April 2015

Leading from

Thursday 30th April 2015
1) Updated Alternate Fifield Mutant with information fro m "The Art of Film Magic, 20 Years of Weta". Unfortunately it doesn't give any feeling still that there was some deep dark concept behind it that one would expect within the Alien production that might unveil something new decades later.
2) Updated The Derelict's Interior slightly, basically making that jump there in the attempt to understand the derelict's interior that despite what it looked like in the Alien edition of Cinefantastique, with Giger thinking about the derelict and the silo's relationship and how it was like the spaceship landing on an ant hill and the ants have eaten their way through it eating their way through the ship and then in another thought, it's insects again but as with termites in the walls of a house, it was perhaps merely a way for him to explain what was going on and it could easily change just to fit what he was working on in the movie rather than anything particularly definite. Perhaps there is a cloud over the whole issue of really expecting Giger to have had a full explanation of what was going on because it was a case of making something out of ideas thrown together due to lack of time and budget rather than anything such as something as a sacred mystery, but seeing the way that ideas can occur and the need to explain things as seen in films, it takes on a life of its own but it was beyond Giger to have the full story. You can not really say why the alien nest had the same architecture as the derelict ship but that was Giger's style of art and if Giger hadn't been asked to design the derelict ship and its pilot by Ridley Scott and the producers, this question  about the relationship between the silo and the ship would never have been asked, and then you can not expect the fans of the film to not want to think about it and whatever else it could lead to. 

Sunday 26th April 2015
1) Added ' Did Francisco Goya's "Subir y bajar" inspire Salvador Dali's  "Soft Construction With Boiled Beans (Premonition of civil war) ?' and this in turn was Giger's introduction to the world of Salvador Dali's paintings.
2) Added Inspiration from Dali for Necronom V 

Wednesday 22nd April 2015
Added Giger's Landschaft XXXI (work 273)

Tuesday 21st April 2015
Added a page Aztec architecture influenced by alien Predators to offer comparison between Predator 2 ship interior patterns and Aztec sculptural patterns as realised by Paul Anderson when he made Alien vs Predator. To some extent it might all seem silly but still it was an idea that Paul Anderson was having.

Sunday 19th April 2015
1) I have taken down the pages showing separated stills from Charles Lippincott's Alien contact photosheets since he mentioned his concern about this happening.
2) Removed all of Alien contact sheets shared by Charles Lippincott. I hope that he manages to release a decent book full of these images.

Saturday 18th April 2015
1) Added exploration of HR Giger's painting Biomechanical Landscape (work 413) (1979)
2) Added two other images to Gigers Alien I Facehugger Version IV of what seem to be Giger's Alien Facehugger triptych which seems to have slight alterations made that haven't been pointed out by anyone before.

Friday 17th April 2015
1) Did some exploring of the Giger painting National Park from 1975. This was a painting that inspired Ridley Scott with ideas for a couple of storyboard images. However I can't claim to have found anything specific other thank just taken note of various details, and some time ago I had the realisation that the painting may have been inspired by the painter known as  Dado whose work Giger greatly admired

Wednesday 15th April 2015
1) Added a link page for articles dealing with Roger Dicken linked from the name page
2) Added images of Ridley Scott "ridleygramming" at Roger Dicken's house to Ridleygrams
3) Added other early Roger Dicken chestburster maquette images to After A New Chestburster Design

Saturday 11th April 2015
1) Updated Alien: Inspiration from Shivers with a quote from Collider and at present, it does seem like a confusing argument. If Dan O'Bannon had seen Shivers and found inspiration from it, there are other sources for inspiration.
2) Added Alien: Inspired by Philip José Farmer's "Strange Relations"?. looking at the idea for the purpose of the facehugger came this story.  (I included the subject a few years ago but it somehow got lost from the blog.)
Friday 10th April 2015
1) Created a page to link up everything to do with Bolaji Badejo 
2) Further editing of Bolaji Badejo from the Gold Coast

Thursday 9th April 2015
1) Updated Bolaji Badejo from the Gold Coast with information from Neon magazine that just gives a further picture of the moment when Ridley first met Bolaji from Gordon Carroll's point of view.
2) Added  Moebius' concept art for Nostromo crew's space suits and outfits
3) Re-Edited Jean Giraud/ Moebius

Wednesday 8th April 2015
Continuing to re-edit Giger's Passage Temple Entrance (1975)Biomechanisation of the Fisher Price Cot Activity Centre ?

Saturday 4th April 2015
1) Updated  J G Ballard on Alien with information about how he was writing the novel Hello America at the time of the production of Alien
2) Added possible inspiration behind Giger's Passage Temple Entrance (1975)Biomechanisation of theFisher Price Cot Activity Centre ?

Friday 3rd April 2015
Added interpretation of Giger's Mordor iv work 280, (1975)

Thursday 2nd April 2015
1) Added more to  Alien: Sigourney Weaver cast as Ripley with details from the Alien Saga documentary.
2) Added details to Alien:Bolaji Badejo from Gold Coast from the Alien Saga documentary
3) Added details to Alien: Designing the derelict ship exterior from a 1979 Alien featurette on the Alien Saga DVD.

Wednesday 1st April 2015
1) Added more to Sigourney Weaver cast as Ripley with details from Danny Peary interview with her in Omni: Screen flights/ Screen Fantasies and Photoplay
2)  Added information from Danny Peary interview with Sigourney Weaver in Omni: Screen flights/ Screen Fantasies about how Sigourney Weaver would liked to have played Lambert to Veronica Cartwright cast as Lambert

Alien: Inspiration for Space Jockey
platform from Giger's Necronomicon

leading from
Giger's Witches Dance (work 341)
Two dancing witches either side of a urinal on a circular platform, they travel around with wheels connected to the ankles of each one's visible leg that enables them to travel around the circular ribbed grooves of the platform. 

Both the witches have fan like biomechanic head dresses. 

After years of looking at the painting, on April 28th 2015, it occurrs to me that we have the ingredients to come  together to form the space jockey platform, with the circular base and the fan like structures merging together

(Image source: http://imgkid.com/)
circular platform with vertical structure, detail from HR Giger's Witches Dance (work 341)
biomechanoid fan structure ( detail from Witches Dance (work 341))
biomechanoid fan structure ( detail from Witches Dance (work 341))

Inspiration from Dali for Necronom V

Salvador Dali's "soft construction with boiled beans (premonition of civil war)" (1936)

a) Giger's introduction to Dali was through seeing a postcard of "soft construction with boiled beans (premonition of civil war)" when he was fourteen years of age. (See: Giger on Dali)


b) It shows something near enough the lower part of a human body  stretched across the lower half of the painting incorporating human buttocks and an upper leg, ending in a hand and sprouting an arm raised upwards that ends in a hand holding the elongated breast of a crone like character who has no lower body but perhaps an leg like limb in place of an arm that stands upon the buttock part of the main body part at the lower half of the picture. And this painting so I have discovered appears to have been inspired by the work of Goya. (See: Goya's "Subir y bajar" inspired Salvador Dali's "Soft construction with boiled beans (premonition of civil war) ?")

 Giger's Necronom V

c) Giger came to create Necronom V in 1976. We see upper part of the picture a semi humanoid figure with perhaps no proper lower body, although it may be argued that it has become a tusk like shape penetrating the upper torso of the main figure. Along the bottom of the the painting, we see pipe like trunk of a structure with a semi humanoid head at the end of the raised tip and this is being ridden by the human figure in the centre as if it were a bike. It appeared as if he were incorporating elements from the Pakal Votan Tomb Lid into the picture as well as perhaps slight elements from the Henu Barque into the upper figure as well in that it has a horned skull like head along an upper body slightly suggestive of a boat shape that would lead to the development of the space jockey that took a more direct connection with the Henu Barque

HR Giger's Necronom V

Goya illustrations
inspired Salvador Dali's
"Soft construction with boiled beans
(premonition of civil war) " ?

Salvador Dali's "soft construction with boiled beans (premonition of civil war)" (1936)
a) First revelation at the Courtauld Gallery

On the 25th of April, 2015, went to the Goya's "the Witches and Old Women Album" at the Courtauld gallery in London, and suddenly noticed the drawing  "Subir y bajar" inspired Dali's "soft construction with boiled beans (premonition of civil war)". I thought that perhaps there were some other details in that certain album that inspired this painting of Dali's.

compare the two!

b) To Rise And Fall (Subir y bajar.)

