I belatedly write this after hearing the sad news yesterday of the passing of Swiss surrealist painter and sculptor who created the Xenomorph alien design for Ridley Scott‘s 1979 sci-fi classic Alien died Monday after suffering injuries in a fall. He was 74. H.R. Giger‘s name became synonymous with his iconic Alien design, which originated from his own lithograph Necronom IV and went on to nab him an Oscar for Best Visual Effects.
Giger’s sexually charged “biomechanical” designs got him on Scott’s radar in the 1970’s when the artist had been working on Alejandro Jodorowsky‘s doomed version of Frank Herbert’s Dune (later directed by David Lynch). After Alien co-writer Dan O’Bannon showed Giger’s nightmarish designs to Scott, the helmer tapped Giger to design the Alien creature, eggs, planetoid Acheron AKA LV-426, and Alien ship for the film. He would go on to contribute designs to Aliens, Alien 3, Alien: Resurrection, Poltergeist II: The Other Side, Species, and Tokyo: The Last War, and was credited for original designs used in 2012′s Prometheus.
Giger, who directed his own documentary shorts in the 1960s, ’70s, and ’80s, appears in the new Sony Classics docu Jodorowsky’s Dune.
DEADLINE: Cable company TNT has put in development Frankenstein, a drama series from Lionsgate Television and 1019 Entertainment based on the five Frankenstein novels by Dean Koontz, which have sold more than 20 million copies.
Feature writer James V. Hart (Dracula, Hook) and his son Jake Hart will write the project, a modern-day reworking of the classic Frankenstein mythology. It is set in present-day New Orleans and follows Victor Helios (Frankenstein) and his creation 200 years after they thought they killed each other in a battle in the Arctic. The creature has survived and Victor has used science to keep himself alive — and they’re now in the same city unbeknownst to each other. Victor has engineered a new race of bizarre beings who answer to him, and when the creature learns that Victor is alive, an epic war ensues built on 200 years of pent-up rage, with New Orleans caught in the middle. James Hart will executive produce alongside Koontz, whose books have sold more that 450 million copies worldwide, and 1019 Entertainment principals Terry Botwick and Ralph Winter. 1019 Entertainment acquired rights to Koontz’s Frankenstein book series in 2010 for what was originally envisioned as a feature franchise series.
Koontz’s Frankenstein actually originated on TV with the 2004 original movie/backdoor pilot Frankenstein on USA based on his concept, which was executive produced by Martin Scorsese, directed by Marcus Nispel and starred Parker Posey, Vincent Perez and Thomas Kretschmann. It didn’t go to series, and a year later, Koontz launched his book series with Prodigal Son.
This marks the series debut of James V. Hart, who has adapted the works of several big-name authors to the big screen, Bram Stoker (Dracula), Robert Louis Stevenson (Muppet Treasure Island) and Carl Sagan (Contact). This is not the first time he has tackled Frankenstein. Hart has a story credit on the 1994 feature Frankenstein, based on Mary Shelley’s novel, which he also produced. Meanwhile, James Hart credits his son Jake for coming up with the idea for the Peter Pan sequel Hook.
Del Toro is back at Comic-Con after completing the robots vs monsters saga Pacific Rim financed by Legendary Pictures and Warner Bros. While it won’t be released until July 12, 2013, some in the industry have seen the early visuals and said they are stunning and they predict Del Toro will make a stirring return that was informed by his setbacks.
DEADLINE: You are finally here with a movie you directed. Describe your road here.
