October 2015

Leading from

Wednesday 14th October 2015
1) Continued to develop the page The story so far on Dali's Soft Construction with boiled beans (Premonition of civil war) with full understanding that about 99.999% of people with an interest in Alien would absolutely have no idea what it has to do with anything to do with Alien, but I have just come to realise that the strange construction may as well be a plough. which would be quite a resonable thing for him to transform like this.

Tuesday 13th October 2015
1) Added " Goya's "Unos á otros" also inspire the shape of the buttocks in Dali's painting" to Goya etchings inspired Salvador Dali's "Soft construction with boiled beans (premonition of civil war) " ? 
2) Added image of Tree of Life as seen in the Mayan Dresden Codex to the page about Ron Cobb's birth temple for Alien. This tree of life looks as if it is a tentacled monster coming out of the human victim, and there is something similar in Cobb's artwork.
3) Created a main page for Salvador Dali's "Soft construction with boiled beans (premonition of civil war)" which links to other pages dealing with the various subjects about the painting 


Monday 12th October 2015
1) Added William Gibson on Alien 3
2) Changed "Salvador Dali's  "Soft Construction With Boiled Beans (Premonition of civil war) inspired by Francisco Goya's "Subir y bajar"to "Salvador Dali's  "Soft Construction With Boiled Beans (Premonition of civil war) inspired by Francisco Goya's "Subir y bajar" to
with the discovery of another Goya etching Goya's "Todos caerán"(All Will Fall) that  inspired the form of the buttocks in the named Dali painting  that has now been added to the page
Goya etchings inspired Salvador Dali's "Soft construction with boiled beans (premonition of civil war) " ? 


Saturday 10th October 2015
1) Added Blade Runner: The City talking about the ideas for the city in Blade Runner generally coming from the minds of Ridley Scott and Syd Mead and also something to point out would be that when William Gibson started thinking about an idea for Alien 3, he wanted to have it set in a Blade Runner type sey, but this was seen as being too expensive. This article will be expanded on more and more


Wednesday 7th October 2015
1) Updated Reaching "Alien: Paradise Lost" (Prometheus 2) with information from awardscampaign.com/2015/10/07/ridley-scott-teases-new-group-of-travelers-in-prometheus-sequel-alien-paradise-lost/  
 


Tuesday 6th October 2015
1) Updated Carl Sagan and Alien with information from ( https://www.yahoo.com/movies/Ridley Scott on Bringing 'The Martian' to Life and How He's Reviving 'Blade Runner' )


Saturday 2nd October 2015
1) Further alterations to The Thing (2011)


Friday 1st October 2015
1) Added Derelict scenario for The Thing (2011) but now it is turning into an article about The Thing (2011) going beyond the simple need to talk about the background scenario. Indeed this blog seems to want to talk about the whole genre of films connected with the Alien franchise

2) Added Kuiper's Monster concept for John Carpenter's The Thing (1982)

Alien: Chris Foss' Leviathan Sketch No.3

leading from
Chris Foss' early Nostromo concepts


a) Sketch no 3 suggests by its number that it may be a continued development of Sketch No. 2 although No2 was a near finished illustration.
 

 Chris Foss' Sketch of Leviathan, no.3 (courtesy of Charles Lippincott at Facebook, 1  and 2 )

from Hardware: The Definitive SF Works of Chris Foss



b) Mike Jackiw at Charles Lippincott's Facebook page offers a comparison between the 
design of this vessel that is the Earth Defense Flagship Andromeda from mid 1970s 
Japanese anime series Space Battleship Yamoto, and this can also be said about Chris Voss'
Sketch No. 2
Flagship Andromeda from 1974-75 anime series Space Battleship Yamoto

Alien : Egg silo exterior

leading from

a) Where Ridley had been going
Ridley Scott had been experimenting with the idea of an egg silo inspired by the Castle Harkonnen,
and had been exploring the idea of a giant rocket capsule shaped derelict ship with Moebius before he left.  (see: Moebius derelict exterior and Ridley Scotts Early Egg Silo Exterior )

Ridleygram of structures on the planetoid (image from weyland-yutaniarchives)


b) What Giger drew
HR Giger designed a breast shaped building called the Egg Silo, a hundred and fifty metres tall and two hundred metres in diameter.  He drew the images in April of 1978. Perhaps he borrowed the shape from Ridley's early idea for a derelict ship that he work on with Moebius. It also included ideas from Giger's painting Dune I which showed an entrance to the Castle Harkonnen.


