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ALIEN prequel


Left the Cinema feeling empty.

Went to see it again in 3D. Left the cinema feeling empty(er) but with more spacial awareness of my emptiness.


So many holes. So many stupid elements.

So lets hope he leaves Blade Runner well alone. Ridley is just after the Franchise rights now.

Leave be. Turn around and walk away. :rant:


..."that was cr*p".


It was heartbreaking how inept almost every aspect of it was.

The lindelof script was an absolute trainwreck and should have never been filmed, but Ridley has to share the blame for not recognizing that and doing something to fix it.

Alien was a B movie in grade A clothing.

prometheus is Mystery Science Theater Z level trash in grade A clothing.

Its all over.

Ridley just doesn't have it anymore and will never make another great film.
Oh how the young are easily swayed.....

"Ridley Scott's new movie is one of the worst movies I have ever seen and almost incomprehensible. There were only 7 people in a theater that held over 500....."

Oh Yes. A review of Bladerunner in 1982 on it's original release.

Ham Salad

I was a bit disappointed: The film could have been made much better with one page of rewrites. Too much of characters doing things for no reasonable reason...and having the droid be the bad guy again was not only cliche, but made no sense at all: it almost seemed random.
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Steve Gerard

I was a bit disappointed: The film could have been made much better with aone page of rewrites. Too much of characters doing things for no reasonable reason...and having the droid be the bad guy again was not only cliche, but made no sense at all: it almost seemed random.

Too much of characters doing things for no reasonable reason...and having the droid be the bad guy again was not only cliche, but made no sense at all: it almost seemed random.

lindelof is a BAD and unintelligent writer!

He attempts to disguise this by slathering his "scripts" with Wikipedia references.

I've heard that "LOST" was tolerable.

But that was a FANTASY!

He may be tolerable for that type of genre,
but the very worst choice in the universe to write a Alien world story!

One of ALIENs best attributes,
that made it terrifying,
was its REALISTIC world!
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It's disconcerting to think that Prometheus went through FIVE drafts BEFORE Damon Lindelof came on board. It may have been a mess throughout the entire process. The writers made it clear throughout publicity that their role was simply to channel Ridley's ideas on to the page - not how a writer should work. The original Alien was a melting pot with contributions from Dan O'Bannon, Walter Hill, David Giler, even Ron Shusett and Ron Cobb. Luckily, I hear Hampton Fancher is at work on Blade Runner 2.


Forum Supporter
An excerpt from my review for TQF:

Scott’s reputation is one of a man that knows exactly what he wants, a man that has an almost OCD attention to detail, even going to such lengths as arranging a selection of pens in a mug ‘correctly,’ during one shoot. It was all too obvious to me he would take this approach to his directorial duties and perhaps step up a gear while working on PROMETHEUS, as all eyes, genre fans and fans of his previous films alike would be expecting such for his return to the ALIEN franchise. No such luck I’m afraid.
PROMETHEUS looks no different to any other recent genre entry to be honest. Perhaps it’s all down to the technology. Shooting with digital has removed that ‘waiting for the right light’ moment, that instant where everything that makes a shot special and more importantly, in camera, sadly redundant.
Now anyone with a digi-cam and a few PCs can shoot and pass it over to the ‘computer guys’ to correct gamma and the like. In the days of celluloid the saying used to be; ‘A good editor can make a great film from a bad director’s dailies.’ Now it’s the post production CG art department’s job to do the same. PROMETHEUS suffers from a lack of spectacle regards direction – light and texture seem to be considerably vacant from this movie.