DEL TORO: Two years in New Zealand on The Hobbit, a year in L.A. and Canada developingMountains. Luckily, during the year of Mountains, I started on Pacific Rim and when people ask me why I have four or five things in development, here’s the answer. Paraphrasing John Lennon, a career is what happens when you’re making other plans. I once had a gap between Mimic and Devil’s Backbone of four years and haven’t had that long a gap until now. It is four years since Hellboy II. In 1998, my father was kidnapped for 72 days, I had to emigrate to Texas, and start over. I was recuperating from a bad experience on Mimic and luckily I found Pedro Almodovar, who basically supported me in doing Devil’s Backbone, which I consider my first movie in many ways. To me, this second four-year gap, finding Thomas Tull, John Jashni and Warners, was vital for me to continue. Pacific Rimhas given me an injection of life that I very much needed. I am reinvigorated, and at the most basic existential level, I needed this. I needed to have as good as an experience as this was. I came back from The Hobbit and met the Legendary guys and the experience was life changing. Thomas wanted me to read Travis Beacham’s pitch they had for Pacific Rim and I instantly saw the world.
DEADLINE: What did you see?
DEL TORO: This is a medium that requires large investment, and as a storyteller on this scale, there are only five guys who can write their own ticket; James Cameron, Peter Jackson, Steven Spielberg, Chris Nolan and Michael Bay. The rest of us, we can only do certain things and they are mostly linear. If you are good at doing a comedy, the industry and the audience sees you only doing that comedy. This was a huge opportunity for me to step beyond where I was. And it was huge for me because I am a such a fan of robots and Kaiju, since I was a kid.
DEADLINE: You mean those cheesy, dubbed Japanese monsters…
DEL TORO: Speak for yourself. How about those fantastic Japanese monster movies? When I was a real young kid, 10 or maybe younger, I wanted to see a movie called The War of the Gargantuas. It was opening and I knew it was designed originally to be a companions piece to Frankenstein Conquers the World. I had to see it and I took the bus to the other side of town, because a movie like that doesn’t open in the A or B circuit, it opened in the Z theaters. It was and old, rundown 2000 seat movie palace, and as I was sitting there enjoying the movie, somebody from the balcony throws a big empty glass…full of pee. It lands on my head. This is how much I love Kaiju; I finished the movie. And then I came out, with a There’s Something About Mary kind of hairdo, and I rode the bus back and nobody sat next to me. Japanese properties were probably cheap to acquire, so the theaters in Mexico were inundated with these films. I saw them all. And it instantly came back to me with Pacific Rim. I pitched scenes to Thomas and Jon, and they said, you have to direct it. I said I can’t, I have Mountains. I came on as producer and in a month, we had done a teaser trailer we animated, we had had silhouettes for 40 robots and some of the monsters and we were doing clay models. I did the Bible for the movie, and found myself feeling, damn, what lucky director is going to play in this world with all these toys?Mountains looked like it was going to happen. Until what I call that Black Friday, and then it wasn’t. I called Thomas and said, I’ll come on board Monday, if you are willing to really ready to take the step into pre-production. And it happened so fast. I’ve never worked as hard on a movie, to hit the budget number. We came in under budget, and under schedule. Hellboy took 135 days, the sequel 132 days. We did this in 103 days.
DEADLINE: You got close on The Hobbit, closer on Mountains. From an outside perspective, it feels like you were at the altar twice, and each time the girl didn’t show up. How’d you feel?
DEL TORO: I don’t know if I would characterize it quite that way. I am a writer of at least the first Hobbit film. The one that really hurt most was Mountains, because it was really abrupt. It was devastating. We were scouting, on the border of Alaska, in the glaciers in a helicopter. And I get the call, you gotta come back for a meeting on Friday. I said, eh…why do we need to meet?
DEADLINE: After I wrote about the film being halted because the studio would not make a $150 million film and give you the right for it to be an R rated movie, numerous studio execs said they would have done the same thing, even though they wanted to see the movie. It’s hard to make your money back on a big budget R film. Do you regret not being more flexible?
DEL TORO: No. But you’re guilty of a lot of my problems, not on Mountains, but you were the one whose article said I was busy till 2015, when in my mind, I’m unemployed and go movie to movie.
DEADLINE: Well, that was an editor at my former workplace, Daily Variety, trying to be clever. But what you say is true. But should you have caved on the rating and been willing to do Mountains at PG-13?
