Blade Runner 2049 (2017) | Ep. 117 - All The Right Movies

Episode Transcript
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(00:04):
All the right movies. You're a cop, what do you want?
I need your help. Replicas are the future.
We should own the world. 'S worst plan.
We have to stop him. Buckle up.
Where is he? Blade Runner, 2049.

(00:36):
Blade Runner 2049 was released in 2017 as one of the most
ambitious sequels ever. The follow up to a science
fiction classic, The navial nerves tale of a man made person
exploring what it means to be real became a critical triumph
that pushed the boundaries of visual storytelling.
My name is John, and the more human than humans with me are
Westy. That's not a name, that's a
serial number. And Matt?

(00:58):
Many is the night I dream of cheese.
It's 2049 and 80. Or ever investigating memories,
questioning reality, and asking what makes us human.
You might be happy scraping by with a movie podcast, but that's
because you've never heard a miracle.

(01:31):
Hello and welcome to All the Right Movies Cells interlinked
within Cells interlinked within cells Interlinked and the
podcast on classic in his films.Cells.
Whatever. Perfect.
You're listening to ATRM classicwhere we tell the story of
Hollywood 1 movie at a time, andthis time out we're heading back

(01:52):
to the most famous rain soaked disturbing feature there is,
aren't we? We are indeed, yeah.
And snow as well this time. Oh yes.
A little bit, yeah. Yeah.
Every cloud, yeah, yeah. It's the new Veil, Nerve and
Ryan Gosling versus the Impossible, following up one of
the most acclaimed science fiction films ever made as we
talk Blade Runner 2049. Nice.

(02:18):
Sounds like a boom and score in the background as soon as every
time I say the title, yeah. Well, before we start the future
no investigation, let's talk about our own little digital
enterprise, should we? Absolutely.
So if you're a regular listener to our ATRM Classic episode, you
can help support what we do by becoming an ATRM Patron.
Patrons get access to our bonus podcast episodes called Double

(02:39):
Feature, where we talk 2 films that may be worthy of the full
classic treatment, and The WatchList, where we review more
modern releases. And you'd also get access to our
whole archive of ATR and Classicepisodes.
So if you love science fiction, we've got the original Blade
Runner. We've got The Matrix and Ex
Machina. Wow, yeah.
If you're into veal nerve specifically, we've covered a

(03:02):
Rival and Sicario as well. Yeah, yeah, so much content.
You'll need the memory capacity of a replicant to process it
all. Yes, you will indeed will.
Yeah, Nexus 10 probably. That's the next one, yeah.
So visit ourpatreon@patreon.com/all the
right movies or subscribe to ourreferee on Apple Podcast,
Spotify or YouTube as well. Yeah.

(03:24):
Back to this episode, Door and Blade Runner 2049.
Wester, you put this one up. Why are we talking about it?
Why do you think, why do you think I put this up?
I mean, a massive, massive fan of the original, as we know.
And I was so, so excited to say this.
It was one of them ones that I was kind of just really hoping
the word can mess it up. I was like please.
And then I saw the first trailerand I thought I've got such high

(03:46):
hopes for this or the second trailer and I thought I'm
booking the tickets now. It was first shown on the Friday
that it came out, was an afternoon shown, left work early
to go and say it. And I was not disappointed.
What an experience that was. I was absolutely blown away.
It's kind of easy and me top five cinema experiences of all
time. So there's like Dark Knight,
Inception, Fury Road and blame 2049.

(04:08):
It was just such a feast for theeyes.
It was just incredible as deacons at the top of his game,
Vilni, but the top of his game. Loved Goslin at the time,
obviously still do adored Harrison Ford.
It just couldn't get any better for me.
Like I say, I love the first Blade Runner and it's the only
film that's pretentious enough to have a commercial art house
sequel and nothing is makes me happier than having that.

(04:30):
It's people going to say and being disappointed.
I couldn't wait. What the fuck was that?
So I was very excited then. I'm very excited now.
I've wanted to talk about it fora long time, but it's just very
daunting because there's so muchin here.
But yeah, I'm really excited to hear what you guys think about
this one and I'm very excited totalk about it as per.
Hugely ambitious sequel, like wesaid.
And what is any sequel? The sequel to a film regarded as

(04:53):
one of the masterpieces of science fiction in Blade Runner.
I remember this being announced and feeling Ridley Scott's big
shoes. There was always going to be
trepidation, and for me, it definitely was.
I didn't want to do it at first,to be honest.
Yeah. But then I heard Harrison Ford
returning alongside Ryan Goslingin the lead.
Directed by Denis Veal, nerve shot by Roger Deakins, scored by

(05:13):
Han Zimmer. I was like, oh go on then.
Why? Not right as well.
And on that first watch, I was kind of blown away as well, to
be honest, with how it looks, how it sounds with the theme it
explores. It takes on the first film in
the writing, which I wasn't really expecting, but delighted
to say. So we'll talk about all that
stuff where it matches up and maybe doesn't with the first

(05:34):
film, as well as how it was all made, of course.
So massive creative talents behind the scenes on this.
So it should be a brilliant one to dive into I think.
Definitely, yeah. And Matt, what's your
relationship with BR2049? My relationship with this one is
that I'm really intimidated by it.
It must be big then, yeah. Huge.
When I saw Wesley put it up, I say, oh, it's great, but Oh my

(05:57):
God, I hope it doesn't win because I'm.
Having to. Wrestle, listen to some kind of
shape is a task and 1/2, and I mean the film itself is 1, I
never thought would actually exist or see the light of day.
Because why would you revisit this particular world when it
was done to such perfection in the 1st place but also done to
pretty much zero financial success or critical acclaim at

(06:18):
the time? It felt like a lose, lose
situation because he either follow the Ridley Scott path,
which didn't have that kind of success, or you go a completely
different rate but risk losing the originality that Blade
Runner had to make it a cult success later down the line.
But here we are. It does exist and it 100% is a
Blade Runner film for better. So Knives may be worse in some

(06:40):
respect, which will get a new, but it definitely is when you
need several attempts with this to really get your head around
it. Yeah.
But yeah. Blade Runner 2049 was produced
by Arcon Entertainment, ColumbiaPictures, Scott Free
Productions, Bud Yorkin Productions, Toradon Films and
1614 Entertainment, distributed by Warner Brothers Pictures and
Sony Pictures Releasing and released on October the 6th,

(07:01):
2017. Filmed in multiple locations
including the US, Hungary, Spain, Mexico and Iceland.
The film was directed by Denis Villeneuve, written by Hampton
Funcha and Michael Green, based on characters from Philip K
Dick's novel Do Android Dream ofElectric Sheep, and it stars
Ryan Gottling as Kier, Harrison Ford as Deckard, Anna de Armas
as Joy, Sylvia Hawkes as Love, and Jared Leto as Neander

(07:24):
Wallace. Los Angeles, 2049.
Then should we go? Let's go, Let's go now.
No, turn them back. We're talking replicants and
what it means to be born and made, but starting at the
beginning of Blade Runner 2049. The beginning.

(07:45):
Blade Runner 2049 sets us up in a world that's even more broken
than the one we left 30 years earlier in 1982.
Yeah, some strange bus there, but it checks out.
Yeah, yes. We'll talk about the not so
brave new world when we head to LAPDHQ and Wallace Corp But
first, the opening. Yeah, let's do it.
So we start a board, a spinner, a flying car with our new Blade

(08:06):
Runner officer key on route. His latest assignment?
He's heading to a protein farm outside LA to retire.
Sapa Morton, a rogue Nexus Aid replicant played by dear
protester and once thought as a routine job, turns into a brutal
confrontation, a Berry box, and a discovery that Will Rock Kay's
world. What rocks your world, Matt?

(08:26):
Well. We'll talk about the armies
later on. John, we'll get to you.
There very nice. But for now, though, I mean,
this opening, it's got such a great film in the wall vibe when
that sort of care to sitting there in the shadows waiting for
Sapa to enter. He's got there before him.
And I do love that visual metaphor you've got at the start

(08:46):
with that pot boiling away in the oven, because that's
something I've said quite a few times about other films, like
certain performances, certain scenes are like watching a pot
bubbling the way and you're waiting for it to boil over.
And that's absolutely why you get here with the sound of it
constantly in the background, isthe tension is rising between
these two characters and you know it's going to kick off.
And when it does, I mean, the sheer force with which Sapa is

(09:10):
slamming K into the wall is incredible.
I mean, it's obviously not a film big on laughs, but I do
think when V left cuts to the other side of the wall so you
just see the vibrations before they come crashing through,
that's pretty funny. That's terrifying, I think.
Yeah. Well, I'll tell you what is
terrifying. That punch to the throat that
all starts laying in room. I mean, that always makes me

(09:31):
feel crazy. So yeah, very, very arresting
opening to say the least. It really is.
I mean, I think one of the purposes of a good opening scene
is to set our expectations of what's to come in somewhere.
Yeah. And Vilia does that in the very
first shot, the close up of thateye, the same way the original
Blade Runner opens, but it's a different eye, obviously, and
lit very differently as well. So it's like we're in the same
world. We're going to be exploring

(09:52):
similar themes, but we do have something new to bring to it as
well. Yeah, obviously we're talking
about what that is. But then we pull out of the
establishing shot for the opening sequence, those huge,
like, synthetic forms, and it's clear it's not quite the same
world we last saw. But how stunning are those
aerial shots? Absolutely ridiculous.
Yeah. Really one of the narrative in
Sapa's home. I think it's a great opener as

(10:14):
well. I would say when Sapa walks into
the kitchen, I've no idea how hedoesn't see K sitting there
perfectly silhouetted against the window.
Yeah, amazing. But the fight's brutal.
I love how they come through thewall as well.
Great. And it does show us K's
abilities as well. Sapa literally slams him through
a wall. K hits him once and he's done.
Yeah. Shows us the Nexus 9, which K
is. Or something else, Something

(10:36):
new. Yeah.
So and even us back into the blade from our world and letting
us know there's new things as well as well as being engaging.
I think it's a great opening, 10minutes or so.
Yeah, it really is. And Westie, you opening for you?
I mean, just before we get to that bit, we'll get this
incredible write up, which is reminiscent of the first one.
Yeah, great. And what's the first thing we
see on the screen? Just says replicants in red.

(10:56):
Yeah. Which is in the top left corner,
so the whole audience has to look up and to the left, which
is how you identify a replicant.Oh.
Nice, yeah. So where we're all looking up
and to the left as if we're all replicants and we're all
following this whole story. It's brilliant touch, and I
absolutely love that. Yeah, like you said, all of that
close up of the eye. Obviously it's not blue like the
first one. It's green.
And there's reasons for that, which we'll get at you later on.

(11:17):
But it's just, again, these aerial shots are fantastic.
The fact the case is sleeping the spare and he just kind of
wakes up. You then put in the position of,
yeah, I know what kind of guy this is.
And it's the lightning, the sequence, the way that they are
silhouetted, the way that it is just exposed.
We're just seeing what's going on.
And like you guys have said, that fight is absolutely
incredible. But what I get from this is that
SAP has actually given up. He knows he's beaten in case

(11:39):
hitting him once and he's gone down.
He's kind of admitted defeat andhe's tried to go from one more
time. He's almost killed himself.
He could have given himself up, but he just runs at the gun.
And then when he falls and there's that camera shake, like
you said, it's just a wonderful,wonderful moment.
The sound design on this is absolutely amazing.
And I was just so, so happy to see that overhead sink shot that
Dickens seems to get everywhere.He gets it like nearly

(12:01):
everything. And about, Yep, the Roger
Dickens is here. It's just the, the quality of of
the shots, the quality of the lens choice is just the quality
of the movement. Everything he has absolutely
fantastic. It's just these all these
amazing intricate details. You know, you've got the Russian
writing on the tents transferredto to Virgin Islands, which was
the USSR of Russia. They would develop these high

(12:22):
fertility farms where there was low populations.
Obviously there were real things.
And then Japan obviously won thefirst nuclear war and then
Russia has won this one. So there's a lot of nods to
Russia in this, and it just addsthis brand new spin on this
already familiar genre that could have just gone down the
same route. I certainly would have Japanese
iconography, that's Blade Runnerbit, but what else can we do?
What's next, What's different? All of this sequence brings all

(12:44):
of that in and you don't even realize the first time you watch
it. It's fantastic stuff.
Yeah, and it's when K finds thatbox under the tree and we
realize what's in it last time. The film really starts to become
its own thing. I think this isn't going to just
be a rehash like a replicant whogave birth.
That does change things quite a lot.
Amazing as well, when he goes back to the spinner and he's
writing the card out, but it's not on paper, it's on plastic

(13:04):
because paper's so expensive. And then we see trees, just
little things like that. That's a 1920s camera replay as
well, from like an older 20s camera that it slid into.
Yeah. So it's kind of like rehashing
old things from the past. Fantastic.
They've thought the back story feel today like the NTH degree.
So to create a more authentic look, we only have wanted to
shoot at real locations on real sets as much as possible.

(13:24):
The solar farms we see at the start of the film were filmed at
the Gemma solar Thermal power station near Seville in Spain.
The scenes on Satmars Farm were filmed in Iceland, and the tree
where Kid discovers the box wasn't a real tree, it was
actually made out of concrete. Heavy tree.
Really heavy. Yeah, all the all great shots.
I mean there is digital work there, but it's mainly
relocations with digital enhancements rather than just PY

(13:46):
green screen. Yeah.
And it was frame store that we've interviewed who did the
effect shots in the open. Amazing, right?
Yeah, all right. Real landscapes of the inserted
elements into digitally. I mean, I think isn't it a blend
of technologies? Definitely, yeah.
And Dave Artista got the part ofSaba through his standard custom
process, but Veiler didn't want him at first because he thought
he was too young. But the makeup supervisor Donald

(14:08):
Norwatt had about Easter made itto look older, and he managed to
win Veiler over with his performance.
I'm surprised because watching him now, I think it's a great
piece of casting. He's really, really good.
Does Batista ever look young? He looks about 50 all the time.
He does, yeah. But I think you might just bring
something to the character and just a couple of minutes, which
I think is really important, which is like, I have sympathy

(14:30):
for him, I feel like. Massive, massively.
It's them glasses and the way heputs the glasses on, they're
just so fragile and he seems like such a fragile character.
He does, yeah. It's like he's just living his
life. He's not hurting anyone.
And I feel it in the portrait. Yeah, he's like John Coffey.
We don't see it in the film, butthe events that lead to the
opening were filmed in prequel short called 2048, Nowhere to

(14:51):
Run. In that a little girl and a
mother are attacked by muggers. Saba saves them by killing three
muggers. Sean, he's a replicant and
that's how care tracks him down.Yeah, so he's not hearing
anyone. Quite the opposite.
But that's why I think replicants are so great as a
piece of writing that they can represent any kind of like real
world oppression, because what it boils down to is kind of just
leave them alone for God's sakes.

(15:12):
Yeah and the studios who made the film created 3 short films
separate training, the original Blade Runner and this one.
And that gives the back story between the films.
Wesley just mentioned there nowhere to run about supper
Martin. And there was an animation
called Blackout 2022 and that explains the blackout mentioned
in the film where the data aboutreplicants was destroyed so they
couldn't be tracked and replicant production was banned.

(15:34):
And then there was also 2036 Nexus Dawn, and that shows how
Neander Wallace brings about theend of Prohibition on replicant
production. Yes, that's kind of everything
important that's happened between the first film in this
one, which is quite a lot. Yeah, quite a bit, yeah.
And the animation was made by Shinichiro What Nabia famous for
the Animatrix? Do you remember that?
Yeah, and Cowboy Bebop as well. He did.

(15:55):
Cowboy Bebop, who directed the other two short films, was Luke
Scott, Ridley Scott's son. All right, keeping you in the
family. Absolutely.
Yeah, the old interesting, though short if you like.
Yeah, they're really good. Really, really good, actually.
Bridge the gap beautifully. Yeah, they do.
The opening that we've just talked about was inspired by an
opening that was written for thefirst film and rejected by
Ridley Scott, which is crazy. In that version, Rick Daggart

(16:17):
was in a countryside house waiting to retire, a replica
dressed in a protection suit anda gas mask while the pot of suit
was boiling in the kitchen. All elements that are included
in the 2049 version. Instead, Scott just went, let's
just have meetings and noodles. Yeah, of course.
Yeah, yeah. Well, it's nice to use that
original idea, I think. I mean straight away the right
as a tapping into the headspace that were in 40 years earlier.

(16:38):
Yeah, I think that original opening as well, he just shoots
the replicant in the back, right?
Cold blood. So he didn't want to introduce
the character that way. He wanted to have a little bit
more mystery and just rhyme as such a hard ass.
Yeah, fair enough. So then after this bit on the
farm, K gets called back and just bear in mind he's had the
shit kicked out of him and now there's people in the corridor.
Just tell them to fuck off. I know he's awful.

(17:00):
He's having the worst possible day.
There's like me at school every day.
Want to school? Best to get up my way home.
Sorry. Well, well, just like our school
days, best seat. Then there's this really
aggressive test coming up. We will go.
You know, I don't know what's going on here.
I mean, it's really disoriented,which is the point.
But all the cells, cells, interlinked cells, like

(17:21):
obviously it's talking back to the test in the original film,
but it's so in your face, you know, it is like the worst job
interview where you're like, yes, no, I don't know, Like
whatever the right answer is, I've said it hopefully.
But I like how the visuals change up here.
It's so starkly white. And that contrasts to how we say
the original test in the first film.
But it's just like unnecessarilystressful.

(17:41):
And I'm just really glad when this bid is over, because you
know when you have to select like which 3 squares in this
picture I have a traffic light in them.
I'm panic over that. I'd be.
Useless doing this kind of. Thing Oh, you were relevant.
Yeah. Sells in Daling, but it's
Mendel. But I love it.
I like the vastness of the California landscapes to this,
like, claustrophobic booth wherechaos that kind of proved that

(18:04):
you're still working properly. Yeah.
And we talked about how this film develops themes from the
original. I think this is a pretty good
example of it because this is like the void comp test from the
first film. Yeah, but tuned on its head.
I mean, the baseline test isn't testing for empathy like Void
Camp, it's testing for like the absence of emotion.
It was the opposite of more human than human in the
original. And I think that's the point.

