Decoding the Cinematic Masterpiece: A Deep Dive into Aliens
Join our community on X!
A place for fans of the podcast Fellowship Of The Reel to come together and talk about the show and all things cinema.
Fellowship Of The Reel Community
Got thoughts? Leave us a voicemail on our SpeakPipe.
Send a voice message to fellowshipofthereel
On Facebook? So are we.
The principal focus of this podcast episode revolves around an in-depth analysis of the film *Aliens*, a sequel that has garnered widespread acclaim for its execution and thematic depth. We delve into the intricacies of the narrative structure, character arcs, and the pivotal moments that define Ripley's journey from survivor to a formidable warrior. The discussion emphasizes the film's underlying themes of maternal instinct, the consequences of corporate greed, and the evolution of fear into empowerment. Furthermore, we examine the technical aspects of the filmmaking process, including the innovative use of practical effects and the film's reception over the decades. As we navigate through various scenes, we reflect on the cultural impact of *Aliens* and its significance in the science fiction genre, ultimately asserting its place as a cinematic masterpiece.
The Fellowship Of The Reel reviews: ALIENS
As promised, here is the pertinent line by Ripley about the company's culpability in the loss of life and property in the first movie.
"We set down on company orders to get this thing, which destroyed my crew…and your expensive ship."
-----*-----
-----*-----
Everywhere we are, all at once.
https://linktr.ee/fellowshipofthereel
Tell us what you think of the movie. Would you give it a PASS, CONSIDER, or a RECOMMEND?
Have a movie to suggest? A comment to make?
You have ninety seconds. ACTION!
-----*-----
Visit our Facebook page for updates, fun movie news, or just to leave us a comment.
Fellowship Of The Reel | Facebook
-----*-----
To listen to all of Chris' picks, click HERE
To listen to all of Sherry's picks, click HERE
To listen to all of James' picks, click HERE
To listen to all of Phil's picks, click HERE
-----*-----
Snyder's Genres:
MONSTER IN THE HOUSE - MONSTER, HOUSES, SIN
GOLDEN FLEECE - ROAD, TEAM, PRIZE
OUT OF THE BOTTLE - A WISH, A SPELL, A LESSON
DUDE WITH A PROBLEM - AN INNOCENT HERO, A SUDDEN EVENT, A TEST OF SURVIVAL
RITE OF PASSAGE - A LIFE PROBLEM, THE WRONG WAY TO FIX IT, THE SOLUTION TO THE PROBLEM
BUDDY LOVE - AN INCOMPLETE HERO, A COUNTERPART NEEDED TO MAKE THEIR LIFE WHOLE, A COMPLICATION THAT IS KEEPING THEM APART EVEN THOUGH THAT FORCE IS BINDING THEM TOGETHER
WHYDUNNIT? - A DETECTIVE, A SECRET, A DARK TURN
FOOL TRIUMPHANT - A FOOL, AN ESTABLISHMENT, A TRANSMUTATION
INSTITUTIONALIZED - A GROUP, A CHOICE, A SACRIFICE (JOIN, BURN IT DOWN, COMMIT SUICIDE)
SUPERHERO - A POWER, A NEMESIS, A CURSE
-----*-----
The Snyder Beats:
OPENING IMAGE
THEME STATED
SETUP
CATALYST
DEBATE
BREAK INTO TWO
B STORY
FUN AND GAMES
MIDPOINT (FALSE VICTORY OR DEFEAT BUT OPPOSITE OF THE ALL IS LOST)
BAD GUYS CLOSE IN
ALL IS LOST (OPPOSITE OF THE MIDPOINT, FALSE VICTORY OR DEFEAT)
DARK NIGHT OF THE SOUL
BREAK INTO THREE
gathering the team
executing the plan
high tower surprise
dig deep down
execution of the new plan
FINALE
FINAL IMAGE
-----*-----
"Welcome to the Show" Kevin MacLeod (incompetech.com)
Extended license purchased.
Fade out applied.
Podcast recording overlaid onto track.
Transitions sounds courtesy of Lloyd. Lloyd has very graciously made a whole host of podcast transitions sound effects available free for personal use. We at the fellowship think they are absolutely blockbuster. If you want to find out more, or need some pretty awesome effects for your production visit Lloyd here. TRANSITIONS
Crowd Ooohs and Ahhhs in Excitement by noah0189 --
https://freesound.org/s/264499/ -- License: Creative Commons 0
Crowd clapping.wav by IllusiaProductions --
https://freesound.org/s/249938/ -- License: Attribution 4.0
Takeaways:
- The podcast extensively discusses the significance of analyzing movies on a mechanical level, which can lead to profound insights about their structure.
- Throughout the episode, the speakers express their admiration for the film 'Aliens', emphasizing its status as a beloved classic among both critics and audiences alike.
- A recurring theme in the podcast is the exploration of the character Ripley's evolution, particularly her transformation from a survivor to a formidable force against the alien threat.
- The dialogue reveals the speakers' critique of the film industry, particularly regarding the financial motivations behind sequels and the implications for storytelling quality.
Companies mentioned in this episode:
- Aliens
- Alien
- Jaws
- James Cameron
- Ridley Scott
- Terminator
- Avatar
- Ghostbusters
- Mad About You
- Weird Science
- Bill Paxton
- Michael Biehn
- Sherry
- Weyland Yutani
Mentioned in this episode:
Community On X
The Fellowship Of The Reel is on X! https://x.com/i/communities/1868133033414734163
Transcript
Are you recording this?
Speaker B:Studying a movie in the mechanical level I think can really bring some revelation.
Speaker C:I believe that no one says that to make a bad movie, with the exception of.
Speaker D:On paper.
Speaker D:This should work.
Speaker B:This should work.
Speaker D:I just don't like it.
Speaker A:That's your own fault if you haven't seen it.
Speaker B:Way over budget.
Speaker B:Start cutting scenes.
Speaker B:Even the actors don't know what that movie is about.
Speaker B:I wish I wrote that.
Speaker C:Which I love the title, but that movie's trash.
Speaker B:Well, it's oatmeal, man.
Speaker B:It's good for you.
Speaker B:This time we are going to be reviewing Aliens with an S, not Alien.
Speaker B:We appreciate the title of that sequel.
Speaker B:Some more than others.
Speaker B:Maybe.
Speaker C:Well, it's plural, right?
Speaker C:There's more than one alien.
Speaker B:Yeah.
Speaker B:There is more than one alien.
Speaker B:Yes.
Speaker C:I mean, they could have called it a shit ton of aliens.
Speaker B:Anyway.
Speaker B:Yeah.
Speaker B:So as we were doing this, we had to confirm that we were in fact talking about the sequel and not the first one.
Speaker A:It's because I had no clue.
Speaker A:I had no clue there was an alien.
Speaker A:And aliens.
Speaker B:Well, like for Aliens 3.
Speaker B:They call it Aliens 3, right?
Speaker C:Yep.
Speaker C:Just phoned it in at that point.
Speaker C:Yep.
Speaker B:Well, yeah, I mean, like even more aliens or something.
Speaker D:It's Alien 3.
Speaker B:So it is single with a 3.
Speaker C:Yeah.
Speaker C:Oh, yeah, I didn't catch that.
Speaker C:Good, good catch.
Speaker C:James.
Speaker C:You said Aliens 3, is that what you said?
Speaker B:I did, yes.
Speaker C:Yeah.
Speaker C:No, it's Alien 3.
Speaker D:Alien 3.
Speaker D:Alien Resurrection.
Speaker C:Because it's back to just one.
Speaker B:Yeah, yeah.
Speaker B:And for some reason, this has nothing to do with the movies Aliens.
Speaker B:But the, the, the tagline for this one.
Speaker B:Okay, so for the tagline for Alien is.
Speaker B:I guess in space no one can hear you scream.
Speaker B:Right.
Speaker B:As I was doing the lookup for this, the tagline, I guess one of the taglines is, this time it's war.
Speaker C:Oh, I thought you were going to say no one in space, no one can hear your screams.
Speaker B:But yeah, well, makes sense too.
Speaker B:So this time it's war.
Speaker B:And for some reason that made me think of, like, Jaws 3D.
Speaker B:Or maybe it was Jaws 4.
Speaker B:It might have been Jaws 4 tagline for Jaws 4.
Speaker B:Which should not exist.
Speaker B:This time it's personal.
Speaker C:Right.
Speaker B:So aliens.
Speaker B:Better tagline.
Speaker B:But for some reason, I went right to Jaws.
Speaker B:I'm like, you know, they made.
Speaker C:On the same level.
Speaker C:Yeah.
Speaker B:They made four of those.
Speaker B:This time it's personal.
Speaker D:Jaws five.
Speaker D:This time it's for money.
Speaker B:Right.
Speaker B:And, and, and someone had pointed out.
Speaker B:Okay.
Speaker B:Because it's Jaws Revenge, I think, is four.
Speaker B:Okay.
Speaker B:Jaws 3D and then Jaws the Revenge, I think is four.
Speaker C:But that's the one where the shark is.
Speaker C:Yeah, he's tracking them, right?
Speaker B:Yes.
Speaker B:Yeah, it's personal.
Speaker B:And then someone that pointed out in discussion, well, you know, that shark died in each of the movies.
Speaker B:So which shark is it personal to?
Speaker B:Like, is this, is this the great grandson of the first one?
Speaker B:Because how could it be personal if the shark has died?
Speaker D:It's the brother that you never notice.
Speaker C:All in Jaws, all in the family, right?
Speaker C:Yeah, yeah.
Speaker C:No, I mean, I hear you.
Speaker C:I don't know.
Speaker C:Maybe I'm.
Speaker C:I guess we'll find out as we go through this.
Speaker C:Maybe I'm looking at aliens with a certain level of blinders because I love this movie.
Speaker C:Oh, yeah.
Speaker C:So the.
Speaker C:I hear what you're saying about the tagline being very similar because.
Speaker C:Yeah, this time is personal.
Speaker C:Jaws, about a shark that didn't experience any of the previous three films is ridiculous.
Speaker C:But this time it's war.
Speaker C:Like I think that speaks to.
Speaker C:And we'll get into it, I guess.
Speaker C:But the first one, the first Alien is.
Speaker C:Movie is not a, an action movie.
Speaker C:It's.
Speaker C:There's no military.
Speaker C:Right.
Speaker C:It's all on a ship.
Speaker C:You know, this has guns and it's the.
Speaker B:Oh, no, no.
Speaker C:Colonial Marine.
Speaker C:Colonial Marines.
Speaker C:Yeah.
Speaker C:Colonial Marines, right.
Speaker C:Space Marines.
Speaker C:Right.
Speaker C:So I think that's what it kind of.
Speaker B:No, I, I definitely think this is Superior to Jaws 4.
Speaker C:Yeah.
Speaker C:But as a tagline, I think this.
Speaker B:Table leg is superior to Jaws 4.
Speaker B:So.
Speaker B:Yeah, but Jaws 4 table leg takes that personally, man.
Speaker B:Yeah, well, it should be a compliment.
Speaker B:Yeah.
Speaker B:So this was James Pick, right?
Speaker B:Yeah, but he.
Speaker B:I'm going to go ahead and read as a side note.
Speaker B:And, and we probably need to have someone counting this.
Speaker B:We need a fifth person just counting this because Sherry mentioned to me, like, apparently we say a lot.
Speaker B:Okay, we'll get to that later.
Speaker B:Like, we'll.
Speaker B:We'll talk about a point that we definitely mean to talk about later, but.
Speaker C:We don't always get to.
Speaker B:Well, no, I don't.
Speaker B:I hope we do.
Speaker B:I think we do because we have, you know, our notes or whatever, but Sherry pointed out to me that will stray into an area and one of us will invariably say, well, we'll talk about that in a few minutes or later or whatever.
Speaker B:So hopefully we do.
Speaker C:Well, maybe adding a fifth person.
Speaker C:We can get to that later.
Speaker B:Yeah, we'll get to that later.
Speaker B:Right, There you go.
Speaker B:Okay.
Speaker B:So, yeah, so this is the synopsis that I got off IMDb and then there's my note.
Speaker B:This time it's war.
Speaker B:Hawkins.
Speaker B:The Jaws for the Revenge.
Speaker B:This time it's personal.
Speaker B:But by no means do I compare these movies as.
Speaker B:As similar.
Speaker B:But we'll get to that later as we get in our notes or whatever.
Speaker D:Jot that one down.
Speaker C:They are both Monster in House, though.
Speaker B:Yes, well, yes.
Speaker B:And there's a whole section about that.
Speaker B:So, so this is the synopsis I got off alien off IMDb and I, I.
Speaker B:These things are not typically well written.
Speaker B:I don't, I don't.
Speaker B:I.
Speaker B:I read these and then I was like, okay, I guess that's the movie.
Speaker B:Anyway, this is aliens.
Speaker B:57 years after surviving an apocalyptic attack aboard her space vessel by merciless space creatures, Officer Ripley awakens from hypersleep and tries to warn anyone who will listen about the predators.
Speaker B:And then the tagline, of course, is time.
Speaker B:It's war.
Speaker B:I mean, that's, I guess, essentially it.
Speaker C:Yeah, I don't like it.
Speaker B:Yeah, these, these synopsis, you know, on IMDb there are other synopsis that people actually write, like fans and stuff, and sometimes they're better, but I don't know if that's the official one.
Speaker B:It's the one that is at the top of IMDb as far as their.
Speaker D:I've got.
Speaker D:I've got this one, if you want me to read it.
Speaker D:Yeah, yeah, I've got.
Speaker D:Yeah, do it.
Speaker D:I've got.
Speaker D:57 years after Ellen Ripley had a close encounter with a reptilian alien creature from the first movie, she is called back, this time to help a group of highly trained colonial marines fight off against a sinister extraterrestrials.
Speaker D:But this time, the aliens have taken over a space colony on the moon LV426.
Speaker D:When the colonial marines are called upon to search the deserted space colony, they later find out that they are up against more than what they bargained for.
Speaker D:Using specially modified machine guns and enough firepower, it's either fight or die.
Speaker D:As the space Marines battle against the aliens.
Speaker D:As the Marines do their best to defend themselves, Ripley must attempt to protect a young girl who is the sole survivor of the nearly wiped out space colony.
Speaker B:Yeah, yeah, that's better.
Speaker C:It's too long, but that's better.
Speaker B:That's more of a synopsis than a.
Speaker C:I didn't like the apocalyptic.
Speaker B:Yeah, I don't remember any zombies or.
Speaker C:Nuclear stuff going on.
Speaker B:It's not the end of the world.
Speaker B:Right.
Speaker B:I mean, I guess it could be.
Speaker C:But not that the alien wasn't, you know, bad news on the ship but yeah, I guess apocalyptic is not the way.
Speaker B:Yeah, I didn't.
Speaker B:I wouldn't find that word.
Speaker D:They were too busy watching the good movie then.
Speaker D:Watching or writing synopsis.
Speaker B:Sure.
Speaker B:Yeah.
Speaker B:No, and if you're going to put your effort into something, let it be the movie.
Speaker B:Right.
