The artwork is also suitable for use in "Jimmy Watson's Magic Dinobot." A proposed network TV serialization, about boy who saves his paper round money to buy himself a robot for Christmas. Then, when assembled, it come to life, to become his friend. ARTWORK - Now a museum exhibit in Sussex, England.

1979 SCI-FI CLASSIC MOVIE - 'ALIEN'

Alien is a 1979 science fiction horror film directed by Ridley Scott and written by Dan O'Bannon. Based on a story by O'Bannon and Ronald Shusett, it follows the crew of the commercial space tug Nostromo, who, after coming across a mysterious derelict spaceship on an uncharted planetoid, find themselves up against an aggressive and deadly extraterrestrial set loose on the Nostromo. The film stars Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, and Yaphet Kotto. It was produced by Gordon Carroll, David Giler, and Walter Hill through their company Brandywine Productions and was distributed by 20th Century-Fox.

Giler and Hill revised and made additions to the script; Shusett was the executive producer. The Alien and its accompanying artifacts were designed by the Swiss artist H. R. Giger, while concept artists Ron Cobb and Chris Foss designed the more human settings.

Alien premiered on May 25, 1979, as the opening night of the fourth Seattle International Film Festival, presented in 70 mm at midnight. It received a wide release on June 22 and was released on September 6 in the United Kingdom. It was met with mixed reviews on release but was a box-office success, winning the Academy Award for Best Visual Effects, three Saturn Awards (Best Science Fiction Film, Best Direction for Scott, and Best Supporting Actress for Cartwright), and a Hugo Award for Best Dramatic Presentation.

Critical reassessment since then has resulted in Alien being widely considered one of the greatest and most influential science fiction and horror films of all time. In 2002, Alien was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and was selected for preservation in the United States National Film Registry. In 2008, it was ranked by the American Film Institute as the seventh-best film in the science fiction genre, and as the 33rd-greatest film of all time by Empire.

The success of Alien spawned a media franchise of films, novels, comic books, video games, and toys. It also launched Weaver's acting career, providing her with her first lead role. The story of her character's encounters with the alien creatures became the thematic and narrative core of the sequels Aliens (1986), Alien 3 (1992), and Alien Resurrection (1997). A crossover with the Predator franchise produced the Alien vs. Predator films: Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007). A prequel series includes Prometheus (2012) and Alien: Covenant (2017), both directed by Scott.

ALIEN - MOVIE PLOT

The commercial space tug Nostromo is returning to Earth with a seven-member crew in stasis: Captain Dallas, Executive Officer Kane, Warrant Officer Ripley, Navigator Lambert, Science Officer Ash, and engineers Parker and Brett. Detecting a transmission from a nearby moon, the ship's computer, Mother, awakens the crew. Per company policy requiring any potential distress signal be investigated, they land on the moon despite Parker's protests, sustaining damage from its atmosphere and rocky landscape. The engineers stay on board for repairs while Dallas, Kane, and Lambert investigate the terrain. They discover the signal originates from a derelict alien ship and enter it, losing contact with the Nostromo. Ripley deciphers part of the transmission, determining it as a warning, but cannot relay the information to those on the derelict ship.

Meanwhile, Kane discovers a chamber containing hundreds of large, egg-like objects. When he touches one, a creature springs out, penetrates his helmet, and attaches itself to his face. Dallas and Lambert carry the unconscious Kane back to the Nostromo. As the acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash overrides her decision and lets them inside. Ash attempts to remove the creature from Kane's face, but stops when he discovers that its extremely corrosive acidic blood could hurt Kane and potentially damage the hull. It later freely detaches and is found dead. The ship is partially repaired, and the crew continues their journey back to Earth. Kane awakens with some memory loss but seems to be otherwise unharmed. During a final crew meal before returning to stasis, he suddenly chokes and convulses. A small alien creature bursts from Kane's chest, killing him, and escapes into the ship, with Ash dissuading the rest from killing it.

After ejecting Kane's body out of an airlock, the crew attempts to locate the creature with tracking devices and capture it with nets, electric prods, and flamethrowers. Brett follows the crew's cat, Jones, into a landing leg compartment, where the now-fully-grown alien attacks Brett and disappears with his body. After a heated discussion, the crew decides the creature must be in the air ducts. Dallas enters the ducts, intending to force the monster into an airlock, but it ambushes and seemingly kills him. Lambert, realizing that the alien intends to kill the crew one by one, implores the others to abandon ship and escape in its small shuttle, but Ripley, now in command, explains it will not support four people and insists on continuing Dallas' plan of flushing out the alien.

Accessing Mother, Ripley discovers the company has secretly ordered Ash to return with the alien and to consider the crew as expendable. She confronts Ash, who tries to choke her to death. Parker intervenes and clubs Ash, knocking his head loose and revealing him as an android. He, Ripley, and Lambert reactivate Ash's head, and they learn that he was assigned to ensure the creature's survival. He expresses admiration for the creature's psychology, unhindered by conscience or morality, and taunts them about their chances of survival. Ripley cuts off his power and Parker incinerates him.

The remaining crew decides to self-destruct the Nostromo and escape in the shuttle. However, Parker and Lambert are ambushed and killed by the creature while gathering life-support supplies. Ripley initiates the self-destruct sequence but finds the alien blocking her path to the shuttle. She retreats and attempts unsuccessfully to abort the self-destruct. With no further options, she flees to the shuttle, carrying Jones, and narrowly escapes as the Nostromo explodes.

As Ripley prepares for stasis, she discovers that the alien is aboard, having wedged itself into a narrow space. She dons a spacesuit and uses gas to flush the creature out. It approaches Ripley, but before it can attack, she opens an airlock door, almost blasting it into space. However, it hangs on by gripping the frame. Ripley shoots it with a grappling hook, but the gun catches as the airlock door closes, tethering the alien to the shuttle. It pulls itself into an engine exhaust, but Ripley fires the engines, blasting it away into deep space. After recording the final log entry, she places Jones and herself into stasis for the trip back to Earth. 

ALIEN CAST

- Tom Skerritt as Dallas, captain of the Nostromo. Skerritt had been approached early in the film's development, but declined as it did not yet have a director and had a very low budget. Later, when Scott was attached as director and the budget had been doubled, Skerritt accepted the role.

- John Hurt as Kane, the executive officer who becomes the host for the alien. Hurt was Scott's first choice for the role, but he was contracted on a film in South Africa during Alien's filming dates, so Jon Finch was cast as Kane, instead. However, Finch became ill during the first day of shooting and was diagnosed with type 1 diabetes, which had also exacerbated a case of bronchitis. Hurt was in London by this time, his South African project having fallen through, and he quickly replaced Finch. His performance earned him a nomination for a BAFTA Award for Best Actor in a Supporting Role.

- Sigourney Weaver as Ripley, the warrant officer aboard the Nostromo. Meryl Streep was considered for the role, but she was not contacted as her partner John Cazale had recently died. Weaver, who had Broadway experience but was relatively unknown in film, impressed Scott, Giler, and Hill with her audition. She was the last actor to be cast for the film and performed most of her screen tests in-studio as the sets were being built. The role of Ripley was Weaver's first leading role in a motion picture and earned her nominations for a Saturn Award for Best Actress and a BAFTA award for Most Promising Newcomer to Leading Film Role.

- Veronica Cartwright as Lambert, the Nostromo's navigator. Cartwright had experience in horror and science-fiction films, having acted as a child in The Birds (1963), and more recently in Invasion of the Body Snatchers (1978). She originally read for the role of Ripley and was not informed that she had instead been cast as Lambert until she arrived in London for wardrobe. She disliked the character's emotional weakness, but nevertheless accepted the role: "They convinced me that I was the audience's fears; I was a reflection of what the audience is feeling." Cartwright won a Saturn Award for Best Supporting Actress for her performance.

- Yaphet Kotto as Parker, the chief engineer. Kotto was sent a script off the back of his recent success as villain Dr. Kananga in the James Bond film Live and Let Die (1973), and said he rejected a lucrative film offer in the hope of being cast in Alien.

- Harry Dean Stanton as Brett, the engineering technician. Stanton's first words to Scott during his audition were, "I don't like sci fi or monster movies". Scott was amused, and convinced Stanton to take the role after reassuring him that Alien would actually be a thriller more akin to Ten Little Indians.

- Ian Holm as Ash, the ship's science officer who is revealed to be an android. Holm was a character actor, who, by 1979, had already been in 20 films.

- Bolaji Badejo as the alien. Badejo, as a 26-year-old design student, was discovered in a bar by a member of the casting team, who put him in touch with Scott. Scott believed that Badejo, at 6 feet 10 inches (208 cm) (7 feet (210 cm) inside the costume) and with a slender frame, could portray the alien and look as if his arms and legs were too long to be real, creating the illusion that a human being could not possibly be inside the costume. Stuntmen Eddie Powell and Roy Scammell also portrayed the alien in some scenes.

