leading from
a) The fourth act
All of Fede's movies have a fourth act. It was the way he wrote with his writing partner
There was a moment where the movie feels as if it's over and then there's a fourth act. He even dared say that Aliens has a bit of a fourth act with its last set piece.
That indeed followed Ridley's fourth act aboard the Narcissus at the end of Alien
But it was when one thinks that all is done and the movie could have ended, but you have a last set piece that tends to go to extremes.
When they got into the end of the third act, and everyone working with Fede appeared to be saying "Okay, it wasn’t as scary as I thought it was going to be."
He could easily have been taking his jacket off and rolling up his sleeves, because he was about to take the film to the next step to the end.
b) The Offspring
b.i) The man in the suit
Early in the film, Kay (Isabela Merced) tells Rain (Cailee Spaeny) that she’s pregnant when she comes aboard the derelict space station. As the Xenomorphs unleash terror on Rain and the crew, Kay is captured by one. Rain and Andy (David Jonsson) find her in a cocoon and free her. As the trio fight to escape the alien-infested space station (which is on a crash course with a nearby planet), at the end of the movie, the character Kay injects herself with the Weyland-Yutani serum “Compound Z-01” – made from matter extracted from the Xenomorphs and designed to advance humanity.
But when Rain puts Kay into a cryo-chamber so they can get her back safely, something goes horribly wrong and Kay begins to give birth to something rather horrific, a baby that rapidly evolves to a human-xenomorph hybrid creature that’s
credited as “the Offspring”, that would be a bioengineered offspring. Because of the bioengineering, this new lifeform grows at an incredibly increased rate and quickly becomes larger than human-sized.
b.ii) The offspring’s birth
When Kay gives birth, the baby was a practical effect. They put it in the egg, designed and dressed it, except the baby didn’t move — and Álvarez wanted audiences to understand that despite Kay’s gory labor, the baby was alive. Macarin’s first dilemma came in finding the right facial expression for the baby Offspring. It couldn’t look cute and it couldn’t be too angry.
He didn’t want the audience being that empathetic with the baby, but still wanted them to be a bit terrified.
Once the baby begins growing at a rapid pace and starts crawling towards the characters Kay and Andy, Macarin added in tiny details such as extra blood dripping out of the holes in its back, adding movement to the back of it a held and pushing the skin around a little but must to five it a little extra bit of horror that the audience well cringe and react to
b.iii)Introducing Robert Bobroczky
Someone had shown a video of him playing basketball to Fede of 7-foot, 7-inch college basketball player Robert Bobroczkyi. Director Fede Álvarez suggested casting for the Offspring creature in Alien: Romulus.
Mahan watched the video , This very very tall man was was drafted by a college in Michigan, which was the state that Mahan was from, to play basketball. Mahan watched the video and agreed that Bobroczkyi would be perfect for the Offspring role.
Robert was very tall and very thin, with amazing long arms.
Fede asked Mahan and his team, ‘Is this a crazy idea to cast a guy who's never been in a character makeup before, never been in a movie, as our Offspring?'
Mayan’s response was, 'That's not crazy at all because we will never find anybody as interesting as this.'
They then flew to Michigan and did life casts and digital scans of Robert at his college. They brought everything back and started working.
At that point, Scott Patton started doing designs based upon Bobroczkyi’s physique and then the team started breaking down the makeup as sculptures.
Simon Green worked on designs for the Offspring in the early, stages. he found that there was freedom to explore a wide range of different designs from horrifying alien entities & mangled mutations to pimple faced teenagers,
All they knew in those early phases of pre production was that the creature would be born by a human infected with the DNA of a Xenomorph and possibly Engineers, and the offspring would be some form of hybrid of the three. This gave a lot of creative freedom for Simon Green during the design phase and was a tonne of fun to play a small part of one of his favourite franchises.
Col Price even had a go, as Fede encouraged all of the design team to have a go at the hybrid. He wasn’t someone who specialised in creatures but he had a go with the computer software Nomad sculpt. He would know that Fede actually loved these he found them
b.iv) Comparison to Blade II
The Blade films were referenced at some point in the designs.
The response was "Wait, is that…it reminds me of that guy, the one who opened his mouth into a double jaw that Guillermo created for Blade II. Fantastic"
b.v) Comparison to Alien Resurrection
Alvarez also realised that in a way, the way that this abomination is birthed and stands tall seemed similar to the idea of the Newborn in Alien Resurrection
c) Mythology based upon the Alien prequels
c.i) The semen of the Alien beast
He actually had become focused on the mythology of Ridley Scott's prequels "Prometheus" and "Alien: Covenant" which explains the genetic building blocks of humans and aliens both.
