Fifield found rolled up

leading from

Mutant Fifield with legs wrapped over his shoulders (Cinefex #130, p49)
When Fifield in his transformed state returns to the Prometheus, he is found with his legs hideously bent over over his shoulders. My initial thought was that this was a play with the idea of what the organic box Alien scene that Dan O'Bannon mentioned had been filmed and cut out, but Walter Simonson had seen it in a rough cut and so included it in Alien: The Illustrated story. Ridley's original storyboard simply states that he is crouching and had the idea of the character possibly being in a pit and dressed in other body parts. With his lower body in a put, they draped dummy legs over his shoulders.

Ridley's Storyboard

In Ridley's earlier film project Tristan and Iseult, a post-apocalyptic retelling of tradational celtic legend, in one of his storyboards he included something that became labeled as a Froudian, loosely inspired by something he had seen in the art of Brian Froud, an illustrator much renowned for his illustrations of faeries and goblins, but this strange almost thing has its legs oddly drawn with the shoulder behind the knee,  arm coming out from below the upper bent leg with the arm and then the elbow outside of the lower leg. 

"Froudian" (detail from image below)
A nitsilic priest and a "Froudian" creature amidst the floating rocks in Tristan And Iseult

It is a little bit different from what is happening to Fifield, his whole body appears to be bent backwards below ground level in a way that isn't human, and the upper legs are bent backwards as well. So what Walter Simonson saw in the alien folded up into an organic box seat appears to have the same sort of impact to tell us that there's something not quite humanoid about the body of this vaguely humanoid (See organic box like thing)


"organic box-like thing " from Alien the Illustrated Story


Ultramorph

leading from

a)  Introducing the Ultramorph
In his Alien Engineers script, Jon Spaihts included the monster creature The Ultramorph, it erupts from the space jockey/ engineer in the derelict as a chestburster and withing a short time grows to man height before leaving the confines of the crashed derelict ship known as the Juggernaut, and then hunts the character Shaw down amongst the wreckage of the Magellan, (soon to be renamed at the Prometheus). The creature impales her thigh with its tale as if it were a spear, and as this thing is about to kill her she rams a diamond bladed saw into it's face and kills it. It bleeds green acid blood. Despite this thing bleeding such a corrosive substance, she brings the head with her as a hunting trophy to hang over the door at the Vickers module. In this version of the script, he didn't actually describe it with any particular detail.



b) Ultramorph as the spacejockey's chestburster
It appears that Carlos Huante initially worked on some designs for the creature known as the Ultramorph,  the fully grown biomechanical version of the alien that was supposed to have chestbursted itself from an Engineer, and in the earlier script, this Engineer would have been the space jockey from the original Alien movie but one that was a tall humanoid within a suit that gave the Space Jockey it's strange look. Perhaps this creature would have grown to about fifteen feet in height assuming that the humanoid in the pictures below is of regular human height.
 


c)  The return to Necronom IV
Designing these Ultramorphs meant going back Giger's painting Necronom IV and designing and Alien creature with a head even more similar to the one shown in Necronom IV than Giger's Alien would finally have. Carlos went as far as to include the bulbous black eyes in one version however in other versions he would include a greater swelling in the front of the dome around the face as if it had a bulbous forehead. Carlos kept on with designing variations of this it for a while before he had thoughts with Ridley about taking the creature concept in a different direction.




d) Ultramorph as being the evil angels
Carlos wrote in his notes about how The Ultramorph - unlike the "Alien" from the first Alien which were covered / or had an exoskeleton, the Ultramorph should still be covered with skin as genetically it is still "New"... and its host are the engineers. It would be an evil variant of the Engineers that would be in a sense Angels.  Also it was decided that the Ultramorphs should still have a regal Quality about them as that quality has been inspired by their host. So, to carry the "No Bones" motif.



e)  Ultramorphs being clean and skin covered
However instead of the Ultramorphs being clean and skin covered, after some discussion with Ridley and what needs to happen sequentially with the story of how we end up with this "Alien" in the first film. Carlos thoughts about what if the engineer technology is all that ribbing and boney architecture that's all over the ship  and the "Alien" itself. So... the "Aliens" that come out or are born out of the humans should be clean and the skin covered because they are not saturated with he Genetic material of the source (Engineers) yet. So, they are more human looking, the "Ultramorphs" should be the first we see of the boney Exoskeleton on a creature.