(18:24):
The whole thing is about keepingKey like literally in his box,
making sure he's still a good little replicant doing his job.
And it sets up the moment later when he fails the baseline test,
which is really good. So agree with the show.
Key is like Arc developing as well I think.
Yeah, the original screenplay had the baseline test at the
very beginning of the film, but they'll only have moved it to
open with the landscape shots instead, which I think is miles

(18:46):
better. And at first it was on key on a
bed with a machine scanning themover.
But through storyboarding it changed to the booth, which I
think, again, that's a better choice.
The scanner in the scene was designed by storyboard artist
Sam Hudecki. It looks great I think really
like impersonal. Yeah.
And what sounds like a medical exam or something to more like
an interrogation, I think that works much better as well.

(19:07):
Is that kind of like oppression?And the dialogue of the test,
the cells in the link within cells in the link, which we've
been talking about, that's takenfrom a Vladaby and Nabokov novel
from 1962 called PL. Fire.
But this changed as well. Originally it was written as a
mantra that Kay recites, but Ryan Gosling said they should
use an acting method he knew called a dropping in.

(19:27):
And this was developed by two acting quarters called Tina
Packer in Chris and Linklater and was designed to help actors
learn Shakespeare. Yeah.
Yeah, Dropping in is apparently done.
So the Shakespeare actors form like an emotional connection to
what could obviously be pretty challenging text.
And I guess it reminded Gosling of dropping in, and I gave him
the idea. I think it works great because
it's kind of like he's reprogramming himself.

(19:48):
Yeah. And there's an appeal fire
reference coming up a bit later on as well.
Yes, there is. Yeah.
Two versions of the Baseline test were filmed, the original
as it was in the script and the one we see.
What we see was written by Goslin and filmed on 1/8 minute
long take and edit. The Joe Walker cut it down to
about 40 seconds. Go on, Joe. 8 minutes.

(20:08):
That whole scene is the first thing we see.
Mental. I think that would be great.
I would have kept that in the open, yeah.
And the cityscape shots we see just before the baseline test
where we see Kay returning to LAPD.
They were filmed to Mexico. And the helicopter shots of the
fellas in urban areas around Mexico City.
Yeah, I've been used miniatures as well, like the first film and

(20:30):
again, everything then enhanced with digital effects.
I think it all just looks great.Yeah, it looks fantastic.
And that's the opening scenes, synthetic forms and retired
replicants. We've met Kay, seen him do his
job and discovered an impossiblepregnancy.
Time to see where that leads, I think.
Let's do it. From there Kay's boss Lieutenant

(20:51):
Joshi, played by Robin Wright, KET Kay on the case and the
investigation into a replicant baby kicks into gear.
Kay heads to the Wallace Corporation, who now manufacture
the replicants, where we meet blind God Neander Wallace, his
right hand replicant love, and ademonstration of Wallace's
twisted relationship with his own creations.
Indeed. So, Matt, how are things in

(21:12):
Neander's place? Outrageously or TT.
Like absolutely no need for thatmassive desk for one file clerk.
Just give him a little table in a chair.
That's all he needs. I mean, no, the set design is
incredible. And just when you think this is
already very accomplished in terms of what they want this to
look like and for how they wanted to be lit, you meet love

(21:35):
in her office just bathed in those reflections of the RIP
water. Like there's no practical need
for any of this to look like this.
But if you're going to make these creative decisions, follow
through with them and make them look as good as this does,
because there's no holding back here.
If you're only ever going to make one beard run a film, you
can't do half measures and this scene absolutely doesn't.

(21:55):
And I think there's some really good world building the heel as
well. The mention of the blackout,
which is really intriguing and it is a bit like the supper
Morton See, not many laughs, butagain, there's one here.
When the final clerk says his mom cried off the lost baby,
pictures and Care replies, well,it's a shame.
You must have been adorable. Yeah, it's funny that yeah.
That might be the only joke in the whole film.
It definitely is, yeah. It definitely is, yeah.

(22:18):
And yeah, when Joshie drops the bombshell at LAPD about the
replicant remains, she was pregnant, she says.
I'm always kind of waiting for Kay to go pregnant, you might
say. But.
Never goes. He's not a podcast man.
That's what I would do. Of course you would have been a
get out John baseline test again.

(22:41):
But yeah, Wallace Cope. That is where the world building
really kicks in. We do learn about the blackout,
how records were lost, how Wallace saved the world from
starvation with his farming. It's pretty heavy exposition,
but it's done quite elegantly. We're learning as K does.
And it's weird. The file clear guy is absolutely
nuts, but I like him. And we do know glossy guys
comedy chops, right? They succeed him.
Use them here. Yeah, but something I think this

(23:03):
film actually does better all the job of than the first film
is tapping into the film wall style detective side of it
because carries out like a proper investigation.
Yeah, with the box news to Wallace leading to the horse.
He's like a real detective and it all came to start here.
The file clerk is played by Thomas Lamarck we, a French
Icelandic actor who built his career starring in Icelandic

(23:23):
films, and he has alopecia universalist, and that's a
condition that left him hairlessby age 14.
And so he's often cast and wroteto use a strike an appearance.
And the year before Blade Runner, he was an X-Men
Apocalypse. Right.
He's Calabar in X-Men. That's the same character
Stephen Merchant played in Logan, if you recall that.
All right. Yes, Yeah, yeah.
Yeah, yeah. Imagine Merchant showed up here.

(23:47):
Yeah, you would have, you would have fit the look.
So after all this visual ecstasythat we've seen, but there's a
wonderful moment where this repplingen is born and you just
start shot through the door and it's in the bag and that moment
that it's birthed out of it. I'm watching it again now going
yeah, I think the Neville news definitely going to do June.

(24:09):
Isn't he just for. That it could be from June, That
it could. Be that shot.
It's just absolutely brilliant. It's such a blueprint for it.
But this is, again, it's such aninteresting scene because we've
gotten going in, he's realised about the birth of the child.
He knows that what he's creatingnow isn't good enough.
He wants something else. And the way that he just kind of
treats this reppling, it is justa thing now.

(24:30):
It's not good enough. And the fact that he can't
really see and these drones are such a good idea, these 6 camera
drones that come out and are plugged into his neck and he
sees through technology. So he hasn't got a soul.
He hasn't, he can't. His eyes don't work necessarily
through himself. He has to use technology to see,
so he's not using his soul to see anything, which I think is
really important. The fact that he puts one on

(24:51):
love just to see her reaction toit, I think it's really
important. And the way that he cuts the
replicant's stomach the same waythat Sapa did to get the baby
out for of Rachel of just slicesout to be sure that that's
emptiness. You're not good enough.
Then I want something else that's going to give me
something from that procedure. I love the way he kisses her as
well, the way, same way as, but he kissed Tyrell before.

(25:12):
He pushes his eyes in the first film.
That's all in there. That comes back later with love
and care when we get that at theend.
And I think she's just upset that he's not impressed.
She's not upset that this replicants died.
She's just upset that he's not pleased enough, which is why you
get that single tear and that real emotion in her face.
But you just get the menace of this character of Wallace.
He always wants more. And I got that feeling he's

(25:32):
always going to outdo himself and always going to put himself
into the grave trying to get better and better.
He wants trillions of these things.
What the fuck's he on about? Like how much, how much power
does one person need? I think it's just an incredible
scene and sets up loads more. There's lots of foreshadowing in
this, lots of foreshadowing. And I think on your second and
third view, and this film just gets better and better and

(25:53):
better. The amount of layers that are
put into it and this scene is just testament to that.
It is, yeah. I find all pretty dark and
disturbing this scene. This definitely feels like the
original Blade Runner to me. We see this like, newborn
replicant. It just seems frightened, which
is awful. You just got no idea what's
going on. And then Wallace just kills
that. So he creates life but seems to
have no respect for it. Yeah.

(26:14):
And love, we'll talk about her more, obviously.
But yeah, she's watching crying,which is a bit weird as she's
sad. I mean, there's a few times that
would say, love do things in thefilm where the reason behind it
isn't totally clear, which is surely intentional to add depth,
I guess. And this is one of them.
But it's like a beautiful place where awful things happen, which
I think is very Blade Runner. And the production designer was

(26:35):
Dennis Gastner and they built the set for Wallaces layer in
Budapest. He based the design on one of
the rooms in Kayumi Zudera, the 1200 year old Buddhist temple in
Kyoto, Japan. And the floor type is called the
Nightingale floor, where the floor chef from a people walk on
it to prevent intruders. Well.
Obviously because walls are blind, but chirping floor would
drive me mad. Yeah.

(26:55):
Turn it like when you need to change the batteries in your
fave a lot. Like, yeah, I'm actually going
off. Well, the production design is
great. Everything is clean and
minimalist, which is like the opposite of the outside world.
And it is like a temple. Wallace has built himself this
like, kind of palace, while the rest of the world seems to just
rot. Yeah, and Speaking of Neander
Wallace, he's played by Jared Leto.

(27:16):
He seems to be a bit of a divisive performance, what some
people say about it. What do you think?
Let's see Paul Allen's replicant.
No can. Do sergeants of Iche I.
Mean I'll be honest letter or the only performance like of his
is American Psycho, mainly because he gets an axe in the
face. So I'm glad he isn't in this too
much. I do find him a bit

(27:37):
insufferable, a bit previous, yeah.
I can't stick them at all. But also, why doesn't Wallace
just build himself some new eyes?
Like, doesn't he live with the own?
Like an eyeball factory basically.
Replicant eyes. Replicant eyes.
Yeah. Yeah, I.
Don't know if there's different ways to do things I guess.
I mean, I'm not explaining his behavior.
He's doing the problem he wants.We've got the money, yeah.

(27:58):
Exactly. Yeah, I mean, I think he's a big
talent, Jared Leto, a huge acting talent, and there's other
performance that's a problem. For me.
It's kind of the choices from Leto unveil nerf, presumably.
Wallace is so serene and so calm, which will be fine, but
I'm not sure it works. Yeah, because Kay is already
reserved, following us from Deckard.
He was also reserved. So I'm not sure it works.

(28:18):
Having a bad guy who holds back as well like Wallace does all
you could do with a bit more variation maybe.
I kind of think so, yeah. But I personally think we've got
everything we need and love I don't think we need.
Was love great? At all.
I think it's like having Tyrell in the first one.
We don't need them. When you've got Batty, you know
when she's getting her nails done and the bombs are coming
down, boom, That's it. She's a real badass, and she is

(28:39):
the badass through all of the film.
And she really does over Shadow Letter, to be honest.
To me, he does feel like maybe second or third choice.
And when he's on the screen, it doesn't feel like he's the first
choice at all for the director. And they've just went well, this
guy will do at the minute, but it doesn't matter because we've
got love as a character. So she outshines for me,
definitely. I would agree.
I think she does. So when Velnie was casting as

(29:00):
part of Wallace, he considered Ed Harris and Gary Oldman, but
the person he originally wanted was David Bowie.
That would have been fucking unbelievable.
Would have. Been great.
Bowie looking for a baby yet again.
Forget about the babe. It would have been amazing.
Same here. Imagine just that in silhouette.
It would have been a massive codpiece.
He's allowed. I would have really would have

(29:23):
given anything to say that, but unfortunately, he passed away in
2016 and Letter was cast. Yeah, if only you've said that
he had an underlying menace, that he wanted the musical
background. Like Bowie.
It's a thin connection, isn't it?
Like. Very thin connection.
Yeah, the musical background. I mean 30 Seconds To Mars
exactly. The menace?
Yeah, that can do that. But I'm not sure you can compare
30 Seconds To Mars the Boy. Yeah, it's, yeah.

(29:46):
I mean the kills. Not exactly hunky Dory, is
there? Let's be honest.
And to get fully immersed in thefact that Wallace is blind, LED
a war, Opaque contact lenses that made it impossible to see.
And they were especially hand painted by an expert.
And apparently there's only two people in the world that can do
that. And he wore them for the
beginning of the day until he left the set.

(30:06):
Really. Method.
And I guess that ties back to Eldon Tyrell from the first
film, who created the replicantsand then had his eyes gouged out
for it by Roy Batley. Yeah, yeah, there's another Roy
Batley reference in Blade Runner.
Batley quotes a William Blake poem and says fiery the Angels
fell, and here Wallace refers tohis replicants as his Angels.
Also a nod to the fact that I mean as far as Walter is

(30:27):
concerned, the angels, and I don't know about you, but I
think he might have a bit of a God complex.
Or just maybe a little ones. Yeah, I think so.
Yeah. That's too obvious to even talk
about, isn't it really? Yeah, just a bit.
Yeah, and it's around this time we see Kia's apartment for the
first time as well. The XTVS and NTVS were also shot
in Budapest, and the set was built on the soundstage and

(30:49):
filled with mist to create the look of fog outside Kia's
window. Nice.
Yeah, add some technology and a bit of mist and you've got to
disturb your future. That's all you need.
I mean a little bit more than that, John, I think.
I don't know Budget. He wasn't still being a future
in tonight's set. I think it's pretty good.
It's wonderful, yeah. And that's where we meet our

(31:10):
Master's joy for the first time as well.
Yeah, definitely. We'll have more enjoy as we go,
but that's the beginning of Blade Runner 2049.
We've seen a miracle. The replicant who gave birth,
met most of our main players andseen the kind of world the
inhabit. Yeah.
Should we talk about the man orchestrating all of it?
Let's do it. Got 2.

(31:31):
The director. The director who played from the
2049 was Denis Villeneuve. This was his ninth feature film
and coming off the back of Prisoner, Sicario and Arrival,
his second foray into science fiction, taking on a sequel to
one of the most beloved science fiction films of all time.
Not an easy gig, Matt, no. How did Villeneuve handle the

(31:53):
pressure? Well, we've covered a rival, and
I said on that episode, I do think he's very similar to
Ridley Scott anyway in that he'sall about the visuals, not
necessarily the storytelling. So it makes perfect sense that
he's the one that picks up this particular baton.
And it has to be said that confidence to do that is
something else, because it's notjust one of the most revered

(32:13):
films of all time. He's doing the sequel to he's
making a sequel to a film that was a famous commercial flop.
But The thing is, he's not changing a single thing about it
that made it flop. It's downbeat.
The plot is very obscure for themost part.
If anything, he double S down oneverything that people didn't
respond to in the action of Blade Runner.

(32:33):
And that takes confidence to do that.
That's amazing. Such confidence.
Like he doesn't feel the need toinject it with action sequences
just to hurry it up a bit. If you compare him to Spielberg,
Spielberg looks a Blade Runner, loves it, but he goes, it makes
Minority Report, which is a great film but much more
straightforward action app VLF looks at later, and it goes,

(32:54):
I'll just do more with that because I can.
So while this will always be theworld that Ridley Scott has
created, VLF is right at home init, and he understands it to an
extent I don't think anyone elsedid at the time.
Yeah. Yeah.
I mean, I think when we say something is a great sequel,
we're not just saying we enjoyedit as a salary.
The great sequel, like traditionally is something that
fits in with the first film but also goes in a different

(33:16):
direction a bit, maybe going back to The Empire Strikes Back.
And I think this definitely tiesinto that tradition of what
makes the great sequel. The tricky thing I think is you
want to do your own thing but you can't move too far away.
What Veal Nerve does, it still has to fit in Ridley Scott
world. So it's like where do you pitch
it? I think Veal Nerve goes with
what he knows. He grew up in Canada in the

(33:36):
1970s where apparently it could snow for like 7 months of the
year. So that's why bring Snow here, I
think to put it through the lensof something he's familiar with
and totally, I think this has a feel of 70 science fiction, like
silent running or Solaris, like intense and hard hitting.
I think all those influences there and what he brings that he
always does. I mean, there's not many
directors that treat the audience as intelligent as Denis

(33:57):
Villeneuve does and explains thing.
But once you expect it to keep up and if you don't, that's on
you. The way that he handles the
reveal about Kay's memories, theway he builds up to the twist
about who the child really is. You're blinking, you'll miss
something. And that's a good thing for me.
I don't want to be told something four times.
Exactly. How it looks, I'll say that for
when we get into the visuals, but it's astonishing.

(34:17):
And by viewing those high standards, but I think you
understood that if you want to make something that lasts, you
can't just remake Blade Runner. You have to find something new
to say. And I think he does.
We're the original asks what makes us human.
This one asks, does it matter ifyou're special?
And for me, that's how you deal with Legacy Sequel, which is
what this is. Respect what came before, but
don't be like enslaved by it on the original, but in your own

(34:40):
voice. And that's what Viola does.
That's what Viola always does, and it's not perfect.
I'll talk about some nitpicks that I have, but to follow up a
huge film like Blade Runner, it makes something worthy of the
original, which I definitely think this is.
That's some achievement in my eyes.
Yeah, yeah. I mean, I think the original
Blade Runner is fantastic. It's it's a work of art and
always has been and there alwayswill be revered in such a way.

(35:02):
That's a Nexus 6 for me and thisis a Nexus 9.
I think that's that's what Villeneuve wanted to do.
It's just slicker, it's faster. It just has, he has such a
command over the tone, but with such a love and respect for
Ridley Scott's vision at the same time.
It all kind of paints together. This is perfect for me.
It sits perfectly between arrival in June.
You can see the step between them this that step up the

(35:23):
ladder to like right out and grab this.
Now I'm next. I'm ready to go to the next
level. You can see his career
progressing through this film. For me, Villeneuve, there's just
enough of his personality to cutthrough this.
There's a lot of layers here. It's got its own tone, it's its
own world, but he still manages to put a little bit of
personality in there just enoughto cut through and make it his
own, which I think is the hardest thing to do, especially

(35:45):
with the sequel, especially withthe legacy sequel as well.
If I'm evil you've despite who his DP is, he always has this
look. It always has this elegance.
It always has this style that ticks all the boxes.
There's three different DPS between these three films.
So it just it shows that he's got a real command over Arrival
to this to then June. That just shows the command that
he's got of everything in the tone that he brings and the

(36:08):
personality that he brings to his films.
And I remember what Matt said onthe Arrival episode and he also
said on Prisoners is that Villeneuve is a very cool
director. And we said it in Sarkari as
well. And I think he is a cool
director, but that's exactly what this film needs, A. 100%
yeah, yeah. And he absolutely.
Nails. I think he's the perfect choice
for this, yeah. Well, as we've been saying, the

(36:28):
original Blade when I was a box office flop when it's released
in 1982. Over time, the word reputation
grew to the legendary one that it has today, and there were
many near attempts to make a sequel over the years.
Yeah. I think you know a bit more
about that, Matt. I do, somehow.
It's a hell of a story. So.
Memories. The Unicorn running through the

(36:48):
woods. So it starts back in 1995, where
kW Jeter wrote an authorized sequel to Blade Runner as a
novel called Blade Runner 2, Edge of Human.
A screenwriter called Stuart Hazeline adapted that into a
spec screenplay called Runner Down, but the film's rights
owners But York and and Jerry Panicio weren't interested.

