I agree, like does Lindelof. It's a story based on a tiny bit of a fact that's been blown way out of proportions.

Prometheus Sequel to Feature Robot-Aliens?
2 April 2013

Writer Spaihts talks 'the creator' and robot-Xenomorph hybrids in leaked blu-ray extras.



Bonus material from the 'Prometheus' Special Edition Blu-Ray, out in May, have been leaked online, including a rather revealing interview with writer Jon Spaihts about the future of the franchise.

"Ridley always wanted to tell a parallel story [to 'Alien']," says Spaihts in a featurette. "He knew it would take at least two films."

The writer reveals that one idea was to have the crew encounter a creator/master of sorts: "Not God, like the one that people believe in and pray to, but a creator… The being who created the engineers.

"Don't expect him to be a merciful God", he adds.

But it doesn’t stop there - Spaihts then goes on humour the possibility of some fairly scary Xenomorph offspring: "God created the engineers, the engineers created us, we created robots", explains Spaihts. "Now David is on his way to visit god and he's bringing hell with him.

"I can tell you that Xenomorphs haven't gone away. What would happen if a facehugger got its tentacles on god, or on David?"

Alien-God? Robot-Alien? That’s two ways to liven up the franchise.

http://uk.movies.yahoo.com/prometheus-s ... 33321.html

^^^ that settles it then. they know the overall direction, but they need to work how to tell it on screen.

Spitfire, Pinhead...

that was an April 1st joke.

Read it carefully.

Robot Xeno's? God Xeno?

It was posted as a joke on the Prometheus forum and then it got taken seriously by yahoo movies.

There isnt even a damn Prometheus special edition blu-ray.

Ridley Scott on 'Prometheus 2'
28 October 2013



"Prometheus 2 is written," says Scott, but doesn't indicate when it might start shooting. "I have already got the next two films ready to go. That will be 2014, 2015…"

"Prometheus was a great experience for me. Chasing number two, we can start evolving the grand idea…"

http://www.empireonline.com/News/story.asp?nid=39194

He's shooting Exodus now...

Prometheus 2 might be next.

Michael Green Re-Writing Prometheus Sequel
25 March 2014

And Ridley Scott May start work this year…



Though right now the majority of his filmmaking brain is focused on pushing Biblical epic 'Exodus' through post-production, Ridley Scott has at least a few synapses firing in the direction of future projects. Among them is the 'Prometheus' follow-up, which has just scored a new writer in the shape of Michael Green.

Scott and the scribe have form together: Green has also been working on the 'Blade Runner' follow-up, so it makes sense for him to segue over to one of Scott's other big sci-fi ideas. He takes over from 'Transcendence's Jack Paglen, who wrote the original draft.

Few details have emerged on the focus for the new movie, though The Wrap has ferretted out that it aims to up the terror, tighten the links to the familiar xenomorph and potentially feature multiple Michael Fassbenders for those who like that sort of thing. And we know you're out there.

The new hire adds fuel to speculation that the untitled Scott project 20th Century Fox recently targeted for March 4, 2016 could well be the new 'Prometheus' outing, though that will depend on everyone agreeing with the new script draft in time for the director to get to work.

http://www.empireonline.com/news/story.asp?NID=40553

H.R. Giger 1940-2014
13 May 2014

Alien designer dies aged 74



Swiss artist H.R. Giger, who contributed design work to one of the most iconic creatures in cinema history for Ridley Scott’s sci-fi classic Alien, has died at the age of 74.

Giger is best known for his biomechanical horror work, inspired, he said, by night terrors. Born in Switzerland in 1940, his father initially encouraged him to become a pharmacist, worrying that art was a “breadless profession.” But Giger was dedicated to design, and moved to Zurich in 1962 to study architecture and industrial design, where he developed his technique. After a period working as an interior designer, he switched to art full time, working on small ink drawings before moving to oil paintings and then to airbrushed work which owes a debt to Lovecraft and Giger’s friendship with Salvador Dali. Early books of his paintings bear the Lovecraft influence out, named for the Necronomicon.

But it was Necronom IV that would lead to his most famous design – that, and a fateful meeting with Alien co-writer Dan O’Bannon, who prior to his work with Ridley Scott had been hired to help Alejandro Jodorowsky on his adaptation of Dune. While that never came to pass, O’Bannon was struck by Giger’s design plans for Dune, and recommended him to Scott for Alien. Despite Fox executives’ worries that his work would be too disturbing for audiences, Scott was sold and hired Carlo Rambaldi to bring Giger’s vision to life. The result scored the effects team an Oscar and is forever etched on to our minds.

