Sigourney Weaver made the behind-the-back half-court basketball shot successfully after 3 weeks of basketball practice, tutored by a basketball coach. Her conversion rate during this time was 1 of overt 6 shots, but the distance was much lower than it would be in the actual scene. When the day came to shoot the scene, director Jean-Pierre Jeunet wanted to have the ball dropped in from above, rather than wait for Weaver to sink the shot herself, which "would probably take about 200 takes." Weaver insisted she could get the shot in herself, and was allowed to do. Though it is commonly said that she sunk the basket on her first attempt, it actually took her endless takes to complete the stunt. Jean-Pierre Juenet gave her one last try to sink the basket before they would give up and use CGI or a second ball. The very next take, Sigourney Weaver successfully managed the trick. Ron Perlman broke character and began smiling when he saw it, and people on the set started cheering. The editors looked at the shot, and decided there was "enough room to get the scissors in." Weaver was excited about making the shot, but Jeunet was concerned audiences would believe the shot to be faked due to the ball leaving the frame. Upon Weaver's insistence, he kept the shot as it was. Weaver described the miracle shot as "one of the best moments in her life", after her wedding day, and the birth of her daughter.
Actor Ron Perlman nearly drowned while filming the underwater sequence. At one point, when trying to surface, he hit his head on a sprinkler in the ceiling, knocking him out cold. He was rescued by nearby film crew members.
Jean-Pierre Jeunet wanted to have a scene where a mosquito stings Ripley, then vanishes into smoke because of her acid blood. Eventually, he dropped the idea after the SFX team told him how much it would cost.
The studio wanted to cut the scene preceding Ripley's encounter with the alien queen because of its rather sexual nature. They decided to keep it when Sigourney Weaver threatened to not promote the film if the scene was cut.
When pre-production was underway, the original 'Alien Queen' could not be located and the molds that were used to build the original were damaged beyond usefulness. Fortunately, the original life-size puppet was located... in the personal collection of an avid Alien (1979) fan.
Winona Ryder agreed to do this film even before reading the script. She stated that she "didn't care if she died in the first scene", she'd do it. Ryder claimed that then she could boast about being in an "Alien" movie to her younger brothers.
The underwater sequence marked the first time that Winona Ryder had gone underwater since a near-drowning incident that happened to her when she was 12 years old. The actress suffered a complete anxiety attack on the first day of filming in the underwater set.
Ron Perlman did most of his own stunts, particularly the scene where he hangs upside-down off a ladder by his legs whilst firing two guns at an alien. The next day, when he went to take a shower, he discovered he had severely lacerated the backs of his knees in doing so.
In order to heighten contrasts, cinematographer Darius Khondji added silver to the printing process. This had the result of making the dark colors richer and giving everything else a metallic tinge. He also used an electric blue tint for the underwater sequence.
The original idea for the movie was for Newt (the little girl from Aliens (1986)) to be cloned, not Ripley. She was to have considerable strength and fighting skills, so Joss Whedon was brought in, as he had experience writing an action series featuring a young heroine with Buffy the Vampire Slayer (1997). Whedon wrote a 30-page story treatment, but the studio was concerned that fans would not accept an Alien movie without the Ellen Ripley character. When Sigourney Weaver agreed to reprise her role for $11 million, Whedon's initial story was scrapped, so he re-wrote it with the focus on a cloned Ripley.
Joss Whedon has commented on his dissatisfaction with the movie. Fans had speculated that the finished movie deviated from his original script in some fatal manner, however he put such rumors to rest. His dialogue, action and plot were essentially intact. However he had written with a playful, tongue-in-cheek tone, which didn't work when the director decided to "play it straight." Eventually, Whedon created Firefly (2002) and Serenity (2005), which was also about a group of pirates on an old space ship, and captured the tone he had aimed for in this movie. He said that he never realized the similarities with the Betty and her crew until someone pointed it out to him. As irony would have it, the series was shot on the same stages at Fox Studios where 'Alien: Resurrection' was filmed, with the Serenity built over the pit that was dug for the underwater scenes.
