Alien (film)



Alien is a 1979 science-fiction film directed by Ridley Scott, and starring Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton,John Hurt, Ian Holm and Yaphet Kotto. The film's title refers to a highly aggressive extraterrestrial creature that stalks and kills the crew of a spaceship. Dan O'Bannon wrote the screenplay from a story he wrote with Ronald Shusett, drawing influence from previous works of science fiction and horror. The film was produced through Brandywine Productions and distributed by 20th Century Fox, with producers David Giler and Walter Hillmaking significant revisions and additions to the script. The titular Alien and its accompanying elements were designed by Swiss surrealist artist H. R. Giger, while concept artists Ron Cobb and Chris Foss designed the human aspects of the film.

Alien garnered both critical acclaim and box office success, receiving an Academy Award for Best Visual Effects,[5] [6]  Saturn Awards for Best Science Fiction Film, Best Direction for Scott, and Best Supporting Actress for Cartwright,[7]  and a Hugo Award for Best Dramatic Presentation, along with numerous other award nominations.[8]  It has remained highly praised in subsequent decades, being inducted into the National Film Registry of the Library of Congress in 2002 for historical preservation as a film which is "culturally, historically, or aesthetically significant".[8] [9] [10]  In 2008, it was ranked as the seventh-best film in the science fiction genre by the American Film Institute, and as the 33rd-greatest movie of all time byEmpire magazine.[11] [12]

The success of Alien spawned a media franchise of novels, comic books, video games, and toys. It also launched Weaver's acting career by providing her with her first lead role, and the story of her character Ripley's encounters with the Alien creatures became the thematic thread that ran through the sequels Aliens (1986), Alien 3 (1992), and Alien Resurrection (1997).[13]

​ ==Plot[edit] == <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The commercial towing spaceship Nostromo, owned and operated by the Earth mega-corporation Weyland-Yutani, is on a return trip to Earth hauling a refinery and twenty million tons of mineral ore, with a seven-member crew in stasis. Detecting a transmission of unknown origin from a nearbyplanetoid, the ship's computer awakens the crew.<sup class="reference" id="cite_ref-14" style="line-height:1em;unicode-bidi:-webkit-isolate;">[14]  Acting on standing orders from their corporate employers, they set out to investigate the transmission's source. The Nostromo lands on the planetoid, and Captain Dallas (Tom Skerritt), Executive Officer Kane (John Hurt), and Navigator Lambert (Veronica Cartwright) set out to investigate the signal, leaving Warrant Officer Ripley(Sigourney Weaver), Science Officer Ash (Ian Holm), and Engineers Brett (Harry Dean Stanton) and Parker (Yaphet Kotto) behind on the ship.

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Dallas, Kane, and Lambert discover that the signal is coming from a derelict alien spacecraft. Inside they find the remains of a large alien creature whose ribs appear to have been broken outward from the inside. Meanwhile, Ripley determines that the transmission is actually some type of warning rather than a distress signal. Kane discovers a vast chamber containing thousands of eggs, one of which releases a creature that attaches to his face. Rendered unconscious, Kane is carried back to the Nostromo. Acting on improper orders from Dallas, Ash violates quarantine protocol by opening the airlock, allowing the exploratory team aboard. After an unsuccessful attempt by Ash to surgically remove the creature from Kane's face, the crew discover that the creature's blood contains a corrosive acid. The creature eventually detaches from Kane's face by itself and is later found dead. The Nostromo leaves the planet and resumes its trip to Earth.

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Kane awakens from his ordeal with some memory loss but no other apparent ill effects. During the crew's final dinner before re-entering stasis, he chokes and convulses until a small alien creature bursts from his chest, killing him. The creature escapes into the ship and, lacking conventional weapons, the crew attempts to locate and capture it by fashioning motion trackers, electric prods, and flamethrowers. However, the Alien has grown at an unprecedented rate and is now eight feet tall with incredible strength and agility. It attacks Brett and disappears with his body into an airshaft. Dallas enters the airshaft network intending to force the Alien into an airlock, but it ambushes him. When the others find no trace of Dallas, Lambert implores the remaining crew members to escape in the ship's shuttle. Ripley, now in command, explains that the shuttle will not support four people, and recommends that they continue with Dallas's plan of cornering and flushing out the Alien.

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Accessing the ship's computer, Ripley discovers that Ash has been ordered to return the Alien to their corporate employers even at the expense of the crew's lives. Ash then appears and attacks Ripley, but Parker and Lambert intervene, decapitating and impaling Ash, revealing him to be an android. Ripley theorises that the company want the Alien for their weapons division. Before they destroy his remains, Ash smugly predicts that the others will not survive the indestructible "perfect organism" that they are up against. The remaining three crewmembers then agree to arm theNostromo's self-destruct mechanism and escape in the shuttle, but Parker and Lambert are killed by the Alien while gathering necessary supplies. Now alone, Ripley initiates the self-destruct sequence herself and heads for the shuttle with the crew's cat, but finds the Alien blocking her way. She retreats and unsuccessfully attempts to abort the self-destruct, then returns to find the Alien gone and narrowly escapes in the shuttle as the Nostromo explodes.

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">As she prepares to enter stasis, Ripley discovers that the Alien has hidden aboard the shuttle. She puts on a spacesuit and opens the shuttle's main door, causing explosive decompressionwhich forces the Alien to the shuttle's open doorway. She propels it out into space by shooting it with a grappling hook, but the gun catches in the closing door, tethering the Alien to the shuttle. As it attempts to crawl into one of the engines, Ripley activates them and blasts the alien into space. She then puts herself and the cat into stasis and resumes the voyage back home. ==Origins<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == Dan O'Bannon wrote the screenplay for Alien.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">While studying cinema at the University of Southern California, Dan O'Bannon had made a science fiction comedy film with director John Carpenter and concept artist Ron Cobb entitled Dark Star.<sup class="reference" id="cite_ref-star_beast_15-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  The film included an alien which had been created using a spray-painted beach ball, and the experience left O'Bannon "really wanting to do an alien that looked real."<sup class="reference" id="cite_ref-star_beast_15-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_20_16-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  A few years later he began working on a similar story that would focus more on horror: "I knew I wanted to do a scary movie on a spaceship with a small number of astronauts", he later recalled, "Dark Star as a horror movie instead of a comedy."<sup class="reference" id="cite_ref-star_beast_15-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  Ronald Shusett, meanwhile, was working on an early version of what would eventually become Total Recall.<sup class="reference" id="cite_ref-star_beast_15-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_20_16-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  Impressed by Dark Star, he contacted O'Bannon and the two agreed to collaborate on their projects, choosing to work on O'Bannon's film first as they believed it would be less costly to produce.<sup class="reference" id="cite_ref-star_beast_15-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_20_16-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  O'Bannon had written twenty-nine pages of a script titled Memory comprising what would become the film's opening scenes: a crew of astronauts awaken to find that their voyage has been interrupted because they are receiving a signal from a mysterious planetoid. They investigate and their ship breaks down on the surface.<sup class="reference" id="cite_ref-McIntee.2C_20_16-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16] <sup class="reference" id="cite_ref-book_of_alien_17-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  He did not yet, however, have a clear idea as to what the alien antagonist of the story would be.<sup class="reference" id="cite_ref-star_beast_15-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">O'Bannon soon accepted an offer to work on a film adaptation of Dune, a project which took him to Paris for six months.<sup class="reference" id="cite_ref-star_beast_15-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_21_18-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[18]  Though the project ultimately fell through, it introduced him to several artists whose works gave him ideas for his science-fiction story including Chris Foss, H. R. Giger, and Jean "Moebius" Giraud.<sup class="reference" id="cite_ref-book_of_alien_17-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  O'Bannon was impressed by Foss' covers for science fiction books, while he found Giger's work "disturbing":<sup class="reference" id="cite_ref-star_beast_15-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  "His paintings had a profound effect on me. I had never seen anything that was quite as horrible and at the same time as beautiful as his work. And so I ended up writing a script about a Giger monster."<sup class="reference" id="cite_ref-book_of_alien_17-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  After the Dune project collapsed O'Bannon returned to Los Angeles to live with Shusett and the two revived his Memory script. Shusett suggested that O'Bannon use one of his other film ideas, about gremlins infiltrating a B-17 bomber during World War II, and set it on the spaceship as the second half of the story.<sup class="reference" id="cite_ref-book_of_alien_17-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_21_18-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[18]  The working title of the project was now Star Beast, but O'Bannon disliked this and changed it to Alien after noting the number of times that the word appeared in the script. He and Shusett liked the new title's simplicity and its double meaning as both a noun and adjective.<sup class="reference" id="cite_ref-star_beast_15-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-book_of_alien_17-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_21-22_19-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[19]  Shusett came up with the idea that one of the crew members could be implanted with an alien embryo that would later burst out of him, feeling that this was an interesting plot device by which the alien creature could get aboard the ship.<sup class="reference" id="cite_ref-star_beast_15-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_21_18-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[18]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">In writing the script, O'Bannon drew inspiration from many previous works of science fiction and horror. He later stated that "I didn't steal Alien from anybody. I stole it from everybody!"<sup class="reference" id="cite_ref-McIntee.2C_19_20-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[20]  The Thing from Another World (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment.<sup class="reference" id="cite_ref-McIntee.2C_19_20-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[20]  Forbidden Planet (1956) gave O'Bannon the idea of a ship being warned not to land, and then the crew being killed one by one by a mysterious creature when they defy the warning.<sup class="reference" id="cite_ref-McIntee.2C_19_20-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[20]  Planet of the Vampires (1965) contains a scene in which the heroes discover a giant alien skeleton; this influenced the Nostromo crew's discovery of the alien creature in the derelict spacecraft.<sup class="reference" id="cite_ref-McIntee.2C_19_20-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[20]  O'Bannon has also noted the influence of "Junkyard" (1953), a short story by Clifford D. Simak in which a crew lands on an asteroid and discovers a chamber full of eggs.<sup class="reference" id="cite_ref-McIntee.2C_20_16-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  He has also cited as influences Strange Relations by Philip José Farmer (1960), which covers alien reproduction, and various EC Comics horror titles carrying stories in which monsters eat their way out of people.<sup class="reference" id="cite_ref-McIntee.2C_20_16-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">With roughly eighty-five percent of the plot completed, Shusett and O'Bannon presented their initial script to several studios,<sup class="reference" id="cite_ref-star_beast_15-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  pitching it as "Jaws in space."