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Alien came out in 1979,
and it still, to this day, remains one of the most frightening movie monsters ever made.
It has to appeal to the audience on the primordial, basic, fear level.
There's also kind of a sexuality to it.
Alien, to me, was a return to not just classic monster storytelling
in norms of the movie itself,
but also classic monster-making.
The original Alien in Ridley Scott's movie
was designed by the Swiss surrealist, HR Giger.
His style had never been seen before.
Looking at his artwork I suddenly realised how it has such a weird, perverse sexuality
woven through every aspect of it.
(Alec) It was a fully developed world,
a lexicon of this horrific imagery of human bones and machinery.
Revolutionary.
Alec and I were introduced to the Alien franchise
on Aliens, on the Cameron movie,
because we were both a fixture at Stan Winston's studio at the time.
The newest step now with AVP: Requiem
is that we returned to the look of Aliens.
Aliens is probably my favourite movie of almost all time. We're huge Cameron fans.
The main thing when we approached the Alien warrior was,
we wanted to bring hack Cameron's ridged-head design.
Where that top dome is removed and it exposes this network of bones
and pulpy organic shapes.
(Colin) Having the rigid head, from a lighting standpoint, looks better.
If you have a long smooth reflective head, the Aliens wouldn't be able to hide as well.
So we redid the head and the face, gave it a little bit more subtle touches -
the jaw's a little more pointed, it's got a little bit more of a back swept head.
(Tom) We also created a new neck
to make certain lines and elements a bit more congruent between the body and the head.
And then we gave it a different paint scheme.
Each one has a slightly different paint scheme.
The sepias that David Fincher and Jean-Piano Jeunet favoured
have been replaced by black and metallic.
Since the end of the movie was gonna be in the hospital on the rooftop,
we wanted the colour of the Aliens to blend in as much to all the metal piping as possible.
Run, Molly!
(screams)
There certainty are aspects of what we do that are limited by the real world.
So we had to be very careful about trying to not show too much of the creatures.
When you're creating a suit for a performer,
you are bound by the proportions of that performer.
So we've come up with a lot of clever ways to cheat these proportions -
extending shoulders up, extending arms out, things like that.
We've had to seek ways to get around the limitations of a man in a suit.
(Greg) Tom's a fantastic performer in a suit. He's amazing.
Because of the nature of these suits, he can't even see a lot of the time.
So he's doing these performances just miming it all.
(Tom) on Alien Resurrection and the other Alien movies,
I would have to go into the suit and stay in that suit for sometimes eight hours at a time.
So for AVPR we put breaks, so we got it down to the point
where I could get into that suit in about 30 minutes.
When we're doing our designs,
if I'm the right size, it makes sense for me to be in the suit.
I've got the experience as a performer, and the endurance.
On AVPR, again we're faced with having to have multiple Aliens,
and to support that on set we had to have a certain number of suits ready to go.
Technology has advanced in the creation of these specialty suits in a number of ways.
We have developed different techniques to allow greater movement.
Some have gotten much smaller and lighter-weight.
Whereas in Alien 3 we had a head that Tom wore
with a bundle of cables coming out to controllers,
now it's all internal.
Puppeteers can deal with the performance rather than a potentially bad angle.
So there's lots of different little things that have come along to help us get better results.
You're not aware - and shouldn't be aware - of four different versions of face-huggers
to pull that off.
The animatronic version runs across the ground.
(Alec) We built it as a self-contained piece
that had motors inside so we could turn it on and off,
make it crawl backwards, forwards, the tail wiggle...
In AVPR there's a scene where the face- huggers get to their second group of victims,
some homeless people living in the sewers,
and we used our running face-hugger across the floor.
Then it gets to a point where it's going to leap, so the shot cuts there
and we set up one of our floppy, loose... what we call our stunt face-buggers
on a piece of monofilament,
and we yank on the cord and it makes it look like the Alien is leaping.
We than out to a third face-hugger, this hand-puppeted version,
in a tight close-up of his face,
and I was actually inside of that, gripped onto his face,
making it look like the face-hugger was forcing the tubule down the victim's throat.
And there's a shot of an Alien leaping out of the water and landing on the face of one gm].
We prose! the victim back like this,
with the Alien face-hugger, the stunt floppy one, on his face and the pull cord attached
and that loose tail wrapped around his neck.
And we sort of worked the heals out in reverse
so it looked like the Alien's jumping on his face
and the tail goes around his neck in reverse.
We pull the tail off, then the face-hugger, and the victim leans forward slightly.
So in reverse it looks like it's got some impact.
(screeches)
We have made subtle changes to all these characters.
But hopefully they're subtle enough to keep it alive.
But we're not going off the page so much that it's from an Alien movie.
And those characters are now 30 years old,
so they've got a long-lasting appeal.
And I think that, as long as we're showing something new and fresh
within the same parameters - that's always the challenge -
that they'll continue to be vibrant
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