Alien 3: Haven't a clue about Bishop 2

Leading from

Bishop 2 with the side of his head hanging open


a) Looking for a way for Henriksen's return
Lance Henriksen was living in New York, and he was called by Billy Hopkins the casting director to do an another instalment of the Alien series. 

He came to read for David Fincher who offered him a part, curiously he was offered the role of Junior,  the leader of the group of inmates who attempt to rape Ripley. 

Henriksen was actually hurt by this because he didn't want to play the role of someone who had to rape Ripley.

It seemed rather curious to wonder how fans would have responded to another character who looked like the android Bishop, although shaven headed amongst the cast, and the rape scene was the only real scene which Junior had and later he was going to get killed.

He didn't mind shaving his head to play a bald headed character, he's willing to play good guys and bad guys, and even character that are very dark.

He found himself thinking "My god, I'm going to go to England and be bald and be there for five months and all I'm going to do is this one scene where I rape Sigourney, then I get killed and oh no it didn't seem like it was going to be particularly satisfying as an actor, Do I need this kind of an assignment?

So he declined and then David Fincher called him up.

Fincher said to Henriksen "Listen, I know that in er the original, in the script that you have, this character only, only had this one scene, but you know, I just want you to know that I have, I have you in mind for a lot of different things in the film, and I'm going to shoot with you a lot, and I think you're going to have a great experience."

Henriken was very impressed, since Fincher had gone through all the trouble to do that and he himself wasn't a big star.

b) Invitation for a short visit, a coffee and a doughnut
Discussions about Lance Henriksen returning to the Alien franchise had taken place as Bishop the android earlier in development. 

There was a script by William Gibson in which he has been repaired after being ripped in two by the Alien Queen from Aliens, and is now main character but by the time of Alien 3, Henriksen had physically aged a lot so it was almost out of the question. 

However there was another way to bring him back, although briefly as another character labeled as Bishop II in the final script mostly written by Walter Hill and David Giler, who at one point had an impressive death.  

It seems that the new Bishop 2 character had been pulled out of a magic hat to be put into the script and it was a fairly small role at the end of the film, Henriksen still had some reservations about it
he thinking "Why revisit something like that?

He dd it once and that was enough. It took Walter Hill to talk Lance Henriksen into the role, saying "Look Lance, why don't you go do this movie, go to London, have a cup of coffee  (years later remembered as tea) and a doughnut and come home; we just want you to be in it. You're going to be playing Bishop 1 and 2." .

Lance felt that he was being asked nicely and couldn't say no, but he didn't know what the value of what he was doing was. 

What started out as an invitation for a short visit soon turned into a month. 

However he felt that the only he was asked to do the picture was for product recognition and his character would have drawn fans in who recognised him from the original Alien. 

He wouldn't be used again this way. 

He also felt that if the part didn't work, he would quit acting. 

But he played the character along the corporate line and this would be different from the way he played Bishop the android.

c) The nature of the confusion 
Bishop 2 was a threadbare character, and was supposed to be a company employee who was the man who built Bishop from Aliens, his name as Bishop 2 only turns up in the credits.  

He turns up as a friendly face to convince Ripley to allow the company to remove the chestburster from her, and one thing he has to do is persuade her that he really has shown up as a friendly face of a real human rather than the friendly face of another android.

He claims to be the prototype of the Bishop android, the man who created him.

Ripley: : No more bullshit. I just felt it move.

Bishop II: You know who I am?

Ripley: : You're a droid, same model as Bishop...sent by the fucking Company.
 

Bishop II:  No. I'm not the Bishop android. I designed it. I'm very human. The Company sent me here to show you a friendly face... to demonstrate how important you are to us...to me.
 

Ripley: : You want to take it back.

Bishop II:  We want to kill it and take you home.

Ripley: : Bullshit.

Bishop II:  You're wrong. We want to help.

Ripley: : What does that mean?

Bishop II: We're going to take that out of you.

Ripley: : And keep it?

Bishop II:  Can't let it live. Everything we know would be in jeopardy.
 

What exactly is it that they know that's in jeopardy?

In the Alien script known as the Cylinder script , after half being accused of having a reason to keep the alien alive,  Ash says to Dallas "The Alien is a dangerous form of life... It killed Kane... I want it dead... as much as anyone does"
And then in the comic book version, when Dallas voiced his suspicions against Ash, there was something that Ash said to Dallas "I don't want it alive any more than you do ."

