This article covers all the known deleted scenes from the 1979 film Alien. Some of these sequences never progressed past the early script or storyboard stages, while others were filmed before being cut during the editing process. Despite their removal, several of these scenes were included in the movie's novelization and comic book adaptation.

Note that sequences initially deleted from the theatrical release of the film but later reinstated in the Director's Cut are not listed here (with the exception of three that were edited or otherwise not fully reinstated); details on these scenes can instead be found in the Director's Cut article.


The first cut of Alien that was shown to 20th Century Fox executives ran for 142 minutes;[1] this was trimmed to 116 minutes for the film's theatrical release, meaning around 26 minutes of footage was deleted from the movie during the editing process. Some of this excised footage (approximately 6 minutes worth) was later reinstated in the film's Director's Cut, while other deleted scenes have been officially released on home video.

Of all the films in the Alien franchise, the deleted scenes from Alien are unquestionably the most well-documented. The material available either as part of the Director's Cut or separately on home video would seem to account for most of the 26 minutes cut from the film during editing, although a significant number of additional sequences that never reached the filming stage have also been detailed. Aside from the scenes described in this article, Alien also had blood and gore trimmed throughout prior to its theatrical release. In the years since, there has been talk of reintegrating this censored violence into an uncut version of the film, but as of yet that has not occurred.[2]

Regarding the deleted scenes that have been made available on home video, the release(s) on which they can be found have been noted in this article. Where applicable, the names of deleted scenes below have been taken from these DVD/Blu-ray releases.

Deleted Scenes

Nostromo fly-pasts

More shots of the Nostromo flying through space were filmed than were used in the final cut of the film, including a lengthy take that showed the refinery cargo in much greater detail.[3]


The flying Mice

Storyboard for the Mice sequence

Originally, before the crew wakes up aboard the Nostromo, the audience was to see several small flying robots, called "Mice", that would travel up and down the corridors of the ship fixing problems automatically. The idea was scrapped out of budget concerns, and also because the studio felt it moved the film too far in a science-fiction direction (from an early stage, it was decided to make the film feel as "real" as possible) and would warrant unwanted comparisons with Star Wars.[4]

"I wanted to have small flying objects, like sensors, which flew up and down the corridors. They would find a problem, stop by a computer bank and fix it like little handymen. I wanted to call them 'Mice'. At the beginning of the film they would be the only things that were alive on the ship. We'd have shot a long empty corridor so you'd hear them coming before you actually saw them. Then WHOOSH! It would pass by the camera, going through the corridor. I think FOX felt it was too much in the direction of SF, and we dropped it."
Ridley Scott, regarding the Mice[5]

Naked sleepers

The crew was originally supposed to be naked during hypersleep, but the idea was deemed pornographic by the studio and so the crew instead wake wearing their underwear.[6] While it was changed in the film, in the novelization the crew are still said to be naked when they wake.

Kane in the morning

Kane preparing breakfast.

In the first draft of the script, Kane woke aboard the Nostromo before the other crewmembers, and was to begin preparing breakfast as the others woke one by one.[5] John Hurt actually filmed footage for the breakfast sequence, although the scene was cut and condensed to the version seen in the film before it was completed. The scene appeared in the comic book adaptation of the film.


Parker and Brett outside

Concept art of the "Flying Bedstead".

Parker and Brett were to leave the ship on a small vehicle (affectionately known as the "Flying Bedstead" by the production team) to inspect the ship's intake valves.[5] Parker notices one of the seals is damaged, and it is this damage that causes the Nostromo problems when it lands on LV-426. The scene was designed to show the scale of the vessel, but budget concerns meant it was cut before filming.[5]


A scene showing the Nostromo crew listening to the signal from the derelict is added to the Director's Cut of the film; however, the sound effect for the transmission itself is totally different from the original version.


Lambert's guide-visor

Storyboard showing the HUD inside Lambert's visor.

