Steven Spielberg: "I thought Ridley [Scott, director of Blade Runner] painted a very bleak but brilliant vision of life on earth in a few years. It's kind of acid rain and sushi. In fact, it's coming true faster than most science fiction films come true. Blade Runner is almost upon us. It was ultranoir."
http://archive.wired.com/wired/archive/10.06/spielberg_pr.html
Alex
Oliver Nias (director The Return): We wanted to create something that was going to draw your mind back to the events of the movie long after the credits roll. Like we’ve talked about, one of the ideas buried in The Return is that “things aren’t always clear first time round”. But I would issue caution over the importance of garnering information. Some of my favourite movies are thanks to the world they build and the feeling they leave me with afterwards. For me no understanding was needed while I watched Ridley Scott’s Blade Runner, for instance, which dazzled and hypnotised me many times before I started thinking ‘what’s this about?’. Needless to mention ‘2001: A Space Odyssey’.
http://moviemarker.co.uk/interview-director-oliver-nias-the-return/
Pat Hackett: What contemporary movies have you seen recently that you've liked?
Sylvester Stallone: I really admire the dedication that goes into something like The Killing Fields. But what I really admire more than anything else is technique. Say, in Blade Runner, or the camera work in Excalibur. The special attention to details, which I realize requires such incredible patience. Most of the films I myself like don't do very well. Every director, he has a choice, whether to go for subtlety and try to articulate every minute detail, or to go for the broad strokes and hope that the people will fill in between the lines. I tend to go for the broader strokes.
http://www.interviewmagazine.com/film/new-again-sylvester-stallone#_
Guillermo Del Toro (on Twitter): "'82 Saw BLADE RUNNER in a half-empty theatre that actively booed and I, in sheer contrast, felt the visual boundaries of Cinema expand."
https://twitter.com/realgdt/status/660566986422751232
The Weeknd (RNB/Pop Singer and Grammy Winner)
I:Besides Blade Runner, Japan and Portishead - what else inspired you when writing, producing and creating KISS LAND?
The Weeknd: Scanners, naked lunch, the thing, polanski's Chinatown, enter the void, Amadeus and videodrome
http://interviewly.com/i/the-weeknd-sep-2013-reddit
Unfortunately I couldnt find a better quote. But The Weeknd's first album "Kissland" is heavily inspired by Blade Runner. First of all visually. The artwork concept and the music videos (just watch "Belong To The World"). The instrumental of the songs feeling like Vangelis. Even one of the songs is called "Tears in Rain".
and by the way @CremersAlex thanks for all these great quotes!
You're welcome!
shareZack Snyder: "The problem sci-fi often has is that it seems impersonal. The way Ridley does it, you can imagine the gritty reality of those worlds and therefore the events that take place within the film connect with you in this personal way. Even though he creates this epic landscape, he finds a way to make it human."
Alex
Cinematographer Christopher Norr at The American Society of Cinematographers awards
Norr says executive producer Danny Cannon specified two key visual references for the look of the series: Ridley Scott’s Blade Runner, shot by Jordan Cronenweth, ASC, and David Fincher’s Seven, shot by Darius Khondji, ASC, AFC. “One thing I stole from Blade Runner is that I often have moving lights going through the scene,” he says. “They don’t even need to be motivated; they just feel right in our world.
Norr is co-cinematographer with Crescenzo Notarile on the series Gotham.
https://www.theasc.com/ac_magazine/December2015/ASCTVSeriesNominees/page5.php
Reaction time is a factor in this, so please pay attention.
Scott wanted to call the movie Gotham City before it was named Blade Runner.
shareQuote from Dann Lewis writer for website Neon Dystopia
Blade Runner has changed the world because it was the film that changed the cultural consensus on serious SF film. Blade Runner is the reason we expect greatness from SF, cyberpunk and every other vein spouting from the bulbous mass of genre. It has impregnated creatives like myself, and still, in the 2010’s, holds up thematically, especially as we near the singularity. Blade Runner, as mentioned before, is challenging, dark and decrepit–everything we cyberpunks need to thank Scott for.
Jóhann Jóhannsson (composer): “I saw the original when I was 13, the year it came out, and it had a huge effect on me. I was already a big fan of Philip K. Dick’s novels, so I knew the original. Obviously the film is very different from the book, but I was a huge fan from day one and it’s a film that’s hugely important to me in terms of both being a visual masterpiece – this amazing world that Ridley Scott and his team created – and also in terms of the music and the sound design, which is tremendously strong and which was very memorable at the time when I saw it. This is true of many people of my generation who experienced that film, it had a deep impact on them.”