f) Engineer technology would form as water
Almost as if he were talking about casting the alien suit in latex rubber, he imagined that the engineer technology would form as water (Milky Liquid) that pours unnaturally upward and over them (The Engineers) to form boney plating or ribs, and architectural surfaces. As if they they control it at a molecular level. How though the biomechanics becomes infused with the alien ultramorph itself remains unclear.
Quote sources
  1. Carlos Huante (talking about the development of the Deacon by way of the Ultramorph): The genesis of that character came after a  conversation I had with Ridley about a design progression of the  creatures to the Xenomorph of the first film. I went home and thought  about it but kept on with the Gigeresque Ultramorphs. Then as I worked I thought “wouldn’t it be cool if these Aliens who are born  of humans and haven’t been mixed genetically with the Engineers yet would look  more human and less biomechanical“, of course this was for a  different version of the script but that’s where the Deacon (or Bishop, as he was originally named) came from. He later became an Ultramorph and as the script changed slightly after I left the show, it became that thing at the end.   (Carlos was talking about the development of the Deacon by way of the Ultramorph in an interview with ThisBethesdaSea for www.avpgalaxy.net)
  2.  Carlos Huante: The Ultramorph - unlike the "Alien" from the first Alien which were covered / or had a exoskeleton, the Ultramorph should still be covered with skin as genetically it is still "New"... and its host are the engineers. it would be an evil variant of the (ANGELS) Engineers. Ultramorphs should still have a regal Quality about them as that quality has been inspired by their host. So, to carry the "No Bones" motif. (Carlos Huante's Prometheus notes)
  3. Carlos Huante: Okay, so instead of the Ultramorphs being clean and skin covered, after some discussion with Ridley and what needs to happen sequentially with the story of how we end up with this "Alien" in the first film. I'm thinking that what if the engineer technology is all that ribbing and boney architecture that's  all over the ship  and the "Alien" itself. So... the "Aliens" that come out or are born out of the humans should be clean and the skin covered because they are not saturated with the Genetic material of the source (Engineers) yet. So, they are more human looking, the "Ultramorphs" should be the first we see of the boney Exoskeleton on a creature. The engineer tech should form as water (Milky Liquid) that pours unnaturally upward and over them (The Engineers) to form boney plating or ribs, and architectural surfaces. Like they control it at a molecular level.(Carlos Huante's Prometheus notes)
  4. INT. JUGGERNAUT - PILOT CHAMBER On the floor, DAVID’s eyes open. With his jaw he hitches his severed head around. Gets his eyes on the Sleeper. In the pilot chair, the Sleeper convulses. An ALIEN erupts from his chest. Big as a wolf even at its birth. Dark gray, armored, lethal. More hideous than any chestburster we've seen. An ULTRAMORPH. It wails hideously. The Sleeper dies. The Alien slithers free (Alien_ Engineers, Jon Spaihts, p110)
  5. LATER Watts is awakened by a beeping alarm. She looks at her wrist. Her suit flashes an oxygen warning: 20 MINUTES REMAINING. She looks up. The Juggernaut's doors are wide open in front of her. The ULTRAMORPH ALIEN emerges from the Juggernaut. As large as a man already. It sees her. With a sob of terror she pulls herself to her feet and runs.(Alien_ Engineers, Jon Spaihts, p112-113)
  6. EXT. MAGELLAN CRASH SITE - DUSK Watts flees through the storm, across the burning debris field. A wilderness of lightning, fire, and twisted metal. A thunderstorm with dust instead of rain. She looks back through the darkness. In a strobe-light flicker of lightning, she sees a gray demon approaching through the wreckage. She scrambles through a section of ductwork...under a hull fragment...running and clambering... The Alien hunts her, cat-and-mouse, among the fragments of the Magellan: corridors that go nowhere, shattered compartments. Jetsam. Her eyes sweep frantically through the stormy night: searching for a weapon. A hiding place. An answer. She stumbles into the remains of the Magellan's laboratory. A hypersleep freezer lies on the barren ground. Watts climbs inside. Pulls the lid shut. The Alien passes by, inches away. She watches it through the plexiglass, holding her breath. The Alien roots in the wreckage. Finds the rotting Engineer's head among the shards of its vat. It begins to feed on the head - GROWING as she watches. Her suit’s oxygen alarm goes off again. 15 MINUTES REMAINING. The beeping draws the Alien away from its dead meat. Watts is paralyzed. The Alien noses closer. Sniffs at the plexiglass case. With sudden, horrific violence, it lashes out. Sends the freezer flying. Watts tumbles out. Lurches to her feet and runs. The Alien follows. Ravening. She leads it a twisting chase through fragments of burning metal. Watts trips and falls hard. Picking herself up, she sees she’s tripped over a HULL SAW - the same diamond-bladed tool DAVID used to dismantle the terraforming engine. She seizes the saw - straining to manage its weight. Hides in the hollow of a massive girder. The Alien passes by. Scenting the air. She freezes. Her arms trembling with the weight of the saw. Waiting for it to pass. Almost it leaves. But a tiny rattle of metal from the quivering saw brings it back. Out of options, Watts powers up the saw. The blade whines up to speed. They lunge at one another in the same moment. The diamond blade shears off one of the Alien’s claws. The monster screams and recoils. Its lashing tail sends Watts sprawling. She loses the saw. The Alien comes after her, slinking low to the ground, injured arm tucked to its chest. All vengeful fury. Watts scrambles for the saw. The Alien leaps for her. She rolls aside - and like a scorpion the Alien impales her thigh with its spear-tipped tail. Nails her to the ground. Watts screams in agony. Reaches for the saw, still buzzing on the ground. Its grip tantalizing inches from her fingertips. The Alien stoops over her, slavering face inches from her faceplate. Its hideous jaws open. With all her strength, Watts pulls against the spike in her leg. Drags the point of the spear through the dirt. Excruciating pain. She snarls through her teeth. The Alien strikes - just as Watts GRABS the saw. She meets the Alien’s head with the buzzing blade. IMPALES THE ALIEN’S SKULL. A gout of green acid onto Watts’s helmet. The Alien falls aside, thrashing its death-throes, the saw still growling. Watts sees ACID COMING THROUGH HER HELMET - fast. With frantic haste she unlatches her helmet. Wrenches it off as it crumples and melts. She stands bare-headed in the toxic air. Desperate, she looks around with tearing eyes. In the distance she sees an intact module of the Magellan. She runs for it. Slaps the door switch. Incredibly, it opens. (Alien_ Engineers, Jon Spaihts, p113-114)
  7. EXT.VICKERS MODULE-DAY
    Watts arrives at the Vickers module. The ultramorph Alien’s head has been fixed like a grisly trophy above the door. (Alien_ Engineers, Jon Spaihts, p116)