Egg Silo exterior (uploaded by me, taken from Giger's Alien)


Egg Silo exterior (uploaded by me, taken from Giger's Alien)

Egg Silo exterior (uploaded by me, taken from Giger's Alien)

Giger's Dune I (Entrance to Castle Harkonnen), 1976

Ridleygram of explorer climbing up the side of the egg silo


c) Giger's Painting
In the painting, in the rock formations, suggestions of perhaps long fossilized life forms. Perhaps the  rock sticking out of the lower ground to the left of the building is a half formed impression of Cthulhu type entity with its tentacled face and thick claw. Giger had brought his designs at the time over to Shepperton for approval on March 30th of 1978, although they were met with general approval, he is told that his egg silo would be too expensive to build.

Quote source
  1. HR Giger: The designs I brought with me meet general approval. The eggsilo (plate 378) can't be built because it would be too expensive. Pity! (Giger's Alien, p14)

378: Egg Silo exterior (uploaded by me, taken from Giger's Alien)
d) Kenner Alien Logo
The design of this structure would be used in the logo for the Kenner Alien toys that would soon be sold.



curious detail from 378: Egg Silo exterior

Alien : HR Giger's Egg Silo Interior version I

 leading from


a) Reaching the first version
By 19th July, 1978, Giger's concept for an Egg Silo interior had evolved. This became version 1.
The egg wagons that had scooped up the eggs and transported them along a rail to the pipes had disappeared, along with their monorails, they had now been transformed into big pregnant capsules on the wall of the silo which Giger had decided were symbols of fertility. Above the capsules were entrance tubes coming down at the side rather than in the centre of a circular buildings, and a space for the hieroglyphics painting to be seen. (see also : Placement of Life Cycle Tableau )

Work 386 Egg Silo version I
b) Echoes of Foss
After comparing Chris Foss' elongated derelict ship and Giger's Egg Silo version I painting, it might be easy to assume that Giger had taken the general form of Foss' derelict as a starting point for the painting, and now the two slit windows on the pod from Foss' derelict that had translated themselves into a slightly different form in one of Moebius' earlier derelict designs has almost seem to crawl into Egg Silo version 1 as two slit like eye like spaces above the pod, or maybe such abstract bilateral forms protruding from the tops of various of Foss' structures that might be such things as engines or something similar to two rectangular radars fused together that might make one think of robot eyes or visors ( See Chris Foss' Alien temple interior and Chris Foss' derelict, 
and Moebius Alien spaceship concepts part 2)

Front pod from a derelict ship by Chris Foss'
front pod from Moebius derelict with eye like
spaces at the front inspired by Foss' derelict

Source Quotes
  1. HRGiger:19th July 1978, Shepperton Studios. Luckily the wretched idea of only having six eggs has been dropped. Scott somehow managed to persuade O'Bannon, or else he's simply acted on his own authority. The victory is followed by another defeat. During my absence someone has attacked me in the rear and had decided to do away with the big "pregnant" capsules (plate 386), the symbol of fertility in this set. The reason: ' They're superfluous." Superfluous? When Voysey, who has to be working in five places at once, has prepared a scale mdoel in meticulous detail (plates 386d and e)? I suppose I shall never master the secret of how such decisions are taken. It is getting clear to me that my creative capacity is slowly but surely being numbed. I'm still convinced that the best critic of an artist's work is the artist himself. (Giger's Alien, p44)
drawing with another variable for the egg silo interior
with pregnant capsule to the side of the entrance shafts
from Giger's Alien Diaries
sketch from Giger's Alien
sketch from Giger's Alien
sketch from Giger's Alien

from Giger's Alien Diaries


c) Voysey creates miniature
Peter Voysey had been busy created a 1/25th scale model of the silo interior, however despite his work on this,  in Giger's absence the pregnant capsules were declared superfluous and the entrance tubes disappeared as well 

