Prometheus Creature Designs

leading from
Prometheus

1) The Hammerpede
1) introducing the Hammerpede  2) The facehugger centipede

2) Prometheus Babyhead
 1) Carlos Huante's Babyhead 
2)Origins of Carlos Huante's Babyhead 
3) HR Giger's Babyhead 
4) Neville Page's Babyhead (still to come)

3) Fifield Monster
1)The Fifield Monster, 2) Ivan Manzella's Fifield Monster,  
3) H. R. Giger's Fifield Monster, 4) Alternate Fifield mutant, 
5) The final mutant Fifield, 

4) The Trilobyte
Chihuly - Chihulien - Chihulybite

5) The Utramorph
Carlos Huante's Ultramorph

The Fifield Monster

leading from

Fifield Monster

1. "Infected by black slime emitted from the Ampules while in the Pyramid overnight with Millburn, Fifield (Sean Harris) transforms into a creature that was jokingly referred to as "Babyhead" by the crew. "Fifield was considered to be the mid-point between the Hammerpede and the Deacon, "reveals Neal Scanlan of its positioning in the genetic cycle Creature designer Carlos Huante worked on the initial designs for the Fifield monster, which was originally more alien than human before the mutated head and body were refined into something more recognisably Harris, albeit a twisted version of the actor." (Prometheus: The art of the film, p134)
2. "Everything we've done on the film has a real world reference, "notes Scanlan, "and when you do your research, it's so sad because Fifield isn't really that much of a fantastical creature. These things happen in real life, like Elephantiasis." (Prometheus: The art of the film, p134)

CGI visualisation by Martin Rezard (Le Cinema S.F.X, June 2012)

Prometheus creature by Neville Page

Prometheus creature by Neville Page

Fifield bust by Martin Rezard

Fifield bust by Martin Rezard

mutant Fifield sculpt (Prometheus: The Art of the Film)

Martin Rezard Sculpting a bust of the creature

Martin Rezard Sculpting a bust of the creature (Le Cinema S.F.X, June 2012)

maquette of the mutant Fifield (Prometheus: The Art of the Film, p135)

Initial drawing of Fifield monster perhaps in earlier stage of transformation 
by Carlos Huante (Prometheus: The Art of the Film, p134)

Initial drawing of Fifield monster perhaps in  earlier stage of transformation 
by Carlos Huante (Prometheus: The Art of the Film, p134)

Fifield Monster

leading from
Prometheus Creature Designs

1) The Fifield Monster

2) i) Carlos Huante's Fifield Monster (still to come) 
ii) Did Chris-cunningham inspire an early Huante Fifield creature concept>

3) Ivan Manzella's Fifield Monster

4) H. R. Giger's Fifield Monster

5) Alternate Fifield mutant

6) The final mutant Fifield

7) Fifield found rolled up

Babyhead

leading from

Prometheus Creature Designs

 1) Carlos Huante's Babyhead

2) Origins of Carlos Huante's Babyhead

3) HR Giger's Babyhead

4) Neville Page's Babyhead (still to come)

Giger's Babyhead

leading from
Babyhead

Dated 23rd February,2011, HR Giger provided a sketch of Carlos Huante's 
babyhead concept but with slight differences in the face area.

Clock Head from Dark City inspired Prometheus Head?

One curious film that came out in the 1990s was a movie called Dark City. The movie featured a race of pale skinned bald humanoids known as The Strangers dressed in leather who might roughly remind people of the Cenobites from Hellraiser. These entities who controlled the human race in a city that transformed and the lives of everyone living in the city would suddenly transform and they would leave behind their old identities and embrace a new one unless they were able to remain conscious through the process. The Strangers would reveal themselves to be some other kind of an alien entity hiding in the brain of these humanoids

In the movie there was the main environment of the Strangers, a place dominated by a huge head that opened up and contained a clock. Curious so it seems, Prometheus and Dark City both shared cinematographer Dariusz Wolski.