- Helen Horton as the voice of Mother, the Nostromo's computer.

Casting calls and auditions for Alien were held in both New York City and London. With only seven human characters in the story, Scott sought to hire strong actors so he could focus most of his energy on the film's visual style. He employed casting director Mary Selway, who had worked with him on The Duellists, to head the casting in the United Kingdom, while Mary Goldberg handled casting in the United States. In developing the story, O'Bannon had focused on writing the alien first, putting off developing the other characters. Shusett and he had intentionally written all the roles generically; they made a note in the script that explicitly states, "The crew is unisex and all parts are interchangeable for men or women." This freed Scott, Selway, and Goldberg to interpret the characters as they pleased, and to cast accordingly. They wanted the Nostromo's crew to resemble working astronauts in a realistic environment, a concept summarized as "truckers in space". According to Scott, this concept was inspired partly by Star Wars, which deviated from the pristine future often depicted in science-fiction films of the time.

To assist the actors in preparing for their roles, Scott wrote several pages of back-story for each character explaining their histories. He filmed many of their rehearsals to capture spontaneity and improvisation, and tensions between some of the cast members, particularly towards the less-experienced Weaver; this translated convincingly to film as tension between the characters.

Roger Ebert notes that the actors in Alien were older than was typical in thriller films at the time, which helped make the characters more convincing:

None of them were particularly young. Tom Skerritt, the captain, was 46, Hurt was 39 but looked older, Holm was 48, Harry Dean Stanton was 53, Yaphet Kotto was 42, and only Veronica Cartwright at 30 and Weaver at 28 were in the age range of the usual thriller cast. Many recent action pictures have improbably young actors cast as key roles or sidekicks, but by skewing older, Alien achieves a certain texture without even making a point of it: These are not adventurers but workers, hired by a company to return 20 million tons of ore to Earth.

David McIntee, author of Beautiful Monsters: The Unofficial and Unauthorised Guide to the Alien and Predator Films, asserts that part of the film's effectiveness in frightening viewers "comes from the fact that the audience can all identify with the characters... Everyone aboard the Nostromo is a normal, everyday, working Joe just like the rest of us. They just happen to live and work in the future."

WRITING ALIEN

While studying cinema at the University of Southern California, Dan O'Bannon had made a science-fiction comedy film, Dark Star, with director John Carpenter and concept artist Ron Cobb, with production beginning in late 1970. The film featured an alien (created by spray-painting a beach ball and adding rubber "claws"), which was played for the comedic effect. The experience left O'Bannon "really wanting to do an alien that looked real." A "couple of years" later he began work on a similar story that would focus more on horror. "I knew I wanted to do a scary movie on a spaceship with a small number of astronauts", he later recalled, "Dark Star as a horror movie instead of a comedy." Ronald Shusett, meanwhile, was working on an early version of what would eventually become Total Recall. Impressed by Dark Star, he contacted O'Bannon and the two agreed to collaborate on their projects, choosing to work on O'Bannon's film first, as they believed it would be less costly to produce.

O'Bannon had written 29 pages of a script titled Memory, containing what would become the opening scenes of Alien: a crew of astronauts awakens to find that their voyage has been interrupted because they are receiving a signal from a mysterious planetoid. They investigate and their ship breaks down on the surface. He did not yet have a clear idea as to what the alien antagonist of the story would be.

O'Bannon soon accepted an offer to work on Alejandro Jodorowsky's adaptation of Dune, a project that took him to Paris for six months. Though the project ultimately fell through, it introduced him to several artists whose work gave him ideas for his science-fiction story including Chris Foss, H. R. Giger, and Jean "Moebius" Giraud. O'Bannon was impressed by Foss's covers for science-fiction books, while he found Giger's work "disturbing": "His paintings had a profound effect on me. I had never seen anything that was quite as horrible and at the same time as beautiful as his work. And so I ended up writing a script about a Giger monster." After the Dune project collapsed, O'Bannon returned to Los Angeles to live with Shusett and the two revived his Memory script. Shusett suggested that O'Bannon use one of his other film ideas, about gremlins infiltrating a B-17 bomber during World War II, and set it on the spaceship as the second half of the story. The working title of the project was now Star Beast, but O'Bannon disliked this and changed it to Alien after noting the number of times that the word appeared in the script. Shusett and he liked the new title's simplicity and its double meaning as both a noun and an adjective. Shusett came up with the idea that one of the crew members could be implanted with an alien embryo that would burst out of him; he thought this would be an interesting plot device by which the alien could get aboard the ship.

