In the seven years since its release Alien had achieved a degree of cult status among fantasy purists, many saw Scott's work as the quintessential sci-fi horror movie, a stylish, spine-chilling thriller that spawned a mini plague of cheap spin-offs but amazingly defied legitimate attempts to generate a worthy sequel. In 1984 the planned Alien sequel was temporarily scrapped in preference for a fresh project, a science fiction version of Spartacus. James Cameron, the young director of the cult fantasy hit The Terminator, was invited to help on the script. What Cameron really wanted to do was direct the follow-up to Alien, which was one of his favourite movies. After he submitted a forty-five page treatment based on a screenplay called Mother, the story of which concerned an alien queen, which he had written soon after seeing Alien, the producers gave Cameron the green light.
Cameron immediately set to work on a screenplay, carefully plotting the entire emphasis of the story around the character of Ripley, even though Sigourney had not been contacted. (The actress was not contractually obliged to return.) After working solidly on the script for three and a half months Cameron was annoyed when he discovered that she had still not been informed about his project. In the end he telephoned Sigourney himself, but she wasn't exactly keen on the idea of doing a sequel and was deeply sceptical of the whole thing. She thought that Cameron only wanted her in a scene-setting role and that Ripley would then be killed off and she had no intention of becoming involved in a film that was produced purely to make money for 20th Century Fox. Despite her strong early misgivings a meeting between the two was arranged. Sigourney found Cameron a genuinely talented and dedicated craftsman and recognized within him a sincere love of and commitment to the project. She also admired the way in which he wanted the Alien saga to progress and develop. This was a man who would be worth working with. Most of all, she was impressed by the way Cameron had treated Ripley. On reading the script Sigourney was surprised to find that her character dominated the narrative; Ripley was in virtually every scene. Sigourney also knew that Cameron wasn't willing to make a sequel without her. "I was egotistical enough to be moved by that."
Cameron's original intention was to begin the film with a long sequence showing us how the alien horde invaded the colony. Newt's parents come across the derelict ship from the first film, and Newt's father is attacked and impregnated by an alien. These missing fifteen minutes were to have been inserted back into the movie on a "special edition" video in 1990, but it never materialized. The friendship between Ripley and Newt is at the core of the film and Ripley's maternal instinct is Cameron's strongest theme. In another important scene omitted from the final print Ripley is told that her daughter has grown old and died while she was lost in space. Sigourney used a picture of her own mother to react to when Ripley is shown a photograph of her silver-haired daughter. The loss of Ripley's daughter explains why she is so attached to Newt. This was the aspect of the story that appealed to Sigourney the most. "And I got terribly upset when it was cut out,"she explained to Première magazine in October 1988, "That's the whole reason I did the movie."
The theme of motherhood permeates the entire work, from Ripley's to the alien queen furiously protecting her offspring. The film makes clear that the queen is not inherently evil, she's only doing what Ripley is trying to do: to survive and to protect children. "Everybody may think we're making a monster film, but we're really making a film about motherhood," Sigourney told reporters.
Working with Carrie Henn, the child actress who portrayed Newt, gave Sigourney various insights into her future role as a mother. "You don't nurture and protect children," she told Film Comment in December 1986. "You just talk and are equals. Any attempt on my part to guide or instruct was met with amusement by her."
By the time Aliens began filming on 30 September 1985 Sigourney had been working non-stop in Europe. She was exhausted. She had only finished her role on Half Moon Street a few days before she was needed on the Aliens set. Despite fears that she would be too tired Sigourney managed to find a reserve of energy and by the third day she was in top gear. Amongst the cast of relative newcomers like Michael Biehn and Paul Reiser, Sigourney was the veteran, the star. The actors and the crew all looked to her for guidance and inspiration. For the first time a major movie rested on her broad shoulders. She revelled in the responsibility of carrying the Alien sequel, of having the leading role. Almost every day she would be on the set, looking over the script, sorting out problems. The crew were crazy about her. Such dedication, far from tiring the actress out, was just the tonic she needed.
Sigourney had been so busy reading the script for human values that she had inadvertently skipped over all references to guns. Only later did she admit that she had totally underestimated the film's reliance on violence and weapons. Almost daily the cast were subjected to gun and grenade practice. For an actress who is involved in a gun-control lobby in America it was an embarrassing dilemma to be acting in a film which promoted the use of weapons to such a high degree. The irony was not lost on Sigourney. Yet her experiences did serve a moral purpose. Handling those destructive weapons gave Sigourney a tremendous sensation of power, making her realize just how dangerous they can be. "They intoxicate because they make you feel so powerful," Sigourney said to the Daily Express in August 1986. "Now I'm more against them than I was when I started the film" She also blamed Ripley's reliance on nicotine as the reason for her renewed dependence on cigarettes. Sigourney never smokes at home because of the smell. She dislikes the stench of smoke on her fingers and on her hair and clothes. But on the Aliens set smoking was a way of taking a quick break, a moment of inner relaxation amidst all the pressure. Smoking was one of two bad habits that Sigourney picked up in Britain. The other was a craving for take-away hamburgers at those rather dubious street vendors that she wouldn't go near back home in New York.
Aliens opened in America on 18 July 1986 and sold $42 million worth of movie tickets. The fifth highest earner of the year, Aliens went on to become a worldwide hit, especially in Japan and Britain, and met with a thunderously enthusiastic press response. "An authentic masterpiece"; "the scariest movie in the history of cinema"; "Aliens is the Citizen Kane of science fiction films": these were just some of the mighty accolades Cameron received. Critics also agreed, unanimously, that Sigourney had created the toughest female screen character ever and that her performance was nothing short of sensational. In October 1986 at a gala diner hosted by America's cinema owners Sigourney was voted Female Star of the Year. This turned out to be the prelude to a far greater honour, her first Oscar nomination. For the first time in cinema history the Academy of Motion Picture Arts and Sciences had nominated a woman appearing in a sci-fi/fantasy film in the category of Best Actress. But Sigourney was up against stiff opposition and she didn't fancy her chances. There was Jane Fonda for The Morning After, Kathleen Turner for Peggy Sue Got Married, Marlee Matlin for Children of a Lesser God, and Sissy Spacek for Crimes of the Heart. Marlee Matlin was the eventual winner.
A few months after the American release of Aliens Sigourney and Jim headed back up to Williamstown for a summer season at a small playhouse, in Tennessee Williams' Summer and Smoke. In addition to her valiant summer-stock voyage, Sigourney began to write again with old favourite Christopher Durang. In this new collaboration she played a character called Sigourney Weaver - "but I'm a truly horrible creature" - and Durang played a playwright named Christopher Durang. Whoopi Goldberg was also involved, but after her acclaimed performance in Spielberg's The Colour Purple had made her an overnight star Sigourney was left wondering if she would want to be involved in their "stupid little film". Perhaps the most realistic, and obvious, proposal that came her way in 1986 was the chance to be directed by her husband Jim.
The subject of the two of them working together had been raised on more than one occasion in the previous year. The idea sounded hopeful and promised to be fun, but Sigourney disagreed with those who claimed such a union would be a major theatrical event. If such a thing was to happen it was imperative that the couple find the right play. When they did, Sigourney soon discovered that both of them had perhaps bitten off more than they could chew. The Merchant of Venice remains William Shakespeare's most controversial work due to its depiction of Shylock, considered by many to be anti-semitic, a gross caricature. Sigourney immediately rejected this view. For Sigourney the risk of outbursts would only be a trifling inconvenience in the face of her main objective: to prove herself that she could succeed in a classical role. Sigourney was tackling a difficult Shakespearean woman: Portia.
Show business couples working together can often spell disaster. Sometimes maratial and personal problems can creep into the rehearsal room, causing friction and a poor working atmosphere. The pressures inherent in putting on a show can add to the strain of married life, especially when both the husband and the wife are working and living together twenty-four hours a day. Luckily working on The Merchant of Venice wasn't that much of a burden on the Simpsons' fledging marriage. But there were problems, namely that Sigourney felt her husband was far tougher on her during rehearsals than on any other cast member. But the experience was an enjoyable one. "I think he is a wonderful director," she told Cable Guide magazine in July 1987. "So I married well." Thoughts of a re-match, however, were greeted less enthusiastically by Sigourney. "I'm not sure he wants to work with me again. I think he found me difficult." Sadly the play was heavily panned. "We got killed," Sigourney confessed to Première magazine in October 1988. "I didn't even read the reviews, but I know we got killed."