Director Jean-Pierre Jeunet spoke almost no English at the time of shooting and had translators on set at all times. By the time the Special Edition DVD was released in 2003, he had learned enough English to record a director's commentary.
When Johner says to Ripley; "So I hear you, like, ran into these things before. What did you do?", Ripley replies, "I died." Left on the cutting room floor was Johner's retort; "That's not exactly what I was hoping to hear."
In her initial scenes with the Newborn, Sigourney Weaver makes a point of not looking in its eyes. This was a lesson learned from when she made Gorillas in the Mist (1988) in not making initial eye contact with a potentially dangerous animal.
In the scene where Dominique Pinon appears out of an elevator, his line originally was "Who were you expecting? The Easter Bunny?" However, Pinon kept saying "Eastern Bunny", to which his fellow actors would break out in laughter. The crew printed T-shirts with the line. Interestingly enough, the new line; "Who were you expecting, Santa Claus?" had also been used in Jean-Pierre Jeunet's previous movie, The City of Lost Children (1995), where it was directed at Ron Perlman as well.
The $50-60 million budget was significantly lower than the director and writers originally imagined. Therefore, sets were toned down in scale and a more claustrophobic shooting approach with a lot of close-ups to characters' faces was taken.
The Newborn's skull was made of plaster so it could be sucked out of the window into space. Cast only at 1/8-1/4" thick, it was scored into various pieces. Each piece was individually attached to a wire, so when struck against the window and cracked, each fragment could be pulled out one-by-one.
Originally, the fourth alien movie was to be a rendition of the popular comic Aliens Vs. Predator, which combined the Alien creatures with Predator (1987) since 1991. It took another 7 years before Alien vs. Predator (2004) saw the light.
Joss Whedon was unhappy with everything about the film. He later commented in 2005: "It wasn't a question of doing everything differently, although they changed the ending; it was mostly a matter of doing everything wrong. They said the lines but they said them all wrong. And they cast it wrong. And they designed it wrong. And they scored it wrong. They did everything wrong they could possibly do. That's actually a fascinating lesson in filmmaking. Because everything they did reflects back to the script or looks like something from it. And people assume that if I hated it then they'd changed the script...but it wasn't so much they changed it, they executed it in such a ghastly fashion they rendered it unwatchable."
The actors were subjected to about 15 underwater training sessions in swimming pools around the Los Angeles area before arriving at the underwater set where they underwent a further 2 weeks of training before anything was shot. Sigourney Weaver missed most of this because she had been appearing in a play on Broadway just prior to filming.
Jean-Pierre Jeunet wanted to shoot additional action scenes using a fully digital Newborn creature. He wanted Ripley to be chased by the Newborn in the escape from the Betty scene, but could not realize it due to budget constraints. In the final film, a full-size Newborn creature can be seen in only one scene and almost all of the scenes involving the creature are animatronic.
One of the concept designs of the Newborn involved the creature sporting a likeness of Sigourney Weaver's face. This was abandoned as it bore too much of a similarity to Sil, the alien creature in Species (1995).
All four "Alien" movies featuring Sigourney Weaver have a scene in which Ripley is seen dining with the ship's native inhabitants, and a sexual comment is made by someone at the table (in this movie, Ripley is prompted to say "fork" and says "f*ck" instead).
During the production of the Alien Quadrilogy DVD set, Frantic Films was brought in to re-shoot the title sequence, where a bug's teeth give way to a shot of the Auriga as it drifts into space. This shot was featured in the special edition of the movie.
Nigel Phelps based the design of the spaceship "Betty" on a jackhammer. The "Auriga" was originally to be a vertical structure, but he abandoned this idea once he realized the difficulty of capturing the scope of such a ship design on film.
The Auriga interactive computer is named "Father." In the original Alien (1979), the computer's name was "Mother." There are even comparable scenes where people yell at Mother or Father for not responding to them.