Meanwhile Patrick Tatopoulos who designed the sets and the Strangers had been responsible for the aliens within suits from Independence Day that mainstreamed the idea of an extra-terrestrial being a suit which contained a completely looking alien inside. (The Space Jockey As Suit Question 
and Independence Day's Biomechanical Suit )

Alternate Fifield mutant

leading from
Fifield Monster

a) Weta Digital generated a digital Fifield with elongated limbs and an engorged , translucent head incorporating a semblance of Sean Harris' face to mutate the crewmember character beyond what was possible using practical effects. Before the shoot Weta developed digital creature concepts. They did animation tests of an embryonic looking creature that had sinister animal mootion. They studied references of acts, gorillas, and even crabs. Ridley was very interested in this. During the actual shoot, Ridley started leaning toward an in-camera trick effect with the actual actor, so they took the design of this embryotic creature closer to the human form.

b) Weta develop Fifield beast
Weta modeled the creature with a glassy head embedded with a withered likeness of Sean Harris. The idea was that it was as if a glass exoskeleton was forming around him, and as the design evolved, they made the inner head more visible so that it could articulate with facial expressions. As the design evolved, they clothed it in a simulation of Fifield's space suit, torn and covered in oil. The thing became a lot more humanoid, but distorted and long limbed, and it moved with a gorilla-type motion, very aggressive and walking on its knuckles.

c) Carlos Huante's response
The designer Carlos Huante observed the out takes from Prometheus, he loved the performance of the ape version of Fifield but the actual seemed more like an ape, but not right for the movie. 

source quotes

1. To mutate the crewman beyond what was possible using practical effects, Weta Digital generated a digital Fifield with elongated limbs and an engorged, translucent head incorporating a semblance of Sean Harris' face. (Cinefex 130, p48)
2. Weta developed digital creature concepts prior to the shoot. "We did animation tests of an embryotic- looking creature that had sinister animal motion," observed Martin Hill. "We studied reference of cats, gorillas, even crabs; and Ridley was quite into that. During the shoot, he started leaning toward an in-camera trick effect with the actor, so we took the design of this embryotic creature closer to the human form. " Weta modeled the creature with a glassy head embedded with a withered likeness of Sean Harris. "It was like an exoskeleton forming around him. As the design evolved, we made the inner head more visible, so it could articulate with facial expressions, and we clothed it in a simulation of Fifield's spacesuit,  torn and covered in oil. It became a lot more humanoid, but distorted and long limbed, and it moved with gorilla-type motion - very aggressive, walking on its knuckles. "(Cinefex 130, p51-52)
3. Carlos Huante: I saw all the outtakes as well and loved the performance of the ape version of Fiflield but the actual creature wasn’t Alien or Prometheus it was an ape… It looked great though, but it wasn’t for this movie. (Carlos Huante's interview for AVPGalaxy conducted by Jaime Praeter/ ThisBethesdaSea)

alternate Fifield mutant

alternate Fifield mutant

(source Blu-ray.com forum user CRS through AVPGalaxy.net)

(source Blu-ray.com forum user CRS through AVPGalaxy.net)

alternate Fifield mutant later released online by Cinefec, August 27th, 2012

(source Blu-ray.com forum user CRS through AVPGalaxy.net)

alternate Fifield mutant (Prometheus: The art of the film, p135)

Martin Rezard working on the alternate Fifield mutant (Prometheus: The art of the film, p135)

Oscar winner H.R. Giger in Blick interview Originally Published 9th June.2012

http://www.blick.ch/people-tv/schweiz/ich-koennte-mit-erotischen-aliens-immer-noch-viel-geld-verdienen-id1916668.html

(Translation was done using several online translation programs, Google, Bing, Intertran, Linguatec and Reverso. Any other suggestions for translation would be welcome, however I think the translation makes enough sense)

Oscar-Preisträger H.R. Giger im BLICK Interview«Ich könnte mit erotischen Aliens immer noch viel Geld verdienen!»