And perhaps anything that Bishop II has to say is about as valid as anything that Ash has to say as one of the company's special employees of one kind or another.

Ripley: You don't want to take it back?

Bishop II:  Ripley, time is important. We've got a surgical bay on the rescue ship.
Come with me. You still can have a life. Children. Most important, you'll know it's dead.
Let me help you.


Ripley: What guarantee do I have... once you've taken it out...
that you'll destroy it?


Bishop II: : You'll have to trust me.
 

Ripley: Please?

Bishop II: :Trust me?
 
Ripley: : No.

Bishop II: What's this going to achieve? 

However Aaron, one of the employees of the prison, is suddenly convinced that he must he an android, and hits Bishop 2 around the back of his head, resulting in the side of the face is hanging open and blood pumping out from his skull. 

A scene that should have resulted in Bishop 2 being killed soon transforms into a scene where he seems unaffected by the injury as he calls out to Ripley to not kill herself.  

Aaron had accused him of being another android when he went to attack and after he's hit, Bishop II cries out out "I'm not a droid!", but does that really prove a thing?

Bishop II:  Ripley, think of all we could learn from it. It's the chance of a lifetime!
You must let me have it. It's a magnificent specimen. What are you doing?


Bishop II seems to let down his cover, he just really wanted the alien creature did he really intend to kill it?  But Ripley plunges to her death


d) Different versions of the script
In one version of the script that had been filmed, Bishop 2 has been mortally injured and bleeds to death or falls over the side of the railing and dies. 


In the reshoot he continues to live, but the side of his head had been ripped open, with blood is gushing out at the side.

Still he continues to remain on his feet crying out for Ripley to give the company the chestburster.  

e) Response to the confusion 
It may have been the director and the scriptwriters intention to make sure that people knew that Bishop 2 was a human.

Those intentions failed to have the last word when many many audience members asked the question from then about whether he was an android or a human

They would argue about it for a long time to come. 

The actor Lance Henriksen could not explain exactly what his character was standing around for with the side of his face hanging open like a flap after he was hit in the head.

He thought that it was all up in the air about what this character was when they were making the film, that they weren't sure and they wanted to leave doubt. 

He stated that they came up with the scene where he gets hit on the back of the head with a pipe very late on. 

And since they had not prepared for it, they cobbled together a prosthetic appliance for the flap like injury that had one of the couple of Jack Nicholson's ear left over from his role in the Batman movie a few years before, instead of his own, and the prosthetic ear was also much bigger than his own

f) Another point of confusion 
Above this confusion was the fact that David Fincher revealed later in 1996 that in his original story for Alien 3 he told the studios that got him the job, he mentioned that there were three Lance Henriksen's running around.  

In light of what we got where we discover that what we assumed first was another robot is revealed to be a human being and then the closer we inspect the injury, many people are left confused about which it should be. How would have David Fincher explained away the confusion?
  
g) The fantailing 'Is he or isn't he' situation 
In 2004, Lance Henriksen talked about the confusion for the Alien Vs Predator publicity, how it was up in the air what Bishop 2 was, and along with Paul W.S. Anderson personally preferred to think of him as an advanced model of android.

Henriksen's rationale developed into the idea that if you're going to continually make an android or an artificial person, then they would advance it to the point where they say "Okay, let's give him red blood instead of milk". 

He also talked about how the confusion was the same with Jim Cameron when he talked about doing another Alien movie, pondering on the idea of what he might do to Bishop, saying that maybe somebody messed with his brain to make him dangerous. 

In 2010 he added that Cameron had the idea that Bishop was aware that someone had fooled around with his brain and was constantly worried that he would do something dangerous, so it was an  'is he or is he not' situation, and Henriksen found that he liked this conflict.   

By 2015, Henriksen was quite convinced that Fincher's idea was that he intended to leave people guessing

h) Tumbling into the darkness 
If we were to value the confusion about whether Bishop 2 was an android or not, we might take a look at the film Blade Runner which was released in 1982 where the director Ridley Scott talked about the character Deckard being a human and would also reveal about how he thought that Deckard was really a Replicant

Although the main clue to the fact that he was a replicant had been taken out, there were still subtle clues indicating this to still be a truth, and the French audience were known to have picked it up immediately. 

