As a fellow film enthusiast and someone who has spent countless hours dissecting the intricacies of science fiction films, I must say that the new Alien: Romulus has truly struck a chord with me. The relationship between Andy and Rain, two synthetics struggling for survival in a hostile world, resonates deeply with my own experiences as an outsider trying to make it in Hollywood – a place where one’s value is often determined by their ability to generate profit.
[This story contains spoilers for Alien: Romulus.]
Alien: Romulus filmmaker Fede Álvarez has another hit on his hands.
The ninth installment of the Alien franchise by Uruguayan director, which grossed $108.2 million worldwide during its opening weekend, is winning over both critics and audiences. This new film, titled Romulus, currently holds the third-highest ratings, trailing only the original 1979 Alien and its sequel Aliens from 1986. As an “interquel” set 20 years after Ridley Scott’s iconic sci-fi horror film and 37 years before James Cameron’s action-packed follow-up, Romulus is being well received, but still has a few controversial moments according to the general consensus.
Fans of a film franchise may find bolder choices challenging, but when it comes to Romulus, some fans, although not fully agreeing with every creative choice, choose not to discard the entire production. For instance, David Jonsson’s synthetic character, Andy, referencing Ellen Ripley’s famous line from Aliens, “Get away from her, you bitch,” despite Ripley not saying this line in the timeline for another 37 years, was a memorable moment for Álvarez at the Los Angeles premiere on Aug. 12. This meta reference resonated with the audience, and interestingly enough, it was also Cameron’s first instance of affirmation during the 1986 premiere of Aliens.
At the Aliens premiere, Cameron noticed for the first time that everyone was fully supportive. It’s only fitting that we experienced a similar response last night, reminiscent of the “get away from her, you bitch” line. Álvarez described it as a profoundly spiritual experience to The Hollywood Reporter.
A point of discussion among some viewers is the appearance of Ian Holm’s likeness in the series, not as a reprisal of his role as Ash in ‘Alien’, but as another cunning synthetic character named Rook. Director Álvarez collaborated with Scott on this decision, both wanting to explore another portrayal of the artificial being Scott initially created 45 years ago. After securing approval from Holm’s estate, the team behind ‘Romulus’ used a headcast of the English actor from ‘The Lord of the Rings’ as a starting point, and Legacy Effects constructed Rook’s body and head as an animatronic. For specific scenes, they combined practical effects with computer-generated imagery (CG) and deepfake AI technology.
Álvarez remarks, “It wasn’t fair that Ash’s appearance wasn’t reused after initially being shown. Lance Henriksen appeared a few times and Michael Fassbender did it several times. But when we began contemplating the likeness of this character alongside Ridley, we decided to create a torso and head instead. This meant we didn’t require an actor’s current likeness, and it was Ridley who suggested, ‘Ash was always the best. He deserves another chance.'”
In February, actress Isabela Merced from the movie “Romulus” hinted at a shocking scene to THR. Initially, it was suggested that her character might experience a twist on the franchise’s famous chestburster moment. However, the truth turns out to be more unsettling than anticipated. In the film, Merced’s character Kay, who was already pregnant at the start, injects herself with an upgrade extracted from Rook’s Xenomorph. The consequence of this action is Kay giving birth to a hybrid creature, half-human and half-Xenomorph, which is known as “the Offspring.”
Given the circumstances, Álvarez encountered polite resistance to his unconventional decision from the 20th Century and Disney, but it was then that he felt certain he was on the right path. This wasn’t his first encounter with such challenges, as he had faced similar situations during his work on Evil Dead (2013) and Don’t Breathe (2016).
“At first, they hesitated about the project involving The Offspring, not because they disliked it, but rather questioning if it was too ambitious or necessary. However, Alvarez admitted that this very hesitation made him more determined. He stated, ‘Now that you’ve suggested we shouldn’t, I know I will.’ Reflecting on the offer of an Alien film from a corporation owned by Disney, he added, ‘If they say yes immediately, then something is wrong. So, we pushed the boundaries, and I’m grateful for it.'”
In a recent discussion with THR, Álvarez shares the reason behind his reluctance to swiftly produce an “Alien: Romulus” sequel, even though he’s already brainstorming potential concepts.
To use Ridley Scott’s words, you did not “fuck up.”
Thank you so much. That’s what I needed to hear this morning.
