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<div>In June 2010, Scott announced that the script was complete and ready for filming.[76] However, Scott instead contacted Lindelof and asked him to review Spaihts's script.[88] Within the hour, a messenger delivered the script to Lindelof and informed him that he would wait outside to return it as soon as Lindelof had finished reading it.[89] Lindelof was unaware of what Scott and the producers liked about the existing script, and informed them that he found the general concept appealing, but that the story relied too heavily on elements of the Alien films, such as the Alien creatures' life-cycle. As a direct prequel to Alien, the story was shaped to lead into that film's story, and to recreate the familiar cues of that series,[88] and Scott wanted to avoid repeating his previous accomplishments.[90] Lindelof said, "If the ending to [Prometheus] is just going to be the room that John Hurt walks into that's full of [alien] eggs [in Alien], there's nothing interesting in that, because we know where it's going to end. Good stories, you don't know where they're going to end."[90] "A true prequel should essentially precede the events of the original film, but be about something entirely different, feature different characters, have an entirely different theme, although it takes place in that same world."[85]</div><div></div><div></div><div></div><div></div><div></div><div>download film alien vs predator 2 sub indo</div><div></div><div>DOWNLOAD: https://t.co/0KC9xcFBou </div><div></div><div></div><div>Scott's story concept was partially inspired by Chariots of the Gods?, Erich von Däniken's work about the theory of ancient astronauts which hypothesizes that life on Earth was created by aliens.[72][84] 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 ... That's what we're looking at [in the film], at some of Erich von Däniken's ideas of how did we humans come about."[84] Spaihts originated the idea that David, the android, is like humans but does not want to be anything like them, eschewing a common theme in "robotic storytelling" such as in Blade Runner. He also developed the theme that while the human crew is searching for their creators, David is already among its creators. Scott liked these ideas and further explored them in Lindelof's rewrite.[59] For Shaw, Lindelof felt it was important that she be distinct from Alien's Ripley, to avoid inevitable comparisons between the two characters. In Spaihts's draft, Shaw was directly responsible for the events of the plot because she wants to seek out potentially dangerous knowledge. As with David, Lindelof expanded this facet of the character during his rewrites. He spent approximately eight months developing the script, finishing in March 2011 as filming began.[53]</div><div></div><div></div><div>Exterior shots of the alien world were shot in Iceland,[104] where filming took two weeks. It commenced on July 11, 2011, at the base of Hekla, an active volcano in southern Iceland. Speaking about working at the volcano, Scott said, "If one is afraid of nature in this profession then it would be best to find a different job."[105] Filming also took place at Dettifoss, one of the most powerful waterfalls in Europe.[106] The Iceland shoot involved 160 Icelandic crew members and over 200 imported crew.[105] Scott said that the filming in Iceland comprised approximately fifteen minutes of footage for the film, and that the area represented the beginning of time.[107] Morocco had been chosen as a location for these scenes, but the 2010 Arab Spring protests forced the change of venue.[32] Alternatives including the Mojave Desert had been considered,[108] but Scott explained that Iceland was ultimately chosen because "here it is so rough and 'Jurassic-like' and that proved decisive."[105]</div><div></div><div></div><div>In July 2011, Scott said that he was filming Prometheus with both adult-oriented R and more accessible PG-13 film ratings in mind, allowing the more adult content to be cut if necessary without harming the overall presentation. Scott said he had a responsibility to 20th Century Fox to be able to present a PG-13 cut of the film if the studio demanded, allowing it to be viewed by a wider potential audience.[118] When asked about the rating, Scott said, "The question is, do you go for the PG-13, or do you go for what it should be, which is R? Financially it makes quite a difference ... essentially it's kinda R ... it's not just about blood, it's about ideas that are very stressful."[119] Scott also said that, regardless of rating, he would present the most aggressive cut of the film he could,[119] while Rothman said that Scott would not be forced to compromise the film's quality to avoid an R-rating.[120] On May 7, 2012, Fox confirmed that the film had received an R-rating and would be released without any cuts being made.[121][122] According to Scott, the scene of Shaw surgically removing her alien offspring was the significant cause of the restrictive rating, and it was suggested that removing the scene entirely would be the only way to gain a lower one.[123] A fight scene between Shaw and the Engineer was shortened because Scott decided that Shaw directly wounding the Engineer diminished his role.[124] Scott concluded work on the film in March 2012.