AvP Galaxy’s Favourite Scenes Never Seen

Posted by Corporal Hicks on July 9, 2022 (Updated: 11-Sep-2022)

The Alien and Predator franchises are full of iconic imagery, of scenes that have become so ingrained in pop culture memory, and of scenes that have been spoofed or homaged in countless other franchises. With such a wealth of brilliant sequences, it’s very easy for fans – for fans of cinema, regardless of just Alien and Predator – to discuss or pick their favorite.

But at Alien vs. Predator Galaxy we’re such enthusiasts (nerds) that in our exploration of the behind-the-scenes and the could-have-beens, we’ve gone beyond that and have favorites scene that never materialized on screen. The following is a collection of the AvP Galaxy staff’s favourite scenes never seen!

Corporal Hicks 

If you’re familiar with Alien vs. Predator Galaxy at all, you know how interested I am in the could-have-beens. I love my unfilmed scripts, my previous drafts and my deleted scenes. I’m nosey. I just love to know what else there is about Alien and Predator outside of the officially released material. And there’s a lot of choices here.

As the franchise goes on, some of those unused concepts are recycled into future releases. Though I’ve never been able to confirm any intention, Alien: Covenant appears to be very influenced by William Gibson’s viral take on the Alien. But for every concept that does get reused, there’s always more out there that I just don’t get to see realized in audio, visual or word.

For me there was only one particular scene that I can say with complete certainty that I just wish I’d have been able to see realized and that is the scene from the pre-Prometheus drafts of Sir Ridley Scott’s 2012 return to the world of Alien.

Before Prometheus, that Untitled Alien Prequel film was very much an Alien film. Fortunately for us movie archaeologists, 2 of those older drafts are available online and they contain a scene I really wish would have made it onto the big screen, especially in Alien: Covenant but we’ll talk about that later!

While much of Jon Spaihts’ original intent and structure remains in Prometheus, the finished film was stripped of its overt Alien connection, instead focusing on the Engineers. When it was an obvious Alien prequel there was a scene in which David, following his programming to ensure Shaw – known then as Watts – and Halloway could never speak of what they found, decided the most effective way of silencing her was to expose Watts to the Engineer’s cargo – the Aliens.

 AvP Galaxy's Favourite Scenes Never Seen

Concept art for Prometheus depicting David walking into the Juggernaut’s cargo hold.

Like Alien: Covenant, much of Jon Spaiht’s drafts had a prominent focus on an earlier iteration of the Alien, and would eventually feature the more developed Alien as we knew it. Instead of the black goo, the cargo holds of the Juggernaut contained variations of the Alien in their most infant form – the eggs.

Having chased and knocked out Watts – Shaw – David takes her to one of eight cargo holds within the Engineer ship, reintroducing us to the iconic location from the original Alien.

 AvP Galaxy's Favourite Scenes Never Seen

As she returns to consciousness, David explains what humanity’s progenitors had in mind for their creation.

Juggernaut, the chariot of Krishna, was also a bringer of death. Crushing his worshippers under its wheels.

This ship has seven other cargo bays like this one. The eggs in each bay slightly different. They’ve been weaponized.

I’ve seen the Juggernaut’s flight plan. Its destination was Earth. Seventeen hundred years ago. This was the ship that never came. This was its cargo.

Perfect predators. Designed to kill human beings. That’s what the Engineers were bringing to Earth. This was a death ship.

It’s at this point that David begins to stimulate the opening of an Alien egg, where a facehugger starts to emerge. Earlier in this incarnation of the script, we had already seen an ancestor of the facehugger at work, infecting Halloway with a proto-Alien who wrecked havoc. Now we’re seeing the evolution of that creature.

Disinterested in David, the facehugger senses Watts’ presence and attempts to attack, but David intercepts it, preventing the facehugger was completing its singular biological imperative.

 AvP Galaxy's Favourite Scenes Never Seen

As Shaw would in the finished Prometheus, Watts wants to know why. Rather than Prometheus’ answer-less philosophical question, this is a straight forward question and answer.

 AvP Galaxy's Favourite Scenes Never Seen

Funnily enough, Genesis is also the title of one of these accessible drafts. David then expresses his own disappointment at his own creators before unleashing the facehugger, allowing it to fulfil its purpose, all the while David marvels – “extraordinary.”

