As a seasoned movie enthusiast who has witnessed countless cinematic masterpieces and been left in awe by the most intricate of filmmaking techniques, I must say that Fede Álvarez’s “Alien: Romulus” has undoubtedly etched its way into my heart (and nightmares). The chestbursting scene, for which I have developed a peculiar fondness, is not only terrifying but also bloodier than its predecessors – a testament to the director’s audacious approach.
SPOILER ALERT: This article discusses plot points in “Alien: Romulus,” now playing in theaters.
If you haven’t yet, prepare yourself for the chilling experience of “Alien: Romulus”, directed by Fede Álvarez, which indeed includes a shocking chestbursting moment.
However, this is Álvarez – the director known for “Don’t Breathe” and the reimagining of “Evil Dead”. Not only is it frightening, but his interpretation of the renowned chestbursting scene is even more gory.
Just moments ago, I found myself in a harrowing predicament as Andy (David Jonsson), Tyler (Archie Renaux), and Bjorn (Spike Fearn) ventured to secure fuel for our cryo chambers. Inadvertently triggering an emergency lockdown, we were ensnared within the ship’s confines, oblivious to the menacing presence of countless facehuggers lurking nearby. As temperatures climbed, these creatures awoke from their slumber and set the stage for chaos.
Olivares points out that executing the task was quite intricate due to all the activity taking place within the Corbelan spacecraft, which was designed to replicate reality.
Fede aimed for a utility vehicle feel since he works in mines, Olivares clarified. It was surprisingly compact; I recall staring at the cockpit model and thinking, “Wow, that’s tight! There won’t be room for anyone.” However, Álvarez persisted, prioritizing authenticity above all else.
Eventually, I found myself among a group of ten individuals crammed into a compact 3×3 area, which included the skilled puppeteer responsible for the chestburster and my esteemed colleague, Wu.
With all that’s transpiring around Navarro, the shuttle veers off-course, heading straight for a potential crash with a nearby space station.
The stage was constructed on a gimbal, enabling an unstable appearance, and Olivares assembled an extensive external lighting system, essential for all operations during their time in the spacecraft.
Olivares shared that Krisztian Paluch, our exceptional director, was responsible for both ‘Dune’ and ‘Terminator.’ He recounted an instance where a scene required numerous flashing lights, which were supposed to be removed later. However, as they started filming, the intense energy these lights brought about made it impossible to remove them. In the end, we found ourselves appreciating this chaotic element.
The rig was linked to a control panel, as per Olivares’ explanation, offering an array of opportunities for illuminating the movie scene.
The chestburster was a creation masterminded by Alec Gillis and his team. “There were three small figures,” Olivares explained, “they inserted ink…and there was the structure for its legs.” It was quite an incredible sight.
Earlier, we talked about how Wu was in a hole with a false floor. A large piece was connected to her collarbone. There was also a lever that triggered a hydro pump, causing the opening to appear. Inside the hollow chest, they placed a miniature Alien puppet, which would emerge through the fake chest. This is what she described.
The entire sequence took over a week to shoot with Olivares figuring out how to make it look and feel real. He captured Navarro’s fate on Arri aspherical lenses. “We started with wider lenses, but as the movie goes on we started going tighter and tighter,” he explained. “I don’t usually use longer lenses, so my longer lens was 75mm at some point. The aspect ratio was 2.39:1 on the aspherical lens.”
The cinematographers, Olivares and Álvarez, chose a blend of anamorphic lenses for “Alien” and aspherical lenses for “Aliens,” creating what they deemed as “the ideal equilibrium.” This visual choice effectively positioned the film within the franchise, bridging the gap between those two movies.
Regarding revisiting Navarro’s storyline, Olivares indeed re-watched the original movie with the intention of “incorporating familiar elements, yet aiming to present them in a fresh and unique manner.”
Drawing inspiration from the captivating video game “Alien: Isolation,” I found myself deeply captivated by its atmosphere of tension. Consequently, we’ve incorporated numerous elements from this exceptional game into our production, aiming to replicate the immersive, first-person experience of being lost within a video game, a feeling that is both exhilarating and terrifying.
Watch the video above.
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2024-08-26 22:17