Segment of 1/25th Model of egg silo

1/25th egg silo version 1 model from Alien Legacy documentary

1/25th egg silo version 1 model from Alien Legacy documentary

1/25th Model of egg silo

Alien: Chris Foss' Alien Temple Interior

leading from

"Original Chris Foss concept sketch of the
Derelict Ship interior for Alien. The image
depicts a member of the Nostromo landing
party descending into a vast and ornate
sepulcher. The sketch shows Foss’ celebrated
skill while markedly devoid of the later influence
of H.R. Giger. Accomplished in pencil, ink and
gouache on 29 x 18 in. artist leaf. Handwritten
notations “Centre of the Tombe”, “Alien” and
“Chris Foss F 77” at the lower border. Verso
features a sticker in the upper left reading
 “Chris Foss – 7. Centre of the Tombe”. "
(http://www.sciencefictionarchives.com/)
a) The vast temple interior created by Chris Foss had the look of something that was created for giants. The explorer lowers himself from the shaft above above a plinth that might be as large as a three or four story building and perhaps it looks as if it could easily be an oven with a kitchen chimney above it.

Chris Foss pyramid birth temple interior (this copy of the image was taken from http://io9.com/)
b) Vast shaft entrances on the side of the plinth might be the air intakes of huge long engines for airborne craft , the left might secretly be a representation of a strange creature with wide open maws and eyes on top of stalks that seem like siamese twin versions of military ships radar antennae. and long fins or wings sticking out of the back.

 Chris Foss' Alien Birth Temple (courtesy of Charles Lippincott at Facebook)

Marc Caro and Alien

leading from

Still collating

a)  News of the Alien production
When Marc Caro did comic book stories for Metal Hurlant (the predecessor to Heavy Metal) a big subject of discussion would have been the Alexandro Jodorowsky's Dune project that involved Chris Foss, Giger, Druillet and Moebius, the latter two being amongst the Metal Hurlant illustrators, but soon this production fell apart and later the Alien film came along which involved once again Giger, Foss and Moebius.

Mark Caro being interviewed by Dennis Lowe
b)  Seeing the Alien film
He was a fan of Tarkovsky films such as Solaris, and he had an interest in George Lucas' film THX 1138. When he saw Star Wars, he felt it was a children's film and he was someone in his twenties. He was impatient to see Alien, he already had a sense of the environments in the film, they were familiar to him. When he actually saw the film he found it very much to his liking and it would become one of the films that would continue to influence him.


c)  Points of interest
He liked the way there that the characters were credible even though they were in outerspace. He liked the grease on the shirt and the fact that they were eating and talking about their problems such as money etc. He found that when one builds a different universe, the more one had to put in some really concrete stuff to make it believable. He liked the idea of perceptual narrativity. For him, Alien was a horror movie in space and so he liked the the use of darkness and light, and things such as the use of the cat. It was also as if all the things that were going to be in Jodorowsky's Dune were reappearing in another way in the Alien movie, with it's unusual production dsign.

  1. Marc Caro (rough transcription): I thought er, in the review in Metal Hurlant, it's well known in Anglo-Saxon country like Heavy Metal, and in this, it's a scifi comics review, and er all the people who worked there, er, you were happy after that, er, Aliens, you know, because, er, before Aliens, it was a very big project in France,  directed, project, direct by Alejandro Jodorowsky, on er, it's an adaptation of Dune, you know, and he make it work, er Christopher Foss, he make it with Druillet, er, Gigers and er Moebius, and we find, er Moebius made all the storyboards, it's a very wonderful work, and er, all this things er reappeared in of course another way in Aliens movie for me, you know. So, er, I was, er, very impatient to see the movies, but er all the environment, all the visual environment was very well known for me, you know.

