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I'd say the realization of how expendable her own "kind" is, and in return how expendable she could be.
I imagine a little mix of everything on top of that.
Blade Runner 2049 (2017)
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I'd say the realization of how expendable her own "kind" is, and in return how expendable she could be.
I imagine a little mix of everything on top of that.
spronk
FPS noob
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Another one of those beautiful moments that has a lot of unspoken things that depend on your perspective. Her tears could have meant a number of things
- anger/sadness at how Wallace treats her species
- sadness that Wallace desires children that can reproduce and she can never fulfill that role to her father
- schadenfreude at Wallace's hope and then dejection when the latest replicant model is defective ("she is the best" still)
- conflict over her internal programming that requires obedience to her master vs. rage at how her sisters are treated
and probably another dozen things you could rattle off. Tears are also not just an indication of sadness but when your emotions just overwhelm you, ala pregnant women.
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Siliconemelons
Naxxramas 1.0 Raider
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I just have been able to watch the "intro" and they are hitting the "feel" out of the park, even the music... without being "try 2 hrd cheezey"
Look forward to finishing the movie
Look forward to finishing the movie
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Caliane
Avatar of War Slayer
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The murder of the Police chief sells that Luv is psychotically devoted to Wallace. She also wants a robot revolution. but one that is in Wallace's control.
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Caliane
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don't even need that. Im pretty sure Wallace was a-ok, with leaving Humanity to the Earth shithole, while his replicant children spread to the stars.
Void
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Just watched this last night, and the sound literally smacked me in the ears the moment the opening credits started. The Atmos sound on this, with 4K picture, is just fucking phenomenal.
I really liked the movie, although when describing it to coworkers I felt I needed to temper expectations by saying things like it is "methodical" and "slow paced" etc. because I work with fucking morons that will lose interest if someone isn't punching someone else every few minutes, or there aren't any zombies.
The "Oh, you thought it was you?" actually made me laugh out loud, I have to say. Of course I thought it was him too.
Joi makes me tingly. Gonna do some more research on her tonight when I get home from work! I recognized her immediately from Knock, Knock with Keanu, so might have to fast forward to a few of those scenes again.
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Siliconemelons
Naxxramas 1.0 Raider
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The only part to me that was out of place or too long was the sex scheme scene. Was like "okay we get it...not showing us any tits...so why is this still going on the art and message are done..."
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jayrebb
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That's exactly the trigger on 3rd watch where I could feel this was originally 2 movies, ecause of how out of place and sudden it felt. I think they should have moved that scene up the timeline, and if that wasn't possible, then cut it.
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spronk
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interesting interview with Denis V
Blade Runner 2049 director Denis Villeneuve: 'We made a monster. I won't do it again'
Copying the whole article since its behind a freewall registration thing
Blade Runner 2049 director Denis Villeneuve: 'We made a monster. I won't do it again'
3 FEBRUARY 2018 • 7:00AM
When Denis Villeneuve first showed Blade Runner 2049 to Ridley Scott, he wasn’t sure exactly what he had. But he knew he had something. He had spent months paring an hour and 15 minutes off his initial, four-hour rough cut of the film – a belated sequel to Scott’s own monumental science-fiction/film noir hybrid, about a detective hunting lifelike androids in a desolate future Los Angeles.
By the time of that test screening, nothing else seemed dispensable. And though Scott would later grumpily describe the 163-minute version as “way too f------ long”, saying he would have trimmed another half-hour from it, the studio executives were more warily upbeat.
They’d given the director of Sicario and Arrival $185 million (£131 million) to make a mature and uncompromising sequel to Blade Runner, and for better or worse, that was exactly what he had delivered. Four months on, Villeneuve recalls one of his producers’ gut reactions word for word: “The lights came up, and he turned around and said, ‘We’ve just made the most expensive art house movie in cinema history.’”
Of all the things that have been written about Blade Runner 2049, none capture it more snappily than that. Even in a strong year for blockbusters, Villeneuve’s stood apart from the pack: it was enormous, introspective, coldly beautiful and unapologetically oblique, not even caring to clarify which of its characters were robotic replicants and which were flesh and blood. (A warning: mild spoilers lie ahead.)
