|
Welcome to AMR!
Use the menu to navigate
[Please enable javascript]
|
ALIEN Series FAQs
|
Quick Jump :
Movies |
Japanese |
Religion |
Nitpics |
Cameron's Answers
This section contains different Frequently Asked Questions (FAQs) about different
topics for the film. Please note that the "official" FAQ is out of date, however
most of the information is relevant. If you have any additions or comments, please
email me.
|
Movie (and series) FAQs
|
Eelko de Vos was the last active mainter of these FAQs. They are an invaluable
resource to gain a history and background to the films.
|
The Japanese Connection
|
Weyland-Yutani" is the company that initiates contact with the ALIEN,
and is a huge overriding plot subject for all the Alien films. The Weyland-Yutani logo is present in
all the films, on beer cans, hats, jackets, EEV black-boxes, structures and more. At the end of Alien 3,
actual Company men, including Lance Henriksen as Michael Bishop, are given speaking roles.
One of these men is of japanese descent, which highlights the prevalence of Japanese 'characters' found
in the film.
The following information was written by Owen Stinger.
1 --
The characters attached to the Weyland-Yutani company logo are most definitely Japanese (of
course all Japanese characters are originally based on Chinese characters, but their use in
the word "kabushiki kaisha" is unmistakably Japanese).
Yutani is a not-so-common but not enitrely unheard of Japanese
surname and kabushiki kaisha, while perhaps literally meaning
"joint stock company" is the normal suffix added to most Japanese
companies of respectable size, similar to "corporation" or
"company limited". "Kabu" in
kabushiki means "stock" and nearly all
companies listed on the Tokyo Stock Exchange are kabushiki kaisha.
2 --
The Japanese characters in the EEV on the flight recorder read "Weyland-Yutani."
3 --
On one of the big greasy walls (as Ripley is addressing the remaining prisoners on strategies
for killing the Alien) is written Cho Ko Ondo, which means
"extremely high temperature". Also in the junkyard on one of the
walls is written the single character for metal;
"tetsu."
4 --
The characters for "extremely high temperature" are behind 85 when
Dillon is speaking to the survivors of the fire (set off when the alien attacks one prisoner,
knocking his flare to the floor, igniting it).
5 --
Next to those characters are also the characters "Kiken", which means
"danger."
6 --
After Ripley's argument with 85 about being rescued (in Andrews' office) and right before
she leaves to find the Alien herself, on the wall behind Ripley is a
white chart with black Japanese characters. These read "Weyland-Yutani
Kabushiki Kaisha."
7 --
You can also see those same red Japanese characters "Cho Ko Ondo
(extremely high temperature)" on the wall during the lead works
scenes, most notably right before Ripley's suicide.
Translation Problems:
* There was a seriously botched job of translating in the Japanese
subtitles in Alien 3(although on later releases of the video it seems to have been rectified)
The scene in question is when Andrews is expressing his disbelief of Ripley's story about the
Alien: "You expect me to believe that an 8 foot creature...". On early versions of the VHS
video, the subtitles translating the "8 foot..." come out as meaning "a creature with 8 feet(legs)"!
* On the director's cut Aliens (VHS version prior to 1999) there was a
funny translation blooper during the scene when Hudson is bragging to Ripley about all the weapons
the marines have and what ultimate bad asses they are. When Hudson starts getting excited and
right before he's cut off by Apone he says: "...We knifes, sharp sticks!...", right? When the
Japanese translation says (get this!) "...We got knifes with penises!" Har, har! Whoever did the
translation much have confused "sticks" with "dicks"!
|
ALIEN 3
|
There is a lot of Heaven and Hell imagery and statements in the Alien films, most specifically in
Alien 3. The following viewpoints offer some insights into religion and the symbolism in the films.
Viewpoint #1
The heaven/hell imagery in Alien^3 is not to be dismissed-- the abyss of fires below, the arriving
ship from above with its bright white lights and crew dressed in pure white suits. They are also
carrying a gate with them if you watch closely, heaven's gate perhaps?
In one of the initial shots of the barren landscape of Fury 161, there is a cross-shaped structure,
almost as a welcome sign for space travelers. It reaches out over the desolate landscape.
The religious belief of the prisoners, Ripley's willingness to associate with criminals (she sits
down with them to eat, like Christ; in fact at the beginning of that scene she steps out in front
of a cross-like object mounted on the wall of the dining hall).
In the scene when the big black guy motivates them all to fight against the alien, the gang is sitting
in levels, like a Michelangelo painting, with the one who has made a pact with God sitting highest.
After the firestorm disaster they collect their dead like a scene from the bubonic plague of the
fourteenth century with chants playing.
