Alien remains one of the scariest films ever made. For me, it’s not just the scariest film in the Alien franchise, but also the most visually compelling.
It has a timeless quality that continues to captivate audiences.
Why does Alien (1979) top the entire franchise? First, watch the video:
Here’s a summary of all the Alien movies (no Predator movies here) with the cameras and lenses used:
| Film | Cameras | Film Stock | Lenses | Aspect Ratio* |
|---|---|---|---|---|
| Alien | Panavision Panaflex, Panavision SR | Eastman 100T 5247 | Panavision C-Series | 2.39:1 |
| Aliens | Arriflex 35-III | Eastman 400T 5294, 400T 5295 | Canon K35 | 1.85:1 |
| Alien3 | Panavision Panaflex Platinum | Eastman EXR 500T 5296 | Panavision C and E-Series | 2.39:1 |
| Alien: Resurrection | Panavision Panaflex Platinum | Vision 500T 5279, Eastman EXR 200T 5293 | Panavision Primo | 2.39:1 |
| Prometheus | Red Epic | Redcode RAW | Zeiss Ultra Prime and Angenieux Optimo Lenses | 2.39:1 |
| Alien: Covenant | Arri Alexa XT, Alexa Mini | Arriraw | Panavision PVintage, PCZ and Angenieux Optimo DP Rouge | 2.39:1 |
| Alien: Romulus | Arri Alexa 35 | Arriraw | Zeiss Master Prime and Ultra Prime | 2.39:1 |
Why Alien used Anamorphic Lenses
Let’s start with an interesting fact. Alien is one of only two films in the franchise (along with Alien3, directed by David Fincher) to use anamorphic lenses.
Anamorphic lenses pose unique challenges when used in horror films. Maybe they look too glamorous!
Let’s understand the difference between Super 35mm and Anamorphic 2.39:1 formats. Here’s a comparison:
Super 35 has a wider frame size, 24.89 mm. Anamorphic uses 21.95mm horizontally.
However, anamorphic has a much longer vertical length, with an aspect ratio of 6:5.
The image is horizontally compressed but not vertically. Typically by a factor of two. Modern anamorphic lenses can have different squeeze factors. But, traditionally it has been 2x. It is the classic anamorphic format.
This results in a “squeezed” appearance. It is later desqueezed during projection to achieve a final aspect ratio of 2.39:1. Though both formats share the same aspect ratio, the image characteristics are quite distinct.
Some argue that the anamorphic format has more resolution than Super 35mm. But, this is debatable. Even though you are starting with a larger filming area and more resolution, there are three factors that reduce resolution:
- You are interpolating the image by 2x horizontally.
- You need an optical anamorphic projection element in theaters, and that reduces image quality.
- Anamorphic lenses are never as sharp as equivalent spherical counterparts. The distortions along the edges also contribute to loss in resolution.
In any case, sharpness isn’t why Ridley Scott chose anamorphic lenses for Alien.
Anamorphic lenses have the ability to compress the telephoto view on wider lenses.
While doing this, they also create various byproducts:
- Oval bokeh,
- Horizontal lens flares,
- Distortions, and
- Shallower depth of field at similar apertures.
In Alien, Panavision C-series lenses and the original Cooke Varotal Zoom Lens were used. The Cooke Varotal, released in 1971, was the first zoom lens designed for professional motion picture photography:
If you want to know more about anamorphic lenses, check out this video:
How did Anamorphic Lenses help Alien?
The anamorphic format makes everything more telephoto, even wide angle lenses. But, in a single dimension, horizontally. In some respects this is how 65mm film works, too (just in both dimensions).
Telephoto lenses bring the background closer and make them larger in the frame. This effect made the tight confines of the Nostromo spaceship feel even more claustrophobic.
Cinematographer Derek Vanlint often worked with a wide-open aperture. Typically around T2.3 to T2.8 (T3.1). This created a shallow depth of field. It made the sets appear even larger in the background.
This means it got closer.
That’s what blurring the background does, to a certain extent. Viewers were constantly on edge, never knowing when or where the alien might appear.
