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Originally posted by Noinoi
The most devastating moment for me:
"Better fire up my space ship! Where's my flute? oh here it is".
>Plays 1st bar of an enya song<
edit on 7-6-2012 by Noinoi because: (no reason given)
I'm wondering if others had high expectations to really see some strong links to Alien and were let down by the fact this is a lot further back than Alien and it seems we haven't got to the point were it all links up and you see the big picture. As it is it's very loosly tied to it.
You mentioned the danger of searching out answers, and I was wondering, how does that apply to you as a storyteller? When you’re raising questions, like with this film, what do you see as making for satisfying answers?
The short answer is: I’ll let you know when I figure it out. This is going to be, sort of, the bane of my existence. I’m very quickly finding myself branded as the guy who asks questions he’s not particularly interested in answering. I don’t look at myself as that guy, but when I take a step out of my body and look at my work, I go, “Oh, yeah, of course, that’s completely fair to categorize me that way.” At the same time, that’s just the storytelling I’m drawn to. Some people might think that it’s ambiguous storytelling or not clearly defined, but, for me, it’s… I get very excited and categorized by stories where I have to fill in the blanks. It’s sort of like Mad Libs, in a way; it’s custom made, for the viewer.
When you go and look at a piece of art you’re going to take something away from it that’s entirely different from the person who was just standing in front of that canvas five minutes ago, and I think that’s the kind of story I want to tell. I do have an intention, and I’m not just throwing stuff out there in an arbitrary way and don’t have the answers for those questions. I have answers for all those questions, but I don’t want to force my answers on the viewers, as if they’re the only possible answers. At times, that’s going to blow up in my face, and that’s the price I have to pay. I won’t say I’m glad to pay it, but I will say, I am willing to pay it.
Originally posted by simon2k7
I liked this movie , but it does leave you hanging more then it should. One thing I did catch , when Shaw does the carbon dating on the SJ head she says it's like 2000 years old....maybe they wanted to destroy us because we killed Jesus. Maybe it was a good thing to leave everything unaswered so we can find out own answers with repeated views...but still I think it was just lazy writing.
Movies.com: We had heard it was scripted that the Engineers were targeting our planet for destruction because we had crucified one of their representatives, and that Jesus Christ might have been an alien. Was that ever considered?
Ridley Scott: We definitely did, and then we thought it was a little too on the nose. But if you look at it as an “our children are misbehaving down there” scenario, there are moments where it looks like we’ve gone out of control, running around with armor and skirts, which of course would be the Roman Empire. And they were given a long run. A thousand years before their disintegration actually started to happen. And you can say, "Let's send down one more of our emissaries to see if he can stop it." Guess what? They crucified him.
So how did our (in the context of the film) terrible murderous act of crucifixion end up wiping out all but one of the Engineers back on LV-223? Presumably through the black slime, which evidently models its behaviour on the user's mental state. Create unselfishly, accepting self-destruction as the cost, and the black stuff engenders fertile life. But expose the potent black slimy stuff to the thoughts and emotions of flawed humanity, and 'the sleep of reason produces monsters'. We never see the threat that the Engineers were fleeing from, we never see them killed other than accidentally (decapitation by door), and we see no remaining trace of whatever killed them. Either it left a long time ago, or it reverted to inert black slime, waiting for a human mind to reactivate it.
The black slime reacts to the nature and intent of the being that wields it, and the humans in the film didn't even know that they WERE wielding it. That's why it remained completely inert in David's presence, and why he needed a human proxy in order to use the stuff to create anything. The black goo could read no emotion or intent from him, because he was an android.
Shaw's comment when the urn chamber is entered - 'we've changed the atmosphere in the room' - is deceptively informative. The psychic atmosphere has changed, because humans - tainted, Space Jesus-killing humans - are present. The slime begins to engender new life, drawing not from a self-sacrificing Engineer but from human hunger for knowledge, for more life, for more everything. Little wonder, then, that it takes serpent-like form. The symbolism of a corrupting serpent, turning men into beasts, is pretty unmistakeable.
Refusal to accept death is anathema to the Engineers. Right from the first scene, we learned their code of willing self-sacrifice in accord with a greater purpose.