"Plate 56 of the 'Caprichos' prints, 1797-98 from the first edition (trial proof), 1799. Etching and burnished aquatint. Two figures tumble from a great height while another is hoisted up by a huge, laughing satyr, a symbol of lust. The triumphant , grinning figure may be a reference to Manuel Godoy, the Queen's lover, whose meteoric rise to power was followed by an abrupt fall from grace in 1798, when Goya was working on the 'Caprichose etchings." (Information on wall at the Goya's "the Witches and Old Women Album" at the Courtauld gallery in London)
To Rise and Fall/ "Subir y bajar"

c) Mapping the transformation

i) The satyr's lit knee lends itself as a starting point for the buttocks in Dali's painting, before being transformed by elements from other works by Goya as explored below. It holds onto the legs of the woman standing above and inspires the way the hand holds the woman's breast, and perhaps the satyr's head transformeds into the large grotesque hand.  Before the satyr, someone has his legs and rear in the air which becomes a starting point for where Dali places the large hand in the lower left of the painting The tuft of hair held by the woman's hand on the left inspire the splayed out toes on the end of the foot standing on the buttocks

ii) The upper part of the lower leg standing upon the buttocks seems inspired by the form of the Satyr's foot held in the air in "Subir y bajar" as seen further above while in that picture the arm of the inverted person floating into the distance becomes the lower part of that leg, and it also might have inspired the stretched foot standing upon the buttocks, just as the position of the satyr's foot reversed may have inspired the extended oddity of the foot supporting the buttocks beneath.

satyr's foot with inverted man
in the distance from To Rise and Fall/ "Subir y bajar"

leg detail from
Salvador Dali's "soft construction with 

boiled beans (premonition of civil war)"

d) Quéjate al tiempo

other drawing that that I noticed on that day at the Courtauld Gallery from the collection that possibly entered into the painting was  Quéjate al tiempo (Accuse the Time) that I think informed Dali with ideas for the upper body and head of this character. This illustration was started in 1802 and finished a decade later.  However her arm on the left becomes transformed into an elongated breast being held by a hand, perhaps partially inspired by her own hand positioned there merged with the Satyr's hand holding a leg in "Subir y bajar" and the general form of its head,. The form of the dress spread out up to the hand also inspires the form of the arm reaching out to squeeze the breast. The arm on the right becomes transformed into the upper part of a bent leg. Her head is similar enough to be the source of the one in the painting and where the hand is held behind the head becomes the hair hanging from the back of the head in Dali's painting.
compare the details!

Quéjate al tiempo (Accuse the Time)

e) Goya's "Todos caerán"
(All Will Fall) inspired the buttocks?

i) On the 12th of October 2015, Christian De Boeck shared an album with some Goya etchings on his Facebook page from the Gallica Facebook page and I made another connection. Compare the buttocks from Soft Constructon With Boiled Beans ( Premonition of a Civil War) painting with the plucked harpy in the lower right from Goya's 1799 etching "Todos caerán"("All Will Fall "), another from the Los Caprichos series, no.19.  

ii) Notice the position of the humerus part of the wing in Goya's etching and the line of the fracture along the upper right of the buttocks. The position of the fracture also loosely ties in with the place of the shadow on the knee if the satyr in "Subir y bajar" which also ties in with the ideas behind the buttocks formation.

Goya's All Will Fall from the Los Caprichos
f) Goya's "Unos á otros" also inspire the shape of the buttocks in Dali's painting

i.) On the 13th of October 2015, I realised that Goya's "Unos á otros" from the Los Caprichos series (No.77) shows people playing toreador, the part of the image showing the boy holding the padded shape representing the bull in a reversed form lends its shape to the harpy transformed into buttocks and so the head of the harpy becomes a featureless boiled bean like lump, the boy's arm, legs and behind become transformed into the foot and ankle supporting the buttocks. 

ii.) One might take note of the spears in Goya's image and perhaps think that Dali took some interest, and so the leg standing upon the buttocks in his painting is partially as thin as a stick. and one might also merge this with the tree trunk from "All will fall".  Also it merges with what was discovered about the satyr's raised foot with inverted man in the distance as seen in the picture To Rise and Fall/ "Subir y bajar".