<sup class="reference" id="cite_ref-hays_21-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[21]  They were on the verge of signing a deal with Roger Corman's studio when a friend offered to find them a better deal and passed the script on to Walter Hill, David Giler, and Gordon Carroll, who had formed a production company called Brandywine with ties to 20th Century Fox.<sup class="reference" id="cite_ref-star_beast_15-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_24_22-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[22]  O'Bannon and Shusett signed a deal with Brandywine, but Hill and Giler were not satisfied with the script and made numerous rewrites and revisions to it.<sup class="reference" id="cite_ref-star_beast_15-12" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_25_23-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[23]  This caused tension with O'Bannon and Shusett, since Hill and Giler had very little experience with science fiction and according to Shusett: "They weren't good at making it better, or in fact at not making it even worse."<sup class="reference" id="cite_ref-star_beast_15-13" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  O'Bannon believed that they were attempting to justify taking his name off of the script and claiming it as their own.<sup class="reference" id="cite_ref-star_beast_15-14" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  Hill and Giler did add some substantial elements to the story, however, including the android character Ash which O'Bannon felt was an unnecessary subplot,<sup class="reference" id="cite_ref-commentary_24-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]  but which Shusett later described as "one of the best things in the movie...That whole idea and scenario was theirs."<sup class="reference" id="cite_ref-star_beast_15-15" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  In total Hill and Giler went through eight different drafts of the script, mostly concentrating on the Ash subplot but also making the dialogue more natural and trimming some sequences set on the alien planetoid.<sup class="reference" id="cite_ref-McIntee.2C_26_25-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[25]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Despite the multiple rewrites, 20th Century Fox did not express confidence in financing a science-fiction film. However, after the success of Star Wars in 1977 the studio's interest in the genre rose substantially. According to Carroll: "When Star Wars came out and was the extraordinary hit that it was, suddenly science fiction became the hot genre." O'Bannon recalled that "They wanted to follow through on Star Wars, and they wanted to follow through fast, and the only spaceship script they had sitting on their desk was Alien".<sup class="reference" id="cite_ref-star_beast_15-16" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  Alien was greenlit by 20th Century Fox at an initial budget of $4.2 million.<sup class="reference" id="cite_ref-star_beast_15-17" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15] <sup class="reference" id="cite_ref-McIntee.2C_26_25-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[25] ==Direction and design<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == ‹ The template below (Double image) is being considered for deletion. See templates for discussion to help reach a consensus.›{| cellspacing="0" style="border:0px;padding:0px;margin:0px;width:304px;" <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">O'Bannon had originally assumed that he would direct Alien, but 20th Century Fox instead asked Hill to direct.<sup class="reference" id="cite_ref-McIntee.2C_26_25-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[25] <sup class="reference" id="cite_ref-visualists_26-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26]  Hill declined due to other film commitments as well as not being comfortable with the level of visual effects that would be required.<sup class="reference" id="cite_ref-McIntee.2C_26-27_27-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[27]  Peter Yates, Jack Clayton, and Robert Aldrich were considered for the task, but O'Bannon, Shusett, and the Brandywine team felt that these directors would not take the film seriously and would instead treat it as a B monster movie.<sup class="reference" id="cite_ref-visualists_26-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_27_28-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28]  Giler, Hill, and Carroll had been impressed byRidley Scott's debut feature film The Duellists (1977) and made an offer to him to direct Alien, which Scott quickly accepted.<sup class="reference" id="cite_ref-book_of_alien_17-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_27_28-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28]  Scott created detailed storyboards for the film in London, which impressed 20th Century Fox enough to double the film's budget from $4.2 million to $8.4 million.<sup class="reference" id="cite_ref-visualists_26-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_29_29-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]  His storyboards included designs for the spaceship and space suits, drawing influences from films such as2001: A Space Odyssey and Star Wars.<sup class="reference" id="cite_ref-McIntee.2C_29_29-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]  However, he was keen on emphasizing horror in Alien rather than fantasy, describing the film as "The Texas Chain Saw Massacre of science fiction".<sup class="reference" id="cite_ref-visualists_26-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_27_28-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28]
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 * style="padding:0px;margin:0px;border:0px;"|Director Ridley Scott
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 * style="padding:0px;margin:0px;border:0px;"|H. R. Giger designed and worked on the Alien and its accompanying elements.
 * }

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">O'Bannon introduced Scott to the artwork of H. R. Giger; both of them felt that his painting Necronom IV was the type of representation they wanted for the film's antagonist and began asking the studio to hire him as a designer.<sup class="reference" id="cite_ref-visualists_26-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_27_28-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28]  20th Century Fox initially believed Giger's work was too ghastly for audiences, but the Brandywine team were persistent and eventually won out.<sup class="reference" id="cite_ref-McIntee.2C_27_28-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28]  According to Gordon Carroll: "The first second that Ridley saw Giger's work, he knew that the biggest single design problem, maybe the biggest problem in the film, had been solved."<sup class="reference" id="cite_ref-visualists_26-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26]  Scott flew to Zürich to meet Giger and recruited him to work on all aspects of the Alien and its environment including the surface of the planetoid, the derelict spacecraft, and all four forms of the Alien from the egg to the adult.<sup class="reference" id="cite_ref-visualists_26-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_27_28-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28] <p style="line-height:1.5em;">"I resent films that are so shallow they rely entirely on their visual effects, and of course science fiction films are notorious for this. I've always felt that there's another way to do it: a lot of effort should be expended toward rendering the environment of the spaceship, or space travel, whatever the fantastic setting of your story should be–as convincingly as possible, but always in the background. That way the story and the characters emerge and they become more real."<sup class="reference" id="cite_ref-book_of_alien_17-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] —Ron Cobb on his designs for Alien.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">O'Bannon brought in artists Ron Cobb and Chris Foss (with whom he had worked on Dark Star and Dune, respectively) to work on designs for the human aspects of the film such as the spaceship and space suits.<sup class="reference" id="cite_ref-visualists_26-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_28_30-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[30]  Cobb created hundreds of preliminary sketches of the interiors and exteriors of the ship, which went through many design concepts and possible names such as Leviathan and Snark as the script continued to develop. The final name of the ship was derived from the title of Joseph Conrad's 1904 novel Nostromo, while the escape shuttle, called Narcissus in the script, was named after Conrad's 1897 novella The Nigger of the 'Narcissus'.<sup class="reference" id="cite_ref-McIntee.2C_15_31-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[31]  The production team particularly praised Cobb's ability to depict the interior settings of the ship in a realistic and believable manner. Under Ridley Scott's direction the design of the Nostromo shifted towards an 800-foot (240 m)-long tug towing a refining platform 2 miles (3.2 km) long and 1.5 miles (2.4 km) wide.<sup class="reference" id="cite_ref-book_of_alien_17-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] Cobb also created some conceptual drawings of the Alien, but these were not used.<sup class="reference" id="cite_ref-visualists_26-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26] <sup class="reference" id="cite_ref-McIntee.2C_28_30-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[30]  Moebius was attached to the project for a few days as well, and his costume renderings served as the basis for the final space suits created by costume designer John Mollo.<sup class="reference" id="cite_ref-book_of_alien_17-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_28_30-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[30]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;"> ==Casting<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == For more details on individual characters, see List of Alien characters.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Casting calls and auditions for Alien were held in both New York and London.<sup class="reference" id="cite_ref-McIntee.2C_29_29-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]  With only seven human characters in the story, Scott sought to hire strong actors so he could focus most of his energy on the film's visual style.<sup class="reference" id="cite_ref-McIntee.2C_29_29-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]  He employed casting director Mary Selway, who had worked with him on The Duellists, to head the casting in the United Kingdom, while Mary Goldberg handled casting in the United States.<sup class="reference" id="cite_ref-truckers_32-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32] <sup class="reference" id="cite_ref-McIntee.2C_14_33-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[33]  In developing the story O'Bannon had focused on writing the Alien first, putting off developing the characters for a later draft.<sup class="reference" id="cite_ref-visualists_26-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[26]  He and Shusett had therefore written all of the roles as generic males with a note in the script explicitly stating "The crew is unisex and all parts are interchangeable for men or women."<sup class="reference" id="cite_ref-truckers_32-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32] <sup class="reference" id="cite_ref-McIntee.2C_22_34-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[34]  This left Scott, Selway, and Goldberg free to interpret the characters as they liked and to cast accordingly. They wanted the Nostromo ' s crew to resemble working astronauts in a realistic environment, a concept summed up as "truckers in space".<sup class="reference" id="cite_ref-McIntee.2C_29_29-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29] <sup class="reference" id="cite_ref-truckers_32-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32]  According to Scott, this concept was inspired partly by Star Wars, which deviated from the pristine future often depicted in science fiction films of the time.<sup class="reference" id="cite_ref-35" style="line-height:1em;unicode-bidi:-webkit-isolate;">[35] The principal cast members of Alien (left to right: Holm, Stanton, Weaver, Kotto, Skerritt, Cartwright, and Hurt)<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The principal cast members of Alien were: <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">To assist the actors in preparing for their roles, Ridley Scott wrote several pages of backstory for each character explaining their histories.<sup class="reference" id="cite_ref-McIntee.2C_26_25-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[25] <sup class="reference" id="cite_ref-fear_of_the_unknown_43-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43]  He filmed many of their rehearsals in order to capture spontaneity and improvisation, and tensions between some of the cast members, particularly towards the less-experienced Weaver, translated convincingly on film as tension between their respective characters.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43]
