![]() ![]() “Again, all the characters are striving for some kind of connection,” Walker said. It’s part of the bridge that connects the two “Blade Runner” movies. “It plays much more to the story point, which is that Deckard’s turned this light show on in order to have the advantage over K.” Harrison Ford in “Blade Runner 2049” Warner Bros. And the music comes in and blasts like a speaker popping to life for a few seconds. And we had a sound designer, Theo Green, working with sound editor Mark Mangini and they restored something creepy and tense. “We pared down the number of show-off hologram effects, dumped the music, and made it about the lighting. It was more about the atmospherics than the manhunt. It didn’t fit within the “Blade Runner” universe. And it all had to be in continuity.”īut then Villeneuve viewed the assembly and realized that the holographic funhouse had to be massively recut. It was just enough so that we could shoot second-unit material, not only the music but the choreography and the lighting. “He wanted something that was jarring and we ended up layering different types of music with the showgirls coming in and out and the go-go dancers suddenly cutting in. And Deni’s first rough thing that he did on his computer was heavy glitching between Elvis tracks, a hard punk kind of feel. And the original plan was there was a cacophony of music. And we had to get it to a stage where they had music that they could run the lighting to. There were storyboards and previs: Elvis glitching, Liberace playing, and Marilyn Monroe doing stuff. “It went on for about five or six months. “That was the longest part of the editing process,” said Walker. ![]() It’s the perfect metaphor for this world of artificial experience and ersatz nostalgia. And that’s how the story’s in two parts: Before that moment and after that moment.”īut the most difficult scene to edit involved K playing a game of cat and mouse with Deckard in a Las Vegas showroom surrounded by holographic icons. He’s in trouble and he’s a renegade and he has to leave. “And I was trying to get into the pacing, a sense of form about how to go on. And I thought it was so impactful because he’s played it down so much. What Walker found interesting was quite a selection of takes for Gosling when K goes to Ana’s lab to analyze a particular memory. “And in that moment there was one outstanding take and it’s the only one where he just loses it,” Walker said. “It’s like a glass egg.” “Blade Runner 2049” “There’s a strange sense of somebody being secluded like that,” Walker said. ![]() She lives in a sterile-looking glass room and we view her work as imaginary dreamscapes. Ana Stelline (Carla Juri), who makes memories for replicants. Part of that initiation includes a bizarre visit to a young scientist, Dr. “In this second part, K has come through an initiation and his desires have changed,” Walker said. It seemed to mark a genuine part two.”īoth halves start with an awakening - a giant eye opens the movie - and then a revelatory jolt. “The break, just at the point before K goes on the run, always felt like way more than an arbitrary convenience for viewing the cut. “When we viewed the first assembly, it was broken down, because of its length, into two halves,” Walker said. ![]() The challenge for Villeneuve was maintaining this hypnotic dreamscape while still keeping it fast enough for today’s audience. And, once again, humanity is linked to memories, which also links “Blade Runner 2049” to “Arrival.” In this world, 30 years after the first movie, blade runner K tries to solve a mystery that leads him back to former blade runner Deckard (Harrison Ford). Crucially, the investigation also throws K into an existential crisis. Designing a Showstopping and Terrifying Ursula for ‘The Little Mermaid’ “ Blade Runner 2049” YouTube ![]()
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