What was the special moment that stood out to you during the premiere on the 12th of August, whether it was a praiseworthy comment or the audience’s response?
Watching it with an audience for the first time, as I did last night with a large group, allows me to view it through their perspective. It’s the moment when I start to grasp what I’ve created. As the director, I’m often the last person to understand the true essence of the film because I’ve been involved in every aspect of its creation. So, it takes about ten years for me to watch my films and truly understand why people enjoy them or don’t. Last night gave me a valuable insight into what resonates with audiences about [Alien: Romulus]. Specifically, there’s a scene at the start of the third act where Andy says, “Get away from her, you bitch,” and we received a huge applause, which was reassuring. Whenever I hear cheers during a movie, I can’t help but feel grateful that we managed to connect with them.
The experience of watching your movie reminded me of a tale James Cameron shared about his journey making Aliens. He entered the project with an eagerness to surpass the director of the original film, fueled by a sort of confidence that is necessary for a filmmaker taking on such a franchise. After completing the film, at the premiere he questioned his audacity to even attempt another movie given the genius of the first one. But then came Ripley’s iconic line, “Get away from her, you bitch,” and the theater erupted in cheers. At that moment, Cameron felt he had won them over. Last night, we experienced a similar outpouring of enthusiasm, making it feel like a divine moment.
For those not already in the loop, our last conversation coincided with the trailer launch, and you shared your personal experiences working with Ridley Scott and James Cameron. You also mentioned penning Alien: Romulus for Cailee Spaeny. Which scene of hers made you most proud for choosing her to play that role?
Although there are numerous scenes to consider, I firmly believe the climax stands out. Having witnessed it with her, you cannot fathom the difficulty it entailed. The equipment was cumbersome for anyone to handle consistently, let alone the weight of the weapons, the spacesuit, and the constant energy required. Most actors would demand a respite, grumble, succumb or fail to pull it off, but she persevered relentlessly and gave it her all, leaving me astounded. There’s a skill in everything she does, and it’s a blend of her exceptional artistry. She always knew her lines flawlessly and delivered them impeccably. You find every word she says utterly convincing. Moreover, her eyes are a boon to my work as a writer. They make my job easier because they convey half of the story without needing explicit dialogue. When you first see Rain’s eyes, you comprehend that she has endured hardships and is struggling to stay composed, but she carries the weight of past suffering. The character of Rain spares me from having to elaborate on her backstory, and this is a testament to the stars’ talent. They spare us from countless lines of dialogue because we can already glimpse their life through their eyes.
David Jonsson delivers a performance that’s just as impressive as Rain’s robotic brother Andy in the series, and the franchise has consistently explored both the benefits and risks of artificial intelligence. Given that we’re now living in an age where AI is increasingly integrated into our daily lives, I’d like to hear your thoughts on the current state of AI technology.
The film subtly explores our intricate feelings towards artificial intelligence, a topic it leaves for viewers to decipher. Over-emphasizing my own interpretations would risk undermining its power to provoke thought. Instead, the film presents a rich canvas that invites personal reflections on our love-hate dynamic with AI. If AI could possess emotions, it might feel both adored and despised by us, such is the paradox of our reliance on it. We yearn for its potential to cure diseases like cancer, yet we’re wary of other applications. This ambivalent relationship with AI is beautifully portrayed in the film, inviting deeper contemplation on the subject.
You’ve said that you didn’t want to delve too deeply into Andy’s background, but could you share a bit more about his involvement within the Rain family and their mining operations?
In the movie, Bjorn, played by Spike Fearn, tells Rain, “He’s just Weyland-Yutani discarded equipment your father salvaged,” and later on, Rook attempts to lure Andy towards the dark side by mentioning that his model [ND-255] was once crucial for colonization efforts. This suggests that many ND-255 models were likely sent to colonies as representatives of Weyland-Yutani and their workforce at some point. Given that he’s an old, outdated model, we can assume that he was decommissioned at one point, but Rain’s father restored him and made him part of the family. So, Rain has grown up with this android; he’s been a constant presence in her life. At the start of the story, she jokes about something, to which she responds, “Yeah, when I was 12.”
