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In 1979, Ridley Scott reshuffled the genre film cards with Alien. Retracing its genesis and the behind-the-scenes of its filming, the team highlight the artistic daring that made it the matrix of a franchise that has become a cult.
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00:00In May 1979, a wave of terror hit American movie theaters.
00:12People in the audience, they went, oh, and jumped up.
00:16One woman was about to vomit. She laughed.
00:22Most of the people there had to watch it with, you know, half of their hands up there.
00:26They were so scared.
00:26This feature film that everyone was talking about was Alien.
00:30Unclassifiable, the movie was a mixture of science fiction and horror targeted at the general public.
00:36They'd never seen anything like it.
00:49Behind the camera was Ridley Scott, who would go down in cinema history
00:54with this somber and threatening universe.
00:59This is great art we're talking to you about.
01:02Not only did the English director produce a monster with an iconic inner jaw, the Xenomorph,
01:07but also Lieutenant Ripley, an unequaled flamethrower, played by a newcomer, Sigourney Weaver.
01:14They put an unknown actress in a very important role. How did this happen?
01:20Good question.
01:21Good question.
01:22From animated series, to mangas, arcade games, to 3D via advertising.
01:34There are countless references to this masterpiece in popular culture.
01:38Hailed by fans, Alien was also the start of a franchise that would never stop growing.
01:45More than 45 years after its release, Alien has become a classic movie and is constantly revisited.
01:59Alien was a movie that just caught everybody off guard.
02:04I think it even caught the people who made Alien off guard.
02:07None of us were prepared for what Alien is.
02:10The United States, July 1975.
02:26The movie world was in the throes of a true revolution.
02:30Up until then, in summertime, the dark movie theaters were deserted.
02:34But the release of Jaws by the young Steven Spielberg marked the birth of a new phenomenon, the blockbuster.
02:45Thanks to a massive publicity campaign and a simultaneous release in theaters all over the country,
02:51this story of a great white shark that attacked a summer resort was everywhere.
02:55In 1977, George Lucas sealed the deal with the Star Wars Intergalactic Saga.
03:08Its iconic characters that charmed both young and old, not only made it a box office hit,
03:13but generated massive revenue by popularizing the figurines with the help of TV commercials.
03:18In just two years, Hollywood studios observed a trend.
03:31Horror and science fiction movies, previously underrated genres, could bring in the bucks.
03:37Big bucks.
03:38Star Wars is just such a massive hit.
03:41Basically, everybody in Hollywood wants their own tiny little piece of the galaxy.
03:45They're like, there's a lot of galaxy here, guys.
03:47We can all go find our corner of it.
03:5020th Century Fox is like, oh, we need an alien movie.
03:52We need something set in space.
03:54Science fiction had gone suddenly to hot property.
03:57It made a lot of money.
03:59Jaws was also in the air, as was actually the Texas Chainsaw Massacre,
04:04which had cost nothing and made an awful lot of money on the basis of shock.
04:08So, studios were becoming aware of the idea that genre was good, horror was good, shock was good.
04:18It was against this background that 20th Century Fox would launch a movie that ticked all the boxes.
04:23It would scare audiences like Jaws and transport them into space like Star Wars.
04:30A guaranteed success in theory, the well-named Alien is, however, in no way a straightforward movie.
04:39Just like its enigmatic trailer, audiences would discover a dark and radical movie with its unforgiving tagline.
04:47In space, no one can hear you scream.
04:51Alien to me had the perfect tagline, which just hits you in the gut, because you're right.
04:56This is a place where you cannot call for help. Nobody is coming to save you. Nobody is out there.
05:02If you take a group of people, you put them somewhere they can't get out of, and then you start killing them off one by one,
05:09you've got a perfect scenario. It's more psychological horror, but it is horror.
05:14Audiences sense the horror right from the beginning of the movie as they are immediately plunged in the Nostromo,
05:21a spaceship that looks like a haunted house.
05:23All of that set up in the first drifting around the ship, like the Mary Celeste, that it's an empty ship, but it's still working, there's something wrong.
05:32That drift around gives you that feeling of eerie.
05:42With its industrial design, the interior of the spaceship appears decrepit and worn, a crude hostile environment, perfect for creating anxiety.
06:03We're not in an hyper-lumineous universe, hyper-blank. It's not high-tech, it's low-tech, it's to say, everything is broken.
06:12This aesthetic, we know it because we could see it on a sea platform, or on a cargo, but less on a spaceship. We've never seen it.
06:23When you're watching Alien, the actual star of the film just is the Nostromo, that it is the ship itself. It does not look like it's in great working order. And how scary is that?
06:34You're, like, millions and millions of miles away from your house. Can you trust the thing that's supposed to keep you safe?
06:39It's almost slightly like a jungle. This kind of atmosphere. It's hot. And it's moist.
06:47We understand the noises. We understand what wet feels like. And we understand this kind of creeping atmosphere.
06:55Things we had not seen in science fiction. Science fiction, until that point, would have been drive-in movies in the 50s.
07:05Movies of the time portrayed basic flying saucers.