He hoped that people picked up on the Engineer element of this
Visual effects supervisor Daniel Macarin , because of the the way it’s described, was trying to picture it in his head, and didn’t know how the director is going to create this character. He wondered how this was going to look like one of these alien beasts that he colloquially would refer to as a Xenomorph. he wondered if it was going to be something very unique and if it was going to be something that the film audience had never seen before
The idea as far as Alvarez could understand was that the black goo is the root of the whole idea introduced in ‘Prometheus’ that it was the root of all life, but also particularly the alien beasts come out of that thing, which means it has to be inside them. It was as if it was the semen of the alien beast.
c.ii) Ideas about DNA
So Alvarez and his collaborators thought, if it affects your DNA, and the Engineers clearly came out of the same root of life, it made complete sense to Fede that this character known as The Offspring was going to look like that.
c.iii) How the character would be
Alvarez wanted it to feel childlike. It had to have a newborn teenager feel. He wanted it to have acne, and he wanted it to have a feeling of what an awkward teenager would be like, and sort of a baby’s brain. It was all these interesting things because it grows from baby to adult in about fifteen minutes of screen time. It was supposed to be very fast and very, very frightening
Thy wantd to have as much of the actor's real skin showing through as possible, and once he was painted up, he was supposed to have shades of the the Prometheus engineers.
c.iv) The offspring as a new species
It hadn't been seen before but Fede decided that it was probably a new species, because that mix never happened before.
d) The making of a suit
d.i) Bobroczkyis gets into his costumeThe Offspring makeup was not a complete suit but primarily silicone appliances glued directly to Bobroczkyi's skin.
There's a portion of the legs, to make it easy on him, there's a pair of foam rubber pants, from the knees to the waist, in case he's gotta get out of it really quick, Mahan was able to get him out of it. But everything else was glued down silicone appliances with some of Roberts's skin showing through.
There's a portion of the legs, to make it easy on him, there's a pair of foam rubber pants, from the knees to the waist, in case he's gotta get out of it really quick, Mahan was able to get him out of it. But everything else was glued down silicone appliances with some of Roberts's skin showing through.
Getting Bobroczkyis into the head-to-toe Offspring makeup took a team of makeup artists around three-and-a-half hours. His extreme size made for a challenging application.
d.ii) The support chair
Mayan had had a special chair made in Budapest because nothing existed that would work for someone the side of Bobroczkyil,
The chair featured pedestals that he could put his arms and feet on so some artists could work on his extremities while others worked on his back, chest, face, and neck.
Although the artists left much of his skin showing, the effect was seamless once he was painted and glossed up, with black fluid dripping all over the place.
Black shell eyes popped into the facial prosthetic, and custom teeth finished off the horrifying look.
d.iii) Bobroczkyi’s impressive dedication
Mahan was impressed with how seriously Bobroczkyi took on the challenge of becoming the Offspring.
It was an uncomfortable process, and he took it deadly seriously. He started working right away with an acting coach in Michigan, at the university. When he got to Budapest, he had another body movement coach. He didn't really talk to the crew at all while they were doing the makeup.
He'd say good morning but wasn't chatty about anything.Despite his reserved demeanor in the makeup chair, Mahan was blown away by Bobroczkyi's transformation once they got him on set.
For Mayan, it would appear as if Bobroczkyil would turn it on.
the crew were saying things such as, ‘Who's this guy?’
it was as all of a sudden, he became Boris Karloff from Frankenstein.
He pulled off a performance that was as good as any creature performer that anyone had ever seen and so Mahan was so proud of him.
d.iv) Additions in post production.
In post-production, the VFX team augmented his eyes digitally, added a CGI tail growing out of him, along with some other animated elements to make it appear as if he's continuously growing and changing.
d.v) Enhancing the tail
They also enhanced the creature’s tail, with Chailloleau cycling through numerous iterations of how it would move. Was it moving enough? Was it a part of the body or something with a different brain? They didn’t want it to look like a dog’s tail or a cat’s tail, Macarin notes; it couldn’t make The Offspring look too happy or excited.
Chailloleau saw it as a homage to the ’80s, in design style, Even the models and the practical effects, everything has to fit the way they would have done that years ago. They don’t want to look to CG, so motion is very important, because they could not animate that way 40 years ago.