Released last October in a fog of secrecy, the reviews of the film mostly ranged from positive to euphoric, and the industry itself has been equally dazzled. Blade Runner 2049 is in contention for five Oscars and eight Baftas, including a Bafta Best Director nomination for Villeneuve.
Yet it fell far short of even conservative box office predictions. The film fared notably better in Europe than the United States – “Europe saved my ass,” Villeneuve jokes – but it was quickly branded a bomb, and its production company Alcon Entertainment is likely to lose $80 million.
When we meet in a fashionably sterile London hotel room – high rise, low lights, the purr of air conditioning overhead – the 50-year-old French-Canadian admits the film’s wildly unbalanced reception means it will probably remain a one-off.
“Let’s just say it would not be a good idea for me to make a movie like that twice,” he chuckles, in mellowly accented English. “When you’re working on a film you’re in a bubble, and it was only when I came out that I realised we had made a monster.”
It’s also only now that he is able to dissect it. During the original press tour, the studio didn’t screen the film for fear of plot leaks, “and I was really tired of talking about the film with journalists who hadn’t seen it,” he says. With its mighty heritage and stars like Ryan Gosling and Harrison Ford, it was by far the biggest film Alcon had ever handled. “And they wanted it to be a total secret, like Star Wars,” Villeneuve says. “They didn’t want anyone to know a thing about it.”
Sean Young, who played Rachel in the original film, made a cameo in the new one, as had long been rumoured. The studio “just closed up, like that,” Villeneuve says, and hunches over with a theatrical slurp.
But marketing leaks couldn’t spoil the film’s mysteries, and it’s only on a second encounter that many of Blade Runner 2049’s more elaborate puzzles open up. Take that opening close-up of a green-blue eye: it doesn’t belong to Ryan Gosling’s replicant detective K, as you might assume, but to Carla Juri’s Dr Stelline, the author of the synthetic memories that tip off K to the seismic implications of his latest missing-person case.
This means the actual first shot of K in the film is the one of him waking up in a police hover-car as it arrives at a sprawling protein farm – itself structured like a huge, grey iris in the desert. The film already forces us to reassess who K actually is twice. Does the eye shot and its implied connection to the film’s final moments suggest a further level of ambiguity is there to unpick?
Villeneuve grinningly declines to spell it out, but does say that he cooked up the image with his cinematographer Roger Deakins, a 13-time Oscar bridesmaid whose work on Blade Runner 2049 might well break his duck. He also says he toyed with calling the film Android’s Dream, a tribute to the Philip K Dick novel that inspired the original film, Do Androids Dream of Electric Sheep?
Dick’s book was published in 1968 when Villeneuve was one year old; Scott’s film of it was released in 1982 when he was 15, and alongside Star Wars, 2001: A Space Odyssey and Scott’s own Alien, it was a formative influence. His first film, August 32nd on Earth (1998), was released when he was 29, and his second, Maelstrom, two years later.
But he was disappointed with both, and took a nine-year sabbatical as a stay-at-home dad, vowing to return “when I was ready to make a film I could be proud of”. Instead, he came back with two, and the second, the twisting war thriller Incendies (2010), piqued Hollywood’s appetite.
And despite Blade Runner’s commercial struggles, he remains something of a flavour of the month. Eon Productions recently approached him to direct the as-yet-untitled 25th James Bond film, but he turned them down to direct and co-write a new cinema adaptation of Frank Herbert’s Dune, “a project I’ve been dreaming of since I was 14 years old.”
His Bond ambition remains undimmed, though. “One day I would love to do one, but it’s a question of timing. And it is very difficult to do a Bond movie well. I think what Martin Campbell did with Casino Royale was impressive, but now, where to go? I haven’t had time to dream about it yet.”
Besides, Dune is enough to be getting on with. Ignoring the 1984 David Lynch version, he’s adapting the 1965 novel from scratch with Eric Roth, whose unmade screenplay with Michael Mann, Comanche, is, Villeneuve says, “one of the best I’ve ever read”. And the writing process has given him a break from increasingly gigantic and high-stakes film sets.