DEL TORO: I don’t regret it. Look at Prometheus. There’s an R rated horror movie that doesn’t have big name stars. We had Tom Cruise, and Jim Cameron producing. But I completely understand why they did it and I can’t argue, I can’t say they were wrong and I was right to take that position. I could never have their job because I would approve Mountains and many others, but I understand. I’ve been here 20 years and I don’t go for the altar reference because I never go into these things feeling it’s unthinkable they might not happen. But it still hurt like a motherfucker. You’ve got hundreds of drawings, dozens of paintings, storyboarded sequences, animatics, ILM did a test that was phenomenal and proved to me that everything we wanted to do was actually possible. It hurts always for the director because there is a movie you see in your head, and you want people to see it. [Del Toro’s manager Gary Ungar stops by our table to give him a carefully bubble wrapped package. He unfolds it, and it is a leather-bound brown journal, the pages filled with elaborate sketches of his Hellboy character. The pen and ink drawings look like paintings, and the handwritten notes beautifully scrawled in the filmmaker’s hand are so perfectly crafted that the book looks like a movie prop out of Indiana Jones or The Da Vinci Code].
DEADLINE: That is magnificent. Are you a closet calligrapher?
DEL TORO: This was on loan to the Seattle Science Fiction Museum. It’s just my notebook on Hellboy and some different stuff. These are all my drawings, and I just got it back. I’m an obsessive compulsive, what can I say.
DEADLINE: Will you still make At The Mountains of Madness, especially if Pacific Rim puts you near the category of those five directors you mentioned who can write their own tickets on big buck films?
DEL TORO: I want to see Prometheusfirst [there are plot similarities]. To me,Pacific Rim is a catalyst for so many things. You learn your craft little by little, and you do it publicly. You make mistakes in front of an audience. Make a wrong casting or editorial decision, and it’s all out in the open, like crashing a car in slow motion, publicly. Everybody can see your head bounce, your spine snap, and they comment on every single fracture. You’re giving interviews, or reading opinions. “Look at the way his wrist snapped! He’s never going to walk again the way his spine just broke!” You learn your craft that way and it’s rare that you can calculate or control it. You get lucky sometimes. I desire to direct big crazy movies and small crazy movies, and on Pan’s Labyrinth I was able to do that with some degree of control. Pacific Rim is the first time I have been able to articulate something that is purely entertaining, big and bold in this large format. I was incredibly aware of every choice, both creatively and fiscally. I stayed under budget and wanted that to be part of the experience. To be as bold and big as possible, but within the parameters I had agreed to. The narrative comes first, but I was a producer on this as well.
DEADLINE: At Disney’s Comic-Con panel, early The Lone Ranger footage was stylish and impressive, but the first connotation of that film is budget struggles. Unless you’re making a sequel, it seems very hard to create new tent poles. How much has pressure increased when you are creating something completely new?
DEL TORO: When you are producer and director, you are basically making a vow to be able to whistle and keep the tune. I’m aware of how much each extra costs, that I have to give up two cars to get four extras for five days. I have to pre-plan so if I say a sequence will take three days, it takes three days. I had the partnership of guys who believed in creating something new. They were not asking for a re-launch or a sequel. Finding a partner like this who shares not only in the financials but fully in the creative dream is a blessing that doesn’t happen often. But as to your question, I don’t believe any experience is bad and I’m not trying to sound wide-eyed or naïve. I don’t know if I could have done Pacific Rimwithout having prepped The Hobbit and especially Mountains because we got so close. It was a warm up for prepping movies that size, fiscally and technically. My contact with ILM started on Mountains, all the creative heads that came intoPacific Rim were guys who wanted to do Mountains. They knew what I wanted to try, that it was a new way of trying effects. The core of my creative team of designers moved from Mountains on a Friday to Pacific Rim on Monday. That tough experience allowed me to do this. To me, it’s harder to recuperate from success than failure. You can get a little lost in analyzing your success too much. Our culture prepares you on how to overcome failure. Look down, soldier on, figure it out. No one tells you how to avoid the trappings of success. That you figure out by brutally going through experiences. You learn much more about who you are going through difficulty.