07:10Their interiors resembled flawless stage sets. And the accessories were anything but realistic.
07:18Over here, you see the electromagnetic waves of my brain.
07:23Yet in 1968, movie fans had seen Stanley Kubrick redefine the genre's codes with 2001 A Space Odyssey.
07:32The conquest for space in full swing, the director consulted NASA to study the effects of gravity and create the sets for his feature-length film.
07:48With Kubrick, science fiction appeared credible and functional for the first time on screen.
07:52The masterpiece of realism would inspire Ridley Scott, the director hired by Fox to make Alien, the movie.
08:05This young British director from the advertising world won the Best Debut Film Prize at Cannes for The Duelist.
08:15The images are polished. The duels extraordinarily realistic. A true stroke of genius.
08:23Ridley Scott makes fiction that looks like documentary and he would manage to make the future look as realistic as the past.
08:37Ridley's first words to me were, I want an army truck in space. There was nothing he could reference. He couldn't say it's going to be like this, it's going to be like that. It all was coming out of his head and his vision.
08:51In London's Shepparton Studios, Ridley Scott had an actual spaceship built instead of the classic open movie sets.
08:58There was a gap like that. You went in, you were in that ship.
09:05With this set that looked like a prison, the director immersed his actors in an environment in which they felt trapped.
09:14As soon as you walk into the set, you're already emotionally prepared, you know, for something to happen that's frightening.
09:24It was sort of very claustrophobic and it gave you that feeling of cloying at you because everything was connected.
09:35I felt I was in a big vacuum cleaner, a big volume.
09:41It was so dark, it was so huge.
09:45Here we are in a huge stage, the largest in the country, in the world actually at that time.
09:52And it's all black, it's all dark.
09:54Whoa.
10:00Ridley Scott chose his actors carefully.
10:02To play those truck drivers in space, he cast a mix of American and British actors.
10:11Yet, although most of them had made a name for themselves, none of them were stars.
10:15Nobody feels like a character. He didn't populate this movie with like, you know, the standard issue babes and hunks. He cast real-looking actors who are just absolutely believable.
10:28They aren't space knights like in Star Wars. They aren't cool. They're a complete contradictory idea even to astronauts of the time, who were scientists, pure scientists who were taken off into space.
10:40The crew of the Nostromo are very unheroic. They're normal people. Truck drivers in space.
10:49That when we first meet them, they're just bitching with each other. They're grumbling. They want a better pay rise. They're all kind of rather awkward. No one seems to like each other very much.
10:58I am cold.
11:00Still with us, Brett?
11:01Hey.
11:02Oh, I feel dead.
11:04Anybody ever tell you you look dead?
11:07But interestingly, it was really hard to cast Ripley. They'd cast everyone else. They were already building sets in the UK.
11:16And the studio were getting very anxious. Who's Ripley? Who's Ripley?
11:19Ridley Scott said, I knew what she looked like. I knew what she felt like. I had a sense of her.
11:28For the role of Lieutenant Ripley, Ridley Scott chose Sigourney Weaver, 29 years old.
11:35A bold choice for this lead role.
11:38She'd proved herself on Broadway, but had only one fleeting screen appearance to her name in Woody Allen's Annie Hall.
11:44For less than 10 seconds, in the background, and with no dialogue whatsoever. Hardly a scene stealer.
11:51Ridley said, I have to do a screen test. Could you build me a piece of corridor and make it something that it looks more real?
11:58Hey, take three.
12:00Action.
12:01How are our weapons?
12:03Oh, they're fine. Fine. This one here, you could use a little more fuel.
12:06Get it.
12:07Right.
12:08Sigourney, being very new, the other actors had done quite a lot of film work. She hadn't.
12:13And I could only ever tell her. I said, you just don't do anything. Don't change anything.
12:17You are so believable in this that just stick to that.
12:23With seven actors, the cast was complete. Or almost. The eighth passenger, the alien, was still to be found.
12:31I was very worried about the idea of doing what is a monster, actually. It's a monster.
12:37And I've always before thought of film monsters as usually not being too good, you know.
12:42A man with 14 eyes, 17 legs, you know.
12:46Scott knew that if you didn't get that right, if you didn't get your creature right, that idea of the alien right, then he's hopeless.
12:59You were going to be laughed out of every cinema in the country.
13:03This is the man who would save Ridley Scott from humiliation.
13:06The artist Hans Rudi or H.R. Giger.
13:11A tortured soul, the Swiss artist was appreciated within the surrealist and underground art scene.
13:16Made with the airbrush technique, his works are unique. So much so that he had to define his artwork himself.
13:29I call it biomechanoid. It means biologic and mechanical. It's a mixture. It's in the direction of the new art.
13:41But it is especially their crude eroticism and deviance that make his works extremely morbid and disturbing.
13:50I think he's really trying to subconsciously just hit all of these kind of primal feelings of reproduction, you know, of sex and violence inside of us.
14:13In 1977, he had just published Necronomicon, a collection of his works that exude an ambiance of terror and weirdness.
14:29I saw a half page illustration in the Giger book, which I thought was actually really, truly remarkable.
