Kinski’s difficult conduct created an unusual logistical crisis because his contract covered only one week of work, while the screenplay had been expanded to give his German character, Hans Rudy Hofner, a major role. He frequently refused to hit his marks, leaving portions of his footage out of focus and unusable, and his limited availability meant that the production had to compress his storyline into a frantic schedule. The problem became most visible during Hofner’s transformation into one of the alien creature’s infected victims. The mutated version of the character was filmed with two doubles, neither of whom closely resembled Kinski, forcing the filmmakers to rely on makeup, lighting, staging, and the monster effects to conceal the substitution. Producer Moshe Diamant initially offered to bring Kinski back for pickup shots, but quickly decided that the expense and turmoil of working with him again were not worth it. The result was a performance assembled around a volatile star whose reputation had become as much a production concern as his acting.
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