As a young actress making her mark in Hollywood, I was thrilled to be part of the iconic “Alien” franchise and share the set with legendary special effects artists like Alec Gillis. The chestburster scene was a grueling half-week ordeal, but it was an unforgettable experience that I’ll cherish for years to come.
SPOILER ALERT: This article discusses plot points in “Alien: Romulus,” now playing in theaters.
Enthusiasm runs high among horror enthusiasts anticipating “Alien: Romulus,” the latest installment in the acclaimed sci-fi series. Directed by Fede Álvarez, known for his work on the gory modern classics “Evil Dead” (2013) and “Don’t Breathe” (2016), this film is placed between the original “Alien” (1979) and its sequel “Aliens” (1986). Remarkably, it also marks the debut of one of the film’s stars, Aileen Wu. In the movie, Wu portrays Navarro, a spaceship pilot who experiences some extremely close alien encounters. Wu is an accomplished actress, having studied at NYU’s Tisch School of the Arts and the Stella Adler Studio of Acting, but she shares that this role presented many challenging, surreal moments. Recently, Wu discussed with EbMaster the demanding process of acting alongside aliens, learning to pilot a spaceship, and the delight of shaving her head.
How did you land this role?
For the first time, I’ve been given a chance for a role in a feature film. Following a standard self-tape process, I recorded my audition and received a callback shortly thereafter. Two days following the callback, I was provided with the full script, and just two days after that, I had a call with Fede who was already in Budapest at that time. During our conversation, it seemed like he was attempting to unsettle me: “You should know, you’ll be covered in blood… You’ll be sitting in a hole for eight hours without being able to get out… A creature will be on your face for quite some time… You can’t feel claustrophobic, are you claustrophobic?” I assured him that I wasn’t. In fact, I used to suffer from claustrophobia during my high school days. The following morning, my agent received a call from the studio, and it was then that I received the formal offer. Two days later, I found myself boarding a plane to Budapest, where filming had already commenced without me fully understanding the situation until we began shooting.
When was the first time it hit you that, “Oh, I’m in this massive production?”
Initially, we filmed the sequences in order, and one of the early significant scenes features everyone inside the spacecraft, known as a hauler. My character, Navarro, is in control of the ship. To ensure authenticity, a real-life pilot was brought in to explain the meaning of all the controls, where each button is located, and why the sequence of events takes place as it does. We rehearsed the process of flying the spacecraft with me, or at least taking off from the ground.
Naaman Marshall, our exceptional production designer, truly outdid himself by ensuring every detail adhered to Fede’s vision of practicality. Every button I could touch and see it function in reality – it was simply astonishing! In 2024, as an actor, I never imagined having such a hands-on experience on a film set. It was at that moment I realized, “Wow, this is the dream!”
How familiar were you with the “Alien” franchise when you got the job?
Growing up, I had an older sibling who was deeply into action figure collecting. On his shelf, there always stood a peculiar figure – a Xenomorph. As a child, I didn’t recognize it among the likes of Thor and Captain America, but its distinct appearance piqued my curiosity. I would often ask him, “What’s that strange-looking thing? It doesn’t seem heroic.” To which he would reply, “It’s better if you don’t know yet. I’m shielding you from it. Trust me; I’m looking out for you, sparing you from something not meant for your eyes just yet.”
When did you first realize that you were on the poster?
On the day the poster was unveiled, it quickly spread to Instagram, Facebook, and various other social media platforms. Some news outlets also picked it up, and subsequently, it started appearing on buses, bus stops signs, billboards, New York subway stations, taxis, and even in Paris on city buses. Eventually, it became a fixture in Times Square. As I watched this happen, I realized that my shaved head was gaining global attention, which was an amazing feeling.
It’s a cool look!
As a movie buff, I’ve been sporting my buzzed hairstyle since 2019, and it’s become quite the signature look among my friends and colleagues in New York. They fondly refer to me as “Shaved Head Aileen.” Whenever I make an appearance, the familiar response is, “Ah, there you are! That’s your shaved head. I recognize that head instantly!”
What was the process like when you had to wear the facehugger?
