Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:13,472 --> 00:00:17,183
SCOTT: The problem with science fiction
is we all feed off each other.
2
00:00:17,351 --> 00:00:19,268
That's why they all start
to look the same.
3
00:00:20,354 --> 00:00:23,731
How do l do this different?
You know, how do l get your attention...
4
00:00:23,899 --> 00:00:26,943
...and have you have bad dreams
and bad chills?
5
00:00:27,152 --> 00:00:28,194
[GROWLS]
6
00:00:29,071 --> 00:00:30,238
[GASPlNG]
7
00:00:30,406 --> 00:00:32,490
SCOTT: That's what stopped me
doing science fiction...
8
00:00:32,658 --> 00:00:36,452
...because l thought how's it gonna
be different? How's it gonna be new?
9
00:00:36,620 --> 00:00:39,706
MAN: lt's really terrifying when you start
to delve deeper...
10
00:00:39,873 --> 00:00:43,793
...what can happen to the human body when
things go wrong, genetically speaking.
11
00:00:43,961 --> 00:00:47,046
What if the entire movie
is about humanity...
12
00:00:47,214 --> 00:00:51,551
...us in the future challenging
the scientific idea of creation?
13
00:00:51,719 --> 00:00:53,094
Where did we come from?
14
00:00:53,262 --> 00:00:55,471
FASSBENDER: What we thought we knew
in the first Alien...
15
00:00:55,639 --> 00:00:58,057
...is just a tiny tributary
of what's actually going on.
16
00:00:59,727 --> 00:01:02,645
SCOTT: We've tackled a lot of new ground,
which opened up the door...
17
00:01:02,813 --> 00:01:04,897
...to a different form of thinking.
18
00:01:05,607 --> 00:01:07,400
Get bolder, get braver.
19
00:01:07,818 --> 00:01:11,571
Dare to talk about who made us
and who made them.
20
00:01:11,905 --> 00:01:14,407
FASSBENDER: I think you've got
to give the fans something new...
21
00:01:14,575 --> 00:01:17,952
...and you've got to maybe sort of
upset them a little bit or take that risk.
22
00:01:49,109 --> 00:01:55,198
SCOTT: l said, "I have an idea for
a follow-through on the original four Aliens."
23
00:01:55,365 --> 00:01:58,826
Because it really got-- Wrung it dry.
24
00:01:58,994 --> 00:02:02,538
Four films on Alien as a franchise
is pretty good.
25
00:02:02,706 --> 00:02:03,831
[HISSlNG]
26
00:02:07,044 --> 00:02:08,544
[SCREECHING]
27
00:02:09,379 --> 00:02:11,881
Inevitably, it's a prequel.
28
00:02:12,049 --> 00:02:16,219
SPAIHTS: The idea of returning to Alien, and of
particularly bringing Ridley back to Alien...
29
00:02:16,386 --> 00:02:18,387
...had been floating around for years.
30
00:02:18,555 --> 00:02:20,389
And a lot of people had taken a run at it.
31
00:02:20,557 --> 00:02:23,059
Uh, the day that l got into it...
32
00:02:23,227 --> 00:02:27,396
...I was not even ostensibly going
to a meeting about the project.
33
00:02:27,564 --> 00:02:31,818
I just went into Scott Free
to talk generally about writing projects.
34
00:02:31,985 --> 00:02:36,239
And they kind of popped it to me
across a desk, uh, without warning.
35
00:02:36,406 --> 00:02:38,324
"We've thought about going back
to Alien."
36
00:02:38,784 --> 00:02:41,118
And I said, "Alien? Back--? Well...."
37
00:02:41,286 --> 00:02:43,287
And I sort of walked through
the films in my head...
38
00:02:43,455 --> 00:02:46,332
...and by the time you get done
with the four orthodox Alien movies...
39
00:02:46,500 --> 00:02:48,751
...plus Alien vs. Predator,
the mythology is so dense...
40
00:02:48,919 --> 00:02:51,754
...I wouldn't have the foggiest idea
of how to write the next one...
41
00:02:51,922 --> 00:02:54,006
...where on earth you'd go from there.
And they said:
42
00:02:54,174 --> 00:02:56,551
"Oh, we feel the same way.
We'd go back."
43
00:02:57,094 --> 00:02:59,929
SCOTT: There's one question no one asked
in all four movies...
44
00:03:00,097 --> 00:03:01,806
...much to my amazement.
45
00:03:01,974 --> 00:03:03,599
I'm surprised no one said:
46
00:03:03,767 --> 00:03:08,938
"Who's the big guy in the seat
that became known as the space jockey?"
47
00:03:09,690 --> 00:03:12,608
I don't know who gave it that name,
but somebody called it a space jockey.
48
00:03:12,776 --> 00:03:13,776
It's not in the film.
49
00:03:13,944 --> 00:03:18,281
This guy sitting in his chair
in the middle of this craft...
50
00:03:18,448 --> 00:03:22,910
...clearly a craft, was a big question.
Who was that?
51
00:03:23,078 --> 00:03:24,495
I'd never thought about it before...
52
00:03:24,663 --> 00:03:27,081
...but l discovered instantly
that I had all these opinions...
53
00:03:27,249 --> 00:03:29,792
...and I started mouthing off in the room.
I got very opinionated.
54
00:03:29,960 --> 00:03:34,463
"Well, you'd have to go back to
the ship wreck from which it all sprang.
55
00:03:34,631 --> 00:03:37,174
And you'd have to look at that dead giant,
the space jockey...
56
00:03:37,342 --> 00:03:42,805
...the dead giant in the chair
with an elephantine proboscis, rib cage."
57
00:03:42,973 --> 00:03:45,641
What do you do if you're gonna go
make a movie about that guy...
58
00:03:45,809 --> 00:03:48,269
...and his comrades
on some big starship?
59
00:03:48,437 --> 00:03:50,730
They look ridiculous.
They'll be unintentionally funny.
60
00:03:50,898 --> 00:03:52,940
We won't relate to them,
because they're not people.
61
00:03:53,108 --> 00:03:55,192
They're gonna speak some language
we don't understand.
62
00:03:55,360 --> 00:03:56,485
How do you do it?
63
00:03:56,653 --> 00:04:01,699
And it seemed very plain to me
that the only way...
64
00:04:01,867 --> 00:04:05,161
...you could go dive into the story
of the space jockeys...
65
00:04:05,329 --> 00:04:08,331
...is if their story was ultimately ours.
66
00:04:08,498 --> 00:04:10,416
If their story lead back to us.
67
00:04:10,584 --> 00:04:14,045
They needed to be intrinsically involved
in the human story...
68
00:04:14,212 --> 00:04:17,298
...in human history
and, l thought, in our evolution.
69
00:04:18,050 --> 00:04:20,551
LlNDELOF:
I first heard about the fact...
70
00:04:20,719 --> 00:04:23,596
...that Ridley was considering
coming back to sci-fi...
71
00:04:23,764 --> 00:04:26,599
...and that he was gonna do
maybe an Alien prequel.
72
00:04:26,767 --> 00:04:30,686
And I think l was hearing the same thing
that everybody else was, which is...
73
00:04:30,854 --> 00:04:34,023
...he was very interested
in this massive corpse...
74
00:04:34,191 --> 00:04:36,817
...that was sitting in a chair
in the beginning of Alien...
75
00:04:36,985 --> 00:04:40,279
...and sort of telling a story
from the point of view of:
76
00:04:40,447 --> 00:04:43,866
"Okay, well, what was that? And
how does that plug into the mythology?"
77
00:04:44,034 --> 00:04:46,661
And I think, you know, sort of every bone
in my fan-boy body...
78
00:04:46,828 --> 00:04:50,206
...was just sort of vibrating.
Oh, my God, I can't wait to see that.
79
00:04:51,375 --> 00:04:52,708
SCOTT:
Then that evolved.
80
00:04:52,876 --> 00:04:56,253
And from that evolution,
I pitched to Fox and Fox said:
81
00:04:56,421 --> 00:04:58,714
"Wow, that's a really interesting idea."
82
00:04:58,882 --> 00:05:03,678
And that's where we started to evolve
into previsitation.
83
00:05:03,845 --> 00:05:05,930
Have we been previsited before?
84
00:05:06,098 --> 00:05:10,184
And the more you climb into it,
the more you realize it's entirely logical.
85
00:05:10,852 --> 00:05:14,397
SPAIHTS: The notion that our gods
really came not from the heavens...
86
00:05:14,564 --> 00:05:16,273
...but from the stars, from other worlds.
87
00:05:16,441 --> 00:05:17,900
And, you know, there's no shortage...
88
00:05:18,068 --> 00:05:20,528
...obviously, of this kind
of theorizing and mythologizing...
89
00:05:20,696 --> 00:05:24,865
...from relatively serious scholarship
to wild conspiracy theories...
90
00:05:25,033 --> 00:05:27,910
...saying that the pyramids,
the lnca temples...
91
00:05:28,078 --> 00:05:30,746
...the Greek astronomers,
all of this ancient wisdom...
92
00:05:30,914 --> 00:05:34,000
...these old accomplishments were
assisted by powers from beyond the stars...
93
00:05:34,167 --> 00:05:37,044
...that we, ourselves,
were shaped by something else.
94
00:05:38,088 --> 00:05:42,091
SCOTT: lt's entirely illogical to believe
that we haven't been visited before.
95
00:05:42,259 --> 00:05:45,428
Because there's two points of arrogance
attached to that idea.
96
00:05:45,595 --> 00:05:48,347
One is to believe that we're it
in this entire galaxy.
97
00:05:48,515 --> 00:05:49,974
There has to be more.
98
00:05:50,142 --> 00:05:53,686
Not humanoids, necessarily,
but more other life forms.
99
00:05:53,854 --> 00:05:57,273
And it's arrogant for us to believe
that we are superlative...
100
00:05:57,441 --> 00:05:59,942
...as opposed to we may be minor.
101
00:06:00,110 --> 00:06:02,028
Next day,
the head of Ridley's company called...
102
00:06:02,195 --> 00:06:05,281
...asked me to write that down for him
because he wanted to show it to Ridley.
103
00:06:05,449 --> 00:06:08,576
You're not supposed to write anything
down as a screenwriter without a contract.
104
00:06:08,744 --> 00:06:10,870
I immediately wrote it down
and they sent it to Ridley.
105
00:06:11,038 --> 00:06:14,290
They told me it would only go to Ridley,
and it immediately shot into the studio...
106
00:06:14,458 --> 00:06:16,250
...and up the ladder
to the top of the studio.
107
00:06:16,418 --> 00:06:19,879
And within 1 0 days, it was sitting
in front of the co-chairs of Fox...
108
00:06:20,047 --> 00:06:21,714
...and we were locking it down.
109
00:06:21,882 --> 00:06:27,053
And after that, I worked as fast and
as hard as I've ever worked on anything.
110
00:06:27,220 --> 00:06:29,847
Ridley and l and Michael Costigan
and Michael Ellenberg...
111
00:06:30,015 --> 00:06:31,640
...we just spent months in the room...
112
00:06:31,808 --> 00:06:34,101
...hashing out story,
going around draft after draft...
113
00:06:34,269 --> 00:06:36,228
...and finding our way to the story.
114
00:06:36,772 --> 00:06:39,982
ELLENBERG: Who would fly a spaceship
filled with these horrible creatures on it?
115
00:06:40,150 --> 00:06:43,652
What would possess anyone to do that,
human or alien?
116
00:06:43,820 --> 00:06:46,322
And that's the real question
he was always sort of curious about.
117
00:06:46,490 --> 00:06:47,990
What would motivate someone
to do that?
118
00:06:48,158 --> 00:06:50,785
And so the whole premise
from the beginning...
119
00:06:50,952 --> 00:06:53,329
...and what then became,
and now is Prometheus...
120
00:06:53,497 --> 00:06:55,664
...that idea still is what the movie is.
121
00:06:55,832 --> 00:06:59,627
And there's something very pure and special
about the development of this...
122
00:06:59,795 --> 00:07:02,838
...because it became about,
who would make monsters?
123
00:07:03,006 --> 00:07:07,009
SPAIHTS: We began with Giger's monster.
We began with the beast.
124
00:07:07,177 --> 00:07:11,514
That's the core of the franchise,
it's the core monster.
125
00:07:11,848 --> 00:07:15,309
As a new frontier to explore,
we looked at these giants...
126
00:07:15,477 --> 00:07:17,311
...these Engineers, as I called them.
127
00:07:17,479 --> 00:07:19,772
The aliens who had shaped us,
the old gods.
128
00:07:19,940 --> 00:07:22,441
SCOTT: l came up with saying,
"What happens if these guys exist?
129
00:07:22,609 --> 00:07:24,610
And if they do exist, who were they?"
130
00:07:24,778 --> 00:07:29,031
And I always figured that pilot
was flying a battleship.
131
00:07:29,199 --> 00:07:33,035
And the battleship was a carrier
of deadly objects.
132
00:07:33,203 --> 00:07:36,664
The deadly objects were the eggs,
and the eggs were the DNA...
133
00:07:36,832 --> 00:07:41,293
...that would be carried out to destroy,
would be used to destroy.
134
00:07:41,461 --> 00:07:42,878
What would they be destroying?
135
00:07:43,547 --> 00:07:46,799
SPAIHTS: The farther we pushed
into the development of the story...
136
00:07:46,967 --> 00:07:48,509
...the bigger the Engineers got...
137
00:07:48,677 --> 00:07:52,221
...and the more marginalized
the original Alien monster became...
138
00:07:52,389 --> 00:07:55,224
...until that monster became
a kind of feature or grace note...
139
00:07:55,392 --> 00:07:58,811
...in a larger story that was
about humanity meeting its makers.
140
00:07:59,521 --> 00:08:02,189
Humanity confronting the forces
that had created it...
141
00:08:02,357 --> 00:08:04,233
...and maybe not liking them that much.
142
00:08:04,901 --> 00:08:06,569
Spaihts did a lot of the footslog...
143
00:08:06,736 --> 00:08:09,697
...and a lot of the stuff around the table
with me going:
144
00:08:09,865 --> 00:08:12,700
"Yeah, but what about this
and what about that?"
145
00:08:12,868 --> 00:08:15,953
And this will be Holloway,
"Are you seeing this?"
146
00:08:16,121 --> 00:08:17,329
-Coming down the ramp.
-Yep.
147
00:08:17,497 --> 00:08:19,623
That's when you go
to the Magellan bridge.
148
00:08:19,791 --> 00:08:23,127
If there's six people,
they're gonna have six helmets.
149
00:08:23,295 --> 00:08:26,046
All got screens on them, all moving.
150
00:08:26,214 --> 00:08:30,676
A very good example of their race,
so he's kind of like perfection.
151
00:08:30,844 --> 00:08:32,052
MAN: Yeah.
-All right.
152
00:08:32,220 --> 00:08:35,181
Why would you wanna find out
about who these people are...
153
00:08:35,348 --> 00:08:36,891
...and who made this
and who made what?
154
00:08:37,058 --> 00:08:41,103
SCOTT: l tend to lob in kind of little
milestones in the story saying:
155
00:08:41,271 --> 00:08:42,688
"There's this and this and this.
156
00:08:42,856 --> 00:08:46,108
And when it rams it,
guess what, it doesn't destroy it.
157
00:08:46,276 --> 00:08:47,776
It comes down, bounces."
158
00:08:47,944 --> 00:08:50,487
SCOTT: lt bowls it,
so it goes down, hits the ground...
159
00:08:50,655 --> 00:08:53,949
...starts to roll like a Frisbee
across the landscape.
160
00:08:54,117 --> 00:08:55,367
SCOTT:
And then rolls after them.
161
00:08:55,535 --> 00:08:58,871
I come up with those ridiculously
large ideas...
162
00:08:59,039 --> 00:09:02,249
...because mainly I think
I can pull that off.
163
00:09:02,417 --> 00:09:04,793
Then it's how do you organically
roll those into it?
164
00:09:05,879 --> 00:09:08,672
SPAIHTS: He spitballs freely
and creatively all the time.
165
00:09:08,840 --> 00:09:11,300
And always visually.
He's always sketching and drawing.
166
00:09:11,468 --> 00:09:13,969
So that iterative process
had been underway for months.
167
00:09:14,137 --> 00:09:15,971
We would sit and talk
and he would draw things.
168
00:09:16,139 --> 00:09:18,641
And sometimes just stuff
he was making up off the cuff.
169
00:09:18,808 --> 00:09:22,478
And often things ruinous to the story
that I'd written for that week.
170
00:09:22,646 --> 00:09:25,064
I'd bring in pages
and he would kick my sand castle down.
171
00:09:25,232 --> 00:09:27,316
"What if this was happening?
What if there was a...?
172
00:09:27,484 --> 00:09:31,153
What do they call that thing where
they model a solar system, like an orrery?"
173
00:09:31,321 --> 00:09:34,490
He's like, "What if there was an orrery?"
I'm like, "What would that look like?"
174
00:09:34,658 --> 00:09:37,201
He'd start sketching
and then I have to figure out what that is...
175
00:09:37,369 --> 00:09:39,411
...what its meaning will be,
what role it will play.
176
00:09:39,579 --> 00:09:42,039
And so l throw my pages away
and go and write new pages.
177
00:09:42,791 --> 00:09:45,417
This is an early draft of the script...
178
00:09:45,585 --> 00:09:47,920
...which l wrote and rewrote
and handed in again and again.
179
00:09:48,088 --> 00:09:52,049
And this one is one that's been marked up
by Ridley himself.
180
00:09:52,217 --> 00:09:55,344
And in the early going,
you can see the fine detail...
181
00:09:55,512 --> 00:09:57,221
...on which he offered feedback...
182
00:09:57,389 --> 00:10:01,684
...and had strong opinions
about individual images, individual words...
183
00:10:01,851 --> 00:10:03,811
...shadows and light, everything.
184
00:10:03,979 --> 00:10:07,231
And I would go through
and sort of implement his notes.
185
00:10:07,399 --> 00:10:11,402
And the highlighting is me telling myself
I've done the work l need to do.
186
00:10:11,569 --> 00:10:13,529
So we got the side notes.
The complimentary ones:
187
00:10:13,697 --> 00:10:16,448
"Better, this is great. But watch out.
Don't get too much like this."
188
00:10:16,616 --> 00:10:21,203
Um, so you get notes as general as, "Come on,
do better than this, be more mysterious."
189
00:10:21,371 --> 00:10:25,374
And notes as specific as,
"l hate this word. Use another word."
190
00:10:26,501 --> 00:10:31,672
MAX: Conceptually, l think the first draft
that I read had a lot of potential.
191
00:10:31,840 --> 00:10:36,135
And was stimulating visually to an extent
that opened up the universe...
192
00:10:36,303 --> 00:10:40,889
...that I had always seen
as a claustrophobic interior movie...
193
00:10:41,057 --> 00:10:43,892
...suddenly became
much more involved...
194
00:10:44,060 --> 00:10:49,273
...with the exterior landscape
and exploration of it.
195
00:10:49,441 --> 00:10:50,941
And that was very interesting.
196
00:10:51,109 --> 00:10:54,403
And also suggesting
what the civilization...
197
00:10:54,571 --> 00:10:59,241
...that was behind the encounter
in the first movie might have been.
198
00:11:00,744 --> 00:11:05,331
SPAIHTS: Once the story got
about four drafts in, we started staffing up.
199
00:11:05,498 --> 00:11:09,543
And Arthur Max came aboard
as our production designer and really--
200
00:11:09,711 --> 00:11:10,836
And artists under him.
201
00:11:11,004 --> 00:11:14,506
--and really began to push
the design of the film.
202
00:11:16,593 --> 00:11:20,304
MAX: lt's very difficult to build a world
of science fiction...
203
00:11:20,472 --> 00:11:25,434
...when you have only a static object
and a room to begin with.
204
00:11:27,103 --> 00:11:30,439
SPAIHTS: I would literally come in
and write some new pages...
205
00:11:30,607 --> 00:11:32,441
...come in and talk to people about them.
206
00:11:32,609 --> 00:11:34,777
Ridley would go home
and I'd go down to the art room...
207
00:11:34,944 --> 00:11:37,404
...and hang out
with Arthur and his artists.
208
00:11:37,572 --> 00:11:40,616
And we'd sip a glass of wine
and talk about the monsters...
209
00:11:40,784 --> 00:11:44,119
...and what they ought to be like
and how we think the scene really looks.
210
00:11:44,287 --> 00:11:47,122
And I would go home and come back in
at 9:30 the next morning...
211
00:11:47,290 --> 00:11:50,084
...and there would be paintings
this wide on the wall...
212
00:11:50,251 --> 00:11:52,002
...of the scene I wrote the day before.
213
00:11:52,170 --> 00:11:54,505
ELLENBERG: That group then started
in a very intimate way...
214
00:11:54,672 --> 00:11:57,549
...that was really, l think,
enriching for Ridley.
215
00:11:57,717 --> 00:12:00,469
He took the process that he applies
in all of his movies...
216
00:12:00,637 --> 00:12:02,346
...in these kind of big design movies...
217
00:12:02,514 --> 00:12:05,641
...he was able to take that process
and apply it to a world of science fiction.
218
00:12:05,809 --> 00:12:09,353
The concept work on this movie
was sort of its own script work.
219
00:12:09,521 --> 00:12:12,731
You know, and that was script work taking
place alongside the actual script work.
220
00:12:12,899 --> 00:12:17,277
Often l'd walk into that room of artists
and I would see Ridley's footprints.
221
00:12:17,445 --> 00:12:19,154
There would be Post-it notes
and guys saying:
222
00:12:19,322 --> 00:12:21,865
"That's gotta come down.
Ridley wants this head shaped like that.
223
00:12:22,033 --> 00:12:24,993
And this needs to be whiter,
and that needs to be desexualized...
224
00:12:25,161 --> 00:12:27,496
...and this needs to be darker
and more haunted looking."
225
00:12:27,664 --> 00:12:30,666
And artists would be tearing stuff up
because Ridley had been through...
226
00:12:30,834 --> 00:12:34,169
...and reinventing it with his vision
stamped on it.
227
00:12:34,337 --> 00:12:36,880
And then I would see that vision
and see where Ridley was going...
228
00:12:37,048 --> 00:12:39,466
...and carry that home
when l wrote my new pages.
229
00:12:39,634 --> 00:12:43,137
And at a flick they can go away and
there'd just be a plastic window...
230
00:12:43,304 --> 00:12:46,390
-...which will come back up if you want it.
-Mm-hm. Mm-hm. Yup.
231
00:12:46,558 --> 00:12:48,267
Screens would probably be
just that simple.
232
00:12:48,435 --> 00:12:50,978
-Yeah.
SPAIHTS: In the first drafts of the film...
233
00:12:51,146 --> 00:12:55,315
...where the monsters and the monstrous
complications that our heroes ran into...
234
00:12:55,483 --> 00:12:58,569
...were much more on the model
of the classic Alien monster.
235
00:12:58,736 --> 00:13:02,489
Eggs, facehuggers,
impregnation, chest-bursting.
236
00:13:02,657 --> 00:13:05,701
The entire complex of the Engineers
that you'll see in the film...
237
00:13:05,869 --> 00:13:09,872
...the pyramidal temple, the underground
catacombs, the huge caverns...
238
00:13:10,039 --> 00:13:11,165
...those weren't there yet.
239
00:13:11,332 --> 00:13:14,501
In the very first conceptualization
of the film...
240
00:13:14,669 --> 00:13:17,337
...the exploratory ship made a search,
found a beacon...
241
00:13:17,505 --> 00:13:21,550
...and set down beside what would
ultimately prove to be the shipwreck...
242
00:13:21,718 --> 00:13:25,012
...the derelict from the first Alien film,
the crescent-shaped ship.
243
00:13:25,472 --> 00:13:28,265
In exploring that ship,
our explorers got into trouble...
244
00:13:28,433 --> 00:13:31,435
...and as they began to meet and find
the remains of the Engineers...
245
00:13:31,603 --> 00:13:33,896
...and ultimately a living Engineer
whom they revive...
246
00:13:34,063 --> 00:13:36,648
...they were tangling with menaces
along the way...
247
00:13:36,816 --> 00:13:41,570
...which were recognizable ancestors
of the beast, the demon from Alien.
248
00:13:41,738 --> 00:13:44,406
What l'm trying to do is reinvent
the facehugger.
249
00:13:44,574 --> 00:13:45,616
-Right.
-Okay?
250
00:13:45,783 --> 00:13:49,203
In the early phases, the project
was actually called Alien: Prequel.
251
00:13:49,370 --> 00:13:53,081
It was an early development.
We didn't know, um, what it was gonna be.
252
00:13:53,249 --> 00:13:56,585
We had parts of the script
that we had read, you know, early on.
253
00:13:56,753 --> 00:14:00,756
And there were chest-bursters.
There were facehugger-type creatures.
254
00:14:00,924 --> 00:14:05,052
There were things that were more directly--
You could correlate to Alien.
255
00:14:05,220 --> 00:14:07,095
I had done paintings of a creature...
256
00:14:07,263 --> 00:14:10,307
...that was gonna come out
of one of the characters' chest.
257
00:14:10,475 --> 00:14:13,101
You were gonna see these tentacles
poking out.
258
00:14:13,269 --> 00:14:15,771
And then it would pull itself--
It would open up the rib cage...
259
00:14:15,939 --> 00:14:18,690
...and actually release itself
through the person.
260
00:14:18,858 --> 00:14:20,859
But, you know, Ridley felt
it was too on-the-nose...
261
00:14:21,027 --> 00:14:22,861
...and he kind of wanted to depart
from that.
262
00:14:23,029 --> 00:14:26,156
He wanted to do things
that were more subtle, but scarier...
263
00:14:26,324 --> 00:14:28,742
...and not as on-the-nose
as the original Alien.
264
00:14:28,910 --> 00:14:32,037
SCOTT: Those are the things
that are decided around a table.
265
00:14:32,580 --> 00:14:36,291
And then off that, all the rich stew...
266
00:14:36,459 --> 00:14:38,210
...Lindelof comes in and goes:
267
00:14:38,378 --> 00:14:42,965
"Ah, I really like the script,
but we could do this, this and this."
268
00:14:43,132 --> 00:14:47,844
And so Lindelof, foom, carves through it
and suddenly I've got a three-act piece.
269
00:14:48,012 --> 00:14:52,599
Three-act selling tool
that I can make into a three-act film.
270
00:14:52,767 --> 00:14:55,769
LlNDELOF: What if the sequel to this movie
was not Alien?
271
00:14:55,937 --> 00:14:58,814
But it was an entirely different movie
that started running parallel...
272
00:14:58,982 --> 00:15:01,149
..to Alien, Aliens or whatever?
273
00:15:01,317 --> 00:15:06,196
So that while this would certainly
take place in the Alien universe...
274
00:15:06,364 --> 00:15:08,907
...and there would be all the bells
and whistles...
275
00:15:09,075 --> 00:15:12,369
...of what we've come to expect
from what Ridley originally did...
276
00:15:12,537 --> 00:15:14,871
...um, in terms of the tone of it,
the way that it looked...
277
00:15:15,039 --> 00:15:17,666
...but also in terms of
how hypersleep works.
278
00:15:17,834 --> 00:15:21,086
So maybe it's not a prequel at all, maybe
it's an original science-fiction movie...
279
00:15:21,254 --> 00:15:24,381
...that sort of trades in the same stock,
but really focuses on the story.
280
00:15:24,549 --> 00:15:28,719
That being said, all the things that
I loved about Jon's work...
281
00:15:28,886 --> 00:15:33,515
...was that he seemed very interested
in this idea of the Engineers.
282
00:15:33,683 --> 00:15:35,684
I think frankly
that he was brought aboard...
283
00:15:35,852 --> 00:15:40,272
...because, uh, at the time
that I was working on that script...
284
00:15:40,440 --> 00:15:41,857
...I had never had a movie produced.
285
00:15:42,025 --> 00:15:45,152
And in the view
of a studio head, untested.
286
00:15:45,320 --> 00:15:47,154
It happened when we were
in the homestretch.
287
00:15:47,322 --> 00:15:50,991
Like, we think we're ready to go, um,
and the studio had two thoughts.
288
00:15:51,159 --> 00:15:55,495
They were like, "Let's dial back the Alien
monsters and lean more on the Engineers."
289
00:15:55,663 --> 00:15:57,914
And, "Let's get a known writer on this
and bring it home."
290
00:15:58,082 --> 00:16:02,044
Uh, which, of course, l didn't love, but which
as an unproduced writer at that time...
291
00:16:02,211 --> 00:16:04,296
...I had been told to expect
from the very beginning.
292
00:16:04,464 --> 00:16:05,756
So I wasn't that surprised.
293
00:16:05,923 --> 00:16:07,549
And they talked to a number of writers...
294
00:16:07,717 --> 00:16:09,760
...and Damon was the guy who got it,
in their view...
295
00:16:09,927 --> 00:16:13,138
...and really seemed to love the story
for what it was, to understand its soul...
296
00:16:13,306 --> 00:16:17,559
...and to be happy to carry forward
in the spirit of what had been done so far.
297
00:16:17,727 --> 00:16:21,855
Maybe it's a day later,
because they're trudging to the next silo.
298
00:16:22,023 --> 00:16:26,902
Uh, you have the birth of the silvertish
that comes out of the body...
299
00:16:27,070 --> 00:16:30,072
...of the Engineer and comes for her.
300
00:16:30,239 --> 00:16:32,324
I think that's the end on the end.
301
00:16:32,492 --> 00:16:34,493
The idea of taking Alien...
302
00:16:34,661 --> 00:16:38,622
...which is just essentially this very cool,
"ln space, no one can hear you scream"...
303
00:16:38,790 --> 00:16:43,669
...it's terrifying, but on a thematic level,
it's kind ofjust is what it is.
304
00:16:43,836 --> 00:16:45,337
To take that and suddenly say:
305
00:16:45,505 --> 00:16:49,091
"Now let's start to play
with all these incredibly heady ideas...
306
00:16:49,258 --> 00:16:52,386
...just about philosophically speaking
about God and the universe."
307
00:16:52,553 --> 00:16:55,597
And then, you know, you say,
"Here's a bunch of humans...
308
00:16:55,765 --> 00:16:59,601
...that are seeking out a race of beings who
may or may not have created life on Earth.
309
00:16:59,769 --> 00:17:03,772
And they're bringing with them
this synthetic human that they've created."
310
00:17:03,940 --> 00:17:05,941
You now have a couple
of different generations.
311
00:17:06,109 --> 00:17:08,902
And so you have this character, David,
on the ship with them...
312
00:17:09,070 --> 00:17:11,113
...who basically has a perspective of:
313
00:17:11,280 --> 00:17:13,448
"Hey, l hang out with my creators
all the time.
314
00:17:13,616 --> 00:17:16,618
And you might be disappointed,
I have to be honest with you."
315
00:17:16,786 --> 00:17:18,328
Suddenly bringing that into the mix...
316
00:17:18,496 --> 00:17:20,956
...which was very much there already
in Jon's draft...
317
00:17:21,124 --> 00:17:24,126
...I felt like, "Okay,
let's make this thing about creation."
318
00:17:24,293 --> 00:17:27,045
And that opened a tremendous
amount of doors.
319
00:17:27,213 --> 00:17:31,007
And certainly that was the movie that
I think Ridley wanted to make all along.
320
00:17:31,634 --> 00:17:33,093
SCOTT:
They are religious.
321
00:17:33,261 --> 00:17:36,096
Because the whole story
is about who made them.
322
00:17:36,264 --> 00:17:37,806
-Yeah. Right.
-God made them.
323
00:17:37,974 --> 00:17:41,435
MAX: What they discovered
was never explained in the first movie.
324
00:17:41,602 --> 00:17:44,479
So it was really a kind of blank canvas
for us.
325
00:17:45,314 --> 00:17:47,023
LlNDELOF:
I do not write well alone.
326
00:17:47,191 --> 00:17:51,027
And in this case,
it's why l really love television so much...
327
00:17:51,195 --> 00:17:53,572
...because it's such
a collaborative writing process.
328
00:17:53,740 --> 00:17:57,451
Since this was the first movie
that I was really working on "alone"...
329
00:17:57,618 --> 00:18:01,163
...um, uh, Ridley became the guy
that I co-wrote the movie with.
330
00:18:03,332 --> 00:18:06,585
SPAIHTS: You really are creating
not just some characters and a tale...
331
00:18:06,753 --> 00:18:09,671
...but a whole world,
the universe in which they live.
332
00:18:09,839 --> 00:18:14,676
And you're crafting spaceships
and planetoids...
333
00:18:14,844 --> 00:18:18,180
...technology and events
that can't happen in this world.
334
00:18:18,347 --> 00:18:20,849
You're really inventing from the whole cloth
an alien species.
335
00:18:21,017 --> 00:18:23,685
Their language, their cataclysmic fate.
336
00:18:23,853 --> 00:18:27,564
Um, that's a great big canvas to paint on.
337
00:18:28,149 --> 00:18:33,695
LlNDELOF: We had intense story sessions over
the course of probably four or five weeks.
338
00:18:33,863 --> 00:18:37,032
At least three hours or four hours
at a time, three days a week...
339
00:18:37,200 --> 00:18:39,493
...before I went off
and generated my draft...
340
00:18:39,660 --> 00:18:43,747
...which l wrote very quickly because
by then l had such a clear understanding...
341
00:18:43,915 --> 00:18:45,373
...going scene by scene.
342
00:18:45,541 --> 00:18:47,959
And of course,
I can't really think off the top of my head...
343
00:18:48,127 --> 00:18:51,379
...of a more brilliant visual director
working in the medium right now...
344
00:18:51,547 --> 00:18:53,757
...especially for this kind of a movie.
345
00:18:53,925 --> 00:18:56,009
And so l would just sit and listen...
346
00:18:56,177 --> 00:18:59,346
...to how Ridley described
how he saw the scenes visually.
347
00:18:59,514 --> 00:19:01,348
And then I just kind of
had to figure out...
348
00:19:01,516 --> 00:19:03,350
...what characters were saying
to each other...
349
00:19:03,518 --> 00:19:05,560
...or how to get into those moments.
350
00:19:05,978 --> 00:19:10,732
SPAIHTS: To be engaged in that act of
world creation is a huge turn-on for any writer.
351
00:19:10,900 --> 00:19:14,861
And then on top of that,
to be engaged in that in collaboration...
352
00:19:15,029 --> 00:19:19,741
...with a filmmaker of the magnitude
and skill of Ridley Scott...
353
00:19:19,909 --> 00:19:22,452
...and the team that he assembled,
it's just a gift.
354
00:19:25,331 --> 00:19:26,248
Hey, how you doing?
355
00:19:26,249 --> 00:19:27,249
[English - US - SDH]
Hey, how you doing?
356
00:19:32,672 --> 00:19:38,385
Science fiction is much harder
than doing the ancient world, for example.
357
00:19:38,553 --> 00:19:43,014
Whereas, with science fiction,
everything has to be invented.
358
00:19:43,558 --> 00:19:45,684
MESSING:
We tried to be truthful to the first film...
359
00:19:45,851 --> 00:19:48,520
...but also give moments
that were unique and new.
360
00:19:48,688 --> 00:19:50,564
Some of that was in the color
and the lighting...
361
00:19:50,731 --> 00:19:52,107
...and opening up the atmosphere...
362
00:19:52,275 --> 00:19:55,151
...and giving more scale and depth
to the environment.
363
00:19:55,570 --> 00:19:59,364
PROCTER: lt's not an aesthetic choice
for Ridley. It's a thematic choice.
364
00:19:59,532 --> 00:20:04,035
And our job was to kind of make
that thematic choice visually palatable...
365
00:20:04,203 --> 00:20:05,245
...and workable.
366
00:20:05,413 --> 00:20:10,208
His attitude toward creating is very similar
to the way we paint, actually.
367
00:20:10,501 --> 00:20:15,797
Which is a lot by creating accidents
and almost misdirection.
368
00:20:15,965 --> 00:20:21,428
You know, trying to find a way
of creating that's not the usual way.
369
00:20:22,138 --> 00:20:25,724
SCOTT: Monsters are difficult
because every goddamn hideous monster...
370
00:20:25,891 --> 00:20:27,183
...has been explored.
371
00:20:27,685 --> 00:20:30,353
Monsters. These are beautiful.
372
00:20:30,521 --> 00:20:35,358
Until somebody comes up with something
that's different. You go, "That's different."
373
00:20:50,374 --> 00:20:54,502
MAX: lt was like a think-tank room
that we were all set up in...
374
00:20:54,670 --> 00:20:57,964
...in a building adjacent
to Ridley's offices.
375
00:20:58,132 --> 00:21:00,175
So that he can come and participate.
376
00:21:00,343 --> 00:21:03,595
Everybody had their voice heard
in that room.
377
00:21:03,763 --> 00:21:05,555
I mean, you could cam-lever it from here.
378
00:21:05,723 --> 00:21:08,808
You could just give it a structural post
and it just cam levers the other way.
379
00:21:08,976 --> 00:21:10,894
Then the part that you need
to hit the ground....
380
00:21:11,062 --> 00:21:13,104
MAX:
The walls were lined with artwork.
381
00:21:13,272 --> 00:21:14,648
We started off with empty walls...
382
00:21:14,815 --> 00:21:19,110
...and slowly we ran out of space
several times.
383
00:21:19,278 --> 00:21:21,613
The discussions were
round-table discussions.
384
00:21:21,781 --> 00:21:23,823
Everybody had an opinion.
385
00:21:23,991 --> 00:21:26,910
I was thinking that, the four tentacles,
of having it just moving around...
386
00:21:27,078 --> 00:21:29,829
-Yeah. Yeah. Mm-hm, mm-hm.
-...would be really good acting.
387
00:21:29,997 --> 00:21:31,581
It would give you options, that's all.
388
00:21:31,749 --> 00:21:34,584
SCOTT: The design was one of the things
I really enjoyed doing.
389
00:21:34,919 --> 00:21:37,837
And so, between Arthur Max
and finding his team...
390
00:21:38,339 --> 00:21:42,509
...he got in these designers
who are kind of cyber-world designers.
391
00:21:42,677 --> 00:21:44,969
They design stuff
on these marvelous laptops.
392
00:21:45,137 --> 00:21:49,516
Arthur chose, literally handpicked,
I think, honestly...
393
00:21:49,684 --> 00:21:51,351
...five of the best in the business.
394
00:21:52,269 --> 00:21:55,772
Absolutely superlative capabilities.
395
00:21:55,940 --> 00:21:57,857
And because l can draw....
396
00:21:58,025 --> 00:21:59,901
And also there's many
reference photographs.
397
00:22:00,069 --> 00:22:03,238
Arthur and I always work on a lot
of reference photographs saying:
398
00:22:03,406 --> 00:22:07,200
"Like this, like that, but not like that.
Physically like this, but not like that."
399
00:22:07,368 --> 00:22:11,371
And so you're suddenly getting
absolute points of reference...
400
00:22:11,539 --> 00:22:13,581
...saying, "Do me a sketch of this.
401
00:22:13,749 --> 00:22:16,000
I know l didn't like that
because l've done that before."
402
00:22:16,168 --> 00:22:19,337
So how do you get off on something
which looks slightly different?
403
00:22:19,505 --> 00:22:20,630
It's really hard.
404
00:22:20,881 --> 00:22:23,550
-That's a great little sketch.
-Yeah.
405
00:22:23,718 --> 00:22:26,052
-Thank God for art school.
PAGE: Yeah.
406
00:22:26,220 --> 00:22:28,888
MESSING: We would have meetings
and then Jon Spaihts would come in...
407
00:22:29,056 --> 00:22:32,142
...and work with Arthur and us
and Ridley too.
408
00:22:32,309 --> 00:22:35,687
It was interesting.
I've never had a experience...
409
00:22:35,855 --> 00:22:38,356
...where a director would sit next to me
and literally draw.
410
00:22:38,524 --> 00:22:41,609
And I would draw and he would draw.
Then he'd say, "What do you think of this?"
411
00:22:41,777 --> 00:22:45,697
And then we'd flesh it out more and then
show it to him and he'd draw back over it.
412
00:22:45,865 --> 00:22:48,908
Very few people are true artists
in this industry...
413
00:22:49,076 --> 00:22:50,910
...and he is one of them.
414
00:22:51,078 --> 00:22:54,581
You know, he could design
the whole movie himself if he had the time.
415
00:22:57,835 --> 00:23:00,462
LEVY: We found that there was a lot
of pressure on us.
416
00:23:00,629 --> 00:23:03,965
And it wasn't given by anybody
aside from us.
417
00:23:04,133 --> 00:23:06,468
But we really wanted, visually...
418
00:23:06,635 --> 00:23:11,306
...to tie in those two universes
which are part of this one universe.
419
00:23:11,474 --> 00:23:14,392
And the difficulty was exactly that,
is that on the first one...
420
00:23:14,560 --> 00:23:17,395
...you're into like a trucker type
of environment that's very raw...
421
00:23:17,563 --> 00:23:19,939
...and very bulky and things like that.
422
00:23:20,107 --> 00:23:23,067
And we had to tie it in with a universe
that's much more sharp...
423
00:23:23,235 --> 00:23:24,694
...and very design-ly detailed.
424
00:23:24,862 --> 00:23:28,364
And it was very tricky for us to do so...
425
00:23:28,532 --> 00:23:31,034
...without feeling like
we were gonna disappoint fans.
426
00:23:31,202 --> 00:23:35,163
I mean, we are fans ofAlien
and we don't want to disappoint.
427
00:23:35,414 --> 00:23:40,168
It's got out of control with the build-up of
liquid and calcium over a thousand years.
428
00:23:40,336 --> 00:23:43,797
Although it was supposed to be
a highly secretive room...
429
00:23:43,964 --> 00:23:48,760
...with warning signs on the door
and "do not enter unless authorized"...
430
00:23:48,928 --> 00:23:52,639
...people came and went very freely,
and ideas changed...
431
00:23:52,807 --> 00:23:56,059
...as people came and went
and encountered the latest thinking.
432
00:23:56,227 --> 00:23:58,978
And there was an open forum
for discussion.
433
00:23:59,146 --> 00:24:02,440
That was, I think, very healthy and fertile.
434
00:24:02,608 --> 00:24:06,486
SCOTT: l would go in there on a regular basis
for a period of almost four months, actually...
435
00:24:06,654 --> 00:24:09,823
...designing the absoluteness
of the landscapes...
436
00:24:09,990 --> 00:24:13,493
...the interior of the ships, the rooms,
the suits...
437
00:24:13,661 --> 00:24:16,496
...the creatures that we might see.
438
00:24:16,664 --> 00:24:21,668
Everything was designed here
with four or five people.
439
00:24:21,836 --> 00:24:24,504
-Hello.
MAN: Hi.
440
00:24:24,672 --> 00:24:27,340
PROCTER: Ridley would come by with--
You knew Ridley was coming...
441
00:24:27,508 --> 00:24:31,261
...because a tray of red wine would show up
with enough glasses for everyone.
442
00:24:31,428 --> 00:24:33,304
"Oh, l guess Ridley's gonna come by."
Ha, ha.
443
00:24:33,472 --> 00:24:35,974
I love the conglomeration
of people in headsets.
444
00:24:36,141 --> 00:24:38,685
PROCTER: To be working
on such a grand franchise...
445
00:24:38,853 --> 00:24:41,813
...you wouldn't necessarily expect
the process to be so intimate...
446
00:24:41,981 --> 00:24:44,190
...and kind of friendly, but it was.
It was really nice.
447
00:24:44,358 --> 00:24:47,652
You get an A for attitude.
448
00:24:47,820 --> 00:24:49,195
[MEN CHUCKLE]
449
00:24:49,363 --> 00:24:52,574
And he just thought that was all great.
450
00:24:52,741 --> 00:24:55,618
These are storyboards...
451
00:24:55,786 --> 00:24:57,203
...drawn by Ridley.
452
00:24:57,371 --> 00:24:59,414
Some of them are just simple diagrams...
453
00:24:59,582 --> 00:25:05,461
...helping to think through set designs
and ideas...
454
00:25:05,629 --> 00:25:09,340
...for intercutting between characters...
455
00:25:09,508 --> 00:25:12,260
...and actions and locations
in the movie.
456
00:25:12,428 --> 00:25:14,596
And it's really a blueprint...
457
00:25:15,014 --> 00:25:17,223
...a very simple blueprint, at this stage...
458
00:25:17,391 --> 00:25:20,018
...to plan the movie.
459
00:25:20,185 --> 00:25:25,189
I got lucky, in a way, because I came across
a guy called H.R. Giger...
460
00:25:25,357 --> 00:25:27,066
...29, 30 years ago.
461
00:25:27,234 --> 00:25:31,195
And Giger had this one picture
which I always thought was:
462
00:25:31,363 --> 00:25:33,573
"That's it. That is it."
463
00:25:33,741 --> 00:25:36,117
He'd already done it. lt was in a book.
464
00:25:36,285 --> 00:25:39,454
SCANLAN: We know the ultimate, in a sense.
We've seen that point.
465
00:25:39,622 --> 00:25:42,832
To move back from that
was a sort of comforting way of saying...
466
00:25:43,000 --> 00:25:47,045
...we have to hold onto
the Giger-type elements.
467
00:25:47,212 --> 00:25:49,255
We have to hold onto the purity
of the original...
468
00:25:49,423 --> 00:25:52,091
...but at the same time,
try and bring in new elements...
469
00:25:52,259 --> 00:25:56,095
...things that are not necessarily backward
from where we were...
470
00:25:56,263 --> 00:25:59,766
...but are of a similar DNA.
471
00:26:01,101 --> 00:26:03,811
SCOTT: How are you doing?
-This is Laura.
472
00:26:04,772 --> 00:26:06,773
MAX:
We met with Giger personally.
473
00:26:06,941 --> 00:26:10,109
He came over and we did a presentation
of all our designs...
474
00:26:10,277 --> 00:26:11,945
...and hoped he would react positively...
475
00:26:12,112 --> 00:26:16,032
...you know, because we wanted him
to be impressed with what we had done.
476
00:26:16,200 --> 00:26:18,993
We discussed with him
some fresco panels...
477
00:26:19,161 --> 00:26:22,455
...based on some of the designs
he had done for the first movie...
478
00:26:22,623 --> 00:26:23,748
...that were never used.
479
00:26:23,916 --> 00:26:26,960
Ridley had turned me
onto some of the drawings.
480
00:26:27,127 --> 00:26:30,880
Said, you know, "Can we do something
with these shapes and designs?"
481
00:26:31,048 --> 00:26:35,259
Ridley felt it was very important
to involve Giger in the design of this film...
482
00:26:35,427 --> 00:26:38,638
...and he really wanted to involve him
in any way he could.
483
00:26:38,806 --> 00:26:41,808
The other question is,
when he's in the space suit...
484
00:26:41,976 --> 00:26:45,728
...without the helmet,
does his head start to change?
485
00:26:45,896 --> 00:26:48,523
MESSING: We were trying to keep things
in the vein of him...
486
00:26:48,691 --> 00:26:50,608
...even though there was
definite departures.
487
00:26:50,776 --> 00:26:53,319
But he appreciated that,
and he definitely--
488
00:26:53,487 --> 00:26:55,780
Even a few pieces, he even said,
you know, "That's mine."
489
00:26:55,948 --> 00:26:56,990
This is Genesis.
490
00:26:57,157 --> 00:27:00,201
This is his flight suit,
this is his pressure suit.
491
00:27:00,369 --> 00:27:04,163
-It's nice, huh? There's his pressure suit.
-Yeah, yeah.
492
00:27:04,331 --> 00:27:07,208
-But l took off this, which is yours...
-Yeah.
493
00:27:07,376 --> 00:27:11,337
...to say, how does he slide into that,
into the shell?
494
00:27:11,505 --> 00:27:13,256
-Uh-huh.
-That's his shell.
495
00:27:15,801 --> 00:27:17,343
This looks like a baby.
496
00:27:18,429 --> 00:27:19,762
A bad baby.
497
00:27:22,391 --> 00:27:24,642
[GRUNTS]
498
00:27:24,810 --> 00:27:27,228
Anyway, it's a thought.
499
00:27:27,396 --> 00:27:30,523
SCOTT: He saw what I was doing, l think
he thought l was so far down the road...
500
00:27:30,691 --> 00:27:34,902
...I think he was a bit amazed
at how things have changed now...
