Alien

The success of Alien spawned a media franchise of films, novels, comic books, video games, and toys. It also launched Weaver's acting career, providing her with her first lead role. The story of her character's encounters with the alien creatures became the thematic and narrative core of the sequels Aliens (1986), Alien 3 (1992), and Alien Resurrection (1997). A crossover with the Predator franchise produced the Alien vs. Predator films: Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007). A prequel series includes Prometheus (2012) and Alien: Covenant (2017), both directed by Scott.

alien

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The commercial space tug Nostromo is returning to Earth with a seven-member crew in stasis: Captain Dallas, Executive Officer Kane, Warrant Officer Ripley, Navigator Lambert, Science Officer Ash, and engineers Parker and Brett. Detecting a transmission from a nearby moon, the ship's computer, Mother, awakens the crew. Per company policy requiring any potential distress signal be investigated, they land on the moon despite Parker's protests, sustaining damage from its atmosphere and rocky landscape. The engineers stay on board for repairs while Dallas, Kane, and Lambert investigate the terrain. They discover the signal originates from a derelict alien ship and enter it, losing contact with the Nostromo. Ripley deciphers part of the transmission, determining it as a warning, but cannot relay the information to those on the derelict ship.

Meanwhile, Kane discovers a chamber containing hundreds of large, egg-like objects. When he touches one, a creature springs out, penetrates his helmet, and attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the Nostromo. As the acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash overrides her decision and lets them inside. Ash attempts to remove the creature from Kane's face but stops when he discovers that its extremely corrosive acidic blood could hurt Kane and potentially damage the hull. It later freely detaches and is found dead. The ship is partially repaired, and the crew continues their journey back to Earth. Kane awakens with some memory loss but seems to be otherwise unharmed. During a final crew meal before returning to stasis, he suddenly chokes and convulses. A small alien creature bursts from Kane's chest, killing him, and escapes into the ship, with Ash dissuading the rest from killing it.

After ejecting Kane's body out of an airlock, the crew attempts to locate the creature with tracking devices and capture it with nets, electric prods, and flamethrowers. Brett follows the crew's cat, Jones, into a landing leg compartment,[10] where the now-fully-grown alien attacks Brett and disappears with his body. After a heated discussion, the crew decides the creature must be in the air ducts. Dallas enters the ducts, intending to force the monster into an airlock, but it ambushes and seemingly kills him. Lambert, realizing that the alien intends to kill the crew one by one, implores the others to abandon ship and escape in its small shuttle, but Ripley, now in command, explains it will not support four people and insists on continuing Dallas' plan of flushing out the alien.

Accessing Mother, Ripley discovers the company has secretly ordered Ash to return the alien, with the crew considered expendable. She confronts Ash, who tries to choke her to death. Parker intervenes and clubs Ash, knocking his head loose and revealing him as an android. He, Ripley, and Lambert reactivate Ash's head, and they learn that he was assigned to ensure the creature's survival. He expresses admiration for the creature's psychology, unhindered by conscience or morality, and taunts them about their chances of survival. Ripley cuts off his power and Parker incinerates him.

The remaining crew decides to self-destruct the Nostromo and escape in the shuttle. However, Parker and Lambert are ambushed and killed by the creature while gathering life-support supplies. Ripley initiates the self-destruct sequence but finds the alien blocking her path to the shuttle. She retreats and attempts unsuccessfully to abort the self-destruct. With no further options, she flees to the shuttle, carrying Jones, and narrowly escapes as the Nostromo explodes.

As Ripley prepares for stasis, she discovers that the alien is aboard, having wedged itself into a narrow space. She dons a spacesuit and uses gas to flush the creature out. It approaches Ripley, but before it can attack, she opens an airlock door, almost blasting it into space. However, it hangs on by gripping the frame. Ripley shoots it with a grappling hook, but the gun catches as the airlock door closes, tethering the alien to the shuttle. It pulls itself into an engine exhaust, but Ripley fires the engines, blasting it away into deep space. After recording the final log entry, she places Jones and herself into stasis for the trip back to Earth.

While studying cinema at the University of Southern California, Dan O'Bannon had made a science-fiction comedy film, Dark Star, with director John Carpenter and concept artist Ron Cobb.[27] The film featured an alien (created by spray-painting a beach ball and adding rubber "claws"); the experience left O'Bannon "really wanting to do an alien that looked real."[27][28] A "couple of years" later he began work 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."[27] Ronald Shusett, meanwhile, was working on an early version of what would eventually become Total Recall.[27][28] 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.[27][28]

O'Bannon had written 29 pages of a script titled Memory, containing what would become the opening scenes of Alien: a crew of astronauts awakens 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.[24][28] He did not yet have a clear idea as to what the alien antagonist of the story would be.[27]

O'Bannon soon accepted an offer to work on Alejandro Jodorowsky's adaptation of Dune, a project that took him to Paris for six months.[27][29] Though the project ultimately fell through, it introduced him to several artists whose work gave him ideas for his science-fiction story including Chris Foss, H. R. Giger, and Jean "Moebius" Giraud.[24] O'Bannon was impressed by Foss's covers for science-fiction books, while he found Giger's work "disturbing":[27] "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."[24] 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.[24][29] 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. Shusett and he liked the new title's simplicity and its double meaning as both a noun and an adjective.[24][27][30] Shusett came up with the idea that one of the crew members could be implanted with an alien embryo that would burst out of him; he thought this would be an interesting plot device by which the alien could get aboard the ship.[27][29]

Dan [O'Bannon] put his finger on the problem: what has to happen next is the creature has to get on the ship in an interesting way. I have no idea how, but if we could solve that, if it can't be that it just snuck in, then I think the whole movie will come into place. In the middle of the night, I woke up and I said, "Dan I think I have an idea: the alien screws one of them [...] it jumps on his face and plants its seed!" And Dan says, oh my god, we've got it, we've got the whole movie.

In writing the script, O'Bannon drew inspiration from many previous works of science fiction and horror. He later stated,"I didn't steal Alien from anybody. I stole it from everybody!"[33] The Thing from Another World (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment.[33] 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.[33] 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.[33] 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.[28] 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.[28]

With most of the plot in place, Shusett and O'Bannon presented their script to several studios,[27] pitching it as "Jaws in space."[34] 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 Gordon Carroll, David Giler, and Walter Hill, who had formed a production company called Brandywine with ties to 20th Century Fox.[27][35] 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.[27][36] This caused tension with O'Bannon and Shusett, since Hill and Giler had very little experience with science fiction; according to Shusett, "They weren't good at making it better, or, in fact, at not making it even worse."[27] O'Bannon believed that Hill and Giler were attempting to justify taking his name off the script and claiming Shusett's and his work as their own.[27] Hill and Giler did add some substantial elements to the story, including the android character Ash, which O'Bannon felt was an unnecessary subplot[20] but which Shusett later described as "one of the best things in the movie...That whole idea and scenario was theirs."[27] Hill and Giler went through eight drafts of the script in total, concentrating largely on the Ash subplot, but also making the dialogue more natural and trimming some sequences set on the alien planetoid.[37] Despite the fact that the final shooting script was written by Hill and Giler, the Writers Guild of America awarded O'Bannon sole credit for the screenplay.[38] 041b061a72