EinspielergebniГџe 2020Here, there's some doubt about David's ultimate motives, which puts Alien: Covenant squarely in the tradition of the Terminator and Matrix movies. David regurgitates two facehugger embryos and places them in cold storage with the human embryos. April click, Retrieved 29 May Inside the structure, a click the following article creature kills Millburn and sprays a corrosive fluid that melts Fifield's helmet. It was always our vision to apologise, Polygamie Usa where her look as sculptural as possible". June 8, Retrieved October 17,
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Erfahrungen Plus Btc Kurs Dollar. Shaw flees and warns Janek that the Engineer is planning to release the liquid on Earth, convincing him to stop the spacecraft.
Janek and the remaining crew sacrifice themselves by ramming the Prometheus into the alien craft, ejecting the lifeboat in the process, while Vickers flees in an escape pod.
The Engineer's disabled spacecraft crashes onto the ground, killing Vickers. Shaw goes to the lifeboat and finds her alien offspring is alive and has grown to gigantic size.
David's still-active head warns Shaw that the Engineer is pursuing her. The Engineer forces open the lifeboat's airlock and attacks Shaw, who releases her alien offspring onto the Engineer; it thrusts an ovipositor down the Engineer's throat, subduing him.
Shaw recovers David's remains, and with his help, launches another Engineer spacecraft. She intends to reach the Engineers' homeworld in an attempt to understand why they wanted to destroy humanity.
In the lifeboat, an alien creature bursts out of the Engineer's chest. The central theme in Prometheus concerns the eponymous Titan of Greek mythology who defies the gods and gifts humanity with fire, for which he is subjected to eternal punishment.
A human expedition intends to find God and receive knowledge about belief, immortality and death. They find superior beings who appear god-like in comparison to humanity, and the Prometheus crew suffer consequences for their pursuit.
Scott suggested that an Engineer was sent to Earth to stop humanity's increasing aggression, but was crucified, implying it was Jesus Christ.
Artificial intelligence , a unifying theme throughout Scott's career as a director, is particularly evident in Prometheus , primarily through the android David.
David is created in the image of humanity, and while the human crew of the Prometheus ship searches for their creators expecting answers, David exists among his human creators yet is underwhelmed; he questions his creators about why they are seeking their own.
Lindelof explained that David's programming becomes unclear and that he could be programmed by Shaw or his own sense of curiosity.
Following Weyland's death, David is left with Shaw, and is sincere and interested in following her, partly out of survival and partly out of curiosity.
Another theme is creation and the question of "Who Am I? Who Made Me? Why Hast Thou Forsaken Me? This creation is shown in the film's opening in which an Engineer sacrifices itself after consuming the dark liquid, acting as a "gardener in space" to bring life to a world.
David then introduces the dark liquid to Holloway who impregnates a sterile Shaw, and the resulting child impregnates an Engineer, creating the child of all three generations.
Shaw is the only religious believer in the crew and openly displays her religious belief with a necklace of a Christian cross.
Lindelof said that with her scientific knowledge, her beliefs felt outdated in Shaw is excited when she learns that she was created by the Engineers and not a supernatural deity, but rather than cause her to lose her faith, it reinforces it.
Lindelof said that asking questions and searching for meaning is the point of being alive, and so the audience is left to question whether Shaw was protected by God because of her faith.
Scott wanted the film to end with Shaw's declaration that she is still searching for definitive answers. Scott also expands on the original Alien universe by creating a distinctly English mythology informed by Milton's Paradise Lost and the symbolic drawings of William Blake.
Development on a fifth film in the Alien franchise was in progress by Scott considered returning to the series he created with his science fiction horror film Alien , to pursue a sequel that would explore the engineered origins of the series's Alien creatures ,  and the "space jockey"—the extraterrestrial being , who briefly appears in Alien , as the deceased pilot of a derelict spaceship.
It was then that 20th Century Fox approached Cameron with a script for a crossover film that would pit the series's monsters against the title characters of the Predator films; this project became the science fiction film Alien vs.
