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15 Chest-Bursting Facts About Alien

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Ridley Scott’s Alien was perhaps the first movie to reveal the true terrors of space, where no one can hear you scream. The 1979 horror sci-fi classic gave us spine-tingling new special effects and a revolutionary heroine in Ellen Ripley, the alien’s only worthy adversary. But she almost didn't make the movie. Find out how she wound up in the script, which rock band helped with the lighting design, and more interesting Alien facts below.

1. IT WAS ORIGINALLY CALLED STAR BEAST.

When Dan O’Bannon was drafting the screenplay that would become Alien, he had a more unusual title: Star Beast. He didn’t like it, but struggled to find a better replacement until one late-night writing session. As he was typing dialogue in which the crew members discussed the alien, that word jumped out at him. He promptly ditched Star Beast for the more simplistic title, which he loved because it was a noun and an adjective.

2. STAR WARS GOT IT GREENLIT.

Initially, Alien wasn’t an easy sell. O’Bannon and Ronald Shusett (who co-wrote the story, but not the screenplay) bounced between producers for a while, almost landing a deal with B-movie legend Roger Corman. But the script eventually went to a new company, Brandywine Productions, which had ties to 20th Century Fox. The three founding members asked for all sorts of rewrites, but each new treatment O’Bannon and Shusett returned wasn’t swaying the brass at Fox. Then Star Wars arrived and decimated the box office. Every studio in town rushed to get anything remotely sci-fi into production, so Alien got the green light.

3. A SWISS SURREALIST PAINTER DESIGNED THE ALIENS.

All the aliens in the movie—the “facehugger,” the “chestburster,” the humanoid “space jockey,” and the big bad adult—were designed by the surrealist painter H.R. Giger. O’Bannon handpicked him for Alien. He had first met Giger in Paris while working on Alejandro Jodorowsky’s failed Dune movie. He was struck by Giger’s sinister images, and even more so by his actual demeanor. As O’Bannon recalled in The Beast Within: The Making of Alien, Giger offered him opium immediately upon introduction. When O’Bannon asked the artist why he took opium, Giger replied, “I am afraid of my visions.” O’Bannon assured him it was only his mind. “That is what I’m afraid of,” Giger said.

4. DUTCH CUSTOMS DETAINED GIGER FOR HIS DESIGNS.

Dutch customs officials once stopped Giger because they thought his paintings were photographs, and were deeply disturbed. But Giger was just annoyed. “Where on earth did they think I could have photographed my subjects?” he responded. “In hell, perhaps?”

5. RIPLEY WASN’T SUPPOSED TO BE A WOMAN.

O’Bannon and Shusett wrote the entire cast as men, but they left a note in the screenplay that “the crew is unisex and all parts are interchangeable for men or women.” Shusett admits they never dreamed of the lead being a woman, though. The producers made that call, believing a female Ripley would be more unique but also more palatable to their bankrollers. As Brandywine producer David Giler remembered, “Looking it over, [producer Walter Hill] and I thought, ‘Here’s this one character who’s not too interesting.’ And this studio—I hate to say this, but for very cynical reasons—this studio [20th Century Fox] is making Julia and Turning Point and they really believe in the return of the woman’s movie. [We’d] probably get a lot of points if we turn this character into a woman.”

6. ASH WASN’T IN THE SCRIPT.

Ash, the secretly android member of the crew, did not appear in O’Bannon’s script. He was invented by the producers. While Shusett loved the addition, O’Bannon was less enthusiastic. He complained in the 2003 DVD commentary, “If it wasn’t in there, what difference does it make? I mean, who gives a rat’s ass? So somebody is a robot.”

7. THE SHIP’S NAME COMES FROM A JOSEPH CONRAD NOVEL.

All the horror unfolds aboard a spaceship dubbed Nostromo. The name was ripped from the title of a 1904 novel by Joseph Conrad, which follows an Italian explorer sent to South America to plunder a silver mine. That’s not the movie’s only Conrad reference, though. The shuttle that Ripley uses to escape is called Narcissus, and that moniker refers to yet another Conrad novel, with a much more problematic title.

