Blade Run­ner 2049 is no repli­cant

A new Blade Run­ner uni­verse ( repli­cant an­droid which is an ex­act copy of a par­tic­u­lar hu­man be­ing)

Vocable (All English) - - Sommaire - JOSH ROTTENBERG

The long awaited se­quel.

Fi­nally, af­ter thirty-five years, a fol­low-up to Ri­d­ley Scott’s Blade Run­ner is here. The long-awaited se­quel fea­tures Har­ri­son Ford and Ryan Gosling as a young repli­cant hunter. Imag­ine the pres­sure on any­one at­tempt­ing to re­visit this cult clas­sic fu­tur­is­tic thriller. The task was awarded to Cana­dian Di­rec­tor De­nis Vil­leneuve, who talks about the uni­verse as he imag­ined it. Once upon a time in 2049...

When he signed on to di­rect Blade Run­ner 2049, De­nis Vil­leneuve was de­ter­mined to carry on the ground­break­ing aes­thetic of di­rec­tor Ri­d­ley Scott’s orig­i­nal 1982 neo-noir sci-fi thriller. At the same time, he didn’t want to cre­ate a mere replica — or repli­cant, as the case may be. “The movie we did is deeply in­spired by the first movie, but we tried not to be­come a pas­tiche or par­ody,” says the French Cana­dian di­rec­tor be­hind such films as “Ar­rival” and “Si­cario.” “We used el­e­ments from the first movie with hu­mil­ity and tried to find a strength in them. But this movie has its own per­son­al­ity.” 2. Adapted from Philip K. Dick’s 1968 novel “Do An­droids Dream of Elec­tric Sheep?,” Scott’s orig­i­nal film — the tale of hard-bit­ten cop Rick Deckard ( Har­ri­son Ford) who hunts down rene­gade an­droids — has cast a large shadow over the pop cul­ture land­scape with its gritty, haunt­ing cy­ber­punk ren­der­ing of a dystopian Los An­ge­les. Set three decades later, af­ter the events of the first movie, the se­quel cen­ters on a young LAPD blade run­ner ( Ryan Gosling) who un­cov­ers a se­cret that leads him on a quest to find Deckard.

3. Work­ing along­side cin­e­matog­ra­pher Roger Deakins and pro­duc­tion de­signer Den­nis Gass­ner, Vil­leneuve, 49, sought to bring the world of Scott’s sem­i­nal clas­sic back to life while push­ing it vis­ually in new di­rec­tions. Here, Vil­leneuve walks us through the film, one scene at a time.

"We used el­e­ments from the first movie with hu­mil­ity and tried to find a strength in them."

FU­TUR­IS­TIC ADS

4. Ubiq­ui­tous ad­ver­tis­ing was a re­cur­ring vis­ual fea­ture of the orig­i­nal “Blade Run­ner,” and Vil­leneuve picks up that mo­tif in this scene, as Gosling’s Of­fi­cer K gazes at (and is gazed at by) an im­mense holo­graphic ad. “We con­structed the bridge on the set, filled the stage with rain and fog, and we pro­jected the ac­tress on that gi­gan­tic screen,” Vil­leneuve says. “So the im­pact of the light is all real — it’s not some­thing cre­ated by a com­puter.”

A "DESOLATE PLACE"

5. Gass­ner was re­spon­si­ble for the pro­duc­tion de­sign on “Blade Run­ner 2049,” but for this scene, in which Of­fi­cer K looks out at a ru­ined cityscape, Vil­leneuve worked with orig­i­nal “Blade Run­ner” con­cept artist Syd Mead. “For me, it was im­por­tant to have one mo­ment where Syd Mead would ex­press him­self,” he says. “I had the chance to meet the mas­ter and ask him to give me the gift to cre­ate a spe­cific place. And when I saw his draw­ings, I was so moved.”

6. In the orig­i­nal “Blade Run­ner,” Ford’s Deckard was con­stantly soaked by rain, but in the new film, the weather is much less pre­dictable. In the in­ter­ven­ing years, the cli­mate has gone berserk due to ram­pant pol­lu­tion, turn­ing Los An­ge­les into a chilly, desolate place. “As much as the first movie had an at­mos­phere of con­stant rain, in this one it would be colder,” the di­rec­tor says. “Ba­si­cally, you could say that the first movie was made by a man from Lon­don, Eng­land, and the sec­ond one was made by some­one from Mon­treal, Canada.”

DARK AND YEL­LOW

7. With the new “Blade Run­ner,” Vil­leneuve wanted to carry for­ward the neo-noir aes­thetic of the orig­i­nal film, with stark, dra­matic light­ing. “It’s a world that is quite bleak and dark and claus­tro­pho­bic, but I tried to find an equilib­rium with ex­plo­sions of color that would ex­press some emo­tions and some themes,” he says. “The color yel­low is very im­por­tant in the movie and is linked with dif­fer­ent as­pects, story-wise.”

THE EYE

8. Ac­tress Sylvia Hoeks, who plays a char­ac­ter called Luv, looks into a reti­nal scan­ner along­side Gosling’s Of­fi­cer K. “The im­age of the eye was very im­por­tant in Ri­d­ley Scott’s uni­verse and those el­e­ments are in ‘2049’ as well,” Vil­leneuve says. “There’s the cliche that the eyes are win­dows of the soul, and we’re deal­ing with repli­cants who don’t have a soul.”

REAL SETS

9. De­nis Vil­leneuve was de­ter­mined to keep the pro­duc­tion as old school as he could, put­ting his cast onto real sets, like this build­ing through which K and Deckard are run­ning. “The first ques­tion Ryan asked me was, ‘Will we do the whole movie in front of green screen?’” he says. “You need to al­low the space for the ac­tors to find new ideas on the set — and those ideas are not com­ing in front of a green screen. For me, I un­der­stand the power of it, but I hate it.”

10. For the Cana­dian di­rec­tor, try­ing to re­vive and ex­pand the sci-fi uni­verse that Scott cre­ated 35 years ago is by far the big­gest artis­tic chal­lenge he’s ever un­der­taken. “My re­spect and ad­mi­ra­tion for Ri­d­ley Scott can­not be higher than now af­ter hav­ing done this movie,” he says. “From a de­sign point of view, he is a ge­nius. Once you try to do it your­self, you re­al­ize how dif­fi­cult what he did is.”

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