Screaming into the ether with ‘Alien: Romulus’

It’s been 45 years since Ridley Scott’s Alien terrified audiences and reminded us that “in space no-one can hear you scream”. Since then the franchise has seen six further films directed by luminaries such as James Cameron, David Fincher, Jean-Pierre Jeunet and two recent returns to the universe by Scott.

Now the eighth instalment has hit screens, directed by Federico Álvarez, and is setting its horror space thrills in a timeline between the first and second films, featuring a new cast of young actors lead by Cailee Spaeny. The new film is reminding audiences of the production styling genius of the late Swiss artist HR Giger and, of course, re-emphasising (at every opportunity) that in space, still, there’s no-one to hear you scream. Tymon Smith spoke to Álvarez about what the new film has in store for new and old fans alike.

How do you balance the need to service diehard fans of the franchise and attract new, younger audiences?

I’m a fan myself. There’s an Alien movie I’ve been waiting to see for a long time so when I was given a chance to do one, I made what I wanted to see as a fan. You have to make the film in a way that new audiences don’t feel alienated by storylines, like they’re missing out on something. If you’re a fan you understand what they’re talking about, you make the connections — so there's a balance to be found.

How do you respond to people who say, “Not another Alien film!”?

No-one ever complains about another good movie. I have to believe that a great, new one for a new generation and for fans could be made otherwise I wouldn't be involved.

What was working with Scott like, and having the chance to talk to Cameron about his instalment?

There are masters you look up to. It’s a privilege to meet and work with them. There’s so much wisdom in Ridley, who’s made many great movies and has so much experience. To discuss film with him was a learning experience for me. Every meeting was a masterclass in cinema.

We didn’t agree on how to make the film all the time, but that’s what you want. We’d meet in the middle to try find the truth of what the movie should be. When there are different points of view among creative people, you find the truth somewhere.

Cameron talked to me about his experience making Aliens. He watched a cut of my movie and gave me feedback on the technology, which helped me flesh out some science fiction ideas.

How did you come to cast Spaeny in the lead?

I met Cailee a few years ago. She read for me on another project and I was truly blown away by her presence, her acting skills and more than anything her eyes. You cast eyes when you cast a movie. A great actor will have something in the eyes when you put the camera on them. It saves you from writing dialogue about what happened in her life, the sadness — you see it in her eyes.

I knew I wanted to work with her and when I started writing this movie. I put photos on my board to imagine what I’m creating in my head — when I thought about her character, I remembered Cailee and put her photo on the board. She became the star that guided me through the writing process. The studio's reaction was, “who, what”? At the same time Sofia Coppola offered her Priscilla, so everyone came on board.

The design of the film and the monsters have the influence of the original, but there are new aspects you’ve introduced. What was you thinking?

When it came to the new parts we introduced that haven't been seen before we wanted to be purist about the design. So we went back to Giger’s designs and books. There were some designs that hadn’t been used. In particular, there’s a cocoon on the wall that, at the time, Giger had wanted to be like a big vagina. The studio had put their foot down, but this time they let us use it. Giger would be proud and happy that we put that into the film. I’m not sure whether the audience is ready for it or not, that remains to be seen, but at least we put it in the movie.