33 Jahre nach «Alien» ist H.R. Giger (72) wieder in aller Munde: mit dem Hollywood-Film «Prometheus». Er spricht über Arbeitsmüdigkeit, Herzprobleme und Glücksmomente.

Oscar winner H.R. Giger in Blick interview "I could still earn a lot of money with sexy aliens!"

33 years after "Alien" is H.R. Giger (72) again on everyone's lips: the Hollywood film "Prometheus". He talks about working fatigue, heart problems and moments of happiness.

Blick: Sie sind gerade von der Welt-Premiere des 250-Millionen-Blockbusters «Prometheus» in London zurückgekehrt. Wie wars?

Blick: You have just returned from the world premiere of the 250-million blockbuster "Prometheus" in London. How was it?

H.R. Giger: Fantastisch! Obwohl ich ja eigentlich nicht mehr so gerne reise. Das ist mir zu anstrengend geworden. Als ich in London aus dem Taxi stieg, war ich sofort von Dutzenden Leuten umringt, die mein Autogramm wollten. Wir wurden von Kult-Regisseur Ridley Scott und der Firma Twentieth Century Fox total verwöhnt.

H.R. Giger: Fantastic! Although I actually not more so love to travel. That has become too exhausting to me. When I got out of the cab in London, I was surrounded immediately by dozens of people, who wanted my autograph. We were totally spoiled by cult film Director Ridley Scott and the company of Twentieth Century Fox.

Blick: Auch die Kritiker loben ihre Arbeit für den Film...

Blick: The critics also praise its work for the film...

HR Giger: Ja, das freut mich. Auch dass ich im Nachspann des Films am Anfang prominent erwähnt werde. Dabei habe ich ja gar nicht so viel gemacht. Eines der Raumschiffe stammt aus meiner Feder, es beruht auf Bildern und Entwürfen, die ich schon vor 33 Jahren gemacht habe.

H.R. Giger: Yes, I'm glad. Also that I was mentioned prominently in the trailer of the film at the beginning. While I did not so much. One of the ships came from my pen, it is based on images and designs I did 33 years ago.

Blick: Auf Fotos von der Premiere wirken Sie aber etwas angeschlagen. Wie geht es Ihnen eigentlich?

Blick: On photos from the Premiere, you look a little bit struck, How are you actually?

H.R. Giger: Nun ja, ich hatte zwei Tage vor der Premiere einen Eingriff am Herzen. Ich hatte in letzter Zeit stark geschwollene Füsse. Am Pfingstmontag war es besondersschlimm, also schickte mich ein befreundeter Arzt in die Klinik Hirslanden in Zürich. Dort wurde mir Tags darauf ein Stent eingesetzt.

H.R. Giger: Well, I had a surgery on the heart two days before the premiere. I had severely swollen feet lately. On Whit Monday, it was particularly bad, so sent me a friendly physician at the Hirslanden Clinic in Zürich. There a Stent was used on me the following day

Blick: Und da durften Sie trotzdem an die Premiere nach London?

Blick:  And since you were still at the premiere to London?

H.R.Giger: Ja, mit dem Einverständnis meines Arztes. Als ich am Mittwoch entlassen wurde, nahmen meine Frau Carmen und ich gleich den Flieger. Schon ein bisschen verrückt von mir.

H.R. Giger: Yes, with the consent of my doctor. When I was released on Wednesday,  I took my my wife, Carmen and I become the flier. A little crazy by me.

Blick: Arbeiten Sie eigentlich noch immer jeden Tag?

Blick: Do you actually still work every day?

H.R. Giger: Nein, ich arbeite nur noch selten. Ich lasse mich nur noch feiern (lacht). Es ist schön, einfach seine Ruhe zu haben. Ich mache mittlerweile nur noch das Minimum oder wenn eine Auftrag es verlangt. Ich habe meinen künstlerischen Beitrag für diese Welt geleistet.