(37:10):
Yeah, it's said about 10 years after the original, and
apparently it's about Decor trying to hunt down a replicant
who learned the secret of long life so he can prevent Rachel
from dying, right? Sounds like a decent idea.
Yeah, I like that. Yeah, definitely does.
And then Ridley Scott and WarnerBrothers started talking about a
Blade run a sequel in the 2000s,but had problems to the
licensing disputes over do Android stream of Electric

(37:31):
Sheep, which is the Philip K Dick novel Blade Runners based
on. Yeah, Jerry Parentio, you
mentioned there, he was like a billionaire and he didn't want
the sequel to be made. So any sequel talk went no way
for years because apparently he would just say no.
Right, right. Yeah.
So then Scott came up with an IDfor a sequel only vaguely
connected to the first film called Metropolis.
Bit unoriginal, yeah. Yeah, no one's heard of that

(37:54):
one, really, have they? Yeah.
Yeah, yeah. Well, yeah, apparently it was
going to be heavily inspired by like the fret line classic,
which is why it was called that.Right.
But Metropolis stalled. So then in 2009, Scott worked
with his son Luke and his brother Tony Scott on Purefold,
and this was going to be a web series of shorts set before the
events of the first film, but that stalled due to lack of

(38:15):
funding. Yeah, apparently the narrative
for the whole series was going to be shaped by ideas that
people had on social media platforms, and they would kind
of follow that. So that could have been like,
interesting. But by this time, but Jochen had
bought Jerry Pinitio's Chef the rights to the book and producers
Broderick Johnson and Andrew Kosov, who owned Alcon
Entertainment. They struck a deal with him for

(38:35):
film rights to sequels and television.
So they approached Ridley Scott and he signed on to direct in
2011. Yes, the deal said that they
weren't allowed to remake the original.
I mean, why would you that exactly anything you'd have the
green light, hence the prequel show to the television series
that we've had. Yeah, So the had a script at
this point and Harrison Ford wasinterested in returning, but

(38:57):
Scott then dropped out due to clashes with Alien Covenant.
But he did stay on his executiveproducer to oversee the creative
direction you went. Through everything Scott doesn't
he? Alien Blade Runner, Gladiator of
it. Salman Louise, They're just
going to float, Turns into a spinner.
Blade Runner, 2050. So Scott left, but Alcon you who

(39:19):
The Wanted to take over that worked with Denny Villeneuve on
Prisoners a few years earlier and knew we now had science
fiction experience in Arrival soapproached him.
He loved Blade Runner, obviously, and all initially
hesitant, eventually signed on. Nice.
Yeah, he said that he didn't think a sequel should be made,
but also he didn't want anyone else to do it in case they
fucked it up. Because he put it, Yeah.
Yeah, yeah, yeah, yeah. Villeneuve said that he felt

(39:42):
under a lot of pressure to do the first film justice.
Obviously, he said. He said what made it worse was
that Ridley Scott was on the setall of the time, and eventually
Villeneuve asked him how he would feel if his favorite
director, Ingmar Bergman, was looking over his shoulder while
directing. Scott said he understood and
then just left the second here. I understand.
You can imagine. I mean, it's not like you won't

(40:02):
voice his opinions, Scott, is it?
But no, no. On the set was to be just in
there. Yeah.
Just in the background. Yeah.
Two shot. That's a two shot.
Exactly. And V Love did have his own
vision for the film. Renee April was costume designer
and she said she designed some out there outfits in her words.
But V Love told her to rein it in.

(40:24):
He said with the world being decimated by the blackout and
famine, fashion had become secondary and clothes were just
functional. They're awesome.
Not to the original, though. Joy has a transparent court
similar to the one that one of the replicants saw her wears in
the first film. She does.
I mean, function of a fashion does make sense, but still, I
love keys. Court.
Yeah, absolutely awesome. One of the best chords ever.

(40:46):
He's just, it's a heartbreak andyou just kind of pull off can
you say this, the drive jacket with the scorpion on the back
drive wearing that. Unique any chord look great Ryan
God. Really does.
Yeah, yeah. And the production designer on
arrival was Patrice Fermat, but he was unavailable for Blade
Runner. So Veena hired Dennis Gassner.
Like we mentioned, he'd worked with the Corn Brothers and the
three James Bond films before this and said when he met Veena,

(41:07):
he said, describe the world recreating in one word.
And Veena said brutality. Nice.
Yeah, it's a bit of a harsher world in the first film.
So brutality works. And you see that in the building
is like Key's apartment block, which is kind of a brutalist
architecture. Yeah, yeah.
And I think the spinners as well, they're designed to be a
bit more striking. You're a bit more angular, I
think. So things have changed and
developed a bit, so they put thought into it.

(41:29):
And Gastner said that he and Vilni have both only like using
green screen when absolutely necessary, so they won't make as
many sets as they could. They couldn't get into London to
film and Ridley Scott's jested Budapest where he just shot The
Martian and that's where shot most of the film.
Yeah, the bill, just about everything.
So Kay's apartment, Wallace Corpthat we talked about or filmed
in Hungary and I think Budapest has that brutal less

(41:50):
architecture style as well. So, yeah, yeah.
Yeah, Yeah. Beautiful.
Yeah. Before we finish Underneath the
Nerve, we have our first ATRM patron question.
So as well as all those benefitsthat you mentioned in the start
of the show, if you sign up to become an ATRM patron, we'll
answer your questions as well. Yeah, we have one now about
legacy sequels, so. Lovely.

(42:11):
Lucas is here, not George Lucas,I don't think.
Oh. OK, right.
I bet he's got an opinion on legacy sequels.
I bet he had fucking houses. Less of them, please, George.
He invented them. Unfortunately, yeah.
Yeah, but hello Lucas, either way.
Hello. Lucas and he says lads, I'll
never forgive you for choosing this over the Thin Red Line.
Just kidding. I love you boys and appreciate

(42:33):
all the work you do. 10 out of 10.
That's very kind. It'll come back round another
poll. It will.
It will. Eventually I'll end up doing it
by myself when I'm like 98 or something that'll.
Be fine, but Lucas question is seeing as Blade Runner is a
legacy sequel, do you guys like legacy sequels and are they
necessary? Personally, Lucas says when they
don't write they're fantastic. A high point being Top Gun

(42:55):
Maverick. So if you were not familiar with
the term, a legacy sequel is a film that continues the story
after like a big time gap. Usually it reduces new
characters alongside returning legacy ones.
Or believe in the 2049 does fit the bill.
What do you think about legacy sequels in general?
I mean in general I'll just treat them like any other film.
If the good the good, if the badthe bad.

(43:15):
The concept is fine. I think it comes down to is the
genuine reason for them to exist.
This one, yes, because there wasa whole world to explore in
there. I mean, he mentions Top Gun
Maverick. The weird thing about that is
there wasn't really reason for that to exist.
It didn't have that world, and yet it did succeed.
And I think through that combination of the nostalgia
people had for the original and just Tom Cruise being a madman

(43:38):
and getting up there in an actual plane.
Everyone getting up there an actual plane.
Everyone getting up there, whichwe hadn't really seen.
That was a big sell. Yeah, that was.
The big and that thing, you've got to find the big sell and
then you get others. I mean, we talked about maybe
Poppins a few episodes ago, maybe Poppins Returns.
I guess that would be a Lexi sequel.
That's pretty good. Yeah.
But then then you'll get stuff like Beetlejuice.
Beetlejuice where it's fine but you'll never think about it like

(44:01):
after you've watched it. Yeah.
I mean, I think Lucas is kind ofgiven the only real answer there
was questionnaire. When they're done right or well,
legacy sequels, yeah, great. When they're doing wrong, they
can be pretty terrible. I think the problem we've had is
that most of them I would say have been done wrong.
The good ones like 2049, understand the account.
Just give people the same thing.Again.
Like we said, I think Top Gun Marvin works because it's about

(44:24):
aging. It's about passing the torch.
It uses the 30 odd year gap between the films as part of the
story right into the story. The bad ones to me.
Just trying to remind you of theoriginal without adding anything
new. Remember this line?
Remember this spaceship? Yeah, he has a.
Bit of music, yeah. Exactly.
Yeah, yeah. I mean, that's not interesting
storytelling. That's just like nostalgia

(44:44):
mining to me. And there's plenty of examples
of it in the big IPS. Star Wars, The Terminator, The
Matrix, Alien, they've all done it.
Does that better. We do get an early reference to
the first film when Kane, the view of Gaff about Deckard.
It's good to see Edward James almost again.
So it does have that aspect, butit works.
It doesn't feel shoehorned in because it makes sense as part
of the investigation that he would go and talk to him so.

(45:06):
Yeah, yeah, yeah. It does all legacy.
Sequel is necessary. I mean, no, probably not later.
I didn't need a sequel. But I think the question we
asked, maybe you shouldn't be dowe need this?
But do you have something worth saying?
If the answer to that is yes, I think we do, then I'm all for
legacy sequels. Yeah, I don't have a problem
with the Legacy sequel over a sequel itself, to be honest.
I mean, I can take either of them as long as there's passion

(45:28):
behind it and as long as there'sa reason for it to exist,
similar as what you guys are saying.
And I think the ones that reallywork have an emotion and have,
like Yousef said, a reason to bemade.
There's a fortune in nostalgia. People will go and see anything
once, oh, I remember Indiana Jones, I'm a sucker for that.
I'll go and see it and there's another one out tomorrow.
I'm still going to pay money andgo and see it on the big screen

(45:49):
because there's this money in it.
And you can see the films that have done that and are being
made for that reason. The stand out a mile.
But the ones that have been madethrough passion because they
don't care about the money coming in, they stand out a mile
as well. So the bad ones for me are some
that just don't need to be made.And then the ones that really
stand out for me, the ones that really work with the passion
behind them, are Mad Max Fury, Rd., The.
Creed. Definitely Creed and one that

(46:12):
nobody talks about was a legacy sequel and everyone's forgotten
about It is The Colour of Money,which is a legacy sequel of The
Hustler. Yes, it is.
Yes. And I think that's probably,
that's probably me favorite legacy sequel of all time, if
I'm honest. Scorsese taking the mantle.
It's moving the story. It's exactly how it should be
done. Yeah.
Well, for his work on Blame No 2049, Denivial Nerve wasn't

(46:33):
nominated for Best Director of the Oscars.
The film was nominated for Best Picture, though losing of the
same film that won Best Director.
Do you remember what that was? Parasite No.
It was the shape of water, Diegodel Toro.
Best. Director.
Yeah. Right.
Yeah, that really forgettable Oscar winner.
Yeah, it is. Absolutely.
Yeah, but for us in creating a sequel to a Stone called Classic

(46:56):
that respects the original and finds its own voice.
So I'm impressive work from the Navy on Nerve on Blade Runner
2049. 100% the cast. Denis Villeneuve assembled an
eclectic cast for Blade Runner 2049, established stars, rising
talents and some big supporting players.

(47:17):
We'll be talking about House andFord as Deckard, Anna De Almas's
Joy and Sylvia Hawks's love in abit.
Let's start with our lead. Should we?
So Ryan Gosling plays Officer KKD 6 Dash 3.7 to give him his
volume. Yeah.
A Nexus 9 replicant who works asa Blade Runner for the LAPD.
We follow K's journey from obedient officer to someone who

(47:39):
discovers he might be special, only to learn he's not, but
chooses to do the right thing anyway.
Yeah. Yeah.
A complex arc for a complex character.
So I'm handing off to a complex man.
OK, Matt Howard. Ryan Gosling has right.
Going to be me. Well, you went for that, though.
I mean, Goslin, I mean, he's just consistently great anyway,

(48:02):
So no surprise that he's great here.
And he's always had that abilityto go from something where he's
really funny and he's really charming, like the nice guys are
Barbie. But then he can go really
buttoned up and quiet and intense like Drive.
But he's really happy with very little dialogue.
And this definitely fits that kind of Goslin performance.
Kate thinks he knows who he is and who he is says very little.

(48:24):
He'll be his commands and he goes home at the end of the day
and he knows his place in society.
But then he goes through that slow awakening of realizing
there's more to him and his backstory and there's more to this
world, which is such a classic character arc.
And Gosselin plays it really, really well.
And he's completely on board with keeping that movie star
charisma that he has. The way, for the most part, it's

(48:44):
a very internalized performance.I mean, we've said it, but he
looks amazing in that leather course.
He just fits into the world and he fits into the vibe of the
film. I don't think it would be in the
conversation for my favorite Gosling performance, but he's
great all the same. Yes.
I mean, I think he's a really good protagonist and he has a
really interesting arc at the start.

(49:05):
He's exactly what Wallace and the LAPD want them to be, a
Blade Runner who passes baselinetests, followers orders, goes
into his holographic girlfriend.He's accepted that he's less
than human, but then comes a wooden horse key to scores.
His memories might be real and he basically turns into like
Pinocchio. So it's interesting because he
wants it. He wants to have been born a

(49:27):
special, which is a pretty fundamental, like, human
impulse. We all want to believe that we
matter to some extent, surely. Yeah.
So you go from thinking that he's nobody to believing he's a
miracle child to discovering he's this in that replicant
after all. And what's great is that it's
that journey that changes him. At the end.
He makes the choice to reunite decor with his daughter instead
of following orders or joining the resistance.

(49:48):
So what makes Case special isn'tthat he was born Italy chooses,
and he makes the most human choice that you can.
He chooses to help people. Well, actually, that might not
be the most human choice, but I think we all wish it was.
It is probably more human than human, and that's what he
represents for me. They're telling us that humanity
isn't about where you come from.It's about empathy and choosing

(50:08):
to do what's right. And that's what he does.
It sets up this chosen for narrative and then flips on his
head for the better. I think it's really fantastic
writing, and I think it's prettyclassic Ryan Gosling, like
you're saying. Matt, ever since Drive, one of
the things he's been known for is playing like the silent
protagonist, where he does a lotwithout many words, and that's
what he does with care. Even at the start, when he's

(50:29):
pretty emotionless, there's always something going on behind
his eyes, like when he sees to Joshie.
I've never retired something that was born.
There's just enough there to make you kind of lean in a bit,
I think. Yeah, yeah, yeah.
And he carries the film. He's in almost every scene.
And when you're following a PeteHarrison Ford, which he is, and
you kind of don't miss Ford too much, that tells you how good
this is. Great character, great arc and I

(50:51):
think great from Gosling as well.
Yeah, I think he's a complete package.
To be fair. He brings the physicality to the
role. It's just absolutely complete.
It's just everything that you need.
And he's like you guys have said.
I mean, he's always been very solid, but to me, a very robotic
actor. But like, in a good way.
Yeah. He's not wooden.
He's just like, he's malleable, but he can be like even when

(51:12):
he's dancing in La La Land, he looks precise.
You know what I mean? He's got this kind of precision
to his performance where you know that he, he thinks about
it, he cares about it and every line is just being thought
about. I mean, doing that baseline test
and doing the dropping in and dropping in basically means to
learn the lines. So you don't, you're not reading
the lines, you'd read the emotion of the line.
So to do that over, like, cells,cells, interlinked cells, and

(51:35):
just to read it back and know what's happening and then
deliver that to that level, you can tell it's just this depth
that everybody's involved. To be fair, everyone kind of
brings it. But I think Gosson leads the
way. It's the believability of this.
Like, you believe this guy. And he really had me doubting.
Even after everything we've seenin the opening, even after we've
seen him asleep in the spinner, waking up crashing through a

(51:55):
wall, doing a baseline test, we know that he's got no soul.
He's lieutenants taught him that.
I'm still kind of doubting whether it's a replicant or not
halfway through this film. Yeah.
Same as he is. Like, I'm like, is there a
chance that everyone else is kind of taking him for a ride
because he plays it? So can Vincently so well, but so
quietly? I think he's just one of the
best actors of his generation and this really shows it.

(52:17):
I would agree. I think he's great.
Yeah, and Gosling was the only person ever really considered to
play a care. Hampton Fancher said he was
thinking of Gosling in the lead when he was developing the
story. Yeah.
When he told Ridley Scott that was who he wanted to cast, Scott
said he got it. But when he was off the pot,
Gosling accepted straight away. He said he looked the script,
but the chance work of feeling from Roger Deakins is 1 made it

(52:37):
for him. Yeah.
Yeah, apparently when Harrison Ford was told he was thinking of
Gosling, he was like, yeah, great.
And then when Villeneuve came and he just went Ryan Gosling,
yeah, great choice. It does seem like a bit of a no
brainer but his character. Yeah.
Yeah, yeah, definitely. So it's the first time that
Gosling have played the lead in a big blockbuster film, So he's
a bit nervous, but we only have calmed him down.

(52:58):
And then Goslin said if you madea list of all the
characteristics you hope for in a director and send it to Santa
Claus, they'd be done evil. You've sitting under the tree
Christmas morning, maybe a little drunk on eggnog, but he'd
be there. I love that.
Yeah, it was his first blockbuster, and he said he was
overwhelmed by the scale of the set at first because he wasn't
used to it. Yeah, I mean, not that you can
tell it or think. Seems right at home.