In the end, he looked to Bobroczkyi’s performance, and he took inspiration from Ridley Scott’s “Alien” and James Cameron’s “Aliens.”
Chailloleau would notice that when the first “Alien” movie was done, there was someone in the back with string and with a bit of help to just put the tail up and the rest followed. … So, the tail is not the focus of the shot; it stays secondary, but it’s still very menacing.
Macarin would also notice that one didn’t get a lot of screen time with this character, so it’s making sure that the audience never has the wrong reaction to it. If they giggle at it or something comes off as funny, then the film makers have taken them out of the moment, and they don’t have enough time to probably get them back into the action.
d.vi) The offspring’s mini mouth
The Offspring’s mini-mouth also went through several iterations during the design process. The Xenomorph mini-mouth was iconic, hard and straight with hammering teeth, while The Offspring’s juvenile version needed to be softer while edging on dangerous because it’s still growing.
In the scene, The Offspring moves towards its mother Kay, and the idea was that it was looking to feed. So as it lowers its head, Chailloleau had to make sure the mouth’s movement was connected to The Offspring and that it didn’t have a mind of its own.
Macarin understood that it was making sure that people didn’t think that he was trying to attack her, but the mouth is still dangerous,
d.vii) The Offspring hanging from the ceiling
Toward the end of the sequence, the action moves out into space (as the station begins to collide with the planet’s rings), which presented its own set of challenges. In terms of The Offspring, there was only so much that Bobroczkyi could perform.
When they started saying, ‘We need him to hang from the ceiling. We need him to drop down,’ Mahan knew the actor can’t possibly do that or at least not in any safe way, anyway, and they couldn’t replace such an actor with a stuntman, (or what Mahan would refer to as a ‘stuntie” which shouldn’t be confused with a derogatory term for people suffering from any form of stunted growth) but they didn’t have seven foot two seven foot five stuntmen of Bobroczkyi‘a proportions, that could do them either.
So anything out in space, Chailloleau had to taken over and build a fresh performance, drawing back on everything that the actor had done in earlier shots.
d.viii) Impressed with the results
When Macarin saw for the first time saw the plates, and this 7-foot tall actor in there, in his costume, he found it terrifying. He felt that they did such an amazing job with the look and the feel of that character that he and his team knew that everything that they could bring to it was just going to help.
Chailloleau would have the point of view that because Bobroczkyi isn’t a professional actor,the way he moves is just unique, which informed the way they animated the character. . And so considering his big size and the concept of what the creature was. he’s giving a lot of new things to watch visually, so Chailloleau found that to be outstanding..
- Mahan revealed that the Offspring makeup was not a complete suit but primarily silicone appliances glued directly to Bobroczkyi's skin. “There's a portion of the legs, to make it easy on him, there's a pair of foam rubber pants, from the knees to the waist, in case he's gotta get out of it really quick, I can get him out of it. But everything else is glued down silicone appliances with some of [Robert's] skin showing through. (https://www.stanwinstonschool.com/blog/alien-romulus-behind-the-scenes-practical-effects-with-fx-legends-creating-xenomorphs-facehuggers-chestbursters-rook-offspring-spaceships?)
- Getting Bobroczkyi into the head-to-toe Offspring makeup took a team of makeup artists ound three-and-a-half hours. His extreme size made for a challenging application. “I had a special chair made in Budapest [where the film was shot] because nothing exists that will work for him, you know?" The chair featured pedestals that Bobroczkyi could put his arms and feet on so some artists could work on his extremities while others worked on his back, chest, face, and neck. Although the artists left much of his skin showing, the effect was seamless once he was painted and glossed up, with black fluid dripping all over the place. Black shell eyes popped into the facial prosthetic, and custom teeth finished off the horrifying look. In post-production, the VFX team augmented his eyes digitally, added a CGI tail growing out of him, along with some other animated elements to make it appear as if he's continuously growing and changing. (https://www.stanwinstonschool.com/blog/alien-romulus-behind-the-scenes-practical-effects-with-fx-legends-creating-xenomorphs-facehuggers-chestbursters-rook-offspring-spaceships?
