Coate: Does Aliens work as a stand-alone movie, or is it effective only as a piece of a series?
Clark: It’s hard for me to say, since I saw all the movies in order and I’ve always viewed them as a trilogy (I can’t stand the fourth one). Having said that, much as I like the recent(ish) “assembly cut” of Alien 3, that one always felt a bit out of place so I’ll be interested to see what the proposed Blomkamp sequel to Aliens turns out like and whether or not that will feel like a proper end to the story…. I guess the director’s cut of Aliens would play better as a stand-alone film to someone who hasn’t seen any of them, since the set up at the beginning is fleshed out more. Someone watching would gather that the Alien was something inside the derelict and wouldn’t need references to the first film to make sense of it. I think Cameron put enough in Aliens for that to be the case and certainly any producer would have to insist on it making sense to a virgin audience, to a certain degree. But it’s definitely stronger though, when you put it next to Alien. There are few sequels that complement the original so well.
Goldman: I think Aliens works as a stand-alone movie, sure — and I know plenty of people who discovered the series through the second film first, and then enjoy the discovery of the others. While I have one die-hard friend that likes to refer to Alien as the Aliens prequel — I really do think both films complement one another in a fantastic story and journey of this character. We really do learn a whole lot more about Ripley in the second film, and when combined, the two films give her a much more complete arc. Three really could have taken it in a fantastic direction, but sadly, well….
Harris: I think both, and that’s probably the secret to a good sequel. You don’t need to have seen Alien to see Aliens, although Alien obviously does enhance your experience of Aliens, but it doesn’t complete it, if that makes sense. Cameron sets it up perfectly to not have to have seen Alien to understand and enjoy Aliens…. There’s a whole other debate here about whether the Alien series of films is accepted in the fan-base, and I’m more on the side that the series stops at Aliens, but that’s a personal opinion of course.
Lauzirika: I think you could watch it as a stand-alone movie, since it recaps enough information for you to get by with, especially with the Weyland-Yutani inquest scene. But you’d miss out on quite a bit of important foundation and emotional investment established by the original film. It’s funny when I talk to people of a certain age who saw Aliens before Alien. They almost always consider the first film boring, which I naturally find very amusing. And, with all due respect, wrong.
Coate: How is Aliens significant in terms of genre filmmaking?
Clark: I have think Cameron’s masterstroke was making Ripley the action hero as opposed to Hicks, which was the convention at the time. Ripley was Rambo in a way, for a moment, particularly in the scene where she obliterates Alien eggs with a Pulse rifle in the Queen’s chamber. This was a turning point for actions films because it showed that the girls could do it, too — and believably so. Aliens also upped the ante for the action genre simply because of the clever dynamics of the film. It’s not a case of a great action scene at the end. There’s loads of action scenes. And each one fuels the next. It’s not a typical case of set piece after set piece like a lot of contemporary movies. And by the time you get to the final confrontation with the Queen and the power loader, you’re aghast. I remember the first time I saw it I just couldn’t believe what I was seeing because it looked so real. Up to that point you’d already felt like you’d seen a full movie and all of a sudden you’re presented with this huge scene, this epic battle and I remember thinking that each action sequence was getting bigger and bigger but not for the sake of it, not purely for spectacle, but because that was always where the story was going.
Goldman: When you watch all those incredible behind-the-scenes documentaries that Charlie produced, you realize that Aliens really was a Corman film with a decent budget. The techniques they applied on all the FX work, from the models and miniatures and rear projection, with the money and “tech” they had at the time — pure magic — it all just gelled so perfectly. These guys used every “low-budget” trick in the book and they made it look incredible. As for the creature itself, budgetary constraints may have kept the Alien in the shadows in the first two films, but damn if that constraint didn’t completely service the story. You make an Alien movie today, with hundreds of well-lit CG Xenomorphs running around, and it completely pulls you out of the verisimilitude.
Harris: For me it’s significant because it’s a perfect example of telling a great story. I’ve seen dozens of sci-fi films where the story isn’t as complete or as rounded as that of Aliens. And it’s multi-layered; the Ripley and Hicks possible romance, the Ripley and Newt mother/daughter relationship, the expansion from the eggs being present to us seeing the Queen that’s laying them…. It definitely set the bar, and in terms of influencing others; I mean Aliens is everywhere! There are nods to it in The Simpsons, Red Dwarf, Robot Chicken, Firefly — you name it. If that isn’t a measure of how significant this movie is to people then I don’t know what is. I’m sure there are filmmakers out there now who wanted to do what they do because they saw Aliens when they started out.
