Disclaimer: I take no credit in writing the music or lyrics of this song or in making the cover art of this album. I intend on this video solely being a fan tribute to show my appreciation of the band's music. Comment, rate, share, appreciate. Vying for the heaviest band award in the 'Seattle Four' with Soundgarden, Alice in Chains made a blend of metal and Grunge that only one other band could match. Their debut, Facelift, was released in 1990 and helped muddy the line between grunge and metal which also gained the band a wider audience in the early 90's when the metal scene was starting to die out and Grunge was taking off. Line-up: Layne Staley: Vocals Jerry Cantrell: Guitars, Backing vocals Michael Starr: Bass Sean Kinney: Drums Lyrics: I'm the man in the box Buried in my shit Won't you come and save me, save me [CHORUS] Feed my eyes, can you sew them shut? Jesus Christ, deny your maker He who tries, will be wasted Feed my eyes now you've sewn them shut I'm the dog who gets beat Shove my nose in shit Won't you come and save me, save me [CHORUS]. Buy Man In The Box: Read 44 Digital Music Reviews - Amazon.com. Watch video Watch Man in the Box by Alice In Chains online at vevo.com. Discover the latest music videos by Alice In Chains on Vevo. Watch music videos and original shows on Vevo. Download Vevo free on mobile and TV devices. Digital Music: 'Alice In Chains Man In The Box' 'Alice In Chains Man In The Box' Go Cancel. Introducing Amazon Music Unlimited. Listen to any song, anywhere. Find a Alice In Chains - Man In The Box first pressing or reissue. Complete your Alice In Chains collection. Shop Vinyl and CDs.
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Search Predator in YIFY Movies Engine and Download Predator YIFY Torrent in Faster Speed. FOLLOW US ON. Predator: Requiem (AVP 2. Description imdb AVP imdb AVPR Alien vs Predator. When a private satellite encounters an unidentified source of heat in Antarctica and it is found to be a pyramid buried deep underground, a search team comprising of top-of-the-line archaeologists and engineers is sent to Antarctica to find out more. Once there, the team comes across signs which indicate that the place is inhabited by an unknown alien species. It is not long before the aliens begin to hunt the team members. At the same time, a trio of coming-of-age Predators have arrived to collect the skulls of the aliens as trophies, and the humans are caught between a deadly battle between the two warring species. =>-Sanaa Lathan. =>-Lance Henriksen. Aliens vs Predator Requiem. In Gunnison County, a spacecraft crashes in the woods bringing a powerful hybrid Alien hosted inside the pilot Predator. A local, Buddy Benson, and his son, Sam, are hunting in the forest and witness the crash, but they are chased and killed by the Alien. Meanwhile another Predator lands on the spot seeking out the Alien and destroys evidence of their presence on Earth. The dwellers of the town find themselves in the middle of a battlefield between the two deadly extraterrestrial creatures, and the small group of survivors splits between the leadership of Sheriff Eddie Morales and the bad-boy Dallas Howard. Both have different opinions about the best means to escape from the beings. =>-Reiko Aylesworth. =>-Steven Pasquale. =>-Colin Strause: Greg Strause. Info =>-Genre...: Sci-fi: Action. =>-Release Date..: 2004: 2007. =>-Language...: English. =>-File Size...: 724 MiB: 722 MiB. =>-Overall bit rate..: 1 080 Kbps: 1 077 Kbps. =>-Movie Runtime..: 1h 48mn: 1h 33mn. Video =>-Codec...: H.264/MPEG-4 AVC. =>-Aspect Ratio..: 2.35:1. =>-Resolution..: 720 x 310. =>-Bit rate...: 910 Kbps. Audio =>-Codec...: mp4a: MPEG-4 AAC LC. =>-Channels...: 2 channel Stereo. =>-Bit Rate...: 165 Kbps. =>-Maximum bit rate..: 320 Kbps. .: Alien Breed. Publisher: Developer: Genre: Release date: These aren’t exactly aliens in the same way that Alf or E.T. These guys are out to get you, and you’d better be quick on your feet if you want to stay alive! The Earth is under attack by a gruesome breed of outer-space creatures, requiring you to haul out all of your weapons in hopes of saving your home planet. An excellent plot adorns this thoroughly entertaining, combative experience, and the gameplay will have you instantly addicted. High computer AI and lengthy missions will have your nerves pushed to their limits. Direct Download Link 1. Alien Breed 3 Descent Free Download for PC is the sequel of Alien Breed 2: Assault and is the third and final installment of the episodic remake of the Alien. Real simple pray All I need is a touch from you No one else can do the things you do Take the wrong in my life and make it right even me All I need lord jesus is a touch from you from my master and king all I need is a touch from you Oh God Ho. God Lord I'm standing in the need of prayer When I call Lord I know your there Reach your hand down from heavenAnd pull me through All I need is a single touch a touch from the master oh god All all I ever need is a touch from you If you touch me hey. Jul 08, 2009 This is one of my new favorites by Brian Courtney Wilson from the album 'Just Love'. Buy All I Need: Read 4 Digital Music Reviews - Amazon.com. Now Available from Norwood Music Publishing. SKU: SM-7336. Our Price: $4.00. Item in stock! Product Reviews: Write a review. All I Need - Brian Courtney Wilson. Related Products: →, All I Need - Brian Courtney Wilson. →, Already Here - Brian Courtney Wilson. ©2017 'N'TimeMusic.com. You can download backing track 'Diary' and other minus one songs 'Alicia Keys', well as other minus one songs from our vast collection of backing tracks at maximum speed. Stream Alicia Keys - Diary Instrumental by bodyheadbang3r from desktop or your mobile device. I won't tell your secrets Your secrets are safe with me I will keep your secrets Just think of me as the pages in your diary (yeah, mhum, ayeah, you know what?) Only we know what is talked about baby boy I don't know how you can be driving me so crazy boy Baby when you're in town, why don't you come around boy I'll be the loyalty you need, you can trust me boy I won't tell your secrets Your secrets are safe with me I will keep (I will keep) your secrets (your secrets) Just think of me as the pages in your diary. Aiohow.org is Media search engine and does not host any files, No media files are indexed hosted cached or stored on our server, They are located on soundcloud and Youtube, We only help you to search the link source to the other server. Aiohow.org is not responsible for third party website content. It is illegal for you to distribute copyrighted files without permission. The media files you download with aiohow.org must be for time shifting, personal, private, non commercial use only and remove the files after listening. If one of this file is your intelectual property (copyright infringement) or child pornography / immature sounds, please or email to info[at]aiohow.org to us. By 12-Nov-2011 Don't know if this has been posted elsewhere on this site, but thought that some of you might be interested in downloading the fonts for free. Sharif FarsiWeb Unicode, Uthman Taha Naskh Font, IRMUG fonts, ('IRMUG X Series 2 fonts are created by IRMUG (Iranian Mac User Group). They support Persian (Farsi), Arabic, Dari, Urdu, Pashto, Uzbek, Kurdish, Uighur, old Turkish (Ottoman) and modern Turkish (Roman). The fonts are equipped with two font technologies, AAT and OpenType and can be used on Mac, Windows or Linux'), Iran Nastaliq font, ) Iran-Nastaliq is a free Unicode calligraphic font created by the Iranian Higher Council of Informatics. The design is based on the Iranian-style centuries-old Nastaliq calligraphy method, which is different from the Urdu versions. Iran-Nastaliq Font is mostly used for titles, short text, signs, and logos. Due to its complicated structure it cannot be used for big chunks of text or for books and publications.' ) Farhood font, Neirizi font (Neirizi Font is another free Unicode calligraphic font created by the Iranian Higher Council of Informatics. The typography is based on the copies of Qur'ans transcribed by Mirza Ahmad Neirizi, an 18th century Naskh-style calligrapher.) and Dast Nevis font. More info and downloads here. A Persian (Farsi) Font - فونت (قلم) فارسی صمیم. Contribute to samim-font development by creating an account on GitHub. Download Free Persian Font for free. This project aims to provide a free TrueType Persian font covering its part of ISO 10464/Unicode UCS (Universal Characters Set). Download Free farsi Fonts for Windows and Mac. Browse by popularity, category or alphabetical listing. What would I do without your smart mouth Drawing me in, and you kicking me out? You've got my head spinning, no kidding I can't pin you down What's going on in that beautiful mind? I'm on your magical mystery ride And I'm so dizzy, don't know what hit me But I'll be alright My head's under water But I'm breathing fine You're crazy, and I'm out of my mind 'Cause all of me loves all of you Love your curves and all your edges All your perfect imperfections Give your all to me, I'll give my all to you You're my end and my beginning Even when I lose, I'm winning 'Cause I give you all of me And you give me all of you, oh How many times do I have to tell you Even when you're crying, you're beautiful too? The world is beating you down I'm around through every mood You're my downfall, you're my muse My worst distraction, my rhythm and blues I can't stop singing, it's ringing in my head for you. Oct 02, 2013 Watch All of Me by John Legend online at vevo.com. Discover the latest music videos by John Legend. This is a recut version of the famous Alien Cocoon Scene I put together, using footage from the original deleted scene from the collector's edition laserdisc, the 2003 director's cut, and some documentary footage. A lot of it is color corrected, and there is extensive sound work. Fox owns this and stuff. This belongs to the respective owners and stuff. I am not uploading this to infringe on anyone's rights, only to show my abilities as an editor. Please don't take this down for copyright. • United Kingdom • United States Language English Budget $9–11 million Box office $104.9–203.6 million Alien is a 1979 directed by, and starring,,,,, and. It is the first movie in what became a large. The film's title refers to a highly aggressive extraterrestrial creature that stalks and attacks the crew of a spaceship., drawing upon previous works of science fiction and horror, wrote the screenplay from a story he co-authored with. The film was produced by, and through their company, and was distributed. Giler and Hill revised and made additions to the script; Shusett was executive producer. The eponymous and its accompanying elements were designed by the Swiss artist, while and designed the more human aspects of the film. Alien was released on May 25, 1979 in the and September 6 in the. It was met with critical acclaim and found box office success, winning the, three (, for Scott, and for Cartwright), and a, along with numerous other nominations. It has been consistently praised in the years since its release, and is considered. In 2002, Alien was deemed 'culturally, historically or aesthetically significant' by the and was selected for preservation in the United States. In 2008, it was ranked by the as the seventh-best film in the science fiction genre, and as the thirty-third greatest film of all time by magazine. The success of Alien spawned. It also launched Weaver's acting career, providing her with her first lead role. The story of her character 's encounters with the Alien creatures became the thematic and narrative core of the sequels (1986), (1992) and (1997). A crossover with the franchise produced the films, which includes (2004) and (2007). A prequel series includes (2012) and (2017). Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • Plot [ ] The commercial space tug Nostromo is on a return trip to Earth with a seven-member crew in stasis: Captain Dallas (), Executive Officer Kane (), Warrant Officer Ripley (), Navigator Lambert (), Science Officer Ash () and two Engineers, Parker () and Brett (). Detecting a transmission from the nearby LV-426, the ship's computer, Mother, awakens the crew. About to watch 'Alien' for the first time! Director's Cut. Success of Blade Runner's directors cut in 1991. Directors cut is basically the. The Director's Cut of Alien is an alternate version of the 1979 film, released theatrically in. Company policy requires crews to investigate such transmissions, so they land on the planetoid, sustaining damage from its atmosphere and rocky landscape. Parker and Brett repair the ship while Dallas, Kane and Lambert head out to investigate. They discover the signal comes from a derelict alien spacecraft and head inside it, losing communication with Ash. Inside, they find the remains of a large alien creature. Ripley deciphers part of the transmission, determining it's not a distress signal, but a warning of some kind. In the spacecraft, Kane discovers a chamber containing hundreds of large egg-like objects. When he touches one, it opens and a creature springs out and attaches to his face through the facemask of his spacesuit. Dallas and Lambert carry the unconscious Kane back to the Nostromo. As acting senior officer, Ripley refuses to let them aboard, citing quarantine regulations, but Ash ignores Ripley and lets them in. The crew unsuccessfully attempt to remove the creature from Kane's face, discovering that its blood is an extremely corrosive acid. It later detaches on its own and is found dead. The ship is partly repaired, and the crew lifts off. Kane awakens with some memory loss but otherwise unharmed. During a final crew meal before returning to stasis, he chokes and convulses in pain, then dies as a small alien creature bursts from his chest and escapes into the ship. The crew attempts to locate it with a tracking device and capture or kill it with nets, electric prods and flamethrowers. Brett follows the crew's cat, Jones, into an engine room and the now fully-grown alien () attacks him and disappears with his body into an air shaft. After heated discussion, the crew decide the creature must be in the air ducts. Dallas enters the ducts, intending to force the alien into the airlock, but it ambushes him. Lambert implores the others to abandon ship and escape in its small shuttle. Now in command, Ripley explains that the shuttle will not support four people and pushes to continue with Dallas' plan of flushing out the alien. Now with access to Mother, Ripley discovers that Ash has been secretly ordered to return the alien to the company, with the crew deemed expendable. Ripley confronts Ash and he tries to choke her to death. Parker intervenes and clubs Ash, knocking off his head and revealing him to be an android. Parker reanimates Ash's head and they learn he was assigned to the Nostromo to ensure the creature was returned for analysis at any expense, including the crew's lives. Ash taunts them about their chances against the 'perfect organism.' Ripley disconnects Ash and Parker burns his smashed remains with a flamethrower. Ripley, Lambert, and Parker agree to self-destruct the Nostromo and escape in the shuttle. Parker and Lambert are killed by the alien while gathering life-support supplies. Ripley initiates the self-destruct sequence and heads with the cat to the shuttle to find the alien in her path. She retreats and attempts unsuccessfully to abort the self-destruct. She returns to the shuttle, where the alien is gone, and she narrowly escapes in the shuttle as the Nostromo explodes. As she prepares for stasis, Ripley finds the alien has stowed-away aboard the shuttle. She puts on a spacesuit and opens the shuttle's airlock. The explosive decompression forces the alien into the airlock doorway. She shoots it with a grappling hook to propel it into space, but the gun catches as the airlock closes, tethering the alien to the shuttle. It attempts to crawl into one of the engines but Ripley fires them to blast the alien into space. After recording the voyage final log entry, she places herself and the cat into stasis for the trip home to Earth. Cartwright had experience in horror and science fiction films, having acted as a child in (1963) and (1978). She originally read for the role of Ripley, and was not informed that she had instead been cast as Lambert until she arrived in London for wardrobe. She disliked the character's emotional weakness, but nevertheless accepted the role: 'They convinced me that I was the audience's fears; I was a reflection of what the audience is feeling.' Cartwright won a for her performance. • as Brett, the engineering technician. Badejo, while a 26-year-old design student, was discovered in a bar by a member of the casting team, who put him in touch with Ridley Scott. Scott believed that Badejo, at 6 feet 10 inches (208 cm) (7ft. Inside the costume) and with a slender frame, could portray the Alien and look as if his arms and legs were too long to be real, creating the illusion that there could not possibly be a human being inside the costume. And also portrayed the Alien in some scenes. • Helen Horton as the voice of Mother, the Nostromo's computer. Production [ ] Development [ ]. Screenwriter Dan O'Bannon While studying cinema at the, had made a science-fiction comedy film,, with director and. The film featured an alien created by spray-painting a; the experience left O'Bannon 'really wanting to do an alien that looked real.' A 'couple of years' later he began work on a similar story that would focus more on horror. 'I knew I wanted to do a scary movie on a spaceship with a small number of astronauts', he later recalled, ' Dark Star as a horror movie instead of a comedy.' , meanwhile, was working on an early version of what would eventually become. Impressed by Dark Star, he contacted O'Bannon and the two agreed to collaborate on their projects, choosing to work on O'Bannon's film first as they believed it would be less costly to produce. O'Bannon had written 29 pages of a script titled Memory, containing what would become the opening scenes of Alien: a crew of astronauts awaken to find that their voyage has been interrupted because they are receiving a signal from a mysterious planetoid. They investigate and their ship breaks down on the surface. He did not yet, however, have a clear idea as to what the alien antagonist of the story would be. O'Bannon soon accepted an offer to work on 's adaptation of, a project which took him to Paris for six months. Though the project ultimately fell through, it introduced him to several artists whose work gave him ideas for his science-fiction story including,, and. O'Bannon was impressed by Foss's covers for science fiction books, while he found Giger's work 'disturbing': 'His paintings had a profound effect on me. I had never seen anything that was quite as horrible and at the same time as beautiful as his work. And so I ended up writing a script about a Giger monster.' After the Dune project collapsed, O'Bannon returned to Los Angeles to live with Shusett and the two revived his Memory script. Shusett suggested that O'Bannon use one of his other film ideas, about infiltrating a during, and set it on the spaceship as the second half of the story. The of the project was now Star Beast, but O'Bannon disliked this and changed it to Alien after noting the number of times that the word appeared in the script. He and Shusett liked the new title's simplicity and its double meaning as both a and an. Shusett came up with the idea that one of the crew members could be implanted with an alien embryo that would burst out of him; he thought this would be an interesting by which the alien could get aboard the ship. ” —Screenwriter Ron Shusett In writing the script, O'Bannon drew inspiration from many previous works of science fiction and horror. He later stated that 'I didn't steal Alien from anybody. I stole it from everybody!' (1951) inspired the idea of professional men being pursued by a deadly alien creature through a claustrophobic environment. (1956) gave O'Bannon the idea of a ship being warned not to land, and then the crew being killed one by one by a mysterious creature when they defy the warning. (1965) contains a scene in which the heroes discover a giant alien; this influenced the Nostromo crew's discovery of the alien creature in the derelict spacecraft. O'Bannon has also noted the influence of 'Junkyard' (1953), a short story by in which a crew lands on an asteroid and discovers a chamber full of eggs. He has also cited as influences Strange Relations by (1960), which covers alien reproduction, and various horror titles carrying stories in which monsters eat their way out of people. With most of the plot in place, Shusett and O'Bannon presented their script to several studios, pitching it as ' in space.' They were on the verge of signing a deal with 's studio when a friend offered to find them a better deal and passed the script on to,, and, who had formed a production company called Brandywine with ties to. O'Bannon and Shusett signed a deal with Brandywine, but Hill and Giler were not satisfied with the script and made numerous rewrites and revisions. This caused tension with O'Bannon and Shusett, since Hill and Giler had very little experience with science fiction; according to Shusett, 'They weren't good at making it better, or, in fact, at not making it even worse.' O'Bannon believed that Hill and Giler were attempting to justify taking his name off of the script and claiming his and Shusett's work as their own. Hill and Giler did add some substantial elements to the story, however, including the character Ash—which O'Bannon felt was an unnecessary subplot but which Shusett later described as 'one of the best things in the movie.That whole idea and scenario was theirs.' Hill and Giler went through eight drafts of the script in total, concentrating largely on the Ash subplot but also making the dialogue more natural and trimming some sequences set on the alien planetoid. Despite the fact that the final shooting script was written by Hill and Giler, the awarded O'Bannon sole credit for the screenplay. Despite these rewrites, 20th Century Fox did not express confidence in financing a science-fiction film. However, after the success of in 1977 the studio's interest in the genre rose substantially. According to Carroll: 'When Star Wars came out and was the extraordinary hit that it was, suddenly science fiction became the hot genre.' O'Bannon recalled that 'They wanted to follow through on Star Wars, and they wanted to follow through fast, and the only spaceship script they had sitting on their desk was Alien'. Alien was by 20th Century Fox, with an initial budget of $4.2 million. Alien was funded by North Americans, but made by 20th Century-Fox's British production subsidiary. Direction [ ]. Director O'Bannon had originally assumed that he would direct Alien, but 20th Century Fox instead asked Hill to direct. Hill declined due to other film commitments, as well as not being comfortable with the level of visual effects that would be required.,, and were considered for the task, but O'Bannon, Shusett, and the Brandywine team felt that these directors would not take the film seriously and would instead treat it as a. Giler, Hill, and Carroll had been impressed by 's debut feature film (1977) and made an offer to him to direct Alien, which Scott quickly accepted. Scott created detailed for the film in, which impressed 20th Century Fox enough to double the film's budget. His storyboards included designs for the spaceship and, drawing on such films as and Star Wars. However, he was keen on emphasizing horror in Alien rather than fantasy, describing the film as ' of science fiction'. Giger's Necronom IV O'Bannon introduced Scott to the artwork of H. Giger; both of them felt that his painting Necronom IV was the type of representation they wanted for the film's antagonist and began asking the studio to hire him as a designer. 