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    Detecting a transmission from nearby moon LV, the ship's computer, Mother, awakens the crew. Company policy requires any potential distress signal be investigated, so they land on the moon, sustaining damage from its atmosphere and rocky landscape.

    Parker and Brett repair the ship while Dallas, Kane and Lambert head out to investigate. They discover the signal comes from a derelict alien ship and enter it, losing communication with Ash. Inside, they find the remains of a giant extraterrestrial navigator frozen in its chair.

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    Ripley deciphers part of the transmission, determining it's a warning. Inside the derelict ship, Kane discovers a chamber containing hundreds of large egg-like objects. When he touches one, it opens and a creature springs out and attaches itself to his head, going through the facemask of his helmet. Dallas and Lambert carry the unconscious Kane back to Nostromo. As acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash ignores her and lets them inside.

    Ash attempts to remove the creature from Kane's face, discovering its blood is an extremely corrosive acid. It later detaches on its own and is found dead. The ship is partly repaired, and the crew lifts off. Kane awakens with some memory loss but is otherwise unharmed. During a final crew meal before returning to stasis, he chokes and convulses, then dies as a small alien creature bursts from his chest and escapes into the ship.

    The crew attempts to locate it with tracking devices and capture or kill it with nets, electric prods and flamethrowers. Brett follows the crew's cat, Jones, into a huge supply room where the now fully-grown alien Bolaji Badejo attacks and disappears with the body, climbing into the rafters. After heated discussion, the crew decide the creature must be in the air ducts. Dallas enters the ducts, intending to force the alien into an airlock, but it ambushes him. Lambert implores the others to abandon ship and escape in its small shuttle.

    Now in command, Ripley explains it will not support four people and pursues the plan of flushing out the alien. Now with access to Mother, Ripley discovers Ash has been secretly ordered by the company to bring the alien back, with the crew deemed expendable. She confronts Ash who tries to choke her to death. But Parker intervenes and clubs Ash, knocking his head loose and revealing him to be an android. With his body disconnected, Ash's head is reactivated and they learn he was assigned to ensure the creature's survival.

    In a chilling lack of humanity, he expresses admiration for the creature's psychology, unhindered by conscience or morality. Ash taunts them about their chances against the "perfect organism", ending with a ghoulish smirk. Ripley cuts off his power and as they leave, Parker incinerates him. The remaining crew decides to self-destruct Nostromo and escape in the shuttle. While Ripley is absent, Parker and Lambert are killed by the creature as they gather supplies.

    Ripley initiates the self-destruct sequence and proceeds with the cat to the shuttle only to find the alien blocking her path. She retreats and attempts unsuccessfully to abort the self-destruct. With no further options, she makes her way to the shuttle and barely escapes as the Nostromo explodes. As Ripley prepares for stasis, she discovers to her horror the alien is aboard, having wedged itself into a narrow space where it appears to sleep.

    She puts on a spacesuit and begins flushing the air ducts. Irritated by the spray, the creature tumbles into the open, revealing itself for the first time. It approaches Ripley, but before it can attack she opens the airlock doors pulling the alien out by explosive decompression. But it manages to hang on by gripping the frame. Ripley shoots it with a grappling hook which knocks it loose, but the gun catches as the airlock door closes, tethering the alien to the shuttle.

    It then attempts to crawl into one of the engine exhausts, but Ripley ignites them to finally blast the creature into space. After recording the final log entry, she places herself and the cat into stasis for the trip home to Earth.

    Cast The principal cast members of Alien left to right: Skerritt had been approached early in the film's development but declined as it did not yet have a director and had a very low budget. Later, when Scott was attached as director and the budget had been doubled, Skerritt accepted the role of Dallas.

    Weaver, who had Broadway experience but was relatively unknown in film, impressed Scott, Giler, and Hill with her audition. She was the last actor to be cast for the film, and performed most of her screen tests in-studio as the sets were being built. Cartwright had experience in horror and science fiction films, having acted as a child in The Birds and Invasion of the Body Snatchers Stanton's first words to Scott during his audition were "I don't like sci fi or monster movies.

    Hurt was Scott's first choice for the role but was contracted on a film in South Africa during Alien's filming dates, so Jon Finch was cast as Kane instead. Holm, a character actor who by had already been in twenty films, was the most experienced actor cast for Alien he was 46 at the time of filming. Kotto, an African Americanwas chosen partly to add diversity to the cast and give the Nostromo crew an international flavor.

    Nigerian Badejo, while a year-old design student, was discovered in a bar by a member of the casting team, who put him in touch with Ridley Scott.