14:35And that became the prototype for the alien.
14:47So the first thing to do is we flew down to Zurich and I saw Giger.
14:54Meeting Hans Rudi Giger is always an event.
14:57And when Ridley Scott arrived at the artist's home, he discovered an environment as somber as his paintings.
15:05Ridley said the first time he went to meet him, he has skulls on each bedpost and there are girlfriends who died and he had them preserved.
15:16So that's Giger.
15:17He was lovely.
15:19He was lovely.
15:20He was really lovely.
15:21But I mean, you have to have been had a kinky side.
15:26I mean, everything is sexual.
15:28You just look at it and you know what it is.
15:32So somewhere along the line, that was kind of bizarre.
15:38Persuaded by Ridley, the loner H.R. Giger, who had never worked in cinema, joined the team based at London's Shepperton Studios.
15:45Responsible for creating the adult monster, he was also in charge of its evolution and its environment.
15:56And I said, H.R., what do you need?
15:58What can I get you?
15:59And he said, I want bones, Roger, bones.
16:02And so I knew where to get bones.
16:05He sculpted with clay all of the landscapes.
16:11Using human bones amongst other things, the artist set about creating the derelict, the abandoned spaceship that the Nostromo crew discovers during its forced stop.
16:22One of the most sensitive moments is when they come out of the signal.
16:26It's very bizarre.
16:29And we see this ship.
16:34It penetrates inside.
16:35And we feel like we're in a thoracic cage.
16:37And now we don't know if it's a living thing.
16:40Because we'd call ourselves.
16:41We'd call ourselves.
16:42We'd call ourselves.
16:43We'd call ourselves.
16:45And that's a great idea.
16:46It's the whole universe of Giger.
16:48To mix the organic and the mechanics.
16:50And when there's this giant character on this space,
16:54it's the same.
16:55We'd never know where we are.
16:56We've never seen it.
16:57The humans go inside the derelict as if they're inside a living thing and find eggs.
17:08Seems to have life.
17:10Organic life.
17:12You know, eggs are incredibly symbolic in our own culture.
17:14You know, they are literally fertility itself, right?
17:18But it's cracked and glowing.
17:19And there's something in this egg that we don't understand.
17:22But we understand what an egg is, right?
17:24And we understand the potential of whatever's going to come out of an egg.
17:28The movie's first shock scene, the meeting with the facehugger,
17:41also marks the start of the alien's cycle.
17:47A parasitic form, it not only attaches itself to its victims,
17:51but also lays a larva inside them.
17:58What's it got down its throat?
17:59I would suggest it's feeding him oxygen.
18:01Well, what the hell is that?
18:03The alien gets inside a human to get inside another spaceship.
18:07And once it's in there, it's like a germ inside the spaceship.
18:10So there's all these lovely layers about invasion and infection and reproduction.
18:20This terrifying idea of a parasitic alien was the product of screenwriter
18:24Dan O'Bannon's fertile imagination.
18:28Popular amongst science fiction fans, he gained prominence with Dark Star,
18:32co-written in 1974 with future master of horror films, John Carpenter.
18:38All of those things came in, you know, from Dan O'Bannon's mind.
18:42I mean, he lived in the dark.
18:44He would put newspapers all on the windows of the room.
18:48He chain-smoked one cigarette to another and he drank Coca-Cola,
18:52and that seemed to be what he lived on.
18:54And I think that fuels the psyche.
18:57His liver must have been kind of creating these nightmares.
19:03The other thing about Dan O'Bannon is that he suffered from Crohn's disease,
19:07which is a stomach disorder.
19:09So the idea of stomachs and pain inside you was something he knew and felt quite primarily.
19:15So I think that's in there.
19:17What's wrong?
19:19What's wrong?
19:20It was these excruciating stomach pains that produced one of the most traumatising scenes in cinema.
19:26No one watches Alien for the first time without doing this,
19:42because you're trying to hold it in.
19:44I think we're kind of programmed as human beings to be very conscious of illness
19:50and physical things that are inside us.
19:53I think our bodies and brains are attuned to be rid of them, get rid of them.
19:57It's exploded out of him, but he's given birth to a creature.
20:00It's extraordinary because it's a birth scene.
20:02There's a feeling of the male body being closed as opposed to the female body
20:06that is open and gives birth.
20:08And so this idea of deconstructing or breaking open, right, a male body,
20:13that's a truly scary moment.
20:15What is the human fear?
20:17One of the big ones is cancer, something growing inside you.
20:23There's something grounded onto that fear.
20:27That became something of a kind of revolutionary idea in cinema, really.
20:34This key scene is so powerful because it is crudely realistic.
20:41Ridley Scott kept it a secret until the last minute.
20:44Rather than directing his actors, he wanted to capture their reaction.
20:50When they brought us down to the set and everything was covered in plastic.
20:55Everybody was wearing raincoats.
21:00Oh, my God, what is happening here?
21:06There were no digital special effects at the time, so the team had to use DIY techniques
21:13to bring the chestburster to life.
21:17The articulated puppet was attached under the actor John Hurt's fake torso,
21:23ready to be expelled by a technician through an opening in his shirt.
