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Prometheus is one of the best-handles prequels to be released. The essence of the franchise is definitely retained. This alien movie is more of a sci-fi mystery in comparison to the other alien films. The film is filled with several exciting moments but it is much more than just entertainment and excitement. The core of this film is something that is highly appreciated and that is simply, a man's search for meaning in life. The cast is carefully picked and is well-suited for the film. The character development is beautiful and the characters explore their relationships effortlessly in the film. The film cannot be described as scary but it had its moments that were thrilling. The film was visually pleasing and the background music was also decent. The performances of the actors lifted the film higher and overall it is a lovely movie that is meaningful, entertaining, and worth the watch.
Best Supporting Actor | 2012 | Michael Fassbender
Best Actor International Competition | 2013 | Michael Fassbender
Best Actor - International Competition For | 2013 | Michael Fassbender
Best Art Direction | 2012 | Alex Cameron
Top Box Office Films | 2013 | Marc Streitenfeld
Best Achievement in Visual Effects | 2013 | Martin Hill
Best Special Visual Effects | 2013 | Richard Stammers
Choice Summer Movie Star: Female For | 2012 | Charlize Theron
Choice Summer Movie Star Female | 2012 | Charlize Theron
Choice Movie Breakout | 2012 | Noomi Rapace
Best Supporting Actor | 2013 | Michael Fassbender
Supporting Actor of the Year | 2013 | Michael Fassbender
Best Film | 2012 | Ridley Scott
Best Original Score for a Fantasy/Science Fiction/Horror Film | 2013 | Marc Streitenfeld
Fantasy Film | 2013 | Steven Messing
Best Production Design | 2013 | Arthur Max
Best Sound Editing - Sound Effects and Foley in a Feature Film | 2013 | Tim Walston
Best Sound (Editing & Mixing) | 2012 | Doug Hemphill
Best Visual Effects | 2012 | Martin Hill
Visual Effects | 2013 | Martin Hill
Best Visual Effects | 2012 | Martin Hill
Best Visual Effects | 2013 | Martin Hill
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture | 2013 | Richard Stammers
Best Cinematography | 2012 | Dariusz Wolski
Feature Film | 2012 | Gary Spratling
2012 | Gary Spratling
Budget 130,000,000 USD
Box Office Collection 403,354,469 USD
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Composer Marc Streitenfeld had the orchestra play his compositions backwards, and then digitally reversed the compositions for the final film. This made the music sound unusual and unsettling, which he felt was right for the film.
Sir Ridley Scott named the film "Prometheus", seeing the name aptly fit the film's themes: "It's the story of creation; the gods and the man who stood against them." In Greek mythology, the Titan Prometheus was an immortal servant of the gods, who stole and gave to mankind the gift of God fire, an immeasurable benefit that changed the human race forever (for better and worse). It made mankind dangerous to the gods.
For the alien planet, creatures and technology, director Sir Ridley Scott instructed the design team to aim for a look that could logically come before the original Alien (1979), and thus not to rely too heavily on Swiss artist H.R. Giger's famous original planet and Xenomorph designs. However, almost all of the team's drawings eventually contained subconscious "Gigeresque" embellishments, while also drawing inspiration from several unused Giger designs for Alien (1979). In the end, it was decided to invite Giger himself to come over, who approved of the use of his old ideas and gave additional input on reverse-engineering his original designs for the new film. Further inspiration was drawn from the works of Russian 3D artist Gutalin (Alex Kozhanov). Giger died of fall-related injuries in 2014, making this the last movie related to the Alien franchise that he worked on.
To prepare for his role as the android David, Michael Fassbender watched Blade Runner (1982) (another Sir Ridley Scott film), The Man Who Fell to Earth (1976) (for David Bowie's androgynous performance), The Servant (1963) and Lawrence of Arabia (1962) (mentioned by Peter Weyland). Fassbender also studied Olympic diver Greg Louganis, drawing inspiration for David's walk from Louganis' physicality.
During production, Sir Ridley Scott kept the use of computer-generated imagery (CGI) as low as possible; Scott recalled advice visual effects supervisor Douglas Trumbull gave him on the set of Blade Runner (1982): "If you can do it live, do it live", and also claimed that practical visual effects were more cost-effective than digital visual effects. Monster effects, like the Deacon and Hammerpede, were done practically as much as possible, with CGI only for complicated shots that couldn't be done for real. The giant Trilobite facehugger was a full-size model and used in a few shots, and it served as a reference for a computer-generated version that was used in the other shots. All in all, Weta Digital and Moving Picture Company provided 1,300 CG shots for the movie, mainly for digital landscapes, space scenes and adding textures and fluids to practical effects.
"David: Big things have small beginnings."
"Charlie Holloway: What we hoped to achieve was to meet our makers. To get answers. Why they even made us in the first place. David: Why do you think your people made me? Charlie Holloway: We made you because we could. David: Can you imagine how disappointing it would be for you to hear the same thing from your creator? Charlie Holloway: I guess it's good you can't be disappointed."
