Prometheus Creature Designs

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1) The Hammerpede
1) introducing the Hammerpede  2) The facehugger centipede

2) Babyhead
 1) Carlos Huante's Babyhead 
2)Origins of Carlos Huante's Babyhead 
3) HR Giger's Babyhead 
4) Neville Page's Babyhead (still to come)
5) Ridleygrams of Beluga Head

3) Fifield Monster
1)The Fifield Monster, 2) Ivan Manzella's Fifield Monster,  
3) H. R. Giger's Fifield Monster, 4) Alternate Fifield mutant, 
5) The final mutant Fifield, 

4) The Trilobyte
Chihuly - Chihulien - Chihulybite

5) The Utramorph
Carlos Huante's Ultramorph

The Fifield Monster

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  1. "Infected by black slime emitted from the Ampules while in the Pyramid overnight with Millburn, Fifield (Sean Harris) transforms into a creature that was jokingly referred to as "Babyhead" by the crew. "Fifield was considered to be the mid-point between the Hammerpede and the Deacon, "reveals Neal Scanlan of its positioning in the genetic cycle Creature designer Carlos Huante worked on the initial designs for the Fifield monster, which was originally more alien than human before the mutated head and body were refined into something more recognisably Harris, albeit a twisted version of the actor." (Prometheus: The art of the film, p134)
  2. "Everything we've done on the film has a real world reference, "notes Scanlan, "and when you do your research, it's so sad because Fifield isn't really that much of a fantastical creature. These things happen in real life, like Elephantiasis." (Prometheus: The art of the film, p134)

CGI visualisation by Martin Rezard (Le Cinema S.F.X, June 2012)
Prometheus creature by Neville Page
Prometheus creature by Neville Page
Fifield bust by Martin Rezard
Fifield bust by Martin Rezard
mutant Fifield sculpt (Prometheus: The Art of the Film)
Martin Rezard Sculpting a bust of the creature
Martin Rezard Sculpting a bust of the creature (Le Cinema S.F.X, June 2012)
maquette of the mutant Fifield (Prometheus: The Art of the Film, p135)
Initial drawing of Fifield monster perhaps in earlier stage of transformation 
by Carlos Huante (Prometheus: The Art of the Film, p134)
Initial drawing of Fifield monster perhaps in  earlier stage of transformation 
by Carlos Huante (Prometheus: The Art of the Film, p134)

Alien5: Sharlto Copley or not?

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Sharlto and Neill often had the conversation everytime Neill ends a movie and he tells Sharlto that he wants to put him in the next one but he can't because it doesn't make sense to do all the movies with him. So he had done District 9, Elysium and Chappie all with Sharlto as a major character, although in the latter film it was through motion capture performance as the robot so the viewer wouldn't have seen him, but somewhere else in the movie his own face pops up.

So Neill said that Sharlto would not be in Alien 5 but he would know more at the time the movie is made and Sharlto on May 9th was still still acknowledging this as the decision. Now experienced with performance capture, perhaps he could could be put in as one of the aliens and no one would know.

Despite this Sharlto remained very excited that Neill was going to do something with the Alien franchise since it was something special to Neill.

Alien 5: Blomkamp's video initiation

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a) Umhlanga TV Mystery
Neill Blomkamp's family owned a holiday flat in the coastal town of, called Umhlanga, next to  Durban and when he was about five or six years old, he once saw forty minutes of the film on TV, the earlier part of the movie showing scenes of the space ship, egg silo, the space jockey, and up to the chestburster scene, and suddenly his family wanted to go down to the beach, he suddenly lost control of himself because he wanted to watch the movie. Having seen this forty minutes of the film, he would never get to see it again for several years.

Lighthouse at Umhlanga beach front

b) The VHS machine at the bottom of the apartment block
Years later, he discovered that there was a VHS machine at the bottom of the apartment block, and the woman at the base of the building would cycle films that were filtered through all the different flats, and eventually it got to the point where he was asking "what is that you were playing?" and it took two years for him to get to the bottom of the whole matter in a pre-internet age. Later he would also see Aliens which would become his favourite film,  and during the years that video tapes were used, he watched these films over and over again so many times that he wore them out.

Source quotes
  1. SIGOURNEY WEAVER: You know, I never think about it, erm, I never wanted to manufacture a sequel, I don't think that works, but this happened very organically, and I know that he is one of the greatest fans. I think he wore those VH or tapes out, 
    MTV: VCR
    SIGOURNEY WEAVER: VCR tapes out, 
    MTV: Yeah, yeah, yeah
    SIGOURNEY WEAVER: but when he was a kid, so there's no greater lover of these movies than Neill so we'll see what happens
    ( (Sigourney Weaver Discusses The Possible Neill Blomkamp 'Alien' Sequel | MTV 13 Feb 2015)
  2. Neill Blomkamp: You know, ironically the first film that I've seen in my life was Alien and it was in a coastal town in South Africa that we used to have like sort of a holiday flat in , called, Umhlanga, it's next to Durban, and I saw like, I was really young, I mean, I was probably six or five, and I saw maybe 40 minutes of it and then my family wanted to go down to the beach and I think I was spazzed like fully because I wanted to keep watching it and then over the years I found out that there was a VHS machine at the bottom of the apartment block that the woman at the base of the building would like cycle films that were filtered through all the different flats, and I was like "what is that you were playing?", you know, it took me like two years actually to get to the bottom of it, like this pre-internet, like, super young phase. So, yuh, it was Alien, I had no idea what it was. 
    Interviewer: And were you, were you terrified by it by (then)?
    Neill Blomkamp: I, I, I , er, I saw everything up until the chestbursting scene, right so it, most of it, like my memory of it, was in the ship, with the eggs, and the er, the space jockey, like that was the image that that, and then I didn't see it again, like it was forty minutes and then I never saw it for like several years, so I did, the scary fact wasn't in there yet. (Total Film ,"Neill Blomkamp: My Life In Sci-fi", 5 Mar 2015)