21:27And they had big buckets of awful.
21:32I walked onto the set and I gagged immediately.
21:36It was like, oh, my God, there were four cameras.
21:39One, seven, five, take four.
21:41Each one of us was covered so they could get your first reaction.
21:45Action! And now!
21:47They brought up this tension that was so incredible.
21:51And I leaned right into a blood jet and hence that's what hit me in the face.
21:56I flipped over the back and I thought, oh, my God, they're still filming.
22:00I rolled over, I ran back in.
22:04Then this thing came out of John Hurt's fake chest,
22:10sat on the table, looked around, went and ran off the table.
22:15What it does then is it launches the fear in the film.
22:22You know, the idea is we don't quite recover from the chestburster.
22:25We're so on edge then for the rest of the film,
22:27we're exactly where Redley Scott wants us to be.
22:30Once it has escaped into the passageways,
22:33the creature sheds its skin and in just a few hours reaches its adult form.
22:38To play this life-size xenomorph,
22:45Ridley Scott cast Balaji Bodejo,
22:48a young Nigerian who was around seven feet tall.
22:51He slipped into the skin of the beast created by Giger.
22:55There was something that was extremely impressive,
22:59it was that we barely see the alien.
23:02Scott used lights and atmosphere to hide it,
23:06partly because he was letting our imaginations do the work.
23:10I mean, you think of Dallas in the air ducts.
23:13And it really is just a case of building up and kind of the bleeping
23:16of the kind of motion tracker and the cut between him and the tunnel
23:20and the guys following what he's doing.
23:23Dallas, are you sure there is no sign of it?
23:25I mean, it is there.
23:29Oh, God, it's moving right towards you.
23:32It is! Wake up!
23:35There's one quick flash of the alien and you cut.
23:38Crackle on the screen.
23:39And then our minds are going, worrying,
23:41what has happened to him, where has he gone?
23:44With just a few shots that revealed its claws, double jaw and tail spear
23:49and a total screen presence of four minutes,
23:52the xenomorph managed to become the most terrifying monster in cinema.
23:59The idea of the hostility of the alien was quite radical.
24:06Because there had been alien invasion films,
24:08War of the Worlds, there had been that idea around.
24:11But Star Wars was quite playful with the concept of alien.
24:16Spielberg had made Close and Count of the Third Kind,
24:18where frankly they are benign, they're almost angels.
24:22You know, it's all wonderful when they meet humans.
24:27And this was radical, radically shifting.
24:30Spielberg sent a note to one of my producers, David Geiler.
24:35And he said that he saw the film and he said he was really fed up
24:39because he said he'd spent three years trying to make people believe
24:42that the first encounter would be a pleasant one.
24:44And now we'd wipe that thought out in one film.
24:47I mean, the xenomorph is just a creature that all of our ways of dealing with it
24:51just do not work.
24:52Attack it? Great. It'll bleed acid.
24:55And then the ship will burn and everybody will die.
24:59He's got a wonderful defense mechanism. You don't dare kill it.
25:01He cares nothing about who we are. He cares nothing about where we're going.
25:05He cares nothing about us at all. We are purely there for him to eat.
25:11With this indestructible serial killer on board, the movie shifts into pure horror.
25:16The question on everyone's lips now is, who will survive and what will be left of them?
25:22The tagline from the iconic horror film sums it up perfectly.
25:27Ridley Scott said, I'm going to make this film like Texas Chainsaw Massacre.
25:30I'm going to have that violence and extremity, but it's going to be in science fiction.
25:36The first victims are the characters we usually identify with
25:39and who embody cinema's classic heroes.
25:42John Hurt is the very first person that we meet when we see the people wake up from the Nostromo.
25:49The film takes its time showing him first.
25:52He wakes up first. He's the first human we identify with.
25:55We watch him vulnerable, naked.
25:57You could watch this movie for the first time and think, like, he's our hero.
26:02He is the person who dies early on and dies in such a violent, horrible, horrible way.
26:06You thought you were watching a movie where this guy at least was going to be safe, and he's not.
26:12There is something instinctually progressive about Alien.
26:16I'm not sure how conscious any of the authors would have been about how progressive their film was.
26:24The white guys aren't necessarily going to make it.
26:28Those who survive the longest are a black labourer and two women.
26:32So Alien shakes up the genre's traditional narrative codes.
26:37And it's Ripley who becomes captain of the vessel.
26:41It's funny because the way that Ripley's character even emerges, really her first big moment is she's saying, like, we cannot let John Hurt back on the ship.
26:48Open the hatch.
26:49Wait a minute.
26:50If we let it in, the ship could be infected.
26:52You know the quarantine procedure.
26:5324 hours for decontamination.
26:55We could die in 24 hours.
26:57Open the hatch.
26:58Listen to me.
26:59If we break quarantine, we could all die.
27:00Ripley, that's in order.
27:01I read you.
27:02The answer is negative.
27:04And we're almost set up in that moment to think, like, oh, man, Ripley's kind of a drag.
27:09She's kind of strict.