20th Century Fox initially believed Giger's work was too ghastly for audiences, but the Brandywine team were persistent and eventually won out. According to Gordon Carroll: 'The first second that Ridley saw Giger's work, he knew that the biggest single design problem, maybe the biggest problem in the film, had been solved.' Scott flew to to meet Giger and recruited him to work on all aspects of the Alien and its environment including the surface of the planetoid, the derelict spacecraft, and all four forms of the Alien from the egg to the adult. For more details on individual characters, see. And for Alien were held in both and London. With only seven human characters in the story, Scott sought to hire strong actors so he could focus most of his energy on the film's visual style. He employed casting director, who had worked with him on The Duellists, to head the casting in the United Kingdom, while Mary Goldberg handled casting in the United States. In developing the story, O'Bannon had focused on writing the Alien first, putting off developing the other characters. He and Shusett had intentionally written all the roles generically: they made a note in the script that explicitly states 'The crew is unisex and all parts are interchangeable for men or women.' This freed Scott, Selway, and Goldberg to interpret the characters as they pleased, and to cast accordingly. They wanted the Nostromo 's crew to resemble working astronauts in a realistic environment, a concept summarised [ ] as 'truckers in space'. According to Scott, this concept was inspired partly by Star Wars, which deviated from the pristine future often depicted in science fiction films of the time. To assist the actors in preparing for their roles, Scott wrote several pages of backstory for each character explaining their histories. He filmed many of their rehearsals in order to capture spontaneity and improvisation, and tensions between some of the cast members, particularly towards the less-experienced Weaver; this translated convincingly to film as tension between the characters. Notes that the actors in Alien were older than was typical in at the time, which helped make the characters more convincing: None of them were particularly young. Tom Skerritt, the captain, was 46, Hurt was 39 but looked older, Holm was 48, Harry Dean Stanton was 53, Yaphet Kotto was 42, and only Veronica Cartwright at 30 and Weaver at 29 were in the age range of the usual thriller cast. Ridley Scott filming model shots of the Nostromo and its attached ore refinery. He made slow passes filming at 2½ frames per second to give the models the appearance of motion. Alien was filmed over fourteen weeks from July 5 to October 21, 1978. Principal photography took place at near London, while model and miniature filming was done at in,. The production schedule was short due to the film's low budget and pressure from 20th Century Fox to finish on time. A crew of over 200 craftspeople and technicians constructed the three principal sets: the surface of the alien planetoid, and the interiors of the Nostromo and the derelict spacecraft. Art Director Les Dilley created 1⁄ 24-scale miniatures of the planetoid's surface and derelict spacecraft based on Giger's designs, then made and and scaled them up as diagrams for the wood and forms of the sets. Tons of sand, plaster, fiberglass, rock, and gravel were shipped into the studio to sculpt a desert landscape for the planetoid's surface, which the actors would walk across wearing space suit costumes. The suits themselves were thick, bulky, and lined with, had no cooling systems and, initially, no venting for their exhaled to escape. Combined with a, these conditions nearly caused the actors to pass out: nurses had to be kept on-hand with oxygen tanks. For scenes showing the exterior of the Nostromo, a 58-foot (18 m) landing leg was constructed to give a sense of the ship's size. Ridley Scott was not convinced that it looked large enough, so he had his two young sons and the son of (the film's cinematographer) stand in for the regular actors, wearing smaller space suits to make the set-pieces seem larger. The same technique was used for the scene in which the crew members encounter the dead alien creature in the derelict spacecraft. The children nearly collapsed due to the heat of the suits; oxygen systems were eventually added to help the actors breathe. Four identical cats were used to portray Jones, the crew's pet. During filming, Sigourney Weaver discovered that she was to the combination of cat hair and the placed on the actors' skin to make them appear sweaty. By removing the glycerin she was able to continue working with the cats. Alien originally was to conclude with the destruction of the Nostromo while Ripley escapes in the shuttle Narcissus. However, Ridley Scott conceived of a 'fourth act' to the film in which the Alien appears on the shuttle and Ripley is forced to confront it. He pitched the idea to 20th Century Fox and negotiated an increase in the budget to film the scene over several extra days. Scott had wanted the Alien to bite off Ripley's head and then make the final log entry in her voice, but the producers vetoed this idea as they believed the Alien should die at the end of the film. Post-production [ ] Editing and post-production work on Alien took roughly 20 weeks to complete. Terry Rawlings served as editor, having previously worked with Scott on editing sound for. Scott and Rawlings edited much of the film to have a slow pace to build suspense for the more tense and frightening moments. According to Rawlings: 'I think the way we did get it right was by keeping it slow, funny enough, which is completely different from what they do today. And I think the slowness of it made the moments that you wanted people to be sort of scared.then we could go as fast as we liked because you've sucked people into a corner and then attacked them, so to speak. And I think that's how it worked.' The first cut of the film was over three hours long; further editing trimmed the final version to just under two hours. One scene that was cut from the film occurred during Ripley's final escape from the Nostromo: she encounters Dallas and Brett who have been partially by the Alien. O'Bannon had intended the scene to indicate that Brett was becoming an alien egg while Dallas was held nearby to be implanted by the resulting facehugger. Production Designer Michael Seymour later suggested that Dallas had 'become sort of food for the alien creature', while Ivor Powell suggested that 'Dallas is found in the ship as an egg, still alive.' Scott remarked that 'they're morphing,, they are changing into.being consumed, I guess, by whatever the Alien's organism is.into an egg.' The scene was cut partly because it did not look realistic enough, but also because it slowed the pace of the escape sequence. Tom Skerritt remarked that 'The picture had to have that pace. Her trying to get the hell out of there, we're all rooting for her to get out of there, and for her to slow up and have a conversation with Dallas was not appropriate.' The footage was included with other deleted scenes as a special feature on the release of Alien, and a shortened version of it was re-inserted into the 2003 Director's Cut which was re-released in theaters and on. Jerry Goldsmith composed the music for Alien. The musical score for Alien was composed by, conducted by, and performed by the. Ridley Scott had originally wanted the film to be scored by, but 20th Century Fox wanted a more familiar composer and Goldsmith was recommended by then-President of Fox Goldsmith wanted to create a sense of romanticism and lyrical mystery in the film's opening scenes, which would build throughout the film to suspense and fear. Scott did not like Goldsmith's original main title piece, however, so Goldsmith rewrote it as 'the obvious thing: weird and strange, and which everybody loved.' Another source of tension was editor ' choice to use pieces of Goldsmith's music from previous films, including a piece from, and to use an excerpt from 's Symphony No. 2 ('Romantic') for the end credits. Scott and Rawlings had also become attached to several of the musical cues they had used for the temporary score while editing the film, and re-edited some of Goldsmith's cues and re-scored several sequences to match these cues and even left the temporary score in place in some parts of the finished film. Goldsmith later remarked that 'you can see that I was sort of like going at opposite ends of the pole with the filmmakers.' Nevertheless, Scott praised Goldsmith's score as 'full of dark beauty' and 'seriously threatening, but beautiful.' It was nominated for a, a, and a. The score has been released as a in several versions with different tracks and sequences. Created the mechanical head-effects for the Alien O'Bannon brought in artists and Chris Foss (with whom he had worked on Dark Star and Dune, respectively) to work on designs for the human aspects of the film such as the spaceship and space suits. Cobb created hundreds of preliminary sketches of the interiors and exteriors of the ship, which went through many design concepts and possible names such as Leviathan and Snark as the script was developed. The final name of the ship was derived from the title of 's 1904 novel, while the escape shuttle, called Narcissus in the script, was named after Conrad's 1897. The production team particularly praised Cobb's ability to depict the interior settings of the ship in a realistic and believable manner. Under Ridley Scott's direction the design of the Nostromo shifted towards an 800-foot-long (240 m) tug towing a refining platform 2 miles (3.2 km) long and 1.5 miles (2.4 km) wide. Cobb also created some conceptual drawings of the Alien, but these were not used. Moebius was attached to the project for a few days as well, and his costume renderings served as the basis for the final space suits created by costume designer John Mollo. Sets [ ] The sets of the Nostromo 's three decks were each created almost entirely in one piece, with each deck occupying a separate stage. The actors had to navigate through the hallways that connected the stages, adding to the film's sense of and realism. The sets used large and low-resolution computer screens to give the ship a 'used', industrial look and make it appear as though it was constructed of 'retrofitted old technology'. Ron Cobb created industrial-style symbols and color-coded signs for various areas and aspects of the ship. The company that owns the Nostromo is not named in the film, and is referred to by the characters as 'the company'. However, the name and logo of 'Weylan-Yutani' appears on several set pieces and props such as computer monitors and beer cans. Cobb created the name to imply