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The
Making Of INSEMINOID: By Tony Meadows |
Tony: As a director, you
probably receive dozens of scripts, sent to you on spec, from which you might
choose your next project. Was Inseminoid one of these, or
did it come to you with the specific idea of you directing it? Norman: Yes, it is true that
when you start directing films, you receive a great many scripts on spec.
However, Inseminoid was written on the understanding that I would
be the director. I was set to direct a film called Gargoyles,
which Richard Gordon was to produce with a small production company in England.
Locations had been found and I was doing some work on the script when suddenly,
the two men who ran the production company disappeared. They just vanished,
and in fact I’ve not seen them to this day. So that was the end
of Gargoyles. Richard was keen to do another production, so I started looking for a suitable
script. Special effects make-up man, Richard Maley, and his wife, actress
Gloria Walker had invited me to their first wedding anniversary (Nick and Gloria
met while working on, Satan’s Slave). I mentioned that I was looking
for a script, and two or three weeks later, they presented me with the first
draft of what was to become Inseminoid. At this time, the script was called Doomseeds (The title had to be changed
because of the similarity with the 1977 film, Demon Seed, in which
Julie Christie gives birth to a computer’s baby). The script needed
a great many changes, but I liked the basic story and I immediately sent it
to Richard Gordon, who also liked it…and so Inseminoid was
born. Tony: At the time of its
release, the film was called an out and out rip-off of Alien. What did
you think of that? Norman: In fact before
the film was released, people were saying it was an Alien rip-off,
and as I have said many times before, we had not seen Alien at
the time of writing Inseminoid. Alien wasn’t
released in the UK until several months after we’d finished our
script. When we did get to see it, we were equally amazed at the “similarity”,
which was quite uncanny at times. On hearing the rip-off rumours, 20th
Century-Fox considered taking action against us, but agreed to wait until they
could see Inseminoid, and judge for themselves. When the
film was finished, we shipped a print out to Hollywood for 20th Century-Fox
to see. They agreed it was not an Alien rip-off, and in
fact, the head of Fox sent us a very nice letter saying how much he enjoyed
the film and wished us luck with the release. I must confess that being
asked a great many times about the Inseminoid/Alien similarity
did become tiresome, although I agree it is an obvious comparison. Everyone
seemed to forget that Alien itself was a rip-off of the 1958 film,
IT! The Terror From Beyond Space. There have been a great
many Alien look-alikes which no-one ever mentions. And the straight-to-video
film, Within The Rock is a complete copy of Inseminoid –
shot for shot at times. I take this as a compliment, rather than getting
angry. And coming back to the questions about the Alien/Inseminoid
similarity, I find it flattering that anyone can compare Alien,
which cost in the region of thirty million dollars, with Inseminoid
which cost less than a million pounds….we must have done something right. Tony: What was the duration
of filming, and did you complete it on time? Norman: The schedule for
principal photography was four weeks; the first day being Monday 12th
May 1980. The first three weeks we were on location at Chislehurst Caves
in Kent, and then we moved into Lee International Studios in London for the
fourth week. On completion of the principal photography, we moved into
the small Rank Studio in the basement of Film House in Wardour Street for one
week, where we did various special effects shots, close-ups and pick-up shots.
We also went to Gozo, which is a small island off Malta, for two days to shoot
the alien landscape. Why go so far to shoot what looked like little more
than dried, flat ground? The answer is simple: guaranteed good weather.
We needed good, strong sunlight, and…. well you know the weather problems
in England. It was a tough schedule and we did run over by just two days. Tony: You said the main location
shots were filmed in the Chislehurst Caves. They gave a great atmosphere
to the film itself. Did you have any problems filming there, and if so,
what were the most difficult aspects? Norman: There’s no
doubt the caves at Chislehurst provided a visual quality that was far greater
than the budget would have allowed us to build in the studio. The script
called for an underground complex, with numerous tunnels and passages going
off in many directions. Well strange as it may seem, caves are one of
the most expensive sets to build in a studio. Much more than a standard
wall set. The reason being that you need to build a very strong structure,
which is then covered with chicken-wire and plaster to create a cave surface.