A Fresh Perspective from Industry Newcomers
In many ways, Alien looks the way it does because it was shaped by two individuals who were relatively new to narrative film. Alien was director Ridley Scott’s second film, but it was a first for Cinematographer Derek Vanlint.
Vanlint brought a wealth of experience from his work in commercials (as did Ridley).
Unfortunately, his contributions are often overlooked when people discuss Alien. One of the ways Vanlint contributed greatly was with the lighting.
The Lighting Style of Alien
Vanlint was known for his expertise in low-level lighting.
The lighting design in Alien was revolutionary for its time. It displayed a low-key approach that relied heavily on the practical lights on set. These lights were augmented by additional lights to create deep and dramatic shadows.
The lights and shadows came from everywhere, and nowhere!
Who can forget the flickering lights of the Nostromo during the climax (see image above)? It made us feel the ship itself was barely holding together. The practical lights could suddenly fail, plunging the characters and the audience, into complete darkness.
The production team achieved this effect using “scissor arcs”. These are lights mounted on movable arms positioned at sharp angles to create long shadows across the set.
The Impact of Film Stock on Alien
Alien was shot on Kodak Eastman 100T 5247 film stock. It was chosen for its fine grain and sharp detail.
The 100T stock, with an ASA of 100 (equivalent to about ISO 200 in a digital camera), was tungsten-balanced. This complemented the film’s muted color palette. The set is dominated by cool tones and deep shadows that make everything feel chilly and eerie in the vastness of space.
Compare this to the warmer tones in later Alien movies. The effect and mood is distinctly different.
Camera Angles and Movement
Ridley Scott’s camera work in Alien is fluid and precise. Scott and Vanlint frequently used slow, creeping camera movements. They used a Fisher Dolly to track through the corridors of the Nostromo.
The slow pace of these shots allowed the tension to build naturally. It forced the audience to anticipate the inevitable appearance of the alien.
In 1979, audiences didn’t know what to expect during the chest-burster scene. So, the sudden appearance of jarring cuts along with a horrifying creature was too much for moviegoers worldwide.
After that moment, viewers could never trust the slow camera movements again. We must thank Terry Rawlings, the editor, for this brilliant pacing. The control over pacing is what makes Alien a masterclass in suspense. The audience is never given a moment to relax or feel safe.
Ridley Scott operated the A-camera himself, even for handheld shots. These shots make the audience feel as though they are right there with the characters, experiencing their fear firsthand.
This technique gave Alien a documentary-like feel, making it seem more visceral.
The editing often cut between close-ups of the characters’ anxious faces and wide shots of the empty, dark corridors. You moved between vulnerability and the omnipresent threat of the alien.
The jump scare moments in Alien are another reason why this movie outshines the others in the franchise. The build-up is slow and tense. Aliens don’t just pop out from nowhere with a loud bang.
Let’s also not forget the great sound design work! The sounds, too, ramp up the tension as the movie progresses. The silence at the end is deafening.
No wonder the tagline of Alien is “In Space, no one can here you scream”!
Ridley Scott broke many of his own rules in Prometheus and Alien: Covenant. And, as a result, it doesn’t feel like the same universe.
The meticulous attention to detail and the slow-burn suspense that defined Alien are somewhat lost in the later films. The later films focus more on spectacle than on building a deep sense of dread.
Aliens, directed by James Cameron, looks more dated and polished, in my opinion. It looks more like the typical 80s action flick.
Alien3 and Alien: Resurrection could might as well be different movies. Both have predominantly warmer tones throughout. The latter had director Jean-Pierre Jeunet’s signature wide angle style. This is totally removed from the original design and style of Alien.
Bottom line, except a few rare moments here and there, no other film in the Alien franchise has matched the original’s sheer artistic and entertainment value.
Alien (1979) has influenced countless films in both the science fiction and horror genres. Every year, there’s a film that borrows something from Alien. It’s a fountain that keeps on giving.
Don’t forget to check out my video on how Ridley Scott directs actors, specifically in Alien. A simple dinner scene takes on a whole new meaning:
