Glazer surely took something, again, from Kubrick, especially in the scene in which his alien is born in some dimensionless otherworld. He took something from Nic Roeg and The Man Who Fell to Earth and a little, perhaps, from David Lynch – of which, more in a moment. But alongside the sci-fi exoticism he brought the grit and sinew of contemporary realism, calling to mind the work of film-makers like Ken Loach, or even Abbas Kiarostami and the opening of his The Taste of Cherry, in which a desperately unhappy man drives around the itinerant labour markets of Teheran looking for someone to help him. These fantastic alien forms are scuffed with ordinariness and even bathos. The scene in which the alien uncomprehendingly watches Tommy Cooper on television is a masterpiece of tonal suspense.
Mr. Anderson wanted an abundance and a variety of facial hair on the men, with no beard or mustache adorning each actor’s face in quite the same way. It’s a veritable hipster’s row of styles, from pencils to handlebars to a black-and-gray goatee worn by Jeff Goldblum.