Emotional pianist based in Zagreb/Croatia.How music changed my life- Back in high school (2009-2015) I was never a guy with many words. Since I found it ha. Mar 01, 2017 Since I made the score myself, at the time I didn't really feel like it was necessary to add that, but I still do think it's important to give credit regardless. He's seriously a piano genius, so if you've never heard of him, check out his channel!!!
Stefani Joanne Angelina Germanotta[a] (born March 28, 1986), known professionally as Lady Gaga, is an American singer, songwriter and actress. She is known for her unconventionality, provocative work and visual experimentation. Gaga began performing as a teenager, singing at open mic nights and acting in school plays. She studied at Collaborative Arts Project 21, through New York University's Tisch School of the Arts, before dropping out to pursue a music career. When Def Jam Recordings canceled her contract, she worked as a songwriter for Sony/ATV Music Publishing, where Akon helped her sign a joint deal with Interscope Records and his own label KonLive Distribution in 2007. She rose to prominence the following year with her debut album, the electropop record The Fame, and its chart-topping singles 'Just Dance' and 'Poker Face'. A follow-up EP, The Fame Monster (2009), featuring the singles 'Bad Romance', 'Telephone' and 'Alejandro', was also successful.
Gaga's second full-length album, Born This Way (2011), explored electronic rock and techno-pop. It peaked atop the US Billboard 200 and sold more than one million copies in the country in its first week. Its title track became the fastest selling song on the iTunes Store with over a million downloads in less than a week. Gaga experimented with EDM on her third studio album, Artpop (2013), which reached number one in the US and included the single 'Applause'. Her collaborative jazz album with Tony Bennett, Cheek to Cheek (2014), and her soft rock-influenced fifth studio album, Joanne (2016), also topped the US charts. During this period, Gaga ventured into acting, playing leading roles in the miniseries American Horror Story: Hotel (2015â2016), for which she received a Golden Globe Award for Best Actress, and the critically acclaimed musical drama A Star Is Born (2018). She also contributed to the latter's soundtrack, which received the BAFTA Award for Best Film Music and made her the first woman to achieve five US number one albums in the 2010s. Its lead single, 'Shallow', earned Gaga the Academy Award and the Golden Globe Award for Best Original Song.
Having sold 27 million albums and 146 million singles as of January 2016, Gaga is one of the world's best-selling music artists. Her achievements include several Guinness world records, nine Grammy Awards, and awards from the Songwriters Hall of Fame and the Council of Fashion Designers of America. She has been declared Billboard's Artist of the Year and Woman of the Year, and included among Forbes's power and earnings rankings. She was ranked number four on VH1's Greatest Women in Music in 2012 and second on Time's 2011 readers' poll of the most influential people of the past ten years. She is known for her philanthropy and social activism, including her work related to LGBT rights, and for her nonprofit organization, the Born This Way Foundation, which focuses on empowering youth and preventing bullying.
Life and career1986â2005: Early life
Stefani Joanne Angelina Germanotta was born on March 28, 1986 at Lenox Hill Hospital in Manhattan, New York City,[1] to a Catholic family. Both of her parents have Italian ancestry, and she also has more distant French-Canadian roots.[2] Her parents are Cynthia Louise (née Bissett), a philanthropist and business executive, and Internet entrepreneur Joseph Germanotta,[3] and she has a younger sister, Natali.[4] Brought up in the Upper West Side of Manhattan, Gaga said in an interview that her parents came from lower-class families and worked hard for everything.[5][6] From age 11, she attended the Convent of the Sacred Heart, a private all-girls Roman Catholic school.[7] Gaga described her high school self as 'very dedicated, very studious, very disciplined' but also 'a bit insecure'. She considered herself a misfit and was mocked for 'being either too provocative or too eccentric'.[8]
Germanotta began playing the piano at age four when her mother insisted she become 'a cultured young woman'. She took piano lessons and practiced through her childhood. The lessons taught her to create music by ear, which she preferred over reading sheet music. Her parents encouraged her to pursue music, and enrolled her in Creative Arts Camp.[9] As a teenager, she played at open mic nights.[10] Germanotta played the lead roles of Adelaide in the plays Guys and Dolls and Philia in A Funny Thing Happened on the Way to the Forum at Regis High School.[11] She also studied method acting at the Lee Strasberg Theatre and Film Institute for ten years.[12] Germanotta unsuccessfully auditioned for New York shows, though she did appear in a small role as a high school student in a 2001 episode of The Sopranos titled 'The Telltale Moozadell'.[13][14] She later said of her inclination towards music:
I don't know exactly where my affinity for music comes from, but it is the thing that comes easiest to me. When I was like three years old, I may have been even younger, my mom always tells this really embarrassing story of me propping myself up and playing the keys like this because I was too young and short to get all the way up there. Just go like this on the low end of the piano .. I was really, really good at piano, so my first instincts were to work so hard at practicing piano, and I might not have been a natural dancer, but I am a natural musician. That is the thing that I believe I am the greatest at.[15]
In 2003, at age 17, Germanotta gained early admission to Collaborative Arts Project 21, a music school at New York University (NYU)'s Tisch School of the Arts, and lived in an NYU dorm. She studied music there, and improved her songwriting skills by writing essays on art, religion, social issues and politics, including a thesis on pop artists Spencer Tunick and Damien Hirst.[16][17] She withdrew from school during the second semester of her sophomore year, in 2005, to focus on her music career.[18] That year she also played an unsuspecting diner customer for MTV's Boiling Points, a prank reality television show.[19]
In a 2014 interview, Gaga said she had been raped at age 19, for which she underwent mental and physical therapy.[20] She has posttraumatic stress disorder that she attributes to the incident, and says that support from doctors, family and friends has helped her.[21]
2005â2007: Career beginnings
In 2005, Gaga recorded two songs with hip-hop singer Melle Mel for an audio book accompanying Cricket Casey's children's novel The Portal in the Park.[22] She also formed a band called the SGBand with some friends from NYU.[11][23] They played gigs around New York and became a fixture of the downtown Lower East Side club scene.[11] After the 2006 Songwriters Hall of Fame New Songwriters Showcase at The Cutting Room in June, talent scout Wendy Starland recommended her to music producer Rob Fusari.[24] Fusari collaborated with Gaga, who traveled daily to New Jersey, helping to develop her songs and compose new material.[25] The producer said they began dating in May 2006, and claimed to have been the first person to call her 'Lady Gaga', which was derived from Queen's song 'Radio Ga Ga'.[26] Their relationship lasted until January 2007.[27]
Gaga performing at Lollapalooza in 2007
Fusari and Gaga established a company called Team Lovechild, LLC to promote her career.[26] They recorded and produced electropop tracks, sending them to music industry executives. Joshua Sarubin, the head of Artists and repertoire (A&R) at Def Jam Recordings, responded positively and, after approval from Sarubin's boss Antonio 'L.A.' Reid, Gaga was signed to Def Jam in September 2006.[28][29] She was dropped from the label three months later[30] and returned to her family home for Christmas. She began performing at neo-burlesque shows, which according to her represented freedom.[31] During this time, she met performance artistLady Starlight, who helped mold her onstage persona.[32] The pair began performing at downtown club venues like the Mercury Lounge, The Bitter End, and the Rockwood Music Hall. Their live performance art piece, known as 'Lady Gaga and the Starlight Revue' and billed as 'The Ultimate Pop Burlesque Rockshow', was a tribute to 1970s variety acts.[33][34] They performed at the 2007 Lollapalooza music festival.[33]
Having initially focused on avant-gardeelectronic dance music, Gaga began to incorporate pop melodies and the glam rock style of David Bowie and Queen into her songs. While Gaga and Starlight were performing, Fusari continued to develop the songs he had created with her, sending them to the producer and record executiveVincent Herbert.[35] In November 2007, Herbert signed Gaga to his label Streamline Records, an imprint of Interscope Records, established that month.[36] Gaga later credited Herbert as the man who discovered her.[37] Having served as an apprentice songwriter during an internship at Famous Music Publishing, Gaga struck a music publishing deal with Sony/ATV. As a result, she was hired to write songs for Britney Spears, New Kids on the Block, Fergie, and The Pussycat Dolls.[38] At Interscope, musician Akon was impressed with her singing abilities when she sang a reference vocal for one of his tracks in studio.[39] Akon convinced Jimmy Iovine, chairman and CEO of Interscope Geffen A&M, to form a joint deal by having Gaga also sign with his own label KonLive, making her his 'franchise player'.[30][40]
In late 2007, Gaga met with songwriter and producer RedOne.[41] She collaborated with him in the recording studio for a week on her debut album, signing with Cherrytree Records, an Interscope imprint established by producer and songwriter Martin Kierszenbaum; she also wrote four songs with Kierszenbaum.[38] Despite securing a record deal, she said that some radio stations found her music too 'racy', 'dance-oriented', and 'underground' for the mainstream market, to which she replied: 'My name is Lady Gaga, I've been on the music scene for years, and I'm telling you, this is what's next.'[7]
2008â2010: Breakthrough with The Fame and The Fame Monster
By 2008, Gaga had relocated to Los Angeles to work extensively with her record label to complete her debut album, The Fame, and to set up her own creative team called the Haus of Gaga, modeled on Andy Warhol's Factory.[42][43]The Fame was released on August 19, 2008,[44] and reached number one in Austria, Canada, Germany, Ireland, Switzerland and the UK, as well as the top five in Australia and the US.[45][46] Its first two singles, 'Just Dance' and 'Poker Face',[47] reached number one in the United States,[48] Australia,[49] Canada[50] and the UK.[51] The latter was also the world's best-selling single of 2009, with 9.8 million copies sold that year, and spent a record 83 weeks on Billboard magazine's Digital Songs chart.[52][53] Three other singles, 'Eh, Eh (Nothing Else I Can Say)', 'LoveGame' and 'Paparazzi', were released from the album;[54] the last one reached number one in Germany.[55] Remixed versions of the singles from The Fame, except 'Eh, Eh (Nothing Else I Can Say)', were included on Hitmixes in August 2009.[56] At the 52nd Annual Grammy Awards, The Fame and 'Poker Face' won Best Dance/Electronica Album and Best Dance Recording, respectively.[57]
Gaga performing on The Monster Ball Tour in 2010. It grossed $227 million and became the highest-grossing concert tour for a debut headlining artist.[58]
Following her opening act on the Pussycat Dolls' 2009 Doll Domination Tour in Europe and Oceania, Gaga headlined her worldwide The Fame Ball Tour, which ran from March to September 2009.[59] While traveling the globe, she wrote eight songs for The Fame Monster, a reissue of The Fame.[60] Those new songs were also released as a standalone EP on November 18, 2009.[61] Its first single, 'Bad Romance', was released one month earlier[62] and went number one in Canada[50] and the UK,[51] and number two in the US,[48] Australia[63] and New Zealand.[64] 'Telephone', with Beyoncé, followed as the second single from the EP and became Gaga's fourth UK number one.[65][66] Its third single was 'Alejandro',[67] which reached number one in Finland[68] and attracted controversy when its music video was deemed blasphemous by the Catholic League.[69] Both tracks reached the top five in the US.[48] The video for 'Bad Romance' became the most watched on YouTube in April 2010, and that October, Gaga became the first person with more than one billion combined views.[70][71] At the 2010 MTV Video Music Awards, she won eight awards from 13 nominations, including Video of the Year for 'Bad Romance'.[72] She was the most nominated artist for a single year, and the first female to receive two nominations for Video of the Year at the same ceremony.[73]The Fame Monster won the Grammy Award for Best Pop Vocal Album, and 'Bad Romance' won Best Female Pop Vocal Performance and Best Short Form Music Video at the 53rd Annual Grammy Awards.[74]
In 2009, Gaga spent a record 150 weeks on the UK Singles Chart and became the most downloaded female act in a year in the US, with 11.1 million downloads sold, earning an entry in the Guinness Book of World Records.[75][76]The Fame and The Fame Monster together have since sold more than 15 million copies worldwide.[77][78] This success allowed Gaga to start her second worldwide concert tour, The Monster Ball Tour, and release The Remix, her final record with Cherrytree Records[79] and among the best-selling remix albums of all time.[80][81] The Monster Ball Tour ran from November 2009 to May 2011 and grossed $227.4 million, making it the highest-grossing concert tour for a debut headlining artist.[58][82] Concerts performed at Madison Square Garden in New York City were filmed for an HBO television special, Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden.[83] Gaga also performed songs from her albums at the 2009 Royal Variety Performance, the 52nd Annual Grammy Awards, and the 2010 BRIT Awards.[84] Before Michael Jackson's death, Gaga was set to take part in his canceled This Is It concert series at the O2 Arena in the UK.[85]
During this era, Gaga ventured into business, collaborating with consumer electronics company Monster Cable Products to create in-ear, jewel-encrusted headphones called Heartbeats by Lady Gaga.[86] She also partnered with Polaroid in January 2010 as their creative director and announced a suite of photo-capture products called Grey Label.[87][88] Her collaboration with her past record producer and ex-boyfriend Rob Fusari led to a lawsuit against her production team, Mermaid Music LLC.[b] At this time, Gaga was tested borderline positive for lupus, but claimed not to be affected by the symptoms and hoped to maintain a healthy lifestyle.[91][92]
2011â2014: Born This Way, Artpop, and Cheek to Cheek