27:10Like, I love John Hurt.
27:11Let him on the ship.
27:12We're going to be fine.
27:13Right?
27:14You need a person from the outside to show a leadership that the other characters don't have.
27:19Obviously, it's a deflecting move from, you know, the writers of the story to prove her later as completely right.
27:28And, you know, you should have listened to the woman.
27:30She is doing all the right things.
27:32It's going to make you realize it.
27:34For some reason, this ship put the guy who looks like a leader in charge when it's actually that girl over there who knows what's going on.
27:41She was just continuing what a captain would do with somebody who's running that situation.
27:47But I like the idea that it was a woman.
27:49We'll move in pairs.
27:51We'll go step by step and cut off every bulkhead and every vent until we have it cornered.
27:56And then we'll blow it the fuck out into space.
27:58Is that acceptable to you?
28:00The portrayal of women in science fiction at the time was pretty conservative.
28:04Even though they were part of the crew, they usually served coffee or they were secondary characters.
28:11There's an interest in the men as astronauts.
28:15But women, they were not really part of the picture.
28:18There was, however, one exception.
28:20Two years before Ripley, Princess Leia in Star Wars, played by Carrie Fisher,
28:25had initiated this shift by showing that a woman was perfectly capable of taking charge.
28:32I came in here. Didn't you have a plan for getting out?
28:34He's the brain, sweetheart.
28:36What the hell are you doing?
28:40Somebody has to save our skins.
28:42Princess Leia, she's pretty spunky, right?
28:45She even shoots a gun in the first movie.
28:48But then, you know, she is a princess.
28:50And she kind of gets relegated to a sort of slightly secondary role in the movies afterwards.
28:59So there was a presence.
29:01But there was really nothing like Ripley.
29:03Because Ripley is, you know, third officer in the Nostromo.
29:07And she's clearly equal to the men.
29:09That was new.
29:10That was truthfully new for the times.
29:13This was also perhaps because in Dan O'Bannon's original screenplay,
29:18none of the roles were gendered.
29:20It was the producers Walter Hill and David Guiler,
29:23who took the smart decision to make Ripley a woman.
29:26And that role was originally written for a man, wasn't it?
29:29Yes.
29:30So how did they switch from a man to a woman?
29:32I think they just thought it was a very commercial choice.
29:35And it worked.
29:36I'm sure they didn't change a single word of the dialogue.
29:39At the time, the whole idea of a woman who's supposed to be the hero of the story was, you know, unfathomable.
29:48And so it would provide some more interest for this script that they were putting together.
29:53Gender is not the main thing that drives this ship.
29:56You know, they're all kind of wearing pretty much the same thing.
29:58They're all treating each other pretty much the same way.
30:01Instead, what I love about Alien is that the division is just strictly in terms of capitalism, in terms of class.
30:07You know, that you have the upper level people, the captain, who are in charge.
30:12And then you have the people who are actually doing the dirty work at the bottom who are saying,
30:16Hey, can we have equal amounts of money?
30:18And they're like, no.
30:19Before we thought, I think we ought to discuss the bonus situation.
30:23We deserve full shares, right?
30:25You see, Mr. Park and I feel that the bonus situation has never been on an equitable level.
30:30Well, you get what you're contracted for like everybody else.
30:33Mother wants to talk to you.
30:35Yes, lights for my ass only.
30:37This mother, with whom the most senior officer communicates, is actually the central computer,
30:44through which the company owner of Nostromo and their employer talks to the crew and operates.
30:50It is Mother who gives the mission order that will change everything.
30:55Seems she has intercepted a transmission of unknown origin.
30:58She got us up to check it out.
31:00What kind of a transmission?
31:01SOS.
31:02I don't know.
31:03Human?
31:04Unknown.
31:05Unknown.
31:06True artificial intelligence.
31:09Mother controls the operation of the ship, and therefore, the survival of its crew.
31:13Just like Hal, the onboard computer that resembles a CCTV camera in 2001 A Space Odyssey.
31:20Hal, you have an enormous responsibility on this mission.
31:23You are the brain and central nervous system of the ship,
31:26and your responsibilities include watching over the men in hibernation.
31:30Does this ever cause you any lack of confidence?
31:33The 9000 series is the most reliable computer ever made.
31:37No 9000 computer has ever made a mistake or distorted information.
31:44Just as infallible as Hal, Mother is programmed by the company to achieve its goal, whatever the cost.
31:50It's actually very prophetic when you think now, all this fear of AI and everything, and everybody's feared it's going to take over.
32:00Well, it was real in Alien.
32:04This ship was actually running everything, and it was corporate decisions.
32:08It added another unknown fear element for the entire crew, because Mother is kind of something that they couldn't combat either.
32:22As humans, we have this really complicated relationship with AI, where here we are, being in control of building a thing that we ultimately think is going to be smarter than us.
32:33That thing is going to turn around and look at humanity and say, you're not worth it.
32:37Who are you?
32:38You're weak.
32:39You're built with design flaws, and I don't respect you.
32:42Alien just absolutely drills into that.
32:45When she takes the captain's place, Ripley accesses mother's mission order and discovers the company's true plan.