Originally, Lambert was to have a holographic, computerized map projected onto the inside of her space suit helmet as she, Dallas and Kane explore the moon, to help them find their way in the poor visibility and better see the terrain ahead.[5] A similar idea was later revisited by Scott in Prometheus, where the crew exploring LV-223 have their EKG and other information projected inside their helmet visors.

The rock formation

While Dallas, Kane and Lambert head for the source of the signal on the moon's surface, they were to pause and rest near a large rock formation. When they move on, Ash, watching from his science station aboard the Nostromo, notices a strange formation in the rock that is revealed to be the dead Space Jockey, fossilized inside the rock.[6] The sequence was devised as a means to ensure the Space Jockey still made an appearance in the film when 20th Century Fox executives complained that the interior derelict set would be too expensive and needed to be cut. However, when the studio relented and allowed the interiors to be built, the scene became superfluous and was dropped.

The derelict

Dallas, Kane and Lambert prepare to enter the derelict.

Footage was cut from the exploration of the derelict, including an extended entry where Dallas, Lambert and Kane discuss whether or not they should enter the ship and, later, Kane volunteering to enter the cargo hold and Dallas warning him not to unhook himself from the cable. Some of the additional dialogue in this deleted footage is included in the novelization of the film.


The mural

The mural by H. R. Giger.

Also cut from the sequence inside the derelict was the crew finding an intricate mural depicting the reproductive cycle of the Xenomorph, with stylized illustrations of a Facehugger emerging from an Egg, subduing a host, and the Chestburster later erupting from them.[7] H. R. Giger completed a mural for this scene and a piece of test footage showing a torch beam moving over it was filmed, but ultimately the mural was not included in the film, partly because there seemed to be no appropriate place for it, and partly because Ridley Scott became concerned that the images inscribed upon it would foretell the shocking Chestburster sequence and dampen that scene's impact.

"Wednesday, August 16th, 1978: There was a discussion about where to place the image. To me the only option is the corridor of the Alien spacecraft, which has been brutally altered. It's supposed to be part of a flying object but looks more like a mine shaft. I try to make this clear to [Gordon] Carroll. No luck. In matters like these, he's always stubborn as hell. [Ridley] Scott thinks that the hieroglyph would tell the story of the Alien too directly so I should try to put it directly in the cockpit."
―H. R. Giger, regarding the mural's removal[8]

The head

Originally, the exploration team was to recover the Pilot's head from the derelict and take it back to the Nostromo for study.[9] Although cut, a notably similar scene was later included in Prometheus.

The Egg Silo

The "Egg Silo".

One of the more famous deleted sequences from the film involves the original location of the Xenomorph Eggs, which were not found on board the derelict in early versions of the film's script. After investigating the crashed ship and returning to the Nostromo, the crew notices a pyramid-like structure on the horizon during a lull in the storm, and liken it to a triangular symbol the Pilot had apparently scratched into his console in his dying moments.[3] The crew heads back out to investigate and find no discernable entrance at the base of the large structure, dubbed the "Egg Silo".[5] Kane scales the structure and finds an opening covered by a thin membrane at its summit. He cuts through and lowers himself down the shaft below, eventually finding himself in a cavernous space decorated with elaborate hieroglyphs and with a stone altar at its center, atop which the Eggs were stored.[3] Inside, his entire suit was to light up to illuminate the area.[5] Eventually it was realised the film's budget would not allow for two alien locations on LV-426, and so the Egg Silo was merged with the derelict as seen in the final film.

Kane's point of view

Footage was filmed showing the Egg opening from Kane's point of view.[3] While there are several shots from Kane's perspective as he studies the Egg in the film, the actual shot of it opening is seen in a wide shot.


Bringing Kane aboard

Footage was filmed of Ash helping Kane back aboard the Nostromo, revealing that Dallas and Lambert have constructed a stretcher to bring him back to the ship.[10] However, the material was not used in the film.



Storyboard of the remotely operated autodoc.