The Deacon

Deacon puppet
a) Originally known as the Ultramorph, this final incarnation of the Prometheus mutations was always intended to be a missing link of sorts between this film and the films of the Alien series. Effectively the unholy offspring of all the infected victims who came before it. Ridley Scott dubbed this creature the Deacon, based on the pointed shape of its head, similar to a Bishop's hat.

b) This thing would represent the beginning of Giger's alien, although it did not directly resemble the creature. They went through a long design process with Ridley, who was really wanted something as good as Giger's design, and they were trying to see what they could come up with.

c) Ivan Manzella has been established as one of the key sculptors along with Julian Murray. Together they created the deacon sculpture over a weekend late in the production schedule and they went to a fill-sized sculpt. Ridley came in several times to give them feedback and direction, and they ended up with a creature about the size of a six-year old child

d) Scanlan's team built two versions of the deacon, a soft puppet that fit inside an embryonic sac, and an articulated  rod puppet, both produced in silicone. Supervising mold modeler Daniel Meaker compressed the soft puppet into a three-foot-diameter latex bal­loon, and then added a mixture of metallic and organic based pigments and silicone birth matter. The balloon fit inside a hollow animatronic dummy of the dead Engi­neer, which Vanessa Bastyan and Catherine Fleming fabricated with an articulated ribcage and internal organs. Puppeteers operated the Engineer dummy from beneath the set, causing the body to convulse and emit the newborn.


e) The Deacon's pointed head burst through the ribcage and split it open. Then with an enormous heave, it rolls out onto the floor like a calf being born. They they brought in the rod puppet,  which had a lot of visible controls, but Ridley loved it. He ignored the technicalities and just went with it.

f) Richard Stammers staged clean plates of the deacon camera setups, but the birth played mainly as a practical effect with digital enhancement. The first shot after the birth is practical,  but with digital rod removal. With the puppert serving as blocking for performance, they matched the CO animation to the puppet. Weta replicated the deacon and augmented tendons in the creature's neck, which tense as the creature stands on fragile legs and then emits a roar, revealing a telltale second inner jaw based on the long protrusible jaw of the deep sea Goblin Shark, the Deacon's secondary jaw ends the film with the nightmarish hint of possible horrors to come.

g)  Ridley actually wanted the secondary mouth animation to reference the action of a goblin shark, which can dislocate it’s jaw and launch it forward to catch its prey. They needed to redesign the whole mouth and lower jaw to give the structure to build in the mechanics of this action. For this they went back to reference Giger’s original work and added in his details, which their sculpting team led by Florian Fernandez designed.

h) The deacon’s skin is slightly pearlescent. They wrote a custom shader for the way the pearlescense reacts with the light. There is also a layer of blood, mucus and liquid all over the skin, which gave them a layered shading model to get the complexity of the material qualities of the skin. The lighting was a continuation of the strobing lighting and was carefully matched to the clean plates by leads Florian Schroeder and Adam King

The Deacon maquette

i) In a version of the script by Jon Spaihts, Alien: Engineers, as the Ultamorph, after Shaw and she impales impales an Alien creature's skull with a diamond bladed saw and kills it.  This creature would be renamed in the scripts as the Deacon and quite possibly would be said to be a creature filling out a different role from that of the earlier intended Ultramorph. It is said in the picture gallery in the Prometheus Blu-Ray set that the Deacon creature was originally intended to have more screen time, pursuing Shaw and David to the second Juggernaut ship, narrowly missing them as they leave the planet at least not showing how easy it was to kill.