In May , Fox said that the project was a "reboot"  of the Alien franchise, and soon afterwards was reported as an untitled prequel to Alien.
Fox was only interested in pursuing the project if Scott directed. In December , it was reported that the film would be called Paradise ,  named after John Milton's poem Paradise Lost , but Scott considered that this would convey too much information about the film.
The keen fan will recognize strands of Alien ' s DNA, so to speak, but the ideas tackled in this film are unique, large and provocative.
Spaihts met Scott in late and they discussed Scott's desire to pursue an Alien prequel. Spaihts offered his concept, including a "bridge" that would connect the story of the film's human characters to the Alien saga.
Spaihts was quickly hired, which he credited to the reception of his "bridge" idea. Spaihts claimed he created the concept spontaneously, without preconception.
Spaihts wrote a page "extremely detailed outline"; within three and a half weeks he had completed his first draft, and he submitted it to the producers on Christmas Day, Within 12 hours, Scott returned the script with notes for changes, and Spaihts spent the Christmas holiday redrafting.
Spaihts was tasked with exploring unresolved mysteries from Alien , such as the Space Jockey. He considered the mysteries of Alien to be alien in nature, and said, "all the mysteries have alien players: the exoskeleton nightmare and How do you make anyone care about events between creatures like this?
He said: "If that story is somehow ours and deeply enmeshed with the human story, that story changes meaning within our life, things of such significance that we think of our own lives differently.
He reminded Scott that in the scene they were discussing, the characters were subject to gravity and so could not simply float. Engineers of space.
And were the aliens designed as a form of biological warfare? Or biology that would go in and clean up a planet?
However, Scott instead contacted Lindelof and asked him to review Spaihts's script. As a direct prequel to Alien , the story was shaped to lead into that film's story, and to recreate the familiar cues of that series,  and Scott wanted to avoid repeating his previous accomplishments.
Good stories, you don't know where they're going to end. Lindelof said that the other parts of the script were strong enough to survive without the Alien hallmarks, such as the Alien creature, which he believed had been diluted by the exposure it had received.
It shouldn't be about that. It can be a part of this movie, but it shouldn't be what it's about. Lindelof met with the producers the following morning, and was hired shortly afterward in late In August and September , Lindelof spent almost five weeks writing his first draft, which he submitted in mid-September Lindelof said,.
Blade Runner might not have done well [financially] when it first came out, but people are still talking about it because it was infused with all these big ideas.
It was being driven by people who wanted the answers to huge questions. But I thought that we could do that without ever getting too pretentious.
Nobody wants to see a movie where people are floating in space talking about the meaning of life That was already present in [Spaihts's] original script and [Scott] just wanted to bring it up more.
Scott's story concept was partially inspired by Chariots of the Gods? That's what we're looking at [in the film], at some of Erich von Däniken's ideas of how did we humans come about.
He also developed the theme that while the human crew is searching for their creators, David is already among its creators. Scott liked these ideas and further explored them in Lindelof's rewrite.
In Spaihts's draft, Shaw was directly responsible for the events of the plot because she wants to seek out potentially dangerous knowledge.
As with David, Lindelof expanded this facet of the character during his rewrites. He spent approximately eight months developing the script, finishing in March as filming began.
Pre-production began in April A team developed graphic designs for the film. In July , Lindelof said that the film would rely upon practical effects , and would use CGI generally for on-set pre-visualization of external space visuals.
Even though we have remarkable digital capabilities I still say do it live. It's cheaper. Exterior shots of the alien world were shot in Iceland,  where filming occurred for two weeks.
It commenced on July 11, , at the base of Hekla , an active volcano in southern Iceland. Speaking about working at the volcano, Scott said, "If one is afraid of nature in this profession then it would be best to find a different job".
Shooting areas included the complex's large water tank, and a nearby beach. Scott avoided using green screens unless necessary.
Instead, he used various items so the actors would know where they should be looking in any particular scene on the practical sets where CGI elements would be inserted in post-production.
The fifth rig used an Epic camera as a steadicam , which was used only occasionally. Scott used the 3D footage to increase the illusion of depth.