 AvP Galaxy's Favourite Scenes Never Seen

I think if this scene had been executed well, it’d have been an incredibly creepy sequence and had the potential to be up there among the best of the series. And given how much Alien: Covenant recycles from Jon Spaihts older scripts, I think this had a place in Covenant that would have prevented an often seen complaint about that film – Oram getting infected.

Once again, Alien vs. Predator Galaxy turned to one of our favourite Alien artists, Declan Loftus, to visualize this scene for our article.

 AvP Galaxy's Favourite Scenes Never Seen

Granted, there was a deleted beat from Alien: Covenant where David leans over an egg, showing Oram that it was safe, but this sequence really belonged in that film. I believe it was the easy solution to getting Oram into that position. The whole prospect fits in with Covenant’s more overt antagonist portrayal of David and wouldn’t have dumbed down Oram’s character by making him blindly follow David after what the captain had just witnessed.

And while perhaps it would have been a more overt presentation of the themes of sexual violation than in Alien, I think it would have fit in perfectly with that theme seen throughout the Alien series, even again in Alien: Covenant when David assaults Daniels after she confronts him. It would have not only been a very thematically relevent scene for an Alien film, but potentially an incredibly memorable one as well.

The concept kind of makes an appearance in Alien: Alone, one of the 40th Anniversary Alien shorts, in which the android Hope assists a dying face-hugger onto the face of MacWhirr, played by Bill Paxton’s son James. It’s not quite the same intent behind the scene, and unfortunately – and I saw this with much respect as Alien: Alone is my favorite of those shorts – the facehugger puppet wasn’t quite capable of pulling off the intent to the best effect.

And while it would have been perfect in Alien: Covenant, I still hope to see some variation of the malicious version of this scene play out a the future Alien (or vs. Predator) story.

Voodoo Magic

The most wondrous moment in the Predator franchise to me will always be when Detective Mike Harrigan pursues the injured City Hunter Predator onto its spacecraft, in the thrilling finale of “Predator 2”.

Visually unique and stunning as the Alien Hive, this Lost Tribe Predator Ship had the potential of being equally iconic if the ship aesthetic wasn’t abandoned in future AvP and Predator feature film installments. Regardless of that poor decision in my eyes, this fabulous “Predator 2” ship design and its mysterious living and breathing biomechanical nature is still as awe-inspiring to me today as the first day I laid eyes upon it back in 1990. So, it shouldn’t come as any surprise that the single scene I still wish had been realized involves this mysterious spacecraft.

 AvP Galaxy's Favourite Scenes Never Seen

In the third draft of the “Predator 2” script dated January 16th 1990, after receiving the flintlock from the Elder Predator “Grayback”, Detective Mike Harrigan had a much more fascinating exit than what was ultimately presented on screen. Per that third draft, the Lost Predator spacecraft actually seemed to excrete the film’s hero, expelling Harrigan all while stressing this unique craft was indeed “bio-mechanical.” 

 AvP Galaxy's Favourite Scenes Never Seen

Unfortunately, as we all know, this wasn’t the scene we ultimately received in the finished film. Perhaps due to cost saving measures, a rushed schedule, creative changes or a combination of the three, when the third draft was greenlit by 20th Century Fox and it became the basis of the shooting script, Mike Harrigan’s very interesting ship departure was modified two weeks later on January 30th 1990 in favor of a more familiar Hollywood trope.

The revision called for Detective Mike Harrigan fleeing through a hatch and running for his life to escape a “blast of flames” behind him, rocketting from the Lost Predator ship’s thrusters.

 AvP Galaxy's Favourite Scenes Never Seen

Was this outrun-the-flames, typical action fare the more exciting choice when it came to pleasing general audiences? Probably, but there is never an instance while watching “Predator 2” where I don’t fantasize about this scene and what could have been. The official 1990 press kit released by the Twentieth Century Fox Corporation for “Predator 2” describes the ship as “eschewing the typical monitors, consoles, dials, switches and blinking lights, (production designer Lawrence G.) Paull has created an embryonic, organic environment.”

And yes, we certainly got that embryonic environment on screen and I am thankful, but I sure wish we could have seen Harrigan’s birth as well.


One of the most well-known unproduced scripts for Alien 3 was the Vincent Ward/John Fasanu script set on a monastery satellite called Arceon. The script that can be found online is the first draft but there were many drafts of this story written after this one. The planetoid is made of wood and is inhabited by a group of monks who reject all modern technology.

