Alien Minute

Today we finish talking about the credits, discuss how James Horner was a ripoff artist, and talk about the absence of H.R. Giger.

Alien Minute returns to talk about the first half of the Aliens credits, why we selected the Theatrical Cut, and where we first came to know about Paul Reiser.

John and Mitch discuss Ridley Scott's Alien: Covenant, David Lynch's revival of Twin Peaks, and the immediate future of Aliens Minute.

On this bonus episode of Alien Minute, we're joined by New Yorker Cartoonist Joe Dator to talk about space vampires, pausing VHS tapes, and the evolution of movie trailers.

Today we say goodbye to you, our beloved listeners, by talking on and on about the more unsung members of the Alien production crew. Thanks to everyone. See you soon for Aliens.

In our penultimate episode, we discuss Ripley's seemingly random recitation of the Nostromo crew members, the prevalent use of zooms in 70s cinema, and we read an email from listener John Griffin.

In today's victorious episode we discuss drastic musical shifts, spherical lenses, and another brilliant Ripley reaction.

Today we talk about why Ripley turns her back on the Alien, why there's paper in the Narcissus, and how we really feel about the Alien suit.

We'll be guest-free this week though today we do take a voicemail from listener Eric Moore which prompts us to discuss model making, noxious gasses, and foggy visors.

Today we have Jon Niccum back to talk about complicated helmet designs, harpoon guns, and the history of Ripley's calming song.

Marya returns for one last show to go deep into the subject of Ripley's striptease, discuss how we feel about the big jump scare, and we go on a tangent about the myriad issues with film Twitter.

Marya E. Gates returns to talk with us about whether Ripley actually cares that much about Jones, the motivations behind Ripley's disrobing, and the lack of feminist cinema in the 70s.

Erin joins us one last time to discuss the cinema of 1979, more on "second" endings, and the concept of the final girl trope.

Today, Erin joins us again to talk a little about P.T. Anderson, a lot about Brian De Palma, and we say goodbye to the Commercial Towing Vessel Nostromo as it somehow explodes three times.

KCAI Instructor Erin Hamer-Beck returns to help us suss out how the Alien ended up on the shuttle, whether or not he is napping, and just how adaptive it really is.

Erin Hamer-Beck returns to talk with us about belching fire, focus pulling, visible c-stands, and Sigourney Weaver's legacy in Sci-Fi cinema.

It's our 100th episode and Krysztoff Nemeth returns once more to talk about Ripley's justifiable temper tantrum, Mu-th-er's middle fingers, and the value of repetition.

Krysztof Nemeth returns to discuss asynchronous ticking sounds, disorientation techniques, and an intentionally "bad" music cut.

Krysztof Nemeth returns to talk about the benefits of cacophonous sound design, precariously placed cat carriers, and arguably the worst Director's Cut addition.

This week we welcome Krysztof Nemeth who joins us to talk about the engine room, establishing the Ripley vs. Alien scenario, and intentionally circuitous self-destruct systems. Permalink

We finish our week with Marya E. Gates by discussing what's left of Lambert and Parker, our own personal fears, and how we read the shift to full Ripley point-of-view. Permalink