In addition to that memorable collaboration, Giger has gone on to become one of the most influential artists in the world. He’s also directed several films, including Swiss Made, Tagtarum, and Giger’s Necronomicon. His fingerprints can be found on the likes of Species and Poltergeist II: The Other Side. He’s also contributed designs for a wealth of albums and other projects.

He died on Monday afternoon in hospital from injuries sustained in a fall. Our thoughts are with his wife, Carmen Maria Scheifele Giger, who runs the museum dedicated to his work.

http://www.empireonline.com/news/story.asp?NID=41008

A sad day for me, his work is among my favorite artistic styles.

+1

H.R. Giger's Designs Changed the Way Movies Look
13 May 2014



Over the course of his five-decade-plus career, H.R. Giger, who died yesterday, produced countless paintings, sculptures, interior decorations, films, books, and furniture designs. But of course, it’s the main creature from Alien for which he is best known today. And while this doesn’t do justice to his immense body of work, the importance of Giger’s achievement in that film cannot be overstated. Initially, director Ridley Scott and his producers fought the Fox suits who were worried that Giger’s work was too disturbing. (He helped design not just the infamous “xenomorph,” but also the “facehugger,” the “chestburster,” the derelict spacecraft, and the infamous “Space Jockey” remnant.) Here’s the thing: The Fox suits were right. The alien was too disturbing. It was the kind of thing that might have sprung from the mind of a tormented Swiss surrealist racked with night terrors. It was not the kind of thing you were supposed to find in a Hollywood studio blockbuster. It crossed a line. It was transgressive. And it immediately entered our nightmares, where it continues to kick around.

Giger had been brought onto the Alien project by writer Dan O’Bannon, with whom he’d worked on Alejandro Jodorowsky’s aborted film adaptation of Dune. The terrific recent documentary, Jodorowsky’s Dune, details the heroic efforts to get that film made, and it also unveils the various sci-fi movies made since the 1970s that “borrowed” elements and designs from Jodorowsky’s lost project. But an addendum could be made to its thesis, which is that a lot of those same films (and others) were likely influenced by the look of Alien. We talk often of how Star Wars and Jaws changed the movie landscape forever, but I think Alien should properly be included among those films as well.

And Giger’s creations are among the chief reasons why. (You can even see it in how the Star Wars films themselves went, in Return of the Jedi, towards the grotesquely elaborate, many-fanged designs of the Sarlacc and the Rancor.) After Alien, the more nightmarish, the more beyond-the-bounds disturbing creature and set design could be, the better. That’s because Giger’s biomechanical designs -- fusing the organic and the metallic, the constructed and the evolved -- clawed away at our subconscious fear of things whose origins we can’t quite pinpoint, which don’t seem like they could have been created by mere mortals. It was the perfect imagery for an era that saw the dominance of horror and sci-fi, and the rise of celebrity designers and effects artists who visualized the unknowable.

Of course, Giger had been creating such designs long before Alien – the Xenomorph is actually closely based on his print “Necronom IV” – and he would do so for years afterwards as well. He gained legions of fans, and his brand of imagery became a kind of pop-cultural cliché. There was a Giger Room at the Limelight club. There were Giger-branded guitars. Every heavy-metal band seemed to be “inspired” by him.

Still, the work remains pure. Look at Giger’s images in books like Necronomicon or in New York City, and you’ll sense a quietness at their heart that’s still deeply unsettling. They’re like transmissions from a world that’s left humans behind. I think it’s one of the reasons why, after all the album covers and signature bars and tattoos, Giger’s name has remained evocative, exciting. His images are both thoroughly other and yet, strangely familiar. Familiar not because we’ve seen them all over the place for the past several decades (though we have), but because even now, there’s something uncanny about them — like something we must have seen in a dream once as a child but tried desperately to forget. Even now, the work terrifies.

http://www.vulture.com/2014/05/ebiri-on ... -obit.html

H.R. Giger: An Empire Tribute
13 May 2014



Swiss artist H.R. Giger, who has died at the age of 74, was known for biomechanical visions replete with horror and strange beauty. Few designers with an eye for all that is strange and spectacular in sci-fi have remained uninfluenced by his remarkable work. Empire's Ian Nathan, author of 'Alien Vault: The Definitive Story Behind The Film', pays tribute.

H.R. Giger was, of course, involved in Alien long before Ridley Scott. The mercurial Swiss artist, who had pursued a unique style he described as “biomechanical”, was part of the team of artists and eccentrics (including Salvador Dali) assembled to envisage Alejandro Jodorowsky’s aborted adaptation of Dune, and had been retained by screenwriter Dan O’Bannon to visualise the eggs and facehugger for his B-movie concept Starbeast. The film that would eventually evolve into Scott’s science-fiction masterpiece.