In writing the script, O'Bannon drew inspiration from many previous works of science fiction and horror. He later stated, "I didn't steal Alien from anybody. I stole it from everybody!" The Thing from Another World (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment. Forbidden Planet (1956) gave O'Bannon the idea of a ship being warned not to land, and then the crew being killed one by one by a mysterious creature when they defy the warning. Planet of the Vampires (1965) contains a scene in which the heroes discover a giant alien skeleton; this influenced the Nostromo crew's discovery of the alien creature in the derelict spacecraft. O'Bannon has also noted the influence of "Junkyard" (1953), a short story by Clifford D. Simak in which a crew lands on an asteroid and discovers a chamber full of eggs. He has also cited as influences Strange Relations by Philip José Farmer (1960), which covers alien reproduction and various EC Comics horror titles carrying stories in which monsters eat their way out of people.

With most of the plot in place, Shusett and O'Bannon presented their script to several studios, pitching it as "Jaws in space." They were on the verge of signing a deal with Roger Corman's studio when a friend offered to find them a better deal and passed the script on to Gordon Carroll, David Giler, and Walter Hill, who had formed a production company called Brandywine with ties to 20th Century-Fox. O'Bannon and Shusett signed a deal with Brandywine, but Hill and Giler were not satisfied with the script and made numerous rewrites and revisions. This caused tension with O'Bannon and Shusett, since Hill and Giler had very little experience with science fiction; according to Shusett, "They weren't good at making it better, or, in fact, at not making it even worse." O'Bannon believed that Hill and Giler were attempting to justify taking his name off the script and claiming Shusett's and his work as their own. Hill and Giler did add some substantial elements to the story, including the android character Ash, which O'Bannon felt was an unnecessary subplot but which Shusett later described as "one of the best things in the movie...That whole idea and scenario was theirs." Hill and Giler went through eight drafts of the script in total, concentrating largely on the Ash subplot, but also making the dialogue more natural and trimming some sequences set on the alien planetoid. Despite the fact that the final shooting script was written by Hill and Giler, the Writers Guild of America awarded O'Bannon sole credit for the screenplay.

ALIEN - MOVIE DEVELOPMENT

Despite these rewrites, 20th Century-Fox did not express confidence in financing a science-fiction film. However, after the success of Star Wars in 1977, the studio's interest in the genre rose substantially. According to Carroll: "When Star Wars came out and was the extraordinary hit that it was, suddenly science fiction became the hot genre." O'Bannon recalled that "They wanted to follow through on Star Wars, and they wanted to follow through fast, and the only spaceship script they had sitting on their desk was Alien". Alien was greenlit by 20th Century-Fox, with an initial budget of $4.2 million. Alien was funded by North Americans, but made by 20th Century-Fox's British production subsidiary.

O'Bannon had originally assumed that he would direct Alien, but 20th Century-Fox instead asked Hill to direct. Hill declined due to other film commitments, as well as not being comfortable with the level of visual effects that would be required. Peter Yates, Jack Clayton, Robert Aldrich, and Robert Altman were considered for the task, but O'Bannon, Shusett, and the Brandywine team felt that these directors would not take the film seriously and would instead treat it as a B monster movie. Giler, Hill, and Carroll had been impressed by Ridley Scott's debut feature film The Duellists (1977) and made an offer to him to direct Alien, which Scott quickly accepted. Scott created detailed storyboards for the film in London, which impressed Fox enough to double the film's budget. His storyboards included designs for the spaceship and space suits, drawing on such films as 2001: A Space Odyssey and Star Wars. However, he was keen on emphasizing horror in Alien rather than fantasy, describing the film as "The Texas Chain Saw Massacre of science fiction".

ALIEN - MOVIE PRODUCTION

Alien was filmed over 14 weeks from July 5 to October 21, 1978. Principal photography took place at Shepperton Studios near London, while model and miniature filming was done at Bray Studios in Water Oakley, Berkshire. The production schedule was short due to the film's low budget and pressure from 20th Century-Fox to finish on time.

A crew of over 200 craftspeople and technicians constructed the three principal sets: the surface of the alien planetoid, and the interiors of the Nostromo and the derelict spacecraft. Art director Les Dilley created 1⁄24-scale miniatures of the planetoid's surface and derelict spacecraft based on Giger's designs, then made moulds and casts and scaled them up as diagrams for the wood and fiberglass forms of the sets. Tons of sand, plaster, fiberglass, rock, and gravel were shipped into the studio to sculpt a desert landscape for the planetoid's surface, which the actors would walk across wearing space-suit costumes. The suits were thick, bulky, and lined with nylon, had no cooling systems, and initially, no venting for their exhaled carbon dioxide to escape. Combined with a heat wave, these conditions nearly caused the actors to pass out; nurses had to be kept on-hand with oxygen tanks.

