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![Alien Anthology [Blu-ray] - click for details](imageavp/alienanthology01.jpg)
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Alien Anthology [Blu-ray]
Brace yourself for a whole new breed of Blu-ray: Four powerful films...eight thrilling versions...in dazzling, terrifying, high-def clarity with the purest digital sound on the planet. Two bonus dics and over 65 hours of archival and never-before-seen content, including the totally immersive MU-TH-UR mode feature, makes this definitive Alien collection!
Disc 1: ALIEN
**1979 Theatrical Version
**2003 Director’s Cut with Ridley Scott Introduction
**Audio Commentary by Director Ridley Scott, Writer Dan O’Bannon, Executive Producer Ronald Shusett, Editor Terry Rawlings, Actors Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton and John Hurt
**Audio Commentary (for Theatrical Cut only) by Ridley Scott
**Final Theatrical Isolated Score by Jerry Goldsmith
**Composer’s Original Isolated Score by Jerry Goldsmith
**Deleted and Extended Scenes
**MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream
Disc 2: ALIENS
**1986 Theatrical Version
**1991 Special Edition with James Cameron Introduction
**Audio Commentary by Director James Cameron, Producer Gale Anne Hurd, Alien Effects Creator Stan Winston, Visual Effects Supervisors Robert Skotak and Dennis Skotak, Miniature Effects Supervisor Pat McClung, Actors Michael Biehn, Bill Paxton, Lance Henriksen, Jenette Goldstein, Carrie Henn and Christopher Henn
**Final Theatrical Isolated Score by James Horner
**Composer’s Original Isolated Score by James Horner
**Deleted and Extended Scenes
**MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream
Disc 3: ALIEN 3
**1992 Theatrical Version
**2003 Special Edition (Restored Workprint Version)
**Audio Commentary by Cinematographer Alex Thomson, B.S.C., Editor Terry Rawlings, Alien Effects Designers Alec Gillis and Tom Woodruff, Jr., Visual Effects Producer Richard Edlund, A.S.C., Actors Paul McGann and Lance Henriksen
**Final Theatrical Isolated Score by Elliot Goldenthal
**Deleted and Extended Scenes
**MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream
Disc 4: ALIEN Resurrection
**1997 Theatrical Version
**2003 Special Edition with Jean-Pierre Jeunet Introduction
**Audio Commentary by Director Jean-Pierre Jeunet, Editor Hervé Schneid, A.C.E., Alien Effects Creators Alec Gillis and Tom Woodruff, Jr., Visual Effects Supervisor Pitof, Conceptual Artist Sylvain Despretz, Actors Ron Perlman, Dominique Pinon and Leland Orser
**Final Theatrical Isolated Score by John Frizzell
**Deleted and Extended Scenes
**MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream
Disc 5: Making the Anthology
The Beast Within: Making ALIEN
**Star Beast: Developing the Story
**The Visualists: Direction and Design
**Truckers in Space: Casting
**Fear of the Unknown: Shepperton Studios, 1978
**The Darkest Reaches: Nostromo and Alien Planet
**The Eighth Passenger: Creature Design
**Future Tense: Editing and Music
**Outward Bound: Visual Effects
**A Nightmare Fulfilled: Reaction to the Film
**Enhancement Pods
Superior Firepower: Making ALIENS
**57 Years Later: Continuing the Story
**Building Better Worlds: From Concept to Construction
**Preparing for Battle: Casting and Characterization
**This Time It’s War: Pinewood Studios, 1985
**The Risk Always Lives: Weapons and Action
**Bug Hunt: Creature Design
**Beauty and the Bitch: Power Loader vs. Queen Alien
**Two Orphans: Sigourney Weaver and Carrie Henn
**The Final Countdown: Music, Editing and Sound
**The Power of Real Tech: Visual Effects
**Aliens Unleashed: Reaction to the Film
**Enhancement Pods
Wreckage and Rage: Making ALIEN3
**Development Hell: Concluding the Story
**Tales of the Wooden Planet: Vincent Ward’s Vision
**Stasis Interrupted: David Fincher’s Vision
**Xeno-Erotic: H.R. Giger’s Redesign
**The Color of Blood: Pinewood Studios, 1991
**Adaptive Organism: Creature Design
**The Downward Spiral: Creative Differences
**Where the Sun Burns Cold: Fox Studios, L.A. 1992
**Optical Fury: Visual Effects
**Requiem for a Scream: Music, Editing and Sound
**Post-Mortem: Reaction to the Film
**Enhancement Pods
One Step Beyond: Making ALIEN RESURRECTION
