I've seen the future and it works

I'm a HUGE SCI FI fan, since a child, and astronomy the wonder of other planets, stars, solar systems and the possibilities have always excited my love for sci fi films/book/images that increase that.

Futuristic cities, worlds, starships, civilizations, robots and androids

What are some good images, films etc that you like that just 'makes your love shout'??

What places on earth now look like futuristic cities and lands?

Dubai and certain Asian cities/lands have that look for me

Films like Star Wars(especially the Empire Strikes Back:Cloud City), Blade Runner, Alien, Prometheus, Alien: Covenant, Total Recall, Star Trek, Close Encounters of the Third Kind...

my dad never liked the apocolyptic images of the future that look more bleak or 'dirty'

But that is partially a reason I love Blade Runner[1982]

You get neon lights and a clearly futurist view on top of an dystopia Los Angeles, grimy, wet in some places.

The office to the police detective has touches of 1970s furniture and 2018 technolgoy

Do Androids Dream of Electric Sheep? (1968)

I could get lost in this place, but don't think I would want to live here... well after I've explored the whole place

The hugeness of sci fi images leads me to think there would be a huge increase in social anxiety disorders

I love the look of, and the suggestions from the movie Equals.

My space would be painted pink.

This one doesn't feel so isolating.

ZsaZsa said:

I love the look of, and the suggestions from the movie Equals.

I love that very clean, almost cool but probably warmed and comfortable and sanitized look

There are a lot of sci fi films that present parts of the future like that

Star Trek, Space Odyssey 2001, Prometheaus

hmmmm Why don't I remember this one? Thank you, I'm going to have to check this out this weekend

iZsaZsa said:

My space would be painted pink.

Ready Player One

Equals - I love how they eat, how it's served. Clean. Perfectly balanced. Automatic. lol

It's a love story. Hope you enjoy it.

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[Edited 11/15/18 7:43am]

One day, every home will have one.

lol that was our vision from a long time ago lol, and people do try lol

iZsaZsa said:

it's interesting that a lot of the art I come across has a feel of the Orient

[Edited 11/15/18 8:27am]

futuristic trailer parks, I loved the expanse of this place

And yes I would need to explore lol

iZsaZsa said:

Ready Player One

"Carnicería Don Tito" is part of the "Junk Universe" collection illustrated by artist Alejandro "Burda" Burdisio from Argentina. Hang a piece of concept art about classic cars and futuristic landscapes illustrated by one of the most important argentinean concept artists. We use only archival inks in the creation of our prints and posters. The photographic paper we use features a slight semi-gloss finish which provides brilliant color and a smooth texture without the glare. You can also choose to have it printed in cotton canvas for a real piece of art.

What I find funny are those visions of advanced tech and still using beast of burden.


The extremely crowded and the extremely sparse would drive me bonkers.


I don't think I'm ready for the future, these damned things creep me out everytime I drive past them, it's a feeling they give me.

[Edited 11/15/18 10:58am]

onlyforaminute said:

What I find funny are those visions of advanced tech and still using beast of burden.


The extremely crowded and the extremely sparse would drive me bonkers.


I don't think I'm ready for the future, these damned things creep me out everytime I drive past them, it's a feeling they give me.

Night Skies was a science fiction horror film that was in development in the late 1970s, but was never actually made. Steven Spielberg conceived the idea after Close Encounters of the Third Kind. Instead, material developed at the time was used in Poltergeist and E.T. the Extra-Terrestrial.

Steven Spielberg came up with the idea for Night Skies in the late 1970s when Columbia Pictures wanted a sequel to Close Encounters of the Third Kind.^[2] He had no interest in a sequel, but also did not want Columbia to make a sequel without him, as Universal Pictures had done with Jaws. Instead, he came up with a horror film treatment for a Close Encounters follow-up initially titled Watch the Skies (which had also been a working title for Close Encounters).^[2] Spielberg based the story on the Kelly-Hopkinsville encounter, where a Kentucky family claimed that they had been terrorized by gremlin-like aliens. Spielberg had heard the story from UFOlogist J. Allen Hynek while doing research for Close Encounters.

In Spielberg's original treatment for Watch the Skies, eleven malicious extraterrestrial scientists try to communicate with chickens, cows, and other livestock in an attempt to discover which of Earth's animal species are sentient, before turning their unwelcome attentions on the human family and dissecting their farm animals. Fueling Hollywood rumors about the film, NASA announced that Spielberg paid to reserve cargo space for the 1980 inaugural Space Shuttle flight, in order to film the Earth and its Moon from orbit for the film's opening sequence. Spielberg stated that he would produce Watch the Skies but not direct it, as he was under contract to direct his next film for Universal.