While the script was not made, many of the ideas and concepts from this script did end up in David Fincher’s film and the final film was a bit of a mixture between Ward’s script and David Twohy’s prison script.

 AvP Galaxy's Favourite Scenes Never Seen

The wooden planet – Arceon.

The wooden planet is such an interesting and unique setting and is the reason, it generated a lot of interest. Arceon was originally constructed of metal but was cladded in wood and turned into a monastery by the monks. There were numerous levels inside, some over 100 metres high, which included an abbey, libraries, mess halls, a glass works, open fields with crops and a large sea on one of its lower levels. At its centre, is a ‘technology room’ that maintains the atmosphere, allowing the inhabitants to survive.

Ripley crash lands on the man-made planet after a battle aboard the Sulaco where Bishop and Hicks had been killed. Newt is assumed to have been killed during the escape in the Sulaco escape pod and a Xenomorph also survived the crash. The monks don’t believe a word of anything she says and Ripley is imprisoned. One of the standout set pieces in the script is when the Xenomorph goes on the rampage throughout the monastery.

 AvP Galaxy's Favourite Scenes Never Seen

Wooden Planet

The scene cuts to an underground wheat field – “Tall golden grass stretches out for miles, swaying gently around huge wooden columns that support the Abbey fifty feet above.” Several monks move cautiously throughout the fields of tall grass. All of a sudden, the leader of the monastery, The Abbot, spots something –

 AvP Galaxy's Favourite Scenes Never Seen

The Xenomorph kills one monk and goes after the rest in the grass. “The Alien hits the skirmish line at a flanking angle — RAKING through five Monks like a scythe through wheat. His tail, arms WHIP out — SNAP their spines like kindling. Lost torches ignite the wheat…”

 AvP Galaxy's Favourite Scenes Never Seen

Monks crashing into wheat

The wheat field is set on fire and the rest of the monks break formation and run. The Xenomorph uses the smoke as cover and slashes and tears its way across the field. It reaches Abbot and he realises that the creature can camouflage and change its appearance like a chameleon.

 AvP Galaxy's Favourite Scenes Never Seen

The scene is very reminiscent of the scene in the second Jurassic Park film: The Lost World when the velociraptors stalk the survivors in the tall grass. The Lost World was one of the first films I ever saw in the cinema. We did see a similar scene in the recent Alien Covenant film where the Neomorphs attack the team in the grass.

There are some strange concepts in Vincent Ward’s script and still has some plot holes that may have been corrected in further drafts, but I really like the idea of the wooden planet and it would have presented us with some striking imagery.

Fox did initially greenlight Ward’s script. Some concept art was made as seen above and some of the sets had been built. Fox still had doubts about the logistics of having a wooden planet in space. Fox was on a tight schedule and demanded changes but eventually Vincent Ward got tired and left the project.


In the 1983 story treatment for ‘Aliens’ – then-titled ‘Alien II’ — a new caste of Aliens, dubbed ‘drones’, were introduced. In this early version of the story, Ripley finds herself imprisoned in the hive, with one of these creatures in the process of cocooning her.

The treatment it is as “a small albino version of the Alien creature,” and “where the warrior has a set of striking teeth within its head, the drone has an excreting probe, like an organic stucco-gun.”

 AvP Galaxy's Favourite Scenes Never Seen

The drones are thus hive-builders and egg-nurses. This is interesting, because it is the very first time that the distinction between a ‘drone’ and ‘warrior’ caste is mentioned. Even with the albino drones absent in the final film, the distinction stuck within the Alien lexicon, with ‘drone’ oftentimes used to address the Big Chap from the first film, a name that would also often appear within various video games.

The drone concept would also appear in Cameron’s first complete draft – dated February 26th, 1985 – wherein Bishop speculates on the existence of a Mother Queen, “fed and tended by drone workers, defended by the warriors.”

However, their role in the script is reduced to a short cameo during the third act, where they are seen scuttling around to relocate the eggs the Queen is laying.