    They investigate and their ship breaks down on the surface. Gigerand Jean "Moebius" Giraud. I had never seen anything that was quite as horrible and at the same time as beautiful as his work. And so I ended up writing a script about a Giger monster. Shusett suggested that O'Bannon use one of his other film ideas, about gremlins infiltrating a B bomber during World War IIand set it on the spaceship as the second half of the story.

    He and Shusett liked the new title's simplicity and its double meaning as both a noun and an adjective. I have no idea how, but if we could solve that, if it can't be that it just snuck in, then I think the whole movie will come into place.

    He later stated that "I didn't steal Alien from anybody. I stole it from everybody! Simak in which a crew lands on an asteroid and discovers a chamber full of eggs. That whole idea and scenario was theirs. Despite these rewrites, 20th Century Fox did not express confidence in financing a science-fiction film. However, after the success of Star Wars in the studio's interest in the genre rose substantially. A Space Odyssey and Star Wars. Giger; both of them felt that his painting Necronom IV was the type of representation they wanted for the film's antagonist and began asking the studio to hire him as a designer.

    They wanted the Nostromo's crew to resemble working astronauts in a realistic environment, a concept summarised[ by whom? None of them were particularly young.

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    Tom Skerritt, the captain, was 46, Hurt was 39 but looked older, Holm was 48, Harry Dean Stanton was 53, Yaphet Kotto was 42, and only Veronica Cartwright at 30 and Weaver at 29 were in the age range of the usual thriller cast. Many recent action pictures have improbably young actors cast as key roles or sidekicks, but by skewing older, Alien achieves a certain texture without even making a point of it: The Unofficial and Unauthorised Guide to the Alien and Predator Films, asserts that part of the film's effectiveness in frightening viewers "comes from the fact that the audience can all identify with the characters Everyone aboard the Nostromo is a normal, everyday, working Joe just like the rest of us.

    They just happen to live and work in the future. Principal photography took place at Shepperton Studios near London, while model and miniature filming was done at Bray Studios in Water OakleyBerkshire. Ridley Scott was not convinced that it looked large enough, so he had his two young sons and the son of Derek Vanlint the film's cinematographer stand in for the regular actors, wearing smaller space suits to make the set-pieces seem larger.

    The children nearly collapsed due to the heat of the suits; oxygen systems were eventually added to help the actors breathe. By removing the glycerin she was able to continue working with the cats. However, Ridley Scott conceived of a "fourth act" to the film in which the Alien appears on the shuttle and Ripley is forced to confront it. He pitched the idea to 20th Century Fox and negotiated an increase in the budget to film the scene over several extra days.

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    And I think the slowness of it made the moments that you wanted people to be sort of scared And I think that's how it worked. O'Bannon had intended the scene to indicate that Brett was becoming an alien egg while Dallas was held nearby to be implanted by the resulting facehugger.

    Her trying to get the hell out of there, we're all rooting for her to get out of there, and for her to slow up and have a conversation with Dallas was not appropriate. Alien soundtrack Jerry Goldsmith composed the music for Alien. Gigerwho designed and worked on the Alien and its accompanying elements Carlo Rambaldi created the mechanical head-effects for the Alien O'Bannon brought in artists Ron Cobb and Chris Foss with whom he had worked on Dark Star and Dune, respectively to work on designs for the human aspects of the film such as the spaceship and space suits.

    The final name of the ship was derived from the title of Joseph Conrad 's novel Nostromowhile the escape shuttle, called Narcissus in the script, was named after Conrad's novella The Nigger of the 'Narcissus'.

    The actors had to navigate through the hallways that connected the stages, adding to the film's sense of claustrophobia and realism. However, the name and logo of "Weylan-Yutani" appears on several set pieces and props such as computer monitors and beer cans.

    Art Director Roger Christian used scrap metal and parts to create set pieces and props to save money, a technique he employed while working on Star Wars. Giger designed and worked on all of the alien aspects of the film, which he designed to appear organic and biomechanical in contrast to the industrial look of the Nostromo and its human elements. Ridley Scott described the set as the cockpit or driving deck of the mysterious ship, and the production team was able to convince the studio that the scene was important to impress the audience and make them aware that this was not a B movie.

    The band was testing the lasers for use in their stage show on the sound-stage next door. I've always felt that there's another way to do it: That way the story and the characters emerge and they become more real. These included models of the Nostromo, its attached mineral refinery, the escape shuttle Narcissus, the alien planetoid, and the exterior and interior of the derelict spacecraft.

