jaztermareal
Super Freak
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- Mar 5, 2011
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You need specific conditions to slow down an Alien to the point where it's a coin flip again. You also need circumstances where it's not just 20 humans armed with pulse rifles chewing up that Alien at a distance and the film ends in 15 minutes. An Alien can move fast, it can climb, it has acid for blood, but it can't teleport though heavy bulkheads. It might get to the point of being clever, but not strategic like a Predator. So people have tried different treatments and pitches. Alien in a prison ( used but arguably wasted at a certain level), Alien in a oil rig. Alien in a cargo shipping vessel. ( How about Alien in the Nakatomi building? ) A lot of concepts just take you back to square one and force you to go over old ground. You can make it environmental, which is much easier on the writers such as putting an Alien in the Arctic, or in the extreme desert or underwater. And while that helps the coin flip situation, it creates a budgetary and logistical burden on the back end.
For example, I've said before and probably to you @Rotfish , that one of the best parts of Alien Resurrection was the underwater scene. Humans moved differently. They had new limitations. Their weapons worked differently. Their ability to fight had to change. But the Aliens had limitations too. The acid for blood has a different wrinkle, They can swim fast but you don't get the total crazy Deion Sanders of xenomorphs effect as you do in Alien Covenant in the open field that turns humans into instant absolute cannon fodder. But the logistics of filming an Alien film that's a large majority underwater is a big undertaking. You can cover a lot of ground in current times with SFX, but extensive water shoots are very hard and very expensive. It's also hard on the cast and now you start to prune your potential cast from performers who won't want to deal with it. ( Just like actors and actresses who turn down roles because they refuse to squeeze into a suit or spend 6 hours a day getting makeup and prosthetics slathered all over them)
Someone shouting, "Just do something creative, have some imagination!" isn't going to be enough here. With other IPs and concepts, maybe that works, but here you have to set the conditions to maintain the audience's suspension of disbelief with already so much ground covered in so many previous films. If you don't have a concept that gives you a logical path to that "coin flip", then you've removed your writers room from having a fighting chance. If the writing fails, nearly all the time, the film with fail badly with it.
I won't assess this as "Difficult But Not Impossible"
I would rather frame it as "Being Cornered Narratively To The Point Where The Few Workable Concepts Have Such Huge Logistical Tradeoffs That No One Will Finance It"
And, unfortunate as it is to say it, Ridley Scott didn't exactly help matters much with Covenant and Prometheus. He just made everything harder for future concepts. But it was his baby to kill in the first place.
And I agree, once Cameron closed off the Ellen Ripley character arc in a complete and organic way ( especially through the Aliens Special Edition version), there wasn't much room left to take the series without her. The various proxies for her just aren't the same and can't resonate the same way with viewers.
All those examples you gave follow the same cat and mouse formula. I think you are assuming there is little room for better simply as you are not engaging enough imagination on this subject yet.
There are many ways to keep the franchise fresh and take it new directions just as I posted earlier.
I also disagree with your point that there weren't many directions to take the franchise after Ellen Ripleys conclusion in Aliens. Again, with imagination you could take it anywhere without her. You just need a new character that the audience attaches to. Imagine if Alien 3 had been an Arnold Shwarzenegger vehicle for example. People today might have been talking about how it breathed new life into the franchise, they might have argued about whether the Ripley films were better than his ones or whether his most Iconic monster was the Xeno, the predator or the Terminator. We don't know because no other Actor became the face of the franchise, Ripley was brought back twice in increasingly unbelievable ways (unluckiest woman ever to exist).
The one main thing I agree with you on is the issue of cost. So long as the films don't do amazing enough for studios to throw big money at further installments budgets won't be big enough to go full scale with planetary invasion stories etc, but then again look at what was done on small budgets with films like District 9 or the Creator. Modern VFX is improving to the point that even home VFX look great and there are film makers who know how to run a project free of bloat and really make every dollar count. It all depends on who is running the project.
Maybe if the execs are smart they will hire better people to not just inject some creativity but to run more lean projects with smaller budgets but more freedom. Might get some great movies that way.
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