The score for Alien has some very unusual instrumentation and effects, most of which were designed to evoke either the alien planet, or the alien "Xenomorph" itself: Mike Matessino wrote excellent liner notes and analysis (as always), and so now one could follow a "what if" score with the film in mind. The original 1979 LP was also remastered (reassembled) and put on a second disc. Even worse, the Goldsmith's cues for the final climax and end credits were replaced by excerpts from a classical symphony, Howard Hanson's Symphony 2 (dubbed the "Romantic", ironically enough!).įortunately, in 2007 Intrada released the complete, originally-recorded score for Alien as well as revised cues, all of which was ultimately used as a "pool" of music from which the final film score was created. The other notorious problem with this production was that "atonal" music from a previous Goldsmith score, "Freud" was reused instead of the newly-written music (these Freud cues were used as temp tracks during editing). In fact, "Alien" is shot almost like a documentary for most of its scenes, and thus many dramatic cues were muted, or switched out for more ambient cues. However, Scott and his editor ended up falling in love with the avant-garde sound design, and didn't care for the more melodic space opera flavors. Goldsmith was interested in creating an atmosphere of "mysterious space romance", and then transforming the atmosphere into one of suspense and action, with a few sequences of textural sound design on the way. We'll take our chances, and blow up the ship.Jerry Goldsmith's innovative score for Ridley Scott's "Alien" is easily one of his greatest works, despite the fact that it is probably his most "butchered" score (as heard in a film it was written to accompany). I can't lie to you about your chances, but.you have my sympathies. I've heard enough of this, and I'm asking you to pull the plug. A survivor.unclouded by conscience, remorse, or delusions of morality. Its structural perfection is matched only by its hostility. You still don't understand what you're dealing with, do you? The perfect organism. How do we kill it, Ash? There's got to be a way of killing it. I repeat, all other priorities are rescinded. What about our lives, you son of a b*tch?! But we have to stick together.īring back life form. If you think it means killing it, yeah, that's acceptable to me. And then we'll blow it the f*** out into space. We'll go step by step and cut off every bulkhead and every vent until we have it cornered. That's the only way! We'll move in pairs. I'm not drawing any straws! I'm for killing that goddamn thing right now! Yes! I say that we abandon this ship! We take the shuttle and just get the hell out of here! We take our chances and … and hope that somebody will pick us up! What? And end up like the others? No, no, you're out of your mind! I'm thinking! Unless somebody has got a better idea.we'll proceed with Dallas' plan. How come I don't hear anybody say anything? I do take my responsibilities as seriously as you, you know. It's, uh, not exactly out of the manual, is it? That's a pretty big risk for a Science Officer. Maybe I've jeopardized the rest of us, but it was a risk I was willing to take. Unfortunately, by, uh, breaking quarantine, you risk everybody's life. What would you have done with Kane, hmm? You know his only chance of survival was to get him in here. You also forgot the Science Division's basic quarantine law. When Dallas and Kane are off the ship, I'm Senior Officer. Well, it's an interesting combination of elements making him. Has a funny habit of shedding his cells and replacing them with polarized silicon, which gives him a prolonged resistance to adverse environmental conditions. collating, actually, but uh, I have confirmed that he's got an outer layer of protein polysaccharides. right up to his shameless opening for yet another sequel. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2) some cleverly claustrophobic sets, tense atmosphere and impressive digital effects and a climactic AVP smackdown that's not half bad. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular and R-rated franchises. In delivering PG-13-rated excitement, Alien vs.
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