    Three models of the Nostromo were made: The Nostromo was originally yellow, and the team filmed shots of the models for six weeks before Johnson left to work on The Empire Strikes Back.

    Scott then ordered it changed to gray, and the team had to begin shooting again from scratch.
    Atlatls, Spear Throwers, and Woomeras known as the Woomera in Australia An atlatl or spear-thrower is a tool that uses leverage to achieve greater velocity in dart-throwing.

    It consists of a shaft with a cup or a spur at the end that supports and propels the butt of the dart. The atlatl is held in one hand, gripped near the end farthest from the cup.

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    The dart is thrown by the action of the upper arm and wrist. The throwing arm together with the atlatl acts as a lever.

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    The atlatl is a low-mass, fast-moving extension of the throwing arm, increasing the length of the lever. This extra length allows the thrower to impart force to the dart over a longer distance, thus imparting more energy and ultimately higher speeds.

    Atlatl designs may include improvements such as thong loops to fit the fingers, the use of flexible shafts, stone balance weights, and thinner, highly flexible darts for added power and range. Another important improvement to the atlatl's design was the introduction of a small weight between 60 and 80 grams strapped to its midsection. Some atlatlists maintain that stone weights add mass to the shaft of the device, causing resistance to acceleration when swung and resulting in a more forceful and accurate launch of the dart.

    Others claim that atlatl weights add only stability to a cast, resulting in greater accuracy.

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    Made of smoothly finished oak with a spur and groove front view to position dart. Finger loops made of 3-ply dressed skin and secured with sinew. A small black nut, a light coloured moonstone, and dark red stone, possibly charms rather than for balance, have been fastened to the back of the shaft with sinew.

    The shaft is shorter and thinner than average and the present curved shape is due to warping. Length about mm. Along the flanks of this valley system can be found alcoves and caves, one of which, not far up a side canyon near the Utah border, came to be called 'Broken Roof Cave'. The cave is situated atop a talus slope composed of rockslide debris which periodically ushers forth from the cave mouth.

    Following one such devastating rock fall and rockslide, the Peabody team decided to move on, as to continue excavations would be too dangerous to be worthwhile. Diggings at Broken Roof Cave yielded many artifacts in exceptional states of preservation.

    The atlatl was described by Guernsey in his site report as being the finest yet in recovered by the Harvard Peabody Museum in their excavations.

    This is still true - the Broken Roof Cave atlatl is one of the finest preserved Basketmaker atlatls known. Justin Garnett,http: Replica by Devin Pettigrew Photo: This one is unusual in that it serves no purpose except that of throwing a spear. Most woomeras were a swiss army knife, wide enough to carry things, to serve as a mixing bowl, or as an aid to fire lighting. Some carried a flint blade on the end opposite the peg so that they could be used in wood shaping, cutting meat or for any other purpose.

    known as the Woomera in Australia

    In addition, this example is made entirely of wood, without a marsupial tooth as a peg. Australian sources tend to refer to the hook of a spear thrower as a peg. Don Hitchcock Source: Ovoid leaf shaped body. The front with incised decoration, the back adzed finished and has the original gum mounted peg. The shaft was made from straightened canes of spearwood, Pandorea doratoxylon while the head and barb were carved from mulga wood and tied on with kangaroo sinew.

    By using two different woods, Aboriginal toolmakers had the respective advantages of hardness and flexibility where it was needed in the weapon. Western Desert Aboriginal Collection, South Australian Museum Archives Lardil man demonstrating the grip of a spearthrower for launching 3-piece spears.

    Skilled use of spearthrowers gave greater force to thrown spears, while maintaining accuracy. Note the thickness, length, and resultant weight of this huge spear. It was presumably for large game such as Dugong. Dugongs are large grey mammals which spend their entire lives in the sea. Clarkehttp: Before steel and glass were introduced into the region in historic times, this was performed using shell scrapers.

    This atlatl or spearthrower or propulseur appears to have been carved from a single piece of antler.

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    It shows a young ibex or chamois with an emerging turd or possibly a birth sac on which two birds are perched, found around in the cave of Le Mas d'Azil, Ariege. Note the loops for thumb and finger on the atlatl. After the tour, the guide allowed all who wished a try with throwing a spear, or dart, using an atlatl, at a target he had set up.

    The photograph on the right shows the hook or crochet or spur on the propulseur, made of bone or reindeer antler. It makes the throwing of the dart easy, and requires very little skill to get a good result. These stunning pieces of art were used as decorations on propulseurs. A bison licking its shoulder on the left, a hyena in the centre, bison on the right.