501
00:27:35,070 --> 00:27:36,863
...how fast things are moving.
502
00:27:37,031 --> 00:27:40,867
And honestly,
we just had to move quickly and move on.
503
00:27:41,035 --> 00:27:44,370
There's a couple drawings here and there
that he did which are kind of interesting...
504
00:27:44,538 --> 00:27:47,957
...but fundamentally l just didn't have time.
I had to move.
505
00:27:48,584 --> 00:27:53,212
But l hope he likes the film
because it's still based on his original id--
506
00:27:53,380 --> 00:27:57,717
Or origins of him are in this film,
which is the guy in the chair...
507
00:27:57,885 --> 00:28:02,472
...who is the space jockey,
that will always be H.R. Giger.
508
00:28:02,723 --> 00:28:07,977
The pilot chamber is like a sacred cow
of the Alien tradition...
509
00:28:08,145 --> 00:28:13,316
...and it was with great trepidation
that I approached the design for that.
510
00:28:13,776 --> 00:28:20,073
And all the concept artists
were high priests of science fiction...
511
00:28:20,240 --> 00:28:25,912
...and were extremely critical
of any outrageous...
512
00:28:26,080 --> 00:28:29,665
...to be applied to their icon...
513
00:28:29,833 --> 00:28:31,417
...their holy of holies...
514
00:28:32,086 --> 00:28:34,921
...the space jockey chair and chamber.
515
00:28:36,048 --> 00:28:39,217
PROCTER: Essentially what l tried to do was
something that was as close as possible...
516
00:28:39,384 --> 00:28:43,096
...to the original movie's version
of what Giger had done...
517
00:28:43,263 --> 00:28:44,722
...Giger's original illustrations...
518
00:28:44,890 --> 00:28:47,433
...that preceded that sculpt
of the original movie...
519
00:28:47,601 --> 00:28:50,853
...but that also incorporated,
you know, new functional requirements...
520
00:28:51,021 --> 00:28:52,855
...that were simply not seen in the movie.
521
00:28:53,023 --> 00:28:55,149
MESSING: A lot of research went
into recreating that chair.
522
00:28:55,317 --> 00:28:58,069
And, you know, you may have thought
we just had archival reference...
523
00:28:58,237 --> 00:29:00,404
...and we could just--
We had the blueprints. We didn't.
524
00:29:00,572 --> 00:29:04,033
We had to dig deep to find reference...
525
00:29:04,201 --> 00:29:07,245
...to reconstruct that chair
as accurately as we could.
526
00:29:07,412 --> 00:29:10,373
And then everything else from it
kind of grew out of that.
527
00:29:10,541 --> 00:29:13,960
And all the design changes
were very challenging...
528
00:29:14,128 --> 00:29:17,296
...but to keep it consistent with the original
was quite a task.
529
00:29:17,464 --> 00:29:21,259
PROCTER: The thing has to articulate
vertically and come out of the floor...
530
00:29:21,426 --> 00:29:23,344
...as this giant vertical thing
that tips down...
531
00:29:23,512 --> 00:29:26,097
...introduces a whole different set
of concerns...
532
00:29:26,265 --> 00:29:28,683
...for the layout of the various parts.
533
00:29:28,851 --> 00:29:32,603
Giger had put in some, you know,
gear-toothed kind of arcing elements...
534
00:29:32,771 --> 00:29:37,275
...and some feeling of articulation
to the three sets of rods...
535
00:29:37,442 --> 00:29:41,154
...that support the cannon on the end
that were definitely the starting-off point...
536
00:29:41,321 --> 00:29:44,282
...for allowing that kind of an action,
but still it had to be figured out.
537
00:29:44,449 --> 00:29:46,784
Okay, if it does that,
which parts kind of go with it?
538
00:29:46,952 --> 00:29:49,829
Which ones move? Which ones don't?
And how do the layers, you know, work?
539
00:29:49,997 --> 00:29:53,082
I was able to actually produce
a rigged model...
540
00:29:53,250 --> 00:29:55,209
...of how this thing would work.
541
00:29:55,377 --> 00:30:00,339
We shifted the emphasis
of the biological forms...
542
00:30:00,507 --> 00:30:03,634
...that Giger tended to play up.
543
00:30:03,802 --> 00:30:05,678
We played those down...
544
00:30:05,846 --> 00:30:08,848
...and we went more toward
the mechanical forms.
545
00:30:09,016 --> 00:30:11,726
Sometimes we would definitely clash
with the production designer...
546
00:30:11,894 --> 00:30:15,813
...where he would see, for example,
for the whole Engineer architecture...
547
00:30:15,981 --> 00:30:17,481
...in those basements, you know?
548
00:30:17,649 --> 00:30:21,444
He would see something that's very
monolithic and very, very simple...
549
00:30:21,612 --> 00:30:24,864
...and Ben, Steve and l, we'd go much more
towards a Gigerish approach, you know?
550
00:30:25,032 --> 00:30:27,366
Which is much more organic...
551
00:30:27,534 --> 00:30:30,703
...and much more,
I would say, shocking...
552
00:30:30,871 --> 00:30:34,707
...and almost, l mean, very weird,
you know?
553
00:30:34,875 --> 00:30:38,419
You see this in the design, in many ways,
where it is a mixture of that.
554
00:30:38,587 --> 00:30:42,882
Of very monolithic architectural,
giant monolithic, and Gigerish world.
555
00:30:43,050 --> 00:30:46,719
But in a way, l think it created
for a very interesting look.
556
00:30:46,887 --> 00:30:49,055
MESSING:
In the chamber room, there was these pods.
557
00:30:49,223 --> 00:30:51,098
We did a ton of versions, me and David...
558
00:30:51,266 --> 00:30:55,186
...and I ended up kind of taking it over
and was really fleshing out the details for it.
559
00:30:55,354 --> 00:30:58,731
And Ridley wasn't sure. He wanted
to orient it, you know, head to toe.
560
00:30:58,899 --> 00:31:01,275
Where were the Engineers sleeping?
How were they facing?
561
00:31:01,443 --> 00:31:02,735
Why were they in here?
562
00:31:02,903 --> 00:31:04,946
And we ended up, he said,
"You know what?
563
00:31:05,113 --> 00:31:10,243
We can just put this in front
of the telescoping, you know, pilot chair...
564
00:31:10,410 --> 00:31:13,746
...and it'd be a great story moment
where you see these sleeping pods...
565
00:31:13,914 --> 00:31:15,539
...but you don't know the purpose of it."
566
00:31:15,707 --> 00:31:17,792
In Ridley's mind,
it could be a different spaceship.
567
00:31:17,960 --> 00:31:20,586
Maybe it is, maybe it isn't.
Maybe he's just changing it.
568
00:31:20,754 --> 00:31:24,257
He doesn't need to explain
why he's doing it. lt's for the story.
569
00:31:25,008 --> 00:31:27,385
SCOTT:
It was a skeleton in a chair.
570
00:31:27,552 --> 00:31:30,388
And I said,
"Well, no, it wasn't. It was a suit."
571
00:31:30,555 --> 00:31:34,350
Said, "You think of space suits
in a very conventional fashion.
572
00:31:34,518 --> 00:31:40,523
If I'm telling you it wasn't a skeleton,
but in fact it was-- Not an exoskeleton.
573
00:31:40,691 --> 00:31:44,151
It's an organic suit, that's what it is.
574
00:31:44,319 --> 00:31:47,321
I'm gonna show you how it opens
and what's inside...
575
00:31:47,489 --> 00:31:50,449
...because what's inside is a humanoid."
576
00:31:50,951 --> 00:31:54,453
LEVY:
My first reaction was to be horrified.
577
00:31:54,621 --> 00:31:57,915
I was thinking,
"He's taking such a cult thing...
578
00:31:58,083 --> 00:32:01,419
...and what is he doing with it?
This can't work."
579
00:32:01,586 --> 00:32:03,337
And I think that's what he does best.
580
00:32:03,505 --> 00:32:05,673
He takes something
that you think you know...
581
00:32:05,841 --> 00:32:07,800
...and he just turns it upside down.
582
00:32:08,552 --> 00:32:12,847
MESSING: It's probably one of the
most iconic figures in sci-fi history.
583
00:32:13,015 --> 00:32:17,476
When Ridley was first talking about
the idea of having this human figure...
584
00:32:17,644 --> 00:32:21,314
...representing the space jockey character,
we all pretty much hated it.
585
00:32:21,815 --> 00:32:23,899
HUANTE: He had seen a sculpture
that I had done...
586
00:32:24,067 --> 00:32:27,153
...and this character
was, you know, completely lopsided...
587
00:32:27,321 --> 00:32:29,864
...and really muscular and blown out,
and he loved it.
588
00:32:30,032 --> 00:32:33,159
The photograph
that I took of it too was, uh....
589
00:32:33,327 --> 00:32:35,870
It was really hot. So it was really just--
590
00:32:36,038 --> 00:32:38,331
You know, it looked ghostly.
591
00:32:38,498 --> 00:32:41,250
MESSING: It was interesting but we didn't think
it was really appropriate.
592
00:32:41,418 --> 00:32:45,671
But then, you know, as the storyline
progressed and Ridley was really....
593
00:32:45,839 --> 00:32:47,840
You know,
he was very confident about this.
594
00:32:48,008 --> 00:32:50,176
He was not gonna--
No one was gonna change his mind.
595
00:32:50,344 --> 00:32:51,594
It still retains that...
596
00:32:51,762 --> 00:32:53,846
-...but it looks more helmet-like.
-Yeah. Yeah. Yes.
597
00:32:54,014 --> 00:32:57,350
SCANLAN: We call the Engineer
an elephantine Engineer...
598
00:32:57,517 --> 00:32:59,310
...because of the trunk.
599
00:33:00,687 --> 00:33:02,688
It's the suit that the Engineers wear...
600
00:33:02,856 --> 00:33:06,525
...in order to be able to travel in space.
601
00:33:07,611 --> 00:33:10,529
And when they're not in that,
they're wearing what we call a pressure suit.
602
00:33:10,697 --> 00:33:14,325
So the design of the Engineer
was driven from that perspective...
603
00:33:14,493 --> 00:33:18,287
...that actually the big discovery is
that this isn't a creature in its own right.
604
00:33:18,538 --> 00:33:21,665
This is a suit.
This is worn by another being.
605
00:33:22,084 --> 00:33:26,879
MAX: l think Ridley found it more interesting
if they were our creators that--
606
00:33:27,047 --> 00:33:29,590
He kept quoting the Bible passage:
607
00:33:29,758 --> 00:33:32,718
"And God created man
in his own image."
608
00:33:33,428 --> 00:33:35,471
SCOTT: l thought,
if you're gonna be biblical about it...
609
00:33:35,639 --> 00:33:38,391
...then is religion erased memory?
610
00:33:38,558 --> 00:33:42,645
Was there really God,
was there the son of God...
611
00:33:42,813 --> 00:33:46,065
...or were they visitations
of superior beings?
612
00:33:46,858 --> 00:33:49,693
-Warrior priests or something. Mm-hm.
-Exactly right.
613
00:33:49,861 --> 00:33:53,406
And here is something
slightly ominous...
614
00:33:53,573 --> 00:33:57,201
...which is a serious pair
of high-tech shoes-- Boots.
615
00:33:57,369 --> 00:33:59,703
MAX:
We got Neville Page involved.
616
00:33:59,871 --> 00:34:02,498
Neville specializes in creature design.
617
00:34:02,666 --> 00:34:06,961
And we introduced him
to the physical anatomy...
618
00:34:07,129 --> 00:34:08,754
...that was a brief from Ridley...
619
00:34:08,922 --> 00:34:11,966
...that it shouldn't be like
a bodybuilder musculature.
620
00:34:12,134 --> 00:34:14,093
It should be like classical statuary.
621
00:34:14,261 --> 00:34:18,764
When you look at them,
they're very much more compact...
622
00:34:18,932 --> 00:34:20,558
...and less over-developed...
623
00:34:20,725 --> 00:34:24,687
...but exaggerated in every detail.
624
00:34:24,855 --> 00:34:27,648
And so we try to express those...
625
00:34:27,816 --> 00:34:31,485
...and overlay them
with this classical veneer...
626
00:34:31,653 --> 00:34:32,945
...to make them god-like.
627
00:34:33,989 --> 00:34:38,784
PAGE: I spent a lot of time developing,
you know, the ultimate head...
628
00:34:38,952 --> 00:34:40,703
...which was classical-art driven.
629
00:34:40,871 --> 00:34:46,292
We kept looking at da Vinci's work
for that bulky, husky body...
630
00:34:46,460 --> 00:34:49,879
...the strong nose, the small lips.
You know it was like--
631
00:34:50,046 --> 00:34:53,841
The names thrown out were David,
the David sculpture...
632
00:34:54,009 --> 00:34:57,470
...the Statue of Liberty and Elvis Presley.
633
00:34:57,637 --> 00:35:00,014
And when you hear that as a brief,
you're like:
634
00:35:00,182 --> 00:35:02,475
"What the hell am I gonna do?" Ha, ha.
635
00:35:02,642 --> 00:35:05,144
I understood, though,
as you look at those three images, you go:
636
00:35:05,312 --> 00:35:06,645
"Oh, l get it, l get it."
637
00:35:06,813 --> 00:35:11,066
It's that specific mouth,
that nose and these eyes.
638
00:35:11,985 --> 00:35:15,488
MAX: He wanted them to be,
in a strange sort of way, beautiful...
639
00:35:15,655 --> 00:35:17,573
...and not frightening.
640
00:35:17,741 --> 00:35:20,784
Frightening comes with attitude.
641
00:35:20,952 --> 00:35:22,995
ELLENBERG:
The first camera test with the Engineer...
642
00:35:23,163 --> 00:35:24,830
...he scared the people walking around.
643
00:35:24,998 --> 00:35:27,750
Not because he did anything.
It was that unsettling.
644
00:35:27,918 --> 00:35:30,336
Because you did feel--
The effect we were going for...
645
00:35:30,504 --> 00:35:34,673
...in creating the design of those Engineers,
manifested itself in reality.
646
00:35:34,841 --> 00:35:38,636
Which is, it was deeply unsettling to see
something that was kind of superhuman...
647
00:35:39,304 --> 00:35:41,514
...kind of vacant in the eyes,
blackened eyes...
648
00:35:41,681 --> 00:35:44,099
...looking down at you
and looking kind of upset at you.
649
00:35:44,267 --> 00:35:47,019
The way in which it felt
like an angry father...
650
00:35:47,187 --> 00:35:50,022
...or angry parent was troubling.
651
00:35:50,190 --> 00:35:53,108
It was, you know, a lit room.
It was not like he was doing anything fancy.
652
00:35:53,276 --> 00:35:54,527
It was just scary.
653
00:35:54,694 --> 00:35:58,113
All the actors got to experience that
and they got to interact with an actor...
654
00:35:58,281 --> 00:36:02,368
...and have dialogue with those characters
and not just talk to some blank screen.
655
00:36:02,536 --> 00:36:05,371
RAPACE: I really like that it's really
kind of attractive the same way...
656
00:36:05,539 --> 00:36:07,039
...because they're beautiful.
657
00:36:07,207 --> 00:36:09,792
You wanna go closer,
you wanna touch them in a way.
658
00:36:09,960 --> 00:36:16,048
You wanna kind of be embraced by them
and that makes it much more interesting.
659
00:36:17,717 --> 00:36:19,718
SCOTT:
I don't like to repeat myself...
660
00:36:19,886 --> 00:36:23,514
...so you're constantly evolving
with these guys...
661
00:36:23,682 --> 00:36:26,725
...who are really great creators
in their own right.
662
00:36:26,893 --> 00:36:29,353
So frequently we'll just talk or scribble,
saying:
663
00:36:29,521 --> 00:36:32,690
"No, like this, or like that."
We've now got such a marvelous wealth...
664
00:36:32,857 --> 00:36:37,069
...of encyclopedic wealth of information
on any laptop.
665
00:36:37,529 --> 00:36:40,489
Like, we designed a thing,
this is called a Trilobite...
666
00:36:40,657 --> 00:36:42,241
...by just going into deep-sea things...
667
00:36:42,409 --> 00:36:46,370
...and looking at things
which are marvelous details.
668
00:36:46,538 --> 00:36:48,122
God's the best designer in the world.
669
00:36:48,290 --> 00:36:50,499
You can't do better than God.
670
00:36:50,667 --> 00:36:53,669
I think, you know, Carlos Huante's,
Neville Page and Neal Scanlan's team...
671
00:36:53,837 --> 00:36:56,755
...did a good job of trying to take
this monumental task...
672
00:36:56,923 --> 00:36:59,925
...of at least being
on the same level as Alien...
673
00:37:00,093 --> 00:37:01,677
...which was, you know,
almost impossible.
674
00:37:01,845 --> 00:37:04,680
Can l do a combination
of the veins plus this?
675
00:37:04,848 --> 00:37:07,600
Because this is changing cranium.
676
00:37:07,767 --> 00:37:12,187
SCANLAN: Holloway's infected.
He then impregnates Shaw...
677
00:37:12,355 --> 00:37:14,982
...and from that, Shaw then gives birth,
in a sense...
678
00:37:15,150 --> 00:37:17,234
...to what we call the Med-Pod creature...
679
00:37:17,402 --> 00:37:20,112
...which was extracted through
from her stomach.
680
00:37:20,280 --> 00:37:23,115
That then grows into the Trilobite.
681
00:37:23,283 --> 00:37:26,035
What's sort of happening
almost in tangent with that is Fifield.
682
00:37:26,202 --> 00:37:29,997
And Fifield's been exposed to the gloop
and so he begins to go through...
683
00:37:30,165 --> 00:37:33,375
...a sort of, you know, transformation
independent of that...
684
00:37:33,543 --> 00:37:37,004
...and becomes what we call
the Fifield creature.
685
00:37:37,339 --> 00:37:40,549
And that ultimately the Engineer
crossed with the Trilobite...
686
00:37:40,717 --> 00:37:46,263
...gives us what we call the deacon,
and he is the penultimate--
687
00:37:46,431 --> 00:37:50,809
As far as the film is concerned,
the penultimate combination of all of this.
688
00:37:51,645 --> 00:37:54,480
SCOTT: The idea of biting the umbilical.
MAN: Yeah?
689
00:37:54,648 --> 00:37:55,814
Think it's too much?
690
00:37:55,982 --> 00:37:59,818
MAN: l think it's, you know, an interesting
idea for the European version.
691
00:38:00,153 --> 00:38:03,822
The evolutions that emerge from them...
692
00:38:03,990 --> 00:38:08,911
...evolve to higher and higher forms,
which you see illustrated here...
693
00:38:09,079 --> 00:38:14,166
...eventually leading back
to the original Giger alien.
694
00:38:14,334 --> 00:38:18,462
So we're basically attempting
to deconstruct Giger's alien...
695
00:38:18,630 --> 00:38:22,257
...and show how it evolved
from its humanoid host...
696
00:38:22,425 --> 00:38:24,677
...both Earthly humans...
697
00:38:24,844 --> 00:38:29,181
...and our space jockey Engineer species.
698
00:38:31,351 --> 00:38:34,853
HUANTE: I go, "Oh, we have to have
the precursor to the facehugger...
699
00:38:35,021 --> 00:38:37,940
...that looks like this centipede thing
that is--
700
00:38:38,108 --> 00:38:40,859
Centipede of the facehugger
who's got, like, a hundred fingers."
701
00:38:45,031 --> 00:38:47,866
This thing just crawls around
and that's the thing that attacks the guy.
702
00:38:48,034 --> 00:38:49,660
Grabs him, grabs his arm.
703
00:38:49,828 --> 00:38:53,539
Then we could have that cool 1 970s
science-fiction astronaut...
704
00:38:53,707 --> 00:38:55,499
...you know, looking at his arm.
705
00:38:56,876 --> 00:39:00,629
This thing has grabbed his hand
and, you know, that'd be cool, right?
706
00:39:00,797 --> 00:39:03,757
And I know Ridley's all about that.
He gets that.
707
00:39:06,261 --> 00:39:09,680
SCANLAN: The Med-Pod creature
was really a baby form.
708
00:39:09,848 --> 00:39:12,558
He's an embryotic form
or a baby form of this.
709
00:39:12,726 --> 00:39:15,728
And Ivan Manzella
did a number of sketches...
710
00:39:15,895 --> 00:39:18,397
...and designs in ZBrush.
711
00:39:18,565 --> 00:39:22,943
And we showed those to Ridley
and I think we got lucky.
712
00:39:23,111 --> 00:39:25,904
We showed Ridley something, and he said,
"Yeah, that's great."
713
00:39:26,072 --> 00:39:29,658
And so we had that design quite early...
714
00:39:29,826 --> 00:39:33,120
...and that gave us the blueprint
for where we would go later.
715
00:39:33,288 --> 00:39:34,705
He just worked well as a design.
716
00:39:34,873 --> 00:39:37,624
The fact that the tentacles
are fused initially...
717
00:39:37,792 --> 00:39:40,711
...and that they split
and they continue to split...
718
00:39:40,879 --> 00:39:43,756
...to create the tentacles later.
719
00:39:43,923 --> 00:39:47,259
This is Ivan.
He's working on the Med-Pod creature...
720
00:39:47,427 --> 00:39:52,431
...which is obviously taken out of Shaw
in the Med-Pod sequence.
721
00:39:52,599 --> 00:39:57,102
We're inside a little room within a room,
really, and this is our sort of fortress.
722
00:39:57,270 --> 00:40:02,065
The work that goes on in here
is the concept design for the creatures.
723
00:40:02,233 --> 00:40:04,651
We're working on designs here
in the U.K...
724
00:40:04,819 --> 00:40:07,571
...we're doing designs that have
been worked on as well in the States.
725
00:40:07,989 --> 00:40:12,326
And it sort of all comes together and we get
a sort of weekly visit from Ridley...
726
00:40:12,494 --> 00:40:15,621
...where we sit down at the table,
Ridley with his sketch pad...
727
00:40:15,789 --> 00:40:18,624
...and we show him
sort of work in progress.
728
00:40:18,792 --> 00:40:22,669
He adds elements that he feels
and points us in the right direction...
729
00:40:22,837 --> 00:40:24,421
...and we carry on going.
730
00:40:24,589 --> 00:40:27,132
There was one creature
that Carlos and I...
731
00:40:27,300 --> 00:40:29,718
...were kind of batting back and forth
to one another.
732
00:40:30,261 --> 00:40:33,388
When I was given Carlos' image
to work with...
733
00:40:33,556 --> 00:40:36,809
...Ridley said,
"Just give me your own take on it."
734
00:40:36,976 --> 00:40:39,478
You know, "Give me the--
What you think, alien should look like."
735
00:40:39,646 --> 00:40:42,606
This particular--
"The baby," as it was referred to.
736
00:40:42,774 --> 00:40:46,944
So I, if it's a verb,
Gigered the hell out of it...
737
00:40:47,111 --> 00:40:49,112
...and brought it in, proud as punch...
738
00:40:49,280 --> 00:40:53,075
...that it's like, yeah,
that really feels like Giger's aesthetic.
739
00:40:53,243 --> 00:40:57,079
And Ridley was like,
"No. No, no, that's not it at all."
740
00:40:57,455 --> 00:40:59,456
Man, we were all over the place
on Fifield.
741
00:40:59,624 --> 00:41:01,875
I think I actually spent the most time
on Fifield.
742
00:41:02,043 --> 00:41:05,170
Ridley wanted variations
of a Carlos thing that he did...
743
00:41:05,338 --> 00:41:06,964
...which was a baby face.
744
00:41:07,131 --> 00:41:10,133
And the baby-face character
that was Fifield...
745
00:41:10,301 --> 00:41:14,721
...was gonna have inverted legs
and a bit of a tail.
746
00:41:14,889 --> 00:41:19,768
It was like a very, very quick morph
from Fifield to this monster.
747
00:41:19,936 --> 00:41:22,563
Oh, that one is still the best.
Carlos' drawing.
748
00:41:22,730 --> 00:41:26,859
PAGE: That's mark one. That's the original.
SCOTT: That's the best. Yep.
749
00:41:27,026 --> 00:41:29,528
The concern was, for a lot of it...
750
00:41:29,696 --> 00:41:33,365
...Ridley's feelings were that
it looked too much like a goblin.
751
00:41:33,700 --> 00:41:36,326
As soon as you get to that,
it doesn't work somehow.
752
00:41:36,494 --> 00:41:39,329
It's got a goblin. Somehow it's a goblin.
753
00:41:39,497 --> 00:41:41,707
SCANLAN: lt looks a bit like Gollum.
SCOTT: Yeah.
754
00:41:41,875 --> 00:41:43,584
It's better than Gollum, actually.
755
00:41:43,751 --> 00:41:47,754
And then we took it more where Fifield
would be infected...
756
00:41:47,922 --> 00:41:51,633
...still humanoid,
limb length would grow...
757
00:41:51,801 --> 00:41:55,512
...and we needed to keep
some of his features...
758
00:41:55,680 --> 00:41:57,514
...which, again,
that's a real tough balance...
759
00:41:57,682 --> 00:42:00,642
...because as soon as you start to morph
it into a creature, they disappear.
760
00:42:00,810 --> 00:42:02,686
So we talked about the tattoo...
761
00:42:02,854 --> 00:42:07,858
...and making that tattoo, wherever it be,
on the face or on his body...
762
00:42:08,026 --> 00:42:10,777
...and having that become something
that will allow us...
763
00:42:10,945 --> 00:42:15,324
...to basically see that it's still Fifield.
764
00:42:15,491 --> 00:42:17,576
Martin, that we saw earlier...
765
00:42:17,744 --> 00:42:20,913
...is working on further
sort of Fifield designs.
766
00:42:21,080 --> 00:42:23,582
And again, back to Ridley on those...
767
00:42:23,750 --> 00:42:26,251
...back to his,
back to the sculpting process.
768
00:42:27,253 --> 00:42:30,505
PAGE: At this point, it was clear
we're not trying to do Giger's aesthetic.
769
00:42:30,673 --> 00:42:32,215
We weren't gonna do the facehugger...
770
00:42:32,383 --> 00:42:37,346
...and we weren't going to do
any kind of metaphor to the first film.
771
00:42:37,513 --> 00:42:40,891
But at the same time,
this Trilobite creature...
772
00:42:41,059 --> 00:42:44,269
...became, like, the uber-metaphor
of the facehugger, in a way.
773
00:42:44,437 --> 00:42:47,773
Because it's very tentacular...
774
00:42:47,941 --> 00:42:49,775
...it's, in the same way, somewhat sexual.
775
00:42:49,943 --> 00:42:52,277
And quite honestly, on that one...
776
00:42:52,445 --> 00:42:56,949
...when l was done with
kind of the face of it, if it even has one...
777
00:42:57,116 --> 00:43:02,871
...it had the most vulvas
that I've ever put into a design. Ha, ha.
778
00:43:03,039 --> 00:43:07,417
It was a celebration of vulvas, really,
which seemed appropriate.
779
00:43:07,585 --> 00:43:11,630
It's just the way
the organic mechanism works.
780
00:43:12,256 --> 00:43:14,800
The fact that it had seven tentacles...
781
00:43:14,968 --> 00:43:16,802
...that was a struggle for me
quite a while...
782
00:43:16,970 --> 00:43:19,805
...because we didn't wanna do
just an octopus.
783
00:43:19,973 --> 00:43:21,974
And there was a few images
at the very beginning...
784
00:43:22,141 --> 00:43:24,601
...where it looked just like an octopus.
785
00:43:24,769 --> 00:43:28,480
But in the end,
it was all about one pose that I did...
786
00:43:28,648 --> 00:43:32,651
...to give it a sense of, one, locomotion...
787
00:43:32,819 --> 00:43:36,530
...and make it look like there was power
and strength in these tentacles...
788
00:43:36,698 --> 00:43:38,991
...to actually lift it off of the ground.
789
00:43:39,158 --> 00:43:41,118
How powerful can we make this look?
790
00:43:41,285 --> 00:43:44,705
And between the combination of
Weta's efforts and Alex Alvarez...
791
00:43:44,872 --> 00:43:48,041
...I just looked at it and thought,
"This thing's pretty bad-ass."
792
00:43:48,209 --> 00:43:50,502
The deacon, the ultramorph...
793
00:43:50,670 --> 00:43:52,838
...I think, really, from the beginning...
794
00:43:53,006 --> 00:43:56,091
...Carlos kind of nailed it.
795
00:43:56,259 --> 00:44:00,387
There were a couple versions
of the alien that l--
796
00:44:00,555 --> 00:44:03,515
The Xenomorph, the ultramorph,
whatever it became.
797
00:44:04,017 --> 00:44:08,687
That I-- lt was straight out
of one of Giger's paintings.
798
00:44:08,855 --> 00:44:10,480
I embellished a little couple things...
799
00:44:10,648 --> 00:44:14,067
...but l kept it as close to his stuff
as I could.
800
00:44:14,235 --> 00:44:18,280
You have to. He invented the look.
801
00:44:18,448 --> 00:44:20,991
SCANLAN: Sometimes, l think, your
first impressions are often the best.
802
00:44:21,159 --> 00:44:24,870
I remember when we joined the project
there was a drawing in existence...
803
00:44:25,038 --> 00:44:28,331
...of a rather silver-y,
metallic-looking deacon--
804
00:44:28,499 --> 00:44:32,002
The deacon being the description
for the point at the back of the head.
805
00:44:32,170 --> 00:44:36,256
--lying in a pool of fluid,
and it was quite impressionistic...
806
00:44:36,424 --> 00:44:37,758
...but it was great.
807
00:44:37,925 --> 00:44:42,429
And I think we went down
so many different alternatives.
808
00:44:42,597 --> 00:44:46,266
When it came to it,
nothing was better than that one thing.
809
00:44:46,434 --> 00:44:48,351
That caught something.
810
00:44:48,978 --> 00:44:52,189
PAGE: Ninety-five percent of our efforts
on a production...
811
00:44:52,356 --> 00:44:55,400
...are things that you never see
because they're not correct.
812
00:44:55,568 --> 00:44:58,278
And that's where all these,
not mistakes...
813
00:44:58,446 --> 00:45:00,572
...but finding what does not work...
814
00:45:00,740 --> 00:45:03,366
...those are stepping stones,
building blocks...
815
00:45:03,534 --> 00:45:05,535
...to get to the right thing.
816
00:45:08,915 --> 00:45:09,915
[English - US - SDH]
817
00:45:16,297 --> 00:45:20,092
PROCTER: Alien, you know, for so many visual
people, was like a landmark watershed thing.
818
00:45:20,259 --> 00:45:23,136
I mean, it reinvented the look
of science-fiction movies forever.
819
00:45:23,304 --> 00:45:27,224
When you watch it and you're an artist
or a visual person, the level of visual craft...
820
00:45:27,391 --> 00:45:30,268
...and of the, you know, articulation
of what's going on in the frame...
821
00:45:30,436 --> 00:45:33,063
...and motion and light, it's so well done.
822
00:45:33,231 --> 00:45:34,981
BURG:
I got the feeling right away...
823
00:45:35,149 --> 00:45:40,654
...that I don't think Ridley Scott
just wants to rehash the familiar territory.
824
00:45:40,822 --> 00:45:44,241
He wanted to capture the effect
of the first Alien.
825
00:45:44,659 --> 00:45:49,746
He was gonna take the same elements
and present them in a new way.
826
00:45:49,914 --> 00:45:53,416
The stylings that we were working on
were reminiscent of the Nostromo...
827
00:45:53,584 --> 00:45:56,086
...and of a lot of the Alien 1 aesthetic,
but at the same time...
828
00:45:56,254 --> 00:46:00,757
...just, you know, covering a much broader
palette of different kinds of things.
829
00:46:00,925 --> 00:46:05,929
MAX: You can do very flashy hardware,
which means nothing, but it's:
830
00:46:06,097 --> 00:46:08,014
"How do you apply that to the story...
831
00:46:08,182 --> 00:46:10,934
...and where does it fit into the whole...
832
00:46:11,102 --> 00:46:13,854
...so that you're creating a whole
environment...
833
00:46:14,021 --> 00:46:16,857
...that's credible and entertaining?"
834
00:46:17,024 --> 00:46:19,025
[GASPlNG]
835
00:46:33,416 --> 00:46:39,129
I was cast to do development
for the human technology.
836
00:46:39,297 --> 00:46:43,800
First thing l started on was the excavation.
837
00:46:43,968 --> 00:46:48,722
They had these excavation pods.
They were kind of like submersibles.
838
00:46:48,890 --> 00:46:51,725
They were hovering around,
and I assumed it was Mars.
839
00:46:51,893 --> 00:46:53,643
And they're digging.
840
00:46:53,811 --> 00:46:59,149
They shear off this cliff
and there are hieroglyphs.
841
00:46:59,317 --> 00:47:02,903
They approach Weyland to get funding.
842
00:47:03,070 --> 00:47:06,823
Weyland doesn't have an office
like in an office building.
843
00:47:06,991 --> 00:47:10,994
So the first idea was that
it was on this enormous habitat...
844
00:47:11,162 --> 00:47:13,455
...you know, like a huge space station.
845
00:47:13,623 --> 00:47:18,835
So they travel there in sort of a shuttle
and they land...
846
00:47:19,003 --> 00:47:23,965
...and we developed this enormous
biosphere kind of thing.
847
00:47:24,133 --> 00:47:29,512
It was a huge ring with farmland and lakes
and things inside of it.
848
00:47:29,680 --> 00:47:33,391
And the idea was that Weyland
is already developing--
849
00:47:33,559 --> 00:47:37,854
He's basically developing the solar system.
850
00:47:41,859 --> 00:47:43,485
MESSING:
Prometheus was actually called--
851
00:47:43,653 --> 00:47:46,154
Originally, in the early script,
it was called the Magellan...
852
00:47:46,322 --> 00:47:49,199
...and it was this voyage and trying
to discover uncharted territories.
853
00:47:49,367 --> 00:47:52,869
And then Ridley decided
to name it the Prometheus...
854
00:47:53,037 --> 00:47:55,247
...after he had already named the movie.
855
00:47:55,414 --> 00:47:58,708
MAX: The Prometheus is the flagship
of the Weyland fleet.
856
00:47:58,876 --> 00:48:03,964
Weyland, the character who's our chairman
of the board of the corporation, it's his ship.
857
00:48:04,131 --> 00:48:07,592
And on his ship, we decided
it was gonna be state-of-the-art...
858
00:48:07,760 --> 00:48:10,053
...with every conceivable facility...
859
00:48:10,221 --> 00:48:15,225
...including a penthouse suite
with cutting-edge medical facility...
860
00:48:15,393 --> 00:48:18,728
...communication systems,
scanning systems...
861
00:48:18,896 --> 00:48:25,151
...infinite capacity for
entering hostile planetary climates.
862
00:48:26,070 --> 00:48:28,238
PROCTER:
Good production design is so heavily driven...
863
00:48:28,406 --> 00:48:30,156
...by the basic volumes of the spaces...
864
00:48:30,324 --> 00:48:32,242
...and the needs
of what the camera's gonna do...
865
00:48:32,410 --> 00:48:34,828
...and the functional aspects
of the storytelling...
866
00:48:34,996 --> 00:48:38,331
...that Arthur was able to give us all the
guidance we needed for all those things...
867
00:48:38,499 --> 00:48:42,419
...and that last little bit of, you know,
kind of icing, filigree, sci-fi techy stuff...
868
00:48:42,586 --> 00:48:45,839
...that was up to us to help him with,
but that didn't mean...
869
00:48:46,007 --> 00:48:49,050
...that he wasn't guiding the ship in terms
of what components were needed...
870
00:48:49,218 --> 00:48:51,219
...and how big they ought to be
and everything else.
871
00:48:51,387 --> 00:48:56,599
Specifically, it's a ship of exploration
that's got a lot of equipment.
872
00:48:56,767 --> 00:48:59,769
What Arthur and Ridley said was that...
873
00:48:59,937 --> 00:49:03,440
...you know,
this thing lands and it opens up...
874
00:49:03,607 --> 00:49:09,446
...and it becomes like a mobile factory.
You know, it's like a complex.
875
00:49:09,613 --> 00:49:14,909
And so l started thinking about
oil exploration ships, oil rigs.
876
00:49:15,077 --> 00:49:19,622
They're these huge platforms
that float around on these big legs.
877
00:49:19,790 --> 00:49:24,961
And that sort of became
the very starting point of the shape.
878
00:49:26,547 --> 00:49:30,925
MAX:
I wanted to have some kind of animal aspect...
879
00:49:31,093 --> 00:49:34,471
...like an insect that could land...
880
00:49:34,638 --> 00:49:39,434
...but also have another level
of image overlaying it.
881
00:49:39,602 --> 00:49:41,644
It wasn't just an aircraft.
882
00:49:41,812 --> 00:49:47,108
It also had a kind of identity beyond aircraft.
883
00:49:47,276 --> 00:49:51,988
Great big cargo bays,
almost like some insects carry their young...
884
00:49:52,156 --> 00:49:53,907
...under their belly, like spiders do.
885
00:49:54,075 --> 00:49:58,828
And so these pods would open up
and it would be a modular system of pods...
886
00:49:58,996 --> 00:50:04,125
...carried on an underbelly
of a gigantic gantry crane...
887
00:50:04,293 --> 00:50:06,878
...that would be able to fly and free-stand.
888
00:50:07,046 --> 00:50:09,756
Probably the most difficult thing
with this design...
889
00:50:09,924 --> 00:50:14,761
...was the fact that it winds up standing
on these giant pillars...
890
00:50:14,929 --> 00:50:19,474
...which became the engines,
but it can't fly that way.
891
00:50:19,642 --> 00:50:24,896
It became pretty clear that the engines
had to change their orientation.
892
00:50:25,064 --> 00:50:28,024
The Nostromo
had its propulsion engines...
893
00:50:28,192 --> 00:50:32,070
...and then it had these other engines
that were the landing engines.
894
00:50:32,238 --> 00:50:36,491
And I thought, "Well, if we're gonna
make this thing move around...
895
00:50:36,659 --> 00:50:43,123
...what if there's just the main engines
and they use that for everything?"
896
00:50:43,290 --> 00:50:49,712
We ended up with this design with four
engines which became legs, landing legs.
897
00:50:49,880 --> 00:50:53,383
PROCTER: The kind of functional parameters
that they wanted with these four...
898
00:50:53,551 --> 00:50:56,845
...you know, VTOL vectoring engines
and the feeling of a creature...
899
00:50:57,012 --> 00:50:59,889
...kind of sitting on the landscape
with these four big legs...
900
00:51:00,057 --> 00:51:04,310
...you know, those desires were so clearly
strong with Ridley and Arthur both...
901
00:51:04,478 --> 00:51:08,398
...that I knew that whatever l adapted from
Steve's had to incorporate that.
902
00:51:08,566 --> 00:51:13,736
And frankly, one of Steve's models
was extremely close to that concept.
903
00:51:13,904 --> 00:51:15,405
And then it was just a detailing pass.
904
00:51:15,573 --> 00:51:18,241
It was just figuring out
what's the surface breakup and detailing...
905
00:51:18,409 --> 00:51:21,244
...that will give this thing
the scale that it needs, because it's huge.
906
00:51:21,412 --> 00:51:23,788
And it has a fairly aeronautic shape...
907
00:51:23,956 --> 00:51:26,749
...that makes it look like, you know,
an atmospheric flying vehicle.
908
00:51:26,917 --> 00:51:29,627
I mean, the Nostromo was like a box.
It was chunky and it didn't--
909
00:51:29,795 --> 00:51:31,504
It looked like it could land on a planet...
910
00:51:31,672 --> 00:51:34,424
...but it was not meant to fly around
on a planet, whereas this one...
911
00:51:34,592 --> 00:51:37,927
...really could do long-distance sorties
on a planet in its atmosphere.
912
00:51:38,095 --> 00:51:40,805
But at the same time,
it wanted to feel a bit like Alien 1.
913
00:51:40,973 --> 00:51:43,391
At least in my mind,
that's what I wanted it to feel like.
914
00:51:43,559 --> 00:51:46,519
And it wanted to have a sense of scale...
915
00:51:46,687 --> 00:51:51,149
...that traditionally they got by, you know,
kit-bashing tons of little tank parts...
916
00:51:51,317 --> 00:51:54,652
...and battleship parts and all kinds of stuff
onto miniature models.
917
00:51:54,820 --> 00:51:58,698
And so l took it upon myself to kind of
really study pictures of the Nostromo...
918
00:51:58,866 --> 00:52:01,910
...and I would literally kit-bash
in Photoshop...
919
00:52:02,077 --> 00:52:03,620
...whole chunks of the Nostromo skin...
920
00:52:03,787 --> 00:52:07,540
...and lay that onto my illustrations
to get that exact kind of...
921
00:52:07,708 --> 00:52:11,461
...you know, pipe conduits running
on the surface and all that kind of stuff.
922
00:52:11,629 --> 00:52:17,258
The landing foot is made up of a piece
of a Terex mining bulldozer's shovel bit...
923
00:52:17,426 --> 00:52:20,261
...and pieces of World War Il
German sort of train tanks...
924
00:52:20,429 --> 00:52:24,432
...and all kinds of crazy stuff.
I mean, I literally used the old methods.
925
00:52:32,858 --> 00:52:35,818
MAX: We tried to do graphics with steroids
on this one.
926
00:52:35,986 --> 00:52:40,782
Very bold, on an enormous scale,
including the exterior of the Prometheus...
927
00:52:40,950 --> 00:52:46,871
...which is kind of based on the graphics
from various fighter aircrafts...
928
00:52:47,039 --> 00:52:49,374
...and bombers from World War lI.
929
00:52:49,542 --> 00:52:51,751
PROCTER:
I did it in a huge number of color schemes.
930
00:52:51,919 --> 00:52:55,213
Ended up doing some stuff that was stronger
than l initially was comfortable with...
931
00:52:55,381 --> 00:52:58,007
...in terms of yellow stripes
and things that were influenced by...
932
00:52:58,175 --> 00:53:00,885
...beautiful Messerschmitts
and different fighters from World War Il.
933
00:53:01,053 --> 00:53:02,929
But l have to say that the use of the yellow...
934
00:53:03,097 --> 00:53:06,349
...and the use of it with white and black,
graphically, it's worked really well.
935
00:53:06,517 --> 00:53:09,894
And what's neat is that it does relate back
to some of the early concept work...
936
00:53:10,062 --> 00:53:14,649
...of Chris Foss and Ron Cobb as well
from Alien 1 .
937
00:53:14,817 --> 00:53:17,694
Then l worked on almost
all of the human interior sets...
938
00:53:17,861 --> 00:53:20,989
...whether it be the Weyland-Vickers suite...
939
00:53:21,156 --> 00:53:24,200
...which is up in the lifeboat
that lives on top of the ship...
940
00:53:24,368 --> 00:53:28,580
...or the medical bay or the mess hall...
941
00:53:28,747 --> 00:53:31,916
...or the cryo-sleep systems...
942
00:53:32,084 --> 00:53:34,210
...the bridge of the ship,
which had this cool idea...
943
00:53:34,378 --> 00:53:38,548
...that Ridley kind of brought back
from Alien 1 of the extruding platform...
944
00:53:38,716 --> 00:53:41,050
...which was very much like Ash's station
on the Nostromo...
945
00:53:41,218 --> 00:53:43,219
...but now we're using it,
you know, in the bridge.
946
00:53:43,679 --> 00:53:47,890
MAX: The bridge is one area where
we actually looked at the design work...
947
00:53:48,058 --> 00:53:50,351
...that was done for the original film.
948
00:53:50,519 --> 00:53:55,440
Now, the Nostromo, as we saw
when we saw the film screened...
949
00:53:55,608 --> 00:54:02,614
...I began to appreciate the claustrophobia
and how jammed up the spaces were.
950
00:54:02,781 --> 00:54:07,785
In fact, Ridley mentioned
how difficult it was to film in...
951
00:54:07,953 --> 00:54:12,290
...but how rich it was
because it was so tight and enclosed.
952
00:54:12,458 --> 00:54:17,086
At the same time, he wanted
a sense of scale on this version...
953
00:54:17,254 --> 00:54:22,133
...so we had to be large but very intimate.
954
00:54:22,301 --> 00:54:24,385
PROCTER:
You know, the bridge design of Prometheus...
955
00:54:24,553 --> 00:54:27,597
...is actually kind of a Ron Cobb
bridge design from Alien 1...
956
00:54:27,765 --> 00:54:29,098
...that got split into two things.
957
00:54:29,266 --> 00:54:31,851
It got split into the bridge
and then into Ash's pod...
958
00:54:32,019 --> 00:54:33,728
...but originally it was sketched as one...
959
00:54:33,896 --> 00:54:38,024
...and we actually kind of returned it
in some way to that Ron Cobb form.
960
00:54:38,192 --> 00:54:41,069
SCOTT:
You got the desk, the cockpit...
961
00:54:41,236 --> 00:54:46,240
...the main desk for Janek, the pilot,
and his copilots...
962
00:54:46,408 --> 00:54:50,328
...and the feed corridors up to that,
and it's always limited.
963
00:54:50,496 --> 00:54:53,498
You'd be amazed
how you have to eke out your budget...
964
00:54:53,666 --> 00:54:56,793
...because sets of that quality
are very costly.
965
00:54:56,960 --> 00:54:58,836
It's really knowing exactly what you want.
966
00:54:59,004 --> 00:55:02,840
And if you know exactly what you want,
you're gonna kind of maintain budget.
967
00:55:03,008 --> 00:55:06,803
If you don't know what you want and say,
"l might need it," that's when it goes up.
968
00:55:07,304 --> 00:55:09,347
MAX:
We wanted a window.
969
00:55:09,515 --> 00:55:14,769
So we decided to introduce
a gigantic wrap-around windscreen...
970
00:55:14,937 --> 00:55:21,901
...multifaceted, kind of in the tradition
of a stealth bomber technology...
971
00:55:22,069 --> 00:55:25,113
...very jewel-like and faceted...
972
00:55:25,280 --> 00:55:31,661
...wrapping under the skull
of the insect carapace...
973
00:55:31,829 --> 00:55:37,959
...and tucked under the chin, as it were,
so that you could then also include...
974
00:55:38,127 --> 00:55:42,088
...a gangplank viewing platform
for the captain...
975
00:55:42,256 --> 00:55:45,758
...and stand out and be able to look down
on the planet's surface below you...
976
00:55:45,926 --> 00:55:47,969
...as you cruised on over.
977
00:55:48,554 --> 00:55:52,056
PROCTER: We definitely gave thought to how
the different components of the interiors...
978
00:55:52,224 --> 00:55:53,683
...fit into the ship in general.
979
00:55:53,851 --> 00:55:56,686
A huge amount of what you're
worried about when you're building sets...
980
00:55:56,854 --> 00:55:59,480
...is how it fits into the stages
that you have to build them in...
981
00:55:59,648 --> 00:56:02,150
...and what's the height
and what's the visual-effects needs...
982
00:56:02,317 --> 00:56:03,776
...of how far away green screens are.
983
00:56:03,944 --> 00:56:07,280
The bridge is a good example of something
where the set itself has a lot of height...
984
00:56:07,448 --> 00:56:11,367
...and then it has to be mounted up
a certain distance to get certain angles...
985
00:56:11,535 --> 00:56:14,245
...down below the glass looking up
at the people, and then it's got--
986
00:56:14,413 --> 00:56:17,540
You know, it needs the giant clearance
of green-screen lighting all around it...
987
00:56:17,708 --> 00:56:19,375
...and, you know, at least a 270.
988
00:56:19,543 --> 00:56:23,546
MAX: And that all had to be put
on engineering bellows...
989
00:56:23,714 --> 00:56:28,509
...which are big, rubber,
gasketed vibration pads...
990
00:56:28,677 --> 00:56:33,723
...so that we could do turbulent vibration
as we came into the atmosphere...
991
00:56:34,516 --> 00:56:36,517
...and rock the whole ship.
992
00:56:36,685 --> 00:56:40,354
And then that implied
various elements of design...
993
00:56:40,522 --> 00:56:43,232
...i.e., is the roof attached to the walls?
994
00:56:43,400 --> 00:56:46,694
Are the corridors attached
to the main space?
995
00:56:46,862 --> 00:56:50,239
And we decided not to do that,
to detach evertyhing from each other...
