You'll never see the Alien 3 that could have been

>You'll never see the Alien 3 that could have been
>you'll never see Alien go straight gothic surrealistic horror
>all you'll get is a watered down version of his ideas that the studio wanted adapted that Fincher couldn't really do right. From ideas on the cinematography evoking a Bosche painting (Fincher adapted this from Ward's script), to the ideas exploring Ripley's death and sacrifice and internal guilt (Fincher and the studio adapted this from Ward's script),
>you'll never see it adapted completely
>You'll never see a batshit surreal nightmare dream-like Alien which takes place in a satellite covered in wood populated by neo-reactionary monks
>The studio wanted Alien 3 to be "Generic and more Safe" in setting and plot and watered down every idea to its most basic level
>You'll never see any of it because of this level of thinking. "Why can't we just water it down to a prison planet?" "You know, why can't we just make it straight and cut out all the surreal nightmarish qualities? What audience wants to see that?" "I don't get it, I don't think the audience is going to get it."
>So you'll never see it

Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up Just fuck my shit up

the assembly cult was pretty decent

>surreal nightmarish qualities
Such as what? Please give descriptions, that sounds pretty interesting

The original idea for Alien 3, the one they finally settled on, was this.

It's basically, the same as the Alien 3 we got in basic skeletal plot structure. The Sulaco has an alien on it, and there's an egg, Ripley crash lands on an unknown place, Newt and Hicks are dead, there's a romance and alliance between two characters, she gets bald, she dies. But that's about it.

This primarily focused on the idea of Ripley's guilt, and that guilt growing in her, as an Alien. Metaphorically speaking. Everyone she ever known has died to the Alien.

It was from this Ward came up with the evocative ideas, of making Alien more surreal. The "planet", is a sphere, filled with monks, a fundamentalist all male cult, they see a woman for the first time, etc. Except, the sphere, made originally of metal, is sheathed in wood.

Inside, and out. Every day they paint the sky onto its ceiling. They have livestock on it, grain, under a painted sky.

And Ripley would confront her own motherhood, seeing her new life, as a mother of the Alien, of growing fond of the Alien itself and giving up. Surreal visions of the alien crossed with an infant, Newt's head sliding out of the Alien's mouth. To struggling against giving up, to her sacrifice walking into fire.

It's one of those ideas that, even if in the end it came out shit. It's still something that you undeniably go, I want to fucking see that.

It's such a shame 20th Century Fox put full funding into it, and didn't follow through at all and pulled the rug under it. And decided to water down every idea into a more basic digestible level "for audiences".

This thread could be interesting without OP meme-ing his whole post.

Talk like a normal person, you fuck.

There was an Alien movie you could have seen in a setting where fire rages in wheat fields, and windmills, melting the shades of Maya Blue and white clouds of a sky painted every day. Inspired by Bosche. Chasing Ripley, and her ultimate decision to walk into fire to kill herself.

From the man who made What Dreams May Come.

The worst part was they even made sets for it, but the Studio ordered them to be destroyed or recycled into the sets for the Alien 3 we got.

If you ever see crosses out of metal, or just weird Christian imagery in sets in Alien 3.

That was recycled from sets made for this version.

They were going to film but pussied out and destroyed.

no cut fixes the inexcusable creature movement effects that literally ruin the movie

What's worse is that it was a neat idea, they just had to rush it because the Studio was breathing down their neck to get the studio-safe version filmed and out the door.

It was a rod puppet in quick stop motion, they would edit out the pupeteers. But the studio was screaming hurry the fuck up, and so the editing of it had to be rushed, and it came out looking like it did.

I've read all the alternative 3 scripts, I'd like to see all of them made into films as they all have some decent ideas. except Eric reds script, holy fuck what a joke.

Yeah I have no idea what the fuck Eric Red was doing. Especially considering he wrote The Hitcher and Near Dark. They're well thought out enough.

What the fuck happened in that script jesus

I feel the version we got was ok.

There's still a lot to be desired. But I agree.

I've read it twice to make sure I didn't imagine it, it's like something a kid would write.

I think he rushed it because he had one shot at it, drank a ton of coffee and took some amphetamines like most writers do to rush out a script, and punched it out without editing it all because he only had one shot.

Maybe he expected it to be better than it was, but he needed to rush out some ideas from previous ideas there were from Gibson's script, because he only had one shot at getting the gig of a lifetime as a writer. Expecting, alright I just give them some ideas on where to go, shit out a script and edit it from there.

And unexpectedly, it was an awful mess of a script with a bunch of ideas.

It's very much something you'd expect a writer to rush out to say, "here's thing x and y and z I want to take this", but even then it's incoherent to a fault. It feels rushed.

I don't exactly think Eric Red is untalented but that script was a god damn disaster with no central thesis

yeah, he has the ability to come up with some good stuff. I think his prequel to the lost boys could have been a good film, better than the sequels we got.

>I think he rushed it because he had one shot at it, drank a ton of coffee and took some amphetamines like most writers do to rush out a script, and punched it out without editing it all because he only had one shot.

I actually remember ALL the writers on Alien 3 talking about this, Gibson, Red, Twhoy. For various reasons they all had to deliver rushed scripts that they weren't happy with. It's like any version of a third Alien movie was going to be cursed.

Gibson's draft is my favorite and probably would have made the best movie, but it's very much a re-do of Aliens. I remember Red's draft as having some cool imagery.

No mention of Weaver becoming a nogunz tard and getting the script changed?

wasnt the gibson one the backup for a film without sigourney?

I like Ward's the most because it's not a rehash and it would been one hell of a cult classic midnight movie. I mean yeah, it's artsy as hell. But who the fuck wouldn't want to see a bizarre psychological horror movie in an equally bizarre setting? With an Alien just fucking shit up?

What I find the most interesting, is there's a scene in Spielberg's The Lost World Jurassic Park, that scene by scene is something that happens in Ward's script.

In an attempt to push out the Alien, from the wheat fields, the monks, armed with crude weaponry and farming equipment, go into the fields the Alien is in. And it goes from an overhead shot of the alien going through the fields. As the wheat ripples around it, yanking them all under one by one. Until they start to panic and run in all directions, and the Alien just fucks their shit up one by one.

That's almost shot for shot what happens in the Jurassic Park sequel. The whole, "DON'T GO INTO THE LONG GRASS"

It's interesting.

>wasnt the gibson one the backup for a film without sigourney?

They actually went in and Weaver didn't want to do another. So they put her in a coma, and the main characters in that were Hicks, Newt, and Bishop. Bringing a "cold war' aspect into space, which was a little forced, was the biggest fault. As was trying to fail and redo the Alien lifecycle a tad through genetic experimentation.

Another interesting thing to note, the alien substance studied on Waypoint Station in that script, was black goo, that could mutate someone into a new form of alien, a bit more human but very biomechanoid.

And with the religious angles in Ward's script.

It feels like, later in Prometheus, they looked over all the aborted scripts for 3, and just went, let's take this here, that there, and lay that as the ground rules.

That was a combination of a lot of things. That was actually when Weaver was in Fincher's production.

During this, it was Ward who wanted to take a step back from the action, and set it on a remote place, where all you have are pitchforks and farming tools, things to stab, to fight off an alien who bleeds acid and catches the wood on fire.

God this version of the film would have been amazing looking

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