The initial examination of Kane on board the Nostromo, including the removal of his helmet, was to be done with remotely operated medical equipment.[4]

Lambert confronts Ripley

While the Director's Cut features an alternate take of Ripley joining the others outside the medical bay after Dallas and Ash have removed Kane's helmet (in which she is violently attacked by Lambert for refusing to let the ground team back on board earlier), not all of this originally cut scene is reinstated. After Dallas asks Ash how they are going to remove the Facehugger, the original sequence returns to the rest of the crew in the corridor outside, and Ripley demands to know what happened. Lambert describes what occurred inside the derelict, finally explaining that after losing contact with Kane, they brought him up to find "this thing on his face".


Kane's condition

The crew monitor Kane's condition.

After the Facehugger's acid blood has burned through the Nostromo's decks, Lambert returns to the infirmary and asks Ash if any of the acid got on Kane. She goes on to ask how they are going to get the creature off, but Ash has no suggestions. The rest of the crew then arrive, concerned for Kane's survival. Ripley looks at the x-ray scanner and notices a stain on Kane's lungs, but Ash claims not to know what it is. Finally Dallas tells Parker and Brett to get back to their repairs so they can leave the moon as soon as possible. This sequence is included in the novelization.


Repairs interrupted

"My Johnson's what's happening."

Footage was filmed of Parker and Brett making repairs to the Nostromo on LV-426, and as they go about their business they are interrupted by Ripley over the intercom, who hounds them to finish the work.

Several different takes of this sequence have been released on the film's various home video releases (showing how much of the dialogue was ad libbed by the cast). The longer takes feature Parker mentioning his intention to get his own ship one day, and both engineers agreeing that they should never have set down on the planetoid. Ripley contacts them over the radio and asks what is happening, and Parker responds (without activating the intercom), "My Johnson's what's happening." He then replies to Ripley, saying they are working hard and suggesting she try it some time. She retorts by saying she has the hardest job on the ship — listening to Parker's bullshit. Parker hangs up and calls Ripley a bitch before continuing with his work. This scene is included in both the novelization and the comic adaptation.



The crew discuss how to kill the Chestburster.

A lengthy dialogue scene was cut after Kane's death, in which the crew were to meet in the now cleaned mess room and discuss what to do. Brett angrily asks Ash for suggestions of how to kill the newborn Alien, but he has none. The crew debate several strategies for dealing with the infant creature, until Parker, sick of the aimless talk, angrily and frankly points out that he is scared, and that they need to focus on killing the creature. When Lambert reminds him of the threat of its acid blood, he suggests that they put on space suits and decompress the entire ship to starve the Alien of atmosphere.

The argument becomes increasingly heated, with Parker blaming Lambert for bringing the creature on board, until Brett calms things down by pointing out their fighting isn't going to get them anywhere. Returning to Parker's proposal, Ash regretfully states that for all they know, the creature might be better off without oxygen, as the Eggs survived that way aboard the derelict for some time. Ripley cuts in and points out they still have the problem of finding the creature; many of the ship's cameras are out, rendering them blind on B and C decks. Again considering what to do when they find the Alien, Brett — showing unusual initiative — proposes building nets and cattle prods to try and trap the infant Xenomorph so that it can be expelled into space. Lambert considers the idea ridiculous, again angering Parker, but Dallas calms them down once more and tells the two engineers to get on with preparing the equipment. The sequence is included in the novelization of the movie.[11]


Kane's funeral

Instead of being violently shot out into space, Kane's body was originally going to be gently set adrift by two of the ship's crewmembers who went outside in space suits. This scene was again to feature the Flying Bedstead.[5]

Dallas confronts Ash

Following Kane's funeral, Dallas was to confront Ash alone in the medbay and accuse him of not only knowing about the embyo that had been growing inside Kane, but of actively protecting it. Ash denies his suggestions, but Dallas remains suspicious.[3] Although cut from the movie, this scene appears in both the novelization of the film and, in truncated form, the comic adaptation.


The removal of the entire Egg silo concept necessitated the deletion of another scene following the Alien's birth in which the crew would have analyzed the hieroglyphs found within the structure and determined that they showed the various stages of the Alien's life cycle.[3] As they continued to study the strange pictograms, they would have realized that the next stage in the cycle would be the creation of more "spores", foreshadowing the scene where Ripley finds Dallas and Brett being turned into Eggs by the Alien.

Love scene

The love scene, as filmed for Sigourney Weaver's screen test.

Another famous deleted scene, the original intention was to have the crew members sleep with each other regularly on long-haul trips to relieve tension. While Parker and Brett are building the cattle prods, Ripley finds Dallas in an observation dome on the ship's exterior, telling him that she needs some relief, meaning that she wants to make love.[5] While this scene was never filmed as part of principal photography, it was used for Sigourney Weaver's screen test, with actor Ray Hassett standing in for Dallas.[12]

Brett the funnyman

According to actor Harry Dean Stanton, his character originally uttered several humorous lines while hunting for Jones in the landing claw chamber shortly before his death. Utliamtely these was cut for fear they would break the tension that was building at that point.[13]

"I had some funny lines when I went looking for the cat. Which was, in a way, more believable, because I was pissed off at them for having told me to find it in the first place. I started out with lines like, 'Kitty, kitty, kitty,' and worked my way to, 'Fucking cat,' and stuff like that... They didn't want any laughs in there because the suspense was building."
―Harry Dean Stanton, regarding his removed dialogue.[13]

Brett's death

Storyboard of the Alien removing Brett's heart.

Originally, Brett was going to be killed by the Alien when it plunged its inner jaw into his chest and tore out his heart. When he was found by the others, the wound would be similar to that on the Pilot they found aboard the derelict.[5] The scene was altered when Scott decided it was too similar to Kane's demise, and in the changed version the Alien first lifts Brett up with its tail before slowly crushing his head with its hands.[14] This take was actually filmed, but Scott decided it showed the audience too much of the Alien and so the sequence was changed yet again to have the creature quickly kill Brett with its inner jaw, as seen in the finished film. Interestingly, a brief shot of the Alien's tail passing between Brett's legs from the originally-filmed death scene was later reused during Lambert's death.[15]

The computer key part I

Another subplot removed from the film involved the master access key for Mother, which ensures only the most senior crewmember aboard can talk to the computer. In the first scene from this deleted subplot, Dallas was to hand the key to Ash before he enters the vents to try and flush out the Alien, instructing him to pass it on to Ripley should he fail to return.[3] During the scene, Ash also asks the captain why he didn't let Ripley go into the vents (the implication being that he is aware she is suspicious of him, and was hoping the Alien would kill her). However, Dallas maintains that it is his responsibility.[3]

Alien in the vents

Scott had planned to shoot footage of the Alien advancing on Dallas in the vents by rapidly bounding along the walls of the vent shaft.[5] Although never filmed due to the limitations of the restrictive Alien suit, a similar concept was revisited by James Cameron when he was filming the vent sequence in Aliens.

The computer key part II

After Dallas is killed, Ripley was to confront Ash about the missing computer access key, but Ash claims Dallas never handed it to him. This further fuels Ripley's suspicions of him, but without being able to access Mother, she is unable to check up on him.[3]

Ripley soothes Lambert

Ripley comforts Lambert.

A brief scene extension was cut after Ripley takes charge and elects to continue with Dallas' plan of forcing the Alien into the airlock. After Parker leaves to refuel the flamethrower, Ripley reassures Lambert, who is dubious of continuing with the plan that got Dallas killed. Ripley then asks her if she has ever slept with Ash (again tying into the original idea that crew members would regularly sleep together). Her response in the negative fuels Ripley's suspicions of Ash. Ripley then asks Lambert to join her on the bridge and make sure they're still on course for home. This scene appears in both the novel and the comic.


Airlock sequence

Storyboard for the sequence.

Lambert and Ripley talk to Parker from the bridge.