“I made five movies in six years, which is a privilege but also not a good idea,” he says. “I haven’t had time to think about any of it. I kept feeling like I lacked time, so now to have so much of it feels…”
Like a holiday? He smiles and shakes his head.
“Like a nice puzzle.”
Blade Runner 2049 director Denis Villeneuve: 'We made a monster. I won't do it again'
Copying the whole article since its behind a freewall registration thing
Blade Runner 2049 director Denis Villeneuve: 'We made a monster. I won't do it again'
3 FEBRUARY 2018 • 7:00AM
When Denis Villeneuve first showed Blade Runner 2049 to Ridley Scott, he wasn’t sure exactly what he had. But he knew he had something. He had spent months paring an hour and 15 minutes off his initial, four-hour rough cut of the film – a belated sequel to Scott’s own monumental science-fiction/film noir hybrid, about a detective hunting lifelike androids in a desolate future Los Angeles.
By the time of that test screening, nothing else seemed dispensable. And though Scott would later grumpily describe the 163-minute version as “way too f------ long”, saying he would have trimmed another half-hour from it, the studio executives were more warily upbeat.
They’d given the director of Sicario and Arrival $185 million (£131 million) to make a mature and uncompromising sequel to Blade Runner, and for better or worse, that was exactly what he had delivered. Four months on, Villeneuve recalls one of his producers’ gut reactions word for word: “The lights came up, and he turned around and said, ‘We’ve just made the most expensive art house movie in cinema history.’”
Of all the things that have been written about Blade Runner 2049, none capture it more snappily than that. Even in a strong year for blockbusters, Villeneuve’s stood apart from the pack: it was enormous, introspective, coldly beautiful and unapologetically oblique, not even caring to clarify which of its characters were robotic replicants and which were flesh and blood. (A warning: mild spoilers lie ahead.)
Released last October in a fog of secrecy, the reviews of the film mostly ranged from positive to euphoric, and the industry itself has been equally dazzled. Blade Runner 2049 is in contention for five Oscars and eight Baftas, including a Bafta Best Director nomination for Villeneuve.
Yet it fell far short of even conservative box office predictions. The film fared notably better in Europe than the United States – “Europe saved my ass,” Villeneuve jokes – but it was quickly branded a bomb, and its production company Alcon Entertainment is likely to lose $80 million.
When we meet in a fashionably sterile London hotel room – high rise, low lights, the purr of air conditioning overhead – the 50-year-old French-Canadian admits the film’s wildly unbalanced reception means it will probably remain a one-off.
“Let’s just say it would not be a good idea for me to make a movie like that twice,” he chuckles, in mellowly accented English. “When you’re working on a film you’re in a bubble, and it was only when I came out that I realised we had made a monster.”
It’s also only now that he is able to dissect it. During the original press tour, the studio didn’t screen the film for fear of plot leaks, “and I was really tired of talking about the film with journalists who hadn’t seen it,” he says. With its mighty heritage and stars like Ryan Gosling and Harrison Ford, it was by far the biggest film Alcon had ever handled. “And they wanted it to be a total secret, like Star Wars,” Villeneuve says. “They didn’t want anyone to know a thing about it.”
Sean Young, who played Rachel in the original film, made a cameo in the new one, as had long been rumoured. The studio “just closed up, like that,” Villeneuve says, and hunches over with a theatrical slurp.
But marketing leaks couldn’t spoil the film’s mysteries, and it’s only on a second encounter that many of Blade Runner 2049’s more elaborate puzzles open up. Take that opening close-up of a green-blue eye: it doesn’t belong to Ryan Gosling’s replicant detective K, as you might assume, but to Carla Juri’s Dr Stelline, the author of the synthetic memories that tip off K to the seismic implications of his latest missing-person case.
This means the actual first shot of K in the film is the one of him waking up in a police hover-car as it arrives at a sprawling protein farm – itself structured like a huge, grey iris in the desert. The film already forces us to reassess who K actually is twice. Does the eye shot and its implied connection to the film’s final moments suggest a further level of ambiguity is there to unpick?
Villeneuve grinningly declines to spell it out, but does say that he cooked up the image with his cinematographer Roger Deakins, a 13-time Oscar bridesmaid whose work on Blade Runner 2049 might well break his duck. He also says he toyed with calling the film Android’s Dream, a tribute to the Philip K Dick novel that inspired the original film, Do Androids Dream of Electric Sheep?