DEADLINE: What look were you after with Pacific Rim?
DEL TORO: I wanted to do a big adventure movie with saturated colors, operatic battle set pieces and saturated colors and richly textured. As a kid I loved the Korda adventure films and I used them for inspiration. I wanted to evoke the feeling I had as a kid when I dreamed of being a cowboy or a pirate or an astronaut. I didn’t want to make a war movie, and visually avoided all the trappings of that like the long lens, super polished blue steely images that looked like a recruitment video, and the winner aesthetics that immediately tell you that a select group saves the world. I wanted it to be all of us who saved the world. So when I wanted Charlie Hunnam, Charlie Day, Idris Elba, Rinko Kikuchi, and Ron Perlman, they got it. Sometimes you pitch that and watch the studio head glaze over and say, yeah, but we need these five names to make this work.
DEADLINE: Will you be involved in Legendary’s Godzilla remake?
DEL TORO: No, we made it a point so far not to discuss that. Our conversations are limited to this. We were planning a sequence on Pacific Rim and when I described it to Thomas Tull, there was a landmark involved and he said, that one is taken in Godzilla. You have to guarantee me you won’t stomp, burn or destroy X, because Godzilla’s already doing that.
DEADLINE: Will it be odd having The Hobbit on the same Comic-Con bill as Pacific Rim?
DEL TORO: No. I haven’t seen the footage, but The Hobbit decision took a long time to make. And when you make a decision like that, you don’t look back, at least I don’t. I really think the movie’s in the right hands. I want to see it and wish it the best of luck. For me, the one that hurt was Mountains because it was not one where I had time to absorb or think about. That year was a hard year. But there is a contraction of the industry and Mountains three years before would happened. With DVD and Blu-ray, they would have taken the bigger risk.
DEADLINE: Fans will look at Mountains the same way we look at Halo, and wonder what might have been had Neill Blomkamp done that as his debut film instead of District 9.
DEL TORO: You mention Halo. We developed that movie, with D.B. Weiss, one of the creators of Game of Thrones. We made a screenplay and nobody talks about it but it was amazing. I went to WETA, met with them to talk about designs, had a big meeting. And then I went and made Hellboy.
DEADLINE: So leaving was your choice?
DEL TORO: That one was my choice.
DEADLINE: It really feels like this is a game of choices and it’s understandable why it’s so hard to choreograph success, especially now, when studios don’t really know what to make except sequels.
DEL TORO: It has always been that way though, no? When you read the real tales of movie making, it has always been pretty turbulent. Always, a few guys can write their own ticket, whether it was Capra and Sturges, Howard Hawks. The names change, but it’s usually limited to the same number of guys. I was just saying to a studio executive the other day that in the best of circumstances, when you hire a director, you are hiring either a guy who has the touch with actors, is a world creator visually, and maybe a guy who brings a certain tone that make his films recognizable. Everything else is a crap shoot. And all the preconceptions that used to guide the movie business through the years, like reliance on stars, are basically gone.
DEADLINE: How are you with that?
DEL TORO: I think that’s thrilling. At the end of the day, if you have a worthy story to tell, you’re going to tell it. If you can only tell a story with a certain range of budget, then you should worry. It softens your tissue somehow. But if you can write a book, make a small or big budget film or tell your story in a graphic novel, then it is a very exciting time.
DEADLINE: You mentioned Michael Bay as one of the five guys. After John Carter and Battleship, I heard more than a few people say they had new found respect for Bay and the skill it takes to make these big popcorn pictures.
DEL TORO: A lot of people think erroneously that it gets easier with more money. It doesn’t, because you are steering a much bigger ship. Imagine you are the rudder of a small fishing boat. If you become the rudder of a trans-Atlantic oil tanker, it doesn’t get easier on the rudder, it’s more taxing. There’s a feeling that CGI writes itself and happens while the director is riding with a starlet on the PCH in a convertible, on the phone saying, how is the CGI going? It’s a specific logistical, almost military operation you have to be able to run.