8. CAST MEMBERS CONSTANTLY PASSED OUT ON SET.

Spacesuits (even fake ones) tend to get hot—especially when they don’t let any air out. Add in set lighting and a summertime production schedule and you have some truly sweltering conditions. Veronica Cartwright, who played Lambert, revealed in The Beast Within that the actors were fainting so regularly that a nurse was kept on standby with oxygen tanks. But the costumes weren’t actually updated until kids got involved. For a few perspective shots, Scott put his two sons in spacesuits. They also passed out, which finally forced the crew to modify the costumes.

9. A 6-FOOT-10-INCH NIGERIAN STUDENT PLAYED THE ALIEN.

Bolaji Badejo wore the famous alien suit, and he didn't get the part through a traditional casting call. Badejo was in a pub in London, where he’d moved to study graphic arts, when a casting agent spotted him and immediately called Alien associate producer Ivor Powell. Powell and Scott had been struggling to find someone who fit the praying mantis aesthetic they wanted, but lanky 6’10” Badejo was just their guy. He took mime classes to get the alien motions down and sat on a custom swing in between takes. With a tail like that, chairs were out of the question.

10. THE EGG REQUIRED HYDRAULICS, HAND SHADOWS, AND COW TRIPE.

Most directors make their cameo via a walk-on bit, not shadow puppets. But Scott’s big appearance in the movie comes when an alien facehugger appears to move inside its egg. As io9 noted, that was really just Scott flicking his gloved hands under the moving light. The egg also came outfitted with steel hydraulics along the top. And when it's all opened up? Those are cow intestines, not alien parts, nestled inside.

11. ROGER DALTREY HELPED WITH THE LIGHTING.

When the Nostromo crew disturbs the facehuggers, there's a beam of blue light, which indicates early trouble. And you have The Who to thank for that. Lead singer Roger Daltrey was experimenting with lasers right next to the studio where Alien was shooting, and he graciously lent his equipment out to Scott.

12. THE ACTORS WERE GENUINELY SHOCKED BY THE CHESTBURSTER SCENE.

For the iconic scene where a chestburster shoots out of John Hurt’s torso, Scott wanted the best possible reaction from his cast. So he deliberately kept details hidden from all the actors, aside from Hurt. They knew a creature would emerge, they had seen the puppet, and they were more than a little suspicious of the raincoats they’d been given. But they had no idea what kind of gore was in store. Their reaction to the bloody burst is completely genuine. According to The Guardian, Yaphet Kotto (Parker) shut himself in his room right after the scene and wouldn’t talk to anyone.

13. IT WAS INSPIRED BY DAN O’BANNON’S MEDICAL PROBLEMS.

No real person has ever “birthed” an extraterrestrial through the chest, but Alien’s screenwriter understood this horrifying affair better than most. O’Bannon suffered from Crohn’s disease, and it directly inspired the chestburster scene. He likened his digestion process to “something bubbling inside … struggling to get out.”

14. ASH’S INNARDS WERE MADE FROM MILK AND MARBLES.

Remember that weird white goo that seeps out of Ash’s android head when he’s decapitated? Scott’s crew made that from a combination of milk, caviar, pasta, and glass marbles. It was especially unfortunate for the actor playing Ash, Ian Holm, who hated milk.

15. THERE’S A CUT COCOON SCENE.

The movie initially offered a much more concrete ending for Ripley’s crewmates Dallas and Brett. In a deleted scene, Ripley encounters them both as she’s rushing to the shuttle. They’ve been wrapped in an alien cocoon, and only Dallas can make out any words. When it becomes clear to Ripley that they’re beyond saving, she torches the entire cocoon. Almost everyone involved felt the scene dragged down Ripley’s escape, and since the original cut was well over three hours, it was left out of the final film.

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Admissible Facts About Judge Judy
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Judge Judith Sheindlin was 54 years old when her namesake TV show premiered on September 16, 1996. Two years later the diminutive (5’1”) adjudicator was trouncing the powerhouse Oprah Winfrey Show in the Nielsen ratings. Today, she is one of the highest paid TV celebrities, earning $47 million per year—which she will continue to do through 2020, thanks to a new extended contract.

Fervent fans are familiar with Judge Judy’s more outrageous cases, like The Tupperware Lady and the eBay Cell Phone Scammer, but they might not know some of these fun facts about both the show and the woman behind it, who turns 75 years old today.

