Vision

“You Know You Want This” will be a groundbreaking permanent museum exhibit in Amsterdam, showcasing science fiction’s most iconic cinematic artifacts — not as they were, but as they should have been. Through painstaking craftsmanship, cutting-edge 3D printing, high-detail painting, lighting, and effects work, we will reimagine and elevate legendary science fiction models into museum-grade hyper-reality.

This isn’t nostalgia. This is resurrection. This is worldbuilding at an unprecedented scale.

Core Concept

Hollywood’s most iconic science fiction props and miniatures — from the golden age of practical effects (1970s–1990s) — were limited by technology and budget. Cameras couldn’t capture what wasn’t there. We can. We will.

Using industrial 3D printing, custom electronics, and artisanal paint and texture work, our team of professional modelmakers will create highly detailed, reinterpreted, and augmented replicas — constructed live within the exhibit space itself. Visitors don’t just see the art; they witness its becoming.

Initial Feature Projects

1. The Nostromo Tugboat

Scale: 3 meters long
Scene: Landing on the volcanic surface of LV-426
Features:
- Interior lighting with visible bridge and engineering modules
- Hydraulic motion in landing gear
- Atmospheric steam effects
- Moving landing lights
- Surface weathering, grime, decals, industrial wear
- Live viewable model shop for in-situ construction
- Audio: subtle engine thrums, hydraulic whines, storm ambience

2. The Nostromo Tug + Refinery Complex

Scale: 4 meters long, towering industrial verticals
Interpretation: Expanded from original movie concepts, fusing Nostromo and refinery into a single art piece
Details:
- Sprawling container decks and trusswork
- Labyrinthine tubing, towers, antenna arrays
- Weathered by time and space-trucking wear
- LEDs, crane movement, repair platforms
- Designed to show narrative continuity: this ship has lived
- Build time: 12–18 months, with fully transparent build process

3. The Derelict Ship (HR Giger’s Biomechanical Design)

Base: 3×3 meters
Design Philosophy: “As it was meant to be seen”
Mechanism:
- Entire ship splits open hydraulically at intervals
- Reveals interior of the pilot chamber with Space Jockey
- Egg chamber cutaway featuring Kane’s descent
- Full lighting and eerie atmospheric FX
- Tribute to Giger’s original intent, not the Prometheus revision

4. The Big Chap – Xenomorph Statue

Height: 2.1 meters (7 feet)
Pose: Towering, menacing, forward-leaning
Animation:
- Second jaws extend and retract
- Tail movement
- Breathing effect via compressed air
Details:
- Transparent dome, visible skull
- Ribbed exoskeleton, biomechanical muscle forms
- Digitigrade reinterpretation of the legs for dynamism
- A shrine to H.R. Giger’s dark majesty

Experience Features

Live workshop inside the exhibit: artists at work
Donor-exclusive viewing times
Special augmented reality app to explore internal structure
Access cards for founding backers with RFID features
Atmospheric lighting and audio environment
Storyboards, behind-the-scenes commentary, and lore plaques

IP and Legal Framework

All designs, interpretations, and derivatives will be executed in compliance with intellectual property agreements negotiated with Scott Free Productions, 20th Century Studios, or relevant rights holders. This project seeks to honor, extend, and celebrate the original creators’ legacy with full legal clarity and mutual benefit.

Support & Donor Tiers

(Details here will be refined with actual numbers and rewards, but sample tiers:)

Crewman: Name engraved in installation + digital access pass
Bridge Officer: All above + early access pass + concept book
Captain: All above + personalized tour + signed miniature replica
Space Jockey: Lifetime pass + exclusive prototype + model builder day

Funding, Partnerships, and Revenue

We will pursue a hybrid model of:

Cultural grants (EU/Netherlands)
High-tier crowdfunding (Kickstarter/Indiegogo)
Private art/cinema sponsorship
Museum ticketing and merchandise revenue
Licensing potential for similar exhibits internationally

Legal Strategy: Negotiating with Disney

Let’s be clear — we fully expect that any public, high-profile display of detailed Alien franchise content will ultimately require official approval from Disney, which holds the rights via 20th Century Studios.