DEADLINE: How helpful is it to be here at Comic-Con with a movie that’s not coming out until next summer?
DEL TORO: To me, Comic-Con has always been invaluable, it doesn’t matter what project, I want to be here. Spiritually, it’s a beautiful place for me, I truly love Comic-Con. I feel at home. Whether it’s Pacific Rim or Pan’s Labyrinth, I come here.
DEADLINE: It’s easy to be condescending and cynical, but the passion of this crowd is charming when you get to observe it up close.
DEL TORO: It’s more than that to me. It’s pretty easy to be reactionary, to be like a parent in the 50s seeing their kids with rock and roll. What are you doing in your room all day? You are doing nothing! Same with video games. But the craftsmanship that allows for that narrative interface with video games, it’s huge and transformative. It has transformed the storytelling of the visual medium. Cultural swings are defined by clashes. Counterculture clashed with narrative in the 70s and you got intense, thoughtful, hardcore movie making, and you have pop culture colliding with narrative and these are waves you ride.
DEADLINE: It’s hard to figure out this current wave.
DEL TORO: There’s a very interesting confluence where you have this very intense awareness of pop culture, to a point where essentially nothing is fringe that cannot be taken by a corporation and commercialized by it. That’s the bad aspect of it. At the same time, you are finding a lot of the young generation galvanized socially in a collective way, whether it’s hacking or taking on Wall Street. It’s a curious time. I, myself at 47, am more interesting in find what’s alive, what is the pulse, than mourning any loss.
Whatever you may think of Prometheus, one thing is certain, visually it is a stunning film… We all want the toys! Now the inevitable NECA figurines will make their appearance in September of this year. Here are the prototype models for the first two, The Engineer (Pressure Suit) and Engineer (Chair Suit).
In 2089, a team of scientists led by Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover cave drawings that appear to form a clue to the origins of mankind on Earth. Shaw believes that the beings indicated on the paintings have visited Earth and are inviting us to their planet. Cut to 2093, on board the spaceship Prometheus (named after the Greek god who gave fire to mortal man), the scientists and small crew are heading towards the distant star system. As the crew awake from hyper sleep we are introduced to Meredith Vickers (Charlize Theron), the chief executive of the Weyland Corp., the mega-corporation funding the mission, Janek (Idris Elba), the ship’s captain, and other token crew members. Vickers is the corporate face of Weyland Corp., she’s remote, cold and dismissive, mainly of the Shaw and Holloways theory.
Shaw and Holloway disagree on precisely where we came from and how, they believe these visitors hold the key. At stake is the origin of human creation itself.
When they arrive at moon LV-233 they find a huge alien labyrinthine construction in which they hope to find answers… however, they must fight to save the future of the human race.
Ridley Scott, director of Alien and Blade Runner, returns to the genre he helped define with those early landmark films. With Prometheus, he creates another beautifully rendered near future. The cinematography, sets, props and costumes are all superb and set a new bench mark, as do the exemplary special effects which blend beautifully .
Its Scott’s best movie since American Gangster (2007), however it doesn’t quite manage to reach the heights achieved by his breakthrough original. Having said that, Prometheus came pre-loaded with so much hype and expectation, partially tempered by Ridley denying this was a direct prequel to Alien, that it would be almost impossible for the film to deliver on all fronts. There are a few incredible set-pieces unlike anything you’ve ever seen before that have to be seen to be believed. No spoilers here.
The cast are good, Noomi Rapace is a strong, believable lead, Theron is suitably cold, however Michael Fassbender steals the movie, his android is not as cold as HAL (2001), or Ash (Alien) or as likeable as Bishop (Aliens), he reminded me more of David from Spielberg’s Artificial Intelligence, I can’t recall him blinking. After the film ended I wondered how his character would/could fare in Scotts proposed Blade Runner sequel.
