Tracklist
1. A Planet [2:38]
2. Going In [2:04]
3. Engineers [2:29]
4. Life [2:30]
5. Weyland [2:04]
6. Discovery [2:32]
7. Not Human [1:49]
8. Too Close [3:20]
9. Try Harder [2:03]
10. David [3:00]
11. Hammerpede [2:42]
12. We Were Right [2:42]
13. Earth [2:35]
14. Infected [1:56]
15. Hyper Sleep [2:01]
16. Small Beginnings [2:11]
17. Hello Mommy [2:04]
18. Friend From The Past [1:14]
19. Dazed [4:29]
20. Space Jockey [1:29]
21. Collision [3:05]
22. Debris [0:44]
23. Planting the Seed [1:35]
24. Invitation [2:16]
25. Birth [1:25]
DOWNLOAD: alienprequel.zip (http://www.mediafire.com/download.php?x7744qsapag56rx)
Enjoy and roll on June 8!
let,s hear it!
:DH.T.A.P.:D
PCM
Thank you!
From an initial listen, I gotta say, it’s too bad Streitenfeld didn’t rely more on the orchestra. Too much of it seems like uninspired ambience with electronic droning the likes of Alien3(I love Alien3, but it seems less listenable here.) Tracks like "A Planet" and "Collision" are quite enjoyable, but there is too much electronic nothing between. Eh, I’m sure it will work well in the film.
And I’ve got to say this score fits PERFECTLY with the other movies. I’ll have to see how it will work on screen but from what I can tell it will be just as diverse
between suspense, action and amazement at the effects as in the Original and the other 3. A really nice mix of electronics and orchestral work. If you aren’t invested
in the Alien-universe or at least in the score(s) you probably won’t like this, but I do after having listened to all the involved people about what the themes of the movies
are and especially of course the theme of Prometheus which is quite different from the usual Alien movies of course.
Damnit. You got a link for me? Even if it’s YouTube, I don’t care – I can just rip it. As long as it’s SFX free, of course 🙂
The first trailer is here: Prometheus — Trailer Music (Audiomachine – "Judge and Jury") – YouTube (http://www.youtube.com/watch?v=SfKuPzEicu8)
I’m looking for the second uk extended trailer
The back half is this: Prometheus — International Trailer Music (Audiomachine – "Knights and Lords") TRAILER EDIT – YouTube (http://www.youtube.com/watch?v=nJtLh2ZJguM)
Enjoy and roll on June 8!
Holy shoot! Thanks for this! Can’t wait to hear it.
Is the score anything like the trailer music we’ve heard?
———- Post added at 09:34 PM ———- Previous post was at 09:20 PM ———-
LOL!
Prometheus
Miusic by: Marc Streitenfeld & Harry Gregson-Williams
Released: 2012
Format: MP3 @320
Size: 123 MB
Tracklista
01. A Planet [02:37]
02. Going In [02:03]
03. Engineers [02:29]
04. Life (Harry Gregson-Williams) [02:30]
05. Weyland [02:04]
06. Discovery [02:32]
07. Not Human [01:49]
08. Too Close [03:20]
09. Try Harder [02:03]
10. David [03:00]
11. Hammerpede [02:42]
12. We Were Right[02:42]
13. Earth [02:35]
14. Infected [01:56]
15. Hyper Sleep [02:01]
16. Small Beginnings [02:11]
17. Hello Mommy [02:04]
18. Friend from the Past [01:14]
19. Dazed [04:29]
20. Space Jockey [01:29]
21. Collision [03:05]
22. Debris [00:44]
23. Planting the Seed [01:35]
24. Invitation [02:16]
25. Birth [01:25]
ul.to
turbobit.net
http://turbobit.net/77hvoe9q33u1.html
freakshare.com
http://freakshare.com/files/lncuztrr/P-MSHGW.rar.html
Enjoy and Please Say Thanks 🙂
:smug:
can’t wait to hear this in the cinemas
let,s hear it!
It doesn’t. It couldn’t. Goldsmith created MUSIC for Alien. Lyrical, edgy that evolved from an orchestra with eerie augmentation. This score, if you want to call it that, is the reverse. It is more akin to something created by the sound effects department with the occasional interruption of an orchestra amongst all the strange tonalities. It probably fits the film, but isn’t a strong stand alone ‘musical experience’. Mostly weird noise.
Even Goldenthal’s masterful Alien 3 went from the sublime into incredible orchestrations tantamount to strangling sounds that grew into crescendos that were stunningly beautiful.
However, it is much appreciated that the poster took the time to offer this audible preview.
(the brief Goldsmith Homage IS quiet delightful and a nice touch of remembrance and respect)
Quality is MP3 320kbts
If you have subscribed my channel, you can have it in a few moment.
———- Post added at 02:28 PM ———- Previous post was at 02:08 PM ———-
Someone can tell me which songs composed by Marc and which tracks composed by Harry. Maybe Harry just helped Marc to compose some songs?
Ok… I know…. Only "Life" and "We Were Right" was composed by Harry 😉
If this is exclusivly out on itunes, how is this in 320kbps?
If this is exclusivly out on itunes, how is this in 320kbps?
That’s what I want to know. iTunes only goes up to 256…
If this is exclusivly out on itunes, how is this in 320kbps?
That’s what I want to know. iTunes only goes up to 256…
Exactly. The .aac files have been converted to .mp3 format, which is a shame. But hey, we can always shell out the $12 ourselves for the original, or wait another month for the physical disc. But, considering record companies have long abandoned the Red Book Audio standard in favor of DRM and other instrusive software, iTunes is probably the best bet overall.