996
00:56:50,407 --> 00:56:54,327
...so everything was a bit free
to jostle and jangle...
997
00:56:54,495 --> 00:56:57,497
...but we didn't know
how that would really behave.
998
00:56:57,664 --> 00:57:02,585
I thought it might start oscillating
beyond control and smash itself to bits.
999
00:57:02,753 --> 00:57:04,587
Fortunately, that didn't occur.
1000
00:57:06,840 --> 00:57:10,885
Then there was design of the vehicles
to explore the planet...
1001
00:57:11,053 --> 00:57:15,681
...because in the end this is
an archeological scientific expedition.
1002
00:57:15,849 --> 00:57:18,434
So the vehicles had to be able to cope...
1003
00:57:18,602 --> 00:57:23,022
...with every kind of inhospitable
environment that you can imagine.
1004
00:57:23,190 --> 00:57:26,025
And how do we actually make
a functioning vehicle?
1005
00:57:26,193 --> 00:57:29,153
And not only one vehicle but six.
1006
00:57:29,947 --> 00:57:35,076
It was very interesting to take a different
take that was done on other movies...
1007
00:57:35,244 --> 00:57:36,619
...which is not something military.
1008
00:57:36,787 --> 00:57:39,956
The goal here when we worked on
the rover and the other vehicles...
1009
00:57:40,123 --> 00:57:45,211
...was to have a kind of design that reflects
something more like a National Geographic.
1010
00:57:45,379 --> 00:57:48,673
You know, a team of explorers
and not at all something military.
1011
00:57:48,841 --> 00:57:54,637
It was more a take that was about explorers
and something that had, like, high money...
1012
00:57:54,805 --> 00:57:59,058
...in order to build those vehicles,
and something that's very technically sharp.
1013
00:57:59,726 --> 00:58:06,190
MAX: We ended up building
three large rovers and some ATVs...
1014
00:58:06,358 --> 00:58:10,069
...which were all practical
and would be used on locations.
1015
00:58:10,237 --> 00:58:13,489
We wanted them to go,
you know, 50 miles an hour...
1016
00:58:13,657 --> 00:58:15,950
...with a dozen people onboard.
1017
00:58:16,118 --> 00:58:19,745
SCOTT: So all that had to be designed
were the interior of those buses.
1018
00:58:19,913 --> 00:58:24,166
The buses are driven by electronics,
so there's all the screens.
1019
00:58:24,334 --> 00:58:28,504
There's a million screens
in every feasible space in that ship...
1020
00:58:28,672 --> 00:58:30,923
...and outside each of these vehicles.
1021
00:58:31,091 --> 00:58:35,845
MAX: So we went to the military, of course,
because they have the best toys.
1022
00:58:36,388 --> 00:58:40,308
And then we got several
different chassis...
1023
00:58:40,475 --> 00:58:46,230
...and did concept designs on each of them
in sketch form...
1024
00:58:46,398 --> 00:58:49,942
...to present to Ridley,
and this went on for about a month.
1025
00:58:50,360 --> 00:58:54,363
We got a load of notions
that basically went...
1026
00:58:54,531 --> 00:58:58,826
...from vehicles that had passengers
sitting on the outside...
1027
00:58:58,994 --> 00:59:01,329
...others that hovered and flew.
1028
00:59:01,496 --> 00:59:07,251
So there was a very free-ranging
design phase that embraced all kinds of--
1029
00:59:07,419 --> 00:59:13,090
We didn't wanna put any limits on Ridley,
saying, you know, "This is possible."
1030
00:59:13,258 --> 00:59:16,093
And he picked on a few basic ideas...
1031
00:59:16,261 --> 00:59:20,014
...and gave us some of his famous
Ridleygram sketches...
1032
00:59:20,182 --> 00:59:24,185
...to discuss
what the shape language was...
1033
00:59:24,353 --> 00:59:26,354
...and we developed from there.
1034
00:59:26,521 --> 00:59:32,443
We ended up on a Czechoslovakian
surplus chassis...
1035
00:59:32,611 --> 00:59:34,987
...a vehicle called a Tatra 8x8...
1036
00:59:35,155 --> 00:59:40,701
...which is an all-terrain, all-wheel steering,
broken-axel...
1037
00:59:40,869 --> 00:59:43,537
...high-speed military transport vehicle...
1038
00:59:43,705 --> 00:59:47,750
...and designed our body shell on that...
1039
00:59:47,918 --> 00:59:51,504
...based on an armored personnel carrier.
1040
00:59:51,672 --> 00:59:55,174
Not that there was gonna be
any battle scenes...
1041
00:59:55,342 --> 01:00:02,139
...but the thinking was that these scientists
and explorers of unknown planets...
1042
01:00:02,307 --> 01:00:04,767
...would be prepared
to encounter anything.
1043
01:00:04,935 --> 01:00:08,437
We got three of them over
from Czechoslovakia...
1044
01:00:08,605 --> 01:00:12,566
...stripped them all down
of their old truck bodies...
1045
01:00:12,734 --> 01:00:16,862
...and then we blasted out in a great hurry
because of the constraints of time.
1046
01:00:17,030 --> 01:00:23,077
I think it took us 1 1 weeks to build
from scratch once we got the chassis.
1047
01:00:23,245 --> 01:00:27,289
Most car companies take about a year
or two to develop a design...
1048
01:00:27,457 --> 01:00:32,545
...and then about a year to actually come up
with a single prototype vehicle.
1049
01:00:32,713 --> 01:00:39,427
So that gives you a sense
of how accelerated film process is.
1050
01:00:39,594 --> 01:00:43,806
A body shell that had a lot of input
from Ridley...
1051
01:00:43,974 --> 01:00:48,769
...about the nuance of the proportions
of windows and angles...
1052
01:00:48,937 --> 01:00:52,898
...so it had a very aggressive character
with great visibility...
1053
01:00:53,066 --> 01:00:56,402
...and accessorized using
all LED lighting.
1054
01:00:56,570 --> 01:00:59,405
We wanted to be state-of-the-art
for film lighting...
1055
01:00:59,573 --> 01:01:03,200
...so all the lighting was custom designed
and installed.
1056
01:01:03,368 --> 01:01:06,829
Every element of the vehicle
is made from scratch...
1057
01:01:06,997 --> 01:01:11,167
...including the body shell,
interior paneling, seating...
1058
01:01:11,334 --> 01:01:16,881
...and all applied
to the basic Tatra chassis.
1059
01:01:21,678 --> 01:01:26,182
PROCTER: lt's very much about people
for Ridley, this story, and not about...
1060
01:01:26,349 --> 01:01:29,685
...what could a crazy, bio-technological
alien race look like and function like?
1061
01:01:29,853 --> 01:01:31,979
It's not really about that.
1062
01:01:32,147 --> 01:01:34,732
It's about this kind of religious pursuit
of the main character...
1063
01:01:34,900 --> 01:01:37,568
...and her quest for answers.
1064
01:01:40,572 --> 01:01:46,368
MAX: There was a lot of craftsmen,
a lot of artists, a lot of technicians...
1065
01:01:46,536 --> 01:01:51,540
...art directors, set designers, draftspersons
who worked with me.
1066
01:01:51,708 --> 01:01:54,752
And without the craft skills
that they brought...
1067
01:01:54,920 --> 01:01:57,713
...and the devotion to the work
that they brought...
1068
01:01:57,881 --> 01:01:59,673
...it wouldn't be the movie that it is.
1069
01:02:02,969 --> 01:02:05,221
PROCTER:
Ridley, because he created this universe...
1070
01:02:05,388 --> 01:02:08,057
...is much less precious about it
than anybody else on the planet.
1071
01:02:08,225 --> 01:02:10,935
You know, all of us see it as something
that's written in stone...
1072
01:02:11,103 --> 01:02:13,646
...and that has gone on
to this incredible life as a franchise...
1073
01:02:13,814 --> 01:02:16,107
...and a series and comic books
and all this kind of stuff.
1074
01:02:16,274 --> 01:02:19,235
To Ridley,
I think he's aware of all those things...
1075
01:02:19,402 --> 01:02:22,404
...but fundamentally,
it's still just a job he did in the 1 970s.
1076
01:02:22,572 --> 01:02:24,406
It's something that he came up with.
1077
01:02:24,574 --> 01:02:27,743
And if that's what it is,
then he can change it.
1078
01:02:35,460 --> 01:02:36,460
[English - US - SDH]
1079
01:02:39,840 --> 01:02:42,049
[BELL RINGS
THEN MAN 1 YELLS lNDISTlNCTLYY]
1080
01:02:42,217 --> 01:02:44,343
MAN 2:
Twenty-six, take 1 3.
1081
01:02:46,346 --> 01:02:47,721
Ellie!
1082
01:02:48,932 --> 01:02:50,724
RAPACE:
Ridley said to me at one point:
1083
01:02:50,892 --> 01:02:55,312
"l have fantastic actors in all parts.
You know, even in the smallest part."
1084
01:02:55,480 --> 01:02:58,065
THERON:
I think he really loves the process...
1085
01:02:58,233 --> 01:03:01,402
...of collaborating with the actors
who are gonna play the roles.
1086
01:03:01,570 --> 01:03:04,572
So it was a really enjoyable experience
to kind of create...
1087
01:03:04,739 --> 01:03:08,159
...and elaborate what was already
amazing on the page.
1088
01:03:09,369 --> 01:03:11,162
MARSHALL-GREEN:
I'm a fanboy ofAlien.
1089
01:03:11,705 --> 01:03:13,414
Of Ridley Scott's universe.
1090
01:03:13,582 --> 01:03:17,501
And it's one of the reasons I'm an actor
and want to tell those kinds of stories.
1091
01:03:17,669 --> 01:03:20,254
WEYLAND:
--you have reached your final destination.
1092
01:03:20,422 --> 01:03:27,261
My experience of doing futuristic films was
down to Space Virgins on the Planet Sex.
1093
01:03:27,929 --> 01:03:30,431
It was a real learning curve.
1094
01:03:44,946 --> 01:03:47,615
Right, and then.... Okay.
1095
01:03:48,575 --> 01:03:51,076
-Yeah, that's all right.
-And a little bit longer.
1096
01:03:51,244 --> 01:03:54,788
SCOTT: l was watching a film called
Girl with the Dragon Tattoo...
1097
01:03:54,956 --> 01:03:59,627
...which l thought was particularly
well done, the first one.
1098
01:03:59,794 --> 01:04:01,795
So I was very interested in the director...
1099
01:04:01,963 --> 01:04:06,175
...but l was even more interested in the girl
in the lead, who was Noomi Rapace.
1100
01:04:06,343 --> 01:04:11,889
And I thought Noomi was particularly a
combination of intelligence and physicality.
1101
01:04:12,057 --> 01:04:15,142
-That's very good. Yeah, back view.
-Like this?
1102
01:04:15,310 --> 01:04:17,061
SCOTT:
Yeah, that's nice.
1103
01:04:18,271 --> 01:04:21,315
Yeah. Good butt. Okay.
So come around to the front.
1104
01:04:21,483 --> 01:04:25,152
RAPACE: He had just mentioned by the way
that he was gonna do a prequel to Alien...
1105
01:04:25,320 --> 01:04:28,405
...or some kind of prequel,
and I was like, "Wow, fantastic."
1106
01:04:28,573 --> 01:04:32,785
But l just l deleted that afterwards, like,
"That's never gonna happen anyway."
1107
01:04:33,203 --> 01:04:37,498
I was really kind of high after meeting him
because he's just an amazing person...
1108
01:04:37,666 --> 01:04:39,833
...and his presence is just so strong.
1109
01:04:40,001 --> 01:04:42,169
So I called my manager, I was like:
1110
01:04:42,337 --> 01:04:46,298
"Even if I never work with him, l'm happy
because l had this hour with him."
1111
01:04:46,925 --> 01:04:51,470
SCOTT: She kind of really owned her part
in Dragon Tattoo.
1112
01:04:51,638 --> 01:04:56,517
And I was surprised to find
here was a very beautiful, very intelligent...
1113
01:04:56,685 --> 01:04:59,603
...very elegant woman.
1114
01:04:59,771 --> 01:05:02,523
And so off that,
we got off to a really good start.
1115
01:05:02,691 --> 01:05:06,819
ELLENBERG: The studio naturally knew
Noomi Rapace at that point was not a big star.
1116
01:05:06,987 --> 01:05:08,028
SCOTT:
Sit.
1117
01:05:08,196 --> 01:05:10,698
ELLENBERG: And so there was
a lot of discussion and debate.
1118
01:05:10,865 --> 01:05:14,076
So we did shoot a test ultimately.
The studio requested it.
1119
01:05:14,244 --> 01:05:17,830
There was also, from their standpoint,
I would say a legitimate question:
1120
01:05:17,998 --> 01:05:19,540
Could she speak English?
1121
01:05:19,708 --> 01:05:21,375
Hello, Mr. Weyland.
1122
01:05:21,543 --> 01:05:23,419
I'm Dr. lsabelle Shaw.
1123
01:05:23,586 --> 01:05:25,713
ELLENBERG:
That was where the gang all got together...
1124
01:05:25,880 --> 01:05:29,341
...for this first moment in the movie, which was
really exciting, with her and with Dariusz Wolski.
1125
01:05:29,509 --> 01:05:31,885
That was the first day Ridley
and Dariusz had worked together.
1126
01:05:32,053 --> 01:05:34,513
You would have thought they had
worked together for 20 years.
1127
01:05:35,348 --> 01:05:41,729
We shot two camera tests
that he just liked a lot, and that was it.
1128
01:05:41,896 --> 01:05:45,399
It was kind of challenging because it was
in the warehouse. There was no sets, nothing.
1129
01:05:45,567 --> 01:05:47,735
ELLENBERG:
Arthur Max put it together super simple.
1130
01:05:47,902 --> 01:05:51,697
We used a Panavision storage room
at Pinewood...
1131
01:05:51,865 --> 01:05:55,909
...but it gave it a kind of industrial,
creepy vibe.
1132
01:05:56,578 --> 01:05:58,704
WOLSKl: We just completely improvised
something with whatever.
1133
01:05:58,872 --> 01:06:03,125
I had some LED lights that later on
became a whole theme of the film.
1134
01:06:03,293 --> 01:06:07,087
I need to know what that thing said
to you before it ripped your head off.
1135
01:06:07,255 --> 01:06:10,924
Noomi was great. She killed her scenes,
and you saw the ferocity.
1136
01:06:11,092 --> 01:06:12,718
Don't talk about my father.
1137
01:06:12,886 --> 01:06:15,888
ELLENBERG: The power of her
and her screen presence just kind of came out.
1138
01:06:16,056 --> 01:06:19,266
And Fox, to its credit,
decided to back Ridley's vision.
1139
01:06:19,434 --> 01:06:21,602
You said you could
figure out their navigation.
1140
01:06:21,770 --> 01:06:23,604
FASSBENDER: There's a really
interesting quality about her.
1141
01:06:23,772 --> 01:06:26,482
There's a toughness there,
but then there's a vulnerability to her...
1142
01:06:26,649 --> 01:06:31,195
...which l think Sigourney had
in the first one, which was very interesting.
1143
01:06:31,363 --> 01:06:33,822
You know, there's a sort of maternal
side to her...
1144
01:06:33,990 --> 01:06:36,950
...but then there's also this sort of,
you know, warrior.
1145
01:06:37,118 --> 01:06:39,661
You can do whatever you need to do.
1146
01:06:40,121 --> 01:06:41,580
Everything.
1147
01:06:41,748 --> 01:06:45,000
YATES: With Noomi,
we were very fortunate, look-wise...
1148
01:06:45,168 --> 01:06:50,506
...that we could actually--
Because we had access to her a great deal.
1149
01:06:50,673 --> 01:06:52,132
And she was very up for it.
1150
01:06:52,300 --> 01:06:55,177
So we went through every single look.
Ha-ha-ha.
1151
01:06:55,345 --> 01:06:57,513
RAPACE:
I had many, many costume fittings.
1152
01:06:57,680 --> 01:07:00,974
I need to be able to move
and to be free at the same time...
1153
01:07:01,142 --> 01:07:05,270
...even though we need
to have all this kind of equipment on.
1154
01:07:05,438 --> 01:07:09,983
We went through the futuristic look.
We went through the Star Trek type of look.
1155
01:07:10,151 --> 01:07:15,155
We went through diagonals.
We went through Eastern looks.
1156
01:07:15,323 --> 01:07:19,785
We basically came down--
And she is the only one that is doing this.
1157
01:07:20,453 --> 01:07:23,539
--to her wearing a flight suit.
1158
01:07:23,706 --> 01:07:26,417
Don't photograph it from above.
You're photographing it from here.
1159
01:07:26,584 --> 01:07:28,669
-Yeah. Yeah.
-Photograph from here, right?
1160
01:07:28,837 --> 01:07:31,046
Because then it always looks a bit....
1161
01:07:31,214 --> 01:07:35,426
See, l'm looking down on you like-- Okay.
1162
01:07:35,593 --> 01:07:38,095
There you go. See, that's a--
1163
01:07:38,263 --> 01:07:40,681
RAPACE: Ridley's very--
You know, he has a very clear vision.
1164
01:07:40,849 --> 01:07:43,392
When we're working,
with the scenes and the costumes...
1165
01:07:43,560 --> 01:07:47,688
...and every little detail,
it's like he knows what he wants.
1166
01:07:47,856 --> 01:07:51,358
But he's very open at the same time,
so if l come up with something...
1167
01:07:51,526 --> 01:07:54,153
...he's always ready to kind of try that
and think about it.
1168
01:07:54,320 --> 01:07:58,240
So it really felt like
we were finding her look together.
1169
01:07:58,408 --> 01:08:01,034
And this mission, it's very practical...
1170
01:08:01,202 --> 01:08:04,455
...so l wanted to have hair
that we didn't need to fix.
1171
01:08:04,622 --> 01:08:05,873
She hadn't done anything.
1172
01:08:06,040 --> 01:08:09,877
So if we can get to that with the blond one
as well, that's really good.
1173
01:08:10,044 --> 01:08:11,128
-I agree.
-But it's kind of--
1174
01:08:11,296 --> 01:08:13,213
-The dark one makes it much--
-Yeah.
1175
01:08:13,381 --> 01:08:16,758
Go straight into something
that is quite close to me.
1176
01:08:16,926 --> 01:08:19,470
-And is really the opposite to...
-Good for her skin color.
1177
01:08:19,637 --> 01:08:20,721
...Vickers, yeah.
1178
01:08:20,889 --> 01:08:26,143
So it was a balance between finding
something that was quite soft...
1179
01:08:26,311 --> 01:08:30,063
...but not hardcore or boyish
or masculine.
1180
01:08:30,231 --> 01:08:31,857
And I've never been red.
1181
01:08:32,025 --> 01:08:35,986
And Nana,
the fantastic hairdresser we have...
1182
01:08:36,154 --> 01:08:38,906
...she brought so many different wigs
and she had one red.
1183
01:08:39,073 --> 01:08:41,241
I was like, "Wow, well, but maybe not."
1184
01:08:41,409 --> 01:08:44,161
And Ridley saw it and he was like,
"No, l don't think so. Not red."
1185
01:08:44,329 --> 01:08:48,540
And then we popped it on and he was like:
"Oh, wow, yeah." Ha-ha-ha.
1186
01:08:48,708 --> 01:08:49,750
The red looks really good.
1187
01:08:49,918 --> 01:08:54,213
Her whole persona
with this red hair that she has...
1188
01:08:54,380 --> 01:08:58,425
...is a completely different persona
to had she been blond.
1189
01:08:58,593 --> 01:09:00,093
So it did have an impact.
1190
01:09:00,261 --> 01:09:03,305
Just really more the linear function
of her clothing.
1191
01:09:03,473 --> 01:09:07,142
She's got long lines
and she's got functionality...
1192
01:09:07,310 --> 01:09:11,188
...and she's basically a practical dresser.
1193
01:09:12,774 --> 01:09:14,775
[lNDISTlNCT CHATTER]
1194
01:09:16,069 --> 01:09:19,655
SCOTT: Finding Holloway, l don't know
why it became quite difficult.
1195
01:09:19,822 --> 01:09:22,950
So I took a long time casting him
because he was so important...
1196
01:09:23,117 --> 01:09:26,495
...and, you know, had to be the equivalent
of Noomi in a funny kind of way...
1197
01:09:26,663 --> 01:09:29,122
...believing that they could be a couple...
1198
01:09:29,290 --> 01:09:33,460
...both on level of intelligence
and that's gotta be real.
1199
01:09:33,628 --> 01:09:37,297
Finally Avy Kaufman came up with this guy,
Logan Marshall-Green...
1200
01:09:37,465 --> 01:09:40,467
...a New York actor who'd only been doing
stage at that particular moment.
1201
01:09:40,635 --> 01:09:44,263
Done a couple of films prior to that,
but mostly a stage actor.
1202
01:09:44,889 --> 01:09:46,974
MARSHALL-GREEN:
I didn't know what I was getting into.
1203
01:09:47,141 --> 01:09:51,895
I had auditioned with a scene in a Ridley
Scott movie that was a science fiction.
1204
01:09:52,063 --> 01:09:54,940
So all l knew was that
there was some interest in me...
1205
01:09:55,108 --> 01:09:59,486
...and there was a chance that
I was going to be offered this opportunity.
1206
01:09:59,988 --> 01:10:03,031
And I'm reading the script and l'm like,
"Well, this is a pretty good script."
1207
01:10:03,199 --> 01:10:06,034
I'm reading it and I'm about at page 80.
1208
01:10:06,202 --> 01:10:08,829
And I was like,
"Oh, well, you know, I die."
1209
01:10:09,080 --> 01:10:11,665
Um.... That's too bad,
but l still wanna keep reading.
1210
01:10:11,833 --> 01:10:15,502
And then I get to about page 1 00
and I had to stop.
1211
01:10:15,670 --> 01:10:18,046
I was like, "Wait a minute.
Did l just read that correctly?"
1212
01:10:18,214 --> 01:10:21,883
It was just a moment
looking out over the Hudson...
1213
01:10:22,051 --> 01:10:24,511
...where l realized
I was in an Alien movie.
1214
01:10:24,679 --> 01:10:29,182
SCOTT:
I met with him on a transatlantic Skype.
1215
01:10:29,350 --> 01:10:32,561
And liked what he had to say about it.
1216
01:10:32,729 --> 01:10:34,688
Then he actually read on Skype.
1217
01:10:34,856 --> 01:10:38,775
Then he was flown in to meet
and that was it.
1218
01:10:42,322 --> 01:10:44,698
[TALKlNG lNDISTINCTLY]
1219
01:10:44,866 --> 01:10:47,117
MARSHALL-GREEN:
I didn't wanna play him sick.
1220
01:10:47,285 --> 01:10:53,081
You know, with the standard symptoms
of being infected with some life form.
1221
01:10:53,249 --> 01:10:56,627
I wanted it to come out
in a way comically as well.
1222
01:10:56,794 --> 01:11:03,008
I think we do-- When we're sick,
we fight against those symptoms...
1223
01:11:03,176 --> 01:11:06,386
-...of being down and depressed.
MAN: V mark.
1224
01:11:06,554 --> 01:11:08,388
It's okay, babe.
1225
01:11:08,806 --> 01:11:10,766
I love you, El.
1226
01:11:12,226 --> 01:11:14,561
SHAW: No, Charlie! No! No!
-Get back!
1227
01:11:15,021 --> 01:11:16,480
SHAW:
No!
1228
01:11:22,111 --> 01:11:26,615
THERON: l had heard about this film
and had actually talked to Ridley about it...
1229
01:11:26,783 --> 01:11:29,534
...just kind of knowing
that I wasn't available to do it...
1230
01:11:29,702 --> 01:11:32,245
...but l was just really interested
to hear what he was gonna do.
1231
01:11:32,413 --> 01:11:34,998
And I remembered at dinner
he had pitched the story to me...
1232
01:11:35,166 --> 01:11:37,125
...and I was really
just so impressed by it.
1233
01:11:37,293 --> 01:11:40,379
Then the film
I was supposed to do pushed.
1234
01:11:40,546 --> 01:11:42,923
Ridley found out about it.
And I was traveling at the time...
1235
01:11:43,091 --> 01:11:44,841
...and he sent me the script
and I read it...
1236
01:11:45,009 --> 01:11:47,094
...and I came back to L.A.
and we got on the phone...
1237
01:11:47,261 --> 01:11:49,554
...and had a good discussion about it.
1238
01:11:49,722 --> 01:11:53,433
And we just kind of built her that way,
just kind of talking a lot.
1239
01:11:53,601 --> 01:11:58,063
And I went to London and we sat down for
a bit with him and with Damon, the writer.
1240
01:11:58,231 --> 01:12:01,733
SCOTT:
Vickers was a company person as well...
1241
01:12:01,901 --> 01:12:05,445
...who is kind of fundamentally
isolated from the crew...
1242
01:12:05,613 --> 01:12:08,865
...by her own makeup of who she is...
1243
01:12:09,033 --> 01:12:11,493
...and she's very much
a company person.
1244
01:12:11,661 --> 01:12:14,705
She lives in an apartment
onboard the ship, the Prometheus...
1245
01:12:14,872 --> 01:12:20,961
...which, frankly, could grace
a Fifth Avenue apartment in New York.
1246
01:12:21,129 --> 01:12:24,256
THERON: The way we kind of set her up
right from the beginning is that...
1247
01:12:24,424 --> 01:12:28,009
...it's very clear and very evident
that there's either an alternative agenda...
1248
01:12:28,177 --> 01:12:33,223
...or there's something that is not truthfully
being spoken about with her.
1249
01:12:33,391 --> 01:12:34,433
This is Vickers.
1250
01:12:34,600 --> 01:12:38,937
She's a bit of an enigma, and l think that
mystery was something that l really liked.
1251
01:12:39,105 --> 01:12:41,481
This is a beautiful ensemble cast.
1252
01:12:41,983 --> 01:12:45,318
And so you kind of try and find the few
elements in your character...
1253
01:12:45,486 --> 01:12:48,447
...that kind of sets her apart from the rest.
1254
01:12:48,614 --> 01:12:52,659
And I do like that she really is
in many ways the character...
1255
01:12:52,827 --> 01:12:56,663
...that kind of almost goes against
or fights everything...
1256
01:12:56,831 --> 01:12:59,332
...that everybody else is there to do
and excited about.
1257
01:12:59,834 --> 01:13:01,418
Hey! I said, what are you doing?
1258
01:13:01,586 --> 01:13:04,171
This is my ship
and I told you to take us home.
1259
01:13:04,338 --> 01:13:09,342
She is a witch.
She's really the ice queen.
1260
01:13:09,510 --> 01:13:11,178
You are a terrible lay, by the way.
1261
01:13:11,345 --> 01:13:18,351
It had always been our vision
to make her look as sculptural as possible.
1262
01:13:18,686 --> 01:13:23,315
So a beautiful,
beautiful silk mohair suit...
1263
01:13:23,483 --> 01:13:27,194
...in ice silver
was obviously the way to go.
1264
01:13:27,361 --> 01:13:30,697
THERON: l feel like so much
of how l kind of build a character...
1265
01:13:30,865 --> 01:13:33,200
...happens for me through
Wardrobe and Hair and Makeup.
1266
01:13:33,367 --> 01:13:37,412
When she said, "l wanna build you this suit,"
I just thought, "Corporate suit."
1267
01:13:37,580 --> 01:13:42,042
And what she ended up with
was this incredible futuristic....
1268
01:13:42,210 --> 01:13:46,630
It's like sharkskin silver, gray, shiny.
1269
01:13:46,798 --> 01:13:50,258
This suit was fitted
to an inch of my body.
1270
01:13:50,426 --> 01:13:52,844
But there was something about
putting the jacket on...
1271
01:13:53,012 --> 01:13:56,056
...that almost, like, made me feel like
I was throwing my back out...
1272
01:13:56,224 --> 01:13:59,893
...because when I put it on,
it just kind of sucked me into this posture...
1273
01:14:00,061 --> 01:14:01,478
...that just became Vickers.
1274
01:14:01,646 --> 01:14:05,982
And I would put this jacket on
and it was just like Vickers just came alive.
1275
01:14:06,150 --> 01:14:08,443
MAN:
Fourteen Charlie, take two, A mark.
1276
01:14:08,611 --> 01:14:13,365
SCOTT: The male housekeeper
onboard the ship is called David.
1277
01:14:13,533 --> 01:14:15,826
He is a creation
of the Weyland Corporation.
1278
01:14:15,993 --> 01:14:21,164
We don't hide the fact, because Alien 1,
you know, had a character in there...
1279
01:14:21,332 --> 01:14:23,667
...who was played by Ian Holm...
1280
01:14:23,835 --> 01:14:26,586
...and at that moment,
he was a hidden agenda of the company.
1281
01:14:27,004 --> 01:14:31,508
So I thought rather than hide the fact,
it'll be more fun while everyone's sleeping...
1282
01:14:31,676 --> 01:14:35,470
...for this number of--
The distance that this ship will take...
1283
01:14:35,638 --> 01:14:38,515
...David will be there
keeping an eye on things.
1284
01:14:42,854 --> 01:14:44,855
I'm king of the world.
1285
01:14:45,690 --> 01:14:49,609
SCOTT: One of the best actors we've got
out there right now is Michael Fassbender.
1286
01:14:49,777 --> 01:14:51,695
And I just point-blank asked him.
1287
01:14:51,863 --> 01:14:54,906
And he read the script and point-blank
said yes and that was it.
1288
01:14:55,074 --> 01:14:57,993
My only instruction to Michael
I think was l said:
1289
01:14:58,160 --> 01:15:01,204
"You know, in essence you're a servant."
1290
01:15:01,372 --> 01:15:07,127
So his combination
of that massive mental capability...
1291
01:15:07,295 --> 01:15:09,087
...at the same time as having
to be servile...
1292
01:15:09,255 --> 01:15:11,131
...gives rise for some actually
pretty humorous--
1293
01:15:11,299 --> 01:15:13,508
I think he's quite humorous.
1294
01:15:13,676 --> 01:15:15,635
FASSBENDER:
What l was really wanting to work...
1295
01:15:15,803 --> 01:15:17,721
...with David as well
is the ambiguity about him.
1296
01:15:17,889 --> 01:15:20,724
I want him to be like that guy
that's so annoying, you know.
1297
01:15:20,892 --> 01:15:23,184
Like, "ls he taking the piss out of me
or being for real?"
1298
01:15:23,352 --> 01:15:27,564
And I always want that. It's like
you don't know with him what's going on.
1299
01:15:27,732 --> 01:15:30,400
That sort of ambiguity you want to have
with the audience as well...
1300
01:15:30,568 --> 01:15:32,319
...where they're not sure, you know.
1301
01:15:32,486 --> 01:15:37,282
"ls there an agenda? Has this robot got,
you know, human feelings?"
1302
01:15:37,950 --> 01:15:42,287
So just trying to sort of
address all the areas correctly.
1303
01:15:42,455 --> 01:15:45,332
Michael Fassbender's one of
the best actors l've ever worked with.
1304
01:15:45,499 --> 01:15:49,044
He has an immediate access
to things that takes...
1305
01:15:49,211 --> 01:15:52,339
...on a good day, hours for most actors.
1306
01:15:52,506 --> 01:15:55,634
And in a not-so-good day, months...
1307
01:15:56,385 --> 01:15:59,846
...for other actors.
He has just a real raw talent.
1308
01:16:00,014 --> 01:16:02,641
-Got it. Genius. Now cut.
-Ha-ha-ha.
1309
01:16:02,808 --> 01:16:04,351
SCOTT:
Action.
1310
01:16:05,144 --> 01:16:06,686
How long?
1311
01:16:07,438 --> 01:16:11,816
Sixteen inches, fully erect.
It varies when it's relaxed.
1312
01:16:12,234 --> 01:16:14,694
-Let's get--
-Where would you like me, over here?
1313
01:16:15,696 --> 01:16:17,989
-I'd like you to remove your pants first.
-Certainly.
1314
01:16:18,157 --> 01:16:19,699
[THERON LAUGHS]
1315
01:16:21,160 --> 01:16:22,702
Make it quick.
1316
01:16:23,329 --> 01:16:27,374
-It's the wires. The wires everywhere.
MAN: Cut it.
1317
01:16:27,541 --> 01:16:28,583
[HUMS]
1318
01:16:28,751 --> 01:16:30,085
Morning.
1319
01:16:30,252 --> 01:16:32,963
FASSBENDER:
There's a very easy relationship on set.
1320
01:16:33,130 --> 01:16:36,174
Everybody's having fun
and sort of getting on with it.
1321
01:16:36,342 --> 01:16:39,552
That thing does bypass surgery.
What do you need it for? Bypass surgery.
1322
01:16:39,720 --> 01:16:41,221
[ALL LAUGHING]
1323
01:16:41,389 --> 01:16:45,100
There is a young, fresh cast,
but then we've also got...
1324
01:16:45,267 --> 01:16:49,854
...you know, heavy sort of Oscar-winners.
Sort of, Charlize Theron.
1325
01:16:50,022 --> 01:16:53,525
And she plays Vickers,
who's like this coldhearted bitch.
1326
01:16:53,693 --> 01:16:58,571
And she's not very nice to David either.
I don't think anyone really is.
1327
01:16:58,739 --> 01:17:02,742
Basically we wanted that sort of
immaculate, blond side-parting...
1328
01:17:02,910 --> 01:17:05,078
...and evertyhing is so precise with him.
1329
01:17:05,246 --> 01:17:09,582
In terms of his outfit, Janty
came up with a very sort of totalitarian...
1330
01:17:09,750 --> 01:17:12,919
...sort of almost fascist-type
sort of uniform...
1331
01:17:13,087 --> 01:17:15,588
...you know, where everything is just so
and in place.
1332
01:17:15,756 --> 01:17:22,554
YATES: He was actually going to be barefoot,
because why would he need anything?
1333
01:17:22,722 --> 01:17:26,891
But because of the line in the script
that he gets into a space suit...
1334
01:17:27,059 --> 01:17:32,397
...and he does conform
to the normal human apparel...
1335
01:17:32,565 --> 01:17:35,775
...we just kept him down to very fine lines.
Very--
1336
01:17:35,943 --> 01:17:41,072
Again, the linear look,
which matches his character, really.
1337
01:17:41,240 --> 01:17:44,284
Just jackets that are all-in-one,
trouble-free.
1338
01:17:44,618 --> 01:17:49,414
And in the end,
we used the flip-flop option.
1339
01:17:50,332 --> 01:17:52,834
LlNDELOF: I feel like most of
the coolness of David...
1340
01:17:53,002 --> 01:17:57,047
...really was evoked by
Fassbender's previous work.
1341
01:17:57,214 --> 01:18:00,091
As opposed to me saying,
"This is what it's gonna be."
1342
01:18:00,259 --> 01:18:04,137
Because him playing that role
as a synthetic human...
1343
01:18:04,305 --> 01:18:07,974
...just opened all these other creative doors
and was just the greatest thing ever...
1344
01:18:08,142 --> 01:18:10,810
...so it's almost like the words
that are coming out of his mouth...
1345
01:18:10,978 --> 01:18:12,979
...don't even feel like
they're words that l wrote.
1346
01:18:13,147 --> 01:18:16,191
They're just words that Fassbender
was whispering in my ear...
1347
01:18:16,358 --> 01:18:18,985
...as l was typing on my computer.
1348
01:18:20,196 --> 01:18:22,614
MAN:
Seventy-nine Charlie, take four.
1349
01:18:23,199 --> 01:18:24,866
I'm just the captain.
1350
01:18:25,034 --> 01:18:29,496
Janek, l'd worked with once before
on American Gangster.
1351
01:18:29,663 --> 01:18:34,667
Idris Elba.
And Idris, l'd always admired his stuff.
1352
01:18:34,835 --> 01:18:37,337
I need a strong guy,
a guy who could fly the ship.
1353
01:18:37,505 --> 01:18:39,506
I'd believe him, l'd buy him...
1354
01:18:39,673 --> 01:18:45,345
...into being probably ex-pilot
of some kind before he joined up...
1355
01:18:45,513 --> 01:18:48,723
...with the Weyland Corporation
where he did a few long hauls.
1356
01:18:48,891 --> 01:18:51,893
Fortunately for me, he said yes,
so I was thrilled to bits.
1357
01:18:52,061 --> 01:18:57,190
And he evolves
right through the three acts...
1358
01:18:57,358 --> 01:19:01,611
...finally turning himself into a bomb
which will bring down the juggernaut.
1359
01:19:01,779 --> 01:19:05,365
The set of characters in this film
is kind of vast.
1360
01:19:05,533 --> 01:19:08,618
I think Ridley's put together
an interesting set of cast.
1361
01:19:08,786 --> 01:19:10,370
You watch these people,
you believe them.
1362
01:19:10,538 --> 01:19:16,626
And Ridley's very good at directing
these actors to seem like a team.
1363
01:19:16,794 --> 01:19:18,128
Or not.
1364
01:19:18,295 --> 01:19:22,257
FASSBENDER: Then you've got Rafe Spall
and Sean Harris...
1365
01:19:22,424 --> 01:19:25,552
...two English actors
who l was aware of their work.
1366
01:19:25,719 --> 01:19:27,929
And they're just great guys.
They make a great pair.
1367
01:19:28,097 --> 01:19:31,683
I think they're gonna be, again, bringing
a lot of comedy element to the film.
1368
01:19:31,851 --> 01:19:36,938
And also just the dynamic between them
is very organic and very loose.
1369
01:19:37,106 --> 01:19:38,731
And that's the great thing about Ridley.
1370
01:19:38,899 --> 01:19:42,527
He allows you to go off-page, stay on-page,
do whatever you want, really.
1371
01:19:42,695 --> 01:19:45,238
And if it works, it works.
If it doesn't, it doesn't.
1372
01:19:45,406 --> 01:19:47,532
You know, and there's no pressure.
1373
01:19:48,325 --> 01:19:50,910
Then we've got Kate Dickie,
who is in Red Road.
1374
01:19:51,078 --> 01:19:53,413
I saw her, she blew me away in that film.
1375
01:19:53,581 --> 01:19:57,876
Every morning we have to insert
Michael Fassbender's head onto his body...
1376
01:19:58,043 --> 01:20:01,254
...in order to get him to perform.
1377
01:20:01,422 --> 01:20:03,548
Every night he goes home
and his bloody head falls off.
1378
01:20:03,716 --> 01:20:06,217
I always forget, my creator.
1379
01:20:06,385 --> 01:20:09,804
Yeah, Guy's a blast. l mean,
we just sort of end up telling jokes all day.
1380
01:20:09,972 --> 01:20:12,432
Check. Checks. Checks.
1381
01:20:12,600 --> 01:20:14,267
Union. Hey, union.
1382
01:20:14,435 --> 01:20:16,603
Bathing his feet.
I think that was my most fun day.
1383
01:20:16,770 --> 01:20:19,022
Three Brazilian swimwear models...
1384
01:20:19,190 --> 01:20:21,441
...two Pygmies waiting in your room, sir,
as requested.
1385
01:20:21,609 --> 01:20:23,776
-Only two?
-That's all I could find.
1386
01:20:23,944 --> 01:20:27,655
Like, "l have the two Pygmies
and three Brazilian swimwear models...
1387
01:20:27,823 --> 01:20:30,909
...waiting in your room, sir."
And he's like, "Only two Pygmies?" Ha-ha.
1388
01:20:31,076 --> 01:20:33,369
[LAUGHlNG]
1389
01:20:33,537 --> 01:20:35,955
He's very easy to work with.
He's a consummate professional.
1390
01:20:36,123 --> 01:20:39,417
I mean, again,
his work speaks for himself.
1391
01:20:39,585 --> 01:20:44,631
Meredith, I've always despised
that sarcastic attitude.
1392
01:20:44,798 --> 01:20:46,591
I was so happy to get him.
1393
01:20:46,759 --> 01:20:49,177
He can-- Guy can play anything.
1394
01:20:49,345 --> 01:20:53,806
And why not have a seriously intelligent,
I mean, genius?
1395
01:20:53,974 --> 01:20:56,476
A man who's kind of a combination of,
you know...
1396
01:20:56,644 --> 01:20:59,229
...Edison, Bill Gates and Steve Jobs.
1397
01:20:59,396 --> 01:21:01,648
PEARCE:
He's the billionaire megalomaniac.
1398
01:21:01,815 --> 01:21:05,318
He's a man who thinks outside
of the square.
1399
01:21:05,486 --> 01:21:09,781
And a lot of people do that in life,
but a lot of people don't have the facility...
1400
01:21:09,949 --> 01:21:12,492
...or the finance to be able to
actually act on that.
1401
01:21:13,035 --> 01:21:18,498
I believe that he feels that we've gotten
so close, that we're getting closer...
1402
01:21:18,666 --> 01:21:22,252
...that it's actually possible to discover
who it is that actually created us.
1403
01:21:23,504 --> 01:21:25,672
You know, the process
that I had to go through was...
1404
01:21:25,839 --> 01:21:29,259
...quite a lot of prosthetic makeup
in order to look as old--
1405
01:21:29,426 --> 01:21:31,928
You know, it was basically
around about the 1 00-year mark.
1406
01:21:32,096 --> 01:21:37,976
So it was important to find a way
to make that look as realistic as possible.
1407
01:21:38,143 --> 01:21:42,188
Which, you know, the Prosthetics team
did an incredible job...
1408
01:21:42,564 --> 01:21:45,233
...but it takes five hours
in a makeup chair to get it there.
1409
01:21:45,401 --> 01:21:48,069
I was a lot younger when
I first sat down in this makeup chair.
1410
01:21:48,237 --> 01:21:49,821
[LAUGHlNG]
1411
01:21:50,698 --> 01:21:53,533
Just an indication of how bloody long
we've been sitting here.
1412
01:21:53,701 --> 01:21:56,786
PEARCE: The difficult thing about playing
somebody who's a lot older than yourself...
1413
01:21:56,954 --> 01:22:00,456
...is that people know how old l am,
they know what I look like...
1414
01:22:00,624 --> 01:22:02,500
...so there's always gonna
be scrutiny anyway.
1415
01:22:03,043 --> 01:22:04,627
I'm just hiding myself away.
1416
01:22:04,795 --> 01:22:06,546
I mean, I remember saying to Ridley:
1417
01:22:06,714 --> 01:22:09,674
"Why aren't you just casting
some old bloke?"
1418
01:22:09,842 --> 01:22:13,511
But it was important for him at the time
to find somebody...
1419
01:22:13,679 --> 01:22:17,849
...who sort of had a youthful quality,
I suppose, that comes through.
1420
01:22:18,017 --> 01:22:22,478
And then once I talk about David being
in the room, maybe l can wander forward.
1421
01:22:22,646 --> 01:22:26,316
PEARCE: But at the same time, manage
something that was seemingly realistic.
1422
01:22:26,483 --> 01:22:27,775
May I rest in peace.
1423
01:22:27,943 --> 01:22:29,110
[CHUCKLES]
1424
01:22:41,415 --> 01:22:44,584
YATES:
How l started with Prometheus...
1425
01:22:44,752 --> 01:22:48,755
...was really by
vast quantities of research.
1426
01:22:48,922 --> 01:22:52,258
And it just all screamed to me:
1427
01:22:52,426 --> 01:22:55,678
"Prototype, prototype, prototype,
as soon as possible."
1428
01:22:55,846 --> 01:22:58,931
Ridley was quite adamant
that he wanted to avoid...
1429
01:22:59,099 --> 01:23:04,729
...the puffy space suit
that is really a NASA space suit.
1430
01:23:05,773 --> 01:23:09,817
SCOTT: lt can't be too bulky.
It's gotta be practical. They have to be athletic.
1431
01:23:09,985 --> 01:23:12,487
By then, they won't be
walking around in suits...
1432
01:23:12,654 --> 01:23:16,115
...which are this fat and this thick
to keep them warm.
1433
01:23:16,283 --> 01:23:21,913
You'll have such an evolution of capabilities
by then, they'll probably be skintight.
1434
01:23:22,081 --> 01:23:28,002
He loved the skinny look of the NASA
undersuits which in the '60s were silver.
1435
01:23:28,170 --> 01:23:31,089
And he loved that look,
the very linear look.
1436
01:23:31,256 --> 01:23:34,300
It was more interesting, really.
More technical.
1437
01:23:34,468 --> 01:23:38,388
And plus it gave the actors
a lot more chance to be mobile.
1438
01:23:38,555 --> 01:23:42,975
Under the space suit,
which has basically two layers...
1439
01:23:43,143 --> 01:23:45,812
...there is a neoprene under-undersuit.
1440
01:23:45,979 --> 01:23:49,148
SCOTT:
And action!
1441
01:23:49,650 --> 01:23:51,609
[GRUNTS]
1442
01:23:53,320 --> 01:24:00,034
YATES: And it's a form of a biosuit, airprene,
which is a neoprene which breathes.
1443
01:24:00,202 --> 01:24:02,286
So the actors would never get hot.
1444
01:24:02,454 --> 01:24:07,083
And we were able to buy
this amazing neoprene from Taiwan...
1445
01:24:07,251 --> 01:24:09,168
...with a beautiful pattern on it.
1446
01:24:09,336 --> 01:24:12,922
And then all the tubes
that monitor the blood...
1447
01:24:13,090 --> 01:24:16,801
...that monitor the oxygen levels,
that monitor your heart rate...
1448
01:24:16,969 --> 01:24:21,973
...were attached in an orange tubing
around the body.
1449
01:24:22,141 --> 01:24:24,016
And so it's quite a thing of beauty.
1450
01:24:24,184 --> 01:24:25,852
SCOTT:
Action!
1451
01:24:26,562 --> 01:24:30,022
I'm so excited because the neoprene ones
are the ones with all the orange.
1452
01:24:30,190 --> 01:24:32,108
You know, the rubber ones.
1453
01:24:32,276 --> 01:24:35,153
They don't get seen that often.
They're supposed to go under our blue.
1454
01:24:35,320 --> 01:24:40,533
And they are just beautifully beautiful,
molded, amazing.
1455
01:24:40,701 --> 01:24:43,995
SCOTT: l figured by then,
you'll put a bubble on your head.
1456
01:24:44,163 --> 01:24:47,373
Why are you gonna create a helmet
where you've got blind spots?
1457
01:24:47,541 --> 01:24:48,708
That's ridiculous.
1458
01:24:48,876 --> 01:24:51,711
When you wanna do that,
you really want a globe...
1459
01:24:51,879 --> 01:24:55,923
...because the plastic by then
will be absolutely bulletproof.
1460
01:24:56,091 --> 01:24:59,385
You're gonna have a helmet
which has no blind spots at all.
1461
01:24:59,553 --> 01:25:03,931
And in that helmet, they've got
video screens this big, like postage stamps.
1462
01:25:04,099 --> 01:25:08,853
Each one works, so in there, he can look at,
you know, Fifield and Millburn.
1463
01:25:09,021 --> 01:25:12,231
If they wanna talk to him,
he can glance at them to see them.
1464
01:25:12,399 --> 01:25:16,235
Around his neck will be all this technology
which will whisper in his ear all the time.
1465
01:25:16,612 --> 01:25:18,654
YATES:
To start with the helmet...
1466
01:25:18,822 --> 01:25:24,869
...the globe was very specific to Ridley's
design, which is egg-shaped...
1467
01:25:25,037 --> 01:25:31,250
...which is more oval
than any other globe or dome...
1468
01:25:31,418 --> 01:25:34,754
...that I've seen on a helmet before.
1469
01:25:34,922 --> 01:25:37,590
And integral into that helmet...
1470
01:25:37,758 --> 01:25:42,428
...are nine working video screens...
1471
01:25:42,596 --> 01:25:45,681
...X amount of tech
being played on them.
1472
01:25:45,849 --> 01:25:48,851
What we've got here
is our kind of basic shells...
1473
01:25:49,019 --> 01:25:54,899
...being fitted up with their
internal dashboards and LCD screens...
1474
01:25:55,067 --> 01:25:59,487
...and all the associated electronics
that drive the screens in here...
1475
01:25:59,655 --> 01:26:02,073
...the screens up in the domes.
1476
01:26:02,241 --> 01:26:07,328
YATES: There is lighting to suit our lighting
cameraman so he can light the face.
1477
01:26:07,496 --> 01:26:11,290
So that was batches of LEDs
that had to be installed.
