This edit brings together Prometheus and Alien: Covenant in one single movie of 148 minutes, that sticks as close as possible to the atmosphere of the very first Alien, whitout ruining its lore and mythology like the original movies did.

These two edits (ALIEN V rt 132min and ALIEN COVENANT:EXTENDED CUT rt 154 min) restore the three act structure by creating a new first act from supplemental and deleted material. There is also a new Coda, tightened up restored scenes to develop character and score and audio enhancements to give it a more A L I E N feel all over.

I added several deleted scenes and promos to provide more time spent with the humans (and androids) and removed several scenes and appearances of the aliens either because I didn't find the CGI convincing or felt excessive screen time diminished their impact.

Cosmogony is a fanedit using a lot of movies to tell the story of humantity and nature, from the creation of life to wherever we are going.

"Prometheus" wasn't exactly an Alien prequel, but this treats it as such by intercutting the events of Alien with Prometheus in a dual narrative structure.

"Derelict" is in black & white to better marry the visual quality of the two originals (and also because both films look great in black & white). Roughly 30 minutes has been cut from Prometheus and about an hour of Alien has been used in its place. Some content from the deleted scenes of Prometheus was also used.

This fanedit turns Prometheus into a direct prequel to Alien (1979) by turning the planet LV 223 into LV 426. It's more "direct to the point".

The overly long, over-edited Best Picture award-winning film by Christopher Nolan has been cut down to an hour-and-a-half-long story focused on The Manhattan Project. The oppressive omnipresent score by Ludwig Göransson was removed, with only three tracks put back in. The rest of the music is from other artists. For scenes with no music, new sound effects have been added. Intercutting of shots and scenes has been greatly reduced.

Paradise is an editing project combining Prometheus and Alien: Covenant into a single, David-centric narrative.

**12/2023 Complete Rebuild. Please change list.

"Paradise" is easily one of my favorite franchise-saving fanedit of all time. It highlights what is great about the prequels, and ditches everything else. I watched it endlessly.

Over time, I wondered - what would a chronological edit look like? And after having gotten the blessing of jobwillins himself, I began to experiment. The initial simple chronological re-edit lost all the magic and tension that made Paradise great.

But I kept playing with different ways to try to keep the "David-centric" story, and settled on this two-episode format. This is an admittedly inferior re-imagining of Paradise, but still a fun and different way to focus on the deeper questions raised in these films, each about 70 minutes.
.

Prometheus SE cuts out a lot of the unnecessary humor, dialog and scene's, building stronger, smarter characters. Removing many plot holes with the story and just general things that have issues. Such as Fifield getting lost in the structure, running in a straight line away from a rolling space craft. Deleted scene's or certain shots from the deleted footage was re-integrated back into the movie by either using several shots to change certain scene's or by adding a whole new scene to the film. All new material was color corrected, scored, sfx added and leveled to appropriate audio levels.

Highlights of the edit include the following:

The opening sequence with the first Engineer has been all but replaced with the opening Ted Talk followed by a montage courtesy of Tree of Life. Holloway's douchy-ness has been seriously reduced, Shaw no longer makes faith-based decisions and Vickes' bitchiness has been mostly removed. No more exploding head and the attack on Fifield and Milburn has less idiocy on their part. The ship falls on Vickes without giving her time enough to "just make a right turn."

Incorporated deleted, alternate and supplementary footage and made numerous edits to original scenes to strengthen story, clarify character motivation, and address some often-mentioned issues viewers had with the original theatrical release.

This fanedit has a completely new opening, and deleted scenes have been re-intergrated from the 4-disc Blu-ray set. All new material has been color corrected, scored, and VFX added to the deleted scenes that were originally not finished in post-production.

This edition removes and adds many things, giving some much needed character motivation/development, and a much stronger narrative that the original theatrical cut was lacking.

After the positive reception to Derelict (my Prometheus/Alien mashup), I decided to take a look at the least-loved of the proper Alien series. Ripley is an editing project that blends Alien 3 and Alien: Resurrection. I used footage from the theatrical & extended editions of both films to focus on the tragedy and eventual triumph of Ellen Ripley through a time-shifting narrative.

'Where Rebels Dare' takes an already decent Star Wars movie and makes it a bit more Star-Warsy. We now open with a traditional crawl and scene wipes are used. The amount of "fan service" is reduced and the plot is reordered.

One of the biggest complaints I heard about Superman Returns was that it stayed too close to the pace and structure of Superman The Movie. The biggest complaint I have with Superman Returns, is that it didn’t.

In STM, the world we are introduced to is unveiled to us in a way that is focused and engaging (for the time) by introducing us to, and remaining with, the characters that matter to us. They matter to us because they set up who Superman will become and where he came from. By the time we have arrived in Metropolis we believe and are invested in Clark Kent and how this character is going to make his way in a world that is, for all intents and purposes, our own.

In Superman Returns, that 40 minutes of investment conveyed to us in STM is instead written for us on a text card. The introduction to Kal-El’s origins is a voiceover and the opening shot is of a Gothic mansion with manic characters. We are simultaneously being asked to believe in the film as a continuation of the world introduced to us in STM whilst in the first 6 minutes of the film we are told in no uncertain terms that this world is most definitely not that one, and we still have no character to attach to. When Superman does finally appear we have no idea where he has been and really, do we care?

My Re-Edit seeks to address this.

This film would have played a lot better had the tempo of the film not been an homage to the pacing of Donner’s original. With 24 minutes of un-needed lengths removed, this is a much faster paced version of SUPERMAN RETURNS.