Lauzirika: It used down-and-dirty filmmaking ingenuity to create an off-world epic on a relatively low budget, which in turn inspired several filmmakers to push their own boundaries. Not just technically, but also artistically and emotionally. It’s a fun film that also demanded you to take it seriously. I think some people missed all that and just wanted to indulge in the “bug hunt” war porn of it all. But beneath its rollercoaster surface, Aliens is a pretty sophisticated genre classic.
Coate: Which is better: the theatrical cut or the extended “home video” cut?
Clark: My preference leans toward the director’s cut, although it’s understandable why they made those cuts for the theatrical release, notably, time constraints. In Alien, Scott cut the Dallas cocoon scene in the original edit to keep the pacing of Ripley’s escape to the shuttle craft as fluid and suspenseful as possible. Cameron achieves the same thing in Aliens; the relentless pace of the theatrical cut compounds the helplessness of the characters’ situation, and I think that in a movie theater that cut makes much more sense and is partly why so many people describe the experience of watching it as “a roller coaster ride”…. The advent of home video afforded us the luxury of experiencing the longer cut without having to get cramps in an uncomfortable multiplex seat, allowing us time to explore in more detail how events unfolded on LV-426. So watching at home on a hi-def Blu-ray on a big TV or projector, the director’s cut is a no-brainer. Those additional scenes are rich in illustrating a colony we don’t see in the theatrical cut, one where we actually get to see a working population on the base and just how normal it is with people going about their business, children playing and really showing the audience the vulnerability of the people there — the families…. There’s more time for Cameron to connect to Scott’s Alien, showing a geologically ravaged Derelict and explaining just how the Aliens infiltrated the colony base. By revealing Newt’s family and Ripley’s long lost daughter early on, Cameron deftly sets up real motivation for Ripley’s maternal instincts coming to the fore as well as Newt’s initially reluctant acceptance of a much needed mother figure. All of which plays neatly into the final act with the Queen and her instinct to protect her own, as is often commented on.
Goldman: This one is easy — I absolutely love the longer cut. Look, I’m an Aliens nut, I’m of the mind that any more of this movie can only be a good thing. I was lucky enough to work with Charlie on the Blu-ray and got to spend a lot of time in an editing room watching dailies, alternate takes and scenes, etc., and from a rabid fan’s perspective, it was completely mind-blowing. Cameron really didn’t leave much out, but it was a blast to see. I understand why there was the original cut, but the addition of both the colony infestation and sentry gun scenes, along with the extended bits on Gateway, really do help give the story a little more gravity. I know when we cut to the colony it’s the first time in the series we leave the Ripley narrative, but it never really bothered me, and I loved seeing the Hadley’s Hope before the infestation.
Harris: I think the Theatrical Cut works extremely well as Cameron removed exactly the right bits that we didn’t need to see to understand the story (the colony establishing scenes, the entire Sentry Gun sequences and other smaller moments), but every fan wants to see more of what they love so I’ll have to say the Special Edition works best for me.
Lauzirika: I think they’re both very good but I prefer the leaner, meaner theatrical cut. It gets to the point and isn’t bogged down by interesting but ultimately unnecessary side stories. I will say that as far as deleted scenes go, the additional material that was added to the longer Special Edition is pretty damn good. Usually you understand why scenes are removed but in this case, with the exception of the completely unused Burke Cocooned scene, it’s all really good stuff. There was just too much of it for a mainstream theatrical experience. The extra footage is all really great for later viewings. Whenever I introduce Aliens to anyone, I begin with the theatrical cut.
Coate: Of all the roles Sigourney Weaver has played in her career, where does Ripley rank?
Clark: There’s little doubt that Alien shot Sigourney Weaver to stardom and I think that Aliens helped to raise her up even more. While she has a pretty mixed body of work, having been involved in everything from indies to documentaries, her most iconic role, Ripley, is what she’ll mostly be remembered for, (mostly)…. It’s well known that her portrayal of Ripley in Aliens is generally accepted to be the first female action hero, paving the way for heroines galore which today, sees possibly as many female action lead roles for women as there are for men. Ripley made it okay for women to be tough yet sensitive but pragmatic enough to take charge and to kick ass without the need for a tough guy…. Ripley is a bona fide cinema pop icon. And you can’t think of Ripley without thinking of Weaver. Which is why people will flock to see her in Alien 5. If they ever try and remake the Alien films, they’re going to have a tough time of casting anyone that’ll come close to Sigourney…. Aliens is right up there for Weaver as far as performances are concerned. It’s a powerhouse performance which draws solid acting from the rest of the cast anytime they’re in a scene with her. And she has some of the most quotable lines in modern cinema. Who could forget, “Get away from her, you bitch!”? Everyone knows that line.