 * Bolaji Badejo as The Alien. A Nigerian design student, Badejo was discovered in a bar by a member of the casting team, who put him in touch with Ridley Scott.<sup class="reference" id="cite_ref-8th_passenger_36-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_30_37-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  Scott believed that Badejo, at 7 feet 2 inches (218 cm) and with a slender frame, could portray the Alien and look as if his arms and legs were too long to be real, creating the illusion that there could not possibly be a human being inside the costume.<sup class="reference" id="cite_ref-book_of_alien_17-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-8th_passenger_36-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_30_37-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  Stuntmen Eddie Powell and Roy Scammell also portrayed the Alien in some scenes.<sup class="reference" id="cite_ref-book_of_alien_17-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_30-31_38-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[38]
 * Veronica Cartwright as Lambert, the Nostromo ' s navigator. Cartwright had previous experience in horror and science fiction films, having acted inThe Birds (1963) and Invasion of the Body Snatchers (1978).<sup class="reference" id="cite_ref-McIntee.2C_17_39-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[39]  She originally read for the role of Ripley, and was not informed that she had instead been cast as Lambert until she arrived in London for wardrobe.<sup class="reference" id="cite_ref-truckers_32-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32] <sup class="reference" id="cite_ref-McIntee.2C_29-30_40-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[40]  She disliked the character's emotional weakness,<sup class="reference" id="cite_ref-McIntee.2C_30_37-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  but nevertheless accepted the role: "They convinced me that I was the audience's fears; I was a reflection of what the audience is feeling."<sup class="reference" id="cite_ref-truckers_32-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32]  Cartwright won a Saturn Award for Best Supporting Actress for her performance.<sup class="reference" id="cite_ref-past_saturn_awards_7-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[7] <sup class="reference" id="cite_ref-imdb_awards_8-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]
 * Ian Holm as Ash, the ship's Science Officer who is revealed to be an android under orders to bring the Alien back to the Nostromo ' s corporate employers. Holm, a character actor who by 1979 had already been in twenty films, was the most experienced actor cast for Alien.<sup class="reference" id="cite_ref-commentary_24-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]
 * John Hurt as Kane, the Executive Officer who becomes the host for the Alien. Hurt was Scott's first choice for the role but was contracted on a film in South Africa during Alien ' s filming dates, so Jon Finch was cast as Kane instead.<sup class="reference" id="cite_ref-McIntee.2C_30_37-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  However, Finch became ill during the first day of shooting and was diagnosed with severe diabetes, which had also exacerbated a case of bronchitis.<sup class="reference" id="cite_ref-McIntee.2C_32_41-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[41]  Hurt was in London by this time, his South African project having fallen through, and he quickly replaced Finch.<sup class="reference" id="cite_ref-truckers_32-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32] <sup class="reference" id="cite_ref-McIntee.2C_32_41-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[41]  His performance earned him a nomination for a BAFTA Award for Best Actor in a Supporting Role.<sup class="reference" id="cite_ref-imdb_awards_8-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]
 * Yaphet Kotto as Parker, the Chief Engineer. Kotto, an African American, was chosen partly to add diversity to the cast and give the Nostromo crew an international flavor.<sup class="reference" id="cite_ref-truckers_32-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32]  Kotto was sent a script off the back of his recent success with Live and Let Die, although it was some time and deliberation between Kotto and his agent before he was offered the part.<sup class="reference" id="cite_ref-42" style="line-height:1em;unicode-bidi:-webkit-isolate;">[42]
 * Tom Skerritt as Dallas, the Captain of the Nostromo. Skerritt had been approached early in the film's development but declined as it did not yet have a director and had a very low budget. Later, when Scott was attached as director and the budget had been doubled, Skerritt accepted the role of Dallas.<sup class="reference" id="cite_ref-McIntee.2C_29_29-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29] <sup class="reference" id="cite_ref-truckers_32-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32]
 * Harry Dean Stanton as Brett, the Engineering Technician. Stanton's first words to Scott during his audition were "I don't like sci fi or monster movies."<sup class="reference" id="cite_ref-McIntee.2C_29_29-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]  Scott was amused and convinced Stanton to take the role after reassuring him that Alien would actually be a thriller more akin to Ten Little Indians.<sup class="reference" id="cite_ref-McIntee.2C_29_29-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]
 * Sigourney Weaver as Ripley, the warrant officer aboard the Nostromo. The decision to make the lead character a woman was made by Giler and Hill, who felt this would help Alien stand out in the otherwise male-dominated genre of science fiction.<sup class="reference" id="cite_ref-truckers_32-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32]  Weaver, who had Broadway experience but was relatively unknown in film, impressed Scott, Giler, and Hill with her audition. She was the last actor to be cast for the film, and performed most of her screen tests in-studio as the sets were being built.<sup class="reference" id="cite_ref-truckers_32-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[32] <sup class="reference" id="cite_ref-McIntee.2C_30_37-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  The role of Ripley was Weaver's first leading role in a motion picture, and earned her nominations for a Saturn Award for Best Actress and a BAFTA award for Most Promising Newcomer to Leading Film Role.<sup class="reference" id="cite_ref-imdb_awards_8-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Film critic Roger Ebert notes that the actors in Alien were older than was typical in thriller films at the time, which helped make the characters more convincing: <p style="line-height:1.5em;">None of them were particularly young. Tom Skerritt, the captain, was 46, Hurt was 39 but looked older, Holm was 48, Harry Dean Stanton was 53, Yaphet Kotto was 42, and only Veronica Cartwright at 30 and Weaver at 29 were in the age range of the usual thriller cast. Many recent action pictures have improbably young actors cast as key roles or sidekicks, but by skewing older, Alien achieves a certain texture without even making a point of it: These are not adventurers but workers, hired by a company to return 20 million tons of ore to Earth.<sup class="reference" id="cite_ref-ebert_2003_review_13-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13] <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">David McIntee, author of Beautiful Monsters: The Unofficial and Unauthorised Guide to the Alien and Predator Films, notes that part of the film's effectiveness in frightening viewers "comes from the fact that the audience can all identify with the characters...Everyone aboard the Nostromo is a normal, everyday, working Joe just like the rest of us. They just happen to live and work in the future."<sup class="reference" id="cite_ref-McIntee.2C_41_44-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[44] ==Set design and filming<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien was filmed over fourteen weeks from July 5 to October 21, 1978. Principal photography took place at Shepperton Studios near London, while model and miniature filming was done at Bray Studios in Water Oakley, Berkshire.<sup class="reference" id="cite_ref-McIntee.2C_14_33-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[33]  Production time was short due to the film's low budget and pressure from 20th Century Fox to finish on schedule.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43]  A crew of over 200 workmen and technicians constructed the three principal sets: The surface of the alien planetoid and the interiors of the Nostromo and derelict spacecraft.<sup class="reference" id="cite_ref-book_of_alien_17-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  Art Director Les Dilley created 1/24th scale miniatures of the planetoid's surface and derelict spacecraft based on Giger's designs, then made moulds and casts and scaled them up as diagrams for the wood and fiberglass forms of the sets.<sup class="reference" id="cite_ref-McIntee.2C_29_29-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[29]  Tons of sand, plaster, fiberglass, rock, and gravel were shipped into the studio to sculpt a desert landscape for the planetoid's surface, which the actors would walk across wearing space suit costumes.<sup class="reference" id="cite_ref-book_of_alien_17-12" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  The suits themselves were thick, bulky, and lined with nylon, had no cooling systems and, initially, no venting for their exhaled carbon dioxide to escape.<sup class="reference" id="cite_ref-McIntee.2C_33_45-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[45]  Combined with aheat wave, these conditions nearly caused the actors to pass out and nurses had to be kept on-hand with oxygen tanks.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43] <sup class="reference" id="cite_ref-McIntee.2C_33_45-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[45]  For scenes showing the exterior of the Nostromo, a 58-foot (18 m) landing leg was constructed to give a sense of the ship's size. Ridley Scott still did not think that it looked large enough, so he had his two sons and the son of one of the cameramen stand in for the regular actors, wearing smaller space suits to make the set pieces seem larger.<sup class="reference" id="cite_ref-McIntee.2C_33_45-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[45] <sup class="reference" id="cite_ref-darkest_reaches_46-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  The same technique was used for the scene in which the crew members encounter the dead alien creature in the derelict spacecraft. The children nearly collapsed due to the heat of the suits, and eventually oxygen systems were added to assist the actors in breathing.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43] <sup class="reference" id="cite_ref-McIntee.2C_33_45-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[45]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The sets of the Nostromo's three decks were each created almost entirely in one piece, with each deck occupying a separate stage and the various rooms connected via corridors. To move around the sets the actors had to navigate through the hallways of the ship, adding to the film's sense of claustrophobia and realism.<sup class="reference" id="cite_ref-book_of_alien_17-13" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-fear_of_the_unknown_43-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43] <sup class="reference" id="cite_ref-McIntee.2C_31_47-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[47]  The sets used large transistors and low-resolution computer screens to give the ship a "used", industrial look and make it appear as though it was constructed of "retrofitted old technology".<sup class="reference" id="cite_ref-darkest_reaches_46-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  Ron Cobb created industrial-style symbols and color-coded signs for various areas and aspects of the ship.<sup class="reference" id="cite_ref-darkest_reaches_46-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  The company that owns the Nostromo is not named in the film, and is referred to by the characters as "the company". However, the name and logo of "Weylan-Yutani" appears on several set pieces and props such as computer monitors and beer cans.<sup class="reference" id="cite_ref-McIntee.2C_15_31-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[31]  Cobb created the name to imply a business alliance between Britainand Japan, deriving "Weylan" from the British Leyland Motor Corporation and "Yutani" from the name of his Japanese neighbor.<sup class="reference" id="cite_ref-McIntee.2C_28_30-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[30] <sup class="reference" id="cite_ref-48" style="line-height:1em;unicode-bidi:-webkit-isolate;">[48]  The 1986 sequel Aliens named the company as "Weyland-Yutani",<sup class="reference" id="cite_ref-McIntee.2C_28_30-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[30] <sup class="reference" id="cite_ref-aliens_49-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[49]  and it has remained a central aspect of the film franchise.