j) Deacon Blues
The final Deacon creature for some reason is coloured blue. We might think about the band Deacon Blue with the name inspired by the song title Deacon Blues by Steely Dan, and that song also contained the name Crimson Tide (See: Abstract connections with blue deacon)
  1. Originally known as the Ultramorph, this final incarnation of the PROMETHEUS mutations was always intended to be a missing link of sorts between this film and the other entries in the Alien series. Effectively the unholy offspring of all the infected victims who came before it. Ridley Scott dubbed this creature the Deacon, based on the pointed shape of its head, similar to a Bishop's head-dress. This creature was originally intended to have more screen time, pursuing Shaw and David to the second Juggernaut ship, narrowly missing them as they leave the planet. (Prometheus Blu-Ray gallery notes)
  2. The original Alien's trademark secondary jaw can be found in more undeveloped form with the Deacon. Based on the long protrusible jaw of the deep sea Goblin Shark, the Deacon's secondary jaw ends the film with the nightmarish hint of possible horrors to come. (Prometheus Blu-Ray gallery notes)
  3. Interviewer: What was your approach with the Proto-Alien that emerges from the Engineer?
    Martin Hill: Similar to the baby trilobite, the deacon was a real puppet built for the performance on set, so we started by replicating its build digitally. We quickly discovered that we needed to augment the model considerably for articulation of the muscles and joints to make it feel more like a natural, physical creature. Ridley wanted the secondary mouth animation to reference the action of a goblin shark, which can dislocate it’s jaw and launch it forward to catch its prey. We needed to redesign the whole mouth and lower jaw to give the structure to build in the mechanics of this action. For this we went back to reference Giger’s original work and added in his details, which our sculpting team led by Florian Fernandez designed.
    Interviewer: Can you tell us more about the challenge of its particular skin?
    Martin Hill: The deacon’s skin is slightly pearlescent. We wrote a custom shader for the way the pearlescense reacts with the light. There is also a layer of blood, mucus and liquid all over the skin, which gave us a layered shading model to get the complexity of the material qualities of the skin. The lighting was a continuation of the strobing lighting and was artfully matched to the clean plates by leads Florian Schroeder and Adam King. (http://www.artofvfx.com)
  4. Neither combatant survives. When the battle con­cludes, both lie inert until the Engineer’s body erupts as another lifeform hatches, created from a cocktail of human, Engineer and trilobite DNA. “We called it the ‘deacon’ because the head was shaped somewhat like the hat of a deacon,” said Neal Scanlan. “It represented the beginning of Giger’s alien, although It did not directly resemble that creature. We went through a long design process with Ridley, who was really throwing the Giger card out there, trying to see what we could come up with.” Ivan Manzella and Julian Murray created the deacon sculpture over a weekend late in the production schedule. “We went straight to a full-sized sculpt. Ridley came in several times to give us feedback and direction, and we ended up with a creature about the size of a six-year-old child.” Scanlan’s team built two versions of the deacon, a soft puppet that fit inside an embryonic sac, and an articulated rod puppet, both produced in silicone. Supervising mold modeler Daniel Meaker compressed the soft puppet into a three-foot-diameter latex bal­loon, and then added a mixture of metallic and organic based pigments and silicone birth matter. The balloon fit inside a hollow animatronic dummy of the dead Engi­neer, which Vanessa Bastyan and Catherine Fleming fabricated with an articulated ribcage and internal organs. Puppeteers operated the Engineer dummy from beneath the set, causing the body to convulse and emit the newborn. “The deacon’s pointed head burst through the ribcage and split it open.” related Scanlan. “Then, with an enormous heave, it rolled out onto the floor like a calf being born. We then brought in the rod pup­pet, which had a lot of visible controls, but Ridley loved it. He ignored the technicalities and just went with it.” Stammers staged clean plates of deacon camera setups, but the birth played mainly as a practical effect with digital enhancement. “The first shot after the birth is practical, with rod removal,” noted Richard Stammers. “We then went to full CO; but the puppet served as blocking for performance, and we matched the CO ani­mation to the puppet.” Weta replicated the deacon and augmented tendons in the creature’s neck, which tense as the creature stands on fragile legs and then emits a roar, revealing a telltale second innerjaw. (Cinefex 130)

Echoes of "Doctor Who and The Tomb of the Cybermen" in "Prometheus"?

leading from 



a) Comparisons to Doctor Who and The Tomb of the Cybermen

Comparisons can be made by between Prometheus and an old Doctor Who series "Tomb of the Cybermen" starring Patrick Troughton as the Doctor shown on TV in 1967. What it comes down to is the story of scifi twist on a Mummy horror film featuring an archeological expedition soon hijacked by the accompanying power hungry people who funded it an it's who want to bargain with the sleeping cyborg giants that have been asleep for hundreds of years in a tomb like complex but the cyborg giants don't give in to their plans.



b) Discovery of the ancient tomb

In Tomb of the Cybermen,  humans from Earth would be out to look for the remains of the Cybermen's civilisation on the desert like planet of Telos. Rather than a siege story, the writers came with a story about a trap for only the cleverest human to spring for the benefit of the cybermen who were going to convert him into a cyberman making use of his intelligence.  The story was also inspired by the interest in Egyptology, mainly interest in the tomb of Tutenkhamun.