Another lengthy scene cut during filming was to have Parker encounter the Alien near the Nostromo's main airlock when he goes to refuel Dallas' flamethrower. The creature does not see him, and he quietly contacts Ripley and Lambert on the ship's bridge, telling them to slowly open the inner airlock door. They do so and a spinning green light apparently mesmerizes the creature, luring it inside the lock. Parker orders the airlock opened, but as Ripley shuts the inner door and opens the outer one an alarm sounds and scares the creature away.[16] As it flees, its arm gets caught in the inner airlock door as it closes, tearing it off.[17] Parker is knocked unconscious by the Alien as it runs away. Ripley goes to investigate and when she arrives, the blood spilled from the creature's severed arm finally burns through the inner airlock door, decompressing the area. A safety bulkhead supposed to separate Ripley and Parker from the breach gets jammed by one of the cylinders of flamethrower fuel Parker had been carrying, trapping them in the decompressed area, but Ripley, blood frothing out of her nose and ears, manages to free the obstruction.[18]

Lambert and Ash arrive to give the wounded crewmembers oxygen. Ripley accuses Ash of setting off the alarm and alerting the creature, and intends to prove it by accessing Mother. This would then lead into the scene in the finished film where Ripley accesses the ship's computer and finds out about Special Order 937 (and also explains why she suddenly has a nosebleed in this scene).[16] The sequence is included in the film's novelization[19] and later inspired part of the Alien: Isolation bonus mission Crew Expendable. While the majority of the scene was never filmed, footage of Ripley and Lambert on the Nostromo's bridge during this sequence was shot.


The computer key part III

Storyboard of Kane's corpse caught on the hull.

Following the Airlock sequence, another deleted scene would have concluded the subplot about the computer access key. Despite the threat from the Alien, Ripley was to sneak alone down to Ash's science blister in search of the key, certain that he has hidden it there. She finds it, but is startled when Kane's corpse bangs against the window, having become caught in the antenna array outside.[3]

While the footage was never shot, the shroud that actor John Hurt would have worn in this scene was made.[5] In the final film, the entire subplot regarding the computer access key was deemed extraneous and removed, and the right to access Mother simply passes to Ripley automatically following Dallas' death.

Bad mother

When Walter Hill and David Giler first began their rewrites of the film's script, they conceived an idea that the ship's own computer mainframe would have worked against the crew in their efforts to destroy the Alien. Although not actively hostile towards the surviving crewmembers, early drafts had Mother simply refusing to assist them in any way "in the interests of pure scientific research".[3] Declaring the presence of the Alien "a chance to witness an evolutionary experiment", Mother was more interested in seeing which of the two sides would survive the confrontation and learning from this outcome than it was protecting the crew.[3] The antagonistic role was later transferred to Ash, who was much less passive in his efforts against the crew.

Reconnecting Ash

The key scene in which Ripley, Lambert and Parker confront Ash's remains was rewritten several times during development, each time adding or removing certain important dialogue points. Among the more interesting revelations that were removed from the final version of the scene include Ash pointing out that androids are surreptitiously placed aboard every deep-space ship, to ensure the crews retrieve for the company any "key products" that they may encounter.[3] A later version has Ash state that the Alien will soon die of natural causes as its lifespan is very short; while Parker initially takes this as good news, Ripley realises the creature will quickly decompose and spill its acid blood, hulling the ship and decompressing the entire vessel. When she goes on to ask how Ash intends to return the Alien to Earth if it will soon expire, he reveals that while the Alien will die, the Eggs it has laid on the ship will survive, even in a vacuum.[3] This would again have foreshadowed the deleted cocoon scene. In several alternate drafts, Ash asks the crew to reassemble him so that he can help them defeat the Alien, but they realize he cannot be trusted and refuse.[3] Several of the removed lines of dialogue in this sequence were retained in the novelization of the film.

Alien attacks Lambert

Footage was filmed of the Alien approaching Lambert before it attacks her. The creature starts out curled up on the floor, and is struck by one of the coolant tanks Lambert rolls towards the doorway. It then unfurls its tail, pointing it threateningly at Lambert and alerting her to its presence, before walking over to her on its back in a crab-like fashion. It appears to study her for some time, before standing to its full height in front of the terrified navigator. The sequence was cut because it showed too much of the Alien, and clearly revealed the creature to be a man in a suit.