In February 2011, Gaga released 'Born This Way', the lead single from her studio album of the same name. The song sold more than one million copies within five days, earning the Guinness World Record for the fastest selling single on iTunes.[93] It debuted atop the Billboard Hot 100, becoming the 1,000th number-one single in the history of the charts.[94] Its second single 'Judas' followed two months later,[95] and 'The Edge of Glory' served as its third single.[96] Both reached the top 10 in the US and the UK.[48][51] Her music video for 'The Edge of Glory', unlike her previous work, portrays her dancing on a fire escape and walking on a lonely street, without intricate choreography and back-up dancers.[97]
Gaga promoting Born This Way with performances in Sydney, Australia
Born This Way was released on May 23, 2011,[95] and debuted atop the Billboard 200 with first-week sales of 1.1 million copies.[98] The album sold eight million copies worldwide and received three Grammy nominations, including Gaga's third consecutive nomination for Album of the Year.[99][100]Born This Way's following singles were 'You and I' and 'Marry the Night',[101] which reached numbers six and 29 in the US, respectively.[48] While filming the former's music video, Gaga met and started dating actor Taylor Kinney in July 2011, who played her love interest.[102][103] She also embarked on the Born This Way Ball tour in April 2012, which was scheduled to conclude the following March, but ended one month earlier when Gaga canceled the remaining dates due to a labral tear of her right hip that required surgery.[104] While refunds for the cancellations were estimated to be worth $25 million,[105] the tour grossed a total of $183.9 million globally.[106]
In 2011, Gaga also worked with Tony Bennett on a jazz version of 'The Lady Is a Tramp',[107] with Elton John on 'Hello Hello' for the animated feature film Gnomeo & Juliet,[108] and with The Lonely Island and Justin Timberlake on '3-Way (The Golden Rule)'.[109] She also performed a concert at the Sydney Town Hall in Australia that year to promote Born This Way and to celebrate former US President Bill Clinton's 65th birthday.[110] In November, she was featured in a Thanksgiving television special titled A Very Gaga Thanksgiving, which attracted 5.7 million American viewers and spawned the release of her fourth EP, A Very Gaga Holiday.[111] In 2012, Gaga guest-starred as an animated version of herself in an episode of The Simpsons called 'Lisa Goes Gaga',[112] appeared in the documentary films The Zen of Bennett and Katy Perry: Part of Me,[113][114] and released her first fragrance, Lady Gaga Fame, followed by a second one, Eau de Gaga, in 2014.[c]
Gaga began work on her third studio album, Artpop, in early 2012, during the Born This Way Ball tour; she crafted the album to mirror 'a night at the club'.[117][118][119] In August 2013, Gaga released the album's lead single 'Applause',[120] which reached number one in Hungary, number four in the US, and number five in the UK.[51][48][121] A lyric video for Artpop track 'Aura' followed in October to accompany Robert Rodriguez's Machete Kills, where she plays an assassin named La Chameleon.[122] The film received generally negative reviews and earned less than half of its $33 million budget.[123][124] The second Artpop single, 'Do What U Want', featured singer R. Kelly and was released later that month,[125] topping the charts in Hungary and reaching number 13 in the US.[48][126] Gaga removed the song from all streaming platforms in 2019 in the light of allegations made against Kelly sexually abusing several women; Gaga apologized for ever collaborating with him.[127]Artpop was released in November 2013 to mixed reviews.[128] Helen Brown in The Daily Telegraph criticized Gaga for making another album about her fame and doubted the record's originality, but found it 'great for dancing'.[129] The album debuted atop the Billboard 200 chart, and sold more than 2.5 million copies worldwide as of July 2014.[130][131] 'G.U.Y.' was released as the third single in March 2014 and peaked at number 76 in the US.[48][132]
With the Cheek to Cheek era, Gaga (seen here performing on the Cheek to Cheek Tour) ushered in an overhaul of her image.[133]
Gaga hosted an episode of Saturday Night Live in November 2013, performing 'Do What U Want' (with Kelly) and an album cut, 'Gypsy'.[134] After holding her second Thanksgiving Day television special on ABC, Lady Gaga and the Muppets Holiday Spectacular, she performed a special rendition of 'Do What U Want' with Christina Aguilera on the fifth season of the American reality talent show The Voice.[135][136] In March 2014, Gaga had a seven-day concert residency commemorating the last performance at New York's Roseland Ballroom before its closure.[137] Two months later, she embarked on the ArtRave: The Artpop Ball tour, building on concepts from her ArtRave promotional event. Earning $83 million, the tour included cities canceled from the Born This Way Ball tour itinerary.[138] In the meantime, Gaga split from longtime manager Troy Carter over 'creative differences',[139] and by June 2014, she and new manager Bobby Campbell joined Artist Nation, the artist management division of Live Nation Entertainment.[140] She briefly appeared in Rodriguez's Sin City: A Dame to Kill For, and was confirmed as Versace's spring-summer 2014 face with a campaign called 'Lady Gaga For Versace'.[141][142]
In September 2014, Gaga released a collaborative jazz album with Tony Bennett titled Cheek to Cheek. The inspiration behind the album came from her friendship with Bennett, and fascination with jazz music since her childhood.[143] Before the album was released, it produced the singles 'Anything Goes' and 'I Can't Give You Anything but Love'.[144]Cheek to Cheek received generally favorable reviews;[145]The Guardian's Caroline Sullivan praised Gaga's vocals and Howard Reich of the Chicago Tribune wrote that 'Cheek to Cheek serves up the real thing, start to finish'.[146][147] The record was Gaga's third consecutive number-one album on the Billboard 200,[148] and won a Grammy Award for Best Traditional Pop Vocal Album.[149] The duo recorded the concert special Tony Bennett and Lady Gaga: Cheek to Cheek Live!,[150] and embarked on the Cheek to Cheek Tour from December 2014 to August 2015.[151]
2015â2017: American Horror Story, Joanne, and Super Bowl performances
In February 2015, Gaga became engaged to Taylor Kinney.[152] After Artpop's lukewarm response, Gaga began to redo her image and style. According to Billboard, this shift started with the release of Cheek to Cheek and the attention she received for her performance at the 87th Academy Awards, where she sang a medley of songs from The Sound of Music in a tribute to Julie Andrews.[133] Considered one of her best performances by Billboard, it triggered more than 214,000 interactions per minute globally on Facebook.[153][154] She and Diane Warren co-wrote the song 'Til It Happens to You' for the documentary The Hunting Ground, which earned them the Satellite Award for Best Original Song and an Academy Award nomination in the same category.[155] Gaga won BillboardWoman of the Year and Contemporary Icon Award at the 2015 Annual Songwriters Hall of Fame Awards.[156][157]
Gaga had spent much of her early life wanting to be an actress, and achieved her goal when she starred in American Horror Story: Hotel.[158] Running from October 2015 to January 2016, Hotel is the fifth season of the television anthology horror series, American Horror Story, in which Gaga played a hotel owner named Elizabeth.[159][160] At the 73rd Golden Globe Awards, Gaga received the Best Actress in a Miniseries or Television Film award for her work on the season.[158] She appeared in Nick Knight's 2015 fashion film for Tom Ford's 2016 spring campaign[161] and was guest editor for V fashion magazine's 99th issue in January 2016, which featured 16 different covers.[162] She received Editor of the Year award at the Fashion Los Angeles Awards.[163]
Gaga performing on the Joanne World Tour in 2017
In 2016, Gaga sang the US national anthem in February at Super Bowl 50,[164] partnered with Intel and Nile Rodgers for a tribute performance to the late David Bowie at the 58th Annual Grammy Awards,[165] and sang 'Til It Happens to You' at the 88th Academy Awards, where she was introduced by Joe Biden and was accompanied on-stage by 50 people who had suffered from sexual assault.[166] She was honored that April with the Artist Award at the Jane Ortner Education Awards by The Grammy Museum, which recognizes artists who have demonstrated passion and dedication to education through the arts.[167] Her engagement to Taylor Kinney ended in July; she later said her career had interfered with their relationship.[168]
Gaga played a witch named Scathach in American Horror Story: Roanoke, the series' sixth season,[169] which ran from September to November 2016.[170][171] Her role in the fifth season of the show ultimately influenced her future music, prompting her to feature 'the art of darkness'.[172] In September 2016, she released her fifth album's lead single, 'Perfect Illusion', which topped the charts in France and reached number 15 in the US.[173][174][175] The album, titled Joanne, was named after Gaga's late aunt, who was an inspiration for the music.[176] It was released on October 21, 2016, and became Gaga's fourth number one album on the Billboard 200, making her the first woman to reach the US chart's summit four times in the 2010s.[177] The album's second single, 'Million Reasons', followed the next month and reached number four in the US.[175][178] She later released a piano version of the album's title track in 2018,[179] which won a Grammy for Best Pop Solo Performance.[180] To promote the album, Gaga embarked on the three-date Dive Bar Tour.[181]
Gaga performed as the headlining act during the Super Bowl LI halftime show on February 5, 2017. Her performance featured a group of hundreds of lighted drones forming various shapes in the sky above Houston's NRG Stadiumâthe first time robotic aircraft appeared in a Super Bowl program.[182] It attracted 117.5 million viewers in the United States, exceeding the game's total of 113.3 million viewers.[183] The performance led to a surge of 410,000 song downloads in the United States for Gaga and earned her an Emmy nomination in the Outstanding Special Class Program category.[184][185]CBS Sports included her performance as the second best in the history of Super Bowl halftime shows.[186] In April, Gaga headlined the Coachella Valley Music and Arts Festival.[187] She also released a standalone-single, 'The Cure', which reached the top 10 in Australia.[188][189] In August, Gaga began the Joanne World Tour, which she announced after the Super Bowl LI halftime show.[190] Gaga's creation of Joanne and preparation for her halftime show performance were featured in the documentary Gaga: Five Foot Two, which premiered on Netflix in September.[191] Throughout the film, she was seen suffering from chronic pain, which was later revealed to be the effect of a long-term condition called fibromyalgia.[192] It resulted in Gaga canceling the last ten shows of the Joanne World Tour, which ultimately grossed $95 million from 842,000 tickets sold.[193][194]
2018âpresent: A Star Is Born, Enigma, and upcoming sixth studio album
Gaga at the 2018 Toronto International Film Festival prior to the screening of A Star Is Born
In March 2018, Gaga supported the March for Our Lives gun-control rally in Washington, D.C.,[195] and released a cover of Elton John's 'Your Song' for his tribute album Revamp.[196] Later that year, she starred as a struggling singer named Ally in Bradley Cooper's critically acclaimed musical romantic drama A Star Is Born, a remake of the 1937 film of the same name. The film follows Ally's relationship with singer Jackson Maine (played by Cooper), which becomes strained after her career begins to overshadow his.[197] Cooper approached Gaga after seeing her perform at a cancer research fundraiser; a fan of Cooper's work, Gaga agreed to the project due to its portrayal of addiction and depression.[198][199]A Star Is Born premiered at the 75th Venice International Film Festival in August 2018, and was released worldwide in October.[200]Peter Bradshaw of The Guardian described it as 'outrageously watchable' and wrote that 'Gaga's ability to be part ordinary person, part extraterrestrial celebrity empress functions at the highest level'.[201]Time'sStephanie Zacharek similarly highlighted her 'knockout performance' and found her 'charismatic' without her usual makeup, wigs and costumes.[202] Alongside her nominations for an Academy Award, a BAFTA Award, a Golden Globe Award and a Screen Actors Guild Award for Best Actress, Gaga received the Critics' Choice and National Board of Review awards for the role.[203]
Gaga and Cooper co-wrote and produced most of the songs on the soundtrack for A Star Is Born, which she insisted they perform live in the film.[204] Its lead single, 'Shallow', performed by the two, was released in September[205] and has reached number one in various nations including Australia, the UK and the US.[206] The song earned Gaga an Academy Award, a Golden Globe Award, and Critics' Choice Movie Award for Best Original Song,[203] as well as the Grammys for Best Pop Duo/Group Performance and Best Song Written for Visual Media.[180] The soundtrack contains 34 tracks, including 19 original songs, and received generally positive reviews;[207] Mark Kennedy of The Washington Post called it a 'five-star marvel' and Ben Beaumont-Thomas of The Guardian termed it an 'instant classics full of Gaga's emotional might'.[208][209] Gaga received a BAFTA Award for Best Film Music for her work on the album.[210] Commercially, the soundtrack debuted at number one in the US, making Gaga the first woman with five US number one albums in the 2010s, and breaking her tie with Taylor Swift as the most for any female artist this decade;[211] Swift tied with her again in 2019.[212] It additionally topped the charts in Australia, Canada, Ireland, New Zealand, Switzerland and the UK.[213] As of June 2019, the soundtrack had sold over six million copies worldwide.[214] In October, Gaga announced her engagement to talent agent Christian Carino whom she had met in early 2017.[215] They ended the engagement in February 2019.[216]
Gaga signed a two-year residency, named Lady Gaga Enigma, to perform at the MGM Park Theater in Las Vegas.[217] The residency consists of two types of shows: Enigma, which focuses on theatricality and includes the singer's biggest hits,[218] and Jazz and Piano, which involves tracks from the Great American Songbook and stripped-down versions of Gaga's songs. The Enigma residency show opened in December 2018 and the Jazz and Piano in January 2019, with the residency due to last until May 2020.[219][220] Gaga launched her first makeup line, Haus Laboratories, in September 2019 exclusively on Amazon. The line consists of makeup kits that combine lip gloss, lip liner, and all-over color.[221][222][223] She has also started working on her sixth studio album,[224] and was seen in recording studios with producers like Boys Noize, DJ White Shadow, BloodPop, and Sophie.[225][226] In October, she announced that the album would be titled Adele,[227] with several news outlets taking the announcement as a joke.[228][229]
ArtistryInfluences
Musicians such as Madonna and David Bowie have influenced Gaga.
