|Wreckage and Rage: The Making of 'Alien3'|
|Directed by||Charles de Lauzirika|
|Produced by|| Charles de Lauzirika|
|Written by||Charles de Lauzirika|
|Starring|| David Giler|
H. R. Giger
|Music|| Jonathan Elias|
|Distributor||20th Century Fox|
|Release date(s)||December 2, 2003|
|Running time|| 161 minutes|
182 minutes (restored version)
|Preceded by||Superior Firepower: The Making of 'Aliens'|
|Followed by||One Step Beyond: The Making of 'Alien Resurrection'|
Wreckage and Rage: The Making of 'Alien3', also known simply as The Making of Alien3, is a 2003 making-of documentary directed by Charles de Lauzirika that details the production of the 1992 film Alien3. Created for the Alien Quadrilogy DVD release, it uses extensive interviews with the film's cast and crew, as well as a wealth of behind the scenes footage, to detail the development, filming and release of the movie.
The documentary is divided into eleven separate chapters, each dealing with a different aspect of Alien3's production. As with all of Charles de Lauzirika's documentaries on the films in the Alien series, it features no formal narration but instead relies on newly-filmed interview clips to tell the story of the film's development, interspersed with behind-the-scenes footage and images.
Development Hell: Concluding the StoryEdit
The first chapter covers the early part of Alien3's difficult production, including Renny Harlin's signing as director and some of the early, discarded proposed scripts. It also describes how Vincent Ward came to the attention of the producers and his subsequent hiring as the film's writer.
Tales of the Wooden Planet: Vincent Ward's VisionEdit
The second chapter covers Ward's unproduced script for the third film in some detail, including several storyboards showing what the director had in mind.
Stasis Interrupted: David Fincher's VisionEdit
The third chapter covers David Fincher joining a film that already had several expensive sets built for a script that had by now been discarded, and his subsequent struggles to redesign the film. Also discussed are Michael Biehn's attempts to block plans to include Hicks in the sequel, and 20th Century Fox vetoing Fincher's first choice of Richard E. Grant for the part of Clemens.
Xeno-Erotic: H.R. Giger's RedesignEdit
The fourth chapter covers the re-hiring of H. R. Giger to create new designs for a quadruped Xenomorph, and shows some of his weird and, in some cases, radical ideas.
The Color of Blood: Pinewood Studios, 1991Edit
The fifth chapter covers the tough shooting at Pinewood Studios, including the extensive studio interference that led to conflict with Fincher on set. Cinematographer Jordan Cronenworth was also forced to leave the production due to his battle with Parkinson's disease.
Adaptive Organism: Creature DesignEdit
The Downward Spiral: Creative DifferencesEdit
The seventh chapter focusses on the conflict between Fincher and 20th Century Fox. While many of the cast attempt to defend the director, the studio representatives accuse him of wasting time and money.
Optical Fury: Visual EffectsEdit
The eighth chapter covers the special effects work, including the struggles with depicting a quadruped Alien. After initial attempts to dress a dog in a suit were met with ridicule, rod puppets and optical compositing were used to portray the creature in the film. The other miniature work and matte paintings used during filming are also discussed.
Where the Sun Burns Cold: Fox Studios, L.A. 1992Edit
The ninth chapter covers the shutting down of filming at Pinewood due to overruns and the relocating of production to Fox Studios in Los Angeles, California. Again studio pressure is lamented by the cast and crew, while Sigourney Weaver describes refusing to shave her head again, forcing the makeup department to construct an elaborate bald cap for her to wear.
Requiem for a Scream: Music, Editing, and SoundEdit
The tenth chapter covers Elliot Goldenthal's soundtrack, and difficulties with Fincher's desire to blur the lines between music and sound effects during several of the film's sequences. The movie was designed to utilize incredibly deep bass tones, requiring specialized equipment to be installed in theatres, but technical issues meant these effects were seldom realised.
Post-Mortem: Reaction to the FilmEdit
The final chapter covers the reception to the film, which did fairly poorly in the US but much better in Europe.
Before its release as part of the Alien Quadrilogy box set, 20th Century Fox demanded various cuts and changes be made to the making-of documentary. Most notable of these alterations was the removal of around 21 minutes of footage, including behind the scenes material that showed director David Fincher's frustration at the continual studio interference he experienced during production, as well as some interview footage with the cast and crew discussing the subject. The documentary's title, originally intended to be Wreckage and Rape: The Making of 'Alien3', after a track on Goldenthal's soundtrack album, was also edited to simply The Making of Alien3 (possibly because the studio felt the original had connotations of likening their interference to rape).
For the Alien Anthology Blu-ray set in 2010, Fox relented on their censorship demands and the documentary was finally released uncut, with all of the previously deleted footage reinstated. The title was also changed to Wreckage and Rage: The Making of 'Alien3', a slight variation on the originally intended name. Aside from the uncensored presentation, the documentary — formatted in a 4×3 aspect ratio in the Quadrilogy box set — was "rebuilt" by Lauzirika in 16×9 widescreen. This conversion essentially entailed the cropping of the interview and vintage on-set footage to the new widescreen aspect, while the various title graphics were replaced with newly rendered equivalents.
For the Alien Anthology Blu-ray set, several previously-unreleased "Enhancement Pods", essentially deleted scenes taken from the main documentary, were made available for the first time. These cover a wide range of topics, many of which are already mentioned in the documentary itself, and provide minor additional details and trivia. Unlike the main documentaries, these did not undergo conversion to a widescreen aspect ratio.
- "Renny Harlin Quits"
- "Explaining the Wooden Planet"
- "Ezra Swerdlow's Concerns"
- "Intimidating Baldies"
- "Roaming the Fury 161 Set"
- "The Art of Storyboarding"
- "Hicks' Alternative Future"
- "Costuming for Character"
- "On Set: Filming the Alien's POV"
- "Head Casting with Charles Dutton"
- "On Set: Filming the Oxburster"
- "Sausage-Motivated Alien Whippet"
- "Fincher's Alienation"
- "Lance Henriksen Returns in Style"
- "Sucking Up to Fincher"
- "Detailing the EEV Miniature"
- "Matte Painting Memories"
- "How to Make Alien Acid Saliva"
- "The Sulaco's Cameo"
- "The Weaver Wagger"
- "Bald Cap Blues"
- "Bragging Rights"
- "Stealing Sigourney's Top"
- "Creating Alien Sounds from Scratch"
- "Dangerous Location Recording"
- "Painful Low End Frequencies"
- "The Power of Silence"
- "Ripley's Evolution"
- "Mixed Reactions"
- ↑ "Profanity May Be Necessary - Wreckage and Rage: The Making of Alien³". Retrieved on 2016-01-19.
- ↑ 2.0 2.1 2.2 "The Digital Bits - Blu-ray Review: Alien Anthology". Retrieved on 2016-01-11.