Speaker B:So.
Speaker B:All right, so that's.
Speaker B:That's the movie we're reviewing.
Speaker B:Aliens.
Speaker B:And that's the synopsis.
Speaker B:Anything else before we move into our next section?
Speaker B:No.
Speaker B:So, money, critics, fans.
Speaker B:This is how the movie was received by critics, how it did to the box office, and how it has been received by the fans.
Speaker B:And I was actually kind of amazed by this because this movie has.
Speaker B:Is almost universally accepted and loved and not just by a little bit.
Speaker B:Right.
Speaker B:So Tomatometer, using their.
Speaker B:Their scale, 97% fresh and 94% on the fans, which means 97% of the critics gave it three and a half stars or more.
Speaker B:And 94% of the fans gave it three and a half stars or more.
Speaker B:So this movie.
Speaker B:And that is apparently, that has never gone down because years people review this and.
Speaker B:And it is.
Speaker B:And it is 97 and 94.
Speaker B:That is almost the perfect movie as far as critics and fans, which, I mean, I love this movie, but that's.
Speaker B:That's amazing.
Speaker A:When was it released again?
Speaker C:86.
Speaker C:1986.
Speaker B:Well, as we were watching it, like, some of the, like, CGI has come a long way.
Speaker B:There were some spaceship scenes that, you know, you could tell we're a little dated.
Speaker C:Sure.
Speaker C:I thought the spaceships, when they're in space, look still really good.
Speaker C:But like, when they're entering the atmosphere, they looked a little rough.
Speaker C:But also, I guess I looked up the.
Speaker C:You probably have this, or James may have it.
Speaker C:Looked it up after the fact, but the budget.
Speaker C:It's only 18 million, if I remember right.
Speaker B:Yes.
Speaker B:Yeah, that's.
Speaker C:That's not a lot.
Speaker B:No, no.
Speaker B:This.
Speaker C:What they accomplished on screen for an 18 million is very, very impressive.
Speaker D:Well, I was reading a thing about the budget.
Speaker D:Producers took a look at the.
Speaker D:The dailies, I guessed, and we're like, well, that's where all our money's going is special effects.
Speaker D:And when it.
Speaker D:When they actually went to the set and looked, they were all scale models.
Speaker D:They thought they were gigantic sets.
Speaker D:The producers did, but they were scale nice.
Speaker D:So James Cameron was like, you know, yes, it's working.
Speaker D:It's looking great.
Speaker B:Oh, that's cool.
Speaker B:Yeah.
Speaker C:Nice.
Speaker B:Yeah.
Speaker B:Because I remember when I first saw this, like, I said, it scared the crap out of me and I wasn't thinking about the effects.
Speaker B:I was, I was on board and I was on board this time.
Speaker B:But you.
Speaker B:I guess we've gotten used to so much now.
Speaker D:Well, with TVs, you got to remember this was 85, 86.
Speaker B:No Blu Ray, no nothing.
Speaker D:Yeah, no blu ray, no 4k ultra.
Speaker D:Everything of that generation looks a little weird.
Speaker D:Like if you watch Independence Day on T, it looks really, really special effected up.
Speaker B:Well, everything was practical effects.
Speaker B:Right.
Speaker B:Like there was.
Speaker B:Because I mean that, that, that ship was probably a miniature against a green screen.
Speaker B:Yeah.
Speaker B:I mean nowadays it'd be all cgi.
Speaker B:All cgi, yeah.
Speaker B:Yeah.
Speaker B:So the budget as a, as James said, was 18.
Speaker B:18 and a half million.
Speaker B:And this movie killed it, man.
Speaker B:I mean, so domestic 85 million, international 45 million, which I guess nowadays that probably almost be reversed, but worldwide, $131 million off of $18 million investment.
Speaker B:Yeah.
Speaker B:No wonder there's five of these.
Speaker B:Right?
Speaker B:I mean, it's.
Speaker B:That's, that's.
Speaker B:I was so I'm blown away on all aspects.
Speaker B:I couldn't believe the, the fans and the, and the critics scores.
Speaker B:And then, you know, $18 million and you make 131 million.
Speaker C:And that's with seven years between sequels.
Speaker C:The first one was 79.
Speaker B:Yeah, okay.
Speaker B:Yeah.
Speaker B:I was wondering.
Speaker B:I could remember when I told Jerry was late 70s, but.
Speaker C:Yeah, so, I mean, that's a big gap, especially if you consider like the way they pump out sequels now.
Speaker D:It's a huge gap.
Speaker D:And then I read in the trivia or whatever, Cameron had such a hard time making this movie with the crew because the crew was loyal to Ridley Scott.
Speaker D:So it was Ridley Scott, right?
Speaker C:Yep.
Speaker D:For Alien, they didn't want James Cameron messing with the Alien view, you know, the, the grandiosity of what Alien was.
Speaker D:So they gave him the hardest time making this movie.
Speaker C:Yeah.
Speaker C:Also they shot overseas, Right.
Speaker C:In England or wherever.
Speaker C:So they're, you know, tea time's a big deal.
Speaker C:So they would take breaks for tea time and James Cameron's like, what the is this?
Speaker C:And like he would get pissed and.
Speaker B:Yeah.
Speaker C:Lose his mind.
Speaker C:Of course, that builds rapport with the crew.
Speaker B:Yeah, yeah.
Speaker D:After they spent all day setting up a shot.
Speaker B:Yeah.
Speaker D:You know, Bill Pax.
Speaker D:Bill Paxton's sitting there, you know, dangling in the air and they're like, tea.
Speaker C:Time, time to go.
Speaker C:What break?
Speaker C:Yeah.
Speaker C:And he's.
Speaker C:What?
Speaker D:What?
Speaker B:Yeah, so they.
Speaker C:Yeah, yeah, there's a.
Speaker C:Yeah, I've read about this some.
Speaker C:And then there's on Netflix.
Speaker C:I want to say there's the Movies that made us as a.
Speaker C:Like a documentary.
Speaker C:It covers a lot of different movies.
Speaker C:Aliens is one of the ones that it covers.
Speaker C:Or movies that made us.
Speaker C:Or how did this get made?
Speaker C:I may be mixing movies that made us.
Speaker C:Okay.
Speaker C:But it's.
Speaker C:It's very much a how did this get made?
Speaker C:Type story on all of these.
Speaker C:Like, they're trying to.
Speaker C:Anyhow, so they deep dive into that and explain, you know, how they had to have a come to Jesus meeting and all this stuff.
Speaker D:Play the crew Terminator, just so they could see that he knew what.
Speaker C:He was gonna know what he's doing.
Speaker C:Yeah.
Speaker C:He's not Ridley Scott, but he knows what he's doing.
Speaker B:Yeah.
Speaker D:And only half the crew showed up to see it.
Speaker D:But once they did see it, they were like, oh, okay, we see where he's going with it.
Speaker D:And they were on board.
Speaker B:Yeah.
Speaker C:Because Terminator had come out two years prior, in 84.
Speaker B:Yeah.
Speaker C:Before that, Cameron hadn't.
Speaker C:He wasn't a known entity.
Speaker B:Yeah.
Speaker C:I think Piranha 3D or some shit.
Speaker C:I remember what it was like something prona two, maybe.
Speaker C:I think it's two Piranha to the respawning or I don't know what it's called.
Speaker B:Yeah.
Speaker C:But anyhow, he hadn't done a lot, but.
Speaker C:So this is Cameron on the rise.
Speaker B:Yeah.
Speaker C:Terminator, then Aliens.
Speaker D:Yeah, he.
Speaker D:He got a heck of a steamroll going with those two movies he did.
Speaker C:And then years later, he's given us Avatar, so.
Speaker B:Yeah, there's one.
Speaker B:Yeah, yeah, yeah.
Speaker C:Avatar floats, man.
Speaker C:You know?
Speaker B:Yeah, okay.
Speaker B:Yeah, we won't be reviewing that anytime soon, I guess.
Speaker C:Review whatever movie you want, Phil.
Speaker B:Yeah.
Speaker C:Just know it's a pass for me going into it already.
Speaker B:All right.
Speaker A:You talking about Avatar?
Speaker C:Yeah, Yeah, I call it Avatar.
Speaker A:So I have not seen it.
Speaker C:You're not missing anything I prefer not to see.
Speaker B:Well, I mean, sci fi, too.
Speaker D:Just watch Dances with Wolves.
Speaker B:Yeah.
Speaker C:Or Pocahontas or Last Samurai.
Speaker C:They're all the same story.
Speaker C:I like Dances, and those are all superior to Avatar.
Speaker D:There's supposed to be five Avatar movies.
Speaker C:I think I've heard something ridiculous like that.
Speaker C:Yeah.
Speaker B:Oh, my God.
Speaker D: All the way up in: Speaker C:I'm very curious to see.
Speaker D:Beautiful.
Speaker C:Yeah, but I think that's part of the problem too.
Speaker C:Like, and we're not reviewing Avatars.
Speaker C:We're reviewing Aliens.
Speaker C:But Phil and I talked about this when we saw it.
Speaker C:Like, I think it's.
Speaker C:It's too much.
Speaker C:Oh, hey, look at the shiny, pretty stuff.
Speaker B:Beautiful movie about the story.
Speaker C:The story is just.
Speaker C:Again, we just talked about other movies that have done it better like.
Speaker C:And Cameron's very much capable.
Speaker C:I guess that's probably why I hate on it so much.
Speaker C:Cameron's a very gifted storyteller and filmmaker.
Speaker C:So it bugs me that this is, you know, what he cranked out.
Speaker C:You know, I mean, I like Titanic better than Avatar.
Speaker D:I would.
Speaker D:I think I look at people like James Cameron and George Lucas and even in my kind of background, Metallica, they are the ones that are pushing the technology forward.
Speaker D:Like they're so far ahead of the game, they're changing the way it's done.
Speaker D:So, you know, not everything's going to be great, but the, the technology that they're using and funding that's going to be lasting for generations.
Speaker D:So George Lucas, you know, when, sure.
Speaker D:When episode one, two and three came out, it was, ah, the story's okay, whatever.
Speaker D:But he was the first guy to shoot most everything in front of a green screen all on computers.
Speaker D:They were putting lots and lots and lots of money.
Speaker D:And this was kind of the being taken it back to Aliens.
Speaker D:This was his second step into big directing.
Speaker D:And he just crushed it with Terminator.
Speaker D:Crushed it with this.
Speaker D:And he just went on and on and on.
Speaker D:So that's how I look at him is with George Lucas, all those people.
Speaker C:Yeah.
Speaker C:I don't know.
Speaker C:I guess I want my cake and want to eat it too.
Speaker C:I want to push boundaries and I want a good story because it's been done.
Speaker C:Star Wars, Aliens, Terminator and then later, like stars.
Speaker C:Meaning the original.
Speaker C:Sorry, yeah, you, the original.
Speaker D:They basically the other people take the ball and run with it.
Speaker C:Sure.
Speaker D:James Felony with the Star wars universe, you know, take it and run because not everybody can write and sure.
Speaker D:Direct and do all that.
Speaker B:I just like, I appreciate all those special effects.
Speaker B:But it's almost like, hey, we got all these cool new toys, let's go find a story.
Speaker B:Rather than hey, we got this story.
Speaker B:And you know that special effect.
Speaker B:And that special effect would really help this story, you know, so it's.
Speaker B:I think story should be first and then you find the effects to, to build it up.
Speaker B:Not like, oh, we got this cool new toy, we need something to do with it.
Speaker B:Yeah.
Speaker D:And you know, that's why I kind of put them in rarefied air with each other is those are the people that kind of bridge that gap.
Speaker D:There's not too many people that can bridge that gap.
Speaker D:But those three guys are at least trying.
Speaker D:And their name's still out there.
Speaker C:Sure.
Speaker D:They're still doing it.
Speaker B:Yeah.
Speaker D:Level.
Speaker B:They'll create these.
Speaker B:They'll create the technology to fulfill a need.
Speaker B:Like, I can't think of a specific example, but I'm sure, like an avatar.
Speaker B:They wanted to film something and the technology to do it wasn't there or the device to do it wasn't there.
Speaker B:And so they invent it and then it becomes.
Speaker C:Sure.
Speaker C:You know all the motion capture stuff.
Speaker B:Yeah.
Speaker C:Because those characters are pretty much completely digital, but the actors are there doing the performance.
Speaker B:Like.
Speaker B:Like Scott.
Speaker B:Like Skywalker sound.
Speaker B:Okay, so this is Lucas's.
Speaker B:To me, that's the biggest contribution to movies.
Speaker B:Star Wars, Episode four.
Speaker B:Yes.
Speaker B:Everything else.
Speaker B:He's not a good director.
Speaker B:He's not a good writer.
Speaker B:But he developed technology.
Speaker B:Yes, I said that.
Speaker B:He developed.
Speaker C:Just forgetting about Empire Strikes Back, ladies and gentlemen.
Speaker B:But he didn't write that.
Speaker B:Right?
Speaker B:He didn't write that.
Speaker B:What's his name wrote that.
Speaker D:Kasdan.
Speaker B:Kasdan, yes.
Speaker B:Okay.
Speaker B:And wanted a different ending.
Speaker B:And Lucas was like, no, no, no.
Speaker B:We can't sell toys in McDonald's Happy Meals if you kill off, you know, whatever.
Speaker B:Which they wanted Luke in this.
Speaker B:Riding off in the.
Speaker B:I don't.
Speaker B:Anyway, but get to that later in another part.
Speaker B:And I'm sure that when people get to this episode, they'll be like, Star Wars.
Speaker B:Click.
Speaker B:You know.
Speaker B:Anyway, bye.
Speaker D:He stands alone on that.
Speaker B:You sure?
Speaker B:But Lucas developed Skywalker sound and Lucas Arts, the special effects.
Speaker B:And, you know, there's always the Star Wars, Star Trek camp.
Speaker B:But you watch a Star Trek movie and they're using Lucas Skywalker sound.
Speaker C:Everybody's using.
Speaker D:Right, Absolutely.
Speaker B:And so they.
Speaker C:Illum.
Speaker C:Yep.
Speaker B:Yeah.
Speaker B:Industrial.
Speaker C:He had to create an empire while he was making these Star wars movies.
Speaker C:Yeah.
Speaker C:About a rebellion fighting an empire.
Speaker C:Yep.
Speaker B:Yes.
Speaker B:Anyway, what are we doing again?
Speaker C:Oh, aliens.
Speaker B:I did have a question before we moved on, because the.
Speaker B:Both the synopsis that James read in the.
Speaker B:And the.
Speaker B:The blurb that I read mentioned this 57 years thing, and obviously there's three, four, and five coming along.
Speaker B:Right.
Speaker B:So Ripley went on this mission.
Speaker B:You know this.
Speaker B:They're about the first one.
Speaker B:Yeah, yeah.
Speaker B:She's.
Speaker B:Her job is to.
Speaker B:As a miner, a harvester, or what they.
Speaker B:They.
Speaker B:The cargo, basically.
Speaker B:Right.
Speaker B:You know.