(53:19):
Exactly. And Lenny James, who plays Mr.
Cotton, the orphanage manager, he said the cast had to follow
really strict real estate in production.
When they were offered the part they had to accept within 36
hours and the scripts were incomplete that mostly just get
the pages for scenes and their character was involved in right.
Yeah, they got digital copies ofthe scripts and they get deleted
immediately after they finished filming their scenes, so wow, no

(53:41):
leaks on this one here. Right.
Wow. No Oscar nominations for Ryan
Gosling for his performances. Gabe, when of that year it was
Gary Oldman for Darkest Hour. Oh yeah.
But for us, carrying a huge blockbuster, bringing humanity
to a replicant and holding his own against Harrison Ford,
Pretty good stuff from Gosling. Oh yeah, top draw.

(54:01):
The second male lead is HarrisonFord, returning as Rick Deckard
30 years after the events of thefirst film.
We find Deckard hiding with his dog in the ruins of Las Vegas,
right back into the story. He's captured by Love, rescued
by Kay and Ben, reunited with the real Miracle Child, his long
lost daughter. Yeah, just when he thought he
was out, they pulled him back inWestie.

(54:22):
Absolutely. Deckard and Harrison Ford.
So how does he handle the return?
I mean, he's always in for me. Let's be honest.
He's never heard the equation. He's always, he's always got a
seat at the table. It's another classic turn from
Ford, but the great thing is this film does not depend or
rely on him whatsoever. He is just there and it really
works. There's a great, great subtle
into this, a real subtle anger that he plays and he portrays it

(54:45):
really well. There's no ego here to this
performance whatsoever. It's just young Gossen and they
share it. They share the space and they
really work off each other and it works really well.
What I love about this performance is that he's not
necessarily trying to do the physical role.
You can see that he cannot really do it and he's playing
into that because we know he can.
They look probably a little bit better than he's doing, but he's
acting tired. He's acting like he's had

(55:07):
enough. And then that's adding to the
question, is this guy a replicant or isn't he?
And he's just adding to the pot.All these different ingredients
that keep coming up keep coming up.
But for me, it's just the reallyemotional ending beats that he
has. He's got these real emotional
moments when he's talking to Wallace and says our eyes were
green. Broke my heart in the cinema.
That's great. I was like, oh, that's
incredible, and it's from Harrison Ford.

(55:29):
It was just such a good punch and beautifully delivered.
But one of the things I've noticed watching it yet again,
so it must be like fifth, maybe sixth time I've seen it doing it
again. For this is when they're
drinking in the office of the Whiskey, right?
And they're sitting at the bar and you've got Ker, who puts his
full hand around the glass, drinks it and puts it down.
But then it cuts back to Ford and he's on his right hand and
he's got his two fingers and they're just underneath the

(55:50):
Tumblr, just supporting it as ifhe kind of gripped it properly.
And then when he's holding the binoculars, he's got the same 2
fingers aren't gripping the binoculars.
Now if you go back to the original Blade Runner, but he
breaks them two fingers on his right hand.
Oh. Yeah.
Yeah. Yeah, so he kind of used them
properly in this. He kind of grabbed the glass or
the binoculars. So it's really sort of bits in
the performance where he's just,he's bringing something else to

(56:11):
it and everyone's like he's justwearing a grey T-shirt.
Yeah, watch it 6 times and they'll say what he's bringing
to it. It's it's Harrison Ford and it's
absolutely fantastic stuff. I agree.
I mean, we talked about legacy sequels before and bringing back
classic characters, and I think the way they handle Deckard here
might be one of the gold standards.
When you see people returning big roles in big series years
later, I sometimes don't feel like I'm even watching the same

(56:34):
character. Not here at all.
This is totally Deckard. What's good is I've aged him.
Like realistically, this isn't the Deckard who was hunting
replicants. This guy's been in hiding.
You've lost Rachel, you've lost his child.
And I feed all of it. I'm by that.
He's been sitting in a Vegas casino drinking and listening to
Elvis for 30 years. I mean, there's worse ways to
live in exile to. Be there.

(56:54):
Oh, absolutely. GB is it?
No. Millions of bottles of whiskey?
Fine. And I think Ford plays it really
well. He could have easily formed this
in. He couldn't.
He cares about it, doesn't he? He really does.
He can tell. He.
Can tell that he does. Yeah.
A sense of desperation there. I mentioned some more specifics
when we get to the end, but an excellent turn from Ford for me.

(57:15):
Proper movie star, obviously, and this is his best in years, I
reckon. Yeah.
Yeah, I think there's an irony that out of all three classic
characters that Ford has revisited, it's the one where he
had the most miserable experience first time around,
that he gets the most interesting material with.
I mean, there was nothing left to do within.
The only thing left to do with Solo was to get killed, which
he'd always wanted anyway. But there's somewhere else to go

(57:38):
with deck art, you know? What was his future like with
Rachel? We see ultimately was a tragic
1, and he had to sacrifice a lotto keep their daughter safe.
And we see the effects of that. We see the effect of the years
and years of isolation and loneliness that he's put himself
into, and we see what that's Dundrum.
And to bring in his couch rock about finding some kind of

(57:59):
redemption with his daughter. Just when we think the whole
film is about key finding out who he is, which actually tends
to be mostly relevant, that turnworks really well and I think
Ford is just so engaged with this material and completely
responds to it. You can do it, isn't he?
You can tell that he's. Yeah, hugely.
Yeah, and when Ridley Scott first pitched the idea to
Harrison Ford about a Blade run a sequel, he said the talked at

(58:20):
length about what the role wouldbe until they read on storyline.
And then when he was happy with it, that's when Ford agreed to
come back as Deckard. Nice.
I want to be in it as little as possible, yeah.
Whiskey. Exile Elvis.
And I mean, well, this is how they do a legacy character, I
think. The best example that I've seen
and all the recent ones anyway. Yeah, yeah.

(58:42):
The final scene Harrison Ford filmed was his final scene in
the film, and apparently he enjoys his time on set so much
that he got emotional when they're finished and some crew
members began to cry. I mean, it's an emotional scene
anyway. Yeah, You know, just a hand on
the glass. So I can imagine he's just.
I would. That's been wonderful to say.
Wonderful for the crew as well. I think from the Ford as well.
He hated the first making of Blade Runner.
Yeah, but I think he sat in the theatre and watched it and just

(59:04):
went, oh fucking hell, Ridley Scott's right.
I need to make it up to him now,so I'll do that again when that
ask us to. And he's waited this long, so
he's really made it up to him, Ithink.
He has, yeah. He's only grumpy when it comes
to Star Wars, I think. Anything else, he loves it.
Now he is, yeah. No major award recognition for
Harrison Ford either, but for usreturning to a famous franchise

(59:26):
and adding newly as while delivering what came before.
A good return from Harrison Ford.
Really necessary, yeah. As well as the two way listers
in the leads believe in the 2049has a pretty impressive
supporting cast as well. We've talked about Jared Letto
was Neander Wallace on a now going to turn our attention to
the 2 core female cast members and that all masters Kay's

(59:49):
holographic companion Joy and Sylvia Hawks as well as his best
Angel and the film's main antagonist love.
Yes, two very different kinds ofartificial ladies.
How would they do it for you, Matt?
I mean, the thing about the Amosis I'm always a little bit
uncomfortable talking about it because I can't look at this
performance without thinking. John, if you found a genie in a

(01:00:10):
lamp who only gave you one wish,your wish would be joy.
Absolutely. And a Domas holographic form
cooking you dinner. That's your life.
You know me too well, Matt. Yeah, you know you do.
Well think it's all the way through Megan.
I'd be honest, you sit there with the brownies head like
weird science. You rumble me.

(01:00:32):
Yeah, I make websites. I bet you do.
Joy though, just such an interesting concept because
there's so much fuss in the filmabout replicants developing and
procreating. No one seems that bothered about
AI and holograms who've developed to the point where
they can physically interact with people now and see me have

(01:00:53):
developed their own emotions andtheir own desires, which I think
is a really interesting thing we've just put in the background
there. I think if I was honest, if I
was to from this film down a bit, it maybe it's a bit long.
I think you could lose some of joy scenes, particularly the
really weird 1. I don't know, Wesley's going to
talk about that, but yeah, I betyou are.
But that's nothing on Damos. I think she's really good in

(01:01:15):
this. Yeah, she is.
I mean, with Kay being so reserved because he is great at
Joy, being so exuberant and, like, full of life, like a
breath of fresh air. When she's on the screen, she's
really warm. And again, I like how she's
written. She's a hologram programmed to
fulfill people's desire. She tells us that herself.
Everything you want to see, everything you want to hear.
So you buy a Joy. And if you want that, a dance.

(01:01:36):
She'll be a great dancer. If you want that to read, she'll
be a bookworm. And Kay wants to be special, so
she wants that as well and pushes him down that path.
He's Pinocchio. And she's like Jiminy, crickets
chirping away in his. Yeah, Joy Mini cricket.
Very good. But what's great is that unlike
here with Joy, I think it turns out to be a lie.
She ends up almost being like the femme fatale, a beautiful

(01:01:58):
woman who turns out to be kind of all wrong.
The moment that the giant hologram Joy calls him Joy.
The end is the bit that's the reveal that it was all kind of
porn of a programming. And it's brutal.
He's got. It Yeah.
I'd rather be called key anywhere much cooler than Joe.
Definitely. Yeah, I'm an armat.
Excellent at reading some much needed life into things and Joey
adding more. Yes, there's some already pretty

(01:02:20):
complex themes. I think she's a great supporting
character. To make Joyce seem more
artificial, the editor, Joel Walker, experimented by freezing
her image for 9 frames before she responds to a question.
So it looked like her program paused for a split second just
before answering. And Villeneuve wasn't convinced
though and just said I just havea respond normally please.
Yeah, it's a nice idea, but doesn't need it.

(01:02:42):
I like how the show she's a hologram of the star Winter
changes outfits about five timesin a few seconds.
Yeah, which is like, really? Well, and the giant Joy in the
hologram advertisement, that's supposed to be her default
setting. So they're idea as K customized
her voice and appearance. The advertisement version of Joy
was voiced by an assistant editor called Mary Lucas which
and she was meant to be dubbed by Anna de Armas, but Vila just

(01:03:04):
decided to keep the voice over as.
Is oh nice. Yeah, which again ties in the
idea that Joy isn't real. She was just programming I
guess. Yeah, I'll go into the second
female member of the cast and probably one of the most
important and overlooked of the film.
I think it's still your hoaxes look lovely.
I think should, like I've said before, totally out trains
little for me. It makes them, to be honest,

(01:03:25):
pretty unnecessary. Yeah.
I think it's a fantastic performance and it's a brilliant
villain. It's almost like a Bond body and
a real troubled character. There's a lot here to her
programming, which is kind of bounces off joy.
It's that kind of counterbalanceto that and the fact that she's
dressed in white all the time, the fact that she denies her
name, the fact that she's just got all of these really

(01:03:47):
brilliant moments and plays the brutality brilliantly without
overplaying it, though, when shegoes in and gets Rachel's bones
and kills the scientist. Oh, yeah, yeah.
It's just brutal to bang. He's out and that's all she
needs to do. And she never, ever seems hammy
as a bad guy. I'm excited when she's on the
screen. So I'm thinking something's

(01:04:08):
going to happen here. Something bad's going to happen
here. You know, when she just takes
Rachel out, Bang, just cold blood.
Does she want to do she not? But just.
It's just a performance from Sylvia.
Sylvia Hawks. I think she's just absolutely
fantastic and disappears into the rule.
I think much like Sean Young did, she just kind of disappears
into this replicant and you just, you can just see her and
she kind of personifies that role.

(01:04:28):
Wonderful, wonderful bad guy forme and Lease Leto in the wings.
Absolutely amazing. I agree, I like love as well.
She's just kind of a female Terminator basically.
So I mean going on maybe, but I think Sylvia hoax is great.
I love a line delivery when she kills Joshi and she sees to a
your tiny thing in the face of the fabulous knew your only
thought is to kill it. I mean, I imagine The Fabulous

(01:04:50):
You is not an easy line to deliver, but you don't even
notice. She totally nails it.
And when she scans Joshi to get into the computer and let's her
head just bounce off the desk. I think my main criticism of the
film comes around Love in that if anything, I agree.
Wesley, I think she's underused and the film might have
benefited from her Bay plot and that could have been Love
carrying out her own investigation into the child.

(01:05:12):
At the same time Cares there's some definite parallels between
Love and care and that they bothwant to find the child to
further out their own race. That could have been made more
of maybe. Yeah.
Which is excellent. And when she kills Joy by
stomping on the emanator, I really know she's got to go and
get, like, bad dog. That's great.
As well. Brilliant.
So yeah, a bit under. Use for me, but what we do get

(01:05:33):
is really good. Yeah, yeah, fantastic.
But in the first drafts of the script, Love was named Fraser,
and Nyanda Wallace would call her Love, LOVE as a term of
endemment and this change to Love LUV becoming her name.
Like aura, love and then I guess.
Love and joy. Is the idea it's like inside out
characters? Yeah, yeah.

(01:05:54):
Imagine these two and inside, I mean, it's punching sadness in
the back of the head. Sylvia Hogg said that when she
was describing Love's back storyvillain, you have said that she
was made 12 years ago. So Hawks had this idea of making
a behave like an immature and petulant 12 year old.
That explains the tantrums and Iguess.

(01:06:15):
Yeah. And when she pushes Josh's hand
into the glass, that's horrible.Yeah.
Yeah. So that's our main cast.
Ryan Gosling carrying the film as Kate Harrison Ford bringing
it all back home as Deckard, andthe top supporting work from
Armas and Sylvia Hawks. Whether human, replicant or
hologram, they all bring something to the film.
Absolutely the middle. Heading into the middle, actor

(01:06:43):
played from the 2049, and Kay's investigation leads him into
darker territory. We're going to be looking at the
scenes where Kay discovers he might be the chosen one when he
visits Dr. Anna Staline. But first, it's a journey to an
orphanage, isn't it? It is.
So, having discovered the Miracle Child's DNA records, he
traces the trio to San Diego's Moral Co Orphanage, building the

(01:07:04):
ruins of a satellite dish. But he's not alone.
Loves tracking his every move from Wallace Corp K shot down by
scavengers, love bombs the hell out of them, and K discovers
something they've all changed. Understanding of life.
So, Westie, how does this play out for you?
It plays out beautifully for me.I love that moment.
Obviously he's a replicant who has to crash when it rains
because when rain happens, it's going to be a negative turn for

(01:07:26):
a replicant, isn't it? So let's let's put that in
there, which is great, but I love the way the scam just fire
that thing. It's like really Mad Max and it
slows them down a bit, but then the AMP goes off and everything
shuts down. And more importantly, Joy shuts
down. Joy glitches out, which I find
heartbreaking because you can't just like reaches out and then
disappears and the whole thing crashes down.
But it's when he comes out of the spinner, it's the lightning.

(01:07:46):
This sequence, it's just so consistent and just so
beautifully done. There's no real direction of
light from anywhere, which just shows you that he's just out in
a wasteland. It's just so flat, but again, so
beautifully done. And here we have an action
sequence, but we have a Denny Villeneuve action sequence.
It's that good. You don't know when there's an
edit, you don't see the cuts at all.

(01:08:07):
So I've counted this. So from when the first explosion
goes off, there's explosions. By the way, we're talking about
3 big explosions, people blowingup, 7 cuts, that's it.
Then it cuts to love doing her nails looking up, which is
perfect. Our eyes are covered again.
She doesn't have a soul, it's a lack of humanity and nails are

(01:08:27):
getting done. She doesn't care, they're just
killing people. She's having a great time to be
honest. She's just getting the job done.
Cuts back to Key, another seven cuts.
So we've got an action sequence with explosions and there's only
14 cuts. It's on a shot on a single
camera. It's just so well thought
through, so well refined. We've got stunt work in the
middle of that. We've got people flying over the

(01:08:47):
camera, we've got people, we've got Key getting fired against
the spinner. None of it's really wide.
Everything's considered in like a mid shot to know exactly who's
going where and what's going to happen.
But it's Villeneuve, just his control over an action sequence.
It's so Nolanesque. And then you know that scene in
Dunkirk where he's just covered and you know exactly how many
explosions are going to hit before the camera cuts.
It's just got that exact kind ofvibe to it.

(01:09:10):
And to be honest, I looked at itand I was kind of like, please
turn this into space under a little bit, but it didn't, which
is a bit of a let. Down.
Imagine. I inside turning up.
Yeah, perfect opportunity you could have had that, you know,
the pirate ship on the real track over the top.
That would have been great, but yeah, it's just so, so well
thought through and it would have been so distracting from

(01:09:32):
the story to have a massive set piece in here with Kay behind
the spinner and shooting all thescandals, the falling down and
the spinning out all over the place.
Doesn't need it. Explosions 7 cuts, Back to love
humanity story, 7 cuts. Kay wakes up on with the story.
Perfect. I mean those wide shots showing
the leaving LA going to the orphanage in the spinner
stunning again. So San Diego is now like a

(01:09:52):
desolate wasteland basically theonly was using every inch of
like the post apocalypse textbook.
You're right Wesley, this is MadMax style dystopian future.
All space under if you prefer. Thank you.
So the visuals are great and much is the cinematography, but
there's some great visual ideas.I love that bit as well after
the crash where joy's like blinking in and out over.

(01:10:12):
Here. She's checking that he's all
right, but then she vanishes to reveal the scavengers behind
her. Great.
And I know I mentioned Foley Towers way too much.
I can't believe he stood it. You haven't got it in Blade
Runner 2049. You cannot have.
With another Armas Cuban accent,she reminds me of Manuel, the
way she's like over over again. I learned it from a book.

(01:10:38):
I can speak English. But hammer, hammer, hammer
sandwich. Well, yeah, it's the visuals all
together and using imagery to develop a world.
That's something you first played when it does amazingly
well. And I think the sequence does
the same thing. It's great you've.
Got folly towers in there every.Time.
Every time. Yeah, and after this we go into

(01:10:58):
the orphanage itself. I think Lenny James is great
here. Yeah, yeah.
Like if you US audience, he might not know him, he's mainly
British TV, but he's always excellent whatever he's in and
he's really good he's. In The Walking Dead as well.
I think he's pretty. Big, that's true, yes.
He was in The Walking Dead for afew series, wasn't he?
This scene I think breaks a lot of people.
You either end at this point or this is where you're.

