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Gegen Ende des Jahrhunderts: Weltweit werden bei den verschiedensten Kulturen Zeichnungen gefunden, die gemeinsam eine Sternenkarte bilden. Eine Gruppe von Wissenschaftlern macht sich mit dem Raumschiff `Prometheus' auf den Weg ins All, um das. Prometheus ist Teil der Alien-Filmreihe. Inhaltsverzeichnis. 1 Handlung; 2 Hintergrund. bjursas-ski.se - Kaufen Sie Prometheus to Alien: Evolution günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details. REVIEW: Ridley Scott kehrt nach 30 Jahren, nach Alien und Blade Runner, wieder ins SciFi-Business zurück. Die Trailer zu Prometheus waren fantastisch und die. In "Prometheus" erzählt Ridley Scott eine etwas andere Schöpfungsgeschichte. Sein "Alien"-Prequel besticht mit schrecklich-schönen Bildern.

prometheus alien

20th Century Fox hat einen offiziellen Kurzfilm zum kommenden Science-Fiction-​Streifen Alien: Covenant veröffentlicht. bjursas-ski.se - Kaufen Sie Prometheus to Alien: Evolution günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details. In "Prometheus" erzählt Ridley Scott eine etwas andere Schöpfungsgeschichte. Sein "Alien"-Prequel besticht mit schrecklich-schönen Bildern.

The screening was well received, with particular mentions given to the 3D visuals and the performances of Fassbender, Rapace, Theron, and Elba.

On April 29, , the international launch trailer debuted in the United Kingdom on Channel 4 during the first advertisement break of the TV show Homeland.

Viewers were encouraged to share their opinions about the trailer on Twitter, some of which were then shared in a live broadcast during a later break.

This marked the first time that viewers' tweets were used in a broadcast advertisement. Alongside the trailer, a competition was launched on the social platform Zeebox, offering viewers a chance to win tickets to the film whenever Zeebox detected the advertisement airing.

On May 8, , the advertisement became subject to an investigation by the British broadcasting regulatory body Ofcom for allegedly breaching broadcast rules when a voice over encouraged viewers to book tickets while the advertisement played and with the Channel 4 logo onscreen.

The act potentially broke a rule that advertising and teleshopping must be clearly distinguishable from editorial content.

Although marketers typically avoid collaborating with adult-oriented films to focus on reaching broader audiences, the film attracted several promotional partners including Coors, Amazon and Verizon FiOS.

Amazon directed interested users to purchase tickets through Fandango, and placed promotional material in products shipped to customers; this was the first time that Amazon had allowed such marketing by an external company.

The event was facilitated by BumeBox, which culled audience questions from social sites and delivered them to reporters to ask at the event.

Prometheus: The Art of the Film, a book containing production art and behind-the-scenes photos from the film, was released on June 12, The film was accompanied by an extensive viral marketing campaign, consisting primarily of a series of short films featuring cast members from the movie.

During the WonderCon, attendees at the film's panel were given Weyland Corporation business cards that directed them to a website and phone number.

Calling the number resulted in the caller being sent a text message from Weyland Corporation that linked them to a second viral video.

An extended version of the video, entitled Happy Birthday, David , was released to the general public on April 17, The campaign continued following the film's release with a website referencing the philosophical novel Thus Spoke Zarathustra by Friedrich Nietzsche, which is quoted by Weyland in TED Conference, It was simultaneously released in IMAX theaters and in 3D, and it is encoded for D-Box motion seats that provide physical feedback to the viewer during the film.

In North America, audience tracking showed high interest among males of all ages, but low interest among females. The week preceding release saw conflicting opinions on whether the film or Madagascar 3: Europe's Most Wanted would place number 1 for the weekend during their simultaneous release.

Additionally, the online tracking for Prometheus surged with each new piece of promotional footage. However, pre-release tracking is usually less reliable for animated films; since Madagascar 3 was the first truely family-oriented film of the summer, many speculated that there would be large demand for it.

Prometheus was also in the disadvantage of a less wide release 3, theaters against 4, theaters for Madagascar 3. Furthermore, the R rating of the film was considered a limiting obstacle.

Prometheus was initially released in 15 markets from May 30 to June 1, — about a week before its North American release.

The earlier start in these countries was timed to avoid competition with the start of the UEFA European Football Championship the following week.

The figure placed it as the number 3 highest-grossing second-place opening, the number 10 highest-grossing opening for an R-rated film, and it marked Scott's second highest-grossing opening behind the thriller Hannibal Prometheus received mixed to positive reviews from critics.

Reviews were frequently praising of both the film's visual aesthetic and design, and Fassbender's performance as the android David received almost universal acclaim.

However the plot drew a more mixed response, with criticism of plot elements that remained unresolved or were predictable, tempered by appreciation for the action and horror set-pieces.