1478
01:26:11,458 --> 01:26:13,876
PEARMAlN: Also there are some effects
we can have on there...
1479
01:26:14,044 --> 01:26:17,296
...to mimic the flickering of the screens
on their faces.
1480
01:26:17,464 --> 01:26:22,635
YATES: There's the air, which is run on two fans
with battery packs in the backpack.
1481
01:26:22,803 --> 01:26:28,933
They blow up air into the sort of globe
so you don't die. Ha-ha-ha.
1482
01:26:29,101 --> 01:26:32,144
They're wired for sound and miked.
1483
01:26:32,312 --> 01:26:34,605
It's our atmosphere. David.
1484
01:26:34,773 --> 01:26:36,607
I'm not walking around
with this on my head.
1485
01:26:36,775 --> 01:26:38,651
SHAW:
Charlie, please, don't do this. Please.
1486
01:26:38,819 --> 01:26:44,156
YATES: In this movie, there is quite a corporate
presence of the Weyland logo.
1487
01:26:44,324 --> 01:26:50,621
We've used it on every single piece of metal
that might be on the armor.
1488
01:26:50,789 --> 01:26:52,873
It's even on the boots.
1489
01:26:53,041 --> 01:26:57,336
They have Weyland logo T-shirt issue...
1490
01:26:57,504 --> 01:27:00,673
...that's just part of the stock
from the spacecraft.
1491
01:27:00,841 --> 01:27:04,343
They also have trousers
that are very overstitched.
1492
01:27:04,511 --> 01:27:09,557
And they have jackets
which have a lot of overstitching.
1493
01:27:09,725 --> 01:27:11,934
The background
of the Prometheus patch...
1494
01:27:12,102 --> 01:27:17,607
...is based on Prometheus,
the fallen angel...
1495
01:27:17,774 --> 01:27:20,109
...and he has his wings outspread...
1496
01:27:20,277 --> 01:27:25,197
...and he's looking out into the universe,
hoping to get back.
1497
01:27:30,704 --> 01:27:34,332
Something is manufacturing
breathable air down there. That, mate...
1498
01:27:34,499 --> 01:27:37,376
-...is terraforming.
-No, no. The bet was why we came here.
1499
01:27:37,544 --> 01:27:39,211
PEARCE:
It really was a great group.
1500
01:27:39,379 --> 01:27:41,297
Fassbender's a genius.
1501
01:27:41,465 --> 01:27:43,674
I mean, I've worked with
a couple of actors this year...
1502
01:27:43,842 --> 01:27:46,010
...and Fassbender just is extraordinary.
1503
01:27:46,178 --> 01:27:50,556
Noomi was fantastic.
Really lovely, incredibly down-to-earth.
1504
01:27:50,724 --> 01:27:54,602
Charlize was hilarious. She kept talking
about winning an Oscar all the time.
1505
01:27:54,770 --> 01:27:58,731
You have to kind of live this Gypsy life
with a bunch of strangers...
1506
01:27:58,899 --> 01:28:00,816
...and there's something really
amazing in that...
1507
01:28:00,984 --> 01:28:04,028
...if you can find that, you know,
and enjoy that.
1508
01:28:16,625 --> 01:28:17,625
[English - US - SDH]
1509
01:28:24,883 --> 01:28:28,052
ELLENBERG: Every set you see in the movie
was being prepared on a rolling basis.
1510
01:28:28,220 --> 01:28:31,847
And for a movie of this scale
and this level of design, that was terrifying.
1511
01:28:32,808 --> 01:28:37,853
You walk onto a set, and the set's there,
it's there. It's not a green screen or anything.
1512
01:28:38,021 --> 01:28:40,690
It's literally there. And you know
you've just walked onto that set.
1513
01:28:40,857 --> 01:28:45,903
And that is absolutely-- That's alien.
You're on an alien environment.
1514
01:28:46,071 --> 01:28:50,449
FASSBENDER: One thing that sort of did blow
me away immediately are the sets on this film.
1515
01:28:50,617 --> 01:28:53,703
And I've definitely never been on any sets
like it before and l don't think...
1516
01:28:53,870 --> 01:28:56,080
...I will in the future.
1517
01:28:57,749 --> 01:29:00,334
Ridley's decision to kind of do evertyhing
practical...
1518
01:29:00,502 --> 01:29:04,255
...and build, like, the greatest alien
playground in the world...
1519
01:29:04,423 --> 01:29:06,716
...it really makes the movie feel like...
1520
01:29:06,883 --> 01:29:09,343
...it's a companion piece
to the earlier movie...
1521
01:29:09,511 --> 01:29:12,012
...because that's how he made Alien.
1522
01:29:12,180 --> 01:29:14,974
These things were over 40 feet high.
1523
01:29:15,142 --> 01:29:18,394
Some of the sets were 300 feet long.
1524
01:29:19,604 --> 01:29:21,605
SCOTT:
The set is the proscenium.
1525
01:29:21,773 --> 01:29:24,483
When they walk on in the morning,
the importance of costume...
1526
01:29:24,651 --> 01:29:27,528
...the importance of the set,
the importance of the environment...
1527
01:29:27,696 --> 01:29:29,488
...I think is evertyhing.
1528
01:29:43,837 --> 01:29:48,799
England was the attractive place
because it was 20 percent on spend.
1529
01:29:48,967 --> 01:29:50,718
So it's a great tax rebate.
1530
01:29:50,886 --> 01:29:52,803
You're still working with the same,
you know...
1531
01:29:52,971 --> 01:29:59,059
...talented artisans, chippies, carpenters,
highly skilled plasterers...
1532
01:29:59,227 --> 01:30:02,313
...highly skilled painters.
The whole team there.
1533
01:30:02,481 --> 01:30:05,983
The whole bag of goodies
that when you go to England is...
1534
01:30:06,151 --> 01:30:09,236
...I would think, now the best in the world,
anywhere.
1535
01:30:09,404 --> 01:30:13,157
Always covering all categories
and all trades.
1536
01:30:13,325 --> 01:30:16,243
It's where trade passes into art.
1537
01:30:16,703 --> 01:30:19,914
And also, working with the English crews
is kind of nice. You know, it's good fun.
1538
01:30:20,081 --> 01:30:22,333
Go and have a cup of tea,
just keep the operators here.
1539
01:30:25,128 --> 01:30:27,588
SCOTT: We ended up in Pinewood, which is--
That set is--
1540
01:30:27,756 --> 01:30:30,633
I've never worked on this
since l did Legend.
1541
01:30:30,801 --> 01:30:34,178
So we had the Bond stage, which of course
is 40 percent longer...
1542
01:30:34,346 --> 01:30:35,971
...than H stage at Shepperton.
1543
01:30:36,139 --> 01:30:40,309
So I fundamentally booked
the Bond stage for 1 0 months.
1544
01:30:40,477 --> 01:30:41,936
And five other stages.
1545
01:30:42,103 --> 01:30:44,772
So we had-- And we also had the backlot.
1546
01:30:50,779 --> 01:30:54,240
Enough of a backlot to do
some pretty marvelous stuff...
1547
01:30:54,407 --> 01:30:57,034
...from the belly of the Prometheus.
1548
01:30:57,202 --> 01:31:00,621
You've got this garage
which lowers itself down.
1549
01:31:00,789 --> 01:31:02,373
It's, like, almost hangar-sized.
1550
01:31:02,541 --> 01:31:06,085
Out of which the ATVs come
and the buses...
1551
01:31:06,253 --> 01:31:09,046
...which take our people onto the planet.
1552
01:31:09,214 --> 01:31:11,882
And everything else was a green screen.
1553
01:31:18,723 --> 01:31:20,975
ELLENBERG: We were green-lit, basically,
at the end of October...
1554
01:31:21,142 --> 01:31:23,686
...and we were shooting it, you know,
third week of March.
1555
01:31:23,854 --> 01:31:26,981
With nothing built. Zero.
1556
01:31:27,148 --> 01:31:29,233
We had designed a lot,
so that was great...
1557
01:31:29,401 --> 01:31:30,943
...but we had built nothing.
1558
01:31:31,111 --> 01:31:33,737
Because we only had that five months,
it was a madcap process...
1559
01:31:33,905 --> 01:31:37,366
...where every set would be done, struck,
and we'd start the next one...
1560
01:31:37,534 --> 01:31:40,452
...and have that ready five or six days prior
and onto the next.
1561
01:31:40,620 --> 01:31:42,580
So for a massive epic movie like this...
1562
01:31:42,747 --> 01:31:48,335
...it was done with a degree of factory
precision that was remarkable.
1563
01:31:48,503 --> 01:31:53,173
HUFFAM: Our actual prep time from when
we got the actual go-ahead to filming...
1564
01:31:53,341 --> 01:31:55,759
...was short for this scale of film.
1565
01:31:55,927 --> 01:32:00,264
So we were having to get it all done
under a huge pressure of time.
1566
01:32:00,432 --> 01:32:04,184
Also here, in London, it's very, very busy.
1567
01:32:04,352 --> 01:32:07,438
Stage space availability
was not good for us.
1568
01:32:07,606 --> 01:32:12,484
So every stage we've worked on has not
had to just work for one set...
1569
01:32:12,652 --> 01:32:16,530
...it's, at a minimum, had to work for two
and often had to work for three.
1570
01:32:17,282 --> 01:32:20,117
MAX: The Bond stage is the biggest stage
in Europe.
1571
01:32:20,285 --> 01:32:24,204
Still wasn't big enough for us
because we had a lot to get into them.
1572
01:32:24,372 --> 01:32:30,294
And so we decided to extend it by about
another third as long.
1573
01:32:31,254 --> 01:32:35,007
This is one of those sets
where size does matter.
1574
01:32:35,175 --> 01:32:38,135
And I'm sure Ridley would say it's big,
but it's not big enough.
1575
01:32:38,303 --> 01:32:39,887
We had a lot to get into them.
1576
01:32:40,055 --> 01:32:45,559
We built a roof over the entryway
and created a stage within a stage.
1577
01:32:45,727 --> 01:32:51,607
That's because we had to combine
the interior of the pyramid structure...
1578
01:32:51,775 --> 01:32:56,320
...we had to have chambers and corridors
suggesting that scale...
1579
01:32:56,488 --> 01:32:59,031
...combined with the interior
of the juggernaut...
1580
01:32:59,199 --> 01:33:04,328
...which is basically a ship similar
to the crashed derelict ship...
1581
01:33:04,496 --> 01:33:08,832
...the croissant ship of the first movie.
1582
01:33:09,000 --> 01:33:12,336
Additional 1 50 feet
was very, very beneficial...
1583
01:33:12,504 --> 01:33:15,172
...because that's the entrance
to this cave.
1584
01:33:16,091 --> 01:33:18,676
We had to be very careful about
how we used the space...
1585
01:33:18,843 --> 01:33:21,261
...because there was never gonna be
enough space...
1586
01:33:21,429 --> 01:33:24,723
...because the juggernaut was enormous
in scale...
1587
01:33:24,891 --> 01:33:28,352
...compared to the Prometheus.
More than twice as big.
1588
01:33:28,979 --> 01:33:31,522
And so we had to figure out
how we could combine...
1589
01:33:31,690 --> 01:33:34,608
...with digital extension
and 3D modeling...
1590
01:33:34,776 --> 01:33:37,361
...how we could create
that sense of scale.
1591
01:33:37,529 --> 01:33:41,824
SCOTT: l designed the Bond stage with Arthur
as a massive complex...
1592
01:33:41,992 --> 01:33:46,286
...from the minute you walk into
what I describe as the hives...
1593
01:33:46,454 --> 01:33:48,414
...they're kind of domes.
1594
01:33:48,581 --> 01:33:51,625
And because l was always going for scale,
evertyhing was big.
1595
01:33:51,793 --> 01:33:55,796
So the Bond stage was chalk to chalk.
It was jammed.
1596
01:33:55,964 --> 01:33:59,508
KEENE: We got four or five big sets,
all vying for space.
1597
01:33:59,676 --> 01:34:02,553
There is no space left in there.
There's barely enough space for the crew.
1598
01:34:03,263 --> 01:34:04,722
[BELL RINGS]
1599
01:34:05,807 --> 01:34:07,307
MAN:
Rolling.
1600
01:34:07,475 --> 01:34:09,184
KEENE:
We're always fighting each other...
1601
01:34:09,352 --> 01:34:11,770
...trying to find a little corner
to put a certain monitor.
1602
01:34:11,938 --> 01:34:14,523
A little corner to put your table
full of equipment.
1603
01:34:14,691 --> 01:34:18,485
Let's start getting everybody out of the way
who doesn't need to be here.
1604
01:34:18,987 --> 01:34:22,406
LlNDELOF: The first set that l went onto was
the interior of the ship.
1605
01:34:22,574 --> 01:34:26,160
Of the Prometheus. So the science lab
had been built and a number of corridors.
1606
01:34:26,327 --> 01:34:29,413
And I walked into video village
and Ridley was just sitting there...
1607
01:34:29,581 --> 01:34:33,208
...with 3D glasses on
and there were six HD screens.
1608
01:34:33,376 --> 01:34:35,586
Each one of them had
a different camera.
1609
01:34:35,754 --> 01:34:37,046
I looked at them and I was like:
1610
01:34:37,213 --> 01:34:40,507
"Oh, my God, like,
this is actually happening."
1611
01:34:51,102 --> 01:34:54,104
FASSBENDER: Walking around the spaceship,
you feel like you're walking on a spaceship.
1612
01:34:54,272 --> 01:34:57,149
The Art Department and the carpenters
and all the guys that have...
1613
01:34:57,317 --> 01:35:00,944
...put the work in have done
a really stunning job.
1614
01:35:03,615 --> 01:35:05,032
Mm.
1615
01:35:05,200 --> 01:35:08,952
ELLlOTT: On the first day we walked onto set,
I think there was a mutual feeling...
1616
01:35:09,120 --> 01:35:12,289
...of we were on the ship and--
You've all seen the film...
1617
01:35:12,457 --> 01:35:14,708
...so this was kind of daunting.
1618
01:35:14,876 --> 01:35:18,629
You know, we're about to do the first take
and we're now about to do...
1619
01:35:18,797 --> 01:35:21,048
...the prequel of Alien.
1620
01:35:21,216 --> 01:35:23,175
SCOTT:
And action.
1621
01:35:23,343 --> 01:35:25,219
ELLlOTT:
But after that first scene...
1622
01:35:25,386 --> 01:35:28,263
...everyone establishes who they are
and we just kind of get on with it.
1623
01:35:28,431 --> 01:35:29,473
MAN:
B mark.
1624
01:35:29,641 --> 01:35:33,894
WONG: He chose a scene where we had all just
woken up out of two years of hyper-sleep.
1625
01:35:34,062 --> 01:35:38,273
So we're all a bit spaced out anyways.
So I guess that really worked.
1626
01:35:38,441 --> 01:35:41,652
And in some respects, we didn't really
know each other, as well.
1627
01:35:41,820 --> 01:35:44,071
So, you know, the way they he planned it
was perfect.
1628
01:35:44,239 --> 01:35:45,489
MAN:
Marker.
1629
01:35:45,657 --> 01:35:47,449
Is this seat taken?
1630
01:35:47,617 --> 01:35:52,454
And that was thrilling because, you know,
for all of us, we've grown up with Alien.
1631
01:35:52,622 --> 01:35:57,793
The idea of working with Ridley Scott
and then to come onto the set...
1632
01:35:57,961 --> 01:36:02,005
...on the first day and to be
on the spaceship was unbelievable.
1633
01:36:02,173 --> 01:36:03,924
So there was like 1 5 of us.
1634
01:36:04,092 --> 01:36:07,010
He wanted to do a thing where we were
all queuing up and getting our food.
1635
01:36:07,178 --> 01:36:09,471
And he was like, "Okay, no rehearsal.
1636
01:36:09,639 --> 01:36:12,641
Let's just get three cameras on this,
see what happens."
1637
01:36:17,063 --> 01:36:19,356
My fingers are still numb.
1638
01:36:20,024 --> 01:36:22,901
And then I've never been out
this long before, so....
1639
01:36:23,069 --> 01:36:25,904
-No one's been out that long before.
-Right.
1640
01:36:26,072 --> 01:36:28,532
That was thrilling. That was like,
"We're in the Alien film."
1641
01:36:28,700 --> 01:36:32,202
You know, I mean, this is Ridley, you know,
so that was really, really cool and exciting.
1642
01:36:32,370 --> 01:36:33,996
That was the first day. It was brilliant.
1643
01:36:34,164 --> 01:36:35,372
MAN 1 : Cut it.
MAN 2: Cut it.
1644
01:36:35,540 --> 01:36:38,041
We broke for lunch and Michael Ellenberg
said to me:
1645
01:36:38,209 --> 01:36:42,212
"Let's go over to one of the other stages,"
where essentially they had built....
1646
01:36:42,380 --> 01:36:45,632
In the script, it was originally called
the ampule room.
1647
01:36:45,800 --> 01:36:48,343
There is no green screen.
They just built it.
1648
01:36:48,511 --> 01:36:52,764
This entire stage had basically been
transformed into an alien world.
1649
01:36:52,932 --> 01:36:54,641
I got tears in my eyes. I was like:
1650
01:36:54,809 --> 01:36:56,560
[GASPS]
1651
01:36:57,061 --> 01:37:01,064
Because it's almost like a piece of art.
1652
01:37:01,232 --> 01:37:06,069
With sci-fi movies, and it's out in space,
and a lot of technique...
1653
01:37:06,237 --> 01:37:11,408
...and you can kind of lose the beauty.
And you can kind of lose reality.
1654
01:37:11,576 --> 01:37:14,578
But l think Ridley is totally unique.
1655
01:37:14,746 --> 01:37:17,539
The whole design and the costumes
and evertyhing...
1656
01:37:17,707 --> 01:37:21,376
...is really beautiful in a very cruel way.
1657
01:37:21,753 --> 01:37:24,630
And it helped me so much
because you don't have to pretend then.
1658
01:37:24,797 --> 01:37:26,340
It's a short way into it.
1659
01:37:26,507 --> 01:37:29,509
SCOTT: Speed up the entrance a little bit
all around.
1660
01:37:30,511 --> 01:37:32,387
SHAW:
Stop. Don't touch it.
1661
01:37:32,555 --> 01:37:35,557
WOOD: Ampules come alive
in the middle of the set.
1662
01:37:35,725 --> 01:37:38,101
We're gonna do a dozen, actually...
1663
01:37:38,269 --> 01:37:43,232
...of practical and not a visual effect.
And it's basically corn starch and water...
1664
01:37:43,399 --> 01:37:45,234
...with a vibration underneath it.
1665
01:37:45,401 --> 01:37:49,238
Inside, you've got a container
that's gonna have the fluid in it...
1666
01:37:49,405 --> 01:37:53,242
...that distributes it from the middle
container out to the outside.
1667
01:37:53,409 --> 01:37:55,869
And that comes from a large reservoir
off set.
1668
01:37:56,037 --> 01:37:59,915
The cover goes on the top and,
at a certain point...
1669
01:38:00,083 --> 01:38:04,461
...to the director's discretion,
a little air ram pushes the lid up a little bit...
1670
01:38:04,629 --> 01:38:08,840
...and black fluid will ooze down the side
as well as the effect that you've got...
1671
01:38:09,008 --> 01:38:11,134
...on the top of the ampule.
1672
01:38:12,178 --> 01:38:15,973
SCOTT: We built more set
than you might build, normally.
1673
01:38:16,140 --> 01:38:19,226
Because, I think, it worked out
economically better...
1674
01:38:19,394 --> 01:38:21,895
...than actually saying,
"Well, let's have this green screen.
1675
01:38:22,063 --> 01:38:26,608
We can do evertyhing digitally."
Digitally is not cheaper.
1676
01:38:26,776 --> 01:38:28,151
MAN:
Nine echo, take one, A marker.
1677
01:38:28,319 --> 01:38:30,237
MARSHALL-GREEN:
Sometimes you can see the wires.
1678
01:38:30,405 --> 01:38:32,072
You know, you can see the science fiction...
1679
01:38:32,240 --> 01:38:34,116
...in a lot of movies that are made today...
1680
01:38:34,284 --> 01:38:37,786
...because the actors are doing it
in front of a green screen.
1681
01:38:37,954 --> 01:38:40,998
As much as they're being told
what is happening around them...
1682
01:38:41,165 --> 01:38:45,836
...you know, they're not attaching
the thought to that environment.
1683
01:38:46,004 --> 01:38:48,005
I mean, they're acting in a void.
1684
01:38:48,172 --> 01:38:50,549
Which l think
is always horrendously difficult...
1685
01:38:50,717 --> 01:38:52,509
...both for the actor
as well as the director.
1686
01:38:52,677 --> 01:38:53,677
MAN:
C mark.
1687
01:38:53,845 --> 01:38:55,220
MARSHALL-GREEN:
In this case...
1688
01:38:55,388 --> 01:38:57,848
...we have the luxury
of evertyhing is there on the day.
1689
01:38:58,016 --> 01:39:02,644
And we can attach the thought
to exactly what's going to be seen.
1690
01:39:02,812 --> 01:39:05,647
KEENE: So for an outsider to look at the way
we make the movie...
1691
01:39:05,815 --> 01:39:07,190
...would be pretty comical.
1692
01:39:07,358 --> 01:39:10,652
You've got a 7'6" guy
covered in red dots...
1693
01:39:10,820 --> 01:39:12,946
...and it's purely so
that they can track him...
1694
01:39:13,114 --> 01:39:15,657
...and create a computer-generated
version of it later.
1695
01:39:15,825 --> 01:39:18,368
But at least we have something practical
to play with on the day.
1696
01:39:19,037 --> 01:39:20,412
And that's great for us.
1697
01:39:20,580 --> 01:39:23,874
It's much better than, you know,
having to just imagine everything.
1698
01:39:24,042 --> 01:39:28,211
SCOTT:
It's the terrible twins. Wow.
1699
01:39:29,047 --> 01:39:31,340
Hmm. lntimidating, right?
1700
01:39:32,884 --> 01:39:34,009
BILLY:
I'm gonna make you--
1701
01:39:34,177 --> 01:39:36,053
-Hello.
-Hi. Billy, props.
1702
01:39:36,220 --> 01:39:39,473
[CHUCKLES]
Put in lubrication as well.
1703
01:39:39,891 --> 01:39:41,850
ACTOR: Pay no attention to what's going on
down there.
1704
01:39:42,018 --> 01:39:44,478
-Yes, they're fixing your testicle.
-Perfectly normal.
1705
01:39:44,645 --> 01:39:46,480
SCOTT:
The luminosity is great, isn't it?
1706
01:39:46,647 --> 01:39:47,856
FASSBENDER: I love that.
SCOTT: Look at the skin.
1707
01:39:48,024 --> 01:39:50,901
He's got-- The veins are painted in.
It's beautiful.
1708
01:39:51,069 --> 01:39:55,113
FASSBENDER: Ridley seems to like very much
the idea of building it and having it there...
1709
01:39:55,281 --> 01:39:57,449
...so everything is sort of viable.
1710
01:39:57,617 --> 01:40:01,036
The texture of everything is there to touch,
to sort of interact with.
1711
01:40:01,204 --> 01:40:04,414
That's the thing, watching him, you can see
the texture and the feel of things...
1712
01:40:04,582 --> 01:40:06,208
...is very important to him.
1713
01:40:06,376 --> 01:40:09,878
Do we need this many people here, guys?
Get behind the cameras. Move, move.
1714
01:40:10,046 --> 01:40:12,422
Anyone not doing anything,
move down that corridor.
1715
01:40:12,590 --> 01:40:16,093
-Where's the gap that that can go in?
-There are holes all over it. Keep probing.
1716
01:40:17,428 --> 01:40:20,764
DlCKlE: You're getting to see real, live things
in front of you.
1717
01:40:20,932 --> 01:40:22,891
And things like the head exploding.
1718
01:40:23,059 --> 01:40:28,271
When we take an Engineer's head back and
open it and it turns out that's not his head.
1719
01:40:28,439 --> 01:40:31,149
We open it up and inside is this head.
1720
01:40:31,317 --> 01:40:33,443
Well, then, l thought on the day
that they would say:
1721
01:40:33,611 --> 01:40:35,070
"Okay, now you're gonna
imagine this."
1722
01:40:35,238 --> 01:40:37,072
But they had
the whole Animatronics Department.
1723
01:40:37,240 --> 01:40:41,743
So this head was literally twitching,
and mouth-shaking...
1724
01:40:41,911 --> 01:40:45,789
...and blood-oozing,
and veins throbbing, and....
1725
01:40:45,957 --> 01:40:52,337
So as an actor, it's a dream because
you just can react to what's in front of you.
1726
01:40:52,505 --> 01:40:54,297
That shook you, didn't it?
1727
01:40:54,465 --> 01:40:57,384
[LAUGHS]
1728
01:40:57,552 --> 01:41:00,137
-That looks brilliant.
-Yeah, it's amazing.
1729
01:41:07,645 --> 01:41:10,313
FASSBENDER:
Never ending with these fucking doors.
1730
01:41:10,481 --> 01:41:11,815
MAN:
Cut it.
1731
01:41:12,483 --> 01:41:16,695
KEENE: Everything we've created,
from the large trucks, the space suits...
1732
01:41:16,863 --> 01:41:20,490
...everything comes
research and development on the job.
1733
01:41:20,658 --> 01:41:25,412
There's nothing that existed beforehand.
Everything's been generated from scratch.
1734
01:41:25,580 --> 01:41:28,331
From Ridley's imagination,
from a set of drawings.
1735
01:41:28,499 --> 01:41:31,168
So there was nothing tried-and-tested.
1736
01:41:34,797 --> 01:41:37,799
There were occasional problems
with the space suit...
1737
01:41:37,967 --> 01:41:41,303
...and helmets in the early days.
1738
01:41:41,471 --> 01:41:44,014
I hate this fucking helmet.
1739
01:41:48,269 --> 01:41:49,561
MAN:
Cut it.
1740
01:41:49,729 --> 01:41:51,229
[MOUTHlNG WORDS]
1741
01:41:51,397 --> 01:41:55,859
Charging all of this enormous amount
of tech...
1742
01:41:56,027 --> 01:41:58,361
...was an endless job.
1743
01:41:58,529 --> 01:42:03,200
These nine screens would go down,
or they'd fuse the lights or the top--
1744
01:42:03,367 --> 01:42:07,662
Something would never, ever, ever be
1 00 percent.
1745
01:42:08,873 --> 01:42:10,373
MAN 1 :
Fifteen...
1746
01:42:11,459 --> 01:42:13,168
...14...
1747
01:42:14,003 --> 01:42:15,170
...1 3....
1748
01:42:16,714 --> 01:42:18,381
[PANTlNG]
1749
01:42:18,549 --> 01:42:20,050
MAN 2:
The other way around.
1750
01:42:20,218 --> 01:42:22,761
MAN 1 : Seventeen.
MAN 2: Other way around.
1751
01:42:23,346 --> 01:42:25,055
MAN 1 : Sixteen.
-Ugh!
1752
01:42:25,223 --> 01:42:26,723
Come on.
1753
01:42:26,891 --> 01:42:29,226
MAN 1 : Fifteen.
MAN 2: Coming up.
1754
01:42:30,019 --> 01:42:31,311
[BELL RINGlNG]
1755
01:42:33,689 --> 01:42:36,233
Ten-second track.
You're gonna sit now.
1756
01:42:36,400 --> 01:42:40,362
KEENE: Ridley's a great innovator
but a lot of it is on the moment.
1757
01:42:40,530 --> 01:42:43,573
He suddenly sees something
and that creates an idea in his head...
1758
01:42:43,741 --> 01:42:46,701
...and he suddenly wants that.
And it's reacting.
1759
01:42:46,869 --> 01:42:49,704
It's reacting to the speed
at which Ridley wants to shoot...
1760
01:42:49,872 --> 01:42:51,498
...is probably the biggest challenge.
1761
01:42:51,666 --> 01:42:53,917
And, you know, he keeps every department
on their toes.
1762
01:42:54,085 --> 01:42:56,836
Get out the fucking way.
We're shooting.
1763
01:42:57,004 --> 01:43:00,465
Have you got a wagger on a stick?
1764
01:43:00,633 --> 01:43:01,758
-Yeah.
-All right.
1765
01:43:02,218 --> 01:43:05,679
HUFFAM:
Ridley is a force to be reckoned with.
1766
01:43:05,846 --> 01:43:09,432
He has the most amazing enthusiasm
for what he's doing.
1767
01:43:09,600 --> 01:43:11,935
The crew are infected
with that enthusiasm...
1768
01:43:12,103 --> 01:43:14,229
...and everybody goes along for the ride.
1769
01:43:14,397 --> 01:43:17,232
And he keeps everybody at it all day long.
1770
01:43:18,943 --> 01:43:19,985
Did you get that?
1771
01:43:20,152 --> 01:43:23,613
His approach with Dariusz was to basically
not alter their approach.
1772
01:43:23,948 --> 01:43:26,324
That's not to say they didn't consider 3D
and didn't change...
1773
01:43:26,492 --> 01:43:29,369
...certain camera shots and designs
and things that they chose to do...
1774
01:43:29,537 --> 01:43:30,912
...to take full advantage of it.
1775
01:43:31,080 --> 01:43:33,540
But to say they didn't limit themselves
by it.
1776
01:43:33,749 --> 01:43:38,169
SCOTT: Shooting 3D and seeing 3D on--
The experience on the floor...
1777
01:43:38,337 --> 01:43:40,255
...with these big monitors...
1778
01:43:40,423 --> 01:43:45,719
...where in my little tent,
I'd have three or four big, big 3D monitors.
1779
01:43:45,886 --> 01:43:48,305
So it's real-time shooting with 3D.
1780
01:43:48,472 --> 01:43:52,517
Then when l'm editing,
I'm actually editing 3D.
1781
01:43:52,685 --> 01:43:54,311
So I don't know what the problem was.
1782
01:43:54,478 --> 01:43:56,771
It helped having Dariusz Wolski.
1783
01:43:56,939 --> 01:44:00,108
WOLSKl: What's necessary for 3D
is that when you have four rigs...
1784
01:44:00,443 --> 01:44:03,987
...I had to have an instant switch
to watch eight cameras...
1785
01:44:04,155 --> 01:44:07,490
...which is left eye, right eye of every rig
at every time, 2D.
1786
01:44:07,658 --> 01:44:11,995
Because that monitors my lighting
and monitors if the lenses are in focus.
1787
01:44:15,833 --> 01:44:18,376
And all this stuff has to be rigged
to the stereo card.
1788
01:44:18,544 --> 01:44:21,463
And then everything has to be fed back
to the video playback.
1789
01:44:21,631 --> 01:44:27,135
And that has to come back to two big 3D
monitors that Ridley's watching next to me.
1790
01:44:28,095 --> 01:44:31,514
And for 2D monitors, you can watch
four cameras at the same time.
1791
01:44:31,682 --> 01:44:34,351
But also he wants to-- He can switch
from one camera to another.
1792
01:44:34,810 --> 01:44:37,103
So that requires a lot of cable.
1793
01:44:37,271 --> 01:44:40,190
And a lot of very, very, very intricate
wiring.
1794
01:44:40,358 --> 01:44:45,362
It looks like a bad Heath Robinson,
dodgy lash-up.
1795
01:44:45,905 --> 01:44:49,199
This guy couldn't make his mind up what
he was doing with this thing, could he?
1796
01:44:49,367 --> 01:44:51,409
KEENE:
The 3D element is a big factor.
1797
01:44:51,577 --> 01:44:54,120
You know, it's a more complicated process,
it's a slower process.
1798
01:44:54,288 --> 01:44:57,874
So to try and make the film
in the same timetable...
1799
01:44:58,042 --> 01:45:00,043
...as you would ordinarily make
a normal film...
1800
01:45:00,211 --> 01:45:03,004
...is a huge challenge in the first place.
1801
01:45:03,172 --> 01:45:08,885
HUFFAM: The end results that Ridley and
Dariusz are getting are absolutely amazing.
1802
01:45:09,053 --> 01:45:11,888
So I think it's been worth the effort.
1803
01:45:12,056 --> 01:45:17,227
But l would say it adds 1 5, 20 percent
more time to your schedule...
1804
01:45:17,395 --> 01:45:21,481
...even with a director who likes to move
as fast as Ridley.
1805
01:45:21,649 --> 01:45:23,692
Clear the door, please.
Thank you very much.
1806
01:45:23,859 --> 01:45:26,403
KEENE: Some of the sequences
we've been doing with windstorms...
1807
01:45:26,570 --> 01:45:29,406
...with creature effects...
1808
01:45:29,573 --> 01:45:33,159
...they're always gonna, you know,
make a day go in a difficult way.
1809
01:45:33,327 --> 01:45:35,912
There's no-- You can't guarantee anything.
1810
01:45:36,706 --> 01:45:39,040
You've got almost three times
as many technicians...
1811
01:45:39,208 --> 01:45:40,917
...as you would ordinarily have.
1812
01:45:41,085 --> 01:45:43,753
And Ridley likes to shoot with three or four
cameras simultaneously.
1813
01:45:43,921 --> 01:45:47,841
So you're in small sets with a lot
of cameras taking up a lot of spaces...
1814
01:45:48,008 --> 01:45:50,343
...and twice as many people manning them.
Three times...
1815
01:45:50,511 --> 01:45:53,263
...if you include the guys at the back
with the stereography machines.
1816
01:45:53,431 --> 01:45:54,848
So it's a lot more noise.
1817
01:45:55,015 --> 01:45:58,768
MAN: Quiet!
SCOTT: Please, shut up!
1818
01:46:01,105 --> 01:46:04,774
Rehearsing. And action!
1819
01:46:04,942 --> 01:46:07,193
You think you're ready,
almost always there's a problem...
1820
01:46:07,361 --> 01:46:10,155
...with one of the three or four rigs
that are working.
1821
01:46:10,322 --> 01:46:13,867
John, if you hold that there.
Just hold that tight until we lift it.
1822
01:46:14,034 --> 01:46:17,120
Sometimes the cameras can be
a bit temperamental.
1823
01:46:17,288 --> 01:46:20,874
So sometimes we can lose a bit of time
during the day because of that.
1824
01:46:21,041 --> 01:46:24,169
ELLENBERG: I think the biggest surprise,
in a really pleasurable way for them...
1825
01:46:24,336 --> 01:46:29,132
...was that when they were doing big vistas
and big landscapes, the 3D was fine.
1826
01:46:29,300 --> 01:46:32,802
But where they really were excited by it,
and really, l think, it started to change...
1827
01:46:32,970 --> 01:46:34,971
...sort of some of their choices
in the movie...
1828
01:46:35,139 --> 01:46:39,100
...was in the smaller, more intimate scenes
on the interiors of the ship...
1829
01:46:39,268 --> 01:46:43,980
...because it opened up sets, it gave them
a lot of different options to play with.
1830
01:46:44,148 --> 01:46:46,065
It gave them the opportunity
to make the scares...
1831
01:46:46,233 --> 01:46:47,942
...that much bigger
and pop that much more.
1832
01:46:48,110 --> 01:46:50,445
Because that's where you're looking
to add dimensionality...
1833
01:46:50,613 --> 01:46:52,197
...when you're in these confined spaces.
1834
01:46:52,364 --> 01:46:54,157
So that's where he felt
it really opened up...
1835
01:46:54,325 --> 01:46:56,951
...and the 3D did something
truly three-dimensional...
1836
01:46:57,119 --> 01:46:59,496
...that you wouldn't get otherwise.
1837
01:46:59,705 --> 01:47:01,164
[lNAUDlBLE DlALOGUE]
1838
01:47:03,375 --> 01:47:06,878
WOLSKl: The biggest challenge
was our wind test when all cameras shut down.
1839
01:47:07,046 --> 01:47:09,130
It was the scariest moment in the world.
1840
01:47:10,090 --> 01:47:12,091
[lNAUDlBLE DlALOGUE]
1841
01:47:13,177 --> 01:47:17,096
Our concern first was stability of the mirror
with all this huge--
1842
01:47:17,264 --> 01:47:18,848
With us three feet away.
1843
01:47:19,016 --> 01:47:22,352
Then cameras were shutting down,
but we've learned it was just basically...
1844
01:47:22,520 --> 01:47:25,188
...because we were using plugs
that had a little bit of play.
1845
01:47:25,523 --> 01:47:27,607
So back to the drawing board.
1846
01:47:27,775 --> 01:47:32,195
Cut all the cables. Change the plugs.
It was just madness.
1847
01:47:32,363 --> 01:47:35,323
When you have the hologram,
it's gonna be more spectacular...
1848
01:47:35,491 --> 01:47:39,202
...with a low feedback,
blurring hologram of not--
1849
01:47:39,370 --> 01:47:40,620
I love this light.
1850
01:47:40,788 --> 01:47:44,082
WOLSKl: When you work with Ridley, images
are three-dimensional. They always were.
1851
01:47:44,250 --> 01:47:47,210
I mean, look at Blade Runner.
I mean it was a three-dimensional film.
1852
01:47:47,711 --> 01:47:50,755
Some people shoot
two-dimensional films...
1853
01:47:50,923 --> 01:47:53,132
...but he always shot
three-dimensional movies.
1854
01:47:53,300 --> 01:47:55,385
There is a depth, there is a shadow.
1855
01:47:55,553 --> 01:47:58,805
He'd create dimensions
in a lot of different ways.
1856
01:47:58,973 --> 01:48:02,851
You know, there's, what, 2000 years
of visual-arts tradition?
1857
01:48:03,018 --> 01:48:04,978
[TALKlNG lNDISTINCTLY]
1858
01:48:05,145 --> 01:48:10,024
I would, actually, just clear the corridor
and just move around the bend.
1859
01:48:10,901 --> 01:48:12,777
Barry, let's start with turning this one up.
1860
01:48:12,945 --> 01:48:17,323
WOLSKl: When you go to spaces, you know,
like the juggernaut...
1861
01:48:17,491 --> 01:48:21,661
...and then you try to create light
that it's as invisible as possible.
1862
01:48:21,829 --> 01:48:25,248
So, just basically, we've done a lot of stuff
just with flashlights...
1863
01:48:25,416 --> 01:48:27,584
...just with lights and helmets.
1864
01:48:27,751 --> 01:48:31,838
And there was a constant battle
of pushing each other because...
1865
01:48:32,006 --> 01:48:35,008
...he said, "Just turn the lights off,
let's do the flashlights." You know?
1866
01:48:35,175 --> 01:48:38,803
So I said, "Great. I'm first for it. l'm game."
But then we cannot see the faces.
1867
01:48:38,971 --> 01:48:40,013
[CHUCKLES]
1868
01:48:41,265 --> 01:48:46,561
Trying to invent invisible light that actually
register the faces when you need it...
1869
01:48:46,729 --> 01:48:48,605
...and that just took the courage
of both of us.
1870
01:48:48,772 --> 01:48:50,899
You know, how far you push it,
where you back off...
1871
01:48:51,066 --> 01:48:54,110
...where you create the little lights
so you can sense then the story.
1872
01:48:54,278 --> 01:48:56,279
And when you just turn them off, you know.
1873
01:48:56,447 --> 01:48:59,699
It's a constant creative process.
It's not like we're gonna sit down...
1874
01:48:59,867 --> 01:49:02,076
...it's how we're gonna do
this, this, this and this.
1875
01:49:02,244 --> 01:49:04,412
So it's constant reinventing things.
1876
01:49:04,580 --> 01:49:07,123
Everyday is new, new.
He questions everything.
1877
01:49:07,791 --> 01:49:09,459
Which is better?
1878
01:49:09,627 --> 01:49:11,169
JARED:
No, stay where you are till we move....
1879
01:49:11,337 --> 01:49:12,670
So, Jared, here's a question:
1880
01:49:12,838 --> 01:49:15,256
Is it better there
or is it worth doing this?
1881
01:49:15,424 --> 01:49:17,133
Take one, A mark.
1882
01:49:17,301 --> 01:49:20,345
FASSBENDER: Dariusz is lighting it
beautifully as well. So it's a....
1883
01:49:20,512 --> 01:49:23,306
That's the other thing when you're working
on a Ridley Scott film.
1884
01:49:23,474 --> 01:49:28,811
I mean, the talent on set
is pretty breathtaking, really.
1885
01:49:28,979 --> 01:49:32,357
I mean, in all departments, you know,
everyone's at the top of their game.
1886
01:49:32,524 --> 01:49:35,360
And it's great to be able to come to work
and just learn so much...
1887
01:49:35,527 --> 01:49:38,696
...from just watching all the various
departments, you know...
1888
01:49:38,864 --> 01:49:40,490
...going about their business.
1889
01:49:42,910 --> 01:49:46,245
There's a scene when we're on the ship,
and we're watching the screens.
1890
01:49:46,413 --> 01:49:49,165
And there's something pretty intense
happening on those screens.
1891
01:49:49,500 --> 01:49:52,710
I'm sure a lot of directors would have just,
you know, saved the hassle and said:
1892
01:49:52,878 --> 01:49:55,630
"Look here, on this screen,
that's happening, so just do it."
1893
01:49:55,798 --> 01:50:00,468
But he's put together this series
of animated shots almost...
1894
01:50:00,636 --> 01:50:03,471
...of moments in the film.
And they look incredible.
1895
01:50:03,639 --> 01:50:06,224
It's basically the film, but animated.
1896
01:50:06,392 --> 01:50:11,187
THERON: He creates an environment where,
as an actor, you have so many tools.
1897
01:50:11,355 --> 01:50:14,190
It was the scene where l'm watching
my father...
1898
01:50:14,358 --> 01:50:16,693
...go out into space and get killed.
1899
01:50:17,069 --> 01:50:22,198
And it's supposed to play on this screen.
It's just, like, a glass screen in front of me.
1900
01:50:22,366 --> 01:50:25,118
But l was like, "When are we shooting?
When are we getting to it?"
1901
01:50:25,285 --> 01:50:26,703
And the second AD was like:
1902
01:50:26,870 --> 01:50:29,622
"Ridley's still just trying to get
some of the images for you...
1903
01:50:29,790 --> 01:50:33,209
...so that we can throw it on the monitor
for you to really see."
1904
01:50:33,377 --> 01:50:35,545
And I was just like, "Who does that?"
1905
01:50:35,713 --> 01:50:38,214
So many other directors would just be like,
"This is your job."
1906
01:50:38,382 --> 01:50:39,799
Like, "Bring me emotion."
1907
01:50:39,967 --> 01:50:42,635
Like, "Your father is dying.
There it is. Imagine--"
1908
01:50:43,137 --> 01:50:49,058
And he made a real effort to get as much
of this animated footage of the sequence...
1909
01:50:49,226 --> 01:50:53,521
...to have that actually there
on the day for me to kind of respond to.
1910
01:50:57,401 --> 01:50:59,193
JANEK: Let's bring him around,
take a closer look.
1911
01:51:03,240 --> 01:51:05,700
This is what l'm gonna use
for my point of entry.
1912
01:51:09,580 --> 01:51:13,624
Janek's ship has this airlock which,
you know, easily could have been done...
1913
01:51:13,792 --> 01:51:17,754
...in green screen on a stage,
but Ridley has built it...
1914
01:51:17,921 --> 01:51:20,256
...and it makes a world of difference.
1915
01:51:20,424 --> 01:51:23,426
Like, I'm looking at this thing like: Wow.
1916
01:51:23,594 --> 01:51:25,303
SCOTT:
Okay, ready, and action.
1917
01:51:25,471 --> 01:51:27,263
ELLENBERG:
What Ridley often talks about is...
1918
01:51:27,431 --> 01:51:29,599
...it's not as though movies
became three-dimensional...
1919
01:51:29,767 --> 01:51:31,934
...the moment there was a 3D camera.
That's ludicrous.
1920
01:51:32,102 --> 01:51:35,104
No one goes to the movie theater
thinking they're watching something flat.
1921
01:51:35,272 --> 01:51:38,566
It works, and the better filmmaking works
because you enter a world.
1922
01:51:38,734 --> 01:51:42,695
You've always done that. That's always
been part of what real filmmaking is about.
1923
01:51:42,863 --> 01:51:45,907
DlCKlE: lt's such a big skill. There's so many
technical things going on...
1924
01:51:46,075 --> 01:51:49,243
...there's so much stuff to deal with.
He doesn't miss anything.
1925
01:51:49,411 --> 01:51:50,953
Any detail.
1926
01:51:51,121 --> 01:51:53,623
[TALKlNG lNDISTINCTLY]
1927
01:51:54,708 --> 01:51:58,127
MARSHALL-GREEN: Ridley is so intent
on making this script great.
1928
01:51:58,295 --> 01:52:03,257
And he has cast people
who he hopes will help him.
1929
01:52:03,425 --> 01:52:05,802
He just wants you to help him
make a great movie.
1930
01:52:05,969 --> 01:52:09,889
He's really hoping you will help flesh out
the script and these characters.
1931
01:52:10,057 --> 01:52:12,600
And choreograph this dance with him...
1932
01:52:12,768 --> 01:52:16,938
...that will be the best it can be,
not just what he wants it to be.
1933
01:52:20,984 --> 01:52:23,194
This will be a hologram.
1934
01:52:34,623 --> 01:52:35,623
[English - US - SDH]
1935
01:52:40,671 --> 01:52:44,298
SCOTT:
Three, two, one, action!
1936
01:52:46,301 --> 01:52:47,385
Come reset it.
1937
01:52:47,803 --> 01:52:50,930
Once contaminated, they are lethal
killing machines, nearly all of them.
1938
01:52:51,473 --> 01:52:53,391
One could consider it
to be no more than survival.
1939
01:52:53,809 --> 01:52:55,143
Confronted in a situation...
1940
01:52:55,644 --> 01:52:58,938
...any one of these aliens
has a survival instinct...
1941
01:52:59,106 --> 01:53:03,276
...and its survival instinct
is to rid itself of the enemy before it.
1942
01:53:04,862 --> 01:53:10,491
The Engineer, in particular, Ridley was
adamant about being absolutely perfect.
1943
01:53:11,660 --> 01:53:14,203
SCOTT: You know,
less is always better in these instances.
1944
01:53:14,371 --> 01:53:18,124
Today the makeup
has even improved dramatically.
1945
01:53:18,292 --> 01:53:21,002
But above all things,
you can also redraw things digitally.
1946
01:53:21,587 --> 01:53:24,672
SCANLAN: This is the Ridley factor,
which is where Ridley will just come in...
1947
01:53:24,840 --> 01:53:27,675
...and just throw a curveball,
if you would call it that, and say:
1948
01:53:27,843 --> 01:53:30,178
"Just grab that, do this, do that."
And it will look great.
1949
01:53:30,345 --> 01:53:32,597
It goes against all of our plans,
and we think that--
1950
01:53:32,764 --> 01:53:34,515
You sit there
and think, "Crikey," you know.
1951
01:53:34,683 --> 01:53:37,435
And then you look at it on a monitor
and it looks incredible.
1952
01:53:39,104 --> 01:53:40,605
[lNAUDlBLE DlALOGUE]
1953
01:54:03,086 --> 01:54:06,672
SCOTT:
One department would tackle the, let's say...
1954
01:54:06,840 --> 01:54:09,717
...the Engineers and what--
Everything applied to them...
1955
01:54:09,885 --> 01:54:12,678
...and the other side
would be more the monsters.
1956
01:54:19,311 --> 01:54:21,437
SCANLAN:
The mechanical team is interesting on this...
1957
01:54:21,605 --> 01:54:25,066
...because digital technology
is obviously stunning.
1958
01:54:26,068 --> 01:54:28,277
If you can imagine it,
you can almost do it now.
1959
01:54:28,445 --> 01:54:34,367
But l think that Ridley has put an onus
on trying do everything practical.
1960
01:54:35,953 --> 01:54:39,580
It was kind of a reawakening, I think,
of a lot of skills...
1961
01:54:39,748 --> 01:54:42,208
...that were maybe starting
to be pushed away, that--
1962
01:54:42,376 --> 01:54:45,086
Cable technology, which is where
things are moved with cables...
1963
01:54:45,254 --> 01:54:47,296
...and servo motors
and all those sort of things.
1964
01:54:47,464 --> 01:54:49,590
And so we've-- We're kind of going back...