(01:11:19):
This isn't for me because it gets so drawn out.
It slows down so much because the tension if K finds in the
book with the pages torn out, that agonizingly slow walk to
the furnace to find the horse. So it's very sore.
But it's so compelling and a lotof clues are being drawn
together. And I think the biggest clue
though, and you know, do correctme if I've got this wrong, but

(01:11:40):
in the orphanage, all the boys have shaved heads.
Yes. Whereas in case implanted memory
where he thinks he's being chased by the other boys, he has
a full head of vests. That's not actually a young boy.
That's a young Anna. Yeah, we.
Discovered later and in is playing on the fact that you
know, she looks slightly androgynous.
She's gender neutral, just kind of rat really to disguise that

(01:12:03):
fact. Now I'm not going to claim, you
know, I'll discover that in the first watcher was only probably
like 5th or 6th. It was like, Oh my God, that's
Anna. That's not clear, but that's the
kind of clue that I love like discovering on future like re
watches. Yeah, it's just not necessary.
It's. Not.
Necessary. Just.
Extra. It's extra, bit extra, yeah.
Yeah, and you would never noticethe first time round.
It's always definitely, didn't I?

(01:12:25):
Noticed it first time round of. Course you didn't.
Yeah, no, of course I didn't shut up.
And surely the guy who played byLady James who leaves the
orphans is inspired to some extent by Fagin from Oliver.
He's. Got Oh, he's very Oliver.
Yeah, yeah. It really is all these stuffy
kids doing his bidding. I'm waiting for him to burst
into song or something. He's called Mr. Cotton as well,
which is a pretty defensive sounding name.

(01:12:46):
It is, yes. Yeah, yeah.
But again, this is a proper investigation film, and we'll
see more of it. Yeah.
Kay finds record that shows two children with identical DNA on
the wooden horse hidden where heremembers hiding it.
And the way it got him plays that moment.
It's great. No word what you get the find
that piece together in his head what's going on always feel that
he's like holy moly. I mean he doesn't say it
thankfully worst line ever. But again, the production design

(01:13:14):
of the orphanage. How good is that top class?
Amazing. A great place to take us on D2
or two. Yeah, and the wastelands around
the orphanage? They were filmed with a
combination of miniature models,a custom built set and green
screen by Frame Store and Rodeo FX did the orphanage itself.
Again, the filming was stood in Budapest, with many of the sets
only a minute's walk from one another.

(01:13:35):
It looks great. It's expertly doing the way the
weave these like different practical effects and digital
effects together. It's like Christopher Nolan
level. Yeah, the original Blade Runner
was Co written by David Webb Peoples, and there's a bit of a
nod to him in this sequence. Peoples also wrote Soldier in
1998 and said that in his mind, the film was set in the Blade
Runner universe. No one else's mind just did.

(01:13:58):
Stone, Kurt Russell, if we can remember that one.
The design of the big garbage dump as we see here, almost
identical to the ones we see in Soldier.
Yeah, Kurt Russell is the redeeming feature, I think.
I mean, people just like, I recognize them.
And then Villeneuve was like, Ohyeah, we're just found about the
back. No one else has used them since
98. So yeah, Blade Russell should

(01:14:20):
have called it. Blade, Russell.
But those big dumper things as well, those big dumper things as
well, the design and the way they're framed in the shot, it
really reminded me of June, which we'll never, obviously.
Went Oh yeah. So that's key of the orphanage.
Missile strikes, childhood memories and more impossible
discoveries. He's starting to believe he
might be the miracle child. Should we see if he's right?

(01:14:43):
Let's see if he's right. From there, Kay's investigation
leads him to Stelline Laboratories and Dr. Anna
Stelline, the replicant memory maker played by Carla Jury, and
what he discovers about confirming suspicions his
memories are real. Around the same time, Kate takes
Joy off grade with an emanator and in a scene that pushes all
kinds of boundaries, she arranges a get together with

(01:15:05):
replicant prostitute Mariette, played by Mackenzie Davis.
Indeed, a get get together. Lovely.
Are you taking Anna Stelline or the apartment encounter?
I'll go for Stelline because this is another scene that
repairs a lot on repeat viewingsbecause knowing what we know by
the end, that reason she gives have been isolated because the

(01:15:26):
parents put her in this dorm basically because she has a
compromised immune system. We know that's a lie.
That's not what happened. And I think Called Jury is so
good here. She's got this very light,
ethereal quality to this performance, which I think
Congress so well to like the tension you get in Gosling's
performance and she should be miserable just stuck in this

(01:15:47):
dorm, but she's making these memories.
She's playing with imagery and sound like this character.
To me, it almost feels like thisis the one that V Love most
empathizes with. You get the impression that
like, he'd be all right if that was his existence in a way, just
making like visuals and sound topeople.
But this is obviously when you start to get the ambiguity of
this memory that Kia has, her reaction to it, when she sees

(01:16:10):
it, she clearly recognizes it asher own memory, which will all
eventually tie in with the revelation that she's Deckard's
daughter. So, so many seeds are being
planted here, but they're not hammered home.
And you're also getting the scene, one of my favorite images
of the film, where she's lookingthrough the view Finder and we
know Keir's on the other side, so he's looking at her, but his
reflection is behind her, so it's like he's looking over her

(01:16:33):
shoulder at the same time. So there's a lot that's packed
in the scene, but it's just played with such a lightness of
touch. It really is.
I mean, the director has to havesome level of expertise in,
like, lots of different kinds ofcreativity, I think, in
overseeing a film. And one of the things I would
look for is how they handle exposition scenes.
Yeah. Moments where, like, the most
important thing is the word being said.

(01:16:53):
That's kind of the case. Yeah.
Where. And I explained who she is,
which is obviously important later, and how memories work.
And they do it sitting in a big MD room because she's in
quarantine for The challenge we only have has is to make it not
dull. And I don't think it is at all.
Quite the opposite, no? No, definitely not I.
Like how subtle the visuals are.There was like birthday party
memories and holograms around them.

(01:17:14):
Yeah, great. And.
I agree, Matt. Carla's.
You use Anna. She doesn't have much to do, but
I think she's really good. She's got this real warmth,
like, isolated from the world, but creating connection for
others, like this great lady. Yeah.
And after being reserved for theentire film, how great was it
when Kay and Gosling let loose? When he's like.
God damn it. It's amazing.

(01:17:34):
I love it. So so good, really powerful.
It's her delivery as well as just crying knowing the truth.
It is. It's fantastic.
Great character, I really remember him.
I agree. I think she's great.
And it's an exposition scene that doesn't really feel like
exposition, which is how it is done well.
But I think yeah. Yeah, it's an introduction
scene. That's actually exposition.
Yeah, and after working with Fela von Sicario, it was
reported that Emily Blunt had been offered a part and played

(01:17:56):
runner but had to say no, she was pregnant at the time.
It's not been said what the rolewas, but it must have either
been and Stelline or Love. You could do either, I think,
couldn't you, Emily? Blue.
Easily. Yeah, easily.
Easily. Would have been great as either.
So Carlos, you got the part after auditioning, and
apparently because the script was so secretive, she auditioned
by doing a scene from X Buckner.No nice.
The dance. Question, right?

(01:18:17):
The dancing one. Yeah, the dancing.
Was it? So leave me with this scene.
Obviously it's the threesome between, you know, the the
prostitute and you've got joy and you've got care and they're
all coming together and you havethis incredible moment case
apartment. But I think the visuals and the
idea behind this sequence is absolutely incredible.

(01:18:39):
This is an episode of Black Mirror in about 8 minutes.
Imagine flash art comes in wolf,this kicks the door down.
That'll be amazing. I'll be up for that.
But not, I mean, it's not even 8minutes is that, let's just say
like 4 minutes, but just the idea behind it.

(01:19:00):
So you've got an AI and then you've got a replicant, which is
the step up, and then you've gota human.
So the AI wants to be a replicant.
It wants to be able to go wherever it wants.
The replicant wants to be human.Yeah, everybody can't and it
can't be human. But the human just wants to be
loved and wants connection and can't find that.
So there's all these steps of this kind of need and the three
levels of being that are coming together to try and find some

(01:19:22):
kind of necessary connection between all three of them.
None of them can find it. Yeah, I don't think they get any
PC. I don't think they get any
pleasure out with this whatsoever.
I think that's the whole point. And I'm so pleased that will you
have played this the way he did,because there's a real subtle
poetry to this, especially when they get both getting undressed.
I mean, when they come together,they have visuals that are just

(01:19:42):
absolutely breathtaking. I was like, I was just, I was
welling up in the cinema going there.
It's just fucking excellent the way that's coming together.
It's so beautifully done and so kind of tastefully done.
It is, I think it really, it really works on that level that
he doesn't go all the oven on it.
Imagine, I mean, imagine what hewould do.
He'd be crashing through walls. All right, I'll tell you that,

(01:20:04):
bud. But it's it's the whole point.
It's like it's is Joy breaking aprogram in here?
Is she going, you know, off kilter?
Is she going too far? Is she now in love?
Is Kay a human? Is he not routing it anymore?
It's all of these ideas that I think, well, we are now more
than ourselves. Especially when she's getting
undressed, when they're both getting undressed in that way.

(01:20:25):
And you get one layer and then the other.
And then it's that slow walk towards Kay.
And then what does it do? It cuts to the Billboard.
And you just have everything youwant to hear, everything you
want to see. Enjoy.
Yeah, that's her programming. And that's exactly what she's
done for Kay. Just give him everything he
wants to hear and everything he wants to see.
Let's just say it works on the emotional level as well as it
does as a physical one, and they've actually going to think

(01:20:47):
they're going to achieve that. And do they?
I don't think they do. Like it says on the Billboard,
it's everything they want to hear, everything they want to
say, but that doesn't make it true.
Yeah, I mean, when I heard they were making a Blade without
sequel, there were a few things I was expecting to say, but a
threesome probably wasn't one ofthe.
I agree, Wesley. I think it's really like
tastefully done. It's not quite.
Sure, Beautifully done. Yeah, it's like relevant to the

(01:21:08):
themes of the film. And it's quite sad, really, if
you think about it. It's just this real need and
this desire for something that'snever going to satisfy any of
them. Yeah, there was a sign of the
sewers, but I think the effects were kind of joining Joy and
Mariotte together. Oh, that beer in the face is a
line, and it looks like a third person part Mackenzie Davis,
which that's no bad thing, obviously, but also works as a

(01:21:30):
metaphor for what's happening. Case trying to create something
real out of two people who get called artificial.
But maybe most interesting to meis when Mariette is a joy.
I've been inside of you. Not as much there as you think,
because Mariette seems to look down on joy the same way.
Humans doing replicants a bit. So yeah, exactly.
And replicants behaving like humans.
It's all well shot. And by the way that two women

(01:21:51):
face in and out of sync, I find it all quite mesmerizing to
watch. I think it's great.
I think it's really it's just visually poetic.
Yeah, it is. And this threesome scene was
shot for real, without any greenscreen and minimal CGI.
Fiendlerf didn't want them to beperfectly In Sync, so they
filmed Ryan Gosling and Mackenzie Davis 1st and she had
freedom to do what she liked. They then filled her with Anna

(01:22:11):
de Armas and the effects supervisor John Nelson directed
her from behind the camera. So Joy is close to mimicking
Mariette, but not perfectly annoying.
Yeah, I think they've. Recorded it with four goal poor
cameras in the corners of the room to ensure that every angle
and from that they could like triangulate.
Howard should then look on RogerDickens camera, the main one
pretty. Clever.
Yeah, yeah, yeah. And we made it through the

(01:22:33):
middle of Blade in the 2049 kidsdiscovered his true identity.
Or he thinks he has joy, is trying to become a real girl.
OK, Thinks she is time to talk about some of the crew behind
the camera I think. Yeah, let's do that.
The crew. As we've been talking about in

(01:22:53):
EV, and I've worked with a huge crew to bring Blade from our
2049 to life, we're going to be talking about Hans Zimmer and
Benjamin Wallfish, who created the soundtrack, as well as the
stunning visuals from DP Roger Deakins and the effects teams.
But first, let's talk about the screenplay.
Should we? Let's do it.
The credited screen rails on Blade when the 2049 were Hampton

(01:23:14):
Fancha and Michael Green Fancha Co wrote the original Blade when
I'm 1982 so it was brought back by Ridley Scott and Michael
Green with less experienced but had a notable CV of his own with
credits on Alien, Covenant and Logan.
Right. How did they do with the right
as he had? Oh man.
I find there's this like real tension in the writing because

(01:23:35):
the original is so much about the atmosphere that the plot
takes a back seat. In this one, it goes right back
into that atmosphere, but it also tries to be more plot
driven at the same time with this mystery.
And I think just occasionally there's this tension where it
doesn't quite get the balance right.
So the atmosphere is slow and languid, but the plot kind of
wants to get a move on. And it can be a bit hard to

(01:23:57):
follow at times. And there are moments where I
think, is this being deliberately vague or did I miss
something? You know, why does K have the
horse memory? Is that just a huge coincidence?
Is it there on purpose? Is it just left for you to make
your own mind open? Which case, fine, But it's
something that just stands out alittle bit.
And I think this is the occasional plot hole.
Stands out like love not once, but twice.

(01:24:18):
To see him in these thoughts in the police headquarters and
straight up brutally murder someone and gets out again with
no problem, which, again, because there's so much to take
in, those things don't hit you at first, but when you come
back, you think, oh, hang on, that doesn't quite hang
together. Yeah.
What it wants to talk about whatit what it means to be human.
What do memories mean? What's it mean to being?
That's fantastic, all that's great.

(01:24:39):
So how it talks about it though,where I think it just chained
itself to this plot where afterwards you go hang on a
minute. The oddest least wants me that
it doesn't quite tell. So it's really good, but only up
until a certain point with the plot where it just gets a little
wobbly at times. I agree with you, I think when I
first saw the film, like I said,I was pleasantly surprised with
the writing because like the first one, it explores pretty

(01:25:00):
deep themes around existentialism and what it means
to be human like you're saying. Where was a little disappointed
though was that I thought when exploring the same themes as the
first film. As I've watched it more though,
I couldn't appreciate it more because I think it does what the
first film does but does spin ita bit and comes in from a
different angle. I said before in the first film
asks what makes us human and this as does being special make

(01:25:22):
you human and the answer throughkey is no.
It's the choices you make that make you a good human.
I like the subversion of the Chosen 1 narrative.
We think he is the chosen 1, he thinks he's the chosen one and
then he's kind of not. I could have been deflating, but
here it's the point. K becomes special, not through
birth or through the choices that he makes.
And there's a couple of things I've seen in the film get

(01:25:42):
criticized for in the writing. One is being too slow.
I don't mind the piercing, but Iget the criticism.
What doesn't help, like I mentioned, is there's no B plus.
It's all K. And I think it might have
benefited from seeing more of 1 loves up to all the replica
resistance. We'll see in the end.
Something they couldn't wait to the ties in.
Yeah, but another criticism I'veseen that I don't agree with as

(01:26:02):
people saying. So we still don't know if Decor
is a replicant or a human, then what's the point?
But not revealing that is the right choice for me.
Yeah, it's one of those things where the question is way more
interesting than the answer could ever be.
Not revealing that is the point.Exactly.
We don't know that is the point,because we can't tell the
difference between human replicants.
How come we see a bit of difference?

(01:26:23):
Exactly. So on the whole, I think this is
how you write a sequel to a classic.
You don't try to recreate it. I'll go for a lot to nostalgia.
You continue the discussion in away that's interesting with some
new ideas. Ideally, that's what this does.
It could have been more going onplot wives maybe, but I think
the hardest bit exploring the themes, I think it does that
really well. Yeah, I think bringing the whole

(01:26:43):
world back to life, like you said, is the hardest thing to
do. And Hampton Fancher wrote the
original, but I think he does a really good job of the world
building again, but the evolution of that world and the
evolution isn't positive, which,again, could have been a massive
downer and they could have played on that, but they don't
really. Again, it's the human elements
of it, the push through, and there's elements to the puzzle
that are confusing. But then again, it's supposed to

(01:27:06):
be you're not supposed to know what's going on.
You're supposed to be kind of pulled from pillar to post a
little bit, and you're supposed to be in the same shoes as Ki,
guess. And there's this real ambiguity
and there's this real mystery that still exists in the Blade
running universe. And that's the whole point is
that you're trying to create humans.
Well, how do you do that? What does it mean to be human?
What does it mean to be real? And I think that's what's really

(01:27:27):
strong in the right and that they didn't ham that up or
overplay that. They found another way to tell a
very similar story, but it's very, very different in its
approach. Yeah, I think that's excellently
done in the screenplay. And I think a lot of people
reading this would have been very, very excited about it
because it seems very fresh. It seems very new, but it seems
very familiar. And that's what they've done.

(01:27:48):
They've taken the familiar beatsand they've kind of upgraded
them a little bit. Like I said at the top, like
Label has a Nexus 6, and they'vejust written the Nexus 9.
They've written the next versionof that screenplay.
And in the world of cinema, especially since 2017 to now,
you need to have a lot of questions thrown in, but you
need to have a lot of answers thrown in as well.
And when you don't have the answers, it's frustrating.

(01:28:09):
But what this does is it raises more questions than it does
answers. But the answers you get are
really satisfying. And the questions that you get,
I'm quite happy to leave as questions.
And I think they did all of thatin the screenplay and it really
comes together. Yeah, I think it's all doing
intentionally, isn't it? Seems like as well.
Very much so. I feel like when I'm watching
the film, I'm watching the screenplay.
Yeah, yeah. So when Blade Runner 2049

(01:28:30):
started moving forward, Fancher was invited back to Rider by
Ridley Scott, and Scott said Francis's response when he asked
him was, oh shit, not again. So Fancher ended up writing the
story as a 110 page novella, andthat was then handed to Michael
Green, who had worked the Scotland Alien Covenant to turn
it into a screenplay. Nice.
Or she's not again for I was thinking it first as well.

