Fox initially approved of this documentary, but based on feedback from some of their executives and the legal department, they eventually decided to edit over 30 minutes of material out of it. Charles de Lauzirika (the director) decided not to put his name on it since it was not what he had wanted to do, which was giving a brutally honest depiction of what had happened on set. He then changed his name to an alias, that of Fredrick Garvin. This name was that of a Saturday Night Live (1975) character, a male prostitute played by Dan Aykroyd. The uncensored version of the documentary was released 7 years later, with de Lauzirika credited by his proper name.
This feature-length documentary is featured on the 'Alien Quadrilogy' DVD set and on the 2-disc edition of Alien³ (1992). The documentary is also on the Blu-ray versions of both issues, in a longer, uncensored version.
For the 2010 Blu-ray Release, the documentary has been restored to its original length; the title has been changed to "Wreckage and Rage" (instead of "Rape").
The original title of this documentary was "Wreckage and Rape: The Making of 'Alien 3'" before Fox decided to censor it. It's worth noting that "Wreckage and Rape" is taken from the title of a music cue on the official "Alien 3" soundtrack. Unlike the other documentaries in the Alien Quadrilogy set, several of the chapters in the "Alien 3" documentary ended up with bland, non-descriptive titles, such as "Pre-Production: Part III," for example. The original, uncensored chapter titles were: 1. Development Hell: Concluding The Story 3. Stasis Interrupted: David Fincher's Vision 5. The Color of Blood: Shepperton Studios, 1991 7. The Downward Spiral: Fincher vs. Fox 8. Where The Sun Burns Cold: Fox Studios, L.A. 1992 10. Requiem For A Scream: Music, Editing and Sound
For the making of this behind-the-scenes documentary and the extended version of Alien³ (1992), producer Charles de Lauzirika contacted director David Fincher and asked him to participate. De Lauzirika never actually spoke with Fincher directly, but heard from his office that he was seriously considering the offer. In the end, Fincher politely declined, most likely due to a combination of scheduling conflicts and bad memories of the hellish production, but wished De Lauzirika good luck in making whatever he wanted, as long as the longer version of the film would not be called a "director's cut".