Spielberg at first wanted Lawrence Kasdan to flesh out his Watch the Skies treatment into a fully-fledged script, but Kasdan was too busy writing The Empire Strikes Back, so Spielberg turned to John Sayles (who had written Joe Dante's Roger Corman-produced Jaws spoof Piranha, which Spielberg had loved). Watch the Skieswas renamed Night Skies because someone owned the rights to the words "watch the skies" (which was the last line in The Thing from Another World). Some called Night Skies "Straw Dogs with aliens", but Sayles says his inspiration was the 1939 western film Drums Along the Mohawk. Sayles even named one of the aliens Scar (a character who was said to be "a real badass") after a Comanche Indian badguy in the John Wayne film The Searchers. Spielberg suggested that Tobe Hooper, best known for directing and co-writing The Texas Chain Saw Massacre, direct the film. The film was scheduled to begin shooting after Spielberg returned from filming Raiders of the Lost Ark. Spielberg chose make-up and special effects master Rick Baker (who at the time was also working on John Landis's An American Werewolf in London) to design and create the alien creatures.

Rick Baker built a working prototype of the lead alien that cost $70,000 and thrilled Spielberg and Kathleen Kennedy when they saw a videotape of it while filming Raiders in London. In mid-1980, Sayles delivered his first (and, in the end, only) draft of the screenplay, which featured five aliens (cut down from the original eleven) including the aforementioned Scar, Squirt, and Buddy, who was kind and befriended the human family's autistic son. Sayles's script opened with Scar (who was described in the script as having a beak-like mouth and eyes like a grasshopper's) killing farm animals by touching them with a long bony finger which gave off an eerie light, and ended with Buddy, marooned on Earth by his mean-spirited peers, cowering under the shadow of an approaching hawk. Although there were some differences over the new concept, Spielberg and Sayles parted amicably and the film project continued on.

While Baker worked on the aliens, Spielberg was having second thoughts about Night Skies. "I might have taken leave of my senses. Throughout [the production of] Raiders, I was in between killing Nazis and blowing up flying wings and having Harrison Ford in all this high serialized adventure, I was sitting there in the middle of Tunisia, scratching my head and saying, 'I've got to get back to the tranquillity, or at least the spirituality, of Close Encounters.'" While on the set of Raiders, Spielberg read the Night Skies script to Melissa Mathison (who was there to see her then-boyfriend and future husband Harrison Ford) and she cried after hearing it because "the idea of an alien creature who was benevolent, tender, emotional and sweet... and the idea of the creature's striking up a relationship with a child who came from a broken home was very affecting".

When Spielberg came back from Tunisia and Hawaii (where the opening of Raiders of the Lost Ark was filmed), he eagerly closed the door on Night Skies and began planning the film Mathison had dubbed ET and Me, but would in only a year and half be known to audiences all over the world as E.T. the Extra-Terrestrial. Rick Baker, who had spent $700,000 on unused Night Skies designs, models and animatronics, had a huge fight with Spielberg, which led to Carlo Rambaldi (who had previously done alien creature designs for Close Encounters) doing creature designs for E.T.. John P. Veitch (then-president of Columbia's worldwide productions) and Frank Price(then president of Columbia) were also unhappy with the emergence of E.T. and did not want to make "a wimpy Walt Disney movie". In February 1981 (six months after Columbia's desire for a Close Encounters follow-up had been fulfilled by Close Encounters of the Third Kind: The Special Edition), Columbia put the Night Skies/E.T.project in turnaround. Sid Sheinberg (Spielberg's long-time friend and then-president of MCA, the then-parent company of Universal Studios) bought the Night Skies/E.T. project from Columbia, repaying them the $1 million that had been used thus far to develop the project and making a deal in which Columbia would retain 5% of the film's net profits. (Veitch later said that "I think that year we made more on that picture than we did on any of our films.")

Although Night Skies as a film would never reach production status, it helped inspire not only E.T., but also Poltergeist (which had a family terrorized by paranormal forces and Spielberg hired Tobe Hooper to direct), Spielberg and Mathison's proposed E.T. II: Nocturnal Fears (which had malicious, animal-mutilating cousins of E.T.), Gremlins (which had one innocent and kind member of a species of otherwise mean-spirited creatures as well as being able to see Watch the Skies being advertised on a movie theater marquee, co-billed with A Boy's Life, the working title for E.T.), Critters (which had a farm family terrorized by cattle-mutilating aliens), Signs, and Spielberg's War of the Worlds adaptation. Sayles, meanwhile, riffed on E.T.'s success with 1984's The Brother from Another Planet, a socio-political take on the story of a benevolent alien stranded on Earth.

HAHAHA they seem like there is more to it than what we are seeing lol

Yeah the use of animals is weird. Unless they are robots or artificial life forms like in Blade Runner

onlyforaminute said:

What I find funny are those visions of advanced tech and still using beast of burden.


The extremely crowded and the extremely sparse would drive me bonkers.


I don't think I'm ready for the future, these damned things creep me out everytime I drive past them, it's a feeling they give me.