“Vangelis is a composer that has been a huge influence on my own work – not only the Blade Runner score, many of his solo albums have been a rich part of my life for a long time. What I love about his work, which I think is also present in my own work, is his sense of space – the way he uses space, the way he uses silence and a sense of monumentalism. Vangelis is a huge influence on me as a composer, certainly in the early part of my career, so I have the deepest respect for him as a composer.”
http://www.factmag.com/2016/08/27/blade-runner-2-johann-johannsson-orphee/
It’s strange to talk about a movie that I just did as I’m doing something else. I’m so profoundly into the process right now. My life is 100 percent Blade Runner right now, so I’m in the future, I’m not with you anymore.
What does it mean for your life to be 100 percent Blade Runner?
I wake up at six, I get to bed at midnight, it’s like seven days a week and you dream about it. Very often I wake up in the middle of the night, and I know I’m doomed, because I know I won’t go back to bed, because I’m too excited, there’s so much work. So I don’t sleep a lot. So that’s why if you ask me what I’m going to do after Blade Runner, I’m going to sleep.
With Blade Runner, will the visual language pay tribute to the original, or will it be something completely your own? Do you feel pressure to live up to the original?
First of all, it’s not possible to live up to the original. It’s Ridley Scott. It’s a masterpiece. It’s one of the best sci-fi films, one of the best films in the past 50 years.
For me, what terrorizes me right now is what I’m doing is taking Blade Runner and making it my own, and that is horrific. To realize that when I look at the dailies, it’s not Ridley Scott, it’s me, and that it’s different. It’s still the same universe, we are still in the same dream, but it’s mine, so it’s like I have no idea how you people will react, I don’t know. It has its own life.
How has it been working with Ryan Gosling?
I must say, the thing I can say is that Ryan Gosling is insanely good. I’m very impressed by that actor. It’s the first time I’ve worked with him and I never had someone that was as much a trooper, as dedicated, as precise and engaged. I feel that he is a real partner with me. I said to him, "You know, we are going to do it together and it’s like walking in a dark room with a lighter trying to find the way out. It’s a huge room and we are alone and it’s dark and it’s cold." And he said, "Yeah, I understand exactly." But we have a lot of fun.
It’s funny because very often we say that nobody realizes that a bunch of Canadians took over Blade Runner. We are, like, covert, nobody knows. I knew he was a great actor, I didn’t know how brilliant — he’s really an intelligent person, very clever, very provocative mind, he’s bringing a lot to the project right now, a lot, in a positive way. I’m very excited about it.
And what’s it like to work with Harrison Ford?
It’s a long shoot, and I started prep with him, but I didn’t start to shoot with him. But I will say that Harrison, to my great relief … you know Harrison Ford, he was one of my biggest heroes. I grew up with him, so to meet a man like that who is kind of a legend in your heart, that has that kind of humility, generosity, open-mindedness and simplicity, one of the nicest human beings I’ve met. I’m really looking forward to start working with him.
What are your top three science-fiction films?
2001: A Space Odyssey, Close Encounters of the Third Kind and Blade Runner … so you can see that I’m in deep *beep*
The rest of the interview is about ARRIVAL: http://www.hollywoodreporter.com/news/venice-arrival-director-denis-villeneuve-925854
- taken from the other message board
http://www.youtube.com/watch?v=OdTmT3wVBxM someone should remake hollywoodshare
"This Guy Is Replicating ‘Blade Runner’ Shot-for-Shot in MS Paint":
“I finally saw it on the big screen as an adult when the final cut came out theatrically and I was just amazed. Just completely stunned,” said MacGown, who like most Blade Runner fans is particularly drawn to the juxtaposition between what is “an essentially old-fashioned film” and the futuristic setting. “Blade Runner is a mix of the old and the new in so many ways.”
Johann Johhannsson: “It’s very early on with Blade Runner. They’re still filming. I’m sending them stuff, and we’re still looking for the sound. It’s a slow process. It’s very early to talk, really, in any specific terms about Blade Runner, but obviously it’s a sequel to a very iconic, celebrated film that is very well loved. It’s a film that’s one of my favorites, to be honest. It’s one of my all-time favorite films, so it’s a huge challenge to take on. It feels like a responsibility in many ways, like a big responsibility to take on a project like this.”
“It has to be music that exists in the world of Blade Runner, but it’s Blade Runner thirty years later. It’s not a remake, it’s a sequel, so a lot of time has passed and things have changed. I think that will be reflected in all elements of the score and the film. Obviously, Vangelis’ music played a huge part in creating that world, and Vangelis’ score to Blade Runner is one of my all-time favorites. It was a huge part of why that film is so strong, so yes, it’s something that I’m very aware of, but as I said, this is a sequel, not a remake, so we’re doing something that exists in the world but is new as well.”
http://lrmonline.com/news/exclusive-composer-johann-johannsson-on-the-music-of-blade-runner-2049