Alien5: Blomkamp's further yearnings for Alien

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a) Further yearnings

Twentieth Century Fox had no idea that Blomkamp was developing an Alien 5, so in that sense, what he was doing was completely unsanctioned and just basically for fun, although it wasn' just for fun to Blomkamp, because it was what he wanted to do next and he spent a long time doing it, so in his opinion there was a lot of effort that went into it, and when he came back to Vancouver, he had an entire year to work on the film, so he got into developing the entire movie along with the artwork
while he was taking brakes between the post-production of his movie Chappie winding down and visual effects getting under control.

In February 2015, the issue was suddenly becoming whether Blomkamp felt like directing another film rather than whether he wanted to direct an Alien movie because he had wanted to make an Alien movie for years and years and within the same month, it was declared that it was officially his next film.

He was concerned about finding himself being told "Well we think in this film this should happen because it happened in that one"

But his own thoughts were " I’m just not going to do it, I’m just going to put it out."

But when he spoke to Sigourney Weaver, and she wanted to execute the story that he wrote and thought it was the right story for Ripley. and so his thoughts were "Nah, I'm fully going to do this".

b) Alien Life Cycle Glasses as a portent

When Neill got back to Vancouver in 20014, unclear of what he wanted to do, he found that his artistic compass was driving him to Alien. There he was is own home full of Alien memorabilia, and his wife Terri Tatchel who's also his screenwriting partner , was drinking from a glass one morning when he was readying to go to edit Chappie,  it showed the life cycle of the alien on the glass, and Terri was looking at it and Neill was still saying " I don't know what to do".

Terri responded "Look, look at what you make me drink my orange juice out of every morning. Is there something wrong with your brain? I'm drinking out of a glass that has a frigging facehugger on it. And you don't know what you want to do next?"

Then then pulled out of the cupboard the rest of these glasses that depicted brutal scenes from the movies and she said "you make your daughter drink out of these cups , this is a sign"

Neill responded "Mmm, you have a point"

What appealed to him about making a movie in the Alien world  was that he would be dealing with Freudian terror, such as the idea of going down dark passage ways with the chance of something coming around the corner and terrifying the viewer on the level of some primal neolithic cavemen getting hunted by a lion. This was Blomkamp's goal. He saw how Cameron did it with more aliens and more guns, while Ridley did it with slow burning.

