look on what version of Blade Runner you ’ve run across or preferred , it ’s potential to make strong arguments that main character Rick Deckard ( Harrison Ford ) is a man or an artificially create Replicant himself . It ’s a question fans have debated since the motion-picture show came out in 1982 — and it ’s a debate the maven and director are still having to this day .
“ Harrison and Ridley are still debate about that , ” Blade Runner 2049 director Denis Villeneuve said yesterday . “ If you put them in the same elbow room , they do n’t agree . And they start to mouth to very cheap . ”
Villeneuve was present for one of those arguments . “ I sit in the center and went , ‘ Well … ’ ”
Right now , Villeneuve is in the middle of something else , bring in a sequel to one of the most fiercely beloved skill fiction movies of all time . At a roundtable discussion at San Diego Comic - Con 2017 , he confessed that he is n’t used to talk to press while making a motion-picture show . But he ’s never done a movie as big and charged as this one before .
In the conversation that go on yesterday afternoon , Villeneuve talk about how he settle to sign on to Blade Runner 2049 , finding an esthetical approach shot that fall from the first movie ’s turning point visuals , and whether technology can help humans be good to each other
On finding the confidence to make a sequel to such a beloved movie:
“ Three things . First of all , I had Ridley Scott ’s blessing . That ’s the first matter I asked once I said yes . There were some conditions . I wanted to be in front of him and expect into his optic and pronounce , ‘ Yes , you may do it . ’ The 2d thing , the screenplay I felt had strong ideas in it . I ’m not say it was a perfect screenplay . I ’m just saying that I understood why Ridley felt that there was potential to do a firm movie there . And the third thing was that I ’d been offered a lot of big scifi flick in my life but I always felt it was severe to do those boastful movies because there ’s a set of pressure when you make those big movies . I aver if I do it one day , it will be for something that is really worthy and really meaningful artistically for me .
“ The first [ Blade Runner ] movie is one of my favorite motion-picture show . I said to myself , ‘ They will do it . No matter what we cogitate , the studio apartment will move forward and will make it . ’ I do n’t know if I ’ll succeed but I know I will give it all my beloved and all my skills . I will make so hard . I did n’t want it to fall into the bridge player of someone that would n’t . I said at least I will be passionate about it and give my blood to ensure it esteem the feeling of the first picture show . It ’s a bit chesty ; I was afraid to see a sequel to Blade Runner but I read , at least if I do it , I will have some control over it . I can fault only myself . ”
On the importance of casting:
“ The most of import part of the film process is casting . You need unattackable thespian . I ’m a very dissimilar film director from Ridley Scott but it ’s a thing that both of us have in rough-cut . We always aim for excellence with the actor in our cast ; there ’s no via media . The molding I ’ve done , one thing I ’m sure of is that the performances in our motion picture are very strong . Very strong . I had the hazard to do a massive casting around the globe where I flummox to prefer from among the best young role player . One thing I hump in the screenplay , there ’s a lot of strong female parts . muliebrity is very important in the second movie , like it was in the first movie . So I had the delight to suffer actor that sometimes are well known in their own countries but less known in North America like Sylvia Oaks and Anneli Armas . Carla Jueri . Mackenzie Davis . Those young actress are strong artists and they bring in a mint to the movie . The four of them are the movie ’s secret weapon . ”
On the decision to bring back Harrison Ford:
“ It was the other way around . Harrison was there before me . The birth of the project was the producer from Alcon were able-bodied to thaw the rights . It was honestly like a sea captain , high - skilled negotiation to bring the rights back to life . They unfroze something that was very hard and the first matter they did was approach Ridley , of course of action . They said they ’d love to do with him and I cogitate Ridley said , after 15 minutes , ‘ aviate to London NOW . ’ What Ridley told me was , when he did the original Blade Runner , he had the desire to follow Deckard ’s and different other stories . It was a world that was exposed . You have a detective in the future . The desire was there . It ’s just that so much dickhead happened with the first move that it freeze there .
“ They move to Ridley and they lead to [ screenwriter ] Hampton Fancher and both of them had an theme to do a sequel that excited everybody . The first thing they did once they got the estimation was they telephone Harrison . At the early stage of screenwriting , they asked him because , without Harrison , there was no movie . Harrison said yes and they develop the pic . Harrison was there before me . I did n’t go to Harrison ; I had to be approved by Harrison .