Gaga grew up listening to artists such as Michael Jackson, the Beatles, Stevie Wonder, Queen, Bruce Springsteen, Pink Floyd, Mariah Carey, the Grateful Dead, Led Zeppelin, Whitney Houston, Elton John, Blondie and Garbage,[230][231] who have all influenced her music.[232][233] Gaga's musical inspiration varies from dance-pop singers such as Madonna and Michael Jackson to glam rock artists such as David Bowie and Freddie Mercury, as well as the theatrics of the pop artist Andy Warhol and her own performance roots in musical theater.[30][234] She has been compared to Madonna, who has said that she sees herself reflected in Gaga.[235] Gaga says that she wants to revolutionize pop music as Madonna has.[236] Gaga has also cited heavy metal bands as an influence, including Iron Maiden, Black Sabbath and Marilyn Manson.[237][238][239][240] She credits Beyoncé as a key inspiration to pursue a musical career.[241]
Gaga was inspired by her mother to be interested in fashion, which she now says is a major influence and integrated with her music.[18][242] Stylistically, Gaga has been compared to Leigh Bowery, Isabella Blow, and Cher;[243][244] she once commented that as a child, she absorbed Cher's fashion sense and made it her own.[244] She considers Donatella Versace her muse and the British fashion designer Alexander McQueen as an inspiration.[91][245] In turn, Versace calls Lady Gaga 'the fresh Donatella'.[246] Gaga has also been influenced by Princess Diana, whom she has admired since her childhood.[247]
Gaga has called the Indian alternative medicine advocate Deepak Chopra a 'true inspiration',[248] and has also quoted Indian leader Osho's book Creativity on Twitter. Gaga says she was influenced by Osho's work in valuing rebellion through creativity and equality.[249]
Musical style and themes
Critics have analyzed and scrutinized Gaga's musical and performance style, as she has experimented with new ideas and images throughout her career. She says the continual reinvention is 'liberating' herself, which she has been drawn to since childhood.[250] Gaga is a contralto with a range spanning from Bâ2 to B5.[251][252][253] She has changed her vocal style regularly, and considers Born This Way 'much more vocally up to par with what I've always been capable of'.[254][255] In summing up her voice, Entertainment Weekly wrote: 'There's an immense emotional intelligence behind the way she uses her voice. Almost never does she overwhelm a song with her vocal ability, recognizing instead that artistry is to be found in nuance rather than lung power.'[256]
Gaga's songs have been called 'depthless' by writer Camille Paglia in The Sunday Times,[257] but according to Evan Sawdey of PopMatters, she 'does manage to get you moving and grooving at an almost effortless pace'.[258] Gaga believes that 'all good music can be played on a piano and still sound like a hit'.[259]Simon Reynolds wrote in 2010, 'Everything about Gaga came from electroclash, except the music, which wasn't particularly 1980s, just ruthlessly catchy naughties pop glazed with Auto-Tune and undergirded with R&B-ish beats.'[260]
Gaga's songs have covered a wide variety of concepts; The Fame discusses the lust for stardom, while the follow-up The Fame Monster expresses fame's dark side through monster metaphors. The Fame is an electropop and dance-pop album that has influences of 1980s pop and 1990s Europop,[261] whereas The Fame Monster displays Gaga's taste for pastiche, drawing on 'Seventies arena glam, perky ABBAdisco, and sugary throwbacks like Stacey Q'.[262]Born This Way has lyrics in English, French, German, and Spanish and features themes common to Gaga's controversial songwriting such as sex, love, religion, money, drugs, identity, liberation, sexuality, freedom, and individualism.[263] The album explores new genres, such as electronic rock and techno.[264]
The themes in Artpop revolve around Gaga's personal views of fame, love, sex, feminism, self-empowerment, overcoming addiction, and reactions to media scrutiny.[265]Billboard describes Artpop as 'coherently channeling R&B, techno, disco and rock music'.[266] With Cheek to Cheek, Gaga dabbled in the jazz genre.[267]Joanne, exploring the genres of country, funk, pop, dance, rock, electronic music and folk, was influenced by her personal life.[268]A Star Is Born contains elements of blues rock, country and bubblegum pop.[208]Billboard says its lyrics are about wanting change, its struggle, love, romance, and bonding, describing the music as 'timeless, emotional, gritty and earnest. They sound like songs written by artists who, quite frankly, are supremely messed up but hit to the core of the listener.'[269]
Videos and stage
Gaga during a 'blood stained' performance in 2010
Featuring constant costume changes and provocative visuals, Gaga's music videos are often described as short films.[270] The video for 'Telephone' earned Gaga the Guinness World Record for Most Product Placement in a Video.[271] According to author Curtis Fogel, she explores bondage and sadomasochism and highlights prevalent feminist themes. The main themes of her music videos are sex, violence, and power. She calls herself 'a little bit of a feminist' and asserts that she is 'sexually empowering women'.[272]
Gaga has called herself a perfectionist when it comes to her elaborate shows.[273] Her performances have been described as 'highly entertaining and innovative';[274] the blood-spurting performance of 'Paparazzi' at the 2009 MTV Video Music Awards was described as 'eye-popping' by MTV News.[275] She continued the blood-soaked theme during The Monster Ball Tour, causing protests in England from family groups and fans in the aftermath of the Cumbria shootings, in which a taxi driver had killed 12 people, then himself.[276] At the 2011 MTV Video Music Awards, Gaga appeared in drag as her male alter ego, Jo Calderone, and delivered a lovesick monologue before a performance of her song 'You and I'.[277] As Gaga's choreographer and creative director, Laurieann Gibson provided material for her shows and videos for four years before she was replaced by her assistant Richard Jackson in 2014.[278]
In an article for Billboard by Rebecca Schiller in October 2018, the author traced back Gaga's videography from 'Just Dance' till the release of A Star Is Born. Schiller noted how, following the Artpop era, Gaga's stripped-down approach to music was reflected in the clips for the singles from Joanne, taking the example of the music video of lead single 'Perfect Illusion' where the singer '[ditched] the elaborate outfits for shorts and a tee-shirt as she performed the song at a desert party'. It continued with her performances in the film as well as her stage persona.[279]
Public image
In 2010, eight wax figures of Gaga were installed at the museum Madame Tussauds.[280]
Public reception of Gaga's music, fashion sense, and persona is polarized. Because of her influence on modern culture, and her rise to global fame, sociologist Mathieu Deflem of the University of South Carolina has offered a course titled 'Lady Gaga and the Sociology of the Fame' since early 2011 with the objective of unraveling 'some of the sociologically relevant dimensions of the fame of Lady Gaga'.[281] When Gaga met briefly with then-president Barack Obama at a Human Rights Campaign fundraiser, he found the interaction 'intimidating' as she was dressed in 16-inch heels, making her the tallest woman in the room.[282] When interviewed by Barbara Walters for her annual ABC News special 10 Most Fascinating People in 2009, Gaga dismissed the claim that she is intersex as an urban legend. Responding to a question on this issue, she expressed her fondness for androgyny.[283] In a 2010 Sunday Times article, Camille Paglia called Gaga 'more an identity thief than an erotic taboo breaker, a mainstream manufactured product who claims to be singing for the freaks, the rebellious and the dispossessed when she is none of those'.[284]
Gaga's outlandish fashion sense has also served as an important aspect of her character.[243][245] During her early career, members of the media compared her fashion choices to those of Christina Aguilera.[245] In 2011, 121 women gathered at the Grammy Awards dressed in costumes similar to those worn by Gaga, earning the 2011 Guinness World Record for Largest Gathering of Lady Gaga Impersonators.[93] The Global Language Monitor named 'Lady Gaga' as the Top Fashion Buzzword with her trademark 'no pants' a close third.[285]Entertainment Weekly put her outfits on its end of the decade 'best-of' list, saying that she 'brought performance art into the mainstream'.[286]
Time placed Gaga on their All-Time 100 Fashion Icons List, stating: 'Lady Gaga is just as notorious for her outrageous style as she is for her pop hits .. [Gaga] has sported outfits made from plastic bubbles, Kermit the Frog dolls, and raw meat.'[287] Gaga wore a dress made of raw beef to the 2010 MTV Video Music Awards, which was supplemented by boots, a purse, and a hat also made out of raw beef.[288] Partly awarded in recognition of the dress, Vogue named her one of the Best Dressed people of 2010 and Time named the dress the Fashion Statement of the year.[289][290] It attracted the attention of worldwide media; the animal rights organization PETA found it offensive.[291] The meat dress was displayed at the National Museum of Women in the Arts in 2012,[292] and entered the Rock and Roll Hall of Fame in September 2015.[293]
Gaga's fans call her 'Mother Monster', and she often refers to them as 'Little Monsters', a phrase which she had tattooed on herself in dedication.[294] In his article 'Lady Gaga Pioneered Online Fandom Culture As We Know It' for Vice, Jake Hall wrote that Gaga inspired several subsequent fan-branding, such as those of Taylor Swift, Rihanna and Justin Bieber.[295] In July 2012, Gaga also co-founded the social networking service LittleMonsters.com, devoted to her fans.[296] According to Guinness World Records, Gaga was the most followed person on Twitter in 2011, as well as the most followed female pop singer and the most powerful popstar in 2014.[93][297]Forbes included Gaga on its Celebrity 100 from 2010 to 2015 and then from 2018 to 2019 and its list of the World's Most Powerful Women from 2010 to 2014.[298][299] She earned $62 million, $90 million, $52 million, $80 million, $33 million, and $59 million from 2010 through 2015, and $50 million and $39 million in 2018 and 2019, respectively.[300][301] She was named one of the most influential people in the world by Time magazine in 2010[302] and 2019,[303] and ranked second in most influential people of the past ten years in a Time magazine readers' poll in 2013.[304] In March 2012, Gaga was ranked fourth on Billboard's list of top moneymakers of 2011 with earnings of $25 million, which included sales from Born This Way and her Monster Ball Tour.[305] The following year, she topped Forbes' List of Top-Earning Celebs Under 30,[301] and in February 2016, the magazine estimated Gaga's net worth to be $275 million.[306]
ActivismPhilanthropy
After declining an invitation to appear on the single 'We Are the World 25' (because of rehearsals for her tour) to benefit victims of the 2010 Haiti earthquake, Gaga donated the proceeds of her January 2010 Radio City Music Hall concert to the country's reconstruction relief fund.[307] All profits from her online store that day were also donated, and Gaga announced that $500,000 was collected for the fund.[308] Hours after the 2011 TÅhoku earthquake and tsunami hit Japan, Gaga tweeted a link to Japan Prayer Bracelets. All revenue from a bracelet she designed in conjunction with the company was donated to relief efforts;[309] these raised $1.5 million.[310] In June 2011, Gaga performed at MTV Japan's charity show in Makuhari Messe, which benefited the Japanese Red Cross.[311]