Source Quotes
  1. Neill Blomkamp: So when I went back to Vancouver for 2014 unclear of what I wanted to make, I knew that my artistic compass kept driving me to Alien. Whenever I wasn’t needed on Chappie, I spent time on Alien, to the point where I hired my own concept artist and fleshed the entire movie out, basically. Even then, I still didn’t know if I wanted to do it.(, 6th March 2015)
  2. Neill Blomkamp: When I came back to Vancouver, I had an entire year to work on 'Chappie.' And when I wasn’t needed in the edit, I could think about 'Alien.' So, I basically developed an entire movie and I did all of this artwork as well, I produced way more art than I put out. ( 10th February 2015)
  3. IGN: Is this the first film to be green-lit via Instagram?
    I don’t know – it’s an interesting question. Maybe. That’s a very interesting question.
    But you put that art out there…
    The thing that I find… it kind of ties in a little bit with what you were saying about living up to people’s expectations, and are you nervous. This is a little bit of the same discussion where I think that people think I was playing some kind of game with the studio where I was releasing stuff to try to create hype to try to go back to them. I’m totally not Machiavellian in that way at all. I’m just not. The debate was an internal debate actually. It was a debate where… I don’t think I’m a movie director. I think I’m an artist, and for me movies are the pinnacle art form. But the pinnacle art form requites 10s of millions or 100s of millions of dollars of other people’s money that needs to return an investment for them on their cash. And that means that there are certain things that come with that that limit you as an artist. So you can have full control on a film – Chappie is as close to having virtual carte blanche on a film as you can have, less the fact that it’s two hours, and it has three acts. And, and, and, and… there’s a list, right? So it’s like if you want to create a thing that’s a piece of art that just really winds people up – something hyper offensive or crazy or whatever it might be – this is the wrong thing for you.
    I have that internal debate sometimes where I’m wondering if this is the right avenue for me. That’s what Alien was where I was like ‘Maybe I should just go off for a couple of years and do some other stuff.’ And I had all of this accumulated work of a project that I thought was really awesome. I was like ‘I know there are going to be some fans out there who like this – here you go!’ You know what I mean? And that’s kind of what happened. So nothing is pre-meditated. I still hadn’t picked a project. 2014 was really weird for me. I loved Chappie and I loved working in post on Chappie – working with [Hans] Zimmer, cutting it together, working on VFX – it was very relaxing and it was kind of awesome. But I didn’t know what I was going to do next. I came up with so many ideas. I came up with like many films and I couldn’t choose one.
    My apprehension with Alien was that I had never worked with someone else’s material. And not even someone else – at this point it was like… I’m going to count Fincher in with the third one, even though the third one I don’t like as much as the first two. But they’re all three awesome filmmakers. So it’s not about living up to it and being nervous about it, I just don’t want other people to tell me what to do. Which is a different thing. ‘Well we think in this film this should happen because it happened in that one.’  That kind of scared me a little bit so then I was like ‘I’m just not going to do it, I’m just going to put it out.’ But then I spoke to Sigourney [Weaver]. And I love Sigourney and her wanting to execute the story  that I wrote, and she thinks it’s the right story for Ripley. So I was like ‘Nah, I’m fully going to do this.’ And also my place looks like this [points to geeky memorabilia on IGN shelves] – with all this stuff everywhere, so Terri
    [Tatchell – Blomkamp’s wife and screenwriting partner] was actually drinking a glass in the morning when I was readying to go edit Chappie recently, and it’s the life-cycle of the xenomorph on the glass, and she was looking at it, and I was like ‘I don’t know what to do’ and she was like ‘Is there something wrong with your brain? I’m drinking out of a glass that has a frigging face-hugger on it. And you don’t know what you want to do next?’ Our house is covered in xenomorphs, so I was like ‘Mmm, you have a point.’(  
  4. Neill Blomkamp: I saw Sigourney again, and her enthusiasm in it, and me still not knowing what I was doing... Well, the thing that actually made it really clear was that we have xenomorphs all over the house [including drinking glasses depicting graphic scenes from the films]. No bullshit, that actually is what made me realise that there’s a massive portion of my brain that’s taken up by the world of the xenomorph. And I’m like, ‘Hmm. Valid point.'"(, 6th March 2015)
  5. Interviewer: There is a kind of xenomorph shaped alien in the room which we've talked about a little bit, but obviously you're making an Alien movie, next, Neill, ahm, really fascinated by how that came about, cause obviously your release concept art onto the internet, erm, I assume you've been having conversations with Fox about that before that it wasn't just a kind of..
    Neill Blomkamp: No....No, no, no,, it wasn't actually like, I er 2014 was a really weird year for me because, erm, like I, I usually know quite decisively what I want to do and in the process of post on chappie, I didn't know exactly what I wanted to do and I had a, and I had a bunch of different for different films , but my, my favourite, on like a gut instincts but on like an artistic level was Alien by a long way, but I had thos sort of like inhibiting mental road block about, erm, just wanting to, you know, kind of work on my own stuff and not not be held accountable for really by, whether it's the studio or by fans or whoever, I just want be left alone to do my stuff, that's just kind of a big deal to me, but what happened was, even if you go back three or four years, I've wanted to make a film in that genre, in that, in that franchise you know for ages, and, I had come up with an idea and then, when I met Sigourney on set, I, I assumed that she would never want Ripley again, rightly or wrongly, I just, for some reason had that in my head, and , and also I didn't know where she could go with her, given Alien 3 and 4, and so, when I started speaking to her , erm and she was just, I just wanted to know about the process of making the first two films, 'cause the first two are the ones I care about, and I was like what she thought and everything else, yuh, I started to realise that there actually was a whole, at least a film if not more, that still contained Ripley, which I was really surprised by, and, and so when i went back to Vancouver and I had my weird year of 2014 if not of being totally clear of what I wanted to make, I knew that my artistic compass kept driving me to Alien and, and I spent like, whenever I wasn't needed on Chappie, I spent a lot of hours working on Alien, you know, and unto a point when I hired my own concept artists and liked fleshed the entire movie out basically and I still didn't know if I wanted to do it and, and then I just like one night came to the conclusion that I was like, I mean this is like an ongoing thing with us all the time where, you know, I,  like, she's always like, "no, you'll go back and do a film" and I'm always like, "Nah, this is the last film do" like I genuinely believe it's the last film I'm going to do
    Terri: Sometimes I patronize him, I'm like okay, here you are, that's good.
    Interviewer: We always need more hands in the restaurant
    Terri; Yuh, exactly
    Neill: But erm, so, I was so convinced that I wasn't, I, I didn't even think a norm...  like any film, let alone a large studio film
    Interviewer: Yeah
    Neill: But I was like, it came from a place of like love, and it came from a place of me being a fan, and, and I was like, if I'm a fan, then other fans should see the stuff, just at least gives one person's take on it, you know, and I put out, I just put out a bunch of art, but I still hadn't decided what I was going to do next, and then so you see, Fox didn't know and then after, like I saw Sigourney again, and then her enthusiasm and me still not knowing what I was doing, it becomes kind of clear, the thing actually that made it really clear, tell them what happened, this, this is actually the binding thing for me, we have xenomorphs all over the house
    Terri: But, but, well, he's humming and hawing going back and forth and, and , finally I said, "look, look at what you make me drink my orange juice out of every morning", and I pulled out of the cupboard... we have these, set of glasses that have like these brutal scenes from the movies and I was like "you make your daughter drink out of these cups , this is a sign"
    Neill: and then that that no bullshit, that actually what made me realise, that's like my whole, like there's like a massive portion of my brain that's like taken up by the world of the Xenomorph and I was like Mmm, that's like a valid point. (

Alien 5: Blomkamp's becomes involved with Alien

a) Dreams of involvement with Alien
As a film maker it was just something that he's always wanted to one day be a part of, he didn’t know if it would ever happen. he just always wanted to participate in it if he was able to. So drifting into 2010 to 2011, he really wanted to make a film in that genre, perhaps even that franchise and so came up with a story for a film set in that universe which  he wanted to make and that story didn't involve Sigourney and he dreamt that it would be a part of the world of the Alien movies.

Neill Blomkamp with Sigourney Weaver
b) Conversations with Sigourney
When Neill was filming his movie Chappie, in which Sigourney Weaver had a role, almost immediately he started to talk with her about his love for the Alien series and then on the set of the weapons factory in Chappie, it developed into a conversation about her thoughts and experience making the Alien films and what she thought about the films after Alien in general, and indeed what she felt about Ripley in relation to what was incomplete for her about her story so far. He initially presumed that she would never want to play Ripley again, and he didn't really know himself where one could go with her character in light of Alien 3 and Alien Resurrection

Sigourney said "Yeah, yeah, you know it's a pity we didn't really finish the story. It's such a good story, it's really loved.'I should probably talk to Jim Cameron about that."

