And while we’re incredibly keen to see just how much Prometheus ties into the Alien mythology, there’s another aspect to the film that’s making us more excited than a face-hugger who’s just bought a first-class ticket to Easter Island – it marks Scott’s first tangle with 3D.
So we decided to ask Sir Ridley how he found the 3D process, and what we can expect from Prometheus ’ 3D sequences…
How was it working in 3D?
I’m kind of naturally visual anyway, that’s where I come from. And you’re working off superb 3D screens, which are on the floor, and are really big. It was just wonderful.
I was shooting on 3D, then seeing it on the floor. It was easy, I must say.
Do you push it in a way we haven’t seen before?
Well, I mean, yeah. You only want to push it so far, before it becomes arrows popping out of the screen and stabbing you in the eye. You use it for visual effect.
Is it more immersive, giving depth?
Yes, yes. And you can do that afterwards, by the way. I’m actually decided right now how deep to make it on certain sequences.
So you can literally, as it were, twiddle a knob, and the depth will increase. It’s kind of bizarre, but there it is. Technologically it’s absolutely staggering.
I was working with MPC in London, looking after almost 1,300 big FX shots, and every night they would pipe through shots to a big screen in my office in Lexington Street; I would sit there watching a sequence that had just been graded or refined in perfect 3D. Really amazing.
Prometheus is out 1 June and we can’t bloody wait to see it.