The Hollywood Reporter's Todd McCarthy called the film's visuals vivid, stunning and magnificent on a technical level, singling out the performances of Fassbender, Rapace and Theron for praise, but lamented that the film catered too much to audience expectations, making it predictable.

Time Out London's Tom Huddleston felt the plot was "flat" and "predictable", the characters "emotionless", and that while the film was "perfectly entertaining", it did not live up to pre-release expectations.

Emanuel Levy cited the plot as his only complaint with the film, stating that it is unable to follow through with its philosophical ideas.

Roger Ebert gave the film 4 out of 4 stars, labeling it a "magnificent Ebert thought that the plot, in raising questions and not answering them, made the film "intriguing" and in the "classic tradition of golden age sci-fi".

Total Film's Jonathan Crocker however offered that the plot successfully integrated itself with Alien's mythology while offering its own original ideas.

Entertainment Weekly's Lisa Schwarzbaum was positive towards the cast, particularly Rapace, and the cinematography.

Salon's Andrew O'Hehir offered that the film was "somber, spectacular and ponderous," but that the " portentousness and grandiosity O'Hehir also mentioned Wolski's cinematography and Max's production design.

The New York Times' A. Scott criticized the story as weak, undermining its "lofty, mindblowing potential" with "bits of momentarily surprising information bereft of meaning or resonance", but described Rapace as a "fine heroine, vulnerable and determined".

In a negative review, Variety film critic Justin Chang described the film's structure and genre as being unable to handle the philosophical undertow of the plot, and felt Prometheus was "lazily deferring" key plot points under the presumption that a sequel would be made.

The Guardian's Peter Bradshaw was less critical but thought that Prometheus "[lacked] the central punch of Alien", calling the film "more grandiose, more elaborate — but less interesting".

The Village Voice's Nick Pinkerton stated that the film is "prone to shallow ponderousness", that can "mimic the appearance of an epic, noble, important movie", but fails to "payoff".

He criticized Rapace and Marshall-Green for failing to instill interest in their character relationship, but added: "there are a few set pieces here that will find a place of honor among aficionados of body horror and all things clammy and viscous".

Lovecraft, to the drawings of William Blake. In North America, the DVD and Blu-ray disc versions of the film were listed for pre-order in partnership with Amazon, a week before the film had been released in theaters.

A limited number of tickets to the film were offered as a pre-order incentive. Prior to release, rumors circulated that the home release would feature an extended cut of the film, similar to those of the four Alien movies, featuring as much as 20 minutes of additional footage.

However, Ridley Scott ultimately declined to create such an alternate version. The Blu-ray release of the film contained two commentary tracks, featuring Scott and the movie's writers, respectively, as well as almost 40 minutes of deleted scenes.

The 3D Blu-ray release additionally came with a bonus disc containing a feature-length documentary entitled The Furious Gods: Making Prometheus.

A novelization of the film was written by Joe Spies and Damon Lindelof , although it was only published in Japan. The soundtrack by Marc Streitenfeld was released on CD and for digital download.

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Do you like this video? Contents [ show ]. Elizabeth Shaw Noomi Rapace David Michael Fassbender Meredith Vickers Charlize Theron Janek Idris Elba Peter Weyland Guy Pearce Charlie Holloway Logan Marshall-Green Fifield Sean Harris Millburn Rafe Spall Chance Emun Elliott Ravel Benedict Wong Ford Kate Dickie Mercenary Branwell Donaghey Mercenary Vladimir Furdik Mercenary Smiff Mercenary Shane Steyn Last Engineer Ian Whyte Ghost Engineer John Lebar Sacrifice Engineer Daniel James Shaw's Father Patrick Wilson Young Shaw Lucy Hutchinson Shaw's Mother Giannina Facio Linguist Teacher Anil Biltoo.

Greeting Message Violinist Louisa Staples Mechanic James Embree Mechanic Florian Robin Mechanic Matthew Burgess Mechanic Eugene O'Hare Archaeological Assistant Richard Thomson Archaeological Assistant Jenny Rainsford Archaeological Assistant Good stories, you don't know where they're going to end.

Lindelof suggested that the other parts of the script were strong enough to survive without the Alien hallmarks, such as the Alien creature which he believed had been "diluted" by the exposure it had received since, and the burden of "all the tropes of that franchise with Facehuggers and Chestbursters".

He offered that the film could instead run parallel to those films, such that a sequel would be Prometheus 2 and not Alien, and submitted an idea for how such a sequel could work.

He met with the producers the following morning, and was hired shortly afterwards in late Under Lindelof, the script began to divert from Spaihts' Alien prequel into a more original creation.

Scott and Lindelof worked together five days a week between July and August , trying to piece together exactly what vision Scott was trying to convey and how the script needed to change, including scaling back the Alien symbology and tropes.