a business alliance between and, deriving 'Weylan' from the and 'Yutani' from the name of his Japanese neighbor. The 1986 sequel,, named the company as 'Weyland-Yutani', and it has remained a central aspect of the film franchise. Art Director used scrap metal and parts to create set pieces and props to save money, a technique he employed while working on Star Wars. For example, some of the Nostromo 's corridors were created from portions of scrapped bomber aircraft, and a mirror was used to create the illusion of longer corridors in the below-deck area. Special effects supervisors and Nick Allder made many of the set pieces and props function, including moving chairs, computer monitors, motion trackers, and flamethrowers. Giger designed and worked on all of the alien aspects of the film, which he designed to appear organic and in contrast to the industrial look of the Nostromo and its human elements. For the interior of the derelict spacecraft and egg chamber he used dried bones together with to sculpt much of the scenery and elements. Veronica Cartwright described Giger's sets as 'so erotic.it's big vaginas and penises.the whole thing is like you're going inside of some sort of or whatever.it's sort of visceral'. The set with the deceased alien creature, which the production team nicknamed the 'space jockey', proved problematic as 20th Century Fox did not want to spend the money for such an expensive set that would only be used for one scene. Ridley Scott described the set as the or driving deck of the mysterious ship, and the production team was able to convince the studio that the scene was important to impress the audience and make them aware that this was not a. To save money, only one wall of the set was created, and the 'space jockey' sat atop a disc that could be rotated to facilitate shots from different angles in relation to the actors. Giger the entire set and the 'space jockey' by hand. The origin of the jockey creature was not explored in the film, but Scott later theorized that it might have been the ship's pilot, and that the ship might have been a weapons-carrier capable of dropping alien eggs onto a planet so that the aliens could use the local lifeforms as hosts. In early versions of the script, the eggs were to be located in a separate structure which would be found later by the Nostromo crew and would contain statues and depicting the alien reproductive cycle, contrasting the human, alien, and space jockey cultures. Cobb, Foss, and Giger each created concept artwork for these sequences, but they were eventually discarded due to budgetary concerns and the need to make the film shorter. Instead, the egg chamber was set inside the derelict ship and was filmed on the same set as the space-jockey scene; the entire disc piece supporting the jockey and its chair were removed and the set was re-dressed to create the egg chamber. Light effects in the egg chamber were created by lasers borrowed from English rock band. The band was testing the lasers for use in their stage show on the sound-stage next door. Spaceships and planets [ ]. I resent films that are so shallow they rely entirely on their visual effects, and of course science fiction films are notorious for this. I've always felt that there's another way to do it: a lot of effort should be expended toward rendering the environment of the spaceship, or space travel, whatever the fantastic setting of your story should be–as convincingly as possible, but always in the background. That way the story and the characters emerge and they become more real. —Ron Cobb on his designs for Alien The spaceships and planets for the film were shot using models and miniatures. These included models of the Nostromo, its attached mineral refinery, the escape shuttle Narcissus, the alien planetoid, and the exterior and interior of the derelict spacecraft. Visual-effects supervisor Brian Johnson and supervising modelmaker and their team worked at Bray Studios, roughly 25 miles (40 km) from Shepperton Studios. The designs of the Nostromo and its attachments were based on combinations of Ridley Scott's storyboards and Ron Cobb's conceptual drawings. The basic outlines of the models were made of wood and plastic, and most of the fine details were added from of warships, tanks, and World War II bombers. Three models of the Nostromo were made: a 12-inch (30 cm) version for medium and long shots, a 4-foot (1.2 m) version for rear shots, and a 12-foot (3.7 m), 7-short-ton (6.4 t) rig for the undocking and planetoid surface sequences. Scott insisted on numerous changes to the models even as filming was taking place, leading to conflicts with the modeling and filming teams. The Nostromo was originally yellow, and the team filmed shots of the models for six weeks before Johnson left to work on. Scott then ordered it changed to gray, and the team had to begin shooting again from scratch. He asked that more and more pieces be added to the model such that the final version (with the refinery) required a metal framework so that it could be hoisted by a. He also took a hammer and chisel to sections of the refinery, knocking off many of the spires that Bower had spent weeks creating. Scott also had disagreements with miniature-effects cinematographer over how to light the models. A separate model, approximately 40 feet (12 m) long, was created for the Nostromo 's underside from which the Narcissus would detach and from which Kane's body would be launched during the funeral scene. Bower carved Kane's burial out of wood; it was launched through the hatch using a small and filmed at high speed. The footage was slowed down in editing. Only one shot was filmed using compositing: that of the shuttle racing past the Nostromo. The other shots were simply filmed against black backdrops, with stars added via. Though technology was available at the time, the film's budget would not allow for it. The team therefore used a camera with wide-angle lenses mounted on a drive mechanism to make slow passes over and around the models filming at 2½ frames per second, giving them the appearance of motion. Scott added smoke and wind effects to enhance the illusion. For the scene in which the Nostromo detaches from the refinery, a 30-foot (9.1 m) docking arm was created using pieces from model railway kits. The Nostromo was pushed away from the refinery by a forklift covered in black velvet, causing the arm to extend out from the refinery. This created the illusion that the arm was pushing the ship forward. Shots of the ship's exterior in which characters are seen moving around inside were filmed using larger models which contained projection screens displaying pre-recorded footage. A separate model was created for the exterior of the derelict alien spacecraft. Were used to fill in areas of the ship's interior as well as exterior shots of the planetoid's surface. The surface as seen from space during the landing sequence was created by painting a white, then mixing chemicals and dyes onto and projecting them onto it. The planetoid was not named in the film, but some drafts of the script gave it the name after the river which in is described as the 'stream of woe'; it is a branch of the river, and forms the border of in 's. The 1986 sequel named the planetoid as 'LV-426', and both names have been used for it in subsequent media such as comic books and video games. Creature effects [ ]. The 'facehugger' was the first creature Giger designed for the film, giving it human-like fingers and a long tail. The scene of Kane inspecting the egg was shot in post-production. A egg was used so that actor John Hurt could shine his light on it and see movement inside, which was provided by Ridley Scott fluttering his hands inside the egg while wearing rubber gloves. The top of the egg was hydraulic, and the innards were a cow's stomach and. Test shots of the eggs were filmed using hen's eggs, and this footage was used in early teaser trailers. For this reason the image of a hen's egg was used on the poster, and has become emblematic of the franchise as a whole—as opposed to the Alien egg that appears in the finished film. The 'facehugger' and its, which was made of a sheep's, were shot out of the egg using high-pressure air hoses. The shot was reversed and slowed down in editing to prolong the effect and reveal more detail. The facehugger itself was the first creature that H.R. Giger designed for the film, going through several versions in different sizes before deciding on a small creature with humanlike fingers and a long tail. Dan O'Bannon, with help from Ron Cobb, drew his own version based on Giger's design, which became the final version. Cobb came up with the idea that the creature could have a powerful acid for blood, a characteristic that would carry over to the adult Alien and would make it impossible for the crew to kill it by conventional means such as guns or explosives, since the acid would burn through the ship's hull. For the scene in which the dead facehugger is examined, Scott used pieces of fish and to create its. The 'chestburster' was shoved up through the table and a false torso by a puppeteer. The scene has been recognized as one of the film's most memorable. The design of the 'chestburster' was inspired by 's 1944 painting. Giger's original design, which was refined, resembled a plucked chicken. Screenwriter credits his experiences with for inspiring the chest-busting scene. For the filming of the chestburster scene, the cast members knew that the creature would be bursting out of Hurt, and had seen the chestburster puppet, but they had not been told that fake blood would also be bursting out in every direction from high-pressure pumps and. The scene was shot in one take using an artificial torso filled with blood and viscera, with Hurt's head and arms coming up from underneath the table. The chestburster was shoved up through the torso by a puppeteer who held it on a stick. When the creature burst through the chest a stream of blood shot directly at Veronica Cartwright, shocking her enough that she fell over and went into hysterics. According to Tom Skerritt: 'What you saw on camera was the real response. She had no idea what the hell happened. All of a sudden this thing just came up.' The creature then runs off-camera, an effect accomplished by cutting a slit in the table for the puppeteer's stick to go through and passing an air hose through the puppet's tail to make it whip about. The real-life surprise of the actors gave the scene an intense sense of realism and made it one of the film's most memorable moments. During preview screenings the crew noticed that some viewers would move towards the back of the theater so as not to be too close to the screen during the sequence. The scene has frequently been called one of the most memorable moments in cinema history. In 2007, magazine named it as the greatest moment in film, ranking it above the scene in (1976) and the transformation sequence in (1981). For the scene in which Ash is revealed to be an, a puppet was created of the character's torso and upper body which was operated from underneath. During a preview screening of the film, this scene caused an usher to faint. In the following scene, Ash's head is placed on a table and re-activated; for portions of this scene, an head was made using a face cast of the actor, Ian Holm. However, the latex of the head shrank while curing and the result was not entirely convincing. For the bulk of the scene, Holm knelt under the table with his head coming up through a hole. Milk, caviar, pasta,, and glass marbles were combined to form