violent et éphémère. À la fin, on est presque supposé avoir de la sympathie à voir la façon dont elle rampe dans un trou pour se laisser mourir, comme si la créature avait réaliser qu'elle était pas supposé être née à cet endroit, à cet époque.

La chose terrifiante avec Alien, c'est que ce n'est pas quand elle tue qu'elle est supposer nous être perturbante. C'est au contraire quand elle vie ou quand elle se reproduit: domination, séquestration, viol, puis meurtre/naissance. AvP escamote complétement cet aspect, même dans AvP Requiem: la nouvelle tournure sur la reproduction n'est utilisé que trop brièvement, pour enchaîner avec plus de morts inutiles, sans tension.

[The Eternal]

Autre interview intéressante de Scott.

Interview: Ridley Scott Talks Prometheus, Giger, Beginning of Man and Original Alien

December 17, 2011

HOME, ICELANDIC STUFF, INTERVIEWS

Today, we bring you our most exciting feature yet, an interview with legendary director Ridley Scott, who is now working on one of 2012′s most anticipated blockbusters, sci-fi thriller Prometheus. I met with the very energetic Scott in July, when he was in Iceland filming a reported 15-minute sequence for the film, along with a crew of over 200, and most of Prometheus’ principal cast.

When we sat down in a small meeting room in his Reykjavik hotel, he not only answered questions on Prometheus surprisingly openly (although he will preserve that film’s most important secrets for its release, as you can note below), and linked Prometheus directly with Alien on several occasions, but also gave me this:

A: Offered a glimpse into his view on making the original Alien.

B: Revealed that H.R. Giger is indeed directly involved in the design of Prometheus and,

C: perhaps most interestingly, gave us an insight into not only the mythology of Prometheus but

D: his own radical opinions on how mankind has evolved to the point it’s at today.

But intros are boring. Just read the interview itself. A shorter (and translated) version of this interview was published in Icelandic film magazine Myndir manadarins in August, but we are now finally able to publish it uncut right here.

Erlingur Grétar Einarsson: What [part of Prometheus] are you shooting in Iceland? What role in the film does it “play”?

Ridley Scott: It’s, you know, whenever you’re talking about science-fiction, it always sounds pretentious or corny. It’s actually “The beginning of time”. But I think we’ve got it right. (He laughs) So, it will be a pretty good beginning of time.

EGE: [The Prometheus’ cast] is a very impressive line-up.

RS: Yeah, you know, we were staying with the notion that there were no stars in the first film [1979's Alien]. I think it was [Weaver‘s] first film. They were not stars.

EGE: Skerritt had some name recognition, maybe at the same level Fassbender is now.

RS: Yeah. I didn’t make that as a plan, you know. Sometimes it’s better when you have a story, where you’re gonna lose people during the story, that they are lesser known. Of course, Charlize [Theron] is very well known, but she hangs around ‘till the end. (He laughs)

EGE: So you are linking this directly with the Alien films?

RS: Not at all.

EGE: Not at all?

RS: No.

EGE: No?

RS: I mean, you could actually say, and there’s a quote I did, a pretty good quote: By the end of the third act you start to realize there’s a DNA of the very first alien, but none of the subsequent aliens. To tell you what that is is a pity, and I’m not going to tell you, because it’s actually pretty good, pretty organic to the process and to the original. But we go back, we don’t go forward.

EGE: The official synopsis from Fox says that this revolves around the “Alien Gods”, the “Space Jockey” from the first film.

RS: Yeah, so there you have that. I was always amazed that, I mean, I’ve only done two science-fictions, but I was always amazed that no one asked who the hell the Space Jockey was. He wasn’t even called the Space Jockey. During the film they started to call it the Space Jockey. I don’t know who started that one off. I always thought it was amazing that no one ever asked who he was, and why was he there? What was all that about? I sat thinking about this for a while and thought, well, there’s a story! And the other four [films] missed it! So, here it is.