Ripley's outfit was going to be a different one than the dark red uniform she is wearing for the most of the film. After Sigourney Weaver saw Kim Flowers (Hillard) on the set, she wanted to wear the same costume. Hillard can be seen in the exact same outfit in the underwater scene.
The script and promotional material reveal that the orbit of Auriga was beyond Pluto. The project was not approved by the Congress, possibly due to its hazardous nature. According to the script the USS military cultivated vast quantities of cannabis to fund the cloning program since they could not rely on the goverment for an official subsidization. The goverment could not observe the military beyond the boundaries of the solar system. Although this subplot was dropped from the film there are still hints of this backstory when Elgyn remarks that the operation was not authorized by the Congress and that Auriga is located in unregulated space. This also explains the assertion of Call that Dr Wren is conducting illegal experiments.
In the novelization of the movie, Johner has a phobia of insects and as a result is deathly afraid of the Xenomorphs, often shaking uncontrollably with fear whenever they appear. This is contrary to his portrayal in the film where he seems to show little concern for the horrors around him (although he still blasted a spider off of its web with a shot from his pistol after the upside down shooting scene).
The film's model miniatures were shot at a former Howard Hughes aircraft plant in Los Angeles. Visual effects supervisor Erik Henry and visual effects director of photography Rick Fichter used an advanced motion control camera system that required constant vigilance and re-alignment as the area was prone to small earthquakes and tremors.
For the luckless human victims which the renegades find, as if already having had the aliens burst out of their stomachs wasn't enough, the crew devised costumes which had stomach entrails stitched onto the outside. This was directly inspired by a T-shirt that was popular around the time of the release of Alien (1979) in which an alien fetus (and a lot of blood) was attached to the front.
The scene with Ripley waking up gradually was not in the script. It was an addition by the director in order to symbolize the creation of the clone as a larva which transforms into a butterfly and tears up the cocoon.
Paul W.S. Anderson was in talks to direct but was unable to take part due to scheduling conflicts. Anderson would still get his chance to direct an outer space opus the following year with Event Horizon (1997). And of course he would visit the Alien franchise several years later with Alien vs. Predator (2004).
The first draft of the script contained an action sequence which took place in a garden contained within the spaceship "Auriga," with Ripley driving an electrically-powered jeep to avoid aliens attacking from all sides. This was to take place after the scene in the chapel but before the sequence where the Newborn is introduced. The sequence was cut due largely to budget constraints.
The USM Auriga was originally designed by artist Nigel Phelps and resembled a medical instrument. This design proved to be too vertical for the film's opening shot, in which the camera pans out to show the ship, and did not appear satisfactory in the film's 2.35:1 aspect ratio. Three days before the design had to be finalized, Jean-Pierre Jeunet rejected it. Phelps, production illustrator Jim Martin, and concept artist Sylvain Despretz were tasked to redesign the ship. Jeunet felt Martin's design was too much like a space station, while he accepted Despretz's design due to its streamlined and horizontal appearance.
In a scene that was filmed but deleted but reinstated in the Special Edition, when the cloned alien queen chestburster is surgically removed from Ripley's chest, Ripley wakes up and attacks the surgeon as he is about to stitch up her chest.
The tube where the clone of Ripley is created was scripted as a regular bed like case, much like the cryo tubes in which the hosts of the aliens are carried by the Betty crew. It was an artistic choice to render the glass chamber vertical shaped.
The gaps between the four Alien films steadily decreased. There was seven years between the release of Alien (1979) and Aliens (1986), six between Aliens and Alien³ (1992), and five between Alien³ and Alien: Resurrection (1997).
Danny Boyle was Fox's first choice to direct after the success of Trainspotting (1996). He and screenwriter/frequent collaborator John Hodge turned it down because they couldn't agree with the studio on a story line, and chose to work on A Life Less Ordinary (1997) instead.
This is the only film in the entire series (which includes the original quadrilogy as well as the prequels Prometheus (2012) and Alien: Covenant (2017)) that is set entirely on board a spaceship or space station, featuring no scenes on a planet or planetoid. This is in theatrical version only, as Earth is visited at the end of the director's cut.