the android's innards. The Alien [ ]. Bolaji Badejo in costume as the Alien. The suit was made of, with the head as a separate piece housing the moving parts which controlled the second mouth. Giger made several conceptual paintings of the adult Alien before settling on the final version. He sculpted the creature's body using, incorporating pieces such as from and cooling tubes from a. The creature's head was manufactured separately by, who had worked on the aliens in. Rambaldi followed Giger's designs closely, making some modifications in order to incorporate the moving parts which would animate the jaw and inner mouth. A system of hinges and cables was used to operate the creature's rigid tongue, which protruded from its mouth and featured a second mouth at its tip with its own set of movable teeth. The final head had about 900 moving parts and points of articulation. Part of a was used as the 'face', and was hidden under the smooth, translucent cover of the head. Rambaldi's original Alien jaw is now on display in the, while in April 2007 the original Alien suit was sold at auction. Copious amounts of were used to simulate saliva and to give the Alien an overall slimy appearance. The creature's vocalizations were provided by, a famous for providing bird sounds for British television throughout the 1960s and 1970s as well as the whale sounds for (1977). For most of the film's scenes the Alien was portrayed by Bolaji Badejo. A costume was made to fit Badejo's slender 6-foot-10-inch (208 cm) frame by taking a full-body plaster cast. Scott later commented that the Alien 'takes on elements of the host – in this case, a man.' Badejo attended and classes in order to create convincing movements for the Alien. For some scenes, such as when the Alien lowers itself from the ceiling to kill Brett, the creature was portrayed by stuntmen Eddie Powell and Roy Scammell —Powell, in costume, was suspended on wires and then lowered in an unfurling motion. 'I've never liked horror films before, because in the end it's always been a man in a rubber suit. Well, there's one way to deal with that. The most important thing in a film of this type is not what you see, but the effect of what you think you saw.' —Ridley Scott Scott chose not to show the full Alien for most of the film, keeping most of its body in shadow in order to create a sense of terror and heighten suspense. The audience could thus project their own fears into imagining what the rest of the creature might look like: 'Every movement is going to be very slow, very graceful, and the Alien will alter shape so you never really know exactly what he looks like.' The Alien has been referred to as 'one of the most iconic movie monsters in film history', and its biomechanical appearance and sexual overtones have been frequently noted. Remarked that ' Alien uses a tricky device to keep the alien fresh throughout the movie: It evolves the nature and appearance of the creature, so we never know quite what it looks like or what it can do.The first time we get a good look at the alien, as it bursts from the chest of poor Kane (John Hurt). It is unmistakably phallic in shape, and the critic Tim Dirks mentions its 'open, dripping vaginal mouth. ' Marketing [ ]. For more details on this topic, see and. With the film's release, a merchandising and media campaign was launched. This included a by, in both adult and 'junior' versions, which was adapted from the film's shooting script. Magazine published a adaptation of the film entitled, as well as a 1980 Alien. Two behind-the-scenes books were released in 1979 to accompany the film. The Book of Alien contained many production photographs and details on the making of the film, while Giger's Alien contained much of H. Giger's concept artwork for the movie. A was released, featuring selections of Goldsmith's score. Additionally, a of the Main Theme was released in 1980, and a disco single using audio excerpts from the film was released in 1979 on the UK label by a recording artist under the name Nostromo. A of the Alien, 12 inches high, was released by the in the United States, and by in the United Kingdom. Also produced a larger-scale Alien action figure, as well as a board game in which players raced to be first to reach the shuttle pod while Aliens roamed the Nostromo 's corridors and air shafts. Official of the Alien were released in October 1979. Several based on the film were released, but not until several years after its theatrical run. 'It was the most incredible preview I've ever been in. I mean, people were screaming and running out of the theater.' —Editor Terry Rawlings describing the film's screening in Dallas. An initial screening of Alien for 20th Century Fox representatives in was marred by poor sound. [ ] A subsequent screening in a newer theater in went significantly better, eliciting genuine fright from the audience. Two theatrical were shown to the public. The first consisted of rapidly changing still images set to some of Jerry Goldsmith's electronic music from. The second used test footage of a hen's egg set to part of Goldsmith's Alien score. The film was previewed in various American cities in the spring of 1979 and was promoted with the 'In space, no one can hear you scream.' Alien was in the United States, ' in the United Kingdom, and ' in Australia. In the UK, the almost passed the film as an 'AA' (for ages 14 and over), although there were concerns over the prevalent sexual imagery. 20th Century Fox eventually relented in pushing for an AA certificate after deciding that an X rating would make it easier to sell as a horror film. Alien opened in American theaters on May 25, 1979. The film had no formal premiere, yet moviegoers lined up for blocks to see it at in where a number of models, sets, and props were displayed outside to promote it during its first run. Religious zealots set fire to the model of the space jockey, believing it to be the work of the. In the United Kingdom, Alien premiered at a gala performance at the on September 1, 1979, before starting an exclusive run at the in London on September 6, 1979, but it did not open widely in Britain until January 13, 1980. Critical reception [ ] Critical reaction to the film was initially mixed. Some critics who were not usually favorable towards science fiction, such as of the 's Film series, were positive about the film's merits. Others, however, were not; reviews by,, and were mixed or negative. (Maltin, however, reassessed the film upon the release of the Director's Cut and gave Alien a positive review. ) A review by said the film was an 'empty bag of tricks whose production values and expensive trickery cannot disguise imaginative poverty'. In a 1980 episode of discussing science fiction films of the 1950s and 1970s, critics and were critical of Alien. Ebert called it 'basically just an intergalactic haunted house thriller set inside a spaceship' and one of several science fiction pictures that were 'real disappointments' compared to,, and, though he did compliment the early scene of the Nostromo 's crew exploring the alien planet as showing 'real imagination'. However, the film later made it onto Ebert's, where he gave it four stars and said 'Ridley Scott's 1979 movie is a great original.' As of 2017 the film holds a 97% 'fresh' rating on, based on 104 reviews, with the consensus reading: 'A modern classic, Alien blends science fiction, horror and bleak poetry into a seamless whole.' Box office [ ] The film was a commercial success, making $78,900,000 in the United States and 7,886,000 in the United Kingdom during its first run. It ultimately grossed $80,931,801 in the United States, while international box office figures have varied from $24,000,000 to $122,700,000. Its total worldwide gross has been listed within the range of $104,931,801 to $203,630,630. According to 20th Century Fox accounts, however, by April 1980 when the film had earned a reported $100 million at the box office, after advertising, distribution fees, penalties and other costs were deducted, it was still recorded as having 'lost' $2.4 million. This was seen as an example of and was much criticised. However, by August, Fox had started saying the film made $4 million in profit. Accolades [ ]. Further information: Alien won the 1979 and was also nominated for (for,,, and ). It won for, for Ridley Scott, and for Veronica Cartwright, and was also nominated in the categories of for Sigourney Weaver, for Pat Hay, for and Nick Allder, and for Dan O'Bannon. It was also nominated for (BAFTA) awards for for John Mollo, for Terry Rawlings, for John Hurt, and Most Promising Newcomer to Leading Film Role for Sigourney Weaver. It also won a and was nominated for a award for Best Cinematography for, as well as a Silver Seashell award for Best Cinematography and Special Effects at the. Jerry Goldsmith's score received nominations for the, the, and a. Home video [ ] Alien has been released in many formats and packages over the years. The first of these was a seventeen-minute version for home projectionists. It was also released on both and for, which grossed it an additional $40,300,000 in the United States alone. Several VHS releases were subsequently issued both separately and as. And versions followed, including deleted scenes and director commentary as bonus features. A VHS box set containing Alien and its sequels Aliens and Alien 3 was released in facehugger-shaped boxes, and included some of the deleted scenes from the Laserdisc editions. When Alien Resurrection premiered in theaters, another set of the first three films was released including a Making of Alien Resurrection tape. A few months later the set was re-released with the full version of Alien Resurrection taking the place of the making-of video. Alien was released on in 1999, both separately and, as The Alien Legacy, packaged with Aliens, Alien 3 and Alien Resurrection. This set, which was also released in a VHS version, included a commentary track by Ridley Scott. The first three films of the series have also been packaged as the Alien Triple Pack. 