So when Neill Blomkamp suddenly said "well, I'm interested in finishing the story. Don't talk to Jim Cameron about that, talk to me about that", he was someone with the sort of talent that she would allow her ears to perk up in order to listen to, so over the year he kept sending her ideas, designs and so on that she thought were brilliant.  They kept talking. She started to think in terms of his interest in making another film "this is why we waited however many years it's been"

There was so much fuel in what she was able to tell Neil, perhaps for more than one movie exploring the further story of Ripley and it set of a bunch of thoughts in his head. It informed and changed the film he wanted to make, turning it into something different. Sharlto Copley the lead actor from District 9 and also played the mercenary in Elysium and the lead robot character in Chappie also was as a friend involved in the conversations about another Alien movie.

c) Interactions with Ridley
Ridley Scott became producer of the Alien 5 film. However Ridley thought that there was something in Neill's concept that was "bumping" the Prometheus franchise a little bit

Quote sources
  1. Sigourney Weaver: It was really organic — we were just chatting about the movie every day on the set of the weapons factory [for Chappie] it was a real weapons factory. ( 5th March 2015)  
  2. Sigourney Weaver: I finally said, 'Yeah, yeah, you know it's a pity we didn't really finish the story. It's such a good story, it's really loved."
    ( 5th March 2015) 
  3. Sigourney Weaver: I said, 'I should probably talk to Jim Cameron about that.' And he said, 'Don't talk to Jim Cameron about that, talk to me about that.' So we kept talking about it. ( 5th March 2015) 
  4. Neill Blomkamp:  If you go back even three or four years, I’ve wanted to make a film in that genre, in that franchise. I’d come up with an idea, and when I met Sigourney  on the set of Chappie, I presumed that she would never want to play Ripley again. Rightly or wrongly, I had that in my head. I also didn’t know where you could go with her, given Alien 3 and 4. ( 6th March 2015)
  5. Neill Blomkamp: So when I started speaking to her, I just wanted to know more about the process of making the first two films. The first two are the ones that I care about. Then I started to realise there was a whole film – at least a film, if not more – that still contained Ripley, which I was really surprised by.(( 6th March 2015)
  6. Neill Blomkamp: Speaking to Sigourney Weaver, when we were doing 'Chappie,' she set off a bunch of thoughts in my head — I had come up with an idea that didn’t have Sigourney, it was a different idea. But I spent all of the shooting time with her, it was like, holy shit, that could actually be really interesting.  ( 10th February 2015) 
  7. Den Of Geek: In it, Blomkamp confirms that original Alien director Ridley Scott will be producing the movie and that it won't, in the words of the magazine, 'tread on the toes of Prometheus 2'. "I changed the one thing [Ridley Scott] felt was bumping Prometheus a little bit", Blomkamp confirmed. Scott likes the idea of what Blomkamp has come up with for the new Alien film, the piece confirms, and the new movie won't be called Alien 5. In fact, Neill Blomkamp already has a title in mind. "It's kinda quite bold, but it gives away too much if I say the title", he teased. And as for where the film will sit in the series? It's still not entirely clear. "Where it went after Aliens to me, as a fan, was wrong". The new film will be "the triplet of the first two. There's a shitload missing as a fan that I would want to see". ( 21st March 2015)
  8. Collider: Before we have to wrap up, I wanted to ask you about the Alien concept art because it seems like the stuff you have in mind is what I’d want from a new Alien movie. Did you just do that for fun or was there any specific reason for you to be doing that?
    BLOMKAMP: No, no, no. There was a reason. I wanted to make that film. I still may make that film. [Laughs] It may happen. But I did it on my own time. Like when Chappie was winding down in post and I had available time, I started to work on it. It was also from talking to Sigourney during the making of this. I mean, I asked her about Alien all the time. Alien and Aliens are my favorite films. So I genuinely wanted to make that film, I came up with the story, I came up with way more art than I put out and I never officially spoke to Fox about it, but Fox wanted to make it. So, I kind of touched on it and I didn’t know what to do, and I didn’t know if I was just gonna go leave directing for a whole bunch of time and then I was like, ‘I might as well put some art out.’ But I may make it. I don’t know. That’s where it stands."( March 2nd, This interview was conducted before the Alien project was announced as Blomkamp’s next film.)

Fifield Monster

Prometheus: Babyhead

Giger's Babyhead

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Dated 23rd February,2011, HR Giger provided a sketch of Carlos Huante's 
babyhead concept but with slight differences in the face area.

Alien 5: Confusion about the return of Hicks

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A curious thing though was Blomkamp's concept art that featured Ripley with the character Hicks, the latter character had been killed at the beginning of Alien3. Would the character be brought back into the film in some sort of way? Back when Alien 3 came out and caused much displeasure to those who didn''t want to see the survivors of Aliens all killed off, people wondered if there was a way to discount it as a dream, perhaps in much the same way that a whole season of the TV series Dallas had been declared a dream after an important character Bobby Ewing who had been killed off one year suddenly turned up alive having a shower in the last episode of the season the following year.

Meanwhile in March, rumours spread online that Michael Biehn had been contacted about being in the new Alien movie and he was someone that Blomkamp admitted to hoping to see in his movie along with Sigourney

Ripley and Hicks Ripley in a biomechanic pilot suit (art by Geoffroy Thoorens)
Hicks (art by Geoffroy Thoorens)

Alien 5: Bishop or Bishop 2's return?