In 2012, Gaga joined the campaign group Artists Against Fracking.[312] That October, Yoko Ono gave Gaga and four other activists the LennonOno Grant for Peace in ReykjavÃk, Iceland.[313] The following month, Gaga pledged to donate $1 million to the American Red Cross to help the victims of Hurricane Sandy. Gaga also contributes in the fight against HIV and AIDS, focusing on educating young women about the risks of the disease. In collaboration with Cyndi Lauper, Gaga joined forces with MAC Cosmetics to launch a line of lipstick under their supplementary cosmetic line, Viva Glam.[314] Sales have raised more than $202 million to fight HIV and AIDS.[315]
In April 2016, Gaga joined Vice President Joe Biden at the University of Nevada, Las Vegas to support Biden's It's On Us campaign as he traveled to colleges on behalf of the organization, which has seen 250,000 students from more than 530 colleges sign a pledge of solidarity and activism.[316] Two months later, Gaga attended the 84th Annual US Conference of Mayors in Indianapolis where she joined with the Dalai Lama to talk about the power of kindness and how to make the world a more compassionate place.[317] Due to her meeting with Dalai Lama, the Chinese government added Gaga to a list of hostile foreign forces, and Chinese websites and media organizations were ordered to stop uploading or distributing her songs. The Publicity Department of the Communist Party of China (CCPPD) also issued an order for state-controlled media to condemn this meeting.[318]
Born This Way Foundation
Gaga during an event for the Born This Way Foundation in Europe, 2013
In 2012, Gaga launched the Born This Way Foundation (BTWF), a non-profit organization that focuses on youth empowerment. It takes its name from her 2011 single and album. Media proprietor Oprah Winfrey, writer Deepak Chopra, and US Secretary of Health and Human Services Kathleen Sebelius spoke at the foundation's inauguration at Harvard University.[319] The foundation's original funding included $1.2 million from Gaga, $500,000 from the MacArthur Foundation, and $850,000 from Barneys New York.[320] In July 2012, the BTWF partnered with Office Depot, which donated 25% of the sales, a minimum of $1 million of a series of limited edition back-to-school products.[321] The foundation's initiatives have included the 'Born Brave Bus' that followed her on tour as a youth drop-in center as an initiative against bullying.[322][323]
In October 2015, at the Yale Center for Emotional Intelligence, Gaga joined 200 high school students, policy makers, and academic officials, including Peter Salovey, to discuss ways to recognize and channel emotions for positive outcomes.[324] In 2016, the foundation partnered with Intel, Vox Media, and Re/code to fight online harassment.[325] The sales revenue of the 99th issue of the V magazine, which featured Gaga and Kinney, was donated to the foundation.[162] Gaga and Elton John released the clothing and accessories line Love Bravery at Macy's in May. 25% of each purchase support Gaga's foundation and the Elton John AIDS Foundation.[326] Gaga partnered with Starbucks for a week in June 2017 with the 'Cups of Kindness' campaign, where the company donated 25 cents from some of the beverages sold to the foundation.[327] She also appeared in a video by Staples Inc. to raise funds for the foundation and DonorsChoose.org.[328]
On the 2018 World Kindness Day, Gaga partnered with the foundation to bring food and relief to a Red Cross shelter for people who have been forced to evacuate homes due to the California wildfires. The foundation also partnered with Starbucks and SoulCycle to thank California firefighters for their relief work during the crisis. The singer had to previously evacuate her own home during the Woolsey Fire which spread through parts of Malibu.[329]
In March 2019, she penned a letter to supporters of the Born This Way Foundation, announcing the launch of a new pilot program for a teen mental health first aid project with the National Council for Behavioral Health. Gaga revealed her personal struggles with mental health in her letter and how she was able to get support which saved her life: âI know what it means to have someone support me and understand what Iâm going through, and every young person in the world should have someone to turn to when theyâre hurting. It saved my life, and it will save theirs.â[330][331]
LGBT advocacy
Gaga speaking against 'don't ask, don't tell' in Portland, Maine (2010)
As a bisexual woman,[d] Gaga actively supports LGBT rights worldwide.[332] She attributes much of her early success as a mainstream artist to her gay fans and is considered a gay icon.[333][334] Early in her career she had difficulty getting radio airplay, and stated, 'The turning point for me was the gay community.'[335] She thanked FlyLife, a Manhattan-based LGBT marketing company with whom her label Interscope works, in the liner notes of The Fame.[336] One of her first televised performances was in May 2008 at the NewNowNext Awards, an awards show aired by the LGBT television network Logo.[337]
Gaga spoke at the 2009 National Equality March in Washington in support of the LGBT movement.[338] She attended the 2010 MTV Video Music Awards accompanied by four gay and lesbian former members of the United States Armed Forces who had been unable to serve openly under the US military's 'don't ask, don't tell' policy, which banned open homosexuality in the military.[339] Gaga urged her fans via YouTube to contact their senators in an effort to overturn the policy. In September 2010, she spoke at a Servicemembers Legal Defense Network's rally in Portland, Maine. Following this event, The Advocate named her a 'fierce advocate' for gays and lesbians.[340] Gaga appeared at Europride, an international event dedicated to LGBT pride, in Rome in June 2011. She criticized the poor state of gay rights in many European countries and described gay people as 'revolutionaries of love'.[341] Gaga was ordained as a minister by the Universal Life Church Monastery so that she could officiate the wedding of two female friends.[342]
In June 2016, during a vigil held in Los Angeles for victims of the attack at the gay nightclub Pulse in Orlando, Gaga read aloud the names of the 49 people killed in the attack, and gave a speech.[343] Later that month, Gaga appeared in Human Rights Campaign's tribute video to the victims of the attack.[344] She has opposed the presidency of Donald Trump and deplored his military transgender ban.[345][346] She supported former Secretary of State Hillary Clinton for president in 2016.[347] In 2018, a leaked memo from Trump's office revealed that his administration wanted to change the legal definition of sex in order to exclude transgender Americans. Gaga was one of the many celebrities to call him out and spread the #WontBeErased campaign to her 77 million Twitter followers.[348][349] In January 2019, during one of her Enigma shows, she called out Vice President Mike Pence for his wife Karen Pence working at a school where LGBTQ people are turned away.[350]
Impact
Gaga performing on the ArtRave: The Artpop Ball tour in 2014
Gaga was named the 'Queen of Pop' in a 2011 ranking by Rolling Stone (based on record sales and social media metrics), and she ranked fourth in VH1's Greatest Women in Music in 2012.[351][352] In 2012, she became a feature of a temporary exhibition The Elevated. From the Pharaoh to Lady Gaga marking the 150th anniversary of the National Museum in Warsaw.[353]
Gaga has been often regarded as a trailblazer for sometimes utilizing controversy to bring attention to various issues.[354][355] Because of The Fame's successâit was listed as one of the 100 Greatest Debut Albums of All-Time by Rolling Stone in 2013[356]âGaga is acknowledged as one of the artists who propelled the rise in the popularity of synthpop in the late 2000s and early 2010s.[357] Scott Hardy, Polaroid's CEO, has praised Gaga for inspiring her fans and for her close interactions with them on social media.[358]
According to Kelefa Sanneh of The New Yorker, 'Lady Gaga blazed a trail for truculent pop stars by treating her own celebrity as an evolving art project.'[359] Including Born This Way as one of the 50 best female albums of all time, Rolling Stone'sRob Sheffield considers it 'hard to remember a world where we didn't have Gaga, although we're pretty sure it was a lot more boring'.[360] In 2015, Time also noted that Gaga had 'practically invented the current era of pop music as spectacle'.[361] Her work has influenced artists including Miley Cyrus,[362]Nicki Minaj,[363]Ellie Goulding,[364]Halsey,[365]Nick Jonas,[366]Sam Smith,[367]Noah Cyrus,[368]Katherine Langford,[369]MGMT,[370] and Greyson Chance.[371]
A new genus of ferns, Gaga, and two species, G. germanotta and G. monstraparva, have been named in her honor. The name monstraparva alluded to Gaga's fans, known as 'little monsters', since their symbol is the outstretched 'monster claw' hand, which resembles a tightly rolled young fern leaf prior to unfurling.[372] Gaga also has an extinct mammal, Gagadon minimonstrum,[373] and a parasitic wasp, Aleiodes gaga, named for her.[374][375]
Achievements
Gaga has won nine Grammy Awards, an Academy Award, a BAFTA Award, three Brit Awards,[376] two Golden Globe Awards, thirteen MTV Video Music Awards, several Guinness World Records, and the inaugural Songwriters Hall of Fame's Contemporary Icon Award.[157] She received a National Arts Awards' Young Artist Award, which honors individuals who have shown accomplishments and leadership early in their career,[377] and she won the Jane Ortner Artist Award from the Grammy Museum in 2016.[167] Gaga has also been recognized by the Council of Fashion Designers of America (CFDA) with the Fashion Icon lifetime achievement award,[378] and was a finalist for The Advocate's Person of the Year in 2016.[379] In 2019, she became the first person to win an Academy, a Grammy, a BAFTA and a Golden Globe Award in one year for her contribution to A Star Is Born's soundtrack.[380]
Gaga is one of the best-selling music artists with estimated sales of 27 million albums and 146 million singles as of January 2016. Some of her singles are also among the best-selling worldwide.[381] She has grossed more than $512.3 million in revenue from her concert tours and residencies, becoming the fifth woman to pass the half-billion total as reported to Billboard Boxscore.[140][382] Gaga has consecutively appeared on Billboard magazine's Artists of the Year (scoring the definitive title in 2010).[383] Named Woman of the Year in 2015,[156] she is the 12th top digital singles artist in the US with a total of 61 million equivalent units certified according to Recording Industry Association of America (RIAA).[384] She became the first woman to receive the Digital Diamond Award certification from RIAA, is one of three artists with at least two Diamond certified songs ('Bad Romance' and 'Poker Face'),[385][386] and is the first and only artist to have two songs pass 7 million downloads ('Poker Face' and 'Just Dance').[387]
Discography
Studio albums
Soundtrack albums
Tours and residenciesHeadlining concerts
Promotional concerts
Concert residencies
Filmography
See alsoNotes
ReferencesCitations
Book sources
External links
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Retrieved from 'https://en.wikipedia.org/w/index.php?title=Lady_Gaga&oldid=919361572'
Prometheus (/prÉËmiËθiÉs/prÉ-MEE-thee-És) is a 2012 science fiction film directed by Ridley Scott, written by Jon Spaihts and Damon Lindelof and starring Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green, and Charlize Theron. It is set in the late 21st century and centers on the crew of the spaceship Prometheus as it follows a star map discovered among the artifacts of several ancient Earth cultures. Seeking the origins of humanity, the crew arrives on a distant world and discovers a threat that could cause the extinction of the human species.