Lambert's death

The way in which Lambert was killed changed multiple times during production, with no less than six different scenarios considered at one point or another. Originally, an early draft of the script describes Lambert (named Melkonis at this stage) having her head twisted around and wrenched off by the Alien.[20] A subsequent draft instead had the Alien capture Lambert alive, much like Dallas. Later, when Ripley encountered a cocooned Dallas in the Nostromo's hold, the captain told her that the Alien had eaten Lambert. Another script revision had Parker accidentally incinerate the navigator when he tried to kill the Alien with his flamethrower. Later, it was planned to have Lambert get sucked out into space piecemeal through a very small hole in the Nostromo's hull, but cost and special effects constraints rendered the sequence unfilmable.[20] Such a demise was notably used for the Newborn in Alien Resurrection eighteen years later.

Eventually, it was decided that Lambert would crawl into a locker and die of fright when the Alien confronted her and Parker, but even this was changed when time ran out to film the necessary footage.[20] In the final film, a combination of recycling unused footage (from Brett's original death scene) and sound effects were used to imply Lambert's death off-screen.

The cocoon sequence

See also: Eggmorphing

While the infamous "Eggmorphing" scene where Ripley discovers Dallas and Brett cocooned by the Alien in the ship's hold was added back to the Director's Cut of the movie, the sequence was edited considerably from its original length. Most obviously, the Director's Cut version is missing all of Ripley's dialogue — in the full version, she tearfully promises Dallas she will get him out and onto the Narcissus, but when he renounces the idea she asks him what she should do.[10] The scene also originally took place slightly earlier in the film, after Parker and Lambert are killed but before Ripley sets the ship's self destruct system.[21]


The box Alien

The "Box Alien" as it appears in the comic.

During Ripley's first attempt at escaping the Nostromo, she was originally going to encounter a strange box in one of the ship's corridors. As she approached, the box was to unfold, revealing it to be the Alien.[22] In the film, she merely encounters the Alien around a corner.

There are conflicting reports on whether or not the "Box Alien" scene was ever filmed, although Walt Simonson, illustrator of Alien: The Illustrated Story, recalls that it was included in a rough cut he viewed while preparing the graphic novel;[23] the comic includes the sequence. The scene was later referenced in the 1994 arcade game Alien vs. Predator, where many Alien enemies appear folded in a similar manner, and in Prometheus, where the mutated Fifield is also found folded up in a similar shape prior to his attack on the ship.

Toy birds of destruction

Originally, the drinking birds inside the Nostromo were going to be shown right before the ship exploded, their heads moving in time to the countdown. The scene was shot, but it was deemed unnecessary.[24]

Naked Ripley

Similar to the originally envisioned naked hypersleep, it was initially planned for Ripley to strip completely naked whilst undressing aboard the Narcissus, and for her to remain so until she climbed into the space suit. However, it was likewise deemed inappropriate by Fox and changed so that she merely strips to her underwear.[25]

The Alien watches Ripley

After Ripley discovers the Alien has stowed away on the shuttle, the creature was to be seen approaching the locker in which she hides and leering at her through the small window in the door.[25] As the production was critically short on time by this point, the sequence had to be dropped, although it appears in the novel.

Alien, signing off

Ridley Scott originally wanted Ripley to die at the end of the film, and planned to have a much darker finale where the Alien bites off her head aboard the Narcissus before recording her final log entry in her voice. However, the studio refused to commit the necessary funds to the production with such a bleak ending, and so it was changed to have Ripley defeat the creature.[26]

Killing the Alien

Storyboard for the extended ending.

As initially envisioned, finally killing the Alien was not so simple for Ripley. When she opened the hatch on the Narcissus, she too was sucked out by the explosive decompression, ending up hanging in space attached to a safety cable with the Xenomorph clinging to the end.[6] She uses a gun to shoot the creature in the head but with little effect, before she scrambles back aboard the shuttle, sealing the hatch behind her. The Alien, still alive, begins clawing at the hatch, so Ripley ignites the shuttle's engines and sets it alight, flinging it away into space where it explodes.[6] As with several other scenes, this was cut due to a lack of budget.