Speaker C:Yeah, but she's a.
Speaker C:The warrant officer or whatever, right?
Speaker B:Yeah, yeah.
Speaker B:But.
Speaker B:But she works for a company, like.
Speaker C:Yeah.
Speaker B:The mission of the ship is to go to these planets and harvest ore or something like that.
Speaker B:You know, they have cargo.
Speaker B:Right.
Speaker D:Yeah.
Speaker C:Yes.
Speaker B:Okay.
Speaker B:So she's.
Speaker B:So did she ever get home.
Speaker D:No.
Speaker C:Right.
Speaker B:That's what I'm thinking.
Speaker B:Because she wakes up 57 years.
Speaker B:Okay?
Speaker B:Blah, blah, blah.
Speaker B:And like, number three, because.
Speaker B:Because the first.
Speaker B:As soon as Michael Biehn came on, Sherry was very concerned.
Speaker B:He doesn't die, does he?
Speaker B:He does.
Speaker B:Michael Biehn doesn't die.
Speaker C:As any viewer should be.
Speaker C:First time, it's fucking Michael Bean.
Speaker B:But she was only half paying attention, and then she saw Michael Biehn.
Speaker B:She was like.
Speaker B:She put down her phone, like, oh, Michael Biehn.
Speaker C:Nice.
Speaker C:Nice.
Speaker B:All of a sudden, she was on.
Speaker A:I have that under my.
Speaker B:Plus Michael Bean.
Speaker A:Michael Bean.
Speaker C:Yeah.
Speaker B:I would.
Speaker C:I'll go and say it.
Speaker C:I think he's one of my.
Speaker C:Yeah, he's one of my man crushes.
Speaker B:For sure.
Speaker B:I love him.
Speaker C:And I'm sure it's Terminator, I guess, and Aliens, but, yeah, sure.
Speaker C:Love Michael Biehn as well.
Speaker C:Yep.
Speaker B:But Tombstone.
Speaker C:Tombstone.
Speaker C:Yes, yes, Johnny Ringo.
Speaker C:Yes, of course.
Speaker D:That goes without saying.
Speaker C:Yeah, no, he's.
Speaker C:He's awesome.
Speaker B:But we.
Speaker B:But I don't want to get into aliens.
Speaker B:Alien 3.
Speaker C:Yeah.
Speaker C:She never gets home.
Speaker B:Yeah.
Speaker B:But, like, so, yeah, I mean, she.
Speaker C:That's a bummer, man.
Speaker B:Yeah.
Speaker B:And.
Speaker B:And I thought of this, and I want to.
Speaker B:I didn't write it down, and I was hoping I would remember it.
Speaker B:Like.
Speaker B:Okay, so we'll get into this when we get into the story.
Speaker B:But she.
Speaker B:She wakes up 57 years later.
Speaker B:Right.
Speaker B:And she has no family or anything.
Speaker B:Right.
Speaker B:Like, the only people she's looking up are the crew.
Speaker C:Well, if you watch the.
Speaker C:And we were.
Speaker C:We decided beforehand.
Speaker C:Specifically watch the theatrical version.
Speaker D:Correct.
Speaker C:But if you watch the special edition.
Speaker B:Yeah.
Speaker C:It references that.
Speaker C:And you find out that her daughter has died.
Speaker C:Like, she's lived her life.
Speaker C:If I remember correctly, she had a daughter.
Speaker C:And then.
Speaker C:Yeah.
Speaker C:So that's part of the whole heartache of the 57 years is.
Speaker B:Yeah.
Speaker C:You know, I've missed my daughter's entire life now.
Speaker C:I never.
Speaker C:Never got back home and missed my daughter's entire life.
Speaker D:That's the.
Speaker D:That's the emotional thread that goes on to the little girl later.
Speaker B:Yes, yes, yes.
Speaker C:Actually, I have a note about that, about their opening and closing images, but it doesn't.
Speaker B:Right.
Speaker C:Without the.
Speaker C:Without the.
Speaker C:The missing information about the daughter.
Speaker B:Yeah, yeah, yeah.
Speaker B:Okay.
Speaker B:Yeah, because.
Speaker B:Because we watched.
Speaker B:I was gonna watch it on Blu Ray, but it was so easy to just pull it up on streaming that we just did that.
Speaker C:And I don't have Hulu, so I watched my Blu Ray.
Speaker B:Yeah, we should have watched The Blu Ray.
Speaker C:I don't think it matters.
Speaker B:Okay, so that's aliens.
Speaker B:It did.
Speaker B:Well, people love it.
Speaker D:It's a classic, man.
Speaker C:Well, not everybody loves it.
Speaker C:Right, Sherry?
Speaker B:Well, she's part of the 3% then, because.
Speaker C:Well, 6%.
Speaker B:6% that.
Speaker A:It's probably like you said.
Speaker A:You were talking about Jaws.
Speaker A:It's probably that whole.
Speaker A:There's a monster.
Speaker A:I am.
Speaker A:I'm ready for it to be over.
Speaker B:Well, several times during the movie, as the aliens are attacking and they're fighting, Sherry was like, I'm out.
Speaker B:I'm out.
Speaker B:Is it.
Speaker B:When is this over?
Speaker B:She was like, it's too much.
Speaker B:It's too much.
Speaker B:I'm out.
Speaker A:Okay, the end.
Speaker A:The end.
Speaker D:Good.
Speaker C:But Michael Biehn was there to save you and protect you.
Speaker B:Yes.
Speaker C:Okay.
Speaker B:Yeah, but I can remember, you know, talking about fans, you know, I guess we're still in that section, but I can remember, like, there are two movies that just freaked my shit right out.
Speaker B:One was Jaws that I saw when I was like 10 years old.
Speaker B:And then this one.
Speaker B:Okay.
Speaker B:Which I saw several.
Speaker B:You know, obviously I was, you know, 20s maybe, or whatever.
Speaker B:But I remember watching this and thinking, man, this is some being like on edge into it, you know.
Speaker C:Yeah, no, there's.
Speaker C:For sure.
Speaker C:I had the same.
Speaker C:They don't.
Speaker C:Obviously don't affect me that way anymore.
Speaker C:But yeah, watching this movie, there were several scenes that had come up that I remember being freaked out about as a child.
Speaker C:When the newt's in the water, when she's been separated from Ripley and Hicks and they're looking for her, and the alien rises up out of the water behind her.
Speaker C:That scared the shit out of me when I was a kid.
Speaker C:And then Bishop getting impaled by the.
Speaker B:Yeah, sure.
Speaker C:By the queen's tail and then ripped in half.
Speaker C:That jacked me up as a kid.
Speaker B:Something happened to his prototype.
Speaker B:Like the.
Speaker B:In Alien, he get.
Speaker B:Then you get.
Speaker C:Well, it's not him.
Speaker C:I know, but it's the Android.
Speaker B:Yes, previous version of him and whatever.
Speaker B:He gets also torn apart.
Speaker C:Yeah, I don't think it's torn.
Speaker C:He gets destroyed or in beat up, but it's because he goes berserk and tries to kill them and they like bash his head off or something.
Speaker B:Oh, yeah, yeah, yeah, yeah.
Speaker C:But just the.
Speaker C:I think what makes it extra creepy to me is the.
Speaker C:The white blood.
Speaker B:Yeah.
Speaker C:That squirts out.
Speaker C:It just makes it even, you know, adds this whole other like.
Speaker C:Like if it was regular, normal colored blood, it would be all about it.
Speaker C:Yeah.
Speaker C:I don't think it would bother me as much.
Speaker C:It's the fact that it's the white.
Speaker C:It's like milk stuff coming out.
Speaker B:It's weird, otherworldly, a little twisted.
Speaker D:Chris.
Speaker C:Yeah.
Speaker C:Okay.
Speaker A:Better than the acid that comes out of the.
Speaker C:Yeah, the acid blood.
Speaker C:That's great.
Speaker C:Like, whoever came up with that, that's brilliant.
Speaker D:I know where we haven't gotten to the story part of it, but when Ripley at the beginning is explaining what.
Speaker D:What's going on, they don't believe her.
Speaker D:She's.
Speaker D:He's like, wait a minute.
Speaker C:Talking about the corporate execs.
Speaker D:Yeah.
Speaker D:The corporate execs are like, you think this thing has acid for blood?
Speaker D:We don't believe you.
Speaker B:Right.
Speaker B:So this is story mechanics, the breakdown of basically the whole movie, starting out with the type of genre.
Speaker B:And again, we sort of follow just as a simple way to get into a story.
Speaker B:We.
Speaker B:Chris and I especially appreciate Blake Snyder's Save the Cat series, which is a very fast way to get into a story, to break it down, sort of crack a story if you're trying to analyze one and especially if you're trying to write one.
Speaker B:And he has come up with several genres.
Speaker B:We're not going to get into all what all those genres are now.
Speaker B:You can learn them as you go as we review different movies.
Speaker B:But I think without disagreement, I think Chris would agree.
Speaker B:This is certainly a monster in the house.
Speaker B:Snyder uses Alien, the first one, as a prime example of the monster in the house genre, which requires all these genres, require three basic elements.
Speaker B:Obviously, a monster in the house requires a monster.
Speaker B:In this case, it's the Alien, A house, which is any arena or area that they're fighting the monster.
Speaker B:Here it is primarily planet LV426.
Speaker C:Correct.
Speaker B:And then a sin.
Speaker B:So a monster, a house and a sin typically are involved in monster in the house movies.
Speaker B:Monster movies, I think.
Speaker B:And typically.
Speaker B:Well, there's at least one other movie that uses this.
Speaker B:But A Sin, I think.
Speaker B:And Chris can speak to this.
Speaker B:I'm picking greed or.
Speaker B:Yeah, greed.
Speaker B:Basically the love of money.
Speaker B:The.
Speaker B:The opportunity that maybe these aliens present for some financial gain, especially on the part of Burke.
Speaker C:Sure.
Speaker C:Yeah.
Speaker C:I was gonna say he.
Speaker C:He's the embodiment of what the.
Speaker C:The overall company wants.
Speaker C:The Weyland Yutani.
Speaker C:Yeah, they want.
Speaker C:Yeah, it's all about greed and money.
Speaker C:What, what, what?
Speaker C:How can they financially gain from these creatures?
Speaker B:Yeah, yeah, yeah.
Speaker D:I think that's a theme.
Speaker D:Greed is a theme throughout the Alien franchise.
Speaker C:Sure.
Speaker C:Yep.
Speaker C:No running.
Speaker C:Yeah, for sure.
Speaker B:I had forgotten Ripley mentions when she's explaining in the boardroom that they.
Speaker B:They set down on.
Speaker B:Because when the.
Speaker B:The planet they set down on the first one is LV426.
Speaker B:Yeah, correct.
Speaker B:And the company ordered them to go down there and retrieve these things.
Speaker B:In the first one.
Speaker C:No, there was a beacon that they.
Speaker C:There was a stress distress beacon that they were responding to.
Speaker B:I thought.
Speaker C:In the first one.
Speaker B:Yeah, that seems familiar.
Speaker C:But I thought I may have ordered them to go check it out, I guess, but it was.
Speaker B:Yeah, because I thought she had some line, and I didn't write it down, but I thought she had some line where the company ordered.
Speaker B:I don't know if the company was.
Speaker C:Definitely behind it in the first one, because Ash, the original Android, was programmed to.
Speaker C:To.
Speaker C:To keep it and bring it back.
Speaker C:Right.
Speaker C:I mean.
Speaker B:Yeah, okay.
Speaker C:Right.
Speaker C:Remember, James?
Speaker C:Remember?
Speaker B:Okay, we'll have to.
Speaker B:We'll have to do a check.
Speaker B:I'll put it in the show notes.
Speaker C:Because I want to say that's why he starts going stuff.
Speaker C:And whether so much at odds, because she is, as the warrant officer, won't let Kane back on the ship with the parasite on his face because that's against protocol.
Speaker B:Yeah.
Speaker C:And Ash overrides her and opens it up.
Speaker C:And the whole reason he does that is because he needs that.
Speaker C:That what's.
Speaker C:You know, the embryo.
Speaker C:He needs.
Speaker C:He knows what's going on.
Speaker C:He needs what's inside of it.
Speaker B:I.
Speaker B:I'll put it in the show notes after we record, to be sure, but I think she says something like, the company ordered us to go down and get these things or whatever.
Speaker B:Which, in retrospect, she'd learned, I guess maybe she didn't know it before.
Speaker B:I don't know, because even in the first one, she seems to be referencing this idea that the company.
Speaker B:Which means they knew about them, or.
Speaker C:Yeah, but it's 57 years later.
Speaker C:These are different corporate execs.
Speaker C:And they're like, yeah, we don't know what's going on.
Speaker C:We don't believe you.
Speaker C:Acid blood.
Speaker C:Like James said a second ago, this lady's nuts.
Speaker C:You've been in hypersleep way too long, lady.
Speaker D:So in the.
Speaker D:In.
Speaker D:In between the first movie and the second movie, there's a 57 year difference.
Speaker D:So she leaves, obviously.
Speaker D:She's on her escape pod.
Speaker D:Does the company send a community.
Speaker D:What are they called?
Speaker D:Colonists, whatever Colonist to the same place?
Speaker B:Yes.
Speaker D:And now she gets back, she's sitting in front of him.
Speaker D:They're like, hey, we sent colonists to this.
Speaker C:Yeah, but they're 20, 60 families, been there 20 years, never had a problem.
Speaker C:You're full of shit.
Speaker C:Yep.
Speaker C:Yeah, that's what they tell her.
Speaker D:Okay.
Speaker D:So they want her to go back.
Speaker B:And.
Speaker B:And we learn later that Burke, I guess they knew about the aliens because Burke sent him down there, didn't tell him.
Speaker B:And that's one of her beefs with Burke.
Speaker B:You know, blood on your hands kind of thing.
Speaker B:And again, a bad call.
Speaker C:Ripley.
Speaker B:Yeah, yeah, yeah, yeah.
Speaker C:He.
Speaker C:Bad call.
Speaker C:People died.
Speaker B:Yeah, right.
Speaker B:Yeah, no, he.
Speaker B:Anyway, all right, so we're moving into mechanics.
Speaker B:And so one of the first beats, obviously, is the setup is the opening image.
Speaker B:I tend to look at the opening image as a sequence.
Speaker B:But Chris, in previous episodes does make a good point.
Speaker B:The opening image is a single image, I think, clearly, that is.
Speaker C:Yeah, it's singular.
Speaker C:It's not images.
Speaker B:Yeah, yeah.
Speaker B:Images.
Speaker C:Difference between alien and aliens.
Speaker B:Right.
Speaker C:All right.
Speaker C:Sorry.
Speaker B:No, no, this time I didn't look at the sequence or all this.
Speaker D:What?
Speaker B:Because that's.
Speaker B:That's set up or whatever.
Speaker B:But.
Speaker B:So obviously, the opening image, she is asleep in cryo.
Speaker B:Right.
Speaker C:She's, you know, it's funny.
Speaker C:So I think it's actually hypersleep.