- The way it’s described, you’re trying to picture it in your head, and you don’t know how the director is going to create this character,” says visual effects supervisor Daniel Macarin. “ Is it going to look like a Xenomorph? Is it going to be something very unique? Is it going to be something we’ve never seen before?” (https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720/)
- “The first time saw the plates, and this 7-foot [tall] actor in there, in his costume. It was terrifying,” Macarin says. “They did such an amazing job with the look and the feel of that character that we knew that everything that we could bring to it was just going to help.”https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720/
- They put it in the egg, designed and dressed it,” Macarin says. Except the baby didn’t move — and Álvarez wanted audiences to understand that despite Kay’s gory labor, the baby was alive. Macarin’s first dilemma came in finding the right facial expression for the baby Offspring. It couldn’t look cute and it couldn’t be too angry. “You don’t want [the audience] being that empathetic with the baby, you still want them a bit terrified,” he explains. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- ” Chailloleau says. “Even the models and the practical [effects], everything has to fit the way they would have done that years ago. We don’t want to look to CG, so motion is very important, because we could not animate that way 40 years ago.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- It was making sure that people didn’t think that he was trying to attack her, but the mouth is still dangerous,” Macarin says. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- There was freedom to explore a wide range of different designs from horrifying alien entities & mangled mutations to pimple faced teenagers, and I look forward to sharing more of these in the future! https://www.artstation.com/artwork/x33Bz2
- Because Bobroczkyi isn’t a professional actor, Chailloleau explains, “the way he moves is which informed the way they animated the character. “ Considering his big size and the concept of what [the creature] is, he’s giving a lot of new things to watch visually, so I found that to be outstanding.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- When Kay gives birth, the baby was a practical effect. “ Once the baby begins growing (at a rapid pace) and starts crawling towards Kay and Andy, Macarin added in tiny details such as extra blood dripping out of the holes in his back, adding movement to the back of its head and pushing the skin around a little bit, “just to give it that little extra bit of horror that the audience will cringe and react to,” he explains. They also enhanced the creature’s tail, with Chailloleau cycling through numerous iterations of how it would move. Was it moving enough? Was it a part of the body or something with a different brain? They didn’t want it to look like a dog’s tail or a cat’s tail, Macarin notes; it couldn’t make The Offspring look too happy or excited. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- This is a homage to the ’80s, in design style,
- In the end, he looked to Bobroczkyi’s performance, and he took inspiration from Ridley Scott’s “Alien” and James Cameron’s “Aliens.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- “When the first ‘Alien” was done,” Chailloleau says. “It was someone in the back with string and with a bit of help to just put the tail up and the rest followed. … So, the tail is not the focus of the shot; it stays secondary, but it’s still very menacing.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- Adds Macarin: “You don’t get a lot of screen time with this character, so it’s making sure that the audience never has the wrong reaction to it. If they giggle at it or something comes off as funny, then you’ve taken them out of the moment, and we don’t have enough time to probably get them back into the action.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- The Offspring’s mini-mouth also went through several iterations during the design process. The Xenomorph mini-mouth was iconic, hard and straight with hammering teeth, while The Offspring’s juvenile version needed to be softer while edging on dangerous because it’s still growing. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- In the scene, The Offspring moves towards its mother Kay, and the idea was that it was looking to feed. So as it lowers its head, Chailloleau had to make sure the mouth’s movement was connected to The Offspring and that it didn’t have a mind of its own. “https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- Toward the end of the sequence, the action moves out into space (as the station begins to collide with the planet’s rings), which presented its own set of challenges. In terms of The Offspring, there was only so much that Bobroczkyi could perform. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- “When they start saying, ‘We need him to hang from the ceiling. We need him to drop down,’ the actor can’t possibly do that – not in any safe way, anyway,” Macarin explains. “And we can’t replace them with a stunty, because we don’t have 7-foot 2 or 7-foot-5 stunties of his proportions that can do these either … So anything out in space, [Chailloleau] had to take over and build a fresh performance, drawing back on everything that the actor had done in earlier shots.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- Audiences have left the theater wondering about The Offspring’s close resemblance to the Engineers in “Prometheus” and Macarin affirms that referencing the larger “Alien”-universe was the filmmakers’ grand plan. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- “It’s not something that you want to directly connect,” Macarin explains. “But if you hint that there’s a larger story there, there’s more mystery, and maybe we’re just seeing the beginnings of those ideas, it was definitely something that we wanted to explore.” https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720
- Col Price: During #AlienRomulus, encouraged us all to have a go at the hybrid.i dont really do creatures but had a go in nomad sculpt. I know fede actually loved these, great fun to do https://x.com/coldesign_ltd/status/1830859826722656279)
- Simon Green: Alien Romulus: Offspring concept One of Several early design explorations I created for the Hybrid Offspring creature seen toward the end of the movie.
