Alien Without VFX - Not So Scary Now... #vfxbreakdown

Get some cool drag & drop VFX here! ► https://www.famefocus.com/go/getvfx/ ◄ Alien is a classic film that has stood the test of time so well that it's hard to believe that it was released over 40 years ago, back in 1979. As with almost every classic film, it has shots that have become movie legend, and, as happens with almost every legend, it has also created some myths.

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Ridley Scott wanted to make B movie sci-fi horror film that felt like a high-budget movie, but, in order to accomplish this with a meager budget of $8.2 million, he had to really think about what they absolutely had to spend money on and what, with ingenuity and clever solutions, they could get away without.

He began by clearly separating the human world from the alien world and he did this by using two completely different styles of artists and having each create their own world.

Everything to do with the human side of things, from the spacesuits to the safety symbols on the Nostromo, was designed by Ron Cobb, Chris Foss, and Michael Seymour and his team.

Ridley wanted the interior set of the Nostromo to be like a rabbit warren, with lots of different corridors connecting different rooms so that the actors couldn't exit the set without having to walk through the entire thing. Ridley wanted this so he could make the actors themselves feel trapped and claustrophobic and therefore better transmit the feeling of having nowhere to escape to and nowhere to hide.

So instead of building individual sets for each room, the sets of the Nostromo's three decks were each created almost entirely in one interconnected piece.

Unfortunately, this meant that they didn't have any long corridors to help establish the magnitude of the Nostromo itself.

So, rather than pay out more money for longer corridors to be built for shots like this one, they positioned a mirror at a slight angle at the end of their short corridor to show a reflection and make it appear a lot longer.

To establish the external scale of the Nostromo, Ridley didn't have enough money to build the landing leg as big as he wanted, so he had a 17.5-meter-high one built and he had 3 child-sized spacesuits made, these suits were worn by a cameraman's son and ridley's own sons, Jake and Luke. Then by "over cranking" (which means shooting at a higher frame rate than the rest of the film) and playing the footage back at the film's slower frame rate, the children's movements appeared to be slower and have more weight and therefore, looked more adultlike.

Everything to do with the alien side of things, from the architecture to the xenomorph itself, was designed by the swiss artist Hans Giger

The actual xenomorph's design came directly from Giger's art book, "Necronomicon".

Roger Dicken worked on building the models for the Face-Hugger, the Chest-Burster, and originally the Xenomorph itself, however, differences of opinion between the producers and the filmmakers over how the model should look and move caused too much stress, and he resigned from working on it.

The main problem they have was with the xenomorph's mouth mechanism because they couldn't get it all to work nicely together without having visible springs on the outside of the puppet and making the head a lot wider than Ridley actually wanted.

To solve this they realized that they'd have to spend out and acquire the help of the special effects legend, Carlo Rambaldi. Rambaldi removed the unnecessary lip movements and concentrated on what he saw was important, the mechanisms for the mouth to open, for the tongue to slide out and then for its own mouth to open, and to make the whole thing small enough to leave a cavity for the actor's head.

To give the Alien its viscous and visceral look they used dozens of industrial-sized tubes of Ky jelly. Ridley Scott however, was trying to capture as much as he could in-camera, so just like the Nostromo interior set, the egg chamber set was also built at Shepperton Studios. Interestingly enough, this blue laser was borrowed from "The Who" who were testing lighting for their live shows on a neighboring sound stage.

The eggs were designed with an aperture at the top that could be opened hydraulically. The internal and detailed shots were filmed at Bray Film Studios after principal photography was finished.

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