EGE: Will you be using any of Giger’s original design for this film?

RS: We’ve had a pretty good relationship with Giger for many years. I was the first one to go see him in Switzerland, and persuade him to get on a plane. He wouldn’t get on a plane, because he was afraid of flying. And he finally came to Shepperton. He was with me for eleven months. Never went into town, stayed over a pub in Shepperton. Very non-Giger, not exotic. You’d think he’d be in a suite in a hotel. He’s in a pub. He was in a room over a pub, and he was very happy there. And yeah, I brought him in, I showed him what we were doing, showed him the story and he liked it a lot. So he’s doing a little bit of work for me. He’s been doing some murals, big murals, which we’ll see in almost one of the first chambers we encounter when we land where we’re gonna go.

EGE: The tone of the film, according to the official synopsis, and the tone of the premise, sounds a lot more mythological than the original Alien films. The original Alien films revolved around industrial settings and premises and social situations rather than anything mythological.

RS: The original Alien was a pretty savage engine. I’ve always said it was a C-movie done in an A-way. Because it was the Old Dark House, you know. Seven people in the Old Dark House, and they’re all going to die. (He laughs) And they’re gonna die horribly and that in itself is a tricky exercise, because you can do it well, you can do it badly. But somehow that worked. It turned out pretty well.

I think one of the reasons why I’ve never gone back to science-fiction, even though I’ve often noodled around, thought about it, looked for story, looked for material, is that there’s a nice purity to the original Alien. It’s fairly pure. And this one does actually raise all kinds of other questions, because if someone could, a being, could be as monstrously clever to create something like we experienced in the very first one – I always figured it’s a weapon, and I always figured that [the ship in the first Alien] was a carrier of weapons. Therefore, who is that, inside that suit? That wasn’t a skeleton, that was a suit. And if you open up the suit, what do you get inside it? And why were they going, where were they going?

Also, I ring off of… there’s a writer, Erich von Däniken. One of his most famous books was called Chariots of the Gods. Everyone thinks he was out of his mind, you know, for number one, “we are the creation of gods”, if you go back to the 19th century anthropologists, Darwin, and say if you go look at Darwin for the moment and look at the Darwinian idea, the Darwinian thesis, which is seemingly very logical. You know, you’re going from something that gradually comes to two legs and gradually here we are. Then you can go beyond that and you look more mathematically at the feasibility of how we’re able to be sitting here, right now, in this place. I’m talking to you, and I’ve got this thing (he picks up his cellphone) which looks like Star Trek. This is “Beam me up, Scotty”-stuff. You wouldn’t have believed this thing could exist thirty years ago.

Things have changed so dramatically that you can start looking at the idea that all our history can be completely wrong and misguided. Because at some point someone has to put a statement down and have their own thesis, have their own theories. That was then later accepted or later is gradually dissolved and re-drawn or reworked. So now you’ve got the whole changed attitude with NASA, the church and I think even Hawking. Over the last thirty years have gone from “It’s highly unlikely that there’s anyone else in our galaxy, any other force, being in our galaxy,” to now, where they’re conceding that there are probably thousands of different lifeforms in this galaxy. And I think Hawking actually said, “Let’s hope they don’t visit.” And I think the church has conceded as well that it would not be against the word of God if we conceded that there are other lifeforms in this galaxy.

So, if you take that out, then the door is open. To me, it’s entirely logical. It’s entirely ridiculous to believe that we are the only ones here. That’s why my first thought is that for us to be sitting here right now is actually mathematically impossible without a lot of assistance. Who assisted? Who made the right decisions? Who was pushing and pulling to adjust us? That’s a fair question.

EGE: Prometheus has the Brandywine production tag on it [a Production slate only used for Alien films since 1979] Do you feel any pressure going back to that world?