In the original script and the novelization of Alien Resurrection, it is mentioned that the Queen's secondary reproductive cycle was introduced as a result of tampering with her genetic code by Dr. Wren's team in an attempt to stop her laying an endless number of Eggs; according to a cocooned Dr. Gediman, "We thought we could alter its reproductive system. Obviate the egg-laying cycles. But the beast doesn't trade. It just added a second cycle."
The Cloned Queen's head was in fact the very same head used to portray the Acheron Queen in Aliens, sourced from collector Bob Burns and repainted with a new shimmering, pearlescent paint scheme incorporating brown and green tones. The original molds for the creature's arms, legs and tail were recovered from a replica company in Colorado, but the molds for the Queen's body were found to have been destroyed beyond repair in the ten years since Aliens was made. However, this did not prove to be a major issue, as for most of her screentime in the fourth film, the Queen's torso and abdomen were to be grotesquely distended as a result of her new live-birth reproductive mutation.
For the underwater sequence, each actor was assigned a diver with a back-up supply of oxygen. At one point, Leland Orser's diver had left the water for a bathroom break. This proved nearly disastrous when Orser started running out of breath. Fortunately Ron Perlman's diver was able to come to the rescue.
Johners knife was made from resin and hand-painted to look like metal and wood. The knife is currently for sale at Movie Bits for $495.00 it has been mounted in a box frame with laser-cut display showing the film's title and description along with two stills from the scene the knife was used in. It comes supplied with a Certificate of Authenticity.
In the Special Edition, Ripley mentions her experience with Newt in Aliens (1986), before saying that now she can't even remember her name. This is a reference to the Aliens (1986) sequels published by Dark Horse Comics and Bantam Books, which featured Newt and Hicks prominently. After both characters were killed in Alien³ (1992), later printings of the comics and novels renamed the characters as "Billie" and "Wilks".
Appx. 1h 25 mins, Leland Orser's character is called Larry Purvis in the credits. In the original script, he was supposed to have his last name on his jumpsuit, and Christie calls him by that name. This scene was changed in the final cut, and the only person who refers to him as Purvis is Call, when they get ready to put him in the Betty's freezing chamber towards the end of the film.
James Cameron, director of Aliens (1986), was not positive of the film. Although he admitted to be moved by the idea of Ripley finally returning to Earth (though not by the execution) and liking some of the imagery, he found the film "ridiculous", much preferring Jean-Pierre Jeunet's A Very Long Engagement (2004).
Originally, it was Newt who would be resurrected, not Ripley. There are 3 flaws behind that: Carrie Henn was 21 in 1997 and she never acted again after Aliens (1986). Newt had not been impregnated by a facehugger and had drowned in her cryotube and her body was cremated.
The Betty Crew led by Elgin are space pirates. Screenwriter Joss Whedon later created the short-lived science fiction TV series Firefly (2002) which was produced by 20th Century Fox Television. The series followed the crew of the spaceship Serenity led by Captain Malcolm "Mal" Reynolds (Nathan Fillion) who are space pirates. Summer Glau who played River Tam in that series had been called by some fans online "a young Sigourney Weaver". In real life, Sigourney Weaver is 33 years older than Summer Glau.
The set for the alien birthing room - where the queen gives birth to the newborn - wasn't finished when it came time to shoot the scene. So they shot all of Sigourney Weaver's close-ups first while the production design team frantically finished off the set.
