Already Sick And Tired Of Prometheus? Fear Not! This Isn't About That. It's About The Sequel...
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Already Sick And Tired Of Prometheus? Fear Not! This Isn't About That. It's About The Sequel...

By Rob Payne | Trade News | June 6, 2012 | Comments ()


News that a studio is planning a sequel before the first movie is even released always smacks of their desperation for ever increasing mounds of sweet, sweet cash. (Or, Scrooge McDuck-like vaults of gold coins.) But it happens a lot, and that alone rarely deters audiences from seeing the second movie if the first wasn't absolutely abysmal. It is much more rare, however, to see the creative types involved in filmmaking blustering about their potential franchise(s), though some are more smug than others. And when it happens, it's at least worth hearing them out, because if anybody is the authority on the sequel to an unreleased film, it's the people who ought to be genuinely passionate about the material. Right? Right.

Granted, Prometheus has yet to hit theaters in North America, but it has been released elsewhere and done not-too-shabbily for itself with critics and box office receipts, but it is still at least two days premature for 20th Century Fox to make an official announcement. But that hasn't stopped Damon Lindelof from discussing the possibility of a sequel to Ridley Scott's return to science fiction horror, of course The Hollywood Reporter probably pressed the issue first. Lindelof made sure to mention that he was definitely doing the enigmatic 1952 for Disney, and hopefully a new television show, before he would necessarily be ready to work on Prometheus 2 Paradise, but the way he tells it, the director was keen to consider a second movie in the midst of developing the first:

"Ridley was very interested in talking about, 'What are the answers to the questions that Prometheus is posing that are not necessarily definitively spelled out in the body of Prometheus?'... I said to him, we should be prepared for people to feel frustrated if we're going to be withholding, so we have to be very careful about what we're saving for later. Because it's not a foregone conclusion that there are going to be sequels, and so if there isn't a sequel, just be comfortable with what we gave them in this movie... The audience is given a little more information than the characters in the movie have... Ridley was very confident and assured in saying, 'I'm very comfortable with exactly what Prometheus is providing.'"

You would not be blamed if Damon Lindelof talking about answers to mysteries that may not have answers makes you a bit queasy. But while preparing for a sequel, or even a franchise, before tickets have been sold might be the height of Tinsletown hubris, it sounds like Lindelof's "Lost" background provided him a few lessons in managing audience expectations. Honestly, that's something Ridley Scott hasn't really had to worry about in his career -- not to this degree, anyway. However, if you're still worried that Prometheus will be too clever for it's own good, keep in mind that it wasn't until Aliens that we had any idea what the xenomorphs were. Alien was still radass for seven years.

Speaking of, in his most intriguing comment, I think Lindelof finally settled, without question, that Prometheus is, indeed, a prequel to the 1979 classic:

"[T]his movie has two children: One of these children grows up to be Alien, but the other child is going to grow up, and God knows what happens to them. And that's what the sequel to Prometheus would be."

As another non-iron-based-blood extraterrestrial from a franchise Lindelof has ties to was fond of saying, Fascinating.

Rob Payne also writes the comic The Unstoppable Force, tweets on the Twitter @RobOfWar, and his wares can be purchased here and here (if you're into that sort of thing). At this point, even after reading less-than-stellar reviews, he's pretty sure he can't not be excited for this.

Celebrity Apologies: The Good, The Bad and the *Facepalm* | "All My Sons" by Arthur Miller

Comments Are Welcome, Bigots and Trolls Are Not

  • The theater started laughing at things in the film by the end. 

  • PyD

    massive let down

    utterly schizophrenic in tone, severely lacking in characterisation, sense, and any semblance of commitment to the three different themes they try to shoehorn into the slender frame

    it looks AMAZING - utterly amazing
    but its a god damn waste of talent

    also has the most bizarre and fixable series of plot holes - inexcusable stuff

  • BWeaves

    RE:  The header pic.  

    Is the blob back?