However many members of the audience who had invested in the idea that Deckard was a human through and through, couldn't handle the idea the revelation in the interviews that he was a replicant, and this idea was unleashed onto the public in a much more prominent way when the first director's cut of Blade Runner was released in 1992.

Meanwhile David Fincher had a great interest in Blade Runner to the extent that he was brought cinematographer Jordan Cronenweth the director of photography from that film into the Alien 3 production, until he became too ill to work. Jordan was then was replaced by Alex Thompson, a man well experienced in this field who kept the style of photography as close to Cronenweth's as possible. (See also Blade Runner: Rick Deckard: human or replicant?)
 

Source Quotes
  1. Lance Henriksen: Lorsque Walter Hill m’a proposé de reprendre du service dans Alien3, le déception a été grande de m’aprecevoir que je n’avais que quelques minutes à l’écran. Walter m’a contacté pour me dire : “Allez Lance, pointe-toi, fais-le, prends un café et rentre chez toi, fais-le, prends un café et rentre chez toi“. Il avait besoin de moi pour une séquence bien précise, une scène capitale. Bien sûr, je ne pouvais pas refuser en prétextant la modestie de mon apparition.  Maintenant, je suis fier de la scène. En fait, j’incarne l’homme qui a créé Bishop, à son image, un type en fait bien moins humains que sa créature  (Google translation: When Walter Hill asked me to resume service in Alien3, the disappointment was great to realize that I had only a few minutes on the screen. Walter contacted me to tell me: "Go Lance, tip up, do it, get a coffee and go home, do it, get a coffee and go home." He needed me to a specific sequence, a key scene. Of course I could not refuse, claiming the modesty of my appearance. Now, I am proud of the scene. In fact, I play the man who created Bishop, in his image, a guy actually much less human than his creature) (Ecran Fantastique, # 126 p31, ,August 1992)
  2. Lance Henriksen: Bishop II genuinely wants to save her, and the story changes really helped Alien 3, The part grew while the material was being developed, yet Bishop's fate was always in the hands of the gods. I'd read the scripts where he was a star and others that had Bishop walking through. I never knew if he would survive until the final draft. (Fangoria, #112, May 1992)
  3. Lance Henriksen: Actually, that's  only part true. Or maybe it's more than part true. Oh you know what I mean. I get to play what's left of Bishop, and I play Bishop II, his human creator. (Starlog/July/1992, p46)
  4. Lance Henriksen: After I finished ALIENS, and it came out and was a big hit, they wanted me to sign up to do III and IV. I wouldn't do it. Without scripts, everything is in someone else's court. I had no choice in the matter once I say yes. So honestly I wasn't sure I would even be in Alien 3. (Starlog/July/1992, p46)
  5. Lance Henriksen:  There were five scripts done. I would be written in, then written out. In one, Bishop was an enormous character. So I never knew(Starlog/July/1992, p46)
  6. Lance Henriksen:  I was really disappointed in a way. Walter Hill called me up and said "Look, Lance,  just go and do it, have a cup of coffee and come home." They needed me for a reason, a dramatic reason. Besides, I wouldn't say 'No, the role is too small for me.' It wasn't a matter of that. All  of the sentiment about Bishop is there. The key scene with Sigourney is really good, beautifully written, and the way they shot it is unbelievable. So it's a small role, I'm very proud of it. (Starlog/July/1992, p46)
  7. Lance Henriksen: It's hard to tell, Bishop II gets clobbered on the head with a piece of steel. It almost takes my ear off. It opens the side of my head up, but I don't die. They think I'm an android and they realize after they clobber me that I'm not an android. I'm a person, the guy who created Bishop. (Starlog/July/1992, p46)
  8. Lance Henriksen: Judging from having done it, I would say Bishop is much more humane than his creator. When I did Aliens, I found a humanity in playing that role. All I could work on was Bishop's humanity. For him anything that's alive was really magnificent.  He's like a misunderstood 14 year old. (Starlog/July/1992, p47)
  9. David Fincher: There was a whole section where they actually cut three minutes out of the end sequences when Bishop comes and presents his case. I always wanted it to play like she listens to him and is really tempted by it. Originally that scene played out much longer and there was a 40 second pause from the time he said "Please trust us" and she made this decision and then she finally looked up at him and said "No" (Imagi Movies vol 1 #1, 1993)
  10. Lance Henriksen: They asked me really nicely, and I couldn't say no. So now I just have to live with it.  (Aliens, Vol 2, Number 22, 1994,"Regarding Henriks" by David Hughes, p46)
  11. David Hughes: Nevertheless, Henriksen feels that the only reason he was asked to do the picture was for product recognition - the studio knew that his name would attract the many fans of his character from ALIENS to the second sequel - and he is determined that he "wont be used that way again."(Aliens, Vol 2, Number 22, 1994, "Regarding Henriks" by David Hughes, p46)