**From the Ashes: Reviving the Story
**French Twist: Direction and Design
**Under the Skin: Casting and Characterization
**Death from Below: Fox Studios, Los Angeles, 1996
**In the Zone: The Basketball Scene
**Unnatural Mutation: Creature Design
**Genetic Composition: Music
**Virtual Aliens: Computer Generated Imagery
**A Matter of Scale: Miniature Photography
**Critical Juncture: Reaction to the Film
**Enhancement Pods
**MU-TH-UR Mode Interactive Experience to Access and Control Enhancement Pods
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ALIEN QUADRILOGY celebrates one of the most popular series in the history of the movies. In addition to containing a mind-blowing amount of behind-the-scenes featurettes and documentaries, this comprehensive multi-pack includes multiple versions of each feature film: ALIEN (1979 Theatrical Version and 2003 Director's Cut), ALIENS (1986 Theatrical Version and 1991 Special Edition Version), ALIEN 3 (1992 Theatrical Version and 2003 Special Edition Version), and, finally, ALIEN RESURRECTION (1997 Theatrical Version and 2003 Special Edition Version). A film collector's dream, ALIEN QUADRILOGY takes advantage of modern technology to give fans more than they could have ever imagined.
Full length commentaries provided by Ridley Scott, James Cameron, Jean-Pierre Jeunet, Dan O'Bannon, Ron Shusett, Stan Winston, Tom Woodruff Jr., Alec Gillis, Sigourney Weaver, Tom Skerritt, Veronica Cartwright, John Hurt, Harry Dean Stanton, Michael Biehn, Lance Henrickson, Bill Paxton, Carrie Henn, Jenette Goldstein, Paul McGann, Ron Perlman, Dominique Pinon, Leland Orser, and more.
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Ridley Scott: I said (to the studio) I have to do a storyboard movie. So with great excitement and glee, I storyboard the movie, which actually took me 3 1/2 weeks, I worked day and night. Went back, and the budget doubled, which shows you the power of a well thought storyboard because we went from 4.2 (million in budget) to 8.4 or something like that.
They suddenly saw a way to do the film, which was not doing a bunch of sets that looked like painted cardboard boxes with a dodgy man in a rubber suit running around as the beast.
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But in fact I put a statement into it . . . I don't like the word, but I had a vision of what to do with the space craft and what to do with the space suit. I was fully influenced at that moment mostly by 2001 and Star Wars, I thought that first Star Wars was formidable, but that was a fairy story. I was going to do the Texas Chainsaw Massacre of Science Fiction.
I think Texas is one of the most formidable . . . if you are going to do a horror movie, there it is. I always felt it was a pretty straight forward action thriller, the old dark house basically. We are going watch them each get taken out by this terrible beast. The thing that really worried me the most of all because I figured I could get all the environment right, all the costumes right, and get the casting right. But who was this beast, what was the beast going to be. And that's when we started talking to Giger.
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David Giler: Walter (Hill) was originally going to do it (direct). But he decided he didn't have the temperament for special effects. We needed to have a director that was going give it some kind of real . . . other than traditional science fiction look. Whoever directed this movie was not going to quit on a monster until he has it . . . that you can believe it. That it will look right. And I thought this was the single most important thing you could have for this movie. Ron Cobb was going to do the monster and he had some drawings. Ron's a real talented guy and ended up doing a lot of the ship, but his monster was not too hot.