———- Post added at 10:42 AM ———- Previous post was at 10:40 AM ———-
Goldsmith was the Best and still is
Tracklist
1. A Planet [2:38]
2. Going In [2:04]
3. Engineers [2:29]
4. Life [2:30]
5. Weyland [2:04]
6. Discovery [2:32]
7. Not Human [1:49]
8. Too Close [3:20]
9. Try Harder [2:03]
10. David [3:00]
11. Hammerpede [2:42]
12. We Were Right [2:42]
13. Earth [2:35]
14. Infected [1:56]
15. Hyper Sleep [2:01]
16. Small Beginnings [2:11]
17. Hello Mommy [2:04]
18. Friend From The Past [1:14]
19. Dazed [4:29]
20. Space Jockey [1:29]
21. Collision [3:05]
22. Debris [0:44]
23. Planting the Seed [1:35]
24. Invitation [2:16]
25. Birth [1:25]
DOWNLOAD: alienprequel.zip (http://www.mediafire.com/download.php?x7744qsapag56rx)
Enjoy and roll on June 8![/QUOTE]
Thanks for this man!
NEVER! All these compressed formats will never compare to a CD. This iTune crap is an illusion of any quality and meant to be listened on tiny devices that store gobs and gobs of music: compressed. Music was meant to be heard BIG. That’s why we bought expensive stereo equipment with superlative speakers. The youth of today are welcome to enjoy their earbuds. Even the music on the now ancient disc man with its insertion of a CD offered better sound via its earbuds.
A great deal of what I sample here sends me off to to purchase the original (if it can be found) and I greatly resent that some scores are now only available as downloads etc.
We are being duped by technology. (hold the applause… flowers or charitable donations, however, will be accepted)
😉
A great deal of what I sample here sends me off to to purchase the original (if it can be found) and I greatly resent that some scores are now only available as downloads etc.
We are being duped by technology. (hold the applause… flowers or charitable donations, however, will be accepted)
😉
I don’t disagree that the audio files on a "CD" are of a higher quality/bitrate than what’s currently offered through most digital downloads. In fact, you’re absolutely correct when you say technology is duping us. But, take a look at that "CD" of yours & tell me where the "Compact Disc Digital Audio" logo is. You know, the one required by Phillips & Sony that indicates the disc meets the audio standards set forth when the format was created. Unless you see that logo (or a Super Audio Compact Disc, or even a DVD-Audio logo,) you’re experiencing the bigger dupe first-hand.
I’ll rephrase my previous statement. The BEST bet overall is to get audio files (even compressed ones) directly from the source: The Artist.
aaaaaaaaaand I just realized I never thanked antovolk for posting this score in the first place. Thanks a bunch, antovolk!
There is a direct quote FRIEND FROM THE PAST and a few moments here and there of Goldsmith sound. As I wrote earlier, a nice homage to the original work & composer.
I am really curious about this. I hear that by movie’s end, we will see a full fledgd chest-burster. But I am only seeing bits and pieces around, and precious little fact. Obviously in the trailer we see the space jockey, and the eggs. Although the eggs look more tech than bio, at least for the begonning…
Awesome. I love the chest bursters. I definitely agree with you about the eggs, they’re totally different. You get a good look at one of them when David 8 is pulling something out of it (no doubt to bring back as a sample for Weyland/Yutani as he’s an Android)
Watch the long trailer (2:30) at 1:07 and 1:34.
And for the horror/ thriller moments? Elliot Goldenthals Alien3, for example "Hello Mommy".
And the rest is generic Marc Streitenfeld/ media venture bla bla bla. Who needs that?
And for the horror/ thriller moments? Elliot Goldenthals Alien3, for example "Hello Mommy".
And the rest is generic Marc Streitenfeld/ media venture bla bla bla. Who needs that?
No one necessarily ‘needs’ it, but there ARE ppl out there who love RCP music.
Unfortunately true. Hopefully the movie is better.
Yes, hopefully. Ridley Scott keeps hyping it and saying its not what you expect. I have faith. AND its rated R, so I am happy
What’s RCP stand for?
Remote Control Productions. It’s Hans Zimmer’s studio out in Santa Monica, formerly Media Ventures. It’s where Zimmer and all his protegees work
———- Post added at 01:05 PM ———- Previous post was at 01:02 PM ———-
The studio stood behind Scott and his cut for an R rating… but he has stated don’t expect face huggers or chest bursters… yet the trailer has some very obvious nasty stuff… as well as ghostly space jockey. The Goldsmith cue ‘old friend’ is a clue about SOMETHING. Never the less, the film, what little has been revealed looks interesting enough. (the music is growing on me: surprise) Scott actually wanted the actors to LIVE on the space ship set until refused for health code reasons. He’s an odd man. As Laurence Olivier once told Dustin Hoffman who stayed up all night to look sleep deprived for a film: "Couldn’t you just ACT?"
Ya, I was a little bummed out when he said not to expect anything too violent. But its not just violence, its the overall tone. I want the same tone as Alien, nice and dark. And the language and content, too. Just a more overall adult feel. When I saw the TV spot and heard the narrator (forget his name, but he’s well known) "In 3D, RealD 3D and IMAX 3D. Rated R", I screamed aloud and was jumping for joy
1: It’s not a star map or invitation: its a trap. I base this on the comment made by Rapace’s character Shaw. She says "We were so wrong." Considering how the discovery of the pictogram is the engine of the movie and how fundamental that belief is to Shaw and her partner Holloway (the male archaeologist) it is a reasonable assumption. But why is it a trap?
2: The aliens or xenomorphs are biological weapons of mass destruction. In ‘Alien’ Parker says of the creatures’s acid blood, "It’s got a great defense system. We don’t dare kill it." Everything about the alien seems tailored to it being a weapon: acid blood, polarized silicone for skin, making it as Ash notes "One tough little son of a bitch," to the point of where it can survive the vacuum of space (remembering the end of ‘Alien’), unrelenting aggression to any life form they encounter (these things have no ‘off’ switch) and they assume the shape of whatever creature they deposit their eggs into: if the host is human the alien is bi-pedal, if its a dog, the alien is a quadruped. Somebody built these things to be weapons.