Development of the film began in the early 2000s as a fifth installment in the Alien franchise. Scott and director James Cameron developed ideas for a film that would serve as a prequel to Scott's 1979 science-fiction horror film Alien. In 2002, the development of Alien vs. Predator took precedence, and the project remained dormant until 2009 when Scott again showed interest. Spaihts wrote a script for a prequel to the events of the Alien films, but Scott opted for a different direction to avoid repeating cues from those films. In late 2010, Lindelof joined the project to rewrite Spaihts's script, and he and Scott developed a story that precedes the story of Alien but is not directly connected to that franchise. According to Scott, although the film shares 'strands of Alien's DNA, so to speak', and takes place in the same universe, Prometheus explores its own mythology and ideas.
Prometheus entered production in April 2010, with extensive design phases during which the technology and creatures that the film required were developed. Principal photography began in March 2011, with an estimated $120â130 million budget. The project was shot using 3D cameras throughout, almost entirely on practical sets, and on location in England, Iceland, Spain, and Scotland. It was promoted with a marketing campaign that included viral activities on the web. Three videos featuring the film's leading actors in character, which expanded on elements of the fictional universe, were released and met with a generally positive reception and awards.
Prometheus was released on June 1, 2012, in the United Kingdom and on June 8, 2012, in North America. The film received praise for the aesthetic design and the acting, especially Fassbender's performance as the android David, while plot elements that remained unresolved or predictable were the main source of criticism. The film grossed over $403 million worldwide. A sequel, Alien: Covenant, was released in May 2017.
Plot[edit]
As a spacecraft departs a planet, a humanoid alien drinks an iridescent liquid, causing its body to dissolve. As its remains cascade into a waterfall, the alien's DNA falls apart and recombines.
In 2089, archaeologists Elizabeth Shaw and Charlie Holloway discover a star map in Scotland that matches others from several unconnected ancient cultures. They interpret this as an invitation from humanity's forerunners, the 'Engineers.' Peter Weyland, the elderly CEO of Weyland Corporation, funds an expedition, aboard the scientific vessel Prometheus, to follow the map to the distant moon LV-223. The ship's crew travels in stasis while the android David monitors their voyage. Arriving in December 2093, mission-director Meredith Vickers informs them of their mission to find the Engineers and not to make contact without her permission.
The Prometheus lands on the barren, mountainous surface near a large, artificial structure, which a team explores. Inside, they find stone cylinders, a monolithic statue of a humanoid head, and the decapitated corpse of a large alien, thought to be an Engineer; Shaw recovers its head. The crew finds other bodies, leading them to surmise the species is extinct. Crew members Millburn and Fifield grow uncomfortable with the discoveries and attempt to return to Prometheus, but become stranded in the structure when they get lost. The expedition is cut short when a storm forces the crew to return to the ship. David secretly takes a cylinder from the structure, while the remaining cylinders begin leaking a dark liquid. In the ship's lab, the Engineer's DNA is found to match that of humans. David investigates the cylinder and the liquid inside. He intentionally taints a drink with the liquid and gives it to the unsuspecting Holloway, who had stated he would do anything for answers. Shortly after, Shaw and Holloway have sex.
Inside the structure, a snake-like creature kills Millburn and sprays a corrosive fluid that melts Fifield's helmet. Fifield falls face-first into a puddle of dark liquid. When the crew returns, they find Millburn's corpse. David separately discovers a control room containing a surviving Engineer in stasis, and a large 3D holographic star map highlighting Earth. Meanwhile, Holloway sickens rapidly. He is rushed back to Prometheus, but Vickers refuses to let him aboard, and at his urging, burns him to death with a flamethrower. Later, a medical scan reveals that Shaw, despite being previously infertile, is now in advanced pregnancy. Fearing the worst, she uses an automated surgery table to extract a squid-like creature from her abdomen. Shaw then discovers that Weyland has been in stasis aboard Prometheus. He explains that he wants to ask the Engineers how to prevent his death from old age. As Weyland prepares to leave for the structure, Vickers addresses him as 'Father'.
A monstrous, mutated Fifield returns to the Prometheus and kills several crew members before he is killed. The Prometheus' captain, Janek, speculates that the structure was an Engineer military base that lost control of a virulent biological weapon, the dark liquid. He also determines that the structure houses a spacecraft. Weyland and a team return to the structure, accompanied by Shaw. David wakes the Engineer from stasis and speaks to him in an attempt to explain what Weyland wants. The Engineer responds by decapitating David and killing Weyland and his team, before reactivating the spacecraft. Shaw flees and warns Janek that the Engineer is planning to release the liquid on Earth, convincing him to stop the spacecraft. Janek and the remaining crew sacrifice themselves by ramming the Prometheus into the alien craft, ejecting the lifeboat in the process, while Vickers flees in an escape pod. The Engineer's disabled spacecraft crashes onto the ground, killing Vickers. Shaw goes to the lifeboat and finds her alien offspring is alive and has grown to gigantic size. David's still-active head warns Shaw that the Engineer is pursuing her. The Engineer forces open the lifeboat's airlock and attacks Shaw, who releases her alien offspring onto the Engineer; it thrusts an ovipositor down the Engineer's throat, subduing him. Shaw recovers David's remains, and with his help, launches another Engineer spacecraft. She intends to reach the Engineers' homeworld in an attempt to understand why they wanted to destroy humanity.
In the lifeboat, an alien creature bursts out of the Engineer's chest.
Cast[edit]
Top to bottom: Noomi Rapace, Charlize Theron, and Idris Elba play Elizabeth Shaw, Meredith Vickers and Janek, respectively
Other cast members include Kate Dickie as the ship's medic, Ford;[45]Emun Elliott and Benedict Wong as, respectively, ship pilots Chance and Ravel;[47][48] and Patrick Wilson as Shaw's father.[49]Ian Whyte and Daniel James portray Engineers.[50]
Themes[edit]
The central theme in Prometheus concerns the eponymous Titan of Greek mythology who defies the gods and gifts humanity with fire, for which he is subjected to eternal punishment.[19] The gods want to limit their creations in case they attempt to usurp the gods.[51] The film deals with humanity's relationship with the godsâtheir creatorsâand the consequence of defying them. A human expedition intends to find God and receive knowledge about belief, immortality and death. They find superior beings who appear god-like in comparison to humanity, and the Prometheus crew suffer consequences for their pursuit.[19] Shaw is directly responsible for the events of the plot because she wants her religious beliefs affirmed,[52] and believes she is entitled to answers from God; her questions remain unanswered and she is punished for her hubris.[53][54] The film offers similar resolution, providing items of information but leaving the connections and conclusions to the audience, potentially leaving the question unanswered.[54] Further religious allusions are implied by the Engineers' decision to punish humanity with destruction 2,000 years before the events of the film. Scott suggested that an Engineer was sent to Earth to stop humanity's increasing aggression, but was crucified, implying it was Jesus Christ.[53][55][56] However, Scott felt that an explicit connection in the film would be 'a little too on the nose.'[53]
Artificial intelligence, a unifying theme throughout Scott's career as a director, is particularly evident in Prometheus, primarily through the android David.[57] David is like humans but does not want to be like them, eschewing a common theme in 'robotic storytelling' such as Blade Runner. David is created in the image of humanity, and while the human crew of the Prometheus ship searches for their creators expecting answers, David exists among his human creators yet is underwhelmed; he questions his creators about why they are seeking their own.[54][58] Lindelof described the ship as a prison for David.[54] At the conclusion of the film, David's creator (Weyland) is dead and his fundamental programming will end without someone to serve. Lindelof explained that David's programming becomes unclear and that he could be programmed by Shaw or his own sense of curiosity. Following Weyland's death, David is left with Shaw, and is sincere and interested in following her, partly out of survival and partly out of curiosity.[59]
Another theme is creation and the question of 'Who Am I? Who Made Me? Why Hast Thou Forsaken Me?'[55][60] Development of the in-universe mythology explored the Judeo-Christian creation of man, but Scott was interested in Greco-Roman and Aztec creation myths about gods who create man in their own image by sacrificing a piece of themselves. This creation is shown in the film's opening in which an Engineer sacrifices itself after consuming the dark liquid, acting as a 'gardener in space' to bring life to a world.[56] One of their expeditions creates humanity, who create artificial life (David) in their own image. David then introduces the dark liquid to Holloway who impregnates a sterile Shaw, and the resulting child impregnates an Engineer, creating the child of all three generations.[55] Scott likened the Engineers to the dark angels of John Milton's Paradise Lost, and said that humanity was their offspring and not God's.[53][61]
Shaw is the only religious believer in the crew and openly displays her religious belief with a necklace of a Christian cross. Lindelof said that with her scientific knowledge, her beliefs felt outdated in 2093. Shaw is excited when she learns that she was created by the Engineers and not a supernatural deity, but rather than cause her to lose her faith, it reinforces it. Lindelof said that asking questions and searching for meaning is the point of being alive, and so the audience is left to question whether Shaw was protected by God because of her faith. Scott wanted the film to end with Shaw's declaration that she is still searching for definitive answers.[55] In addition to the religious themes, Lindelof said that Prometheus is pro-science and explores whether scientific knowledge and faith in God can co-exist.[62]
Beside drawing several influences from Paradise Lost, The Atlantic's Govindini Murty noted further influences, and wrote that '[t]he striking images Ridley Scott devises for Prometheus reference everything from Stanley Kubrick's 2001 to Leonardo da Vinci's Vitruvian Man and Mario Bava's Planet of the Vampires. Scott also expands on the original Alien universe by creating a distinctly English mythology informed by Milton's Paradise Lost and the symbolic drawings of William Blake.'[63]
Production[edit]Development[edit]
Development on a fifth film in the Alien franchise was in progress by 2002. Scott considered returning to the series he created with his 1979 science fiction horror film Alien, to pursue a sequel that would explore the engineered origins of the series's Alien creatures,[64] and the 'space jockey'âthe extraterrestrial being, who briefly appears in Alien, as the deceased pilot of a derelict spaceship.[65]Alien star Sigourney Weaver also expressed interest in returning to the series.[66]Aliens director James Cameron discussed the potential for a sequel with Scott, and began working with another writer on a story for the film. It was then that 20th Century Fox approached Cameron with a script for a crossover film that would pit the series's monsters against the title characters of the Predator films; this project became the 2004 science fiction film Alien vs. Predator.[67] After Fox confirmed that it would pursue the crossover, Cameron stopped working on his own project, believing the crossover would 'kill the validity of the franchise.'[68] In 2006, Cameron confirmed that he would not return to the Alien sequel project, believing that the series was Fox's asset, and he was unwilling to deal with the studio's attempts to influence the potential sequel.[67]
In May 2009, Fox said that the project was a 'reboot'[69] of the Alien franchise, and soon afterwards was reported as an untitled prequel to Alien.[70][71] Development stopped in June 2009 when Fox clashed with Scott over his selection of former television advertisement directorCarl Erik Rinsch as director. Fox was only interested in pursuing the project if Scott directed.[72] By July 2009, Scott was contracted to direct the film, and screenwriter Jon Spaihts was hired to write the script based on his pitched idea for a direct Alien prequel.[29][73] With the director and writer in place, and pleased with Spaihts's pitch, Fox scheduled a release date for December 2011, but this was eventually canceled.[74] In June 2010, Scott announced that the script was complete and that pre-production would begin, and a filming date was set for January 2011.[75] Fox eventually pushed to develop the project into an original work, and by July 2010, Lindelof had been hired to redevelop Spaihts's screenplay.[76][77][78] In October 2010, Lindelof submitted his rewritten screenplay to Fox. Scott had initially requested a $250 million budget and an adult oriented project, but Fox was reluctant to invest this amount of money, and wanted to ensure the film would receive a lower age-rating to broaden the potential audience.[69][79]
In December 2010, it was reported that the film would be called Paradise,[16] named after John Milton's poem Paradise Lost, but Scott considered that this would convey too much information about the film. Fox CEO Thomas Rothman suggested Prometheus, which was confirmed as the title in January 2011.[53][80] A release date was scheduled for March 9, 2012, but weeks later the release was postponed until June 8, 2012.[80][81] With the name confirmed, the production team began to publicly distance the film from its Alien origins, and were deliberately vague about the connection between the films, believing it would build audience anticipation for Prometheus.[77] Scott stated that 'while Alien was indeed the jumping-off point for this project, out of the creative process evolved a new, grand mythology and universe in which this original story takes place. The keen fan will recognize strands of Alien's DNA, so to speak, but the ideas tackled in this film are unique, large and provocative.'[82] In June 2011, Scott and Lindelof confirmed that Prometheus takes place in the same universe as the events of the Alien series.[83][84] In July 2011, Scott stated that 'by the end of the third act you start to realize there's a DNA of the very first Alien, but none of the subsequent [films].'[71]
Writing[edit]
'.. We're exploring the future .. away from Earth and [asking] what are people like now? .. Space exploration in the future is going to evolve into this idea that it's not just about going out there and finding planets to build colonies. It also has this inherent idea that the further we go out, the more we learn about ourselves. The characters in this movie are preoccupied with the idea: what are our origins?'