32:59They are expendable, it says.
33:01Crew expendable.
33:02You know, human life is expendable to bring this hideous thing back.
33:06What is the value of human life?
33:07And that's one of the great themes of the film, is how much we value our own life and how much, you know, the system doesn't value it.
33:14The company decide that the crew members are expendable.
33:18The company is why we're picking up the xenomorph in the first place.
33:22The company is behind all of the terrible things that have happened in this film.
33:25The company is completely the mastermind pulling the strings.
33:29I mean, I think when you look at the film on its most fundamental level, the monster is the xenomorph, but the villain is the company.
33:37The big company, you know, they always place a company man, because they don't trust, they don't trust anybody.
33:47The mole that the company places on the Nostromo is none other than the mission's head scientist, Ash.
33:53He's the one who lets the parasite onto the ship.
33:56In the hatch open.
33:59Who protects it.
34:00Don't touch it! Don't touch it!
34:02And when Ripley discovers the company's intentions, Ash tries to kill her in a scene that reveals his true nature.
34:10It's a robot! Ash is a goddamn robot!
34:17It's not really that he's a robot so much that he isn't one of us.
34:21But what's intriguing is corruption.
34:24It's how he's manipulating, he's sort of the puppet master of events.
34:29How much does he know? Does he know what this creature is going to be?
34:33So there was this kind of great pervasive idea of who can you trust?
34:38What can be trusted? Can the system be trusted?
34:42This climate of paranoia and mistrust resonated strongly with the America of the 70s.
34:50The Watergate scandal had just exposed a vast political espionage network.
34:55And the president's lies had brought about his downfall.
34:59The Vietnam War ended without a victory after 20 years of combat and with millions of lives sacrificed.
35:13As for the multinational corporations, their profit and any cost policies had dehumanized relationships with employees, now replaceable non-entities.
35:23It was certainly unusual for science fiction to explore contemporary ideas of corruption within industry, corruption within the capitalist system, politics.
35:37Science fiction hadn't really got to grips with it.
35:40You know, science fiction is here to kind of do one of two things.
35:43What we dream the future can be, like it can be aspirational.
35:46Or it can take a different tack and say like, what if the future's not that much better than us?
35:50We want to imagine that the world's going to get better, right?
35:53Like cleaner, shinier, prettier, more fair.
35:56Alien is like, no, none of that's going to happen at all.
36:00It's a future where, yeah, we have a hard time fighting the xenomorph, but it feels like we have a harder time fighting the capitalistic corporate structure that got us to find the xenomorph in the first place.
36:10Despite her plan and her expertise, Ripley can't stop the creature from killing the rest of the crew.
36:17To save her own skin and that of Jonesy the cat, she activates the auto-destruction of Nostromo and flees in the escape pod.
36:27She becomes the last survivor, the final girl.
36:33You have two types of heroes, I would say, in your thriller movies of the 70s.
36:41You have the guy who's going to go around and shoot everybody.
36:48And then you have the final girl in a horror film, who happens to survive, but mostly just because she runs fast.
36:55It's not so much like, oh, she was smarter than everybody else.
37:05It's like, oh, no, no, no, no, she just, like, got really lucky.
37:09What we don't have is we don't have a lot of proactive women taking the steps to be safe.
37:14The reasons she survives are not because of any feminine, as opposed to masculine, characteristics.
37:20She, she is very strong and she won't give up and she refuses to let her mind sort of snap.
37:29With Ripley, for the first time ever, the final girl survives all by herself.
37:34No man comes to her rescue.
37:36Critics were quick to point this out, some more enthusiastic than others.
37:40It's a woman who will be the last heroine.
37:42It seems to you.
37:44No, but I think there are a lot of women who remain the last heroine, who leave a lot of men behind them.
37:49But it's better to take care of you after.
37:52Yes, I hope, I hope.
37:55Ripley's double combat against the Xenomorph and the company comes to a climax in a legendary final scene.
38:03You get Ripley on that escape shuttle.
38:10And it's still there.
38:11And it's got on there and it's...
38:13As a filmmaker, Ridley Scott takes it to the point where you nearly can't bear anymore.
38:19For about an entire hour since the chest burst right through.
38:23But he does a beautiful thing.
38:25He does the last sequence slowly.
38:27Then it's almost a graceful moment.
38:32It's a strange moment.
38:34And the breathing.
38:36You can hear her panicked breathing.
38:42And then she shoots it out the airlock and finally gets rid of it.
38:48I don't think enjoyment is the right word to apply to Alien.
38:52Although it's full of great pleasures and thrills.
38:56It is an endurance test.
38:58You're so tense in watching it.
39:01You're so in the moment.
39:02And it's such a physical film that it is a rite of passage.
39:07It's a learning.
39:11Would you recommend to your little friends who are your age to go see it?
39:15Uh, no, I wouldn't.
39:19Rated R when it was released in the United States in May 1979,
39:23it became an overnight hit.
39:28I just went in as an audience member.
39:31I just bought a ticket and I went.
39:34Nobody recognized me.