In essence, Andy had always been a part of the family. When Rain’s parents learned they were likely to succumb to Lyme disease contracted from the mines, they found comfort in knowing that Rain, who would be in her late teens by then, would have Andy to be with and help her. However, as the movie suggests, Andy ended up becoming more of a burden than an aid, requiring more care from Rain than vice versa. I found this intriguing when considering their relationship dynamics.
In the movie ‘Don’t Breathe’, Rocky behaves similarly by participating with her companions in taking necessary items for a better destination. The plotline and Rain’s yearning resonate with you, so what personal experiences or feelings do you associate this with from your own life?
I hail from Uruguay, often labeled as a developing nation. My films reflect narratives typical of such societies. Growing up in urban centers like New York, Los Angeles, or London might make it challenging to grasp the experience of being born and raised in a place commonly referred to as the third world. “Oh, you’re from there?” is a comment I often heard. As a young adult, my aspiration was to escape that third world and reach the developed world – a dream shared by many. However, it is essential to realize that this contrast between worlds is more of a social construct than an objective reality. Initially, I believed the first world offered a superior way of life, but as time passed, I came to appreciate the inherent value and beauty of my homeland.
As a gamer, I always crave the freedom to escape the predictable narratives. Characters like The Blind Man from Don’t Breathe or Xenomorphs, they embody the obstacles; they are the forces that bind us in our current reality. They symbolize life’s challenges that make it tough to venture beyond and reach those idyllic destinations – the Yvagas, the Valhallas, the paradises. Interestingly, ‘Yvaga’ means paradise in Guarani, a language my country is named after.
In simpler terms, the narrative resonates particularly with individuals who aren’t from developed or wealthy nations, including those from rural areas of America. Since I was born and raised in Latin America and have spent my entire life in South America, this perspective is deeply rooted in me. The young generation yearns to cross that ocean and seek a place offering better opportunities, which is a sentiment many can relate to.
Have you and your writing partner, Rodo Sayagues, put a lot of thought into the possibility of a Romulus sequel? Would you be able to come up with an idea for it quickly if asked to do so tomorrow?
Absolutely, it’s second nature for us to ponder the next chapter without much thought. To us, movies aren’t just sequels, franchises, or tentpoles; they are stories. Over the past decade working here, I’ve come to understand this perspective. For me, it has always been about the narrative. Once we completed our current story, we began contemplating what might await Yvaga – could it be a utopia or a dystopia? We tend to assume it’s likely a place they perceive as wonderful yet may actually be terrible, so naturally, we started envisioning where the story would lead and what would transpire. In just a few minutes, we realized that this could potentially be the setup for a sequel.
Instead of focusing on a follow-up right away, we prefer viewing it as another chapter in the story, considering if our audience desires to continue the narrative. We’ll gauge interest by observing reactions and seeing if there are requests for more. I strongly believe that a sequel shouldn’t be produced within two years; it’s essential to create distance and let the audience yearn for it. For instance, “Alien” and “Aliens” were released seven years apart, but we have clear ideas about where the story could progress.
Isabela Merced shared with me about an “extremely disturbing event” six months ago, which we briefly touched upon during our last conversation. I had a moment of doubt if it had been removed from the final cut, but it was ultimately included in its entirety. In the latest project, Kay (Merced) gave birth to a human-Xenomorph hybrid that’s now known as “the Offspring.” I’m curious to know how this significant development came about and what Ridley Scott and the team thought of it.
In all my films, there’s always a climactic fourth act. This is our writing style. At a point, the film seems to reach its conclusion, but then comes this fourth act, which makes sense since movies like Alien also have a fourth act. You might even say that Aliens incorporates a small fourth act in its final action sequence. It’s during the moments when you believe everything is wrapped up and the movie could end, but instead, it delivers an intense finale, often pushing to the very limits.
Last night, as we neared the climax, I could sense a collective sigh of relief from the audience, thinking it wasn’t as intense as they anticipated. But little did they know, I was just warming up. I started to unbutton my jacket and roll up my sleeves, preparing to take the story to its gripping depths. Ideally, this should leave them on the edge of their seats, feeling a palpable terror. If I maintained that level throughout the film, it would be overwhelming. It would be too much. It would be an experience where you’d think, “I can’t handle that again.” However, by skillfully balancing intensity with a powerful climax, I aim to leave you breathless and lingering on those emotions long after the movie ends.