As you can imagine, the weight is enormous. Even if we had decided to
build a set, we would probably only have been able to afford one passage, which
would be very boring indeed. Chislehurst Caves on the other hand, is something
like twenty two miles of man-made tunnels. From the point of view of the film, the caves were a wonderful location, which
certainly gave added production value. But working there for a minimum
of twelve hours a day, six days a week, was another matter. It was very
cold and very damp, and because of walking on the uneven ground all day,
everyone suffered with leg cramps. Also, most of the cast hurt themselves
in one way or another during the shoot. Nothing serious I’m pleased
to say – mainly twisted ankles and wrenched backs – due once again
to the uneven surface. The caves are chalk, not rock, but it’s still
hard when you fall on it! I must mention that even with the long working hours and appalling conditions,
there was never any complaint from the cast. They suffered the cold far
more than the crew, because for much of the time they were wearing just a thin
T-shirt and thin trousers. Obviously there were no dressing rooms or make-up
rooms in the caves, so up in the car-park we had a group of caravans which acted
as a production office, dressing-room and make-up department. At the end
of the day there would be a sight I will always remember. I only wish
I had taken a photograph, because there in the car-park would be Judy Geeson,
Stephanie Beacham, Victoria Tennant and the rest of the cast washing off the
make-up and dirt, and their hair, in buckets of water. Just kneeling in
the car-park. No running hot water – just out of the kettle, into
the bucket and wash your hair….an amazing sight! Tony: What format did you shoot the film in? ( You can get as technical
as you like here, Norman, there are quite a few “techies” out there). Norman: We shot the film on 35mm Eastman Kodak “Rochester”
stock, using a Mitchell camera with anamorphic prime lenses. I feel I
should explain the reason for “Rochester” stock. You can get
Eastman Colour Kodak stock in England and just about everywhere else, but Rochester
stock is only produced at the Eastman Kodak laboratory in Rochester, which is
on the east coast of America. So what’s the difference? Well
I don’t know the full technical reason, but I’m sure it must have
something to do with its chemical make up, but the end result is that the picture
has a sort of blue tinge, and it may be a kind of illusion, but it also produces
an incredibly sharp image and what I would term as the “American”
look. The stock for Inseminoid was shipped from the States.
Of course, full credit for the wonderful look the film has, must go to the brilliant
Director of Photography, John Metcalf. The Mitchell camera was supplied by Joe Dunton Cameras, as was the anamorphic
prime lens. Joe Dunton had the lenses made for him in Japan, and we were
the very first production to use them. All companies have a name for their
‘Scope lenses, CinemaScope, Metroscope, Hammerscope, even Bingoscope,
etc. but when we asked Joe what he called his system, he said he hadn’t
thought of a name; so although it doesn’t appear in the credits, we told
everyone we were shooting in “DuntonScope” Tony: I once read somewhere
that your preference is CinemaScope. Why is that? Norman: It’s true,
my favourite screen ratio is CinemaScope. I fell in love with the shape
way back when as a kid, I saw the 20th Century-Fox promotional film
for CinemaScope, which featured the Fox orchestra, at my local Odeon.
And then, of course, The Robe a few weeks later. I like
‘Scope, not just because it gives the film a “bigger” feel
to the production, but because to me it is a more natural image. With
our own eyes, we look at the world in CinemaScope, not Academy. We make
the effort to look up or down, whereas our normal vision is in ‘Scope.
I feel very lucky to have made three films in ‘Scope. Loving
Feeling and Satan’s Slave were shot in Techniscope,
a wonderful system for low-budget film production, as it doubled your film stock
by only using half the frame, and you didn’t need to use expensive lenses
on the camera. All good points for convincing the producer to shoot in
‘Scope. The third film was, of course, Inseminoid,
which I really wanted to shoot in ‘Scope. At first I had a bit of a fight
with the backers, because they were worried about sales to television which,
at that time, was very anti CinemaScope. Fortunately, they changed their
minds. Tony: What kind of reception
did the film receive on its release? Norman: It’s not really
possible for me to give a straight forward answer, such as the film had a wonderful
reception on its initial release, or that the critics absolutely hated the film.