Storyboard of the Alien stowaway.

One final idea considered for the film was to set up a sequel immediately by showing either an Egg[27] or a second Alien[28] stowed away on the hull of the Narcissus after Ripley kills the first creature, although the footage was never filmed.



  1. Richard Meyers. The Officially Authorized Magazine of the Movie Alien, p. 12 (1979), Warren Publishing.
  2. "Weyland-Yutani Archives - Alien: The Special Edition That Never Happened". Retrieved on 2013-04-29.
  3. 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 3.11 3.12 3.13 3.14 Alien: Special Collector's Edition — Collector's Section (1992), 20th Century Fox [LaserDisc].
  4. 4.0 4.1 Richard Meyers. The Officially Authorized Magazine of the Movie Alien, p. 37 (1979), Warren Publishing.
  5. 5.00 5.01 5.02 5.03 5.04 5.05 5.06 5.07 5.08 5.09 5.10 5.11 "Weyland-Yutani Archives - Alien Unseen Part One: Ridleygrams". Retrieved on 2013-04-29.
  6. 6.0 6.1 6.2 6.3 "Weyland-Yutani Archives - Alien Unseen Part Two: Production Storyboards". Retrieved on 2013-04-29.
  7. Dan O'BannonConceiving the Alien Lifecycle (2010), 20th Century Fox [Blu-ray].
  8. H. R. Giger. The Alien Diaries (2014), Edition Patrick Frey.
  9. Paul Scanlon, Michael Gross. The Book of Alien, p. 65 (1979), Heavy Metal Communications.
  10. 10.0 10.1 Ridley Scott, Dan O'Bannon, Ronald Shusett, H. R. Giger, Ivor PowellThe Alien Legacy (1999), Sharpline Arts [DVD].
  11. Alan Dean Foster. Alien, p. 186 (2014), Titan Books.
  12. John Hurt, Dan O'Bannon, Ronald Shusett, David Giler, Sigourney WeaverThe Alien Saga (2002), Prometheus Entertainment [DVD].
  13. 13.0 13.1 Richard Meyers. The Officially Authorized Magazine of the Movie Alien, p. 46 (1979), Warren Publishing.
  14. "W-YBrett - Brett's Graphic Death". Retrieved on 2014-11-14.
  15. Ridley Scott, Dan O'Bannon, Tom Skerritt, Veronica CartwrightAlien audio commentary (2003), 20th Century Fox [DVD].
  16. 16.0 16.1 "Weyland-Yutani Archives - Ripley's Nosebleed". Retrieved on 2013-04-29.
  17. Alan Dean Foster. Alien, p. 244 (2014), Titan Books.
  18. Alan Dean Foster. Alien, p. 247 (2014), Titan Books.
  19. Alan Dean Foster. Alien, p. 243 (2014), Titan Books.
  20. 20.0 20.1 20.2 "Strange Shapes - Debate: Loving Lambert". Retrieved on 2013-04-19.
  21. Alan Dean Foster. Alien, p. 272 (2014), Titan Books.
  22. "Strange Shapes - The box Alien". Retrieved on 2014-01-31.
  23. "Comic Book Resources - WALT SIMONSON REFLECTS ON "ALIEN: THE ILLUSTRATED STORY"". Retrieved on 2014-11-12.
  24. Ridley ScottToy Birds of Destruction (2010), 20th Century Fox [Blu-ray].
  25. 25.0 25.1 Mark Kermode, Ridley Scott, Dan O'Bannon, Ronald Shusett, Sigourney Weaver, H. R. GigerAlien Evolution (Alien re-edit) (2003), 20th Century Fox [DVD].
  26. " - Five famous films that had alternate endings: Pretty Woman, Titanic, Alien, Die Hard and The Breakup". Retrieved on 2014-11-24.
  27. Richard Meyers. The Officially Authorized Magazine of the Movie Alien, p. 25 (1979), Warren Publishing.
  28. "Strange Shapes - Filming the Fourth Act". Retrieved on 2014-10-24.
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