In 1985, at the time of Dian Fossey's death, plans were already under way to make a film about her life, based on her own book. (Dian once told friends that she wanted Brooke Shields and Elizabeth Taylor to portray her at different ages.) On Boxing Day 1985 producer Arnold Glimcher arrived in Rwanda to visit Fossey, who had agreed to be a consultant on the movie. But Fossey was butchered, as Glimcher slept off the effects of his long plane journey at a hotel in Kigali, Rwanda's capital. The following morning where Fossey's research centre was located was sealed off as an investigation into the brutal killing began. Glimcher reluctantly forced to admit defeat. After the sudden death of Fossey there seemed no future for his project. But the producer remained in Rwanda for a week, interviewing Fossey's friends and co-workers. He believed he had uncovered a mulit-layered complexity to the woman's life that had scarcely been touched upon in her autobiography.
Meanwhile, back in Los Angeles, Warner Bros. were already planning to make their own version of the Fossey story and had hired Bob Rafelson to direct Heaven and Earth: The Tragic Life and Death of Dian Fossey, with Ann-Margaret in the lead. Blissfully unaware of the mounting competition, Glimcher had won the backing of Universal and the search for a suitable director for his project began in earnest. The two opposing studios first learnt of one another's intentions when their representatives met quite by chance in a hotel lobby in Kigali. Both studios eventually agreed to share the costs and jointly produce Glimcher's Gorillas in the Mist. Bob Rafelson was dropped because he wanted to portray Fossey as a raving lunatic. Finally, British director Michael Apted was selected. Like Glimcher, Apted was interested in making an uplifting picture, "not a film about a crank". Apted's familiarity with the documentary genre (Granada Television's 28 Up and Sting's Bring on the Night), and his feature work (Stardust, The Coalminer's Daughter, Gorky Park), held him in good stead for a movie that merged fact and fiction in a quasi-documentary form.
The most troublesome pre-production chore was finding an appropriate actress to play Dian Fossey. Practically every major female star in Hollywood wanted the role. Sigourney Weaver quickly established herself as the leading contender after Jessica Lange, the producer's first choice, became pregnant. Both studios agreed that Sigourney was perfect. In Apted's estimation Sigourney was one of only six or seven actresses in the world who could have got a company to finance such an uncommercial property and had the strength and presence to succeed.
Sigourney sensed that Dian Fossey could be her "great" role, her Hamlet. In the words of Apted, "She was born to play this part. She fell into it so naturally." But at first Weaver was hesitant about how the film-makers were going to treat Fossey's life. Sigourney had read her book some years before and felt then that the story didn't constitute good cinematic material. The last thing the actress wanted to do was get involved in some glossy Hollywood fairy tale. Early talk about concentrating the film on Dian Fossey's sad and lonely descent into madness also caused Sigourney distress. She didn't see Dian's single-mindedness about her "cause" as a sign of insanity. She and Apted were more interested in showing on screen a woman of courage and staggering achievements, to make her philosophy and passion available to a wider audience. They do not totally ignore the murky aspect of her life. Although the film is deeply prejudiced in Fossey's favour, Apted often shows her in an unflattering light. The final dark scenes are among the film's finest as we see her fall into an abyss of despair of her own making and wonder if the bruised, fanatical woman, reprimanding politicans and wealthy poachers, and torturing her enemies, is not "going ape" herself. It is a tribute to Sigourney's performance and Apted's careful direction that they have the courage to de-glamorize their subject.
Sigourney took great pleasure in filling the parts of Fossey out with as much detail as she could. The actress studied hours of film footage of the woman, analysing her body movements and gestures in much the same way as Fossey herself had learned how to mimic her beloved gorillas. She read every news clipping and book she could lay her hands on in an effort to foster an understanding of Dian's character and motivation. As the research continued apace Sigourney found herself completely entranced by Fossey and shocked by the harsh contrasts that existed in her life. She was a creature of opposites, seen by many as a great scientist and by others as a charlatan. Fossey was capable of caring and tender moments; while at other times, particularly towards the end of her life, she was a foul-mouthed, hard-drinking, chain-smoking bitch. The complexity of the woman was fascinating. During filming, Dian Fossey became a part of Sigourney's life. She is prone to become obsessive about the characters she plays and once they are gone she can miss their company for months. The ghost of Dian Fossey took a lot longer to exorcize mainly because of her death and the cause for which she fought. Not only was Dian Fossey the most demanding role of Sigourney's career to date but she was also quite unique: this woman had actually once lived, she was no fanciful creation conceived by some writer's despot imagination. "She was a complex subject and I really wanted to play a real woman, something incredible to act." As with Aliens, Sigourney was once again burdened with the awesome responsibility of carrying a major movie single-handed. Although consistently upstaged by her primate co-stars, if Sigourney were to give a bad performance, irrespective of the film's other sparkling merits, Gorillas in the Mist would have fallen flat on its face.