1965
01:54:49,758 --> 01:54:51,926
...and pulling those skills back,
and I think that's--
1966
01:54:52,094 --> 01:54:53,552
Everybody's kind of enjoying that.
1967
01:54:54,471 --> 01:54:57,473
Things kick off for us, in a sense,
with the ampoule room.
1968
01:54:57,641 --> 01:55:00,601
As soon as the ampoules begin
to bleed and begin to sweat...
1969
01:55:00,769 --> 01:55:03,020
...and the DNA is released...
1970
01:55:03,188 --> 01:55:08,025
...that starts life as little tiny,
almost eel-like elements.
1971
01:55:08,860 --> 01:55:12,196
That then takes us to what we call
the Hammerpede, and l think it's--
1972
01:55:12,364 --> 01:55:14,615
Again, his name
was never really resolved.
1973
01:55:14,783 --> 01:55:16,867
Centipede, Hammerpede.
1974
01:55:17,035 --> 01:55:18,202
WOMAN:
Okay. Hold it.
1975
01:55:18,370 --> 01:55:20,413
MAN: Go, go.
-That's it.
1976
01:55:20,580 --> 01:55:21,664
We're checking the links.
1977
01:55:21,832 --> 01:55:24,208
WOMAN: I like the material. Touch that.
MAN: l did.
1978
01:55:24,376 --> 01:55:28,796
We've got Fifield and Millburn in their scene
in what we call a head room...
1979
01:55:29,131 --> 01:55:34,302
...where they experience
these quite large reptiles.
1980
01:55:35,429 --> 01:55:37,972
SCOTT: l don't mean that.
I'm saying, you know, dig out...
1981
01:55:38,140 --> 01:55:42,310
...a way around in front of the worms.
1982
01:55:42,811 --> 01:55:44,937
-Now, Steve, go down. Go down.
WOMAN: Okay, back, back.
1983
01:55:45,105 --> 01:55:47,273
MAN: Hold the animatronics.
-That's good. And swim away.
1984
01:55:47,441 --> 01:55:48,899
That's a cut. You can hold it up.
1985
01:55:49,067 --> 01:55:51,027
Okay, that's what we're doing.
It's all good.
1986
01:55:51,194 --> 01:55:52,695
SCANLAN:
To me, they were great aliens.
1987
01:55:52,863 --> 01:55:56,282
They'd start life as being like almost
sort of, you know, placid little things.
1988
01:55:56,450 --> 01:55:57,825
MAN:
A marker.
1989
01:55:58,076 --> 01:56:00,119
Shh-- Oh.
1990
01:56:00,287 --> 01:56:01,579
Hey.
1991
01:56:02,497 --> 01:56:03,956
Hey, baby.
1992
01:56:04,124 --> 01:56:07,752
SPALL: We took a week to shoot that, just me,
Sean and Ridley on this extraordinary set...
1993
01:56:07,919 --> 01:56:10,421
...with these animatronics
and like five different snakes...
1994
01:56:10,589 --> 01:56:13,090
...and a fake arm and this whole team
behind this whole thing.
1995
01:56:13,258 --> 01:56:16,761
It was just a thrill. When you're 5 and you think,
"l wanna be an actor"...
1996
01:56:16,928 --> 01:56:18,929
...it's the sort of thing
you imagine you would do.
1997
01:56:19,097 --> 01:56:21,515
Okay, ready, and tight.
1998
01:56:21,683 --> 01:56:23,768
"Ow, ow, ow." All right.
"Help me, help me, help me."
1999
01:56:23,935 --> 01:56:25,394
SCANLAN: Move around.
SCOTT: Grab it.
2000
01:56:25,562 --> 01:56:26,854
Straighten out and break the arm.
2001
01:56:27,022 --> 01:56:28,189
-Break it now.
SCANLAN: Right.
2002
01:56:28,357 --> 01:56:29,440
SCOTT:
Yeah, that's it.
2003
01:56:29,608 --> 01:56:31,525
-Then, "Fuck."
SCANLAN: Right.
2004
01:56:31,693 --> 01:56:34,111
-Two moves. Three is too many.
SCANLAN: All right, now, guys--
2005
01:56:34,279 --> 01:56:36,697
He's always been a very hands-on,
practical director.
2006
01:56:36,865 --> 01:56:40,159
So if you've got some creature
that's wrapping around an arm...
2007
01:56:40,327 --> 01:56:43,704
...he doesn't wanna just give up
and let it be a pure visual effect.
2008
01:56:43,872 --> 01:56:45,873
-Tighten. Floor. Do it.
SCANLAN: Tighten. Tighten--
2009
01:56:46,041 --> 01:56:47,583
-No, no. Don't be subtle.
SCANLAN: Okay.
2010
01:56:47,751 --> 01:56:50,378
"Okay, let's just wrap that
round his arm and just pull it tight.
2011
01:56:50,545 --> 01:56:53,005
You know, just do it."
I said, "Great. Really?"
2012
01:56:53,173 --> 01:56:55,466
You know, and he's--
Yeah, there it is. lt's great.
2013
01:56:56,218 --> 01:56:57,343
SCOTT:
That's right.
2014
01:56:58,303 --> 01:57:01,847
The reptiles get onto Millburn's arm...
2015
01:57:02,015 --> 01:57:05,142
...and actually, in effect,
by just sheer leverage, snap his arm.
2016
01:57:05,685 --> 01:57:07,186
SPALL:
Oh, my God! Aah!
2017
01:57:07,354 --> 01:57:09,688
HARRIS:
Oh, fuck!
2018
01:57:10,565 --> 01:57:14,068
SCANLAN: To break Millburn's arm, we--
It's an old-- It'd be an old gag.
2019
01:57:14,236 --> 01:57:19,698
Rafe puts his arm behind his back
to hold a strap which gives us a shoulder.
2020
01:57:19,866 --> 01:57:22,701
We took a cast of his shoulder
to make a cup...
2021
01:57:22,869 --> 01:57:25,704
...and to that
we created a mechanical arm.
2022
01:57:26,248 --> 01:57:29,875
His elbow joint
is a cable-operated mechanism...
2023
01:57:30,043 --> 01:57:31,877
...and so is the wrist and the fingers.
2024
01:57:32,045 --> 01:57:35,047
But the overall movement
is through a rodded system.
2025
01:57:35,215 --> 01:57:39,427
So there's a person behind Rafe,
tight in against his back...
2026
01:57:39,594 --> 01:57:41,095
...who's operating this movement.
2027
01:57:41,263 --> 01:57:44,598
And on top of that was a track
which allowed the Hammerpede...
2028
01:57:44,766 --> 01:57:47,226
...to curl around his arm.
2029
01:57:47,394 --> 01:57:48,436
MAN:
Rolling.
2030
01:57:48,603 --> 01:57:50,187
Oh, no. He's got silicone on his helmet.
2031
01:57:50,355 --> 01:57:52,231
SCOTT:
Quick wipe on the front of Sean's helmet.
2032
01:57:52,399 --> 01:57:53,441
[LAUGHS]
2033
01:57:53,608 --> 01:57:55,443
SCOTT:
That's it. Thank you. And rolling.
2034
01:57:55,610 --> 01:57:57,820
Somebody needs to clean Sean's helmet.
2035
01:57:57,988 --> 01:57:59,405
SCOTT:
Keep the cameras rolling.
2036
01:57:59,573 --> 01:58:00,656
HARRIS: Unbelievable.
SPALL: My God.
2037
01:58:00,824 --> 01:58:01,866
MAN:
B marker.
2038
01:58:02,033 --> 01:58:04,452
-Okay, okay. You need to fucking stay calm.
MAN: B mark.
2039
01:58:04,619 --> 01:58:06,537
-Be calm and put--
HARRIS: I ain't touching it!
2040
01:58:06,705 --> 01:58:09,373
-I don't wanna touch it.
-Touch the thing, man, for God's sakes!
2041
01:58:09,541 --> 01:58:11,417
HARRIS: Jesus!
-Aah! You're making it worse!
2042
01:58:11,585 --> 01:58:13,461
Fuck you! Okay, be calm.
2043
01:58:13,628 --> 01:58:15,296
-It's breaking my arm!
-Jesus, it's strong.
2044
01:58:15,464 --> 01:58:17,548
-It's too--
-It's breaking my arm! Aah!
2045
01:58:17,716 --> 01:58:22,261
SCOTT: ln the snapping of the arm,
he's screaming for Fifield to cut it off.
2046
01:58:22,429 --> 01:58:24,972
Cut it off. So it's stuck--
It's about that thick.
2047
01:58:25,140 --> 01:58:28,809
He gets his knife from his suit,
cuts it off...
2048
01:58:29,060 --> 01:58:31,103
...and immediately,
he's sprayed with acid.
2049
01:58:31,271 --> 01:58:33,105
[SPALL PANTlNG]
2050
01:58:33,273 --> 01:58:35,900
Oh, my God! Oh, my God!
It's in my suit! It's in my suit!
2051
01:58:36,067 --> 01:58:38,235
It's going into my suit!
It's going into my suit!
2052
01:58:38,403 --> 01:58:39,778
SCANLAN:
As we shot that sequence...
2053
01:58:39,946 --> 01:58:42,406
...the mood sort of changed
as the sequence unfolds.
2054
01:58:42,574 --> 01:58:43,908
Yeah, they were in a bad place.
2055
01:58:44,868 --> 01:58:47,328
I'll tighten it when l put my arm up.
I can't keep it up.
2056
01:58:47,496 --> 01:58:49,955
SCOTT:
Here we go. Rolling, and action!
2057
01:58:50,123 --> 01:58:51,832
-Aah!
-Shit!
2058
01:58:52,000 --> 01:58:54,001
[SCREAMlNG]
2059
01:58:54,169 --> 01:58:55,836
Cut it off! Cut it off!
2060
01:58:56,004 --> 01:58:57,505
Cut it off! It's breaking my arm!
2061
01:58:57,672 --> 01:59:00,007
Oh, my God! Oh, my God!
2062
01:59:00,175 --> 01:59:02,092
-Shit! Oh, my God!
-Shit!
2063
01:59:02,469 --> 01:59:04,345
SCOTT:
It melts through his helmet.
2064
01:59:04,513 --> 01:59:07,014
He goes down facedown
in the black goop...
2065
01:59:07,182 --> 01:59:11,185
...and the other half re-forms its head
and goes inside the suit...
2066
01:59:11,353 --> 01:59:13,687
...and attacks Millburn
from inside the suit...
2067
01:59:13,855 --> 01:59:15,481
...getting inside his face helmet.
2068
01:59:18,818 --> 01:59:21,820
SPALL: l had to do the live cast,
which is sort of a strange mix...
2069
01:59:21,988 --> 01:59:24,198
...of being unpleasant and pleasant
at the same time...
2070
01:59:24,616 --> 01:59:26,659
...if you can sort of breathe through it.
2071
01:59:26,826 --> 01:59:28,577
Someone wraps all this shit
around your head.
2072
01:59:28,745 --> 01:59:30,287
It's pretty weird.
2073
01:59:43,301 --> 01:59:45,302
[SPEAKlNG INDlSTlNCTLY]
2074
01:59:53,061 --> 01:59:54,270
So isn't this pleasant?
2075
01:59:54,437 --> 01:59:55,479
[ALL CHUCKLE]
2076
01:59:55,647 --> 01:59:56,981
MAN:
Yeah, we got this part.
2077
01:59:57,148 --> 01:59:58,399
This is all eaten away.
2078
01:59:58,567 --> 02:00:00,734
SPALL: The expedition team
find my body the next day.
2079
02:00:00,902 --> 02:00:02,194
They turn it over...
2080
02:00:02,696 --> 02:00:04,363
...and the big snake comes out my mouth...
2081
02:00:04,531 --> 02:00:06,532
...but Ridley didn't tell the actors
that was gonna happen.
2082
02:00:06,700 --> 02:00:09,660
Three, two, one.
2083
02:00:10,370 --> 02:00:11,996
-Okay. With lots of glue.
-Bang. Pfft.
2084
02:00:12,163 --> 02:00:13,205
Yeah. That comes out.
2085
02:00:13,373 --> 02:00:16,584
I'll shoot it like that
while it all goes separate.
2086
02:00:16,751 --> 02:00:18,627
By the way, do not tell her
what's gonna happen.
2087
02:00:18,795 --> 02:00:20,421
SCANLAN: Sure.
-We're gonna get one shot.
2088
02:00:20,589 --> 02:00:22,506
Don't let anyone tell her or you're dead.
2089
02:00:22,674 --> 02:00:24,258
I'd rather tell some actors.
2090
02:00:24,426 --> 02:00:26,719
KEENE: Then don't show them the storyboards.
-No.
2091
02:00:26,886 --> 02:00:28,178
Just say something will happen.
2092
02:00:28,346 --> 02:00:29,638
Everybody hear that?
2093
02:00:29,806 --> 02:00:32,516
Don't let any actors see
the storyboards today, guys.
2094
02:00:32,684 --> 02:00:35,394
Kate had no idea that
that was gonna happen.
2095
02:00:35,562 --> 02:00:37,646
SPALL:
He just said, "Right, we're gonna roll on this.
2096
02:00:37,814 --> 02:00:40,149
Go and turn over his body."
2097
02:00:40,317 --> 02:00:41,358
So then what happened?
2098
02:00:41,526 --> 02:00:42,860
-B mark.
-C mark.
2099
02:00:43,028 --> 02:00:46,155
And it's horrific.
He's been literally eaten away.
2100
02:00:46,323 --> 02:00:50,409
There's this massive hole, kind of
his mouth's filled with broken teeth.
2101
02:00:50,577 --> 02:00:52,161
I mean, it was gross.
2102
02:00:52,329 --> 02:00:54,580
Really, genuinely gross.
2103
02:00:54,748 --> 02:00:56,832
SCANLAN: We had the Hammerpede
on the end of a wire...
2104
02:00:57,000 --> 02:00:59,126
...on a filament wire.
2105
02:00:59,294 --> 02:01:04,048
It was loaded into a dummy of Millburn
that was rolled over.
2106
02:01:04,215 --> 02:01:08,636
So one would think, "Okay, there's
something fishy, literally, going on here.
2107
02:01:08,803 --> 02:01:10,137
There's a wire from somewhere.
2108
02:01:10,305 --> 02:01:12,181
Three, two, one, pull.
2109
02:01:12,349 --> 02:01:14,933
SCANLAN:
We were on an intercom to Ridley.
2110
02:01:15,101 --> 02:01:18,354
And he was watching the monitor
and kind of--
2111
02:01:18,521 --> 02:01:20,898
You know, there's that wait. Ha, ha.
2112
02:01:21,066 --> 02:01:24,652
Just at that point, I think
I see a movement in his throat...
2113
02:01:24,819 --> 02:01:27,863
...so l kind of go in to see what it is.
2114
02:01:28,031 --> 02:01:29,198
[DICKIE SCREAMS]
2115
02:01:29,366 --> 02:01:31,283
And this thing...
2116
02:01:31,451 --> 02:01:34,370
...I mean, literally
about that...like, leaps out.
2117
02:01:34,537 --> 02:01:37,665
I mean,
I literally screamed the place down.
2118
02:01:37,832 --> 02:01:39,291
Genuinely terrified.
2119
02:01:39,459 --> 02:01:40,751
DlCKlE:
Did you see wire in there?
2120
02:01:40,919 --> 02:01:43,045
MAN: Something was not right.
Come on, what's going on?
2121
02:01:43,213 --> 02:01:44,421
[ALL LAUGH]
2122
02:01:44,589 --> 02:01:46,006
DlCKlE:
Even though in your head...
2123
02:01:46,174 --> 02:01:49,176
...you know there's tricks going on
and it's all happening...
2124
02:01:49,344 --> 02:01:51,970
...it was so set up so amazingly.
2125
02:01:53,181 --> 02:01:54,515
SCANLAN:
Fifield was interesting...
2126
02:01:54,683 --> 02:01:59,645
...because Fifield was considered
to be something that was the midpoint...
2127
02:01:59,813 --> 02:02:03,732
...between the Deacon at the end
and the Hammerpede.
2128
02:02:03,900 --> 02:02:08,696
Something's happened to him,
and it has begun to transform him and--
2129
02:02:08,863 --> 02:02:12,700
We went through numerous designs
for Fifield.
2130
02:02:12,867 --> 02:02:15,953
There it is. It's when you get the jaw
working with, like, the sharp...
2131
02:02:16,121 --> 02:02:17,371
...which will unhinge from here.
2132
02:02:17,539 --> 02:02:20,040
HARRIS:
Originally, it was gonna be a CGI thing.
2133
02:02:20,208 --> 02:02:22,084
It wasn't gonna be me at all.
2134
02:02:22,252 --> 02:02:25,045
But as the weeks went on,
we started to think:
2135
02:02:25,213 --> 02:02:27,005
"Maybe it's better if it's an acting thing."
2136
02:02:27,882 --> 02:02:30,050
So we started to do some tests,
just physical work...
2137
02:02:30,218 --> 02:02:32,219
...and we filmed some stuff.
2138
02:02:32,387 --> 02:02:34,722
Ridley saw it and kind of liked it.
2139
02:02:35,306 --> 02:02:39,727
SCANLAN: What was interesting
was that Sean Harris is such a superb actor.
2140
02:02:39,894 --> 02:02:44,022
The general feeling was it would be much
better to hold on to the actor's features...
2141
02:02:44,190 --> 02:02:46,817
...hold on to all of the things
that he would bring to the show...
2142
02:02:46,985 --> 02:02:51,613
...but to begin to show almost, really,
that he was heading...
2143
02:02:51,781 --> 02:02:55,242
...towards the Engineer that we see
on the inspection table...
2144
02:02:55,410 --> 02:02:56,744
...when the head explodes.
2145
02:02:56,911 --> 02:02:58,412
That ultimately, that is gonna be--
2146
02:02:58,580 --> 02:03:00,539
That's gonna happen to Fifield
at some point.
2147
02:03:01,082 --> 02:03:04,042
Whatever was happening to that Engineer
is now happening to Fifield.
2148
02:03:04,210 --> 02:03:07,171
His head is becoming horribly contorted.
2149
02:03:07,338 --> 02:03:11,425
He is losing himself
to the alien within him.
2150
02:03:16,639 --> 02:03:21,727
The med pod creature is a combination
of the DNA that is infected...
2151
02:03:21,895 --> 02:03:24,772
...that Holloway becomes infected by
and Shaw.
2152
02:03:26,357 --> 02:03:28,484
SCOTT:
When it gets to a point where she realizes...
2153
02:03:28,651 --> 02:03:32,404
...that she is literally impregnated
by Holloway...
2154
02:03:32,572 --> 02:03:35,282
...with a very unusual embryo...
2155
02:03:35,450 --> 02:03:37,117
...she has to go into this med pod...
2156
02:03:37,285 --> 02:03:43,290
...and give herself to this machine
and do a cesarean.
2157
02:03:44,209 --> 02:03:48,420
RAPACE:
Before l start a movie, I prepare and I think...
2158
02:03:48,588 --> 02:03:50,923
...and I do all my kind of homework...
2159
02:03:51,508 --> 02:03:52,633
...my brain work.
2160
02:03:52,801 --> 02:03:57,387
And then when we actually step
into the actual work and the scenes...
2161
02:03:57,555 --> 02:04:00,265
...it's more emotional and physical.
2162
02:04:00,433 --> 02:04:02,601
That's my way of letting go of control.
2163
02:04:02,769 --> 02:04:04,478
SCANLAN: So he's extracted out.
-Yeah.
2164
02:04:04,646 --> 02:04:05,729
SCANLAN: To there.
-Yeah.
2165
02:04:05,897 --> 02:04:07,898
MAN: He'll be in there.
SCANLAN: He'll be in there.
2166
02:04:08,066 --> 02:04:09,316
And then something will come in.
2167
02:04:09,484 --> 02:04:10,734
SCANLAN:
It was pre-visualized.
2168
02:04:10,902 --> 02:04:13,320
And it was a sequence that we--
Everybody involved...
2169
02:04:14,239 --> 02:04:18,617
...used that shot-by-shot methodology
in order to be able to do it...
2170
02:04:18,785 --> 02:04:21,620
...because there's an enormous amount
of technology...
2171
02:04:21,788 --> 02:04:23,997
...having to be laced through
to be able to do that...
2172
02:04:24,165 --> 02:04:26,166
...because we didn't want
to do rod removal.
2173
02:04:26,334 --> 02:04:28,460
We wanted to try
to shoot the whole thing for real.
2174
02:04:29,337 --> 02:04:33,298
I think it's squid, certainly from
the mechanics of how we built him...
2175
02:04:33,466 --> 02:04:36,426
...the tentacles were based,
movement was based, on that.
2176
02:04:36,594 --> 02:04:39,429
I think the animation of the pre-vis
was tremendous...
2177
02:04:39,889 --> 02:04:42,808
...as far as giving him character.
2178
02:04:42,976 --> 02:04:44,268
MAN 1 : B mark.
MAN 2: B mark.
2179
02:04:44,435 --> 02:04:47,563
SCOTT:
Action! And scanner.
2180
02:04:48,565 --> 02:04:50,440
RAPACE:
First, I was actually on the table...
2181
02:04:50,608 --> 02:04:54,361
...and I was using my own stomach
to kind of move it in a very weird--
2182
02:04:54,529 --> 02:04:55,612
Just blowing it up...
2183
02:04:55,780 --> 02:04:59,199
...and kind of using, you know,
my muscles in my belly...
2184
02:04:59,367 --> 02:05:00,868
...to kind of move it in a weird way.
2185
02:05:01,202 --> 02:05:03,704
First, they're kind of planned to do that
with my dummy...
2186
02:05:03,872 --> 02:05:06,039
...but when Ridley wanted me to try things,
he was like:
2187
02:05:06,207 --> 02:05:07,875
"Oh, that's really disgusting." Ha, ha.
2188
02:05:08,334 --> 02:05:10,210
"You're quite good at this. Let's do this."
2189
02:05:10,378 --> 02:05:11,795
Stomach.
2190
02:05:13,256 --> 02:05:15,632
Oh, come on. Come on, get it out!
2191
02:05:15,800 --> 02:05:18,218
There is the point
in which we need to, you know...
2192
02:05:18,386 --> 02:05:19,887
...we need to cut into Noomi's body.
2193
02:05:20,054 --> 02:05:22,222
We need to actually perform the cesarean.
2194
02:05:22,390 --> 02:05:27,477
So we live-cast Noomi in the position
that she will be in at the moment.
2195
02:05:27,645 --> 02:05:30,147
-All right.
-So that's her neutral position.
2196
02:05:30,315 --> 02:05:33,066
And from that, create a silicone dummy...
2197
02:05:33,234 --> 02:05:36,737
...which is painted and textured
to look exactly like her.
2198
02:05:36,905 --> 02:05:40,449
If we can get these arms down,
she can use her real arms and be reacting.
2199
02:05:40,617 --> 02:05:44,494
-And then, you know--
SCOTT: There'll be motion, right?
2200
02:05:44,662 --> 02:05:46,622
-I'm just gonna cut across here.
-Yeah.
2201
02:05:46,789 --> 02:05:49,374
That's actually a good old
classic movie trick...
2202
02:05:49,542 --> 02:05:55,505
...which is that it's Noomi's head
and the body of a dummy.
2203
02:05:55,673 --> 02:05:58,759
I was kind of sitting
in a very weird position...
2204
02:05:58,927 --> 02:06:04,765
...with people under the table
doing things, you know, between my legs.
2205
02:06:04,933 --> 02:06:09,144
Above her is an arch,
which we mechanized using cable controls.
2206
02:06:09,312 --> 02:06:11,980
Cable controls,
being that they go to levers...
2207
02:06:12,148 --> 02:06:16,902
...and by actuating a lever,
you can move something at the other end.
2208
02:06:17,070 --> 02:06:20,280
We were able to bring that arm above,
lower it down...
2209
02:06:20,448 --> 02:06:24,576
...and grab hold of the embryotic sac,
and then draw it back up.
2210
02:06:24,744 --> 02:06:26,787
SCOTT: Keep going up.
Keep going up. Keep going up.
2211
02:06:26,955 --> 02:06:28,956
Get your hands away.
2212
02:06:29,123 --> 02:06:30,832
Lose it. Lose it for a second.
2213
02:06:31,000 --> 02:06:32,125
Head back. Head back.
2214
02:06:32,293 --> 02:06:34,962
Come back. Come back.
Come back again.
2215
02:06:35,129 --> 02:06:37,756
And lose it again. Come back.
2216
02:06:38,091 --> 02:06:39,591
[SCREAMlNG]
2217
02:06:39,759 --> 02:06:42,260
Cut it! Cut it, cut it, cut it. Very good.
2218
02:06:42,428 --> 02:06:47,474
SCANLAN: Once we'd taken it out of her
and it was dangling from the arm...
2219
02:06:47,850 --> 02:06:50,769
...waiting to be born, as it were, or freed...
2220
02:06:50,937 --> 02:06:55,148
...that was achieved by bursting that sac.
2221
02:06:55,316 --> 02:06:58,443
Actually, it was burst
using a very, very sharp razor...
2222
02:06:58,611 --> 02:07:00,654
...which will have been removed
in postproduction.
2223
02:07:00,822 --> 02:07:02,990
And that allowed the sac
to instantly burst...
2224
02:07:03,157 --> 02:07:05,951
...and spew all of this sort of fluid.
2225
02:07:06,369 --> 02:07:08,745
The first thing we had to do
is to get the creature inside.
2226
02:07:08,913 --> 02:07:11,999
And to get the creature inside,
we had to roll it up in a certain way.
2227
02:07:12,166 --> 02:07:15,502
It was a little bit like origami.
We had to find the right way to fold him...
2228
02:07:15,670 --> 02:07:18,839
...so that we could guarantee that
on every shot he would look the same.
2229
02:07:19,007 --> 02:07:21,508
That was then introduced into the condom.
2230
02:07:21,676 --> 02:07:25,971
And then into the condom,
we then added the fluid...
2231
02:07:26,139 --> 02:07:29,516
...and all the other little bits of skin
and evertyhing else.
2232
02:07:29,684 --> 02:07:32,519
At the same time, we had to continue
to draw on the condom...
2233
02:07:32,687 --> 02:07:34,354
...and get it as tight as we could.
2234
02:07:34,522 --> 02:07:39,026
The tighter it was, the more violent
the release and more beautiful it was.
2235
02:07:39,193 --> 02:07:42,446
You could-- The condom
becomes completely clear with liquid.
2236
02:07:42,613 --> 02:07:46,700
You could then see the creature
sort of wallowing inside this fluid.
2237
02:07:46,868 --> 02:07:48,952
-Then we'll mimic it.
-I think you need more of this.
2238
02:07:49,120 --> 02:07:52,456
And then if this would just stick to it.
So then you're gonna lay liquid on it.
2239
02:07:52,999 --> 02:07:55,042
-Something before it comes out.
MAN: Yeah.
2240
02:07:55,710 --> 02:07:57,169
RAPACE:
I get him out.
2241
02:07:57,336 --> 02:08:02,716
And there's a moment when I feel
like this thing is looking at me...
2242
02:08:02,884 --> 02:08:05,719
...and I realize, like,
"Okay, you want me dead."
2243
02:08:05,887 --> 02:08:07,137
[SCREAMlNG]
2244
02:08:07,305 --> 02:08:11,683
I think as Ridley described it, it was that
having been born and extracted...
2245
02:08:11,851 --> 02:08:15,562
...at the point in which she screams,
he realized he's an unwanted child. Ha, ha.
2246
02:08:15,730 --> 02:08:17,856
[SCREAMlNG]
2247
02:08:19,984 --> 02:08:22,694
John Hurt got off lately, didn't he?
2248
02:08:23,905 --> 02:08:26,406
They have done such an amazing job,
so it felt--
2249
02:08:26,574 --> 02:08:29,493
I almost started to believe
in the situation...
2250
02:08:29,660 --> 02:08:33,080
...and forgot l was hanging and everybody were
in a situation with my feet down there.
2251
02:08:33,581 --> 02:08:36,416
I saw my feet, you know, on the dummy,
and I was like:
2252
02:08:36,584 --> 02:08:37,667
"Why can't l move my feet?"
2253
02:08:38,086 --> 02:08:40,504
Because it's--
Because it really felt like me.
2254
02:08:40,671 --> 02:08:43,006
I think I had my hand on her breast...
2255
02:08:43,174 --> 02:08:45,801
...and I was sort of hand-on-breast
talking to Noomi...
2256
02:08:45,968 --> 02:08:50,222
...and someone in the monitor shouted,
"This isn't right." Ha-ha-ha.
2257
02:08:50,389 --> 02:08:52,265
This really isn't right,
and then you realize...
2258
02:08:52,433 --> 02:08:55,936
...when you look at the monitor
that it didn't look right.
2259
02:08:56,104 --> 02:09:00,065
Inside all the tentacles
are a series of discs...
2260
02:09:00,233 --> 02:09:03,276
...and each stage has a number of cables,
normally four...
2261
02:09:03,444 --> 02:09:05,779
...that give it left, right,
up and down motion.
2262
02:09:05,947 --> 02:09:07,572
So by stacking them together...
2263
02:09:07,740 --> 02:09:11,076
...you can get what's called an S-shape
or a complete curl.
2264
02:09:11,244 --> 02:09:15,789
So all in all, there was about,
I would have thought, 60 or 70 cables...
2265
02:09:15,957 --> 02:09:21,128
...running to the tentacles
through the body of the creature.
2266
02:09:21,295 --> 02:09:24,339
They were connected
to a series of servo motors.
2267
02:09:24,507 --> 02:09:27,926
The servo motors
replaced the human operators.
2268
02:09:28,094 --> 02:09:32,472
And the whole system is then operated
through a remote-control system.
2269
02:09:32,640 --> 02:09:37,435
Effectively, a number ofjoysticks, using
what we call electronic expression makers...
2270
02:09:37,603 --> 02:09:41,606
...allows one or two people
to mix all of those motors together...
2271
02:09:41,774 --> 02:09:43,650
...in a predetermined fashion.
2272
02:09:43,818 --> 02:09:46,486
So that when they move the joystick
in one particular way...
2273
02:09:46,654 --> 02:09:47,946
...they'll get one expression.
2274
02:09:48,114 --> 02:09:49,823
They move it in another,
they'll get another.
2275
02:09:49,991 --> 02:09:54,369
And by moving between those different
motions, you can get a whole array...
2276
02:09:54,537 --> 02:09:58,373
...of different sort of activities
out of the creature.
2277
02:09:58,541 --> 02:10:00,667
The big decision is--
Blood is red, obviously.
2278
02:10:00,835 --> 02:10:02,210
Do you go red?
2279
02:10:02,378 --> 02:10:03,628
As soon as you go red...
2280
02:10:03,796 --> 02:10:07,007
...then the blood stakes
immediately go much, much higher...
2281
02:10:07,175 --> 02:10:09,843
...than if you choose
an alternative color.
2282
02:10:10,011 --> 02:10:12,596
If we used ambers,
if we used milky solutions...
2283
02:10:13,264 --> 02:10:18,185
...all of those things can be quite
off-putting and are obviously unpleasant...
2284
02:10:18,352 --> 02:10:19,519
...but it's not bleeding.
2285
02:10:19,937 --> 02:10:23,273
So we decided we'd take
two approaches with Ridley.
2286
02:10:23,441 --> 02:10:24,774
One was that everything we did...
2287
02:10:24,942 --> 02:10:29,696
...we did as an amber
or a milky or a clear take...
2288
02:10:29,864 --> 02:10:32,824
...and then we'd have our second version,
which was blood red.
2289
02:10:33,701 --> 02:10:37,454
And in many ways with blood,
you can never not have enough.
2290
02:10:37,622 --> 02:10:40,373
SCOTT [OVER RADlO]: Pull the umbilical out.
Pull the umbilical out.
2291
02:10:40,541 --> 02:10:43,210
SCANLAN: Everybody gets excited
when blood comes on the set.
2292
02:10:43,377 --> 02:10:46,087
The whole pitch of the set builds up...
2293
02:10:46,255 --> 02:10:48,715
...and I think that you get
one or two conservative takes...
2294
02:10:48,883 --> 02:10:51,176
...and then, ha-ha-ha,
you open up the floodgates.
2295
02:10:51,344 --> 02:10:54,137
So you just keep going until Ridley's happy
that, you know, he's just--
2296
02:10:54,305 --> 02:10:57,307
He's completely, you know,
doused evertyhing and everybody.
2297
02:10:57,475 --> 02:10:58,892
MAN:
D mark.
2298
02:10:59,185 --> 02:11:01,186
[PANTlNG]
2299
02:11:10,696 --> 02:11:13,740
It's the most aggressive scene
in the movie...
2300
02:11:13,908 --> 02:11:16,576
...and it's fundamentally a real cesarean.
2301
02:11:16,744 --> 02:11:19,871
And, you see, pretty graphic.
2302
02:11:20,039 --> 02:11:22,040
[SCREAMlNG]
2303
02:11:23,376 --> 02:11:26,044
RAPACE: But it was really hard.
I was quite empty after the week.
2304
02:11:26,212 --> 02:11:28,255
And we did that for a week, and I--
2305
02:11:28,422 --> 02:11:30,924
It really got into me.
2306
02:11:31,092 --> 02:11:33,802
I was dreaming really weird nightmares.
2307
02:11:34,387 --> 02:11:37,597
MAN 1 : Round of applause for Noomi.
MAN 2: Nice take. Give me one more.
2308
02:11:42,979 --> 02:11:45,146
MAN 1 : You're on there next, Max.
Get your trousers off.
2309
02:11:45,314 --> 02:11:46,439
[ALL LAUGH]
2310
02:11:46,607 --> 02:11:48,608
RAPACE:
I said to Ridley the week after, I was like:
2311
02:11:48,776 --> 02:11:53,238
"l never thought that it could be so fun,
in a way, to do this really sick scene."
2312
02:11:53,572 --> 02:11:55,615
MAN:
What's going on with John Hurt?
2313
02:11:56,367 --> 02:12:00,120
SCOTT: The prosthetics in this and the makeup
in this are absolutely phenomenal.
2314
02:12:00,288 --> 02:12:03,248
I've never seen makeup like it
that was applied to the Engineers.
2315
02:12:04,792 --> 02:12:09,629
The Engineers were-- You know, Ridley
was really demanding a very high standard.
2316
02:12:09,797 --> 02:12:13,008
And we developed a technique
of prosthetic application...
2317
02:12:13,175 --> 02:12:15,593
...probably about seven
or eight years ago...
2318
02:12:15,761 --> 02:12:20,640
...which has led to the ability
to actually do these kind of prosthetics...
2319
02:12:20,808 --> 02:12:23,143
...and do them pretty quickly, so....
2320
02:12:23,311 --> 02:12:27,272
Four hours to get the Engineer ready
is very quick.
2321
02:12:27,523 --> 02:12:31,151
We had been using a guy
who's 7-feet-2...
2322
02:12:31,319 --> 02:12:34,612
...for the majority of the film,
the Engineer that they awaken.
2323
02:12:35,323 --> 02:12:38,992
We really refined the prosthetics down
to make him very beautiful...
2324
02:12:39,160 --> 02:12:41,411
...and very unusual-looking.
2325
02:12:41,579 --> 02:12:43,663
And it's not something
that you hit straight away.
2326
02:12:43,831 --> 02:12:46,833
You know, you have to keep going back
and working on it, so....
2327
02:12:47,001 --> 02:12:49,169
Again, our process allows us to do that.
2328
02:12:49,337 --> 02:12:52,380
So we can make something,
mold it, cast it, test it...
2329
02:12:52,548 --> 02:12:57,010
...if it needs refining, then we can go back
and refine it without having to start again.
2330
02:12:57,178 --> 02:13:00,555
This allowed us to sort of tweak it
and perfect things.
2331
02:13:00,723 --> 02:13:02,515
And we've just-- That's all we've done.
2332
02:13:02,683 --> 02:13:06,019
We've just made it as perfect as possible.
2333
02:13:06,187 --> 02:13:09,522
WHYTE: The silicone prosthetic application
takes about four hours...
2334
02:13:09,690 --> 02:13:13,860
...and then l have to get
into the costume...
2335
02:13:14,028 --> 02:13:15,695
...which is a two-piece costume.
2336
02:13:15,863 --> 02:13:19,824
Legs and arms and torso.
That's all zipped up...
2337
02:13:19,992 --> 02:13:23,787
...and then l'm glued into the hands
and the neck and the feet.
2338
02:13:23,954 --> 02:13:26,081
So altogether, it's about five hours.
2339
02:13:26,248 --> 02:13:30,043
O'SULLlVAN: We produce master copies
of the modeling in a hard form...
2340
02:13:30,211 --> 02:13:32,420
...and then we can reengineer it.
2341
02:13:32,588 --> 02:13:36,883
So with that hard form, we can go back,
we can polish everything.
2342
02:13:37,051 --> 02:13:41,429
We probably had a team of fabricators
working on the thing for six months.
2343
02:13:41,597 --> 02:13:47,018
You know, they have worked out
the best possible design...
2344
02:13:47,186 --> 02:13:49,646
...to create a perfect movement.
2345
02:13:49,814 --> 02:13:51,147
Ease of getting it on.
2346
02:13:51,315 --> 02:13:53,817
It's gotta be-- You know,
you wanna be able to get it off.
2347
02:13:53,984 --> 02:13:58,488
We looked into incorporating
cooling elements into them...
2348
02:13:58,656 --> 02:14:01,783
...but the particular guy, lan Whyte,
that we're using...
2349
02:14:01,951 --> 02:14:05,120
...is very used to wearing suits.
2350
02:14:05,287 --> 02:14:07,372
Welcome to my life.
2351
02:14:07,540 --> 02:14:10,500
The surface of the suit is transparent...
2352
02:14:10,668 --> 02:14:13,545
...so it's got
like a translucent layer like skin.
2353
02:14:13,712 --> 02:14:16,714
So that would be the difference between
the stunt suit and the hero suit.
2354
02:14:16,882 --> 02:14:19,050
The stunt suit would be more painted.
2355
02:14:19,218 --> 02:14:23,304
The hero suit actually had a cast skin,
transparent skin over it...
2356
02:14:23,472 --> 02:14:27,934
...which gave it a lot of depth
and made it look quite sort of squid-like.
2357
02:14:28,102 --> 02:14:30,645
FASSBENDER:
Ian and John did a fantastic job.
2358
02:14:30,813 --> 02:14:32,272
You know, I was very impressed.
2359
02:14:32,440 --> 02:14:34,232
And just his movements as well.
2360
02:14:34,400 --> 02:14:38,236
You know, they were very specific,
and he really got into the part.
2361
02:14:44,618 --> 02:14:49,122
SCANLAN: The trilobite as an animatronic
character would have been possible...
2362
02:14:49,290 --> 02:14:51,791
...but it would have been
an enormously complicated...
2363
02:14:51,959 --> 02:14:54,169
...and enormously difficult thing
to have shot.
2364
02:14:54,336 --> 02:14:57,755
And in some ways, there was no--
There's no point.
2365
02:14:57,923 --> 02:15:01,342
When, you know-- In a bygone time
when there were no alternatives...
2366
02:15:01,510 --> 02:15:02,844
...that would have been the route.
2367
02:15:03,012 --> 02:15:05,597
But now with CG,
I think we all chose early on...
2368
02:15:05,764 --> 02:15:09,142
...that this was a character
that would be fantastic in CG.
2369
02:15:09,310 --> 02:15:13,646
So we only took the design
to a point of reference, really.
2370
02:15:13,814 --> 02:15:15,356
A finished point of reference...
2371
02:15:15,524 --> 02:15:18,568
...but we didn't go
into the finer details of things...
2372
02:15:18,736 --> 02:15:21,154
...like the certain elements
that existed on the tentacles...
2373
02:15:21,322 --> 02:15:22,655
...which we brought to life in CG.
2374
02:15:22,823 --> 02:15:25,325
Opening up
and seeing all the textures inside them.
2375
02:15:25,493 --> 02:15:30,079
We didn't do that. We chose
a much more sort of neutral look to it...
2376
02:15:30,247 --> 02:15:33,833
...but took it from the 2D
right away to a full sculpt...
2377
02:15:34,001 --> 02:15:35,168
...through the molding process.
2378
02:15:35,336 --> 02:15:38,505
It's sort of like the way through
which we finished artworking a character.
2379
02:15:38,839 --> 02:15:43,009
It was posable and moveable,
and we did use it in a few shots...
2380
02:15:43,177 --> 02:15:46,346
...but its real purpose, l think,
was to serve as a lighting...
2381
02:15:46,514 --> 02:15:49,849
...and a visual textual reference
for CG to take on and take from there.
2382
02:15:50,017 --> 02:15:52,852
SCANLAN: Okay, let's bring that body around.
-Okay.
2383
02:15:53,020 --> 02:15:55,688
SCANLAN:
Perfect. And the next one.
2384
02:15:55,856 --> 02:15:58,483
Just like that. Good job.
2385
02:15:59,193 --> 02:16:01,528
MAN: And then l grab him.
-Feeds in. No, no, you've got it.
2386
02:16:01,695 --> 02:16:02,987
So do what we did before, right?
2387
02:16:03,155 --> 02:16:05,532
MAN: Yeah.
-Okay. Then we go through....
2388
02:16:05,699 --> 02:16:07,283
Step through, step through. Keep going.
2389
02:16:07,451 --> 02:16:09,410
Okay, good. Now we go down. Down.
2390
02:16:09,578 --> 02:16:12,372
SCANLAN: What we had originally thought
was that maybe...
2391
02:16:12,873 --> 02:16:15,875
...for the sequence with the Engineer's
fight with the trilobite...
2392
02:16:16,043 --> 02:16:19,754
...we could use elements of the trilobite...
2393
02:16:19,922 --> 02:16:24,842
...for the actor and the stunt guy
to sort of, you know, work with.
2394
02:16:25,010 --> 02:16:27,387
MAN 1 :
And action!
2395
02:16:34,436 --> 02:16:37,021
MAN 2: Are you blocking the door?
MAN 3: Don't know.
2396
02:16:37,189 --> 02:16:40,275
MAN 1 : All right. Okay. Now....
MAN 2: He's blocking the door.
2397
02:16:40,609 --> 02:16:43,570
Right, we need to knock this door off,
knock her somehow.
2398
02:16:43,737 --> 02:16:46,614
As Shaw's being attacked
by the Engineer...
2399
02:16:46,782 --> 02:16:52,078
...the trilobite is clearly becoming aware
of something happening behind the door.
2400
02:16:52,246 --> 02:16:55,248
We were using sound effects, l suppose,
as well as some visual effects...
2401
02:16:55,416 --> 02:16:58,376
...shadow effects,
as well as the odd glimpse...
2402
02:16:58,544 --> 02:17:01,170
...of a tentacle passing across a window
or something like that.
2403
02:17:01,338 --> 02:17:03,923
So that would have been us
in the background...
2404
02:17:04,091 --> 02:17:05,883
...effectively in the next room...
2405
02:17:06,051 --> 02:17:08,428
...bashing tentacles against the little--
2406
02:17:08,596 --> 02:17:09,762
That's pathetic.
2407
02:17:09,930 --> 02:17:12,265
And again. Hit it hard.
2408
02:17:13,809 --> 02:17:15,351
You're missing the fucking glass.
2409
02:17:15,519 --> 02:17:16,728
Go on. Ready?
2410
02:17:16,895 --> 02:17:19,188
-That's a good one. Okay?
MAN: Nice. That's a good one.
2411
02:17:19,356 --> 02:17:20,732
All right. And do it again.
2412
02:17:20,899 --> 02:17:23,401
One more. Last one. That's it.
2413
02:17:24,612 --> 02:17:29,616
The med pod creature that came
from Sean and Holloway has grown.
2414
02:17:29,783 --> 02:17:31,326
It's impregnated the Engineer...
2415
02:17:31,493 --> 02:17:35,163
...and mixed the DNA of the Engineer
with that of the trilobite.
2416
02:17:35,331 --> 02:17:37,415
It gives us what we call the Deacon.
2417
02:17:37,583 --> 02:17:40,376
We started to sculpt that
as a full-sized sculpt.
2418
02:17:40,544 --> 02:17:42,420
Stood about 4 feet tall.
2419
02:17:42,588 --> 02:17:43,963
We built two versions of him.
2420
02:17:44,131 --> 02:17:46,299
We built one version
which went inside the sac...
2421
02:17:46,467 --> 02:17:49,093
...which was born out of the Engineer...
2422
02:17:49,261 --> 02:17:51,596
...and a second version,
which is what we call a rod puppet.
2423
02:17:51,764 --> 02:17:56,976
So the sequence begins with the Engineer
lying on the ground, dead.
2424
02:17:57,144 --> 02:18:00,938
The trilobite's crawled away
and died somewhere in the corner.
2425
02:18:01,106 --> 02:18:04,692
And the creature begins
to sort of want to liberate itself.
2426
02:18:04,860 --> 02:18:08,821
So the whole heaving of its body
on the ground was the first sign.
2427
02:18:09,239 --> 02:18:12,575
So we built a full-size Engineer,
and he was an animatronic.
2428
02:18:12,743 --> 02:18:14,827
Everything is weighted
and evertyhing is jointed...
2429
02:18:14,995 --> 02:18:17,664
...so that it will only move
in a way that we would move.
2430
02:18:17,831 --> 02:18:21,125
So he's-- He was a heavy lump
on the ground.
2431
02:18:21,293 --> 02:18:23,753
When the Deacon is born
from the Engineer...
2432
02:18:23,921 --> 02:18:26,839
...he's still connected to him
with his umbilical.
2433
02:18:27,007 --> 02:18:30,885
So his umbilical passes from the stomach
of the Deacon through the embryotic sac...
2434
02:18:31,053 --> 02:18:33,846
...into the body of the Engineer.
2435
02:18:34,014 --> 02:18:35,515
SCANLAN:
And then slip, Rachel. Slip.
2436
02:18:36,558 --> 02:18:39,477
Okay. And again. Try again.
2437
02:18:41,313 --> 02:18:43,189
MAN: Yeah.
SCANLAN: Go.
2438
02:18:44,358 --> 02:18:46,859
Ready? Keep the head down.
Keep the head down a bit.
2439
02:18:47,027 --> 02:18:48,194
Yeah, keep the elbows down.
2440
02:18:48,362 --> 02:18:52,198
MAN: Okay, and up.
SCANLAN: No, no, and up. Up.
2441
02:18:52,366 --> 02:18:54,158
Good. Okay.
2442
02:18:54,326 --> 02:18:56,577
SCOTT [OVER RADIO]: Open the mouth.
-Open the mouth.
2443
02:18:56,745 --> 02:18:58,079
-Go on.
-And turn.
2444
02:18:58,247 --> 02:18:59,455
-Right. Left.
-Turn it. Turn.
2445
02:18:59,623 --> 02:19:01,332
-To the left.
-Turn it.
2446
02:19:01,500 --> 02:19:02,625
And cut.
2447
02:19:02,793 --> 02:19:03,876
Excellent.
2448
02:19:04,044 --> 02:19:05,461
Brilliant.
2449
02:19:09,425 --> 02:19:12,719
SCANLAN:
We shot that sequence a couple of times.
2450
02:19:12,886 --> 02:19:17,140
We shot him rearing up, almost to a stand...
2451
02:19:17,307 --> 02:19:19,350
...to get to the next cut.
2452
02:19:19,518 --> 02:19:22,186
It always amazes me
what I'm looking at when l look...
2453
02:19:22,354 --> 02:19:25,148
...when you're shooting something
to what you can see on the monitor.
2454
02:19:25,315 --> 02:19:28,276
He's, yeah-- The genius that sits
between the two is amazing.
2455
02:19:28,444 --> 02:19:30,987
Yeah, it's fantastic to see the playbacks.
2456
02:19:37,244 --> 02:19:40,830
Because CG
is such an all-consuming technology...
2457
02:19:41,290 --> 02:19:44,834
...I think that in previous projects,
it was more about...
2458
02:19:45,002 --> 02:19:49,046
...being able to support the CG
and to just fill in the little gaps.
2459
02:19:49,214 --> 02:19:52,925
Whereas on this one, it was very much
a case of we can do it without CG.
2460
02:19:53,093 --> 02:19:54,260
[SCANLAN LAUGHS]
2461
02:19:55,387 --> 02:19:58,222
I think with any prosthetic
is that you've always got to work...