The writers turned to the old Universal Horror movie The Mummy starring Boris Karloff back in 1932 which was remade in 1959 with Christopher Lee as the mummified pharoah who is resurrected from the dead by a group of archaeologist , and seeks to resurrect his lover an Egyptian princess

The cybermen had put themselves into a frozen state to survive and the human race would be drawn in by their inquisitiveness. Because the Doctor had destroyed their planet and then their machinery and supply of replacements had depleted, they were becoming extinct. Something that seemed to be important at the time of the making of this Doctor Who story was the fact that there was a big rumour in the newspapers in 1966 about Walt Disney's body been frozen, put into a state of cryogenic suspension, waiting for a cure for cancer and Walt Disney would have a second coming.

Christopher Lee and Peter Cushion
in Hammer's The Mummy (1959)
In Prometheus, The characters Elizabeth Watts and her partner Charlie Holloway archeologists discover reoccurring signs of a pattern in a cave painting and ancient tablets and other forms of ancient art.  It's assumed that these images being left behind as an invitation. They might be considered to be a star system and finding one that looks similar leads to them to a planet across the galaxy. This leads them to encounter a place that is a building left behind by another civilisation on a seemingly barren and deserted planet, and perhaps with the discovery of dead bodies, it might be nothing more than a tomb. As it happens though, when the humans awaken the sleeping giant, he doesn't seem to be interested in them at all other than having an urge to swat them like flies

c) Wreckless behaviour as catalyst for further events 

In Tomb of the Cybermen, Kaftan begins pulling one lever after another trying to make something happen despite getting one of the party into trouble and being warned from touching anything by another of the explorers Viner who is part of the expedition. She accidently entraps the Doctor's assistant Victoria is a revitalisation sarcophagus when the lid suddenly slams shut on it. She goes back to pushing the levers again as soon as Viner has left the room, and starts playing with the projector controls in the chamber that could potentially have again put Victoria at risk and but the Doctor catches her and stops her.


In another chamber, a panel suddenly becomes active and another of the explorers, Haydon, can't decide which button to push first button despite the protests of the Doctor's assistant Jamie, and so Haydon pulls a lever setting off a hypnotic device in the wall that appears to be a target range,  Jamie idiotically then himself goes ahead and pulls another lever perhaps his own better judgement activating weapons testing chamber, the two are drawn by the hypnotic light target range and Haydon finds himself in the way of a test gun that comes out of the wall and, before the Doctor can come in to stop the device, Haydon is shot dead in the back.





In Prometheus, David the android recklessly explores the hieroglyphs on the wall discovering a gelatinous substance with glittering particles within it, and punching them like control buttons sets off a holographic recording of the Engineers last moment in the corridor that plays showing them running along with something wailing in the background that might be there or just might be part of the film's sound track, they discover the decapitated body of an engineer and again without being asked starts dangerously attempting to open the door by touching more hieroglyphs to see if they do something, Elizabeth Shaw says "Wait we don't know what's on the other side", the door opens and he apologises with a "woops, sorry" when it's too late, which leads into a chamber full of urns. And because of these seemingly idiotic actions along with the fact that these people idiotically take their helmet's off or the door has been opened that starts off a reaction leading to the tops of the urns in a room appearing to melt and black fluid pours out. Harmless worm like creatures in the ground around suddenly begin to mutate into something much more vicious

d) Dangerous small creatures


Egyptian Scarab



concept art for the Hammerpede from Prometheus

In Tomb of the Cybermen, smallish dangerous creatures in "Tomb of the Cybermen", small mechanical creatures like oversized silver fish known as cybermats are found to be crawling around the tomb complex that would crawl along and then leap on on the human victim, perhaps up their arm and clamp onto the side of the person's face homing in on the brain waves. The Cybercontroller orders the cybermats to be unleashed and they crawl up through the small shafts in the tomb.

The idea behind the cybermat was to create a sort of a pet for the Cybermen, and so they were being inspired by the idea of how the Ancient Egyptians venerated the scarab beetles, so they came up with the idea for a small almost rat sized silverfish like creature that developed into the cybermat that home in on human brainwaves and attack, crawling onto the victim and stunning them.


Scarab beetle carving

Radio controlled Cybermats
Cybermat from Doctor Who And The Tomb of the Cybermen
In Prometheus,  When one of the two separated explorers possibly high on pot, reaches out to one of these snake like creatures that perhaps replace the old facehuggers that shows sudden interest in him, it latches onto his arm breaking it, pierces the suit and crawls into the helmet clamping onto the head. However they are not there to implant alien embryos but simply kill for whatever reason.
A smaller version of the cybermat crawling on shoulder of Kaftan from "Doctor Who And The Tomb of the Cybermen"

Hammerpede coiling around Milburn's arm.


e) Making a deal with the biomechanical giants

In Tomb of the Cybermen, Kaftan a member of the Brotherhood of Logicians, along with her colleague Klieg, and they have financed Doctor Parry's expedition to Telos, they turn out to be interesting in nothing but the actual Cybermen rather than the interior of the tomb like building. It comes to a point where Kaftan and Klieg hijack the mission with the use of force. Klieg working out the controls revives the Cybermen who have been in hibernation for 500 years. The leader is a fairly gigantic humanoid perhaps looking about seven foot, and the Klieg wants try to bargain with the Cyber Controller to gain power but in doing so meet their own doom. The Cybermen are an intelligent possibly humanoid race, who have replaced most of their body parts with plastics and mechanical parts. Their leader the Controller who is the most threatening of all, appears like a seven foot giant.
The Cybercontroller with enlarged veined dome.
The Cybercontroller grabs Klieg by the arm and almost crushes it, reducing him to his knees before throwing him backwards on the ground. The cybermen have set this whole thing as a trap to bring people of superior intellect in so that they could be turned into cybermen.