Beginning in August, Lindelof spent four to five weeks writing his first draft before submitting it mid-September Inspired by Blade Runner and Spaihts' script, Lindelof thought that it would be possible to combine an Alien story of action and horror with "the Blade Runner thematic", to ask bigger questions that he felt were normally posed in science fiction films.

Lindelof explained:. Scott's story concept was partially inspired by the work of Chariots of the Gods? Scott said, "NASA and the Vatican agree that [it is] almost mathematically impossible that we can be where we are today without there being a little help along the way He also developed the theme that while the human crew are searching for their creators, David is already among them.

Scott liked these ideas and had them explored further in Lindelof's rewrite. For Shaw, Lindelof felt it was important that she be distinct from Alien's Ripley, to avoid inevitable comparisons between the two female leads.

In Spaihts' draft, Shaw was directly responsible for the events of the plot because of her desire to seek out potentially dangerous knowledge.

As with David, Lindelof further expanded this facet of the character during his rewrites. Lindelof spent approximately eight months developing the script, finishing in March , as filming began.

Pre-production had begun by April , with a team developing graphic designs for the film's requirements.

Scott convinced Fox to invest millions of dollars into the hiring of scientists and conceptual artists to develop a vision of the late 21st century.

Production of Prometheus was marked by a high degree of secrecy with story details "extremely under-wraps.

One exception was made when a courier flew to one of the actors in a foreign location and then stood guard while the actor read the script.

In July , Lindelof stated that the film would be relying on practical effects, and employing CGI generally for on-set pre-visualization of external space visuals.

Cinematographer Darius Wolski convinced Scott that it would be possible to film in 3D with the same ease and efficiency of typical filming.

Since 3D films need high lighting levels on set, the hallmark atmosphere of the Alien films with darkness and shadows was added in post-production through grading processes, while the 3D equipment was based on post-Avatar technology.

Filming was scheduled to take place over six months,[10] but it took longer than forecast: the film was still being shot in September Filming began at Shepperton Studios in Surrey, England, part of the Pinewood Studios group, where Scott used eight sound stages for filming, including the Stage.

In July, filming moved to Iceland for two weeks, commencing at the base of the active Hekla volcano in southern Iceland on July 11, Speaking about working at the base of an active volcano, Scott stated "If one is afraid of nature in this profession then it would be best to find a different job".

Filming also took place at one of the most powerful waterfalls in Europe, the Dettifoss waterfall in the north east of Iceland, in the Vatnajökull National Park.

The Iceland shoot involved Icelandic crew members and over imported crew. Scott claimed that the Iceland filming comprised approximately fifteen minutes of footage for the film, and that the area represented the "beginning of time".

Exterior shots of the alien world were shot in Iceland. Morocco had been an intended shooting location instead of Iceland, but the Arab Spring protests forced the change of venue.

Alternatives including the Mojave Desert had been considered alongside Iceland,[] but Scott explained that the country was ultimately chosen because "here it is so rough and 'Jurassic-like' and that proved decisive".

Shooting areas included the complex's large water tank, and a nearby Alicante beach. The complex was booked from August 22, , through to December 10, with set construction occurring from August until late September.

Filming also took place in the Wadi Rum valley in Jordan. Scott avoided using green screens unless necessary, instead employing various items to help the actors understand where they were meant to be looking in any particular scene on the practical sets that would have a CGI presence inserted in post-production.

Rapace claimed that green screens were used less than six times during filming. The production used five 3ality Technical Atom 3D rigs, four of which were configured with Red Epic 3D cameras set up for use on camera dollies and tripods, which were continuously in use during filming.

The fifth rig employed an Epic camera for use as a steadicam, which was only used as required. Scott focused on using the 3D footage to increase the illusion of depth.

Despite this being his first 3D film he found the process easy. He stated: "You can literally twiddle a knob and the depth will increase", "the trick is not to overdo it".

Prometheus contains approximately 1, digital effect shots. Moving Picture Company were the lead visual effect studio and produced of the shots.

In December , Rapace undertook additional dialogue recordings for the film. Additional pick-up scenes were filmed during January , including a one-day shoot on the Isle of Skye, Scotland, and a new scene shot at a cave in the Scottish mountains.

Scott concluded work on the film in March For dark scenes with little lighting, the film was color graded to specifically compensate for the slight dimness introduced by wearing 3D glasses, to ensure the image was comparable to the 2D version.

In July , Scott stated that he was filming Prometheus with both adult-oriented R and more accessible PG film ratings in mind, allowing the more adult content to be cut if necessary without harming the overall presentation.

Scott claimed he had a responsibility to 20th Century Fox to be able to present a PG cut of the film if the studio demanded, allowing it to be viewed by a wider potential audience.

When asked about the rating, Scott explained "the question is, do you go for the PG, or do you go for what it should be, which is R? Financially it makes quite a difference On May 7, , Fox confirmed that the film had received an R-rating and would be released without any cuts being made.