  12. Lance Henriksen: My deal with myself was, I was going to quit acting if that part didn't work. (Aliens, Vol 2, Number 22, 1994, "Regarding Henriks" by David Hughes, p46)
  13. Lance Henriksen: My scene with Sigourney (Weaver) was good but I wish it had been fuller and given a bit more substance. (Aliens, Vol 2, Number 22, 1994 "Regarding Henriks" by David Hughes, p46)
  14. David Hughes: In Alien 3, fans are still unsure whether "Bishop 2", the company man sent to dissuade Ripley from suicide, was on the level or not and don't even seem to agree whether or not he was playing an android or a human! (Aliens, Vol 2, Number 22,  1994 "Regarding Henriks" by David Hughes, p48)
  15. David Fincher: The story I told them, that got me the job, was cool. It was a fucking David Lean movie. It wasn't about tough guys in outer space, it was about paedophiles in outer space. It was a huge movie and it was very complicated and political. There were three Lance Henriksens running around, Paul McGann was a serial killer, and at the end of the movie you had the alien running around and you've got 3,000 stormtroopers on their way. It was a massive and strange idea that was great. I went 'They gave me the work, so they're going to let me make this movie.' Then it was like, ' We can't do that, we can only have eighteen guys show up at the end. ' And so at a certain point they cut the fucking balls of the thing. (Empire, p85, Seventh Hell, February 1996)
  16. Lance Henriksen: I remember Walter Hill saying "Lance, why don't you go do this movie, go to London, have a cup of coffee and a doughnut and come home: we just want you to be in it." Then it turned out to be a month... The original script had it as a monk's planet which would have been awful. Then it turned into an prison planet (Total Film, November 2004, p102, Fright Club  2004)
  17. Lance Henriksen: When I worked on Alien 3, it was up in the air as to what Bishop was. Was he an android or a human. Nobody knew. It was the same with Jim Cameron, when he was talking about doing another Alien movie. He often pondered about what he might do with Bishop, saying that somehow they messed with his brain to make him dangerous. or not."(Total Film November 2004, Fright Club, p102)
  18. Lance Henriksen: Well, they left that open, because they weren't sure what they were going to do with me. What I believe is that Bishop II was a more advanced model. I love the idea of 'advanced' models. And this the prequel, so I'm well rounded! (Starlog/July/2004, p32-33)
  19. Lance Henriksen: The third Alien was a really different one for me because it dealt with a despicable place and many despicable people. I didn't know who to root for. Sigourney falls in love with a doctor who's a little like a serial killer in a way. He shot everybody up with some bad medicine and killed them all. So I did not know what to do. I played that Bishop along the corporate line (Starlog/July/2004, p32-33) 
  20. Lance Henriksen: I also remember Jim saying to me, if we ever did another one that what he would have done is probably had that character realize that somebody had fooled around with his brain and make him constantly worried that he was going to do something dangerous. And so I thought, well, what a nice piece of conflict that is. (www.everyjoe.com 2010 01 01)
  21. Lance Henriksen: There was some confusion at the moment of execution, makeup found an ear from Jack Nicholson, left after his batman appearance, and used it on the flap of the skin wound, I think the unresolved questions adds to the entertainment, is he or is he not, Fincher was content with the issue. ( Lance Henriksen's Facebook page, 27th October, 2010)
  22. Lance Henriksen: They weren't sure, they wanted to leave a doubt, and they came up with a scene where I get hit on the head with the pipe very late on. They hadn't prepared for it, and the make-up is actually a Jack Nicholson left ear left over from a Batman shoot. He's got a lot smaller ear than I do. (Empire, November 2009, p116)
  23. Interviewer: How did you get involved in Alien 3

    Lance Henriksen: I was a young actor, living in New York, and I got called from a casting director, whose still around, a very nice guy named Billy Hawkins/Hopkins, and he said er, we're going to do ah, another installment in er Sigourney Weaver's your know, Alien series, and er, that this young director was somebody that was considered like a genius, 'cause he had started his career, as you know, with seventeen years old he was an intern at George Lucas Industrial Light and Magic, and that he was, you know, had directed videos and commercials and everybody thought that he was really brilliant and, and of course he turned out to be the very brilliant David Fincher, and so I came and read for David, and erm , he offered me a part, and it hurts. believe it or not, I declined, because in the, in the original script, the only scene that my character, named Junior, er, you know, one of the convicts,  one of the space... let's see, well not space monkeys, space monkey and fight club, what were we in Alien,  what were we in Alien 3? Or was it something else?

