Film director Christophe Gans
and his appreciation of Alien .

leading from

Film Director Christophe Gans,
maker of movies such as Beauty And The Beast, (2014), 
Silent Hill (2006),  Brotherhood of the Wolf (2001) 
and Crying Freeman (1995) (see IMBD)

a) Seeing Alien
Christophe Gans went to see the movie Alien when it first came out in 1979 and he was eighten at the time. It was one of the most staggering movies thst had been produced in the second half of the twentieth century. He could see that the filmmakers inspiration was perfectly at the crossroads of several arts, not only the art of film. In that way it seemed totally unique in its genre and close to contemporary art. The movie destabalized him and put him in a particular state. For him, the way the movie created interesting forms because the director was a true inventor, in fact it was like a dream experience. And so his vision of cinema had changed when he left the auditorium.

b) Nietzschien considerations
He considered Scott's Alien to be a very Nietzchien vision of a perfect monster and so Blade-Runner was with its Roy Batty as the enemy and Prometheus continued with these with a prologue where the member of the Engineer race is a statuesque humanoid seeds the plant, he is also a being like a divine statue with a perfect face and an ideal of perfection

c) Veneration for the enemy
Christophe also looked at the idea about post-colonial cinema starting with films such as Cy Endfield's film Zulu in 1964, that showed that if we lost a battle, it was because the enemy were really stronger. He would also see around 1960s, the perception of the monster as as a refind romantic creatures, such as in the Hammer films with English director Terence Fisher's Curse of The Werewolf (from 1961), and Dracula (1958). What he also noticed in such English film makers works were that there was a kind of veneration of the opponent, the enemy, the thing that is dangrous, and so it was when it came to Alien, Ridley was another English film maker, and the alien monster is of such power, such survival capacity to adapt to new environments. This was the English approach, to make the opponent not someone below us, but very superior, and in that way it gives nods to Fisher in the film.

Sources Quotes

(I do apologise for some parts of the Google Translations, but they'll give you a rough guide to what is being said)
  1. Christope Gans : Scott, qui est un de mes cinéastes favoris et avec qui j’entretiens des rapports assez évidents, a cette vision très nietzschéenne du monstre, même dans Prometheus (2012) où, dans le prologue, le monstre statuesque ensemence la planète. C’est une statue divine au visage parfait, un idéal de perfection, comme les monstres d’Alien, comme les replicants de Blade Runner (1982). Tout ça travaille l’idée – et c’est une idée très anglaise – que l’ennemi nous est supérieur : ceux qui nous confrontent nous sont supérieurs et donc nous allons devoir nous dépasser dans l’affrontement et donc que nous deviendrons meilleurs précisément parce que notre ennemi est supérieur à nous. Cette idée se retrouve aussi dans tout le cinéma postcolonial, à commencer par des films comme Zulu (1964) de Cy Endfield et qui dit que si nous avons perdu, c’est parce que les mecs étaient vraiment plus forts que nous. (Google translation)Scott, who is one of my favorite filmmakers with whom I have the fairly obvious reports, this was very Nietzschean vision of the monster, even Prometheus (2012) where, in the prologue, the statuesque monster seeded the planet. It is a divine statue perfect face, an ideal of perfection, as the monsters of Alien like replicants of Blade Runner (1982). All this work the idea - and it is a very English idea - that the enemy we is greater: those that confront us we are superior and therefore we will have to overtake us in the confrontation and therefore we become better just because that our enemy is superior to us. This idea is also found throughout the postcolonial cinema, starting with films like Zulu (1964) Cy Endfield and said that if we lost, it was because the guys were really strong for us. (http://www.panorama-cinema.com)
  2. ecran-miroir: On parlait de références, le traitement de la Bête fait penser à un autre genre, le film de loups garous, il y a beaucoup d'images qui semblent sorties de classiques de la Hammer, c'était conscient ? (Google translation) There was talk of references, the treatment of the Beast is reminiscent of another kind, the wolves film werewolves, there's a lot of images that seem outputs of classic Hammer was conscious?