Production designer Arthur Max led the film's design. His art team were tasked with deconstructing the art and visuals of Alien and reverse-designing them for the earlier-time setting of Prometheus.

Influence was drawn from the work of Alien creature designer H. Giger, and designers Ron Cobb and Chris Foss, including their designs for that film which Scott had been unable to develop at the time.

Max designed the sets including the alien structures and the alien world landscape, and vehicles, including the Prometheus and Engineer ship.

Digital 3D models and miniature replicas were built of each set, allowing them to see how sets should connect and to know where the sets would end and the CGI would begin.

To better blend the practical and the digital, the design team took rock samples during the Iceland shoot, allowing them to match the graphical textures with the real rocks caught on film.

Max researched NASA and European Space Agency designs and developed these concepts with his vision of how space travel would look in the future to create the Prometheus.

He stated that he wanted "to do something that was state-of-the-art, which would represent a flagship spacecraft with every technology required to probe into the deepest corners of the galaxy.

The interior of the ship was built across two level structure, fronted by a large, faceted, wrap around windscreen. Theron's quarters were designed to represent her high status on the ship, being furnished with modern and futuristic items including Swarovski chandeliers and a Fazioli piano.

The ship's garage was built on the backlot of Pinewood Studios in England. The vehicles within were built over 11 weeks and were designed to operate on difficult terrain while still possessing a futuristic aesthetic.

Max created a large Pyramid structure for the alien world, with main interior areas connected by a series of chambers, corridors and tunnels, so expansive that some crew became temporarily lost within.

The pyramid was enhanced in post-production to further increase its size. Giger designed the murals that appear within the chamber.

What I want is something where I have [vision]. The helmet's exterior featured a functional light source and high-definition cameras with a transmitter and recorder.

His frequent collaborator, Academy award-winning costume designer Janty Yates, used medical research concepts relating to skin replacement treatments and materials to develop a design that could believably provide a flexible and comfortable garment.

The outfit comprised a neoprene suit worn under an outer space suit, a base to which the helmet could be attached, and a backpack. Aboard the ship, Yates gave the characters their own distinct look.

Theron is dressed in an ice-silver, silk mohair suit, with Yates explaining: "[Theron] is the ice queen. It was always our vision to make her look as sculptural as possible".

Fassbender's David is dressed similar to other crewmen, but his outfit was given finer lines to produce a more linear appearance.

To create a casual, relaxed appearance, Marshall-Green's Holloway was dressed in hoodies, fisherman pants, and flip-flops, while Elba wore a canvas-greased jacket to represent his long career at the helm of a ship.

Neal Scanlan and Conor O'Sullivan developed the film's alien creatures, aiming to convey each creature as having a logical biological function and purpose.

Scanlan stated that much of Scott's inspiration for creature design is drawn from natural life such as plants and sea creatures.

A key scene involving a large 3D hologram star map was inspired by the Joseph Wright painting "A Philosopher Lecturing on the Orrery", in which a scientist displays a mechanical planetarium by candlelight.

While discussing the necessity of a star map with Spaihts, Scott mentioned the painting as how he saw the map being physically represented, although he was unaware of the name and described it only as "circles in circles with a candle lit image".

To Scott's pleasure, Spaihts located the correct image based on his description. Spaihts stated: "making the leap from a star map, to an Enlightenment painting, and then back into the far future.

Frequent Scott collaborator Marc Streitenfeld composed the musical score for Prometheus. The score was recorded over one week with a piece orchestra at Abbey Road Studios in London, England, where it was also processed by Scott after the fact.

Streintenfeld began coming up with ideas for the score after reading the script prior to the commencement of filming.

To create an "unsettling" sound, he provided the orchestra with reversed music sheets to have them play segments of the score backwards, before then digitally reversing it.

It features 23 tracks by Streitenfeld, plus two supplemental tracks by composer Harry Gregson-Williams. Prometheus's marketing campaign began on July 21, , at the San Diego Comic-Con International, where images and footage from the film were presented by Lindelof and Theron, with Scott and Rapace participating via satellite contribution.

A segment of the footage showed Theron performing "naked push-ups" which attracted much attention. A teaser poster was revealed on December 14, , with the tagline, "The search for our beginning could lead to our end.

The teaser trailer was released on December 22, Reaction to the trailer was considered to be positive among WonderCon attendees and on Twitter, and it received nearly three million views in the three days following its release.

On April 10, , media outlets were shown a 13 minute montage of scenes from the film's opening in 3D at the Vue Cinema in Leicester Square, London.

Soon, the team realize that only one species can win. A team of commandos on a mission in a Central American jungle find themselves hunted by an extraterrestrial warrior.

The Predator returns to Earth, this time to stake a claim on the war-torn streets of a dystopian Los Angeles.

