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‘Alien vs Predator’ Writer Responds to Sigourney Weaver (Exclusive)

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Alien vs Predator, image via FOX

Earlier this week a story broke out of the London Film and Comic Con in which Alien franchise star Sigourney Weaver stated that she asked to be killed in Alien3 upon learning of Fox’s intent to make Alien vs Predator.

“Well, yes – because I heard that Fox was gonna do Alien vs Predator. Which really depressed me because I was very proud of the movies,” she explained while also recalling an old James Cameron comparison referring to it “Alien meets the Wolfman.”

Bloody Disgusting has a long relationship with Peter Briggs, who is currently moving ahead with his directorial debut Panzer 88, for producers Gary Kurtz (Star Wars, Empire Strikes Back) and Ivor Powell (Alien, Blade Runner).

The credited co-writer of Hellboy, with Guillermo Del Toro, Briggs was the first writer on Alien vs Predator, having initially developed it as a writing sample.

Briggs caught wind of the Weaver story and felt compelled to respond. Instead of breaking this down, I’m presenting it in full as there’s a lot of backstory that leads into his gripe.

briggsI read in “Entertainment Weekly” this morning (and “Time”, and everywhere else it seems), Sigourney Weaver’s latest salvo at the London Film and Comic-Con yesterday, in her decades-long sniping (July 20th) about the non-Ripley “Alien vs Predator” film franchise I played a passing role in 25 years ago. And once again, I heaved a sigh that she just can’t stop scratching this itch.

To put her laments into context, my version of “Alien vs Predator”, a spec screenplay I wrote in the Summer of 1991, was the very first draft, the very first piece of actual work done on the project for the studio. It was also my first professional sale to 20th Century Fox through producers Lawrence Gordon and Lloyd Levin, with whom I’d go on to work on “Judge Dredd” (another tortuous “Development Hell” story) and as credited co-writer on the “Hellboy” movie in 2004. It’s fair to say that despite my draft remaining unfilmed, “Alien vs Predator” launched my career; high-profile enough to get me mentioned in a slew of magazines (“Starlog”, “Cinefantastique” and even Brit lads’ mag “FHM” among them!) and books like Chris Gore’s “The 50 Greatest Movies Never Made”, and Denny Martin Flynn’s “How Not To Write A Screenplay” (alongside my friend Shane Black’s “Lethal Weapon”.) A decade-and-change later in 2004, I discovered to my astonishment in going over the project’s materials at the Writers’ Guild arbitration for the Paul W.S. Anderson movie at the WGA headquarters on Fairfax, my work was also the only actual complete screenplay Fox had until Paul W.S. Anderson initiated his attempt over a decade later!

To follow the chronology, the Dark Horse “Alien vs Predator” comic title itself, which gave me that initial kick in the backside to write a story mostly different from its inspirational material, ran July to December 1990.

Principal photography on the “Alien 3” movie began one month later in January 1991. Although the (excellent) Rex Pickett rewrite for director David Fincher from this time had Ripley dying, I gather this was also something the prior director Vincent Ward, whom Fincher replaced, had also wanted in his drafts.

I lived in London at the time, and wangled an “Alien 3” set visit at the shoot’s end as guest of Amalgamated Dynamics FX shop owners Alec Gillis and Tom Woodruff. With film journalist friend Juhani Nurmi, we’d concocted a crazy notion to introduce “Alien” designer genius H.R. Giger to Finnish director Renny Harlin, who was the attached “Alien 3” director prior to Vincent Ward. Juhani was a longtime friend of both, and made the introduction. Giger would carry on (quite vocally in interviews) through the finished film.

After being shown the Pinewood Creature Shop (production all-but over at this point), Alec, Tom and myself sat around yakking fanboy stuff and discussing the difficult shoot. They said they hadn’t seen “Predator 2” at that juncture, but had heard about Danny Glover seeing the Alien skull cameo in the Predator trophy room scene at the movie’s end. Alec knew I was a struggling writer (developing sci-fi material for the short-lived Paramount UK at the time) and asked what I was working on. Tom arched an eyebrow (neither were aware of the Dark Horse comic) when I said I’d just started writing “Alien vs Predator” as a spec script. “Man, I can’t see how that would happen!” remarked Alec; amusing in retrospect given Amalgamated Dynamics ended up doing outstanding work on both of the “Alien vs Predator” spinoffs.

I finished my “Alien vs Predator” draft late September 1991. It was literally only written as a “get attention” sample, in the hope I’d maybe get a rewrite on some other movie off the back of it. My then-agent (Steve Kenis, the head of the William Morris agency in London) was friendly with producer Larry Gordon, who had a deal with Fox. Steve was coincidentally flying over to the States for meetings. Steve met Larry. They talked. I remember sitting heavily down on the stairs when Steve phoned me from L.A. to tell me Larry bought the script the same day. And then round-after-tortured-round of additional producer in-fighting killed the project dead on that go-around during the next year. (I was told later there was even serious talk about tweaking the project to make it a Schwarzenegger vehicle: Arnie was briefly attached to the pre-Stallone version of “Judge Dredd” I worked on for Tony Scott, so I can only imagine how that would have gone. More recently, the Strause Brothers in interview at the time of their “Requiem” sequel admitted they’d toyed with attempting my more-expensive outer-space,more sci-fi script, but went instead for the different Earthbound story you saw on the screen in 2007.)

Larry Gordon would later tell me “Alien vs Predator” had only been discussed for the first time at Fox literally days before Steve gave him the script in September 1991, which is why I was in the right place at the right time to make my first sale. Maybe they were in a panic about “Alien 3”…I have no idea. And so when I hear Sigourney Weaver recounting her killing off Ripley in “Alien 3” because she’d heard Fox were talking about doing “Alien vs Predator”, despite the fact our project was first spoken about and initiated well over a year (not even counting Vincent Ward’s involvement!) after her movie had gone into active production, I really have to roll my eyes at her claims.

I love “Alien 3”. Well; I didn’t on its theatrical release, but I find the recent extended DVD recut even more watchable than “Aliens”. I’ll also be honest that I’m less-than-wild about the two “Alien vs Predator” movies (particularly “Requiem”, about which less said the better) But I do wish Sigourney Weaver would stop beating on “Alien vs Predator” as her pet piñata in “ruining” the “Alien” franchise, and acknowledge that two standalone “Alien” movies she was actively involved with unfortunately managed that first, all on their own.

I don’t even know if Sigourney Weaver has read the “Alien vs Predator” draft I wrote. She’s never said she has. But, I was a fan obsessive of the “Alien” franchise, Sigourney. Big time. Particularly Ridley’s original, which is still unmatched. And “Alien vs Predator” — as a concept — is still killer, full of potential. Even its critically maligned first cinematic outing made $172,544,654 worldwide, compared to $159,814,498 for “Alien 3” and $161,376,068 for “Resurrection”. Hardly a financial “fail” there, Sigourney.

There’s a terrific “Alien vs Predator” movie still to be made by someone. It just hasn’t happened yet.

Weaver’s comments clearly hit a nerve with Briggs, especially since she’s been dogging the latter Alien films for years. And if Weaver is allowed a platform to shit on the work of others, well, they deserve a chance to respond. No?

What say you?

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

LEPRECHAUN

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

LEPRECHAUN RETURNS sequel

Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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