One of the Earth spaceship pilots who asks what they're going to gain from all of this. Kaftan replies "We are going to build a better world "

The Cyber Controller's plans are only to transform the human race into more cybermen


In Prometheus,  Once David has discovered a living giant asleep in his Egyptian sarcophagus like hibernation crypt, Peter Weyland the man who has built Weyland Corporation whose company slogan is "Building better worlds" is the person who has financed the expedition and has been revived from hibernation. This tall humanoid wears a suit that appears to be organic and technological but one can not work out wear it ends and the giants own flesh begins. Peter Weyland immediately takes over the expedition and to wake up the giant out of his hibernation and ask him how to extend his own life, but since the giant human is angered and everyone he can lay his hands on.

And then as it seems that the Engineer only has plans to take off in his spacecraft to travel to Earth and unleash on it a cargo of black stuff that perhaps will transform the human civilisation perhaps in the way that Fifield and Holloway had both begun to transform.



Source Quote
  1. This time the writers did not want to imagine a future rocket base or moon station, but get to explore Telos, the world of the Cybermen. For once , this was not going to be a siege story since the object was for the humans to get inside the base. Whether they would emerge from it depended upon the whims of the writers, They took their starting point  a classic horror movie called The Mummy, a film made in 1932, and remade more recently in 1959, where a group of archaeologists wake up an ancient evil. In the case of the Cybermen, it was going to be a trap for only the cleverest human to spring. It was a chance for the writers to imagine elaborate set up, and for Gerry to explore his favourite fear of claustrophobic tunnels based on a childhood experience in a coal mine, Above all , it gave them a chance to write another spooky horror serial, with a healthy dose of melodrama added to the mix. (The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  2. Egyptology is a very attractive image for children, so the deserts of Egypt would be the basis for the sandy wastes of Telos. There would be a sarcophagus of sorts in the Cybermen's recharging room, and bas relief illustrations of Cybermen were plastered all over their base. Since mummies are embalmed dead with some of their internal organs removed and kept in jars. It does not stretch the imagination too far to imagine how this relates to the Cybermen. They were to be found frozen in suspended animation within ice tombs deep below the surface of their city. Inevitably they would be awoken , and emerge from their tombs in a set piece scene. "There was something very evocative of the image of the Cybermen being all frozen up and breaking through the honeycomb-like membranes, "Gerry Davis explain in 1988. (The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  3. The Planet Telos , Five hundred years after the Cybermen were believed to have died out, a group of archaeologists from Earth visit the creatures' adopted planet and search for the entrances to their city. They uncover, instead , what appears to be their tomb. (The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  4. The Doctor, Jamie and Victoria join them in their exploration of the antechambers and Victoria finds an inactive device which the Doctor describes at a Cybermat. Upon discovering that their rocket has been sabotaged, the crew members are forced to spend the night in the central chamber. Possibly motivated by curiosity, the Doctor surreptitiously helps Eric Klieg to solve the logic puzzle at the main controls, and the gateway to the underground tomb swings open. (The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  5. The Doctor and his friends descend a ladder into the freezing tomb, and Klieg's fellow logician Kaftan closes the hatch behind them. Once underground, Klieg activates the levers that awaken the cybermen. They slowly emerge from their honey comb-like cells closely followed by the imposing form of their controller. (The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  6. The cybermen controller orders the release of the rat-like Cybermats to attack the humans on the other side of the hatch, but Klieg and Kaftan are undeterred. Klieg takes an x-ray laser from the weapons testing room, and opens the hatch. He keeps the Controller at bay with the gun, and offers him an alliance. The weakened Controller agrees, and Klieg allows him to stagger into a revitaliser for some much needed energy.(The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  7. Toberman follows the controller out of the tomb, but it soon becomes clear that he's been partially converted into a Cyberman. Toberman turns on the controller and Cybermen begin to swarm towards the reopened hatch. Jamie repels them with the X-ray laser, but the death toll leads the Doctor to a grim conclusion. Preparing to seal the Cybermen in their tomb forever, he once more descends underground. (The Tomb of the Cybermen, Marcus Hearn, The Essential Doctor Who: Cybermen)