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a) Lance Henriksen didn't come back to Alien 3 as the robot Bishop because it was seen that he has aged considerably and presumably robots didn't age. However he came back as the character known as Bishop 2 who was generally asssumed to be a human. And we find this slightly Lance Henriksen type face wrapped in strange goo as if he's being eaten away by the spore material or if one might just want to say transformed into a spore  as were Dallas and Brett in Alien. (realisation came 7th March 2015)  See also Alien; Human to Spore Stage

Ripley standing face to face with a human being with perhaps a disheveled 
Lance Henriksen who's possibly transforming into a spore or meging with the wall?
(art by Geoffroy Thoorens)
damaged Animatronic Bishop prop (

Alien 5 Concept Facehugger?

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Doug Williams drew a concept for a Facehugger amongst the released art that looks more or less like some sort of a leach which splits apart, as does the egg. Back in April of 2012, the artist drew the main creature as a sketch of something inspired by what he was seeing in the Prometheus trailers of the Hammerpede crawling into one of the explorers suits, and so he noticed a nasty leach swimming in a pond. (See

Facehugger (art by Doug Williams)

Monday, April 30, 2012, flatworm think (art by Doug Williams)

Prometheus influence on Marvel's Age of Ultron #1,
variant cover by the artist Djurdjevic

leading from

In 2013, for a variant cover of Marvel's Age of Ultron #1, the artist Djurdjevic  drew a cover that was heavily inspired by the orrery scene from Prometheus where David the android handles a hologram of the planet Earth. One might wonder if there was a possibility that bother Ultron and David might have a chance to start playing catch with the hologram planet Earth

Echoes of Prometheus

Clock Head from Dark City inspired Prometheus Head?

One curious film that came out in the 1990s was a movie called Dark City. The movie featured a race of pale skinned bald humanoids known as The Strangers dressed in leather who might roughly remind people of the Cenobites from Hellraiser. These entities who controlled the human race in a city that transformed and the lives of everyone living in the city would suddenly transform and they would leave behind their old identities and embrace a new one unless they were able to remain conscious through the process. The Strangers would reveal themselves to be some other kind of an alien entity hiding in the brain of these humanoids

In the movie there was the main environment of the Strangers, a place dominated by a huge head that opened up and contained a clock. Curious so it seems, Prometheus and Dark City both shared cinematographer Dariusz Wolski.

Meanwhile Patrick Tatopoulos who designed the sets and the Strangers had been responsible for the aliens within suits from Independence Day that mainstreamed the idea of an extra-terrestrial being a suit which contained a completely looking alien inside. (The Space Jockey As Suit Question 
and Independence Day's Biomechanical Suit )

Alternate Fifield mutant

leading from
Fifield Monster

alternate Fifield mutant
a) Initial Explorations
Weta Digital generated a digital Fifield with elongated limbs and an engorged , translucent head incorporating a semblance of Sean Harris' face to mutate the crew member character beyond what was possible using practical effects. Before the shoot Weta developed digital creature concepts. Ridley wanted a shot where Fifield's knees broke backwards and for him to move in an aggressive predatory manner, so they did animation tests of an embryonic looking creature that had sinister animal motion. They studied references of gorillas, cats such as cheetahs, and even crabs. Ridley was very interested in this and especially liked some footage of a baboon attacking a person at a zoo.. During the actual shoot, Ridley started leaning toward an in-camera trick effect with the actual actor, so they took the design of this embryotic creature closer to the human form.

alternate Fifield mutant
b) Weta develop Fifield beast
Weta modeled the creature with a glassy head embedded with a withered likeness of Sean Harris. 

The idea was that it was as if a glass exoskeleton was forming around him, and as the design evolved, they made the inner head more visible so that it could articulate with facial expressions. 

(source forum user CRS through
c) Leaning towards a much more human Fifield
Ridley wanted to be able to see the actor's rage and violence within the embryonic bubble forming around him. They filmed the actor in make up and also shot clear plates, to show the insertion of the digital characters if required because there was the continuing thought he could be replaced by this CG version. During the shoot, Ridley started to lean more towards an in-camera effect with the actor, so they took this embryonic creature closer to human form. As the design evolved, they clothed it in a simulation of Fifield's space suit, torn and covered in oil. The thing became a lot more humanoid, but distorted and long limbed, and it moved with a gorilla-type motion, very aggressive and walking on its knuckles. 

(source forum user CRS through

d) The Head Bubble
The idea of the bubble forming around Fifield's head was that it was an exoskeleton forming around him and so this was like a baby's skull with plates not fused or fully formed. As the design evolved, they made the inner head more visible and so it could articulate with facial expressions

alternate Fifield mutant later released online by Cinefec, August 27th, 2012
e) The Cut Opportunity
However as the weeks went on they started to think "Well maybe it's better if it's an acting thing", so the CGI version of Fifield was put to the side and Sean Harris in makeup was used. Mike Cozens and the animation team relished the opportunity to animate a maniac humanoid on the loose, animating a psychopath that carries out acts of R-18 violence was an unusual thing for them, especially we scenes of him bursting with spraying blood, being set on fire and being run over by a truck, and he still wouldn't die.  But this work would not show up in the final film although it would be seen in the Blu-Ray release of the film.