The script was reworked from a direct Alien prequel into a standalone effort that remains firmly within the same universe. This is the film’s smartest idea, as it immediately removes the usual prequel shortcomings of your audience knowing exactly how it’s going to end. However, while striving for its own identity, it still references to both Alien and James Camerons sequel Aliens. The screenplay, credited to both Jon Spaihts (who apparently wrote the first, more prequel-like draft) and Damon Lindelof (who revised the story and mythology), is an uneven affair. The general plot structure is solid, but some characters are underdeveloped and given some poor dialogue. Not all bad, however, as Scott is so adept at creating incredible imagery that it is easy to ‘go along for the ride’ and enjoy the film as a visual spectacle.
Big ideas are thrown around, the creation of human life, God, Darwinism and more; there are more questions posed than answered, which isn’t necessarily a bad thing, although I’d expect answers from the inevitable sequel, to the not-direct-prequel.
I can see it annoying some viewers, I really enjoyed it and overall I loved it as a spectacle; it’s not as smart as it set out to be, but it’s still better than most of the other sci-fi we’ve seen lately, and the 3rd best Alien movie of the franchise.
Quality: 3 Stars
Any Good: 4 Stars
Prometheus Trailer made of paper: Paper Prometheus. Directed, Edited and Construction Papered by Travis Betz a.k.a. The Receptionist. Check out more from Travis HERE.
Check out this new featurette that spotlights the director of the film, Ridley Scott. The clip, has some new footage, as well as interviews with the cast and crew about Scott’s vision and what to expect from the film once it hits theatres. Also included are soundbites from the director himself expressing his intentions to give the audience bad dreams and “scare the living shit out of [them]”. Courtesy of Fox Malaysia.
Ridley Scott, director of “Alien” and “Blade Runner,” returns to the genre he helped define. With PROMETHEUS, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.
Check out the Prometheus Electronic Press Kit and new International Launch trailer.
James Cameron has said he wants to direct the follow-up to Ridley Scott’s Prometheus. Cameron, fresh from his solo voyage to the bottom of the Mariana Trench, spoke at the Titanic 3D premiere about his involvement in a sequel to the Alien spinoff. The Guardian UK reported: “There’s a gap of a few years between Prometheus and the original Alien,” he said. “That gap is meant for me to answer all the questions raised in Prometheus.”
If Cameron signs on for the sequel, it will be the second time he has inherited one from Scott. The director was at the helm for Aliens, the 1986 sequel to Scott’s 1979 original Alien movie. He said the idea of him making a second Prometheus movie was first mooted when he spoke with Scott during the making of Avatar.
“Ridley came to me, and he saw what I was doing [with Avatar] and the ideas I was exploring,” said Cameron. “We sat down and talked about Alien, and saw that there’s big ideas hidden in these stories. Where do we come from? What does it mean to be human? This was something that Ridley saw as original and something he wanted to be a part of.
“I’m not sure if Ridley changed his mind, because the movie [Prometheus] turned out fantastic, but it was during those early talks when he brought up the idea of me stepping in to direct a follow-up.”
Prometheus, originally planned as an Alien prequel, is now described as a film based in the universe of Alien, which will involve the discovery of the origins of the alien race that the crew of the Nostromo face in the original film. Scott’s film will see a group of scientists land on a strange planet inhabited by a lifeform that may hold the secret to the origins of mankind. But the shrieking and wailing at the end of the film’s latest trailer would suggest that – like Alien – the promise of the scientists’ discovery quickly turns sour.
There’s no official word from the studio behind Prometheus as to if or when Cameron will be officially attached to a second film. “Right now I’m working on Avatar 2,” he said. “So if Fox wants to wait … we’ll see what happens.”
International UK trailer for Ridley Scott’s sci-fi, Prometheus. 17 seconds longer than the international version from yesterday. Starring Noomi Rapace, Charlize Theron, Michael Fassbender and Idris Elba.
