- The film offers a unique insight into the world of Giger's creation and his private life. In addition to the interview with the artist himself, a considerable part of the documentary is formed by interviews with personalities such as Ernst Fuchs, Stanislav Grof and Debbie Harry. Though the authors do not avoid particular developmental periods of Giger's work, the main purpose was not to create the artist's biography. In this case, it is more likely considered to be an authentic perspective on the peculiar world of this Swiss surrealist artist.—Anonymous
- "The horror of his paintings is so beautifully presented, that it even loses its fright". Whether it's Ridley Scott's award-winning Alien; the artwork for Debbie Harry's solo album; or the obscenity lawsuit that was the cover for the Dead Kennedys' Frankenchrist, we have all at one time or another been exposed to the dark and wonderfully twisted world of Swiss artist, Hans Ruedi Giger. His paintings reveal a biomechanical universe, in which machine and man, sex and the devil are interconnected everywhere. Amongst his fans he counts a great many Satanists. But as this visual feast of a documentary reveals, he's also earned a place amongst the most prominent of modern artists.
Documentary director David N. Jahn: "During the period when I was working at the atelier, I met many close friends of Giger and people who were visiting him. That was how I got an idea of who should be interviewed. Most of the shooting was left up to me, but Giger often lent a helping hand. Throughout our shooting in New York City, Leslie Barany (Giger's US agent) brought us together with all the important people, including Debbie Harry. Giger's wife, Carmen, organized the interview with Stanislav Grof, the famous Czech psychiatrist. Therefore, I thank them for helping us."
Footage includes an interview with Austrian artist Ernst Fuchs, Debbie Harry (Blondie) recounting how their collaboration came about, Ridley Scotts candid description of the moment he saw Necronomicon and realized his search for the perfect Alien had ended and numerous interviews with fellow artists at the openings of his Paris and Prague exhibitions.
Initially his monochromatic canvasses depicting surreal, nightmarish dreamscapes (often displaying fetishistic, sexual imagery which have garnered him a large following in the gothic, occult and dark-burlesque scenes) were predominantly created by airbrush whereas later work has been created using markers, ink and pastel colors. His most distinctive stylistic innovation is that of a representation of human bodies and machines in a cold, interconnected relationship described as biomechanical. Often the result of visions he has had through the sleep disorder known as night-terrors, it is no wonder that film makers from the darker end of the spectrum (Alien, Dune, Poltergeist II, Species) have so often sought to collaborate with him when looking to achieve their vision.
David N. Jahn started work as an assistant at Gigers studio in Zürich in 2000. After his departure back to the Czech Republic he co-operated with Giger as an initiator and consultee of the Prague exhibition which took place 14th April 13th September 2005 at the National Technical Museum.
The authors do not avoid the particular developmental periods of Giger´s work, however, the main purpose was not to create the artists biography. What they have achieved is an authentic perspective on the peculiar world of this ground breaking Swiss artist.
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