    Interviewer: You're just er, space monks instead

    Lance Henriksen: Right, space monks there you go. So er, you know, he er, he offered me this part. When I, when I read the full script, the only thing that erm this character really did was rape Sigourney Weaver, and you know when I play a character, I'm willing to play, to play good kind of guys and bad guys, I'm willing to play characters that are very dark and characters that are . the thing was, the only scene that this guy had, you was, was this rape scene. You know, when you had to go to England and you had to shave your head bald, none of that really bothered me but, oh god when they were asking me for a five month commitment, I was like "My god, I'm going to go to England and be bald and be there for five months and all I'm going to do is this one scene where I rape Sigourney, then I get killed and oh no it didn't seem like it was going to be particularly satisfying as an actor, Do I need this kind of an assignment?" And so I declined.

    And to give him all his credit, I got a call from er from David Fincher, he called me from England, he was already over there and er, he said "Listen" he said "I know that in er the original, in the script that you have, this character only, only had this one scene, but you know, I just want you to know that I have, I have you in mind for a lot of different things in the film, and I'm going to shoot with you a lot, and er, I think you're going to have a great experience." So I was very impressed by the fact that he had erm gone to the trouble to make that kind of a call. You know, I wasn't erm a big star or anything, needless to say, like my second movie I think, so erm, anyhow, I said yes and I went over and true to his word, David really er, you know, David really used me a lot in the film, and I have a lot of very memorable scenes, including an incredible death scene which did not make the final cut, because sadly the studio stepped in and took the film away from David in post production and re-cut it themselves, and er, any any scene which did not feature Sigourney hit the floor, and frankly it er, it was a terrible tragedy, because David is one of the world's great directors, and er, if they would have allowed him , just to er, realise his vision, it would have been a much better film, um you know he had the last laugh, because he came back and made Seven which is a phenomenal movie and of course he made Fight Club which is iconic and since then he has become you know one of the most successful directors in Hollywood. But at that moment that, was his first movie, and he was kind of a young upstart, and then I think the studio thought it was too dark and they didn't get it and you know, they didn't like him, and so they took it away from him, and then you know , all my scenes really hit the floor, except for a few little, you know, pieces, ah, but the rape scene is still there. So erm, I don't regret it. David hired me again a few years later for one of his films, and I consider him a friend, you know, er , and that was kind of like, a first step for me toward being in a kind of bigger studio affair.  (http://projection-booth.blogspot.co.uk/2015/07/episode-228-alien3)
  24. Interviewer: You don't tend to do a whole of sequels in your career but you have come back to do kind of the Bishop role a little bit, like through other means
    Lance Henriksen: Yeah, but they're, they're like different manifestation, it's real.., it's pretty cool actually
    Interviewer: Was it, always given that you were going to be in Alien 3 when that came out? (what came out?)
    Lance Henriksen: No, I don't think so, i think when they write about Bishop , they, it's usually like 4 in the morning and the writers are sitting around with a block, and they go,  "what if we bring Bishop, , in some, you know. manifestation? Yuh, okay
    Interviewer: Yeah, you kinda are a little bit of a deus ex machina at the end there
    Lance Henriksen: yeah
    Interviewer: I know this is a really dumb question, but I have to ask it anyway, and I apologise in advance. Was Bishop 2 a human or an artificial person?
    Lance Henriksen: I think he was an advanced model, because one of the things that happened was, that, that, Fincher came up with that on the moment and we didn't have an ear , you know he wanted me to be hit in the head and have the flap open up, and, but, we didn't have an ear, so Jack Nicholson had just finished er, the Joker, and they had a couple of his ears made of polypropolene or whatever it is, and we used one of those. So my left ear was big, and my right ear was little. It was a little, a little ear. But I thought, yuh, okay, if you're going to continually make an android or an artificial person, that they would advance it to the point where, okay, let's give him red blood instead of milk, so that was my rationale, you know, but I, I thought, I thought Fincher's idea was a good one, that you, you leave it, leave people guessing.
     (http://projection-booth.blogspot.co.uk/2015/07/episode-228-alien3)
  25. Interviewer:You returned for a cameo in David Fincher's Alien 3, but you weren't that keen to reprise the role, were you?
    Lance Henriksen: I love David Fincher and thought he was a brilliant young man, but I thought, "Why revisit something like that?" I did it once - it's enough! But [producer] Walter Hill called me and said "Go to England, have a cup of tea and a doughnut, and come home.  You're going to be playing Bishop 1 and 2." Fincher was so bright and I genuinely liked him. I just didn't want to revisit it. When I did Millenium and played Frank Black every week and every show for three years it felt like one long movie, so that was fine. I guess my first feeling was out of nerves. I didn't know what the value of what I was doing was. I certainly wasn't playing him the same way I was playing Bishop (SFX #115,  p115 , 2016),

