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Thread started 08/14/19 10:34am

OldFriends4Sal
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the Art and Making of Blade Runner 2019

Certain films(and album projects) just continue to give me life over and again.


I watched the documentary Dangerous Days the Making of Blade Runner, recently and did not realize the depth and wealth behind this film. Most say it is a visual thematic movie just as much a story, remaid from Do Androids Dream of Electric Sheep?

And the fan art, is wonderful. Compositions by Vangelis

ConstantIllfatedGiantschnauzer-size_restricted.gif

The movie is almost prophetic in so many ways. And so many movies and shows have been inspired by Blade Runner like Ready Player One, Netflix Altered Carbon, Ex Machina and even Prince's 1999-Purple Rain eras. And inspired fashion-shows and artists of diverse medium.

The use of Egyptian, Myan, the Orient, 1950's Art Deco, religious symbolism and future noir.

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Reply #1 posted 08/14/19 10:58am

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Fiery the Angels fell;
While thunder roared around their shores;
Burning with the fires of Orc

Roy Batty ~ painting by artist Christopher Shy

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Reply #2 posted 08/14/19 12:56pm

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The owls name is Ajaxx, according to Paul M. Sammon author Future Noir Revised : The Making of Blade Runner

.

Rachael: Do you like our owl?
Deckard: It's artificial?
Rachael: Of course it is.
Deckard: Must be expensive.
Rachael: Very. I'm Rachael.
Deckard: Deckard.
Rachael: It seems you feel our work is not a benefit to the public.
Deckard: Replicants are like any other machine. They're either a benefit or a hazard. If they're a benefit, it's not my problem.
Rachael: May I ask you a personal question?
Deckard: Sure.
Rachael: Have you ever retired a human by mistake?
Deckard: No.
Rachael: But in your position that is a risk?


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Reply #3 posted 08/14/19 4:04pm

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the Polizei

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[Edited 8/15/19 12:17pm]

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Reply #4 posted 08/15/19 6:44am

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The neon lights and signs are a huge favorite, that contrasts the smokier rainer LA 2019 nights

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Reply #5 posted 08/15/19 7:06am

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Reply #6 posted 08/15/19 11:19am

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by Christopher Shy

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Reply #7 posted 08/15/19 11:47am

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"Many elements of the world of Blade Runner was an exaggerated version of the late 1970's. The Goodyear airship was roaming around the skies, a mix of punk rockers, hippies, new romantics could be seen on the streets. Hot topics of the time included ideas about ecological melt-down complete with acid rain, giant multi-national corporations taking over the world, population growth producing mega-cities etc. etc. The Blade Runner world was an extrapolation of a certain viewpoint of the late 1970's." -Andrew Barnett

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Reply #8 posted 08/15/19 8:46pm

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"A new life awaits you in the Off-world colonies. The chance to begin again in a golden land of opportunity and adventure."

Related image

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Reply #9 posted 08/17/19 7:01am

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Image result for Blade Runner 1982 gifs

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Reply #10 posted 08/17/19 7:32pm

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This is one thing I prefer about set production from earlier times, vs graphic sets. Of course a mix is great. But see all the extremes of creating LA 2019 future noir was amazing.


Ridley Scott, would actually play music for the soundtrack from a high spot while scenes were being filmed

6b65e66b829ce48d01569cdc220c69e3.jpg

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b80f76f517a9c130f61eb5853f0e0b7b.jpg

[Edited 8/17/19 20:23pm]

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Reply #11 posted 08/17/19 7:38pm

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Blade Runner Vibes(You're Nothing) by Luca Merli

No photo description available.

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Reply #12 posted 08/19/19 7:10am

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The miniatures look amazing. I much prefer miniatures to CGI. Granted they can do far more with CGI, but the miniature shots just "feel" more realistic.

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Reply #13 posted 08/19/19 5:41pm

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Ugot2shakesumthin said:

The miniatures look amazing. I much prefer miniatures to CGI. Granted they can do far more with CGI, but the miniature shots just "feel" more realistic.

I agree. Sometimes the puppets work better than CGI

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Reply #14 posted 08/20/19 9:40am

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Reply #15 posted 08/20/19 6:26pm

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A new life awaits you in the Off-World colonies. The chance to begin again in a golden land of opportunity and adventure. New...-- A new life awaits you in the Off-World colonies. The chance to begin again in a golden land of opportunity and adventure. New climate, recreational facilities.....absolutely free.

Use your new friend as a personal body servant or a tireless field hand -- the custom tailored genetically engineered humanoid replicant designed especially for your needs. So come on America, let's put our team up there....

