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)

compare

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 Sokar Funerary Bark 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 Sokar Funerary Bark

The origins of Necronom V

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

Leading from
and

To Rise and Fall/ "Subir y bajar"
(Plate 56 of the 'Caprichos' prints, 1797-98 )

a) Visit to the Courtauld gallery in London,
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 drawinga "Subir y bajar" inspired Dali's "soft construction with boiled beans (premonition of civil war)". 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)


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

c) Quéjate al tiempo
Another 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.


compare the details!

Quéjate al tiempo (Accuse the Time)

d)
Dali: In this picture I showed a vast human body breaking out into monstrous excrescences of arms and legs tearing at one another in a delirium of autostrangulation. As a background to this frenzied flesh devoured by a narcissistic and biological cataclysm, I painted geological landscape that had been uselessly revolutionised for thousands of years, congealed in its normal course.  The soft structure of that great mass of flesh in civil war I embellished with a few boiled beans, for one could not imagine swallowing all that unconscious meat without the presence (however inspiring) of some mealy and melancholy vegetable.  " (Salvador Dalí, The Secret Life of Salvador Dalí, translated by Haakon M. Chevalier (New York: Dial Press, 1942), p. 357)



e) See also: See also Inspiration from Dali for Giger's Necronom V

Landschaft XXXI (work 273)

leading from

Landschaft XXXI  (work 273) (1975)

  1. Landschaft XXXI 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, bird beak, and mammorth 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
  2. One might say it was a relative to the Passage Temple Entrance done earlier that year in 1975



hr giger's biomechanical landscape (work 413), 1979

leading from

  
HR Giger's biomechanical landscape (work 413) (1979)
1) It looks to me like a world of people going about their business in day to day life in Giger's world of biomechanical beings that have transformed into more Lovecraftian monstrosities, long snouted entitied and shadowy humanoids. Only several paintings earlier he was painting pictures with titles directly referencing Lovecraft (Lovecraft and his Pets, work 400 (1978), and Lovecraft's visit, work 401(1978). This would have been at the time when Mia Bonzanigo was his partner and often sitting with him as he painted. (Saturday 18th of April)

2) Potential sneezing gnomes
Every time I look at this picture at the bottom I think I see a bulbous headed gnome like being with a face that looks vague like HR Giger's and a piece of intestine coming down in front of his face becomes a handkerchief to sneeze into and either side of him are some other faces with streams of mucus ejecting from their nostrils. If they are there, then Giger painted them in and then buried them beneath the biomechanics. There appear to be a host of bloated goblins and other unnameable creatures coughing and sneezing away in such paintings as Mordor V (1975) and Mordor XII (1976) and there is the story that Mia Bonzanigo told about Giger having painted a picture of a gnome sneezing in the painting because he himself had a cold at the time (See Alien Makers VI (Saturday 18th of April)

central sneezer with intestinal handkerchief
humanoid face with tentacle of mucus flowing out of nostril
face looking downwards with potential stream of nasal mucus being ejected
3) Mutant thing with cuddly toy?
A strange beaked almost avian demonic thing with a beak and a curling tail holds in its arm perhaps a cuddly toy animal with eye patches of a panda. (Saturday 18th of April)

Strange beaked mutant with tail
Panda toy like face. Perhaps a dog?

National Park

leading from 


Giger's painting "National Park" from 1975.
(Possibly loosely inspired by the works of Miodrag Đurić / "Dado")

a) Mutating Spectres of the National Park
 In National Park we find we find spectral bird like heads, humanoid skulls some of which are swollen. Mutant animals are to be found integrated into the environment. And of course most of the things found are connected together by snaking. Perhaps the whole structure of the painting is suggestive of the curvature of woman's upper body as seen from the back with an open back to her dress and the metal bands at the bottom for the shape of her bottom perhaps as a more abstract version of what he was doing with  Teuflischer Diskurs (work 330) in the following year of 1976. (17th April 2015)

spectral birds with the back of their heads transforming into faces
b) Mutated Safari Hunter
To the far left, a humanoid thing with a shot gun mounted on his shoulder aimed at the back of the head of the three eyed humanoid and further up there is to be found a near formless six eyed humanoid. Perhaps humanoid gun holder from Giger's 1976 work Safari (305a) which features a mutant humanoid with shot gun and another human growing out of his back who wears an ancient helmet with a noseguard, has had a part of him cloned and grown into an almost similar mutant that has been transplanted into this park to go hunting. Another point to notice is that the hunter from Safari with its two heads displays three eyes while the victim here has three eyes but on one head (17th April 2015)

A character with shotgun mounted on shoulder aimed at three eyed humanoid.