    I work my own stories and I draw it. I came also from animation, you know I begin er to sculpt puppets for the first movie of Jean-Pierre Jeunet, short movies, and er, er, and er, I made some music too. You know, I, I always, I came from the draw, you know, for, from the sketch but a, it's always missing something to me, you know, oh oh it's good, but it's still, you know, it doesn't move so I made animation for that, and r oh okay it's good but er, that doesn't speak, it doesn't, life, so you know, so I use real person. For me it's more of a, a evocative process than a career

    And er, my kind of movie er before Alien is of course Tarkovsky movie, you know, Solaris and  er the first er er George Lucas movie er THX 11...er...38 and er, for me I see it before Alien, I see it of course Star Wars but it's not my taste you know, maybe because I'm too old
    I am in twenties or something like that, er it's too for children for me, but er Alien, it's  er my taste of course. Its influence me in the way the character, even, if they are in er outer space, are very credible and er real, you know, they have er some er grease on the shirt and they eat, everything , it's really ,and there are some problems to speak about, the, the money and everything, you know, er and that's something er influenced me er quite because I think the more you, you built a very different universe, you know, on screen, the more you have to put and er input some really concrete stuff to make it believable you know.

    We did something in er City of Lost Children, to show how we work on a move, you know, at the moment you have a two twin sisters, they make cooking and er one give some salt, one some onions, and it's a kind of thing like that you work in, when we worked together you know, and the other thing what you speak is before, it's erm, I was very proud, somebody at the first screening of the movie say, "Oh, you, you came on my place, no? Because these girl for Delicatessen, these characters live just behind my flat, you know" and it was very funny because, of course, we never go there.

    Every, you know, er all the movie is storyboarded, each, each shot er, I have a book like that each shot and er, sometimes it's very very close sometimes of course, er, we have some er change but er, it's , it's really really precise, you know, and er the main ideas for me as er art director on er Delicatessen, you know I love 'Doisnos" (?)  all the French movie for Carné and "Prevert" (?), things like that

    But all this movie have been seen in black and white and I try to er to get back the feeling I have when I see this kind of movie but in colour, but with the the same er attention to the matters you know, because when we see Brassai or all this this old photography er before the war you know, er, it's er,. the impressions print on the on the shoot and everything are very very erm, er contrasted,  very deep and I try in another way of course to er, to give to the audiences this kind of er feeling 'cause I think er, er,  people , er go to the matters and thinks there is a truth, it's a truth you know, very kind of perceptual narrativity I try to do and er the other er movie I did after that, I, I try to push this kind of er perceptual narrativity, er, with sound, with a, the darkness and some light, you know, we have to and of course in the horror movie, but Alien, it's er an horror movie in space, you play with this kind of also er perceptual and er sensitive, you know the, the black, and you have the cat, its a well known process, you you have to involve the audience you know in your story by this er perceptual stuff. so maybe it's kind of like influence, but it's not the the only one, because er a lot of people like er Kubriks and er lot of people, David Lynch and everything work on this kind of stuff too.

    You know, a movie is er, it's erm, a process between the, the creator and the audience, because, er, the movie, exists only if the audience could take it and er, you have some resonance inside him and if the audience could project something from him in the movie, and so you have to to give, to give the audience some part of er of some place to er, in the black, in the things not too strange you know, there was a the audience could go there, you know. I think its er, some er, something I have inside and I have to, I'm obliged to to go out, to go out, I have get out. I feel I have to show to the audience it's there.
    (http://www.zen171398.zen.co.uk/)

Alien: HR Giger's Preliminary Egg Silo interior

leading from Alien: The Egg silo


egg wagons (1)

a) Segmented Circular Container
Drawn on the 19th April 1978, early in the production, HR Giger's first drawing for the egg silo, was a circular container, divided into segments of equal size by rods running from the top of the wall to the mid-point of the floor, and each segment was filled with eggs


Egg Wagons (2)

b) Entrance Tube
An entrance tube made from a membrane hangs down from the ceiling, with tubes down the the side. Perhaps an egg is seen to fall from the central tube in the first picture. 

c) Egg Wagons
Little egg wagons with scooper like devices run along a monorail made from the dividing rods and up to the ceiling along the partitions in the building.The wagon swivels around, and a tongue like device extends from it, picking up the eggs and holds its within a container before running up along the wall and up along the arch of the ceiling to deposit it in an opening at the top of an egg tube.