    Christophe Gans: Oui, car la Bête est en fait un surhomme, comme par exemple Darkness le diable rouge de Legend, qui est littéralement un surhomme, c'est-à-dire […] plus grand, plus fort, plus puissant… Et pour moi, la Bête c'est ça. Elle saute plus haut, elle est plus forte, elle est plus puissante, elle est plus élégante, elle est mieux à tous les points de vue. Elle est raffinée, c'est une version raffinée en fait de nous-même. La perception du monstre comme créature romantique raffinée, elle a commencé dans les années 60 avec les films de la Hammer et notamment La Nuit Du Loup-Garou, et Dracula évidemment, et j'adore Terence Fisher et je trouve que, et d'ailleurs c'est quelque chose que je trouve chez tous les cinéastes anglais, il y a […] une espèce de vénération de l'adversaire, de l'ennemi, de la chose qui est dangereuse. Par exemple c'est pas étonnant pour moi que Ridley Scott ait fait Alien. Le monstre d'Alien est d'une telle puissance, d'une telle capacité de survie de se conformer à de nouveaux environnements et tout, ça représente bien cette démarche anglaise qui consiste toujours à faire de l'adversaire, non pas quelqu'un inférieur à nous, mais très supérieur. Et d'une certaine manière, Fisher je trouve ça chez lui, c'est pour ça que c'est absolument conscient les clins d'œil à Fisher dans le film et au cinéma anglais.  (Google translation)Yes, because the Beast is actually a superman, like the red devil Darkness Legend, which is literally a superman, that is to say [...] bigger, stronger, more powerful ... And for me, the beast it is. She jumps above, it is stronger, it is more powerful, it is more elegant, it is better to all points of view. It is refined, it is a refined version actually ourselves. The perception of the monster as refined romantic creature, she started in the 60s with the Hammer films including The Night Of Werewolf, Dracula obviously, and I love Terence Fisher and I find that, and besides, this is something I found in all English filmmakers, there is [...] a kind of veneration of the opponent, the enemy, the thing that is dangerous. For example it is not surprising to me that Ridley Scott has made Alien. The Alien monster is of such power, such a survival capacity to comply with new environments and all, it is well that English approach always is to make the opponent, not someone below us, but very superior. And somehow, I find that Fisher home, that's why it's absolutely aware winks to Fisher in the film and English films..(http://www.ecran-miroir.fr)
  3.  bigouden: Vous donnez carte blanche à Ridley Scott et son film Alien qui sera donc également projeté au cours du week-end...
    (Google translation) You give carte blanche to Ridley Scott's Alien and film will be also screened during the weekend ...
    Christope Gans : Ridley Scott est un de mes cinéastes favoris et Alien est le summum ! C'est un film qui crée des formes, c'est une expérience onirique. J'avais 18 ans quand je l'ai vu pour la première fois (Alien est sorti en 1979, ndlr). Alien m'a déstabilisé, mis dans un état très particulier. C'est un film totalement unique dans son genre, proche de l'art contemporain. Totalement hors du commun...(silence) Selon moi, il faut rester fasciné par le cinéma. Pour moi, c'est un endroit où on va avec ses petites appréhensions, un endroit qui doit marquer durablement.(Google translation)Ridley Scott is one of my favorite filmmakers and Alien is the ultimate! This is a film that creates forms, it is a dream experience. I was 18 when I saw him for the first time (Alien came out in 1979, ed.) Alien destabilized me, put in a particular state. This is a totally unique film in its genre, close to contemporary art. Totally out of the ordinary ... (silence) I think we must remain fascinated by the cinema. For me, this is a place you go with small apprehension, a place that should mark durably.(http://www.bigouden.tv/Actualites-3617-Penmarch_Christophe_Gans_au_bout_du_monde..html)  

  4. letelegramme.fr: Pourquoi avoir choisi « Alien » de Ridley Scott ? (Google translation) Why did you choose "Alien" by Ridley Scott?
    Christophe Gans: C'est un des films les plus sidérants qui ait été produit dans la seconde moitié du XXe siècle. C'est un film fait par un cinéaste qui est un véritable inventeur de formes, un cinéaste dont l'inspiration est parfaitement à la croisée de plusieurs arts, pas seulement l'art cinématographique. Le film de Ridley Scott reste unique, complètement visionnaire. Je me souviens précisément du jour où je l'ai vu et à quel point il m'a frappé. Ma vision du cinéma n'était plus la même quand je suis sorti de la salle.(Google translation) This is one of the most staggering movies that have been produced in the second half of the twentieth century. It is a film made by a director who is a true inventor of forms, a filmmaker whose inspiration is perfectly at the crossroads of several arts, not only the art of film. Ridley Scott's film is unique, completely visionary. I precisely remember the day when I saw it and how it struck me. My vision of cinema was not the same when I came out of the room.

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