Safari work,  305a (mutant armed with gun)
c) Humanoid with body made from vagina beans
To the left at the top, a humanoid face with a helmet covering his eyes making them hidden and a pipe grows from his chin, then it is as if the head forms the beginning of a vertical row of objects going down that resembled bean like forms with vaginas leading down to a half formed body of a pig like creature with human buttocks but no head obvious head. An enclosure is formed by the metal barrier at the base of the painting. (17th April 2015)

Head with  helmet
bean like forms with vaginas

d) Wideskull with protective head gear
 Towards the top, perhaps a central creature with it's face lost amongst the bumps of its warty skin above the shoulder of an arm stump with a forearmless prosthetic hand attached is carrying a ball for Rugby or American football that transforms into the tip of two pipes stemming from a boar like creature with a tusk coming out of the tip of its nose. Perhaps the very wide skull to its right is wearing protective headgear for playing such ball games and also with headphones making it likely to be remnants of a flight helmet. (17th April 2015)

skull with protective headgear and ear phones

rugby ball or American football carrier

e) Face mutating into bird skull
e i)Below the arm holding the rounded shape is another strange skull, it looks like an bird skull of some sort with teeth, but the eye socket reveals itself also to be the mouth of a distorted face whose presence is given away by the ear shape, and the remains of the nostrils and an eye can still be seen, and out of this attempt at a face, the bird like skull grows. It appears to be a common trait of Giger's to have something that looks like a failed attempt at one face growing into another and perhaps one can see impressions of these sorts of traces of faces left behind in most of his paintings at the life form in his painting continue to evolve. Through his head a tusk penetrates through a vaginal opening.  Similarly, a Dali illustration for the Divine Comedy called "The Logical Devil" features a human with his head split open like a vagina with a bone sticking into it, and from his mouth, the legs of a human being hang. (17th April 2015)


distorted face transforming into bird skull

'The Logical Devil' by Salvador Dali


much clearer version of Giger's painting "National Park" from 1975.

f) My entry point
Although the thing almost seems to be filled with Bosch like spectres and Dali spectres, and perhaps to some degree they are along with spectres of other nameless sources, my entry point for a general interpretation of this work is the idea that it's inspired by the work of the artist Dado whose work Giger greatly admired. Dado with a mind numbing sense of vision, created pictures filled with mutant humanoids and creatures of one sort or another who have lost their sense of self-proportion. However we can take for example Dado's 1969 painting, tribute to Cazotte and find human with swollen heads, a skull with living eyes, and bird like faces in the details. ( See:www.dado.virtual.museum/)
(17th April 2015)

Tribute to Cazotte, 1969 by Dado
detail from Tribute to Cazotte


Another painting from 1969  by Dado showing a bird head and side view of a human
head growing as just another thing growing
 out of this strange body made up from various parts

    Alien: The Treasure Room- Temple Environment



    a) The Temple Environment :"The treasure room"

    The ship is creaking. The garage of the ship is the treasure room. Because it's one of the equipment rooms, Ridley got fairly exotic looking digging equipment of the appropriate size, small bulldozers and small earth movers. He has them sprayed all gold and somehow it worked as very high tech pieces of equipment.




    Brett says "here kitty, here kitty kitty kitty...what's this kitty crap, ...Jones!"

    Ridley did a closeup on Harry that he loved and would later say to Ridley at the premiere "Thanks for the close up"



    In the background was a sound that was organic, a sort of a pulse which might be a very very pullback heartbeat.

    A vehicle was a combination of pieces of equipment , such as tank tracks with some shell casings.
    Brett picks up the discarded skin, like something that a snake would discard. Now it was obvious that Brett was going to die

    Brett and the alien skin

    Ridley Scot decided to transform the landing leg room of the Nostromo into a temple environment
    Roger Christian went out and bought two Canberra bombers and dismantled them.  The jet engines became the columns of the room which gave it the feel of a temple. Inspired by the way the Apollo Lunar Lander was partly covered in gold foil, the walls of the room accompanying the vehicle; land crawlers, helicopters and other flying machines and equipment that the crew would use in their work on and around the refinery, and when they land on various planets. were covered in gold paint would become like "the Egyptian treasures". Tutenkhamun's treasures would still have been fresh on the minds of the public at the time


    Source Quotes
    1. Ridley Scott: We got hold of marvelous actual parts of actual huge jet engines and installed them, and they're like coppery metal with some steel. We used them as four main supports, like columns, and they give a lot of feeling of a temple. We played the same music we used in the derelict alien craft and we had two temples. The idol I wanted was through these massive gold doors which were as big as a wall, with a gap in them through which the claw can be seen, When the set was dressed, it looked like Aladdin's cave. (Fantastic Films, #12, p25-26)
    2. Ridley Scott: A lot of the stuff we used here, see that egg crating , that's all just standard, um, industrial pallets, we just created most of the sets out of the pallets, and the rest were tube and exotic looking pipe work and conduits from aircraft. In fact, at one stage, Roger Christian went off and bought two Canberra  bombers and just (58:00) dismantled them. And of course on each bomber is millions of parts.(Alien director's commentry dvd)
    3. ("here kitty, here kitty kitty kitty...what's this kitty crap, ...Jones!")