Speaker C:In my notes, I wrote cryo too, but cryo is, like, freezing.
Speaker C:It's not cryo, it's hyperspeed.
Speaker B:Yeah, no, I think it's a default.
Speaker C:I know I said the same thing, and then I wanted to correct myself.
Speaker B:Right.
Speaker B:Yeah, yeah, yeah.
Speaker B:Deep sleep or whatever.
Speaker C:Yes, deep sleep.
Speaker B:Now we talk about Blake Snyder, and his books are called Save the Cat.
Speaker B:And here she has literally.
Speaker B:Save the cat.
Speaker B:Yes.
Speaker B:Yep.
Speaker B:Typically, a save the cat is something a bad guy will do.
Speaker B:Like, if you want your.
Speaker B:The Snyder will say, if you want your bad guy to have sympathy with the audience, have him do something like save the cat.
Speaker B:And I think he actually references Al Pacino in some movie being a bad guy.
Speaker B:But coming out and seeing a cat stuck in a tree and actually helping it down, well, all of a sudden, this guy's a bad guy.
Speaker B:But, hey, he helps cats.
Speaker B:He can't be all bad, you know?
Speaker B:So now the audience is on board.
Speaker B:Yeah.
Speaker C:It helps with your character as an anti hero as well.
Speaker C:Like, if he's a little rough on the edges and particularly if he's not a.
Speaker C:Like, if it's a true protagonist, but he's not likable, have him save a cat or.
Speaker C:Oh, okay, whatever.
Speaker B:Yeah, yeah.
Speaker B:So here she is, literally.
Speaker B:I don't think that.
Speaker B:Because Ripley certainly maybe would fit into that category of antihero Yeah.
Speaker B:I mean, she's.
Speaker B:She's certainly not somebody you bring home to mom.
Speaker B:And not that she's a loose woman, but she's.
Speaker B:She's a tough.
Speaker B:Tough and foul mouth, and she's a tough space.
Speaker B:Yeah, yeah.
Speaker C:But she gets tougher in this one.
Speaker B:You know what I'm saying?
Speaker B:But so I don't know if they had her.
Speaker B:Well, whether they wanted her to save the cat or not, nobody wants to see because they brought that cat into the movie.
Speaker B:And once you do that, the audience in the back of their mind is gonna be, okay, what's gonna happen to the cat?
Speaker C:Sure.
Speaker B:And if you show Ripley leaving without the cat, people will be like, you left the cat.
Speaker C:They wouldn't have four more sequels.
Speaker B:Right, right.
Speaker B:So, I mean.
Speaker B:And I don't know so much anymore, but there used to be rules where you don't kill kids, you don't kill animals.
Speaker B:Right.
Speaker B:You know, you instantly want to have.
Speaker B:And that.
Speaker B:That works for me.
Speaker B:It pulls me right out.
Speaker B:AKA John Wick, number one.
Speaker B:You know, I love John Wick, but when I first saw that, I'm like, okay, well, I can't watch this again.
Speaker B:You know, almost.
Speaker C:I hear you.
Speaker C:Yeah.
Speaker B:And he does.
Speaker C:That scene's terrible.
Speaker C:And I.
Speaker C:I've have had two beagles in my life.
Speaker C:And so that dog being a beagle, I think makes it even.
Speaker C:Even worse.
Speaker C:You know, you see the.
Speaker C:The blood trail and stuff.
Speaker C:But I guess I have a different.
Speaker C:Very different reaction.
Speaker C:It makes me mad.
Speaker C:It makes me so, like, I'm on board.
Speaker C:Yeah, that's.
Speaker C:That's my point, I guess I'm 100% on board with him.
Speaker C:Every mil, all million bullets he fires into all those sons of bitches, I'm.
Speaker B:Right there with absolutely no.
Speaker C:Actually hit him again, John.
Speaker B:Yeah, well, even like in the sequel, whatever, you had to kill his dad dog, you know, whatever.
Speaker C:Yeah, they make it a running.
Speaker C:A running gag, which is good.
Speaker C:Like, I'm up for John Wick four or five, six, as many of those they want to make.
Speaker C:I'm on board.
Speaker C:Me.
Speaker B:Absolutely.
Speaker B:Absolutely.
Speaker D:This time is Quit killing his dog.
Speaker C:This time is.
Speaker B:I don't think they're going to kill this dog.
Speaker B:This dog is muscles with a collar, right?
Speaker C:Oh, yeah, right.
Speaker C:Yeah.
Speaker C:He does get a new one.
Speaker B:Yeah, yeah.
Speaker B:Anyway, so, yeah, so I think it is intentional because once you bring that cat in, that cat has to live.
Speaker B:And so that's.
Speaker B:She's got the cat, which I think it's funny.
Speaker C:They even.
Speaker C:Sorry I interrupted you.
Speaker C:But they.
Speaker C:She even Has a line later on when she.
Speaker C:When she.
Speaker C:We're jumping ahead, but once she commits to her breaking it into two and commits to going on this mission, she tells of the cat and you, you little.
Speaker C:You're staying here.
Speaker B:Yeah.
Speaker B:Right.
Speaker C:Telling the audience, don't worry.
Speaker C:Cat's gonna be fine.
Speaker B:Right, Right.
Speaker B:Which, you know, I mean.
Speaker B:Yeah, absolutely.
Speaker C:We got away with it once.
Speaker C:Him running around and being in jeopardy.
Speaker C:He's not gonna happen this time.
Speaker B:Right.
Speaker B:Okay.
Speaker C:Opening image.
Speaker C:And then.
Speaker B:Yes, that was.
Speaker B:I mean, that's what that.
Speaker B:That image carried.
Speaker B:And they should image that.
Speaker B:That image carries a lot of baggage.
Speaker B:But, you know, I mean, it's.
Speaker B:It's not just her waking up, which could have been a boring scene or whatever.
Speaker B:Yeah.
Speaker B:So I think we all agree on the opening image, the setup, and we could get into this.
Speaker B:But I thought.
Speaker B:I don't want to say some of these beats were blurry, but some were.
Speaker B:And I don't know what the director's cut looked like or whatever, because you already mentioned earlier that there was this whole backstory with her family.
Speaker B:Because that was one of my first questions.
Speaker B:But we're given the setup.
Speaker B:Ripley has been adrift for 57 years now.
Speaker B:She is.
Speaker B:Burke.
Speaker B:Paul Reiser will say this, that she was rescued almost by chance.
Speaker B:A million.
Speaker C:Yep.
Speaker B:Shot to one like a salvage crew founder.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker B:Which is basically like, you know, finding a needle in a haystack in open space.
Speaker B:Right.
Speaker C:Right.
Speaker B:I don't.
Speaker B:I didn't balk at it.
Speaker B:I didn't think it was a problem.
Speaker B:But anytime you interject absolute coincidence into a movie, I think is dangerous.
Speaker B:Right.
Speaker B:So we needed her to be found, and so they found her.
Speaker B:I don't have a big problem with it.
Speaker C:Yeah.
Speaker C:I think the 57 years helps knock out any.
Speaker C:Mitigate any concerns or problems with it.
Speaker C:Wait a minute.
Speaker C:They just found her.
Speaker C:Way I found her after 57 years.
Speaker C:I mean, it could have been 157 years.
Speaker B:Right.
Speaker A:So what was the deal?
Speaker A:Could she not set a course for her?
Speaker B:Well, she had proximity alert on.
Speaker C:Yeah.
Speaker C:It was an escape pod, too.
Speaker C:I don't know how much control she had in that.
Speaker C:That bad boy wakes her up.
Speaker A:It's either.
Speaker B:It's like.
Speaker B:It's like jumping off a ship in a life raft.
Speaker C:Yeah.
Speaker A:Either killed by the alien or just.
Speaker C:Even the proximity alert.
Speaker C:Didn't know.
Speaker C:Didn't wake her up.
Speaker C:The.
Speaker C:The crew comes in and mind you, they.
Speaker C:They car.
Speaker C:They cut open the door and they come in the room and she's alive or whatever.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:Okay, yeah, that's true.
Speaker B:Yeah.
Speaker B:The proximity alert didn't wake her up.
Speaker C:They.
Speaker B:They came in and found her.
Speaker C:Yeah, the controls on the autopilot on the ship, you know, allowed, you know, her to, I guess, you know, not be crash into this other salvage.
Speaker B:Yeah, she was just adrift.
Speaker A:Floating space, that's still better than being eaten by the.
Speaker B:Oh, yeah, she blew up the ship to get rid of the alien.
Speaker B:Right?
Speaker B:I mean, or the ship that's.
Speaker A:Okay.
Speaker A:Yes, I saw it years ago.
Speaker A:I don't remember it.
Speaker A:So she blew up the ship and everything.
Speaker C:I think she sets the.
Speaker C:To blow the ship up.
Speaker C:Sets it on like, self destruct.
Speaker B:Yeah.
Speaker C:And then.
Speaker B:Well, they mentioned that.
Speaker B:Right, right.
Speaker C:Yeah.
Speaker C:$42 million ship or whatever it costs.
Speaker C:Yeah, she sets to blow it up to kill the ship and the alien because all the crew's dead at that point.
Speaker C:And then her plan was to escape in the escape pod, but the alien got on board the escape pod with her.
Speaker B:Yeah.
Speaker C:I think she ends up putting the spacesuit on.
Speaker C:Blasted out of the airlock.
Speaker B:Yeah.
Speaker C:Seals the pod back up and so now, yeah, aliens dead and the ship's gone.
Speaker B:And okay.
Speaker C:Yeah, she blew the ship up and didn't have to.
Speaker B:All right.
Speaker B:Yeah, I didn't watch the first one.
Speaker C:Been a while since I've seen it.
Speaker C:I may have missed some of that, but there.
Speaker C:Messed some of that up, but.
Speaker B:No, no, that sounds right.
Speaker B:So she.
Speaker B:So she is not held as credible as to her account of events.
Speaker B:Like they say they believe some of the things she said, some of the things you are corroborated by the ship's log.
Speaker B:Others LV426.
Speaker B:The alien planet or the planet that the aliens have landed on has been colonized.
Speaker B:But contact has been lost.
Speaker B:So this is what I have for the setup.
Speaker B:This sort of sets up what's going on.
Speaker C:Losing contact is part of your setup.
Speaker B:As well, being told?
Speaker B:Yeah, I guess so.
Speaker B:I guess so, because for the catalyst.
Speaker B:So if that's.
Speaker B:If that's the.
Speaker B:That's the situation that we're presented.
Speaker B:Burke as the catalyst.
Speaker B:Burke, a company man, makes promises as to motive for needing her and the nature of the mission.
Speaker B:Need her to advise a special marine task force.
Speaker B:And she refuses.
Speaker B:And she's.
Speaker B:Yeah, she.
Speaker B:So this.
Speaker B:So the call comes to her.
Speaker B:We need you to go with these marines to the alien moon planet as an advisor, because you're the only one that knows how to do this.
Speaker B:And she's like, not having any of it.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker C:So I didn't.
Speaker C:I Have them losing contact as part of the catalyst.
Speaker C:Because, like, the whole reason they go to her and say, hey, we need you.
Speaker C:Because, like, they weren't sending Marines and doing anything before.
Speaker C:Like, literally, like, the scene before the corporate execs.
Speaker C:Like, we've had.
Speaker C:We got 60 families of colonists on there, no problems for 20 years, and then they lose contact.
Speaker C:Now.
Speaker C:Oh, wait a minute.
Speaker C:We got.
Speaker C:Maybe there's something to this crazy woman story.
Speaker B:Yeah, I might have.
Speaker C:That's what they present to her, right?
Speaker B:Yeah, I guess I didn't.
Speaker B:Yeah.
Speaker B:I wasn't tracking as far as.
Speaker B:Okay, they've been there 20 years.
Speaker B:I guess I wasn't tracking as to when they lost contact.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Okay.
Speaker B:That makes more sense if they just lost contact and are now.
Speaker C:Yeah.
Speaker C:Because they don't show up.
Speaker C:But Burke also has a line in the scene where he's trying to convince her.
Speaker C:He has a line about.
Speaker C:I hear you're working.
Speaker C:Working on the doc.
Speaker B:Yeah.
Speaker C:I mean, I know that's the only thing you could get, but I could give you your old job back.
Speaker C:So, like, she's moved on as well, and just trying to.
Speaker C:Yeah, she went with her life and she's got some menial job, it sounds like.
Speaker C:Then they.
Speaker C:You know.
Speaker C:I mean.
Speaker C:So I guess some time.
Speaker C:It's unclear, but some time has passed between.
Speaker B:She did get a job and is working.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:All right.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:All right.
Speaker B:Now she refuses.
Speaker B:And.
Speaker B:And so I guess there's a double bump here.
Speaker C:Well, there's a part of setup I feel like we missed, too.
Speaker C:Her reoccurring nightmares is part of her ordinary world now, too.
Speaker C:Yes.
Speaker B:She has a nightmare.
Speaker C:Has a very visual, very cool nightmare with it where, you know, it comes out of her stomach or whatever right at the beginning.
Speaker C:And the cat.
Speaker C:Because as the audience, you're like, oh, shit, she was impregnated from the first one.
Speaker C:How did that happen?
Speaker C:You know, like.
Speaker B:Yeah.
Speaker B:Really cool.
Speaker C:Still.
Speaker B:Did you.
Speaker B:I think Sherry wasn't aware that she was.
Speaker C:It was fake.
Speaker C:Yeah.
Speaker B:She was dreaming, right?
Speaker A:Yeah.
Speaker B:Yeah.
Speaker B:Now she has that dream before Burke comes to her with the proposal.
Speaker B:The first dream.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:Because when we first see her wake up, we're actually in the dream, in her dream, not realizing it.
Speaker C:I don't think the way they present it.
Speaker C:It's like you were just saying with Sherry, the way you present it, the Cameron presented it is.
Speaker C:This is really happening.
Speaker C:And you see it starts up out of her stomach.
Speaker C:And then she wakes up and you're like, oh, shit, it was a dream.
Speaker B:Yeah, I do have.
Speaker B:She is plagued by memories and nightmares of experiences under setup.
Speaker B:So.
Speaker B:Yes.
Speaker C:And they show her waking up in tears right before.
Speaker C:Sorry, we're getting to it.
Speaker C:But yeah, she's having those dreams, Bert.
Speaker B:Yeah.
Speaker B:As part of her.
Speaker B:No, as part of her ordinary world or whatever.
Speaker B:She.
Speaker B:This is her life now.
Speaker C:Yeah.
Speaker B:Then Burke comes to her, and so she refuses, but then has another nightmare.
Speaker C:This brings her to tears.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:So I.
Speaker B:She refuses.
Speaker B:So she needs something else to set her.
Speaker C:Yeah.
Speaker B:Her concern the colonists are not enough to get her to accept the mission.
Speaker B:So she needs another kick in the ass, which is a double bump.
Speaker B:Has another.
Speaker B:Which I thought maybe a little weak.
Speaker B:She wakes up from the nightmare and says, okay, I would have liked to have.
Speaker B:And we're not.