(01:28:51):
Yeah, exactly. Thanks for everyone was
thinking. Yeah.
Michael Green said the fun to the original draft was called
Acid Zoo and the Deckard died atthe end, so that was swiftly
changed, I imagine. So Speaking of crazy titles,
let's see if there's any others.So the other titles were
considered as well. One working title was Queensboro
after the bridge that Andrew Kosovo had across when he met up
with Fancha to keep it secret. The production title was Triboro

(01:29:15):
after another bridge, the love bridges.
These guys like just the suggestion for the actual title
was Android's Dream, and the onethat came closest to being used
was Blade Runner. Time to live.
Rise. Yeah, Roy Banney's final words
are time to die in the first oneon there.
A little bit on the nose maybe? Maybe it sounds a bit more like

(01:29:36):
a computer game. It does.
It really does. Yeah.
Label on 2049. Not massively original, but it
works for what it does. Oh yeah, I like it.
Like it's really good. And the new characters were
given names to tie into the themes as well.
So Nyander Wallace's name comes from Neanderthal species of
humans that lived alongside Homosapiens for dying out about
40,000 years ago. Right.

(01:29:57):
Well, tying into replicants living alongside Homo sapiens in
the films, I guess. Which nice idea.
Yeah. And then the name Anasteline,
that's similar to Anastelin, which is a peptide studied for
its anti cancer properties. Although there's no evidence in
the film this was intentional. Right.
Seems like a bit of a coincidence though.
If not, yeah, I think. Yeah, I guess so, yeah.

(01:30:17):
We mentioned Pale Fire by Vladimir Nabokov earlier as
being part of the baseline test if you remember, and we see it
in the film as well. Yeah, we do, yeah.
Kay's reading it in his apartment, and Joy picks it up
and makes it very obvious watches hold nothing.
It really does. Yeah, Navika also wrote Lolita,
unless you'd be reading that. Let's leave that there.

(01:30:40):
Imagine if Kubrick did Pale Fire.
And when Kane Joy go on the roofof Kay's apartment is a pretty
big sign seeing Mobius 21. Then there's gas, now added as a
reference to the artist Mobius, whose illustration to the
influence the look of the original.
Yeah, that's right. OK.
They do like a reference in thisfilm.
Nice. Before we finish on the right as

(01:31:01):
we have our next ATR MP, one question.
It's on the themes of the film and comes from Gareth Bin Moore.
Hello, Gareth. Hello, Gareth.
So, Gareth asks, do you think Blade Runner 2049 ultimately
argues that humanity is defined by our memories or choices or
something else entirely? And how does that compare to the
message of the original film? Question from Gareth.

(01:31:23):
Yeah, it's a deep one. What do you think that?
I think I feel like I need to deliver a 5000 word essay by the
end of the week. What do we define buying this
one? I think it's choices for me
because this film explicitly says that memories can be
created in the one, necessarily be your own, and they can be
manufactured by someone else fortheir reason like yours.

(01:31:44):
Whereas people can try and forceyou to make a choice, but it's
ultimately up to you to make it,which care does at the end.
And maybe humanity is making a choice that's a difficult one as
opposed to an easy one, which again, I think is what care does
at the end. And then compared to the
original 1, I feel like the original 1 asked the question
and this is the one that answersit really.
So the first one does kind of say what does it mean to be

(01:32:05):
human? And I think this one answers
that. Well, yeah, I think I was kind
of hit on what makes this work from a writing point of view
that we're talking about. It develops the questions.
The original, your first blazer when I framed humanity through
like, empathy, an experience where the void camp test
literally measures empathy. Do you feel sorry for a torn
line back? It asks.
That's what makes you human. But 24 United says, yeah, it's

(01:32:27):
about choice. The baseline test measures
obedience. It's making sure that Kate
doesn't choose. And he goes on to make choices
that define him and the narrative.
What I know is as well is what'snot said, and neither film even
suggests that it's biology than they see human.
It's what's inside you, spiritually and psychologically,
they both say, which is interesting.
Yeah, I'm like you just touched on The Edge, and I don't think

(01:32:49):
it's about anything physical, but for me, it's about free
will. And I think Garrett's question
answers itself, is it defined byour memories or our choices?
But I think our choices then define our memories.
So it's what you choose to do then gives you the memories.
And I think what Batty does at the end of the first one, he
says I've seen things you peoplewouldn't believe.
And he lists all the things he'sseen, but that wasn't his choice

(01:33:10):
to see them. Somebody else's choice to put
him in that place. And that's not a place he wanted
to be. And that's the whole point of
this is that Kay puts himself inplaces that he wants to be and
he makes a choice at the end. That deck had died out there.
You drowned out there. Now I'm going to take you to
your daughter. I'm going to, I've made a choice
and that's my memory. And that's his last memory and
what leaves him to ultimately bethe hero and to die a human in

(01:33:33):
his own mind because he made a choice and created his own
memory of that choice. So I think that what that's what
this film is saying is that you have, you have to make choices
in life that then defines your memories and that then defines
who you are. Because your choices can either
be to help somebody or to hurt somebody, or to help yourself or
to hate yourself. So it's about really thinking
about what choices you're going to make and making them for the
good of yourself and the good ofhumanity.

(01:33:55):
And that way you become human and everybody works together.
That's what care does. Exactly.
Yeah, it all comes together thatway, yeah.
Or for their work on Blavery 2049, Hampton Funchi and Michael
Green were not nominated for Best Adapted Screenplay of the
Oscars. Michael Green was nominated for
Logan or lost out to James Ivoryfor Call Me By Your Name.
Oh, right. Yes, OK.
Yeah. For Rosie, though, in writing a

(01:34:16):
sequel that explores new ground in a familiar world, some good
science fiction writing who found here in green.
I think it's lovely stuff. Lovely stuff.
Not my words. From the writing, it's on to the
music. And the composers on Blade
Runner 2049 were Hans Zimmer andBenjamin Wallfish.

(01:34:39):
Zimani's no introduction, legendary composer behind
counters major films. And Benjamin Warfish had
composed for 21 films before this, the most well known,
probably the unique of it in 2017.
Yeah, OK. Yes.
Following on from Vangelis in the first film.
No easy task question. So how did Zimmer and Warfish
do? Pretty well, didn't they?

(01:34:59):
I mean, they did. All right.
Let's be honest. Yeah.
I've never listened to this in its own right prior to this
podcast. Actually, just now I thought,
well, I need to actually dive into this soundtrack because it
is so intertwined with the visuals.
It is like a tapestry where it'sit's like putting threads
through leather and it's just kind of just tied together.

(01:35:21):
All of it is and it just wraps itself around it where you can't
actually differentiate from whatyou're seeing to what you're
hearing. It is a beautiful meld of them
both the visuals and this sensory exploration.
And that's what I mean, there's no real themes.
There is just soundscapes and they create these huge
soundscapes, these big booms, these big sound effects that

(01:35:42):
kind of tie into it. And then you get them nods to
Vangelis, but just in the sound,them synth sounds and they're
all got these sweeping mortars, all sounds like the water that
we get at the end. It all sounds like the the whole
soundtrack is crashing against that seawall.
It's all spinners, it's all in the air.
It's all just this big imposing sense of doom and sense of dread

(01:36:04):
that's just hanging over the whole place.
And then other times it's the clouds and it's just, you know,
the the actual lack of rays of sunshine.
There's nothing definite punching through.
There's not a definite instrument punching through.
There's not a definite score or a theme or anything you can
cling on to. It is just a really beautiful
mass of soundscape and feel. I mean, there's a track that's

(01:36:25):
just called Wallace. It's just so you know, Leto
didn't have to do anything. Just play that and have anyone
stand there and you know exactlywhat that character is.
So I think between the two of them, what Zimmer does is he
brings that real musicianship ofVangelis.
And then what Wallfish does is he just adds this texture.
And I'm so surprised that this was such a big seller.

(01:36:46):
Like people buying this on vinyl.
I'm not going to stick this on like on a Sunday night and just
let's get that Blade for a 2049 soundtrack on.
It's trying to relax, but it's it really works.
It's fantastic because you get lost in it.
It is because of just these wonderful soundscapes and these
emotions and landscapes that it makes everything about this film

(01:37:06):
is visual, including this. Yeah, I mean, when we see a
soundtrack where typically mean like an album, all the pieces of
music in a film, you see the name comes from being the track
in the mix which has the sound on it.
And when I think of the score inthis film, that's what I think
of. It's a soundtrack.
Is this like crossover between the sound design and the score
with some names? I'm not sure which one which I'm
listening to, whether I'm not sure if it's diegetic or non

(01:37:28):
diegetic. Yeah, that big kind of booming
foghorn sound that we hear all the way through.
That is classic Zimmer he loves.That yeah, he's done that since
your dot, hasn't he? It's really jarring, though, if
you're listening to this and you're driving and then
Suspicious Minds comes on. What?
Really jarring. But that's to me, that noise is

(01:37:49):
like the noise of this world andthey take a lead from Vangelis
in terms of the future sounding sins.
We had the tears and Ram using acouple of times as well.
Yeah, but do yeah. They do their own thing as well,
which is why you hire Hans Zimmer, isn't it?
And it's got his classic wall ofsound kind of approach, which
reflects that brutality. That's the only wonder, I think.
Subtle. He's not really required here.

(01:38:09):
I mean, I'm not sure I'd call this top tier Hans Zimmer.
Well, it does do what the best film music tends to.
It doesn't just accompany the images, it kind of completes
them I think. Well, you're back in the Blade
Runner universe. You do need to still follow that
Vangelis cue. Don't you really like about
this? Yeah, you do.
You need it. And it is very, very handsome of
that boom and noise which is so patented by now.

(01:38:31):
You know, it's almost become like a parody of itself in some
other films. But he combining that with the
influence that he does take fromVangelis, You listen to it and
you just think, yeah, there's only one universe would have
this music and it would be BladeRunner.
It's perfectly done. The first composer I had to work
on the film was Johann Johansson, who worked with Vin
Nuvon, Prisoners and Sicario andArrival before this.

(01:38:54):
But after he started delivering the first samples film, you've
wasn't massively impressed. He wanted to move closer what
Vangelis had done on the first film, so brought in Hans Zimmer
instead. Well, for your hands and three
films revealed there and then kicked off the biggest one you'd
be got it wouldn't. You bless him, I.
Yeah, and Zimmer was scheduled to go on tour in the middle of
production, so he brought in Benjamin Wolfish as his Co

(01:39:14):
writer and they'd already workedtogether on Hidden Figures,
which is where his involvement came from.
Yeah, doing research for this, Irealized that you wrote a track
for Zimmer score for Dunkirk as well and all.
Right. Yeah, OK.
Slightly different subject matter, they believe or not, but
it's a huge sound, obviously. Yeah, of course.
Yeah, the loud noise that appears throughout the score
began as a male choir sample that Benjamin Wolfish ran

(01:39:36):
through a series of electronic filters again and again until it
sounded mechanical. Like human voices made inhuman,
which is kind of the theme in audio so.
That isn't it? Yeah, I love for.
A few years, yeah. Ran it through electronic
builders again and I mean how many times just left it going
overnight by the sounds. Yeah.
And there was some deliberately chosen sound effects as well.

(01:39:57):
The Wallace Corporation's alert sound is the Prokofiev's 1936
Peter and the Wolf. Yeah, that sounds really
authentic. I love it.
That's the thought. I would do like a little Jingle
when Joy powers on. Yeah, it's great.
That nods to the Russian as well, that Russian theme that
the dogs. Yeah, yeah, yeah.
And the sound designer Mark Mangini said that he took the
sound of the spinners from a bull roarer, which is an

(01:40:18):
instrument Indigenous Australiancultures would swing above their
heads to make a distinctive sound.
Which is featured quite heavily in Crocodile Dunde 2 if you want
to check that out. Yeah, I think Mark Mangini said
that he uses visual metaphors tofind the Sonic metaphors.
That's a good example of it. Like the spinning ball roar for
the spinner vehicle works reallywell.

(01:40:39):
It sounds great as well. Yeah.
And feel of like the sound of the spinner, but told Mangini
that it needed to sound old. So Mangini recorded his wife's
Honda in the cockpit of that into the sound of the spinner as
well. Yeah.
And then the manipulated that togive a different versions, like
the spinner flying past camera or the spinner when we're inside
it with case which sounds different.

(01:41:01):
All worked really well. Yeah, it's amazing.
Alexander Displa won the Oscar that year for Best original
score for The Shape of Water andcreating a huge soundscape.
It follows Vangelas while givingVilnios something new.
We're fans of what Hans Zimmer and Benjamin Walker Studio.
Yeah, absolutely. The more I listen to it, the
better get. From the soundscape to the

(01:41:21):
images and the director of photography and visual effects
studios, the DP was Roger Deakins.
Yeah, that industry legend. He shot the short swing
Redemption, The Assassination ofJesse James Skyfall, among lots
of others and just were revealedlive on Prisoners and Sicario.
Yeah. And the effects team was had a
look by John Nelson and Paul Lambert working with multiple
studios like Frame Stall, What aWorkshop, NPC and Double

(01:41:44):
Negative, among others. So Westie, how does the film
look, Deakins for you? Is it?
I mean. Yeah.
That's it, isn't it? That's it.
Of course, it's just it was the first shot.
I'm done. I'm in 100%.
It's absolutely flawless work. I mean, the just the lighting
design alone is so Deacons, but it's so much more intricate and

(01:42:05):
so much more well designed. I mean, so if you look at some
of the lighting rigs put on this, it's just incredible.
Just in the Wallace Temple, there's just rows and rows and
rows of LA days just put inside each other and the control each
level of them and they bring the, you know, they bring them
up and down and then control everything that's happening on
the walls. And just, he uses light as a
character in this. It's just incredible.
The light and the shadow all play a part.

(01:42:27):
It's shot on the Ari Alexa again.
And the amazing thing about this, he always shoots on a
single camera. There's always a single camera
setup. They're not doing explosion
sequences with like 3 or 4 different cameras everywhere to
get different angles. So everything is just so well
considered. And the other thing, the note as
well, for anyone who's really bothered and you know, kind of
listens to what I say on these, this wasn't shot anamorphic,
which the first Blade Runner was, which gives a lot more

(01:42:49):
depth to the frame. There's a lot more of a
cinematic feel. The book is different.
It's got like it's it's less spherical where this is shot
actually spherical on size Master Primes.
So it gives it more of an architectural photography look.
It's very, very symmetrical and you've got this.
The lines are straight, there's no convergent verticals.
There's nothing at the side of the frame.
Everything is absolutely pinpoint straight and that's

(01:43:10):
what you needed. And it just works so well for
this film to shoot its spherical.
So it has a fresher feel. It has like an upgraded field in
the cinematography because that was shot on film.
This was shot digitally and you know from the light and design,
even if you look at the Wallace Temple and then look at Vegas,
but then look at the opening on Sappas farm.
Now Sappas Farm, there's two lights and windows and
silhouetted, but the blacks are just as as beautiful.

(01:43:32):
The light is just as considered.It tells the story just as well
as Vegas does. That's silhouetted, that's
beautiful, but you don't look at1 scene and go.
That really stands out. Every single shot of this is a
screensaver. Every single element of this
film is is you can pause it and hang out on your wall.
It's a beautiful, beautiful piece of work and taken nothing
away from Greg Fraser. But June wouldn't look half as

(01:43:52):
good if Deacons hadn't done the work he did on this.
Yeah, I mean, like what we've been saying about lots of
aspects of the filmmaking. Yeah, I think the cinematography
managers a time with the first film by also doing its own
thing. Yeah, the original is really
dark, really rainy. Yeah, there's loads of bright,
striking colours. We get snow.
So it does look different, but still fits somehow.
And visually, I just love it. I mean, where is the original

(01:44:15):
with lots of cramped interiors and closets?
Probably because of the smaller budget.
Yeah. Deacons opens it right up.
Huge farms, massive wastelands like we talked about.
I mean, it is beyond something to look at.
Every frame is like a painting. And the use of color always
stands out. The neon pink of the Joy Yards
and that outrageous orange Las Vegas that we'll talk about is

(01:44:36):
incredible. But I think the use color to
tell us where we are emotionallyand tell the story.
Ellie is like dog and dingy. And then when we go to Celine
Laboratories, that's more like white, sterile white.
So it's snowing outside, which Ithink represents Anna's kind of
purity as a miracle child, I'm guessing.
So each environment does have its own kind of visual language.
Yeah. And wouldn't reveal Nerve, who

(01:44:56):
loves a long take. Deacons create these moments
where I always just kind of wantto pause the film and just stare
at it, but it never feels indulgent either.
No, when key is walking away from that tree on fire, I pause
it every time. Yeah, yeah.
Because. That shot is unbelievable, but
it's about 8 seconds long. Yeah.
I would have held that for threedays.
Are you getting any spare? Goes up the trees made of

(01:45:18):
concrete. I would have waited until it
burned away for three days. I'm holding that.
It's just unbelievable. It is a master class in
cinematography. I think.
It is one of the best examples of big scale science looking
cinematography we've ever seen surely?
I mean, I just think sometimes aspects come up in these
podcasts where you almost have to admit defeat and go, there's

(01:45:39):
nothing that I could say that sheds illumination on this.
Like I've got nothing insightfulto say about this because it
speaks for itself on such a level.
Like you don't need to listen tome.
Just go and look at it. Forgot to say, like, everything
you just said, like, So if I'm going to add anything, it just
feels like the amount of challenges.
He said himself that he didn't need to, but he did anyway.

(01:46:00):
And I'll go back to the interiors of Wallace's temple.
Does it need all those lapping reflections of the water again?
I mean, I have no idea how complex that setup would be.
No, doesn't need it. It looks insanely difficult.
I would definitely not do it. But he does.
And if deacons can do it, let him do it.
So yeah, this is absolutely one of those where you just go.