Although Ridley Scott has been playing down quite how closely connected his new film, Prometheus, is to Alien; Scott gave an interview at the back end of last year, where he discussed the connection between the two films, which seem to hinge on the ‘Space Jockey’, the giant alien pilot whose body the crew of the Nostromo found on the derelict spaceship in Alien. But he was pretty emphatic that was where the connection ended.
It might all be a smokescreen to deflect from some deeper truth about how Prometheus fits into the Alien universe. Truth be told, I’m kind of reluctant to dig too deep into all this: I’d quite like some surprises when I eventually get to see Prometheus, however, I was pretty excited when I clicked on the link to the Prometheus viral. In the clip, over at weylandindustries where you can see Guy Pearce’s Peter Weyland, CEO of Weyland Industries, delivering a TED talk in 2023, and handily getting out of the way a lot of exposition about the myth of Prometheus, which presumably will be referenced in some way in the film.
In an interview somewhere with Scott recently, he talked about how, in the late Seventies, he always imagined the future would be run by big corporations – hence, Weyland-Yutani in Alien (never mentioned by name, but you see their logo everywhere) and the Tyrell Corporation in Blade Runner. Of course, Weyland-Yutani took on a larger and more sinister role as the Alien series developed. So it’s great to see Pearce’s Peter Weyland delivering his lecture.
Alcon Entertainment, the producer/financier teaming with director Ridley Scott to return to the world of the 1982 science fiction classic Blade Runner, is adamantly denying a web report claiming original star Harrison Ford is in early talks to return as replicant hunter Rick Deckard. Andrew Kosove, who runs Alcon with Broderick Johnson, said he and his partner couldn’t sit by as the unsubstantiated report spread like wildfire all over the world. That’s the downside of the digital world, where reports spread virally.
“It is absolutely patently false that there has been any discussion about Harrison Ford being in Blade Runner,” Kosove said. “To be clear, what we are trying to do with Ridley now is go through the painstaking process of trying to break the back of the story, figure out the direction we’re going to take the movie and find a writer to work on it. The casting of the movie could not be further from our minds at this moment.”
Kosove said they didn’t want in any way to disparage an iconic actor like Ford, but it certainly sounds as though they do not plan to continue his story line. “It’s like asking if we’re going to make the sky red or blue, there has been no discussion about it,” he said. “What Ridley does in Prometheus is a good template for what we’re trying to do. He created something that has some association to the original Alien, but lives on its own as a standalone movie.” Asked point blank if Ford could resurface, Kosove said: “In advance of knowing what we’re going to do, I supposed you could say yes, he could. But I think it is quite unlikely.”
It’s finally here, the full Prometheus trailer… and it looks fantastic.
The first full trailer will be released later today… Until then, here’s a selection of early poster art for the highly anticipated Ridley Scott movie Prometheus.
Taking a step back from lavish sci-fi and fantasy, Scott made the under-rated, romantic police drama, ‘Someone to Watch Over Me’, starring Tom Berenger, Lorraine Bracco and Mimi Rogers in 1987, and the stylishly violent ‘Black Rain’, a 1989 cop drama starring Michael Douglas and Andy Garcia, shot partially in Tokyo and Osaka, Japan. Both achieved mild success at the box office.
Initially perceived as a miss-match, Scott then made ‘Thelma & Louise’ (1991) starring Genna Davis as Thelma, and Susan Sarandon as Louise. The movie was successful, and revived Scott’s reputation. However, his next project—an independent movie, ‘1492: Conquest of Paradise’ —was less so. It is a visually striking film telling the story of Christopher Columbus. However, it was a box office failure, and Scott did not release another film for four years.