[125]</div><div></div><div></div><div>The interior of the Prometheus was built across a two-level structure, fronted by a large, faceted, wrap around windscreen. Theron's quarters were designed to represent her high status in the crew, and were furnished with modern and futuristic items, including Swarovski chandeliers and a Fazioli piano.[103] The ship's garage was built on the backlot of Pinewood Studios in England. The vehicles inside were built in 11 weeks and were designed to operate on difficult terrain while having a futuristic aesthetic. Max created a large pyramid structure for the alien world, which had its main interior areas connected by a series of chambers, corridors, and tunnels; it was so large that some members of the film crew became lost inside it. The pyramid was enhanced in post-production to further increase its size.[103] 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.[134] Giger designed the murals that appear within the chamber.[72]</div><div></div><div></div><div>Neal Scanlan and Conor O'Sullivan developed the film's alien creatures, aiming to convey that each creature has a logical biological function and purpose. Scanlan said that much of Scott's inspiration for creature design is drawn from natural life, such as plants and sea creatures.[103] Creature designer Carlos Huante chose to make the creature designs pale to contrast the black-toned, Giger-influenced aesthetic of Alien. Huante designed them to be white and embryonic because the events in the film occur before Giger's influence had taken effect. Huante took influences from references Scott was using to design the pale-skinned Engineers. Huante also referenced other Giger works, national monuments, large sculptures, and the Crazy Horse Memorial statue in South Dakota. Part of Huante's early design work included developing precursors to Alien's Facehugger, and a primitive Alien creature, but these were cut from the final release. When designing the Engineers, Scott and Huante referenced paintings by William Blake and J. M. W. Turner, and classical sculptures.[39] Scott wanted the Engineers to resemble Greco-Roman gods, and instructed designer Neville Page to reference the Statue of Liberty, Michelangelo's David, and Elvis Presley.[137] The 8-foot tall, humanoid Engineers were created by applying bulky, full-body prosthetics to the actors, whose facial features were diminished by the material, and were later digitally enhanced to preserve the "godlike" physical perfection.[138] Scott described the Engineers as tall, elegant "dark angels."[54]</div><div></div><div></div><div></div><div></div><div></div><div></div><div>For its grown form, the "Adult Trilobite," Max found inspiration from an arthropod-like creature from Earth's Cambrian period, and the alien octopus in Jean Giraud's illustrations for the comic strip The Long Tomorrow. Further inspiration came after Max found a formaldehyde-preserved giant squid, an image which met with Scott's approval. The film's last-unveiled creature, the "Deacon," was named by Scott for its long, pointed head that he considered resembled a bishop's mitre. Scanlan aimed to represent the creature's genetic lineage, beginning with Shaw and Holloway who produce the Trilobite which impregnates the Engineer, in its design. However, the creature was given a somewhat feminine appearance, since "it was born of a female before being born of a male." Messing drew inspiration for the Deacon's birth scene from the birth of foals, and created an iridescent appearance for its skin, based on the equine placenta.[139] The Deacon's protruding jaw was inspired by the goblin shark.[39]</div><div></div><div></div><div>During the 2012 WonderCon, attendees at the film's panel were given Weyland Corporation business cards that directed them to a website and telephone number. After calling the number, the caller was sent a text message from Weyland Corporation that linked them to a video that was presented as an advertisement for the "David 8" android, narrated by Fassbender.[170] An extended version of the video, released on April 17, 2012, lists the android's features, including its ability to seamlessly replicate human emotions without the restrictions of ethics or distress.[171][172] A full page "David 8" advertisement was placed in The Wall Street Journal; a Twitter account operated by a David8, that allowed Twitter users to ask the character questions, was included.[173] A partnership with Verizon FiOS was launched, offering a virtual tour of the Prometheus spaceship.[173] Another video, "Quiet Eye," starring Rapace as Shaw, was released on May 16, 2012, and debuted on the Verizon FIOS Facebook page.[163] In a telephone call monitored by Yutani, a fictional company from the Alien series, Shaw requests Weyland's aid to seek out alien life.[174] In France, the Saint-Martin ghost train station was converted to resemble alien architecture from the film, and was visible to passing commuters.[175] The campaign continued after the film's release with a website that was listed during the film's end credits. The site referenced the philosophical novel Thus Spoke Zarathustra by Friedrich Nietzsche, and featured a video of Weyland, who quotes from the book.[176][177] Another video followed in September 2012, featuring Elba's Captain Janek preparing for a mission.[178]</div><div></div><div> ffe2fad269</div>