'The traditional definition of the term 'Director's Cut' suggests the restoration of a director's original vision, free of any creative limitations. It suggests that the filmmaker has finally overcome the interference of heavy-handed studio executives, and that the film has been restored to its original, untampered form. Such is not the case with Alien: The Director's Cut. It's a completely different beast.' —Ridley Scott In 2003, 20th Century Fox was preparing the Alien Quadrilogy DVD box set, which would include Alien and its three sequels. In addition, the set would also include alternate versions of all four films in the form of 'special editions' and '. Fox approached Ridley Scott to digitally restore and Alien, and to restore several scenes which had been cut during the editing process for inclusion in an expanded version of the film. Upon viewing the expanded version, Scott felt that it was too long and chose to recut it into a more streamlined alternate version: Upon viewing the proposed expanded version of the film, I felt that the cut was simply too long and the pacing completely thrown off. After all, I cut those scenes out for a reason back in 1979. However, in the interest of giving the fans a new experience with Alien, I figured there had to be an appropriate middle ground. I chose to go in and recut that proposed long version into a more streamlined and polished alternate version of the film. For marketing purposes, this version is being called 'The Director's Cut.' The 'Director's Cut' restored roughly four minutes of deleted footage while cutting about five minutes of other material, leaving it about a minute shorter than the theatrical cut. Many of the changes were minor, such as altered sound effects, while the restored footage included the scene in which Ripley discovers the cocooned Dallas and Brett during her escape of the Nostromo. Fox released the Director's Cut in theaters on October 31, 2003. The Alien Quadrilogy box set was released December 2, 2003, with both versions of the film included along with a new commentary track featuring many of the film's actors, writers, and production staff, as well as other special features and a documentary entitled The Beast Within: The Making of Alien. Each film was also released separately as a DVD with both versions of the film included. Scott noted that he was very pleased with the original theatrical cut of Alien, saying that 'For all intents and purposes, I felt that the original cut of Alien was perfect. I still feel that way', and that the original 1979 theatrical version 'remains my version of choice'. He has since stated that he considers both versions 'director's cuts', as he feels that the 1979 version was the best he could possibly have made it at the time. The Alien Quadrilogy set earned Alien a number of new awards and nominations. It won DVDX Exclusive Awards for Best Audio Commentary and Best Overall DVD, Classic Movie, and was also nominated for Best Behind-the-Scenes Program and Best Menu Design. It also won a Sierra Award for Best DVD, and was nominated for a for Best DVD Collection and Golden for Best DVD Extras and Best Overall DVD. In 2010 both the theatrical version and Director's Cut of Alien were released on, as a stand-alone release and as part of the Alien Anthology set. In 2014, to mark the film's 35th anniversary, a special re-release box set named Alien: 35th Anniversary Edition, containing the film on, a, a reprint of Alien: The Illustrated Story, and a series of collectible art cards containing artwork by H.R. Giger related to the film, was released. Also, the novelisation by was re-printed. Legacy [ ] Sequels, prequels and crossover films [ ]. Sigourney Weaver became the star of the Alien films, reprising her role as Ripley in three sequels between 1986 and 1997. She did not appear in either of the Alien vs. Predator crossovers of the 2000s, but has expressed interest in doing a fifth Alien film. The success of Alien led to finance three direct over the next eighteen years, each by different writers and directors. Remained the only recurring actor through all four films: the story of her character 's encounters with the became the thematic and narrative core of the series. 's (1986) focused more on action and involved Ripley returning to the planetoid accompanied by to confront hordes of Aliens. 's (1992) had tones and found her on a prison planet battling another Alien, ultimately sacrificing herself to prevent her employers from acquiring the creatures. 's (1997) saw Ripley resurrected through to battle more Aliens even further in the future. The success of the film series resulted in the creation of a with numerous novels, comic books, video games, toys, and other media and merchandise appearing over the years. A number of these began appearing under the imprint, which brought the Alien creatures together with the titular characters of the. A film series followed, with in 2004, and in 2007. Sigourney Weaver has expressed interest in reuniting with Ridley Scott to revive her character for another Alien film. In the 2003 commentary track for the Alien DVD included in the Alien Quadrilogy set, she and Scott both speculated on the possibility, with Weaver stating: 'There is an appetite for a fifth one, which is something I never expected.it's really hard to come up with a fifth story that's new and fresh.but I have wanted to go back into space.I think outer space adventure is a good thing for us right now, 'cause Earth is so grim.so we've been talking about it, but very generally.' Scott remarked that, if the series were to continue, the most logical course would be to explore the origins of the space jockey and the Aliens. Weaver supported this idea, saying 'I think it would be great to go back, because I'm asked that question so many times: 'Where did the Alien come from?' People really want to know in a very visceral way.' Said that he,, and, the producers of the first four films in the series, would not be willing to produce another unless it was about the Aliens' homeworld and Weaver was on board (despite the fact that they were among the producers of Alien vs. Predator films). Weaver, in turn, indicated that she would only return to the franchise if either Scott or were to direct. Cameron had been working on a story for a fifth Alien film which would explore the origins of the creatures, but ceased work on it when he learned that Fox was pursuing Alien vs. Predator, which he felt would 'kill the validity of the franchise'. In July 2009, 20th Century Fox announced that had been hired to write a prequel to Alien, with Scott attached to direct. The script was subsequently re-worked by Scott and. Titled, it went into production in May 2011, and was released the following year. Scott said in a statement: 'While Alien was indeed the jumping-off point for this project, out of the creative process evolved a new, grand mythology and universe in which this original story takes place. The keen fan will recognize strands of Alien 's DNA, so to speak, but the ideas tackled in this film are unique, large and provocative.' Reported on February 18, 2015 that a new Alien film would be directed. On February 25, it was confirmed that would have a role in the film. Imitations [ ]. 'The 1979 Alien is a much more cerebral movie than its sequels, with the characters (and the audience) genuinely engaged in curiosity about this weirdest of lifeforms.Unfortunately, the films it influenced studied its thrills but not its thinking.' —Film critic on Alien 's cinematic impact. Alien had both an immediate and long-term impact on the science fiction and horror genres. Shortly after its debut, was sued by another writer named Jack Hammer for allegedly plagiarising a script entitled Black Space. However, O'Bannon was able to prove that he had written his Alien script first. In the wake of Alien 's success, a number of other filmmakers imitated or adapted some of its elements, sometimes by using 'Alien' in titles. One of the first was The Alien Dead (1979), which had its title changed at the last minute to cash in on Alien 's popularity. (1980) was initially going to be titled Alien 2 until 20th Century Fox's lawyers contacted writer/director and made him change it. The film built on Alien by having many similar creatures, which originated from large, slimy eggs, bursting from characters' chests. An unauthorized sequel to Alien, titled, was released in 1980 and included alien creatures which incubate in humans. Other science fiction films of the time that borrowed elements from Alien include (1981), (1981), (1982), (1982), and (1991). The 'chestburster' effect was parodied in Mel Brooks' comedy Spaceballs. Near the end, in a diner, John Hurt does a cameo appearance as a customer who seems to be suffering indigestion. However, he turns out to have an 'alien' in his gut, and moans, 'Oh, no.not again!' The 'alien' then does a song-and-dance, singing a line of 'Hello, Ma Baby', from the classic Warner Bros. Cartoon One Froggy Evening. [ ] Analysis [ ] Critics have analyzed Alien 's sexual overtones. Following Barbara Creed's analysis of the Alien creature as a representation of the 'monstrous-feminine as ', Ximena Gallardo C. Jason Smith compared the facehugger's attack on Kane to a male and the chestburster scene to a form of violent, noting that the Alien's head and method of killing the crew members add to the sexual imagery. Dan O'Bannon, who wrote the film's screenplay, has argued that the scene is a metaphor for the male fear of penetration, and that the 'oral invasion' of Kane by the facehugger functions as 'payback' for the many horror films in which sexually vulnerable women are attacked by male monsters. McIntee claims that ' Alien is a rape movie as much as (1971) or (1978), or (1988). On one level it's about an intriguing alien threat. On one level it's about and disease. And on the level that was most important to the writers and director, it's about sex, and reproduction by non-consensual means. And it's about this happening to a man.' He notes how the film plays on men's fear and misunderstanding of pregnancy and childbirth, while also giving women a glimpse into these fears. Film analyst Lina Badley has written that the Alien's design, with strong sexual undertones, multiple phallic symbols, and overall feminine figure, provides an image conforming to mappings and imageries in horror films that often redraw gender lines. O'Bannon himself later described the sexual imagery in Alien as overt and intentional: 'One thing that people are all disturbed about is sex. I said 'That's how I'm going to attack the audience; I'm going to attack them sexually. And I'm not going to go after the women in the audience, I'm going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs. Homosexual oral rape, birth. The thing lays its eggs down your throat, the whole number. Some have argued the film's narrative details and visual design were inspired by those of the 1965 Italian film, such as a scene in which the crew discovers a ruin containing giant alien skeletons. Alien 's roots in earlier works of fiction have been analyzed and acknowledged extensively by critics. The film has been said to have much in common with B movies such as (1951), (1954), (1958), (1958), and (1966), as well as its fellow 1970s horror films (1975) and (1978). Literary connections have also been suggested: Philip French of the Guardian has perceived thematic parallels with Agatha Christie's (1939). Many critics have also suggested that the film derives in part from 's (1950), particularly its stories 'The Black Destroyer', in which a cat-like alien infiltrates the ship and hunts the crew; and 'Discord in Scarlet', in which an alien implants parasitic eggs inside crew members which then hatch and eat their way out. O'Bannon, however, denies that this was a source of his inspiration for Alien 's story. Van Vogt in fact initiated a lawsuit against 20th Century Fox over the similarities, but Fox settled out of court. Rick Sanchez of has noted the 'striking resemblance' of Alien to 's (1965), especially in a celebrated sequence in which the crew discovers a ruin containing the skeletal remains of long dead giant beings, and in the design and shots of the ship itself. Despite these similarities, O'Bannon and Scott both claimed in a 1979 interview that they had not seen Planet of the Vampires. Writer has also noted similarities to the episode ' (1975), in which an insectoid queen alien lays inside humans which later eat their way out, a life cycle inspired by that of the. He has also noted similarities between the first half of the film, particularly in early versions of the script, to 's, 'not in storyline, but in dread-building mystery', and calls the finished film 'the best Lovecraftian movie ever made, without being a Lovecraft adaptation', due to its similarities in tone and atmosphere to Lovecraft's works. In 2009, O'Bannon said the film was 'strongly influenced, tone-wise, by Lovecraft, and one of the things it proved is that you can't adapt Lovecraft effectively without an extremely strong visual style. What you need