DUBAI is one city that looks like almost every futuristic city I've seen in movies or art

OldFriends4Sale said:

Naw pictures of them don't bug me, they look so mundane here. Driving through the mountains seeing them peeking up over the mountaintops is a whole other thing, that's when I get that other worldly feel.

onlyforaminute said:

OldFriends4Sale said:

Naw pictures of them don't bug me, they look so mundane here. Driving through the mountains seeing them peeking up over the mountaintops is a whole other thing, that's when I get that other worldly feel.

That's what I mean, seeing them in real life, they look suspicious lol

Prometheus ships and living spaces

[Edited 11/15/18 11:58am]

iZsaZsa said:

I love the look of, and the suggestions from the movie Equals.

a scene from Prometheus that feels like your images

The opening scene of Alien: Covenant takes place in a vast, minimalist room with various significant works of human creation – a grand piano, a designer chair, a tea set, a Piero della Francesca painting, Michelangelo’s David and Michael Fassbender’s David (the android who was sole survivor of the critical mauling of Prometheus). Guy Pearce, briefly reprising his role as the founder of the company that has been up to no good since Alien(1979), chats with his artificially intelligent ‘son’ about creation and Creation… and the awful truth dawns that this is just Prometheus 2 with an Alien alien slapped in.

In the second part of a projected prequel trilogy – and, thanks to George Lucas and Peter Jackson, we know how well those turn out – Ridley Scott remains bent on the project of squeezing all suspense, mystery and terror (and, incidentally, life) out of the franchise that burst forth from his chest when he still had to listen to other voices (screenwriters Dan O’Bannon and Ronald Shusett and producers David Giler and Walter Hill – whose ghost credits still linger on in any franchise instalment). The miracle of Alien, which benefited from the input of many creators working superficially at cross-purposes, is that a mutant B-picture could turn out to be a rich, complicated work when its initial impetus was to be just a scary movie… whereas Covenant, like Prometheus before it, sets out to be a profound meditation on big themes that manages to be spectacular yet dramatically and intellectually inert.

Scott is too skilled a filmmaker to make something as disposable as the Alien vs Predator films or as ordinary as Alien Resurrection, but Covenant has the distinction of being the worst-scripted film in the entire franchise. If 2015’s The Martian (based on a solid novel) addressed crises in space by having a hero ‘science the shit out of’ a problem, the writing team on this – John Logan and Dante Harper, from a story by Jack Paglen and Michael Green, from off-the-top-of-his-head concepts by Ridley Scott – approach each challenge as if the answer were to ‘stupid the shit out of’ it. Every idea here is half-baked, even the ones carried over from earlier films. It’s supposed to be an innovation that most of the doomed crew are married couples, but multiple bereavements still don’t make the rote characters (as ever, played by a seriously overqualified cast) interesting or engaging, since the film (unlike, say, Alien – or the feeblest Alien imitations, like the recent Life) can barely establish their names, let alone their personality traits (Danny McBride’s cowboy hat doesn’t count). The new captain (Billy Crudup) claims he was initially passed over for command because of institutional prejudice against “a man of faith” and tells David that he met the devil as a child – but this feels like the remnants of a deleted subplot rather than important to anything.

The Engineers (unnamed here) who were revealed to be the creators of human life in Prometheus are casually exterminated in a flashback. They leave impressive Pompeii-like petrified corpses and terrifically art-directed colossal ruins to justify quoting ‘Ozymandias’ (with the glitch that supposedly perfect David misattributes Shelley’s poem to Byron), but not the planetful of giant embryo aliens who ought to hatch from them (as per the reshot ending of Prometheus). It’s almost as if the film were still reacting to preview cards for Prometheus – you didn’t like the big bald god race, well they’re gone… you liked Fassbender as a robot, well now you get two of him. Evil robot Fassbender is still doing Peter O’Toole as Lawrence of Arabia, while good robot Fassbender – David and his android twin Walter are named for Giler and Hill – seems to be trying for Rod Serling (or, in some line readings, Adam West). Like all the human characters, the robots are stunningly inept, so only script contrivance ensures that David’s scheme to fill in every last spiral on the genome of the Alien alien – now revealed to be not even an alien – is carried through into Prometheus 3 (aka Alien Untitled).

Covenant stretches to two good, big-screen action scenes – a Jaws-ish bit with a lone monster loose in a wheat field and a tussle between the bungee-corded Ripley-lite (Katherine Waterston, replacing written-out/killed-off-between-sequels Noomi Rapace) and something close to the original xenomorph (the term comes from Jack Arnold’s 1953 It Came from Outer Space, which is homaged in some xeno-POV shots).

It also has Imax-filling Australian locations, haunting variations on Jerry Goldsmith’s themes from Jed Kurzel and repeated shots of a woman’s severed head floating in a pool (not to mention a couple slaughtered while having sex in a shower) to insist that this isn’t just more noodling on the relationship between God and Man and the urge to despoil virgin territory from the creator of Exodus: Gods and Kings and 1492: Conquest of Paradise.

https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/alien-covenant-ridley-scott-space-vacuity

[Edited 11/15/18 12:17pm]