PROMETHEUS (euro-spoilers start on pg 22)

[Guy Incognito]

man starship troopers is 10x the movie that prometheus is

[badhat]

i rewatched apocalypse now again a few months and and i really enjoyed the fact that coppola tried something different and insane with that score

[ifear]

kinda reassuring there's a consensus on the terrible music. seems like every other event film of the last ten years has a bullshit orchestral score that otherwise rational people still obsess over. that culture of film and game soundtrack kids who give themselves to epic strings and chiptune earnestness without questioning why

it's depressing that one of the few major successes of recent years not to be aped by everyone and his dog was the atonalism that everyone loved in the dark knight.
the number of films marred by tedious epic wankery is staggering, and i often find myself imagining tim hecker etc. scoring scenes. hollywood needs to drop by the listening party thread some day.

[Ted Pikul]

Funny too considering the Blade Runner score

[badhat]

interestingly the trailers for prometheus did in fact ape the nolan atonal score thing but there wasnt a trace of it in the actual movie.

[deadaswarhol]

i actually remember kinda liking that main theme but thinking it felt out-of-place in this movie

[ifear]

interestingly the trailers for prometheus did in fact ape the nolan atonal score thing but there wasnt a trace of it in the actual movie.

god yes, i'd forgotten that. remember when we were all excited by those trailers? idiots.

[number none]

this kind of ironic

Goldsmith wanted to create a sense of romanticism and lyrical mystery in the film's opening scenes, which would build throughout the film to suspense and fear.[66] Scott did not like Goldsmith's original main title piece, however, so Goldsmith rewrote it as "the obvious thing: weird and strange, and which everybody loved."[63][66]

[Mr. Science]

I didn't notice the score till I got shook out of the plot. Everything just seemed offensive to the eyes and ears while I waited for it to make sense.

One thing that bothers me most is how Weyland's secretive presence on the Prometheus serves no purpose towards the plot. He's just there for the sake of the reveal. If Vickers is his daughter why isn't her last name Weyland?

[number none]

If Vickers is his daughter why isn't her last name Weyland?

oh c'mon

[fosse]

this kind of ironic

Goldsmith wanted to create a sense of romanticism and lyrical mystery in the film's opening scenes, which would build throughout the film to suspense and fear.[66] Scott did not like Goldsmith's original main title piece, however, so Goldsmith rewrote it as "the obvious thing: weird and strange, and which everybody loved."[63][66]

[Mr. Science]

If Vickers is his daughter why isn't her last name Weyland?

oh c'mon

It's just another cheap way to hide the reveal. If she had mentioned a husband, maybe while talking to Janeck about boning, it could have been a clue.

[chairkicker]

forgot about all that goldsmith stuff. it's interesting that he suggests that music, as a direct line to the emotional, is irreconcilable with anything visual, since rejecting that idea on traditional grounds has been the key to every alternative music movement since the late 1800s. it's also responsible for lots of prog and post-rock bloat, but that's beside the point. so much of goldsmith's work is visual; indefinitely so, like so much of the best music is, but still visual. it's that direct and indirect simultaneously that gives music its power, anyway. and, i mean, alien's titles are basically the perfect inversion of his patton theme - which is also pretty atmospheric in its own right. as a songwriter who's being second-guessed, i see how that's not a satisfying route for him to take, but man if isn't perfect. but then so is his peter and the wolf theme for the alien itself, as dan o'bannon describes it, and that's all goldsmith. i just don't think he saw the same staccato drift of a film that everyone else did.

i don't know. watching that clip i am reminded what slime david giler oozes with every word, though, no matter how smart the guy is.

[mchamartin]

I don't think there's enough room on the list of everything wrong with the plot of this movie to fit in "Vickers has a different last name than her father"

[Merciel]

No there's room.

But I mean

It's just another cheap way to hide the reveal.

is the answer, there's not a whole lot to discuss beyond that.

[badhat]

it just occurred to me that this movie was so bad that i totally forgot about the fucking zelda control flute in the cockpit, which in a decent movie would have been burned into my mind as staggeringly stupid.

[waldojeffers1]

how does this compare to Pandorum

[ifear]

here's a thing i liked about it - benedict wong was in it.
i like that he just turns up in random near-future shit all the time.
still think of him as a sitcom guy.

[badhat]

heres a few things i liked

noomi rapace is ridiculously attractive
the stuff with david before they woke up was awesome

[Juggly D, The Posting Maniac]

Eddy Vedder - Can A Robot Rock?(Theme From 'Prometheus').mp4

[ifear]

heres a few things i liked

noomi rapace is ridiculously attractive
the stuff with david before they woke up was awesome

i never noticed rapace being attractive before prometheus, but yeah. very.

even the resurrection reference was cool in david's opening sequence

[wintergreen]

"vickers" kept making me think of elizabeth taylor's character in a place in the sun.

i tried mightily to make the comparison meaningful, but failed.

i had my eye on benedict wong as he screwed up the mission in sunshine.

[orange farmer]

I thought rapace was a fox in both dragon tattoo and the holmes sequel.

[Kafkaesque]

watching that clip i am reminded what slime david giler oozes with every word, though, no matter how smart the guy is.

the way he talks in that documentary about the Alien script being a piece of shit until he and Walter Hill got it and re-wrote it is super slimy.

[fosse]

watching that clip i am reminded what slime david giler oozes with every word, though, no matter how smart the guy is.

the way he talks in that documentary about the Alien script being a piece of shit until he and Walter Hill got it and re-wrote it is super slimy.

Well, the dialogue and characterisation aren't particularly stellar in the original script.

This extracts reads like something out of a British World War 2 movie

Standard turns and looks at him. For a long moment, the two men regard each other, then STANDARD STEPS FORWARD AND SLAPS ROBY ACROSS THE FACE. The others are shocked.

HUNTER: Hey now, what is this?

STANDARD: Ask him.

ROBY (slowly puts his hand to his cheek): I understand why you did that.

STANDARD: Good.

MELKONIS: He wouldn't open the lock; he was going to leave us out there.

HUNTER: Yeah... well, maybe he should have. I mean, you brought the goddamn thing in here. Maybe you deserve to get slapped.

FAUST (embarrassed): Excuse me, I've got work to do.

HUNTER:I keep my mouth pretty much shut, but I don't like hitting.

ROBY (to Standard) I guess I had it coming. Let's call it settled.

[razzle]

i kept expecting john hammond to pop out when the music began to soar

[chairkicker]

watching that clip i am reminded what slime david giler oozes with every word, though, no matter how smart the guy is.

the way he talks in that documentary about the Alien script being a piece of shit until he and Walter Hill got it and re-wrote it is super slimy.

Well, the dialogue and characterisation aren't particularly stellar in the original script.

his rework is awesome, but the dude is a wretched human being. and he fucked over alien 3

[Poptone]

even the resurrection reference was cool in david's opening sequence

I must have missed this. What was it?

[number none]

playing basketball?

[swamp thing]

yeah you didnt catch that? I also liked how the geologist guy raising his hand during the briefing was a nod to Hoop Dreams