39:35Which was fine because, hey, they hadn't even seen the movies.
39:41It was packed.
39:42The theater was packed.
39:43People were fainting and throwing up and running out of the cinema.
39:47And they were trying to block the sound.
39:49They were trying to stick their t-shirts in speakers.
39:52Um, it was legendary.
39:54We'd heard that.
39:56You know it's coming, but when it actually doors open and it shows itself,
40:01I was suddenly aware of, um, how powerful it is by the way the audience responds.
40:08Sunday, the Ridgely Theater in Fort Worth had the biggest day in its entire history.
40:13It sold more than The Godfather, Close Encounters of the Third Kind, Superman, and Love Story.
40:19It was a hit with the public and critics alike.
40:23In 1980, the movie won an Oscar for Best Special Effects.
40:27The winners are H.R. Geiger, Carlo Rambaldi, Rian Johnson, Nick Alder, and Dennis Ellis for The Alien.
40:41I'm very happy to have this. Thank you very much.
40:46Alien received unanimous approval.
40:48And although it cost at the time less than $9 million to make,
40:53it generated ten times that in its first year of release.
40:58The future looked promising.
41:01It took seven years for a sequel to be made.
41:04They didn't jump straight into it.
41:06I think it was rather considered a one-off until, until Cameron.
41:11A genuine Alien fan, James Cameron,
41:14took over in 1986, following his hit Terminator.
41:18The Canadian wrote and directed the movie that would reunite the Beauty and the Beast.
41:25With Aliens, audiences discovered multiple monsters.
41:30Organized in a hive, the xenomorph species are ruled by an egg-laying queen,
41:35who will do anything to ensure survival.
41:39And in order to tackle this new threat, the director transfers Ripley to the Marines.
41:44Grown more sensitive, she has a romantic friendship with Corporal Hicks.
41:49And develops maternal feelings for Newt,
41:52a young orphan girl who she saves from the grips of the facehugger.
41:59It's this combination of action and emotion that makes Aliens a purely entertaining film.
42:06Well, I think it's pretty scary and I think it's pretty funny.
42:09I enjoyed hearing the audience the other night sort of get involved and call up to the screen.
42:14And, you know, apparently when Newt says, I'm scared and I say, me too, one guy said, yeah, me too.
42:21You know what I mean? I think that's, I think that's terrific.
42:23It's very, you really participate in this movie, you know, it's very visceral.
42:29In this second opus, audiences discover a larger-than-life Ripley, thanks to an exoskeleton.
42:35Get away from her, you bitch!
42:37A true warrior, she takes on the queen of the aliens in an iconic face-off.
42:45Male heroes are boring. They have been done.
42:51There aren't that many archetypes for strong female protagonists.
42:56And, you know, hell, here we are in the 80s, we can start creating something.
43:00You know, it's fun. It's a bit challenging.
43:02James Cameron gave his heroine's character such a boost
43:07that Sigourney Weaver was nominated for an Oscar in 1987.
43:13Well, you broke up the old-time rule that ladies in science fiction films don't get nominated.
43:20Yeah. I'm very proud of that.
43:25When we think of Ripley, we think of the aliens Ripley,
43:27because she's the one who's, like, more headstrong, more adamant, stronger,
43:31a tougher fighter.
43:33This badass Ripley became the end display for a wide range of merchandise.
43:38And soon the market was flooded with toys, collector cards, and comics.
43:45There was no doubt about it.
43:47Fox had just launched the Alien franchise.
43:49In 1992, Ripley was reinvented as a skinhead isolated on a prison planet.
43:59The studios decided to abandon the action to bring back the horror and claustrophobia of the first alien.
44:06The environment is labyrinthic, somber, and oozing, reminiscent of the Nostromo.
44:13David Fincher, the new star of music videos, was entrusted with a rather dubious screenplay for his first feature film.
44:21It's going to be a planet full of monks. It's going to be a planet full of prisoners.
44:26We're going to kill Newton and Hicks off at the beginnings.
44:29All the emotional journey of being on with the second one is destroyed in the opening credits of the third one.
44:34You know, it was a drag, you know, so we start the third Alien film.
44:39We're depressed rather than kind of thrilled to be back.
44:43This episode sees a complete redistribution of roles.
44:48Even the alien no longer wants to kill the heroine who is carrying an embryo of the Queen Xenomorph inside her.
44:54The narrative choices spark controversy, right down to the final scene in which the unthinkable happens.
45:02Ripley is sacrificed.
45:06The first three Alien films is a film about birth, a film about life and motherhood, and a film about death.
45:13So as a trilogy, it's really interesting. It's kind of, that's the Ripley journey.
45:16If you look at the posters, you see the switch. So at the beginning it was the monster.
45:23By the second one, she is the one being sold to the audiences. It's her.
45:30It moves from we're selling you the horror of the monster to we're selling you the woman who is trying to run away or defy the monster.
45:38I have served the character and now she should have a rest.
45:41But as my producers say, it is science fiction, so anything can happen.
45:46Truer words were never spoken.
45:49Despite the lukewarm reception of Alien 3, the franchise remained cult and lucrative.