RS: No. Not at all, really. I had a good time making it. They gave me an opportunity to make it. I’d only done The Duellists at that point which was actually a pretty good film. Then someone had bizarrely seen it at Cannes and thought, “I wonder if he wants to do science-fiction,” which couldn’t be more different. I read it and thought, “Wow! This is fantastic,” because at that moment I was engaged in a lot of, I was reading a lot Jean Giraud’s “Moebius” stuff. The great French illustrator, beyond everything. I’d been looking at him just with the view to, you know, one day I wanted to do science-fiction. I’d seen Stanley Kubrick’s 2001 and that for me was certainly a door opening. You go, “Wow, that works,” and what am I gonna do?

So, I happened to be looking at Moebius’ stuff, just out of interest, because I’m a really… I can really draw and paint. I was really influenced by what I saw, but didn’t know where to apply it. When I read the Alien script, I just saw Moebius all the way, and I said, “I’ll do it! I know how to do it!” I was in Hollywood, and we sat for 22 hours straight. “Do you want to change it?” – “Nope.” – “What do you want to do?” – “Shoot it.” That was it. Bingo. People were saying, “Let’s rewrite the third act, that is a disaster.” I said, “I’ll do it.” Once you’re doing it, you can adjust it.

EGE: Do you see Noomi [Rapace] as something of a successor to Sigourney?

RS: Yeah, I mean, they’re quite different women. Sigourney, to start with, is 6’1’’ in stocking feet, and Noomi insists that she is 5’1’’ in stocking feet. (He laughs) I look at a lot of foreign movies, and unfortunately a lot of mainstream movies aren’t terribly good. You know. (He laughs)

The most influential for me are the new ones around the corner, and I look at a lot of foreign films and a lot of Scandinavian films. The Scandinavians have a very good touch for making movies, you guys (Icelanders) as well. I saw Dragon Tattoo a year ago, the first one. And, “Wow, who is that?” and from that I said, “This is the girl that’s going to do the film.” She came to L.A. and I met with her, and discovered that she’s in fact extraordinarily posh, as opposed to punk. So there was a real actress. A real actress, very, very good. So, I don’t know, she will just do great.

EGE: She has this same fire that Sigourney brought, as well.

RS: I would say that Noomi’s even more volatile and passionate. And sure, she looks good. But the combination of that and intelligence is a great combination.

EGE: Final question. I have a feeling what the answer will be, but many want to know. Will we see the original xenomorph in Prometheus?

RS: No. Absolutely not. They squeezed it dry. He (the xenomorph) did very well. (He laughs) He survived, he’s now in Disneyland in Orlando, and no way am I going back there. How did he end up in Disneyland? I saw him in Disneyland, Jesus Christ!

Source.

http://filmophilia.com/2011/12/17/interview-ridley-scott-talks-prometheus-giger-beginning-of-man-and-original-alien/

Modifié 17 décembre 2011 par The Eternal

[The Eternal]

Le trailer va sortir jeudi apparemment.

http://www.youtube.com/watch?v=-rjBzqmyk44

[The Eternal]

Deuxième featurette.

[The Eternal]

Encore un bootleg mais de meilleur qualité.

[Commissaire Laviolette]

Encore un bootleg mais de meilleur qualité.

Ok. Je commence à accrocher. J'ai hâte de voir en meilleure qualité.

Faut dire, je suis un fan de Alien, premier du nom. C'était juste une question de temps.

[Janus]

Ca a pas vraiment rapport, mais le trailer me fait penser a la bande annonce de Planescape Torment avec la musique hostile et le titre qui apparait.

J'ai ben hate en tout cas!

[Commissaire Laviolette]

Ca a pas vraiment rapport, mais le trailer me fait penser a la bande annonce de Planescape Torment avec la musique hostile et le titre qui apparait.

J'ai ben hate en tout cas!

Ça devrait surtout te faire penser à l'ouverture du Alien de 1979 auquel ils font un clin d'oeil.