Hmm, It's certainly an interesting idea...

well, the hardest part is just going to be DOING it.  I've seen what Ady is capable of, and like he said, if he can learn how to do all of those things from the ground up anyone else can too - its just a matter of time, which I have...... but I'm also a professional procrastinator.


there's me.. laziness versus imagination!  Who will win?

There are things that DEFINITELY need a fix, like the coffee mug and the control arm on the Nostromo model when it is making its landing... and just as with the EMPIRE:R list I will include links to pictures and youtube videos to help describe what I'm referring to.

In regards to the COCOON SCENE and RIPLEY/DALLAS LOVE AFFAIR:

as mentioned before, Ripley and Dallas were supposed to be lovers (roughly about a few weeks into the relationship).  While I can take it or leave it, I think that IF the Cocoon sequence is to be put back in, there should also be some relevance to it.

The original scene (seen for the most part here) has a much more emotional Sigourney Weaver, which is what I wanted to play on: the idea that it is bad enough to see your fellow co-workers mutilated (some of whom you may have actually liked, or at least didn't want to see get killed in a horrible fashion) but to end it off with having to kill someone you are just beginning to become attached to (especially to kill them by burning them alive) is pretty creepy.  And if there is one thing ALIEN has in spades it is creepiness.

Now the problem with the link above is that someone edited together the DC version of the scene with the version on the first dvd release.  I'm going to see if I can't find the dvd version unmolested and post a comparison link...

I've also noted that there will have to be some editing to make this work:

(1) it will begin with Ripley finding Parker and Lambert's bodies (and her horrified expression), BUT rather than immediately cut to her running down the corridors, I plan on doing some tricky editing: I want to show someone on the floor with their head on their knees in a crouched position and maybe see if I can find some Sigourney Weaver dialogue to the effect of "what do I do?" (the idea that at least for that one moment, she's exhausted and at a loss).  "She" would be out of focus, with the focus being on an intercom on the right foreground (probably would only be able to see the edge of it) - which is where we begin to hear the moaning...

(2) taking close-up scenes of Weaver looking up from the stair well and activating the self-destruct device later on, she goes to the intercom.  Playing with some of her "hand shots" with said S-D device or on the shuttle, I can alter the metal plate to have a number pad, speaker and small viewscreen with a vector map of the Nostromo.  Creating some FX similar to the 3-D photo machine in BLADE RUNNER (the effect when Deckard moved in to different areas on the photo), you see the square and four lines converge on the location of the moaning, which tells her where its coming from.

(3) taking some corridor shots either from ALIEN or other sci-fi movies that may fit, have the camera do a slow pan as we can hear her running down the corridors (say start the sounds close and have them run away from us and get more distant)

(4) "reverse" the opening "ladder shot" so it appears she is going down into it, which then leads to the cocoon scene.

(5) this would further explain why Ripley is freaking out and cursing when running to the S-D device, since now she knows she is completely alone.  It would also keep the tension from the ship counting down to self-destruct from being broken, as it would place the cocoon scene BEFORE the process is started as opposed to directly in the middle of it - which DOES slow the movie down.

The problem here is I will have to lift out the wailing siren in the background of the cocoon scene, which could be a pain. 

I will try to whip up some story boards and images to help further explain what I intend to do...

ChainsawAsh said:

I think Alien's theatrical cut is perfect as is, but if you feel you can improve it, more power to you.

I agree that the theatrical cut is "fine" per se, but at the least the continuity errors and some of the creaky FX could use some work.  Even if nothing is replaced, just to see a 720p version without that damn arm lowering the Nostromo model would be good enough!

I am, however, very interested in a "Revisit" of Dune.  There are a lot of edits out there that seem promising, but the one thing every editor seems too lazy to do is to rotoscope the Fremen's blue eyes in the reinstated deleted scenes, which really takes me out of the movie every time it happens.

And if you could get rid of the damn Weirding Modules, that'd be great as well, but I doubt it's possible.

That's just it: I LOVE the Wierding Modules.  Its not just a cool weapon, but the idea more than fits into the DUNE universe: the concept that you can literally make a weapon out of a word. 

Imagine having a device that could turn "fuuuuuck YOU" into a sonic blast that could destroy, say, the slow driver in front of you?  Or "aaassssHOLE" and they just collapse to the ground paralyzed?  It wasn't simply that sonic waves were coming out and blowing stuff up (though that is pretty much all you see in the movie) but that you could achieve different effects depending on the word you used and how you said it.  In other words, taking politics to the next level.

Regarding the eyes, if possible I plan on doing more than just rotoscoping a blue area on the overall eye area.  I plan on making the whites slightly blue, but focus the more "glow-y" aspects to the iris and give them a BLADE RUNNER back-glow to the pupils, which should be quite effective when the Fremen are first shown in the dark cave scene (when Jessica and Paul climb up the mountain to get away from the worm).

Now the middle ground and far off shots of the Fremen I will try to just rotoscope the blue on the eyes, as well as the back-glow on the pupils.  I will keep the above changes for the close-ups when you can actually see them.