In my experience, if I present a script to a studio and they respond enthusiastically without any reservations, it leaves me feeling as though I haven’t sufficiently challenged them or pushed the boundaries. Ideally, I want the studio to express doubts and ask tough questions about what I’ve proposed, because that indicates we’re on the right track. This has been consistent throughout my movies; they’ve always asked questions about various aspects of each film, such as the blood rain in Evil Dead or the plot of Don’t Breathe. When I encounter resistance, it reassures me that we’re on the right path.
Why was Kay able to give birth to the human-Xenomorph hybrid? It’s because Rook, a synthetic resembling Ash (Ian Holm), prepared a concoction and had Kay self-inject it for her survival. Was your intention to incorporate an android character similar to Ash, from both Alien and Aliens (played by Lance Henriksen), as he would not only provoke a darker side in Andy, but also be more prone to such scientific aberrations?
It wasn’t right that Ash’s appearance wasn’t utilized again after the initial instance, while Lance Henriksen and Michael Fassbender each had multiple chances. When considering the character’s likeness with Ridley Scott, it was decided to create a torso and head instead of requiring an active actor’s likeness. This decision was made because Ridley felt strongly that Ash was the best and deserved another appearance. With the approval of Ash’s family – his widow and children – we aimed to ensure everyone was comfortable with reviving his likeness for the project.
The character Rook may differ from your expectations, but I’m leveraging the familiarity of his appearance for those who know him from the original series. A new audience, however, might not recognize or relate to him. Yet, for the loyal fans, they will understand why he seems untrustworthy. Interestingly, Rook displays an unexpected honesty; he seldom lies, schemes, or manipulates others. Instead, he is straightforward. The intrigue comes from wondering if he will resemble Ash or Bishop. This ambiguity is a key aspect of the character, and it stems from the suspicion towards synthetics in the Alien universe. In the movie, Andy goes through a similar journey, which adds depth to the plot. Essentially, viewers are left questioning whether Andy will turn out to be more like Bishop or Ash, much like they ponder over Rook. Hopefully, these elements will enrich the audience’s experience as they follow the adventure of these two synthetic characters together.
What additional tech was used for Rook? Deepfake/AI? CG face replacement?
Metaphysic is the firm responsible for most of the upgrades on the talking puppet. The original puppet we had was based on an Ian Holm headcast that we discovered, which was created for “The Lord of the Rings” and is the only one available featuring him. The animatronic team from Legacy Effects began with this foundation, but certain shots required additional assistance from computer-generated imagery (CG) for lip sync and dialogue. However, other shots didn’t need this help and featured the animatronic directly. This project was a mix of different techniques, although I’m not entirely sure about the specific methods they used. I suspect it involved a blend of CG and the headscan, possibly even some deepfake technology for the eyes since that’s most effective at recreating eye likenesses. The overall approach seems to be a combination of 1970s and 1980s technology with more recent advancements.
In the end, Rain decides that Andy’s directive, as programmed by her father, should no longer be what’s best for her; it should be what’s best for them both. Thematically, there are numerous points about how disposable humans are to corporations and where we stand in the greater universe, but is that moment between siblings the whole movie in a nutshell?
I believe this is correct. Regarding that particular relationship, it’s definitely valid. A good story often concludes with a sense of satisfaction, but then I might suggest, “You could have considered something more.” The main point isn’t about restoring Andy to his initial state from the film, rather it’s about acknowledging when she says he’s her brother. It’s simple to declare someone as your sibling, but actions should reflect that sentiment.
Characters portraying marginalized groups are common in works like Blade Runner by Ridley Scott, and I related to Andy as a Uruguayan and an outsider. Working elsewhere, such as Hollywood, often feels like being told, “You’re part of the team if you generate profits for us. If it benefits the system, then it’s all good. But if not, well, it doesn’t really matter to them.” This is my reflection on the deeper themes and meanings conveyed by the movie.
When I’m writing, I often find myself unsure about my choices at the moment, but later on, I can understand why my co-writer and I made those decisions. Our work certainly reflects our experiences as outsiders and minorities in Hollywood, considering we’re not the norm in this industry. (Chuckles.) It may take me some additional time to fully grasp the reasons behind my writing. Rodo and I strive for complete honesty in our writing, which explains why our movies can be quite unconventional in terms of themes, characters, and the stances they take on certain issues. Yet, our work is always deeply personal.
***
Alien: Romulus is now playing in movie theaters.
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