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Art Director Roger Christian used scrap metal and parts to create set pieces and props to save money, a technique he employed while working on Star Wars.<sup class="reference" id="cite_ref-darkest_reaches_46-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46] <sup class="reference" id="cite_ref-McIntee.2C_31-32_50-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[50]  Some of the Nostromo's corridors were created from portions of scrapped bomber aircraft, and a mirror was used to create the illusion of longer corridors in the below-deck area.<sup class="reference" id="cite_ref-darkest_reaches_46-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  Special effects supervisors Brian Johnson and Nick Allder made many of the set pieces and props function, including moving chairs, computer monitors, motion trackers, and flamethrowers.<sup class="reference" id="cite_ref-book_of_alien_17-14" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_32_41-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[41]  Four identical cats were used to portray Jones, the Nostromo crew's pet.<sup class="reference" id="cite_ref-McIntee.2C_14_33-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[33]  During filming Sigourney Weaver discovered that she was allergic to the combination of cat hair and the glycerin placed on the actors' skin to make them appear sweaty. By removing the glycerin she was able to continue working with the cats.<sup class="reference" id="cite_ref-McIntee.2C_32_41-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[41] <sup class="reference" id="cite_ref-fear_of_the_unknown_43-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43] Giger airbrushed the "space jockey" set by hand. Children stood in for the regular actors to make the set seem larger on screen.<sup class="reference" id="cite_ref-darkest_reaches_46-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46] <sup class="reference" id="cite_ref-McIntee.2C_34_51-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]  It was redressed to double as the egg chamber.<sup class="reference" id="cite_ref-book_of_alien_17-15" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">H. R. Giger designed and worked on all of the alien aspects of the film, which he designed to appear organic and biomechanical in contrast to the industrial look of the Nostromo and its human elements.<sup class="reference" id="cite_ref-book_of_alien_17-16" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-darkest_reaches_46-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  For the interior of the derelict spacecraft and egg chamber he used dried bones together with plaster to sculpt much of the scenery and elements.<sup class="reference" id="cite_ref-book_of_alien_17-17" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-darkest_reaches_46-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  Veronica Cartwright described Giger's sets as "so erotic...it's big vaginas andpenises...the whole thing is like you're going inside of some sort of womb or whatever...it's sort of visceral".<sup class="reference" id="cite_ref-darkest_reaches_46-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  The set with the deceased alien creature, which the production team nicknamed the "space jockey", proved problematic as 20th Century Fox did not want to spend the money for such an expensive set that would only be used for one scene. Ridley Scott described the set as the cockpit or driving deck of the mysterious ship, and the production team was able to convince the studio that the scene was important to impress the audience and make them aware that this was not a B movie.<sup class="reference" id="cite_ref-darkest_reaches_46-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46] <sup class="reference" id="cite_ref-McIntee.2C_34_51-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]  To save money only one wall of the set was created, and the "space jockey" sat atop a disc that could be rotated to facilitate shots from different angles in relation to the actors.<sup class="reference" id="cite_ref-book_of_alien_17-18" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_34_51-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]  Giger airbrushed the entire set and the "space jockey" by hand.<sup class="reference" id="cite_ref-darkest_reaches_46-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46] <sup class="reference" id="cite_ref-McIntee.2C_34_51-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The origin of the jockey creature was not explored in the film, but Scott later theorized that it might have been the ship's pilot, and that the ship might have been a weapons carrier capable of dropping Alien eggs onto a planet so that the Aliens could use the local lifeforms as hosts.<sup class="reference" id="cite_ref-commentary_24-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]  In early versions of the script the eggs were to be located in a separate pyramid structure which would be found later by the Nostromo crew and would contain statues and hieroglyphs depicting the Alien reproductive cycle, offering a contrast of the human, Alien, and space jockey cultures.<sup class="reference" id="cite_ref-McIntee.2C_21_18-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[18]  Cobb, Foss, and Giger each created concept artwork for these sequences, but they were eventually discarded due to budgetary concerns and the need to trim the length of the film.<sup class="reference" id="cite_ref-book_of_alien_17-19" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  Instead the egg chamber was set inside the derelict ship and was filmed on the same set as the space jockey scene; the entire disc piece supporting the jockey and its chair were removed and the set was redressed to create the egg chamber.<sup class="reference" id="cite_ref-book_of_alien_17-20" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  Light effects in the egg chamber were created by lasers borrowed from English rock band The Who. The band was testing the lasers for use in their stage show in the sound stage next door.<sup class="reference" id="cite_ref-52" style="line-height:1em;unicode-bidi:-webkit-isolate;">[52]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien originally was to conclude with the destruction of the Nostromo while Ripley escapes in the shuttle Narcissus. However, Ridley Scott conceived of a "fourth act" to the film in which the Alien appears on the shuttle and Ripley is forced to confront it. He pitched the idea to 20th Century Fox and negotiated an increase in the budget to film the scene over several extra days.<sup class="reference" id="cite_ref-commentary_24-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24] <sup class="reference" id="cite_ref-McIntee.2C_35_53-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[53]  Scott had wanted the Alien to bite off Ripley's head and then make the final log entry in her voice, but the producers vetoed this idea as they believed that the Alien had to die at the end of the film.<sup class="reference" id="cite_ref-McIntee.2C_35_53-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[53] ==Special effects and creature design<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == ===Spaceships and planets<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === Ridley Scott filming model shots of theNostromo and its attached ore refinery. He made slow passes filming at 2½ frames per second to give the models the appearance of motion.<sup class="reference" id="cite_ref-book_of_alien_17-21" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The spaceships and planets for the film were shot using models and miniatures. These included models of the Nostromo, its attached mineral refinery, the escape shuttle Narcissus, the alien planetoid, and the exterior and interior of the derelict spacecraft. Visual Effects Supervisor Brian Johnson, supervising modelmaker Martin Bower, and their team worked at Bray Studios, roughly 25 miles (40 km) from Shepperton Studios where principal filming was taking place.<sup class="reference" id="cite_ref-outward_bound_54-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54] <sup class="reference" id="cite_ref-McIntee.2C_36_55-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[55]  The designs of the Nostromo and its attachments were based on combinations of Ridley Scott's storyboards and Ron Cobb's conceptual drawings.<sup class="reference" id="cite_ref-outward_bound_54-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54]  Some of the doors on the Nostromo carries a logo similar to the Purina logo. The basic outlines of the models were made of wood and plastic, and most of the fine details were added from model kits of battleships, tanks, and World War II bombers. Three models of theNostromo were made: a 12-inch (30 cm) version for medium and long shots, a 4-foot (1.2 m) version for rear shots, and a 12-foot (3.7 m), 7-short-ton (6.4 t) rig for the undocking and planetoid surface sequences.<sup class="reference" id="cite_ref-book_of_alien_17-22" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_36_55-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[55]  Scott insisted on numerous changes to the models even as filming was taking place, leading to conflicts with the modeling and filming teams. The Nostromo was originally yellow, and the team filmed shots of the models for six weeks before Johnson left to work on The Empire Strikes Back. Scott then ordered it changed to gray, and the team had to begin shooting again from scratch.<sup class="reference" id="cite_ref-outward_bound_54-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54] <sup class="reference" id="cite_ref-McIntee.2C_36_55-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[55]  He ordered more and more pieces added to the model until the final large version with the refinery required a metal framework so that it could be lifted by a forklift. He also took a hammer and chisel to sections of the refinery, knocking off many of its spires which Bower had spent weeks creating. Scott also had disagreements with miniature effects cinematographer Dennis Ayling over how to light the models.<sup class="reference" id="cite_ref-outward_bound_54-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">A separate model, approximately 40 feet (12 m) long, was created for the Nostromo's underside from which the Narcissus would detach and from which Kane's body would be launched during the funeral scene. Bower carved Kane's burial shroud out of wood and it was launched through the hatch using a small catapult and filmed at high speed, then slowed down in editing.<sup class="reference" id="cite_ref-outward_bound_54-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54] <sup class="reference" id="cite_ref-McIntee.2C_37_56-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[56]  Only one shot was filmed using blue screen compositing: that of the shuttle racing past the Nostromo. The other shots were simply filmed against black backdrops, with stars added via double exposure.<sup class="reference" id="cite_ref-McIntee.2C_36_55-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[55]  Though motion control photography technology was available at the time, the film's budget would not allow for it. The team therefore used a camera with wide-angle lenses mounted on a drive mechanism to make slow passes over and around the models filming at 2½ frames per second,<sup class="reference" id="cite_ref-book_of_alien_17-23" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  giving them the appearance of motion. Scott added smoke and wind effects to enhance the illusion.<sup class="reference" id="cite_ref-outward_bound_54-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54]  For the scene in which the Nostromo detaches from the refinery, a 30-foot (9.1 m) docking arm was created using pieces from model railway kits. The Nostromo was pushed away from the refinery by the forklift, which was covered in black velvet, causing the arm to extend out from the refinery. This created the illusion that the arm was pushing the ship forward.<sup class="reference" id="cite_ref-outward_bound_54-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54] <sup class="reference" id="cite_ref-McIntee.2C_36_55-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[55]  Shots from outside the ship in which the characters are seen through windows moving around inside were filmed using larger models which contained projection screens showing pre-recorded footage.<sup class="reference" id="cite_ref-outward_bound_54-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">A separate model was created for the exterior of the derelict alien spacecraft. Matte paintings were used to fill in areas of the ship's interior as well as exterior shots of the planetoid's surface.<sup class="reference" id="cite_ref-outward_bound_54-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[54] The surface as seen from space during the landing sequence was created by painting a globe white, then mixing chemicals and dyes onto transparencies and projecting them onto it.<sup class="reference" id="cite_ref-book_of_alien_17-24" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_36_55-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[55]  The planetoid was not named in the film, but some drafts of the script gave it the name Acheron<sup class="reference" id="cite_ref-McIntee.2C_30_37-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  after the river which in Greek mythology is described as the "stream of woe", a branch of the riverStyx, and which forms the border of Hell in Dante's Inferno. The 1986 sequel Aliens named the planetoid as "LV-426",<sup class="reference" id="cite_ref-aliens_49-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[49]  and both names have been used for it in subsequent expanded universemedia such as comic books and video games. ===Egg and facehugger<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === The "facehugger" was the first creature Giger designed for the film, giving it human-like fingers and a long tail.<sup class="reference" id="cite_ref-8th_passenger_36-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_31_47-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[47] <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The scene of Kane inspecting the egg was shot during post-production. A fiberglass egg was used so that actor John Hurt could shine his light on it and see movement inside, which was provided by Ridley Scott fluttering his hands inside the egg while wearing rubber gloves.<sup class="reference" id="cite_ref-McIntee.2C_34_51-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]  The top of the egg opened via hydraulics, and the innards were made of a cow's stomach and tripe.<sup class="reference" id="cite_ref-8th_passenger_36-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_34_51-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]  Initial test shots of the eggs were filmed using hen's eggs, and this footage was used in early teaser trailers. For this reason a hen's egg was used as the primary image for the film's advertising poster, and became a lasting image for the series as a whole rather than the Alien egg that actually appears in the film.