leading from
a) Interim Ridley Scott had just done The Duellists and got it out into the public. It didn't actually do that well but people loved it. Seven prints of it were made.
Ridley loved the experience of doing The Duellists with David Puttnam, and then started talking about perpetuating this place, Dordoigne in France with another piece of history and so thought it would have been a good idea to put his head on the chopping block again and made Tristam And Iseult.
While in LA with the Duellists, Puttnam took him to the Egyptian to see the Science fiction movie, Star Wars, and this was the first piece of science fiction since 2001: A Space Odyssey that made Ridley sit up and in view of his Tristam And Iseult project he thought "
my god, what am I doing this for?" |
| Ridley in 1978 |
b) The script out of the blueAbout six weeks later Ridley Scott and Ivor Powell were in the little tiny offices in Ridley's place in Lexington Street in Soho, over about three floors and the script came in out of the blue or rather it came through his English agent called Harry. Ivor could see that it was science fiction with a title like Alien, he thought that he was the one who would know more about Science Fiction since Ridley was the sort of person to pooh-pooh nearly every science fiction film there was apart from The Day The Earth Stood Still, and of course there was 2001 A Space Odyssey which had been Ridley's personal, and now in 1977, Close Encounters of the Third Kind and Star Wars. It was as if the two of them had wrestled over it, as if they were saying "
me first", "
me first", "
me first" but Ridley won and then went into the adjoining room of their office with two adjoining rooms.
His reading time was considered absolutely sacred and God forbid anyone who disturbed him. Once he's turned the page of whatever he's reading, he's locked into it and he will read it and Ivor had to sit for near a period of time that would stretch over the years in reports from forty minutes to an hour and a half going by Ridley's memory while he sat in the room next door reading it, screaming out "
Oh my god, Oh my god", "
Fucking Hell" or "
Oh Fuck Me!" as he came to certain bits and Ivor would be saying out "
Right. Hurry up Ridley. Give it to me!"
What Ivor thought that he recalled about the script was that it was written in a very visceral manner with moments such as somebody opens the airlock door and revealing the Alien which promptly gets hold of his head rips it off and then scuttles across the cieling and disappears into some store room and , obviously as Ridley read it, he loved it and he obviously having his own kind of potential take on it. It was certainly a script that really hit him between the eyeballs and he thought it was amazing.
c) The decisionRidley had been involved in a deal with Paramount where he was about to make his film Tristan And Iseult but it had stalled, the writer had dropped out, and Ridley feared that another nine months later he wasn't going to see it take flight and he said
"I can't see myself doing another nine months without filming, I have to film!"
In one version of the story, Ridley had read the Alien script around November 1977 and would come to shelve it due to commitments to another project Tristan and Iseult and would be in Hollywood two weeks after finally saying yes to Alien, and the other version of the story he came to read the script one morning and he was off Hollywood within about twenty four hours
Going back to the much more well known version, by lunch time he had decided that he was going to make it. At 5pm in London, it was first also first light in California. He called his agent Harry
and then he talked to Sandy Lieberson who originally sent the script. He said "
I want to do this"
The reply was "
you do?"
Ridley's response was "
Yeah, Absolutely"
d) Ridley's thoughts on the scriptWhat Ridley liked about it was that it was very direct and linear, a nicely structured B movie, absolutely pure, there was no fat, so it was a really lean piece of material. Having read it in what seemed like forty minutes, he sensed it would play even faster than it read. Having a background as an illustrator and art student, Ridley had been examining science fiction by reading comic strips such as Metal Hurlant featuring the works of artists such as Jean Giraud also known as Moebius with his illustrator eye. He would examine the illustrations carefully and enjoy the illustrations. He figured that he knew what to do with science fiction.