1. THAT GRUFF, NO-NONSENSE STYLE OF JURISPRUDENCE IS NOT AN ACT.

Judge Judy spent a little over 20 years in New York City’s family court system, where she earned a reputation early in her career for being blunt, impatient, and tough-talking. “I can’t stand stupid, and I can’t stand slow,” was one of her oft-repeated “Judyisms” at that time. She also frequently warned attorneys appearing before her: "I want first-time offenders to think of their appearance in my courtroom as the second-worst experience of their lives ... circumcision being the first." 60 Minutes filmed her in action as part of a 1993 profile, and while her hair color and eyebrows have softened since then, her impatient rants and verbal smackdowns haven’t changed a bit.

2. SHE BEGAN WEARING HER TRADEMARK LACE COLLAR AS SOON AS SHE WAS APPOINTED AS A JUDGE.

New York City Mayor Ed Koch appointed Judith Sheindlin to the bench in 1982, and to celebrate she and her husband Jerry—both civil servants at the time—took a $399 package trip to Greece for two weeks. While passing by a row of street kiosks with various locally made crafts for sale, she impulsively purchased a white lace collar from a vendor. She explained to her husband that male judges wore stiff-collared white dress shirts and colorful neckties that peeped out of the top of their robes, so that they had a nice colorful “buffer” between the austere black gown and their face. Female judges, however, had nothing but neck peeping out of their robes and the unforgiving black color revealed every minute of sleep deprivation as well as any skin tone irregularities. The white lace collar, she decided, would not only perk up her face but would also be a bit disarming for litigants—she could picture them thinking “That nice little lady with the lace collar sitting behind the bench couldn’t hurt a fly!”

3. DESPITE THOSE NEW YORK CITY SCENES ON THE COMMERCIAL BUMPERS, JUDGE JUDY IS TAPED IN CALIFORNIA.

Sheindlin spends 52 days per year taping her show. She flies to California via private jet every other Monday and hears cases on Tuesday and Wednesday (occasionally Thursday if there are production delays). One full week’s worth of shows are filmed each day. Many viewers, however, are fooled into thinking Judy is holding court in her native New York, thanks to the scenic Manhattan footage in between station breaks and the New York state flag behind her chair. That is, until something oh-so-unique to the west coast—like an earthquake—occurs on-camera. (Note that in the clip below, Judge Judy quickly ducks beneath her bench once the room begins to tremble.)

4. SHE IS BRIEFED ON THE CASES BEFORE SHE ARRIVES ON THE SET.

Judge Sheindlin does not go to the studio unprepared; producers FedEx the sworn statements and relevant information on each upcoming case to her home (Naples, Florida in the winter; Greenwich, Connecticut in the spring and summer) and she familiarizes herself with enough details to have some background, but not enough so that the case doesn’t appear “fresh” when she questions the litigants during filming.

5. THE CASES REALLY ARE REAL.

The production company has a staff of 60-plus researchers across the country who spend their days poring over lawsuits filed in local small claims courts. Thanks to the Freedom of Information Act, they are able to photocopy cases that they think might make for interesting television and those copies are forwarded to the show’s producers. Any cases that make it to the next stage (about three percent) involve contacting the litigants involved and asking them if they’d like to forego their civil court hearing in exchange for a free trip to Los Angeles, an $850 appearance fee, and a per diem of $40 (as of 2012). An added incentive is that any judgments awarded are paid by the show, not by the plaintiff or defendant. The best cases, according to the executive producer, are those that involve litigants with a prior relationship—mother/daughter, father/son, boyfriend/girlfriend, etc. Such cases engage the audience because it’s an emotional tie that’s been broken (the recurring plot on many soap operas).

6. THE AUDIENCE, HOWEVER, IS NOT SO REAL.

Regular viewers will note that the same faces seem to pop up in the audience regularly. Those folks in the spectator seats are paid extras (often aspiring actors) who earn $8 per hour to sit and look attentive. Prospective audience members apply for the limited amount of seats by emailing their contact information along with a clear headshot to one of Judge Judy’s production coordinators (sorry, we cannot provide that info). If chosen, the spectator must dress appropriately (business casual or better) and arrive promptly for the 8:30 a.m. call time. Audience members must pass through metal detectors on their way in and are not allowed to bring cell phones or any electronic devices with them, and food, drinks and chewing gum are also verboten. Spectators are rearranged after each case so it’s not as obvious that it’s the same group of people, and the most attractive folks are always seated in the front row (it’s Hollywood, after all). The audience is instructed to talk animatedly amongst themselves in between each case so that Officer Byrd’s “Order in the court!” admonition has more impact. Bad behavior is grounds for immediate expulsion (in front of 10 million viewers, as Judge Judy likes to remind us).