In the production, a team managed the facehugger props, working from designated studios on set. During filming in Budapest, entering their station felt like stepping into a Hugger Depot, filled with shelves and rows of tail sections, tongues, and various finger pieces. This was my initial encounter, followed by rehearsals. The first task they assigned me involved tasting numerous lubricants: some were strawberry-flavored, others mango or pineapple, while a few had no taste at all. For the practical scenes, lubricant was applied to the facehugger to create a glossy effect. Shooting this segment required about three to four days. Longer takes, filmed in wide shots, were particularly difficult due to the weight of the facehugger – approximately three pounds. The middle section, resting around my mouth and nose, was hollowed out but still made of silicone, making it hard to breathe comfortably.
Later, they’d encircle my head with their fingers, fastening it at the back using a cluster of rubber bands for maximum tightness. For certain shots, there was a fishing line connected to its tip that could be pulled off-screen to simulate choking me. Additionally, the creature had bladders on the ‘hugger’ which hung around my cheek area, making me synchronize my breaths with it because in the narrative, that’s how the creature keeps its victims alive during its activities. The scene was challenging as it required me to convincingly portray falling to the ground, writhing, and fighting for breath. Spike, who portrayed my brother Bjorn, tried to remove the mask during this struggle but passed out after being strangled by the tail. This part of the scene was particularly intense because it involved a device that resembled a balloon pump with a long syringe, controlled off-screen. I would occasionally make mistakes, and in those moments, I’d reassure myself, “It’s alright. I’m doing enough.”
You also have the iconic chestburster death, complete with an X-ray to see it moving around your insides. What was the process like shooting that?
It’s fascinating to know that the creature known as the chestburster was crafted by Alec Gillis and his team, who also worked on the initial “Alien” movies. Being around them during filming was a joy, as I got to listen to numerous tales about Sigourney Weaver. Remarkably, the franchise is 45 years old, which means that they were in their twenties, similar to my age today, when they began working on these iconic films – it’s quite something, isn’t it?
As I recount my harrowing experience on set, let me take you behind the scenes of a particularly grueling day. It took nearly half a week to capture that chilling scene, involving no less than three intricate prosthetics.
During each take, puppeteers were guided by Fede’s instructions over the radio, with him urging them to move the head, hand, and sac towards its mother. “Move it towards its Mama!” he would say, “He wants to feel close to his Mama.” In this scene, the ‘hugger’ lay on my chest as I lay there, convulsing and dying, with a foamy substance created using lemon juice and likely baking powder or soda. Despite the difficulty, co-star Isabela Merced was by my side those days, providing valuable support to help me push through. She would encourage me when she saw I had energy left, suggesting I tell them I had fewer takes remaining than I actually did, to prevent overworking myself. I am grateful for her kindness and the wisdom she shared as a seasoned professional, making it all the more endearing that she took the time to teach me the tricks of the trade.
Even though it’s chaotic, your death was so believable. What was your process like to convincingly die on camera?
To put my trust completely in Fede’s guidance, I struggled as I couldn’t empathize with dying, instead focusing on visualizing extreme physical distress. This was achieved by imagining an unknown entity moving within me, something that unexpectedly appeared after fainting. However, most of the process involved relying heavily on Fede, asking him if my attempts were successful during filming. Communication between us was continuous as we worked through each scene. To avoid unnecessary worry, I tried to keep my thoughts at bay, knowing that he would inform me if there were any issues with my performance.
Are you worried about any of your friends and family freaking out when they have to watch you meet your demise?
It’s not up to me, but they need to watch the movie. Watching it is mandatory. I’ve encouraged everyone, including my friends and family, to go see it, except for those who are 70 or older with heart conditions, as a precaution, they should stay at home. However, do invite others to come along. Invite your neighbors too. Everyone should experience this film in the cinema.
Did you have a pinch-me moment at the premiere?
As a devoted cinephile, I had the surreal experience of sharing a casual fist bump with legendary producer Ridley Scott moments before we all posed for a group picture. It was an electrifying moment, with him exhibiting such a laid-back demeanor amidst the excitement.
This interview has been edited and condensed.
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2024-08-17 03:17