But before Scott was hired, Alien producer Gordon Carroll was so appalled by what he saw, he declared Giger to be “sick” and had Fox dispense with his services. When Scott, possessed of one of the greatest directorial eyes in the business, was growing increasingly frustrated over the reams conventional alien designs he was given — tentacled ‘Martians’ straight out of The War Of The Worlds —O’Bannon placed Giger’s Necronomicon (a best-selling collection of his biomechanical visions) into his hands. Scott was enthralled by what he saw, and got on the first plane to Zurich. Giger would be responsible for everything “alien” in the film: planet, spacecraft, eggs, facehugger, chestburster and the unforgettable xenomorph.

Hans Rudolf Giger was born in Chur, Switzerland in 1940, and grew up in a house with “few windows”. He claimed to have been tormented by nightmares from an early age, visions of great machines, enveloped in piping, and somehow coated in layers of skin complete with suppurating wounds. Inspired by the likes of Hieronymus Bosch and Dali, he channelled his torments into art. Paintings he later described as “self psychiatry”. In film terms, only David Lynch has come close to replicating such a primal mix of biology, mechanism, and psychotrauma, And yet Scott was drawn to his “realism.” It felt real. It felt alive.

Scott would have him build sets, sculpting the interior of the alien craft (the “derelict”) into something “with the biomechanical character of a spaceship built by non-humans.” The results were like nothing cinema had seen before — a genuinely alien vision. “You’re not even sure it’s even there,” marvelled Scott at how the division between machine and lifeform had been so completely blurred. An extraordinary enveloping aesthetic that would not only define the Alien franchise, but reshape science fiction, stalled in the clean lines of Kubrick’s 2001 and Lucas’ Star Wars. Even Carroll was won around. “It began to get to you,” he admitted.

On set Giger proved quite the character.

Despite the blistering summer temperatures, he would always be dressed head-to-toe in black leather. The crew nicknamed him “Count Dracula”. John Hurt was reminded of Harold Pinter. He was forever squabbling with the studio about money, and never took criticism well. He was fired and rehired again. Although, he would later ask his fellow crewmembers to forgive him “for his outbreaks of rage.”

Above all, Giger was one of nature’s great provocateurs. And, much to Scott’s delight, he still had Fox terrified. A first design of the Alien egg featured what could only be construed as a Catholic cross-shaped opening. A second was plainly a vagina. “I had lovingly endowed this egg with an inner and outer vulva,” the artist reported. The final design, which peeled open in response to Kane’s touch, was slightly more flower-like. When Giger came to designing the entrance to the derelict, he got his way. Look again, Kane climbs inside through a fifteen-foot vagina.

He will be sorely missed.

http://www.empireonline.com/empireblogs ... post/p1459

[Forwarded]

'Prometheus 2': Could Peter Weyland Return?
18 June 2014

Guy Pearce talks to us about his character's sequel potential.



IGN recently sat down with Guy Pearce to talk about his new movie 'The Rover', but we also couldn't help but ask him a few questions about 'Prometheus', in which he starred as the decrepit Peter Weyland – especially since last month we heard a rumor that director Ridley Scott was scouting locations in Australia for the planned sequel.

Of course, Weyland died at the end of 'Prometheus', but that character is somewhat unique in that Pearce has the monopoly on both the older and younger versions of him. (Even though Weyland is over 100 years old in Prometheus, Pearce also did a TED Talk viral video to help promote the movie.) Also, Weyland is probably one of the most likely characters to return, given his close ties to Weyland Corp and the Prometheus Project. He did after all pop up in hologram form after his presumed "death" at the beginning of the first film.

The question is, would Pearce be down to come back for a sequel? "I'd love to go back and play that character again," Pearce told us. "To work for Ridley again, you know, he's great – really wonderful to work for. So yeah, I'm very curious to see what he will do next with it."

In 'Prometheus', Weyland's ultimate goal was to achieve immortality – but is such a thing possible in the Prometheus universe? "Well," Pearce surmised, "based on my character's request for immortality and then getting whacked in the head with Michael Fassbender's head, uh... no. [Laughs] But I think it's possible. I just think it may not be for Peter Weyland. I mean, who knows? When you look at science fiction and the ways in which you can cut the pie and things can develop – technologically speaking, etcetera – anything's possible, really, isn't it? Particularly with Ridley at the helm."

'Prometheus 2' is scheduled hit theaters on March 4, 2016.

http://www.ign.com/articles/2014/06/18/ ... and-return

Ridley's next film is "The Martian" with Matt Damon. I guess Ridley wants some of that "Gravity" oscar nods.

Prometheus 2 is probably gonna have a new director.. or it'll be stuck in development hell forever.

First film was mediocre. It wouldnt be a big loss. Shaw was a poor substitute for Ripley.

This partnered up with the fact that Sigourney has been talking about possibly making an Alien 5 with a young director... hum.