This was so much fun on the dancefloor at the time because you would get everybody doing John Hurt alien tummy eruptions!!
Scott was enthusiastic to work with veteran composer Jerry Goldsmith, arguably at the height of his career at the time, for this production. Equally pleased was Scott's former sound and music editor and, for Alien, his lead editor, Terry Rawlings. Upon securing Goldsmith for the assignment, Rawlings, with Scott's blessing, had assembled a wealth of Goldsmith's previous music for employment as a temp track in the film. Goldsmith, who was never a fan of temp tracking in the first place, was disdainful of these placements and completely disregarded them when fashioning his music for Alien. From there, matters only got worse. The composer completed the recording of almost an hour of music for Alien and moved on to other projects, returning to the production for a handful of re-scoring duties not long after. To his horror, the finished version of Alien would only place one (yes, one) of his cues in its entirety and in its proper place in the film. His music had been completely mangled by Scott and Rawlings, chopped into pieces and moved indiscriminately throughout the film. To make matters worse, significant portions of Goldsmith's 1962 score for Freud and a 1967 recording of Howard Hanson's "Symphony No. 2" were interspersed between Goldsmith's original Alien material as well. It was, in short, a nightmare.
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