3: The planet the crew discovers houses a weapons plant. That’s the dome like structure covered with glyphs we see in the trailers. In the first drafts of the ‘Alien’ script the crew of the Nostromo was supposed to find a dome shaped building where they would find glyphs detailing the alien’s life cycle: face hugger, chest burster and big chap. It was cut in ‘Alien’ for timing and budget reasons but its back for ‘Prometheus.’ In the film there are images of metal canisters that resemble the egg sacs seen in ‘Alien.’ There’s also a shot of the android David, (Michael Fassbender’s character) pulling what resembles an egg sac out of one of the canisters but an egg that’s not fully formed. The eggs and the creatures that follow are waiting for a template.
4: It’s a trap because its an intelligence test. The template is man. The star maps weren’t left behind as a universal group hug but rather a stranglehold. The aliens left them so when a civilization is technologically sophisticated enough to understand them that civilization would use the maps to find the planet – the mouse never sees the trap, only the cheese- and become the template for the next version of alien WMDs. In the trailer references are made to ‘ships’, ‘they’re leaving’ and ‘we won’t have any home to go back to.’ Earth is the target. As to the aliens’ reason for doing this, they could simply be warlike, they might be removing what they see as threats to their survival (any race that has the knowledge and tech to follow the star map could be competition) or colonization: if they can find the planet they have tech the aliens can appropriate and utilize.
5: And it goes like this. So here’s how I think the film unspools. Shaw and Holloway find the star maps and convince Weyland-Yutani to bankroll the expedition. They find the planet (not LV-426 which was essentially a planetoid and barely had a atmosphere which Ash described as "primordial") and the weapons factory dome. Holloway gets infected by some form of nanotech (there’s a scene of him seeing something in his eye) and he will later become the Space Jockey. (There’s another couple of frames in the trailer where the Space Jockey still has a human arm). The factory samples human DNA (those snake like appendages) and begins custom manufacturing eggs tailored to human physiology. The alien ships or ship start leaving for Earth and Janek the pilot (Idris Elba) rams the Prometheus into one of them to prevent their invasion of Earth.
6: ‘Prometheus’ sets up ‘Alien’ Weyland-Yutani has searched for the aliens ever since then. That explains the ‘contact alien life at risk of total forfeiture of shares’ clause in the Nostromo crew’s contracts. WY’s deep space mining is also a search for the aliens.
Those are my SWAGS. Personally, can’t wait to see what Scott and his team of writers, actors and technicians have come up with. ‘Alien’ and ‘Blade Runner’ were for me what ‘Jaws’, and ‘Star Wars’ were for others.
And how do you know if you didn’t saw the movie yet? Typical to bash a certain composer because it’s not like other ones.
aCTUALLY i LIKE THE SCORE. iT IS NOT USUALLY MY CUP OF TEA, BUT i LIKE THE FEEL OF IT. i THINK IT WILL WORK VERY WELL IN THE FILM, BASED ON WHAT i SEE IN THE PREVIEWS. aND, YEA. i THINK COMPOSER BASHING IS PRETTY PETTY.
True words …
Typical to bash a certain composer because it’s not like other ones.
i THINK COMPOSER BASHING IS PRETTY PETTY.
No, it’s a question of compositional skills. He performed on a lower level, that’s all.
It is like giving a toddler a piece of paper and pens in hand …
Now, now. DerKlanf expressed his opinion and offered a valid explanation- which I can’t argue, it is mostly audible soundscape (although I like the Goldsmith homage). I have never been impressed with this composer and I doubt this score will change that opinion. Yet it is a novelty and doubtless will suit the film. Anyway, who is going to HEAR the music… there will be so many explosions and screaming and screaming and screaming….. 😉
It is the same discussion every time. Some take it personally. What you personally like is not necessarily
on the highest level. It is hard to understand.
@mgm5215 (for everyone else too)
The Ridley Scott music problem Part I (http://www.filmtracks.com/titles/alien.html)
The Ridley Scott music problem Part II (http://www.filmtracks.com/titles/legend.html)
Good ambient score! Again, like what everyone else said, nothing amazing theory-wise but it has some great timbres and sound design. In some ways, it kinda reminds me as a electronic version of some of the 20th century classical music in the Shining. "Going In" reminded me of Aliens for some reason and it was fun to listen to "Friend from the Past", though I think they should’ve picked a different synth patch for Goldsmith’s theme.
But back to the music topic: I had listened to the score before and was not really that impressed with it but in the movie there were so many scenes where it was really beautiful and seemed much grander than when I first listened to it on CD. I’m listening to it again just now and it gets better.
With regard to the score… you actually said it yourself… in certain scenes it was very beautiful in deed. But for me that was exactly the problem. In my opinion this movie required a suspenseful dark score in order to work with the story and the images. The score was at times to "bright" and beautiful. For a different kind of story or material it might have been perfect… but for "Prometheus" it did not work, well at least not for me. As I did not listen to the score prior to the movie experience it will however be interesting to listen to the score now at home and see what I will make of it… in terms of a standalone listening experience…
New PROMETHEUS TV Spots – Twinkle, Twinkle, Little*Star – News – GeekTyrant (http://geektyrant.com/news/2012/6/4/new-prometheus-tv-spots-twinkle-twinkle-little-star.html)
Would it be possible for anyone to rip it from the TV spot and post it here? I would just LOVE to have it
I read somewhere that Marc Streitenfeld wrote up to about 100 minutes of score. Therefor, there’s a goldmine of unreleased music that I hope will make it to a complete score leak someday. That shoulds enhance the listening experience just a tad.
There’s ALWAYS unreleased score out there for nearly every film. But hey, the complete score for Streitenfeld’s Robin Hood was leaked, so maybe one day this will leak too.
but I didnt hear the sandstorm track on the OST, which I hoped would have been on there
end credits suite would be a nice alternative tho
I hope TDKR will be at least 10 times more interesting and intelligent than "this", otherwise that would be a giant letdown from the previous Nolan films.
Seriously, Prometheus has more holes than a swiss cheese, come on…
I was expecting a very different but nevertheless great movie… well, at least one where the story would be great (and makes sense) and where the acting skills would be excellent. Unfortunately I did not get either! However, if any of you can live with top Special Effects and great sets alone, then this movie might be the one for you. Sorry, but I was expecting a lot more from Ridley Scott.