Vriess' collapsible shotgun, like most of the concealed weaponry carried by the crew of the Betty, was designed by conceptual artist Sylvain Despretz. As with all of the weapons created for Alien Resurrection, the collapsible shotgun was not built around any existing firearm but was fabricated completely from scratch. This was a markedly different approach when compared to the fictional weapons that had appeared in the film series previously, all of which were constructed around functional, real-world weapons. In fact, the collapsible shotgun props contained no genuine firearm components whatsoever and were therefore incapable of firing blank ammunition. Instead, at least one prop was able to fire pyrotechnic charges that simulated gunfire on set. His collapsible grenade launcher, like most of the concealed weaponry carried by the crew of the Betty, was designed by conceptual artist Sylvain Despretz. As with all of the weapons created for Alien Resurrection, the collapsible grenade launcher was not built around any existing firearm but was fabricated completely from scratch. This was a markedly different approach when compared to the fictional weapons that had appeared in the film series previously, all of which were constructed around functional, real-world weapons. In fact, the collapsible grenade launcher props contained no genuine firearm components whatsoever. Instead, a combination of CGI and practical effects were used to simulate the weapon firing.
When Perez's death was changed to the brain-examining demise he suffers in the finished film, 20th Century Fox became worried that the scene was too comedic for an Alien film and wanted to cut it, but director Jean-Pierre Jeunet convinced executives to let it stay.
The Betty's design was created not as a traditional drawing, but as a "kitbash" physical model assembled from the parts of various home modelling kits. Included in the original mock-up was the hull from a Fairchild Republic A-10 Thunderbolt II close support jet aircraft, better known as the "Warthog". The ship's cockpit was originally going to be far more open with all-around windows, but was made more claustrophobic due to budget constraints.The ship's interior was inspired by the look of industrial equipment, including jackhammers and forklift trucks, and also took inspiration from the Power Loader from Aliens. The final shooting miniature was built from foam core and cardboard. It was constructed to the same scale (1/32) as the miniature Auriga docking bay set, so that the two could be easily filmed together, thus sparing the need for expensive compositing work.The various moving components -- the independently articulated engine pods, the arms that connected to them and the horizontal stabilizer -- were all actuated by motors contained within the model, which had to be custom designed due to the limited space available and to limit weight.[
Christie's wrist guns, like most of the concealed weaponry carried by the crew of the Betty, were designed by conceptual artist Sylvain Despretz. As with all of the weapons created for Alien Resurrection, the wrist guns were not built around any existing firearms but were fabricated completely from scratch. This was a markedly different approach when compared to the fictional weapons that had appeared in the film series previously, all of which were constructed around functional, real-world weapons. In fact, the prop pistols contained no genuine firearm components whatsoever and were therefore incapable of firing blank ammunition. Instead, some of the weapons were able to fire pyrotechnic charges that simulated gunfire on set. The design of Wrist Gun was inspired by the concealed gun used by Robert De Niro's character Travis Bickle in the film Taxi Driver. In that film, Bickle mounted the gun (a Smith & Wesson Escort) on a drawer slide designed to hide the weapon up his sleeve and draw it into his hand when he needed it, just like the guns used by Christie. As a result of its influence, Christie's signature weapon was commonly referred to as the "Taxi Driver gun" by the film's crew
In the novelization of Alien Resurrection, Distephano is a slightly more developed character. He notably appears in the book's opening scene, in which he crushes an alien insect he finds aboard the Auriga (this scene is added in the Special Edition of the film, but features a different, unnamed character), and which also explores at some length his mindset and reasons for accepting a posting aboard the top secret science vessel.Later, just before he is killed aboard the Betty, he and Johner discuss his joining the crew as a permanent member.
Notably, the Lacrima 99's primary function is only ever seen being used once in the film, when Ripley 8 fires a single round into the mouth of a Cloned Xenomorph through the hole in Elgyn's body. However, the weapons are heard being fired off-screen during the initial Xenomorph outbreak.
The Lacrima 99 has often been labelled the AR-1 (or AR1 and Ar-1) on many prop websites. Similarly, the Draco Double Burner has often been labelled the AR-2 (or AR2 and Ar-2). Exactly where these names originate from is unknown. However, it is possible they are behind-the-scenes names used during the design process, used to identify them before the designers had decided on the specifics of each weapon.
The film stars three Oscar Nominees; Sigourney Weaver, Winona Ryder and Brad Dourif. Director Jean-Pierre Jeunet, Writer Joss Whedon, Director of Photography Darius Khondji and Costume Designer Bob Ringwood are also Oscar Nominees.