<sup class="reference" id="cite_ref-McIntee.2C_34_51-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The "facehugger" and its proboscis, which was made of a sheep's intestine, were shot out of the egg using high-pressure air hoses. The shot was acted out and filmed in reverse, then reversed and slowed down in editing to prolong the effect and show more detail.<sup class="reference" id="cite_ref-8th_passenger_36-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_34_51-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51]  The facehugger itself was the first creature that Giger designed for the film, going through several versions in different sizes before deciding on a small creature with humanlike fingers and a long tail.<sup class="reference" id="cite_ref-8th_passenger_36-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_31_47-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[47]  Dan O'Bannon drew his own version based on Giger's design, with help from Ron Cobb, which became the final version.<sup class="reference" id="cite_ref-commentary_24-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24] <sup class="reference" id="cite_ref-McIntee.2C_31_47-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[47]  Cobb came up with the idea that the creature could have a powerful acid for blood, a characteristic that would carry over to the adult Alien and would make it impossible for the crew to kill it by conventional means such as guns or explosives, since the acid would burn through the ship's hull.<sup class="reference" id="cite_ref-McIntee.2C_21_18-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[18] <sup class="reference" id="cite_ref-commentary_24-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]  For the scene in which the dead facehugger is examined, Scott used pieces of fish andshellfish to create its viscera.<sup class="reference" id="cite_ref-8th_passenger_36-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_34_51-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51] ===Chestburster<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === The "chestburster" was shoved up through the table and a false torso by a puppeteer.<sup class="reference" id="cite_ref-8th_passenger_36-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  The scene has been recognized as one of the film's most memorable.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The design of the "chestburster" was inspired by Francis Bacon's 1944 painting Three Studies for Figures at the Base of a Crucifixion.<sup class="reference" id="cite_ref-8th_passenger_36-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  Giger's original design resembled a plucked chicken, which was redesigned and refined into the final version seen onscreen.<sup class="reference" id="cite_ref-8th_passenger_36-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  Screenwriter Dan O'Bannoncredits his experiences with Crohn's disease for inspiring the chest-busting scene.<sup class="reference" id="cite_ref-observer_57-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[57]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">For the filming of the chestburster scene the cast members knew that the creature would be bursting out of Hurt, and had seen the chestburster puppet, but they had not been told that fake blood would also be bursting out in every direction from high-pressure pumps and squibs.<sup class="reference" id="cite_ref-McIntee.2C_32_41-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[41] <sup class="reference" id="cite_ref-58" style="line-height:1em;unicode-bidi:-webkit-isolate;">[58]  The scene was shot in one take using an artificial torso filled with blood and viscera, with Hurt's head and arms coming up from underneath the table. The chestburster was shoved up through the torso by a puppeteer who held it on a stick. When the creature burst through the chest a stream of blood shot directly at Veronica Cartwright, shocking her enough that she fell over and went into hysterics.<sup class="reference" id="cite_ref-book_of_alien_17-25" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-8th_passenger_36-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_32_41-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[41]  According to Tom Skerritt: "What you saw on camera was the real response. She had no idea what the hell happened. All of a sudden this thing just came up."<sup class="reference" id="cite_ref-8th_passenger_36-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  The creature then runs off-camera, an effect accomplished by cutting a slit in the table for the puppeteer's stick to go through and passing an air hose through the puppet's tail to make it whip about.<sup class="reference" id="cite_ref-8th_passenger_36-12" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The real-life surprise of the actors gave the scene an intense sense of realism and made it one of the film's most memorable moments. During preview screenings the crew noticed that some viewers would move towards the back of the theater so as not to be too close to the screen during the sequence.<sup class="reference" id="cite_ref-McIntee.2C_40_59-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  In subsequent years the chestburster scene has often been voted as one of the most memorable moments in film.<sup class="reference" id="cite_ref-60" style="line-height:1em;unicode-bidi:-webkit-isolate;">[60]  In 2007, the British film magazine Empire named it as the greatest 18-rated moment in film as part of its "18th birthday" issue, ranking it above thedecapitation scene in The Omen (1976) and the transformation sequence in An American Werewolf in London (1981).<sup class="reference" id="cite_ref-empire_61-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[61] ===The Alien<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === For more details on the creature, see Alien (creature in Alien franchise).Bolaji Badejo in costume as the Alien. The suit was made oflatex, with the head as a separate piece housing the moving parts which controlled the second mouth.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Giger made several conceptual paintings of the adult Alien before crafting the final version. He sculpted the creature's body using plasticine, incorporating pieces such as vertebrae from snakes and cooling tubes from a Rolls-Royce.<sup class="reference" id="cite_ref-8th_passenger_36-13" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_30_37-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  The creature's head was manufactured separately by Carlo Rambaldi, who had worked on the aliens in Close Encounters of the Third Kind.<sup class="reference" id="cite_ref-McIntee.2C_37_56-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[56]  Rambaldi followed Giger's designs closely, making some modifications in order to incorporate the moving parts which would animate the jaw and inner mouth.<sup class="reference" id="cite_ref-8th_passenger_36-14" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  A system of hinges and cables was used to operate the creature's rigid tongue, which protruded from the main mouth and had a second mouth at the tip of it with its own set of movable teeth.<sup class="reference" id="cite_ref-8th_passenger_36-15" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  The final head had about nine hundred moving parts and points of articulation.<sup class="reference" id="cite_ref-8th_passenger_36-16" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  Part of a human skull was used as the "face", and was hidden under the smooth, translucent cover of the head.<sup class="reference" id="cite_ref-McIntee.2C_30_37-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  Rambaldi's original Alien jaw is now on display in the Smithsonian Institution,<sup class="reference" id="cite_ref-McIntee.2C_35_53-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[53]  while in April 2007 the original Alien suit was sold at auction.<sup class="reference" id="cite_ref-gadgetmadness_62-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[62]  Copious amounts of K-Y Jelly were used to simulate saliva and to give the Alien an overall slimy appearance.<sup class="reference" id="cite_ref-8th_passenger_36-17" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_31_47-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[47]  The creature's vocalizations were provided by Percy Edwards, a voice artistfamous for providing bird sounds for British television throughout the 1960s and 1970s as well as the whale sounds for Orca: Killer Whale (1977).<sup class="reference" id="cite_ref-McIntee.2C_18_63-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[63] <sup class="reference" id="cite_ref-McIntee.2C_38_64-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">For most of the film's scenes the Alien was portrayed by Bolaji Badejo, a Nigerian design student. A latex costume was specifically made to fit Badejo's 7-foot-2-inch (218 cm) slender frame, made by taking a full-body plaster cast of him.<sup class="reference" id="cite_ref-book_of_alien_17-26" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-8th_passenger_36-18" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  Scott later commented that "It's a man in a suit, but then it would be, wouldn't it? It takes on elements of the host – in this case, a man."<sup class="reference" id="cite_ref-McIntee.2C_27_28-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[28]  Badejo attended t'ai chi and mime classes in order to create convincing movements for the Alien.<sup class="reference" id="cite_ref-8th_passenger_36-19" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_30_37-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[37]  For some scenes, such as when the Alien lowers itself from the ceiling to kill Brett, the creature was portrayed by stuntmen Eddie Powell and Roy Scammell;<sup class="reference" id="cite_ref-book_of_alien_17-27" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] <sup class="reference" id="cite_ref-McIntee.2C_30-31_38-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[38]  in that scene a costumed Powell was suspended on wires and then lowered in an unfurling motion.<sup class="reference" id="cite_ref-8th_passenger_36-20" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36] <sup class="reference" id="cite_ref-McIntee.2C_34_51-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[51] <p style="line-height:1.5em;">"I've never liked horror films before, because in the end it's always been a man in a rubber suit. Well, there's one way to deal with that. The most important thing in a film of this type is not what you see, but the effect of what youthink you saw."<sup class="reference" id="cite_ref-book_of_alien_17-28" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17] —Ridley Scott<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Scott chose not to show the Alien in full through most of the film, showing only pieces of it while keeping most of its body in shadow in order to heighten the sense of terror and suspense. The audience could thus project their own fears into imagining what the rest of the creature might look like:<sup class="reference" id="cite_ref-8th_passenger_36-21" style="line-height:1em;unicode-bidi:-webkit-isolate;">[36]  "Every movement is going to be very slow, very graceful, and the Alien will alter shape so you never really know exactly what he looks like."<sup class="reference" id="cite_ref-book_of_alien_17-29" style="line-height:1em;unicode-bidi:-webkit-isolate;">[17]  The Alien has been referred to as "one of the most iconic movie monsters in film history" in the decades since the film's release, being noted for its biomechanical appearance and sexual overtones.<sup class="reference" id="cite_ref-mackinder_review_65-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[65]  Roger Ebert has remarked that "Alien uses a tricky device to keep the alien fresh throughout the movie: It evolves the nature and appearance of the creature, so we never know quite what it looks like or what it can do...The first time we get a good look at the alien, as it bursts from the chest of poor Kane (John Hurt). It is unmistakably phallic in shape, and the critic Tim Dirks mentions its 'open, dripping vaginal mouth.'"<sup class="reference" id="cite_ref-ebert_2003_review_13-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13] ===Ash<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">For the scene in which Ash is revealed to be an android and has his head knocked off, a puppet was created of the character's torso and upper body which was operated from underneath by a small puppeteer.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43]  During a preview screening of the film this scene caused a female usher to faint.<sup class="reference" id="cite_ref-McIntee.2C_40_59-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59] <sup class="reference" id="cite_ref-nightmare_fulfilled_66-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[66]  In the following scene Ash's head is placed on a table and re-activated; for portions of this scene an animatronic head was made using a face cast of actor Ian Holm.<sup class="reference" id="cite_ref-McIntee.2C_35_53-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[53]  However, the latex of the head shrank while curing and the result was not entirely convincing.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43]  For the bulk of the scene Holm knelt under the table with his head coming up through a hole and milk, caviar, pasta, and glass marbles were used to show the android's inner workings and fluids.<sup class="reference" id="cite_ref-fear_of_the_unknown_43-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[43] <sup class="reference" id="cite_ref-McIntee.2C_35_53-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[53] ==Music<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == Main article: Alien (soundtrack)Jerry Goldsmith composed the music for Alien<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The musical score for Alien was composed by Jerry Goldsmith, conducted by Lionel Newman, and performed by the National Philharmonic Orchestra. Ridley Scott had originally wanted the film to be scored by Isao Tomita, but 20th Century Fox wanted a more familiar composer and Goldsmith was recommended by then-President of Fox [http://en.wikipedia.org/wiki/Alan_Ladd,_Jr. Alan Ladd, Jr.]<sup class="reference" id="cite_ref-McIntee.2C_38_64-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64]  Goldsmith wanted to create a sense of romanticism and lyrical mystery in the film's opening scenes, which would build throughout the film to suspense and fear.<sup class="reference" id="cite_ref-future_tense_67-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  Scott did not like Goldsmith's original main title piece, however, so Goldsmith rewrote it as "the obvious thing: weird and strange, and which everybody loved."<sup class="reference" id="cite_ref-McIntee.2C_38_64-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64] <sup class="reference" id="cite_ref-future_tense_67-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  Another source of tension was editor Terry Rawlings' choice to use pieces of Goldsmith's music from previous films, including a piece from Freud: The Secret Passion, and to use an excerpt from Howard Hanson's Symphony No. 2 ("Romantic") for the end credits.