Alien 3: Alec Gillis' concept art

leading from
 
 
 



  1.  Alec Gillis: A couple of my sketches from ALIEN3. Due to script changes the pre production build schedule was unusually long even by the standards of the day. Giger was submitting from Zurich but @tom_woodruffjr and I were asked to give our takes as well. This would later cause ill feelings from Giger towards us, which was a unfortunate. Even on ALIENS, which Giger was not part of, we considered ourselves to be caretakers of the incredible designs he created. At the same time when a director asks for your ideas, as professionals you give them. We asked for the credit ‘Alien FX Designed by’ while Giger received the credit ‘original Alien Designed by’ so as to make it clear we weren’t trying to diminish Giger’s brilliant work. He had well documented problems with Fox and I suspect he lumped us into that contingent. We can’t always control people’s reactions. Sometimes it’s just best to accept and move on.
    (https://www.instagram.com/p/B30TvFPACln/
    October 19, 2019)

Poltergeist 2 creatures' rib cage and spine influence
on Alien3 beast?

leading from 


Alien 3 rod puppet and Poltergeist 2 Great Beast design's back
detail of the back of rib cage of the great beast design for Poltergeist 2
Full image of Giger's concept sketch for the Great Beast from Poltergeist

a) Comparisons to the rib cage of the Poltergeist 2 great beast design
 Either side of the ribbed spine of Giger's Great Beast from Poltergeist 2 there are long ribbed ridges going down the length of the back. This is another feature of the Alien 3 beast, and we can see it here in the puppet and the rib cages both present an added roundness to their form.



b) Comparisons to Giger's Primitive Creature design for Poltergeist 2
In Giger's design for the Primitive creature, seemingly overlapping plates along the spine are present as in the rod puppet. This creature also has ridges either side of the spine but they are not ribbed. However the should blades of the creature are raised as protruding forms at the top in a way similar to the rod puppet.


detail of upper spine of Giger's Primitive Creature

Alien 3 : Bambi-Burster from an ox

 leading from 

a) Ox hanging up

Giger had created drawings showing the ox hanging up in the abattoir and the bambi-burster burning its way out in a birth sack 

 

Drawing by Giger of the ox hanging by its legs


b) Filming the Ox-Bursting scene

ADI had created a lanky four legged chest burster puppet as an articulated cable puppet, while they subcontracted the creation of an ox to animal fabricators Val Jones, Alex Harwood and Monique Brown

The final thing was shot but not to David Fincher's satisfaction

He thought that it looked stupid when they filmed it, even with masonite filters on the lens.

To do it right would have cost a couple of hundred thousand dollars and they only had sixty thousand.

So he decided that the ox idea just didn't work and this change of ideas came in post-production


The ox hanging in the abattoir as seen in the extended version of Alien 3

The hanging ox just as the bambi-burster is about to erupt as seen in the extended version of Alien 3
 
The hanging ox just as the bambi-burster is about to erupt as seen in the extended version of Alien 3

The bambi burster plops onto the floor as seen in the extended version of Alien 3
 
The bambi burster begins to rise as seen in the extended version of Alien 3
 
The bambi burster shows its face as seen in the extended version of Alien 3

The bambi burster showing off it's tongue as seen in the extended version of Alien 3



c) Behavioural characteristics as another reason for change

Something going on in David Fincher's mind had decided that alien took on behavioural characteristics of the host and so decided an ox would make it less vicious.