Ripley has a most interesting conversation with the idiot fellow-- he asks something like, "where are
you going to find the thing?" and she responds, "Down there, in the basement. It's a metaphor." What
is the metaphor? That the beast is "down there", in hell-- perhaps the beast is the devil, or a devil.
Remember the part were Golic, Boggs and Rains in the 'candles in the wind' sequence. Boggs has a large
cross tattoo on his forehead. The Alien (devil) is above him, Boggs looks up, and the Alien reaches down,
and kills him. (presumably in the head.) Now, there is then a shot of Golic, who then spreads out his arms
cross-like, and gets a wash of blood from Boggs.
Ripley spreads out her arms in cruciform twice, once when she asks the black guy to kill her with the axe,
the second time at the end when she decides to die and jumps off into the fire below. As we watch her fall
into the flames, we see her grasping the little alien with her hands-- it looks as if she is praying.
The one who "made the pact with God to live forever" turns out to be the sole survivor. Odd, no?
The heat of the molten lead is not enough to kill the alien-- it is the white, cold water falling from
above which destroys it (true, technically it's the cold after the heat, but we're talking imagery here).
There are other images too, if you look. Like the scene in which the guy with the pact with God runs
into another guy while being chased by the alien, then the alien jumps out and eats the other guy
while the first guy crawls off. Then he sees Ripley standing there, holding a torch up high, staring
fearlessly at the alien, telling him to get behind her-- she is like an angel, a holy warrior unafraid
of the demonic beast. Even if you think this is stretching it, you must admit the image is powerful by
itself.
Why are the "evil" company guys dressed out in white and heavenly imagery? Well no metaphor is perfect,
but here's a guess: it's the last temptation of Christ. Ripley desperately desires a normal life, she
doesn't want to die, and all the heavenly imagery together with the presence of Bishop II tempts at
least the audience into hoping that there is a way out for her. But it's the devil in disguise, for
when Ripley closes the gate and refuses their offer, Bishop II shouts something about a "magnificent
specimen" revealing his lies and true intentions.
As you can tell, I loved Alien^3. I thought that all elements, film technique, scenario, co-characters,
plot, symbolism all combine perfectly to create the most relentlessly dark and striking effects of
hopeless, morbid, destructing, end-of-the-road, deadly finality. The only way out is the one thing
she loathes the most and is completely morally unacceptable to her. She has arrived in hell, surrounded
by lost souls and herself pregnant with the devil itself. Brilliant, brilliant, brilliant, a perfect film.
- Written by : Eric Antokoletz
Viewpoint #2
Ripley is Jesus, aliens are the romans and they get in a big war. Later on, Ripley has to sacrifice
herself to save human kind from suffering from these horrible things.
Also, Ripley, as the saviour 'falls from the sky' on Fury 161. Although with heaven comes hell, and
it is with Ripley's own sacrifice can the evil be stricken. Mankind is then protected from this hellish
Aliens nightmare.
- Written by : Mark
Viewpoint #3
Viewpoint #4
Fury 161: There is no F in the testament... there is a "ph" - philemon - phonetically identical to "F"
Philemon Chapter 1 Verse 16:
King James V -Not now as a servant, but above a servant, a brother beloved, specially to me, but how
much more unto thee, both in the flesh, and in the Lord?
New American Standard - no longer as a slave, but more than a slave, a beloved brother, especially to me,
but how much more to you, both in the flesh and in the Lord.
In Philemon paul gives forgiveness to a runaway slave who returns to the family.
- Written by : Dogyks0000
|
Nitpics
|
An updated section for this FAQ is coming soon!
|
James Cameron's Answers to ALIENS
|
In issue #121 of Starlog, from 1986, James Cameron contributed a segment called
"Answers About Aliens." This answered many questions brought forth by fans from the
fans of the series looking for some explanation about various topics. I have highlighted
the questions and main points in Red. Any fan of the film should
read it...this is the most "official" answer a fan could ask for!
"Answers About Aliens" By James Cameron
As the writer and director of ALIENS, I naturally prefer the sort of cogent
criticism contained in Lisa Synder's letter (Starlog #116) stating "ALIENS is
perfect!" However, since there were 11 other letters in the same issue containing
compliants of flaws in logic, accuracy and asethetic execution, I thought I would
take this opportunity to reply en masse.
I will take them in the order they were printed. First, P.B., who seems
otherwise to be a fairly well-researched student of ALIEN, points out incorrectly
that "LV-426 was a ringed planet." The unnamed
planetoid harboring the alien derelict ship, to which I gave the designation
LV-426, was in fact a moon of a ringed gas giant, which was occaisionally
glimpsed in the sky in ALIEN. The gas giant does not appear in ALIENS because
the exterior scenes on LV-426 have an unbroken cload cover or overcast, and the
space scenes are handled in a cursory manner, advancing the story without dwelling
on the wonders of interstellar travel, which so many other films have dones so well,
as their primary raison d'etre. You might say we approached LV-426 from the
other direction, and the ringed gas giant companion was out of frame.