<sup class="reference" id="cite_ref-McIntee.2C_38_64-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64] <sup class="reference" id="cite_ref-future_tense_67-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67] <sup class="reference" id="cite_ref-68" style="line-height:1em;unicode-bidi:-webkit-isolate;">[68] <sup class="reference" id="cite_ref-69" style="line-height:1em;unicode-bidi:-webkit-isolate;">[69]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Scott and Rawlings had also become attached to several of the musical cues they had used for the temporary score while editing the film, and re-edited some of Goldsmith's cues and re-scored several sequences to match these cues and even left the temporary score in place in some parts of the finished film.<sup class="reference" id="cite_ref-future_tense_67-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67] Goldsmith later remarked that "you can see that I was sort of like going at opposite ends of the pole with the filmmakers of the picture."<sup class="reference" id="cite_ref-future_tense_67-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  Nevertheless, Scott praised Goldsmith's score as "full of dark beauty"<sup class="reference" id="cite_ref-McIntee.2C_38_64-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64]  and "seriously threatening, but beautiful."<sup class="reference" id="cite_ref-future_tense_67-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  It was nominated for a Golden Globe Award for Best Original Score, a Grammy Award for Best Soundtrack Album, and a BAFTA Award for Best Film Music.<sup class="reference" id="cite_ref-imdb_awards_8-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  The score has been released as a soundtrack album in several versions with different tracks and sequences.<sup class="reference" id="cite_ref-McIntee.2C_38-39_70-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[70] ==Editing<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Editing and post-production work on Alien took roughly twenty weeks to complete.<sup class="reference" id="cite_ref-future_tense_67-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  Terry Rawlings served as Editor, having previously worked with Scott on editing sound for The Duellists.<sup class="reference" id="cite_ref-future_tense_67-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67] Scott and Rawlings edited much of the film to have a slow pace to build suspense for the more tense and frightening moments. According to Rawlings: "I think the way we did get it right was by keeping it slow, funny enough, which is completely different from what they do today. And I think the slowness of it made the moments that you wanted people to be sort of scared...then we could go as fast as we liked because you've sucked people into a corner and then attacked them, so to speak. And I think that's how it worked."<sup class="reference" id="cite_ref-future_tense_67-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  The first cut of the film was over three hours long; further editing trimmed the final version to just under two hours.<sup class="reference" id="cite_ref-McIntee.2C_40_59-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59] <sup class="reference" id="cite_ref-future_tense_67-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">One scene that was cut from the film occurred during Ripley's final escape from the Nostromo: she encounters Dallas and Brett who have been partially cocooned by the Alien. O'Bannon had intended the scene to indicate that Brett was becoming an Alien egg while Dallas was held nearby to be implanted by the resulting facehugger.<sup class="reference" id="cite_ref-McIntee.2C_24_22-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[22]  Production Designer Michael Seymour later suggested that Dallas had "become sort of food for the alien creature",<sup class="reference" id="cite_ref-darkest_reaches_46-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[46]  while Ivor Powell suggested that "Dallas is found in the ship as an egg, still alive."<sup class="reference" id="cite_ref-future_tense_67-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  Scott remarked that "they're morphing, metamorphosing, they are changing into...being consumed, I guess, by whatever the Alien's organism is...into an egg."<sup class="reference" id="cite_ref-commentary_24-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]  The scene was cut partly because it did not look realistic enough and partly because it slowed the pace of the escape sequence.<sup class="reference" id="cite_ref-McIntee.2C_24_22-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[22] <sup class="reference" id="cite_ref-McIntee.2C_35_53-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[53]  Tom Skerritt remarked that "The picture had to have that pace. Her trying to get the hell out of there, we're all rooting for her to get out of there, and for her to slow up and have a conversation with Dallas was not appropriate."<sup class="reference" id="cite_ref-future_tense_67-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[67]  The footage was included amongst other deleted scenes as a special feature on theLaserdisc release of Alien, and a shortened version of it was re-inserted into the 2003 "Director's Cut" which was re-released in theaters and on DVD.<sup class="reference" id="cite_ref-McIntee.2C_24_22-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[22] <sup class="reference" id="cite_ref-director.27s_cut_71-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[71] ==Release and reception<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:1.5em;">"It was the most incredible preview I've ever been in. I mean, people were screaming and running out of the theater."<sup class="reference" id="cite_ref-nightmare_fulfilled_66-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[66] —Editor Terry Rawlings describing the film's screening in Dallas.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">An initial screening of Alien for 20th Century Fox representatives in St. Louis suffered from poor sound in the theater. A subsequent screening in a newer theater in Dallas went significantly better, eliciting genuine fright from the audience.<sup class="reference" id="cite_ref-nightmare_fulfilled_66-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[66]  Two theatrical trailers were shown to the public. The first consisted of rapidly changing still images set to some of Jerry Goldsmith's electronic music from Logan's Run. The second used test footage of a hen's egg set to part of Goldsmith's Alien score.<sup class="reference" id="cite_ref-McIntee.2C_40_59-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  The film was previewed in various American cities in the spring of 1979<sup class="reference" id="cite_ref-McIntee.2C_40_59-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  and was promoted by the tagline "In space no one can hear you scream."<sup class="reference" id="cite_ref-nightmare_fulfilled_66-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[66] <sup class="reference" id="cite_ref-Allrovi_overview_72-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[72]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien was rated "R" in the United States, "X" in the United Kingdom, and "M" in Australia.<sup class="reference" id="cite_ref-McIntee.2C_14_33-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[33]  In the UK, the British Board of Film Classification almost passed the film as an "AA" (for ages 14 and over), although there were concerns over the prevalent sexual imagery. 20th Century Fox eventually relented in pushing for an AA certificate after deciding that an X rating would be a better choice commercially for selling a horror film.<sup class="reference" id="cite_ref-BBFC_73-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[73]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien opened in American theaters on May 25, 1979.<sup class="reference" id="cite_ref-Allrovi_overview_72-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[72]  The film had no formal premiere, yet moviegoers lined up for blocks to see it at Grauman's Egyptian Theatre in Hollywood where a number of models, sets, and props were displayed outside to promote it during its first run.<sup class="reference" id="cite_ref-McIntee.2C_40_59-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59] <sup class="reference" id="cite_ref-nightmare_fulfilled_66-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[66]  Religious zealots set fire to the model of the space jockey, believing it to be the work of the devil.<sup class="reference" id="cite_ref-McIntee.2C_40_59-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  In the United Kingdom, Alien premiered at a gala performance at the Edinburgh Film Festival on September 1, 1979,<sup class="reference" id="cite_ref-74" style="line-height:1em;unicode-bidi:-webkit-isolate;">[74] <sup class="reference" id="cite_ref-75" style="line-height:1em;unicode-bidi:-webkit-isolate;">[75]  before starting an exclusive run at the Odeon Leicester Square in London on September 6, 1979, but it did not open widely in Britain until January 13, 1980.<sup class="reference" id="cite_ref-McIntee.2C_40_59-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Critical reaction to the film was initially mixed. Some critics who were not usually favorable towards science fiction, such as Barry Norman of the BBC's Film series, were positive about the film's merits.<sup class="reference" id="cite_ref-McIntee.2C_40_59-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  Others, however, were not: Reviews by Variety, Sight and Sound, Vincent Canby and Leonard Maltin were mixed or negative.<sup class="reference" id="cite_ref-76" style="line-height:1em;unicode-bidi:-webkit-isolate;">[76]  A review by Time Out said the film was an "empty bag of tricks whose production values and expensive trickery cannot disguise imaginative poverty".<sup class="reference" id="cite_ref-77" style="line-height:1em;unicode-bidi:-webkit-isolate;">[77]  In a 1980 episode of Sneak Previews discussing science fiction films of the 1950s and 1970s, critics Gene Siskel and Roger Ebert were critical of Alien. Ebert called it "basically just an intergalactic haunted house thriller set inside a spaceship" and one of several science fiction pictures that were "real disappointments" compared to Star Wars, Close Encounters of the Third Kind, and 2001: A Space Odyssey, though he did compliment the early scene of the Nostromo's crew exploring the alien planet as showing "real imagination".<sup class="reference" id="cite_ref-Sneak_Previews_78-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[78]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The film was a commercial success, making $78,900,000 in the United States and £7,886,000 in the United Kingdom during its first run.<sup class="reference" id="cite_ref-McIntee.2C_40_59-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  It ultimately grossed $80,931,801 in the United States, though international box office figures have varied from $24 million to $122,700,000. Its total worldwide gross has been listed within the range of $104,931,801<sup class="reference" id="cite_ref-box_office_mojo_3-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[3]  to $203,630,630.<sup class="reference" id="cite_ref-numbers_4-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[4] ===Accolades<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === Further information: List of accolades received by the Alien, Predator, and Alien vs. Predator franchises#Alien<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien won the 1979 Academy Award for Visual Effects and was also nominated for Best Art Direction (for Michael Seymour, Leslie Dilley, Roger Christian, and Ian Whittaker).<sup class="reference" id="cite_ref-academy_awards_database_5-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[5] <sup class="reference" id="cite_ref-imdb_awards_8-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  It won Saturn Awards for Best Science Fiction Film, Best Direction for Ridley Scott, and Best Supporting Actress for Veronica Cartwright,<sup class="reference" id="cite_ref-past_saturn_awards_7-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[7]  and was also nominated in the categories of Best Actress for Sigourney Weaver, Best Make-up for Pat Hay, Best Special Effects for Brian Johnson and Nick Allder, and Best Writing for Dan O'Bannon.<sup class="reference" id="cite_ref-imdb_awards_8-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  It was also nominated for British Academy of Film and Television Arts (BAFTA) awards for Best Costume Design for John Mollo, Best Editing for Terry Rawlings, Best Supporting Actor for John Hurt, and Most Promising Newcomer to Leading Film Role for Sigourney Weaver.<sup class="reference" id="cite_ref-imdb_awards_8-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  It also won a Hugo Award for Best Dramatic Presentation and was nominated for a British Society of Cinematographers award for Best Cinematography for Derek Vanlint, as well as a Silver Seashell award for Best Cinematography and Special Effects at the San Sebastián International Film Festival.<sup class="reference" id="cite_ref-imdb_awards_8-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  Jerry Goldsmith's score received nominations for theGolden Globe Award for Best Original Score, the Grammy Award for Best Soundtrack Album, and a BAFTA Award for Best Film Music.<sup class="reference" id="cite_ref-imdb_awards_8-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8] ==Merchandising<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == For more details on this topic, see Alien (soundtrack) and List of Alien and Predator games.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Around and shortly after Alien's release in theaters, a number of merchandise items and media were released and sold to coincide with the film. These included a novelization by Alan Dean Foster, in both adult and "junior" versions, which was adapted from the film's shooting script.<sup class="reference" id="cite_ref-McIntee.2C_38_64-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64]  Heavy Metal magazine published a comic strip adaptation of the film entitled Alien: The Illustrated Story, as well as a 1980 Alien calendar.<sup class="reference" id="cite_ref-McIntee.2C_38_64-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64]  Two behind-the-scenes books were released in 1979 to accompany the film: The Book of Alien contained many production photographs and details on the making of the film, while Giger's Alien contained much of H. R. Giger's concept artwork for the movie.<sup class="reference" id="cite_ref-McIntee.2C_38_64-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[64]  A soundtrack album was released as an LP featuring selections of Goldsmith's score, and a single of the main theme was released in 1980.<sup class="reference" id="cite_ref-McIntee.2C_38-39_70-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[70]  A twelve-inch tall model kit of the Alien was released by the Model Products Corporation in the United States and by Airfix in the United Kingdom.