(source forum user CRS through
f) Carlos Huante's response
The designer Carlos Huante observed the out takes from Prometheus, he loved the performance of the ape version of Fifield but the actual seemed more like an ape, but not right for the movie. 

source quotes
  1. To mutate the crewman beyond what was possible using practical effects, Weta Digital generated a digital Fifield with elongated limbs and an engorged, translucent head incorporating a semblance of Sean Harris' face. (Cinefex 130, p48)
  2. Weta developed digital creature concepts prior to the shoot. Cinefex 130, p51-52)
  3. Martin Hill: We did animation tests of an embryotic- looking creature that had sinister animal motion. We studied reference of cats, gorillas, even crabs; and Ridley was quite into that. During the shoot, he started leaning toward an in-camera trick effect with the actor, so we took the design of this embryotic creature closer to the human form.  (Cinefex 130, p52)
  4. Weta modeled the creature with a glassy head embedded with a withered likeness of Sean Harris. Cinefex 130, p52)
  5. Martin Hill: It was like an exoskeleton forming around him. As the design evolved, we made the inner head more visible, so it could articulate with facial expressions, and we clothed it in a simulation of Fifield's spacesuit,  torn and covered in oil. It became a lot more humanoid, but distorted and long limbed, and it moved with gorilla-type motion - very aggressive, walking on its knuckles. (Cinefex 130, p52)
  6. Weta modeled the creature with a glassy head embedded with a withered likeness of Sean Harris 
  7. Techniques remained in flux during the shoot "Ridley didn't want a 'monster'- and if he did a monster, he didn't want to show it much. We shot the scene both ways, with makeup and clean plates, knowing that Sean Harris might get replaced by a CG version. (CINEFEX 130, p51)
    Another fantastic alien mutation, which required a digital character to be built, was Fifield, with his elongated limbs and engorged head, "Ridley wanted to be able to see the actor's rage and violence within the embryonic bubble forming around him, " explained Martin Hill, "they filmed the actor in makeup and also shot clear plates, to show the insertion of the digital characters if required. During the shoot Ridley started leaning more towards an in-camera effect with the actor, so we took the design of this embryonic creature closer to human form. " Weta built a fully CG version of the actor that could be seen inside a goldfish bowl-shaped head, through layers of tissue and sinews. The outer head was like a baby's skull, with plates not fused or fully formed. As Hill clarified, "it was like an exoskeleton forming around him. As the design evolved, we made the inner head more visible, so it could articulate with facial expressions."

    The team at Weta explored ways of making Fifield move, Hill recalls, "Ridley wanted a shot where his knees broke backwards and for him to movie in an aggressive, predatory manner. We studied reference of cheetahs, gorillas and even crabs. Ridley especially liked some footage of a baboon attacking a person at a zoo.

    Mike Cozens and the animation team relished the opportunity to animate a maniac humanoid on the loose. Iit's always fun to animate a psychopath. You don't often get to do R-18 levels of violence with an animated character. ' Adding to this sentiment, Hill reflects "The fun thing about Fifield was that we got to be completely over the top. We shot him multiple times, we showed him bursting with spraying blood, we set him on fire, we ran him over with a truck twice and he still wouldn't die."Alas, the CG version of Fifield did not make it into the theatrical release but find its way onto the Blu-ray release. (The Art of Film Magic, 20 Years of Weta. )
  9. Sean Harris: Originally it was gonna be a CGI thing. It wasn't gonna be me at all. But as the weeks went on, we started to think "Well maybe it's better if it's an acting thing" So we started to do some tests, just physical work and erm,  we filmed some stuff. Ridley saw it and kind of liked it. (Furious Gods: Demons In The Dark: Creature Design)
  10. Carlos Huante: I saw all the outtakes as well and loved the performance of the ape version of Fiflield but the actual creature wasn’t Alien or Prometheus it was an ape… It looked great though, but it wasn’t for this movie. (Carlos Huante's interview for AVPGalaxy conducted by Jaime Praeter/ ThisBethesdaSea)
Another alternate Fifield mutant (Prometheus: The art of the film, p135)
Martin Rezard working on the other alternate Fifield mutant (Prometheus: The art of the film, p135)

Oscar winner H.R. Giger in Blick interview Originally Published 9th June.2012

leading from

(Translation was done using several online translation programs, Google, Bing, Intertran, Linguatec and Reverso. Any other suggestions for translation would be welcome, however I think the translation makes enough sense)

Oscar-Preisträger H.R. Giger im BLICK Interview«Ich könnte mit erotischen Aliens immer noch viel Geld verdienen!»

33 Jahre nach «Alien» ist H.R. Giger (72) wieder in aller Munde: mit dem Hollywood-Film «Prometheus». Er spricht über Arbeitsmüdigkeit, Herzprobleme und Glücksmomente.

Oscar winner H.R. Giger in Blick interview "I could still earn a lot of money with sexy aliens!"

33 years after "Alien" is H.R. Giger (72) again on everyone's lips: the Hollywood film "Prometheus". He talks about working fatigue, heart problems and moments of happiness.

Blick: Sie sind gerade von der Welt-Premiere des 250-Millionen-Blockbusters «Prometheus» in London zurückgekehrt. Wie wars?

Blick: You have just returned from the world premiere of the 250-million blockbuster "Prometheus" in London. How was it?

H.R. Giger:
Fantastisch! Obwohl ich ja eigentlich nicht mehr so gerne reise. Das ist mir zu anstrengend geworden. Als ich in London aus dem Taxi stieg, war ich sofort von Dutzenden Leuten umringt, die mein Autogramm wollten. Wir wurden von Kult-Regisseur Ridley Scott und der Firma Twentieth Century Fox total verwöhnt.

H.R. Giger: Fantastic! Although I actually not more so love to travel. That has become too exhausting to me. When I got out of the cab in London, I was surrounded immediately by dozens of people, who wanted my autograph. We were totally spoiled by cult film Director Ridley Scott and the company of Twentieth Century Fox.

Blick: Auch die Kritiker loben ihre Arbeit für den Film...

Blick: The critics also praise its work for the film...