We are not assuming this will be easy. It will be tough. But it is not impossible.

Our Position:

This exhibit elevates the IP, honors the original vision, and does not compete with new media content or merchandising lines.
Our models are art pieces and reinterpretations, not replicas for sale or bootlegs.
No commercial merch, no brand logos, no IP-based products will be created without licensing.
The museum will be a fixed-location installation, not a traveling show — reducing perceived threat.
We will build a strong legal framework from day one, guided by professionals.

Step-by-Step Plan:

Encased for Protection and Compliance
- All models will be displayed in reinforced, clear vitrines to protect both the pieces and the public.
- This adds museum-level professionality and addresses liability.
Early-Stage Discretion
- The first design and prototyping work will be carried out without commercial promotion, solely for artistic and exhibition purposes.
- During this time, no Alien logos or official names will be used publicly.
Donations Fund the Legal Push
- Initial donations and crowdfunding support will directly support legal counsel, licensing outreach, and rights negotiation.
- This may consume a significant portion of the early budget — that is understood and accepted as a necessary part of the long-term vision.
Engage a Specialist IP Lawyer
- Once a minimum funding threshold is met, we will engage a specialist IP lawyer experienced in Hollywood/entertainment rights to initiate formal discussions.
- We aim for transparent, binding licensing contracts covering permanent exhibit usage, with boundaries and rights clearly defined.
We Negotiate When We Have Leverage
- Our position strengthens once we can demonstrate audience interest and cultural value.
- Early public support and prototype coverage give us credibility in discussions.
We’re Willing to Play the Long Game
- This exhibit is envisioned as a permanent installation — not a quick project.
- If legal negotiations take months or even years, we will continue producing original or generic biomech-inspired designs in the meantime.
- The exhibit can function as an evolving world until the licenses are finalized.

In Summary

We are fully aware of the legal tightrope, and we’re walking it with eyes open.
We intend to do this the right way, by:

Respecting the legacy
Treating it as fine art
Approaching Disney with a strong case, not a fan pitch
And allocating early funding to make it legally airtight

If you want to see this become real, early donations are your vote of confidence, and a way to help build the leverage needed to make this official.

Future Ideas

We could feature a stunning walkthrough of twin interconnected dioramas depicting the Blade Runner cityscape — one showcasing the rain-soaked, neon-lit night streets of Los Angeles, November 2019, and the other a hazy, moody daytime vista. These scenes would pulse with animated spinner cars hovering on tracks, glitching ad screens, and a tiny noodle bar with Deckard sitting beneath flickering signage. Tyrell’s pyramid looms in the smog-choked distance, while visitors move through slowly shifting light and fog. It’s both haunting and immersive, with immense sponsor potential from Coca-Cola, Atari, or even Sony.

A corridor-style gallery dedicated to Star Trek’s USS Enterprise lineage would present every major vessel in stunning miniature detail — the NX-01, Constitution-class from TOS, the sleek movie refit, and the grandeur of the Enterprise-D and E, maybe even extending into post-Next Gen variants like the Enterprise-F. Each ship floats inside a stylized drydock or warp field, with interior lighting, warp nacelle glows, and tiny shuttles in motion. With NASA, Intel, or SpaceX backing, this could double as a tribute to humanity’s dreams of exploration.

A meticulous street scene from Cyberpunk 2077’s Watson district or Jig-Jig Street could explode with detail: food carts, a cluttered monorail station, flickering braindance ads, prostitutes waiting under UV light, a ripperdoc clinic glowing red through its open door. Gangs cruise past in armed cars, while an AV hovers overhead. Lighting cycles from neon to twilight, and corporate graffiti crawls over every service panel. Trauma Team drop zones, cybernetic husks in dumpsters — all of it made real. CD Projekt Red or hardware brands like Razer or Alienware would leap at this.