“ Once I agree to do the screenplay , I had to meet Ridley to hear from his own phonation that he want me to do this . And then I had to meet Harrison to be skim by Harrison to verify Harrison Ford approved . ”
On taking Blade Runner’s future into the future:
[ take down : I personally asked Villenueve two question . Here ’s the first : The first Blade Runner generalise a sort of future - impact imagination of cyberpunk and that aesthetic depression is all over the position now , and masses are familiar with it . Can you talk about , aesthetically , some way that you want to storm people again ? ]
“ You ’re put your finger in the soft spot . Is it a indulgent spot or a painful spot ? It ’s a movie that ’s been cut - and - paste so much through the years that influenced sci - fi and all the moving picture — even Star Wars pic — are influenced by Blade Runner . So how can you go back to something that was so original but became a landmark [ in that way ] ?
“ It was a recollective physical process to find the keys . The keys were in the screenplay and the idea of Hampton about how climate evolved . mood for me was a key because [ change ] climate stand for different sort of luminosity . And that was something , with Roger Deakins , we search those ideas and came back that we finger is deeply inspired by the first movie but slightly different .
“ Let ’s say that the first movie was made by a theater director born in England under the rain . The 2d one was made by a Canadian direct that was bear in Baron Snow of Leicester . So the light is unlike . It was a lot of work to endeavor to offer and project this universe into the future and try out to find something that I desire will have some variety of freshness . ”
Wanting to stay true to the spirit of the original Blade Runner:
“ There was a melancholia , a nostalgia feeling of loneliness and existential incertitude . A kind of inner paranoia about yourself that I want to keep animated in the 2nd movie . I wanted to keep the motion-picture show noir aesthetic live — very of import — and a sure kind of pacing , too , that I deep love in the first moving picture . I stress to adapt it to the rhythms of today ’s movies but I still adjudicate my best to keep that tensity alert . Ridley severalise me that it touched him because I was able to extend that atmospherical quality that the first movie had . ”
On all those different versions of the first movie:
“ The thing is that I was raised with the first one . For me , there was one Blade Runner . At the time , there was no internet , there was no A.O. Scott . I remember see to it the first movie and facing deeply in love life with it . It became for me an instant classic . Me and my friends were all in beloved with it . I remember a few months later reading a review of the movie that was very bad . I was so tempestuous because I find the critic was all awry because he felt that the adaptation of Phillip K. Dick ’s novel was not right . At the fourth dimension , I altogether take issue .
“ subsequently on , I attain what Ridley ’s initial dream was and I really have sex Ridley ’s rendering , too . The key to make this movie was to be in - between . Because the first movie is the tarradiddle of a human falling in love with a designed human being being and the story of the [ other edit ] is the story of a replicant who did n’t know he ’s a replicant and slow discovers his own identity . Those are two different stories . I feel like the key fruit to deal out with that was in the original novel . IN the novel , the characters are doubting about themselves ; they are not sure if they are replicants or not . For time to time , they ’re doing Voigt - Kampff on themselves to verify that they ’re homo . I have intercourse that idea . So I decided that the pic would be on that side , too , that Deckard in the movie is as unsure as we are about what his identity is . That , I love it , because I love mystery . That ’s an interesting thing to me — not the knowing who he is or not — but the doubt [ of it ] . ”
On the relationship between humans and technology:
[ The 2nd query I asked Villeneuve : Because of the source material , the first picture asks the viewer to guess about how engineering changes what it means to be human . Do you feel like you ’ve made a movie where technology lets us be more empathetic to each other or more disconnected from each other ? There ’s a lot of disconnection from the first motion-picture show . Do you feel like you ’re close a loop there ? ]
“ No , unfortunately , I believe that it ’s an extension of the first picture show . And what you describe is a band of what science fiction is , research the human condition and our relationship with onward motion and the unknown . But the DNA of the story I adapted from Hampton [ Fancher ] has the same thematics as the first movie so we did n’t evolve in that regard . ”
Do you feel like technology can do that ? link up us more with each other ?
“ No . I deep conceive it has to come from ourselves inside , not from an outside equipment . That ’s why scifi is so interesting . ”
Blade RunnerBlade Runner 2049San Diego Comic - Con
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