On a different note: having listened to the score now separate from the movie… I actually quite like it. Still, imho this does not fit the movie.
???Prometheus???, the film and his music, are only a little better than what we usually get to see as Sci-Fi (not science fiction). Did I ever mention that I look at Herr Erich von D???niken as a fool? Welcome to Mr. Scott at the club. The fact remains, Mr. Scott is not inspired and Marc Streitenfeld is not Jerry Goldsmith. I’m sorry for the fans of both, but I remain a friend of the early Scott and his three first movies. And anyway, the Goldsmith of all years. All in all, I like the music of ???Prometheus??? better than the movie. And the music I do not like very much. Anyone still remembers to the music of "2001 – A Space Oddysee" (not the score of Alex North) and Ennio Morricone’s wonderful composition to "Mission to Mars"? Ah, Peace.
… And the music I do not like very much. Anyone still remembers to the music
of "2001 – A Space Oddysee" (not the score of Alex North) and Ennio Morricone’s
wonderful composition to "Mission to Mars"? Ah, Peace.
This score is the helpless attempt to create something significant. It reminds
me more to the music of Vangelis, the media venture music library and a
Elliot Goldenthal temp track. As it may, Ridley Scott’s relationship to "his" composers
was never particularly successful. He like more the simple and predictable music stuff.
Just sayin’
Criticism thrives on comparative. I’ve seen the movie and I’ve heard the music.
"Alien" is a better movie than "Prometheus" and Jerry Goldsmith wrote a better score.
My personal "Alien" score ranking:
01. Jerry Goldsmith – Alien
02. Elliot Goldenthal – Alien3
03. Brian Tyler – Aliens vs. Predator
04. James Horner – Aliens
05. Marc Streitenfeld – Prometheus
06. John Frizzell – Alien Resurrection
07. Harald Kloser – Alien vs. Predator
My personal "Alien" movie ranking:
01. Ridley Scott – Alien
02. David Fincher – Alien3 Director’s Cut
03. Jean Pierre Jeunet – Alien Resurrection (04?)
04. James Cameron – Aliens (03?)
05. Ridley Scott – Prometheus
06. Strause Brothers – Aliens vs. Predator
07. Paul W.S. Anderson – Alien vs. Predator
"Alien" is a better movie than "Prometheus" and Jerry Goldsmith wrote a better score.
If Jerry was still alive, surely wrote soundtrack to Prometheus.
My personal "Alien" score ranking:
01. James Horner – Aliens
02. Jerry Goldsmith – Alien
03. Elliot Goldenthal – Alien3
04. Brian Tyler – Aliens vs. Predator : Requiem
05. Marc Streitenfeld – Prometheus
06. John Frizzell – Alien Resurrection
07. Harald Kloser – Alien vs. Predator
My personal "Alien" movie ranking:
01. James Cameron – Aliens
02. Ridley Scott – Alien
03. David Fincher – Alien3
04. Ridley Scott – Prometheus
05. Jean Pierre Jeunet – Alien Resurrection
06. Strause Brothers – Aliens vs. Predator : Requiem
07. Paul W.S. Anderson – Alien vs. Predator
To benuit: yes, sure Goldenthal. From each of them a little. What a mishmash. But this is also the film.
As for the music, I am constantly humming the electro motif. I noticed there is the version of this that plays over the storm sequence. I like that version because of how it eventually outdoes the other variations heard on the OST, from the frantic strings to the manic choir. I am glad it played over the end credits, so I could listen to it again before leaving the cinema. I wish there was a way to get a clean version of the end credits, or better yet, a leak of the complete score.
The film itself is a big letdown, IMHO. Great visuals and reasonably good acting, but the characters/motivations are handled with extreme clumsiness and the "big ideas" are dealt with on only the most superficial level, i.e. expository dialogue. Alien is a first-rate thriller that works on that level but has subtexts that suggest deeper themes and resonance; Prometheus has virtually no subtext and a story that was purposely gimped in order to require sequels and [re-]start a franchise. In other words, another empty hype machine.
*Sigh. And I had been looking forward to this one even more than Dark Knight Rises.
So, here’s where me being something of a mythology buff comes in handy. Before I can go into anything, we need to go describe the myth of Prometheus first. Prometheus was a Greek god who made man out of clay. He was the Greek Creationist. And that was all fine and dandy by the Greek Gods – more things to have fun with (and have fun with us they will. Oh Zeus, you pervert you). However, we were suffering. The world was a cold place, and not to mention that it was dangerous too. Monsters and all sorts of terrible things that would keep on eating us. So Prometheus granted us the gift of fire – something reserved for the gods. For this he was strapped to the rock to have a hawk tear at his groin and eat his organs every day for all of eternity.
The image I want for you is for a creator – or parent if you will – to a) sacrifice itself for it’s young or b) the image of the ripped groin. These two images appear often, and are usually linked symbolically.
Now from here on out this is going to be as spoiler-ific as you can get. So BACK AWAY if you have not seen the movies.
Ahem. So the very first time we see the concept of a creator performing a sacrifice is the very first scene. Right off the bat we seen an Engineer sacrificing itself, drinking the black liquid that decomposes it’s DNA. However, it should be noted in the moments before it was reluctant. It looked at as if it is asking itself "Is there another path?" It seemed to me very reminiscent of Jesus in the Olive Garden.
Then we got to the room with all of the vases and murals. On the far wall on we see a carving of a creature posed in a cross like shape, as if it was nailed to a crucifix. This is a reference to Jesus – whom in Christiandom is God who created us and sacrificed Himself for us. And then there are the murals…one of which are of a man suffering from a wound at his groin. This is a direct reference to the film’s namesake.
And then there is the c-section/surgery scene. Shaw was cut…at the womb, near the groin.