âDamon Lindelof, concerning the scope of Prometheus.[85]
Spaihts met Scott in late 2009 and they discussed Scott's desire to pursue an Alien prequel. Spaihts offered his concept, including a 'bridge' that would connect the story of the film's human characters to the Alien saga. Spaihts was quickly hired, which he credited to the reception of his 'bridge' idea. Spaihts claimed he created the concept spontaneously, without preconception. Spaihts wrote a 20-page 'extremely detailed outline'; within three and a half weeks he had completed his first draft, and he submitted it to the producers on Christmas Day, 2009. Within 12 hours, Scott returned the script with notes for changes, and Spaihts spent the Christmas holiday redrafting.[74]
Spaihts was tasked with exploring unresolved mysteries from Alien, such as the Space Jockey. He considered the mysteries of Alien to be alien in nature, and said, 'all the mysteries have alien players: the exoskeleton nightmare and .. the elephantine titan that was called the 'space jockey' .. How do you make anyone care about events between creatures like this?' His solution was to link the alien mysteries to the past and future of humanity. He said: 'If that story is somehow ours and deeply enmeshed with the human story, that story changes meaning within our life, things of such significance that we think of our own lives differently.'[86] Spaihts found translating Scott's stylistic visual concepts to text difficult, and he periodically constrained some of Scott's ideas. He reminded Scott that in the scene they were discussing, the characters were subject to gravity and so could not simply float.[74] By April 2010, the script was on the fourth draft.[70] Scott said about the script, 'we are talking about gods and engineers. Engineers of space. And were the aliens designed as a form of biological warfare? Or biology that would go in and clean up a planet?'[76] In June 2010, Scott announced that the script was complete and ready for filming.[75]
However, Scott instead contacted Lindelof and asked him to review Spaihts's script.[87] 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.[88] 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,[87] and Scott wanted to avoid repeating his previous accomplishments.[89] 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.'[89] '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.'[84]
Writer Damon Lindelof promoting Prometheus at WonderCon in 2012. Lindelof was hired to rewrite Jon Spaihts's original script.
Lindelof said that the other parts of the script were strong enough to survive without the Alien hallmarks, such as the Alien creature, which he believed had been diluted by the exposure it had received.[84] He said, '[The producers] were just looking for someone to say to them, Hey, we don't need the Alien stuff in here. It shouldn't be about that. It can be a part of this movie, but it shouldn't be what it's about.'[90] Lindelof said that the film could instead run parallel to the Alien series and that a sequel would be Prometheus 2 and not Alien, and submitted an idea for how such a sequel could work. Lindelof met with the producers the following morning, and was hired shortly afterward in late 2010.[29][90] Under Lindelof, the script diverged from Spaihts's Alien prequel into an original creation.[29] Scott and Lindelof worked together five days a week between July and August 2010 to construct the vision Scott wanted to convey and decide what script changes were needed, including scaling back the Alien symbolism and tropes. In August and September 2010, Lindelof spent almost five weeks writing his first draft, which he submitted in mid-September 2010.[77] Inspired by Blade Runner and Spaihts's script, Lindelof thought that it would be possible to combine an Alien story of action and horror with 'the Blade Runner thematic,'[87] to ask bigger questions than he felt were normally posed in science fiction films. Lindelof said,
Blade Runner might not have done well [financially] when it first came out, but people are still talking about it because it was infused with all these big ideas. [Scott] was also talking about very big themes in Prometheus. It was being driven by people who wanted the answers to huge questions. But I thought that we could do that without ever getting too pretentious. Nobody wants to see a movie where people are floating in space talking about the meaning of life .. That was already present in [Spaihts's] original script and [Scott] just wanted to bring it up more.[87]
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.[71][83] 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.'[83] 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 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.[58] For Shaw, Lindelof felt it was important that she was 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.[52]
Pre-production[edit]
Pre-production began in April 2010. A team developed graphic designs for the film.[70] Scott convinced Fox to invest millions of dollars to hire scientists and conceptual artists to develop a vision of the late 21st century.[31] The production of Prometheus was marked by a high degree of secrecy[91] and story details were kept 'extremely under-wraps.'[92] Ridley Scott was determined to maintain the secrecy of the plot, and he required the cast to sign clauses to prevent them disclosing story details, and the cast were allowed to read the script only under supervision in Scott's production office. One exception was made when a courier flew the script to one actor outside the US, and then stood guard while the actor read it. Scott said, 'I was insistent that the script not leak onto the internet, where it gets dissected out of context, which spoils it for everyone.'[93]
In July 2011, Lindelof said that the film would rely upon practical effects, and would use CGI generally for on-set pre-visualization of external space visuals.[94] Scott said that 'you can pretty much do anything you want' with digital technology,[95] and, 'Doug Trumbull once said to me 'If you can do it live, do it live.' That was 29 years ago. Even though we have remarkable digital capabilities I still say do it live. It's cheaper.'[96] Cinematographer Dariusz Wolski convinced Scott that it would be possible to film in 3D with the same ease and efficiency of 2D filming. 3D company 3ality Technica provided some of the rigs and equipment to facilitate 3D filming, and trained the film's crew in their proper operation.[97] According to Scott, the decision to film in 3D added $10 million to the film's budget.[98] Since 3D films need high lighting levels on set, the hallmark dark and shadowy atmosphere of the Alien films was added in post-production using color grading processes, and the 3D equipment was based on post-Avatar technology.[99][100]
Principal photography[edit]
The Dettifoss waterfall in Iceland was used in the film's opening scene showing an Engineer creating life.
Principal photography began on March 21, 2011, lasted 82 days, and had an estimated $120â130 million budget.[31][101][102] Filming began at Shepperton Studios and Pinewood Studios in England.[6][103] Scott used eight sound stages for filming, including the 007 Stage.[93][103] Studio space was limited and the crew had to make five stages work for approximately 16 sets, and increased the size of the 007 stage by over 30%.[104]
Exterior shots of the alien world were shot in Iceland,[105] where filming occurred for 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'.[106] Filming also took place at Dettifoss, one of the most powerful waterfalls in Europe.[107] The Iceland shoot involved 160 Icelandic crew members and over 200 imported crew.[106] 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.[108]Morocco had been chosen as a location for these scenes, but the 2010 Arab Spring protests forced the change of venue.[31] Alternatives including the Mojave Desert had been considered,[109] but Scott explained that Iceland was ultimately chosen because 'here it is so rough and 'Jurassic-like' and that proved decisive'.[106]
In September 2011, filming moved to the Ciudad de la Luz audiovisual complex in Alicante, Spain. Shooting areas included the complex's large water tank, and a nearby beach.[110][111] The complex was booked from August 22, 2011, through to December 10, 2011, and set construction occurred from August until late September.[110] Approximately 250 people worked on the three-month-long Spain shoot, generating over â¬1 million in the local economy.[112] Filming also took place in the Wadi Rum valley in Jordan.[31]
Scott avoided using green screens unless necessary. Instead, he used various items so the actors would know where they should be looking in any particular scene on the practical sets where CGI elements would be inserted in post-production.[113] Rapace said that green screens were used fewer than six times during filming.[89] The production used five 3ality Technical Atom 3D rigs, four of which were configured with Red Epic 3D cameras set on camera dollies and tripods, which were continuously in use during filming. The fifth rig used an Epic camera as a steadicam, which was used only occasionally.[97][114]
Post-production[edit]
Scott used the 3D footage to increase the illusion of depth. Despite this being his first 3D film he found the process easy. He said, 'You can literally twiddle a knob and the depth will increase', and, 'the trick is not to overdo it'.[113] In December 2011, Rapace undertook additional dialogue recordings for the film.[4] Additional pick-up scenes were filmed during January 2012, including a one-day shoot on the Isle of Skye, Scotland, and a new scene shot at a cave in the Scottish mountains.[115][116][117] For dark scenes, the film was color graded to specifically compensate for the light loss of 3D glasses, to ensure the image was comparable to the 2D version.[118]
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.[119] 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.'[120] Scott also said that, regardless of rating, he would present the most aggressive cut of the film he could,[120] while Rothman said that Scott would not be forced to compromise the film's quality to avoid an R-rating.[121] On May 7, 2012, Fox confirmed that the film had received an R-rating and would be released without any cuts being made.[122][123] 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.[124] A fight scene between Shaw and the Engineer was shortened because Scott decided that Shaw directly wounding the Engineer diminished his role.[125] Scott concluded work on the film in March 2012.[126]
Music[edit]
Marc Streitenfeld, who had worked with Scott on earlier projects, composed the musical score for Prometheus.[127] It took just over a week to record with a 90-piece orchestra at Abbey Road Studios in London, England.[128] Streitenfeld began writing ideas for the score after reading the script before filming commenced. He used some unusual techniques to compose the score, and said, 'I actually wrote out the sheet music backwards so the orchestra played it backwards and then I digitally flipped it. So you're hearing the score as it's written, the same melody, but with a backwards sounding orchestra which gives it a kind of unusual, unsettling sound.'[128] The Prometheus (Original Motion Picture Soundtrack) album was released on iTunes on May 15, 2012,[129] and on CD on June 4, 2012.[130] It features 23 tracks by Streitenfeld and two supplemental tracks by Harry Gregson-Williams.[131]Frédéric Chopin's 'Raindrop prelude' (1838) is also featured in the film.[132][133]
Design[edit]
Production designerArthur Max led the film's design staff. His art team were tasked with deconstructing the art and visuals of Alien, and reverse-designing them for the chronologically earlier setting of Prometheus.[134][135] Influence was drawn from the work of Alien creature designer H. R. Giger, and designers Ron Cobb and Chris Foss, including their designs for that film which Scott had been unable to develop at the time.[135]
Costume design[edit]