45:54No way were the studios going to give up on such a precious resource.
45:58Especially as the Xenomorph is still alive and has continued to evolve.
46:04From the solitary monster of the first episode, he multiplied in aliens,
46:08before turning into the more agile and bestial creature seen in Alien 3.
46:14In 1997, Jean-Pierre Genet was tasked with the continuation of the monster's evolution
46:20and bringing Ellen Ripley back to life in the form of a genetically modified clone,
46:25a mixture of human and Xenomorph DNA.
46:29A double challenge, which certainly put pressure on the Frenchman.
46:31To succeed at great directors like that, to have such a huge budget on the shoulders,
46:38to have such a huge budget, in the first place, we thought,
46:39that when I was there, I didn't think that it would be.
46:41I went to see it.
46:42So obviously, when we're so disconnected, that's how it's done.
46:46Now in charge, Jean-Pierre Genet would have to work with Sigourney Weaver.
46:51Irreplaceable, the actress uses her influence to reinvent her character
46:56while protecting its legacy.
47:00Sigourney Weaver, it's something.
47:02She's big, she's barraqued.
47:04She's a woman who's standing on the head, who's standing on the head.
47:07She's impressive.
47:09She has a character in front of her.
47:10At a moment, I said, I'd like to see something like that.
47:13She said, no, no, no, no.
47:15It's me who sees it.
47:17I said, okay.
47:18She said, I know her better than you.
47:19Ripley.
47:21She's right.
47:23Sigourney Weaver finally is saying
47:26the hero is tired, you know, of being persecuted by the monster.
47:32So she's not really being persecuted by the monster anymore.
47:35She is the monster.
47:41Yeah!
47:44Ripley now shares the Xenomorph's physical strength, but also its acid blood.
47:50She became so vital and it's such a fabulous performance
47:54that the whole franchise became about her.
47:57I mean, you can call that franchise Ripley rather than Alien
48:00because it's her saga.
48:02Still the central character, the heroine saw her relationship with the Alien transformed.
48:07With the creation of the newborn, half-human and half-xenomorph,
48:13Ripley now shared her DNA with her best enemy.
48:17He has this story of the newborn, which has been described a lot.
48:24It's true that it's a bit more King Kong, a bit more human.
48:27It has even eyes, while the alien has no God.
48:30So it was a big debate, even among us, even with these creators.
48:34And yes, it's contestable, but at the same time,
48:35it was necessary to change a bit more and do something new.
48:39Otherwise, we could go into the smoothness.
48:41And so this newborn was allowed to create a more human relationship,
48:44with Sigourney Weaver.
48:45however this new relationship didn't persuade sigourney weaver to continue the adventure
48:52what were they going to sell without the actress they'd need a monster as impressive as ripley
48:57to take on the alien the combat with the predator was a huge flop and it was sir ridley scott
49:04himself who took back the reins in 2012. much anticipated at the world premiere of prometheus
49:12in london in this prequel he addressed the issue of the monster's origins four years later he gave
49:19the xenomorph another chance in alien covenant i felt he was done so when i did but i said i can
49:26lift the lid off this by asking the key questions who why what and when and who created this for
49:32what purpose so that provoked prometheus prometheus was very successful questions at the end of it
49:40were there was something about some of the notes when you look on social media and they
49:45good film but didn't but they missed him and the evolution by creating a set resembling
49:51frankenstein's laboratory for alien covenant ridley scott refocused on the xenomorph
49:58anatomical sketches developing embryos the aliens entire life cycles and hybridizations were brought
50:05to the screen the director reenacted the key scenes from the original alien such as the chestburster
50:12this time using computer assisted special effects
50:19you know in a way the alien franchise comes down to here is a monster that is perfectly designed to
50:24not be vulnerable in the slightest and then here's us humans and we are so weak and we are so vulnerable
50:30and what are we going to do about that and i want to i want to preserve the vulnerability of that
50:35because i think it's in that that dynamic that we really find ourselves just getting twisted in knots
50:40and caring so deeply starting point and ultimate reference ridley scott's alien remains the favorite
50:49of fans and critics all over the world the great definition of art is that it asks questions it doesn't
50:57answer them and i think that can be said of alien because it's just been the source of so much so much
51:04fascinating sometimes baffling um very erudite analysis it is a cult film in the sense that
51:12it fed so much in the larger culture a major influence the movie revolutionized the representation of
51:22on-screen monsters and paved the way for a new era of strong heroines in science fiction and action movies
51:39it's a film you have to have seen to have a dialogue with the world of cinema
51:44with 2024 seeing a seventh chapter romulus directed by the new master of horror fede alvarez
51:53and supervised by ridley scott himself the alien franchise continues to evolve and inspire new
51:59generations the alien saga is older than me there might have been periods in my life where i would
52:07have been able to say with confidence yes this saga will end but honestly at this point i feel like
52:13nothing ever ends if it makes a ton of money it hits a real cord with people who knows questions on
52:22the saga's future remain open but one thing is sure the alien universe has not yet revealed all its secrets
52:43the future is
52:51about Yay
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