H.R. Giger: No, I work only rarely. I only be celebrated (laughs). It's nice just to have peace of mind. I'm now just do the minimum, or if only a job requires it. I have made my artistic contribution to this world.

Blick: Aber als Künstler geht man doch nie in Pension?

Blick: But as an artist you never enters pension?

H R Giger:Ach, ich habe mein Leben lang hart gearbeitet – vor allem zwischen 1972 und 1992, als ich meine grossformatigen Airbrush-Bilder malte. Manchmal, wenn ich etwas deprimiert bin, blättere ich meine Werkkataloge durch und sehe, was ich alles geleistet habe. Das gibt mir enorme Zufriedenheit. Mit der Spritzpistole arbeite ich seit langem nicht mehr,ich würde mich da nur noch wiederholen.

H.R. Giger:.Oh, I've worked hard all my life - especially between 1972 and 1992, when I painted my large airbrush images. Sometimes when I am somewhat depressed, I browse my work catalogs and see what I've done. That gives me enormous satisfaction. I no longer work for a long time with the airbrush, I would repeat myself only there.

Blick: Trotz der grossen Nachfrage?

Blick: Despite the great demand?

HR Giger: Ja, ich könnte mit dem Malen von erotischen Aliens immer noch viel Geld verdienen. Aber das interessiert mich nicht mehr. Ich bin künstlerisch gesättigt. Die Malerei gibt mir nicht mehr soviel wie früher. Ich mag nicht mehr fleissig sein.

H.R. Giger: Yes, I could earn still much with painting erotic aliens. But that no longer interest me. I'm artistically saturated. The painting gives me no more as much as in the past. I may be no longer busy.

Blick: Wie sieht Ihr Alltag aus?

Blick: What is your daily routine?

H.R. Giger: Ich stehe gegen Mittag auf. Unsere Hauptmahlzeit nehmen Carmen und ich erst am Abend ein. Ich schaue tagsüber viel fern, vor allem Filme und Dokumentationen. Und es gibt immer etwas zu erledigen – etwa für die Ausstellung, die gerade in Solothurn läuft, oder mein Museum im Schloss St. Germain in Greyerz.

H.R. Giger: I get up around noon. Carmen and I only take our main meal in the evening. I watch daytime much TV, especially films and documentaries. And there is always something to - as for the exhibition, which runs in Solothurn, or my Museum in the castle of St. Germain in Gruyères.

Blick: Sind Sie noch oft in Greyerz?

Blick: Are you often in Gruyères?

HR Giger: Nein. Ich fahre selber nicht mehr gern Auto. Meine Frau Carmen kümmert sich als Museums-Direktorin hervorragend um die Sammlung. Das Museum ist inzwischen selbsttragend, was mich stolz macht.

H.R. Giger: No. I no longer like to drive a car. My wife Carmen cares as Museum Director suited to the collection. The Museum is now self-supporting, which makes me proud.

Blick: Carmen ist 24 Jahre jünger. Wie erleben Sie den Altersunterschied?

Blick: Carmen is 24 years younger. How to experience the difference in age?

H.R. Giger: Gar nicht. Wir passen zu einander – in allen Belangen. Wir haben uns getroffen, und es hat gepasst. Liebe ist eine geistige Sache, die hat nichts mit dem Alter zu tun. Ich wüsste nicht, was ich ohne Carmen machen würde. Ich hatte aber schon immer gern junge Menschen um mich herum.

H.R. Giger: Not at all. We match each other – in all aspects. We met, and it has adapted. Love is a spiritual thing, which has nothing to do with the age. I don't know what I would do without Carmen. I had but has always been fond of young people around me.

Blick: Lieber als alte?

Blick: Better than old?