  8. This time the writers did not want to imagine a future rocket base or moon station, but get to explore Telos, the world of the Cybermen. For once , this was not going to be a siege story since the object was for the humans to get inside the base. Whether they would emerge from it depended upon the whims of the writers, They took their starting point  a classic horror movie called The Mummy, a film made in 1932, and remade more recently in 1959, where a group of archaeologists wake up an ancient evil. In the case of the Cybermen, it was going to be a trap for only the cleverest human to spring. It was a chance for the writers to imagine elaborate set up, and for Gerry to explore his favourite fear of claustrophobic tunnels based on a childhood experience in a coal mine, Above all , it gave them a chance to write another spooky horror serial, with a healthy dose of melodrama added to the mix. (The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  9. Egyptology is a very attractive image for children, so the deserts of Egypt would be the basis for the sandy wastes of Telos. There would be a sarcophagus of sorts in the Cybermen's recharging room, and bas relief illustrations of Cybermen were plastered all over their base. Since mummies are embalmed dead with some of their internal organs removed and kept in jars. It does not stretch the imagination too far to imagine how this relates to the Cybermen. They were to be found frozen in suspended animation within ice tombs deep below the surface of their city. Inevitably they would be awoken , and emerge from their tombs in a set piece scene. "There was something very evocative of the image of the Cybermen being all frozen up and breaking through the honeycomb-like membranes, "Gerry Davis explain in 1988. (The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  10. The Cybermen were to have a new leader called the Controller be a more sophisticated , tall and less cumbersome creature. The Egyptians revered Scarab beetles, and so the Cybermen would also have a form of pet, little silver woodlice creatures called Cybermats. According to Victor Pemberton, the Cybermats were entirely Kit's idea. (The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  11. Kit had once visited a scientist who was working on artificial intelligence. The man had built a small box on three wheels, which he described as a blind man inside a room. The room in question was black tape forming the shape of a polygon stuck onto a flat silver board. As the box moved about around the polygon, it would never cross the black lines. The inventor challenged Kit to work out how the machine stayed within the black lines. Kit assumed it was a light sensor underneath the robot. "Inside the robot," Kit wrote in The Quest for Gaia, ' was a small model of the room and a sensor which "felt" the walls of the model room. In other words, the robot had a memory of the outlines of the room and so needed no senses to find its way out. (The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  12. This was a mode advanced version of "the tortoise', a cybernetic 'toy' designed and built by the British physiologist William Gray Walter in the 1950s. Walters was a designer of electroencephalography machines which measured brainwaves. The tortoise was about the size and shape of one, and was designed to explore the behaviour of biological organisms, such as goal-seeking and learning from experience. With a scanning photo receptor cell, it would seek out and approach a light source (as a Cybermat would home in on brainwaves). Walters had actually constructed a very simple nervous system. One of these was called Elsir (Light Sensitive), which was demonstated at the Festival of Britain in 1951. It could explore its environment, seek light and guide its wheels towards the light source. Elsie also had a preference between strong and moderate light sources, and would not get too close. It had  movable shell with pressure sensors which closed an electrical circuit if touched, cuasing it to react if it hits a wall or is touched. A later tortoise had its own light source attached and could attract another one, and when they met, they performed a kind of strange dance. In 1950, Gray wrote that his work on tortoises could be adapted for use on a "better self-directing missile."(The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  13. Naturally, Kit build his own versions, Mark Pedlar remembers 'Dad used to build electric cats, mice, little Heath Robinson devices, very sophisticated for those days that would react to light. They were on wheels and their heads would move. He used to bring them home."
    (The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  14. A tortoise isn't by itself, terribly sinister. As Gerry Davis recollected in 1988 to DWB,, they thought of insects: "We thought that the Cybermen would be some sort of ancillary animal thing and we basically wanted something rather horrific that would crawl along and then leap on you and clamp onto the side of your face and home in on your brain waves. We envisaged them like silver fish, with that sort of segmented body and much bigger of course. They didn't end up like silver fish, of course but that was the original concept, and we thought it would be interesting to have the scene where they were all sitting down unaware and then suddenly thing thing starts coming. We also thought that they might be marketed as a children's toy but they don't quite catch on."(The Quest for Pedler: The Life & Ideas of Dr Kit Pedler)
  15. Gerry David : Tomb of the Cybermen was all very Freudian, with the symbolism of going down into the catacombs. It was an old-fashioned horror story with the breaking of the foetal membranes an added touch. That also gave us more scope with the Cybermats, who were based on silverfish. Although we devised them thinking mainly of the merchandise, they were also pretty horrific, with red eyes and the ability to leap up at you. (https://drwhointerviews.wordpress.com/category/gerry-davis/)

aliens in suits that look like aliens

 Leads from: 

"Engineer" sized
space jockey suit

See more photos
a.) Once we have seen the film, we understand that Ridley Scott has been telling us that the Space Jockey we had seen in the original Alien film was a suit. There might still be a way to turn the idea around because of the dissimilarities between the space jockey in Alien and the space Jockey suits in Prometheus.

b) However Ridley asked the question and out of that came the answer that it must have been a suit and for Ridley this happened around 1995, or near enough twenty six years after Alien going by Ridley's memory.

