Blade Runner 2049 director was "frightened" to take on the sequel
- Author: Kyle Peterson Oct 06, 2017,
Oct 06, 2017, 0:23
She was made by Tyrell, who is the head of Tyrell Corp, the company that invented replicants. Blade Runner scribe Hampton Fancher and Michael Green (Logan) penned the screenplay. She opened the segment with the declaration that she had brought drinking glasses to the interview because they were original to the first Blade Runner movie.
How does Blade Runner end?
In 2040, the LA Police Department re-established its Blade Runner unit.
The world feels lived in, it is dark and gritty and in many ways is a character all in itself, backed up with stellar performances across the board from Gosling, Ford, Leto, Robin Wright, Ana de Armas, Sylvia Hoeks, Mackenzie Davis and Dave Bautista, but to go into their characters would be a disservice to the film. But I'd like to say it's also a stand-alone film and you don't really need to see - I'd appreciate it if you would go to see the first one because I think it's great if you do - but if you don't, this one stands alone.
It would be nice if we'd gotten a bit more of Ford, but in his handful of scenes, he slips into the now-30-years-older Deckard with relative ease. But that Elvis simulation is a striking metaphor for what the audience of BR2049 may be expecting - a careful recreation of a beloved pop culture artifact, one that's acquired the protective coating of "classic" in the many years since its initial, somewhat disreputable appearance. He's done this especially with last year's Arrival. They were used as slave labour because they were better than humans in every way and believed to be incapable of human thought.
Ridley Scott's 1982 neo-noir original extracted the frightful premise of Philip K. Dick's novel "Do Androids Dream of Electric Sheep?" - the horror of not knowing if you're real or not - and overlaid it on a mesmerizing sci-fi void.
The 35 years later sequel is a decidedly tricky proposition, an itch you know you shouldn't scratch. "We had the keys to this thing and we hoped we were doing right by it, but it was a relief when Harrison got there because we felt like we were finally making Blade Runner". Dennis Gassner's production design complements the iconic rainy metropolis with snowy, wintery cityscapes and barren deserts, and each of them is just comically well-photographed by cinematographer Roger Deakins; frame after frame is simply jaw-dropping.