Image result for blade runner blimp gif

Image result for blade runner blimp

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Reply #16 posted 08/20/19 6:31pm

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Image result for blade runner blimp gif

Image may contain: 1 person, smiling, on stage and standing

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Reply #17 posted 08/21/19 7:33pm

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Reply #18 posted 08/21/19 7:35pm

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"For Chew's laboratory we found a large meat packing plant in Downey. Before we began filming, they had to start to lower the temperature because if you just turn the thermostat down to zero or six degrees, the concrete walls crack, all sorts of funny things things happen. Over the period of about two weeks the owner turned it down to about four degrees below zero. We put up the set about four days before. For the next couple of days, we sent a crew down there with spray cans and they proceded to ice up the walls. We not only iced up the walls, but we ended up having icicles two feet long, real icicles, hanging from the ceiling and real ice. It was cold!" Lawrence G. Paull

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Reply #19 posted 08/23/19 7:58am

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inspired by Blade Runner

Artist: Masashi Kageyama

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Reply #20 posted 08/25/19 4:57pm

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Nexus 6 replicant Mary (her scenes were shot but the powers that be felt it was costing them too much)

In the original version of Blade Runner, it is mentioned that one of the replicants got 'fried' instead of two. This meant that there was a missing fifth replicant that never appeared in the film. When Director's Cut producer Michael Arick asked director Ridley Scott if he wanted to fix this mistake, Scott said to "leave it alone."[7]

This error was finally fixed in the Final Cut. In this version, M. Emmet Walsh was brought in to dub over his previous "five replicants" line and say six, as well as stating that two of them got fried instead of one.

The workprint had this line overdubbed to "four." The dub is clearly a studio executive. It was intended to be a place holder until they could rerecord it with M. Emmet Walsh. However, due to the creation of the voice-over and "Happy Ending" running the time to finish the film out, like many things, the line was never re-recorded. One of these five replicants is said to be Mary. Mary appeared in an early script and was even cast with Stacey Nelkin—who had screen-tested for Pris—in the role. The scenes for this character were dropped due to budget restraints. At the time the filmmakers decided to leave out the character, they had already filmed the Bryant/Deckard scene which states there were six replicants. According to the script the story goes like this:

Deckard kills Zhora and then spots Rachael looking on. He chases Rachael, only to be beaten up by Leon. After Rachael kills Leon, Deckard buys a bottle of Tsing Tao and has to warn her with a glance when Gaff approaches. Gaff takes him to Bryant, who tells him that there were "four to go" (Roy, Pris, Mary, and Rachael).

When they eliminated Mary from the script, they had a problem: Bryant should say that there are "three to go" (Roy, Pris, and Rachael). Instead of reshooting this scene, they moved it and the scene of Deckard buying Tsing Tao ahead of Leon's death, so that the "four to go" would be Roy, Pris, Leon (not Mary), and Rachael. They nearly got away with this, but a few problems remained:

Image result for Replicant Mary

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Reply #21 posted 08/26/19 10:48am

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Reply #22 posted 08/28/19 11:43am

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#IDEFINEME #ALBUMSSTILLMATTER

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Reply #23 posted 08/28/19 12:02pm

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#IDEFINEME #ALBUMSSTILLMATTER

A Liar Shall Not Tarry In My Presence
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Reply #24 posted 08/28/19 12:05pm

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#IDEFINEME #ALBUMSSTILLMATTER

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Reply #25 posted 08/28/19 5:54pm

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Reply #26 posted 09/05/19 7:32am

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#IDEFINEME #ALBUMSSTILLMATTER

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Reply #27 posted 09/05/19 7:49am

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Blade Runner absorbs us in a mysterious megalopolis thanks to a quite singular ambience. Rain and night are an ubiquitous constant throughout the story. The scenery is misty, and everywhere smoke escapes from the conduits with strident noises. Many multicultural world flock to the streets at a frantic pace. All these signs plunges us into a Los Angeles overcome by an oppressive pollution. Indeed, during an interview Scott confessed that the trio "night, wet, smoke" was at the heart of the aesthetics of the film for essentially economic reasons, because it would have indeed had to spend much more to obtain a satisfactory rendering with natural daylight. - by Stanley Bloom

neon-signs-blade-runner.jpg

Howie%2BLees%2BDragon.jpg

7634023_orig.png

[Edited 9/5/19 8:00am]

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Reply #28 posted 09/05/19 8:07am

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Reply #29 posted 09/05/19 8:20am

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The Timeless Imagery of Blade Runner

October 4th, 2017 Written by Stanley Bloom

.

This is a cult movie that has become a major influence in pop culture over time. Before the upcoming release of Blade Runner 2049, we deliver an aesthetic analysis of Blade Runner, directed by Ridley Scott in 1982. The story takes place in a dystopian Los Angeles in 2019, it is a striking poetic reverie on human condition. Each sequence contains infinite subtleties: from the fascinating light of Jordan Cronenweth to the stunning scenery often sketched by Ridley Scott himself. This aesthetic power, rarely equaled, will prefigure the cyberpunk movement of the mid 1980s.

.