Source quote
  1. HR Giger: The interior of the eggsilo which now forms a circular container, is divided into segments of equal size by rods running from the top of the wall to the mid-point of the floor, each segment is filled with eggs. (Giger's Alien, 6th July 1978, p42)
Egg Silo interior showing egg tube and egg wagon (uploaded by me, taken from Giger's Alien)

Egg Silo interior, uploaded by me, taken from Giger's Alien

Alien: The Egg Silo

Alien: When Michael Fassbender first saw Alien





When Michael Fassbender first saw the movie Alien, he was still a child. His parents would allow him to watch certain films above his age bracket and so with Alien, they allowed him to watch it. The chestburster scene would be engrained into his memory.
  1. Michael Goodier : And then you mentioned Ridley Scott, Alien Covenant comes out next August, and who knew from that first film that they could keep those alien stories this long but I'm really glad they have. Do you remember the first Alien film
    Michael Fassbender: Yes,

    Michael Goodier : Because I, I mean that scared me absolutely witless. Tough to keep the scare and the stories good as it was in the very beginning

    Michael Fassbender: Totally. I remember very clearly at the first time I saw it, my parents would allow me to watch certain films that were above my age bracket but with Alien, they allowed me to watch it, but I remember the scene where the neomorph or whatever that creature is burst out of John Hurt's stomach. I mean it's just, yes, ingrained in my memory, and so I think what Ridley has done with this one is take elements of the first Alien for sure, sort of that horror and then has merged it with the scale of Prometheus. So yeah, I'm really excited to see it. (Steve `Wright in the afternoon, 20th October 2016)

Alien: Brett's cargo pants

leading from

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)



thepropgallery: An original pair of cargo pants from the production of the 1979 science fiction classic Alien directed by Ridley Scott with design from legendary Swiss surrealist H. R. Giger.

These cargo pants were custom made for production by Bermans and Nathans for use by Harry Dean Stanton as Brett, they are labelled 'HARRY DENE STANTON' (sic) 'THE ALIENS', an early working title for the movie, in addition Stanton's initials H.D.S are written in the back in black pen.

The pants remain in good condition with some production distressing and exhibit traces of studio blood, many years ago the right shin pocket was signed by John Hurt, this is now extremely faded and does not detract from the piece.

An exceptionally rare wardrobe piece from this Academy Award winning masterpiece which is considered among the greatest science fiction movies of all time.
(http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

(Source http://www.thepropgallery.com/brett-harry-dean-stanton-cargo-pants)

Alien: Chris Foss' Alien Derelict Interior

leading from

Inside alien ship

derelict detail by Chris Foss, possibly of the interior (indeed this may very well be part of the exterior) and may well reference
Salvador Dali "Dali Martian Muni D'un Double Microscope Holoelectronique" 1974
 ( Source: Charles Lippincott on Facebook)

Alien: Sex and the Alien

fish eye lens photo of the Narcissus set during filming

a) Questions about nudity
Originally, in the scene where the crew rise from their cryotubes, everyone was naked, and one of the things that Sigourney thought was very interesting about the film, coming from her theatre background, without thinking about the markets, the Catholics, ratings and censorshop, was this very striking idea about pink vulnerable creatures moving through a very hard metallic environment, it offered a nice contract and this was not shot because Fox said " We'll lose Spain and we'll lose Italy, so you have to wear cloths". But still there was this idea of filling as much flesh as possible within the environment to show what a human being was, in space. Sigourney did realise it was erotic but it was something very important.

