'Alien: Covenant—David\'s birth (opening scene/prologue) | Peter Weyland meets David

$'Alien: Covenant—David\'s birth (opening scene/prologue) | Peter Weyland meets David | Wagner'$

00:55 Jun 24, 2023 0 0

'Hello, Humenhoids. Today we present:   Alien: Covenant (Ridley Scott, 2017)   Read the full analysis https://bit.ly/3acQn9e  You can support my projects at: https://bit.ly/3zuXFlp  — Narrative summary: 1) David is conscious and observes the world. 2) Peter Weyland questions him 3) David describes the surrounding environment (room, Carlo Bugatti’s armchair, Steinway piano, Piero della Francesca’s work of art). 4) In an ironic joke, Weyland declares himself the father of the android. 5) The android asks if he is his son. 6) Weyland defines it as his creation 7) The android notes Michelangelo’s David sculpture and takes the name. 8) Weyland asks David to play the piano indicating his preference for Wagner 9) David chooses to perform a personal arrangement of “The Entry of the Gods Into Valhalla” 10) David asks Weyland who is its creator 11) Weyland replies that this is the most important question in all of human history and that David will help him find the answer. 12) David points out that Weyland will one day die, while he does not. 13) Weyland looks at David severely and then orders him to serve him tea. 14) David hesitates to answer the command, and then serves tea while Weyland observes severely his disguised servile expression.  — Analysis Peter Weyland and the android David The first sequence of Alien: Covenant is set in a time interval preceding the colonization mission (2104), in a period prior to the history of Prometheus (2093).[1] In a large minimalist white room furnished with works of art and a piano[2], Peter Weyland (Guy Pearce) founder of Weyland Industries, verifies the operational characteristics of his first robotic creation, the android David (Michael Fassbender). The scene, between symbolic references and essential dialogues, synthesizes and connects many cardinal elements of the entire intellectual property (philosophy, artificial intelligence, religion, mythology, mortality, human history).  — Dialogue transcription: [Peter Weyland] How do you feel?   [David] Alive   [PW] What do you see?   [D] White. Room. Chair. Carlo Bugatti Throne Chair. Piano. Steinway, concert grand. Art. The Nativity by Piero delle Francesca.   [PW] I am your father. Ambulate.   [PW] Perfect.   [D] Am I?   [PW] Perfect?   [D] Your son?   [PW] You are my creation. What is your name?   [D] David.   [PW] Why don’t you play something?   [D] What would you like me to play?   [PW] Wagner.   [D] Selection?   [PW] Dealer’s choice.   [D] (The Entry of the Gods into Valhalla)   [PW] The Entry of the Gods into Valhalla. A little anemic without the orchestra.   [D] May I ask you a question, father?   [PW] Please.   [D] If you created me, who created you?   [PW] Ah. The question of the ages, which I hope you and I will answer one day. All this. All these wonders of art, design, human ingenuity, all utterly meaningless in the face of the only question that matters. Where do we come from? I refuse to believe that mankind is a random byproduct of molecular circumstance, no more than the result of mere biological chance. No. There must be more. And you and I, son, we will find it.   [D] Allow me, then, a moment to consider. You seek your creator. I am looking at mine. I will serve you. Yet, you are human. You will die. I will not.   [PW] Bring me this tea, David. Bring me the tea.  — Notes […] This is the first fresh morning of David, and David is being listened to by his father. Approved and admire by his father. But then, eventually, the father realizes that this AI is actually dangerous. […] In this scene David becomes kind of aware that he actually is superior to his father. […] So here you are witnessing a superlatively successful man, probably a trillionaire, who is revealing his insecurity about being human. And this is where we find David, now studying him, realizing he has limitations. Now, Weyland feels uncomfortable. And I would say, even angry at being challenged by his creation. So he gives out the first order. This is a big thing. Because David’s already going in his mind: “Why does he need me to pick up tea when it’s right by my elbow?”. So now, we have a demonstration that David is also political. Which makes him very dangerous. That’s why there is no reaction at the end. — Ridley Scott   Humenhoid is a creative research unit specialized in immersive entertainment and transmedia storytelling with focus on cinema, tv series, video games, and marketing. https://bit.ly/2K0NfT6   — Legal Notice Fair Use — Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for \"fair use\" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended. The use of protected material responds exclusively to a scientific and cultural intent.'

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Tags: Horror movie film cinema thriller piano Android alien Ridley Scott analysis robot sci-fi Science Fiction creation ai guy pearce classical music Prometheus chair david Michelangelo nativity robotic covenant Michael Fassbender Alien Covenant Wagner prologue steinway Weyland-Yutani peter weyland Weyland Industries The Entering of the Gods Into Valhalla Weyland Corporation Piero Della Francesca Carlo Bugatti Weyland corporate timeline The Entry of the Gods Into Valhalla