H.R. Giger: Ja, ich ertrage alte Leute meist nur schlecht. Carmen und ich haben uns 1996 kennengelernt – über gemeinsame Freunde. Im März 2006 haben wir heimlich geheiratet. Aber unseren Hochzeitstag vergessen wir beide immer wieder (lacht).Carmen war in den letzten Jahren die grösste künstlerische Inspiration für mich – sie ist auch ein Schatz! Es wäre furchtbar für uns beide, wenn einer von uns vor dem anderen gehen müsste.

H.R. Giger: Yes, I put up with old people usually poorly. Carmen and I met in 1996 - over mutual friends. We got married secretly in March 2006. But our anniversary we both keep forgetting (laughs).Carmen was the greatest artistic inspiration for me in the last few years - it is also a treasure! It would be both awful for us if one of us would have to go before the other.

Blick: Sie sind mittlerweile 72 Jahre alt. Hat sich Ihre Einstellung zum Tod verändert?

Blick: You are now 72 years old. Has your attitude changed for death?

H.R. Giger: Eigentlich gar nicht. Vielleicht kommt es daher, dass ich mich schon als junger Mensch intensiv mit der eigenen Vergänglichkeit beschäftigte. Etwa, wenn ich als Kind Geisterbahnen baute oder als Fünfjähriger einen Totenschädel auf Rädern hinter mir nachzog.

H.R. Giger: Actually not at all. Perhaps it comes, that I already dealt with my own  transience intensively as a young person. Possibly if I built ghost trains as a child or dragged as a five-year-old a skull on wheels behind me. 

Blick: Gibt es ein Jenseits?

Blick: Is there an afterlife?

H.R. Giger: Nein, ich glaube, dass mit dem Tod alles aufhört. Ich glaube, im Gegensatz zu Carmen, auch nicht an die Wiedergeburt. Die Vorstellung, dass alles immer weiter geht oder dass ich sogar zurück auf diese Welt kommen soll, ist schrecklich.

H.R.Giger: No, I believe that with death, everything stops. I believe , in contrast to Carmen, also not in rebirth. The idea that everything goes further or that I should even come back to this world is terrible

Blick: Für viele Menschen wäre diese Vorstellung erdrückend.

Blick: For many people, this idea would be overwhelming.

H.R. Giger: Für mich nicht. Ich will nicht noch einmal leben. Einmal ist genug. Es ist ja auch alles so schrecklich anstrengend. Aber, auch wenn ich mal nicht mehr da bin, meine Kunst lebt weiter. Das freut mich, und ich hoffe, dass sie bei kommenden Generationen Anerkennung findet.

H.R. Giger: Not for me. I do not want to live again. Once is enough. It's all terribly strenuous. But, even if I'm once gone, my art lives on. That pleases me, and I hope that it finds recognition in future generations.

Blick: Leben Sie heute eigentlich gut – sind Sie reich?

Blick: You live really well today - are you rich?

H.R. Giger: Wir kommen gut über die Runden. Meine Werke, Originale, Grafiken und Skulpturen sind international gefragt. In den vergangenen Jahren sind mehrere grosse Retrospektiven in namhaften europäischen Museen gezeigt worden und weitere Ausstellungen sind in Vorbereitung.

H.R. Giger: We are making good ends meet.. My works, original, graphics, and sculptures are in international demand. Several major retrospectives at major European museums have been shown in the past years and further exhibitions are in preparation.

Blick: Was ist das Wichtigste im Leben?

Blick: What is the most important thing in life?

H.R. Giger:: Zufriedenheit, Freude und Kreativität. Ich habe alles gehabt. Angst habe ich nur, schwer krank zu werden. Darum habe ich mich auch bei der Sterbehilfe-Organisation Exit angemeldet. Wenn es schlimm wird, will ich nicht leiden müssen. Wissen Sie, ich hänge nicht so sehr am Leben. Ich will schnell sterben. Bumm und fertig ist es.