HR Giger: Ja, das freut mich. Auch dass ich im Nachspann des Films am Anfang prominent erwähnt werde. Dabei habe ich ja gar nicht so viel gemacht. Eines der Raumschiffe stammt aus meiner Feder, es beruht auf Bildern und Entwürfen, die ich schon vor 33 Jahren gemacht habe.

H.R. Giger: Yes, I'm glad. Also that I was mentioned prominently in the trailer of the film at the beginning. While I did not so much. One of the ships came from my pen, it is based on images and designs I did 33 years ago.

Blick: Auf Fotos von der Premiere wirken Sie aber etwas angeschlagen. Wie geht es Ihnen eigentlich?

Blick: On photos from the Premiere, you look a little bit struck, How are you actually?

H.R. Giger: Nun ja, ich hatte zwei Tage vor der Premiere einen Eingriff am Herzen. Ich hatte in letzter Zeit stark geschwollene Füsse. Am Pfingstmontag war es besondersschlimm, also schickte mich ein befreundeter Arzt in die Klinik Hirslanden in Zürich. Dort wurde mir Tags darauf ein Stent eingesetzt.

H.R. Giger: Well, I had a surgery on the heart two days before the premiere. I had severely swollen feet lately. On Whit Monday, it was particularly bad, so sent me a friendly physician at the Hirslanden Clinic in Zürich. There a Stent was used on me the following day

Blick: Und da durften Sie trotzdem an die Premiere nach London?

Blick:  And since you were still at the premiere to London?

H.R.Giger: Ja, mit dem Einverständnis meines Arztes. Als ich am Mittwoch entlassen wurde, nahmen meine Frau Carmen und ich gleich den Flieger. Schon ein bisschen verrückt von mir.

H.R. Giger: Yes, with the consent of my doctor. When I was released on Wednesday,  I took my my wife, Carmen and I become the flier. A little crazy by me.

Blick: Arbeiten Sie eigentlich noch immer jeden Tag?

Blick: Do you actually still work every day?

H.R. Giger: Nein, ich arbeite nur noch selten. Ich lasse mich nur noch feiern (lacht). Es ist schön, einfach seine Ruhe zu haben. Ich mache mittlerweile nur noch das Minimum oder wenn eine Auftrag es verlangt. Ich habe meinen künstlerischen Beitrag für diese Welt geleistet.

H.R. Giger: No, I work only rarely. I only be celebrated (laughs). It's nice just to have peace of mind. I'm now just do the minimum, or if only a job requires it. I have made my artistic contribution to this world.

Blick: Aber als Künstler geht man doch nie in Pension?

Blick: But as an artist you never enters pension?

H R Giger:Ach, ich habe mein Leben lang hart gearbeitet – vor allem zwischen 1972 und 1992, als ich meine grossformatigen Airbrush-Bilder malte. Manchmal, wenn ich etwas deprimiert bin, blättere ich meine Werkkataloge durch und sehe, was ich alles geleistet habe. Das gibt mir enorme Zufriedenheit. Mit der Spritzpistole arbeite ich seit langem nicht mehr,ich würde mich da nur noch wiederholen.

H.R. Giger:.Oh, I've worked hard all my life - especially between 1972 and 1992, when I painted my large airbrush images. Sometimes when I am somewhat depressed, I browse my work catalogs and see what I've done. That gives me enormous satisfaction. I no longer work for a long time with the airbrush, I would repeat myself only there.

Blick: Trotz der grossen Nachfrage?

Blick: Despite the great demand?

HR Giger: Ja, ich könnte mit dem Malen von erotischen Aliens immer noch viel Geld verdienen. Aber das interessiert mich nicht mehr. Ich bin künstlerisch gesättigt. Die Malerei gibt mir nicht mehr soviel wie früher. Ich mag nicht mehr fleissig sein.

H.R. Giger: Yes, I could earn still much with painting erotic aliens. But that no longer interest me. I'm artistically saturated. The painting gives me no more as much as in the past. I may be no longer busy.

Blick: Wie sieht Ihr Alltag aus?

Blick: What is your daily routine?

H.R. Giger: Ich stehe gegen Mittag auf. Unsere Hauptmahlzeit nehmen Carmen und ich erst am Abend ein. Ich schaue tagsüber viel fern, vor allem Filme und Dokumentationen. Und es gibt immer etwas zu erledigen – etwa für die Ausstellung, die gerade in Solothurn läuft, oder mein Museum im Schloss St. Germain in Greyerz.

H.R. Giger: I get up around noon. Carmen and I only take our main meal in the evening. I watch daytime much TV, especially films and documentaries. And there is always something to - as for the exhibition, which runs in Solothurn, or my Museum in the castle of St. Germain in Gruyères.

Blick: Sind Sie noch oft in Greyerz?

Blick: Are you often in Gruyères?

HR Giger: Nein. Ich fahre selber nicht mehr gern Auto. Meine Frau Carmen kümmert sich als Museums-Direktorin hervorragend um die Sammlung. Das Museum ist inzwischen selbsttragend, was mich stolz macht.

H.R. Giger: No. I no longer like to drive a car. My wife Carmen cares as Museum Director suited to the collection. The Museum is now self-supporting, which makes me proud.

Blick: Carmen ist 24 Jahre jünger. Wie erleben Sie den Altersunterschied?

Blick: Carmen is 24 years younger. How to experience the difference in age?

H.R. Giger: Gar nicht. Wir passen zu einander – in allen Belangen. Wir haben uns getroffen, und es hat gepasst. Liebe ist eine geistige Sache, die hat nichts mit dem Alter zu tun. Ich wüsste nicht, was ich ohne Carmen machen würde. Ich hatte aber schon immer gern junge Menschen um mich herum.