(01:46:20):
You know what? The work does all its own
talking here. There is a recurring kind of
visual motif using water as well, because you get the water
in Wallace's offices, like we'resaying, you get the sea wall
later on, we get snow at the end.
So there's this kind of developer that goes along, which
is quite clever. Yeah, and Veiler said that after
he accepted the job as director of Blade Runner, he was having

(01:46:41):
dinner with deacons that same night, and they prepared by
hauling up in a Montreal hotel for a month with the storyboard
artists Sam Hudecki and Daryl Henley to storyboard the entire
film. Wow, he said.
They came up with some visual ideas that were so crazy to that
just have the screenplay rewritten afterwards to
accommodate them all. Wow, he's very big on
storyboarding. It seems like the only other

(01:47:02):
things. Deacons had a hand in design and
the huge pink version of joy we see towards the end as well.
And that's sharp joy towering A bouquet.
It's ridiculous. It's one of the defining shots
of the film, I think, isn't it? Yeah, it is.
Yeah. And her hair now as well, that
Blues things kind of cut. Apparently that was just some
cheap wig because he didn't havetime to get anything else.
But still, he can make it look good.
Yeah, it's unbelievable. Yeah, and I want to talk about

(01:47:24):
the visual effects because I think the thing I was most
worried about with this sequel was would the capture the feel
of the original or would the updated too much?
Like one of the big problems with the Star Wars prequels is
the technology was so much more advanced that the prequels look
like in the future, not the pastof that particular universe,
which I found really difficult to kind of get past.

(01:47:45):
But here the effects work is so well done because it looks like
Blade Runner, but it does look like it's moved on, but not to
the point where it's unrecognizable.
And it has that tactility. But the first one is where, you
know, I feel I can reach in and I can touch this world like I
did with the 1st. And it does that thing where it
blends the use of CG and model work and miniatures and
practical effects so brilliantlythat there's so many shots where

(01:48:07):
I'll go. I generally can't tell which one
of those disciplines this shot belongs to.
I think that's how you use visual effects.
Definitely. Definitely.
Yeah, you're right. There's miniatures, the scale
models, there's green screen, practical and digital.
The blend is just, like, so welldone.
Yeah. And I know the viewers said that
the reason he likes to have somepractical effects is because he
thinks it makes it easier for the cast to immerse themselves

(01:48:28):
in the world. Yeah.
Which makes sense. Yeah.
And that must have with the cinematography as well, having
it all looking on set, pretty much how it's going to look on
film. Most inspire ideas.
Deacons and everybody else. Our mother.
Absolutely, 100%. I mean, there's some amazing
before and after shots. I'm sure we've put it on our
Twitter as well. Yeah, actually on the set and
you can see them before and afters and how little they
actually used and filled in. It's incredible, incredible

(01:48:51):
work. Well, I say yeah, everything
starts as a real set with real props and then they build around
it with digital like enhancements.
So the farms were a real place with digital ladders.
The orphanage is a real set witha digital background.
Yeah, spin as a real prop vehicle the bills and then add
digital elements to it. Yeah, I mean watching sequences
where the digital is done by thestudio who did gravity in frame

(01:49:12):
store. The miniatures are done by the
team. We did Lord of the Rings.
In went a workshop. The shot by Roger Deakins.
I mean, no one never looks so good.
Yeah. It's like an incredible array of
talents. Definitely 100%.
Another classic Blade Runner visual they brought back from
the original is the neon corporate logos.
They carried it on from the first film as well.
Pan Am and Atari haven't been around properly since the 90s,

(01:49:33):
but we'll see them both here. I love seeing the Atari logo.
Yeah. Yeah, yeah.
Yeah, yeah. I saw an interview with Ryan
Gosling and he said the veal they have told him this is the
world where Apple never existed.So technology focuses on
function rather than aesthetics and how it looks.
Nice Sony logo in there as well.Because they distributed the

(01:49:54):
film. Didn't.
They Yeah, yeah. Nice little sneaky nod.
For his work on Blame from the 2049 Roger Deakins finally,
after 13 previous nominations, won his highest Oscar for Best
Cinematography. Yeah, about time, Westy.
Absolutely, 100%. And the special effects team won
the Academy Award for best visual Effects, also deserved.
Yeah, definitely, 100%. That's the main crew unbelieving

(01:50:15):
that 2014. I am Hampton funshine Michael
Green crafting A worthy sequel script, Hans Ziman Benjamin
Warfish creating that epic soundscape.
Orchardigans finally getting hisOscar and effects team is
seamlessly blending practical and digital.
So world class talent deliveringpretty much world class work
throughout. It really is a beautiful thing.

(01:50:39):
The end The final active Blade Runner 2049 sees Villeneuve
bring all the threads together. The climactic and wet
confrontation between K Love andDecade is coming.
But first, Viva Las Vegas, right?
Indeed. So having discovered he might be
the one, he heads to the radiation soaked ruins of Las

(01:51:00):
Vegas to find decade in the mostorange place in the world.
He explores an old casino beforecoming face to face with the OG
bleed runner himself. We've got Pink Diggins and then
Harrison Ford back-to-back. Yeah, Westie, you're loving it.
Unbelievable. Just, you know, every time I
watch it, Christmas in July, let's be honest, all of these

(01:51:22):
shots here are just screensavers.
The sound of the sort of sofa board and boom.
It reminds me of all these fallen statues.
It reminds me, you know, the Valley of the Gods from Jason
and the Argonauts where you haveall the statues there, but it
feels like they've all fallen. And you get that great one where
there's the left eye of the statues missing and the left
eyes. But you know, you look open to
the left is a replicant, so they've taken that eye away.

(01:51:43):
That points back to it. And again, some wonderful nods
to the first film. So I'll go through a few of
them. The B Landon on his hand, which
goes back to the original void contest that he does on Rachel.
And he says the wasp Bland's on your arm.
I'd kill it. So he doesn't kill it.
He lets it go. And then he ends up with his
hand absolutely covered in the BS and then walks up.

(01:52:03):
So he's got that empathy, he's got that plane.
It really works into that because bees are used
classically in German airports to monitor the clean air to see
if there's any radiation. All right.
So obviously put there by deck and to monitor the air outside
to see if you can go outside because the radiation and the
Fallout in Vegas to monitor that.
And then has been there. They've created a colony and

(01:52:23):
they've all started to work together.
And then the colonies have kind of survived and you've got more
and more colonies to be. So he's set up more of them and
they've thrived and they've survived and they've done it
themselves to show that humans can't actually do that or
replicants can do that. And then we're getting going
through the door, but obviously you've got all of that set up
with the beans, which makes me forget about the visuals a
little bit. And we're going through the door
and then you get that classic Harrison Ford revealed from the

(01:52:44):
darkness, which is like the Raiders reveal.
It's the hard part of what Deacons did in Skyfall.
It's just got that. And I was like, please let him
come out of the dark holding thegun.
He had them the first film. And I swear to God, I will never
do anything nasty to anyone for the rest of my life.
This is a legacy sequel you had that has the perfect dialogue in

(01:53:05):
it. I used to do your job.
I was good at it. Yeah, Great.
That back and forth from his andhim and Ghost and that little
standoff and then that disappearover the balcony.
It's just. Oh yeah, it's great.
It's just absolutely wonderful from the then on in.
Not cut to Vegas with early warmsound design.
Orange light is one of the most striking visuals I think I've
ever seen in the film and the erriness in the casino was great

(01:53:28):
as well. That cause appearance It is like
Indiana Jones we'll never think it's must have known that when
they were doing. 100% that wouldprobably be the first shot they
wrote down how we're going to introduce just out the shadows
with a gun. First thing I would have written
down. Exactly.
Yeah, I think causing it for a great together as well.
Yeah, famously. Yeah, the orange haze of Las

(01:53:49):
Vegas was signify the area is drenched in radiation, which
obviously expected the bays. And it was inspired by
photographs of a 2009 sandstorm in Sydney.
These photographs are amazing, by the way, if you haven't seen
them, I'm. Not seeing them, No, Yeah.
I mean, it's just like the Sydney Bridge.
It's all right. It's got the same gradient.
It looks unbelievable. So didn't show the images to
Villeneuve and he said, Yep, let's just do that.

(01:54:10):
And it was done through onset lighting and effect like missed
in his and frame store. Then added some digital colour
grid and post to kind of just boost the oranges touch more.
But yeah, there's behind the scenes for each of this as well.
And it looks as good on set as it does on camera.
I think it's that little touch grid and as the end it's
amazing. Even when you see it before free
so go involved it looks great. The final result is just

(01:54:31):
ridiculous. It's unbelievable, yeah.
And when he was planning the LasVegas scenes, Feenleve brought
in Sid Meade, who had worked as a concept artist on the original
Blade Runner, obviously, and Feenleve asked him to design how
Las Vegas would look in the Blade Runner universe, and they
based it mostly on his designs. Like might be my favorite brief
ever, but Las Vegas in the BladeRunner universe, Great.

(01:54:52):
Yeah, Yeah. Still be doing it.
I couldn't have made any decisions so much.
And it was Sydney's last film, which isn't a bad way to go.
Like connecting the dots to probably use more famous work.
Yeah, definitely. There's another reference to the
first film when we first see Deckard, his first line to
cares. You might have never piece of
cheese about you now, would you,boy?

(01:55:15):
Which is pretty cool. Oh, good.
This is a quote from Treasure Island by Robert Louis
Stevenson. And there was a deleted scene
from the first film where we seea character reading Treasure
Island. That is the first line.
I think the character stranded on the islands called Ben, and
that's the first thing he says to the people who arrive.
Right, That's right. Yeah.
The guy on the island says that.Yeah, Yeah.
So, yeah. So it's relevant from that
point. Relevant because he's.

(01:55:36):
Stranded as well, yeah. Exactly.
And in the casino, there's a couple of other little details
in there worth mentioning. You'll see that deck artist
carved some wooden animals, a rhino, an antelope, a cat, a
horse, an elephant, and a lion. The 1st letter of which all
spell out Rachel. Nice.
Yeah, he's carrying some torturethere.

(01:55:56):
Also when Kay visits Gaffe earlier, he's made an origami
sheep. Surely not to do Andrews view of
electric sheep I'm guessing. Yeah, yeah.
And then when Kay walks into thehall where Deckard shows up, we
hear the same bell sounds as when Deckard walks into the
Bradbury building for the final showdown with Chris and Roy
Batty in Blade Runner. Oh, nice, yeah.
When kids walking around the casino, it kind of reminds me of

(01:56:18):
like when you say all shot to the Titanic.
There's something really ghostlyabout.
It I know what you mean, yeah. The production design is
fantastic. Yeah, it looks like it's just
been there forever and they're just stumbled, stumbled across
it. It really does.
That shot of Rachel as well, that little picture.
Oh, yeah, he's in there. You're talking about that
torches carry. And that's what's Megan Vegas
Orange he's taught for Rachel. And then after this, he gets K

(01:56:45):
and Decor do that classic thing of two characters getting to a
scrap, and then they decide thisis getting us nowhere.
Let's just make up over drink instead.
Yeah. I mean, what's interesting is is
when Ford has thrown those endless punches, he does look
really tired. It does look like he's not had
this kind of like scrap in such a long time.
But in this fighting, Weedley forever in this film features in

(01:57:06):
regards to, like, AI holograms and replicants.
I think this might be the most like, prescient scene of all
with those hologram versions of Sinatra and Elvis pain in the
background because like, you first watch this, you think,
well, even in the future, who'd spend money to go and see
hologram versions of Art is Singing.
But then just a few years ago, you had that launch of ABBA
Voyage, which just uses holographic avatars of the band

(01:57:27):
from the 70s, and now it's a huge hit.
It's kind of told the future already, this scene.
But then you get the scene in the bar afterwards where I mean,
for start, that dog can't be real because you shouldn't be
feeding a real dog whiskey you and for a world of hurt if you
do that. But he also says ask him.
So that might go. I'm a replicant actually.
Like for like a throwaway line like that, it says a lot because

(01:57:51):
it's funny, but actually, isn't that the point?
The point is, in this world it'snot up to humans to judge
whether replicants are real. Ask them themselves.
You can ask the same question about joy, and that's the heart
of the film for me. What constitutes being real?
If you feel something doesn't matter where your memories come
from, and not for me in amongst this great scene of them just
sitting with a drink, filling inthe plot gaps.

(01:58:12):
That's the most important line in this scene for me.
Yeah, brilliant. I.
Mean the concert holds a great setting for the fight as well.
Elvis and Marilyn Monroe performing forever to an empty
room it seems like I find quite unsettling the whiskey scene.
That is one of the best moments in the film I think.
I think a dialogue scene, Kate thinks that Deck his dad at this
point, so there's someone occurring there.
Yeah, Ford is excellent. Again, the best I've seen him in

(01:58:34):
a long time. Totally feels like Deck Odd and
feels like it's been hiding for like 30 years.
And how cool is it when Kay runsthrough the wall to catch up
with that God? Brilliant, brilliant.
Cool as hell. A few more those kind of moments
wouldn't have gone amiss, to be honest.
Yeah, yeah, yeah. Fantastic.
In the name of the casino is Vintage Casino and the Sinatra
hologram was a not to the producer Cynthia Yorkin, whose

(01:58:56):
husband Budd Yorkin. He directed Sinatra in a film
called Come Blow Your Horn in 1963, and both Sinatra and Elvis
held residencies in Las Vegas atdifferent times in their
careers. Nice.
Thought of Elton John. You know what?
I'm in there. Amazing.
Imagine Daniel Daniel in the background.
The holograms of Elvis, Marilyn and Sonata weren't real footage

(01:59:18):
to a shot for the film. There were models and the
likenesses of the three stars were composited on top of the
performers film. You've said getting the
holograms to work in this scene became so difficult that the
thought about changing the sceneall together.
Wow. Yeah, apparently the head of
that, Joe Walker, saved the day by having the idea of having the
holograms kind of cut in and outlike the deal, if you'll never
said that totally changed the scene.

(01:59:38):
I'm not going to imagine it makes it, like, really haunting.
It's Miles. Better that just the technology
doesn't work. The technology doesn't last.
Yeah, it's miles better, Yeah. And while shooting the fight,
Harrison Ford accidentally punched Ryan Gosling in the face
for real, which is the take we've seen the film.
So as an apology, Ford invited Gosling to share a bottle of
whiskey with him and then moonedhim.

(02:00:00):
And apparently this is somethingyou did to Sean Young on the
first film as well. That's right.
Yeah, Ford said that he punched him because Gosling dances
forwards a lot more than he dances backwards.
So right, it's what's Goslin's falling.
Yeah, yeah, yeah. And that's our journey to Vegas.
Orange skies, abandoned dreams and two Blade runners coming
together. Love and Wallace have other

(02:00:20):
plans, don't they? Certainly do do.
The climax, The Blade Runner 2049 brings our characters
together for some big revelations while this tries to
break Deck on with a digital resurrection.
While K haven't been told by theresistance that he isn't, the
special one raises to save Deck out from love.
It all ends in snow, silence andsacrifice.

(02:00:42):
Does. So how's it all?
It plays out so well in this reunion between Deckard and
Rachel Wasn't expecting it whatsoever for reasons we'll get
into, but just that glimpse of her silhouette is just enough to
make you go. It's not who I think it is.
And is that where we're going with this?
Because the film is done such aneffective job of reintegrating
Deckard into the story, into this world.

(02:01:03):
We know that apart from his daughter, Rachel is by far and
away the most important thing inthe world.
So there's a genuine tension of Willie succumb to this
temptation, even though he knowsshe's not the real thing.
And this goes back to what we'vebeen saying about Ford getting a
real joy out of returning to this couch because it gives them
some proper meaty material to get his teeth into.

(02:01:24):
Because this is some of his bestwork, this confrontation he has
with Wallace when he says he knows what's real.
And you can see the torment he'sgoing through being faced with
this, well, what looks to all intents and purposes,
resurrection of Rachel. And you get that great moment
where you know, he says to Wallace, you mustn't have
children. And Wallace replies, he has
millions, which is true, but with all those millions, he

(02:01:45):
doesn't understand what it actually means to be a parent,
whereas Deckard only has one. But he totally gets it.
So I think it's probably Ford's best scene in the film.
It's really tense. I think the only thing I don't
get is Wallace sending Deckard off world to be tortured.
Yeah, I don't get that either. I.
Don't know if that's just a convenient way to get him into
his spinner so Kate can track him down.
Because otherwise you think you've got, like, a massive

(02:02:07):
temple. Sure, you've got a spare room
somewhere. Like, take him there.
Yeah. And Wallace says the Deckarden
race that we're designed to meetand fall in love, which adds a
little layer to the original film.
Yeah. And Elvis was singing Can't tell
Falling in love with you earlier.
Really unintentional choice. And he says he loves the song.
Yeah, yeah. And Ford really quite a game
when he looks at Rachel with some recognition and then says

(02:02:29):
your eyes were green and just walks away and then love just.
Executes her I. Think it's interesting because
even watching it now, one of thepoints in the film is to tell us
that key and replicants have worth.
When you see someone just casually execute a replicant, it
does kind of normalize it a bit.But you know what I mean.
Oppression gets hold in the 1st place by normalising things that
shouldn't be seen as normal. Yeah.

(02:02:50):
And just see how that happens. Yeah.
Yeah. And the digital Rachel?
She was created by an effect studio called MPC, and Vena have
told them they had to make the best CGI version of a character
ever seen. No pressure?
No. No, no.
Oh, I chased an E, Yeah. He's not asking for AT Rex or
anything. It's fine.
So they scanned Sean Young's skeleton as it is now to get her

(02:03:12):
bone structure and then created a digital school of racial
format and then laid skin on topuse and footage of Sean Young
from 1982 as a reference. Then when they were done they
created a digital version of theshot of Rachel in the first film
where we see a smoke and a closeup, the shot at the original and
their shot to be left side by side.
And when he couldn't pick out which one is real, they knew the
one or something. That's unbelievable.

(02:03:36):
That isn't it. It's absolutely unbelievable.
Imagine they used the wrong footage though and it was from
Ace Ventura and Rhea Finkel walked out.
I mean, it shows that things that moved on because you
couldn't have even tried that just a few years earlier.
No chance. And then an actress called
Lauren Peter was then hired to play Rachel in the scene, and
Sean Young came in to work with Peter on her mannerisms and

(02:03:59):
taught her how to walk like Rachel.
They filmed Peter in the scene in Jung's face was digitally
composited on top of hers. Right.
Yeah, and apparently when the first did it, it didn't look
good enough because it didn't look like Rachel, and they
couldn't figure out why. Right?
He's one of the producers. Karen Murphy said it's not the
score of the skin, it's the problem.
It's the makeup that you've given her.
That's not how Sean Young was made-up in the original.