is a cinematic equivalent of Lovecraft's prose.' Giger has said he liked O'Bannon's initial Alien storyline 'because I found it was in the vein of Lovecraft, one of my greatest sources of inspiration.' Lasting critical praise [ ] Alien has continued to receive critical acclaim over the years, particularly for its realism and unique environment, and is cited one of the best films of 1979. It has a 97% approval rating on, and 83% on. Critical interest in the film was re-ignited with the theatrical release of the 'Director's Cut' in 2003. Despite having given Alien an unfavourable review in 1980, Roger Ebert revised his opinion in 2003. Ebert included the film in his 'Great Movies' column, ranking it among 'the most influential of modern action pictures' and praising its pacing, atmosphere, and settings: One of the great strengths of Alien is its pacing. It takes its time. It allows silences (the majestic opening shots are underscored by Jerry Goldsmith with scarcely audible, far-off metallic chatterings). It suggests the enormity of the crew's discovery by building up to it with small steps: The interception of a signal (is it a warning or an?). The descent to the extraterrestrial surface. The bitching by Brett and Parker, who are concerned only about collecting their shares. The masterstroke of the surface murk through which the crew members move, their helmet lights hardly penetrating the soup. The shadowy outline of the alien ship. The sight of the alien pilot, frozen in his command chair. The enormity of the discovery inside the ship ('It's full of. Leathery eggs.' McIntee praises Alien as 'possibly the definitive combination of horror thriller with science fiction trappings.' He notes, however, that it is a horror film first and a science fiction film second, since science fiction normally explores issues of how humanity will develop under other circumstances. Alien, on the other hand, focuses on the plight of people being attacked by a monster: 'It's set on a spaceship in the future, but it's about people trying not to get eaten by a drooling monstrous animal. Worse, it's about them trying not to get raped by said drooling monstrous animal.' Along with Halloween and (1980), he describes it as a prototype for the genre: 'The reason it's such a good movie, and wowed both the critics, who normally frown on the genre, and the casual cinema-goer, is that it is a distillation of everything that scares us in the movies.' He also describes how the film appeals to a variety of audiences: 'Fans of thrillers like it because it's moody and dark. Gorehounds like it for the chest-burster. Science fiction fans love the trappings and hardware. Men love the battle-for-survival element, and women love not being cast as the helpless victim.' Wrote, ' Alien remains the key text in the 'body horror' subgenre that flowered (or, depending on your viewpoint, festered) in the seventies, and Giger’s designs covered all possible avenues of anxiety. Men traveled through vulva-like openings, got forcibly impregnated, and died giving birth to rampaging gooey vaginas dentate — how’s that for future shock? This was truly what David Cronenberg would call 'the new flesh,' a dissolution of the boundaries between man and machine, machine and alien, and man and alien, with a psychosexual invasiveness that has never, thank God, been equaled.' In 2002, Alien was deemed 'culturally, historically or aesthetically significant' by the of the United States, and was inducted into the of the for historical preservation alongside other films of 1979 including,,, and. In 2008, the ranked Alien as the seventh-best film in the science fiction genre as part of AFI's 10 Top 10, a television special ranking the ten greatest movies in ten classic American film genres. The ranks were based on a of over 1,500 film artists, critics, and historians, with Alien ranking just above (1991) and just below Ridley Scott's other science fiction film (1982). The same year, magazine ranked it thirty-third on its list of the five hundred greatest movies of all time, based on a poll of 10,200 readers, critics, and members of the film industry. It is seen as one of the most influential science-fiction films. See also [ ] • • • References [ ] Notes. About nobody-e-e-e Well Had him shooting for me like a ball team Every guy was a knock out, Don King But none of um had smarts That's my thing It's not enough to have balls Spalding One day by starbucks I bumped into a guy rocking black chucks He said excuse me beautiful I said 'aww shucks' Then he asked 'well, ay wanna grab lunch?' A 26-14 setback to bitter rival Auburn dropped the Tide to fifth in Sunday’s AP poll, and will likely bump coach Nick Saban’s team out of the top four when the College Football Playoff releases its new standings on Tuesday. The only rankings that really matter come out next weekend, after a final round of conference championship games that won’t include the Crimson Tide. Alabama (11-1) is stuck on the sideline. ”We are a one-loss team and we lost to a really good team,” defensive back Minkah Fitzpatrick said, beginning the lobbying effort. ”We deserve a chance to be in the playoffs.” WHAT’S LEFT Unfortunately for the Tide, that single loss knocked them out of the Southeastern Conference title game, which will pit No. 4 Auburn (10-2) against No. 6 Georgia (11-1). The winner is certain to land a spot in the playoff. Ditto for the Atlantic Coast Conference championship between No. 1 Clemson (11-1) and No. 7 Miami (10-1). While the Hurricanes were stunned by Pittsburgh (5-7) over the Thanksgiving weekend, bouncing back with a victory over the defending national champions would surely be enough to boost Mark Richt’s team into a playoff berth. There are spots where Alabama could sneak in while spending next weekend as a spectator. 2 Oklahoma (11-1) will face No. 10 TCU (10-2) in the Big 12 title game, knowing a victory will lock up a playoff spot. If the Horned Frogs come out on top, it probably clears the way for Alabama to make the final four. There’s also the Big Ten championship between No. 3 Wisconsin (12-0) and No. 8 Ohio State (10-2). If the Badgers stay undefeated, they’re playoff bound. If the Buckeyes win, things get very, very interesting. MAKING THEIR CASE Would the playoff committee go with an Alabama team that didn’t even win the SEC West and lacks a signature victory? Or would the members chose an Ohio State team that has two double-digit losses, including a 31-point blowout to Iowa (7-5) at the beginning of November? Unfairly or not, Alabama’s resume is hurt by its schedule. The Tide opened against then-No. 3 Florida State in Atlanta, romping to a seemingly impressive 24-7 victory. But after losing starting quarterback Deondre Francois to a season-ending knee injury in that game, the Seminoles plummeted to a 5-6 record, so that Week 1 triumph no longer adds any luster to Alabama’s credentials. Two wins came against teams currently ranked in the Top 25, a 24-10 victory over No. 17 LSU and a 31-24 squeaker against No. 24 Mississippi State. Ohio State also has two Top 25 wins but they’re more impressive – 39-38 against No. 9 Penn State and a 48-3 rout of No. 19 Michigan State – with a chance for another against Wisconsin. But that ugly performance at Iowa is a real blemish, not to mention a 31-16 home loss to Oklahoma. It might be too much to overcome. For what it’s worth, Clemson has the worst loss of any of the contenders, a 27-24 shocker to Syracuse (4-8). But that is more than offset by wins over Auburn, No. 22 Virginia Tech and 8-4 teams South Carolina, North Carolina State and Louisville. ALABAMA’S FAVORITES In addition to rooting for Ohio State and TCU, Alabama may want to cheer on its biggest rival. An Auburn victory in the SEC championship game would probably help the Tide’s case, since it would show the Tigers are playing as well as anyone in the country at the moment – maybe good enough to be a No. Alabama could make a pretty strong case if it’s only loss came on the road against a team of Auburn’s caliber. No matter what, Saban will have to rely on others to get a shot at his fifth national title in 11 years at Alabama. His team is the only one to make the College Football Playoff every season since it was launched in 2014. Saban, who probably craves being in control more than any college coach, is no longer in control. ”I think this team deserves the opportunity to get into the playoff by what they have been able to accomplish and what they have been able to do,” Saban said. ”We have won 11 games, and not many teams have been able to do that. I really don’t know what all the scenarios might be where we would have an opportunity to (make the playoff). It accounts for up to 85 percent of all malignancies originating in the skeleton. Osteosarcoma primarily occurs in middle aged to older dogs, with a. “Scott felt like Auburn was the place for him, and he loved Auburn,” Steve Shockley said. “He made many new friends and felt right at home.” Although Scott's. I certainly would like to see this team get the opportunity to do it.” — Follow Paul Newberry on Twitter at www.twitter.com/pnewberry1963. His work can be found at — For more AP college football coverage: www.collegefootball.ap.org and www.twitter.com/AP-Top25. Aphrodite Jones promo for True Crime with Aphrodite Jones Born Aphrodite Alicia Jones ( 1958-11-27) November 27, 1958 (age 59),, U.S. Residence Nationality Occupation Reporter, author, executive producer Aphrodite Jones (born November 27, 1958) is an American author, reporter, and television producer. Jones is an executive producer and the host of the television series. Previously, Jones hosted a show called The Justice Hunters for, and was a crime reporter for, covering the trials of,, and for and. Contents • • • • • • • Early life [ ] Jones was born in, to Captain Ashton Blair Jones Jr., and Maria Kalloumenous. [ ] Jones' father served as a communications and tactical officer during, served in the and later was the Director of the Navy Material Laboratory in, where he met and married Maria. [ ]The couple had two girls, Aphrodite and Janet. [ ] Ashton received the title of Rear Admiral when he retired from the Navy. [ ] Career and education [ ] After attending, Jones worked as a celebrity beat reporter for. In 1992, Jones was teaching English at in, when she published her first book, The FBI Killer, about Mark Putnam, the first active agent convicted of homicide. The book was the source material for the 1994 made-for-television film Betrayed by Love, starring and. Living as a man, twenty-one-year-old Teena Brandon hit the dust bowl town of Falls City, Nebraska, on the run from her family in Lincoln - and from the law for. All She Wanted by Aphrodite Jones starting at $0.99. All She Wanted has 3 available editions to buy at Alibris. All She Wanted by Aphrodite Jones. 