I will open up a seperate DUNE:R forum link so this one doesn' get convoluted with intermixed comments.

doubleofive said:

And I would change "Revisited" to something else, to avoid confusion.

Moth3r said:

Also, using the "revisited" tag may give people the impression that it's an Adywan production.

The general point behind calling it ALIEN: REVISITED (even though the actual title on the screen will be ALIEN: REDUX, since I can have the five letter REDUX slowly appear below the five letter ALIEN on the top of the screen) is to indicate what will be done, which will be a little more than editing.  Everyone here is familiar with what Ady has done, and since the word "revisited" isn't copyrighted everyone gets the gist.

Also, if someone else has the means of making something like this happen, by all means do so.  I have a pretty good PC, though I'm sure I will have to invest in a few 1 TB hard drives and some upgrades.  I am completely virgin on the After Effects and Vegas fronts, so I will have to learn... which is good, since there are no 720p versions of the original ALIEN out yet, thus I can take that time to learn how to use those programs (and maybe make some other edits just to get the practice).

The whole idea is bascially to get it "out there" for people to comment on, make suggestions and pick up where I may not.   Maybe someone who sees this and has the skill will either help or create their own version.  Either way would be good with me.  <:)

doubleofive said:

show LV-426 system entrance similar to RETURN OF THE JEDI when rebel fleet jumps to Endor - stars would slow and stop to indicate N+R slowing to sub-light, and the planet+moons in background will grow slowly in size to indicate movement,

But they don't have hyperspeed, that's the point of the sleeping pods.  Or at least, that's my understanding.

in regards to "hyperspace", they do have a form of faster than light travel in that they would have to in order to cover the ground they are traveling - remember that they are a few months away from Earth and still have a good double-digit light year distance away from it.  Even with faster-than-light travel, if it will still take months to go from one area of the galaxy to another, you will still need hypersleep chambers due to practicality (less food and water needs, much less toiletries).

The film takes place at the Zeta 2 Reticulae star system, which is roughly 39 light years away from Earth:

questions about Zeta Reticulae
Zeta Reticulae star system

What is interesting about these links is that apparently the system has been used by UFO buffs as the source of the Greys and other alien "visitors", so even before the movie the system was associated with the possible source of alien life. 

There is also the possibility that the area the Nostromo is in is near the Magellanic Cloud just outside the Milky Way galaxy.

ChainsawAsh said:

Are you considering restoring any/all of Goldsmith's original, unused cues?  The isolated score track on the 20th (25th?) anniversary DVD contains his complete original score in its entirety, including all unused cues, exactly where they're supposed to go in the movie.

probably not... though I would like to listen to those tracks and see how they play in the movie.  Musically I'm fine with what is in the film; I like the other temp tracks from FREUD and the like.  The idea of making an alternate audio track using a TOMITA-esque soundtrack "may" make it on an alternative edit, but the main reason to do this was simply to correct a few things (like the coffee mug and the control arm lowering the Nostromo model during the landing sequence) and maybe spice some things up with the rest of the movie.

I plan on doing a pure theatrical cut edit, which will be modified with some audio and visual FX, and then see if the cocoon scene could be edited in according to the script I posted above; same with the possible Tomita score.  If I can't work it in, then I will be more than happy with the theatrical edit.

RIJIR said:

The ALIEN REDUX name has already been used.

Yet another reason I named this thread ALIEN: REVISITED.  While REDUX will work better visually, I can't call the thread REDUX because, as you stated, it's already taken.

ChainsawAsh said:

Monroville said:

the actual title on the screen will be ALIEN: REDUX, since I can have the five letter REDUX slowly appear below the five letter ALIEN on the top of the screen

Please don't do this.  I absolutely hate it when the title of a fan edit makes it clear that it's a fan edit.  This has prevented me from getting a lot of fan edits that I would otherwise have liked.  For instance, does the Final Cut of Blade Runner say Blade Runner: The Final Cut in the opening credits?  No, because "The Final Cut" is simply the name of the version of the film, not the film's title itself.  Make the menus say whatever you want, i.e. Ady's use of "Revisited" in the intro to his menu and throughout the menus, but please please please leave the title within the film itself the same.

Okay! Okay!  I get it!  <:D

I'll probably just do it for me then (as far as the title thing goes).  If and when this gets released, the title will be unmolested (for some reason CSA, your post got me into thinking about that HARVEY BIRDMAN episode where they started making fun of all of the CSI spin-offs: HARVEY BIRDMAN, ELEVATOR OPERATOR, HARVEY BIRDMAN: BABY MYSTERY CLUB, etc).

Or I could have "revisited" burst out of the title, or have the letters chase themselves around like a PINK PANTHER opening title sequence... I'm sure that would fit...

RIJIR said:

I am very interested to see a update To Alien with new effect shots etc....

It is my all time favorite film.  May I suggest adding a deleted scene back in to the film?  But it is called the "box" scene.  At the point Ripley is turning the corner to go to the shuttle, after setting the self destruct, she sees the alien folded into a box shape in the hall blocking here way.  She apparently gets a good look at it before it slowly unfolds and stands up.