Despite this being his first 3D film he found the process easy. He said, "You can literally twiddle a knob and the depth will increase", and, "the trick is not to overdo it".
In July , Scott said that he was filming Prometheus with both adult-oriented R and more accessible PG film ratings in mind, allowing the more adult content to be cut if necessary without harming the overall presentation.
Scott said he had a responsibility to 20th Century Fox to be able to present a PG cut of the film if the studio demanded, allowing it to be viewed by a wider potential audience.
Financially it makes quite a difference Marc Streitenfeld , who had worked with Scott on earlier projects, composed the musical score for Prometheus.
He used some unusual techniques to compose the score, and said, "I actually wrote out the sheet music backwards so the orchestra played it backwards and then I digitally flipped it.
So you're hearing the score as it's written, the same melody, but with a backwards sounding orchestra which gives it a kind of unusual, unsettling sound.
Production designer Arthur Max led the film's design staff. His art team were tasked with deconstructing the art and visuals of Alien , and reverse-designing them for the chronologically earlier setting of Prometheus.
Giger , and designers Ron Cobb and Chris Foss , including their designs for that film which Scott had been unable to develop at the time.
For the crew's space suits, Scott was inspired to include spherical glass helmets after reading a story in Steve Jobs ' biography about building an office out of Gorilla Glass.
Scott said, "If I'm in and I'm going into space, why would I design a helmet that has blind spots. What I want is something where I have [vision].
Glass, by then, will be light and you won't be able to break it with a bullet. The helmet's exterior featured a functional light source and high definition video cameras with a transmitter and recorder.
His frequent collaborator, Janty Yates , used medical research concepts relating to skin replacement treatments and materials to develop a garment that would be believable, flexible and comfortable.
The outfit comprised a neoprene suit worn under an outer space suit, a base to which the helmet could be attached, and a backpack.
Aboard the ship, Yates gave the characters their own distinct looks. Theron is dressed in an ice-silver, silk mohair suit.
Yates said, "[Theron] is the ice queen. It was always our vision to make her look as sculptural as possible". Fassbender's David is dressed similarly to other crew members, but his outfit was given finer lines to produce a more linear appearance.
To create a casual, relaxed appearance, Marshall-Green's Holloway was dressed in hoodies, fisherman pants, and flip-flops, while Elba wore a canvas-greased jacket to represent his long career at the helm of a ship.
Arthur Max designed the sets such as the alien world landscape and structures, and the vehicles, including the Prometheus and the Engineer's ship.
To better blend the practical and the digital, the design team took rock samples from the Iceland location so they could match the graphical textures with the real rocks.
He said that he wanted "to do something that was state-of-the-art, which would represent a flagship spacecraft with every technology required to probe into the deepest corners of the galaxy.
The interior of the Prometheus was built across a two-level structure, fronted by a large, faceted, wrap around windscreen. Theron's quarters were designed to represent her high status in the crew, and were furnished with modern and futuristic items, including Swarovski chandeliers and a Fazioli piano.
The vehicles inside were built in 11 weeks and were designed to operate on difficult terrain while having a futuristic aesthetic.
Max created a large pyramid structure for the alien world, which had its main interior areas connected by a series of chambers, corridors, and tunnels; it was so large that some members of the film crew became lost inside it.
The pyramid was enhanced in post-production to further increase its size. For the scene of the Prometheus ' descent to the alien moon LV, visual effects art director Steven Messing referenced NASA imagery, including vortex cloud structures.
Messing painted over these images and combined them with 3D set extensions to create a realistic altered landscape. Scott wanted the ship's descent scenes to have a sense of grandeur to contrast the dark and shrouded descent featured in Alien.
Much of LVs world was based upon the world visited in Alien , but scaled back as Scott felt some elements were too unrealistic.
Other influences were the Martian mountain Olympus Mons and several large mountain structures on Earth. NASA advisers provided concepts for the aesthetics of alien worlds which were incorporated into the design work.