3.7 of 5 stars. (Paperback 881). The Paperback of the All She Wanted by Aphrodite Jones at Barnes & Noble. FREE Shipping on $25 or more! Jones' second book, Cruel Sacrifice, chronicled the 1992 murder of Indiana teenager by four other teenaged girls. The book's subject matter cost Jones her job at Cumberland College, a conservative institution. Cruel Sacrifice was on the for three months in 1994. In 1996, Jones published All She Wanted, based on the final weeks in the life of, who was raped and murdered in 1993. The book was initially meant to provide the source material for the -winning film, starring, but the film was rewritten extensively, prompting Jones to file a lawsuit against its distributor,. Throughout the 1990s, Jones appeared frequently on the talk show circuit as a crime expert. [ ] Jones has written a total of eight books, among them A Perfect Husband, about murder suspect, which was made into the 2007 television movie The Staircase Murders starring. True Crime with Aphrodite Jones [ ]. Main article: Jones is the host and an executive producer of the documentary television series True Crime with Aphrodite Jones, which airs on the channel and debuted in 2010. Personal life [ ] Jones has been married once, in 2010, to a man she wants to remain anonymous. [ ] Jones currently resides in. Books [ ] • Michael Jackson Conspiracy (2007) —about the 2005 Michael Jackson child molestation trial • A Perfect Husband (2004) • Red Zone: The Behind-the-Scenes Story of the San Francisco Dog Mauling (2003) —about the dog attack that killed • The Embrace: A True Vampire Story (1999) —about convicted murderer • Della's Web (1998) —about convicted murderer • All She Wanted (1996) • Cruel Sacrifice (1994) —about the • The FBI Killer (1992) References [ ]. The basis for the Oscar-winning film, Boys Don't Cry! All NEW introduction by the New York Times bestselling author! Living as a man, twenty-one-year-old Teena Brandon hit the dust bowl town of Falls City, Nebraska, on the run from her family in Lincoln - and from the law for forging checks. Handsome and sophisticated, Brandon was an instant success, with young women hangi The basis for the Oscar-winning film, Boys Don't Cry! All NEW introduction by the New York Times bestselling author! Living as a man, twenty-one-year-old Teena Brandon hit the dust bowl town of Falls City, Nebraska, on the run from her family in Lincoln - and from the law for forging checks. Handsome and sophisticated, Brandon was an instant success, with young women hanging all over him. But when Brandon started to date the beautiful blonde Lana Tisdel, her luck ran out. In a terrifying incident on Christmas Eve, Brandon's true sexual identity was unmasked. On New Year's Eve, Brandon, her roommate, and a friend were found shot to death in an isolated farmhouse. Writing with exclusive cooperation of Brandon's ex-girlfriends and family, the accused murderers, and numerous other sources, NEW YORK TIMES bestselling author Aphrodite Jones explores the extravagant life and violent death of Teena Brandon, as well as the investigation and murder trial. Jones lays bare an America where many young people boldly experiment with gender identity, challenging our ideas of male and female, gay and straight - and where Teena Brandon and her friends paid a terrible price for sexual freedom. This was just ok. I did get swept up in the descriptions of Brandon's personal life, but dear God, he had a LOT of girlfriends, one right after the other, or often overlapping, and by halfway through the book, I had completely lost track of who was who. I needed a chart! (This is a true crime book about the murder of Brandon Teena--Hillary Swank played him in a movie about it a while back.) The description of the trial was alright, but what possesses these true crime authors to include even the This was just ok. I did get swept up in the descriptions of Brandon's personal life, but dear God, he had a LOT of girlfriends, one right after the other, or often overlapping, and by halfway through the book, I had completely lost track of who was who. I needed a chart! (This is a true crime book about the murder of Brandon Teena--Hillary Swank played him in a movie about it a while back.) The description of the trial was alright, but what possesses these true crime authors to include even the details that have nothing to do with the trial or the crimes? I found myself skimming quite a bit in the second half of the book. Anyone want my copy? This was such a sad story- to know it really happened makes it all the more so. The writing is so-so from what I remember, I read this years ago, but the story has stayed with me. I even remember her name, Teena and I remember thinking about just how confused this person was and how awful times must have been for her to not only be that confused but to have to lie and hide everything for fear of retribution. What happened to her is a shame because it shows just how far people still need to come This was such a sad story- to know it really happened makes it all the more so. The writing is so-so from what I remember, I read this years ago, but the story has stayed with me. I even remember her name, Teena and I remember thinking about just how confused this person was and how awful times must have been for her to not only be that confused but to have to lie and hide everything for fear of retribution. What happened to her is a shame because it shows just how far people still need to come in terms of dealing with something they themselves know nothing about. I found the story itself very sad. The story is unforgettable, the writing - meh. An okay read. This is the only book by this author that I have read because I don't really find her writing style engaging - at least not consistently. You get to know the people more through a regurgitation of occurrences and facts rather than through story telling. I like character development in my true crime, and I want the story to develop more in the style of a mystery. The author does do this. If you do not I found the story itself very sad. The story is unforgettable, the writing - meh. An okay read. This is the only book by this author that I have read because I don't really find her writing style engaging - at least not consistently. You get to know the people more through a regurgitation of occurrences and facts rather than through story telling. I like character development in my true crime, and I want the story to develop more in the style of a mystery. The author does do this. If you do not know the story, you will not know the story until the end of the book. If you like this author's writing style, then I definitely recommend that you read this. If not, the movie Boys Don't Cry is the Academy Award winning docudrama about this case and I think it is excellent. This book is incredible in describing the challenging and brutal life this woman led. It was extremely difficult emotionally for me to read as I felt for the character through the entire read. I was ashamed for Hollywood in what they called Boys Don't Cry as a 'based on a true story'. It was only a two week span of what in the book is the entire character's adult life. People that did not die in real life died in the book and vice versa. The only thing in the movie that I saw that was accurate c This book is incredible in describing the challenging and brutal life this woman led. It was extremely difficult emotionally for me to read as I felt for the character through the entire read. I was ashamed for Hollywood in what they called Boys Don't Cry as a 'based on a true story'. It was only a two week span of what in the book is the entire character's adult life. People that did not die in real life died in the book and vice versa. The only thing in the movie that I saw that was accurate compared to the book was the raping of her. My point is, if you want to know the story that does her difficult (understatment) life justice, read the book and throw the movie in the trash. The shocking and sad true story of “Brandon Teena,” who was immortalized in the film “Boy Don’t Cry,” is told in this true crime offering. Like many entries in this genre, the writing is lacking. The author’s choice of words is often overly casual and amateurish, and there are multiple distracting typos. Readers will, however, get an eye-opening look at the young woman who posed as a man and paid the ultimate price. Brandon was no angel, certainly—he ran through an incredible number of girlfriend The shocking and sad true story of “Brandon Teena,” who was immortalized in the film “Boy Don’t Cry,” is told in this true crime offering. Like many entries in this genre, the writing is lacking. The author’s choice of words is often overly casual and amateurish, and there are multiple distracting typos. Readers will, however, get an eye-opening look at the young woman who posed as a man and paid the ultimate price. Brandon was no angel, certainly—he ran through an incredible number of girlfriends and did time for theft and forgery. However, all will agree he didn’t deserve the cruel fate doled out to him by two men consumed by hate. It's hard to rate a book like this. You can't rate the content: just the writing. I thought I knew this story, but I learned so much about Brandon, John, Tom, and Lana in this book. The author suggests that Lana may have had something to do with the murders, but didn't go into it. I know there's not a lot of closure for this, however the ending was weak and might as well have said 'and that's how that goes.' I don't like watching Aphrodite Jones on television because of her over-the-top way of as It's hard to rate a book like this. You can't rate the content: just the writing. I thought I knew this story, but I learned so much about Brandon, John, Tom, and Lana in this book. The author suggests that Lana may have had something to do with the murders, but didn't go into it. I know there's not a lot of closure for this, however the ending was weak and might as well have said 'and that's how that goes.' I don't like watching Aphrodite Jones on television because of her over-the-top way of asking questions. She kept it real in this book, though. I'm a HUGE Bio hound! So All She Wanted really satisfied me after I saw Boys Don't Cry (movie). It's amazing how close actress Hilary Swank actually resembled Tina Brandon. Now, I can't say how complete or accurate this bio was because I all I know about Teena Brandon is what I read from 1 source or another. I like the author, Aphrodite Jones and I like the way she writes. I loved the book. One strange thing about 'Brandon' was that she died at 21 and her dad, Patrick Brandon, died himself at 18 I'm a HUGE Bio hound! So All She Wanted really satisfied me after I saw Boys Don't Cry (movie). It's amazing how close actress Hilary Swank actually resembled Tina Brandon. Now, I can't say how complete or accurate this bio was because I all I know about Teena Brandon is what I read from 1 source or another. I like the author, Aphrodite Jones and I like the way she writes. I loved the book. One strange thing about 'Brandon' was that she died at 21 and her dad, Patrick Brandon, died himself at 18 in a car accident. Aphrodite Jones is an award-winning American reporter and author who writes about murder. Her knack for detail allows her to dissect bizarre murder cases and bring readers into the heart of darkness. Now, the author has taken her career to TV as the executive producer and TV host of the ID series, True Crime with Aphrodite Jones, which airs on Investigation Discovery. Jones is now filming her sixt Aphrodite Jones is an award-winning American reporter and author who writes about murder. Her knack for detail allows her to dissect bizarre murder cases and bring readers into the heart of darkness. Now, the author has taken her career to TV as the executive producer and TV host of the ID series, True Crime with Aphrodite Jones, which airs on Investigation Discovery. Jones is now filming her sixth season, uncovering secrets about riveting cases across America. The series follows Jones, who's written a string of best-selling true crime books, as she unravels new mysteries lurking behind cases that shocked America: O.J. Simpson, Scott Peterson, Jon Benet Ramsey, Phil Spector, and the list goes on. |
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