7. JUDGE JUDY DRESSES CASUALLY FOR THE JOB.

Sheindlin has been known to publicly chastise litigants who come to her courtroom in skimpy clothing or “beach attire,” but behind that bench and under that robe she is usually sporting jeans and a tank top or T-shirt.

8. OFFICER BYRD IS A REAL BAILIFF.

Brooklyn native Petri Hawkins Byrd earned his B.Sc. degree from the John Jay College of Criminal Justice in 1989 and started working in the Brooklyn Family Court system. He first worked with Judge Sheindlin when he transferred to the Manhattan Family Court. “We [the court officers] used to call her the Joan Rivers of the judicial system,” he recalled in a 2004 interview. “She was just hilarious.” Byrd relocated to San Mateo, California in 1990 to work as a Special Deputy U.S. Marshal and a few years later he read an item in Liz Smith’s gossip column about Sheindlin’s upcoming TV show. He sent his old colleague a congratulatory letter and added, “If you need a bailiff, I still look good in uniform.”

9. DESPITE HIS SOMETIMES IMPOSING COURTROOM DEMEANOR, OFFICER BYRD IS ALSO A VERY FUNNY GUY.

He is a talented impressionist, but his sense of humor almost cost him his job—or so he thought at the time. Once, back when he was working with the feisty Judge Sheindlin in New York, he donned her robe and reading glasses to entertain his co-workers with a barrage of Judyisms. Of course, as always seems to happen when one mocks the boss in the workplace, he was caught in the act.

10. THE OCCASIONAL CELEBRITY RELIES ON JUDGE JUDY’S BRAND OF JUSTICE.

Depending upon your own definition of “celebrity”, of course. Actress Roz Kelly (Pinky Tuscadero on Happy Days) appeared on the show in 1996 as the plaintiff, suing her plastic surgeon for a leaky breast implant that was impeding her acting career. One year later, former Sex Pistol John Lydon (a.k.a. Johnny Rotten) appeared as a defendant when drummer Robert Williams, who was hired to support Lydon on a solo tour, sued the singer for lost wages and an assault. Despite Lydon’s occasional bad courtroom behavior, the decision was made in his favor.

11. THE STAR ORIGINALLY DIDN’T WANT THE SHOW NAMED AFTER HER.

Sheindlin first envisioned calling her show Hot Bench, a term used frequently in the appellate court, but the producers wisely advised her that the term was meaningless to TV viewers who didn’t work in the legal system. Her next thought was Judy Justice, since she’d overheard her court officers warning deadbeat parents who were delinquent in child support payments that they were in for a load of "Judy Justice" if they weren’t prepared to cough up some money. In retrospect, Sheindlin realized the wisdom in calling the show Judge Judy: She couldn’t be easily replaced, as the various judges had been on The People’s Court. However, after 19 years on the air, she still does not refer to herself by that sobriquet; whether introducing herself to someone or advertising her show in a promotional clip, she is always either “Judge Sheindlin” or “Judge Judy Sheindlin.”

12. JUDGE SHEINDLIN INHERITED HER SENSE OF HUMOR FROM HER FATHER.

Murray Blum, Judy’s beloved father, was a dentist whose office was in the family home. In those days—before sedation dentistry was an option—a dentist’s best tool to distract nervous patients was the gift of gab, and Murray became a master storyteller out of necessity. Years of listening to her father at the dinner table and at family gatherings taught Judy how to deliver a punchline. One evening outside of a hotel in Hollywood, Sheindlin was approached by a woman who introduced herself as Lorna Berle. She told the judge that her husband Milton was a huge fan and asked if she would mind talking to him for a moment. The elderly comic slowly emerged from a limo and Judy greeted him by singing the theme song to Texaco Star Theater, her favorite TV show as a child. Milton Berle complimented her in return, saying “Kid, you’ve got great comic timing.”

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