    This is a large, high quality, in focus version of this very important work, and I am grateful to the uploader of the image. I have flipped it horizontally to agree with reality. Peter, Wiehl, Germany Permission: Creative Commons License Attribution 3. Note that the craftsman has used the hyena as a decoration, with the hook below. This is the best and most believable recreation of these sorts of propulseurs or atlatls that I have seen.

    Note the slimness of the very hard wood used, the weight attached, and the loops for the thumb and finger, as well as the hook rather than a socket for the dart. The dart is very thin and whippy, and is fletched, with a foreshaft which breaks away on impact, leaving the 'expensive' main shaft to drop away unharmed.

    Raymond The following is by far the best explanation of atlatl throwing that I have ever seen. Raymond has created a tour de force of explanation of many aspects of the atlatl and the dart, which I will summarise. Left At time 0, the marksman takes aim with the atlatl by stretching his throwing arm behind his head.

    He arranges his shoulders parallel to the projected line of fire with his body weight on the rear leg. The fingers of the hand hold the atlatl grip and secure the dart to the atlatl spur. He has stepped forward with his front leg towards the target and plants his heel.

    The upper body, shoulders, arms, and atlati have moved forward but have not changed their basic position from that in Figure 2. Raymond Left At 0.

    His upper body and shoulders begin to rotate around the spinal axis from a line parallel with the projected dart path to a line perpendicular to that path. The throwing arm is still bent at a 90 degree angle at the elbow. His shoulders are perpendicular to the line of fire and his throwing arm is parallel with the shoulders but still bent to 90 degrees at elbow.

    At this point the fingers, which have held the dart flush with the atlatl, release their grip. The forearm breaks the 90 degree angle at the elbow and begins to rotate downward. The atlatl flexes under the stress. The dart is released.

    Raymond However the following diagram is very instructive indeed, since it shows that the blunt end of the dart travels in almost a straight line, which is not something I would have realised, but would add to the power and accuracy of the throw when the technique is used by an experienced hunter. Superposition of all these diagrams shows that the point defined by the junction of the atlatl spur with the dart nock travels essentially in a straight line through space.

    Raymond This article makes the point that spears thrown by a woomera or spear thrower or atlatl need to be thin and flexible to work well. From New Scientist 15 May pp Stone Age Kalashnikov It launches projectiles at high speeds, kills at 40 metres and can even be fitted with a silencer. Kurt Kleiner reveals the surprising sophistication of a 25 year old weapon.

    William Robert Perkins notches the long, flexible spear onto a spur on the end of the stick in his hand. He draws back his arm, and throws. The spear flies away from the stick, an atlatl, towards the hay bales 30 metres away and thunks into the flattened cardboard beer carton that serves as a target. Never mind that a few of the missiles miss the target and sail off into the Arizona desert beyond; everyone agrees that the atlatl can be tricky to use. Besides, Perkins, a former competition winner, has been so busy making and selling atlatls that he hasn't had much time lately to practise.

    The reason he's so busy is that the atlatl - a weapon that most hunters abandoned 10 years ago - is enjoying a renaissance. Thousands of people in America and Europe are making atlatls, competing in international tournaments, and even hunting with them. Perkins, or Atlatl Bob as he's known, is no ordinary craftsman. Trained as an engineer, he is one of a group of people who have been studying the mechanics of this primitive weapon and found it to be surprisingly sophisticated. Using modern engineering concepts and experimental techniques, they are rediscovering ancient construction methods that make subtle but important improvements to the weapon's performance.

    Armour piercing 'The physics and math is all in here,' Perkins says, weighing an atlatl in his hand at a recent workshop on primitive technology held near Phoenix, Arizona. They certainly didn't have calculus. Wave mechanics, they didn't know that. But they knew intuitively. But most enthusiasts object to the term 'spear', since it suggests a rigid shaft.

    An atlatl actually throws a flexible shaft that's more like a centimetre long arrow and is properly called a dart. The atlatl itself is about 60 centimetres long, with a handle at one end and the small, sharp spur at the other.

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    A dart thrown with an atlatl can kill a deer at 40 metres and will fly more than metres. For comparison, the world record for throwing the, admittedly heavier, javelin is just under metres. According to archaeological evidence, the atlatl first made its appearance between 25 and 40 years ago in the region that today encompasses Algeria, Morocco and Tunisia.

    Then, about 15 years ago, the bow and arrow began to displace the atlatl. The power and range of the two weapons are comparable but the bow and arrow is easier to aim.

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