That would be very hard to do... I can think of maybe taking a shot of the hallway looking towards the entrance to the Narcissus and adding in the Alien element; this would also require reworking the music, since it is geared for the jump scare.

Oh and by the way...please don't call it "Redux" in your final release as I already used that one.  :)

It will be ALIEN: REVISITED in the menu screen only.  I will only make the REDUX in the movie title for my copy.

Jeyl said:

3. new star fields
Didn't the Director's Cut already do this, or are you going with something different?

I want to see how a more STAR WARS star field looks (where the stars are smaller and more numerous); I may consider adding in elements like the Milky Way belt (not a full-on galaxy, but something more subtle).  Regardless, I will be posting examples.

2. computer screens will get make-over; may consider altering consoles in some way to have more viewscreens and less switches.
I do believe the Nostromo was meant to be a low-tech ship. Adding screens would seem out of place especially considering the mother chat room only has one interactive screen inside it.

If anything is going to be changed, it will be the view screens.  I don't know if I could ADD anything, like change the appearance of the actual consoles, but the idea is to give them a slight update, so whatever new graphics are added will reflect what the older moniters showed in the movie.  I'm using low-tech in my home right now and MY moniter has better graphics!  <:)

Trust me; while STAR WARS was a big influence on me (being that I was 7 when I saw it in '77), ALIEN is the one movie that has influenced me the most being that I was kept from seeing it or never got around to seeing it until 7 years after '79.  Until then, all I had was the photo novel and the illustrated story, and that was after some MISSION:IMPOSSIBLE style haranging with the friends.

3. bouncing helmet in background will be stabilized/static.
Aww. Why? If your going to do that, you might as well remove the banging chair, flapping paper and the bird drinking deco. I myself think that movement in what looks like an abandoned ship makes it more eerie than a ship that's perfectly still.

Yup. A lot of that is going bye-bye.  I understand the whole "atmosphere" thing and all, but short of the air system coming on, nothing is going to be moving in a freezing vacuum.

4. smoke will be deleted when Nostromo detaches from docking arm

Aww, but Scott said he liked that effect, even admitting it makes no sense.

While I understand that to a degree you CAN have smoke in space, that scene in particular is an example of dated FX.  If I can work it in, I also plan on adding ice particles coming off ala SILENT RUNNING.

3. may slow down Kane's POV of the face-hugger so we can better see what is happening.

Doesn't that defeat the whole purpose of the shot? Sure, it's hard to spot what's going on, but there is merit to it. "Oh, god. What just happened?" can be a lot more effective. The more you see the Alien doing it's thing, the more comfortable one will be with it.

I understand: there is the conflict between "what the hell was that?! (shock and horror)"  to "what the hell was that?! (it's so damn quick you have to wonder why its even there)"  I'll play with it; it's the kind of thing that you don't know how it is going to play until you play it.  I'm not going to have this in the final cut if it doesn't work for me.  The idea was to slow it down maybe a second or two (or more like a split-second or two); not so much to linger, but just to get a split second MORE of a view so you better get the idea of what Kane is seeing.  As it stands, it is LITERALLY a split second and short of pausing the image and still-stepping, you never even see it.

4. early plotpoint had Ripley being Dallas' lover; if possible, I will be "adding" Ripley laying beside Dallas when Ash calls him in the shuttle (this will set up the cocoon scene later if used)
NO! Don't do that! Ripley is meant to be a very independent character who is supposed to be in conflict with Dallas, not be his bed mate. And it's totally out of place considering that these two argue with each other over orders and command responsibilities. Leave that 'lover' stuff in Alien3 where it belongs (And if you ever get a chance to do ALIEN3, delete the lover stuff).

Again, that's me.  If you notice, when she's arguing with Dallas, it is obvious that if anyone is friends on this ship its them.  Now whether they're LOVERS can be argued, but she sure is chummy enough that when she questions Dallas he doesn't give her a lot of shit.  Like I stated before, IF I can manage to work in the cocoon scene per my script above, the whole idea is to add something to when she has to kill Dallas.

If anything, I appreciate it more when characters actually care about one another (or at least SOME of them do) than when they're just independent entities.  Now they don't have to be lovers or family members, but it can help.  I'm just sick of the CABIN FEVER fodder that acts like friends until the S hits the F and they all ditch each other.

10. will do some slight editing to the "Dallas in the airshaft" sequence: the camera will close in on him as he descends the ladder, so when he turns the light towards us it will cut to the Alien jump scare (that way we won't see the Alien stuck in the wall).

Well, it's your edit, but I think cutting to the ALIEN the moment Dallas shines his light towards the camera is a bit to quick. Plus, we'd be cutting parts of Lambert's line "No, not that way! Wait! The other way Dallas!"

Those are my thoughts anyway.

Lambert's lines will remain, but I will still be editing the scene visually.  I never liked how the Alien is just sitting in an alcove (due to the limitations of the suit) when the tracker shows it moving towards Dallas.

Regardless, I do appreciate the input.  Hopefully in a couple of weeks, I hope to make some example images so you can get an idea of what I'm planning on.