H.R. Giger: Satisfaction , joy and creativity. I have had everything. Fear I have only to be seriously ill. That's why I signed up and in the Euthanasia-Organization Exit . If it gets bad , I do not have to suffer . You know, I do not hang so much on the. I want to die quickly. Bang Bang Bang and finished it

Blick: Haben Sie Ihr Testament schon gemacht?

Blick: Have you made your will ?

H.R. Giger: Ich bin dran. Das Museum wird in eine Stiftung übergehen. Meine Beerdigung plane ich hingegen nicht. Ich werde auch nie die Freunde zählen, die an mein Grab kommen. Ich gehe selber auch nie an Beerdigungen, denn sie deprimieren mich nur.

H.R. Giger: It's my turn . The museum will go into a foundation. My funeral I , however, do not plan . I'll never count the friends who come to my grave . I never go myself to funerals , because they just depress me .

Blick: Waren Sie nie traurig, keine Kinder zu haben?

Blick: Have you never sad to not have children ?

H.R. Giger: Nein, meine Bilder sind meine Kinder.

H.R. Giger: No, my pictures are my children.

Blick: Welche Träume haben Sie noch?

Blick: What dreams do you have?

H.R. Giger: Vielleicht, dass es mal noch eine grosse Ausstellung in den USA gibt. Oder eben mit Carmen irgendwohin zu reisen, auch wenn es manchmal körperliche Strapazen bedeutet.

H.R. Giger: Maybe that time is still a major exhibition in the United States . Or just to travel somewhere with Carmen , even if it sometimes means physical hardships.

The final mutant Fifield

leading from

Fifield Monster 

The final mutant Fifield as he appears in the film 
(Le Cinema SFX 158, June/July 2012)

They had gone through numerous designs for Fifield and what they thought was interesting in the end was that Sean Harris who played Ffield was such a superb actor anyway and they did a test on him , made a very simple kind of makeup and he gave such a strong performance that the feeling that they had was that it would have been much better to hold onto the actor's features and hold onto all the things that he would bring to the film. Fifield head has been infected by the black substance, he has returned from the dome with a grotesque mutation, his head has become horridly contorted, he is losing himself himself as it were to the alien within but facially he is still Fifield.

The makeup team generated makeup effects that included vacuformed pieces that distended from the character's skull,  and appliants that covered his head with what appeared to be an infected mass of flesh. For a scene, Fifield is revealed folded up, with his legs bent hideously over his upper torsoe, and so the production fitted Harri's lower body into the recess in the set, and Scanlan's team draped dummy legs over the actor's shoulder.  

They soon set Harris on fire and Rob Inch the stunt co-ordinator who was very impressed by Harris performance was trying to judge when to come in and put him out. Harris was really getting into his role and Rob Inch had to say to him. "Okay Sean, you have to let me known when you're getting warm, you know" 

1. Neal Scanlan: We went through numerous designs. What was interesting was Sean Harris is such a superb actor, we did a test on him on stage, a very simple kind of makeup, and he gave such a strong performance that the general feeling was it would have been much better to hold onto the actor's features, hold onto all of the things that he would bring to the show. His head is becoming horridly contorted. He is losing himself to the alien within, but still he is Fifield. He hasn't gone that far that we've lost Fifield" (Prometheus: The art of the film, p137)
2. Exposed to genetic material, crewman Fifield (Sean Harris) returns from the dome with a grotesque mutation, Neal Scanlan's team generated makeup effects that included vacuform pieces that distended from the character's skull, and appliances that covered his head with what appeared to be an infected mass of flesh. For a scene in which Fifield is revealed folded up, his legs bent hideously over his upper torso, the production fitted Harris' lower body into the recess in the set, and Scanlan's team draped dummy legs over the actor's shoulder (Cinefex #130, p48)
3. Harris' performance in the final scene impressed stunt co-ordinator Rob Inch. "We set him on fire, and I'm standing by trying to judge when to come in and put him out. He was really in his acting moment, so I had to say to him, "OK Sean, you have to let me know when you're getting warm, you know. " " (Prometheus: The art of the Film, p137)(interview with Jaime Praeter/Ths