 AvP Galaxy's Favourite Scenes Never Seen

Obviously, the drones and the scenes they would have appeared in were cut shortly after, with the hive-building process left to the audience’s imagination. This decision was so early that the design wasn’t even explored during pre-production and no conceptual art was done. There are several possible reasons why they were cut:

First and foremost, a small, albino version of the warrior with a specialized inner jaw would’ve meant the creation of entirely new suits and puppets; an insert puppet, for example, would’ve been the obvious solution for the shots where Ripley is being cocooned. Time and budget could not allow it, especially seeing as the same function could be performed by the warriors themselves, which would appear front and center in the film regardless.

Secondly, perhaps, the removal of the drones allows the audience to still be ‘in the dark’ about how certain aspects of the Alien social system works, and prevents excessive comparisons with Robert Heinlein’s ‘Starship Troopers’ – from which the film lifts plenty of ideas already.

 AvP Galaxy's Favourite Scenes Never Seen

Credit: Rafa Flores

In retrospect, this was a somewhat lucky decision. Despite ‘Aliens’’ approach to the creature, which was coherent with Dan O’Bannon, H.R. Giger and Ridley Scott’s idea of it as a ‘biomechanical insect’, the film was heavily criticized upon release for precisely that reason – supposedly turning the Alien into a “dumb space bug”. The drones would have reinforced that criticism, perhaps considerably.

Interestingly, there are echoes of the drone in the franchise. First and foremost, the idea of multiple castes of Aliens serving the Mother Queen found ample use in the expanded universe, from comics to video games. Even an action figure, accurate to the original description, was also released by NECA.

In addition, the idea of a “small, albino alien” could’ve been the root of inspiration for the deleted albino Aliens in the ‘Prometheus’ script drafts & concept designs, which eventually coalesced into the Neomorph in ‘Alien: Covenant’.

Had the drones survived the cut, it would’ve certainly been fascinating to see glimpses of the Alien social system at work, in a similar manner to what ‘Predator 2’ did for the Predators. And, of course, the talented artists at Stan Winston Studio would’ve brought about a memorable and gross creature character.

Special thanks to my friends and fellow ‘Alien’ scholars, Dominic Kulcsar and Seonaidh Kennedy, for helping out with this obscure subject.


The journey of ‘Alien’, from concept to screen, is a well documented one. Even in the days before DVD special features and Internet forums, the story of this timeless classic’s own birth into the world Hollywood provided, had been written of extensively, with one resource standing out above most others.

This was HR Giger’s very own, ‘Giger’s Alien’, which gave not only compelling insights into the artist’s own insights during the production, but also tantalising glimpses of the visuals he had conceived for it. Not only in terms of creature design, but atmospheric landscapes and more. Within those pages we learned the true extent of what had originally been planned for what the Nostromo’s crew would have encountered.

This was, unfortunately, trimmed for reasons of budgetary necessity and, instead of the derelict craft being depicted an entirely separate location to a pyramidal facility of an even older civilization (foreshadowing the Nostromo’s own fate), we were given a more ambiguous depiction.

 AvP Galaxy's Favourite Scenes Never Seen

As thoroughly compelling as the visuals were, one especially immaculate – and finished – piece of art Giger had prepared, has forever stayed in my memory. This was a beautifully airbrushed slab, designed to look like alien hieroglyphics, within which was depicted the Alien’s lifecycle.

Worth noting is that the chestburster is shown with the legs of the earlier ‘turkeyburster’ concept, although this facet isn’t too noticeable (and could have possibly been hidden with shadow). It’s a truly captivating piece and even the glyphs have great similarity to the shape of the derelict, itself, which would have only raised further questions in the viewers mind.

To the best of my knowledge, there has never been an explanation given for why it was not included, although there are indications it was at least filmed for test footage. Was it removed to avoid spoiling the surprise of what Kane would succumb to?

This would have been our only clue as to the mindset of those who constructed it. The skeletal remains were incapable of communicating anything, yet here was something of theirs, reaching across time to communicate this in either warning or reverence. It’s rare for Hollywood to depict something which genuinely feels like it’s the product of an inhuman soul and this would have been a memorable exception.

Along with Giger’s hieroglyphics, I eventually came across another famous piece of concept art for the pyramid concept, this time crafted by Ron Cobb. It’s since become my favourite from the entire series, due to how beautifully it evokes the essence of Lovecraftian menace: Something unknowable from across the stars, somehow resonating with our own ancient past.