Goldman: As far as ranking this amount Sigourney’s body of work — right at the top. I mean her performance in the first one was such an important milestone for having a female lead in that role, and she hit it out of the park. I don’t even know if you could even quantify her performance in the second one as “better” — again, back-to-back, she just completely and believably takes the audience on Ripley’s journey — you never not believe she isn’t the character, which obviously is the hallmark of a talented performer.
Harris: Ripley is probably the character that people most strongly associate with Sigourney, and it is of course the role that started her career. I haven’t seen everything she’s done but just in terms of how she’s best known; Ripley is up there.
Lauzirika: Considering she was nominated for an Oscar for Aliens, I think it should rank very highly. She brought an amazing emotional range to what could have just been a standard popcorn flick. But between her commitment and Cameron’s inventiveness, they elevated Aliens far above what it would have been in the hands of other filmmakers. Honestly, I think Sigourney Weaver is superb in all three films of the original Alien trilogy and actually doesn’t get enough credit for her really strong work in Alien 3. Across the first three films, she takes Ripley on an epic personal journey and because of her performances, we’re along for the ride with her every step of the way.
Coate: Where do you think Aliens ranks among director James Cameron’s body of work?
Clark: As far as James Cameron’s body of work is concerned, my feeling is that Aliens is one of the few films that, despite his undeniable talent as a filmmaker and also as a writer, is generally more acclaimed by both fans and critics alike, as opposed to more commercial successes such as Titanic and Avatar…. As is often remarked of rock bands and music artists, it’s also the case with film makers that for many it’s the early stuff that is revered most fondly. Aliens occupies a space with Terminator 1 & 2 as a film that feels plausible in spite of its fantastical premise. There isn’t much wrong with Aliens, it’s one of those films that you couldn’t really suggest a way of improving it. How could you make it better? You probably can’t, it’s as good as it gets, perhaps…. We all know now you could improve The Phantom Menace: Jar Jar. Easy. But Aliens? How? And why? Why is the bigger question because there’s no need. It’s just an incredible film and one that has high replay value. If you’re switching channels and you have it on for a few minutes then you’re probably watching it til the end. Again…. I think that James Cameron succeeded on so many levels with the film that it’s sort of hard to top in many ways. In many ways, he has topped it when you consider some of his other work, notably Avatar with some of the amazing accomplishments of that film, especially visually…. But I think Avatar is flawed, story-wise, but Aliens isn’t and I also think that the adult nature of Aliens is quite rare in science fiction movies and I strongly believe that audiences want more of these kind of stories…. I put Aliens right up there with any of Cameron’s stuff, to be honest. I think he had a hunger and passion when he wrote and made that film, and sort of willed the stars to align.
Goldman: I rank Aliens right at the top of Cameron’s CV. It’s great when you watch his films in chronological order and see his progression as a director — but also spot all his other little trademarks and echoes that give his movies such distinct signatures. I have to admit, one of the things that impressed me the most, and still does today, is not only did he direct the film, but he wrote it. If you ever have a chance to read it, the script is like a master class in action screenwriting technique — it really is so incredibly well done — and one of those facts about the movie that tends to get overlooked. I enjoyed Avatar — I’m a sucker for mil-tech, and sure I’m excited to see where the next installments take us, but I still hope to see him do something from outside that world as well.
Harris: That’s such a subjective question as it’s like saying, “what’s your favorite James Cameron movie?” As I said earlier about Sigourney it’s probably the movie that he’s most strongly associated with, well maybe Aliens and Terminator 1 & 2.
Lauzirika: I would rank only The Terminator and The Abyss higher than Aliens. I’m more in awe of Cameron’s work when he’s up against the limits of budget and technology, and he has to use his extraordinary vision and talent to will something new into existence. The scope of his later films is certainly impressive by any measure, but his earlier films, where he had to rely upon his Roger Corman chops to make his imagination a reality are what I find to be truly inspirational. And Aliens certainly falls into that category.
Coate: What is the legacy of Aliens?
Clark: One of the legacies of Aliens is an enduring fascination for space exploration and, in particular, the space marines that might inhabit such a future. This is constantly explored in video games, Halo being an obvious example, but there are many others and there’ll be plenty more to come…. Movies though, can’t seem to capture our attention in the same way. No one’s done it better since, or even come anywhere close, for that matter…. And if you go to an Aliens convention some time, or even to San Diego ComicCon this July, you’ll probably see some guys — and girls — dressed in Colonial Marine armor and maybe even the odd Alien dotted around. And if you ask them their age, you’ll likely find some weren’t even born when the film was released. Aliens is here to stay. The only question now is, how do they keep it going without fucking it up? Hopefully, Neill Blomkamp will have the answer.