Martin Rezard working on the mutant Fifield
(Le Cinema SFX 158, June/July 2012)

Fifield concept (Le Cinema SFX 158, June/July 2012)

Fifled makeup sculpted in plasticene by Martin Rezard
(Le Cinema SFX 158, June/July 2012)

The Fifield makeup waiting to be applied. (Prometheus: The art of the film, p136)

Sean Harris having his makeup applied (Prometheus: The art of the film, p136)

Sean Harris having his makeup applied (Prometheus: The art of the film, p136)

The final mutant Fifield
  (Kerry-brown.com website)

The final mutant Fifield
(Prometheus: The art of the film, p136)

The final mutant Fifield (Prometheus: The art of the film, p137)

Mutant Fifield with legs wrapped over his shoulders (Cinefex #130, p49)

Ivan Manzella's Fifield Monster

leading from

Fifield Monster

 

Ivan Manzella's Fifield Monster sketch

(above) Ivan Manzella's Fifield Creature had started off as a very eccentric looking creature with a seemingly neckless huge bulbous head, perhaps very outlandish monstrous cousin of the Pillsbury Doughboy and at the sides of it's upper torso, an exposed ribcage, and the arms have been replaced by dinosaur like limbs.

Pillsbury Doughboy

As seen in the documentary, stuck to the wall above the sketches, he has a print-out of a photo of Joseph Merrick, AKA "The Elephant Man", as reference material, however it looks as if the black printer cartridge began to run out before the printout was complete

Printout of photo of Joseph Merrick also known as "The Elephant Man"

the photo of Joseph Merrick also known as 
"The Elephant Man as seen in the above image

 

In his concept drawing for the creature (below), the head had been shrunk slightly , but an impression of what this creature's face would have looked like remains in the painting. 

Wherever this concept was intending to go, one can take a look back at the drawing that Giger produced on 22nd of February that appears to show a beast with a similar face and large cranium. See Giger's Fifield Monster concept

Ivan Manzella's Fifield Monstet head concept

Ivan Manzella's Fifield Monster concept, two views

Another sketch shows a much more humanoid face, perhaps this might be the Fifield Monster in an earlier stage of transformation or an alternative to the above creature just with a face more recognisable as the actor who would play Fifield. Little has been revealed about

Ivan Manzella's Fifield Monstet head concept

Another image developed by Ivan Manzella of the Fifield Monster shows a faceless humanoid with a skull very much more swollen like a hydrocephalus victim

Ivan Manzella's Fifield Monstet concept

Giger's Fifield Monster Concept

leading from

Fifield Monster

Giger was able to contribute some sketches for Ridley's Prometheus project. However very little information has been given to indicate what these sketches were about. However it can be deduced after seeing the Fifield Monster artwork by Ivan Manzella that this creature was supposed to be the Fifield Monster. Giger produced the drawings on the 22nd of February in 2011. We don't know what he was asked to do or for what reason.

Giger's Prometheus draw no 14 depicting the Fifield Monster from Prometheus Blu-Ray dvd set

From the from of the face we see the creatures long spindly tongue inside and that it has two rows of teeth, outer row are small sharp teeth and the lower inner teeth display a row of teeth with very large sharp canines. The nostrils and the eyes are considerably bat like.

From the side drawing, one can see how powerful the jaw looks, that the tongue appears to be like a tentacle made up of a multitude of cones with one of the end of the other, and small sharp teeth. The head also looks as if it could have a membrane covering it with a gap in between it and the creature's cranium. From the side some might even still consider the creature to resemble a humanoid bat

Giger's Prometheus draw no 14 depicting the Fifield Monster from Prometheus Blu-Ray dvd set