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