Prometheus is a huge disappointment on every level to be honest. Acting is at best, adequate. The visuals are at best, average, especially compared to the pre-production art seen on the net.
Scott delivers a few familiar shots – such as low camera angles aboard Prometheus as characters enter shot, Prometheus’ landing is almost identical to that of the Nostromo from Alien, but lacks the tension. But what really lets the whole shoddy affair down is character and story, or rather the lack of any depth to both and the failure to answer the questions posed in favour of passing them over to a probable sequel.
Well, when I found out Damon Lindelof was responsible for the final script, everything fell into place. He maintains his inability or refusal to answer questions he poses in his writing, continues to fob the audience off with idiotic characters that bear no resemblance to real people, champions his right to ignore established and respected franchise staples. Here’s a little example from Prometheus:

Biologist DNA + black tar DNA = rampant murderous lunatic.
Holloway DNA + ampoule black DNA = tortured, self sacrificing semi-human.
Holloway infected DNA + Shaw DNA = Baby squid / proto facehugger.
Grown up squid + Engineer DNA (exactly the same as human DNA) = Proto-alien.
Structure’s DNA pool + strong frequent storms = no distribution of DNA / no indigenous life.

It’s a mix and match and see what you come up with – except there’s not a lot of logic to it as the results simply fit the writer’s whim to serve his story, rather than the established being adhered to. In short, no continuity with either what’s gone before, or what’s going on at the moment.

It was established in ALIEN there’s a gestation period once a facehugger plants an embryo inside a human organism, and that the embryo absorbs a little of the DNA from the host organism. But hey, following established rules is no fun for the writer without the determination, imagination and most importantly talent to create valid reasons how and why such rules can be circumvented. It’s far easier to just ignore them, along with the intelligence of the audience and fans and do exactly what you want.
Fool me once, Lindelof. I will not be paying ticket price if a sequel to this contrivance hits the Odeon, on the hope you can answer the questions you’ve introduced here (and that’s not me climbing aboard the ‘jumping to conclusions bandwagon,’ this is from experience) as I’m guessing the result will be far from satisfactory. I will wait and read a review. Dan O’Bannon would have gone slack-jawed dribbling mad.

Obviously Ridley doesn’t get off without a rap across the knuckles, either. He knows how well regarded and respected his 1979 work is among genre and non-genre fans alike. He had a duty to himself more than anyone to ensure Prometheus lived up to not only 33 years of expectations, but also to the hype generated by the viral campaign. For me, the campaign was not needed. Scott + Alien = guaranteed ticket sales. All he then had to ensure was that the whole movie made sense and at least maintained the quality of the first film, perhaps even upping the stakes on the most basic levels of filmmaking and storytelling.
It fails on all counts, and I for one wished James Cameron had decided to pursue his take on the story of the Space Jockey and the race’s role in the whole scheme of things. As Vickers says to Weyland, her father: ‘A king has his reign and then he dies, it’s inevitable.’ Sadly, how very true. Scale is sadly missing here – the magnitude / impact of the story they’re trying to tell with the characters, their reactions, the physical scale of the Engineers themselves against the human crew, Prometheus itself, the structure, the emotionless stone head - all are diminished by indifference and not shot well. Ridley seems to have found a cure for his OCD.
As David says during the film; ‘Big things have small beginnings.’ Unfortunately for Prometheus this is utterly true. If viewed as a prequel to ALIEN, it will always remain a small beginning leading to a big thing…
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I must say, in Ridley's favour, that shooting 3D-digital at source requires large amounts of flat lighting, almost like back in the days of 3-strip technicolor (And it was bad enough shooting 40ASA Super-8 back in the 80's!) and subsequent digital "darkening".

I think shooting digital is giving the same problem that happened when music recording went over to digital. Every director, cinematographer, sound engineer and producer had little tricks that worked well with analog media which just don't translate well into the new medium. The classic example of this being the deliberate "running in the red" trick done with analogue tape - this caused natural compression due to forcing the signal into a non-linear response. Try that with digital and it just doesn't work - you actually have to simulate the response, which is why every producer went apeshit over valve-powered compressors in the 90's.
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Forum Supporter
At the end of the day, film's film. Or rather it used to be.
It's not enough now to work in camera, and Ridley's fallen into the trap of 'it can be fixed in post.'
The same goes for music, although (having worked in various studios in both digital and tape formats) it still comes down to performance and musicianship for my money - irrespective of medium.
If the same can now be said of film, then it's down to performance and directorship.
A couple of acting friends (one in the last Batman flick, one in a music vid) both prefer stage, which kinda separates the whole perception of the creative and performance process for us not involved, but rather as consumers.