Principal photography on Gorillas in the Mist began on 2 July 1987, close to Fossey's Karisoke Research Centre and her sad, lonely grave. Sigourney found working so close to where Fossey had actually lived an inspiration. On one occasion she thought it would be an interesting and beneficial exercise to visit Fossey's small and unpretentious home. This was a serious mistake. The experience deeply upset the actress and left her devastated for days afterwards. Once inside, Sigourney had walked into the very room where Dian had met her death. All her personal belongings were still there and the mattress on which she was murdered still bore her bloodstains. "I'm not a great believer in psychic phenomena, but I felt something evil had happened there."
Working with wild animals is highly dangerous and unpredictable, not least when one is dealing with so rare a creature as the mountain gorilla. Sigourney was naturally apprehensive about meeting the apes for the first time. Her fears were manifold: would the gorillas accept her, would she know what to do and, most worrying of all, would she panic? But the thrill of following in the footsteps of Dian Fossey bolstered her spirit. Trudging through vast vegetation they located a gorilla family close to Dian's grave. Their presence, detected when they heard "pok, pok, pok, pok, pok", the destinctive sound of the male beating his chest; and the tell-tale noise of the apes chewing on foliage. Suddenly, there in front of Sigourney was a mammoth silverback, staring down at her like a king before a humble subject. "I don't think I ever looked back after that," she told Interview magazine in July 1988. "It was like walking into a forest and seeing a unicorn." Sigourney steadied herself and crouched down among the undergrowth. Suddenly a young female, Jozi, waddled up towards the actress and sat beside her. Sigourney's heart began to beat hysterically as she battled to contain her excitement. Never before had she been so close to a wild animal. In that single moment all of Sigourney's fears and anxieties melted away. The tiny gorilla next to her seemed so friendly and innocently curious as it reached over to study her camera. Jozi then leaned up against Sigourney and began to quiz her strange white face. Weaver had been taught basic gorilla etiquette by an African tracker and knew the importance of not looking directly into the eyes of an ape. But emotions were running high and the temptation was too great to resist meeting Jozi's inquisitive gaze. Among those gorillas, many of which Fossey herself had studied, Sigourney felt at peace, almost at home. "There was nowhere in the world I wanted to be more than right there."
Apted's base camp was situated at the foot of Fossey's mountain and each day Sigourney and the crew had to climb up the steep slopes in search of the gorillas living at extremely high altitudes at least two or three hours away. Once the team had to walk eight hours before finding them. Conditions were horrendous: the temperature was constantly shifting from hot to cold, and it invariably rained. Because of the strict rules imposed on the production by the local authorities only a maximum of six people were allowed near the gorillas at any one time. Such restrictions created formidable problems. The film unit had to be stripped to a bare minimum (even Apted had to occasionally double as assistant cameraman), and everyone had to carry their own equipment up the mountain. During the course of filming the astonishing rapport between Sigourney and the gorillas prospered. She grew more confident in their presence and would spend hours at a time crouching in the long grass with the apes, adopting their gestures, munching on some shrubs with them, as Dian had done, and even learning their special talk, a combination of body language and belching. To achieve some of the more intimate shots of Sigourney and the gorillas, a small transmitter was placed in her ear through which she was coached in a series of hair-raising situations. In this way some truly amazing scenes were achieved without putting the actress in any unnecessary danger. About midway through filming, Sigourney became adept at recognizing all the gorillas and identifying their individual personalities. She had her favourites, of course, like Maggie, a quaint female who was very friendly. Others were less hospitable. One huge gorilla called Pablo was known to have dragged women down the mountain. But Sigourney quickly learnt that if she sat next to Ziz, the huge silverback that the actress described as "a 450-pound version of Rodin's 'The Thinker' with a head the size of a boulder", then Pablo never bothered her. And there was Shinda, perhaps the most boistereous of the group, who seemed to flirt openly with Sigourney.