<sup class="reference" id="cite_ref-McIntee.2C_39_79-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79]  Kenner also produced a larger-scale Alien action figure, as well as a board game in which players raced to be first to reach the shuttle pod while Aliens roamed the Nostromo's corridors and air shafts.<sup class="reference" id="cite_ref-McIntee.2C_39_79-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79]  Official Halloween costumes of the Alien were released for October 1979.<sup class="reference" id="cite_ref-McIntee.2C_39_79-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79]  Several computer games based on the film were released, but not until several years after its theatrical run.<sup class="reference" id="cite_ref-McIntee.2C_39_79-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79] ==Sequels<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == For more details on this topic, see Alien (franchise).Sigourney Weaver became the star of the Alien films, reprising her role as Ripley in three sequels between 1986 and 1997. She did not appear in either of the Alien vs. Predatorcrossovers of the 2000s, but has expressed interest in doing a fifthAlien film.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The success of Alien led 20th Century Fox to finance three direct sequels over the next eighteen years, each by different writers and directors. Sigourney Weaver remained the only recurring actor through all four films, and the story of her character Ripley's encounters with the Aliens became the thematic thread running through the series.<sup class="reference" id="cite_ref-ebert_2003_review_13-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13]  James Cameron's Aliens (1986) focused more on action and involved Ripley returning to the planetoid accompanied by marines to confront hordes of Aliens.<sup class="reference" id="cite_ref-aliens_49-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[49]  David Fincher's Alien 3 (1992) had nihilistic tones<sup class="reference" id="cite_ref-McIntee.2C_41_44-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[44]  and found her on a prison planet battling another Alien, ultimately sacrificing herself to prevent her employers from acquiring the creatures.<sup class="reference" id="cite_ref-alien_3_80-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[80]  Jean-Pierre Jeunet's Alien Resurrection (1997) saw Ripley resurrected through cloning to battle more Aliens even further in the future.<sup class="reference" id="cite_ref-alien_resurrection_81-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[81]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The success of the film series resulted in the creation of a media franchise with numerous novels, comic books, video games, toys, and other media and merchandise appearing over the years. A number of these began appearing under the Alien vs. Predator crossover imprint, which brought the Alien creatures together with the titular Predators of the Predator franchise. The film series eventually followed suit, with Paul W. S. Anderson's Alien vs. Predator (2004) andColin and Greg Strause's Aliens vs. Predator: Requiem (2007) These stories are set in the 2000s.<sup class="reference" id="cite_ref-avp_82-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[82] <sup class="reference" id="cite_ref-avp:r_83-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[83] <sup class="reference" id="cite_ref-84" style="line-height:1em;unicode-bidi:-webkit-isolate;">[84]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Sigourney Weaver has expressed interest in reuniting with Ridley Scott to revive her character for another Alien film. In the 2003 commentary track for the AlienDVD included in the Alien Quadrilogy set, she and Scott both speculated on the possibility, with Weaver stating: "There is an appetite for a fifth one, which is something I never expected...it's really hard to come up with a fifth story that's new and fresh...but I have wanted to go back into space...I think outer space adventure is a good thing for us right now, 'cause Earth is so grim...so we've been talking about it, but very generally."<sup class="reference" id="cite_ref-commentary_24-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]  Scott remarked that, if the series were to continue, the most logical course would be to explore the origins of the space jockey and the Aliens.<sup class="reference" id="cite_ref-85" style="line-height:1em;unicode-bidi:-webkit-isolate;">[85]  Weaver supported this idea, stating that "I think it would be great to go back, because I'm asked that question so many times: 'Where did the Alien come from?' People really want to know in a very visceral way."<sup class="reference" id="cite_ref-commentary_24-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[24]  David Giler stated that he, Walter Hill, and Gordon Carroll, the producers of the first five films in the series, would not be willing to produce another unless it was about the Aliens' homeworld and Weaver was on board (although Hill did return to produce Aliens vs. Predator: Requiem). Weaver, in turn, indicated that she would only return to the franchise if either Scott or James Cameron were directing.<sup class="reference" id="cite_ref-McIntee.2C_264_86-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[86]  Cameron had been working on a story for a fifth Alienfilm which would explore the origins of the creatures, but ceased work on it when he learned that Fox was pursuing Alien vs. Predator, which he felt would "kill the validity of the franchise".<sup class="reference" id="cite_ref-vespe_87-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[87] <sup class="reference" id="cite_ref-davidson_88-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[88]  Weaver has continued to express interest in another installment, stating in 2008 that "I would definitely do another if I had a director like Ridley Scott and we had a good idea. Ridley is enthusiastic about it."<sup class="reference" id="cite_ref-ok.21_89-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[89]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">In July 2009, 20th Century Fox announced that Jon Spaihts had been hired to write a prequel to Alien, with Scott attached to direct.<sup class="reference" id="cite_ref-90" style="line-height:1em;unicode-bidi:-webkit-isolate;">[90]  The script was subsequently re-worked by Scott and Damon Lindelof. Titled Prometheus, it went into production in May 2011, and was subsequently released in 2012. Scott released a statement: "While Alienwas indeed the jumping-off point for this project, out of the creative process evolved a new, grand mythology and universe in which this original story takes place. The keen fan will recognize strands of Alien's DNA, so to speak, but the ideas tackled in this film are unique, large and provocative."<sup class="reference" id="cite_ref-91" style="line-height:1em;unicode-bidi:-webkit-isolate;">[91] ==Home video releases<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien has been released in many home video formats and packages over the years. The first of these was a seventeen-minute Super-8 version for home projectionists.<sup class="reference" id="cite_ref-McIntee.2C_39_79-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79]  It was also released on both VHS and Betamax for rental, which grossed it an additional $40,300,000 in the United States alone.<sup class="reference" id="cite_ref-McIntee.2C_40_59-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  Several VHS releases were subsequently sold both singly and as boxed sets.LaserDisc and Videodisc versions followed, including deleted scenes and director commentary as bonus features.<sup class="reference" id="cite_ref-McIntee.2C_39_79-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79] <sup class="reference" id="cite_ref-McIntee.2C_259_92-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[92]  A VHS box set containing Alien and the sequels Aliens and Alien 3 was released in facehugger-shaped boxes, including some of the deleted scenes from the Laserdisc editions.<sup class="reference" id="cite_ref-McIntee.2C_259_92-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[92]  When Alien Resurrection premiered in theaters, another set of the first three films was released including a Making of Alien Resurrection tape. A few months later the set was re-released with the full version of Alien Resurrection taking the place of the making-of video.<sup class="reference" id="cite_ref-McIntee.2C_259_92-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[92]  Alien was released on DVD in 1999, both singly and packaged with Aliens, Alien 3 and Alien Resurrection as The Alien Legacy.<sup class="reference" id="cite_ref-93" style="line-height:1em;unicode-bidi:-webkit-isolate;">[93]  This set, which was also released in a VHS version, included a commentary track by Ridley Scott.<sup class="reference" id="cite_ref-McIntee.2C_39_79-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[79] <sup class="reference" id="cite_ref-McIntee.2C_259_92-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[92]  The first three films of the series have also been packaged as the Alien Triple Pack. ===2003 Director's Cut<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:1.5em;">"The traditional definition of the term 'Director's Cut' suggests the restoration of a director's original vision, free of any creative limitations. It suggests that the filmmaker has finally overcome the interference of heavy-handed studio executives, and that the film has been restored to its original, untampered form. Such is not the case with Alien: The Director's Cut. It's a completely different beast."<sup class="reference" id="cite_ref-quadrilogy_94-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[94] —Ridley Scott<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">In 2003 20th Century Fox was preparing the Alien Quadrilogy DVD box set, which would include Alien and its three sequels. In addition, the set would also include alternate versions of all four films in the form of "special editions" and "director's cuts". Fox approached Ridley Scott to digitally restore and remaster Alien, and to restore several scenes which had been cut during the editing process for inclusion in an expanded version of the film.<sup class="reference" id="cite_ref-quadrilogy_94-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[94]  Upon viewing the expanded version, Scott felt that it was too long and chose to recut it into a more streamlined alternate version: <p style="line-height:1.5em;">Upon viewing the proposed expanded version of the film, I felt that the cut was simply too long and the pacing completely thrown off. After all, I cut those scenes out for a reason back in 1979. However, in the interest of giving the fans a new experience with Alien, I figured there had to be an appropriate middle ground. I chose to go in and recut that proposed long version into a more streamlined and polished alternate version of the film. For marketing purposes, this version is being called "The Director's Cut."<sup class="reference" id="cite_ref-quadrilogy_94-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[94] <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The "Director's Cut" restored roughly four minutes of deleted footage while cutting about five minutes of other material, leaving it about a minute shorter than the theatrical cut.<sup class="reference" id="cite_ref-McIntee.2C_40_59-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  Many of the changes were minor, such as altered sound effects, while the restored footage included the scene in which Ripley discovers the cocooned Dallas and Brett during her escape of the Nostromo. Fox decided to release the Director's Cut in theaters, and it premiered on October 31, 2003.<sup class="reference" id="cite_ref-McIntee.2C_40_59-12" style="line-height:1em;unicode-bidi:-webkit-isolate;">[59]  The Alien Quadrilogy box set was released December 2, 2003, with both versions of the film included along with a new commentary track featuring many of the film's actors, writers, and production staff, as well as other special features and a documentary entitled The Beast Within: The Making of Alien. Each film was also released separately as a DVD with both versions of the film included. Scott noted that he was very pleased with the original theatrical cut of Alien, saying that "For all intents and purposes, I felt that the original cut of Alien was perfect. I still feel that way", and that the original 1979 theatrical version "remains my version of choice".<sup class="reference" id="cite_ref-quadrilogy_94-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[94]  He has since stated that he considers both versions "director's cuts", as he feels that the 1979 version was the best he could possibly have made it at the time.<sup class="reference" id="cite_ref-quadrilogy_94-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[94]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">The Alien Quadrilogy set earned Alien a number of new awards and nominations. It won DVDX Exclusive Awards for Best Audio Commentary and Best Overall DVD, Classic Movie, and was also nominated for Best Behind-the-Scenes Program and Best Menu Design.<sup class="reference" id="cite_ref-imdb_awards_8-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  It also won a Sierra Award for Best DVD, and was nominated for a Saturn Award for Best DVD Collection and GoldenSatellite Awards for Best DVD Extras and Best Overall DVD.<sup class="reference" id="cite_ref-imdb_awards_8-12" style="line-height:1em;unicode-bidi:-webkit-isolate;">[8]  In 2010 both the theatrical version and Director's Cut of Alien were released on Blu-ray Disc, as a stand-alone release and as part of the Alien Anthology set.<sup class="reference" id="cite_ref-Empire_95-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[95] ==Impact and analysis<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == ===Imitations<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:1.5em;">"The 1979 Alien is a much more cerebral movie than its sequels, with the characters (and the audience) genuinely engaged in curiosity about this weirdest of lifeforms...Unfortunately, the films it influenced studied its thrills but not its thinking."<sup class="reference" id="cite_ref-ebert_2003_review_13-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13] —Film critic Roger Ebert on Alien ' s cinematic impact.<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien had both an immediate and long-term impact on the science fiction and horror genres. Shortly after its debut, Dan O'Bannon was sued by another writer named Jack Hammer for allegedly plagiarising a script entitled Black Space. However, O'Bannon was able to prove that he had written his Alien script first.<sup class="reference" id="cite_ref-McIntee.2C_40-41_96-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[96]  In the wake of Alien's success a number of other filmmakers imitated or adapted some of its elements, sometimes by copying its title. One of the first was The Alien Dead (1979), which was titled at the last minute to cash in on Aliens popularity.