Quote source- Ridley Scott: Almost three years ago, I was shown the reworked Dan O'Bannon script. At the time I was at a standstill with TRISTAN AND ISEULT, an Arthurian tale about knights and sorcery. So I was looking for something. I was immediately attracted to Alien for the same reasons I was attracted to Joseph Conrad's novella, The Duellists. It was so simple, so linear, absolutely pure, an idea with no fat. The script was short and very specific - an unbelievably violent. It took me less than forty five minutes to read. That really impressed me. I sensed that it would play even faster than it read. What little science fiction I'd seen had been too similar. 2001 was my personal revelation and I began to speculate on what else could be done in space. The came Star Wars and Close Encounters of The Third Kind, and I realised the tremendous quality that was possible in making these films stand head and shoulders above the usual quickie space flick or horror movie. I saw something new in Alien. I was attracted to the theory of over-powering industrial influence, the conglomerate mass control, the Big Brother syndrome. Most of all, though, it was the thrilling aspect of the unseen, inescapable force of evil. (Cinefantastique vol 9: issue 1)
- Ivor Powell: I seem to remember it started, Ridley had offices in erm, Lexington street, which is where his sort of commercial operated out of and then er, this was over like three floors, and then one day through the door, courtesy of, he never gets enough credit for it, Sandy Lieberson, who was head of Fox in Europe, and he had seen the Duellists and was an admirer of it and Fox had got this picture that had been in development for quite some time, called Alien, and thought chemistry wise it would be quite interesting to put that script, which i think at the time sort of pretty full on kind of horror, and to put it with the director who had done the Duellists, you know, it was a slight tussle with it because well, I'm, I can just this, I sort of said, I'm the, I know about science fiction and all that and I'd often showed Ridley these science fiction movies and he'd looked at them and said "what a pile of crap that was", you know all my favourite sort of movies, I think the Day the Earth Stood still he quite liked, erm, and anyway, he, he won the tussle and he went into this office, we had two little sort of adjoining rooms, and erm I remember sort of sitting there thinking, right I want to read that, i want to read it, and I was listening to him reading it, and I hear every now and again,, I hear, "FUCKing Hell!" like that as he, as he was reading it, Oh Fuck Me, and everything like that and I was saying right , hurry up Ridley, give it to me. Anyway this was every time, because the way it was originally written was very kind of visceral, like, er, you know, somebody opens the airlock door and revealing the Alien which promptly gets hold of his head rips it off and then scuttles across the cieling and disappears into some store room and thing, and erm, anyway he, he read it and he loved it and he obviously had his own kind of potential take on it and so we ended up doing, the next movie was The Alien. We knew really there wasn't going to be enough. (Alien Makers 2, documentary)
- Ridley: Someone had seen The Duellists at Cannes which got a prize, at Cannes, and er out of the blue came this offer, I think it must have been about, within about six months actually, and I read the script, and I think within twenty six hours I was standing within Hollywood. I read the script, so I'll do it. They said , you will, I said, yuh, so I was flown out. So I suddenly started to feel the Hollywood machine kicking in. (Direction and Design : The Making of Alien)
- FF: When did you first become aware of Alien?Fantastic Film: While I was developing Tristan and Iseult, I was receiving tons of screenplays. I always read everything myself. You can't employ a reader. You've got to go through the chore of reading the book, the screenplay, whatever. I read one thing called Alien and I thought "Jesus Christ!" It was so simple, so linear that no one could have spotted it for me. This is why you must read it yourself. I think, honestly, even with a Walter Hill screenplay, the normal director with a TV or theater background would have ditched it. But it hit me between the eyeballs. I thought it was amazing (Fantastic Film #11, p13-14)
- Ridley Scott: Out of the blue this script arrived from some producers that had seen the film, The Duellist in Cannes. So you put that association together, I had made the Duellist and somebody said what about science fiction. So I got the script., it came through my then English agent Tim Corry or was it Harry, I don't know but anyway... I got the script that morning and I read it in 1 hour and 10 minutes flat out. And decided by lunch-time that I was going to make it. First light in California I called them, at 5 o'clock London time to... directly. I forget who I called.. Harry was probably with me and I called Harry and said that I wanted to do do this and he said "You do?" and I said absolutely. The material was very direct, there was no fat, it was a really lean piece of material. And I think its fair to say that it was likely a nicely structured B movie. It was a B movie and I think because I had been examining , you know I started to examine Science Fiction, mainly through comic strip, good comic strip artists like heavy metal, metal Hurlant? the heavy metal comics and because I was an illustrator and you know, art student, I would examine the illustrations carefully and enjoy the illustrations and I figured that I knew what to do with science fiction, so I said yes (Alien Legacy Starbeast)
- Ivor Powell (7:34): And we were in little tiny offices in Ridley's place in Soho, and er, the script came in and as it was science fiction with a title like Alien, I remember that the two of us wrestled with it, so that you know, it was a me first, me first, me first thing, but anyway Ridley won, so I had to sit for an hour and a half while er Ridley sat in the next room reading it, screaming out, Oh my god, Oh my god as he came to certain bits in it, anyway, it was a good fast fantastic read. (Alien Legacy Starbeast)
- Starlog: But at the time, Scott was at work on another project, a "post-holocaust treatment of the story of Tristan and Isolde,: and had to shelve Alien. He assumed he would not do it at all. That was November 1977.