For scenes showing the exterior of the Nostromo, a 58-foot (18 m) landing leg was constructed to give a sense of the ship's size. Scott was not convinced that it looked large enough, so he had his two young sons and the son of Derek Vanlint (the film's cinematographer) stand in for the regular actors, wearing smaller space suits to make the set pieces seem larger. The same technique was used for the scene in which the crew members encounter the dead alien creature in the derelict spacecraft. The children nearly collapsed due to the heat of the suits; oxygen systems were eventually added to help the actors breathe. Four identical cats were used to portray Jones, the crew's pet. During filming, Sigourney Weaver discovered that she was allergic to the combination of cat hair and the glycerin placed on the actors' skin to make them appear sweaty. By removing the glycerin she was able to continue working with the cats.

Alien originally was to conclude with the destruction of the Nostromo while Ripley escapes in the shuttle Narcissus. However, Scott conceived of a "fourth act" to the film in which the alien appears on the shuttle and Ripley is forced to confront it. He pitched the idea to 20th Century-Fox and negotiated an increase in the budget to film the scene over several extra days. Scott had wanted the alien to bite off Ripley's head and then make the final log entry in her voice, but the producers vetoed this idea, because they believed the alien should die at the end of the film.

ALIEN - BOX OFFICE & MOVIE RECEPTION

The film was a commercial success, opening in 90 theatres across the United States (plus 1 in Canada), setting 51 house records and grossing $3,527,881 over the four-day Memorial Day weekend with a per-screen average of $38,767, which Daily Variety suggested may have been the biggest per-screen opening in history. In its first 4 weeks it grossed $16.5 million from only 148 prints before expanding to 635 screens. In the UK, the film grossed $126,150 in its first 4 days at the Odeon Leicester Square, setting a house record. By the beginning of October 1979, the film had grossed $27 million internationally including $16.9 million in Japan, $4.8 million in France and $3.7 million in the UK. It went on to gross $78.9 million in the United States and £7,886,000 in the United Kingdom during its first run. Including reissues, it has grossed $81.8 million in the United States and Canada, while international box-office figures have varied from $24 million to $122.7 million. Its total worldwide gross has been listed within the range of $104.9 million to $203.6 million. In 1992, Fox noted the worldwide gross was $143 million.

Despite this apparent box-office success, 20th Century Fox claimed that in the 11 months since its release, Alien had lost the studio $2 million. Seen as an example of Hollywood creative accounting used by Fox to disguise the film revenue and limit any payments to Brandywine, the claim was decried by industry accountants, and by August 1980, Fox readjusted the figure to $4 million profit, although this was similarly refuted. Eager to begin work on a sequel, Brandywine sued Fox over their profit distribution tactics, but Fox claimed that Alien was not a financial success and did not warrant a sequel. The lawsuit was settled in 1983 when Fox agreed to fund an Alien II.

Critical reaction to the film was initially mixed. Some critics who were not usually favorable towards science fiction, such as Barry Norman of the BBC's Film series, were positive about the film's merits. Others, however, were not; reviews by Variety, Sight and Sound, Vincent Canby, and Leonard Maltin were mixed or negative. (Maltin reassessed the film upon the release of the Director's Cut and gave Alien a positive review.) A review by Time Out said the film was an "empty bag of tricks whose production values and expensive trickery cannot disguise imaginative poverty". In their original review on Sneak Previews, critics Gene Siskel and Roger Ebert gave the film "two 'yes' votes." Ebert called it "one of the scariest old-fashioned space operas I can remember." Siskel agreed that it was scary but said it was basically a "haunted house film" set "in a spaceship" and was "not the greatest science fiction film ever made." Siskel gave the film three stars out of four in his original print review, calling it "an accomplished piece of scary entertainment" and praising Sigourney Weaver as "an actress who should become a major star," but listed among the film's disappointments that "[f]or me, the final shape of the alien was the least scary of its forms."

Our team thought the film utterly amazing on the big screen. Edge of the seat stuff, creative in every sense, and inspiring in terms of pushing the movie making boundaries. Which is part of the reason for the Foundation, taking time to develop the 'Sectasaur' story, eventually aiming for a draft script, perhaps, as the industry expresses interest.