Speaker B:This is a.
Speaker B:Danger, danger, danger.
Speaker B:We start rewriting the movie.
Speaker B:But I would have liked to have seen some kind of more thoughtful urging of her somehow that this was what she needs to do, rather than obviously, she's trying to.
Speaker B:I felt like she needed to go.
Speaker B:She needed to go kill these aliens to put to rest her own demons.
Speaker B:Right.
Speaker B:She's going to continue having these nightmares until she faces her fears and goes and does the thing.
Speaker C:But that's what the movie's about, Phil.
Speaker B:Yeah.
Speaker B:But that's never.
Speaker B:Like she wakes up, has a nightmare.
Speaker B:Okay, I'll do it.
Speaker C:I disagree.
Speaker C:And I think the way they did it was.
Speaker C:So she wakes up, has the nightmare.
Speaker C:Right.
Speaker C:And that's part of ordinary world.
Speaker C:And.
Speaker C:Yeah.
Speaker C:He's already come to her.
Speaker C:And I think.
Speaker C:I don't think it's double bump.
Speaker C:I just think because part of the.
Speaker C:It's kind of.
Speaker C:It's not necessarily Blake Snyder's.
Speaker C:But there's Hero's Journey.
Speaker C:Talks about refusal of the call.
Speaker B:Yes.
Speaker C:Right.
Speaker C:So I think that's all Blake Snyder has what's called a debate scene.
Speaker C:And it's 12.
Speaker C:He has it as 12 pages from page 12 to 24 or minute 12 to 24 minutes into your movie.
Speaker C:So that's, to me, plenty of room for a back and forth.
Speaker C:Should I do this?
Speaker C:Should I not do this?
Speaker B:Yes.
Speaker C:Fuck, no, I'm not going to do this.
Speaker C:All right?
Speaker C:Now I'm going to do it.
Speaker C:So I don't think it's necessarily a double bump.
Speaker B:Think it's a debate.
Speaker C:I think it's a debate.
Speaker C:And then she has the nightmares.
Speaker C:And then everything you just said.
Speaker C:She calls Burke and says, hey, you're going out there to destroy them.
Speaker C:Right?
Speaker B:Yeah.
Speaker C:Not to study, not to bring back.
Speaker B:Right.
Speaker C:So to Slay her demons or whatever.
Speaker C:Encounter.
Speaker C:They're like, she's not interested in helping the company do any.
Speaker C:No, no, no Nefarious stuff or study.
Speaker C:But if we're going out there to kill them, I'm literally going out there to slay my demons.
Speaker C:And now I've got some Marines in my back corner.
Speaker C:Yeah, I guess I'm down.
Speaker B:Okay.
Speaker B:Yes.
Speaker B:And I guess I would have.
Speaker B:I think they lost some real estate there.
Speaker B:I think it would have been a good character development to see her.
Speaker B:Okay.
Speaker B:So if you're having these troubles, have a sequence where she's talking to a company counselor or something and they're talking about these things.
Speaker B:And then.
Speaker B:So that.
Speaker B:Because the outward call of killing the aliens will calm the inner call of her turmoil.
Speaker B:Right.
Speaker B:You want to link those two things.
Speaker B:Her inner struggle versus the outward call.
Speaker B:Right.
Speaker B:The outward call is going to help her calm her inner struggles.
Speaker B:John McClane kills the terrorists, but he gets back with his wife, which is the real story.
Speaker B:Right.
Speaker B:So.
Speaker C:Yeah, but there's no scene in Die Hard where he's like, hey, man, you know, if someone tells him, like, power, something tells him, you know, john, if you kill these terrorists, that'll help you get back with your wife.
Speaker B:No, but, but, but he comes to that conclusion in the bathroom, especially the best, you know, best thing that ever happened to a bum like me.
Speaker B:Right, right.
Speaker C:No, and I think she comes to that conclusion that, hey, by facing my getting back on this horse and going to this planet helps her.
Speaker C:She doesn't set out to.
Speaker C:I've got marines are gonna go help me wipe all these aliens.
Speaker C:I don't think she plans on picking up a gun.
Speaker B:And you are absolutely correct.
Speaker B:But that's never really stated.
Speaker C:I don't know.
Speaker C:It works for me.
Speaker C:Again, maybe I got my blinders.
Speaker B:You're filling in the blanks out of the love of this movie, and I love this movie, but we're filling in blanks at that point.
Speaker C:Sherry James, or who's filling in blanks.
Speaker D:You know, I didn't realize there was a gaping hole until you said that.
Speaker B:Yeah.
Speaker D:What is her motivation?
Speaker C:We're no longer friends, but when.
Speaker D:When you expressed your opinion on it, I totally agree.
Speaker D:So I take it back.
Speaker B:Well, my opinion is his opinion, but I don't think it's there.
Speaker D:I don't think it's expressly.
Speaker B:I think he's 100% right.
Speaker D:Yeah, it's.
Speaker D:It's not blatantly said in the script, and I kind of like that.
Speaker D:I don't like them Feeding you.
Speaker D:I don't like writers feeding you all the little bits of.
Speaker B:But even, but shut the hell up.
Speaker B:That's just me you should have seen.
Speaker B:Look, I just got.
Speaker B:Eat mother.
Speaker B:Okay, but even in, even in Die Hard, you have this tension with McLean and his wife.
Speaker B:Right?
Speaker B:I mean, and then in the limo, you, you know, you.
Speaker B:She thought.
Speaker B:You thought she would come crawling back, so why bother to pack, right?
Speaker B:I mean, anyway, all pope in the pool worked in not faulted movie.
Speaker B:I just think it should have been weak to you.
Speaker B:It was weak.
Speaker B:It was.
Speaker B:It could have been stronger.
Speaker B:But.
Speaker B:But again, like.
Speaker C:Yeah, I don't know.
Speaker C:I guess it didn't.
Speaker C:Yeah, didn't have a problem with it.
Speaker C:I'm saying this movie's perfect by any means.
Speaker C:I'm just.
Speaker C:Yeah, that didn't bother me.
Speaker B:4% of the people do.
Speaker B:Right.
Speaker B:So I guess I liked.
Speaker C:I thought that nightmare was.
Speaker C:And we don't want to harp on this all day, but showing the nightmare and like, even so, like everyone, like Sherry, for the first time you've seen it.
Speaker B:Yeah.
Speaker C:You know, especially seen the first one.
Speaker C:Like you, you believe that you're like.
Speaker C:Oh.
Speaker C:Like you're terrified.
Speaker B:Oh, shit.
Speaker C:Like, this is, you know, I mean, having the thing, the alien bust out of here.
Speaker B:Sure.
Speaker C:Like, that's still a scene that from the original that hairs people up.
Speaker B:That is.
Speaker B:That is one of the scariest things in cinema.
Speaker C:Like, those are like.
Speaker C:I feel like that does it.
Speaker C:Showing the nightmare and revealing it in a way that.
Speaker C:Where we didn't know it was a nightmare.
Speaker C:And then, you know, you don't need to show that over and over.
Speaker C:Right.
Speaker C:So just having her wake up and the, you know, I think Sigourney Weaver sells it bring.
Speaker C:Brought to tears right over this.
Speaker C:Even though you're safe now, your cat's safe.
Speaker C:Like, well, if she doesn't do something, this is going to be her life.
Speaker B:Yes.
Speaker C:Being a damn dock worker is not going to solve that problem.
Speaker B:Right.
Speaker C:And you're right, it's never stated.
Speaker B:No, I know, but.
Speaker B:But to your point, Ripley is.
Speaker B:Ripley won't take any shit.
Speaker C:Right.
Speaker B:And these aliens are giving her shit, right.
Speaker B:In her nightmares.
Speaker B:And she's like.
Speaker B:Because it harkens back, it harkens further on in the movie in the lifter suit.
Speaker B:This line is one of the most famous lines from the movie.
Speaker B:Get away from her, you bitch.
Speaker B:Right.
Speaker B:That's Ripley.
Speaker B:So to your point, and I'm willing to concede that when she wakes up from that nightmare, she's saying, get away from Me, you, out of my life.
Speaker B:And the only way to do that.
Speaker B:I'm gonna go and we're gonna wipe these things out.
Speaker B:Yes.
Speaker B:Right?
Speaker B:Yeah.
Speaker C:Okay, man, you suck.
Speaker C:Now I'm conceding because what just ran through my head was it'd be cool to have a scene of her doing the.
Speaker C:In the loader, doing their dock work thing, and somehow something happens at work that causes her to have a panic attack, Right.
Speaker C:And recall the memory.
Speaker C:So now she can't even work.
Speaker C:Like that would help for your point.
Speaker C:Nothing's working.
Speaker C:But now we're rewriting the movie.
Speaker C:But anyhow.
Speaker B:Okay.
Speaker B:Anyway.
Speaker C:All right.
Speaker C:Break into two.
Speaker C:She calls Burke and.
Speaker B:And.
Speaker B:And Burke assures her, yeah, that's the plan, kiddo.
Speaker C:Or whatever.
Speaker B:He says yes, and he is lying.
Speaker C:Well in his ass off.
Speaker B:Yeah.
Speaker C:Spoiler alert, right?
Speaker D:Yeah.
Speaker B:Well, 90.
Speaker B:94 of the people who've seen this love it, so there can't be many who haven't seen this already, Right?
Speaker C:Yeah.
Speaker C:Just.
Speaker B:Again, I call it cryo.
Speaker B:But crossing the first.
Speaker B:First threshold.
Speaker B:Or break into two.
Speaker B:Right.
Speaker B:I keep calling it cryo.
Speaker B:I have.
Speaker B:They go into cryo, or they go into deep sleep for the journey, and they wake up in the second act.
Speaker B:Right.
Speaker B:Is that.
Speaker B:Do you see the second?
Speaker C:Yeah.
Speaker C:No, that's cool.
Speaker C:I didn't even.
Speaker C:You brought that up on all the doors, doorways and stuff when we were talking about 16 blocks before.
Speaker C:Again, I didn't even think about that.
Speaker C:But yeah, 100.
Speaker C:The.
Speaker C:The doors are opening.
Speaker C:The.
Speaker C:To get out and step into the second act.
Speaker C:For sure.
Speaker B:I like.
Speaker B:Because it's not something you consciously think about, but if you are thinking about the breaks.
Speaker B:I like a.
Speaker B:Because it's a new world, right?
Speaker B:They waking up and they're.
Speaker B:They're in.
Speaker B:In the crazy upside down world now.
Speaker C:Well, she was alone in hypersleep.
Speaker C:Now she's waking up next to all these marines.
Speaker B:Yeah.
Speaker B:They're in an upside.
Speaker B:They have no clue to the extent of what they're getting.
Speaker C:This is their ordinary world at this point.
Speaker C:Because.
Speaker C:Yeah, they don't.
Speaker C:They don't know what's going on.
Speaker C:Yeah.
Speaker C:They have a note about how they downplay the threat for sure.
Speaker C:You know, is this another bug hunt?
Speaker C:Like, they.
Speaker C:Yeah, they don't not worry about what they're getting into.
Speaker B:Private Hudson.
Speaker B:Bill Paxton.
Speaker B:I wrote this down.
Speaker B:Have you all seen.
Speaker B:Y' all have all seen Weird Science, right?
Speaker B:Bill Paxton here is Chet from.
Speaker B:From Weird Science.
Speaker B:Yeah.
Speaker C:You know, so I didn't.
Speaker C:I'd read a.
Speaker C:I've seen the Movie, but I didn't remember a whole lot.
Speaker C:But so I read that I guess Paxton ran into Cameron in the airport when he was working on Aliens and writing it and said, hey, man, yeah, I'd love a part in the movie.
Speaker C:So Cameron rewrote Hudson for him.
Speaker B:Yeah.
Speaker C:And then so I guess like 100% base.
Speaker C:Probably based it off of Chet or whatever, how he was.
Speaker D:Had the TV on in the background, voice in mind.
Speaker C:Right.
Speaker C:Yeah.
Speaker B:A nice greasy pork sandwich served up in a dirty ashtray.
Speaker C:But the little beat when he, like everyone else, gets up and stumbles off.
Speaker C:All the marines as they wake up, they gets up and they stumble off and Hudson's the only one's like, man, this floor is freezing.
Speaker C:Yeah, he's just this, you know, like, was that written in there?
Speaker C:Was that an ad lib?
Speaker C:Just like no one else gives a shit about this cold floor.
Speaker C:But like, I don't know.
Speaker C:To me, like, you automatically identify with him.
Speaker B:Yeah, he's a.
Speaker C:What it's like to step on cold floor with your bare feet.
Speaker C:And it's like, you know, if you're not ready for that, that kind of sucks.
Speaker B:Yeah, he, he.
Speaker B:Everybody else is gung ho.
Speaker B:He thinks everything is bullshit.
Speaker C:Right?
Speaker B:Everything is bullshit, man.
Speaker B:Yeah.
Speaker B:So that puts us in the fun and games that I didn't, I didn't get deep into listing all the, you know, fun and games, but meet the team, learn the mission, intro the mover suit.
Speaker B:I'll go through them real quick and we can talk about anything you want.
Speaker B:But landing and gearing up on lv.
Speaker B:Investigating signs of a fire site, acid damage, a last stand by the colonists, discovery of a live parasite in the lab, and sole survivor from the colony.
Speaker B:Newt colony's beacon is located in a nest.
Speaker B:So these are.
Speaker B:These are the fun and games I have listed that lead us up to the midpoint.
Speaker B:But I don't want to rush through those because there's a lot.
Speaker C:Yeah, no, I just.
Speaker C:I just had a couple more that you, I guess, didn't.
Speaker C:Yeah, hadn't mentioned yet.
Speaker C:So, like.
Speaker C:So you have Bishop, who's the Android, and he has the cool knife moment with Hudson.
Speaker C:Hey, Bishop, do.
Speaker C:Do the knife thing.
Speaker C:So I thought that was cool.
Speaker C:And you.
Speaker B:The.
Speaker C:The reveal again of, I guess, Cameron's writing.
Speaker C:They do the knife trick.
Speaker C:So they set up the relationship of how Bishop is with the crew and how Hudson is.
Speaker C:And then he nicks himself.
Speaker C:And so you learn by the fact that he nicked himself that he's in fact an Android.
Speaker B:Yeah.
Speaker C:And of Course, he's sitting next to Ripley and she learns that.
Speaker B:Yeah.
Speaker C:She lose her shit.
Speaker C:Because in the previous film, the Android went nuts.
Speaker B:Yeah.
Speaker C:You know, so.
Speaker C:Yeah, she's not.
Speaker C:No, she went nuts and was also part of the whole company scheme of the alien over.
Speaker C:The crew is more valuable than the crew.
Speaker B:Well, she went.
Speaker B:She went from dealing with these aliens to dealing with these aliens.
Speaker B:Like, there was never a decompression time for Ripley.
Speaker C:Like a couple of scenes, we sit around, smoke cigarette.
Speaker B:Sure.
Speaker C:Right.
Speaker C:No, you're right.
Speaker C:Yeah.