  • BWeaves

    I also don't understand this new thing of opening US movies overseas first.  Is it so the hype can ramp up the US sales?  Is it to prevent pirating?   Why don't they just open on the same day everywhere?  (Well that would prevent the stars from walking more than one red carpet, I suppose.)

    And I'm OK if a movie that makes a ton of money "flops" in the USA.  Make something new, dammit.

  • branded_redux

    From different articles I've read, it seems to come down to larger international box office numbers than domestic revenues. As a result, while summer blockbuster release dates are frequently geared around American holidays, studios are likely taking international holidays into account more (e.g. Avengers released a week earlier internationally to get out just in front of International Worker's Day).

  • hapl0

    I know the trailers look good. I know I'll be watching it on opening night. 

    What I don't know is if this will turn out to be another overly hyped movie like Robin Hood or worse Snore Games. 

  • Luke Anthony Matthews

    As someone from Europe who has already seen the movie, I suggest that if you want to enjoy it, you lower your expectations before going in. Is it good? Sure. Is it great? Not really. It's well made, that's for sure...but has poor characters besides Fassbender's David, and most shocking of all, practically no suspense what so ever. 

    All in all, I came out disappointed, not because it was bad, but because it was 'just okay'...which after all the hype, really isn't good enough for this movie. 

  • zeke_the_pig

    ‘However, if you’re still worried that Prometheus will be too clever for it’s own good’

    I don’t think anybody’s worried about that. Well… I might be ‘worried’ about it in the same way that I ‘worry’ that one of these days I might have a sober weekend– that is to say: I can sorta-maybe-vaguely imagine it happening, but I wouldn’t bet my shit-stained underwear on it.

    In fact what I would bet on is that my shit-stained underwear - unlike Prometheus - has somewhat of a mysterious and intriguing mythology, as well as a story that can’t be figured out within 30 seconds of exposure to it by any vaguely discerning individual.

  • lowercase_ryan

    First paragraph was so awesome.

    Second paragraph was so not.

  • Kirstini

    I was wondering where your Prometheus review was*. What's started this new trend of movies being released in Europe first? I remember we used to have to wait months, but we got the Avengers before the US, too. 

    (*Is it spoilery to say my post-Lost  disgust with Damon Lindelof has intensified into something approaching purest inky hatred?)

  • AntsEverywhere

    Your box-office reports are always so US-centric, it's short-sighted and arrogant to suggest that the American market is all that matters. If the film is making a lot of money internationally, than it's doing precisely that- making a lot of money. That's a good reason to make a sequel.

    I've seen posts referring to 'box office flops' that killed internationally, quoting only their US earnings. Yes, in most cases domestic performance is a large chunk of the earnings and a good indicator of the reception of the film, but can we please stop with this attitude of "Here's what America thought!....(oh, and in case you're interested, everyone else on the planet...)"??

  • Fredo

     US box office matters big time.  Not just here but for Hollywood execs who want to keep making movies and keep their jobs.  It's not a question of America-centrism.  It's just fact.

    Success/failure is a weird barometer for an art piece like a movie to have.  A lot of it depends on perspective.  Take for example The Last Airbender.  Worldwide it made $319 million -- more than double it's reported $150 million budget.  In the US, it made $131 million and was considered a bomb.  End result: no further sequels.

    Or another example: The Golden Compass.  Made at a budget of $180 million, it earned $70 million in the US.  But it earned $380 million around the globe.  No matter. Series dead. Everyone disperse, nothing to see here.

    The fact is that if you are making a movie in the US, it has to be a success in the US.  Yes, it should also do great around the globe, without a doubt.  But movie executives and producers don't last in their jobs if their movies are not making bank here in America.  If a movie comes out on Friday and by Sunday night it's clear it's not connecting with audiences, there are people calling their agents in those hours, desperately trying to bail out from the burning wreckage. 

    "My movie is big in Europe" gets you laughed at and compared with David Hasselhoff.

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