 Goya's  "Unos á otros" from the Los Caprichos series (No.77)

g) See the Caprichos Prints as displayed on Wikipedia

Alien: 1979

leading from

(still collating)


Mediascene (Jan/Feb 1979, Issue # 35)


Friday 25th May 
Alien premieres at the Egyptian Theatre

Monday 11th June
Daily Mirror have an article about Alien and HR Giger (Alien Day One/How a monster called 'Thingy' is taking over the world!)

Tuesday 12th June 
Daily Mirror has an article about Sigourney Weaver ("Beauties of the Beast")

Wednesday 13th June 
Daily Mirror has another article about Alien ("Face To Face With The Alien")


Fantastic Films #8,
Future Life #11, July 1979



Fantastic Films #10
Starlog #26 (Ridley Scott - Directing 'Alien' Though an Artist's Eyes / H.R. Giger - Behind the Alien Formsby David Houston)

Tuesday 4th September.
The Alien edition of TimeOut 7th to 13th September comes out.

Thursday, 6th September
Alien premiers in Leicester Square, London, UK


Fantastic Films #11,
Famous Monsters #158: Special 1980 annual

Monday, 1st October

Illustrated news publish a review on Alien


Questar #5,
Fantastic Films #12

Giger's Landschaft XXXI (work 273)

leading from

Landschaft XXXI  (work 273) (1975)

a) Landschaft XXXI as witness in a videoclip began as two skeletal faces either side of the image with a knotted hollow  in between them. The face on the left had a long beak nose and the face on right was perhaps nothing more than a suggestion of a skull with an eye socket. The shapes of the skulls became broken up with smaller impressions of faces and soon the whole painting became a mass of snaking forms, goat head, bird beaks, and mammorh trunk and tusk like shapes, perhaps almost stuck in some form of tar pit all slowly fossilising away. He was filmed during the time that he painted this and so the clip was shown in the film Giger's Necronomicon
b)One might say it was a relative to the Passage Temple Entrance done earlier that year in 1975

Alien: Giger 's Life Cycle Hieroglyphics Tableau

leading from

Hieroglyphics painting as seen in the
Shepperton Studios' Art Department

Original life cyle tableau, 1978

a) Early hieroglyphics illustration
Life Cycle Hieroglyphics was painted as a set decoration for the egg silo in the movie Alien.

Ron Cobb started off the idea for his Birth Temple illustration done in the preproduction stage,  based on Dan O'Bannon's description in the script, was transformed into something loosely based on Mayan imagery from the Dresden Codex.


b) Using Ron Cobb's illustration as a starting point
Incorporating elements from Ron Cobb's illustration, Giger also used one of his own earlier paintings featured in his Necronomicon book known as Biomechanic Landscape (work 312) as reference to lay the structure out, replacing the goblin head like warheads being constructed in the painting with the egg like alien spores.

c) Egyptian Imagery
He also included a biomechanic version of the sky Goddess Nut.

The image of her was borrowed perhaps from such as the book cover for Aleister Crowley's The Equinox of the Gods, but ancient steles and reliefs are to be found of her depicted in a similar way, 

An image of a host with a chestburster erupting from the chest could be inspired by depictions of the god Geb who can be seen with an erect male member while beneath the sky goddess Nut in some ancient images.


d) William Onyeabor "Crashes in Love" album cover design.
Bolaji Badejo a Nigerian who has been studying graphics design in central London spent time with Giger and what this ought to have led to is conversation ideally about musical interests. 

Perhaps Bolaji would have been someone with an interest in the music of Nigerian Synth-Funk pioneer William Onyeabor who released the film soundtrack album "Crashes In Love" in 1977 for a film of that name, he would have had a copy in England and would have shown it to Giger.

With that , it might have sounded to Giger as a JG Ballard fan as if it ought to have something to do with a JG Ballard novel Crash, but any resulting answer would reveal that there was no connection.  