"About Christmastime I had quite a problem with the Tristan thing. The writer dropped out. I thought: I've got to do something, got to do a film. So I called up Fox and asked what had happened with the Alien script. They said nothing was happening with it, and I said I'd like to do it. And I was standing here in Los Angeles about two weeks later." (Starlog September 1979) - Ridley: l read the script and l think within 26 hours l was standing in Hollywood.
l said ''l'll do it.'' They said ''You will?''
l said ''Yeah'', so l was flown out. (ALien Quadrilogy Documentary - Ivor Powell (10:23): One afternoon the script arrived and I being the scifi fanatic and Ridley, to be honest, not being the scifi fanatic, erm, we had a bit of a wrestling match, with this, er, with this script which of course inevitably Ridley won. (Alien Evolution documentary)
- Interviewer: Tell us how you first came across the script of Alien? What was it called and who was credited as writer?
Ridley Scott:…I came across the script of Alien when I…it during…actually I was finishing off The Duellists, I think. I’m trying to…I have to remember now.
Interviewer: I think the Duellists was finished.
Ridley Scott: was it?
Interviewer: I think so.
Ridley Scott: ok. Ok. Now I remember now. I was in the first film syndrome and you know, when you are first unpracticed at the process of working in between or doing more things at once, you know, more things…several things at once…I was totally fixated on The Duellists and we got it out and, you know…that was…the history…and then I decided to address something, what was I going to do. And The Duellists didn’t actually do that great. In fact, here they ran, made 7 prints. So it actually did really terrible. But everybody loved it. That was what was interesting about town even then. The ones that counted really adored it. So even in those days a minority were going back and back to see this film. And out of the blue came a script, I was sitting in London actually and it wasn’t even through an agency, they found my address and it came to me through David Giler I think. And Giler and Hill were the producers at that moment with Gordon Carroll and on the front cover was Dan O’Bannon and Ron Sushett and I think I sat down in the morning and it took me about one hour and twenty minutes to read it. And I knew I was going to do it. I knew I’d do it in the first read. And I was then hunting down to try and find where their telephone numbers were, and I finally found them, called them, I think I called them that afternoon, that day when they got up. And I think I was then standing in LA within about 2 days. they just brought me straight out. That’s when I discovered that in fact I was about the fifth in line, you know, they’d passed it around all kinds of people, even Robert Altman, and Robert Altman’s great, but Robert Altman? You’d give Robert Altman the Alien? I don’t think so. But it had gone through Walter Hill’s hands and I forget who the other ones were. Maybe even Friedken actually. But they’d all said no, thinking it was a B movie, you know. Cardboard box with a monster charging around. And I’d just read it and saw it. And because I’d been steeping myself…I’m trying to think back…I was steeping myself into…between The Duellists and this read, that’s it, it’s coming back. I went to see, because I was planning to do Tristam and Isolde because I loved the experience of doing The Duellists with David Puttnam and in fact we’d all enjoyed it tremendously and we’d been in a fantastic part of France and we were always talking about `why don’t we perpetuate this place with some other piece of history’ and basically we’d put our head back on the chopping block and go do Tristam and Isolde. And while I was here with The Duellists David had taken me to The Egyptian to see this film. So I went and saw Star Wars and that was the first piece of science fiction that really made me sit up apart from Stanley’s, and thought `my god, what am I doing this for?" I’m thinking about Tristam while this guy’s doing this. So that really changed my whole thinking at that moment. That was the in between bit. Low and behold, six weeks later this script arrived that I’ve just described.
Interviewer: Ivor Powell said he could hear you in the next room reading the script.
Ridley Scott: yeah it was…it was like…and particularly when the…the rhythm…the dynamics were right on the page and I couldn’t really understand how anyone would miss it. Which is think means that a lot of people read things half, you know, you can’t read a script seven minutes, put it down, come back this afternoon, read another 20 minutes, put it down. You can’t do that. My read time is absolutely sacred. God forbid anybody who disturbs me. Once I’ve turned the page, that’s a lock and I’m in for what it takes. Normally it takes, you know, a normal script, 2 hours, 2 and a half hours. But the read is everything and so yeah, undisturbed I read it and I knew I was going to do the film. I said that’s it, I’m doing this movie. So…(as known to he said in the interview for the Alien Evolution documentary)