Xena and Gabrielle, the main protagonists of the television series Xena: Warrior Princess (1995) played in that series by Lucy Lawless and Renee O'Connor, was speculated to be a influence between the relationship between Ripley and Call. Like Lucy Lawless, the actress whom played Xena whom outgrew Renee O'Connor (Gabrielle), Sigourney Weaver outgrows Winona Ryder.
Ever since the 1990's, there was been two Alien movies every decade. This includes Alien3 (1992) and Alien: Resurrection (1997), moving on to AVP (2004) and AVP: Requiem (2008), and ending with Prometheus (2012) and Alien: Covenant (2017). That also means within every decade, the year of release ended with either 2 or 7 (with the exception of AVP).
Interesting fact: A notable plot hole in the film revolves around Wren informing the survivors that there are twelve Xenomorphs remaining when asked how many more of the creatures exist. However, he could not possibly know this with any certainty at the time he says it. Prior to this point, one Xenomorph is killed by the others to start the breakout, one or possibly two are killed by Dom Vriess in the cargo hold, one is blown up by General Perez in an escape pod and one is killed by Ripley 8 just before the question is asked. Additionally, other Xenomorphs may have been killed in the initial stages of the breakout, as gunfire can be heard off-screen at the start of the breach. The only one of these Wren could conceivably be aware of is the one killed by Ripley 8, as he was being held in the recreation hall while the other Alien deaths occurred and no one informed the characters there of what was happening. Assuming Wren took the one Xenomorph killed by Ripley 8 into account when he gave twelve as the remaining number, there must have been thirteen Xenomorphs originally. However, we only see eight kidnapped civilians being delivered by the crew of the Betty, not to mention one of these has to be Larry Purvis, whose Chestburster does not hatch until the end of the movie. This would mean there are only three or possibly even just two Drones (depending on how many Vriess killed) left on board the Auriga when Wren is asked the question. Yet he thinks there are twelve. Of course, an obvious answer is that there are simply more kidnapped civilians brought on board than the audience ever sees on screen. Indeed, the novelization of the film makes it clear that the Betty crew have to make multiple trips from their ship to the labs to deliver all of the captive cryotubes, and that there are 20 of them in total. However, even this number does not add up, as twenty minus the Xenomorphs we see killed would equal fifteen (or fourteen), not twelve, not to mention Wren cannot possibly be aware of most of these losses. In the novel, Wren simply responds by saying that his team originally bred 20 Xenomorphs, which is a far more sensible (and logical) answer to give."
(At around 55 mins) When Ripley discovers all of the other "failed" alien/hybrid clones of herself, she finds one still alive who begs Ripley to mercy-kill her, which Ripley does, with a flame thrower. This idea was recycled from a deleted scene from Alien (1979), wherein Ripley finds Dallas, and he asks her to mercy-kill him, which she does with a flamethrower in a similar manner.
At appx. 1h 35 mins, to achieve the shot where the camera travels inside Leland Orser to see the alien fetus about to be birthed, Orser had a camera down his throat and then pulled out. This was then reversed.
In an early draft of the screenplay, an unnamed soldier was to be sucked through a small hole in a window after corrosive Alien blood ate a hole in it. In a later script version, General Perez (Dan Hedaya) was scripted to die this way. Special effects company Amalgamated Dynamics worked on the effect for several weeks, but when director Jean-Pierre Jeunet saw test footage, he thought this was a much too spectacular death for such a minor character. The idea was instead used for the death of the Newborn when the original climactic fight on Earth was re-written to take place on board the Betty. Perez's eventual death scene (with him being bitten in the back of his head, and observing a piece of his own brain) was not approved by the studio, but kept in the movie after test audiences responded quite favorably.
