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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 Please note that the "official" FAQ is out of date, however most of the information is relevant.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 Logo 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.


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