Mr Scott, in his new movie “Prometheus” returns to the science fiction arena after a 20-year absence since “The Blade Runner”. This time, we meet an entwinement of an alien with visceral and creatural dread and having semi-mythic grandiosity of chariots.
Once again, through the galactic void, being on a vessel and with the growing paranoia, a diverse crew must come to terms with the ominous weirdness outside the ship. In the subterranean tunnels something lurked, and their walls are echoing in freaky tunes. And to end it all there are important, metaphysical questions, regarding the origin and ultimate fate of humanity, that are hovering in the vicinity.
The hovering seemingly creates a lot of pleasure regarding Prometheus. But this is temporal, because once the main idea touches down, with the arc of the story becoming clear, the let-down sets in. Mr. Scott’s sense of visual scale; it is phenomenal, and he has often produced films with a bossing ornateness achieved especially in the first hour, a genuine grandeur indeed.
The opening scenes are twinned, the first involving a giant, alabaster-skinned human like creature offering himself to perpetuate life on earth, and second, thousands of years later, devoted group of scientists are finding clues of his presence. This imparts a tangible sense of awe.
The Prometheus lands in the vicinity of the enormous structure, which the squad explores. They encounter a preserved history of suggested extinct species. Conflict arises among the crew members, necessitating a fight and breakups. At the end, they are attacked by a mutated Fifield and some are killed. The engineer is awoken from the stasis and he is determined to kill the entire human race. Meanwhile, Shaw launches another engineer space craft and she heads to the engineer’s homeland, looking to find out why they wanted to destroy humanity.
The criteria for success of the film is based on the design process. The leader production designer was Arthur, M. The task was to construct an alien in proper visual terms.
His crew space suits were well designed, with the inclusion of spherical lass helmets. His helmets had nine video screens, air supply and battery packs. The characters had their own distinct look: ice-silver, silk mohair suit of Theron, David with finer lines on his crew suit produced a proper linear appearance.
The sound effects came from a variety of sources. We had rock of the pop variety producing –a band of popping candy- and a parrot. A variety of vocalizations from designer Scibelli, the provided plenty of beeps, alarms and cries of Shaw’s alien offspring.
The sets and vehicles were well designed. Arthur Max gave us sets like the alien world landscape and other physical structures like the Prometheus and an engineer ship. The Prometheus was a replicate of NASA spacecraft design and additional ideas of how the space vehicle might look. The usages of aerial photographs were well used to show the imagery and the vortex code structure.
The creature effects were well-achieved. The development of the alien creatures was well aimed at showing a logical biological function and purpose. Such designs are drawn from natural life such as sea creatures and wildlife.
The visual effects were designed properly as such. The vihecle contained about 1300 digital visual effects shots. The opening scene where there is the creation of life from the decaying engineer was well-illustrated using the available visual effects. The DNA stages were made distinct so as to convey its changing nature. The destruction occurring within the engineer was highlighted by using a light color scheme, veinlike structure with black ink and oils.
In conclusion, though the designers were not perfect to satisfy our imaginations, a good job was done to create an authentic scenario. The designers were creative and imaginative of how it would be in such cases when dealing with the aliens.