Poll The Many Lost ALIEN 3's

Doctor Omega

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In various alternative universes these all got made of course....

But are we in the right universe?



Part One:




Part Two:


 
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Doctor Omega

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TAKE ONE: THE WILLIAM GIBSON SCRIPT......

1987–1989

In September 1987, Giler and Hill approached cyberpunk author William Gibson to write the script for the third film.

Gibson, who told the producers his writing was influenced by Alien, accepted the task.

Fearful of an impending strike by the Writers Guild of America, Brandywine asked Gibson to deliver a screenplay by December.


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Gibson drew heavily from Giler and Hill's treatment, having a strong interest in the "Marxist space empire" element.

The following year, Finnish director Renny Harlin was approached by Fox based on his work in A Nightmare on Elm Street 4: The Dream Master.

Harlin wanted to go in different directions from the first two movies, having interest in both visiting the Alien homeworld or having the Aliens invading Earth.

Gibson's script was mockingly summed up by him as "Space commies hijack alien eggs – big problem in Mallworld".

The story picked up after Aliens, with the Sulaco drifting into an area of space claimed by the "Union of Progressive Peoples".

The ship is boarded by people from the U.P.P., who are attacked by a facehugger hiding in the entrails of Bishop's mangled body.

The soldiers blast the facehugger into space and take Bishop with them for further study.

The Sulaco then arrives at a space station–shopping mall hybrid named Anchorpoint. With Ripley put in a coma,

Hicks explores the station and discovers Weyland-Yutani are developing an Alien army.

In the meantime, the U.P.P. are doing their own research, which led them to repair Bishop.

Eventually Anchorpoint and the U.P.P stations are overrun with the Aliens, and Hicks must team up with the survivors to destroy the parasites.

The film ends with a teaser for a fourth movie, where Bishop suggests to Hicks that humans are united against a common enemy, and they must track the Aliens to their source and destroy them.


The screenplay was very action oriented, featuring an extended cast, and is considered in some circles as superior to the final film and has a considerable following on the Internet.

The producers were on the whole unsatisfied with the screenplay, which Giler described as "a perfectly executed script that wasn't all that interesting", particularly for not taking new directions with the initial pitch.

They still liked certain parts, such as the subtext making the Alien a metaphor for the HIV, but felt it lacking the human element present in Aliens and Gibson's trademark cyberpunk aesthetic.

Following the end of the WGA strike, Gibson was asked to make rewrites with Harlin, but declined, citing various other commitments and "foot dragging on the producers' part."

On July 12th 2018 it was announced that William Gibson's unmade screenplay of Alien 3 will be adapted into a comic series.
 
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Doctor Omega

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TAKE TWO: THE ERIC RED SCRIPT.......


Following Gibson's departure, Harlin suggested screenwriter Eric Red, writer of the cult horror films The Hitcher and Near Dark.

Red worked less than two months to deliver his draft on February 1989, which led him to later describe his Alien 3 work as "the one script I completely disown because it was not 'my script'. It was the rushed product of too many story conferences and interference with no time to write, and turned out utter crap."

His approach had a completely new set of characters and subplots, while also introducing new breeds of the Alien.

The plot opened with a team of Special Forces marines boarding the Sulaco and finding that all survivors had fallen victim to the aliens.

Afterwards it moved into a small-town U.S. city in a type of bio-dome in space, culminating in an all-out battle with the townsfolk facing hordes of Alien warriors.


Brandywine rejected Red's script for deviating too much from their story, and eventually gave up on developing two sequels simultaneously.
 
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TAKE THREE: THE DAVID TWOHY SCRIPT.....

Writer David Twohy was next to work on the project, being instructed to start with Gibson's script.

Once the fall of Communism made the Cold War analogies outdated, Twohy changed his setting to a prison planet, which was being used for illegal experiments on the aliens for a Biological Warfare division.

Harlin felt this approach was too similar to the previous movies, and, tired of the development hell, walked out on the project, which led Fox to offer Harlin The Adventures of Ford Fairlane.

Twohy's script was delivered to Fox president Joe Roth, who did not like the idea of Ripley being removed, declaring that "Sigourney Weaver is the centerpiece of the series" and Ripley was "really the only female warrior we have in our movie mythology."

Weaver was then called, with a reported $5 million salary, plus a share of the box office receipts.

