Alien³ WORKPRINT 1992

PLEASE SEED & LEAVE FEEDBACK/COMMENTS



PLEASE SEED & LEAVE FEEDBACK/COMMENTS

Workprint Cut vs. Theatrical/Assembly- No music score.



- The opening title sequence uses a few different shots. With no music playing over the inter-cutting scenes, the sound FX plus audible dialogue of the computer voice is clearer and you're able to hear more of what it's saying. - For missing visual FX shots, this placeholder image is used: - The entire salvage of the EEV and rescue of Ripley, recovery of the dead bodies is the same as what's used in the Theatrical version of the film. Only the shot of the EEV crashing into water on the surface of Fiorina 161 is missing. So the dog is used as the host, not the ox.

- The cremation funeral sequence does not have the inter-cutting of the birth of the Alien from the dog. The 1st time we actually see it is when it attacks Murphy in the fan tunnel. - Murphy sings "Paint It Black", by the #RollingStones instead of "In the Year 2525" by Exordium & Terminus.



- A completely different shot of the Alien as it spits acid in Murphy's face. It's probably a puppet, replaced by the actor in a suit for the re-shoot and final release. - Few instances of dialogue, like when Aaron informs Clemens of Murphy's death over the com sounds different in tone, but they are the same lines. Aaron's actor is a lot more frank and stern in his line reading.



- When the adult xenomorph first approaches Ripley in the infirmary, you can actually see its entire body and the tail whip around a bit. It shoves aside a bed, in the official release this all is obstructed by an object(desk?) in the foreground...

- During the "Rumor control" meeting with Andrews in the mess hall, it plays entirely without any inter-cutting shots of Ripley running through the halls toward them.



- A lot of the stuff added back into the 2003 Extended Edition aren't in here, but some are. Most notably the entire Alien trapping sequence and poor Golic's fate.

- The last meeting between Ripley, Dillon and the rest of the prisoners plays out the same, but some of the dialogues sounds a bit different. Particularly from Sigourney, whose line delivery sounds a lot more flat and rather blasé as she tries to rally them to her cause. It sort of lacks the enthusiastic determination and vigor she has in the Theatrical/Assembly cut. It seems to be the raw audio recorded on set before ADR looping by Sigourney.



There is a also an alternate line by Ripley, she says "weapons research" instead of "plans" in regards to the Company.

- As they prepare to set the trap for the beast in the lead works, "85" wipes down a mirror and stares at his own reflection. Much the same way Ripley does earlier in the film. This parallel to Ripley may offer some insight as to why "85" turns against the Company later on, he's starting sympathize with her plight.



- When the Weyland-Yutani Company men arrive to Fiorina, the meeting between them and "85" is a bit longer with additional dialogue. Ends with a blatant reference to JAWS.



"You're gonna need a bigger cage than that."- During the dizzying chase through the lead works tunnels, Ripley & Dillon come across more dead prisoner bodies lying in the corridors. Doesn't very much matter I suppose, since you still can't really tell 'em apart.



- Morse doesn't tell Ripley to use the sprinklers, she figures it out herself.



Before doing so, Ripley delivers that great line from one of the trailers - "For the last time."



- After the Alien goes *KaBlooEY*, there's no shot of Morse saying "GOTCH'YA!"



- Once they meet up, there's one additional line from Bishop II to Ripley - "We know what you've been through, you've shown great courage."



The time between when Bishop II makes his offer to Ripley and she says "No" is much longer here. (A good 30 - 40 seconds)

You can see Ripley actually think his offer over, the utter look of pain and anguish on her face.



- There seem to be a few slightly different camera angles used when Ripley takes her swan dive into the lake of fire.



Final shot of Ripley falling is the same as in the Extended cut. A Jesus-like sacrifice, no Queen Chestburster surprise. - After Ripley's plunge, there's an additional shot of Morse looking over the edge at her demise. - The END OF TRANSMISSION log appears right before the closing montage sequence of the Fiorina facility being shut down.



In the Theatrical/Assembly cut, the Fiorina scenes occur first and that computer log screen is the last shot of the movie. - During the montage sequence of Fiorina being closed down, there's an exculsive shot of this 'dippy bird. An homage that calls back to the beginning of the original Ridley Scott ALIEN in the early scenes aboard the Nostromo.



- The last shot of the movie is the interior of the EEV with the empty cryotubes as Ripley's voiceover log entry from the end of ALIEN plays. - No ending credits.

"The Special Edition assembly cut of ALIEN3 conforms to the earliest and most "complete" workprint of the film as created by David Fincher and editor Terry Rawlings before the Los Angeles reshoots. I put "complete" in quotes because, as you correctly pointed out, there are still additional scenes that do not appear in that early assembly. The reason not to include those scenes in the Special Edition was an ethical one: We could have gone through all of the dailies of the entire film and created our own glorified fan edit that incorporated absolutely everything, but then that cut would have no historical basis in the creative process that actually occurred. Since Fincher opted not to participate in the Quadrilogy project, we wanted to present an alternate cut that reflected his work as closely as possible, incomplete and compromised though it was. The one area where we had to apply some creative license was in the new visual effects shots, but fortunately, visual effects producer Richard Edlund provided very helpful reference materials which allowed us to approximate the work that probably would have been done had the finished film ended up closer to the workprint.