B.'s next problem was "Why do the colonists not pick up the
derelict SOS?" by which I assume he is referring to the acoustic
beacon broadcasting a "warning." As some readers may know, scenes were filmed
but cut form the final release version of the film which depicted the discovery
of the derelict by a mom-and-pop geological survey (i.e: prospecting) team.
As scripted, they were given the general coordinates of its position by the
manager of the colony, on orders from Carter Burke. It is not directly stated,
but presumed, that Burke could only have gotten that information from Ripley or
the black-box filght recorder aboard the shuttle Narcissus,, which
accessed the Nostromo'son board computer. When the Jorden family, including
young Newt, reach the coordinates, they discover the derelict ship. Since we and
the Nostromo crew last saw it, it has been damaged by volcanic activity,
a lava flow having crushed it against a crock outcropping and ripped open its
hull. Aside from considerations of visual interest, this serves as a
justification for the acoustic beacon being non-operational.
B's idea that the company had already discovered the derelict is therefore unnecessary
and would invalidate Carter Burke's motives for attempting to bring back a sample
of the organism for study, and using such drastic means to do it.
The missing scenes also provide a more solid connecting link the the process of the
colony's infestation. We see Russ Jorden dragged back to their vehicle by his
wife with a "facehugger" parasite attached to his face. We see the wife call
the colony for a rescue party. It's fairly simple extrapolation to assume that
the progress of the organism through the enclosed and isolated population of the
colony followed much the same course, on a greater scale, as the life cycle of
the original Alien on board the Nostromo.
These scenes, as well as four or five others, which would certainly be of interest
to fans will be restored for the ABC airings of the film and, if all goes
well, in a "special edition" videocassette, running roughly 12 minutes longer
than the release of 137 minutes. No confirmed release date is set for either of
these, but stay tuned.
B's next beef is with the Alien Queen and for several reasons. His contention is
that she destroys the original intention of the missing scene in ALIEN. This is
perfectly correct, but I find it somewhat irrelevant since as an audience member
and as a filmmaker creating a sequel, I can really only be responsible to those
elements which actually appeared in the first film and not to its "intenetions."
ALIEN screenwriter Dan O'Bannon proposed life cycle, as completed in the unseen
scene, would have been too restricting for me as a storyteller and I would assume
that few fans of ALIENS would be willing to trade the final cat-fight between
the moms for a point of technical accuracy that only a microscopic percentage
of ALIEN fans might be aware of.
In my Version of the Alien life cycle, the infestation
of the colony would proceed like this:
1. Russ Jorden attacked, they radio for rescue.
2. Rescue party investigates ship...seveal members facehugged...brought back
to base for treatment.
3. Several "chestbursters" free themselves from hosts, escape into ducting,
begin to grow.
4. Extrapolating from entomology (ants, termites, etc.), an immature female, one
of the first to emerge from hosts, grows to become a new queen, while males
become drones or warriors. Subsequent famle larvae remain dormant or are killed
by males...or biochemically sense that that a queen exists and change into males
to limit waste. The Queen locates a nesting spot (the warmth of the atmosphere
station heat exchanger level being perfect for egg incubation) and becomes
sedentary. She is then tended by the males as her abdomen swells into a
distended egg sac. The drones and warriors also secrete a resionous building
material to line the structure, creating niches in which they may lie dormant
when food supplies and/or hosts for further reproduction become depleted. (i.e.
when all the colonists are used up). They are discovered in this condition by
the troopers, but quickly emerge when the new hosts present themselves.
Thus, even with the Queen's vast egglaying capacity, the Aliens are still
a parasitic form, requiring a host form a different spcies to create the
warrior or Queen stages of the life cycle. Since the warriors are bipedal
with two arms (H.R. Giger's original design), it may be infererd that the
fachugger is an indefferentiated parasite, which lays an egg inside a
host, but that the resulting form (chestburster through
adult) has taken on certain biological characteristics of its host.
This would account for the degree of anthropomorphism in the design.
One admittedly confusing aspect of this creature's behavior (which was
unclear as well in ALIEN) is the fact that sometimes the
warrior will capture prey for a host, and other times, simply kill it.
For example, Ferro the dropship pilot is killed outright while Newt, and
previously most of the colony members, were only captured and cocooned
within the walls to aid in the Aliens' reproduction cycle. If we
assume the Aliens have intellgience, at least in
the central guiding authority of the Queen, then it is possible that
these decisions may have a tactical basis. For example, Ferro was a
greater threat, piloting the heavily armed dropship, than she was a
desirable host for reproduction. Newt, and most of the colonists, were
unarmed and relatively helpless, therefore easily captured for hosting.