If Bolaji was not the person with an interest in Onyeabor's music, then someone associated with Ernst Fuchs would have shown Giger the album cover. 

On seeing this this album cover, Giger would have recognised how this cover art looked inspird by details from Ernst Fuchs' painting "Triumph of the Unicorn" from 1952, and would have looked for ways to incorporate some aspects of it it into artwork of his own with referenced "Triumph of the Unicorn"

See: Album cover of William Onyeabor's "Crashes in Love" (1977) references Ernst Fuch's Triumph Of The Unicorn?  

See: William Onyeabor "Crashes in Love" album cover (1977) referenced in Giger's Alien Life Cycle Hieroglyphics (1978)?

Another album that Onyeabor had released, that year, called "Atom Bomb" sounded right up Giger's street with his own interest in a post-apocalyptic worlds leading to his picture Atom Kinder, 

The strange song features the singer wanting to express how he feels, the women asking how he feels and the answers that he is going to explode, thy ask if he means he is going to explode,, and he sings that he is going to explode like an atomic bomb, and the women singing repeat the words Atomic bomb.

On the cover, Onyeabor is sitting there singing into several microphones at once as if having all those microphones at once while living in a quiet nowhere place in Nigeria, was a status symbol with his keyboard set up.

In Giger's mind, the album cover transformed into alien eggs and also the Alien Life Cycle hieroglyphs.

William Onyeabor singing into the microphones transformed into a Demon (work 513) that merged with something that ought to have lurked in Hieronymous Bosch's imagination, H(ere I am assuming that Giger's mind started to play with names merging them together much as he did with Jethro Tull and William Tell in Mordor  IV)

The cover art for William Onyeabor's album Crashes in Love (1977)

e) Radio Times imagery part 1
See:  Alien: Giger's Alien Life Cycle Tableau painting references Radio Times May 16th 1968 FA Cup Final cover illustration

Radio Times May 16th 1968 FA Cup Final cover illustration

f) Radio Times imagery part 2

See: HR Giger's Alien Hieroglyphs references the Radio Times 10th-16th June 1961 cover?

Radio Times 10th-16th June 1961 cover photo and illustration

g) Changes
The victim would be changed from something that looked like a human astronaut to something that resembled the race of the dead pilot in the derelict ship. 

This would raise further questions about whether the alien pilot's race had always been involved in the life cycle of the alien 

Was this painting supposed to be a celebration of the life cycle for an alien civilisation or a deadly warning for those who were about to enter the birth temple that had become transformed into the deadly egg silo that was somehow part of the derelict ship. 

Considering the Radio Times cover illustration, one might think that the reshaped head has become shaped a bit like the head of a golf club.

Giger's final Alien life cycle tableau
h) Placement of the Life Cycle Tableau
The painting was to be used instead in a place found in a corridor aboard the derelict instead of the egg silo and then eventually dropped completely from the production, also it was possibly that it looked a little too much like a product of the Egyptian mythology rather than something strictly alien. 


i) The theme of Nut the Sky Goddess involved in Giger choice of grave stone
This painting was one that HR Giger liked very much, and when he died, it was actually being considered for his grave adornment, but since this was rejected by the Commune de Gruyères. 

Instead a tomb slab designed by Carmen Giger inspired by Egyptian sarcophagi, utilising Giger's designs from other projects, made from Galaxy natural stone from India, with gold mineral inclusions resembling a star-scattered night sky was used to evoke the idea of the Egyptian sky goddess

Giger's Grave Stone
(Source: Museum HR Giger on Facebook)