Warring Alien and Predator races descend on a rural Colorado town, where unsuspecting residents must band together for any chance of survival.

The main crew of the Covenant and their android Walter enjoy a final meal before cryosleep on their way to a remote planet.

An astronaut becomes stranded on Mars after his team assume him dead, and must rely on his ingenuity to find a way to signal to Earth that he is alive.

Following clues to the origin of mankind, a team finds a structure on a distant moon, but they soon realize they are not alone.

So I saw the long awaited "Prometheus" tonight. Overall, rather good, but the characters annoyingly and jarringly flaunted so many basic health and safety regulations regarding potential contamination, infection, quarantine and exposure to physical injury from not wearing adequate safety equipment in an unfamiliar extra-terrestrial environment etc.

Maybe we're just supposed to be careless or stupid in about 80 years' time. Also, while not being pro-god or creationist as such, it did kind of take a dump on Darwinism and the role of evolution in our existence.

Being in 3D was fairly pointless. I even had to check that it was by taking the glasses off. It was, but barely noticeable.

Gorgeous sets and imagery, but I wasn't too happy about what the Engineers or "Space Jockeys" look like under their bio-mechanical suits.

It was plagued by thoroughly unbelievable and rather unprofessional characters as well. Dumb scientists and ship crew lacking the professional integrity you'd expect from a trillion dollar mission.

Oh, and the old Weyland guy was a bit rubbish. Just Guy Pearce with lame prosthetic wrinkles. How about using an actual old man actor with an actual old bone structure?

He stuck out like a sore thumb. Anyway, I have to pick fault, but it's very much worth a watch and most people aren't as picky as me I guess.

I still wish they'd stop making films as if we're all dumb 15 yr old kids without any real intelligence though. And it should have been purposely made to be an 18 certificate in the UK at least.

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Prometheus Alien - Darsteller gegen die Handlung

Als ob er nicht ins Bild gehört. Das sind keine Schöpfer Raumschiffe warum? Im Kommandoraum dieses Raumschiffs angekommen, glaubt Shaw, dass die Konstrukteure gerade im Begriff waren zu starten, um alles Leben auf der Erde wieder zu zerstören, aber ihr Start durch eine Katastrophe vereitelt wurde. Visa-Nummer -. Sie setzt einen letzten Funkspruch ab und warnt davor, den Mond LV aufzusuchen. 20th Century Fox hat einen offiziellen Kurzfilm zum kommenden Science-Fiction-​Streifen Alien: Covenant veröffentlicht. Eigenständiges Prequel zu Ridley Scotts "Alien" aus dem Jahre Originaltitel. Prometheus. Verleiher Fox Deutschland. Weitere Details. Ridley Scott macht wieder Sci-Fi und wagt sich ins Alien-Universum. Entsprechend hoch sind die Erwartungen an Prometheus. Aber ähnlich wie in einer. prometheus alien Sie darf ein paar Mal richtig böse werden und hat ihre stärksten Szenen, wenn der Film source damit kokettiert, dass sie eventuell ein Androide ist. Ich konnte einfach nicht anders, als in der Schlusssequenz ständig vor mir herzufluchen, warum mir niemand das verdammte Skript 10 Minuten mit aufs Klo mitgegeben hat, damit ich zumindest das Click at this page hätte beheben können. Noomi Rapace. In Ridley Scotts Version der Schöpfungsgeschichte sind gut und böse prometheus alien relevanten Kategorien mehr, denn es geht nurmehr ums Überleben. Auf skyfall bedeutung Seite. Der Film link bei sturm der lieb sicherlich an der zu hohen Erwartungshaltung. Der Steam Summer Sale ist gestartet!

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P R O M E T H E U S - Fifield Xenomorph Mutation (Deleted Scene)

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Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Noomi Rapace Elizabeth Shaw Michael Fassbender David Charlize Theron Meredith Vickers Idris Elba Janek Guy Pearce Peter Weyland Logan Marshall-Green Charlie Holloway Sean Harris Fifield Rafe Spall Millburn Emun Elliott Chance Benedict Wong Ravel Kate Dickie Ford Branwell Donaghey Mercenary 1 Vladimir 'Furdo' Furdik Mercenary 2 as Vladimir Furdik C.

Learn more More Like This. Alien: Covenant Horror Sci-Fi Thriller. Alien: Resurrection Action Horror Sci-Fi. Alien 3 Stars: Sigourney Weaver, Charles S.

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Predator 2 Aliens vs. Predator: Requiem Alien: Covenant - Prologue: Last Supper In July , Scott stated that "by the end of the third act you start to realize there's a DNA of the very first Alien , but none of the subsequent [films]".

Pre-production had begun by April , with a team developing graphic designs for the film's requirements. Scott convinced Fox to invest millions of dollars into the hiring of scientists and conceptual artists to develop a vision of the late 21st century.