Neal Scanlan and Conor O'Sullivan developed the film's alien creatures, aiming to convey that each creature has a logical biological function and purpose.
Scanlan said that much of Scott's inspiration for creature design is drawn from natural life, such as plants and sea creatures.
Huante designed them to be white and embryonic because the events in the film occur before Giger's influence had taken effect. Huante took influences from references Scott was using to design the pale-skinned Engineers.
Huante also referenced other Giger works, national monuments, large sculptures, and the Crazy Horse Memorial statue in South Dakota. Part of Huante's early design work included developing precursors to Alien ' s Facehugger, and a primitive Alien creature, but these were cut from the final release.
Turner , and classical sculptures. The snake-like alien dubbed the "Hammerpede" was given life through a mixture of CGI and practical effects, and the wires controlling the practical puppet were digitally removed.
For a scene in which the Hammerpede is decapitated, the VFX team digitally animated and inserted the spontaneous growth of a replacement head.
Scott did not inform Dickie about what was to occur in the scene and her screaming reaction was real. The creature's design was partially inspired by translucent sea creatures with visible arteries, veins, and organs beneath the skin's surface, and cobras.
The designers gave the creature a smooth, muscular, and powerful appearance. Early designs of the "Trilobite", the tentacled offspring cut from Shaw, resembled an octopus or squid.
Page redeveloped this creature as an embryo in an early state of development, with tentacles that began fused together and would gradually split, creating new tentacles, as the creature developed.
The mutated Fifield effects were achieved mainly through the use of make-up and prosthetics. Due to concerns that the practical effects would be unsatisfactory, the filmmakers completed an alternative version of the sequence, in which Fifield was rendered as "a digital character with elongated limbs and an engorged, translucent head, incorporating a semblance of Harris's face".
For its grown form, the "Adult Trilobite", Max found inspiration from an arthropod -like creature from Earth's Cambrian period, and the alien octopus in Jean Giraud 's illustrations for the comic strip The Long Tomorrow.
Further inspiration came after Max found a formaldehyde-preserved giant squid, an image which met with Scott's approval.
The film's last-unveiled creature, the " Deacon ", was named by Scott for its long, pointed head that he considered resembled a bishop's mitre.
Scanlan aimed to represent the creature's genetic lineage, beginning with Shaw and Holloway who produce the Trilobite which impregnates the Engineer, in its design.
However, the creature was given a somewhat feminine appearance, since "it was born of a female before being born of a male. Sound effects were generated with a variety of sources including Pop Rocks —a brand of popping candy—and a parrot.
The glistening ice forming on the stone cylinders discovered in the film was created by applying the popping candy to materials such as wet metal and stone that was then sprayed with water to produce the "popping, cracking" sound.
Sound designer Ann Scibelli's parrot was recorded over several weeks to document her variety of vocalizations which were then used as beeps, alarms and the cries of Shaw's alien offspring.
Prometheus contains approximately 1, digital effect shots. The scene was difficult to produce because it had to convey the story of the Engineer's DNA breaking apart, reforming and recombining into Earth DNA in a limited span of time.
The team focused on making the DNA stages distinct to convey its changing nature. Scott requested the studio to focus on the destruction occurring within the Engineer.
A light color scheme was used for the Engineer's DNA and decayed fish spines were used as an image reference, while the infected DNA had a melted appearance.
To find methods of depicting the DNA destruction, the team carved vein-like structures from silicone and pumped black ink and oils into them while filming the changes occurring over an extended period of time.
A key scene involving a large 3D hologram star map, dubbed the Orrery , was inspired by the Joseph Wright painting A Philosopher Lecturing on the Orrery , in which a scientist displays a mechanical planetarium by candlelight.
While discussing the necessity of a star map with Spaihts, Scott mentioned that he envisaged a physical representation being similar to the painting, although he was unaware of its title and described it as "circles in circles with a candle lit image".
Using Scott's description, Spaihts located an image of the painting. Spaihts said, "making the leap from a star map, to an Enlightenment painting, and then back into the far future.