Speaker C:No decompression.
Speaker C:And.
Speaker B:Yeah.
Speaker B:It's the next day for her.
Speaker B:I mean.
Speaker C:Right.
Speaker B:Yeah.
Speaker D:And then you kind of notice when they're doing the.
Speaker D:The intro to the crew and they're kind of telling the what.
Speaker D:What their mission is.
Speaker B:Yeah.
Speaker D:You can see that nobody still really believes her about how the threat.
Speaker C:Yeah, yeah.
Speaker C:She's some sort of advisor or some shit.
Speaker B:Yeah.
Speaker C:Completely dismiss her.
Speaker C:Yeah.
Speaker B:Well, it's.
Speaker B:It's okay.
Speaker B:So this is.
Speaker B:And I maybe forgot to mention this.
Speaker B:Typical.
Speaker B:Well, no, I wrote.
Speaker B:I wrote it right here.
Speaker B:So we're actually right on time.
Speaker B:A common element, I thought a common element to monster in the house movies is ignoring the Herald or the call of warning.
Speaker B:Okay.
Speaker B:From those with experience or intelligence.
Speaker B:Because, you know, the IQ in this room suddenly drop, like.
Speaker B:And the same thing happened in Jaws.
Speaker B:Right.
Speaker B:Like, Brody, he doesn't have a lot of experience with sharks, but he's intelligent enough to know that in the face of this kind of threat, this is what you do.
Speaker B:Right.
Speaker B:So.
Speaker B:And that's.
Speaker B:I think that's a common theme.
Speaker B:Somebody gives a warning.
Speaker C:Yeah.
Speaker B:And it's unheeded, which essentially becomes the sin.
Speaker B:It's unheeded because they're committing the sin of whatever it is that they find more advantageous than the monster.
Speaker C:Correct.
Speaker C:Than heeding the warning.
Speaker C:Right.
Speaker C:You know, and for, I guess, horror lingo, like the.
Speaker C:A lot of times it's a female that survives.
Speaker C:They call her to call it a final girl.
Speaker C:In this case, Ripley is the final girl from the first one.
Speaker C:She's come back with all the knowledge to how to, you know, what this alien, the threat that it poses.
Speaker C:And.
Speaker C:Yeah, again, nobody wants to listen.
Speaker B:Now that.
Speaker B:That got me thinking and Chris, you'll know what this means and we can define it if we have to for anybody else.
Speaker B:In Jaws, you got Quint, who is the half man.
Speaker B:Right.
Speaker B:The half man is the survivor of a previous encounter with the monster, who then advises those who are now encountering it.
Speaker B:Ripley, I think, is that for sure?
Speaker B:But then so is new.
Speaker B:Yeah.
Speaker B:So all of a sudden I'm saying I wrote down the question, is Newt the half man?
Speaker B:Do we have two half men here?
Speaker B:And I think we probably do, right?
Speaker C:Yeah.
Speaker C:So Ripley's the half man.
Speaker C:I would say, if you're an analyst of that deep.
Speaker C:So she.
Speaker C:Ripley's the half man of dealing with the single alien and kind of what she's encount.
Speaker C:Newt's the half man specifically to multiple aliens on this planet.
Speaker B:That makes sense, right?
Speaker C:Because she survived on this planet.
Speaker B:Yes, yes.
Speaker C:Which I think he has a warning too.
Speaker C:Later on.
Speaker C:I made a note in there.
Speaker C:I think it's at the midpoint.
Speaker C:They mostly come at night.
Speaker C:Mostly like it'll be dark soon.
Speaker B:Oh, yeah, yeah, yeah.
Speaker C:Again.
Speaker B:And Bill Paxton, you know, she's, you know, he's, he's bitching a moaning, which is awesome.
Speaker B:And then obviously Ripley says, well, you know, nude here without weapons or training, survived a lot longer than 17 days.
Speaker B:Why don't you put her in charge, man?
Speaker B:I love that.
Speaker B:You can't shame him.
Speaker B:Okay.
Speaker B:We're not going to count you into anything.
Speaker B:Damn right.
Speaker D:Guess we'll just count you out later on when he's like, yeah, man, you go.
Speaker C:He said you have Bishop should go.
Speaker C:Yeah.
Speaker B:Not ashamed.
Speaker C:Even at the beginning, before they even get into all the, the trouble and the people dying.
Speaker C:He's messing with, with, with Vasquez because, you know, her first thing, part of her, I guess, morning routine is doing pull ups.
Speaker B:Yeah.
Speaker C:He's like, hey, Vasquez, you ever been mistaken for a man?
Speaker C:And she coolly goes, no.
Speaker C:Have you?
Speaker B:Yeah, yeah, there's good, there's some good exchanges in this.
Speaker B:Yeah.
Speaker B:So colonists locate a nest.
Speaker B:Now, Sherry mentioned this and I was thinking it almost the exact same moment, like 30 seconds before it exploded.
Speaker B:So up to this point, all, you know, the fun and games and everything, so far there hasn't been a lot of action.
Speaker B:One of the fun and games is meeting the team.
Speaker B:So you get all these marines at different personalities.
Speaker B:Obviously anytime you intro a team like that, there's always strong personalities, right?
Speaker B:So one's a complainer, one's, you know, the macho, whatever.
Speaker B:There hasn't been a lot of exciting, exciting parts.
Speaker B:I mean, it's very interesting.
Speaker B:But there wasn't no action scenes, Right.
Speaker C:I felt like they were all filled with tension.
Speaker C:Like there's a tremendous amount of tension build up.
Speaker C:So she mentioned it back to this.
Speaker B:Planet about the same time I was thinking it.
Speaker B:And then like four seconds later, it.
Speaker C:All Hell breaks loose.
Speaker B:All hell breaks.
Speaker B:Oh, there it is.
Speaker B:Yeah.
Speaker B:So I wrote, starts off a lot of tension build up before the explosion of action with the flaming of the baby alien.
Speaker B:So they killed the alien, the baby that burst out of the chest of the poor survivor.
Speaker B:And then the mama or one of the guardian aliens decides, well, you killed a baby doll.
Speaker B:I'm coming for you, you know?
Speaker C:Right.
Speaker C:Well, even back to kind of what we were talking about earlier, about Ripley's motivation and just how hard it is for her to go back to this, right.
Speaker C:She's having the nightmares and everything she experienced from the first one.
Speaker C:When they encounter the one survivor who's still alive.
Speaker C:And she.
Speaker C:Her.
Speaker C:That lady's first words are, please kill me.
Speaker B:Yeah.
Speaker C:And then when it pops out of her, her.
Speaker C:Her stomach, right.
Speaker C:They.
Speaker C:They have cuts of, you know, Ripley and just like she's her hands on her own chest.
Speaker C:Like, this is horrible stuff.
Speaker B:Yeah.
Speaker C:No, and also, I think it's a big moment.
Speaker C:She's safe.
Speaker C:She's not out there with the Marine.
Speaker C:She's safe in the little.
Speaker C:In the car thing, you want to call it.
Speaker C:Right.
Speaker C:Watching everything on monitors like, she doesn't take it, really.
Speaker C:She's along for the ride as truly an advisor.
Speaker B:Advisor.
Speaker C:She doesn't take an active role until after all hell breaks loose and realizes somebody has to do something.
Speaker B:Yeah.
Speaker B:This lieutenant I have.
Speaker B:Chaos.
Speaker B:Fog of war.
Speaker C:Yeah.
Speaker B:Shitless lieutenant loses it.
Speaker C:Yeah.
Speaker C:No, and I thought, interesting, because I don't know who you have is the B story, but I have it as Hicks.
Speaker C:So they.
Speaker C:They show difference between Hicks and Gorman.
Speaker C:Gorman's, like, nervous and he's all sweaty.
Speaker B:Yeah.
Speaker C:On the drop down, Hicks passes out and sleeping like a baby.
Speaker C:This is run of the mill, like his heartbeat.
Speaker B:Right.
Speaker B:Everybody else is.
Speaker B:And takes a.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:So he's, you know, complete calm and control and, you know, I don't know.
Speaker C:Just.
Speaker C:I thought that was interesting.
Speaker B:Okay, so they.
Speaker B:Ripley to the rescue is what I have.
Speaker B:And then.
Speaker B:So most of them get back.
Speaker B:I think there is a couple of deaths here.
Speaker B:Do they lose a couple of Marines?
Speaker B:I can't remember.
Speaker C:Only Hicks.
Speaker C:Only Hudson Hicks, Hudson, Vasquez, Birkin, Newt and Gorman are the only ones that survive.
Speaker B:Okay.
Speaker C:All their other Marines die.
Speaker B:Right.
Speaker B:So I just have they get back to lick their wounds.
Speaker B:Now I have this as coming up on the midpoint as a false defeat.
Speaker B:Well, and again, I'm always sort of.
Speaker B:Because once I peg that I'm looking to see what's going to be the all is lost, whether it's the opposite.
Speaker B:And this is where I always get mixed up because all of a sudden.
Speaker B:Well, that's bad too.
Speaker B:So now I'm trying to figure out.
Speaker C:Yeah.
Speaker B:If they've done it that way.
Speaker B:Which one is which.
Speaker B:I went with a false defeat, but I wrote a false defeat.
Speaker B:But it may be a false victory because I think there is a clear false defeat at the.
Speaker B:All is lost.
Speaker C:Yeah.
Speaker B:Okay.
Speaker B:So that's what you.
Speaker C:I.
Speaker C:So I originally had this as a false defeat because obviously, you know, it's an ass kicking.
Speaker C:Only a couple of them survive, I don't think.
Speaker C:Like, I wrote it down initially, but I ended up after watching.
Speaker C:Continuing to watch the movie.
Speaker C:I advised my notes.
Speaker C:And yeah.
Speaker B:A little bit later, Paxton has another.
Speaker B:I don't think.
Speaker B:I don't know if you're caught up on current events.
Speaker B:We just got our asses kicked out.
Speaker C:Yeah, yeah, love that one.
Speaker B:All right, so you're calling it a.
Speaker C:False victory, but it's not.
Speaker C:At that point, it's a false victory because.
Speaker C:Right.
Speaker C:If they get their asses kicked, they decide to as a group other than Bert, to take off and nuke the nuke from orbit and get.
Speaker C:So it's easy solution.
Speaker C:Get the hell out of here.
Speaker B:We're done.
Speaker C:Shit up.
Speaker C:We're done.
Speaker B:Yeah.
Speaker C:And so.
Speaker C:And they have a plan.
Speaker C:They call the ship.
Speaker C:You had the lady come fly down.
Speaker C:So that's their.
Speaker C:It's a false victory because the ship quickly crashes because an alien got on board.
Speaker C:Now they're stranded on this planet as soon as.
Speaker C:Yeah, that was my false victory is.
Speaker C:Let's get the hell out of here and nuke it from orbit.
Speaker B:Yes.
Speaker B:Yeah.
Speaker B:So I have both down.
Speaker B:But as I watch it, I think you're right.
Speaker B:I think it's a false victory here.
Speaker C:Because we're probably right on the agree that it's a false defeat later on.
Speaker B:Yeah.
Speaker B:All right.
Speaker B:That guy's close in again.
Speaker C:I sort of wrote the ship alien taking out the pilot.
Speaker B:Yeah.
Speaker B:And this was.
Speaker B:There's.
Speaker B:There's a lot to.
Speaker B:The bad guys closed in because I.
Speaker C:Yeah, I've got a lot.
Speaker B:Yeah, yeah.
Speaker B:Because I have all those losses of false defeat.
Speaker B:Okay.
Speaker B:So bad guys close in.
Speaker B:You get this shot of Burke watching, like, you know, so if you didn't think Burke was up to something before, you could tell by how he's listening to the discussion about nuking the planet that he doesn't like that.
Speaker B:And he sort of wanders off.
Speaker B:So you almost know he's going to do something if you haven't been aware of it before.
Speaker B:It is no longer a seek and destroy.
Speaker B:The question is raised, who is laying all these eggs?
Speaker B:And then Burke actually admits that they want to harvest these for weapons research, for bioweapons or whatever.
Speaker C:Well, but there's a.
Speaker C:There's.
Speaker C:I had another note on the.
Speaker C:Who's laying the eggs?
Speaker C:Ripley.
Speaker C:Ask it when they're in the lab discussing it.
Speaker B:Yeah.
Speaker C:Bishop says, I don't know, something we haven't seen yet.
Speaker C:I thought that was great.
Speaker B:Oh, yeah, yeah.
Speaker C:This, like, you know, talking to the audience, you know.
Speaker B:Yeah.
Speaker B:Talking about building the world.
Speaker B:Right.
Speaker B:So now you're.
Speaker C:This is bad.
Speaker C:I got something for you.
Speaker B:Yeah.
Speaker B:You're introducing a whole new Because.
Speaker B:Because we've seen the alien.
Speaker B:And alien in the first one.
Speaker B:But that's.
Speaker B:That's.
Speaker B:That's one, you know, species of.
Speaker C:Yeah.
Speaker C:I guess Cameron had to come up with all this because.
Speaker C:Yeah.
Speaker C:I mean, was it the alien in the original that was laying the eggs?
Speaker C:Like, you know, that's never discussed and we never learned.
Speaker C:So, yeah, Cameron had to come up with all this.
Speaker C:We did Skip Over Hudson.
Speaker C:Had another.
Speaker C:Another good line.
Speaker C:A good line with the.
Speaker C:After the ship crashes and the.
Speaker C:I feel like this one is the most famous ones.
Speaker C:The after crashing.
Speaker C:Like, that's just great.
Speaker C:Just came over, man.
Speaker C:I mean, just came over.
Speaker C:Stranded on this fucking planet, you know, with deadly aliens and.
Speaker C:Yeah.
Speaker C:Just nothing kicks even.
Speaker C:Ask him, are you finished?
Speaker B:So.
Speaker B:So Burke is starting to posture here.
Speaker B:Talks of money, exclusive rights to the find.
Speaker B:We could both make out pretty good here.
Speaker B:So here's the.
Speaker B:Here's the sin, right?
Speaker B:The away ship is destroyed by an alien on board.
Speaker B:They fortify against the aliens which move at night.
Speaker B:Mostly.
Speaker C:There's that line, it's going to be dark soon.
Speaker C:They mostly kill.
Speaker C:Come at night mostly.
Speaker B:Yeah.
Speaker A:Okay, well, I said this when we were watching the movie.
Speaker A:I thought it was night, Right.
Speaker C:No, it's a super dark planet.
Speaker C:Where's the hell is the sun?
Speaker C:Right.
Speaker B:Well.
Speaker B:Well, thanks for mentioning that because I had a note here.
Speaker B:There are two kinds of space, okay?
Speaker B:There is shiny Star Trek space, okay, where everything glistens.
Speaker B:And then there is dirty alien space, okay, where everything is greasy and dirty and dark.
Speaker B:Blade Runner is this way.
Speaker B:We talked about Judge Dredd, but.
Speaker C:So which one is Star Wars?
Speaker C:I think it shows both.
Speaker B:Yeah.