2462
02:19:58,390 --> 02:20:00,600
...with the person that's underneath.
2463
02:20:00,768 --> 02:20:04,270
You've got preserve the actor,
and they've got to be able to act.
2464
02:20:04,438 --> 02:20:07,273
[SPEAKlNG IN FOREIGN LANGUAGE]
2465
02:20:07,441 --> 02:20:10,943
SCANLAN: One of the ingredients
that made this project so enjoyable for me...
2466
02:20:11,111 --> 02:20:14,781
...was to work with a group of people
that came on to the project...
2467
02:20:14,948 --> 02:20:19,410
...with wide-eyed, full of enthusiasm,
just, you know, thankful for being part...
2468
02:20:19,578 --> 02:20:22,663
...of what was, you know,
a piece of their movie history...
2469
02:20:22,831 --> 02:20:27,126
...and just welded the whole thing together
and made my job possible.
2470
02:20:27,294 --> 02:20:30,963
The fact that l could go and stand in front
of the firing line and say, "We can do it"...
2471
02:20:31,131 --> 02:20:33,382
...but knowing that when l went back
to the workshop...
2472
02:20:33,550 --> 02:20:38,262
...that that would be greeted with,
you know, an enthusiastic band of people.
2473
02:20:38,430 --> 02:20:39,722
[lNAUDlBLE DlALOGUE]
2474
02:20:42,434 --> 02:20:43,476
[SCREAMS]
2475
02:20:44,019 --> 02:20:45,019
[English - US - SDH]
2476
02:20:56,657 --> 02:21:00,117
MAN:
Three, two, one, action!
2477
02:21:02,871 --> 02:21:05,706
The burden for this movie
was gonna be casting a woman...
2478
02:21:05,874 --> 02:21:08,292
...who, fundamentally,
you believe is an action lead.
2479
02:21:08,544 --> 02:21:09,794
I can't see anything.
2480
02:21:09,962 --> 02:21:11,629
Things don't always go
according to plan.
2481
02:21:11,797 --> 02:21:15,049
I mean, what, after, two, three,
four takes at making it work...
2482
02:21:15,217 --> 02:21:18,594
...you can go to him and go,
"Ridley, you know, we can make this work."
2483
02:21:19,972 --> 02:21:23,224
It is quite brutal and it's quite--
It's very in-your-face in places.
2484
02:21:23,392 --> 02:21:24,892
[GRUNTING]
2485
02:21:45,372 --> 02:21:49,000
MAN:
Three, two, one, action.
2486
02:21:49,167 --> 02:21:52,295
ELLENBERG: There is a version of
kind of a female action hero...
2487
02:21:52,462 --> 02:21:54,005
...that we see a lot in movies now...
2488
02:21:54,172 --> 02:21:58,009
...that is fun fundamentally, uh,
but exists as a kind of pop creation.
2489
02:21:58,343 --> 02:22:01,971
In this case, the whole point was
to play this from a place of reality.
2490
02:22:02,139 --> 02:22:03,431
So you were there.
2491
02:22:03,599 --> 02:22:06,309
If the movie's gonna scare you,
you have to believe it's happening...
2492
02:22:06,476 --> 02:22:08,477
...have to believe
a woman would go through this...
2493
02:22:08,645 --> 02:22:10,354
...and believe
a woman could survive this...
2494
02:22:10,522 --> 02:22:12,023
...and defeat whatever she was facing.
2495
02:22:12,190 --> 02:22:14,609
RAPACE:
Like, Ridley wants it to be real...
2496
02:22:14,776 --> 02:22:17,486
...even though the situation
is totally unreal...
2497
02:22:17,654 --> 02:22:20,031
...and out in, you know,
in the future and evertyhing.
2498
02:22:20,198 --> 02:22:22,116
And action, action.
2499
02:22:22,993 --> 02:22:25,244
INCH: When I talked to Ridley
about that storm sequence...
2500
02:22:25,412 --> 02:22:28,789
...he said, "You know, think of a--
A storm...
2501
02:22:28,957 --> 02:22:32,168
...that's stronger than anything you could
ever imagine in your life, you know...
2502
02:22:32,336 --> 02:22:34,712
...that you can't stand up in it,
it blows you away.
2503
02:22:34,880 --> 02:22:36,881
If you put a vehicle in it, it tips it over."
2504
02:22:37,215 --> 02:22:40,968
So he was after some kind
of really dynamic sequence.
2505
02:22:43,722 --> 02:22:47,725
Normally, it's just a little car park
beyond at the back of the 007 Stage.
2506
02:22:47,893 --> 02:22:50,561
But what they've done to this,
they've kind of leveled it out...
2507
02:22:50,729 --> 02:22:54,190
...and we'd gotten all these shipping
containers, four or five high...
2508
02:22:54,358 --> 02:22:57,401
...and we turned it into this massive
sort of green-screened area...
2509
02:22:57,569 --> 02:23:00,738
...so it then doubled up
for the planet area.
2510
02:23:00,906 --> 02:23:03,199
Because once l step out,
that's the gag, right?
2511
02:23:03,367 --> 02:23:05,284
INCH:
Actors act, is what l've learned...
2512
02:23:05,452 --> 02:23:09,455
...so once they get into that moment and
you've talked all these things through...
2513
02:23:09,623 --> 02:23:12,708
...about, "You guys, you've got to go
really slowly and do this and do that."
2514
02:23:12,918 --> 02:23:16,212
All those things can go out of the window
because they're in the moment and acting.
2515
02:23:16,380 --> 02:23:18,381
All of a sudden,
they're giving it too much beans...
2516
02:23:18,548 --> 02:23:21,092
...and spill themselves out,
it's an accident waiting to happen...
2517
02:23:21,259 --> 02:23:24,011
...so l kind of like to put a lot
of safety methods in there...
2518
02:23:24,179 --> 02:23:28,140
...whereas we'll put the restrictor
so it can only go a certain speed.
2519
02:23:29,935 --> 02:23:32,853
MARSHALL-GREEN: There are elements
where it could get very dangerous...
2520
02:23:33,021 --> 02:23:37,358
...but you have an incredible crew
and you bust your ass in the stunts.
2521
02:23:37,526 --> 02:23:40,778
I mean, Noomi is like myself,
we wanna do as much as we can...
2522
02:23:40,946 --> 02:23:42,780
...that we are insured to do...
2523
02:23:42,948 --> 02:23:47,201
...and so, you know,
I watched my stunt guy jump off the ATV...
2524
02:23:47,369 --> 02:23:51,080
...and I tried to make sure
I did it just as good if not better.
2525
02:23:52,708 --> 02:23:54,625
INCH:
They were tracked ATVs, difficult vehicles.
2526
02:23:54,793 --> 02:23:56,961
We had to jump it off a ramp and it would--
2527
02:23:57,337 --> 02:24:00,631
You know, one moment they would grip
one side and not the other...
2528
02:24:00,799 --> 02:24:03,509
...and so he did a little bit
but not a huge amount.
2529
02:24:05,804 --> 02:24:09,098
To me, that was the biggest
action sequence in it as a set piece.
2530
02:24:09,266 --> 02:24:11,475
As they were arriving back
from picking the head up...
2531
02:24:11,643 --> 02:24:14,270
...they jump off the back,
the head gets blown away.
2532
02:24:14,438 --> 02:24:16,522
So we would rehearse that
with our doubles.
2533
02:24:16,690 --> 02:24:19,483
Basically, she gets-- Stands down,
she gets jerked off the ground...
2534
02:24:19,651 --> 02:24:22,987
...and then she gets blown, tumbling down
towards this big stanchion...
2535
02:24:23,155 --> 02:24:25,364
...which is the leg of the main spaceship.
2536
02:24:25,532 --> 02:24:27,199
She gets pinned against that.
2537
02:24:27,367 --> 02:24:29,952
And then Holloway sees that,
comes out on his bike...
2538
02:24:30,120 --> 02:24:33,247
...jumps off the edge of the ramp there,
gets-- Drives down to her...
2539
02:24:33,415 --> 02:24:36,250
...wind bowls that over.
2540
02:24:37,210 --> 02:24:38,836
WOOD:
That was a lot of work for us there.
2541
02:24:39,004 --> 02:24:42,298
We had four massive,
big aero-wind machines up there.
2542
02:24:42,466 --> 02:24:46,260
Probably 1 5 to 20 guys,
all throwing vermiculite and dust.
2543
02:24:46,428 --> 02:24:50,723
So that was pretty full-on, um,
with all that work, and at night as well.
2544
02:24:50,891 --> 02:24:53,726
RAPACE: The pieces that were kind of
in the storm were hitting me.
2545
02:24:53,894 --> 02:24:56,854
It was really hard and it felt like
somebody was punching me.
2546
02:24:57,189 --> 02:25:01,525
So even though it's a "fake" situation,
you get really bruised...
2547
02:25:01,693 --> 02:25:06,155
...and, you know, sore and, uh,
we were shooting night time.
2548
02:25:06,323 --> 02:25:07,865
It was dark and really cold.
2549
02:25:08,408 --> 02:25:09,909
INCH:
It was a night shoot.
2550
02:25:10,077 --> 02:25:12,703
We were working with the elements,
those wind machines...
2551
02:25:12,871 --> 02:25:15,873
...and they changed what we did
with the wires quite a bit.
2552
02:25:16,041 --> 02:25:17,541
We couldn't shoot that on a set...
2553
02:25:17,709 --> 02:25:20,544
...so everything I put towards that,
we had to basically--
2554
02:25:20,712 --> 02:25:24,590
I had to create a grid over the top
of this exterior set.
2555
02:25:24,758 --> 02:25:28,552
So, what l'd done basically was I brought
in a load of mechanical winches...
2556
02:25:28,720 --> 02:25:32,223
...which give the ability to be able
to lift somebody up in the air...
2557
02:25:32,390 --> 02:25:36,602
...fly them across the ground,
jerk them off the ground, tumble them.
2558
02:25:40,607 --> 02:25:42,733
Because of the tight schedule
on that movie...
2559
02:25:42,901 --> 02:25:46,612
...that set was never really finished
until the day we shot on it.
2560
02:25:46,780 --> 02:25:50,825
So I was having to work rehearsals
in the evening on that set...
2561
02:25:50,992 --> 02:25:54,411
...while those guys were basically
making the set during the day.
2562
02:25:55,580 --> 02:25:59,250
RAPACE: We were actually rehearsing
and working that sequence...
2563
02:25:59,417 --> 02:26:01,544
...before we started to shoot the movie...
2564
02:26:01,711 --> 02:26:03,754
...and we were, you know,
hanging on these wires...
2565
02:26:03,922 --> 02:26:07,174
...and going back and forth,
and I think, you know, all this is really fun.
2566
02:26:07,342 --> 02:26:10,427
I enjoy it
and I wanna do as much as I can.
2567
02:26:11,596 --> 02:26:17,434
My stunt double is fantastic,
but l really wanna do it, so l was like:
2568
02:26:17,602 --> 02:26:19,937
But sometimes, you know,
they can't let us do everything...
2569
02:26:20,105 --> 02:26:21,313
...because if I get hurt, we--
2570
02:26:21,481 --> 02:26:25,234
You know, if something happened to me,
it could kind of-- Big disaster.
2571
02:26:25,402 --> 02:26:27,653
INCH: I was lucky with that double,
to tell you the truth.
2572
02:26:27,821 --> 02:26:30,531
When I actually first did some test stuff
for Ridley for it...
2573
02:26:30,699 --> 02:26:32,116
...I actually brought her in.
2574
02:26:32,284 --> 02:26:35,744
That was before they'd cast Noomi
and we shot with test stuff with her.
2575
02:26:35,912 --> 02:26:38,289
And, like, two weeks after that
he was talking about Noomi...
2576
02:26:38,456 --> 02:26:40,374
...and he said,
"l wanna have that double...
2577
02:26:40,542 --> 02:26:43,043
...because you can shoot on her.
She was amazing."
2578
02:26:43,211 --> 02:26:46,338
The tumbling and bouncing around stuff
was, you know--
2579
02:26:46,506 --> 02:26:49,175
That was all her double,
but then, you know, we still got moments...
2580
02:26:49,342 --> 02:26:51,635
...of being on this
when we were doing the rescue...
2581
02:26:51,803 --> 02:26:54,305
...we used all of--
Pretty much all of the actress...
2582
02:26:54,472 --> 02:26:57,558
...and the same for, um, Charlie as well.
2583
02:26:58,643 --> 02:27:01,061
You can program those winches
so that you could, you know--
2584
02:27:01,229 --> 02:27:04,565
I can pick somebody up and bounce them
around the rooms here, very, very safely...
2585
02:27:04,733 --> 02:27:07,526
...so it is something you can use
with the real actor...
2586
02:27:07,694 --> 02:27:10,154
...but they need to have time
to feel comfortable...
2587
02:27:10,322 --> 02:27:13,616
...and, you know, feel comfortable
with what they're doing, so it was a--
2588
02:27:13,783 --> 02:27:16,452
You know, we didn't get a huge amount
of rehearsal time with them...
2589
02:27:16,620 --> 02:27:19,663
...but l think David,
Michael Fassbender, he--
2590
02:27:19,831 --> 02:27:21,332
We had one day's rehearsal with him...
2591
02:27:21,499 --> 02:27:24,168
...but he nearly did, I think,
90 percent of his own stuff.
2592
02:27:24,336 --> 02:27:26,921
He did an amazing job, actually.
Really, really amazing job.
2593
02:27:33,178 --> 02:27:36,972
FASSBENDER: It's a lot of fun. You get to do
wire work, which is good fun, you know...
2594
02:27:37,140 --> 02:27:39,975
...once you get evertyhing tucked up
out of the way in the harness.
2595
02:27:40,644 --> 02:27:42,102
It's not looking too good for them...
2596
02:27:42,270 --> 02:27:46,941
...so David just sort of goes about his thing
and he puts a harness on his back...
2597
02:27:47,108 --> 02:27:51,820
...and opens up the door of the spaceship,
and goes out and saves their lives.
2598
02:27:54,699 --> 02:27:55,950
But, you know, it's wire work...
2599
02:27:56,117 --> 02:27:59,620
...so you just have to sort of allow yourself
to go and enjoy the ride...
2600
02:27:59,788 --> 02:28:01,830
...and it sort of takes you along.
2601
02:28:07,170 --> 02:28:09,880
Open the door. Open the door.
2602
02:28:15,720 --> 02:28:18,889
-Jesus, that's scary.
SCOTT: That good?
2603
02:28:19,057 --> 02:28:20,599
That is so scary.
2604
02:28:20,767 --> 02:28:23,560
INCH: This is when they found out
that Charlie was--
2605
02:28:23,728 --> 02:28:26,730
All the way through that mission,
Charlie's kind of deteriorating.
2606
02:28:26,898 --> 02:28:29,900
He's kind of-- Stuff's happening to him,
he's feeling ill.
2607
02:28:30,068 --> 02:28:32,486
He's basically been impregnated
by the alien.
2608
02:28:35,115 --> 02:28:36,907
[SHOUTS]
2609
02:28:37,993 --> 02:28:40,244
INCH: They're rushing to come back
onto the ship.
2610
02:28:40,412 --> 02:28:41,996
Vickers has heard what's going on.
2611
02:28:42,163 --> 02:28:44,081
They're on all the intercom
on the way back in...
2612
02:28:44,249 --> 02:28:47,001
...and she's basically meeting them
at the garage.
2613
02:28:47,168 --> 02:28:49,503
-What the hell?
SHAW: Unh.
2614
02:28:49,963 --> 02:28:51,422
VICKERS:
He's not coming on this ship.
2615
02:28:51,589 --> 02:28:54,300
KEENE: lt's a particularly tricky scene
for Noomi emotionally...
2616
02:28:54,467 --> 02:28:58,554
...because her love interest in the film
is being burnt to death...
2617
02:28:58,722 --> 02:29:02,766
...and also for Charlize because we actually
gave her a practical flame thrower.
2618
02:29:03,226 --> 02:29:04,685
If you need to turn it on and off...
2619
02:29:04,853 --> 02:29:07,938
...if anything happens to go wrong,
just switch that off and drop it.
2620
02:29:08,106 --> 02:29:09,690
-I don't like the words:
-Ha, ha.
2621
02:29:09,858 --> 02:29:12,109
-"lf something happens to go wrong."
-It's just protocol.
2622
02:29:12,277 --> 02:29:14,570
So we had a little rehearsal,
put her in a fire suit...
2623
02:29:14,738 --> 02:29:17,448
...and made sure she was comfortable
doing it.
2624
02:29:19,701 --> 02:29:21,368
I'd had a stunt double for her...
2625
02:29:21,536 --> 02:29:24,121
...and we were just messing around,
Ridley and l, and Ridley went:
2626
02:29:24,289 --> 02:29:26,165
"Wouldn't it be cool
if we could get the shot...
2627
02:29:26,333 --> 02:29:29,460
-...of Charlize setting him on fire?"
-Action!
2628
02:29:30,420 --> 02:29:33,213
MAN:
We can use that one. That was best.
2629
02:29:36,801 --> 02:29:40,679
Yeah, that was, um, my last day of shooting
in London, actually, when we did that...
2630
02:29:40,847 --> 02:29:45,809
...and I'm sure they made it the last day
just in case something went aflame.
2631
02:29:45,977 --> 02:29:48,312
Setting anybody on fire is hard enough,
you know.
2632
02:29:48,480 --> 02:29:53,859
I mean, the preparation that goes
into a full-body burn is quite intense.
2633
02:29:55,028 --> 02:29:59,031
Obviously, he's got all the gel suits on,
he's completely protected...
2634
02:29:59,199 --> 02:30:01,950
...but the reality of any burn
is it's a very dangerous thing to do.
2635
02:30:02,452 --> 02:30:04,495
MAN:
Action, Florian!
2636
02:30:14,422 --> 02:30:16,173
End.
2637
02:30:20,220 --> 02:30:21,845
Time out.
2638
02:30:23,473 --> 02:30:26,141
THERON: He's gotta step closer to me
before I do it.
2639
02:30:26,309 --> 02:30:27,518
MAN 1 :
Let him get closer.
2640
02:30:27,685 --> 02:30:30,604
-Okay, camera's running. Up!
MAN 2: Ready?
2641
02:30:30,772 --> 02:30:35,401
Three, two, one, action!
2642
02:30:36,361 --> 02:30:37,528
SHAW:
No!
2643
02:30:37,695 --> 02:30:40,155
No!
2644
02:30:42,283 --> 02:30:45,285
KEENE: The fear that something
had actually hurt the guy...
2645
02:30:45,453 --> 02:30:47,663
...and I think that came across. Um--
2646
02:30:47,831 --> 02:30:50,249
One of the moments in the film
where Charlize's character...
2647
02:30:50,417 --> 02:30:52,042
...shows some vulnerability...
2648
02:30:52,210 --> 02:30:55,212
...in that she's-- You know,
she's actually killing somebody.
2649
02:30:55,380 --> 02:30:58,340
And you could see that in her eyes
that she didn't like doing it.
2650
02:30:58,508 --> 02:31:01,176
She was uncomfortable doing it
and when we cut...
2651
02:31:01,344 --> 02:31:03,720
...and we put the stunt man out,
she was quite freaky...
2652
02:31:03,888 --> 02:31:06,890
...until the moment when the stunt man
put his thumbs up and said he's okay.
2653
02:31:07,058 --> 02:31:10,727
Oh, my God, l'm so shaky right now.
2654
02:31:10,895 --> 02:31:13,188
MAN 1 : You got that? They're good?
MAN 2: Yeah.
2655
02:31:13,356 --> 02:31:15,065
THERON:
Not my favorite thing, I have to say.
2656
02:31:15,233 --> 02:31:19,194
I had, like, a little moment of,
"Ugh, this is badass and I'm really badass...
2657
02:31:19,362 --> 02:31:21,113
...because l've got this flamethrower...
2658
02:31:21,281 --> 02:31:24,825
...and I'm just being a badass
in a Ridley Scott movie"...
2659
02:31:24,993 --> 02:31:28,662
...and then l went,
"Okay, don't want to burn this guy...
2660
02:31:28,830 --> 02:31:31,248
...and I wanna be able
to live with myself."
2661
02:31:31,416 --> 02:31:34,835
And this-- You know, these stunt guys
are crazy. They're just insane.
2662
02:31:35,003 --> 02:31:38,088
MAN: Very nice.
-Burning through all those layers.
2663
02:31:38,256 --> 02:31:40,132
INCH:
For us, as stunt people, that's what we do.
2664
02:31:40,300 --> 02:31:42,176
We get set on fire and it's no big deal.
2665
02:31:42,343 --> 02:31:44,928
But for someone
to actually torch somebody...
2666
02:31:45,096 --> 02:31:47,097
...it's a big deal for them, you know.
2667
02:31:47,265 --> 02:31:49,224
You're kind of trusting in me saying that:
2668
02:31:49,392 --> 02:31:51,810
"Yeah, he'll be fine.
We've got this special gel.
2669
02:31:51,978 --> 02:31:53,937
He's all gelled up.
You know, he'll be fine."
2670
02:31:54,105 --> 02:31:58,609
THERON: The flame was so hot
that I had a space helmet on...
2671
02:31:58,776 --> 02:32:01,528
...and I could feel the heat,
like, through the space helmet...
2672
02:32:01,696 --> 02:32:03,697
...and he's just lying there.
2673
02:32:03,865 --> 02:32:06,950
-I felt it through the-- Through the....
WOMAN: Yeah, l know.
2674
02:32:07,118 --> 02:32:09,036
MAN 1 : Nice one. This one--
MAN 2: l'll show you.
2675
02:32:09,204 --> 02:32:11,663
THERON: No, l would like some vodka.
MAN 2: Okay.
2676
02:32:11,831 --> 02:32:14,750
THERON: After one take and l was like,
"Did we get that? Did we get that?"
2677
02:32:14,918 --> 02:32:17,252
I was like, "No more."
Then, of course, Ridley is just like:
2678
02:32:17,420 --> 02:32:20,631
"Now we're gonna put seven cameras
over there, you're gonna do it again...
2679
02:32:20,798 --> 02:32:25,302
...and then we'll do it here," and I was like:
"Don't want to burn this guy anymore."
2680
02:32:28,640 --> 02:32:30,891
MAN 1 : A marker.
MAN 2: A marker.
2681
02:32:32,143 --> 02:32:34,770
MAN 1 : All right, shooting now.
MAN 2: Shooting.
2682
02:32:34,938 --> 02:32:38,565
INCH: Fifield was another big workshop
moment for us because l think we--
2683
02:32:38,733 --> 02:32:41,527
Because there was a lot of processes
when we were talking about that...
2684
02:32:41,694 --> 02:32:43,987
...the visual effects,
as to what they were gonna do...
2685
02:32:44,155 --> 02:32:45,822
...with the look of this character.
2686
02:32:45,990 --> 02:32:48,909
Originally, it was gonna be
a full-on CG character...
2687
02:32:49,077 --> 02:32:50,994
...so we were gonna basically
shoot the action...
2688
02:32:51,162 --> 02:32:52,996
...without anybody
and then shoot a plate...
2689
02:32:53,289 --> 02:32:55,999
...and then they were gonna
put the creature in there.
2690
02:33:01,130 --> 02:33:03,340
And then we got talking,
and, like, Ridley was saying:
2691
02:33:03,508 --> 02:33:06,343
"Let's see what he can bring to it,
bring to the table."
2692
02:33:06,511 --> 02:33:07,844
I started workshopping with him...
2693
02:33:08,012 --> 02:33:12,099
...and we'd shoot some moments
of him kind of going crazy, as Sean does...
2694
02:33:12,267 --> 02:33:15,310
...heh, and, um, they loved the idea of him...
2695
02:33:15,478 --> 02:33:17,896
...using some part of him
within that moment.
2696
02:33:18,064 --> 02:33:20,691
So it starts off in a really cool way.
2697
02:33:20,858 --> 02:33:22,693
These two guys
are not sure what's happening.
2698
02:33:22,860 --> 02:33:26,572
They're walking out, down the ramp
to have a look at what's going on.
2699
02:33:27,740 --> 02:33:30,534
The next thing you know,
this creature just rears up.
2700
02:33:30,702 --> 02:33:33,954
You're unaware so far. Keep going.
2701
02:33:34,122 --> 02:33:37,499
-And click the body, and up higher.
-Whoa.
2702
02:33:37,750 --> 02:33:39,751
Yeah, higher, higher.
2703
02:33:39,919 --> 02:33:43,547
All right. All right. That's it.
That's nasty. You're nasty.
2704
02:33:43,715 --> 02:33:47,801
Which we still haven't seen really
what it is yet.
2705
02:33:51,556 --> 02:33:55,350
And then it just goes to town on them.
2706
02:33:56,185 --> 02:33:58,145
[YELLING]
2707
02:34:06,321 --> 02:34:08,113
We smashed helmets, ripped heads off.
2708
02:34:08,281 --> 02:34:11,116
It was guys running into pick up axes
as it runs down...
2709
02:34:11,284 --> 02:34:14,745
...and another guy is setting him on fire
and he disappears around a corner...
2710
02:34:14,912 --> 02:34:17,414
...and the next thing you know,
he's flying off of this truck...
2711
02:34:17,582 --> 02:34:20,250
...and they're shooting him
and he's on fire.
2712
02:34:22,420 --> 02:34:24,254
As Fifield's running
through the garage...
2713
02:34:24,422 --> 02:34:27,341
...we've got these mechanics running
and getting flame torches.
2714
02:34:27,508 --> 02:34:30,886
And then as he runs around the corner,
we'd clip him with fire.
2715
02:34:31,054 --> 02:34:33,263
So then from then on in,
that was probably, like...
2716
02:34:33,431 --> 02:34:36,725
...maybe a quarter of the way
through the sequence.
2717
02:34:37,894 --> 02:34:39,227
We did this with Sean as well.
2718
02:34:39,395 --> 02:34:41,521
I've glued him up
and we've set him on fire.
2719
02:34:41,689 --> 02:34:44,024
And pretty much for the whole scene,
we're just going:
2720
02:34:44,192 --> 02:34:47,110
"Yep, he's still on fire.
Keep him on fire." Ha, ha.
2721
02:34:47,278 --> 02:34:49,946
MAN 1 : Let him go.
MAN 2: Action!
2722
02:34:55,286 --> 02:34:59,206
INCH: So Sean's kind of like, "l'm acting
and then I've got my arm on fire...
2723
02:34:59,374 --> 02:35:01,625
...and I'm trying to project
these moments to her"...
2724
02:35:01,793 --> 02:35:04,628
...and I'm like-- So l'm trying
to look at him going like:
2725
02:35:04,796 --> 02:35:06,797
"Sean, you've gotta make sure
you're, you know--
2726
02:35:06,964 --> 02:35:09,883
Let me know when you're getting warm."
And he's into his acting moment...
2727
02:35:10,051 --> 02:35:13,011
...so l'm trying to judge
when the right time is and call--
2728
02:35:13,179 --> 02:35:15,514
You know, do the safety call
when l think he's had enough...
2729
02:35:15,682 --> 02:35:16,890
...to come in and put him out.
2730
02:35:17,058 --> 02:35:21,228
But he must have done 90 percent
of that sequence with him on fire.
2731
02:35:21,396 --> 02:35:24,481
It was just-- lt was off the wall,
that sequence, l think.
2732
02:35:24,649 --> 02:35:26,566
[GUNFlRE]
2733
02:35:34,701 --> 02:35:36,576
MAN 1 :
Time out.
2734
02:35:37,412 --> 02:35:38,954
MAN 2:
B mark.
2735
02:35:39,163 --> 02:35:40,831
MAN 1 :
Action!
2736
02:35:47,338 --> 02:35:49,131
MAN 2:
Time out.
2737
02:35:49,298 --> 02:35:51,341
INCH:
The guy that plays Engineer, Ian, he was--
2738
02:35:51,509 --> 02:35:55,011
He came to this project without me
really knowing him or knowing of him...
2739
02:35:55,179 --> 02:35:57,681
...and me being really concerned
about the fact...
2740
02:35:57,849 --> 02:35:59,933
...that this guy, he was 7-foot-4...
2741
02:36:00,101 --> 02:36:01,852
...and I'm like,
"How am I gonna double him?
2742
02:36:02,019 --> 02:36:03,186
What am I gonna do?"
2743
02:36:03,354 --> 02:36:06,314
You know, and he's got a real integral part
in the movie.
2744
02:36:06,482 --> 02:36:09,526
He has the fight with Weyland
and picks those guys up.
2745
02:36:09,694 --> 02:36:11,403
That. So we just-- That.
2746
02:36:11,571 --> 02:36:14,865
I'd say 90 percent of his work
is stunt-orientated...
2747
02:36:15,032 --> 02:36:17,033
...and I was like,
"How am I gonna double this guy?"
2748
02:36:17,577 --> 02:36:19,077
-Are you all right?
-Ha, ha.
2749
02:36:19,245 --> 02:36:20,912
-This suit is like--
-Makes the noise.
2750
02:36:21,080 --> 02:36:23,206
Jesus Christ, thought it was your neck.
2751
02:36:24,375 --> 02:36:27,169
INCH: So I said l need to meet with him
and we need to talk...
2752
02:36:27,336 --> 02:36:30,505
...and start making sure that I'm happy
that he can do all the things.
2753
02:36:30,673 --> 02:36:34,551
Otherwise, l'm gonna go
on a global search for a giant...
2754
02:36:34,719 --> 02:36:35,886
...to double another giant.
2755
02:36:36,053 --> 02:36:38,889
MAN 1 : ls that the only issue? The actor--
MAN 2: l can leave you there.
2756
02:36:39,056 --> 02:36:41,850
INCH: In story terms,
he's kind of 9-foot tall, you know...
2757
02:36:42,018 --> 02:36:45,562
...so l'm like, just sort of playing
around with ideas with Ridley...
2758
02:36:45,730 --> 02:36:48,523
...and going, "They don't know
how to fight, but they can move?"
2759
02:36:48,691 --> 02:36:50,442
He's like, "Yeah."
I said, "But these guys--
2760
02:36:50,610 --> 02:36:52,736
At that size,
they're just gonna be really strong...
2761
02:36:52,904 --> 02:36:55,989
...so they're just gonna pick stuff up
and just bowl them out of the way"...
2762
02:36:56,157 --> 02:36:58,074
...and he's like,
"That's exactly what it is."
2763
02:36:58,242 --> 02:37:02,162
The body will drop here. But l was saying
that's where one of these should be...
2764
02:37:02,330 --> 02:37:04,664
-...cutting me off if I'm the giant.
-Take the platform out?
2765
02:37:04,832 --> 02:37:07,793
See the body, yeah,
see the body falling, thrash.
2766
02:37:07,960 --> 02:37:11,087
This one, you get it right in here,
and Danny's over there...
2767
02:37:11,255 --> 02:37:13,590
...hit him and see his body
going down there as well.
2768
02:37:14,133 --> 02:37:17,093
But if he goes, wallop,
and then drops the head there.
2769
02:37:17,261 --> 02:37:18,762
SCOTT: Yeah.
-Do you know what l mean?
2770
02:37:18,930 --> 02:37:21,264
-So if l can't get here--
SCOTT: And get him run past that--
2771
02:37:21,432 --> 02:37:25,143
MAN: He can walk between the head
of Mike and Weyland you mean.
2772
02:37:25,311 --> 02:37:26,353
Pfft.
2773
02:37:26,521 --> 02:37:29,439
INCH: I really enjoyed that sequence
because, again, that was like--
2774
02:37:29,607 --> 02:37:33,193
We were-- They've taken Weyland,
Weyland's in these calipers...
2775
02:37:33,361 --> 02:37:35,737
...he can't move properly,
they bring him forward...
2776
02:37:35,905 --> 02:37:38,031
...and it's kind of like,
you're never really sure...
2777
02:37:38,199 --> 02:37:39,783
...where that sequence is gonna go.
2778
02:37:39,951 --> 02:37:42,744
He comes in
and it's a really calm bit of that...
2779
02:37:42,912 --> 02:37:45,163
...where he thinks he's met his savior...
2780
02:37:45,331 --> 02:37:47,290
...and there's a lovely sort
of engaging moment...
2781
02:37:47,458 --> 02:37:49,835
...of him sort of touching heads
and so forth...
2782
02:37:50,002 --> 02:37:54,130
...and it just goes into-- Unh!
--head coming, ripping off.
2783
02:37:54,298 --> 02:37:56,633
MAN 1 :
And action!
2784
02:37:59,971 --> 02:38:01,304
-Now cut.
MAN 2: Go!
2785
02:38:01,472 --> 02:38:02,722
MAN 3:
Okay, got it.
2786
02:38:02,890 --> 02:38:04,391
[BELL RINGlNG]
2787
02:38:04,559 --> 02:38:07,644
MAN 1 : Action!
INCH: And he clubs Weyland.
2788
02:38:08,229 --> 02:38:10,480
Next thing you know,
Ford's flying off the stage.
2789
02:38:10,648 --> 02:38:12,315
[CRYlNG]
2790
02:38:14,819 --> 02:38:16,736
[GUNSHOTS THEN BELL RlNGS]
2791
02:38:16,904 --> 02:38:20,365
INCH: And then Branwell gets picked up
and chucked off.
2792
02:38:24,912 --> 02:38:27,080
And it came out of nowhere.
I really enjoyed that.
2793
02:38:30,001 --> 02:38:32,878
I got through the piece
that we did with Fifield...
2794
02:38:33,045 --> 02:38:36,548
...and then l just sort of started to channel
my energies towards the end of the movie.
2795
02:38:36,716 --> 02:38:40,927
This Engineer versus Shaw
trilobite sequence.
2796
02:38:42,972 --> 02:38:44,347
MAN:
Action!
2797
02:38:44,515 --> 02:38:46,182
[BOTH GRUNTlNG]
2798
02:38:50,855 --> 02:38:52,856
[SPEAKlNG INDlSTlNCTLY]
2799
02:38:54,817 --> 02:38:57,861
Hull breach. That's you, you go:
2800
02:39:00,031 --> 02:39:03,116
INCH: Those moments of them working
together was really interesting...
2801
02:39:03,284 --> 02:39:08,747
...because Noomi's, like, 5-foot-1 , heh,
and he's, like, 7-foot-4...
2802
02:39:08,915 --> 02:39:10,707
...so he just looks monstrous to her.
2803
02:39:10,875 --> 02:39:14,085
MAN 1 : B mark.
MAN 2: B mark on the end.
2804
02:39:14,253 --> 02:39:15,378
MAN 1 :
Holding eight frames.
2805
02:39:15,546 --> 02:39:16,588
MAN 2: Set.
MAN 1 : Set.
2806
02:39:16,756 --> 02:39:20,800
Set, set, set. And action!
2807
02:39:24,597 --> 02:39:25,639
B mark.
2808
02:39:25,806 --> 02:39:28,141
INCH:
We were capitalizing on his strengths...
2809
02:39:28,309 --> 02:39:30,268
...but he still moved really quickly...
2810
02:39:30,436 --> 02:39:33,063
...so, you know, he could still grab,
and grab hold really quickly.
2811
02:39:33,230 --> 02:39:35,899
But whenever he got hold of anything,
it would be--
2812
02:39:36,067 --> 02:39:39,569
Not a punch or a kick or a--
You know, it was a pickup and a throw...
2813
02:39:39,737 --> 02:39:43,990
...so we were just slamming bodies
against walls, pulling legs out.
2814
02:39:44,158 --> 02:39:45,825
He gets stabbed with the ax.
2815
02:39:45,993 --> 02:39:48,745
It doesn't even affect him.
He takes the ax out.
2816
02:39:48,913 --> 02:39:52,791
He just keeps coming. He was just
a sort of demonic strong thing...
2817
02:39:52,959 --> 02:39:56,336
...until he gets into the room
with the trilobite.
2818
02:39:57,922 --> 02:39:59,464
[BOTH GRUNTlNG]
2819
02:40:02,551 --> 02:40:06,096
INCH: Ridley just said he wanted it
to be like an enveloping moment...
2820
02:40:06,263 --> 02:40:08,598
...something that is just permanently
kind of suffocating...
2821
02:40:08,766 --> 02:40:11,267
...so we played around
with all these ideas of keeping him...
2822
02:40:11,435 --> 02:40:14,980
...sort of stood on his feet all the time
and keeping him wrestling...
2823
02:40:15,147 --> 02:40:18,191
...until we came to this.
Actually, it was Ridley that came up with it.
2824
02:40:18,359 --> 02:40:20,944
I'd love to claim the idea
because l think it worked great...
2825
02:40:21,112 --> 02:40:24,948
...but it was this-- Like, Ridley said,
"What about if he starts--
2826
02:40:25,116 --> 02:40:26,700
The trilobite comes and he grabs him...
2827
02:40:26,867 --> 02:40:29,786
...and it just starts lifting him
up to the ceiling?"
2828
02:40:29,954 --> 02:40:32,956
MAN 1 :
Do it slowly. Do it slowly.
2829
02:40:33,124 --> 02:40:34,624
[GRUNTS]
2830
02:40:35,543 --> 02:40:38,586
MAN 1 : Now cut. Cut it.
MAN 2: Go ahead, Ian.
2831
02:40:38,754 --> 02:40:41,131
I don't think
I'm supposed to be like this.
2832
02:40:42,299 --> 02:40:45,468
INCH: The whole angles and dimension of it
just changed so much...
2833
02:40:45,636 --> 02:40:49,055
...because lan was such a huge,
you know, 7-foot guy...
2834
02:40:49,223 --> 02:40:51,975
...and we ended up having him
walking up the walls in this building...
2835
02:40:52,143 --> 02:40:54,769
...with this trilobite strangling him...
2836
02:40:54,937 --> 02:40:57,897
...and it just added a great dimension
to the whole fight, really.
2837
02:40:58,065 --> 02:41:00,400
We'll give you that moment,
when you're at the door...
2838
02:41:00,568 --> 02:41:02,485
...and you go, "Agh!"
2839
02:41:02,653 --> 02:41:05,655
You do that. Register that--
It'll be in your face, that's lovely, you know.
2840
02:41:05,823 --> 02:41:08,158
-Give that sort of bit more franticness to it.
-Cool.
2841
02:41:08,325 --> 02:41:09,993
When you come in here....
2842
02:41:10,161 --> 02:41:11,578
[SPEAKlNG INDlSTlNCTLY]
2843
02:41:11,746 --> 02:41:12,829
Just a couple up here, yeah.
2844
02:41:12,997 --> 02:41:17,333
You look in right up here, like that.
And, you know, it's-- Fight back.
2845
02:41:17,501 --> 02:41:19,461
MAN 1 :
And action!
2846
02:41:19,628 --> 02:41:21,171
And now!
2847
02:41:21,338 --> 02:41:23,006
[GRUNTING]
2848
02:41:25,968 --> 02:41:27,677
MAN 1 : Cut, cut.
MAN 2: Cut.
2849
02:41:27,845 --> 02:41:29,304
Cut it.
2850
02:41:47,198 --> 02:41:50,992
MAX: The other section, which we shot
in the central highlands...
2851
02:41:51,160 --> 02:41:56,498
...in the Hekla Valley, was more to do
with the crash sequences...
2852
02:41:56,665 --> 02:42:00,752
...that were done by a combination
of work on the Icelandic landscape...
2853
02:42:00,920 --> 02:42:03,171
...and the backlot at Pinewood Studios...
2854
02:42:03,339 --> 02:42:07,258
...where they abandon,
after having crashed into the Juggernaut...
2855
02:42:07,426 --> 02:42:10,553
...the, uh, survivors of the Prometheus...
2856
02:42:10,721 --> 02:42:12,347
...in their escape pods...
2857
02:42:12,515 --> 02:42:15,308
...find themselves on the planet's surface
for the first time.
2858
02:42:15,476 --> 02:42:17,977
-Prometheus, come in.
-Shaw.
2859
02:42:18,187 --> 02:42:19,270
This ship is taking off.
2860
02:42:19,438 --> 02:42:22,357
Listen to me. This ship is taking off.
You can't let it go.
2861
02:42:23,400 --> 02:42:27,028
-Yeah.
MAX: The location that I found...
2862
02:42:27,196 --> 02:42:32,617
...was about two kilometers
off the end of the service road...
2863
02:42:32,785 --> 02:42:36,538
...that was about 45 minutes
off the paved road...
2864
02:42:36,705 --> 02:42:39,082
...which was six hours away
from Reykjavik.
2865
02:42:43,379 --> 02:42:45,588
INCH: We were doing some
of the post-Prometheus crash...
2866
02:42:45,756 --> 02:42:48,883
...and we're having bits of spaceship
laying around...
2867
02:42:49,051 --> 02:42:51,511
...and we were doing a lot of running
with Shaw and Vickers...
2868
02:42:51,679 --> 02:42:54,347
...before the big doughnut came down
and crushed Vickers.
2869
02:42:54,515 --> 02:42:55,765
MAN:
All right, roll!
2870
02:42:59,770 --> 02:43:03,439
INCH: It looked fantastic
because it's all volcanic rock...
2871
02:43:03,607 --> 02:43:06,192
...and it felt like you were
on some kind of other planet.
2872
02:43:10,114 --> 02:43:11,781
[YELLING]
2873
02:43:11,949 --> 02:43:13,283
No, no, no.
2874
02:43:13,450 --> 02:43:16,661
We got a set piece that we then dropped
on top of the actress...
2875
02:43:16,829 --> 02:43:20,290
...to simulate her being semi-crushed
by the Juggernaut.
2876
02:43:20,457 --> 02:43:24,085
I think it should be a real wide angle.
Wham, just-- We have to drop it on her.
2877
02:43:24,253 --> 02:43:26,254
MAN:
Action!
2878
02:43:28,382 --> 02:43:29,966
Action!
2879
02:43:30,134 --> 02:43:32,135
INCH: And then crawling out
from underneath that...
2880
02:43:32,303 --> 02:43:34,637
...and then continuing on for the--
2881
02:43:34,805 --> 02:43:37,432
You know, where we start
to see her on top of the iris...
2882
02:43:37,600 --> 02:43:40,310
...which is cracking open,
which we shot back in the U.K...
2883
02:43:40,477 --> 02:43:42,645
...with this big jump over a chasm.
2884
02:43:42,813 --> 02:43:45,815
Then we just see her
with the, um, iris opening up...
2885
02:43:45,983 --> 02:43:47,567
...running away from all of that...
2886
02:43:47,735 --> 02:43:51,154
...to tie into basically her
getting the Prometheus to take off...
2887
02:43:51,322 --> 02:43:52,780
...and crash into the Juggernaut.
2888
02:43:57,745 --> 02:44:00,955
RAPACE: Yeah.
SCOTT: Now you're gonna drive the ATV.
2889
02:44:01,123 --> 02:44:04,000
That was shot in a valley in Iceland
where you're running around...
2890
02:44:04,168 --> 02:44:07,712
...in what fundamentally
is a volcanic cinder valley...
2891
02:44:07,880 --> 02:44:10,006
...and then you've got to put everything
in around it.
2892
02:44:10,174 --> 02:44:11,174
All l used was the ground.
2893
02:44:11,342 --> 02:44:13,343
Arthur Max went in with his crew...
2894
02:44:13,510 --> 02:44:17,347
...and they laid out
what was a causeway.
2895
02:44:17,723 --> 02:44:21,351
MAX: All our vehicles
were actually running down a road...
2896
02:44:21,518 --> 02:44:23,061
...that we created in the landscape...
2897
02:44:23,229 --> 02:44:26,397
...and sculpted and landscaped
with our Greens Department...
2898
02:44:26,565 --> 02:44:30,235
...and populated
with a couple of dozen pinnacles...
2899
02:44:30,402 --> 02:44:34,197
...which eventually
were extended digitally.
2900
02:44:36,033 --> 02:44:38,034
[SPEAKlNG INDlSTlNCTLY]
2901
02:44:38,202 --> 02:44:42,205
INCH: It's all the driving stuff,
actors going in and out on ATVs...
2902
02:44:42,373 --> 02:44:45,708
...and, uh, rovers returning,
so different formations of that...
2903
02:44:45,876 --> 02:44:48,378
...which will lead us
into the piece with the storm...
2904
02:44:48,545 --> 02:44:51,673
...chasing them back
into the garage sequence.
2905
02:44:51,840 --> 02:44:54,550
We're using David
doing some riding stuff on the ATVs.
2906
02:44:54,718 --> 02:44:59,055
We've had Shaw as a passenger,
and Holloway bringing him back in.
2907
02:45:07,731 --> 02:45:11,150
SCOTT: This is the best unit l've worked with
for a very, very, very long time.
2908
02:45:11,318 --> 02:45:13,194
All of you.
I mean, I know most of you anyway...
2909
02:45:13,362 --> 02:45:16,281
...but actually,
it's been very enjoyable for me.
2910
02:45:16,448 --> 02:45:17,865
Particularly enjoyable, this film.
2911
02:45:18,033 --> 02:45:21,619
And, uh, the start of every film
is always a challenge...
2912
02:45:21,787 --> 02:45:25,039
...but you're such a great lot
in knowing what you're doing...
2913
02:45:25,207 --> 02:45:27,125
...that the whole thing's
been a fantastic ride.
2914
02:45:27,293 --> 02:45:29,043
Thank you very much.
2915
02:45:35,968 --> 02:45:36,968
[English - US - SDH]
2916
02:45:45,769 --> 02:45:47,812
MARlS: We were wrapping up Robin Hood
when he came to me...
2917
02:45:47,980 --> 02:45:51,149
...and said, "You know, l've got the
Alien movie that l'm starting up next.
2918
02:45:51,317 --> 02:45:52,358
Are you interested?"
2919
02:45:52,526 --> 02:45:56,487
And it's kind of like, "Wow, l can't believe
I just got asked by Ridley personally.
2920
02:45:56,655 --> 02:45:58,781
Do l want to do his next
science fiction movie?"
2921
02:45:58,949 --> 02:46:01,284
STAMMERS: The visual effects work
just seemed to be spread everywhere.
2922
02:46:01,452 --> 02:46:03,661
I mean, there were a lot of things
that were ambiguous...
2923
02:46:03,829 --> 02:46:08,166
...as to how much Arthur could build,
how much Ridley could shoot practically...
2924
02:46:08,334 --> 02:46:13,671
...and it was clear that there was gonna be
pretty major visual-effects shots.
2925
02:46:14,673 --> 02:46:16,841
MARlS: He really said, "You know,
let's go into it thinking...
2926
02:46:17,009 --> 02:46:19,469
...here's the world l wanna show,
and things we couldn't do...
2927
02:46:19,636 --> 02:46:21,763
...on the first one.
Let's show it for real this time.
2928
02:46:21,930 --> 02:46:24,265
Let's make these grand environments
and giant spaceships."
2929
02:46:24,725 --> 02:46:26,017
SCOTT:
I'll never be the same again.
2930
02:46:26,185 --> 02:46:31,647
I mean, green screen has proved
to be phenomenally well done...
2931
02:46:31,815 --> 02:46:35,109
...between Weta and MPC in London.
2932
02:46:35,527 --> 02:46:38,029
Fundamentally, these two companies
have tackled...
2933
02:46:38,197 --> 02:46:42,033
...what amounts to almost 1 300
of very sophisticated effects shots.
2934
02:46:42,576 --> 02:46:48,289
It lived absolute to my expectations of what
was digitally drawn 1 3 months prior.
2935
02:46:48,457 --> 02:46:51,876
And if in doubt, let's say one of us
wouldn't like that...
2936
02:46:52,044 --> 02:46:57,090
...they'd show this big glossy literally
photographic version of what l wanted...
2937
02:46:57,257 --> 02:46:58,383
...just keep tapping it.
2938
02:46:58,550 --> 02:47:03,388
I'm a great believer in doing my R & D.
And sticking with my R & D.
2939
02:47:22,783 --> 02:47:24,659
SLOAN:
As far as cooperation between...
2940
02:47:24,827 --> 02:47:26,828
...digital and practical effects
on the film went...
2941
02:47:26,995 --> 02:47:31,332
...we had an amazing group of people
doing practical and visual effects...
2942
02:47:31,500 --> 02:47:34,836
...and we constantly talked
to each other.
2943
02:47:35,003 --> 02:47:39,215
It's very hard to see the takeover
between a practical and a digital shot.
2944
02:47:39,591 --> 02:47:42,260
MARlS: The opening prologue
was gonna be a full digital Engineer...