In it, we see a lone figure in an astronaut suit, torchlight spraying across a room tellingly designed for a form of life far larger than any human. The surroundings are carved out of stone, with various Lovecraftian tentacle-headed monstrosities sculpted and painted over the walls. Above them, light shines down, illuminating the gloom, with the famous universal symbol of the Eye of Providence engraved in a very alien manner, looking out of a triangular shape, surrounded by petals or large tendrils. Where the figure looks is a huge mural inked in the style of Aztec and Mayan art, showing a dead insectoid creature with something arising out of it, culminating in a mind or egg-like shape.

Just in front of this is a massive construction, formed out of two blocks sandwiching a collection of mysterious ovoid shapes, seemingly like eggs. We don’t know what it could be, but some sort of vast sarcophagus seems likely.

 AvP Galaxy's Favourite Scenes Never Seen

None of this seems to have come close to set construction and would possibly have been at odds with Giger’s more skeletal corridor designs. Perhaps it was intended to be found in the pyramid, before the budget forced that idea to be abandoned?

Whatever the reasons, this incredibly moody and symbolic depiction has remained with me through the years, as one of those great might-have-beens of the series. I still hope it might yet be realised in some form and was disappointed the recent comic adaptation of the original screenplay didn’t revisit Cobb’s scene or Giger’s hieroglyphics.

With news of an upcoming TV show and movie in the works, I would love to see either – or both – of these two pieces finally getting a chance to work their ghoulish magic on screen. They gave me a glimpse into genuinely unsettling worlds, every bit as much as the Derelict we ultimately got. Fingerprints of cosmic beings who were charting the stars, long before we had even evolved… A way to place that most haunting of labels, ‘HERE BE DRAGONS’, back on the map.

I can’t be the only one who remembers that intriguing quote Ridley Scott wrote in 2010, for the Alien Anthology boxset:

“…this dark, mysterious universe filled with Aliens, Space Jockeys and… Something even more dangerous that you haven’t seen yet.”

Whatever one’s views of the prequels, this promise has, arguably, yet to come to fruition in anything we’ve yet been shown. But a dip in the collective pool Giger and Cobb provided us in these two examples could easily rectify that.

As disturbing as that brief walk through the Derelict was, it could have been more. We could have been shown more. And still could be.


It’s always a fascinating exercise for us fans to delve into what could have been when it comes to Alien, Predator, & AVP. Some recent media has taken advantage of this curiosity, such as the ‘Alien: The Original Screenplay’ graphic novel, or the numerous media releases of Willam Gibson’s Alien³.

The films have their unseen scenes, both shot and unshot which have kept our imaginations ignited. There are plenty of moments recorded and hidden in production studio storage that I’d still love to see: the Emissary Predators sharing a cigar with the ‘Loonies,’ an extended confrontation between Ripley and the ‘Runner’ Alien in ‘the basement,’ or the fate of the youngsters Kendra and Curtis.

While it’s difficult to single out the one that keeps me intrigued the most, a particular scene that I’ve always wanted to see was the original opening for AVP: Alien vs. Predator. The planned first scene of the movie would’ve had us witness an ancient jungle hunt with South American warriors stalking a wild pig, thousands of years ago with a pyramid dominating the skyline. We’d later get a glimpse of this distant past that the Predators ruled over in the movie’s flashback sequence. The group’s hunt would be interrupted when the tribal warriors disappeared one by one, snatched by monsters in the darkness. The jungle setting would set up an expectation this is a Predator picking them off, but it quickly becomes clear that Xenomorphs are the ones striking from the trees and bushes.

This scene was never shot, but the plans were in place as we can see in script breakdown dated August 29th, 2003. The first time we heard of the scene was from Ain’t it Cool News’ thrashing of an early version of the movie’s script they acquired. This opening would’ve taken place in Cambodia, though in the aforementioned breakdown this setting is crossed out and replaced with Antarctica, signifying the intention to replace the opening with the 1904 set whaling station scene.

 AvP Galaxy's Favourite Scenes Never Seen

AVP concept artwork by Patrick Tatopoulos

The attack of the hunting party by Aliens would be interrupted by a Predator, as the last surviving hunter witnessed his ‘god’ engage one of the demons before it could get to the human.

The most comprehensive telling of this scene can be found in the movie’s novelization, which had the author Marc Cerasini working from earlier drafts. The novelization included both the original opening as a prologue, as well as the 1904 whaling station scene that would replace it in the extended cut.

