![]() ![]() ![]() The humans left behind loathe the “Skinners” with good cause: while the replicants have a place and function in Earth’s society, all but a chosen few humans (including the cops that maintain this poisonous order) are left to scrape out what they can. Blade Runner 2049 is mostly populated with replicants. Replicants are now under the control of Niander Wallace (Jared Leto), who wants to create replicant slaves that can breed, exponentially accelerating humanity’s labor pool as it expands through the galaxy.Īfter “retiring” (executing) an old Nexus 8 model with a mysterious past, the blade runner K finds himself enmeshed in a missing persons case that could change the balance of power between replicants and their human masters. So valueless that they hardly figure into the narrative at all.Ī lot has happened since 2019, the year Rick Deckard (Harrison Ford) ran off with the Tyrell Corporation’s most advanced replicant, Rachael (Sean Young), after a life-changing confrontation with rogue replicants lead by warrior-poet Roy Batty (Rutger Hauer). More than a sequel to 1982’s Blade Runner - the sequel elements are actually its greatest weaknesses - Blade Runner 2049 portrays what happens when humanity’s vast numbers become valueless, pinched between god-like corporate entities above and a replicant slave class below. It’s vibrant sci-fi worth exploring in itself, transcending the typical sequel cycle.īlade Runner 2049 is a tour through circles of a hell we built for ourselves on Earth. This isn’t the output of a machine that grinds up old movies and spits out a familiar-tasting paste. Nothing feels like a soft reboot or a Marvel movie. Blade Runner 2049 isn’t a franchise entry. Looking at this city, this one possible future, induces awe and despair - we’ve populated the stars, but never changed society.īut before we get into what Blade Runner 2049 is, it’d be helpful to start with what it isn’t. Massive buildings in the shape of pyramids and other gigantic totems project order, control, wealth and hidden knowledge. This Los Angeles isn’t designed for the benefit of its inhabitants, including the blade runner K (Ryan Gosling), but serves as substructure to even larger temples of the elite. The entire city, populated by replicant skinjobs and anyone too poor to leave Earth, is flat on top. But what he chose to do is very subtle stuff because that’s what he was trying to hone in on.The Los Angeles of Blade Runner 2049 has as its foundation seamless blocks of skyscraper-height buildings, riven by the main roads into deep, glowing trenches lit by neon advertisements, all surrounded by a forbidding seawall. We really were in control of space and time. I mean, in the end, I think what we did is, Denis went for it to be very subtle. What we could do then is by using all five cameras, we could swivel them around, make them go in reverse, make them freeze, we could make all the actions of the kids independent from the actions of Roger’s camera. Then we brought in the kids and then we made them do all of their actions. Then I set up two cameras to the left and two cameras to the right so I had five cameras looking at these kids. So I had this 180 degree semi-circle with Roger’s camera right in the middle of it. Then I would walk around in a 180 degree arc, drawing a line on the floor of the stage. Then I would measure with a tape measure from the centre of the table that the kids were around to the camera. There would be an interactive light that Roger Deakins put in. ![]() Then Ana will be able to scrub back and forth and move them around in time. What I was told is we’re bringing in the kids. Conceptually, the idea for that is that Ana makes memories but what we were thinking there is that she controls space and time. John Nelson: The kids were sort of a science project. ![]()
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