Production of Prometheus was marked by a high degree of secrecy with story details "extremely under-wraps. One exception was made when a courier flew to one of the actors in a foreign location and then stood guard while the actor read the script.

Concerning the confidential nature of the script, Scott stated: "I was insistent that the script not leak onto the internet, where it gets dissected out of context, which spoils it for everyone.

In July , Lindelof stated that the film would be relying on practical effects, and employing CGI generally for on-set pre-visualization of external space visuals.

Scott recalling advice special effects artist Douglas Trumbull gave him on the set of Blade Runner stated, "if you can do it live, do it live", with Scott claiming that although "you can pretty much do anything you want" with digital technology, practical effects are more cost effective.

Cinematographer Dariusz Wolski convinced Scott that it would be possible to film in 3D with the same ease and efficiency of typical filming.

Since 3D films need high lighting levels on set, the hallmark atmosphere of the Alien films with darkness and shadows was added in post-production through grading processes, while the 3D equipment was based on post- Avatar technology.

Production designer Arthur Max led the film's design. His art team were tasked with deconstructing the art and visuals of Alien and reverse-designing them for the earlier-time setting of Prometheus.

Influence was drawn from the work of Alien creature designer H. Giger , and designers Ron Cobb and Chris Foss, including their designs for that film which Scott had been unable to develop at the time.

Max designed the sets including the alien structures and the alien world landscape, and vehicles, including the Prometheus and Engineer ship.

Digital 3D models and miniature replicas were built of each set, allowing them to see how sets should connect and to know where the sets would end and the CGI would begin.

To better blend the practical and the digital, the design team took rock samples during the Iceland shoot, allowing them to match the graphical textures with the real rocks caught on film.

Max researched NASA and European Space Agency designs and developed these concepts with his vision of how space travel would look in the future to create the Prometheus.

He stated that he wanted "to do something that was state-of-the-art, which would represent a flagship spacecraft with every technology required to probe into the deepest corners of the galaxy.

Max created a large Pyramid structure for the alien world, with main interior areas connected by a series of chambers, corridors and tunnels, so expansive that some crew became temporarily lost within.

The pyramid was enhanced in post-production to further increase its size. One of the key sets, the chamber where the crew find the humanoid-head statue, was designed to resemble the interior of a cathedral and convey a "quasi-religious" impression.

Giger designed the murals that appear within the chamber. What I want is something where I have [vision]. The helmet's exterior featured a functional light source and high-definition cameras with a transmitter and recorder.

His frequent collaborator, Academy award-winning costume designer Janty Yates, used medical research concepts relating to skin replacement treatments and materials to develop a design that could provide a flexible and comfortable garment.

The outfit comprised a neoprene suit worn under an outer space suit, a base to which the helmet could be attached, and a backpack.

Aboard the ship, Yates gave the characters their own distinct look. Theron is dressed in an ice-silver, silk mohair suit, with Yates explaining: "[Theron] is the ice queen.

It was always our vision to make her look as sculptural as possible". Fassbender's David is dressed similar to other crewmen, but his outfit was given finer lines to produce a more linear appearance.

To create a casual, relaxed appearance, Marshall-Green's Holloway was dressed in hoodies, fisherman pants, and flip-flops, while Elba wore a canvas-greased jacket to represent his long career at the helm of a ship.

Neal Scanlan and Conor O'Sullivan developed the film's alien creatures, aiming to convey each creature as having a logical biological function and purpose.

Scanlan stated that much of Scott's inspiration for creature design is drawn from natural life such as plants and sea creatures.

A key scene involving a large 3D hologram star map was inspired by the Joseph Wright painting "A Philosopher Lecturing on the Orrery", in which a scientist displays a mechanical planetarium by candlelight.

While discussing the necessity of a star map with Spaihts, Scott mentioned the painting as how he saw the map being physically represented, although he was unaware of the name and described it only as "circles in circles with a candle lit image".

To Scott's pleasure, Spaihts located the correct image based on his description. Spaihts stated: "making the leap from a star map, to an Enlightenment painting, and then back into the far future.

Filming was scheduled to take place over six months, but it took longer than forecast: the film was still being shot in September Filming began at Shepperton Studios and Pinewood Studios near London , England , both part of the Pinewood Studios group, where Scott used eight sound stages for filming, including the Stage at Pinewood.

In July, filming moved to Iceland for two weeks, commencing at the base of the active Hekla volcano in southern Iceland on July 11, Speaking about working at the base of an active volcano, Scott stated: "If one is afraid of nature in this profession then it would be best to find a different job".

Filming also took place at one of the most powerful waterfalls in Europe, the Dettifoss waterfall in the north east of Iceland, in the Vatnajökull National Park.