Goldman: I think the legacy of Aliens is that it turned the series into a franchise. Again, if Alien 2 had been a big miss, we wouldn’t be having this conversation. Most likely there would have been nothing more to say. But Cameron came in, followed up on the first film with some wildly innovative ideas, and really gave us a much larger universe to explore. I think the simple fact that now here we are, three decades later, and this summer you’ll be able to go out and buy action figures of Vasquez, Frost and Newt is a huge testament to the legacy of the film.
Harris: I think the best example of its legacy is that we’re still talking about it 30 years on. It makes me happy that a film that I love so much is still so popular, and over the years I’ve met many cast members who are surprised and happy that there’s still so much love for it today. Just look at how Aliens still holds up, not only in that it’s hardly dated (Sigourney’s haircut being the only example I can think of and even that’s not too bad!) but also in terms of how much it’s respected, and imitated…. After 30 years the fan base is still incredibly strong and fans still want new stuff; there are videogames, merchandise (look at how crazy the world went recently for a few hundred pairs of Reebok sneakers), comic books, and novels. There are companies making replica props, fans costume as Aliens and Marines — plus as a collector, prices that original, screen used items from Aliens go for are probably at an all-time high.
Lauzirika: As a Reagan Era revisionist shoot ‘em up fantasy, I think it’s terrific. But its examination of Ripley as both a mother figure and a reluctant warrior also makes it more sophisticated than I’ve been giving it credit for. It’s the perfect end to a Cameron-written trilogy in which Rambo: First Blood Part II deals with warriors from the past, The Terminator deals with warriors in the present, and Aliens deals with warriors in the future, all of whom are forced to use their wits to survive. I think Aliens is an essential product of its time but it will always engage an audience simply because it has its finger on the pulse of the viewer and knows how to keep the thrills coming.
Coate: Thank you — Andrew, Willie, Harry, and Charlie — for participating and sharing your thoughts about Aliens on the occasion of its 30th anniversary.
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SOURCES/REFERENCES
Primary references for this project were promotional material published in hundreds of daily newspapers archived digitally and/or on microfilm plus numerous articles published in film industry trade publications Billboard, Boxoffice, The Hollywood Reporter, and Variety.
SELECTED IMAGES
Copyright Brandywine Productions, Twentieth Century Fox Film Corporation, Twentieth Century Fox Home Entertainment. Harry Harris image by Russell Clark. 70mm presentation logo art designed by Bobby Henderson. Home-video cover-art collage by Cliff Stephenson. 70mm frames courtesy Rebecca Lyon/Celluloid Chicago.
SPECIAL THANKS
Greg W. Anderson, Julian Antos, Claude Ayakawa , Laura Baas, Don Beelik, Deb Bier, Bert Branson, Raymond Caple, Andrew David Clark, Scott Clark, Andy Crews, Nick DiMaggio, Diane Donham, Stephen Gailey, Willie Goldman, Sheldon Hall, Harry Harris, Bobby Henderson, William Inge, Matthew Kendall, Sarah Kenyon, Bill Kretzel, Charles de Lauzirika, Mark Lensenmayer, Monty Marin, Tim O’Neill, Joshua D. Owens, Stephen Rice, James Shearouse, Alex Smith, Cliff Stephenson, John Stewart, J. Thomas, Jessica Wakefield, Sean Weitzel, John Wilson, Vince Young, and to all of the librarians who helped with the research for this project.
All figures and data included in this article pertain to the United States and Canada except where stated otherwise.
IN MEMORIAM
- Roy Charman (Production Sound Mixer), 1930-1990
- Paul Maxwell (“Van Leuwen”), 1921-1991
- Tip Tipping (“Private Crowe”), 1958-1993
- John Lees (“Power Loader Operator”), 1942-1997
- Ray Lovejoy (Editor), 1939-2001
- Mary Selway (Casting), 1936-2004
- Michael A. Carter (Re-Recording Mixer), 19??-2004
- Don Sharpe (Supervising Sound Editor), 19??-2004
- Gordon Carroll (Producer), 1928-2005
- Adrian Biddle (Director of Photography), 1952-2005
- Stan Winston (Alien Effects), 1946-2008
- Dan O’Bannon (Based on characters created by), 1946-2009
- H.R. Giger (Original Alien Designer), 1940-2014
- James Horner (Composer), 1953-2015
- Trevor Steedman (“Private Wierzbowski”), 1954-2016
-Michael Coate
Michael Coate can be reached via e-mail through this link.