2945
02:47:42,428 --> 02:47:44,846
...because we knew
he's gonna decay so much...
2946
02:47:45,013 --> 02:47:47,014
...that it wasn't gonna be realistic.
2947
02:47:47,182 --> 02:47:50,268
Right from the beginning,
we previs'd that sequence.
2948
02:47:50,436 --> 02:47:54,272
Looked at the Art Department's concepts.
We had an idea what he wanted to do.
2949
02:47:54,440 --> 02:47:56,983
And then it was just a matter
of what the final look would be.
2950
02:47:57,151 --> 02:47:59,277
So it was a great reference
all across the board.
2951
02:47:59,445 --> 02:48:03,197
Ridley shot the whole performance live
for real with a real actor.
2952
02:48:03,365 --> 02:48:05,158
And we shot clean plates without him.
2953
02:48:05,325 --> 02:48:11,247
And Weta used the clean plates to recreate
the CG version of the actor's performance.
2954
02:48:11,415 --> 02:48:13,666
They matched the animation
to his performance.
2955
02:48:13,834 --> 02:48:15,501
And you could put the two side-by-side.
2956
02:48:15,669 --> 02:48:19,839
Ridley wanted a very aggressive
taking over of his body.
2957
02:48:20,007 --> 02:48:22,800
And we knew we had to get
into a molecular level...
2958
02:48:22,968 --> 02:48:26,137
...to see, you know, his component parts
were being torn apart.
2959
02:48:26,305 --> 02:48:29,557
You know, molecule by molecule,
by the infection with the goo.
2960
02:48:29,725 --> 02:48:31,476
So the main things
that we were looking at...
2961
02:48:31,643 --> 02:48:33,603
...is firstly grounding it in reality...
2962
02:48:33,770 --> 02:48:37,732
...and using reference
for each of the types of DNA...
2963
02:48:37,900 --> 02:48:39,984
...because we have such
a short amount of time...
2964
02:48:40,152 --> 02:48:44,280
...to tell the story of the DNA
getting infected, breaking apart...
2965
02:48:44,448 --> 02:48:47,658
...and then reforming and recombining
to show Earth DNA.
2966
02:48:47,826 --> 02:48:50,828
We had to make the designs
of the different DNA...
2967
02:48:50,996 --> 02:48:55,208
...quite different and quite graphical,
quite illustrative of what they were.
2968
02:48:55,375 --> 02:48:57,001
So the Engineer's DNA, you know...
2969
02:48:57,169 --> 02:48:59,128
...we thought,
"This needs to be quite sinister."
2970
02:48:59,296 --> 02:49:02,048
But we know it's gonna get infected
and the infection has to look...
2971
02:49:02,216 --> 02:49:04,717
...you know, more messed up
than the Engineer's DNA.
2972
02:49:04,885 --> 02:49:06,010
So, you know, we were using--
2973
02:49:06,178 --> 02:49:09,680
We used quite a light color palette
for the Engineer's DNA...
2974
02:49:09,848 --> 02:49:13,476
...and then the infection comes on
as very dark, and as very melted-looking...
2975
02:49:13,644 --> 02:49:18,898
...and it starts to distort
and then break apart the Engineer's DNA.
2976
02:49:19,066 --> 02:49:22,902
Ridley actually said to us for that section,
"lt has to feel like war in there."
2977
02:49:23,070 --> 02:49:25,112
The DNA just being torn apart...
2978
02:49:25,280 --> 02:49:28,324
...and just ripping itself apart
in as many different ways as possible.
2979
02:49:28,492 --> 02:49:30,743
One thing about the particles
that Ridley really wanted...
2980
02:49:30,911 --> 02:49:33,037
...to kind of hit in terms of the way
that they move...
2981
02:49:33,205 --> 02:49:36,040
...he wanted to get a sense
that they weren't just falling off him.
2982
02:49:36,208 --> 02:49:39,919
He wanted to give a sense that they
had a little bit of intelligence, almost.
2983
02:49:40,087 --> 02:49:41,587
He said we should look at starlings...
2984
02:49:41,755 --> 02:49:44,215
...and he saw some great footage
of starlings...
2985
02:49:44,383 --> 02:49:47,843
...the way that they flock and move.
Ridley liked that sense of motion.
2986
02:49:48,011 --> 02:49:51,889
And that's what Weta used as a reference
for how those would animate.
2987
02:49:52,057 --> 02:49:53,099
It always had to escalate.
2988
02:49:53,267 --> 02:49:57,562
So each shot needed to be
much more advanced than the one before.
2989
02:49:57,729 --> 02:49:59,814
It got to the stage
where parts of the Engineer...
2990
02:49:59,982 --> 02:50:02,900
...would just tear open
and there's a shot where, you know...
2991
02:50:03,068 --> 02:50:06,529
...his back just opens right up, you know,
so you could see his spine.
2992
02:50:06,697 --> 02:50:08,739
You know, being able
to contribute ideas like that...
2993
02:50:08,907 --> 02:50:10,866
...and you'd put them
in front of Ridley and say:
2994
02:50:11,034 --> 02:50:13,202
"Well, how about
we just have his back tear open?"
2995
02:50:13,370 --> 02:50:15,913
And to have him come back and go,
"Yeah, that's great!"
2996
02:50:16,081 --> 02:50:19,917
You know, it's just fantastic to know
that some of the ideas that Weta created...
2997
02:50:20,085 --> 02:50:22,587
...are, you know, getting into the film.
2998
02:50:25,799 --> 02:50:27,717
STAMMERS: Ridley loves to shoot
as much practically...
2999
02:50:27,884 --> 02:50:29,844
...and for evertyhing
that we had in the film.
3000
02:50:30,012 --> 02:50:32,763
There was a practical version of that,
though, he could shoot with...
3001
02:50:32,931 --> 02:50:38,686
...but at some point, we always knew
that we're gonna have to take over to CG.
3002
02:50:38,854 --> 02:50:41,105
There's the spaceships,
the Prometheus...
3003
02:50:41,273 --> 02:50:43,649
...that was a given
that we were gonna have to do that.
3004
02:50:43,817 --> 02:50:46,152
There were so many scenes,
so, you know, we said:
3005
02:50:46,320 --> 02:50:51,115
"Let's invest all the money into building
really great CG versions of these ships."
3006
02:50:51,283 --> 02:50:54,619
The Prometheus' design of it
came purely from the Art Department.
3007
02:50:54,786 --> 02:50:57,038
Steve Burg and Ben Procter
were responsible...
3008
02:50:57,205 --> 02:50:59,582
...for, you know,
building and detailing the ship...
3009
02:50:59,750 --> 02:51:03,127
...to a point where we had really good
approved concepts from Ridley.
3010
02:51:03,295 --> 02:51:05,087
MARlS:
He actually built the model himself...
3011
02:51:05,255 --> 02:51:06,922
...and used that to give to MPC...
3012
02:51:07,090 --> 02:51:09,967
...who was hired to actually create it
for the feature.
3013
02:51:10,135 --> 02:51:12,303
HENLEY: lt was a great opportunity
to show, you know...
3014
02:51:12,471 --> 02:51:16,098
...our potential on what we could do
with computer graphics on spaceships.
3015
02:51:16,266 --> 02:51:19,018
We were given some very cool
concept designs...
3016
02:51:19,186 --> 02:51:21,145
...which had a fair amount of detail.
3017
02:51:21,313 --> 02:51:24,774
But through the film and the previs
and getting the storyboard from Ridley...
3018
02:51:24,941 --> 02:51:27,610
...there were shots
that were extremely close.
3019
02:51:27,778 --> 02:51:29,445
We had an awful lot of coverage of it.
3020
02:51:29,613 --> 02:51:31,280
So we had the design based...
3021
02:51:31,448 --> 02:51:33,699
...from the concept guys
and we built it to that stage...
3022
02:51:33,867 --> 02:51:36,285
...and then we had to go
in and in and in, closer and closer.
3023
02:51:36,703 --> 02:51:40,331
DOMENECH: And zoom into the cockpit.
We have a rough interior.
3024
02:51:41,667 --> 02:51:43,834
You can sort of see the seats in there.
3025
02:51:44,336 --> 02:51:46,587
MAN: lt's very cool.
DOMENECH: lt's a very, very heavy model.
3026
02:51:46,755 --> 02:51:50,966
It is a very, very large ship,
so it looks like a jet fighter sometimes.
3027
02:51:51,134 --> 02:51:54,011
So VTOL ships who can do
vertical takeoff and landing...
3028
02:51:54,179 --> 02:51:57,682
...and it's got these four massive legs, like,
the engines.
3029
02:51:57,849 --> 02:52:00,726
So it's like we have to make it look cool
where at the same time...
3030
02:52:00,894 --> 02:52:04,605
...it cannot really be super agile
because that takes the size away.
3031
02:52:04,773 --> 02:52:07,566
And with all the landings--
It's, like, we did it as slow as possible...
3032
02:52:07,734 --> 02:52:09,360
...without making it look boring.
3033
02:52:09,528 --> 02:52:11,862
So it's agile, at the same time,
it has to look massive.
3034
02:52:12,030 --> 02:52:13,406
DANESE:
Selling the scale of it...
3035
02:52:13,573 --> 02:52:17,952
...you wanna feel something massive
is landing on this dusty planet.
3036
02:52:18,120 --> 02:52:23,040
We had to do this huge amount
of dust raised by the ground.
3037
02:52:23,208 --> 02:52:27,878
So, really, the scale of that shot is given
by how the dynamic of the dust...
3038
02:52:28,046 --> 02:52:31,424
...and the tiny points
and the tiny rocks are moving.
3039
02:52:31,591 --> 02:52:33,050
When we're getting close...
3040
02:52:33,218 --> 02:52:35,720
...you need to see the detail
and there's so much texture time...
3041
02:52:35,887 --> 02:52:39,724
...went into adding scale to the ship
to make it feel like it was big enough.
3042
02:52:40,392 --> 02:52:45,020
HENLEY: Maybe we need just a sense of a
little more specular in some of these areas...
3043
02:52:45,188 --> 02:52:47,231
...that are quite smooth.
3044
02:52:47,399 --> 02:52:51,068
Just very subtly change the value,
you know, in the highlights here.
3045
02:52:51,236 --> 02:52:53,571
That was a big challenge
definitely for building it...
3046
02:52:53,739 --> 02:52:56,073
...because it's a task
that you could just go on and on.
3047
02:52:56,241 --> 02:53:00,161
But, you know, the final result is great
and MPC did a fantastic job on that.
3048
02:53:02,247 --> 02:53:04,081
HENLEY:
Planet from above as you fly in.
3049
02:53:04,249 --> 02:53:06,751
Ridley found a particular moon
of Jupiter...
3050
02:53:06,918 --> 02:53:08,878
...and so that became the model
for the gas giant.
3051
02:53:09,045 --> 02:53:12,798
We shot things like ink swirling
to get, like, nice fluid patterns.
3052
02:53:12,966 --> 02:53:14,300
And we wanted to have the rings...
3053
02:53:14,468 --> 02:53:17,261
...so we analyzed Saturn rings,
but tried something slightly different.
3054
02:53:17,429 --> 02:53:19,680
Ridley had gone talked
to some NASA guys...
3055
02:53:19,848 --> 02:53:22,933
...about what it should be out there
in space, what it should be on the planet.
3056
02:53:23,101 --> 02:53:25,352
He had all this feedback
that he was very excited about.
3057
02:53:25,520 --> 02:53:26,854
STAMMERS:
Planet environment was incredible.
3058
02:53:27,022 --> 02:53:28,939
Steve Messing
was one of the concept artists...
3059
02:53:29,107 --> 02:53:31,442
...responsible for most
of the planetscapes.
3060
02:53:31,610 --> 02:53:33,319
It was clear that it was gonna,
you know--
3061
02:53:33,487 --> 02:53:36,489
If something real was gonna be shot,
it was going to be heavily manipulated.
3062
02:53:36,656 --> 02:53:40,451
The whole planet environment was gonna
require quite a lot of visual-effects work...
3063
02:53:40,619 --> 02:53:42,828
...to join different landscapes together...
3064
02:53:42,996 --> 02:53:45,790
...add atmospherics and weather
and lightning, and things like that.
3065
02:53:45,957 --> 02:53:48,292
Ridley's main--
He first brought forward...
3066
02:53:48,460 --> 02:53:52,046
...was that it was gonna be terrible weather
on this planet, and that was our basic brief.
3067
02:53:52,214 --> 02:53:54,632
STAMMERS: We've put a lot of effort
into designing with Ridley.
3068
02:53:54,800 --> 02:53:59,512
All the landscape was kind of based
on him really loving Wadi Rum in Jordan.
3069
02:53:59,679 --> 02:54:02,306
HENLEY: There was a photo
that Ridley had found somewhere...
3070
02:54:02,474 --> 02:54:04,558
...of some really interesting
mountain landscape...
3071
02:54:04,726 --> 02:54:08,437
...and he'd drawn in some pyramids
in the middle of that valley he found.
3072
02:54:08,605 --> 02:54:11,023
And that became kind of the thing
that we wanted to create.
3073
02:54:11,191 --> 02:54:15,486
STAMMERS: l went to Jordan with an aerial
unit and MPC's supervisor, Charlie Henley...
3074
02:54:15,654 --> 02:54:17,822
...and we shots thousands
of thousands of stills.
3075
02:54:17,989 --> 02:54:19,406
We shot loads of plates as well.
3076
02:54:19,574 --> 02:54:21,826
So there's some real plates
of Jordan untouched...
3077
02:54:21,993 --> 02:54:25,830
...and then there are areas where you see
a sandy desert as the ground.
3078
02:54:25,997 --> 02:54:30,376
We've replaced that with digital versions
of what we've shot in lceland.
3079
02:54:35,715 --> 02:54:36,757
Hey, baby.
3080
02:54:37,175 --> 02:54:38,592
STAMMERS:
The creature work was--
3081
02:54:38,760 --> 02:54:40,678
You know, there's a good variety
of creature work.
3082
02:54:40,846 --> 02:54:44,098
Neal Scanlan's team,
the creature supervisor...
3083
02:54:44,266 --> 02:54:47,226
...had a number of tasks to create,
and Hammerpedes are a great example.
3084
02:54:47,394 --> 02:54:50,312
You know, Neal's team did a fantastic...
3085
02:54:50,480 --> 02:54:52,815
...fully animatronic version
of the Hammerpede.
3086
02:54:52,983 --> 02:54:54,358
Puppeteered versions...
3087
02:54:54,526 --> 02:54:56,902
...things that could be wrapped
around Millburn's arm...
3088
02:54:57,070 --> 02:54:59,780
...that we could, you know, puppeteer
for real, pull through, so....
3089
02:54:59,948 --> 02:55:01,866
We shot most of that scene
with the Hammerpede...
3090
02:55:02,033 --> 02:55:04,827
...with a practical Hammerpede
there for the whole time.
3091
02:55:04,995 --> 02:55:08,414
MARlS: Ridley really wanted to try
and do things real first...
3092
02:55:08,582 --> 02:55:11,584
...and where it would fail,
then he would want us to do it digitally.
3093
02:55:11,751 --> 02:55:14,044
STAMMERS: There were certain limitations
of things he couldn't do.
3094
02:55:14,212 --> 02:55:16,839
The way that the mouth kind of uncurls
and opens up...
3095
02:55:17,215 --> 02:55:20,551
...we could only see it from behind
sort of, you know, doing kind of this--
3096
02:55:21,344 --> 02:55:23,929
You know, MPC ended up
doing the frontal version...
3097
02:55:24,097 --> 02:55:25,472
...where it unfolds and opens up...
3098
02:55:25,640 --> 02:55:27,641
...then we cut to the rear view
which is practical.
3099
02:55:27,809 --> 02:55:30,561
So we're cutting from practical to CG
a number of times...
3100
02:55:30,729 --> 02:55:34,064
...and then, obviously, there's a point
where the head gets cut off.
3101
02:55:34,232 --> 02:55:37,276
At that point that's where we just take
what he had and it's like, "Okay."
3102
02:55:37,444 --> 02:55:39,820
Now we go CG,
we gotta regrow a new head.
3103
02:55:39,988 --> 02:55:43,532
The head is gonna then burrow into
the acid burn hole that's in Millburn's arm...
3104
02:55:43,700 --> 02:55:46,785
...and once it gets into his helmet,
that's all down to us to take over...
3105
02:55:46,953 --> 02:55:50,581
...and, you know, Rafe Spall
did a great performance...
3106
02:55:50,749 --> 02:55:53,292
...in reacting to something
that he had no idea...
3107
02:55:53,460 --> 02:55:55,085
...really what it was gonna be doing.
3108
02:55:55,253 --> 02:55:58,005
Now, he knew it was gonna end up
being rammed down his throat...
3109
02:55:58,173 --> 02:56:01,592
...so he gave a good performance
for that.
3110
02:56:01,760 --> 02:56:05,179
You know, really a pretty disgusting shot
at the end of it. It was great.
3111
02:56:06,932 --> 02:56:09,308
MAN 1 : Oh, that's horrible!
MAN 2: Ooh.
3112
02:56:09,476 --> 02:56:10,935
-Ooh.
MAN 1 : Ooh. l don't like that.
3113
02:56:11,102 --> 02:56:12,436
[MEN LAUGHlNG]
3114
02:56:12,604 --> 02:56:13,854
Well, I do, but--
3115
02:56:14,022 --> 02:56:17,942
There's just far too many
Freudian interpretations right there.
3116
02:56:22,030 --> 02:56:24,031
[KEYPAD BEEPlNG]
3117
02:56:24,199 --> 02:56:25,449
[WOMAN PANTING]
3118
02:56:25,617 --> 02:56:27,284
STAMMERS:
The Med Pod. What a great sequence.
3119
02:56:27,452 --> 02:56:29,954
I mean, truly, truly disgusting...
3120
02:56:30,121 --> 02:56:32,831
...and that was a great moment
in the script.
3121
02:56:32,999 --> 02:56:36,126
And, you know, it's like,
"Wow, this is gonna be cool."
3122
02:56:36,294 --> 02:56:38,629
Scene 1 08, the Med Pod.
3123
02:56:38,797 --> 02:56:41,590
The Med Pod was the first thing
that I saw any previs for...
3124
02:56:41,758 --> 02:56:42,800
...or anything of the film.
3125
02:56:42,968 --> 02:56:47,846
I just saw the previs sequence
of Shaw entering the Med Pod.
3126
02:56:48,014 --> 02:56:52,017
It cuts her open. lt pulls this thing out.
It starts screaming, she starts screaming.
3127
02:56:52,185 --> 02:56:53,268
The blood going everywhere.
3128
02:56:53,603 --> 02:56:56,647
That was my introduction to Prometheus.
That was the first thing l saw.
3129
02:56:57,023 --> 02:57:00,234
Along with, you know, we are hoping
for a PG-1 3 rating.
3130
02:57:00,402 --> 02:57:04,029
STAMMERS: Ridley, you know, really
wanted it to be quite graphic as well.
3131
02:57:04,197 --> 02:57:06,240
We did quite a heavy previs
on this sequence.
3132
02:57:06,408 --> 02:57:11,412
In fact, a team from Halon did a great job
of prevising the whole sequence.
3133
02:57:11,830 --> 02:57:15,874
And we previs'd it as an R-rated version
and we previs'd it as a PG-1 3 version.
3134
02:57:16,042 --> 02:57:18,627
The Med Pod was one of the most exciting
sequences to work on...
3135
02:57:18,795 --> 02:57:20,379
...because it is very analogous...
3136
02:57:20,547 --> 02:57:22,965
...to the chest-bursting scene
in the original Alien.
3137
02:57:23,133 --> 02:57:27,511
So we really took a lot of care
to make it look as real...
3138
02:57:27,679 --> 02:57:30,014
...and as gruesome
as we possibly could.
3139
02:57:30,181 --> 02:57:34,935
Weta picked up that sequence
and just did a great job with, you know...
3140
02:57:35,103 --> 02:57:37,980
...doing great CG robotic arms
that are interacting with her.
3141
02:57:38,273 --> 02:57:40,441
You know, the whole scanning motion
and laser-cutting...
3142
02:57:40,608 --> 02:57:43,360
...the spreading, and the claw that comes in
to pull out the placenta.
3143
02:57:43,528 --> 02:57:46,196
That's all there.
Sort of full CG work at that point.
3144
02:57:46,364 --> 02:57:49,116
There's a lot of subtle things going on
through the sequence.
3145
02:57:49,284 --> 02:57:52,119
Firstly, Noomi is actually
quite a proficient belly dancer...
3146
02:57:52,287 --> 02:57:54,788
...and what we've done
is put some enhancements onto that...
3147
02:57:54,956 --> 02:57:59,043
...so you can see the trilobite just nudge
against her flesh from the inside...
3148
02:57:59,210 --> 02:58:00,544
...and put the odd bulge in.
3149
02:58:00,712 --> 02:58:03,964
STAMMERS: This sequence is, you know,
is incredible.
3150
02:58:04,132 --> 02:58:10,012
Neal Scanlan's team just gave us the most
incredible practical things to work with.
3151
02:58:10,180 --> 02:58:14,266
I mean, you know, fully animatronic
baby trilobite with a placenta...
3152
02:58:14,434 --> 02:58:16,810
...and a placental sac that's full of goo.
3153
02:58:16,978 --> 02:58:19,730
It's just-- lt was great.
There were some really good things.
3154
02:58:19,898 --> 02:58:23,067
Having the on-set reference that Ridley shot
gave us a lot of confidence...
3155
02:58:23,234 --> 02:58:25,652
...to know what he wanted
and be able to replicate that...
3156
02:58:25,820 --> 02:58:28,697
...and be able to deliver something
that we knew he'd be happy with.
3157
02:58:30,909 --> 02:58:34,328
STAMMERS: The staples are brilliant.
We talked about that, you know, with Ridley.
3158
02:58:34,496 --> 02:58:38,207
The practicalities of what really would be
in terms of futuristic surgeries.
3159
02:58:38,374 --> 02:58:41,460
Like when you've got this fantastic
Med Pod machine that can do...
3160
02:58:41,628 --> 02:58:44,922
...you know, any number of things,
yet he still wants staples?
3161
02:58:45,090 --> 02:58:46,632
But he just loved the idea of staples.
3162
02:58:46,800 --> 02:58:49,301
It's just that thing of like,
seeing that staple gun gets you...
3163
02:58:49,469 --> 02:58:50,511
[lMlTATING STAPLING]
3164
02:58:50,678 --> 02:58:53,347
...and you know, sticking staples
in her stomach was just brilliant.
3165
02:58:55,141 --> 02:58:57,601
That baby trilobite
grows really, really quickly.
3166
02:58:57,769 --> 02:59:01,605
And I remember a moment when we
went over to Neal's creature shop.
3167
02:59:01,773 --> 02:59:05,400
When he was sculpting the original version
of that, it was a lot smaller.
3168
02:59:05,568 --> 02:59:07,903
I think we were all thinking
it was a bit big already.
3169
02:59:08,071 --> 02:59:11,657
And Neal said to Ridley-- He said,
"l'm really concerned about the scale."
3170
02:59:11,825 --> 02:59:14,827
And Ridley said, "Yeah. Yeah.
We should make it bigger."
3171
02:59:14,994 --> 02:59:16,912
And he was like--
Neal was like, "Oh, okay."
3172
02:59:17,080 --> 02:59:20,332
MARlS: Neal essentially built pieces,
gave us all the reference we needed...
3173
02:59:20,500 --> 02:59:21,917
...and we just gave that to Weta...
3174
02:59:22,085 --> 02:59:25,671
...and Weta built it and then on top of that
they put their textures...
3175
02:59:25,839 --> 02:59:28,924
...because Ridley wanted
that peeling, flaking skin look to it...
3176
02:59:29,092 --> 02:59:31,135
...which was really hard to do
prosthetically, so....
3177
02:59:31,302 --> 02:59:32,845
You know, Weta finished all that off...
3178
02:59:33,012 --> 02:59:35,556
...and they had a great basis
from Neal's stuff.
3179
02:59:35,723 --> 02:59:40,477
STAMMERS: You know, the battle between
those two becomes this great struggle...
3180
02:59:40,645 --> 02:59:42,354
...and he's just overwhelmed.
3181
02:59:42,522 --> 02:59:45,983
You know, Ridley had a great idea
for that sequence.
3182
02:59:46,151 --> 02:59:47,985
You know, he should get his feet up
on the door.
3183
02:59:48,153 --> 02:59:50,070
"Get his feet up on the door.
He's pulling back."
3184
02:59:50,238 --> 02:59:55,117
And you get these sort of great shots
where you could really feel the struggle...
3185
02:59:55,285 --> 02:59:57,703
...of him just trying to pull back away
from this thing...
3186
02:59:57,871 --> 02:59:59,746
...and, you know,
braced up against the door.
3187
02:59:59,914 --> 03:00:01,123
It's a great moment.
3188
03:00:01,291 --> 03:00:03,458
HlLL: One of the main design aspects
with the trilobite...
3189
03:00:03,626 --> 03:00:06,587
...was to really get a sense
of tension and strength...
3190
03:00:06,754 --> 03:00:09,089
...in this quite squishy, you know--
3191
03:00:09,257 --> 03:00:12,176
He has a vertebrae,
but down his tentacles he has no bones.
3192
03:00:12,343 --> 03:00:16,346
So we needed to make sure that
when his tentacles are very stretched out...
3193
03:00:16,514 --> 03:00:18,348
...that we get a sense
of the musculature...
3194
03:00:18,516 --> 03:00:21,435
...and when it was compressed,
when he was all squashed up...
3195
03:00:21,603 --> 03:00:24,354
...you know, you see all the folds
and wrinkles in the skin.
3196
03:00:24,522 --> 03:00:25,814
STAMMERS:
They had a real challenge...
3197
03:00:25,982 --> 03:00:28,025
...to animate the trilobite's performance
to match...
3198
03:00:28,193 --> 03:00:30,277
...what lan Whyte
was effectively doing with nothing.
3199
03:00:30,445 --> 03:00:33,447
Definitely a tricky sequence for sure.
But...
3200
03:00:33,615 --> 03:00:36,200
...again, that worked out really well
in the end.
3201
03:00:41,080 --> 03:00:43,081
[CHATTERING]
3202
03:00:44,918 --> 03:00:48,045
The Fifield creature, it was another beat
that Ridley wanted an action sequence.
3203
03:00:48,213 --> 03:00:51,715
And he conceived this as a short beat
just to keep the pace of the film going.
3204
03:00:51,883 --> 03:00:54,218
And we need an exciting action moment.
3205
03:00:54,385 --> 03:00:58,764
And Fifield's transitioned
into something slightly more alien.
3206
03:00:58,932 --> 03:01:01,892
It was a bit ambiguous
as to which way it was gonna go.
3207
03:01:02,060 --> 03:01:05,562
MARlS: The original intent was that
any kind of gross movements:
3208
03:01:05,730 --> 03:01:08,565
Big running, jumping, things like that
would be a digital character...
3209
03:01:08,733 --> 03:01:11,443
...which they would build one on set
which would be shown here...
3210
03:01:11,611 --> 03:01:13,153
...as some sort of prosthetic.
3211
03:01:13,321 --> 03:01:15,822
We would go across to that
and just match to that...
3212
03:01:15,990 --> 03:01:19,701
...and then we'd do his digital motions so
he could run properly how Ridley wanted.
3213
03:01:19,869 --> 03:01:23,997
Ridley kind of wanted to take it more
into an animal realm for his motions...
3214
03:01:24,165 --> 03:01:26,583
...sort of kind of baboonish
things like that.
3215
03:01:26,751 --> 03:01:29,086
STAMMERS: There was one image
that Ridley kept going back to...
3216
03:01:29,254 --> 03:01:31,338
...which was what he refers to
as the "baby head."
3217
03:01:31,506 --> 03:01:33,090
And he kind of loved that image.
3218
03:01:33,258 --> 03:01:38,136
And, you know, the design kind of really
worked, worked and worked around that ...
3219
03:01:38,304 --> 03:01:42,516
...for a long time and when, you know,
we're getting closer to shooting...
3220
03:01:42,684 --> 03:01:45,936
...we were still not at a point where we had,
you know, a final design for that.
3221
03:01:46,104 --> 03:01:47,688
SLOAN:
When we started on Fifield...
3222
03:01:47,855 --> 03:01:50,941
...he was kind of big,
kind of mean, kind of fast.
3223
03:01:51,109 --> 03:01:53,026
That was pretty much all we had
at the beginning.
3224
03:01:53,194 --> 03:01:56,780
We ended up having the actor,
Sean Harris, who played Fifield.
3225
03:01:57,573 --> 03:02:00,659
He was in a prosthetic makeup
and with sort of blackened-up armor...
3226
03:02:00,827 --> 03:02:02,953
...and he ran
through the entire sequence for us.
3227
03:02:03,121 --> 03:02:04,955
Sean is incredibly intense, as well.
3228
03:02:05,123 --> 03:02:08,125
Anything you'd wanted, he was fine.
"Fifield needs to be on fire."
3229
03:02:08,293 --> 03:02:09,626
"That's fine. Set me on fire."
3230
03:02:15,758 --> 03:02:18,468
SCOTT:
I can design the whole thing...
3231
03:02:18,636 --> 03:02:23,140
...see it shot with the actor in makeup,
in full makeup...
3232
03:02:23,308 --> 03:02:25,142
...see how he does...
3233
03:02:25,310 --> 03:02:29,813
...and then do a combination
of elements of the actor...
3234
03:02:29,981 --> 03:02:32,816
...in relation
to some digital enhancement.
3235
03:02:33,484 --> 03:02:36,028
-Um, or not.
FERNANDEZ: The first brief of Fifield...
3236
03:02:36,195 --> 03:02:38,488
...was more or less human,
more or less alien.
3237
03:02:38,656 --> 03:02:40,824
Ridley was not locked in
on the concept yet.
3238
03:02:40,992 --> 03:02:43,327
So development continued at Weta.
3239
03:02:43,494 --> 03:02:45,871
One of the big things
was getting right balance in the face.
3240
03:02:46,039 --> 03:02:49,624
Like, between seeing the actor
and having the--
3241
03:02:49,792 --> 03:02:51,668
Maintaining the alien design
on the outside...
3242
03:02:51,836 --> 03:02:53,587
...because he's transforming
into the alien.
3243
03:02:53,755 --> 03:02:56,256
HlLL: We sort of came up with a sort of
withered remainder of a head.
3244
03:02:56,424 --> 03:02:59,176
And then over time
and over a few design iterations...
3245
03:02:59,344 --> 03:03:02,512
...it became more important
and the head actually shrunk...
3246
03:03:02,680 --> 03:03:07,017
...to the point where the outer exoskeleton
head was actually quite tight...
3247
03:03:07,185 --> 03:03:10,020
...to Fifield as a kind of distorted human.
3248
03:03:10,188 --> 03:03:11,938
FERNANDEZ:
While on the body side of things...
3249
03:03:12,106 --> 03:03:14,107
...really, it comes more down to,
like, proportions.
3250
03:03:14,275 --> 03:03:17,652
Limb length, like joints,
the setup of the legs and the arms.
3251
03:03:18,529 --> 03:03:20,030
So that show the alien features...
3252
03:03:20,198 --> 03:03:23,950
...but still enable us to do
all the crazy movements he's gonna do.
3253
03:03:24,118 --> 03:03:27,245
There were times when we're designing,
"l don't want something too monstrous.
3254
03:03:27,413 --> 03:03:29,706
It's gonna be quick,
we're not gonna see much."
3255
03:03:29,874 --> 03:03:33,752
Funny if the actor is winning.
3256
03:03:34,212 --> 03:03:36,380
The digital enhancement is excellent...
3257
03:03:36,798 --> 03:03:38,882
...but it looks like a monster.
3258
03:03:39,050 --> 03:03:41,551
Whereas, the actor
still looks like the actor...
3259
03:03:41,719 --> 03:03:43,553
...and what he does
is pretty damned good.
3260
03:03:43,721 --> 03:03:46,848
So both are done,
but l'm able to look at them both...
3261
03:03:47,016 --> 03:03:50,060
...and say, "Okay,
which is the most effective?"
3262
03:03:50,228 --> 03:03:53,355
A few comments were kind of like,
"You know, we wanted to see Sean Harris."
3263
03:03:53,523 --> 03:03:55,565
Like, he's a great actor...
3264
03:03:55,733 --> 03:03:59,069
...and provided a sense of character
and realism to the shots.
3265
03:03:59,237 --> 03:04:02,030
And they felt like seeing a CG character
at that point of Sean Harris...
3266
03:04:02,198 --> 03:04:03,740
...almost takes you out of the movie.
3267
03:04:04,575 --> 03:04:08,203
Weta did a fantastic job
of creating a CG version of Fifield.
3268
03:04:08,371 --> 03:04:12,082
And it's--
You know, he's really disgusting.
3269
03:04:12,250 --> 03:04:16,878
Ultimately, what you see in the final film
is Sean Harris in makeup.
3270
03:04:21,592 --> 03:04:24,553
The Deacon's birth
was another one of those sequences...
3271
03:04:24,720 --> 03:04:26,054
...that people are waiting for.
3272
03:04:26,222 --> 03:04:28,598
STAMMERS: l remember seeing
early concepts of the Deacon...
3273
03:04:28,766 --> 03:04:33,270
...six to eight months before we started
shooting. We're not that far from what it was.
3274
03:04:33,438 --> 03:04:37,399
I mean, it still had, you know, no eyes
and an elongated head.
3275
03:04:37,567 --> 03:04:39,776
MAN 1 :
Close the mouth. Close the mouth.
3276
03:04:39,944 --> 03:04:41,611
-Close the mouth.
MAN 2: Mm. Yummy.
3277
03:04:41,779 --> 03:04:43,029
MAN 3:
Up. Up.
3278
03:04:43,197 --> 03:04:47,409
Neal's team again, you know,
built a full prosthetic version...
3279
03:04:47,577 --> 03:04:50,454
...of the Deacon for the birth of it
from the Engineer.
3280
03:04:50,621 --> 03:04:54,249
And what you see in the film
is something again where we shot...
3281
03:04:54,417 --> 03:04:56,334
...everything practically
as much as we could.
3282
03:04:56,502 --> 03:04:59,212
MARlS: Ridley said, "Yeah, we'll do that
for real and as much as we can."
3283
03:04:59,380 --> 03:05:00,922
So they puppeteered the Deacon.
3284
03:05:01,090 --> 03:05:04,968
He stands up and he starts screaming.
It was great. They did a fantastic job.
3285
03:05:05,136 --> 03:05:07,345
There was a couple of things
that we had to add to it.
3286
03:05:07,513 --> 03:05:12,851
Weta essentially took a digital scan
of the creature on set, the puppet...
3287
03:05:13,019 --> 03:05:16,146
...photographed it and they built a version
that matched to it exactly.
3288
03:05:16,314 --> 03:05:19,065
The Deacon is actually described
as an ultramorph.
3289
03:05:19,233 --> 03:05:22,319
You know, it's come out of not a human,
but from an Engineer.
3290
03:05:22,487 --> 03:05:24,779
So it's much bigger and stronger...
3291
03:05:24,947 --> 03:05:26,990
...and much more developed
than the xenomorph.
3292
03:05:27,158 --> 03:05:30,911
But it's still just been born,
and it's still finding its feet.
3293
03:05:31,078 --> 03:05:33,830
So quite literally
when we first animate it...
3294
03:05:33,998 --> 03:05:37,792
...it needed to sort of scrabble around
as if it was a newly born...
3295
03:05:37,960 --> 03:05:40,670
...standing-up-for-the-first-time animal,
to get him on his feet.
3296
03:05:40,838 --> 03:05:42,172
And the first time he talks.
3297
03:05:42,340 --> 03:05:43,673
STAMMERS:
A lot of people think, you know...
3298
03:05:43,841 --> 03:05:46,510
...it's just trying-- A precursor
to what was designed as the alien.
3299
03:05:46,677 --> 03:05:49,137
But the jaw is actually based
on a goblin shark.
3300
03:05:49,305 --> 03:05:52,015
You know,
Ridley loves that motion that it has.
3301
03:05:52,183 --> 03:05:55,477
And it has this lower jaw
that sort of unlatches...
3302
03:05:55,645 --> 03:05:57,521
...and a secondary jaw comes out...
3303
03:05:57,688 --> 03:06:01,525
...and that's totally where the Deacon's jaw
is based on.
3304
03:06:06,697 --> 03:06:10,367
STAMMERS: The scene towards the end of
the film when the Prometheus is taking off...
3305
03:06:10,535 --> 03:06:13,620
...and the Juggefnaut is taking off,
we see the Juggefnaut for the first time.
3306
03:06:13,788 --> 03:06:15,580
It's the best action sequence in the film.
3307
03:06:15,748 --> 03:06:18,041
It's long, there's lots happening,
there's a lot of drama.
3308
03:06:18,209 --> 03:06:21,878
And, you know, it's the first time
that we really see the Juggefnaut...
3309
03:06:22,046 --> 03:06:23,838
...in detail emerging out of the silo.
3310
03:06:24,006 --> 03:06:26,174
Shaw is kind of running up the hill
out of the way.
3311
03:06:26,342 --> 03:06:29,344
You see this thing emerging behind her.
It's a fantastic moment.
3312
03:06:29,512 --> 03:06:33,056
MARlS: Going into it, he always knew
that it was gonna be a big event.
3313
03:06:33,224 --> 03:06:35,225
We had talked about
doing a miniature for it...
3314
03:06:35,393 --> 03:06:37,394
...because we knew
we could get pieces of it.
3315
03:06:37,562 --> 03:06:40,021
But we're worried because of the amount
of detail on that ship.
3316
03:06:40,189 --> 03:06:43,733
It's so complicated to build. We'd get one
or two takes and we wouldn't be happy.
3317
03:06:43,901 --> 03:06:47,279
MPC did some fantastic CG destruction.
3318
03:06:47,446 --> 03:06:49,906
And they sold me on the idea
that these guys can do it.
3319
03:06:50,241 --> 03:06:54,244
HENLEY: The original derelict was the basis
for the current Juggefnaut that we built.
3320
03:06:54,412 --> 03:06:57,914
What Ridley wanted to do in this film
was bring in a much higher level...
3321
03:06:58,082 --> 03:06:59,416
...of detail and scale.
3322
03:06:59,584 --> 03:07:02,377
STAMMERS: The Juggefnaut was
real difficult one to get the scale of...
3323
03:07:02,545 --> 03:07:04,379
...and it's a thousand foot in diameter.
3324
03:07:04,547 --> 03:07:07,424
How much sort of detail do you get
on something of this sort of size?
3325
03:07:07,592 --> 03:07:10,176
Of course we'll see the Juggefnaut
has a very specific design...
3326
03:07:10,344 --> 03:07:13,305
...that we were trying to maintain
from the original Alien.
3327
03:07:13,472 --> 03:07:17,434
So we had to go in and put so much
of that little piping detail work...
3328
03:07:17,602 --> 03:07:18,768
...around the exterior.
3329
03:07:18,936 --> 03:07:22,856
The whole Juggefnaut had so much detail
to it to maintain the huge scale that it is.
3330
03:07:23,024 --> 03:07:24,441
HENLEY:
One of the biggest challenges...
3331
03:07:24,609 --> 03:07:26,610
...was understanding the scale
of the Juggernaut...
3332
03:07:26,777 --> 03:07:29,029
...and being able to have the cameraman
visualize that.
3333
03:07:29,196 --> 03:07:31,114
When we brought it back to MPC...
3334
03:07:31,282 --> 03:07:33,700
...and analyze the shots
and laid it out in post-vis...
3335
03:07:33,868 --> 03:07:37,537
...we found that the Juggefnaut
was almost always completely out of frame.
3336
03:07:37,705 --> 03:07:40,415
SCOTT: l'm very happy with the sequence
as it occurs towards the end.
3337
03:07:40,583 --> 03:07:42,709
You know,
because a lot of this is on paper...
3338
03:07:42,877 --> 03:07:45,295
...and you draw it and think...
3339
03:07:45,671 --> 03:07:49,883
...well, if the Juggefnaut was rammed
dy the Prometheus...
3340
03:07:50,051 --> 03:07:54,304
...because the Prometheus has to use itself
as a missile to bring it down...
3341
03:07:54,472 --> 03:07:58,558
...and in so doing, Janek,
the crew and who is left...
3342
03:07:58,726 --> 03:08:00,268
...Chance and Ravel...
3343
03:08:00,436 --> 03:08:05,815
...will sacrifice themselves
for the good of Earth.
3344
03:08:05,983 --> 03:08:10,487
It's that moment where we're
into some pretty big effects work.
3345
03:08:10,655 --> 03:08:13,365
And that whole sequence
is a big one for us.
3346
03:08:13,532 --> 03:08:15,575
The great crumpling motion...
3347
03:08:15,743 --> 03:08:18,703
...as the nose of the Prometheus
rams into the Juggefnaut.
3348
03:08:18,871 --> 03:08:21,498
The way we crumple our ship
against the other one...
3349
03:08:21,666 --> 03:08:25,835
...to make it hold and strengthen
to make it look like there's things inside--
3350
03:08:26,003 --> 03:08:28,171
We have our own destruction tool
here at MPC.
3351
03:08:28,339 --> 03:08:32,008
And we just model invisible objects inside
that's supposed to be the structure...
3352
03:08:32,176 --> 03:08:34,344
...to help it maintain form
while it's being crushed.
3353
03:08:34,512 --> 03:08:37,764
Luckily, inside the ship, there's
not much stuff modeled in the sides...
3354
03:08:37,932 --> 03:08:42,018
...so the explosion comes in pretty quick
and helps us hide the hollowness...
3355
03:08:42,186 --> 03:08:43,937
...of the whole ship.
3356
03:08:44,480 --> 03:08:45,605
STAMMERS:
We pull back and we--
3357
03:08:45,773 --> 03:08:48,441
You know, we're back
with Shaw and Vickers on the ground...
3358
03:08:48,609 --> 03:08:51,027
...and they're witnessing the explosion
up in the sky...
3359
03:08:51,195 --> 03:08:54,989
...and then the debris starts raining down,
and we're into just absolute mayhem.
3360
03:08:55,157 --> 03:08:57,283
PANlS: The Prometheusjust explodes
into billions of pieces.
3361
03:08:57,451 --> 03:08:59,994
Just like pfft, in the air,
and then that's all the pieces...
3362
03:09:00,162 --> 03:09:02,706
...that we have to bring back
in the ground and just explodes.
3363
03:09:02,873 --> 03:09:04,874
And a lot of little debris hitting and it's--
3364
03:09:05,042 --> 03:09:07,001
They escape a few while they're running.
3365
03:09:07,169 --> 03:09:09,838
All these pieces are trying to hit them
and they just dodged them.
3366
03:09:10,005 --> 03:09:11,339
SCOTT:
Of course it doesn't end there.
3367
03:09:11,507 --> 03:09:15,427
The Juggefnaut falls to earth
like a giant horseshoe...
3368
03:09:15,594 --> 03:09:17,387
...and starts to roll.
3369
03:09:17,555 --> 03:09:20,473
DOMENECH: This is post-vis.
That's how we took the plate...
3370
03:09:20,641 --> 03:09:24,227
...and Art and Animation Department,
we made a rough version...
3371
03:09:24,395 --> 03:09:27,147
...of what it would look like
when it's rendered. All this is real.
3372
03:09:27,314 --> 03:09:31,317
And then you guys from Art
added extra pinnacles.
3373
03:09:31,485 --> 03:09:33,570
They're called pinnacles.
They're rock formations.
3374
03:09:33,738 --> 03:09:35,113
They're like volcanic rocks.
3375
03:09:35,281 --> 03:09:37,365
You can see
the explosion elements there.
3376
03:09:37,533 --> 03:09:39,409
You can see the meteorites we added.
3377
03:09:39,577 --> 03:09:41,786
That's the Juggernaut.
3378
03:09:41,954 --> 03:09:44,873
And you can see the pyramids
in the background.
3379
03:09:45,040 --> 03:09:47,417
It's all a virtual environment.
3380
03:09:47,585 --> 03:09:52,505
SCOTT: And l always thought
that's a great idea, but can we pull it off?
3381
03:09:52,673 --> 03:09:56,426
So applying my boards
to their designs of the Juggefnaut...
3382
03:09:56,594 --> 03:09:59,929
...suddenly the whole thing starts
to evolve and become feasible.
3383
03:10:00,097 --> 03:10:03,433
Now it's the most spectacular sequence
of the movie.
3384
03:10:10,941 --> 03:10:11,941
[English - US - SDH]
3385
03:10:19,617 --> 03:10:23,077
THERON: l really feel like it's a movie
that, uh, stands on its own.
3386
03:10:23,245 --> 03:10:27,207
It really doesn't feel like it's trying
to set up a story...
3387
03:10:27,374 --> 03:10:29,042
...or kind of continue a story.
3388
03:10:29,460 --> 03:10:32,754
SCALlA: l felt the way the Alien franchise
was developing...
3389
03:10:32,922 --> 03:10:34,839
...that there was nothing more
for them to say.
3390
03:10:35,007 --> 03:10:39,385
But when he saw an idea
behind this universe and this world...
3391
03:10:39,553 --> 03:10:43,097
...where he could create something
and contribute something new...
3392
03:10:43,265 --> 03:10:44,766
...then he jumped on it.
3393
03:10:44,934 --> 03:10:48,269
SCANLAN: There are strong references,
visual references to the original.
3394
03:10:48,687 --> 03:10:53,274
Whether, ultimately, it links the story
together is not necessary.
3395
03:10:53,442 --> 03:10:57,403
It's not necessary
that this ticks all the boxes.
3396
03:10:57,571 --> 03:11:02,784
I think I'll be allowed to show my face
at Comic-Con next year.
3397
03:11:03,118 --> 03:11:07,539
It was something l was very aware of
as being an enormous responsibility...
3398
03:11:07,706 --> 03:11:11,751
...to the lexicon of sci-fi iconography.
3399
03:11:12,962 --> 03:11:16,631
SCOTT: We began almost two and a half
years ago without a story, without a script...
3400
03:11:16,799 --> 03:11:19,259
...and here we are two years later.
3401
03:11:19,426 --> 03:11:23,638
It's pretty damn good and pretty fast,
given the scale of the production.
3402
03:11:23,806 --> 03:11:25,932
And given the fact
that I was particularly nervous...
3403
03:11:26,100 --> 03:11:30,228
...about returning to the genre
after all this time.
3404
03:11:48,789 --> 03:11:54,002
We got to the point now where we know
what we want to do because we're there.
3405
03:11:54,169 --> 03:11:57,755
We're at about two hours and eight minutes
right now, which is fantastic.
3406
03:11:57,923 --> 03:12:03,052
You might, out of this whole thing,
slender 45 seconds, maybe.
3407
03:12:03,220 --> 03:12:05,597
A minute, if we're lucky.
3408
03:12:05,764 --> 03:12:07,307
So we're really getting to the point...
3409
03:12:07,474 --> 03:12:10,184
...of absolutely fine, fine, fine,
super-fine tuning.
3410
03:12:10,352 --> 03:12:13,354
It really becomes the choice
of the filmmakers...
3411
03:12:13,522 --> 03:12:18,109
...Pietro and I, to finally decide
which hole it's gonna go in through.
3412
03:12:18,277 --> 03:12:19,944
MAN:
Right, that's what it is.
3413
03:12:20,112 --> 03:12:23,156
-Um, and you feel good about it?
-Yeah. l feel very good about it.
3414
03:12:23,324 --> 03:12:25,700
It's very unusual. lt's different.
3415
03:12:25,868 --> 03:12:29,370
The great thing about this film
is it's really, really fresh.
3416
03:12:29,705 --> 03:12:32,874
Because l-- The reason why l didn't do
science fiction for years...
3417
03:12:33,042 --> 03:12:37,420
...was it was a recycling pot
of familiar stuff and familiar ground...
3418
03:12:37,588 --> 03:12:40,590
...and rarely do you have something new.
3419
03:12:40,758 --> 03:12:43,718
And I think what's interesting
about this one is it feels new.
3420
03:12:52,019 --> 03:12:53,353
So you came after all.
3421
03:12:53,520 --> 03:12:57,440
SCALlA: The idea of Prometheus,
the Titan stealing fire from the gods...