Ripley stripping off in Alien

Ripley stripping off in Alien

Ripley stripping off in Alien

Ripley stripping off in Alien

b) The Strip
So the other side of the fourth act is the fact that Ridley stripped the Ripley character down, Sigourney Weaver in the part is strong, capable and attractive and he wanted to increase the sense of her peril by showing her undressed, Ripley does a modest strip down to her underwear. It not only made this ballsy sort of lady vulnerable - but sexy too. Sigourney's understanding about the intentions behind the strip was that it wasn't about sex, not for her or for Ridley either, and Ripley  obviously didn't want to go into hypersleep covered in blood and god know what else, she just wants to take her clothes off and have a bath, also she is relaxing, thinks it's over, goes about her business and suddenly the worst possible thing happens, she's not prepared and is vulnerable as can be.

Later she would have people say to her ‘Aw, how could you demean yourself by doing a striptease?’ 
And she would respond ‘Are you kidding? After five days of blood and guts, and fear, and sweat and urine, do you think Ripley wouldn’t take off her clothes?’"

It never occurred to her for a second that people would think that her strip was exploitative. However she thought it was provocative

Sigourney in her underwear between takes
Sigourney in her underwear between takes



c) Possibilities of the alien's sensuous nature
Ridley appeared to Sigourney to have thought that there were great erotic possibilities for the scene in which the alien comes out of its hiding place to watch Ripley in the closet as she's shedding her clothes, perhaps as if she was a snake shedding its skin or just another creature suddenly removing its shell, so that it looked as if she was going from a dark green and crusty looking animal in her clothes to a pink and white, soft animal. 

Because it saw skin, the alien would not attack because it was being drawn to her, finding what she was doing amazing and it would be moved or emotionally touched in some way, perhaps with sexual fascination, and because she was so different to itself. She was thinking along the lines of the idea of beauty and the beast.

So she discussed on the set the possibility of this creature watching Ripley with voyeuristic passion, but on the other hand Sigourney knew that the Alien was resting. As an actress she remained inspired to think about the alien’s sensual side, (and found in the later Alien sequel, Alien Resurrection, eighteen years later a way to experience a kind of a sexual interaction with the alien creature in one of its manifestations.)

Ridley and Sigourney had also discussed an ending where she is still dressed and is surprised by the alien, so she would run into the closet, take one suit off and put another one on and there would be the moment where the Alien would see her in between suits and be fascinated, because the Alien wasn't evil, it just followed its natural instincts to reproduce through whatever living things were around it.

After the movie, every now and then a reporter would ask "How could you have been part of a film about such evil?"

And Sigourney would respond  ‘Good Lord! You take this very seriously, don’t you?’

the alien's jaw tongue

d) Further questions about Sigourney's point of view
From Ridley's point of view, he only tended to talk about an interest in the erotic possibilities of Ripley shedding her clothes rather than have a point about what the Alien was thinking in a sensuous way. He further looked at Sigourney Weaver's idea some years later in hindsight, and thought that perhaps she has a touch of sympathy for the creatures because she looks at it from the viewpoint of her character. Ripley was part crew member and part scientist, someone who thought in logical terms. And maybe at that moment, her scientist side emerged and she began to study the creature like a scientist would and started to get a perspective on what it may have been thinking and previous to this scene, one should remember that there had been absolutely no communication between the alien and the crew members, other than violent experiences, but Sigourney was aware that they always wanted an erotic undercurrent in the film, where the audience might ask "What would it do to her?"

Ripley climbing into her space suit


Ripley climbing into her space suit

e) Questions about nudity
Sigourney felt that since the creature had been naked all the way through the movie, she at least ought to find herself completely naked before this creature at the end of it all, but this didn’t go down well with the studio bosses concerns about selling the film to Catholic countries, so she went ahead and wore her underwear which she thought was a cop out. However, she felt that seeing what kind of response she was going to have from the audience, she thinks it was just as well she had some clothes on as since then she would think twice about taking off all her clothes in a movie and scampering around for an hour.
Sigourney posing in her helmet

f) Smallest Pair of Knickers
They were looking for a pair of knickers of Sigourney to wear back on the set, they held the shoot up by a couple of hours, the first pair that the costume designers came back with looked to Ridley like a pair of diapers, he wanted something very sex and so he went himself to find something and whatever the smallest pair were, those he came back with. Sigourney was a tall healthy woman with long legs who did a lot of running. Ivor Powell was impressed by how sexy they made her look. However Sigourney wasn't thinking about this being the scene where she shows her underwear, she was trying to present the most utilitarian knickers she could find.