The alpha hunter ‘Funan’ would lead his spear bearing warriors through the jungle as dusk became night. In the book, this scene is listed as taking place in Cambodia, 2000 B.C.E. Their hunt would bring them near the Predators hunting grounds, temples that were forbidden except for the uses of the chosen ones.

“Never before had they hunted this close to the sacred temple. Although the jungle around the stone pyramid teemed with wildlife, hunters always shunned this forbidden place. Only during the time of sacrifice, when the local tribes offered up their young men and women to the gods, would the people enter these grounds.”

It wasn’t long before their hunt became survival, as one by one they were taken by shadows into the darkness. Funan was all that remained, and his panicked eyes would fixate on an Alien revealing itself.

“With mounting horror, Funan watched the dark, oily bark begin to move, peeling itself away from the trunk. With a fleshy, popping sound the shapeless mass sprouted limbs. Then an oblong head emerged, the appendage covered with glistening, near-translucent skin. A bony, segmented tail unwound itself from a heavy branch, and with a wet thump, the writing obscenity dropped to the ground.”

As the Alien approached the warrior, its attention would be turned to the attack of another monster from the darkness. Invisible at first, this new challenger would reveal itself.

“The phantom paused to hover over the fallen hunter, and as Funan pulled his hands away from his face and looked up, the ghostly blur formed into a solid thing – a nightmare that appeared part man, part reptile, part demonic beast. The phantom stood on two legs as thick as logs. Its torso was scaled, its wide face covered by a metal mask. Barbarous eyes burned from behind that mask – eyes Funan desperately tried to avoid.”

The Predator engaged the Alien, and the fight would cut away into the title, similar to how we see in the whaling station prologue scene that would ultimately replace this one in the extended cut of the film.

Perhaps this elaborate scene wasn’t the right choice for the theatrical version, which instead opened with the eerie visage of the silhouette of an Queen Alien floating in space that we’d discover was actually one of Weyland’s satellites. But I still wish this would’ve been filmed to give us even more of an extended cut in the home release.

Seeing the Aliens in a jungle setting is something I’ve always wanted on screen, and thankfully we’ve seen a bit of this in expanded media. 2010’s Aliens vs. Predator video game featured the film’s temple aesthetic in an otherworldly jungle, as did the AVP film’s tie-in comics: Thrill of the Hunt & Civilized Beasts. But with the movies, we’ve been close to having it twice, with AvP and Alien Resurrection. Here’s hoping that setting with Aliens finally becomes a reality someday.

 AvP Galaxy's Favourite Scenes Never Seen

I’ve also always been interested in this scene for giving us more to witness of the Erich von Däniken inspired ancient world ruled over by the Predator ‘gods.’ We only really had a few shots with the ancient peoples who worshiped the Predators in the flashback sequence, and spending this additional scene with some of them could’ve further fleshed out the ancient Predator-ruled world of the film.

Thanks to Sil for his excellent From Script to Screen: Alien vs. Predator article, which guided some of my research.

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Comments: 3
  1. V. interesting.

    I would love to have seen a relatively small thing Giger’s design for the egg silo in the first film actualised, rather than the re-used and re-dressed cockpit set.

    And the larger thing I grieve for: the entire sequel to Prometheus which features Shaw and David meeting the Engineers. I think I remember reading there’s a draft somewhere of it, but it’s never been released or leaked.

  2. I’m still hoping we get a well made AVP film with that alien jungle setting, WY corporation, colonial marines and a solid story. I’d have to guess Xenos, Predator and colonial marines seem to be universally loved by fans.

  3. As much as I don’t live in the “if only they shot Joss Whedon’s Resurrection script it would have been a better movie” camp, there is one scene that I do think would have been a superior addition to the overall film. The original opening that Whedon wrote was actually pretty compelling with Ripley dreaming of herself as a little girl standing in some tall grass with some narration from her featuring the line from Aliens saying, “my mommy told me there were no monsters.” She then notices a locust appearing, then another, and more, before eventually getting overwhelmed by a swarm of the insects. The scene then transitions to her clone in the tube as we all know her from the beginning of Resurrection and carries on from there. I believe it would have been an interesting and striking opening for the film, especially when executed in Jeunet’s peculiar directorial style. It would have been a thematically rich and interesting inclusion with visuals that I think would have effectively subverted initial audience expectations for the movie right off the bat and set a dreamy, off-kilter tone.

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