Spaihts VS Lindelof

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  • #61
    Re: Spaihts VS Lindelof

    Originally posted by MacG View Post
    Elaboration, please?
    Put it this way: Damon did not want to work on that sequel. Even if they paid him all the money in the world he was not returning for the life of him. Feature writing is hard. Writing one-hundred million dollar features is downright impossible. He ran back to television with a stop in an easy-George-Clooney-film first.

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    • #62
      Re: Spaihts VS Lindelof

      Originally posted by absolutepower View Post
      Put it this way: Damon did not want to work on that sequel. Even if they paid him all the money in the world he was not returning for the life of him. Feature writing is hard. Writing one-hundred million dollar features is downright impossible. He ran back to television with a stop in an easy-George-Clooney-film first.
      Ah. Well, that's not all that surprising when you consider how vilified he was (whether rightly or wrongly) for his work. I think most of the film's detractors breathed a sigh of relief when it was announced he wouldn't be returning.

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      • #63
        Re: Spaihts VS Lindelof

        Originally posted by MacG View Post
        Ah. Well, that's not all that surprising when you consider how vilified he was (whether rightly or wrongly) for his work. I think most of the film's detractors breathed a sigh of relief when it was announced he wouldn't be returning.
        Ridley Scott is an amazing talent, but the balance of power in those creative meetings was lopsided. When Damon was told to 'add this', he did. Ridley wanted to make a film about God (essentially) whereas Lindelof wanted Aliens 2.0. Earlier versions of Lindelof's script were pretty great, but it changed when Ridley saw maybe his last opportunity to make a massive science-fiction film with an A-list cast. You can't argue with a Ridley Scott and expect to make the next meeting.

        You suck it up.

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        • #64
          Re: Spaihts VS Lindelof

          Originally posted by absolutepower View Post
          Ridley Scott is an amazing talent, but the balance of power in those creative meetings was lopsided. When Damon was told to 'add this', he did. Ridley wanted to make a film about God (essentially) whereas Lindelof wanted Aliens 2.0. Earlier versions of Lindelof's script were pretty great, but it changed when Ridley saw maybe his last opportunity to make a massive science-fiction film with an A-list cast. You can't argue with a Ridley Scott and expect to make the next meeting.

          You suck it up.
          Agreed. I'll be the first to admit I walked out of the theatre cursing Lindelof's name but, once I simmered down, of course I knew he was just a vessel for Ridley's (crappy) vision.

          It still doesn't explain why Rothman didn't jump into the fray when he saw how far Scott was straying from Spaihts concept...one the studio was apparently onboard for considering it got the whole endeavor the greenlight.

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          • #65
            Re: Spaihts VS Lindelof

            Originally posted by absolutepower View Post
            Put it this way: Damon did not want to work on that sequel. Even if they paid him all the money in the world he was not returning for the life of him. Feature writing is hard. Writing one-hundred million dollar features is downright impossible. He ran back to television with a stop in an easy-George-Clooney-film first.
            Are you implying TV writing isn't as hard? And why is that George Clooney movie easy?

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            • #66
              Re: Spaihts VS Lindelof

              Originally posted by cap7 View Post
              Are you implying TV writing isn't as hard? And why is that George Clooney movie easy?
              God no. It's incredibly difficult, but Damon will have control in television. He had none in Prometheus. Obviously making a film is difficult with any actor, but many people will be involved with Tomorrowland.

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              • #67
                Re: Spaihts VS Lindelof

                It sounds like Lindelof has calendar-issues. That's where all the proof points, anyway. Not too surprising.

                And no matter how vilified the script for Prometheus gets in these boards, ironically it's still better than anything I've ever read by the DoneDealPro members (excluding our handful of pros). Which is something to think about, if one is willing to do so.

                The script has problems, yes, but when it works, it really works.

                I hope that some day I will be able to write, and especially to direct, on that level.

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                • #68
                  Re: Spaihts VS Lindelof

                  Originally posted by tuukka View Post
                  The script has problems, yes, but when it works, it really works.
                  And those moments that work are usually because of what Spaihts originally had on the page....

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                  • #69
                    Re: Spaihts VS Lindelof

                    'Prometheus' & The Death of a Masterpiece article...

                    This ingenious idea should have been the making of a modern masterpiece, but instead was lost amidst basic levels of failure. Why? It wasn't that Prometheus didn't answer the questions it raised, it was that those answers were not concise, were not clearly pointed and relied too heavily on information not present within the film. The fact that this 'truth' is not clear within the film demonstrates this aptly. Most importantly though they were lost amongst the chaos of two very different films clashing and fighting for dominance. Rarely do the perils of rewriting manifest as vividly as they do here. Whether you blame Spaihts, Lindelof or Scott himself, the simple fact is that Prometheus is a film ruined by its attempts to do too many things and tick too many boxes. At its heart it is a musing of life's greatest mysteries, and a fascinating attempt to answer them, but it is watered down by tendencies towards more action based modern genre cornerstones and poorly hashed horror conceits.

                    Everything suffers, not just the mystery aspects. Characters are flat and range from uninteresting to unlikable due to a lack of time spent on their development. The wonderful Noomi Rapace is wasted as the provincial protagonist since we don't know her well enough to feel her pain, and since she doesn't seem to have a character to work with. Elizabeth Shaw is a pawn in the plot who merely has things happen to her without displaying any real personality. In contrast, her lover Charlie Holloway is deeply irritating and loathsome due to lacking the depth to justify his negative behavior. The film's most interesting character is Michael Fassbender's David, the android. The non-human cast member feels the most authentic. Elsewhere, set pieces lack suspense or tension since we haven't had a chance to become invested. An attack by a mutated crewmember is almost boring when it should be exhilarating, for example, and comes across as a compromise to include more action.
                    http://www.soundonsight.org/promethe...a-masterpiece/

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                    • #70
                      Re: Spaihts VS Lindelof

                      Yep
                      "The most terrifying thing is to accept oneself completely." ~Jung

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