In his critical introduction to the Gothic, Fred Botting explores how Ridley Scott’s films engage with its major themes and motifs…
Sigourney Weaver and Ridley Scott on the set of Alien (1979)
Sigourney Weaver and Ridley Scott on the set of Alien (1979)

In Alien (1979) other Gothic associations are brought to the fore. The wrecked alien spaceship and the bleak planet suggest the gloom, ruin and awful desolation of Gothic architecture and landscape. The coded message the spaceship transmits is not a distress signal, but a warning which goes unheeded by the human cargo ship that attends the call. Unaware of the dangers that their employers, another sinister and powerful corporation, have put them in, the crew are unwitting victims of their attempt to secure the power and profit of possessing such an efficient and utterly inhuman killing machine. The horror of the alien lies not only in its lethal power: its parasitical mode of procreation, using human bodies as hosts, means that it is a threat that emerges from within. (more…)


Yvonne Baby spoke to the American filmmaker in Paris on 17 May 1979. While Malick has often shunned the media spotlight, he spoke candidly about the process of making his 1978 film, Days of Heaven


Edward Hibbert, known for his performance as Gil Chesterton on NBC’s sitcom Frasier, was instrumental in bringing Fight Club to the big screen. Hibbert acted as a literary agent to the American writer Chuck Palahniuk during a crucial period of his career. [Source]

If it doesn’t concern life and death, it’s not interesting.

— Cormac McCarthy

Then there is the other secret. The isn’t any symbolysm [misspelled]. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The shark are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.

Ernest Hemingway, letter to Bernard Berenson, 1952