In 1995, with his brother Tony, Scott formed their own film and television production company, Scott Free Productions in Los Angeles. All his subsequent feature films, starting with ‘White Squall’ and ‘G. I. Jane’,starring then-superstar, Demi Moore, were produced under the Scott Free banner. Also in 1995 the two brothers purchased controlling interest in Shepperton Studios, which later merged with Pinewood Studios. Scott and his brother have produced the CBS series ‘Numb3rs’ (2005–2010), a crime drama about a genius mathematician who helps the FBI solve crimes, and critical and commercial hit, ‘The Good Wife’ (2009–), a legal drama concerning an attorney continuing her law practice while coping with her husband, a former state attorney trying to rebuild his political career after a major scandal.
The huge success of Scott’s film ‘Gladiator’ (2000) has been credited with reviving the nearly defunct “sword and sandal” historical genre. The film was a massive commercial success and earned Best Actor Awards around the globe for leading man Russell Crowe.
Scott then turned to ‘Hannibal’, the sequel to Jonathan Demme’s ‘The Silence of the Lambs’. In 2001, Scott released the war film, ‘Black Hawk Down’, which further established his position as a critically and financially successful film maker. The film won two Oscars.
In 2003 Scott directed ‘Matchstick Men’, starring Nicholas Cage, Sam Rockwell and Alison Lohman. It received mostly positive reviews and performed moderately at the box office. In 2005 he made the modestly successful ‘Kingdom of Heaven’, a movie about the Crusades which consciously sought to connect history to current events. The Moroccan government sent the Moroccan cavalry as extras in the epic battle scenes.
Unhappy with the theatrical version of the film (which he blamed on paying too much attention to the opinions of preview audiences), Scott supervised a director’s cut of Kingdom of Heaven, which was released on DVD in 2006. In an interview to promote the latter, when asked if he was against previewing in general, Scott stated: “It depends who’s in the driving seat. If you’ve got a lunatic doing my job, then you need to preview. But a good director should be experienced enough to judge what he thinks is the correct version to go out into the cinema.”
Scott teamed up again with Gladiator star Russell Crowe, directing the movie ‘A Good Year’, based on the best-selling book. The film was released on 10 November 2006, soon after, Rupert Murdoch, chairman of News Corp and Subsidiary studio 20th Century Fox (who backed the film) dismissed A Good Year as “a flop” at a shareholders’ meeting only a few days after the film’s release.
Scott’s next directorial work was on gritty ‘American Gangster’, the story of real-life Harlem drug kingpin Frank Lucas. He was the third director to attempt the project after Antoine Fuqua and Terry George. Denzel Washington and Benicio del Toro had been cast in the initial Steven Zallian scripted project under the working title Tru Blu, both actors having been paid salaries of $20 m and $15 m respectively without doing any production on the film. Following George’s departure, Scott took over the project in early 2006. He had Zaillian rewrite the script to focus on the dynamic between Frank Lucas and Richie Roberts. Washington signed back on to the project as Lucas, and Crowe signed on to play Roberts. The film finally premiered in November 2007 to positive reviews and good box office.
In late 2008 Scott released the Middle-East set espionage thriller, ‘Body of Lies’ starring Leonardo DiCaprio and Crowe once again which opened to luke-warm ticket-sales and mixed reviews. Scott directed an adaptation of ‘Robin Hood’, which starred Russell Crowe in the title role and Cate Blanchett as Maid Marian, and Max von Sydow and Mark Strong in key roles. The movie was released on 13 May 2010 in Australia and 14 May 2010 in America to mixed reviews.
Scott’s next film is ‘Prometheus‘, touted as a semi-prequel to his breakthrough hit, Alien. The internet is buzzing with theories as to exactly what the movie is about. It is due for release in July 2012.
Scott has been nominated for three Academy Awards for Directing, as well as Golden Globe and Emmy Awards. He was knighted in the 2003 New Year honours.
Yesterday, AvP Galaxy reported on the existence of a brand new trailer for Prometheus. This new trailer lasts for around one minute and features a handful of scenes from the footage that was shown at Comic-con this year, scenes from the recently leaked 18 seconds teaser trailer and much more. You can watch it at this link now. The quality isn’t ideal but the video is definitely worth a look.