Meet Fede Alvarez, the Uruguayan director whom Hollywood trusts with its horror babies

As I delve into the captivating story of Fede Alvarez, a filmmaker hailing from Uruguay who rose to fame in Hollywood with his unique perspective and unwavering loyalty to his roots, I can’t help but feel an immense sense of admiration for this remarkable individual. Born during a military dictatorship, Alvarez’s journey is not just about making movies; it’s about overcoming adversity, following one’s passion, and maintaining the authenticity that comes from humble beginnings.

Fede Alvarez was 12 in 1990 when he pressed play on a destiny-shaping VHS tape.

As a budding film enthusiast back then, I was moments away from experiencing one of the earliest “Alien” kill scenes in its original form. Somehow, my journalist father had managed to secure an exclusive making-of home video release, filled with behind-the-scenes glimpses and clips from the iconic sci-fi horror masterpiece.

At that moment, the unfamiliar spectacle sent shivers down Alvarez’s spine, as by then he had developed a keen fascination for any horror film he could lay his hands on, due to his obsession at such an early age.

“Alvarez, aged 46, vividly recounts in his distinctive Rioplatense Spanish, used by Uruguayans and Argentines alike, how he was utterly taken aback upon witnessing a dragon of such blackness, appearing to be fashioned from chains, suspended from the ceiling without any grasp of the situation, as we chatted in an open-air lounge at his spacious home in Los Feliz.”

After several decades since his initial encounter with the deadly xenomorph, Alvarez has taken on the dual roles of co-writer and director for the latest addition to the 45-year-old “Alien” franchise, titled “Alien: Romulus.” This new film fits into the narrative timeline between the original “Alien” from 1979 directed by Ridley Scott and its sequel, “Aliens,” directed by James Cameron in 1986.

Starting August 16, “Romulus” hits theaters. The story opens on a secluded mining settlement where a worker named Rain (Cailee Spaeny) yearns to flee, accompanied by her artificial companion Andy (David Jonsson), who resembles a robot and acts as her guardian in place of a parent. Together, they join a group of rebellious youths who seize an abandoned spaceship equipped with cryogenic freezing technology to transport them to a secure planet where time won’t progress.

These fresh travelers, nonetheless, remain unaware that this cosmic spaceship conceals a fierce beast, a creature which we, the viewers, have long been acquainted with. As the humans strive to defend themselves, Alvarez incorporates references to the legendary films framing his narrative, these acknowledgements appearing as memorable dialogue, an unexpectedly quirky side character, and the raw ambiance generated by authentic technology that cannot be replicated artificially.

As a filmmaker who’s had two smashing hits under my belt – the remake of Sam Raimi’s iconic “Evil Dead” in 2013 and the original concept of “Don’t Breathe” in 2016 – I’ve often been asked, ‘If you could work on any project now, what would it be?’ And without fail, my answer has always been ‘Alien.’ That’s because ever since I was a kid, the Alien franchise held a special place in my heart. So, when given the opportunity to contribute to this legendary series, I jumped at the chance!

However, while Scott was busy working on “Alien: Covenant” at that moment, Alvarez received a call from the studio a few years later, following the absorption of 20th Century Fox by Disney. They were interested in his idea for an “Alien” film and asked him to write and direct it. Despite the studio’s interest, they made it clear they wouldn’t touch the “Alien” franchise without Scott’s approval. As a dedicated fan of the series, Alvarez was content with this arrangement.

According to Alvarez, he needed Ridley’s approval for it, showing respect towards the seasoned professional while clearly excited about the challenges involved. Working alongside Scott was a crucial factor in Alvarez’s eagerness to direct “Romulus.” He had to ensure that Ridley approved both the concept and the course of action. Everything, as they say, begins with Ridley.

Initially, Alvarez connected with Scott via Zoom to discuss the main ideas behind his “Alien” chapter. Though he has spent over a decade in Hollywood and has encountered numerous role models, Alvarez confessed feeling star-struck.

“Alvarez laughingly recounts feeling like a jittery child when he first learned about meeting Ridley Scott, and each subsequent encounter has been just as nerve-wracking. He compares it to visiting the Oracle of Delphi,” Alvarez explains.

Over a video conversation, a jovial 86-year-old named Scott (speaking from a conference room in Los Angeles), shares with me his enthusiasm about Alvarez being “positive news” for a team that requires “a bit of revitalization.”