For the crew's space suits, Scott was inspired to include spherical glass helmets after reading a story in Steve Jobs' biography about building an office out of Gorilla Glass. Scott said, 'If I'm in 2083 and I'm going into space, why would I design a helmet that has blind spots. What I want is something where I have 360 [vision]. Glass, by then, will be light and you won't be able to break it with a bullet.'[17] The interior of the prop helmets had nine functioning video screens, internal lighting, an air supply provided by two fans, and battery packs concealed within a backpack. The helmet's exterior featured a functional light source and high definition video cameras with a transmitter and recorder. For the suit itself, Scott wanted to avoid the unwieldy NASA-style suit. His frequent collaborator, Janty Yates, used medical research concepts relating to skin replacement treatments and materials to develop a garment that would be believable, flexible and comfortable. The outfit comprised a neoprene suit worn under an outer space suit, a base to which the helmet could be attached, and a backpack.[104]
Aboard the ship, Yates gave the characters their own distinct looks. Theron is dressed in an ice-silver, silk mohair suit. Yates said, '[Theron] is the ice queen. It was always our vision to make her look as sculptural as possible'. Fassbender's David is dressed similarly to other crew members, but his outfit was given finer lines to produce a more linear appearance. To create a casual, relaxed appearance, Marshall-Green's Holloway was dressed in hoodies, fisherman pants, and flip-flops, while Elba wore a canvas-greased jacket to represent his long career at the helm of a ship.[104]
Sets and vehicles[edit]
Arthur Max designed the sets such as the alien world landscape and structures, and the vehicles, including the Prometheus and the Engineer's ship.[6][104] Digital 3D models and miniature replicas of each set were built to allow the designers to envisage the connections between them and to know where the CGI elements would be inserted. To better blend the practical and the digital, the design team took rock samples from the Iceland location so they could match the graphical textures with the real rocks.[136] To create the Prometheus, Max researched NASA and European Space Agency spacecraft designs, and extended these concepts with his own ideas of how future space vehicles might look. He said that he wanted 'to do something that was state-of-the-art, which would represent a flagship spacecraft with every technology required to probe into the deepest corners of the galaxy.'[104]
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.[104] 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.[104] 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.[135] Giger designed the murals that appear within the chamber.[71]
For the scene of the Prometheus' descent to the alien moon LV-223, visual effects art director Steven Messing referenced NASA imagery, including vortex cloud structures. He also used aerial photographs of locations in Iceland and Wadi Rum shot by VFX supervisor Richard Stammers and his team. Messing painted over these images and combined them with 3D set extensions to create a realistic altered landscape. Scott wanted the ship's descent scenes to have a sense of grandeur to contrast the dark and shrouded descent featured in Alien. Much of LV-223s world was based upon the world visited in Alien, but scaled back as Scott felt some elements were too unrealistic. Other influences were the Martian mountain Olympus Mons and several large mountain structures on Earth. NASA advisers provided concepts for the aesthetics of alien worlds which were incorporated into the design work.[38] MPC developed a digital representation of Wadi Rum using the design material, modified it to locate the alien pyramid and a landing area for the Prometheus, and resized the planet's natural features relative to the alien structures.[137]
Creature effects[edit]
The practical model for the Adult Trilobite, featuring multiple long tentacle-like appendages and a mouth in the centre of its body
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.[104] 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.[38] 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.[138] 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.[139] Scott described the Engineers as tall, elegant 'dark angels'.[53]
The snake-like alien dubbed the 'Hammerpede' was given life through a mixture of CGI and practical effects, and the wires controlling the practical puppet were digitally removed. For a scene in which the Hammerpede is decapitated, the VFX team digitally animated and inserted the spontaneous growth of a replacement head.[137] During the scene in which the Hammerpede erupts from Spall's character's corpse, Scott controlled the puppet using wires. Scott did not inform Dickie about what was to occur in the scene and her screaming reaction was real. The creature's design was partially inspired by translucent sea creatures with visible arteries, veins, and organs beneath the skin's surface, and cobras. The designers gave the creature a smooth, muscular, and powerful appearance. Early designs of the 'Trilobite', the tentacled offspring cut from Shaw, resembled an octopus or squid. Page redeveloped this creature as an embryo in an early state of development, with tentacles that began fused together and would gradually split, creating new tentacles, as the creature developed.[140] The practical creature was a remotely operated animatronic creation with a silicone skin.[124][140]
The mutated Fifield effects were achieved mainly through the use of make-up and prosthetics. Due to concerns that the practical effects would be unsatisfactory, the filmmakers completed an alternative version of the sequence, in which Fifield was rendered as 'a digital character with elongated limbs and an engorged, translucent head, incorporating a semblance of Harris's face'.[141] Three other variations of the mutated Fifield were modeled, but these were rejected as being too inhuman.[142]
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.[140] The Deacon's protruding jaw was inspired by the goblin shark.[38]
Sound effects[edit]
Sound effects were generated with a variety of sources including Pop Rocksâa brand of popping candyâand a parrot. The glistening ice forming on the stone cylinders discovered in the film was created by applying the popping candy to materials such as wet metal and stone that was then sprayed with water to produce the 'popping, cracking' sound. Sound designer Ann Scibelli's parrot was recorded over several weeks to document her variety of vocalizations which were then used as beeps, alarms and the cries of Shaw's alien offspring.[143]
Visual effects[edit]
The film's star map sequence was inspired by Joseph Wright's painting A Philosopher Lecturing on the Orrery.[86]
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Prometheus contains approximately 1,300 digital effect shots.[113] The main effects studio was Moving Picture Company (MPC), which produced 420 of the shots.[118] Several other studios, including Weta Digital,[31] Fuel VFX,[144]Rising Sun Pictures, Luma Pictures, Lola Visual Effects, and Hammerhead Productions, also produced effects shots for the film.[145]
The creation of life from the disintegration of an Engineer in the film's opening scene was created by WETA Digital. The scene was difficult to produce because it had to convey the story of the Engineer's DNA breaking apart, reforming and recombining into Earth DNA in a limited span of time. The team focused on making the DNA stages distinct to convey its changing nature. Scott requested the studio to focus on the destruction occurring within the Engineer. A light color scheme was used for the Engineer's DNA and decayed fish spines were used as an image reference, while the infected DNA had a melted appearance. To find methods of depicting the DNA destruction, the team carved vein-like structures from silicone and pumped black ink and oils into them while filming the changes occurring over an extended period of time.[146]
A key scene involving a large 3D hologram star map, dubbed the Orrery, was inspired by the 1766 Joseph Wright painting A Philosopher Lecturing on the Orrery, in which a scientist displays a mechanical planetarium by candlelight. While discussing the necessity of a star map with Spaihts, Scott mentioned that he envisaged a physical representation being similar to the painting, although he was unaware of its title and described it as 'circles in circles with a candle lit image'. Using Scott's description, Spaihts located an image of the painting. Spaihts said, 'making the leap from a star map, to an Enlightenment painting, and then back into the far future. [Scott's] mind just multiplexes in that way'.[86] The Orrery was one of the most complex visual effects, contained 80â100 million polygons, and took several weeks to render as a single, complete shot.[137]
Marketing[edit]
Ridley Scott, Charlize Theron, and Michael Fassbender promoting the film at WonderCon in March 2012
Prometheus' marketing campaign began on July 21, 2011 at the San Diego Comic-Con International, where images and footage from the film were presented by Lindelof and Theron; Scott and Rapace participated via satellite contribution.[85][147] A segment of the footage showed Theron performing naked push-ups, which attracted much attention.[92][148][149] A teaser poster was released on December 14, 2011, with the tagline, 'The search for our beginning could lead to our end.'[150] A bootleg recording of an incomplete trailer was leaked online on November 27, 2011, but was quickly taken down by Fox.[151] The trailer was released on December 22, 2011.[152]
On March 17, 2012, Scott, in partnership with AMC Theatres, hosted the premiere of the first full Prometheus trailer at the AMC Downtown Disney during WonderCon in Anaheim, California. The event was streamed live via Facebook, Twitter, and the AMC Theatre website, and the trailer was posted on AMC's YouTube channel immediately after its debut.[153] Reactions to the trailer from WonderCon attendees, and on Twitter, were generally positive,[154] and it received nearly three million views in the three days following its release.[155] On April 10, 2012, media outlets were shown a 13-minute montage of scenes in 3D from the film's opening at the Vue Cinema in Leicester Square, London.[156] The screening, and in particular the 3D visuals and the performances of Fassbender, Rapace, Theron, and Elba, was well received.[23][156][157]
On April 29, 2012, the international launch trailer debuted in the United Kingdom on Channel 4 during the first advertisement break of the TV show Homeland. Viewers were encouraged to share their opinions about the trailer on Twitter, some of which were then shared in a live broadcast during a later break. This was the first time that viewers' tweets were used in a broadcast advertisement.[158][159] A competition, offering viewers a chance to win tickets to the film whenever the social platform Zeebox detected the advertisement airing, was launched on that site.[160] On May 8, 2012, the advertisement became the subject of an investigation by the British broadcasting regulatory body Ofcom for allegedly breaching broadcast rules when a voiceover encouraged viewers to book tickets during the advertisement with the Channel 4 logo onscreen. The broadcast potentially broke a ruling that advertising and teleshopping must be clearly distinguishable from editorial content.[161][162]
Best dongles for windows 10. Although marketers typically avoid promoting adult-oriented films to reach a broader demographic, the film attracted several promotional partners including Coors, Amazon, and Verizon FiOS, which were estimated to have spent $30 million in marketing support. Amazon directed interested users to purchase tickets through Fandango, and placed promotional material in products shipped to customers; this was the first time that Amazon had allowed such marketing by an external company.[163] The premiere in London was streamed live via the film's website and the Verizon FiOS Facebook page. The event was facilitated by BumeBox, which took audience questions from social sites and gave them to reporters to ask at the event.[164] The National Entertainment Collectibles Association (NECA) released a series of Prometheus action figures in September 2012.[165] A book, Prometheus: The Art of the Film, containing production art and behind-the-scenes photographs, was released on June 12, 2012.[166]
Viral campaign[edit]
An advertisement for 'David' (portrayed by Michael Fassbender) printed in newspapers. The advert highlights the viral website campaign and the film's marketing partnership with Verizon.