Because, unlike the blanket release films get today, by that I mean they tend
to open everywhere at the same time, it was normal in the days of Inseminoid
for a film to open in one area first, and then move around the country region
by region. As a result it could take quite a long time for a film to be
seen throughout the UK. Inseminoid opened in the Midlands on
the 22nd of March 1981, playing at 65 theatres. I remember
attending a press reception and doing radio interviews at the EMI Cinema in
Stoke-on-Trent. The film didn’t play in London until much later
in the year. I think it was around October. Of course during this
period, the film was also playing in various parts or the world, starting in
Germany at the end of January 1981. I my diary for that year, I have a
note on the 10th of February which states, Inseminoid going big
in Munich and Berlin”. Even without a countrywide review, Inseminoid was generally well
received by the critics, and more importantly, by the cinema-going public.
It gained hold-overs in many parts of the country and reached the number 5 position
in the UK top films. In France it reached number 7, and in America it
was listed as one of the top ten best films by the Los Angeles Times.
However, it must be said that not everyone liked the film. BAFTA said
they would like to screen Inseminoid prior to the London opening,
and on the 21st of April the film was shown at the Academy’s
headquarters in London. I decided against sitting in on the screening,
and remained in the lounge chatting with the Production designer, Hayden Pearce,
and Assistant director, Gary White. When the film ended, the cinema doors
burst open and a group of what I can only describe as more senior members of
the British Film Establishment came out. Red faced and very angry, they
hurried to the bar for a large port and double brandy. “Disgusting!”
they said. “Commercial rubbish!..... Not the sort of
thing the Academy should be showing…. And certainly not the kind of film
the British Film Industry should be making!” Inseminoid also managed to offend a number
of women’s groups, who would write to their local newspapers and cinema
managers demanding the film be banned, on the grounds that it was disrespectful
to women, and in particular, it was offensive to all would-be-mothers.
It seems it is quite common for pregnant women to have nightmares about giving
birth to some kind of monster. Of course, all their complaints and their
letters which were printed in the local papers only helped to increase the queue
at the box-office. On the other hand, there was one occasion when I fully agreed with the complaints.
It was when someone in the publicity department thought it would be a good idea
to do a mail-drop to advertise the films arrival. I can’t remember
in what part of the country this was done, but a flyer was put through the letter
box of every house in the area. On one side of the flyer in bold white
letters it said, WARNING! An Horrific ALIEN BIRTH, and on the other side it
announced….. A violent nightmare in Blood! INSEMINOID At
a Cinema Near You SOON! Plus two colour photographs. One
of a screaming Judy Geeson and the other a naked girl cowering from a large
alien monster. The problem with mail-drops, is that you have no way of knowing who lives in
the house, or who will see it first. It could be a pregnant woman, and
old lady, or even worse, a young child. So it was not such a good idea.
There were no more mail-drops. Tony:
I see that John Scott scored Inseminoid, he worked on Satan’s
Slave too, what is his association with you and what made you choose him from
the rest of the field. Norman: I first met John Scott when I was working as the assistant
editor and assistant sound editor, on a 70mm promotional film for Shell
calledShellorama, which was to be shown as part of the Cinerama
programme at the London Casino Cinema, in Old Compton Street.
The film contained no dialogue, just amazing visuals and sound effects,
and the director, Richard Cawston, was looking for a composer who could
produce a score to compliment these elements. Somebody suggest he
consider John Scott, and how right they were, because John produced an
amazing music score which perfectly matched the excitement and splendour
of the films images. During a break in the recording session, I mentioned to John that I was planning
to make a short film entitled, “Fragment” and asked his advice on
how I should go about getting music. To my delight he offered to do the
score for me. In fact John not only composed the music, but he also played
on the recording with members of the Johnny Scott Quintet. When I got the opportunity to direct my first feature film, “Her Private
Hell”, John Scott was naturally my first choice for the music, and again
for “Loving Feeling” and “Satan’s Slave”.