Sigourney posing in her white suit

g) White Knight vs Futuristic Dragon
The last twenty minutes are treated in a very lyrical style, Scott sees this as a reflection of the way he looks at reality. Ripley is happy to find a space suit and puts it on. so she can get on with what she needs to do. It was more than whether Ripley will triumph, it becomes a situation with an undercurrent of sexuality where she dons the virginal white space suit and she takes up a fight with a futuristic dragon. (see also: The alien as a dragon)

expelling the alien from the Narcissus

Source Quotes
  1. Danny Peary: Was there discussion over your famous strip toward the end of the film?
    Sigourney Weaver: Originally there was going to be a lot of nudity in the film. Of the matter-of-fact variety. There were going to be lots of shots of naked people walking around, which I thought was a good idea because it was such a harsh environment. It would have been a nice contrast. As for my strip… people have said, "Aw, how could you demean yourself by doing a striptease?" And I say, "Are you kidding? After five days of blood and guts, and fear, and sweat and urine, do you think Ripley wouldn’t take off her clothes?" It never occurred to me for a second that people would think my strip exploitive. I think it’s kind of provocative – you’re almost seeing me through the Alien’s eyes. Suddenly I go from dark green animal to a pink and white animal. Ridley and I had so much fun working out the ending. There were so many different endings. One of them was that the alien would surprise me and I would run into the closet where I’d take off my suit and put on another. So there would've been a moment when the alien would see me between suits and be fascinated. Because the alien isn’t evil. It’s just following its natural instincts to reproduce through whatever living things are around it. Every now and then a reporter would ask, ‘How could you have been part of a film about such evil?’ And I’d go, "Good Lord! You take this very seriously, don’t you?" So I liked all this stuff. You see the Alien in its birthday suit the entire film; so I thought it was a cop out having me wear the underwear, and not stripping entirely. Fox is always concerned about losing Spain, losing Italy, etc. But I must say, having received the mail I have, I would now think twice about taking off all my clothes in a movie and scampering around for an hour. (Omni screen flights/screen fantasy,, Playing Ripley In Alien p162)
  2. Sigourney Weaver: Ridley thought there were great erotic possibilities for that scene which the alien, watching Ripley go from green and crusty-looking to something pink and soft, would find amazing. But face it, if you were in that situation would you want to go into hypersleep covered and in blood and god knows what? She just wants to take off what she’s wearing and have a bath  (Photoplay - v30 n12 December 1979)
  3. Ridley : Oddly enough there's a sensuality to this whole scene, errrrrrr, partly the silence. It's, um, subtly sexual, right, or is it just me, huh.(alien 20th anniversary dvd, between 1hour 42mins - 44mins)
  4. Ridley : Ripley does a modest strip once in the shuttle, but we kept that to stress the vulnerability of a lady who’s pretty much a ballsy sort (Ridley Scott interview by David Lewin, Daily Mail 1/10/79)
  5. Ridley Scott: Sigourney has a touch of sympathy for the creature because she looks at it from the viewpoint of her character. Ripley was part crew member and part scientist, someone who thought in logical terms. Maybe at that moment, her scientist side emerged and she began to study the creature like a scientist would and started to get a perspective on what it may have been thinking. Previous to this scene, remember, there had been absolutely no communication between the alien and the crew members, other than violent experiences. (Omni: ScreenFlights / Screen Fantasies)
  6. Interviewer The Last Twenty Minutes are treated in a very lyrical style.
    Ridley Scott: This is how I like to look at reality. It's not simply a question of knowing whether or not Ripley will triumph. I wanted to introduce another dimension. She takes up the fight against some futuristic dragon - that's why I made her put on the white spacesuit. At the same time, this has something carnal. She is possessed by the idea of this confrontation and her behaviour changes completely. (Films Illustrated, vol. 9 no. 99 , "Duelling with Death")