“I’ve found that every franchise needs a fresh spark to keep it going; otherwise, it risks fading away like an unplayed ball on a field. Fede, however, is brimming with enthusiasm, leaving me no choice but to take a step aside and allow him to take the lead.”

According to Scott, crafting a film’s script is both challenging and crucial. However, Fede had a well-defined plan for his script, which was clear, albeit lengthy. He recalls that they spent some time delving into the script details since screenplays tend to be extensive by nature.

Every time Alvarez hit a significant point in his progress, he’d check in with Scott, who offered detailed feedback – especially following the initial viewing of “Romulus.”

According to Alvarez, Ridley was the one I’d consult whenever I needed to share the location of things, engage in debates with, seek approval from, and receive both his praise and constructive criticism. In essence, it was a creative partnership where our ideas would meet and blend.

Scott, who says he personally hates receiving advice, didn’t want to meddle with Alvarez’s process too much. “It is hard work with anybody and their mother giving you advice — the last thing you want at a certain point is advice,” Scott says, adding in his British burr with a confidence that few have earned as fully, “I do not need advice. If I fall on my own sword and therefore lie bleeding, I say, ‘It was my fault.’”

He limited his feedback to Alvarez mostly to questions about timing. “Films are nearly always too long, and most directors never believe that a film can be too long,” says Scott, noting the dangers of “bum ache” that occurs when a movie approaches three hours. (A longer cut of his most recent epic, “Napoleon,” has just been announced, with a running time of 205 minutes.)

“Scott added genuinely, expressing his confidence that Fede has another great idea in store since he believes this will be very successful.” “Fede is exceptionally talented,” Scott notes.

Alvarez was inspired to create an “interquel” due to his appreciation for the visual style of the first two “Alien” movies, specifically their gritty, realistic interiors, basic video displays and control panels, and heavy airlock doors. To him, “Romulus” is a period piece that draws upon the technology from that era within the “Alien” franchise’s timeline.

According to Alvarez, he was trying to explain the visual appearance, stating, “I strive to stay true to the original design and avoid significant departures.” In his opinion, deviating too much from established styles might disrupt the viewing experience for the audience.

Simultaneously, Alvarez believes modern viewers are drawn to fresh tales within recognizable realms – stories where they can find common ground with characters and plots. Hence, he initially chose not to feature Ripley, the iconic character portrayed by Sigourney Weaver, in his work.

In my perspective, it’s crucial to avoid having a young crowd leave a movie theater puzzled, thinking, “Who is this person? Why does the entire cinema seem ecstatic about him when I’ve never heard of him?” It’s a situation I prefer to steer clear of.

In Alvarez’s perspective, the fundamental element of “Alien” lies in the creature and its development, beginning with the terrifying spider-like facehugger, moving to the chestburster that left an indelible impact on early viewers, and culminating in its transformation into a monstrously humanoid form. He believes that all the unexpected plot developments are rooted in this intriguingly designed evolution process. Interestingly, these distinct stages can also be found in “Romulus”, with some added elements.

“The more mysterious a creature remains to me, the more terrifying it becomes,” I find myself musing. “It’s our fear of the unknown that escalates, especially when these unfathomable beings carry even a hint of our own humanity.”

A significant aspect of Alvarez’s plan was to create a film using authentic sets and special effects, not because he was involved in the usual discussion about the realism of CGI. Instead, his motivation is deeply rooted in something more fundamental – the very same raw instinct that fuels a journalist.

“Alvarez doesn’t worry about aesthetics; he just wants to venture somewhere. His dream is to embark on a space voyage, documenting the extraordinary events unfolding around him with his camera and sharing the experience upon return.”

Alvarez was granted freedom to pursue other collaborative ventures with the intention of achieving a sense of tactility. For a sequence involving a lab rat that revives after death, Alvarez recruited Tippett Studio, helmed by Phil Tippett, a renowned effects master, to animate a model rodent using stop-motion technique. To design the spaceships, he employed Ian Hunter, a skilled effects artist known for his work on “Interstellar”, who crafted them as miniatures. Some of these miniatures were captured directly, while others were scanned and transformed into CGI assets, reflecting the physical structures built by hand.

As a film enthusiast, I can tell you that Alvarez himself confesses he’s not drawn to the idea of making a movie without any constraints. Instead, such an opportunity would fill him with worry rather than joy.

