Remembering “Alien” And Anticipating “Prometheus”
Sprung from the gelatinous innards of an obscene egg on some far-off planet, a hideous, squidlike thing leaps onto the startled face of a hapless astronaut. Yuck! What could be more basic than “Alien”? A crew of space travelers on a commercial mission picks up a strange organism on a remote planet and brings it aboard ship, where it disappears, metamorphoses and proceeds to eat our heroes one by one.
Newsweek June 18, 1979
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Head spinning! But let’s look on the bright side— a new director for the trilogy’s sequel, Catching Fire, could be interesting.
Vanity Fair reports that the series had some high-profile directorial suitors in the past, including Sam Mendes (Away We Go, Revolutionary Road, Jarhead, Road to Perdition, American Beauty), Rupert Sanders (Snow White and the Huntsman), and Francis Lawrence (Water for Elephants, I Am Legend, and… wati for it… Britney Spears’ “I’m a Slave 4 U” music video). Of course we can dream beyond this interesting trio as well.
Who would you pick to direct the rest of the series?
How did you end up writing a sequel to Drive?
One day my agent Vicky Bijur called. The producers were asking if there’d be a sequel to Drive. Of course not, I harrumphed—being an artiste and all. I hung up the phone and sat there with the image of a woman leaning against a wall, bleeding out. I wrote the first page and was hooked.
Apparently James Sallis, author of the book ‘Drive,’ has written a sequel.
Meanwhile, Ryan Gosling totes saved a woman from being hit by a taxi Tuesday evening. (Related: Ryan Gosling memes)
None of this year’s nine Best Picture nominees (The Artist, The Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, The Tree of Life, and War Horse) counted as dark, nihilistic, or shocking—like some of last year’s leading contenders, including Black Swan, 127 Hours, and Winter’s Bone. None of this year’s major nominees featured the overt left-wing political messages of other recent Oscar favorites like Avatar or Milk, and all of this year’s Best Picture possibilities took affectionate, admiring views of marriage, romance, family, and community, with Moneyball also honoring baseball and business, while War Horse glorified some of the same battlefield virtues depicted in Act of Valor.
As a result, viewings of Midnight in Paris on the big screen became events in the Smug Olympics of the urban iPad class, with audiences risking physical injury as they competed to laugh the loudest to demonstrate to all around that yes, they know who Gertrude Stein is. It was laughter directed at the audience itself, not at the screen. Laughing to show you get the joke. Or since there are no jokes, laughing to show you get the reference.