April 5, 2009|It shouldn't come as a surprise, really, given that the film in question deftly balances crowd-pleasing satire with incisive critical commentary, but R.W. ("Bob") Goodwin walks a fine line when discussing Alien Trespass, his paean to cinematic science-fiction of the 1950s. At his most jovial, he pushes forward with the wild abandon of a salesman who knows that he's clinched a deal; at his most thoughtful, he seems to delicately pluck the strings of personal experience, careful not to sabotage what's on the table by revealing too much. Throughout our dialogue at the Four Seasons Hotel in Boston, we never stray far from the ins and outs of Alien Trespass (a very brief detour into his career as producer and director for "The X-Files" is mostly limited to the preparation offered by "feature-quality work done on a television schedule"), though I suspect that's only because we both have a lot of conflicting notions about the various modes of filmmaking on display here and we're eager to get them off our chests. What, exactly, is the worth of an infallibly earnest pastiche of the atomic era at this stage of the game? Goodwin beams with pride over positive reactions to Alien Trespass, feeling particularly validated by the idea that this, his first film, is more of a communal experience than an intellectual one. If Goodwin's perhaps a bit of a deliberate obfuscator at times, he definitely knows the score.