Prometheus ' marketing campaign began on July 21, at the San Diego Comic-Con International , where images and footage from the film were presented by Lindelof and Theron; Scott and Rapace participated via satellite contribution.
On April 29, , the international launch trailer debuted in the United Kingdom on Channel 4 during the first advertisement break of the TV show Homeland.
Viewers were encouraged to share their opinions about the trailer on Twitter, some of which were then shared in a live broadcast during a later break.
This was the first time that viewers' tweets were used in a broadcast advertisement. The broadcast potentially broke a ruling that advertising and teleshopping must be clearly distinguishable from editorial content.
Amazon directed interested users to purchase tickets through Fandango , and placed promotional material in products shipped to customers; this was the first time that Amazon had allowed such marketing by an external company.
The event was facilitated by BumeBox, which took audience questions from social sites and gave them to reporters to ask at the event.
A viral marketing campaign began on February 28, , with the release of a video featuring a speech by Pearce, in character as Peter Weyland, about his vision for the future.
The segment was conceived and designed by Scott and Lindelof, and directed by Scott's son, Luke.
The production was made in collaboration with, and made available through TED because Lindelof wanted to introduce new audiences to the conference itself.
Lindelof said that the scene takes place in a futuristic stadium because "a guy like Peter Weyland—whose ego is just massive, and the ideas that he's advancing are nothing short of hubris—that he'd basically say to TED, 'If you want me to give a talk, I'm giving it in Wembley Stadium.
TED community director Tom Rielly helped the film's producers gain approval for the use of the TED brand, which had not previously been used for promotional purposes.
Rielly was involved in designing the conference, and said that the association generated millions of unique visits to the TED website.
During the WonderCon, attendees at the film's panel were given Weyland Corporation business cards that directed them to a website and telephone number.
After calling the number, the caller was sent a text message from Weyland Corporation that linked them to a video that was presented as an advertisement for the "David 8" android, narrated by Fassbender.
The site referenced the philosophical novel Thus Spoke Zarathustra by Friedrich Nietzsche , and featured a video of Weyland, who quotes from the book.
At the May Digital Hollywood conference, Lindelof said that the videos originated from the question of the film's status as an Alien prequel.
It was decided that creating videos with the film's stars would generate more interest than any commentary about its connection to the Alien films.
He also said that the videos needed to be cool enough to justify their existence, but not so important that their absence from the final film would be an issue for audiences.
In North America, audience tracking showed high interest among males, but low among females. The online tracking for Prometheus surged with each additional promotional footage.
Prometheus was considered a financial success overall. After a strong start in North America, the film failed to meet the studio's expectations, but it continued to perform strongly in other territories until the end of its theatrical run.
Prometheus was released in 15 markets between May 30 and June 1, —about a week before its North American release.
The earlier start in these countries was timed to avoid competition with the start of the UEFA European Football Championship the following week.
The figure made it the number 43 highest-grossing film to never finish a week as the number 1 film. However the plot drew a mixed response from critics, who criticized plot elements that remained unresolved or were predictable, tempered by appreciation for the action and horror set-pieces.
The Hollywood Reporter ' s Todd McCarthy called the film's visuals vivid, stunning, and magnificent on a technical level, and praised the performances of Fassbender, Rapace, and Theron, but wrote that the film "caters too much to imagined audience expectations when a little more adventurous thought might have taken it to some excitingly unsuspected destinations.
After an enjoyable setup, the central act is baggy, confusing and, in places, slightly boring, while the climax has flash and fireworks but no real momentum.
Ebert thought that the plot raises questions and does not answer them, which made the film intriguing and parallel to the "classic tradition of golden age sci-fi".
Total Film ' s Jonathan Crocker wrote that the plot successfully integrated itself with Alien ' s mythology while offering its own original ideas.
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The secrecy, bloodshed and lack of a normal life are too much for the young woman Director: Harald Franklin. Writers: Harald Franklin , Phillip Kahl.
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Edit Cast Credited cast: Sophie Toropchina Lea Alan Burgon Paul Peter Zackman Floyd Ivan Doan Joshua Sarah Lamesch