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Ronald Shusett: Dan said somehow the monster has to get onboard this ship in a way that will amaze everybody. And so I wake up in the middle of the night, I said Dan I have an idea. The monster screws one of the people. He says what? What are you talking about? He jumps in his face, plants a tube down him, inserts a seed in him, and later it comes bursting out of his stomach. And Dan goes, my God, that's the most amazing thing I've ever heard. And we sat up all night and wrote. And in three weeks, we had 85% of the plot. The structure, we didn't write the screenplay right there of what you saw of Alien.
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Dan O'Bannon: A couple years down the line, I decided to do Dark Star as a horror movie instead of a comedy. And that was the germ of Alien. I knew I wanted to do a scary movie on a space craft and a small number of astronauts. I had this creepy opening, in which astronauts awaken to find that their voyage has been interrupted. They were receiving a signal from this mysterious planetoid in alien language. They go down to investigate, they get stalled down there, their ship breaks down. The threat at the center of the story, whatever this monster or thing or danger was going to be was not clear at this point.
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Ivor Powell: And whether they drew from others, they probably did, like everybody, they drew consciously or sub-consciously from things like Terror From Beyond Space, but they actually . . . the ingredient of this thing, they incubated it into a human being made the whole damn thing stand out.
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Sigourney Weaver: I got this audition, they sent me the script which of course not knowing the designs, I pictured this big yellow blob of gelatin chasing me. (laughs) Nothing as elegant as it turned out to be. And I actually went to the wrong place. And I called my agent, I said I don't know, the script was . . . she said, just go. We got to do what was basically a run through of the movie with the real kind of set. What I didn't like about my performance because I was trying to be tough. What I discovered during the course of this was you try to play each scene as it is instead of trying to work on an arc.
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Tom Skerritt: When I read initially, I wasn't drawn to the project. Ridley wasn't attached, it was my understanding going to be a 2 or 3 million dollar budget. Well I thought you are not going to make an effective film for that. It's not a nice piece of material with potential, but you are not giving it that potential. About a month later I got a call from England, one of the producers at the time, and told me that Ridley was going to be directing it and there was a budget that will realize the potential. Then it became something else. It became working with Ridley Scott and learning about film making.
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Veronica Cartwright: I went on an interview in Los Angeles and I met with the casting people there. Originally I had read for Ripley and I was called back and I read again for Ripley with Ridley there. Then I was due to go over to England, so I talked to my agent and asked if they are still casting for Alien. I might as well go see them and let them know I am here. So I went in again and I read again while I was ther. I come home and I find out I get it. So I go over thinking I was doing the part of Ripley until wardrobe called and said I need to get my gear for Lambert. I said wait a minute, I have even read this script from another perspective.
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Ron Cobb: The ship is a strange mixture of retro-fitted old technology. Kind of an industrial nightmare. Like being trapped in a factory or something. So I talked Ridley into all these industrial symbols and color coding to create that industrial revolution feel. Some of them were semi-humorous such as a space person floating upside meaning don't open this door. I went in all these directions and somehow it all fit together, Ridley made it fit all together. He's a wonderful artist and he wanted it to look a lot like a Mobeus design ship with all kinds of rounded surfaces, sort of an Egyptian motif.
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Sigourney Weaver: I got this audition, they sent me the script which of course not knowing the designs, I pictured this big yellow blob of gelatin chasing me. (laughs) Nothing as elegant as it turned out to be. And I actually went to the wrong place. And I called my agent, I said I don't know, the script was . . . she said, just go. We got to do what was basically a run through of the movie with the real kind of set. What I didn't like about my performance because I was trying to be tough. What I discovered during the course of this was you try to play each scene as it is instead of trying to work on an arc.
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Ridley Scott: We visited a bomber graveyard of aircraft. There's Wellington bombers and Spitfires, and falling apart. Roger said if I buy two of those scrap metal, it would take me a month to dismantle this. We'll put in organized pieces on shelves and we can make sculptural corridors.
Let's say I do six feet and you come down and say yea I like that, six feet. Then once you got that repetition down that length of corridor, we just worked on it that way and it looked like it flew.
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