3422
03:12:57,608 --> 03:13:00,151
...and giving it to humans,
it's about knowledge.
3423
03:13:00,319 --> 03:13:03,655
It's the same Genesis story
about, uh, Adam and Eve.
3424
03:13:03,822 --> 03:13:06,032
You know, the tree of life,
the knowledge of, uh....
3425
03:13:06,367 --> 03:13:09,118
Answering those questions, that--
The knowledge of the gods.
3426
03:13:09,286 --> 03:13:11,412
Well, we can't. That's the mystery.
3427
03:13:11,580 --> 03:13:15,041
Really, what, uh, fascinated me
was the idea of hubris.
3428
03:13:15,209 --> 03:13:17,919
VICKERS: lf you're really going down there,
you're going to die.
3429
03:13:18,087 --> 03:13:21,005
SCOTT: You know, if you really wanna clip this,
I was wondering...
3430
03:13:21,173 --> 03:13:25,551
...that when you got him going
from her saying, "I am now"...
3431
03:13:25,719 --> 03:13:30,306
...to the screwdriver, what about go--
Cut to the door opening? Voom.
3432
03:13:30,474 --> 03:13:31,766
Then Charlize is standing there.
3433
03:13:31,934 --> 03:13:33,726
SCALlA: lt's a little screwdriver.
-Yeah.
3434
03:13:33,894 --> 03:13:35,728
SCALlA: l thought so. So just cut it--
-Yeah.
3435
03:13:35,896 --> 03:13:37,188
-Just keep it moving.
-Yeah.
3436
03:13:37,356 --> 03:13:39,983
Keep it moving. Yeah.
3437
03:13:44,071 --> 03:13:45,697
You know what? Leave it as it is.
3438
03:13:45,864 --> 03:13:49,575
It almost looks like that screwdriver
opened the door, which is kind of amusing.
3439
03:13:49,743 --> 03:13:53,496
SCALlA: Let me show you.
I mean, I can see it with a fade.
3440
03:13:54,123 --> 03:13:56,708
Better. Better.
3441
03:13:56,875 --> 03:13:58,793
-Better.
SCALlA: Let me add some head, then.
3442
03:13:58,961 --> 03:14:00,420
SCOTT:
Yep.
3443
03:14:01,171 --> 03:14:02,964
This is the Stanley Kubrick scene.
3444
03:14:03,799 --> 03:14:05,383
DAVlD:
Yes, sir.
3445
03:14:06,510 --> 03:14:09,637
SCALlA: Both for me and for Ridley,
for everybody on the film...
3446
03:14:09,805 --> 03:14:12,265
...it was a learning process
to go through this stage.
3447
03:14:12,433 --> 03:14:19,147
Now, this, uh, is a fully digital show,
shot on Red Epic digital cameras.
3448
03:14:19,314 --> 03:14:22,316
SCOTT:
You've still got to be careful with, uh, digital...
3449
03:14:22,484 --> 03:14:25,737
...because you think,
"There it is. Fantastic. Looks great."
3450
03:14:25,904 --> 03:14:29,240
You've really gotta watch how you project it.
You really still gotta watch the light.
3451
03:14:29,408 --> 03:14:32,660
Otherwise, it just-- And looks like mush.
3452
03:14:32,995 --> 03:14:38,249
SCALlA: We had to, uh, reinvent the data flow,
how we would import the images...
3453
03:14:38,417 --> 03:14:42,253
...and, uh, there's a whole other step
on the set...
3454
03:14:42,421 --> 03:14:47,175
...in terms of ingesting, you know,
the, uh, raw media files...
3455
03:14:47,342 --> 03:14:49,927
...putting them in stereo,
giving it back to editorial.
3456
03:14:50,095 --> 03:14:51,846
We would be working in HD.
3457
03:14:52,014 --> 03:14:55,349
When you think about, you know,
multiple cameras, you know...
3458
03:14:55,517 --> 03:14:57,268
...almost 5K resolution...
3459
03:14:57,436 --> 03:15:01,022
...and Ridley shooting with four cameras,
I mean, it really adds up quickly.
3460
03:15:02,858 --> 03:15:05,234
DAVlD:
A superior species, no doubt.
3461
03:15:05,402 --> 03:15:09,155
SCALlA: For me, the most important thing
was to watch dailies in 3D...
3462
03:15:09,323 --> 03:15:12,408
...to really get the sense
of what these 3D images would look like.
3463
03:15:12,576 --> 03:15:16,162
We had a great, you know,
60-inch screen.
3464
03:15:16,330 --> 03:15:19,415
I had all my monitors balanced
and color graded properly...
3465
03:15:19,583 --> 03:15:21,626
...so that what Ridley would see
on the set...
3466
03:15:21,794 --> 03:15:24,712
...or what Darek would see on the set
would be exactly the same...
3467
03:15:24,880 --> 03:15:26,214
...as we would see in dailies.
3468
03:15:26,381 --> 03:15:29,008
I just remembered the first 3D shot
that we put up...
3469
03:15:29,176 --> 03:15:32,386
...and I saw is David
putting his hand up in dark...
3470
03:15:32,554 --> 03:15:34,388
...and the door opens up
and he walks in.
3471
03:15:34,556 --> 03:15:36,390
And it's such a beautiful shot,
just in 3D.
3472
03:15:36,558 --> 03:15:37,809
And it was like, "Ah."
3473
03:15:37,976 --> 03:15:41,020
You know that feeling that's just like,
"Oh, great. This is gonna be great."
3474
03:15:41,188 --> 03:15:44,774
It was like literally just opening the door
into this world...
3475
03:15:44,942 --> 03:15:46,567
...and you're gonna go with it.
3476
03:15:46,735 --> 03:15:49,153
And Ridley saw it and he was like,
"This is gonna be cool."
3477
03:15:51,156 --> 03:15:54,117
The first cut, I have to say,
that, uh, unlike some other films...
3478
03:15:54,284 --> 03:15:57,203
...actually came together, uh, rather quickly...
3479
03:15:57,371 --> 03:15:59,872
...and, uh, it wasn't extremely long.
3480
03:16:00,040 --> 03:16:03,084
I think it was probably slightly
over two and a half hours.
3481
03:16:03,252 --> 03:16:06,254
Whereas usually the pictures always end up
like around three.
3482
03:16:06,421 --> 03:16:09,423
It was very easy for me to go back
and make the first cut...
3483
03:16:09,591 --> 03:16:11,050
...and eliminate a lot of stuff.
3484
03:16:11,218 --> 03:16:14,679
SHAW: A woman in Africa told me the story
of how the world came to be.
3485
03:16:14,847 --> 03:16:17,431
SCALlA: When l showed it to Ridley,
he said, "Oh, it really works.
3486
03:16:17,599 --> 03:16:19,433
I think we have the engine.
There's no problem.
3487
03:16:19,601 --> 03:16:21,769
It actually really fits."
3488
03:16:21,937 --> 03:16:25,439
I was always aiming to make it, obviously,
a lot shorter than that.
3489
03:16:25,607 --> 03:16:28,609
I mean, I think that the goal was always
to be around two hours.
3490
03:16:30,404 --> 03:16:31,779
The first stage of that cut...
3491
03:16:31,947 --> 03:16:34,949
...of taking the next half hour out
from two and a half...
3492
03:16:35,117 --> 03:16:36,951
...1 5 minutes is fairly easy...
3493
03:16:37,119 --> 03:16:40,454
...because certain scenes
become really apparent that you don't need.
3494
03:16:40,622 --> 03:16:42,290
For example,
the Janek and Vickers scene...
3495
03:16:42,457 --> 03:16:44,458
...because the movie
was going somewhere else...
3496
03:16:44,626 --> 03:16:46,544
...and I didn't wanna go
on the brakes then, so--
3497
03:16:46,712 --> 03:16:49,297
And Ridley recognized that as well.
He said, "That comes out."
3498
03:16:49,464 --> 03:16:51,966
JANEK:
It was your turn to push the button.
3499
03:16:55,304 --> 03:16:58,306
Why did you decide
to tell me that story now?
3500
03:17:00,934 --> 03:17:03,477
Because you killed a man today.
3501
03:17:11,028 --> 03:17:12,987
[SHAW GRUNTlNG AND YELLING]
3502
03:17:13,822 --> 03:17:18,242
SCALlA: That scene was, uh, you know,
storyboarded with Ridley as a previs.
3503
03:17:18,660 --> 03:17:20,745
And, uh, Ridley showed it to me...
3504
03:17:20,913 --> 03:17:23,497
...and I was already shocked then, heh,
when l saw that.
3505
03:17:23,665 --> 03:17:25,333
"l don't know how
you're gonna shoot this."
3506
03:17:25,792 --> 03:17:30,838
To me, it was about content.
I wanted to see the strength of this woman.
3507
03:17:31,006 --> 03:17:35,843
For me, it was trying to be very accurate
to the performance that Noomi gave.
3508
03:17:36,011 --> 03:17:39,430
Amazing.
I mean, it's such a physical expression.
3509
03:17:39,598 --> 03:17:42,558
I mean, when you see her body,
uh, contort...
3510
03:17:42,726 --> 03:17:46,687
...and when l see the vein on her neck
pulsating like that...
3511
03:17:46,855 --> 03:17:50,483
...and seeing the upside-down shot
with her mouth opening.
3512
03:17:50,651 --> 03:17:53,986
You know, the connections to that.
That pain, to me, was very, very physical.
3513
03:17:54,154 --> 03:17:56,364
I didn't wanna cheapen it
or shortchange it...
3514
03:17:56,531 --> 03:17:58,574
...or worry about,
"Oh, it's gonna be too much."
3515
03:17:58,742 --> 03:17:59,867
I mean, it's realistic.
3516
03:18:00,035 --> 03:18:02,203
And, yes, maybe it's hard to watch...
3517
03:18:02,371 --> 03:18:04,830
...but that's the drama of it.
3518
03:18:04,998 --> 03:18:07,458
I'm looking at what she's going through.
3519
03:18:07,626 --> 03:18:09,585
[SCREAMlNG]
3520
03:18:10,879 --> 03:18:17,551
SCOTT: How scary l'm allowed to be
depends on what the MPAA say.
3521
03:18:17,719 --> 03:18:19,929
Obviously,
that will always be in negotiation...
3522
03:18:20,097 --> 03:18:25,309
...but it's trying to keep up
with what was the original...
3523
03:18:25,477 --> 03:18:27,853
...which was, in those days,
was pretty hard-up.
3524
03:18:29,231 --> 03:18:30,564
[ALIEN SCREECHES]
3525
03:18:30,732 --> 03:18:32,817
The rules have changed today.
3526
03:18:32,985 --> 03:18:35,736
The realities of the MPAA and the rules--
And I don't make them.
3527
03:18:35,904 --> 03:18:38,739
--make it such
that minimal amounts of blood...
3528
03:18:38,907 --> 03:18:41,117
...for whatever reason,
that is a bright-line rule.
3529
03:18:41,285 --> 03:18:44,078
It's a scene that seems like naturally
would be enhanced by some blood.
3530
03:18:44,246 --> 03:18:46,247
Just being pure and simple.
3531
03:18:46,415 --> 03:18:49,583
It is disgusting. lt is terrifying and scary.
3532
03:18:49,751 --> 03:18:53,296
And, yes, you can do a lot of that
with sound and the rest of it...
3533
03:18:53,463 --> 03:18:55,756
...but at some point,
it can become cheap not to show it.
3534
03:18:55,924 --> 03:18:57,925
Because it can become cute
if you're not showing it.
3535
03:18:58,093 --> 03:18:59,760
MAN 1 : Drop it. Drop it.
SCOTT: Hand, Noomi.
3536
03:18:59,928 --> 03:19:01,137
MAN 1 :
Drop it.
3537
03:19:02,514 --> 03:19:03,723
MAN 2:
That was a bit bloody.
3538
03:19:03,890 --> 03:19:05,599
-That was Sweeney Todd.
MAN 3: Bloody hell.
3539
03:19:05,767 --> 03:19:06,767
[ALL CHUCKLE]
3540
03:19:06,935 --> 03:19:11,939
The basic math of this stuff
is only release it R if the movie has to be R.
3541
03:19:12,107 --> 03:19:15,109
If there is a way for it not to be R,
make it PG-1 3.
3542
03:19:15,277 --> 03:19:17,361
There's a straight business
conversation about it...
3543
03:19:17,529 --> 03:19:20,990
...and it's a difference of hundreds of
millions of dollars in worldwide box office.
3544
03:19:21,158 --> 03:19:22,241
So that's just a reality.
3545
03:19:22,409 --> 03:19:26,454
And suffice to say, Fox,
being a responsible financial entity...
3546
03:19:26,621 --> 03:19:30,333
...would prefer the version that gives them
the most number of hundreds of millions.
3547
03:19:30,500 --> 03:19:33,252
You gotta make sure you're covered,
and you've gotta argue your case.
3548
03:19:33,545 --> 03:19:36,464
It's pretty, uh, aggressive. Pretty hairy.
3549
03:19:36,631 --> 03:19:38,549
[SHAW PANTlNG AND GROANING]
3550
03:19:39,217 --> 03:19:43,304
SCALlA: lf there is a discussion about, uh,
the rating, you know, they have to go back...
3551
03:19:43,472 --> 03:19:45,139
...and go through the whole process...
3552
03:19:45,307 --> 03:19:48,309
...of, you know, showing different versions
of, like, reduced cuts.
3553
03:19:48,477 --> 03:19:52,313
But then, it really comes down to the fact,
like, what movie do you wanna release?
3554
03:19:52,481 --> 03:19:55,274
Do you want to show
a watered-down version?
3555
03:19:55,442 --> 03:19:57,693
I, uh, believe that what Ridley shot...
3556
03:19:57,861 --> 03:20:00,654
...and the integrity of the scene
should stay the way it is.
3557
03:20:00,822 --> 03:20:02,948
MAN 1 : B camera mark.
MAN 2: B mark.
3558
03:20:05,369 --> 03:20:08,496
SCOTT: lf we leave, take that up from here.
MAN: l wouldn't wanna take that up.
3559
03:20:08,663 --> 03:20:10,748
We must leave!
3560
03:20:10,916 --> 03:20:12,833
And what would Charlie do...
3561
03:20:13,001 --> 03:20:15,378
SCOTT:
"What would Charlie do now?"
3562
03:20:15,545 --> 03:20:18,130
...now that we're so close...
3563
03:20:18,298 --> 03:20:21,884
...to answering
the most meaningful questions...
3564
03:20:22,052 --> 03:20:23,511
...ever asked by mankind?
3565
03:20:23,678 --> 03:20:27,223
SCALlA: Weyland, having been woken up,
meeting Shaw.
3566
03:20:27,391 --> 03:20:30,643
Shaw, have you no--
Have you lost your faith?
3567
03:20:30,811 --> 03:20:32,853
Shaw determined to go back out.
3568
03:20:33,021 --> 03:20:34,730
Vickers meeting Weyland.
3569
03:20:34,898 --> 03:20:37,691
At the same time, after all of that...
3570
03:20:37,859 --> 03:20:40,611
...we had to have Fifield
at the bottom of the garage...
3571
03:20:40,779 --> 03:20:42,530
...attacking the crew...
3572
03:20:42,697 --> 03:20:45,950
...and time it, so that
by the time all the other scenes are done...
3573
03:20:46,118 --> 03:20:48,786
...they come down the elevator,
and they're faced with Fifield.
3574
03:20:48,954 --> 03:20:50,913
MERCENARY:
Put that thing down!
3575
03:20:51,790 --> 03:20:52,873
Tricky to do...
3576
03:20:53,041 --> 03:20:57,628
...because simply in terms of movie time,
there was so much material to cover.
3577
03:21:02,300 --> 03:21:05,469
We struggled with the position,
the structural position of that...
3578
03:21:05,637 --> 03:21:09,223
...and at a certain point,
we tried it in different spots.
3579
03:21:09,391 --> 03:21:14,395
But, uh, ultimately, l figured out that l wanted
to make it happen simultaneously.
3580
03:21:14,563 --> 03:21:18,691
And we found-- I found a spot
that after the cesarean scene...
3581
03:21:18,859 --> 03:21:22,862
...I could intercut between her
being somewhat delirious...
3582
03:21:23,029 --> 03:21:25,072
...with Fifield's fight downstairs.
3583
03:21:25,240 --> 03:21:29,368
That allowed me to do the intercut
is to make the Fifield scene much shorter.
3584
03:21:29,619 --> 03:21:31,996
Not so little.
To be able to jump in action.
3585
03:21:32,164 --> 03:21:34,498
To make it more violent and aggressive.
3586
03:21:36,251 --> 03:21:40,254
Then we leave for a very long time.
You leave, uh, with a cut.
3587
03:21:40,422 --> 03:21:45,092
You're hovering around maybe 2:1 2, 2:1 5.
That feels good.
3588
03:21:45,760 --> 03:21:48,596
Still has a lot of things,
but you try to address other things.
3589
03:21:48,763 --> 03:21:53,559
Clarity, dialogue, character,
storylines, so they all track.
3590
03:21:53,727 --> 03:21:57,271
SHAW [ON MONITOR]:
They gave us life. Someone....
3591
03:21:57,939 --> 03:21:59,106
Someone killed them.
3592
03:21:59,274 --> 03:22:02,151
That's good.
"Gave us life" works well on the screen.
3593
03:22:02,319 --> 03:22:05,196
SCALlA: lt cuts it down a little but--
-It helps it a bit. Yeah. Yeah.
3594
03:22:05,363 --> 03:22:08,199
Then, like on any picture, the last month...
3595
03:22:08,366 --> 03:22:13,245
...right before, uh, we go
into our pre-dubs and final mix...
3596
03:22:13,413 --> 03:22:16,540
...there's one last push
when the film has settled...
3597
03:22:16,708 --> 03:22:19,126
...where you start taking out a lot,
and it's surprising.
3598
03:22:19,294 --> 03:22:21,128
You think,
"Why didn't l do it before?"
3599
03:22:21,671 --> 03:22:25,799
But when you get used to the film
and things settle that in the last month...
3600
03:22:25,967 --> 03:22:28,802
...we took out literally,
about, l would say--
3601
03:22:28,970 --> 03:22:31,555
Even with the additional reshoots
that they had done...
3602
03:22:31,723 --> 03:22:33,682
...I was able to take
another 1 5 minutes out.
3603
03:22:33,850 --> 03:22:36,101
And right now,
we're under the two-hour mark.
3604
03:22:36,478 --> 03:22:38,062
When you make your last pass...
3605
03:22:38,230 --> 03:22:40,564
...anything that shouldn't be there,
you have to take out.
3606
03:22:40,732 --> 03:22:43,442
Yes, you'll miss it.
Yes, it would give you something else.
3607
03:22:43,610 --> 03:22:47,530
But, you know, those are the decisions,
ultimately, that the director makes...
3608
03:22:47,697 --> 03:22:49,990
[CHUCKLlNG]
...and, uh, hopefully, they're the right ones.
3609
03:22:50,492 --> 03:22:51,784
That's good.
3610
03:22:55,997 --> 03:22:58,082
Oh, my God.
3611
03:23:01,169 --> 03:23:03,837
[PLAYING DRAMATlC MUSlC]
3612
03:23:08,176 --> 03:23:10,803
SCOTT: l've invested in the talent
of Marc Streitenfeld...
3613
03:23:10,971 --> 03:23:12,513
...for the last three or four movies...
3614
03:23:12,681 --> 03:23:15,182
...and he's done a marvelous score
for us this time.
3615
03:23:15,350 --> 03:23:16,976
This has been a real challenge for him...
3616
03:23:17,143 --> 03:23:19,770
...because it's become a combination
of symphonic.
3617
03:23:19,938 --> 03:23:22,690
Marc comes from a point of view
of having marvelous sounds.
3618
03:23:22,857 --> 03:23:26,277
He's got great sounds in his head,
not just musical things.
3619
03:23:26,444 --> 03:23:31,240
He applies sounds to music,
and I kind of like that way of thinking.
3620
03:23:31,408 --> 03:23:32,950
But in this instance, you've gotta--
3621
03:23:33,118 --> 03:23:36,996
You're almost obliged to address the fact
that part of it has to be symphonic.
3622
03:23:37,998 --> 03:23:40,791
STREITENFELD: There's a few, uh, pieces
that I wrote really early on...
3623
03:23:40,959 --> 03:23:45,588
...where l had those sounds in my head,
and sound ideas that l heard.
3624
03:23:45,755 --> 03:23:48,340
When I talked to Ridley
about this sound first...
3625
03:23:48,508 --> 03:23:51,302
...and it was kind of
this pulsating sound.
3626
03:23:51,469 --> 03:23:55,848
When the Engineer
drinks the DNA liquid, um, it's, uh--
3627
03:23:56,016 --> 03:23:59,560
In a way it's beautiful, but in another way,
it's very aggressive and violent.
3628
03:24:03,690 --> 03:24:05,149
But that was exactly the spot...
3629
03:24:05,317 --> 03:24:09,320
...where we actually used that, um,
you know, that heartbeat.
3630
03:24:09,487 --> 03:24:13,073
That kind of-- That was associated
with, you know, the Engineers.
3631
03:24:13,825 --> 03:24:18,495
And then it went into a, you know, more, um--
Something more, um, ethereal...
3632
03:24:18,663 --> 03:24:25,544
...that, you know, led to the creation of life
and, uh, the first forming of DNA in the water.
3633
03:24:26,087 --> 03:24:30,883
When we first arrive, um,
at the planet in the distance...
3634
03:24:31,051 --> 03:24:33,510
...and, you know, the shutters open up...
3635
03:24:33,678 --> 03:24:38,891
...and David, uh, gets a first glimpse
of the planet they're gonna go to.
3636
03:24:39,059 --> 03:24:42,770
And, uh, to me, it was an important moment
for David.
3637
03:24:42,937 --> 03:24:45,439
In his face, you actually see
that this means something to him.
3638
03:24:45,607 --> 03:24:50,402
And that, um, you know,
he has an expectation of something.
3639
03:24:51,154 --> 03:24:54,657
I think that's something I tried
to keep alive through the film...
3640
03:24:54,824 --> 03:24:59,119
...that David actually, um, has something
he is looking for himself personally...
3641
03:24:59,287 --> 03:25:01,622
...and not just as a robot or a servant...
3642
03:25:01,790 --> 03:25:04,792
...but, um, that there is actually some identity
to him...
3643
03:25:04,959 --> 03:25:06,377
...and he is looking for something.
3644
03:25:06,961 --> 03:25:11,465
You know, I love
Jerry Goldsmith's score in Alien, and, uh...
3645
03:25:12,884 --> 03:25:16,804
...there's something haunting,
but it was so integral part to that.
3646
03:25:16,971 --> 03:25:21,100
It wasn't about copying that,
but l, at one point, l had the idea...
3647
03:25:21,267 --> 03:25:23,686
...that I wanted to pay
a little bit of an homage to him.
3648
03:25:23,853 --> 03:25:27,272
So, for example,
I thought that when Weyland comes up...
3649
03:25:27,440 --> 03:25:32,861
...and introduces himself on the hologram,
that I wanted to use that as a signature.
3650
03:25:33,029 --> 03:25:35,406
WEYLAND:
My name is Peter Weyland.
3651
03:25:36,866 --> 03:25:38,659
I am your employer.
3652
03:25:38,827 --> 03:25:40,494
STREITENFELD:
I love the Goldsmith score...
3653
03:25:40,662 --> 03:25:43,664
...and, uh, I listened to it a few times
before I started working.
3654
03:25:43,832 --> 03:25:46,375
It was an amazing part of that film.
3655
03:25:48,461 --> 03:25:52,339
Studio One downstairs in Abbey Road
is just a special-sounding room.
3656
03:25:52,966 --> 03:25:55,467
It's one of the best rooms, uh, in the world...
3657
03:25:55,635 --> 03:25:59,138
...and, uh, it makes a big difference, uh...
3658
03:25:59,305 --> 03:26:01,598
...you know, to record
in such a great environment.
3659
03:26:02,517 --> 03:26:07,730
It's the final day of scoring today.
We've been going for about 1 5 days.
3660
03:26:07,897 --> 03:26:09,982
This has been a big old undertaking.
3661
03:26:10,150 --> 03:26:12,609
[PLAYING DRAMATlC MUSlC]
3662
03:26:20,994 --> 03:26:24,037
STREITENFELD: I'm constantly making
adjustments to the orchestra, the sound...
3663
03:26:24,205 --> 03:26:26,373
...to the color of, uh, what you're hearing.
3664
03:26:26,541 --> 03:26:29,042
And, you know, that doesn't really stop.
3665
03:26:29,210 --> 03:26:33,046
I do it while I'm recording. l do it in the mix.
I mean, that's an ongoing process.
3666
03:26:33,214 --> 03:26:37,217
I think it's too detached. lt needs to be
more of a flow, a legato flow to it.
3667
03:26:37,385 --> 03:26:39,762
Marc is about melody,
and there's a very strong melody...
3668
03:26:39,929 --> 03:26:42,848
...that runs through this
that is used in many different ways.
3669
03:26:59,574 --> 03:27:02,576
There's also some very strong
motivic, um, development...
3670
03:27:02,744 --> 03:27:04,828
...some themes that belong to the alien...
3671
03:27:04,996 --> 03:27:08,081
...that creep here and there
when the alien is referred to.
3672
03:27:09,000 --> 03:27:11,919
STREITENFELD: The Deacon moment
at the end is, obviously, a great moment...
3673
03:27:12,086 --> 03:27:16,381
...to do something really disgusting, heh,
and so that was great fun.
3674
03:27:16,549 --> 03:27:19,593
I recorded that moment, you know,
with all kinds of different layers...
3675
03:27:19,761 --> 03:27:23,889
...with the orchestra to make it
as creepy as possible.
3676
03:27:24,057 --> 03:27:28,393
For any fan of, uh, you know, the Alien films,
that's just an iconic moment...
3677
03:27:29,145 --> 03:27:31,480
...when the Deacon comes out,
out of the Engineer.
3678
03:27:31,648 --> 03:27:34,399
So that was definitely a great moment
to score.
3679
03:27:40,657 --> 03:27:43,617
SCALlA: l thought that once we get
into the sound design...
3680
03:27:43,785 --> 03:27:47,663
...that the sound design itself
would be dramatic in use.
3681
03:27:47,831 --> 03:27:50,415
So there will be parts
where we won't have music...
3682
03:27:50,583 --> 03:27:53,585
...where the sound
will do, you know, the heavy lifting.
3683
03:27:53,753 --> 03:27:56,630
There's some great rhythms you've got.
Play them up...
3684
03:27:56,798 --> 03:27:59,216
...because they're like machines,
but they're almost musical.
3685
03:28:01,594 --> 03:28:03,846
A bit more crisp with the door: ching.
3686
03:28:04,013 --> 03:28:06,223
Keep that morphine haze going.
3687
03:28:06,391 --> 03:28:08,475
WEYLAND:
...then surely they could save us.
3688
03:28:08,643 --> 03:28:13,397
-It makes him slightly sinister and intense.
SHAW: Haven't you told him they're all gone?
3689
03:28:18,820 --> 03:28:21,822
They sound too much
like your common-or-garden...
3690
03:28:21,990 --> 03:28:24,408
-...staple gun you've got on your desk.
MAN 1 : Yeah. Nail gun.
3691
03:28:24,576 --> 03:28:25,993
You need a high-tech sound.
3692
03:28:26,160 --> 03:28:28,287
MAN 2: More high-tech and complex.
-Yeah. Right, right.
3693
03:28:28,454 --> 03:28:31,540
Keep the overlap stuff up
going in the truck.
3694
03:28:31,708 --> 03:28:34,376
What we could add is just maybe Holloway.
A little bit more screams.
3695
03:28:34,544 --> 03:28:38,922
We don't have anybody else talking,
so maybe just Holloway and just a few, "Aah."
3696
03:28:39,090 --> 03:28:42,175
STOECKlNGER:
My interaction initially was with Pietro.
3697
03:28:42,343 --> 03:28:45,846
Going through the film not with Pietro,
but just on my own...
3698
03:28:46,014 --> 03:28:49,516
...and picking and choosing moments
that inspired me and the sound team...
3699
03:28:50,018 --> 03:28:53,186
...that I'm part of
to go and start creating sounds for.
3700
03:28:53,354 --> 03:28:58,775
HEMPHlLL: For me, Prometheus, as much as l
love the first Alien film, it's a very different film.
3701
03:28:59,277 --> 03:29:03,697
For me, it was more intriguing
in a classic sci-fi sense.
3702
03:29:03,865 --> 03:29:07,326
They're going off on this adventure.
We tried to put that into the track too.
3703
03:29:07,493 --> 03:29:11,204
For us, it was a real challenge
for Mark Stoeckinger and Ron and l...
3704
03:29:11,372 --> 03:29:16,752
...and the people who put the track together
to live in that realm of sci-fi heritage...
3705
03:29:16,920 --> 03:29:18,670
...of sounds
that you've never heard before.
3706
03:29:18,963 --> 03:29:21,173
A lot of it, we tried to pick musical sounds.
3707
03:29:21,341 --> 03:29:22,382
We're live.
3708
03:29:27,722 --> 03:29:31,892
Because sci-fi has a real tradition
of musicality in the sounds.
3709
03:29:32,727 --> 03:29:35,145
STOECKlNGER: Prometheus was a great
collaborative experience.
3710
03:29:35,313 --> 03:29:38,774
Everybody, no matter what their specialty
was, what their department was...
3711
03:29:38,942 --> 03:29:40,817
...everybody had ideas and shared.
3712
03:29:40,985 --> 03:29:45,030
Ron Bartlett has this great musical
background, this great singing voice.
3713
03:29:45,198 --> 03:29:47,074
When we were starting to meet
about the film...
3714
03:29:47,241 --> 03:29:50,369
...I was telling him about things we were
doing and sounds we were looking for.
3715
03:29:50,536 --> 03:29:52,120
Even some of the struggles
we were having.
3716
03:29:52,705 --> 03:29:55,123
[ENGlNEER SPEAKlNG
IN ALIEN LANGUAGE]
3717
03:29:56,209 --> 03:29:59,711
We had the actual actor's voice
in there at first...
3718
03:29:59,879 --> 03:30:02,839
...and it was just a normal guy
doing his thing.
3719
03:30:03,007 --> 03:30:06,176
He would say-- He learned
all the Sanskrit words and everything...
3720
03:30:06,344 --> 03:30:09,429
...but he didn't have
the deep, really resonant voice...
3721
03:30:09,597 --> 03:30:11,431
...and it wasn't processed or anything.
3722
03:30:11,599 --> 03:30:13,642
So for the temp mix, I said:
3723
03:30:13,810 --> 03:30:17,646
"Hey, why don't I go home in my studio
and I'll do some deep...
3724
03:30:17,814 --> 03:30:22,943
...really, you know, heavy voice
that gives him some more size."
3725
03:30:23,111 --> 03:30:25,028
STOECKlNGER:
So Ron started off by recording...
3726
03:30:25,196 --> 03:30:28,573
...this incredibly deep voice
he can recreate...
3727
03:30:28,741 --> 03:30:31,118
...through this chain
of, you know, compressors...
3728
03:30:31,285 --> 03:30:33,161
...and tube valve amps and whatever.
3729
03:30:33,329 --> 03:30:36,123
I don't even know what it is.
I know what the outcome is, it's awesome.
3730
03:30:36,499 --> 03:30:38,917
[ENGlNEER SPEAKlNG
IN ALIEN LANGUAGE]
3731
03:30:42,380 --> 03:30:45,549
BARTLETT: What about now at the end?
He does all these-- l'm like, "Oh, boy."
3732
03:30:45,717 --> 03:30:48,885
Now he's speaking Sanskrit
and he doesn't match the other guy.
3733
03:30:49,053 --> 03:30:52,305
You know, so I learned
all the Sanskrit words that he said...
3734
03:30:52,473 --> 03:30:55,142
...and redid them all exactly...
3735
03:30:55,309 --> 03:30:57,310
...then they cut that part out. Ha, ha.
3736
03:30:58,146 --> 03:31:00,147
WEYLAND:
No! No!
3737
03:31:01,899 --> 03:31:05,027
BARTLETT: And then they put back in
a lot of other ones...
3738
03:31:05,194 --> 03:31:07,571
...then they're in holograms and talking.
3739
03:31:07,739 --> 03:31:12,701
So then l had to be each guy, ha, ha,
because they had to be the same processing.
3740
03:31:12,869 --> 03:31:17,330
So I looked up on the lnternet
all these Sanskrit sayings and words...
3741
03:31:17,498 --> 03:31:20,584
...that were related
to what they might be saying...
3742
03:31:20,752 --> 03:31:22,252
...and come up with some cool things.
3743
03:31:22,420 --> 03:31:23,879
I even got the word "alien" in there.
3744
03:31:24,047 --> 03:31:25,756
[SPEAKS lN ALIEN LANGUAGE]
3745
03:31:25,923 --> 03:31:28,925
Typically, you don't have your rerecording
mixer going home at night...
3746
03:31:29,093 --> 03:31:32,012
...and spending all hours at night
probably in a microphone going, "Blah."
3747
03:31:32,180 --> 03:31:34,181
[SPEAKlNG ALIEN LANGUAGE
IN DEEP VOlCE]
3748
03:31:34,348 --> 03:31:36,433
You know, like, really deep
down there like that.
3749
03:31:36,601 --> 03:31:39,227
Here l am, him chasing a cut.
Did you miss that?
3750
03:31:39,395 --> 03:31:40,771
HEMPHlLL:
Ridley loves contrast.
3751
03:31:40,938 --> 03:31:45,275
One of his favorite moments
in the film is, uh, in the orrery...
3752
03:31:45,443 --> 03:31:48,653
...when it just shuts down,
and David is left standing there.
3753
03:31:54,035 --> 03:31:55,869
Ridley just loves that moment.
3754
03:31:56,037 --> 03:31:58,747
And then, you know,
David starts to hear the sound...
3755
03:31:58,915 --> 03:32:01,458
...of the heartbeat of the Engineer.
3756
03:32:01,626 --> 03:32:04,377
The huge levels of dynamics we used
were very effective.
3757
03:32:04,796 --> 03:32:08,215
At the end, there's a large creature
attacking somebody.
3758
03:32:08,382 --> 03:32:12,219
You want him to be scary.
You want him to be powerful.
3759
03:32:12,386 --> 03:32:15,055
So you use certain sounds
that will do that.
3760
03:32:15,223 --> 03:32:17,224
And we would give weight
to a lot of things...
3761
03:32:17,391 --> 03:32:20,519
...like if, you know, a big tentacle
slaps the side of the thing...
3762
03:32:20,686 --> 03:32:22,562
...it's gonna be fat.
3763
03:32:24,732 --> 03:32:26,691
I did watch the original Alien,
but what l did--
3764
03:32:26,859 --> 03:32:28,777
So I had it on my iPhone
and I listened to it...
3765
03:32:28,945 --> 03:32:31,029
...without even watching it,
a couple times through.
3766
03:32:31,197 --> 03:32:35,242
Just to see what things stood out to me,
or what things were unique.
3767
03:32:35,409 --> 03:32:37,160
Ian Holm gets his head ripped off...
3768
03:32:37,328 --> 03:32:40,330
...or David in Prometheus
gets his head ripped off.
3769
03:32:40,498 --> 03:32:42,582
The voice changes
because it's no longer connected...
3770
03:32:42,750 --> 03:32:44,543
...to the mother computer board
anymore.
3771
03:32:45,086 --> 03:32:46,753
DAVlD:
I know.
3772
03:32:47,588 --> 03:32:50,590
Have a good journey, Mr. Weyland.
3773
03:32:50,758 --> 03:32:52,217
I filled my mouth with water...
3774
03:32:52,385 --> 03:32:55,011
...and just put a microphone
and gaggled and garbled...
3775
03:32:55,179 --> 03:32:58,557
...and that made this kind of sticky,
wet sound that we processed.
3776
03:32:58,724 --> 03:33:01,268
It just makes a little, like, electronic.
3777
03:33:01,435 --> 03:33:03,728
DAVlD [ON RECORDlNG]:
Have a good journey, Mr. Weyland.
3778
03:33:03,896 --> 03:33:05,647
-Turn the speakers a little bit.
-Problem is--
3779
03:33:05,815 --> 03:33:08,608
I think it's-- What's actually a reenactment
from this moment on...
3780
03:33:08,776 --> 03:33:11,278
...because he really becomes a machine.
3781
03:33:11,445 --> 03:33:15,115
DAVlD: Have a good journey, Mr. Weyland.
STOECKlNGER: Does this change?
3782
03:33:15,283 --> 03:33:17,951
-I like when you add this.
DAVlD: Mr. Weyland.
3783
03:33:19,453 --> 03:33:22,330
Have a good journey, Mr. Weyland.
3784
03:33:22,498 --> 03:33:24,749
-That's that flutter.
-Yeah. Yeah.
3785
03:33:25,793 --> 03:33:26,918
Paradise.
3786
03:33:27,086 --> 03:33:30,338
STOECKlNGER: We used all sorts of things
they might have used in 1 979.
3787
03:33:30,506 --> 03:33:32,799
Guitar pedals and weird flanging units...
3788
03:33:32,967 --> 03:33:37,470
...to affect David's voice
to make it sound severed and weird.
3789
03:33:37,638 --> 03:33:40,932
Nowadays, we deal with computers
and evertyhing is automated.
3790
03:33:41,100 --> 03:33:42,851
Well, guitar pedals aren't automated.
3791
03:33:43,019 --> 03:33:44,978
So every time it would go
through the chain...
3792
03:33:45,146 --> 03:33:46,313
...it would change for Ron...
3793
03:33:46,480 --> 03:33:49,232
...and he was adjusting it,
or I was back there adjusting it.
3794
03:33:49,400 --> 03:33:53,820
And so it was like a live performance
at times, just mixing in the movie.
3795
03:33:53,988 --> 03:33:56,573
HEMPHlLL: The way Ridley likes to work
when he mixes is...
3796
03:33:56,741 --> 03:33:59,659
...we've obviously got a lot of material,
a zillion tracks and whatever...
3797
03:33:59,827 --> 03:34:02,329
...but we wants to go and flow.
3798
03:34:02,496 --> 03:34:04,164
He doesn't wanna, you know,
stop and start.
3799
03:34:04,332 --> 03:34:08,084
He wants to see what happens
and see us perform with sound.
3800
03:34:08,252 --> 03:34:11,963
That if we make mistakes, fine,
but it's all about the concepts.
3801
03:34:12,131 --> 03:34:14,674
You finesse--
You can finesse later, whatever...
3802
03:34:14,842 --> 03:34:16,092
...but get the concepts right.
3803
03:34:16,260 --> 03:34:18,053
So the tempo is very fast with Ridley.
3804
03:34:18,221 --> 03:34:19,763
You have to be audience.
3805
03:34:19,931 --> 03:34:22,682
You have to watch the movie
as an audience and respond to it.
3806
03:34:23,017 --> 03:34:25,352
We're not technicians.
That's not what we do.
3807
03:34:25,519 --> 03:34:28,271
We're moviegoers and we're storytellers.
3808
03:34:28,439 --> 03:34:31,274
And we watch that film,
we put our hearts into it...
3809
03:34:31,442 --> 03:34:33,526
...and what the characters are doing,
what's going on.
3810
03:34:33,694 --> 03:34:37,280
And we mix it
as if we were an audience member.
3811
03:34:38,950 --> 03:34:40,867
[VlCKERS YELLING]
3812
03:34:42,119 --> 03:34:43,203
VICKERS:
No, no, no!
3813
03:34:44,038 --> 03:34:45,705
[SCREAMS]
3814
03:34:49,335 --> 03:34:54,547
KEENE: The original Alien film was one
of the most influential movies of all time.
3815
03:34:54,715 --> 03:34:58,969
So there is always gonna be a lot
of lnternet buzz, a lot of fan buzz...
3816
03:34:59,428 --> 03:35:03,932
...about, you know, effectively, you know,
Ridley making a new Alien film.
3817
03:35:04,100 --> 03:35:06,643
FASSBENDER: It's almost become
its own mythology, you know.
3818
03:35:06,811 --> 03:35:09,187
That first film had such a huge impact...
3819
03:35:09,480 --> 03:35:12,482
...and sparked the imagination
of a whole fan base...
3820
03:35:12,650 --> 03:35:14,526
...that they've remained loyal to it.
3821
03:35:14,694 --> 03:35:20,907
This is what l found with sci-fi-comic-book-
superhero sort of fans, they're very vocal fans.
3822
03:35:21,075 --> 03:35:24,661
And they're also very passionate,
and they're also very loyal.
3823
03:35:24,829 --> 03:35:28,206
THERON: They're a bunch of nerds,
and I love them for that.
3824
03:35:28,374 --> 03:35:30,083
I love them for that.
3825
03:35:30,251 --> 03:35:34,254
I think there's something
so incredibly special and undeniable...
3826
03:35:34,422 --> 03:35:37,173
...when you have a fan base
who loves the genre.
3827
03:35:38,092 --> 03:35:41,428
ELLENBERG: The speculation on the lnternet
for the movie has been, frankly, fantastic.
3828
03:35:41,595 --> 03:35:44,973
It's been interesting to us, occasionally
amusing when there's really strange stuff...
3829
03:35:45,141 --> 03:35:48,435
...but showed how much both passion
there is for the subject...
3830
03:35:48,602 --> 03:35:51,104
...how deeply the previous movies
had affected people...
3831
03:35:51,272 --> 03:35:54,065
...and what yearning there was
not just to see those stories continue...
3832
03:35:54,233 --> 03:35:58,570
...but frankly, to see that quality
and level of science fiction return.
3833
03:35:58,738 --> 03:36:00,947
SPAIHTS: It was the first time
I had touched something...
3834
03:36:01,115 --> 03:36:04,034
...that was so alive in the imagination
of a fan base...
3835
03:36:04,201 --> 03:36:07,620
...that people were anticipating it
long before it came out.
3836
03:36:07,788 --> 03:36:12,125
My notes from meetings
and even, like, slips of the lip...
3837
03:36:12,293 --> 03:36:17,339
...by which l might divulge plot details,
had monetary value, had cultural value.
3838
03:36:17,506 --> 03:36:20,633
People were ravenous for them
and making stuff up on the web.
3839
03:36:20,801 --> 03:36:25,013
And this is the first time that l had ever sat
in my room by myself thinking...
3840
03:36:25,181 --> 03:36:27,807
...knowing that there were tens
of thousands of people out there...
3841
03:36:27,975 --> 03:36:30,643
...wondering what l was up to,
and waiting to see it.
3842
03:36:30,811 --> 03:36:32,812
And that's a very different way to write.
3843
03:36:32,980 --> 03:36:36,316
I've been coming to the Con
since, uh, the mid-'90s.
3844
03:36:36,484 --> 03:36:39,319
And I waited in line
like much of you did, uh...
3845
03:36:39,487 --> 03:36:41,905
...to get into this room
and others like it...
3846
03:36:42,073 --> 03:36:46,701
...and, uh, although it's pretty awesome
to be up here presenting to you guys...
3847
03:36:46,869 --> 03:36:51,581
...I just want you to know that my heart
and soul are still in the audience.
3848
03:36:51,749 --> 03:36:53,375
LlNDELOF:
If you put 1 0 fans...
3849
03:36:53,542 --> 03:36:58,630
...people who just know the Alien franchise
backwards and forwards in a room...
3850
03:36:58,798 --> 03:37:01,674
...and you basically present to them,
"We'd like to do this."
3851
03:37:01,842 --> 03:37:04,552
There's no single idea
where you will get...
3852
03:37:04,720 --> 03:37:09,015
...you know, 1 0 of them to say unanimously,
"That is a rad idea.
3853
03:37:09,183 --> 03:37:11,351
We're on board with that."
You get frozen by indecision.
3854
03:37:11,519 --> 03:37:15,063
So at the end of the day, you basically say,
"l'm a representative of this jury.
3855
03:37:15,231 --> 03:37:16,523
I'm the foreman.
3856
03:37:16,690 --> 03:37:18,525
And since l'm a fan of Alien...
3857
03:37:18,692 --> 03:37:21,277
...if it can get by me,
then l'm gonna be okay with it."
3858
03:37:21,445 --> 03:37:25,198
And the fact of the matter is, the last thing
that Ridley Scott wants to do...
3859
03:37:25,366 --> 03:37:28,952
...is piss off the people who, essentially,
for the last 25 years...
3860
03:37:29,120 --> 03:37:31,037
...like, sort of idolized this movie.
3861
03:37:31,205 --> 03:37:33,873
Would any of you guys like to talk
a little bit about Prometheus?
3862
03:37:34,041 --> 03:37:35,542
ALL: Yeah!
-Anybody interested?
3863
03:37:48,222 --> 03:37:51,224
Prometheus attempts at giving an answer.
3864
03:37:51,392 --> 03:37:54,561
It's a bold statement
to say what we're saying in this film.
3865
03:37:54,728 --> 03:37:57,814
MARSHALL-GREEN: I think we're very fortunate
because we get to bring it back...
3866
03:37:57,982 --> 03:38:04,028
...with philosophical questions
and not another take on this creature.
3867
03:38:04,405 --> 03:38:07,073
THERON: Ultimately, if we were ever
in a circumstance...
3868
03:38:07,241 --> 03:38:11,119
...where we got that close
to understanding where we come from...
3869
03:38:11,287 --> 03:38:16,082
...I think the biggest question would be,
how do you adapt from what you thought...
3870
03:38:16,250 --> 03:38:21,212
...or what you were taught to believe,
or what your faith tells you believe?
3871
03:38:21,380 --> 03:38:25,758
Perhaps the whole thread of, uh,
this movie...
3872
03:38:25,926 --> 03:38:30,680
...is a cautionary tale
about the perils of playing God.
3873
03:38:31,849 --> 03:38:34,434
SCANLAN:
I feel like l'm working on the original film.
3874
03:38:34,602 --> 03:38:36,853
I feel that's what's happening,
that's what's--
3875
03:38:37,021 --> 03:38:40,607
We're on Alien,
and it just happens to be different.
3876
03:38:40,774 --> 03:38:45,445
It was 30 years ago he made the first one.
It's coming back to a bit of history for him.
3877
03:38:46,572 --> 03:38:49,449
PEARCE: Ridley is definitely a visual director.
There's no doubt about it.
3878
03:38:49,617 --> 03:38:51,534
I mean,
he has the most extraordinary vision.
3879
03:38:51,702 --> 03:38:56,956
He really is able to create worlds
that other people can't.
3880
03:38:57,124 --> 03:38:59,125
But not at the expense of the actors.
3881
03:38:59,793 --> 03:39:03,630
SCOTT: We have all these funny little ideas
and they all kind of start to interconnect.
3882
03:39:03,797 --> 03:39:05,089
That's the most enjoyable moment.
3883
03:39:05,257 --> 03:39:08,384
I think that's what is marvelous
about my job.
3884
03:39:08,552 --> 03:39:13,389
People say, "Well, you've been on this now
for 14 months and almost at delivery.
3885
03:39:13,557 --> 03:39:15,308
It's pretty quick for this kind of movie.
3886
03:39:15,476 --> 03:39:19,229
Do you never get bored?"
And I said, "Never, ever get bored...
3887
03:39:19,396 --> 03:39:21,731
...because every day
has a whole new set of problems."
3888
03:39:23,984 --> 03:39:27,111
You get to see your conception
comes together...
3889
03:39:27,279 --> 03:39:30,823
...and it lands and you can polish
that ball and make it beautiful.
3890
03:39:34,828 --> 03:39:37,622
LlNDELOF: Will it be a little bit frustrating,
the ending of Prometheus?
3891
03:39:37,790 --> 03:39:42,252
Absolutely, but we all embraced that
that was a really, really good thing.
3892
03:39:43,921 --> 03:39:49,634
RAPACE: It actually brings up questions
about life and death and religion.
3893
03:39:52,513 --> 03:39:54,180
SCANLAN:
It's a Ridley Scott movie...
3894
03:39:54,348 --> 03:39:58,518
...and in many ways,
that's all it needs to be.
3895
03:40:02,147 --> 03:40:03,481
Big things...
3896
03:40:03,649 --> 03:40:04,691
...have small beginnings.
3897
03:40:54,742 --> 03:40:55,742
[English - US - SDH]
345149
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.