Quote from: ThisBethesdaSea on Jan 07, 2012, 04:55:56 AM
I think my post was misunderstood in totality. It's not that I don't think Cameron could make a witty and thrilling sequel to Prometheus, it's that he would turn what might turn out to be complex and intelligent science fiction into a testosterone summer blockbuster negating the larger mythos. I base this off of ALIENS and how the mystery that Scott created, Cameron left behind, by nature of his instincts as a writer/director. Cameron doesn't have the grit of of Scott, they don't tell the same kind of stories. Scott directs with a bit of danger, Cameron is completely safe for the most part.
I don't want to see a safe Prometheus sequel.
And what do you call things like '
GI Jane', '
Black Hawk Down' and '
Gladiator'?
Oh, but Scott is just as capable of putting in blockbusters with a superficial vibe in parts as anyone else. Just because they're well-crafted, doesn't mean they're not deliberately aimed at the blockbuster market.
Personally, I felt things like '
Kingdom Of Heaven' and '
Robin Hood' felt dull and uninteresting. They didn't engage me in their characters and Ridley Scott going for Orlando Bloom, of all people, as someone who was meant to come across as a leader of men... Ugh. No. That struck me as insane.
No, I think they've both got things in common and have, in a sense, perhaps even both learnt from one another (and don't forget Cameron's private screening of '
Avatar' was what apparently convinced Scott to make '
Prometheus' in 3D - they're definitely friends and speak to one another).
Remember, the director, himself, has said that this film is aiming to deliberately be "epic". That doesn't infers a purposeful aim at the blockbuster market, not the artistic mystery demographic.
'
Aliens' was never trying to be '
Alien', but that doesn't mean to say it wasn't extremely dark and, yes, mysterious in places. The scenes of wandering through the colony and finding nothing but gaping holes caused by acid and "no bodies" comes to mind - as does visiting the nursery chamber and, later, the Queen's reveal. Then, later, when the extra scenes were added, the discovery of the derelict. Cameron knew how to play on the fears and expectations of an audience which knew, in advance, what those clues meant, without diminishing their atmospheric
value.