Speaker C:I think if you're gonna define it that way, yeah.
Speaker B:I think Star wars leans more toward realistic, dirty space.
Speaker B:But like, no NASA mission that I've ever seen on TV ever looked as dark.
Speaker B:And dirty.
Speaker B:Like if NASA went up into space with all that.
Speaker C:That's because they're all filmed in the same place, man.
Speaker A:And can I add, they always have gravity.
Speaker B:Yeah, she.
Speaker B:She mentioned about gravity.
Speaker C:It's true.
Speaker C:I mean it would be.
Speaker C:It would wreak havoc on your budget.
Speaker C:But that's true.
Speaker C:Somebody should do.
Speaker C:Other than, you know.
Speaker C:I guess there's been a few movies.
Speaker C:Do a movie like Aliens or any.
Speaker B:Of these boots or whatever, you know.
Speaker C:Yeah, but still like.
Speaker C:And then have fun with that, you know.
Speaker B:Sure.
Speaker C:Like my boots aren't working.
Speaker C:The guy starts floating off.
Speaker C:That'd be cool.
Speaker B:Yeah, yeah.
Speaker C:Brilliant ideas here.
Speaker B:Well that's always have gravity drawn in.
Speaker B:And I like.
Speaker B:Like Harrison Ford said to.
Speaker B:To what's his name?
Speaker B:It ain't that kind of movie, kid.
Speaker B:Like if you're sitting there thinking about.
Speaker C:Because she.
Speaker B:Not that she was pulled out, but she did not love this.
Speaker A:Well, I'm used to that in all these space movies they have.
Speaker A:And I understand that you, You.
Speaker A:You can't you know shoot a movie there.
Speaker A:How do you do that unless you.
Speaker C:Yeah, it'd be a pain in the ass.
Speaker C:But yeah.
Speaker C:No, but I think that happens to me too.
Speaker C:Like if and for me it's.
Speaker C:Once I get pulled out of a movie.
Speaker C:If I'm pulled out of a movie I start analyzing this shit out of it and of course you analyze.
Speaker C:I think any movie that deep going to find a bunch of stuff.
Speaker B:Sure.
Speaker B:Anyway, so the.
Speaker B:The sin is revealed here of.
Speaker B:Of that they're gonna.
Speaker B:That many will pay for.
Speaker B:The away ship is destroyed.
Speaker B:They.
Speaker B:They fortify which.
Speaker B:I thought this.
Speaker B:I thought this was a.
Speaker B:It still worked for me.
Speaker B:When they are tracking the aliens that's in the room.
Speaker B:Man, you're reading it wrong and you know.
Speaker C:You mean when they attack?
Speaker B:Yeah, yeah, yeah.
Speaker B:The away ship which has crashed I guess invented its reactor and they give about four hours before it explodes and have a 30 kilometer blast.
Speaker C:Yeah, I guess I kind of missed that.
Speaker C:So is the reactor breaking down just because it's so old or when they crashed.
Speaker B:Or is it the moon?
Speaker D:The ship.
Speaker D:The ship crashed into it crashed into the cooling system.
Speaker C:Okay, okay, I missed that.
Speaker C:Okay.
Speaker D:Power plant cooling system.
Speaker C:They made a big.
Speaker D:The plant will overheat and explode.
Speaker C:Okay, I got all that part.
Speaker C:But I didn't know.
Speaker C:I guess I missed the fact that the ship crashed into.
Speaker C:Because earlier in the movie when the.
Speaker C:He takes away all their.
Speaker C:Their.
Speaker C:Their guns and so you know, cuz Ripley points it out.
Speaker C:Hey, they're right over the Cooling stuff.
Speaker C:We can't fire there.
Speaker C:It'll be.
Speaker C:So I didn't know if them firing in there, after all, caused some sort of issue or.
Speaker C:Yeah, I guess.
Speaker D:Sure.
Speaker D:It didn't help.
Speaker C:Yeah.
Speaker C:I missed the line about the.
Speaker B:Anyway, it sets up the ticking clock.
Speaker B:Yeah.
Speaker C:But even more bad guys close in.
Speaker C:Not only are you, you know, trapped on a planet with deadly aliens, now you got to find a way to get off this planet that you're now trapped on.
Speaker B:Yeah.
Speaker B:Because it's gonna block Ripley and Newt.
Speaker B:Grab some sleep.
Speaker B:But Burke has other ideas.
Speaker B:Locks them in and releases a parasite.
Speaker B:A parasite intends to smuggle the alien.
Speaker C:Two parasites, two facehuggers.
Speaker B:Yeah, yeah, yeah.
Speaker B:And so he has one for each of you.
Speaker B:Yeah.
Speaker B:To smuggle this thing home in.
Speaker B:In their bodies.
Speaker C:Yep.
Speaker B:Aliens cut the power and drop in from above them.
Speaker B:A firefight.
Speaker B:Burke betrays them again, but then very quickly, you know, gets his comeuppance.
Speaker B:Yeah, yeah.
Speaker C:Almost kills himself in the room, thinking I'm safe and.
Speaker C:Yeah, yeah, yeah.
Speaker C:Alien right behind him.
Speaker C:You get yours, buddy?
Speaker A:Yeah, I like that one.
Speaker D:Yeah, that felt good.
Speaker C:Everybody loves that.
Speaker C:The scene with the two facehuggers attacking alien, two facehuggers attacking Ripley and Newt, like, that's still.
Speaker C:A lot of this movie, to me, still holds up.
Speaker C:But that scene in particular still holds up.
Speaker C:It's very tense and, you know.
Speaker B:Oh, yeah.
Speaker B:No, the action sequences I thought were.
Speaker C:In her having to use her wits to.
Speaker C:Because she calls for help.
Speaker C:Nobody can hear.
Speaker C:So she, you know, sets off the fire alarm, which then draws Hicks and Hudson, and they come to the rescue.
Speaker B:Which leads us to.
Speaker B:I have us getting into the.
Speaker B:All is lost.
Speaker B:A false defeat, which I think we agreed was.
Speaker C:That's what I have.
Speaker C:Yeah.
Speaker B:We're in.
Speaker C:Newts captured.
Speaker C:Yeah.
Speaker B:Newt is law.
Speaker B:Because they.
Speaker B:So they get out, but Newt is lost.
Speaker B:The team is decimated, and Hicks is injured.
Speaker B:Right.
Speaker C:Yep.
Speaker B:And I think the automated voice says, 26 minutes to explosion or something.
Speaker B:So we're.
Speaker B:If you introduce the ticking clock, you have to remind the audience almost constantly that the.
Speaker B:To create that.
Speaker B:Maintain that tension.
Speaker C:Right.
Speaker B:You know, Anyway, I think it was.
Speaker D:16 minutes, if I remember correctly.
Speaker B:16.
Speaker B:Okay.
Speaker D:And it.
Speaker D:In.
Speaker D:In real time, the movie, it happens in 16 minutes.
Speaker C:Oh, that's cool.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker B:I like that.
Speaker C:I guess there's another little beat in there that I think we just.
Speaker C:I feel like we should mention.
Speaker B:Okay.
Speaker C:Hicks shows Ripley, introduces her to the gun and shows her during their downtime, shows her how to.
Speaker C:How to work it.
Speaker C:And they have A cool exchange that I like, where she, you know, she's learning the different parts and she's like, well, what's that?
Speaker C:And he's like, well, that's a grenade launcher.
Speaker C:I don't think you want to mess with that.
Speaker C:She goes, well, you started this.
Speaker C:So it's.
Speaker C:I think he's her B story.
Speaker C:And if anything, I would say the B story beat is weak.
Speaker C:Right.
Speaker C:I mean, as far as the theme of this movie, does he carry the theme?
Speaker C:I don't know, but he served to me.
Speaker C:Seems like the B story, even though it is kind of weak because he gives her the tools that she needs to break into three, and then he's not around.
Speaker C:She has to break into three on her own because he's injured, because the beast.
Speaker C:All his losses, where the B story character goes to die.
Speaker C:Right.
Speaker C:All mentors now.
Speaker C:He doesn't die, but he gets taken out.
Speaker B:The whiff of death.
Speaker B:Right.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:There you go.
Speaker B:Yeah.
Speaker B:I.
Speaker C:As far as I'm carrying the theme.
Speaker C:Yeah.
Speaker B:I didn't get the hell out.
Speaker B:That's.
Speaker C:That's the thing.
Speaker B:I never found a moment where a theme was stated, you know.
Speaker C:Agreed.
Speaker B:And I didn't really see a B story because Ripley is fairly ecstatic character in my mind.
Speaker B:Right.
Speaker B:I think she silences her demons, which I guess is a change.
Speaker C:Yeah.
Speaker C:I don't think she.
Speaker C:Well, she's much tougher at the end than she was at the beginning.
Speaker C:And she couldn't have gone in there and rescued Newt on her own without the him showing her the gun and just gradually getting tough.
Speaker B:Yeah.
Speaker B:No, no.
Speaker B:I think if there is one, it's probably because there's that line where he gives her the tracking.
Speaker C:Yeah.
Speaker C:So I can find you.
Speaker C:And then she uses that for Newt.
Speaker B:Yeah.
Speaker B:But then he says it doesn't mean we're engaged, you know, like macho.
Speaker B:And she thinks that for what it is, a moment between them.
Speaker B:As you see, they kind of interested in each other.
Speaker C:You know, they totally end up together in a world where Alien 3 doesn't happen.
Speaker B:Yeah.
Speaker B:I.
Speaker B:I had to break it to Sherry.
Speaker B:She won't watch it anyway.
Speaker B:But I don't know if he just couldn't do the picture.
Speaker B:Like, he.
Speaker B:Like he doesn't even have a speaking part.
Speaker B:Right.
Speaker B:Just Aliens 3 starts out.
Speaker C:Flash his picture up there.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:I love this movie.
Speaker B:I love the series.
Speaker B:But it gets a little wackadoo, in my opinion, with like four and five.
Speaker B:Right.
Speaker C:Or is better than three.
Speaker B:Well, but it's.
Speaker C:But it's trying To Retcon all the crap they screwed up in three, in my opinion.
Speaker B:Well, yeah, but at some point it's not even Ripley.
Speaker B:It's her clone.
Speaker B:Right.
Speaker B:Like.
Speaker C:Yeah, well, because they kill her off in the third one.
Speaker C:So they come, well, we got to have her back because everybody loves Ripley.
Speaker C:So they.
Speaker C:They clone her.
Speaker B:Yeah.
Speaker C:Again, that makes it better than have.
Speaker A:Any involvement with those others.
Speaker C:No, no, no.
Speaker B:Yeah.
Speaker B:And you can sort of.
Speaker C:Yeah, you can tell.
Speaker B:Okay, now talking.
Speaker B:We are going to run over a little bit.
Speaker B:So I think maybe the next.
Speaker B:Anyway, like, for instance, in Jaws, Roy Scheider wanted nothing to do with Jaws two or three or any of them.
Speaker B:And.
Speaker B:But he was under contract with the studio to do some movies and there was some other movie that he absolutely did not want to do.
Speaker B:And he said, okay, I'll make Jaws too, if you let me out of my contract.
Speaker B:And they were like, okay.
Speaker B:So he did Jaws too, to get out of the contract, but he wanted nothing.
Speaker B:And that's.
Speaker B:And that's what happens typically when you get all these secrets.
Speaker C:Yeah.
Speaker B:For money.
Speaker B:Right.
Speaker B:So.
Speaker C:Sure.
Speaker C:I'd be curious if.
Speaker C:I guess now you say that if Sigourney Weaver was in a similar situation and trapped and forced to do three, because I guess I always wonder what she probably look it up and find her.
Speaker C:Have a.
Speaker C:You know what she says.
Speaker C:But I wonder what she.
Speaker C:What she feels about what happened to her character in three, you know.
Speaker B:Yeah.
Speaker C:Because there's parts of three that I really like.
Speaker C:But yeah, overall, like, it just.
Speaker C:It's too much of a gut punch to.
Speaker B:Yeah.
Speaker B:I'd have to go back all these.
Speaker C:Nightmares of being ingested with an alien and having it burst out like.
Speaker C:Like, you know, that she conquers.
Speaker C:Goes through all this bullshit in the second one to conquer these fears and then they turn around and do it to her anyways and have her like being pregnant with an alien.
Speaker C:It's terrible.
Speaker B:This time it's for money.
Speaker B:One and two, I think work.
Speaker C:Yeah.
Speaker B:I'd have to go back and look at.
Speaker C:Still kicks ass with an alien in her stomach, by the way.
Speaker C:But, yeah, sure.
Speaker B:So the.
Speaker B:All's lost.
Speaker B:Newt is lost.
Speaker B:Team is decimated.
Speaker B:Hicks is injured.
Speaker B:16 minutes dark night of the soul.
Speaker B:Newt is actually taken by the alien, which I think ups the stakes.
Speaker B:Right.
Speaker B:I mean, if she's lost in the ship, they can get her back.
Speaker B:But I have the dark knight of the soul is.
Speaker B:Newt is taken by the alien.
Speaker B:What do you have as your dark knight?
Speaker C:I have that.
Speaker C:So they meet up with Bishops Yeah.
Speaker C:Newt's taken by the alien.
Speaker C:She gets Ripley and Hicks get safely to the platform because Bishop had this whole side mission of, you know, triangle the transmitter or whatever and get the second ship basically down to him.
Speaker C:Right.
Speaker C:So they meet up with him.
Speaker C:They can take off at this point and be done and be out of here.
Speaker B:Yes.
Speaker C:But Ripley won't leave without Newt.
Speaker B:Right.
Speaker C:So I just have that being her dig down deep.
Speaker B:Yeah.
Speaker C:And it's in this real brief.
Speaker C:It's not like a big moment of it, but she, you know, basically.
Speaker C:Yeah.
Speaker C:Just, I'm not, you know, I'm not leaving.
Speaker C:And she goes up there immediately, starts gearing up, and she has a line to Hicks.
Speaker C:Don't let him leave.
Speaker C:Talking about Bishop.
Speaker C:He ain't going anywhere.
Speaker C:Yeah.
Speaker B:Because.
Speaker B:Because there is this doubt in her mind and maybe even the audience.
Speaker B:Okay, this Android, what is his true motivation here?
Speaker C:You know, if Ripley doesn't trust him, then the audience doesn't either.
Speaker B:Right.
Speaker C:Because we're all on board with her.
Speaker B:Yes.
Speaker C:Yeah.
Speaker B:All right, so then that leads us into the break into three.
Speaker B:Ripley arms up to get Newt.
Speaker B:Auto VOICE SOUNDING the clicking Talk.
Speaker B:Clicking.
Speaker B:I did that again.
Speaker B:Ticking clock.
Speaker B:I actually wrote it down.
Speaker B:Clicking Talk.
Speaker B:Oh, my God.
Speaker D:Professional writer.
Speaker B:Yeah.
Speaker B:Geez, Louis.
Speaker B:I actually wrote it down.
Speaker B:Clicking talk.
Speaker B:My God.
Speaker B:All right, so storming the castle and the hightower surprise.