A 2001: A Space Odyssey scene could depict the sterile, hypnotic hallway of Discovery One’s rotating section, with Dave Bowman in his EVA suit and HAL’s baleful red eye watching silently from a nearby panel. The walls shift in an optical illusion to mimic centrifuge motion, and minimalist ambient sound washes through the chamber. It would be an iconic, meditative installation, perfect for a collab with IBM or modern AI brands that want to show historical legacy.

Dune’s universe can be captured with a dramatic diorama of a Guild Heighliner interior docking bay, with Atreides and Harkonnen ships suspended inside an impossibly vast chamber. Below, a sand-swept slice of Arrakis unfolds with spice harvesters rumbling over dunes, while hidden Fremen ambush parties lie in wait. Everything glows in ochre and violet, with dust storms swirling across the perimeter. Massive banners flutter in low gravity. It’s equal parts feudal and futuristic — ripe for aerospace or luxury brand collaboration.

Ghost in the Shell’s cybernetic dive chamber could depict the Major suspended in a translucent fluid tank, a tangle of cables feeding into her skull. Around her, the polished tech of Section 9 hums silently. Subtle strobe lighting simulates neural activity pulsing across wall panels and glowing glyphs. Visitors gaze in on a moment between thought and identity, suspended in digital liminality. Sony, Neuralink, or cybersecurity firms could find immense aesthetic value here.

From The Expanse, a cross-section of Tycho Station could tower with gantries, magnetic docks, and plasma torches as the Rocinante prepares to launch. The ship is depicted on a rail, just before burning into the black. Support arms retract, warning lights flash, and engines begin to glow. Viewers can peer into the hangars, crew quarters, and support scaffolding. Military and space companies would love this intersection of realism and fiction.

A Stranger Things dual-layer display could recreate a sleepy Hawkins street in the 1980s, complete with toy bikes, the arcade, the mall, and flickering TV store windows — while directly beneath, the Upside Down mirrors it in fleshy, vine-infested decay. Red rips in the air link the two layers. Will’s shadow flickers in a window. The ambient sound between dimensions pulses and shifts as viewers move between worlds. It’s an eerie, nostalgic masterpiece — a Netflix co-brand no-brainer.

A Robocop scene could cut the city of Detroit in half — on one side, OCP’s gleaming Delta City, with automated police drones, shining towers, and the clean dystopia of order. On the other: Old Detroit, wrecked and tagged, with abandoned cars and a burned-out convenience store. ED-209 waits in between, malfunctioning. Sparks fly. The power fantasy and collapse narrative could draw both AI ethicists and policing watchdog sponsors.

The post-apocalyptic world of Terminator could be brought to life with a diorama of a future war zone — smashed freeways, molten metal puddles, and burnt-out skeletons half-fused with machinery. Human rebels scurry through sewer grates, while Hunter-Killers hover above in spotlit silence. T-800 skulls gleam in the ash. It would be grim, metallic, and chillingly plausible — the perfect canvas for commentary and partnerships with cybersecurity or AI control advocates.

From Arrival, a quiet and reverent space could recreate the interior of the Heptapod ship. Louise Banks stands before the smoky partition, glyphs blooming across it in phosphorescent ink. The chamber is vast, clean, and fluid, with inky black shapes moving beyond the fog. It’s a deeply meditative scene — part language, part mystery, part emotion. Academic and AI language research groups could find immense value in attaching themselves to it.

Interstellar’s tesseract scene could form a glowing, angular chamber suspended in deep space, with bookshelves and glowing lattices extending in all directions. Cooper moves within the impossible structure, whispering through time. The black hole Gargantua pulses outside in slow light warps. The feeling of time bending around emotion could be rendered with precision — a deeply moving installation perfect for astrophysics and space science patrons.

The icy dread of The Thing could be captured in a chilling Norwegian outpost display. Burnt kennels, blood trails, frozen corpses, and a table flipped mid-surgery sit half-buried in snow. A Thing-like transformation figure mid-mutation lurks in the corner. It’s horror with surgical precision — a must-see for horror fans and a chance to honor old-school practical effects artists.