So there is a great deal of symbolism in relation to the mythological Prometheus. But that’s not all! There is also the theme of sacrifice. The Engineer at the beginning. And then there are those who are against self sacrifice…Mr. Weyland, who wanted to artificially extend his life. At some point, between when the Engineers created us and the event 2,000 years ago, we did something to displease our creators. I think it was when we started to selfishly began to believe, as a species "Every Man for Himself". From the first scene, I gather the Engineers to be beings that believed in sacrificing themselves for the greater good. That it is better to sacrifice for love than to live forever for ill.
So, the very first time we make contact with the Engineers in 2,000 years it is with an old man, who wants to extend his life beyond what is natural and good, and is using a being who is artificial and false to relay his messages. Could we have picked a worse ambassador? I don’t think so.
So that is why the Engineer was so outraged. And why it went for David first, tore off his head, and then beat Weyland to death with it. As a final message to all of humanity. "You are wrong."
Prometheus also continues the message of parental rejection that has been throughout the series. Weyland rejecting his daughter for his inhumane robotic son, Shaw rejecting her alien child (who ironically enough came back to save her, but would in the end spawn one of mankind’s greatest enemies), and the Engineers rejecting us.
So, no, there IS alot of subtext in the film. A whole lot.
As for the score, I like it more now that I’ve seen the film. I think scores should be invisible when I watch a movie. The last thing I want is to be distracted by a score, or alerted about something that’s about to happen. I thought it worked well. The only time I was aware of the score were during the Gregson-Williams passages, which were slower scenes.
Life (2:30)
Prelude n15 raindrop (Frederyk Chopin)
Invitation (2:16)
Hyper Sleep (2:01)
Friend From The Past
Weyland (2:04)
A Planet (2:37)
Too Close (3:20)
Discovery (2:32)
Going In
Hammerpede (2:42)
Not Human (1:49)
Try Harder (2:03) (album version ?)
Small Beginnings (2:11)
We Were Right (2:42)
Infected (1:56)
Hello Mommy (2:04)
Engineers (2:29)
Dazed (4:29)
Space Jockey (1:29)
Collision (3:05)
Debris (0:44)
Planting The Seed (1:35)
Earth (2:35)
Birth (1:24)
Prelude n15 raindrop (Frederyk Chopin) (reprise)
David (3:00) (unused)
Prometheus is about as deep as a tidal pool.
***
The score is adequately ambient but certainly of no great measure. All three times I’ve listened to the soundtrack???about half-way through???I quite forget I’m actually listening to anything???it’s so nondescript.
Download (http://www.peejeshare.com/files/362145656/Procho.rar.html)
A more articulate representation of my meaning is that Alien uses its subtexts of rape to enhance the thriller storyline, and larger issues such as biomedical engineering and corporate ethics are hinted at without allowing the plot to be dominated by them. Prometheus, however, defines itself through its thematics but accomplishes very little (saving up true revelations for the inevitable sequels) while also suffering from terrible plot and character contrivances, including probably the most unprofessional depiction of scientists since Armageddon. The points of humans mistreating artificial life and our ego and ambition overpowering our sense of morality are well covered in science fiction and the only angle this film seemed to offer was the old "chariots of the gods" theory (that is, well, old) as seen through the prism of the Alien universe. Other than repeating well-worn thematic material, what does this film offer besides great visuals, crap characters, and sloppy plotting? And, yes, Blade Runner is also pretty sloppy (at least as far as plot structure and pacing is concerned) but its characterizations are relatively consistent and the world has enough texture to remain interesting on its own merits on top of the thematic material.
Prometheus is sleekly designed and I’m glad that at least it attempted to be interesting, but ultimately I feel the film fails at a fundamental level. However, I’m a big fan of The Fountain while just about everyone else in the world thought it was pretentious nonsense, so go figure.
EDIT: This article (http://www.liveforfilms.com/2012/06/06/a-theory-about-prometheus-and-the-space-jockeys/?utm_source=zergnet.com&utm_medium=referral&utm_campaign=zergnet_23509) makes a lot of good points. "All this talk of the film raising deep questions about life and they did not think through the little obvious things."
Prometheus is about as deep as a tidal pool.
***
The score is adequately ambient but certainly of no great measure. All three times I’ve listened to the soundtrack–about half-way through–I quite forget I’m actually listening to anything…it’s so nondescript.
It was also written by Spaihts, whose "Passengers landed on the Black List of the best unproduced scripts" (src: io9). Lindelof just handled the conversion from strict Alien prequel to a movie that simply took place before it and in the same universe.
And a tidal pool is pretty deep for frogs and ants. If you are just going away what I said without adding anything to the discussion, why bother saying anything at all? I don’t mind you disagreeing with me, so long as you actually provide something.
Please do not communicate too much detail …
I think this one here is very good as well:
cavalorn: Prometheus Unbound: What The Movie Was Actually About (http://cavalorn.livejournal.com/584135.html)
That article certainly raises some interesting points, although I also think it may be a little too generous (i.e. the exploding head, which appeared to be involuntary to my eyes in the film). Even that author concedes that his first reaction to the film was disbelief at the implausibility of the characters’ motivations.
I have decided to give the film another watch. I’m hoping that with my expectations better in check, knowing that it’s not going to pull off a perfect synthesis of 2001 and Alien, that I’ll be able to better enjoy it for what it manages to accomplish on its own.
P.S. Th original cut of the film ran 2hrs and 27mins long. So fuck the pre-order. I’m waiting on the Extended "Director’s" Cut, which we ALL know is coming.
Can’t wait to see it this weekend! Can’t believe it’s not R rated down here.
Has Ridley Scott ever had a film that was hurt by a "Director’s Cut?"
(Eva Green won the role in that James Bond film based on her performance in KOH’s director’s cut… intense, heart-breaking character development that was axed in favor of, well, people being axed in the theatrical version)
For a modern blockbuster I thought it worked well enough. I wasn’t bored or insulted and the visuals were technically stunning, with the best, most consistent use of 3D I’ve seen at the cinema.