H.R. Giger: Not at all. We match each other – in all aspects. We met, and it has adapted. Love is a spiritual thing, which has nothing to do with the age. I don't know what I would do without Carmen. I had but has always been fond of young people around me.

Blick: Lieber als alte?

Blick: Better than old?

H.R. Giger: Ja, ich ertrage alte Leute meist nur schlecht. Carmen und ich haben uns 1996 kennengelernt – über gemeinsame Freunde. Im März 2006 haben wir heimlich geheiratet. Aber unseren Hochzeitstag vergessen wir beide immer wieder (lacht).Carmen war in den letzten Jahren die grösste künstlerische Inspiration für mich – sie ist auch ein Schatz! Es wäre furchtbar für uns beide, wenn einer von uns vor dem anderen gehen müsste.

H.R. Giger: Yes, I put up with old people usually poorly. Carmen and I met in 1996 - over mutual friends. We got married secretly in March 2006. But our anniversary we both keep forgetting (laughs).Carmen was the greatest artistic inspiration for me in the last few years - it is also a treasure! It would be both awful for us if one of us would have to go before the other.

Blick: Sie sind mittlerweile 72 Jahre alt. Hat sich Ihre Einstellung zum Tod verändert?

Blick: You are now 72 years old. Has your attitude changed for death?

H.R. Giger: Eigentlich gar nicht. Vielleicht kommt es daher, dass ich mich schon als junger Mensch intensiv mit der eigenen Vergänglichkeit beschäftigte. Etwa, wenn ich als Kind Geisterbahnen baute oder als Fünfjähriger einen Totenschädel auf Rädern hinter mir nachzog.

H.R. Giger: Actually not at all. Perhaps it comes, that I already dealt with my own  transience intensively as a young person. Possibly if I built ghost trains as a child or dragged as a five-year-old a skull on wheels behind me. 

Blick: Gibt es ein Jenseits?

Blick: Is there an afterlife?

H.R. Giger: Nein, ich glaube, dass mit dem Tod alles aufhört. Ich glaube, im Gegensatz zu Carmen, auch nicht an die Wiedergeburt. Die Vorstellung, dass alles immer weiter geht oder dass ich sogar zurück auf diese Welt kommen soll, ist schrecklich.

H.R.Giger: No, I believe that with death, everything stops. I believe , in contrast to Carmen, also not in rebirth. The idea that everything goes further or that I should even come back to this world is terrible

Blick: Für viele Menschen wäre diese Vorstellung erdrückend.

Blick: For many people, this idea would be overwhelming.

H.R. Giger: Für mich nicht. Ich will nicht noch einmal leben. Einmal ist genug. Es ist ja auch alles so schrecklich anstrengend. Aber, auch wenn ich mal nicht mehr da bin, meine Kunst lebt weiter. Das freut mich, und ich hoffe, dass sie bei kommenden Generationen Anerkennung findet.

H.R. Giger: Not for me. I do not want to live again. Once is enough. It's all terribly strenuous. But, even if I'm once gone, my art lives on. That pleases me, and I hope that it finds recognition in future generations.

Blick: Leben Sie heute eigentlich gut – sind Sie reich?

Blick: You live really well today - are you rich?

H.R. Giger: Wir kommen gut über die Runden. Meine Werke, Originale, Grafiken und Skulpturen sind international gefragt. In den vergangenen Jahren sind mehrere grosse Retrospektiven in namhaften europäischen Museen gezeigt worden und weitere Ausstellungen sind in Vorbereitung.

H.R. Giger: We are making good ends meet.. My works, original, graphics, and sculptures are in international demand. Several major retrospectives at major European museums have been shown in the past years and further exhibitions are in preparation.

Blick: Was ist das Wichtigste im Leben?

Blick: What is the most important thing in life?

H.R. Giger:: Zufriedenheit, Freude und Kreativität. Ich habe alles gehabt. Angst habe ich nur, schwer krank zu werden. Darum habe ich mich auch bei der Sterbehilfe-Organisation Exit angemeldet. Wenn es schlimm wird, will ich nicht leiden müssen. Wissen Sie, ich hänge nicht so sehr am Leben. Ich will schnell sterben. Bumm und fertig ist es.

H.R. Giger: Satisfaction , joy and creativity. I have had everything. Fear I have only to be seriously ill. That's why I signed up and in the Euthanasia-Organization Exit . If it gets bad , I do not have to suffer . You know, I do not hang so much on the. I want to die quickly. Bang Bang Bang and finished it

Blick: Haben Sie Ihr Testament schon gemacht?

Blick: Have you made your will ?

H.R. Giger: Ich bin dran. Das Museum wird in eine Stiftung übergehen. Meine Beerdigung plane ich hingegen nicht. Ich werde auch nie die Freunde zählen, die an mein Grab kommen. Ich gehe selber auch nie an Beerdigungen, denn sie deprimieren mich nur.

H.R. Giger: It's my turn . The museum will go into a foundation. My funeral I , however, do not plan . I'll never count the friends who come to my grave . I never go myself to funerals , because they just depress me .

Blick: Waren Sie nie traurig, keine Kinder zu haben?

Blick: Have you never sad to not have children ?

H.R. Giger: Nein, meine Bilder sind meine Kinder.

H.R. Giger: No, my pictures are my children.

Blick: Welche Träume haben Sie noch?

Blick: What dreams do you have?

H.R. Giger: Vielleicht, dass es mal noch eine grosse Ausstellung in den USA gibt. Oder eben mit Carmen irgendwohin zu reisen, auch wenn es manchmal körperliche Strapazen bedeutet.

H.R. Giger
: Maybe that time is still a major exhibition in the United States . Or just to travel somewhere with Carmen , even if it sometimes means physical hardships.