- Simon Green: All we knew in these early phases of pre production was that the creature would be born by a human infected with the DNA of a Xenomorph and possibly Engineers, and the offspring would be some form of hybrid of the three. This gave a lot of creative freedom during the design phase and was a tonne of fun to play a small part of one of my favourite franchises. https:
- Simon Green:
- Simon Green:Mahan was impressed with how seriously Bobroczkyi took on the challenge of becoming the Offspring. “It's an uncomfortable process, and he took it deadly seriously. He started working right away with an acting coach in Michigan, at the university. When he got to Budapest, he had another body movement coach. He didn't really talk to us at all while we were doing the makeup. He'd say good morning but wasn't chatty about anything." Despite his reserved demeanor in the makeup chair, Mahan was blown away by Bobroczkyi's transformation once they got him on set. "He would turn it on. We were like, ‘Who's this guy?’ Like, all of a sudden, he became Boris Karloff from Frankenstein. He pulled off a performance that was as good as any creature performer I've ever seen. I was so proud of him.” (https://www.stanwinstonschool.com/blog/alien-romulus-behind-the-scenes-practical-effects-with-fx-legends-creating-xenomorphs-facehuggers-chestbursters-rook-offspring-spaceships?)
- Early in the film, Kay (Isabela Merced) tells Rain (Cailee Spaeny) that she’s pregnant. As the Xenomorphs unleash terror on Rain and the crew, Kay is captured by one. Rain and Andy (David Jonsson) find her in a cocoon and free her. As the trio fight to escape the alien-infested space station (which is on a crash course with a nearby planet), Kay injects herself with the Weyland-Yutani “Compound Z-01” – made from matter extracted from the Xenomorphs and designed to advance humanity. But when Rain puts Kay into a cyro-chamber so they can get her back safely, something goes horribly wrong and Kay begins to give birth — to something rather horrific, a baby that rapidly evolves to a human-xenomorph hybrid. https://variety.com/2024/artisans/features/alien-romulus-offspring-new-monster-1236109720/
- Variety: In it, Kay (Isabela Merced) gives birth to an unholy hybrid of human and alien DNA; not only does the creature — branded “the offspring” by the filmmakers — resemble the Engineers, the alien race that conceived humankind, but it also echoes the silhouette of the humanoid xenomorph that a cloned version of Ripley births in Jean-Pierre Jeunet’s 1997 film “Alien Resurrection.” Surprisingly, Álvarez says he actually hadn’t thought of the latter connection until his son pointed it out at the film’s premiere. “He had recently watched with a buddy of his all of the ‘Alien’ movies, and when the offspring comes out, he goes, ‘It’s like in “Resurrection.”‘ I hadn’t really processed that that way — but it’s true, it’s this abomination that comes out,” the director says, explaining that he’d actually been more focused on the mythology of Scott’s prequels “Prometheus” and “Alien: Covenant,” which explore the genetic building blocks of humans and aliens both. “I was hoping that people picked up the whole Engineer part of it,” he says. (https://variety.com/2024/film/features/alien-romulus-ending-director-fede-alvarez-resurrecting-ash-1236107526/)
- Fede Alvarez: The black goo is the root of the whole thing that was introduced in ‘Prometheus’,” It’s the root of all life, but also particularly the xenomorphs come out of that thing, which means it has to be inside them. It’s the xenomorphs’ semen, almost. So we thought, if it affects your DNA, and the Engineers clearly came out of the same root of life, it made complete sense to me that [the offspring of a human and a xenomorph] was going to look like that. (https://variety.com/2024/film/features/alien-romulus-ending-director-fede-alvarez-resurrecting-ash-1236107526/)
- Variety: Far from reconciling the various plot lines and chronologies, Álvarez admits that the resulting life form probably raises more questions than answers. “It’s probably a new species, because that mix never happened before.(https://variety.com/2024/film/features/alien-romulus-ending-director-fede-alvarez-resurrecting-ash-1236107526/)
- Fede Alvarez: There were a few creatures from Blade that were referenced at some point [when working on Alien: Romulus], At one point we were doing something very specific [the creature at the end] and everyone was like, “Wait, is that…it reminds me of that guy, the one who opened his mouth into a double jaw that Guillermo created for Blade II. Fantastic". (https://remezcla.com/film/alien-romulus-director-fede-alvarez-explains-guillermo-del-toro-easter-egg-exclusive/ 08.16.24)