During those three months of location filming in Africa, Apted and his crew managed to capture on camera some truly unique shots of the gorillas interacting with Sigourney Weaver. These he would later call "the heartbeat of the movie". A great deal of patience was required in order to achieve these shots. Often the crew had to wait for hours to see what the apes were going to do. The gorillas had a profound effect on everyone who worked on the film; no one left untouched by the experience. Watching the wild mountain gorillas living in their natural habitat, eating, playing with their young, and generally enjoying life, is something Sigourney will never forget. She especially loved playing with the young gorillas. They were sometimes so enthusiastic that they crawled all over her. One of the mothers would always be on hand just to make sure no harm came to them, although it was usually the other way around. The gorilla young had a nasty habit of swinging on Sigourney's pigtails causing her excruciating pain. But these were joyous and cherished moments. "Roaming around with their babies all day made me realize how much I wanted a child of my own."
When the time came to leave the jungle and the gorillas and fly to London and Shepperton Studios for interior work, Sigourney's heart was in danger of breaking. She felt like she was leaving behind old friends. Her extraordinary rapport with the gorillas won her the admiration of everyone concerned with the picture. Unquestionably, the highest compliment came from Roz Carr, who was one of Fossey's closests friends in Rwanda. After viewing the film she was in awe of Weaver's performance. "Sigourney is perfect as Dian, and I'm so grateful for that." Others who were close to Fossey all agreed that Sigourney had captured the woman's essence memorably.
That October Sigourney returned to Rwanda to visit the gorilla group, eager to find out whether or not they still remembered her. Along with a group of guides and a trusty film crew Sigourney walked up the familiar path of Fossey's mountain gallantly trying to keep a tight rein on her emotions. In a clearing they came across the gorillas who casually strolled past her without the merest hint of recognition. Perhaps it was wrong of Sigourney to have expected some kind of human response from the gorillas. Still, she couldn't help but feel bitterly disappointed and hurt. Then Maggie came over and laid her warm hand on Sigourney's shoulder and squeezed it gently. Sigourney burst into tears, they rolled down her cheeks, and she had to turn her face away from the camera in embarrassment. It was clear that Maggie, in her own way, had just said, "Hi." "That's why I don't want to let too much time go by before I go back. I always want to go back."
Filming Gorillas in the Mist and working so closely with the apes and animal conservationists changed Sigourney's outlook on life dramatically. The actress became a champion for animal rights and began to call for the preservation of all endangered species. "I think now I see gorillas as our fellow creatures in the way Dian did," Sigourney told Films and Filming in March 1989. "One of our great mistakes is that humans think of the world as their planet and take animals for granted." Sigourney has now adopted Maggie and sends regular donations to the Karisoke Centre, continuing in her own way the invaluable work started by Dian Fossey. Over the last few years Sigourney has been working with other charities. One of the few saving graces of her celebrity status is that she can call attention to certain political issues. In the latter half of 1986 she spoke at the Lawyers Committee for Human Rights benefit honouring Mrs Aquino. Sigourney was proud to be involved with the group which, like Amnesty International, was a non-partisan organization that investigated human rights violations by governments of all political persuasions. Perhaps due to the very nature of their work actors tend to be very sensitive about humanitarian issues. "We look into individual souls. We care about human beings." Sigourney disclosed to Film Comment in December 1986. "If you don't, you don't become an actor."
Gorillas in the Mist opened in America in September 1988. Sigourney's performance was unanimously acclaimed wherever the movie played and she just deserved her second Oscar nomination. Coincidentally she was also nominated the same year for her supporting role in Working Girl. Sigourney was widely tipped to snatch the top award, but ended up losing both. She was naturally flattered that her work had been acknowledged by the academy, but was disappointed to lose out twice in the same evening. But a Golden Globe award for Best Actress proved ample conpensation.
Gorillas in the Mist is Sigourney's favourite film. Along with The Year of Living Dangerously, she feels the picture has something important and valid to express. Certainly the role of Dian Fossey is Sigourney's most rewarding to date. The film even managed to do some global good - educating people about the gorillas. It also raised the rate of tourism to Rwanda. Provided this is carefully regulated, all that western money pouring in will help build a future for the mountain gorillas. Sigourney was also invited to the United Nations to accept a posthumous medal on behalf of Dian Fossey from the president of Rwanda. Even today she feels honoured and privileged to have been entrusted with the awesome obligation of playing Fossey on screen. "I feel like I've finally gone legit."