<sup class="reference" id="cite_ref-McIntee.2C_262_97-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[97]  Contamination (1980) was initially going to be titled Alien 2 until 20th Century Fox's lawyers contacted writer/director Luigi Cozzi and made him change it, and it built on press coverage of Aliens chestburster scene by having many similar creatures, which originated from large, slimy eggs, bursting from characters' chests.<sup class="reference" id="cite_ref-McIntee.2C_262_97-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[97]  An unauthorized Italian sequel to Alien, titled Alien 2, was released in 1980 and included alien creatures which incubate inside human hosts. Other science fiction films of the time that exploited elements of Alienincluded Inseminoid (1981) and Xtro (1982).<sup class="reference" id="cite_ref-McIntee.2C_262_97-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[97] ===Antecedents<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">In the decades since its original release critics have analyzed and acknowledged Alien's roots in earlier works of fiction. It has been noted as sharing thematic similarities with earlier science fiction films such as The Thing from Another World (1951)<sup class="reference" id="cite_ref-ebert_2003_review_13-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13] <sup class="reference" id="cite_ref-french_98-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[98]  and ''[http://en.wikipedia.org/wiki/It!_The_Terror_from_Beyond_Space It! The Terror from Beyond Space] (1958)<sup class="reference" id="cite_ref-McIntee.2C_19_20-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[20] <sup class="reference" id="cite_ref-mackinder_review_65-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[65]  as well as a kinship with other 1970s horror films such as Jaws (1975) andHalloween (1978).<sup class="reference" id="cite_ref-ebert_2003_review_13-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13]  Literary connections have also been suggested, including thematic comparisons to And Then There Were None (1939).<sup class="reference" id="cite_ref-french_98-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[98]  Many critics have also suggested that the film derives in part from A. E. van Vogt's The Voyage of the Space Beagle (1950), particularly the stories "The Black Destroyer", in which a cat-like alien infiltrates the ship and hunts the crew, and "Discord in Scarlet", in which an alien implants parasitic eggs inside crew members which then hatch and eat their way out.<sup class="reference" id="cite_ref-99" style="line-height:1em;unicode-bidi:-webkit-isolate;">[99]  O'Bannon, however, denies that this was a source of his inspiration for Alien's story.<sup class="reference" id="cite_ref-McIntee.2C_20_16-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  Van Vogt initiated a lawsuit against 20th Century Fox over the similarities, but Fox settled out of court.<sup class="reference" id="cite_ref-100" style="line-height:1em;unicode-bidi:-webkit-isolate;">[100]  Rick Sanchez of ign.com noted the "striking resemblance"<sup class="reference" id="cite_ref-dvd.ign.com_101-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[101]  toMario Bava's cult classic Planet of the Vampires, especially in a celebrated sequence in which the crew discovers a ruin containing the skeletal remains of long dead giant beings, and in the design and shots of the ship itself, similar to the derelict spacecraft in Alien.<sup class="reference" id="cite_ref-Frentzen_102-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[102]  Despite the visual similarities, both O'Bannon and director Ridley Scott claimed in a 1979 interview that they had not seen Planet of the Vampires''.<sup class="reference" id="cite_ref-Carducci_103-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[103]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Writer David McIntee has also noted similarities to the Doctor Who episode "The Ark in Space" (1975), in which an insectoid queen alien lays larvae inside humans which later eat their way out, a life cycle inspired by that of the ichneumons wasp.<sup class="reference" id="cite_ref-McIntee.2C_20_16-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  He has also noted similarities between the first half of the film, particularly in early versions of the script, to H.P. Lovecraft's At the Mountains of Madness, "not in storyline, but in dread-building mystery",<sup class="reference" id="cite_ref-McIntee.2C_20_16-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[16]  and calls the finished film "the best Lovecraftian movie ever made, without being a Lovecraft adaptation", due to its similarities in tone and atmosphere to Lovecraft's works.<sup class="reference" id="cite_ref-McIntee.2C_41_44-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[44]  In 2009, Dan O'Bannon said the film was "strongly influenced, tone-wise, by Lovecraft, and one of the things it proved is that you can't adapt Lovecraft effectively without an extremely strong visual style ... What you need is a cinematic equivalent of Lovecraft's prose."<sup class="reference" id="cite_ref-104" style="line-height:1em;unicode-bidi:-webkit-isolate;">[104]  Regarding O'Bannon's initial Alien storyline, H. R. Giger stated, "I liked it particularly because I found it was in the vein of Lovecraft, one of my greatest sources of inspiration."<sup class="reference" id="cite_ref-105" style="line-height:1em;unicode-bidi:-webkit-isolate;">[105] ===Lasting critical praise<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Alien has continued to receive critical acclaim over the years, particularly for its realism and unique environment.<sup class="reference" id="cite_ref-mackinder_review_65-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[65]  It has a 97% approval rating at the online review aggregator Rotten Tomatoesbased on 89 reviews,<sup class="reference" id="cite_ref-rotten_tomatoes_106-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[106]  while Metacritic gives an 83% approval rating based on 22 reviews.<sup class="reference" id="cite_ref-metacritic_107-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[107]  Critical interest in the film was re-ignited in part by the theatrical release of the "Director's Cut" in 2003. Despite having criticized Alien in 1980, Roger Ebert included it in his "Great Movies" column in 2003, ranking it among "the most influential of modern action pictures" and praising its pacing, atmosphere, and settings: <p style="line-height:1.5em;">One of the great strengths of Alien is its pacing. It takes its time. It waits. It allows silences (the majestic opening shots are underscored by Jerry Goldsmith with scarcely audible, far-off metallic chatterings). It suggests the enormity of the crew's discovery by building up to it with small steps: The interception of a signal (is it a warning or an SOS?). The descent to the extraterrestrial surface. The bitching by Brett and Parker, who are concerned only about collecting their shares. The masterstroke of the surface murk through which the crew members move, their helmet lights hardly penetrating the soup. The shadowy outline of the alien ship. The sight of the alien pilot, frozen in his command chair. The enormity of the discovery inside the ship ("It's full of ... leathery eggs ...").<sup class="reference" id="cite_ref-ebert_2003_review_13-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13] <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">McIntee praises Alien as "possibly the definitive combination of horror thriller with science fiction trappings."<sup class="reference" id="cite_ref-McIntee.2C_41_44-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[44]  He notes, however, that it is a horror film first and a science fiction film second, since science fiction normally explores issues of how humanity will develop under other circumstances. Alien, on the other hand, focuses on the plight of people being attacked by a monster: "It's set on a spaceship in the future, but it's about people trying not to get eaten by a drooling monstrous animal. Worse, it's about them trying not to get raped by said drooling monstrous animal."<sup class="reference" id="cite_ref-McIntee.2C_41_44-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[44] Along with Halloween and Friday the 13th (1980), he describes it as a prototype for the slasher film genre: "The reason it's such a good movie, and wowed both the critics, who normally frown on the genre, and the casual cinema-goer, is that it is a distillation of everything that scares us in the movies."<sup class="reference" id="cite_ref-McIntee.2C_41_44-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[44]  He also describes how the film appeals to a variety of audiences: "Fans ofHitchcockian thrillers like it because it's moody and dark. Gorehounds like it for the chest-burster. Science fiction fans love the hard science fiction trappings and hardware. Men love the battle-for-survival element, and women love not being cast as the helpless victim."<sup class="reference" id="cite_ref-McIntee.2C_42_108-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[108] <p style="line-height:1.5em;">"Almost every horror film since Alien has ripped it off in some way, but most of the imitations have focused on details — a slimy killing-machine monster that is both vaginal and penile; the dripping, cavernous interiors of the Nostromo; those immensely influential H. R. Giger 'biomechanical' designs — and missed what you might call the overall Zeitgeist of the film."<sup class="reference" id="cite_ref-o.27hehir_109-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[109] —Salon.com critic Andrew O'Hehir<p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Salon.com critic Andrew O'Hehir notes that Alien "has a profoundly existentialist undertow that makes it feel like a film noir"<sup class="reference" id="cite_ref-o.27hehir_109-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[109] and praises it over its "increasingly baroque" sequels as "a film about human loneliness amid the emptiness and amorality of creation. It's a cynical '70s-leftist vision of the future in which none of the problems plaguing 20th century Earth—class divisions,capitalist exploitation, the subjugation of humanity to technology—have been improved in the slightest by mankind's forays into outer space."<sup class="reference" id="cite_ref-o.27hehir_109-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[109]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">David Edelstein wrote, "Alien remains the key text in the “body horror” subgenre that flowered (or, depending on your viewpoint, festered) in the seventies, and Giger’s designs covered all possible avenues of anxiety. Men traveled through vulva-like openings, got forcibly impregnated, and died giving birth to rampaging gooey vaginas dentate — how’s that for future shock? This was truly what David Cronenberg would call “the new flesh,” a dissolution of the boundaries between man and machine, machine and alien, and man and alien, with a psychosexual invasiveness that has never, thank God, been equaled."<sup class="reference" id="cite_ref-Edelstein_110-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[110]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">In 2002, Alien was deemed "culturally, historically or aesthetically significant" by the National Film Preservation Board of the United States,<sup class="reference" id="cite_ref-nfpb_about_10-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[10]  and was inducted into the National Film Registry of the Library of Congress for historical preservation alongside other films of 1979 including All That Jazz, Apocalypse Now, The Black Stallion, and Manhattan.<sup class="reference" id="cite_ref-national_film_registry_9-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[9]  In 2008 the American Film Instituteranked Alien as the seventh-best film in the science fiction genre as part of AFI's 10 Top 10, a CBS television special ranking the ten greatest movies in ten classic American film genres. The ranks were based on a poll of over 1,500 film artists, critics, and historians, with Alien ranking just above Terminator 2: Judgment Day (1991) and just below Ridley Scott's other science fiction filmBlade Runner (1982).<sup class="reference" id="cite_ref-AFI_poll_11-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[11]  The same year, Empire magazine ranked it thirty-third on its list of the five hundred greatest movies of all time, based on a poll of 10,200 readers, critics, and members of the film industry.<sup class="reference" id="cite_ref-Empire_500_12-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[12] ===Sexual imagery<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.1875px;color:rgb(0,0,0);font-family:sans-serif;">Critics have also analyzed Alien's sexual overtones. Adrian Mackinder compares the facehugger's attack on Kane to a male rape and the chestburster scene to a form of violent birth, noting that the Alien's phallic head and method of killing the crew members add to the sexual imagery.<sup class="reference" id="cite_ref-mackinder_review_65-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[65]  Dan O'Bannon has argued that the scene is a metaphor for the male fear of penetration, and that the "oral invasion" of Kane by the facehugger functions as "payback" for the many horror films in which sexually vulnerable women are attacked by male monsters.<sup class="reference" id="cite_ref-111" style="line-height:1em;unicode-bidi:-webkit-isolate;">[111]  McIntee claims that "Alien is a rape movie as much as Straw Dogs (1971) or I Spit on Your Grave (1978), or The Accused (1988). On one level it's about an intriguing alien threat. On one level it's about parasitism and disease. And on the level that was most important to the writers and director, it's about sex, and reproduction by non-consensual means. And it's about this happening to a man."<sup class="reference" id="cite_ref-McIntee.2C_43_112-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[112]  He notes how the film plays on men's fear and misunderstanding of pregnancy and childbirth, while also giving women a glimpse into these fears.<sup class="reference" id="cite_ref-McIntee.2C_43-44_113-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[113]  Film analyst Lina Badley has written that the Alien's design, with strong Freudian sexual undertones, multiple phallic symbols, and overall feminine figure, provides an androgynous image conforming to archetypal mappings and imageries in horror films that often redraw gender lines.<sup class="reference" id="cite_ref-badley_114-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[114]  O'Bannon himself later described the sexual imagery in Alien as overt and intentional: "One thing that people are all disturbed about is sex... I said 'That's how I'm going to attack the audience; I'm going to attack them sexually. And I'm not going to go after the women in the audience, I'm going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs. Homosexual oral rape, birth. The thing lays its eggs down your throat, the whole number. ' "<sup class="reference" id="cite_ref-115" style="line-height:1em;unicode-bidi:-webkit-isolate;">[115]