He wanted something that was faster and more predatory

This meant to him that instead he wanted to use a dog as the host which would in his view make the creature not as elegant a creature than it was before. Here we have a certain lack of information about what he had decided would have worked well as a design for the grown up version of the Bambi-Burster that had come from an Ox, although HR Giger had supplied plenty of ideas for such a creature.

Fincher thought that this would help when they got into the big chase sequence at the end because it would give an exciting POV and explain the reckless attack mode that the thing was in.

This change would break everyone else's heart, because the idea of a dog as a host for an alien creature had been used in the movie "The Thing" in a significant way. 

(P.S. I don't have personal knowledge of the running speed of either creature but one can look up the running speed of an Ox and find that it can be 40 km/h and the Rottweiller is known to reach up to the same speed but of course one can say that a Rottweiller is much more agile and vicious. It doesn't look as if anyone was that bothered anyway at the time about such details, and it might be strange to start wondering about the alien taking on the emotional characteristics of its host, but it's the direction that they went whatever.)


The Bambi Burster begins to walk as seen in the extended version of Alien 3

The Bambi Burster begins to walk as seen in the extended version of Alien 3

The Bambi Burster begins to walk as seen in the extended version of Alien 3

The Bambi Burster as seen in the extended version of Alien 3


  1.  The next phase of the aliens life-cycle was to be revealed bursting from the carcass of the mysteriously deceased ox. "We came up with what we call the 'Bambi-burster' said Gillis. "It was kind of a lanky four legged chest burster built as an articulated cable puppet. A non-articulated ox carcass was also needed." (Alien the Special effects, p114 , (Articles originally published in Cinefex magazine)
  2. Rather than build it themselves, Gillis and Woodruff elected to subcontract the project out to animal fabricators Val Jones, Alex Harwood and Monique Brown. The ox was equipped with ADI's bambi-burster and shot but not to Fincher's satisfaction 'To really do it right would have cost a couple hundred thousand dollars" Fincher admitted "and we only had sixty thousand.  It looks stupid. We put masonite filters on the lens and we still couldn't shoot the scene so that it looked right.  The ox stuff has never played.(Alien the Special effects, p115 , (Articles originally published in Cinefex magazine)

Alien 3: ADI's Super Face-Hugger

 leading from 
 

 

Garry Pollard working of the Super Face-Hugger
 

a) The idea for the creature

HR Giger had been evolving his idea for a Super Face-hugger around late August 1990, but ADI would design their own version of the creature and build it

It was supposed to be the a new strain of Face-Hugger, presumably one that would implant the seed of the queen.

Eventually ADI would even go as far as calling it the Queen Alien Facehugger , and that it was armour plated because it carried royalty in the form of the Queen embryo.

It was bigger than the regular face-hugger, had translucent webbing between the fingers and was heavily armoud with plates and spines.

Garry Pollard is known to have sculpted the piece as can be seen in the photo above

See also: Alien 3: Giger's Super Face-hugger

 

 

Close up side view of the Super Face-Hugger

 

Close up side view of the Super Face-Hugger 
(Science Fiction Filme und praktische Effekte on Facebook March 27th 2022

side view of the Super Face-Hugger 
(Science Fiction Filme und praktische Effekte on Facebook March 27th 2022

 

b) Creation

It was cast out of urethane and had an armature inside built to look like bones.

It was articulated so that you could put it into any position, but it was never meant to be seen alive.

Despite the considerable expenditure of effort, nothing of this creature survived the final cut


Underside of the Super Face-Hugger

 

Underside of the Super Face-Hugger 
(Science Fiction Filme und praktische Effekte on Facebook March 27th 2022

 

Overside of super face hugger 
(Science Fiction Filme und praktische Effekte on Facebook March 27th 2022

 

 

 

c)  Painting the creature

Gino Acevedo would paint the final screature mode



Underside of Face Hugger after being painted by Gino Acevedo
 

 .
The last image shows artist Gino Acevedo proudly showing his paint job.

d) As seen in Alien 3 extended edition

Although cut from the theatrical release, the Queen Alien Facehugger could be seen in the extended edition of Alien 3. 