Source quotes
  1. Dedication Of HR Giger's Memorial Following months of planning, design, and sculpting work, the artist's closest friends felt honoured to be able to commemorate the completion of HR Giger's grave memorial with a small, nocturnal celebration on Saturday, November 19, 2016.
    The memorial, a tomb slab designed by Carmen Giger and inspired by ancient Egyptian sarcophagi, was sculpted from a Galaxy dimension stone. Notwithstanding the challenges arising from the requirements and restrictions imposed by the Commune de Gruyères, we were determined to complete this monument true to HR Giger's unique spirit. It was to be as if created by his hand.
    Carmen Giger: "We selected this particular stone because its golden mineral inclusions resemble a star-scattered night sky; they evoke Nut, the Egyptian goddess of the sky, rendered by Hansruedi in his painting «Hieroglyphics». Said painting, loved so much by him, was our original choice for a grave adornment, but it was rejected by the Commune de Gruyères.
    The profile framing the stone was shaped in accordance with the shape of a small, wonderful wooden table designed and built by Hansruedi as a final exam at the Zurich Art and Design College."
    We would like to extend our deepest gratitude to all those who helped in realizing this ambitious project, particularly to sculptors Roli Graf and Willy Sager, who worked on the stone itself.
    HR Giger's grave site is located Gruyères, Switzerland, a mere few steps from the Museum HR Giger and the Giger Bar. It is open to the public.
    Atelier HR Giger
    Museum HR Giger
  2. Fertigstellung des Grabmals des Künstlers HR Giger (1940 – 2014) Nach Monaten der Planung, Gestaltung und Ausarbeitung konnte die Fertigstellung von HR Gigers Grabmal am Samstag, dem 19. November 2016, im Kreise der engsten Freunde des Künstlers in einer kleinen, nächtlichen Feier angemessen gewürdigt werden.
    Das Grabmal, eine von Carmen Giger entworfene Grabplatte nach antik-ägyptischem Vorbild, wurde aus einem aus Indien stammenden Galaxy-Naturstein herausgearbeitet. Trotz der eine ganz besondere Herausforderung darstellenden Vorgaben und Einschränkungen von Seiten der Gemeinde Gruyères, war es unsere feste Absicht, dieses Grabmal im Sinne von HR Giger zu verwirklichen, so dass es sich auch um ein Werk aus seiner eigenen Hand handeln könnte.
    Carmen Giger: "Wir suchten diesen Stein aus, weil er mit den goldenen Mineralien wie ein sternenübersäter Nachthimmel aussieht, wie die ägyptische Göttin des Nachthimmels, Nut, die Hansruedi im Bild «Hieroglyphics» darstellte. Dieses Bild, welches er so liebte, war ursprünglich unsere erste Wahl, wurde jedoch von der Commune de Gruyères verworfen.
    Die Form des Rahmens ist einem kleinen aber wunderbaren Tisch entnommen, den Hansruedi als Abschlussarbeit für die Kunstgewerbeschule Zürich modellierte und schreinerte."
    Den Personen, die dieses anspruchsvolle Projekt ermöglichten, gebührt unser tiefster Dank; ganz besonders gilt dies für die Bildhauer Roli Graf und Willy Sager, die den Stein bearbeiteten.
    Das Grab von HR Giger befindet sich in Gruyères/FR, nur wenige Schritte vom Museum HR Giger und der Giger Bar entfernt. Es ist öffentlich zugänglich.
    Atelier HR Giger
    Museum HR Giger

    Google Translation
    Completion of the tomb of the artist HR Giger (1940 - 2014)After months of planning, design and elaboration, the completion of HR Gigers Tomb on Saturday, November 19, 2016, was appropriately acknowledged in the circle of the artist's closest friends in a small, nocturnal celebration.The tombstone, designed by Carmen Giger according to the ancient Egyptian model, was worked out of a Galaxy natural stone from India. Despite the specific requirements and limitations of the commune of Gruyères, it was our firm intention to realize this monument in the sense of HR Giger so that it could also be a work from his own hand.Carmen Giger: "We looked for this stone because it looks like a star-studded post-giant with the golden minerals, like the Egyptian goddess of the night sky , Nut, which Hansruedi depicted in the picture" Hieroglyphics. "This image, which he so loved, was original Our first choice, but was rejected by the Commune de Gruyères.The form of the frame is taken from a small but wonderful table, which Hansruedi modeled and shouted as final work for the Kunstgewerbeschule in Zurich. "The people who made this challenging project deserve our deepest thanks; This is especially true of the sculptors Roli Graf and Willy Sager, who worked on the stone.The tomb of HR Giger is located in Gruyères / FR, just a few steps from the Giger Museum and the Giger Bar. It is publicly accessible.Workshop HR GigerMuseum HR Giger