Blade Run­ner 2049 is no re­pli­cant

Blade Run­ner 2049 n'est pas une simple ré­plique (jeu de mots sur re­pli­cant, hu­ma­noïde dans le ro­man de P. K. Dick et le film, et re­pli­ca co­pie)

Vocable (Anglais) - - Édito / Sommaire -

Une suite très at­ten­due.

Trente-cinq ans après le film de Rid­ley Scott, Blade Run­ner est de re­tour. Dans cette suite très at­ten­due et aux cô­tés d’Har­ri­son Ford, Ryan Gos­ling in­carne un jeune chas­seur de « ré­pli­cants ». Comment faire re­vivre ce thril­ler fu­tu­riste de­ve­nu film culte ? La pres­sion était forte sur les épaules de De­nis Ville­neuve… Le réa­li­sa­teur ca­na­dien nous ra­conte l’uni­vers qu’il a ima­gi­né. Il était une fois 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."

1 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.”

2 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.”

7. to car­ry for­ward ici, faire évo­luer / stark dur, aus­tère / ligh­ting éclai­rage / bleak lu­gubre, si­nistre / sto­ry-wise sur le plan de l'his­toire.

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.”

8. cha­rac­ter per­son­nage / soul âme.

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.”

9. old school de la vieille école, tra­di­tion­nel / cast dis­tri­bu­tion (ac­teurs) / green screen réf. à la tech­nique d'ef­fets spé­ciaux de l'in­crus­ta­tion, consis­tant à fil­mer sé­pa­ré­ment les ac­teurs sur un fond vert avant de les in­té­grer dans une image / to al­low ici, lais­ser. 10. to re­vive res­sus­ci­ter / to un­der­take, took, ta­ken en­tre­prendre.

5. rui­ned en ruine / ci­tys­cape pay­sage ur­bain / gift don / mo­ved tou­ché, ému. 6. soa­ked trem­pé / pre­dic­table pré­vi­sible / in the in­ter­ve­ning years entre-temps / to go, went, gone ber­serk ici, se dé­ré­gler to­ta­le­ment / ram­pant gé­né­ra­li­sé / chil­ly froid / as much as au­tant...au­tant / ba­si­cal­ly en gros. 2

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4. ubi­qui­tous om­ni­pré­sent / fea­ture ca­rac­té­ris­tique / to pick up re­prendre / to gaze at contem­pler / set pla­teau (de tour­nage) / stage scène, ici dé­cor / fog brouillard / screen écran.

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