The biggest issue is that practically all the characters are ready-mades from the Modern Film Essentials Douchebag Kit. Sadly, they’re also uncharismatic, unmotivated douches to boot. While many of the characters in the first Alien are minimally written, they’re handled in a natural manner and the actors involved bring humanity to even the smallest role. Most of the cast here aren’t up to that. Charlize Theron is a pointless and one dimensional antagonist (we have plenty of threat elsewhere) and the less said about the ‘scientists’ the better. The sacrifice at the end that’s supposed to be a big moment is incredibly hollow too, involving a thinly drawn captain who has a few wisecracks and two characters who maybe have one (bad) line each in the whole thing. Fassbender of course displays his usual skill, but it’s hard to escape the fact that his character is a shallow HAL/Ash mashup. Add in to all this that the story basically progresses through lapses in logic, non-existent character motivation and complete non-sequiturs and it’s easy to see why some people feel let down. My own expectations were set at the summer blockbuster level of obnoxious stupidity though, so I was actually pleasantly surprised! 🙂
Doublehex’s discussion of the themes is very interesting and much appreciated. I can go along with some of this.. however, I have to say, throwing in some mythological nudges and winks into a film doesn’t automatically make it any more meaningful. Like the Lawrence of Arabia scene, which was only really there as a little lollipop for cinefiles, the symbolism seems both too deliberate and an afterthought.
My own interpretation of the crucified xenomorph murals/carvings was that the event 2000 years ago that made our Giant creators want to destroy us must have been the rise of Christianity. We created ‘false idols’ and institutionalised them – men in our ‘own image’. To me it read as an ironic ‘death to Christianity’ pledge, a suggestion that it’s vain, false and corrupt. It ties in to the potted explanation of the Prometheus myth near the start as well, his being punished for seeking to make man ‘equal to the gods’.
Now that would already be sledgehammer enough if you ask me, but I discover upon reading an interview with Scott that it’s even worse. He explicitly states that they wanted to suggest that Jesus himself was an alien and the giants are cross because we killed him. So… annihilation time =/
This type of hokey crap is so beneath the mystery and primal power of the original Alien that I’d rather forget I read it.
Tazer also makes a great point that films like Alien and 2001 make you feel their underlying themes through the power of their strange imagery and through the very rhythms of the film itself. Prometheus has lots of eye candy but it’s really all very conventional, with little in the way of atmosphere and tension. I don’t think I was even scared once (and I scare pretty easily!).
A good enough remix then of elements and iconography from the original Alien movies (contaminated crew member not allowed on board, chest burster equivalent scene, pregnancy, sneaky android gets decapitated etc). Enjoyable but no classic.
EDIT -In regards to the score, it sounded to me like Scott was back up to his old tricks and ditched much of Streitenfeld’s music in favour of constant un-varied repetitions of Gregson-Williams theme. I can’t say I missed it!
Star Trek: The Motion Picture (1979), Jerry Goldsmith (3-CD) (Score-CD)
Auf 10000 St???ck limitiertes 3-CD-Set mit 65 Tracks und 220:51 Minuten Laufzeit
Infos vom Label: "La-La Land Records, Sony Music and Paramount Pictures boldly go where no soundtrack reissue has gone before with this deluxe 3-CD set of 1979‘s STAR TREK: THE MOTION PICTURE, composed and conducted by Jerry Goldsmith. The first big screen voyage of Captain Kirk and Mr. Spock was a high budget and ambitious undertaking that introduced Goldsmith’s famous and enduring Star Trek march (later used as the main theme for Star Trek: The Next Generation) as the cornerstone of an epic science fiction musical odyssey. Like the film’s refit starship Enterprise, La-La Land’s lavish presentation presents the score anew: fully restored, remixed and mastered from the first generation multi-track masters by Bruce Botnick, the original album co-producer and Goldsmith’s long time scoring engineer. "To put together the complete score the decision was to go back to the original Analogue 16-track 2-inch 30 i.p.s. masters," Botnick explains. "John Davis at Precision Audiosonics baked each of the 37 rolls in a convection oven at 110??? for eight hours so that they were playable, then rolled out a marvelous 3M 56 IsoLoop 16-track machine with brand new heads. The tapes were resolved at 60Hz to maintain the original orchestral pitch and sync. The Analogue-to-Digital transfer was done from the 16-track through the latest Black Lion A/D convertors and recorded to Pro Tools X at 192kHz 24-bit." This 3-CD set presents the score for the 1979 theatrical release (filling disc 1 and part of disc 2) and also premieres the legendary early "rejected" cues that Goldsmith recorded prior to composing his famous main theme. The 1979 album program (much of which is performed and edited differently as compared to the film) completes disc 2, with disc 3 offering additional alternates (including those heard on the previous Sony expanded release) along with a wealth of bonus material. Among the highlights are a collection of early takes of the "Main Title" (including extensive stage chatter), isolated segments featuring Craig Huxley’s famous "blaster beam" and assorted synthesizer excerpts, the domestic CD debut of Bob James’ disco cover version of Goldsmith’s theme and Shaun Cassidy’s vocal version of the love theme, "A Star Beyond Time." Reissue co-producer Mike Matessino (who handled restoration and editorial efforts) collaborates with Jeff Bond on the thoroughly researched album notes which feature interview excerpts by Goldsmith, Botnick and performers Huxley and David Newman. The clamshell packaging and 40-page full color booklet are designed by Jim Titus. "It has been an honor to be able to work with the original recordings of this music and to document its production," Matessino says. "This is one of the greatest scores of all time and everyone involved took the responsibility very seriously and happily devoted months to see it come together. The clarity and quality we now have is truly amazing. Thanks to the efforts of La-La Land Records, Sony Music and Paramount Pictures, the end product is an embarrassment of riches and a ‘must-have’ for every film music and Star Trek collection." Album Reissue Produced by Mike Matessino and Bruce Botnick
Album Reissue Producer for Sony Music Ent.: Didier C. Deutsch
Liner Notes by Jeff Bond and Mike Matessino
CD Art Direction by Jim Titus"
Tracklisting:
CD 1 (72:06 Minuten):
01. Overture (01:43)
02. Main Title / Klingon Battle (07:01)
03. Total Logic (03:54)
04. Floating Office (01:08)
05. The Enterprise (06:02)
06. Malfunction (01:30)
07. Goodbye Klingon / Goodbye Epsilon Nine / Pre-Launch (02:10)
08. Leaving Drydock (03:22)
09. TV Theme / Warp Point Eight (00:50)
10. No Goodbyes (00:53)
11. Spock’s Arrival (02:03)
12. TV Theme / Warp Point Nine (01:49)
13. Meet V’Ger (03:06)
14. The Cloud (05:05)
15. V’Ger Flyover (05:01)
16. The Force Field (05:07)
17. Micro Exam (01:13)
18. Games / Spock Walk (09:51)
19. System Inoperative (02:03)
20. Hidden Information (03:58)
21. Inner Workings (04:04)
CD 2 (74:31 Minuten Laufzeit):
The Film Score:
01. V’Ger Speaks (04:04)
02. The Meld / A Good Start (05:37)
03. End Title (03:16)
The Unused Early Score (21:26 Minuten):
04. The Enterprise (06:05)
05. Leaving Drydock (02:39)
06. No Goodbyes (00:55)
07. Spock’s Arrival (02:00)
08. Micro Exam (01:15)
09. Games (03:49)
10. Inner Workings (04:43)
The 1979 Album (40:02 Minuten):
11. Main Title / Klingon Battle (06:50)
12. Leaving Drydock (03:29)
13. The Cloud (05:00)
14. The Enterprise (05:59)
15. Ilia’s Theme (03:00)
16. Vejur Flyover (04:56)
17. The Meld (03:15)
18. Spock Walk (04:15)
19. End Title (03:16)
CD 3 (74:35 Minuten):
Alternates (42:49 Minuten):
01. Overture (Long Version) (02:50)
02. Main Title (Alternate Take) (01:44)
03. Total Logic (Alternate Take) (03:49)
04. Malfunction (Early Take) (01:28)
05. Goodbye Klingon (Alternate Take) (00:35)
06. No Goodbyes (Alternate Take) (00:53)
07. Spock’s Arrival (Alternate Take) (02:01)
08. The Force Field (Alternate Take) (05:04)
09. Micro Exam (Alternate Take) (01:14)
10. Games (Early Synthesizer Version) (03:48)
11. Games (Alternate Take) (03:48)
12. Inner Workings (Alternate Take) (04:05)
13. V’Ger Speaks (Alternate Take) (04:03)
14. The Meld (Film Version) (03:16)
15. A Good Start (Discrete) (02:27)
16. Main Title (Album Take) (01:44)
Additional Music (31:46 Minuten)
17. Main Title (First Raw Takes) (07:21)
18. The Force Field / The Cloud (Excerpts) (02:33)
19. Beams and Synthesizer for V’ger (04:04)
20. Beams and Synthesizer for Ilia (00:59)
21. Synthesizer for Main Theme (01:44)
22. Main Theme From Star Trek: The Motion Picture (Bob James) (05:24)
23. A Star Beyond Time (Shaun Cassidy) (02:43)
24. Ilia’s Theme (Alternate) (03:33)
25. Theme From Star Trek: The Motion Picture (Concert Edit) (03:25)
LLLCD 1207 LaLaLandRecords
0026676CD
Ver???ffentlichungsjahr: 2012
Format: CD
Your excuse would mean that anything could be posted anywhere.
Let’s all get the Dark Knight Rises bitching out of the way now.
Reupload please?
http://forums.ffshrine.org/f92/prometheus-2012-marc-streitenfeld-harry-gregson-williams-113929/4.html#post2010340
… and Harry Gregson Williams recording sessions are also much more interesting than the oddly edited album release.
I’ll drink to that… Right now.
Let’s all get the Dark Knight Rises bitching out of the way now.
Thank you, Sir!
I did notice similar. Prometheus has had more care lavished on its production design but in some ways I find AvP a more honest film. It’s dumb fun, where Prometheus purports to be considering big questions and ends up being convoluted, confused and confusing. Which is not to say it’s bad – it’s certainly very ambitious and that’s to be commended, plus it’s a visual feast. But sometimes staying simple makes things work better vis a vis the original Alien. Which, in my opinion, has never been bettered.
Muchos gracias on the soundtrack.