Wall-E’s abandoned Earth could stretch out in miniature with endless towers of garbage, crumbling megamall signage, and one tiny robot humming across the dust. A flickering hologram of Eve glows quietly on a monitor, while old satellites blink overhead. The scene is desolate, melancholy, but quietly hopeful. Perfect for green tech sponsors or Pixar co-branding.

Finally, a full-scale Vault-Tec Vault door scene from Fallout could depict the massive mechanical bulkhead half-open, a power-armored figure standing in silhouette as sunlight streams in. Around the entrance: a bunker control center filled with retro-futurist gear, flickering warning lights, and scattered Nuka-Cola bottles. A timeless scene of hope and ruin — pure Americana apocalypse, prime for Bethesda and retro-tech sponsor tie-ins.

Proposal to Movie Studios:

“Cultural Legacy Partnership” Model

We are not asking for exclusive ownership or license over your IP. Instead, we propose a structured collaboration in which your studio:

Retains all IP rights
Maintains creative oversight if desired
Shares in future profits after operating costs are met

In return, your IP gains:

A high-prestige, permanent museum exhibit that honors your cinematic legacy
Zero financial risk — we fund, build, and operate the exhibit
A powerful PR narrative around the cultural and artistic value of your properties
Optional studio co-branding, logo placement, and documentary rights if you wish to be publicly involved

The Pitch Angle

“You already won the hearts of a generation.
Let us build the cathedral.”

We treat your work not just as entertainment, but as art history — preserved, elevated, and physically manifested in a way that transcends time and screen.
Our exhibit offers public engagement far beyond cinema or streaming. It becomes a destination, a media magnet, and a celebration of film craft — in a UNESCO-worthy city like Amsterdam.
The narrative becomes: “Studio X partners with artists to build permanent tribute to [Franchise].” That’s irresistible PR.

Revenue Model

We propose a tiered backend revenue share:

First revenues cover operating costs and restoration/upkeep
After that threshold, the studio receives a contracted % of profits
Additional monetization options include:
- Studio-branded merch, with studio approvals
- Special events, screenings, or brand tie-ins
- Streaming documentaries behind the scenes of the build

This can be framed as:

“An evolving IP-enhancing art installation that generates passive revenue.”

Studio Benefits

Prestige: You’re seen as a protector of cinematic legacy, not just an IP gatekeeper
PR: Earn buzz among both high culture and fandom spheres
No legal exposure: You control what goes in, what gets used, and how it’s shown
Legacy: You ensure your IP is remembered as fine art — not just popcorn flicks

Legal Comfort

To reassure risk-averse studios:

We involve top-tier IP lawyers from the start
We sign clear, protective contracts
We exclude logos, titles, and names unless explicitly granted

We offer preview rights and veto clauses where needed

Let me be clear: this isn’t a startup pitch, a crowdfunding campaign, or some hype-fueled grab for attention. I’m not building a business, not bluffing my way into something I can’t handle. I don’t fake it, I don’t sell smoke, and I don’t pretend to be more than I am. I don’t do overextension — I’ve seen what that leads to, and I’m not interested.

This is just an idea. A serious one, yes — obsessive, maybe. But right now, it’s just that: a vision I’m trying to articulate in full, in public, to see if it lands. If people respond, if it stirs something — great. If not, I still wanted to write it down with precision and respect.

Amsterdam is not Hollywood. I know where I live. I know how the world works. But if there’s any place where this kind of high-craft, deeply reverent model-based exhibit could thrive, it’s a city like this — not because it’s flashy, but because it knows the value of art, of tactility, of strange passions brought to life.

If something ever comes from this, it will be built carefully, one brick at a time. And only if I fully understand what I’m building. No rushing. No pretending. Just seeing how far this thought can go.

Conclusion

This isn’t just fandom. It’s futurism meets fine art. We’re rebuilding mythologies — with reverence, precision, and next-gen craftsmanship.

You know you want this.

Business Plan — “You Know You Want This”