In the scene which Ripley kills a Xenomorph by shooting it in the head. Call argues with the Betty crew that they cannot trust Ripley, which Christie answers "I don't trust anyone.". This is a nod to a scene in the original Alien (1979), which Ripley has a argument with Dallas about Ash bringing the facehugger back to Earth. Ripley tells Dallas that she doesn't trust Ash and Dallas replies by telling her he doesn't trust anyone.
Joss Whedon originally scripted the Newborn creature as a deadly spider-like four-legged, eyeless, bone-white creature with red veins running along the sides of its head. It had an inner jaw, similar to the all the other aliens. It also had a pair of pincers on the sides of his head which were used to hold its prey still as it drained the prey of blood with its inner jaw. The creature was much larger, nearly the size of the queen alien. It was fairly intelligent and sadistic, audibly laughing as it used a soldier as a human shield against incoming weapons fire. It was also very hostile towards Ripley. Whedon was not involved in later script revisions, where the creature was changed into a "more believable" hybrid of human and alien that has a love scene with Ripley.
The film originally ended with the Betty landing on Earth and Ripley and Call viewing the ruins of Paris. The scene was shot but the idea was abandoned for the theatrical release. When Jean-Pierre Jeunet was invited to create a Special Edition of the movie, the idea was revived and the scene's visual effects finished.
Joss Whedon was determined to have Ripley and the Alien end up on future Earth, as the series had never gone there. He went through five different script versions of the final battle with the "Newborn" creature, all taking place on Earth. The first took place in a snowy forest; the second in a futuristic junkyard; the third in a hospital maternity ward, and the fourth in a desert (to which he initially objected, because it looked too much like an alien world). When the studio told him that the budget would not allow for an ending set on Earth, he scripted the climax taking place aboard the Betty. Whether coincidence or not, the later spin-off movies Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007) finally took place on Earth, in locations such as a snow-covered village and a maternity ward.
The first couple of drafts of the script all ended on Earth, which is covered for about two-thirds by a giant orbiting shell made of a metal latticework, so Call has to steer the Auriga to an exposed section, giving the Betty only seconds to escape before the Auriga crashes. In the first draft, the Betty crash-lands on Earth, with Ripley, Call, two other crew members and the Newborn as the only survivors. Ripley decides to lure the Newborn away from a nearby city, and battles it with a grenade launcher in a snowy forest. The creature nearly kills her, but then Call comes to the rescue, driving a "Harvester", a reaper-like farm machine which they had found during the garden chase sequence on board the Auriga (a scene also cut from the film due to budget limits). Together, they drive the Newborn into the grinders of the Harvester, which tears the creature apart. The second draft had the Betty land on a futuristic junkyard near Paris, where the Newborn suddenly appears from the Betty's hull, killing Destephano and grabbing a hold of Call. It bites her shoulder to drain her of her blood, but it retches, since Call's blood is blue and metallic. Ripley attacks the Newborn, which gives chase and nearly kills her; but then, Johner and Call operate a magnetic crane, and the magnet pulls the Newborn up by its head due to Call's magnetic blood in its veins. They throw the Newborn into a compactor operated by Vriess, which slowly starts to crush it, but it still manages to get out, near death. Ripley finally finishes the Newborn with a spear through its head. Both drafts end with Ripley facing an uncertain future. The climactic fight on Earth had to be written out for budgetary concerns, and replaced by a scaled-down finale on board the Betty, although the landing in a Parisian junkyard (minus the fighting) was kept as an alternate ending.
Director Jean-Pierre Jeunet was given license to change the script as much as he wanted, and the final film is substantially different than Joss Whedon's original script. Characters and situations were merged, simplified or removed, and the overall tone was, according to Whedon, made more serious than the tongue-in-cheek space adventure he had intended. Things changed or removed include: An Asian assassin called St. Just (pronounced "San-Jhoost") was original part of the Betty's crew. Johner was described as being more of a crazy, psychopathic character. After the underwater sequence, the characters were then forced to climb up a 50 story lift-shaft, with aliens attacking them. After the Chapel scene, there was an action sequence in the ship's "farm", including a moment were the crew discovers the army has been growing cannabis. The Newborn alien was originally extremely deadly, the size of a Queen alien, and there was little emotional connection between it and Ripley. The final action sequence took place on Earth, ending with the surviving characters (including Ripley) deciding to stick together.