John is a joy to work with, and not only does he produce some of the very best
music ever, but he also has the ability and skill to produce a full and rich
score no matter what restrictions the budget may impose. Inseminoid
is a perfect example of that unique skill, because both John and I would have
liked a full orchestral score for the film, but there really was no way the
budget would allow this to be. John didn’t want to create
a score which was ‘small’ in its sound, as it would not have matched
the visual style of the film, so he decided to produce the whole score electronically.
The electronic score is much more commonplace today, but at the time it was
quite experimental. The creation was very complicated and an enormous
task for John. He would spend hours and hours multi-tracking.
Hundreds of tracks were mixed down to produce a particular sound. No-one
had ever gone to that extent in recording an electronic score, and I believe
the end result is an amazing achievement. Tony: Did you have any say as to who
made up the crew i.e. Director of Photography, etc. Norman: Yes I did.
The director is allowed to choose the key technicians he would prefer to work
with. A film is made by a great many highly skilled and talented people,
and a big part of a directors job is to bring all the different skills together
and focus their attention on the shot in hand. Very much like the conductor
of a large orchestra. To do this well, it is very important that
the director has people working with that he can relate to and communicate ideas
with easily. He must have complete faith in their abilities. Of
course it’s not necessary for the director to select every member of the
crew. Inseminoid for instance, had a crew of around seventy
five people. In most cases the director will only select key people, usually
the ‘head of departments’ such as the Director of Photography, the
Production Designer, Editor and First Assistant Director. On Inseminoid I was very fortunate to be able to work with people
whose talents I greatly admired and had worked with on previous films.
The Director of photography, John Metcalfe is a born cameraman, with enormous
talent in all areas of photography. I first worked with John way back
on “Loving Feeling” when he was the focus puller and again on both
“Satan’s Slave” and “Terror when he was the camera operator.
I first worked with John as the DOP on “Spaced Out” (aka “Outer
Touch”) and then of course on Inseminoid. I really
don’t need to say anything about the way he photographed the film, because
his great talent is up there on the screen for all to see. The camera operator is one of the most important people to the director, because
he becomes the ‘director’s eyes’ during the shot. It
is the operator who is looking through the camera viewfinder and seeing exactly
what is being filmed. The director must have total faith that the operator
will not only get the shot he wants, but will also give him an honest opinion
on how the shot worked. Dick Pope was the camera operator on Inseminoid.
I had only worked with him on one previous occasion, and that was on “Loving
Feeling” when Dick was the clapper/loader. He was a great operator
and he has since become a first class Director of photography. There is little I can say about the Production Designer, Hayden Pearce, apart
from brilliant! Hayden is one of the best designers you could ever wish
to work with. He has a natural talent for producing wonderful looking
sets even when there is no money to do so. He’s also a great guy.
I have worked with Hayden on just about every film I’ve made. The
first being “Her Private Hell” on which he was the focus puller.
Although Hayden was good on focus, his true interest and talent was in art direction,
and he got his very first opportunity as production designer on “Loving
Feeling”. One of the most important elements of a films production is the sound, and
we had one of the best Sound Recordist in the business, Simon Okin. I’d
worked with Simon on both “Terror” and “Spaced Out”.
Despite all the sound problems of a location like Chislehurst Caves, Simon produced
perfect dialogue tracks. Editing is a vital part of any film, but the editor on Inseminoid,
Peter Boyle, was the one key technician I didn’t know and had never worked
with before. It was the production manager who suggested Peter, when the
editor I would have gone with was not available, and didn’t we do well.
Peter was a pleasure to work with, because he had a natural feel for the material
and managed to create just the right pace and rhythm throughout the film.
Peter is a great editor and after Inseminoid, it was only a matter
of time before he moved to Los Angeles and soon became one of the top editors
working in Hollywood. |
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Copyright
© 2003 John Hayes/Wide Screen Movies Magazine
Last revised: 12 July 2003