She also requested the story to be suitably impressive, original and non-dependent on guns.

Twohy duly set about writing Ripley into his screenplay.
 
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TAKE FOUR: THE VINCENT WARD SCRIPT & PRE-PRODUCTION........


Start-up with Vincent Ward

Once Hill attended a screening of The Navigator: A Medieval Odyssey, he decided to invite its director, Vincent Ward.

Ward, who was in London developing Map of the Human Heart, only accepted the project on the third call as he at first was uninterested in doing a sequel.

Ward thought little of the Twohy script, and instead worked up another idea, involving Ripley's escape pod crash landing on a monastery-like satellite.

Having developed this pitch on his flight to Los Angeles, once Ward got with the studio executives he saw his idea approved by the studio.

Ward was hired to direct Alien 3, and writer John Fasano was hired to expand his story into a screenplay.

Once Twohy discovered through a journalist friend that another script was being written concurrently with his, he went after Fox and eventually left the project.

Ward envisioned a planet whose interior was both wooden and archaic in design, where Luddite-like monks would take refuge.

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The story begins with a monk who sees a "star in the East" (Ripley's escape pod) and at first believes this to be a good omen.

Upon arrival of Ripley, and with increasing suggestions of the Alien presence, the monk inhabitants believe it to be some sort of religious trial for their misdemeanors, punishable by the creature that haunts them.

By having a woman in their monastery, they wonder if their trial is partially caused by sexual temptation, as Ripley is the only woman to be amongst the all-male community in ten years.

To avoid this belief and (hopefully) the much grimmer reality of what she has brought with her, the Monks of the "wooden satellite" lock Ripley into a dungeon-like sewer and ignore her advice on the true nature of the beast.

The monks believe that the Alien is in fact the Devil.

Primarily though, this story was about Ripley's own soul-searching complicated by the seeding of the Alien within her and further hampered by her largely solo attempts to defeat it.

Eventually Ripley decides to sacrifice herself to kill the Alien.

Fox asked for an alternate ending where the character survived, but eventually Sigourney Weaver said she would only do the movie if Ripley died.


Empire magazine described Ward's 'Wooden Planet' concept as 'undeniably attractive – it would have been visually arresting and at the very least, could have made for some astonishing action sequences.' In the same article, Norman Reynolds – Production Designer originally hired by Ward – remembers an early design idea for "a wooden library shaft. You looked at the books on this wooden platform that went up and down". 'Imagine the kind of vertical jeopardy sequence that could have been staged here – the Alien clambering up these impossibly high bookshelves as desperate monks work the platform'.


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Sigourney Weaver described Ward's overall concept as "very original and arresting."

Former Times journalist David Hughes included Ward's version of Alien 3 amongst "The Greatest Sci-Fi Movies Never Made" in his book of this title.

However, the concept was divisive among the production crew.

The producers at Brandywine discussed the logical problems of creating and maintaining a wooden planet in space, while Fox executive Jon Landau considered Ward's vision to be "more bent on the artsy-fartsy side than the big commercial one" that Ridley Scott and James Cameron employed.

Ward managed to dissuade the producers of their idea of turning the planet into an ore refinery and the monks into prisoners, but eventually Fox asked a meeting with the director imposing a list of changes to be made.

Refusing to do so, Ward was fired. The main plot of the finished film still follows Ward's basic structure.
 
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Now collected as a graphic novel.......


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https://www.amazon.co.uk/William-Gi...BHKWZD089CM&psc=1&refRID=70N54CJX1BHKWZD089CM


This is the official adaptation of the original screenplay for Alien 3, written by William Gibson, the award-winning science fiction author of the cyberpunk cult classic Neuromancer. You'll see familiar characters and places - but not all is the same in this horrifying Cold War thriller] After the deadly events of the film Aliens, the spaceship Sulaco carrying the sleeping bodies of Ripley, Hicks, Newt, and Bishop are intercepted by the Union of Progressive Peoples. What the U.P.P forces don't expect is another deadly passenger that is about to unleash chaos between two governmental titans intent on developing the ultimate cold war weapon of mass destruction.


Product details
  • Hardcover: 112 pages
  • Publisher: Dark Horse (8 Aug. 2019)
  • Language: English
  • ISBN-10: 1506708110
  • ISBN-13: 978-1506708119
  • Product Dimensions: 16.8 x 25.9 cm
 
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