Speaker B:Newt has lost her tracker.
Speaker B:I initially had that as the.
Speaker B:Because you storm the castle and you're hoorah.
Speaker B:But then there's this minor setback, or setback.
Speaker B:At first, I had it as losing her tracker, as though it was lost as the hightower surprise.
Speaker C:Okay.
Speaker B:As she's storming the castle, stumbles into the nest with all the eggs, and we are introduced to the.
Speaker B:The big mama that we see this new alien, I think we're told, four minutes on the clock.
Speaker B:And then from there on out, it is adrenaline.
Speaker B:I have down a series of yes and no sequences.
Speaker B:Yes and no sequences.
Speaker B:Yes, it's good.
Speaker B:No, it's bad.
Speaker B:Yes, it's good.
Speaker B:No, it's bad.
Speaker B:And so very quickly.
Speaker B:Yes, she gets to the top.
Speaker B:No, Bishop is gone.
Speaker B:Yes.
Speaker B:Bishop comes back.
Speaker B:No, the alien is on board the mothership now.
Speaker B:Yes, they get away from.
Speaker B:Yes.
Speaker B:The get away from me.
Speaker B:Get away from her, you bitch.
Speaker B:Line.
Speaker B:No, Ripley is pulled down into the airlock.
Speaker B:Yes, the thing is spin.
Speaker B:No.
Speaker B:Ripley is grabbed.
Speaker B:Yes.
Speaker B:The alien is blown out into space and Ripley survives.
Speaker B:So I thought it still worked.
Speaker B:There's this back and forth, back and forth, back and forth.
Speaker C:Much for Minutes.
Speaker C:The loader payoff, you know, because earlier on, she's like, hey, I feel useless before the mission, getting ready.
Speaker C:She's like, hey, I feel kind of useless, like a fifth wheel, you know, Can I do anything?
Speaker C:What can you do?
Speaker C:And she's like, well, I can drive that loader.
Speaker B:Yeah.
Speaker C:So they set up that she can drive it, and she uses that to fight with the.
Speaker B:Which I thought.
Speaker B:I thought, yeah, the setup and payoff.
Speaker B:I've seen other, like, lesser movies don't do that.
Speaker B:They'll set some up and then forget and you forget about it.
Speaker C:Right.
Speaker C:I thought, yeah, sudden payoff was good.
Speaker B:There was lots of good payoffs.
Speaker B:And they didn't forget that they set something up.
Speaker B:Any.
Speaker B:Any other comments about that?
Speaker B:Because it's basically a roller coaster ride from the break into three to the end.
Speaker C:Yeah.
Speaker C:I just liked how the music even was like a heartbeat at times.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:And then the final image, which I thought was done well, almost a match of the first image.
Speaker B:She's asleep in the chamber.
Speaker B:And I wrote down another cat saved.
Speaker B:Because she's got Newt.
Speaker B:Right.
Speaker B:So movie opens, she has saved the cat.
Speaker B:Movie closes, she's right back where she was, having saved another.
Speaker C:Sure.
Speaker B:You know, cat.
Speaker C:The only thing I would add is she goes from being alone to with family now.
Speaker C:Right.
Speaker C:She's got hicks, she's got Newt.
Speaker B:Sure.
Speaker C:You know, she's got other.
Speaker C:She's no longer the sole survivor of these horrible aliens.
Speaker C:She's now got other people that she can share this with.
Speaker B:Like, for me, they could have ended the series there, and that would have been sweet.
Speaker B:And I think that ending would have been even better had her stuff.
Speaker B:Had they.
Speaker B:Had.
Speaker B:Had they done what we talked about earlier, just a scene or two of her either remembering her family, you know, and, you know, anyway, I think we both agree that it's there.
Speaker B:Maybe weak or we want it to be there, but I think this would have been set up a little stronger if.
Speaker C:Sure.
Speaker B:They had spent just a couple more minutes.
Speaker B:Because if you're doing two hours and 20, do our.
Speaker B:Dude just do two.
Speaker B:Two on two, 25.
Speaker B:Right.
Speaker B:Give me five more minutes of that scene.
Speaker B:I was gonna watch this movie twice till I saw it was two and a half hours.
Speaker B:Like, I don't.
Speaker B:I don't have that kind of time.
Speaker D:It goes by.
Speaker D:It goes by nice and fast.
Speaker B:It does.
Speaker B:It does, but it.
Speaker B:I was taking notes as I went this time.
Speaker D:That's why I said theatrical, cool release, not special directors extended.
Speaker D:Because I'm sure some of those Holes probably would have been filled in those.
Speaker C:You've never seen the special edition.
Speaker B:I have.
Speaker C:Okay.
Speaker C:So don't remember what all was in there.
Speaker D:I had plugged in.
Speaker D:Yeah, but that's.
Speaker D:I just wanted to review kind of the.
Speaker D:I don't want to say the generic version of the movie.
Speaker B:Yeah.
Speaker D:You know, it's one everybody's most likely seen.
Speaker B:Sure, sure.
Speaker B:Well, we, we talked about Avatar.
Speaker B:Right.
Speaker B:The theatrical release.
Speaker B:When we, When Chris and I saw it, we were like, there's.
Speaker B:The first chunk of this movie is missing.
Speaker B:His.
Speaker B:His ordinary world is call.
Speaker B:Well, if you watch the director's cut.
Speaker C:It's in there.
Speaker B:It's in there and that and that.
Speaker B:That's a good setup.
Speaker C:Yeah.
Speaker C:You see Jake on the.
Speaker C:On earth or planet or whatever he's at going through my mundane life in a wheelchair because that's the whole thing is he's paralyzed.
Speaker C:Right.
Speaker C:So yeah.
Speaker C:You see all that where.
Speaker C:Yeah.
Speaker C:It's.
Speaker C:You're not talking about some producer must have been like, no, get him to Pandora quicker.
Speaker B:Yeah, yeah.
Speaker C:I think you lose a lot.
Speaker D:A lot of times those guys are probably like, we need this two hours, 204.
Speaker D:Well, it's got.
Speaker C:The real challenge is to get all your beats that you want in a two hour.
Speaker B:Here's the thing.
Speaker B:A producer or the studio is thinking, if this movie is an hour and a half, we can show it six times.
Speaker B:If it's two hours, we could only show it four times in the theater.
Speaker B:In a given day, we get two more showings.
Speaker B:By cutting it down, we make more money.
Speaker C:Sure.
Speaker C:But if you think like that too much, then you cut your movie down and nobody goes to see the shit.
Speaker B:Burke in this movie must have been.
Speaker B:Must have worked in Hollywood as a producer or he should.
Speaker B:It'd be a lot safer.
Speaker C:We're kind of past it now, but something I thought was interesting when.
Speaker C:When they find Newt and Hicks reaches for.
Speaker C:So Hicks, played by Michael Bien.
Speaker C:Right.
Speaker C:He reaches for her, she bites him and I don't know why it struck me as funny.
Speaker C:So Michael Biehn got bit by Sarah Connor in Terminator.
Speaker B:Yeah.
Speaker C:Like just in both Cameron movies that he's in separate by two years, he gets bit, you know, so.
Speaker D:Poor guy.
Speaker C:Yeah.
Speaker C:Mike, I got on the movie for you, but you're going to get bit.
Speaker C:I mean, I guess better than getting bit by an alien, but true.
Speaker C:All right.
Speaker C:I guess we're at the past recommend.
Speaker B:Yes.
Speaker B:So any other mechanics?
Speaker B:I think.
Speaker A:Can I do one more trivia?
Speaker B:Yeah, yeah, yeah, absolutely.
Speaker A:Because when I realized it was Paul Reiser with Bill Paxton in the same.
Speaker B:Oh, yeah, Remember?
Speaker B:Yeah, yeah.
Speaker A:One of my favorite movies is Twister.
Speaker D:Oh, yeah.
Speaker A:And Bill Paxton's wife was Helen Hunt.
Speaker A:And then, of course, Helen Hunt played Paul Reiser's wife for years and.
Speaker A:Mad about you.
Speaker B:Mad about you, the TV show.
Speaker B:Yeah, yeah, yeah.
Speaker B:So these.
Speaker B:These guys both had the same wife.
Speaker A:I just thought that was so funny.
Speaker D:The other one, one of my favorite characters of Aliens is the sergeant Oppone.
Speaker D:The black.
Speaker D:The cigar chomping.
Speaker C:Yeah, no, no, that's the first thing he does when he wakes up from hypersleep is.
Speaker C:Puts a cigar in his mouth.
Speaker B:Sure.
Speaker B:He actually mentioned that the first thing he does.
Speaker B:Put a cigar.
Speaker D:Yeah, he is the first.
Speaker D:I'm not even looking at the trivia.
Speaker D:He was promoted to sergeant in the field in Vietnam.
Speaker D:He was the first African American.
Speaker B:In real life.
Speaker D:In real life, he is a Marine sergeant.
Speaker B:Damn.
Speaker D:So, you know, when he get.
Speaker D:I was like.
Speaker D:It's like Arlie Ermey.
Speaker D:They just.
Speaker D:They're great actors.
Speaker D:They're great characters.
Speaker B:They.
Speaker D:They're just.
Speaker D:They're awesome.
Speaker D:And he was one of the standout.
Speaker B:Guys promoted in the field in Vietnam.
Speaker D:Yeah.
Speaker B:Like, did someone die?
Speaker B:Okay, the sergeant is dead.
Speaker B:Corporal, you're the new sergeant.
Speaker B:Or was it meritorious?
Speaker B:Like, did they actually have.
Speaker D:I think it was meritorious, but it.
Speaker B:Yeah.
Speaker D:Vietnam, Think.
Speaker B:Yeah.
Speaker D:What you got to do to get promoted in the field.
Speaker C:Yeah.
Speaker B:All right.
Speaker B:Are we ready for our final judgment?
Speaker B:James, you picked it.
Speaker B:I guess.
Speaker B:I think.
Speaker B:I think.
Speaker B:I think we all universally like this movie.
Speaker B:If we're not, we're in the minority.
Speaker D:But yeah, I definitely recommend it.
Speaker D:It's fun.
Speaker D:I think this movie, when I started it the other night, I thought that this movie, without seeing the Alien, the first movie in a long time, I think Alien stood on its own.
Speaker D:It was a good movie all by itself.
Speaker D:So I would say if you haven't seen any of the Alien movies, franchises, this one's a good one to start out with.
Speaker D:Your attention.
Speaker D:It's a scary movie.
Speaker D:So, yeah, definitely recommend it.
Speaker C:Yeah, I'm same.
Speaker C:I'm gonna recommend for sure.
Speaker C:Yeah, yeah.
Speaker C:It's one of my favorite movies and Cameron was one of my favorite writers.
Speaker C:I guess he still is.
Speaker C:Just not anything recent.
Speaker D:You could still like every stuff he's done, just not everything.
Speaker C:Yeah, just.
Speaker C:I don't know, just fallen.
Speaker C:Fallen from grace, in my opinion.
Speaker C:But yeah, Aliens up there.
Speaker C:Go Michael Bean.
Speaker D:That'll.
Speaker D:That opinion will keep James Cameron up at night.
Speaker B:Sure.
Speaker C:It better give him Ellen Ripley nightmares.
Speaker D:I'm going to look on IMDb tomorrow and all those Avatar 4, 5, and 6 are going to be gone.
Speaker B:Yeah.
Speaker D:We'll take them down because of that.
Speaker B:I don't know that we're going to have a universal or unanimous opinion.
Speaker B:Sherry, what.
Speaker B:What were your.
Speaker B:You want to write down the one.
Speaker B:You want to read the one note you wrote down or.
Speaker A:I mean, I did write pass.
Speaker B:Yeah.
Speaker A:However, Michael Biehn.
Speaker A:Bill Paxton.
Speaker B:You recommend Michael Bean, but not the movie.
Speaker A:I recommend Michael B.
Speaker A:Yeah.
Speaker D:So just watch it.
Speaker D:Put the movie on mute.
Speaker B:Yeah, yeah.
Speaker B:Can I get the Michael Bean cut.
Speaker B:Just.
Speaker C:Probably find that on YouTube.
Speaker C:Just.
Speaker C:Just Michael Bean cut.
Speaker B:Yeah.
Speaker A:And Bill Paxton was worth watching it for.
Speaker B:He's.
Speaker A:And.
Speaker A:And yes, if you want to see something scary that.
Speaker A:That you're gonna sit on the edge of your seat.
Speaker B:Yeah, sure.
Speaker B:So I think it still works.
Speaker B:Yeah.
Speaker C:Is it a pass or a consider?
Speaker A:I don't know.
Speaker D:Would you watch it again?
Speaker B:No, But.
Speaker B:But you said if you wanted.
Speaker B:If someone wanted to watch a scary movie.
Speaker A:If they wanted to watch a scary movie and you like Sigourney Weaver and.
Speaker A:Yeah, yeah.
Speaker B:All right, so she's on the fence, but whatever.
Speaker B:I certainly give it a recommend.
Speaker B:Even with some of the weaker points, this is still a strong movie.
Speaker B:I think it still works, you know, anyway.
Speaker B:Yeah.
Speaker B:So I think.
Speaker B:I think it still holds up.
Speaker D:I think, you know, and like you had pointed out on the message thread, we just accidentally picked some movies with some badass female leads.
Speaker B:Yes.
Speaker B:Yeah.
Speaker D:Gorny Weaver, 80.
Speaker D:What was this?
Speaker C:85, 86.
Speaker D:You know, Ghostbusters?
Speaker D:She was in that.
Speaker B:Yeah.
Speaker D:Sigourney Weaver is an attractive, badass woman.
Speaker B:No, no, Absolutely.
Speaker B:Yeah.
Speaker B:Depending on.
Speaker B:We record these in a certain order, but you may or may not listen to them in a certain order.
Speaker B:But along with this, we are also reviewing a long Kiss Goodnight, which has an equally tough female lead.
Speaker B:Gina Davis or whatever.
Speaker C:Yeah.
Speaker B:And I think both those work.
Speaker B:Or whatever.
Speaker B:All right.
Speaker B:Are we good?
Speaker D:I think so.
Speaker B:All right.
Speaker B:I think we're out on aliens, but.
Speaker C:Michael Bean was there to save you and protect you.
Speaker B:Yes.
Speaker C:Okay.
Speaker B:Yeah.
Speaker B:I think this table leg is superior.
Speaker D:To draws four, so stands alone on that.
Speaker B:Sure.
Speaker B:But.
Speaker A:There'S a monster.
Speaker A:I am.
Speaker A:I'm ready for it to be over.
Speaker B:Other world is a little twisted, Chris.
Speaker C:Yeah.
Speaker C:Okay.
Speaker B:Survived a lot longer than 17 days.
Speaker B:We want to put her in charge, man.
Speaker B:Okay.
Speaker B:We're not going to count you into anything.
Speaker B:Damn right.
Speaker D:Would you watch it again?
Speaker A:No.
Speaker B:Everybody else is gung ho.
Speaker B:He thinks everything is right.
Speaker B:Everything is man.