Dick’s book was published in 1968 when Villeneuve was one year old; Scott’s film of it was released in 1982 when he was 15, and alongside Star Wars, 2001: A Space Odyssey and Scott’s own Alien, it was a formative influence. His first film, August 32nd on Earth (1998), was released when he was 29, and his second, Maelstrom, two years later.
But he was disappointed with both, and took a nine-year sabbatical as a stay-at-home dad, vowing to return “when I was ready to make a film I could be proud of”. Instead, he came back with two, and the second, the twisting war thriller Incendies (2010), piqued Hollywood’s appetite.
And despite Blade Runner’s commercial struggles, he remains something of a flavour of the month. Eon Productions recently approached him to direct the as-yet-untitled 25th James Bond film, but he turned them down to direct and co-write a new cinema adaptation of Frank Herbert’s Dune, “a project I’ve been dreaming of since I was 14 years old.”
His Bond ambition remains undimmed, though. “One day I would love to do one, but it’s a question of timing. And it is very difficult to do a Bond movie well. I think what Martin Campbell did with Casino Royale was impressive, but now, where to go? I haven’t had time to dream about it yet.”
Besides, Dune is enough to be getting on with. Ignoring the 1984 David Lynch version, he’s adapting the 1965 novel from scratch with Eric Roth, whose unmade screenplay with Michael Mann, Comanche, is, Villeneuve says, “one of the best I’ve ever read”. And the writing process has given him a break from increasingly gigantic and high-stakes film sets.
“I made five movies in six years, which is a privilege but also not a good idea,” he says. “I haven’t had time to think about any of it. I kept feeling like I lacked time, so now to have so much of it feels…”
Like a holiday? He smiles and shakes his head.
“Like a nice puzzle.”
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Ridas
Pay to play forum
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Dennis Villeneuve is by far my favourite director at the moment. And it seems he is a producers darling, so he has a lot of freedom to actually do what he envisions. Blade Runner was so far off of the usual hollywood schlock and his earlier movies were aswell.
Lets hope Dune does really well and he continues working like that.
Lets hope Dune does really well and he continues working like that.
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spronk
FPS noob
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Rutger Hauer on 'Blade Runner 2049' and Why Films Today "Lack Balls"
Have you seen Blade Runner 2049?
I sniff and scratch at it. It looks great but I struggle to see why that film was necessary. I just think if something is so beautiful, you should just leave it alone and make another film. Don't lean with one elbow on the success of that was earned over 30 years in the underground.
In many ways, Blade Runner wasn't about the replicants, it was about what does it mean to be human? It's like E.T. But I'm not certain what the question was in the second Blade Runner. It's not a character-driven movie and there's no humor, there's no love, there's no soul. You can see the homage to the original. But that's not enough to me. I knew that wasn't going to work. But I think it's not important what I think.
Have you seen Blade Runner 2049?
I sniff and scratch at it. It looks great but I struggle to see why that film was necessary. I just think if something is so beautiful, you should just leave it alone and make another film. Don't lean with one elbow on the success of that was earned over 30 years in the underground.
In many ways, Blade Runner wasn't about the replicants, it was about what does it mean to be human? It's like E.T. But I'm not certain what the question was in the second Blade Runner. It's not a character-driven movie and there's no humor, there's no love, there's no soul. You can see the homage to the original. But that's not enough to me. I knew that wasn't going to work. But I think it's not important what I think.
- 2
nu_11
Avatar of War Slayer
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So... stop making movies because they retread the same ideas?
There has to be a finite amount of "ideas"--e.g., what does it mean to be human--and under Hauer's comment this will eventually result in no more movies being made. I don't think he's thought through what he's really saying.
How we answer these fundamental ideas/questions changes as time (and society) changes. Isn't that interesting enough?
There has to be a finite amount of "ideas"--e.g., what does it mean to be human--and under Hauer's comment this will eventually result in no more movies being made. I don't think he's thought through what he's really saying.
How we answer these fundamental ideas/questions changes as time (and society) changes. Isn't that interesting enough?