The Weyland-Yutani Corporation, a recurring entity in the Alien movie franchise, has a persistent obsession with profiting from the dangerous xenomorph creature, despite repeated failures and countless casualties. Similarly, Hollywood has been fixated on utilizing CGI to de-age or resurrect beloved actors, and “Alien: Romulus” is no exception.
De-aging has become a common practice in the film industry, as filmmakers attempt to recreate younger versions of iconic actors like Harrison Ford, Will Smith, and Robert De Niro. Additionally, CGI has been employed to bring deceased actors back to life, as seen in Peter Cushing’s portrayal of Grand Moff Tarkin in “Rogue One.”
In “Alien: Romulus,” the filmmakers try to replicate this resurrection technique by featuring an identical model of the murderous android from the original “Alien,” portrayed by the late actor Ian Holm. While the filmmakers claim to have used animatronics and a performance from actor Daniel Betts to bring Holm’s likeness to the screen, there is an obvious presence of CGI.
The use of CGI to replace actors with digital replicas was a contentious issue during the recent actors’ strike. Director Fede Álvarez recalls hearing concerns about being replaced by digital actors during the filming of “Romulus.” However, Álvarez dismisses these fears, emphasizing the cost and complexity of using CGI to create a character, stating that hiring an actor is still necessary for the performance.
From a financial standpoint, using CGI to replace actors may not be a viable option yet, as it requires a significant investment in terms of personnel and resources. Furthermore, despite advancements in visual effects, the results of de-aging or digital resurrection efforts still fall into the uncanny valley, where the artificiality of the CGI is glaringly obvious.
“Romulus” serves as a prime example of this issue. Initially, the character Rook, played by Ian Holm, is introduced through suggestion and obscured visuals, creating a sense of creepiness without relying on digital resurrection. However, when the movie reveals Rook’s face and the obvious CGI becomes apparent, it detracts from the overall viewing experience.
The constant pursuit to perfect CGI replication of actors demonstrates the determination of visual effects artists, but it has yet to produce convincing results. Despite the close approximation to reality, every de-aged actor or digital ghost is immediately recognizable as artificial. Instead of being immersed in the story, viewers are reminded of the CGI’s artificiality.
Ultimately, the use of CGI to resurrect or de-age actors in films like “Alien: Romulus” raises questions about the authenticity and effectiveness of such techniques. While the financial implications and concerns about job security for actors remain relevant, the current state of CGI replication still falls short of achieving a convincing portrayal. As we continue to push the boundaries of technology, it remains to be seen whether filmmakers can truly overcome the uncanny valley and create seamless digital renditions of beloved actors.