It would found on the trolley in the abattoir after the ox had been found dead and had been transported in on it., and its own dead form would be held up by one of the prison inmate named Murphu


  1. Pollard @garypollardsculptor busy on the Queen Alien Facehuggerfor ALIEN3.
    This was ADI’s addition to the Alien canon: an armored facehugger that carried royalty in the form of a Queen embryo.
    The last image shows artist @gino.acevedo proudly showing his paint job. This image has been circulated on the web as an unidentified crypto species. Can’t fool you, can they?
    (https://z-p42.www.instagram.com/p/CKoj1rYjgPL/)
  2. Super Facehugger sculpted for Alien 3  (https://z-p42.www.instagram.com/p/B1D0PRwj2T2/)
  3. Once designed were approved, the ADI team began producing the various representations of the alien's lifecycle.  Among them  was the face hugger, a major player in the both of the previous films. ADI developed an entirely new concept for a sequence in which a dead face-hugger was to be found, thus explaining a Ripley's impregnation with a queen embryo. "We had designed and built what we call the super face-hugger" said Woodruff. "It was supposed to be a new strain of face-hugger. presumably one which would implant the seed of a queen.  It was the bigger than the regular face-hugger, had translucent webbing between the fingers, and was heavily armored with plates and spines. It was cast out of urethane and had an armature inside built to look like bones. It was articulated so that you could put it into any position, but it was never meant to be seen alive." Despite the considerable expenditure of effort, nothing of the Super Facehugger survived to the final cut. (Alien the Special effects, p114 , (Articles originally published in Cinefex magazine)
  4. It was a queen facehugger that was armor-plated to look like it carried the embryo of a queen alien, and we got to redesign it. I think Gary Pollard sculpted that as well.
    Yeah, he did.
    (Aliens 3 commentary subtitles. I haven't listened to see who was saying what)
  5. Guten Morgen auf Fiona 161 werte Effektionisten.
    Hier seht ihr den Superfacehugger in seinen Details für ALIEN 3 (1992). angefertigt von Gary Pollard.
    In seinem bisher unveröffentlichten Interview (der Teil eines Projektes ist, welches nunmehr Gestalt annimmt) sagte er darüber:
    "Die Modellierung des Queen Facehugger begann mit ein paar Skizzen von Alec Gillis. Ich habe an Alec Gillis die Frage weitergeleitet. Seine Antwort:
    "Giger reichte seine Entwürfe von Zürich aus ein, aber Tom Woodruff und ich wurden gebeten, ebenfalls unsere Entwürfe einzureichen. Das führte später dazu, dass Giger uns gegenüber böse wurde, was sehr bedauerlich war. Sogar bei ALIENS (1986), an dem Giger nicht beteiligt war, betrachteten wir uns als Verwalter der unglaublichen Designs, die er geschaffen. Aber wenn ein Regisseur nach deinen Ideen fragt, gibst du sie ihm. Wir baten um den Vermerk "Alien-Effekte entworfen von", während Giger den Vermerk "Original Alien entworfen von" erhielt, um deutlich zu machen, dass wir nicht versuchten, Gigers brillante Arbeit zu schmälern."
    Die Skizzen waren für mich als Künstler ideal. Sie waren herrlich locker, zeigten aber den Weg. Ein krabbenartiges Gehäuse mit Ventilen an den Seiten. Ich durfte sie interpretieren und ein paar eigene Details hinzufügen, ein erfreulicher Prozess."(Science Fiction Filme und praktische Effekte on Facebook
    March 27th 2022
    )
    (Facebook translation
    Good morning on Fiona 161 worth effectists. Here you can see the Superfacehugger in his details for ALIEN 3 (1992). Conducted by Gary Pollard. In his previously unreleased interview (part of a project that is now taking shape) he said about it: "Modeling of Queen Facehugger started with a couple sketches by Alec Gillis." I forwarded the question to Alec Gillis. His answer : "Giger submitted his drafts from Zurich, but Tom Woodruff and I were asked to submit our drafts as well." This later led to Giger getting angry at us which was very unfortunate. Even in ALIENS (1986), in which Giger was not involved, we considered ourselves as administrators of the incredible designs he created. But when a director asks for your ideas, you give them to him. We asked for the note "Designed by Aliens Effects", while Giger received the note "Original Alien designed by" to make it clear that we weren't trying to belittle Giggers' brilliant work. " The sketches were ideal for me as an artist. They were wonderfully loose, but showed the way. A crab-proof house with valves on the side. I was allowed to interpret them and add a few details of my own, an enjoyable process.)