      Ridley Scott: I love this cue here, love this cue, Now you know Harry's going to die.
      You can hear the ship creaking. There's the treasure room. Yuh, we actually, because this is one of the equipment rooms, l just got fairly exotic looking digging equipment of the appropriate size, small bulldozers and small earthmovers. l just sprayed them all gold, and er, somehow it works as very high-tech pieces of equipment

      (Close up of Harry)
      Harry always loved that closeup, he thanked me, saw the premiere, and he came to me
      and
      (1:02:00) said "Thanks for the closeup" ( laughing) And you hear the sound, yet that sound's organic again, now that sound, I think is a pulse. Now this is a combination of pieces of equipment of a...existing equipment tank tracks with some shell casings
      (Harry picks up alien skin)
      and there you have the pulse, which maybe very very pullback heartbeat and the skin, the
      discarded skin like a snake would discard it's skin... of something.
      (Alien Legacy dvd commentary) 
    4. Ridley Scott: Just the remains of a helicopter there sprayed gold, er, jet engines there sprayed turned on end and sprayed gold with gold foil on them just to make it more peculiarly , um, hi-tech.  (Alien Quadrilogy and Blu-Ray commentary dvd) 
    5. Ridley Scott: Just outside the claw room is a huge maintenance area, a garage, filled with the equipment that the crew would use in their work on and around the refinery, and when they land on the various planets - land crawlers, helicopterers, other flying machines. (Fantastic Films, #12, p25-26)
    6. Ridley Scott: As I was working with the art director I decided to make it feintly glittery, I wanted to have anodized gold everywhere. Not steel,gold. Did you know that space landing craft are covered with gold foil. Amazing! So I thought, Why make this out of steel? Let's make it all warm, oppressive, massive and gold. (Fantastic Films, #12, p25-26) 
    7. Ridley Scott:Now we go into a room, there's a big argument about this room. They said "how would you have water dripping inside this room, And my argument was "it's condensation from the air conditioning" (giggle) but this is a landing leg room where the floor would open and that leg would down and, you know, support the ship. (Alien Legacy dvd commentary) 

    Alien: Harry Dean Stanton's Audition

    leading from 




    When Harry Dean Stanton was first interviewed he said " I don't like horror films or science fiction films."
    Ridley Scott replied "well actually I don't either but I think I can make something of this one"
    Ridley showed Harry Dean a big brochure with big coloured layouts.
    Harry Dean's response was "Have you got enough money to do this film?"
    His thought was that one reason he was hired was because he was worried about the money.

    Source quotes

    1. The hollywood interview: Let's talk some more about your films. Alien sticks out as the one blockbuster you've been involved in.
      Harry Dean Stanton: Yeah. And that's a really classic movie now. I never liked science fiction movies or monster movies, but that one was very believable. I told Ridley Scott during my interview with him that I didn't like those sorts of films and he said "Well I don't either, actually, but I think I can make something of this one." And he did. (http://thehollywoodinterview.blogspot.co.uk/2008/02)
    2. AVClub : Do you find that’s the film that most people come up to you and mention as a favorite?
      Harry Dean Stanton: That’s one of them. That and the first Alien, but there are a lot of them: Missouri Breaks; Paris, Texas; Repo Man… 

      AVClub: Speaking of Alien, are you a science-fiction fan?
      Harry Dean Stanton: No, I’ve never really liked science-fiction films, or horror movies really.
      AVClub: And yet Alien’s both, and it’s one of your most recognized films. 
      Harry Dean Stanton: Yeah, and in my audition, I told Ridley Scott that...
      [Laughs.] I said, “I don’t like sci-fi or horror films.” He said, “I don’t, either, actually, but I think I can make something of this one.”