A viral marketing campaign began on February 28, 2012, with the release of a video featuring a speech by Pearce, in character as Peter Weyland, about his vision for the future. Set in 2023, the TED 2023 video presents a futuristic vision of a TED conference, an annual technology and design event held in Long Beach, California. The segment was conceived and designed by Scott and Lindelof, and directed by Scott's son, Luke. The production was made in collaboration with, and made available through TED because Lindelof wanted to introduce new audiences to the conference itself. Lindelof said that the scene takes place in a futuristic stadium because 'a guy like Peter Weylandâwhose ego is just massive, and the ideas that he's advancing are nothing short of hubrisâthat he'd basically say to TED, 'If you want me to give a talk, I'm giving it in Wembley Stadium.''[35]
TED community director Tom Rielly helped the film's producers gain approval for the use of the TED brand, which had not previously been used for promotional purposes. Rielly was involved in designing the 2023 conference, and said that the association generated millions of unique visits to the TED website.[167] The video's release was accompanied by a fictional TED blog about the 2023 conference and a tie-in website for the fictional Weyland Corporation.[168][169] On March 6, 2012, the Weyland website was updated to allow visitors to invest in the company as part of a game, which would reveal new Prometheus media.[170]
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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.[171] 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.[172][173] 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.[174] A partnership with Verizon FiOS was launched, offering a virtual tour of the Prometheus spaceship.[174] Another video, 'Quiet Eye', starring Rapace as Shaw, was released on May 16, 2012, and debuted on the Verizon FIOS Facebook page.[164] In a telephone call monitored by Yutani, a fictional company from the Alien series, Shaw requests Weyland's aid to seek out alien life.[175] In France, the Saint-Martinghost train station was converted to resemble alien architecture from the film, and was visible to passing commuters.[176] 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.[177][178] Another video followed in September 2012, featuring Elba's Captain Janek preparing for a mission.[179]
At the May 2012 Digital Hollywood conference, Lindelof said that the videos originated from the question of the film's status as an Alien prequel. It was decided that creating videos with the film's stars would generate more interest than any commentary about its connection to the Alien films. He also said that the videos needed to be cool enough to justify their existence, but not so important that their absence from the final film would be an issue for audiences.[180]
Release[edit]
The premiere of Prometheus took place on May 31, 2012, at the Empire cinema in Leicester Square, London.[126][181] The film was released in the United Kingdom on June 1, 2012,[122] and in North America on June 8, 2012.[81] It was simultaneously released in IMAX theaters and in 3D,[182] and it is encoded for D-Box motion seats that provide physical feedback to the audience during the film.[183]
Pre-release[edit]
In the United Kingdom, approximately £1 million ($1.6 million) of tickets were pre-sold.[184] 18,827 tickets pre-sold for the London IMAX, the largest IMAX screen in the country, which broke the theater records for the highest grossing week of pre-sales with £293,312 ($474,687), and the highest grossing first day of pre-sales with £137,000 ($221,717).[185] It extended this record to 30,000 tickets sold and £470,977 ($737,588) earned, and become the most pre-booked film at that theater, exceeding the performance of high-profile IMAX releases including Harry Potter and the Deathly Hallows â Part 2 and Avatar.[186]
In North America, audience tracking showed high interest among males, but low among females.[187] In the week before the film's release, predictions were conflicted on whether Prometheus or Madagascar 3: Europe's Most Wanted (the first family-oriented film of the summer),[188] which were released simultaneously, would reach number 1 for that weekend. On June 6, 2012, Fandango reported that with 42% of daily sales Prometheus was beating Madagascar 3. The online tracking for Prometheus surged with each additional promotional footage.[189]Prometheus was predicted to earn approximately $30 million, and Madagascar 3 around $45 million.[190] As the weekend approached, tracking suggested a $55 million debut for Madagascar 3 and $50â$55 million for Prometheus.[191]Prometheus was disadvantaged by Madagascar opening in 264 more theaters and its adult rating.[192]
Reception[edit]Box office[edit]
Prometheus was considered a financial success overall. After a strong start in North America, the film failed to meet the studio's expectations, but it continued to perform strongly in other territories until the end of its theatrical run.[193][194][195][196][197]Prometheus earned $126.4 million (31.4%) in North America and $276.9 million (68.6%) elsewhere for a worldwide total of $403.4 million,[3] making it the 18th highest-grossing film of 2012,[198] and at its peak it was the 155th highest-grossing film worldwide unadjusted for inflation.[199]
Prometheus was released in 15 markets between May 30 and June 1, 2012âabout a week before its North American release. The earlier start in these countries was timed to avoid competition with the start of the 2012 UEFA European Football Championship the following week. On its opening day, which varies depending on the country, it earned $3.39 million in the United Kingdom,[200] $2.2 million in Russia,[201] and $1.5 million in France.[184] The film earned $34.8 million during its opening weekend from 4,695 theaters in 15 markets, and debuted at number 1 in 14 of them, with an average of $7,461 per theater. Its overall rank for the weekend was third behind Men in Black 3 and Snow White & the Huntsman.[202] Its opening weekends in the United Kingdom, Ireland and Malta ($10.1 million), Russia and the CIS ($9.80 million), and France and the Maghreb region ($6.68 million) represented its largest takings.[203][204] By June 8, the film had opened in a total of 50 markets, and was also successful during its opening weekends in Australia ($7.2 million) and South Korea ($4.2 million).[205] During its late August opening in Japan, the film earned $9.6 million.[206]
In North America, Prometheus earned $3.561 million in midnight showings at 1,368 theaters, including $1.03 million from 294 IMAX theaters, and went on to earn $21.4 million through its opening day.[207] During its opening weekend, the film earned $51.05 million from 3,396 theatersâan average of $15,032 per theaterâranking second behind Madagascar 3 ($60.4 million), which made it the second largest opening for a film directed by Scott behind his 2001 thriller Hannibal, the third largest second-place opening, the ninth largest opening for a prequel, and the tenth largest for an R-rated film. The largest demographic of the opening weekend audience was over the age of 25 (64%) and male (57%). 3D showings accounted for 54% of ticket sales, while IMAX contributed 18%âthe majority of which was accounted for in the 3D figure.[3][208][209] The film closed on September 20, 2012 after 105 days (15 weeks) in release with a total gross of $126.4 million. The figure made it the number 43 highest-grossing film to never finish a week as the number 1 film.[3]
Critical reception[edit]
Michael Fassbender in 2012. Critics were near unanimous in praise for his portrayal of the android David.
The film garnered a 74% approval rating from 299 criticsâan average rating of 6.96/10 on the review-aggregation website Rotten Tomatoes, which said, 'Ridley Scott's ambitious quasi-prequel to Alien may not answer all of its big questions, but it's redeemed by its haunting visual grandeur and compelling performancesâparticularly Michael Fassbender as a fastidious android.'[210]Metacritic provides a score of 65 out of 100 from 42 critics, which indicates 'generally favorable' reviews.[211]CinemaScore polls reported that the average grade moviegoers gave the film was a 'B' on a scale of A+ to F, while audience members under 25 rated it the highest at A-.[207][212] Reviews frequently praised both the film's visual aesthetic and design, and Fassbender's performance as the android David received almost universal acclaim. However the plot drew a mixed response from critics, who criticized plot elements that remained unresolved or were predictable, tempered by appreciation for the action and horror set-pieces.[210][213][214][215]
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The Hollywood Reporter's Todd McCarthy called the film's visuals vivid, stunning, and magnificent on a technical level, and praised the performances of Fassbender, Rapace, and Theron, but wrote that the film 'caters too much to imagined audience expectations when a little more adventurous thought might have taken it to some excitingly unsuspected destinations.'[216]Time Out London's Tom Huddleston wrote that 'the photography is pleasingly crisp and the design is stunning', but that, '[t]he script feels flat .. the dialogue is lazy, while the plot, though crammed with striking concepts, simply fails to coalesce. After an enjoyable setup, the central act is baggy, confusing and, in places, slightly boring, while the climax has flash and fireworks but no real momentum.'[217]Emanuel Levy wrote that the writing was his only complaint about the film, which, he said, 'is not only uneven, but promises more original ideas and thematic provocations than it can possibly deliver.'[218]Roger Ebert gave the film 4 out of 4 stars, labeling it a 'seamless blend of story, special effects and pitch-perfect casting, filmed in sane, effective 3-D that doesn't distract.' Ebert wrote that Rapace's performance 'continues here the tradition of awesome feminine strength begun by Sigourney Weaver in Alien', but considered that Elba's Janek has the most interesting character evolution. Ebert thought that the plot raises questions and does not answer them, which made the film intriguing and parallel to the 'classic tradition of golden age sci-fi'.[219] He later went on to name it as one of the best films of 2012.[220]
Total Film's Jonathan Crocker wrote that the plot successfully integrated itself with Alien's mythology while offering its own original ideas.[221]Entertainment Weekly's Lisa Schwarzbaum was positive towards the cast, particularly Rapace, and the cinematography.[222]Salon's Andrew O'Hehir wrote that the film was 'somber, spectacular and ponderous', but that the 'portentousness and grandiosity .. is at once the film's great strength and great weakness' and criticized the characters for lacking common sense. O'Hehir also mentioned Wolski's cinematography and Max's production design.[223]The New York Times'A. O. Scott criticized the story as weak, and argued that the narrative's twists and reversals undermine its 'lofty, mindblowing potential'. He said the film has no revelations, just 'bits of momentarily surprising information bereft of meaning or resonance', and that Rapace is a 'fine heroine, vulnerable and determined'.[224]
Variety film critic Justin Chang wrote that the film's narrative structure was unable to handle the philosophical dimension of the plot, and that Prometheus was lazily deferring key plot points under the presumption that a sequel would be made.[225]The Guardian'sPeter Bradshaw wrote that Prometheus was 'more grandiose, more elaborateâbut less interesting' than Alien, and lacked the latter's 'central killer punch'.[226] Ian Nathan of Empire magazine was unimpressed by Rapaceâwhom he described as an unconvincing leadâand said that with 'a lack of suspense, threadbare characters, and a very poor script, the stunning visuals, gloopy madness, and sterling Fassbenderiness can't prevent Prometheus feeling like Alien's poor relation.'[227]The Village Voice's Nick Pinkerton wrote that the film is 'prone to shallow ponderousness', and that Scott 'can still mimic the appearance of an epic, noble, important movieâbut the appearance is all.' He criticized Rapace and Marshall-Green for failing to instill interest in their characters' relationship, but added: 'there are a few set pieces here that will find a place of honor among aficionados of body horror and all things clammy and viscous'.[228]
James Cameron said: 'I enjoyed Prometheus. I thought it was great. I thought it was Ridley returning to science fiction with gusto, with great tactical performance, beautiful photography, great native 3D. There might have been a few things that I would have done differently, but that's not the pointâyou could say that about any movie.'[229]
Accolades[edit]
Home media[edit]
In North America, Prometheus DVD and Blu-ray disc releases were listed for pre-order in partnership with Amazon on June 1, 2012, a week before the film was released in theaters. A limited number of cinema tickets for the film were offered as a pre-order incentive.[241] In June 2012, FX obtained the rights to the film's network television premiere.[242] On September 7, 2012, Fox announced that Prometheus would be the launch title of its new digital distribution initiative 'Digital HD'. The film was released on September 18, 2012, three weeks prior to its DVD, Blu-ray disc and Video on demand (VOD) release, for downloading and streaming through platforms including Amazon, iTunes, PlayStation Network and Xbox Live in over 50 countries.[243] The film was released on Blu-ray disc and DVD on October 9, 2012.[244] The Blu-ray disc edition of the film was released in a 2-disc set and a 4-disc 'Collector's Edition'. Both versions contain the theatrical cut of Prometheus, commentary by Scott, Lindelof and Spaihts, a DVD and digital copy of the film, alternate and deleted scenes, and other features. Additionally, the Collector's Edition contains the 3D version of the film and approximately 7 hours of supplemental features including a documentary on the film's production.[245] On October 8, 2012, it was reported that Fox had requested an extended version of the film for home media, but Scott refused to edit cut scenes back into the theatrical version of the film, which he considered his director's cut.[78] During its first week of sale in the United Kingdom, Prometheus was the number 1 selling film on DVD and Blu-ray Disc, outselling its nearest competitor by a factor of three.[246] An Ultra HD Blu-ray version is scheduled for release in September 2017.[247][248]
Sequel[edit]
Scott discussed a continuation of the series in March 2012, saying that Prometheus leaves many questions unanswered and that these could be answered in a sequel.[21][95] In June 2012, Lindelof said that while plot elements were deliberately left unresolved so that they could be answered in a sequel, he and Scott had thoroughly discussed what should be resolved so that Prometheus could stand alone, as a sequel was not guaranteed.[249] By August 2012, a sequel was announced to be in development for release no earlier than 2014.[250] Lindelof chose not to work on the new film, citing other commitments.[251]
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Titled Alien: Covenant,[252] the sequel premiered in London, England on May 4, 2017,[253] and was released in the United States on May 19, 2017.[254] Set eleven years after the events of Prometheus,[255]Alien: Covenant's story follows the crew of the Covenant space ship who land on an uncharted and seemingly uninhabited planet. The film stars Katherine Waterston,[256]Danny McBride,[257]Demian Bichir,[258]Jussie Smollett, Amy Seimetz, Carmen Ejogo, Callie Hernandez, Alex England and Billy Crudup.[259][260][261] On release, Alien: Covenant earned a worldwide box office gross of $240.7 million (compared to Prometheus' $403.4 million),[262][3] and received generally favorable reviews.[263][264] A sequel to Alien: Covenant is in development.[265] In 2013, a comic book series was announced by Dark Horse Comics that serves as a spin-off to Prometheus. The series, titled Fire and Stone, is an Alien vs. Predator crossover featuring content exclusive to Prometheus. The first issue of Fire and Stone was released on September 10, 2014.[266]
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