Please bear in mind the difficulty of communicating a life cycle this
complex to a mass audience, which, seven years later, may barely recall
that there was an Alien in ALIEN, let alone the specifics of its physical
development. I had a great deal of story to tell, and thorough re-education
would have relegated ALIENS to a pedantic reprise of Ridley Scott's film.
The audience seems to have a deepseated faith in the Aliens' basic nastiness
and drive to reproduce which requires little logical rationale. That
leaves only hardcore fans such as myself and a majority of this readership
to ponder the technical specifics and construct a plausible sceario.
KG deplores the Aliens as "lame, weak and shameful
follow-ups to their predecessor." A careful analysis of both films
would show that the adult warrior (my term for the single adult seen in
ALIEN) hs the same physical powers and capabilities in ALIENS as it did
previously. since the Nostromo crew were unarmed, with the
exception of flamethrowers (which we never see actually used against the
creature), the relative threat was much greater than it would be to an
armed squad of state-of-the-art Marines. A crazed man with a knife can
be the most terrifying thing you can imagine, if you happen to be
unarmed and locked in a house alone with him. If you're with 10 armed
police officers, it's a different story.
We set out to make a different type of film, not just retell the same
story in a different way. The Aliens are terrifying in thier overwhelming
force of numbers. The dramatic situations emerging from characters under
stress can work just as well in an Alamo or Zulu Dawn as
they can in a Friday the 13th with its antagonist.
JF discusses plot lines for ALIEN III but I can't comment, since Gale
Hurd, the producer of ALIENS, and myself have decided to move on to
other things and leave a third film to others.
BS asks where the Aliens originated. In
dialogue, I have Ripley specifically telling a member of the inquiry board,
"I already told you, it was not indigenous, it was a derelict spacecraft,
an alien ship, it was not from there." That seems clear enough.
Don't ask me where it was from...there are some things man was not
meant to know. Presumably, the derelict pilot (space jockey, big dental
patient, etc.) became infected en route to somewhere and set down
on the barren planetiod to isolate the dangerous creatures, setting up
the warning beacon as his last act. What happened to the creature that
emerged form him? Ask Ridley. As to the purpose of the ALIEN...I think
that's clear. They're just trying to make a living, same as us. It's
not their fault that they happen to be disgusting parasitical predators,
any more than a black widow spider or cobra can be blamed for its
biological nature.
DRL makes some interesting coments and yes, the design
of the "warrior" adult was altered slightly. His rationale for
this is as good as mine (that the individual in ALIEN never reached
maturity).
DL asks more questions about the derelict which, as a writer, I could
provide plausible answers for, but they're no more valid than anyone
else's. Clearly, the dental patient was a sole crew
member on a one-man ship. Perhaps his homeworld did know of
his demise, but felt it was pointless to rescue a doomed person.
Perhaps he was a volunteer or a draftee on the hazardous mission of
bio-isolating these organisms. Perhaps he was a military pilot,
delivering the alien eggs as a bio-weapon in some ancient interstellar
war humans know nothing of, and got infected inadvertently. "How
could the man who went onto the derilict not know something was wrong
when he saw the dead gunner?" Well, Dallas, Kane and Lambert saw the
dead gunner and that didn't stop them. Human curiosity is an powerful
force. As for the equipment left behind by the Nostromo crew
being a deterent, this requires that Jorden and the other colonists
enter the derelict throught the Freudian main door. In ALIENS (long
version), they enter through a large rent in the hull
caused by damage from the lava flow, going directly into the egg
chamber level.
AR takes exception to Ripley's ease of adjustment to 57 years of
technological change. First of all, ask yourself if an intelligent
and willful person from 1930 could or could not adapt to the
technology of 1987, given a few months of training. They had
automobiles (including traffic jams), machine guns and airplanes
then, only the specifics are different now. Conversely, however,
who could have dreamed of the impact of computers and video on our
current environemnt? A second point is that there a have been 57
year periods in history where little or no social or technological
change took place, due to religous repression, war, plague or other
factors. Perhaps techology had topped out or plateaued before the
Nostromo's flight, and changes upon Ripley's return were
not great. You decide. It doesn't bother Ripley, and it doesn't
bother me.
I hope this answers a few of your readers' concerns. I would like
to thank STARLOG for its support of our film thorugh articles
("Viva Vasquez"), movie books, etc. We'll keep you posted on
upcoming projects, several of which are science fiction.
By the way, it's not in the goddamed cat and
it's not in Newt, either. I would never be that cruel.
|
|
|