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Evolution: From Prometheus to Alien
Source: Evolution : De Alien ??? Prometheus : Amazon.fr: Bill Paxton, Charles Dance, Charles S. Dutton, Charlize Theron, Dominique Pinon, John Hurt, Lance Henriksen, Michael Biehn, Michael Fassbender, Noomi Rapace, Ron Perlman, Sigourney Weaver, Tom S (http://www.amazon.fr/Evolution-De-Alien-Pr…y/dp/B008F8G5AI)
Release: October 3, 2012. EUR 99.98
Summary:
Limited collector’s box with a blister pack Space Jockey, with:
– Prometheus (2D and 3D Active)
– A Blu-ray bonus Prometheus
– Alien: film version (1979) / Director’s Cut (2003)
– Aliens: film version (1986) / long version (1991)
– Alien 3: film version (1992) / long version work completely restored (2003)
– Alien – Resurrection: film version (1997) / long version intro with JP Jeunet (2003)
– 2 Blu-ray bonus original Alien saga
New HD master on two existing versions of each film in the Alien saga original (film and extended)
Disc 1 (Prometheus 2D) (150 ‘bonus):
On disk:
[B]Cut scenes or alternative (15 ‘)
Audio commentary by director (120 ‘)
The private records of Peter Weyland, four viral videos (18 ‘):
– The offer to Elizabeth Shaw
– Happy Birthday David
– Prometheus Transmission (extended version)
– The conference Weyland in 2023 (long version)
Outside the disk: Second Screen App: App iPad Control Blu-ray Remote which gives access to the archives of Peter Weyland (60 ‘):
Pre-production:
– First and final draft of the script (text)
– Sketches of Ridley Scott (photo gallery)
– The Art of Prometheus (photo gallery)
– Pre-visualization (30 ‘)
– Tests of Noomi Rapace (15 ‘)
– The costume design (photo gallery)
– Tests “look” of the cast (10 ‘)
Production:
– Graphic Video Dashboard
– Photographs of the team
– Video of the private pilot
Production and post-release:
– Marketing Gallery
Disc 2 (Prometheus 3D):
The 3D film active
Disc 3 (Bonus complementary Prometheus):
The angry gods: how to make the Prometheus of Ridley Scott, 9 videos (120 ‘):
– At the Conquest of Paradise (scenario)
– The engineering upside down (direction & design)
– The manifest human (characters & costumes)
– A nest of demons (creature design)
– A world without green spaces (Pinewood)
– Gains of chance (stunts & action)
– The beginning and end (Iceland)
– The sky on fire (visual effects)
– Prometheus without limits (post-production and theatrical release)
Units of improvement (30 ‘):
– Mini-featurettes
The archives of Peter Weyland (60 ‘)
Disc 4 (Alien):
Audio commentary by Ridley Scott, Dan O’Bannon, Ronald Shusett (prod. exec.), Terry Rawlings (assembly), Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton and John Hurt
Audio commentary by Ridley Scott (on theatrical version only)
Isolated track of the soundtrack composed by Jerry Goldsmith final
Isolated track of the original film music composed by Jerry Goldsmith
Cut and extended scenes
Interactive experience with the computer MU-TH-UR
Disc 5 (Aliens):
Audio commentary by James Cameron, Gale Anne Hurd (prod.), Stan Winston (FX), Robert Skotak (FX), Dennis Skotak (FX), Pat McClung (models), Michael Biehn, Bill Paxton, Lance Henriksen, Jenette Goldstein, Carrie Henn and Christopher Henn
Isolated track of the soundtrack composed by James Horner final
Isolated track of the original film music composed by James Horner
Cut and extended scenes
Interactive experience with the computer MU-TH-UR
Disc 6 (Alien3):
Audio commentary by Alex Thomson (Chief Op.), Terry Rawlings (assembly), Alec Gillis (FX), Tom Woodruff Jr. (FX), Richard Edlund (FX), Paul McGann and Lance Henriksen
Isolated track of the soundtrack composed by Elliot Goldenthal final
Cut and extended scenes
Interactive experience with the computer MU-TH-UR
Disc 7 (Alien – The Resurrection):
Audio commentary by Jean-Pierre Jeunet, Herve Schneid (assembly), Alec Gillis (FX), Tom Woodruff Jr. (FX), Pitof (FX), Sylvain Despretz (FX), Ron Perlman, Dominique Pinon and Leland Orser
Isolated track of the soundtrack composed by John Frizzell final
Cut and extended scenes
Interactive experience with the computer MU-TH-UR
Disc 8 (additional bonus # 1 Alien saga):
“Making the anthology” (720 ‘):
– “The Beast Within is a” making of Alien
– “A superior firepower” of making of Aliens
– “Wreck and rage”: the making of Alien 3
– “One more step beyond the” Making of Alien: Resurrection
Disc 9 (complementary bonus # 2 Alien saga):
“Archives anthology”:
– ALIEN:
. Pre-production
. Production
. Post-production
. “The experience of terror”
. “The archives of Laserdic Collector”
. “Alien Legacy”
. “American Film: Ridley Scott questions / answers”
. Trailers and TV spots
– ALIENS:
. Pre-production
. Production
. Post-production
– ALIENS 3:
. Pre-production
. Production
. Post-production
. “Alien 3: report on the first pictures”
. “The Making of Alien 3″: report
. Trailers and TV spots
– Alien: Resurrection:
. Pre-production
. Production
. Post-production
. “HBO First Look: The Making of Alien, the Resurrection”
. “Alien Resurrection” documentary promo
. Trailers and TV Spots
– ANTHOLOGY:
. Two versions of “Alien Evolution”
. “The Alien saga”
. Gallery of logos and insignia
. “Aliens 3D attraction” photos and script
. “Aliens in the Basement”: the collection of Bob Burns
. Parody
. Gallery Dark Horse blankets
. Interactive experience with the computer MU-TH-UR
Darnit triple times! I want it NOW!!! Aren’t you?
Star Trek: The Motion Picture (1979), Jerry Goldsmith (3-CD) CD
Dear Lord…. how much do I dislike THAT MUSIC! It’s like the Chinese Water Torture…..
Awwwwww, c’mon.
That’s one of, if not the best work done by Goldsmith.
Its got some beautiful music on the new 3CD set.
Joke or true? I don’t often run across anyone who dislikes the album. Not that there is anything wrong with that….
I think it worked very well in the film. The film however, meh.
http://img840.imageshack.us/img840/5886/tracklistxy2.gif
01. A Planet
02. Going In
03. Engineers
04. Life composed by Harry Gregson-Williams
05. Weyland
06. Discovery
07. Not Human
08. Too Close
09. Try Harder
10. David
11. Hammerpede
12. We Were Right composed by Harry Gregson-Williams
13. Earth
14. Infected
15. Hyper Sleep
16. Small Beginnings
17. Hello Mommy
18. Friend from the Past
19. Dazed
20. Space Jockey
21. Collision
22. Debris
23. Planting the Seed
24. Invitation
25. Birth
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ENJOY !!! XOXO !!! :p
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And my time is a piece of wax fallin’ on a termite…. ( Beck – Loser )
Fun, but no cigar. 😉
1m01 – "Opening Development"
4m28 – "Planetarium/David Theme" – Streitenfeld’s original of the Orrery scene which was composed by Gregson-Williams…a very nice lower-pitched and very powerful version of "A Planet"…
3h40 – 3 hours 40 minutes
BD – Blu-ray
Orrery scene – that bit with David and the holographic star map…
Sorry for not making it clearer.
A fan.
Shaun
hoping this means something
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