  7. Ivor Powell: I mean, I remember Ridley, 'cause again, this is with his , like commercial hat on, before we shot that sequence, we like held up shooting for a couple of hours where I set out one of the costume designers to go, 'cause the first pair of knickers that they turned up with for Sigourney to wear, as far as Ridley was concerned looked like a pair of diapers and they weren't sexy enough, so we all waited while he went out and came back, and whatever the smallest pair were, those were the ones that got chosen as you can see etc, I mean, Sigourney's a , you know was a very healthy girl, and big sort of legs, she did a lot of running, etc, but they made her look amazing, sexy, and the whole thing was this undercurrent of sexuality and that end sequence of her changing into that virginal white space suit, and then now the alien Wayne Imms: yeah, yeah, absolutely
    Ivor Powell: All of that, talk about Freudian. It was beauty and the beast really., so. (Alien Q &A, Genesis Cinema, August 23rd 2014)
  8. Sigourney Weaver : Originally, in the movie, everyone was naked, and one of the things I thought was very interesting about the film, because, again, I was coming from theater, I wasn't thinking about markets and Catholics and ratings and censorship, was it was so striking to think of these pink creatures, very vulnerable creatures, moving through this very harsh, metallic environment. That was in the script at the beginning. We didn't shoot it that way because Fox said "We'll lose Spain and we'll lose Italy, so you have to wear [clothes]."  There was still this idea of filling as much flesh as possible within the environment to show what a human being was, in space. I think it was erotic but that was something I thought was terribly important. Not the girl strips down, but the girl relaxes, thinks it's over, goes about her business and suddenly the worst possible thing happens and she's not prepared, she's as vulnerable as she can be. And happily she finds this space suit and puts it on, so she can get on with it. But it was not about sex to me, and I think, to Ridley. Although, again, we always wanted an erotic undercurrent in the film, because [you'd think]  'what would he do to her?' So that was the genesis of the idea. I was all for it. I didn't even think 'this is a scene where I show my underwear.' I was trying to show the most utilitarian underwear I could find." (Alien The Archive, p96)
  9. Fantastic Films: How did you feel about the scene on the shuttle where Ripley doffs her clothes not knowing the alien is on board
    Sigourney Weaver: What could be more natural that to take off sweaty things I was wearing, like a snake shedding its skin. Actually there was some nudity in the script in the beginning of the movie. When we all wake up, we're supposed to be naked. It was a very provocative visual concept to see these people moving through such a harsh environment in just their natural state. But that was changed later. (Fantastic Films #11:, p35)
  10. Ridley Scott: Ripley does a modest strip once in the shuttle, but we kept that in to stress the vulnerability of a lady who's pretty much a ballsy sort. (Cinefantastique, vol 9, no.1)
  11. Questar: There is unusual sexual bias presented in Alien.

    Sigourney Weaver: I think the creature is very sensuous, Ridley always referred to the alien as "he". At one point when we were discussing the scene at the end where Ripley is shedding her clothes, there was an idea that came up which relates to this sexual fascination - but we discussed the possibility of this creature watching Ripley with a voyeuristic passion. The alien would not attack because it was fascinated by the fact it suddenly saw skin. To see another creature without its shell would move it, touch it in some way. We talked about things like that (Questar magazine #5, November 1979)
  12. Sigourney weaver: I think there was [a romantic element] from the very first. The alien coming out of its hiding place and seeing this pink creature in the closet. Ridley really wanted to go in that direction – that it was drawn to me because I was so different to it. Sort of beauty and the beast, I suppose. That was such a strong image to me at the time, it is so sexual; I've never been able to forget it.(http://www.theguardian.com/film/2014/jul/25/sigourney-weaver-fifth-instalment-alien-saga)