It is unclear how the Auriga scientists got samples of Ripley's DNA from Fiori 161, the prison planet where Ripley died in Alien³ (1992). At the end of the previous film, Ripley committed suicide by jumping into a gigantic furnace. The molten lead in the gigantic furnace would have vaporized Ripley's blood and DNA when Ripley fell into the gigantic furnace along with the newborn alien queen. However, Dr. Gediman (Brad Dourif) mentions cooled blood samples from Fiori. It's possible that he referred to samples of Ripley's blood taken off screen by Dr. Clemens (Charles Dance) while he was treating her, or that she got small injuries during the final fight with the Alien, and left stains of her blood around the area.
The Special Edition includes a scene which eliminates controversy about the extent of damages caused by the collision course of Auriga. Call re-calibrates the velocity and the coordinates of Auriga so the space station will crash onto an uninhabited quadrant of Earth. Not only is this consistent with Call's intentions of saving mankind and not inflict any human casualties, but this also ensures that after the impact, the repercussions of the wave will not cause any harm.
The film ends with the Newborn being sucked out of a tiny hole in the spaceship's hull, an idea that was considered as a death scene for Lambert in Alien (1979), but abandoned because of budgetary constraints. It was also proposed for dispatching a minor character in one of the drafts of Alien³ (1992).
The film had originally been scripted with the Betty arriving on Earth, landing in the ruins of Paris, with Ripley and Call sitting down and trying to decide what they are going to do. Ripley says she doesn't know what to do, because she is a stranger to Earth. The scene was storyboarded and filmed, but never finished in post-production. Instead, it was re-written as Ripley and Call looking at Earth from above, aboard the Betty. It wasn't until 7 years later that director Jean-Pierre Jeunet was approached to make a special edition of his movie. Although he was quite happy with the old version, he remembered the originally scripted ending and agreed to finish the old scene.
In Call's back-story: When the android industry declined. The second generation androids or Autons (androids designed by androids) were developed, after an attempt to revitalize the android industry. The Autons rebel and only a few androids escaped the massacre and Call was created as a Auton secret agent and joined the Betty crew as a mechanic, so she could destroy the cloned xenomorphs aboard the Auriga.
The final chestburster was not intended to die during the climactic gunfire. According to the script the leads would chase the chestburster inside the Betty not wanting to risk damaging the hull with bullets. Call would stab it with her stileto.
In the first half of all four Alien films, one or two characters are introduced and built up in a way to make the audience think that they are going to be important characters throughout the story, only to have them killed off less than halfway through. In Alien Resurrection, they are Elgyn (Michael Wincott) and General Perez (Dan Hedaya).
This movie was originally going to be the set-up for a fifth film that was going to follow Ripley and Call back on Earth. Joss Whedon was set to write it, and both Ridley Scott and James Cameron were attached at various points. None of this materialized when Fox Studio decided to make Alien vs. Predator (2004), a cross-over with the "Predator" franchise. Whedon later stated that he was no longer interested in making someone else's franchises anymore, instead focusing on projects of his own.
In the film, Call is revealed to be a "Auton". In the long-running BBC science fiction series "Doctor Who", the Jon Pertwee, Christopher Eccleston and Matt Smith incarnations of the title protagonist The Doctor fought living plastic dummies called The Autons. John Hurt, who played Kane in the original film, played The War Doctor in the series' 50th anniversary special The Day of the Doctor (2013); and Paul McGann, who played Golic in "Alien 3", played The 8th Doctor in the 1996 TV movie, and returned in the mini episode Night of The Doctor (2013), which saw The 8th Doctor regenerate into The War Doctor.
In the narrative behind Ripley killing the newborn alien/human hybrid. Ripley had to kill the newborn because if the newborn had arrived on Earth, it would had been captured and experimented on by the government.