c) What ideas were these floating around in Hollywood at the time?  My own explorations about the matter brought me to think about the alien space suits seen in the movie Fire In The Sky back in 1993, but this movie was preceded by the film Communion which featured the idea
engineer sets the controls from his seat
of aliens that were suits containing a different sort of an alien within and then a few years after Fire In The Sky came Independence Day which developed the idea even further of an alien in a space suit that might have been mistaken for an alien life form itself.
  1. (37:35) Simon Mayo: Now as we have people spalling back in their minds to this character that you're talking about, this is the, there's a mysterious being this giant creature, I know it became known as the space jockey, but erm, could you, could you just
    engineer as his helmet is being put on
    describe him so that people can picture him.
    (37.53) Ridley Scott: "He was perceived, the giant was perceived as skeletal and erm, I kept staring at the skeleton which was kind of a wonderful drawing by H R Giger, and erm, then I thought, twenty, thirty, twenty, actually twenty six years on (1995?), I thought what if this is not a skeleton, but, because we only see it as a skeleton, because of our own, the way we see things in our own indoctrination, and er now I thought, what happens if its another form of protection or a suit? If its a suit then what's inside the suit" ( Mark Kermode and Simon Mayo's Film reviews, BBCRadio 5 live, 01 June 2012.)
    engineer with head encased in helmet
                                      
  2. Often Scott will have a trigger image in mind when he begins prepping a film. With Prometheus  it was the Space Jockey. "The big guy sitting in the seat, " he recalls.
    'Somebody said it's a skeleton and I said it doesn't have to be, it could be a degraded suit. It's only you saying that because you think you're looking at bone structure and a rib cage. Why isn't that a suit? It's been lying there disintegrating for two or three thousands of years in deep cold, that could be a suit. The suit works great as a kind of organic, very sophisticated spacesuit." (Prometheus: the art of the film, p20))                                               
b) Communion (1989)
The subject of extra-terrestrial abduction called Communion which was about the experiences of the writer Whitley Strieber and it displayed the idea that the ETs that he was seeing were somehow unspecifically just outside skins for something else within. In the movie the Grey's face opens up to reveal something reptilian inside.
  1. Philippe Mora: There's a fourth alien figure that we reveal in the film. It's a figure that Whitley saw once - a version of the Communion figure that actually showed the face was a kind of mask and there was something underneath, ("Report on Communion" by Ed Conroy, p186)

Scene from "Communion" exploring
 the idea of the alien creature's heads as masks
Image of a Grey's face with a reptile
face within, from Communion

c) Fire In The Sky (1993)
videotape cover for  
Fire In The Sky, (1993)
In 1993 the movie Fire In the Sky was released, the script written by Tracy Tormé who tried to depict as near as possible the events surrounding the Travis Walton alien abduction UFO case and this movie brought up the same idea about what we perceive to be extra terrestrials, that they're suits with something inside them. The space suits in Fire In The Sky might well be considered a nod to Communion and also a development of the idea.

This idea came about because the film was based on the ET abduction experiences of Travis Walton and what he wrote about as his extra terrestrial abduction experience had already been seen on the screen before so they decided to replace it with something else and Tracy Tormé came up with a visceral interpretation of Walton's abduction that in a clever way became an idea about a perception regarding these alien beings, that what we saw as typical greys were space suits and maybe there was something else inside them and here there were some strange almost humanoid aliens.  Perhaps is was a very interesting idea.
Head of an extra-terrestrials space suit that resembles a stereotypical 'Grey' from 
Fire In The Sky. Click here to see more shots
  1.   Tracy Tormé: I've heard many abductees say if they could just find the zipper on these little grey guys and pull it down, they could see what's really underneath because there is a sense amongst a lot of them there is something very artificial about them... (Coast To Coast Am, April 9th, 2008)
  2. See: Just like "Fire in the Sky" for more photos from the film

d)  Independence Day (1996)
Independence Day poster
In 1996 which is the year that Ridley did claim to have the idea, the movie Independence Day was released which had the idea of extra terrestrials that were slightly Alien inspired which turned out to be organic suits (designed and created by Patrick Tatopoulos who later went onto design the pyramid and its interior and the Predator-Alien chestburster in Alien Vs Predator) with smaller extra-terrestrials slightly resembling the idea of a Grey hidden inside. 

See images of and read more about the development of the "Independence Day" biomechanical suit


alien biomechanical suit


The standing Engineer Spacesuits


"Engineer" sized space jockey suit

(Source: Prometheus :The Art of the Film)
"Engineer" sized space jockey suit

(Source: Prometheus :The Art of the Film)

"Engineer" sized space jockey suit

 (source: Prometheus :The Art of the Film / http://www.kerry-brown.com/)
Suit images that appeared in Entertainment Weekly as a detail in a photo
"Engineer" sized space jockey sui
Noomi Rapace sitting on a step ladder in front of the Space Jockey suits 
(Source: Prometheus The Art Of The Movie book)
stuntman Florian Robin posing
by suits in the corridor. 
(source Flostunts website)