      AVClub: And did you end up liking the film? Harry Dean Stanton: Oh, yeah. And I like Ridley too. (http://www.avclub.com/)
    3. Harry Dean Stanton: yeah, when they first interviewed, I said "I don't like horror films, or science fiction films". he said, "well actually I don't either but I think I can make something of this one"
      Marc Maron: (chuckle)
      Harry Dean Stanton: and I say... he showed me this big brochure, all these big coloured layouts
      Marc Maron: uhuh
      Harry Dean Stanton: I said, well, I said, have you guys got enough money to do this film?
      Marc Maron: (chuckle)
      Harry Dean Stanton: That's one reason he hired me, because I was worried about the money
      Marc Maron: That guy, he thought, "He's not going to waste any film!" (WTF with Marc Maron January 14th 2014 (http://youtu.be/a-quSl-SlpQ?t=38m33s) (the rest of the Alien segment of this interview can be found transcribed here )

    WTF with Marc Maron
    Alien segment from Harry Dean Stanton interview


    (38:36)

    Marc Maron: And er with Aliens, that was a huge movie

    Harry Dean Stanton: yuh

    Marc Maron: did you er,

    Harry Dean Stanton: that was Ridley Scott

    Marc Maron: yeah, did you enjoy working with him

    Harry Dean Stanton: oh yeah

    Marc Maron: did you, was that the first time you were on a space ship?

    Harry Dean Stanton: on a what?

    Marc Maron: On a space ship?

    Harry Dean Stanton: yuh

    Marc Maron : (chuckle)

    Harry Dean Stanton: yeah, when I first interviewed... they first interviewed me, I said "I don't like horror films, or science fiction films". he said, "well actually I don't either but I think I can make something of this one"

    Marc Maron: (chuckle)

    Harry Dean Stanton: and I say... he showed me this big brochure, all these big coloured layouts

    Marc Maron: uhuh

    Harry Dean Stanton: I said, well, I said, have you guys got enough money to do this film?

    Marc Maron: (chuckle)

    Harry Dean Stanton: That's one reason he hired me, because I was worried about the money

    Marc Maron: That guy, he thought, "He's not going to waste any film!"

    Harry Dean Stanton: No

    ( This interview segment has been used in the Harry Dean Stanton's interview section)

    Alien: Inspired by Philip José Farmer's
    "Strange Relations"?

    leading from
    a) The seed for the thing that seeds Kane
    O'Bannon mentioned in his essay "Something Perfectly Disgusting" about how he found inspiration in the Philip Jose Farmer's short story collection Strange Relations, which dealt with stories of the sexual biology of very strange extra-terrestrials. O'Bannon read through this book published in 1960, as a teenager and the inspiration can be found in the life cycle of the creature shown in Alien. Presumably Ron Shusett knew about the story too and they had discussed it together. Perhaps it was the odd sexual concern of the short story "My Sister's Brother" being the last story in the book along with its closing lines, that implanted the seed of the idea for the facehugger's ability to impregnate its victim that would grow into something.


    b) Description of 'My Sister's Brother''s sexual concern
    Edgard L. Chapman: There is a lovely alien woman, Martia, whom the hero (Lane)  meets on Mars, where both are explorers. Martia differs from human females, however, by lacking conventional genitalia below the waist'

    Lane is attracted to Martia, but instead of starting an affair, he subliminates his desires in feelings of brotherhood between human and alien. When Lane learns the way Martia's species reproduces, however, he finds her repulsive and the story moves to an ironic denouement.

    Martia carries a "larva" or wormlike embryo in her throat engendered by two others of her race, the Eeltua. The larva is bother a potential child, and a phallus that will fertilize her ova, but only when she is excited by expressions of affection from another adult. So complex a system of reproduction reduces the human conception or parentage and ancestry to absurdity. This biological arrangement is also esthetically disgusting to Lane, who imagines that all humans will share his feelings of nausea. 

    "My sister's Brother" ends ironically when Lane destroys the larval fetus of his alien companion, and is only prevented from killing Martia herself by the fortuitous arrival of some of her Eeltuan companions. Instead of punishing Lane, the Eeltua treat Lane compassionately, considering him a victim of rigid conditioning. Even Martia, heartbroken by the loss of her fetus hopes that Lane will outgrow his ethnocentrism under enlightened teaching.  (The Magic Labyrinth of Philip José Farmer)

    c) Closing Lines Plants Something Inside
    And so in the story of My Sister's Brother, it got to a point where 'Lane clenched his teeth together and bit the end of his tongue until it bled while they put his helmet on. He did not dare to try to talk, for that would have meant he would scream and scream. He felt as if something had been planted within him and had broken its shell and was growing to something like a worm. It was eating him and what would happen before it devoured all of him he did not know'(Strange Relations, "My Sister's Brother, p189),