- LA Weekly: One of the biggest surprises in Romulus is the third act unveiling of a brand new alien offspring. After a pregnant character injects herself with the extraterrestrial substance derived from the creatures by the corporation, she gives birth to an abomination: a human-Xenomorph hybrid. “It had to feel childlike,” Mahan says, recounting Álvarez’s direction. “It had to have a newborn teenager feel. He wanted it to have acne, and he wanted it to have a feeling of what an awkward teenager would be like, and sort of a baby’s brain. It was all these interesting things because it grows from baby to adult in about fifteen minutes of screen time. Very fast and very, very frightening.” Together, Savannah Suderman, Glenn Hanz and Andy Bergholtz led the charge in sculpting thirteen individual prosthetic pieces that were all later applied to actor Robert Bobroczkyi’s body during shooting. “We wanted to have as much of his real skin showing through as possible,” clarifies Mahan, “And once he’s painted, he was supposed to have shades of the Prometheus engineers.” Legacy also sculpted a tongue for reference, providing a reference for the last-minute CGI addition of a tail sprouting out in real time, which gives the creature a final eerie touch. (https://www.laweekly.com/building-nightmares-shane-mahan-gives-a-behind-the-scenes-dive-into-the-special-effects-of-alien-romulus/)
- A new form of alien appears in Alien: Romulus,a hybrid of xenomorph/human called the Offspring. Scavenger Kay (played by Isabela Merced) is pregnant when she comes onboard the derelict space station. A serum is introduced to her fetus, and the bioengineered Offspring is born. Because of the bioengineering, this new lifeform grows at an incredibly increased rate and quickly becomes larger than human-sized.(https://www.stanwinstonschool.com/blog/alien-romulus-behind-the-scenes-practical-effects-with-fx-legends-creating-xenomorphs-facehuggers-chestbursters-rook-offspring-spaceships?)
- Director Fede Álvarez suggested casting 7-foot, 7-inch college basketball player Robert Bobroczkyi for the Offspring creature in Alien: Romulus. “He was drafted by a college in Michigan, the state I'm from, to play basketball. Someone showed a video of him playing basketball to Fede.” Mahan watched the video and agreed that Bobroczkyi would be perfect for the Offspring role. “Robert's very tall and very thin. He’s got really amazing long arms. Fede asked us, ‘Is this a crazy idea to cast a guy who's never been in a character makeup before, never been in a movie, as our Offspring?’ And I was like, ‘That's not crazy at all because we will never find anybody as interesting as this.’ And so we flew to Michigan and did life casts and digital scans of Robert at his college. Brought everything back and started working.” At that point, "Scott Patton started doing designs on [Bobroczkyi], and the team started breaking down the makeup as sculptures.” (https://www.stanwinstonschool.com/blog/alien-romulus-behind-the-scenes-practical-effects-with-fx-legends-creating-xenomorphs-facehuggers-chestbursters-rook-offspring-spaceships?)
- Hollywood Reporter: Isabelae Merced told me about her really “disgusting scene”
six months ago, and then you also teased it in our last chat. Well,
part of me wondered at a certain point if it got cut, but then it
eventually happened in all its glory. Kay (Merced) gave birth to a
human-Xenomorph hybrid that’s credited as “the Offspring.” How did this
big swing come to be? And how did Ridley and co. react to it? Fede Alvarez: All my movies have a fourth act. It’s the way we write. There’s a moment where the movie feels like it’s over, and then there’s a fourth act, which is fitting because Alien has a fourth act as well. You could even argue that Aliens has a bit of a fourth act with its last set piece. It’s when you think it’s all done and the movie could have ended, but it just gives you a last set piece that tends to go to really extreme places. (https://www.hollywoodreporter.com/movies/movie-features/alien-romulus-ending-offspring-fede-alvarez-1235978411)
- Fede Alvarez: Last night, I felt like that’s what was happening. We got into the end of the third act and everybody was relaxing and going, “Okay, it wasn’t as scary as I thought it was going to be.” But if they turned around and looked at me, I’m taking my jacket off and rolling up my sleeves, because I’m about to really give it to them and go where it has to go. And, by contrast, it hopefully feels terrifying and intense. I could do that the whole movie, but it would be unbearable. It would be too much. It would be one of those experiences where you go, “I can’t do that again.” But, because of that good dose at the end, it hopefully gets you out of the theater with your heart beating. I’m looking to make you feel things and give you emotions that stay with you.(https://www.hollywoodreporter.com/movies/movie-features/alien-romulus-ending-offspring-fede-alvarez-1235978411
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