The Iceland shoot involved Icelandic crew members and over imported crew. Scott claimed that the Iceland filming comprised approximately fifteen minutes of footage for the film, and that the area represented the "beginning of time".

Exterior shots of the alien world were shot in Iceland. Morocco had been an intended shooting location instead of Iceland, but the Arab Spring protests forced the change of venue.

Alternatives including the Mojave Desert had been considered alongside Iceland, but Scott explained that the country was ultimately chosen because "here it is so rough and 'Jurassic-like' and that proved decisive".

Shooting areas included the complex's large water tank, and a nearby Alicante beach. The complex was booked from August 22, , through to December 10, with set construction occurring from August until late September.

Filming also took place in the Wadi Rum valley in Jordan. Scott avoided using green screens unless necessary, instead employing various items to help the actors understand where they were meant to be looking in any particular scene on the practical sets that would have a CGI presence inserted in post-production.

Rapace claimed that green screens were used less than six times during filming. The production used five 3ality Technical Atom 3D rigs, four of which were configured with Red Epic 3D cameras set up for use on camera dollies and tripods, which were continuously in use during filming.

The fifth rig employed an Epic camera for use as a steadicam, which was only used as required. Scott focused on using the 3D footage to increase the illusion of depth.

Despite this being his first 3D film he found the process easy. He stated: "You can literally twiddle a knob and the depth will increase", "the trick is not to overdo it".

Prometheus contains approximately 1, digital effect shots. Moving Picture Company were the lead visual effect studio and produced of the shots.

In December , Rapace undertook additional dialogue recordings for the film. Additional pick-up scenes were filmed during January , including a one-day shoot on the Isle of Skye, Scotland, and a new scene shot at a cave in the Scottish mountains.

Scott concluded work on the film in March For dark scenes with little lighting, the film was color graded to specifically compensate for the slight dimness introduced by wearing 3D glasses, to ensure the image was comparable to the 2D version.

In July , Scott stated that he was filming Prometheus with both adult-oriented R and more accessible PG film ratings in mind, allowing the more adult content to be cut if necessary without harming the overall presentation.

Scott claimed he had a responsibility to 20th Century Fox to be able to present a PG cut of the film if the studio demanded, allowing it to be viewed by a wider potential audience.

When asked about the rating, Scott explained "the question is, do you go for the PG, or do you go for what it should be, which is R?

Financially it makes quite a difference On May 7, , Fox confirmed that the film had received an R-rating and would be released without any cuts being made.

Prometheus's marketing campaign began on July 21, , at the San Diego Comic-Con International, where images and footage from the film were presented by Lindelof and Theron, with Scott and Rapace participating via satellite contribution.

A segment of the footage showed Theron performing "naked push-ups" which attracted much attention. A teaser poster was revealed on December 14, , with the tagline, "The search for our beginning could lead to our end.

The teaser trailer was released on December 22, Reaction to the trailer was considered to be positive among WonderCon attendees and on Twitter, and it received nearly three million views in the three days following its release.

On April 10, , media outlets were shown a minute montage of scenes from the film's opening in 3D at the Vue Cinema in Leicester Square, London.

The screening was well received, with particular mentions given to the 3D visuals and the performances of Fassbender, Rapace, Theron, and Elba.

On April 29, , the international launch trailer debuted in the United Kingdom on Channel 4 during the first advertisement break of the TV show Homeland.

Viewers were encouraged to share their opinions about the trailer on Twitter, some of which were then shared in a live broadcast during a later break.

This marked the first time that viewers' tweets were used in a broadcast advertisement. Alongside the trailer, a competition was launched on the social platform Zeebox, offering viewers a chance to win tickets to the film whenever Zeebox detected the advertisement airing.

On May 8, , the advertisement became subject to an investigation by the British broadcasting regulatory body Ofcom for allegedly breaching broadcast rules when a voice over encouraged viewers to book tickets while the advertisement played and with the Channel 4 logo onscreen.

The act potentially broke a rule that advertising and teleshopping must be clearly distinguishable from editorial content.

Although marketers typically avoid collaborating with adult-oriented films to focus on reaching broader audiences, the film attracted several promotional partners including Coors, Amazon and Verizon FiOS.

Amazon directed interested users to purchase tickets through Fandango, and placed promotional material in products shipped to customers; this was the first time that Amazon had allowed such marketing by an external company.

The event was facilitated by BumeBox, which culled audience questions from social sites and delivered them to reporters to ask at the event.

Prometheus: The Art of the Film, a book containing production art and behind-the-scenes photos from the film, was released on June 12, The film was accompanied by an extensive viral marketing campaign, consisting primarily of a series of short films featuring cast members from the movie.

During the WonderCon, attendees at the film's panel were given Weyland Corporation business cards that directed them to a website and phone number.

Calling the number resulted in the caller being sent a text message from Weyland Corporation that linked them to a second viral video.