Opening sequence

The gaze on the future, symbolized by one of the first sequences, showing an eye in which the flames of an industrial chimney are reflected, has an essentially contemplative dimension. Opening on an industrial landscape, the first sequence announces the spectator what will follow. Everything is there, the atmosphere, the aesthetics, the theme. This eye is that of Ridley Scott, who invites us to enter into his universe and contemplate this futuristic apocalyptic vision of a terrifying future.

.

The influence of film-noir

The film is rooted in a futuristic version of the "film noir" style, it resumes its codes to integrate them in the sci-fi genre. Thus we find this high-contrast style, traditionally shot with a low key lighting approach to play the mystery and suspense of the film. We find this duality of likable killers and corrupt cops, giving a blurred space between right and wrong.

.

The visual genesis of Blade Runner is fully inspired by the graphic novels of Jean Giraud, known as Moebius. As well, we notice an influence of painter Edward Hopper and his iconic 1942 painting Nighthawks, how he uses and magnifies the light.

.

A moody atmosphere

Scored by Vangelis, this revolutionary music between electronic and analog, combined with the blues echoing the past with jazz saxophones, give the film a deep melancholy, evoking death and ghosts. The soundtrack floods the film with little hauntologic whispers. No doubt that visuals also go in this direction.

Many artists and designers participated in creating the look, most notably Ridley Scott himself. Ridley Scott admired Stanley Kubrick, and in both their cases attention to every set detail resulted in the heavily textured look of their films. The essence of the world of Blade Runner relies on the image; Scott is considered to be very meticulous in the composition of his scenes, while the photography conceived in parallel by Jordan Cronenweth also plays a leading role.

.

The archetype light

Light plays a crucial role in this version, conferring a very strong identity to Blade Runner. In a dark Los Angeles, where natural light is simply absent, night and abundant rain choke us.

.

It becomes very difficult to tell what time of day the scenes are taking place in. Most of the shots were done by night, but in the film's reality you can't ever tell what time it is. Only the intrusive lights of the city penetrate into all enclosed spaces, even in Deckard's apartment, constantly illuminated by artificial beams. These shafts of light are the result of neon signs, giant electronic advertisements, billboards, street lights.

.

The budget for these neon lights exceeds the 100 000 $, as Cronenweth evokes: "The character and consequently the lighting of the street was achieved through the use of dozens of neon signs. We rented a number of them from One From the Heart". This choice of light translates into strong light/dark contrasts, very characteristic of the film-noir genre.

.

We can also note the use of flashing lights, adding to the oppressive trait of this futuristic city. "Blade Runner is a piece that calls for extremes. It's naturally a wonderful vehicle for this kind of lighting. It's theatrical, but it will be very real in the film. In this movie, I think you'll just accept it. It transcends theatricality".

.

On the same note, we observe the use of two main colors: blue and orange achieving that atmosphere between cold and warm. Also, the moisture and the ubiquitous smoke come to spread these colors, literally bathing the scenery.

.

Removing this natural aspect of lighting is an important aesthetic choice made by Scott to depict the future so as to eliminate a natural humanity of the world we occupy and enclose it in a fully industrialized dystopia. Within its very own eternal daylight, this choice contributes to the question of artificiality in the future that Blade Runner treats.

.

An industrial architecture

The infernal cityscape depicted was inspired by the ICI Wilton chemical firm close to where Scott grew up in near Teesside in northeast England. Another large part of the architectural influences come from Asian mega-cities such Hong-Kong or Tokyo as well as Moebius's drawings.

.

The key building in Blade Runner is the monumental triangular hulk of the Tyrell Corporation headquarters, an evident throwback to the pyramids from Aztec and Mesoamerican civilizations. Towering triangular structures have always been expressions of power, both financial and spiritual.

.

Memories of photographs

An interesting topic that is evoked several times in the film is the use of family photographs in order to implant memories to bioengineered beings called replicants. Unlike this world where everything is artificial (synthetic animals, light, replicants...), these photographs illustrate an attempt at identification or a definition of being, a desire to be related to human emotions.

Like us, the replicants question the nature of their roots and seek their origin. They do not know that the memories they cherish are false, and think themselves human. Until it's detective Deckard himself who comes to ask himself the question of his condition, is he himself human? How could he know it, nothing distinguishes him from a replicant. Thus, the film (like others of the same genre) raises the question of the veracity of the memory: how to prove humanity?

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The visual aesthetics of Blade Runner are timeless, and so predominant that they are today permanently implanted in our collective imagination. They're so strong that they have influenced not only other science-fiction films and music videos but also video-games, architecture, set design, fashion, products, and advertising. Some will reproach that over representation of the aesthetic. It is sure that it can tell the story by itself, a contradiction of fascinating imagery within a world of decay, the gloomy vision of neo-noir. If you want to deepen the review, we recommend the very good documentary Dangerous Days: Making Blade Runner (2007). And while waiting for the next opus, you can view the anime short, Black Out 2022, directed by the author of Cowboy Bebop, and thus happens in between.

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Forums > General Discussion > the Art and Making of Blade Runner 2019