“He wonders why you’d prefer it,” he says. “Even cinematic classics like ‘Alien’ and ‘The Godfather’ weren’t created under absolute artistic liberty; instead, they emerged from the tension between a studio and a director, each with their unique visions. The resulting struggle often births the film itself.” (Or more casually: “He’s curious about your choice, as even iconic movies like ‘Alien’ and ‘The Godfather’ didn’t come from total creative freedom but rather from conflicts between studios and directors.”)

In his late twenties, Alvarez began creating films under the demands of clients purchasing advertisements in his home country, Uruguay. He now expresses that he enjoys greater creative liberty making movies in Hollywood compared to his earlier days producing a budget-restricted yogurt commercial in Uruguay.

During that time period, the director finished a brief movie titled “Panic Attack!”, where a massive robot (he did a significant portion of the programming and graphics himself) assaulted Montevideo. In 2009, he posted it on YouTube just to show his friends. However, by the next day, views skyrocketed — as we commonly express nowadays, it had spread rapidly online, or “went viral” — and his inbox was filled with emails from Hollywood studios and talent agencies.

In just a few short days, Alvarez – who had fortunately honed his English during his masters studies in Amsterdam – had secured a contract to create “Evil Dead.” He remembers being troubled by an article from The Los Angeles Times that was published then, casting doubt on whether he truly was the genuine talent and the industry’s rising prodigy.

“All of a sudden, I came across an article predicting a film career for me in Hollywood, and a producer remarking, ‘This man is going to be a star. He’s the genuine article,'” Alvarez reminisces, wondering, “Who did I make such a promise to?”

In Uruguay, where movie production is scarce, news about his Hollywood debut grabbed attention. Despite being born under a harsh military regime, Alvarez initially aspired to be a classical pianist, given the limited opportunities for fiction filmmaking in his country. He began creating short films out of passion rather than expectation.

Initially discontented, Alvarez’s father, who nurtured a desire for film directing but didn’t manage it himself, wasn’t satisfied with Alvarez pursuing artistic pastimes. As Alvarez looks back, he remembers that when his father discovered him heading in the same direction, he tried to halt him at every opportunity, which paradoxically fueled Alvarez’s determination even more.

Upon reaching Los Angeles, Alvarez encountered Raimi, who served as an executive producer for the remake of his “Evil Dead.” In this new version, Raimi acted as a mentor to Alvarez.

“Sam made a significant impact on us by encouraging our ability to write, as Alvarez explains. His goal was to shield our unique creativity from the influence of Hollywood,” says Alvarez, referring not only to himself but also to his Uruguayan companion Rodo Sayagués in the plural form.

In every movie feature script that Alvarez has ever penned, he has collaborated with Sayagués, a friend Alvarez has known since their days as pre-teens. Despite numerous life-altering chances, Alvarez has consistently shown unwavering loyalty to the friends who ignited his passion for filmmaking in Montevideo, a moment when working in Hollywood seemed implausible.

Alvarez first utilized a VHS camcorder, which belonged to his friend Christian Zagia, as a youngster. Zagia received this camera as a present from his mother’s boyfriend. Zagia later appeared briefly in the movie “Alien: Romulus” and played a part in both installments of “Don’t Breathe.”

As a film enthusiast, I must say that the last two thrillers I watched were masterfully captured by Pedro Luque, an exceptional Uruguayan cinematographer who partnered with Alvarez in “Panic Attack!”. This man behind the lens recently showcased his talent in the Oscar-nominated film “Society of the Snow”, and on “Romulus”, he takes on a dual role as both the director of the second unit.

“Alvarez expresses deep pride in not having come here on his own, but instead bringing others from Uruguay with him,” he says. “For every film I make, I aim to involve more and more of my compatriots.”

There’s nothing more genuinely Latino, I jest, than receiving an invite to a gathering and asking your friends to tag along. Alvarez chuckles in agreement: “Absolutely!”

As a cinephile, I’ve always been just another moviegoer, taking in the magic on screen. But one day, fate stepped in and granted me the extraordinary opportunity to switch sides – to become a filmmaker practically overnight.

According to Alvarez, my instinct has consistently been to pen stories that resonate with me, uninfluenced by Hollywood, fan expectations, or external pressures. My aim is to keep these narratives as authentic and untainted as possible.

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2024-08-10 01:06