An extended version of the video, entitled Happy Birthday, David , was released to the general public on April 17, The campaign continued following the film's release with a website referencing the philosophical novel Thus Spoke Zarathustra by Friedrich Nietzsche, which is quoted by Weyland in TED Conference, It was simultaneously released in IMAX theaters and in 3D, and it is encoded for D-Box motion seats that provide physical feedback to the viewer during the film.

In North America, audience tracking showed high interest among males of all ages, but low interest among females.

The week preceding release saw conflicting opinions on whether the film or Madagascar 3: Europe's Most Wanted would place number 1 for the weekend during their simultaneous release.

Additionally, the online tracking for Prometheus surged with each new piece of promotional footage. However, pre-release tracking is usually less reliable for animated films; since Madagascar 3 was the first truely family-oriented film of the summer, many speculated that there would be large demand for it.

Prometheus was also in the disadvantage of a less wide release 3, theaters against 4, theaters for Madagascar 3. Furthermore, the R rating of the film was considered a limiting obstacle.

Prometheus was initially released in 15 markets from May 30 to June 1, — about a week before its North American release.

The earlier start in these countries was timed to avoid competition with the start of the UEFA European Football Championship the following week.

The figure placed it as the number 3 highest-grossing second-place opening, the number 10 highest-grossing opening for an R-rated film, and it marked Scott's second highest-grossing opening behind the thriller Hannibal Prometheus received mixed to positive reviews from critics.

Reviews were frequently praising of both the film's visual aesthetic and design, and Fassbender's performance as the android David received almost universal acclaim.

However the plot drew a more mixed response, with criticism of plot elements that remained unresolved or were predictable, tempered by appreciation for the action and horror set-pieces.

The Hollywood Reporter's Todd McCarthy called the film's visuals vivid, stunning and magnificent on a technical level, singling out the performances of Fassbender, Rapace and Theron for praise, but lamented that the film catered too much to audience expectations, making it predictable.

Time Out London's Tom Huddleston felt the plot was "flat" and "predictable", the characters "emotionless", and that while the film was "perfectly entertaining", it did not live up to pre-release expectations.

Emanuel Levy cited the plot as his only complaint with the film, stating that it is unable to follow through with its philosophical ideas.

Roger Ebert gave the film 4 out of 4 stars, labeling it a "magnificent Ebert thought that the plot, in raising questions and not answering them, made the film "intriguing" and in the "classic tradition of golden age sci-fi".

Total Film's Jonathan Crocker however offered that the plot successfully integrated itself with Alien's mythology while offering its own original ideas.

Entertainment Weekly's Lisa Schwarzbaum was positive towards the cast, particularly Rapace, and the cinematography. Salon's Andrew O'Hehir offered that the film was "somber, spectacular and ponderous," but that the " portentousness and grandiosity O'Hehir also mentioned Wolski's cinematography and Max's production design.

The New York Times' A. Scott criticized the story as weak, undermining its "lofty, mindblowing potential" with "bits of momentarily surprising information bereft of meaning or resonance", but described Rapace as a "fine heroine, vulnerable and determined".

In a negative review, Variety film critic Justin Chang described the film's structure and genre as being unable to handle the philosophical undertow of the plot, and felt Prometheus was "lazily deferring" key plot points under the presumption that a sequel would be made.

The Guardian's Peter Bradshaw was less critical but thought that Prometheus "[lacked] the central punch of Alien", calling the film "more grandiose, more elaborate — but less interesting".

The Village Voice's Nick Pinkerton stated that the film is "prone to shallow ponderousness", that can "mimic the appearance of an epic, noble, important movie", but fails to "payoff".

He criticized Rapace and Marshall-Green for failing to instill interest in their character relationship, but added: "there are a few set pieces here that will find a place of honor among aficionados of body horror and all things clammy and viscous".

Lovecraft, to the drawings of William Blake. In North America, the DVD and Blu-ray disc versions of the film were listed for pre-order in partnership with Amazon, a week before the film had been released in theaters.

A limited number of tickets to the film were offered as a pre-order incentive. Prior to release, rumors circulated that the home release would feature an extended cut of the film, similar to those of the four Alien movies, featuring as much as 20 minutes of additional footage.

However, Ridley Scott ultimately declined to create such an alternate version. The Blu-ray release of the film contained two commentary tracks, featuring Scott and the movie's writers, respectively, as well as almost 40 minutes of deleted scenes.

The 3D Blu-ray release additionally came with a bonus disc containing a feature-length documentary entitled The Furious Gods: Making Prometheus.

A novelization of the film was written by Joe Spies and Damon Lindelof , although it was only published in Japan. The soundtrack by Marc Streitenfeld was released on CD and for digital download.

NECA produced a line of action figures based on the film. Sign In Don't have an account? Start a Wiki. Do you like this video? Contents [ show ].

Elizabeth Shaw

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