(02:04:19):
And when they start it fixed theproblem.
Oh wow. And then, with all the secrecy
around the film that denied at the time that Sean Young was
involved at all but brilliantly,she got in on the ACT, she
released a statement saying fansshould boycott the film because
he wasn't in it. I remember that.
Yeah. That's so she was like, just
this is terrible. I'm not in it.
I remember that. It was like Oprah.

(02:04:41):
It was amazing. Yeah.
That's brilliant. It did really good.
So Decker, it's been taken off world to be tortured.
I guess he's on the way, yeah. He's on the way.
Who's gonna save him? Well, I mean, it's raining, so
might as well have a rectum gonna come in and crash
something because that's what's gonna happen.
So there's this great shop, you know, the spinners are exploding
either side. Kind of reminds us the end of

(02:05:02):
New Hope. You know, when he comes in on
the on the Millennium Falcon andjust blows the two guys on the
other side, it's kind of, is that a bit of a nod, Telecan?
So yeah, maybe. I love that the way it kind of
crashes down. Shogun the whoopers?
Well, shouldn't I? Imagine that key at the back.
It's great. And then that that crash

(02:05:23):
happens. When it starts, I always get a
little bit infuriated thinking Idon't think this this should be
in the film. Like when it starts and she
comes out and starts attacking them and loves to take fighting
with key and it's all this like martial arts and Kung Fu stuff.
And I'm like, oh, I don't know if this should be in.
And then it's I'm watching it a bit more and I'm watching it a
bit more. And then the tensions building
and then the water is filling upand then dead gods is there.

(02:05:45):
And then it's just this, this back and forth and then the
gunshot and then there's the stab and then there's the kiss.
And it's like, ah, this is all time together.
This is absolutely necessary. This definitely needs to be in.
She's overpowering them. She's going to win here.
And then that moment where he just comes from under the water
and just picks her up and paintsher against the wall.
And it's just like he's just gotthis absolute need to just

(02:06:07):
destroy this thing, whatever it is.
He's just, there's no humanity left in a whatsoever.
And everything ties to this moment.
And I honestly think that she could overpower care at this
point. And he pulls a back under the
water and he's choking her a bitmore and she gives up.
If you, I mean, I've watched this a number of times and I
think she gives up and she looksup and the way that he's framed
through the water is he's got the two strips of light either

(02:06:29):
side, which look like Angel wings and he's framed in that
way. And she kind of looks up and
goes, but you know what? There's nothing left for us here
now anyway and just kind of gives it up and leaves it
because that's her choice and her humanity.
She chooses to die. And it's almost like Batley
said, time to die. Tears in the rain, She's in the
water. And I think that's the whole
message and it is that she actually lets him live, then he

(02:06:52):
lets Decade live, and then that's how they get their
retribution at the end. Take on it.
I think so. That part of the back story is
that LA was hit by a tsunami in 2025, which is why the sea walls
being built. Yeah.
And water has been kind of a recurring more teeth through the
film. So it works well as a second to
the climax. You've got the singing spinner,
the rising tide, Key in Love beating the hell out of each

(02:07:14):
other with the ticking clock of Decor drowning in the
background. So it's all the end of their.
Narratively, it's great when Love stabs Key and then kisses
them really weird and then just goes, I'm the best one, which is
a great line. We're also kind of shown that
she's where Key was earlier. She wants to be special or she
thinks she has no worth. I always know what the scene
before this as well. After Kate's been told he's not

(02:07:35):
the one by the resistance, he's wandering around LA depressed,
which is brilliant. Just needs a ball and a brown
paper bag. She comes across and he comes
across the giant Joy hologram. She calls him Joe, which is what
his Joy named him, meaning she was his programming.
And the thing he came to resignshimself to the fact that he's
just programming as well. And that's when he decides the

(02:07:57):
state of decor. Yeah.
That choice is the thing that shows is more human than human,
which I think it's all just great the way it turns around.
Yeah. Yeah.
But the original plan was to film the climax at the Malta
Film Studios because that was known for its huge water tanks
and the chart clash of the Titans and Game of Thrones
there. But if you see a Cynthia York
and said that relocating all 230crew members would have cost a

(02:08:18):
fortune and realized they could shave $1 million off the budget
they build in the one in Budapest.
So that's what they did. Nice.
And since then terminally a dog fade June under which you have
all used those Budapest water science.
As well. All right.
Nice, right. Yeah, Yeah.
So Deckard saved, Love is gone, and Key is on the way out, but
it's not over just yet. He takes Deck artist Celine

(02:08:39):
Laboratories to meet his daughter, Doctor Anna, but not
before he expires himself on thesnowy steps.
Indeed. Well, I'll say this about the
end and watching Deckard reunitewith his daughter while Kate
dies on the steps outside with snow falling down on him.
The beautiful imagery of that. It's a hell of a lot more
satisfying than bugging some outtakes from The Shining on the
end. Fair enough.

(02:09:00):
So it's wrapped up, but I think it's wrapped up with this nod of
ambiguity still about certain things, and that just feels
right for Blade Runner film. I agree it does.
I mean, it's a completion of Kay's arc, I think, isn't it?
You find this humanity in what we would like to think is the
most human way possible. He sacrifices himself or others.
I think the snow is a great visual choice.

(02:09:21):
It is a development of the watermortif we mentioned and it's a
pure and peaceful, which is kindof where Kay ends up.
That final overhead shot lying on the steps is perfect.
I think a worst film would have had an image of Joy appearing in
his head going I told you you were special or something.
Well that's a great shot. It could have finished there,
but then it end with Anna and Deckard meeting and the final

(02:09:44):
shot is of Deckard, as it shouldbe I think.
I think as final moments goal this is one of the best I've
seen for years. I think it's perfect.
Yeah, from that moment when theyturn up at the lab, it's just
absolutely fantastic if you justwatch that moment about 5 or 6
times. Just that moment.
There's so much in here that really elevates the whole film.

(02:10:04):
Deckard asking him if he's all right, treating him like a
human. Yeah.
The salt markings that are on case court when he pulls the
horse out, said he's being in salt water.
It's an old mark that he's caught, which is absolutely
incredible. Just in these little touches.
The symbolism towards Batley's death, obviously the tears in
rain, but he dies in the snow. Rain is too fast to acknowledge.

(02:10:26):
Rain is too similar in its makeup.
Snowflakes are individual. This falls slowly to have their
own individuality, to have theirown identity.
He catches it and he knows he's an individual.
He's unique. So he dies his own.
He dies a hero. And then when Decker goes in the
lab, the snow has fallen in the lab.
Is she creating that last memoryfor Key Country Implant memories

(02:10:48):
from where she is? Maybe.
And if she can't, that's fuckingbeautiful because she's like
cannot. She cannot leave there.
So how else does she send the memories?
How else does she know which model gets what?
So she could have access to the chaos, have access to a certain
group of the Nexus names, or know that when he's come in to
know who he is, but what his makeup is, who he is as a
person, what he's looking for. And she's given him that piece.

(02:11:09):
She's given him that end. Then she turns around and she
gets her ended. Perfect.
I love the bit as well and deck all like says why are you doing
this? Why are you helping me?
And he just goes go meet your daughter.
Great, but to prevent that ending from being leaked, it was
communicated to the cast verbally and not included in the
scripts. And in the moment Kate is down
on the steps, you can hear that Cement and Wolfish have weaved

(02:11:30):
the skull from the TS and Rain speech into the background.
Yeah, nice. Bit of a nice touch.
Honestly. I think they get much closer to
the Roy body death in the first film now.
I think we could have ever reasonably expected them to.
I think it's a fantastic final. Far more subtly as well.
Yeah, yeah. And with that, Kate completes
his journey from nobody to somebody.
Deckard finds what he lost as snow falls in Los Angeles Not a

(02:11:54):
bad way to end things. Definitely not reception and
awards. So that's the story.
You played Runner 2049 and it opened in cinemas on October the
6th, 2017. How did it do?
Well, our own Nexus 6 number cruncher has the data.
So Matt, it was those numbers, would you?

(02:12:16):
Production budget was between 150 and $185 million, and on
that later in the 2049 grossed $276.6 million worldwide, which
was actually a big commercial disappointment for the studio.
But it did fare better with the Oscars nominated for five wards
in total, winning two of them. As we've said, Roger Deakins

(02:12:37):
finally won for Best Cinematography.
John Nelson, Good Neff, Sir PaulLambert and Richard R Hoover won
Best Visual Effects. Nice.
So whenever any kind of publication, including us, talks
about the budget of a film, I think it can be a bit misleading
because we're usually talking about the production budget.
On top of that, any film also has a marketing budget, which
can be like 50 to 100% of the production budget.

(02:13:00):
So believe in the 2049 had to make about $350 million to break
even, which it didn't like you said much.
So it lost about $80 million, unfortunately.
Yeah. Bradley Scott said the slow
piercing of the film was the reason that flopped and said it
was at least 30 minutes too long.
And Bill New said he was proud of the film but made the most
expensive art house movie in cinema history.
Yes, get in. Yeah.

(02:13:22):
So he knew it was a financial risk.
I can't believe the studio approved the script to be honest
without being like 20 minutes. Yeah, yeah.
And. Include at least one big set
piece in the middle. I mean, the blueprint's kind of
right there. Look at what Norman's been doing
for 10 years before this. Yeah, that's how you make a
blockbuster that's autistic and it makes money.
Yeah, and Sony Pictures handled worldwide distribution of the

(02:13:43):
movie and gave a censored version of it to Turkey,
deleting all the scenes in nudity and said that did that
out of respect for the Turkish culture.
However, Turkey was furious and the SIYAD, the association of
Turkish film critics, wrote an open letter to Sony Sane.
Seeing oneself as an authority to decide what is appropriate
and what is not appropriate for a in quote marks local culture,

(02:14:06):
and imposing your view on that culture is one of the greatest
shows of disrespect for that culture.
Wow. Yeah, furious.
Yeah. So there's a new shot of
Mariette kind of in silhouette and kid apartment, which is only
a couple of seconds. That also means we'll lose the
whole Wallace birth in the replica scene, I guess because
she's naked. Surely it's better with that,
isn't it? Definitely, absolutely.
Yeah, 100%. Well, under the critics, and

(02:14:28):
we'll start, as we usually do with Roger.
You bet. Roger was no longer with us by
2017. He completed the baseline test,
unfortunately. What did Brian Talarico of Roger
reba.com make of the film do we think?
I don't really know Teleriko's vibe on anything.
I don't know it's it's got to bethe same as as Rodrigo hasn't.
It. That legacy they've got to stick

(02:14:50):
with. I'm going to go 3.5.
It was 3.5 out of four and Brian, one of the most
philosophical and challenging sci-fi films of all time, and
one of the most stunningly shortfilms of not just this year of
the last several and later on 2049 answers questions about
what it means to be human and how vital it is to appreciate
our design to enrich the soul. Yeah.

(02:15:11):
Philosophical and challenging. That's why we like it, and also,
possibly why audiences stayed away.
It's a hard sell. It is, yeah.
Peter Travers, a Rolling Stone, also gave the film 3.5 out of
four stars and said on its own March to screen legend later on.
The 2049 is a mesmerizing mind vendor that asks new questions
meant to tantalize, provoke and keep U.S.

(02:15:31):
Open night. Right.
Does it give you fellas up a night?
Every night since I've seen it, yeah.
And Empire magazine gave the film the full whack. 5 stars out
of five. And Dan Jolan said as bold as
the original Blade Runner and even more beautiful, visually
Immaculate, swirling with scenesas hard rending as they are mind
twisting. 24/9 was a good year. And get this, if you think

(02:15:56):
forward on easy territory, thinkagain.
This is possibly the best performance of his career.
Wow, best performance in Harrison Ford's career.
I mean, he's. Very good.
He's very. Indie and Han Solo.
I don't think so. Not quite.
I think the original deco performance is better than this
one. Yeah.
And so today on Rotten Tomatoes,Blade Runner 2049 has an 88%

(02:16:19):
approval rating from both audiences and critics.
Perfectly balanced and on IMDb asolid 8 out of 10.
Yeah, 88. Percent from audiences and
critics, people like us, they just didn't go to see it,
unfortunately. No, no.
So Blabenet 2049 was released a critical and Audience prayers
won awards but was a box office flop.
Making a good film doesn't necessarily mean you've got a

(02:16:41):
profitable one, does it? No, no, that's very true,
unfortunately. Sequels and influence.
The evil Nerve has made sequels in his career.
Or with Blazer not being the boxoffice Turkey it was, this never
even looked like getting one. There's Blazer 2099 on TV, what

(02:17:01):
would you like to see them make a movie?
Follow up to 2049. I don't think I would.
I don't think I would either probably.
I mean I'd love to see more of this world obviously, and the
finances make it unlikely, but maybe there's bad.
Leave it as a nicely balanced 2 film story.
I think so. So Blade Runner is known for
having seven different cuts released over the years, but
then you've said that the theatrical cut is the only

(02:17:22):
version of this film. At one point there was a four
hour rough cut and they considered releasing them as two
separate movies. But then you've decided he just
wanted one definitive version, which is definitely the right
choice. Imagine there was Flo.
Would have been if it was 4 hours 2 box office flops.
Vinglev has said he might be interested in coming back,
though in an interview with Empire, he said If you asked me

(02:17:44):
if I'd like to revisit this universe in a different way, I
can say yes. It would need to be a project on
its own, something disconnected from both of the movies.
Yeah, he said that he wakes up at night dreaming about a
detective and wall story set in the future, which kind of sounds
like Bob Blade Runner already is.
Yeah, I mean, you've made it. That's.
Why you're dreaming about it? As for the influence and legacy

(02:18:06):
you're played from the 2049, it's quite an interesting one.
The original influence countlessscience fiction films that
followed, but how was this one left its mark?
I don't know. I don't think this one has
really left its mark as much as I think it should have.
I think what this has really done, it's elevated huge cinema.
I think Nolan took a lot from this and went right.

(02:18:26):
I'm making things even bigger again.
But the real, real pull away from this I see is Vilni of
going off and doing June. I don't think if he'd done this,
it wouldn't have been able to dothat.
And if he hadn't done June, I think he would have come back
and done something in this world.
I think he would have. He would have needed it.
But I think June's quenched his thirst.
The other legacy sequels that have come out, you know, the
Terminators and the Aliens and the Star Wars and everyone's Bob

(02:18:50):
played Run Out was a bit of a flop.
So let's try and do something a little bit, you know, it's got
to be shorter. I think that's its influences.
Like they're looking at its negatives.
But it's now massively popular. It's 8, it's got really good
reviews, it's got really good customer reviews.
It's right up there. I think there was just too much
in it for people to take away from 1 viewing at the cinema and
it's not for everybody, so I think that's what a lot of

(02:19:10):
people took from. This is like we need to simplify
it for me and make it an hour and a half.
Yeah, yeah. Really.
That's kind of what I get from it, yeah.
Naughty. I mean, I think you're right.
I mean, June obviously benefitedfrom real nerve cutting his big
budget science fiction teeth here.
Which he split into two films again.
It's like the what he wanted to do with this one.
Exactly, Yeah, yeah. I think the wider influence
might be in how to approach legacy sequels.

(02:19:32):
This show that you can make something that honours a classic
original while being its own thing.
You don't need to bring back every character, you don't need
fan service every 5 minutes, youjust tell a worthy story with
something to say in that world. But to be honest, the fact they
lost money has probably been theoverriding influence.
Students will have looked at this and thought, Nah, let's
just make something safe. Which is a shame, but what

(02:19:54):
happens? If this had been the big case,
it might have shifted the blockbuster landscape away from
rehashing previous films, which would have been nice.
If anything, it's probably just cemented it.
Yeah. Well, hopefully, like the first
film, it'll find an audience. Yeah, I think it has to be
honest. I think a lot of people love
this one. The influence legacy mean it
comes from the original Blade running anywhere.
So this one, it's one of those films where you go, the director

(02:20:17):
couldn't have then gone on to make X film until they made this
one first. And I think that's just very
true of the scope and the scale of Dune.
And you know, kind of like what we said on Bridge on the River
Kwai, David Ian had to make thatfirst before he could do launch
of Arabia. Yeah.
This is the similar kind of comparison.
This is his bridge on the river Kwai.

(02:20:37):
Dune is his launch of Arabia. So no movie sequels to play from
our 20 49ers? Yes, and maybe that's for the
best. But in showing how to make a
legacy sequel if you want artistic credit and how not to
make one if you want to make money, and in pushing forward
the career of the Navy, nerve. The influence of the film has
been felt, we think. Yeah, definitely for good and
for bad, all the right movies ranking.

(02:21:03):
And we've arrived at the end of Blade from the 2049.
Now it's time for us to each give our scores.
I'm going to send and see if it's more Blade rather than
Blade Runner or just another sequel.
What's the you chose this one? Your summary and score for Blade
in the 2049 please. I think this is more Blade
Runner than Blade Runner, and it's exactly what I wanted.
I wanted more of the same. I wanted to go back to that

(02:21:24):
restaurant that I've been to when I was younger and had that
that food that I tasted and I wanted it to taste exactly the
same when I went back, and I did.
And it just had more ingredientsin it and it was fresher and it
was a little bit nicer, if I'm completely honest.
And it's just a beautiful thing to go back to such a world and
have a trip with such respect and such regard for the
audience. And I think that's what you've

(02:21:46):
did. He made this for people who
really love the first film. I love what it's trying to say.
I love the depth of it. I love going through it and how
I see something different every single time.
I love the fact we could have kept talking about the ending
for another 20 minutes and it's looking up and to the left and
it's this and it's, that's what,to me, that's what cinema is.
It is a visual medium and it's about sitting with your friends

(02:22:09):
after you've seen a film and talking about if we go and say
Fast and Furious 975 and we'll come out of it, we've got
nothing to talk about because it's usually I've seen that
before, so what's the point of making it?
What do you get from it? This.
You get a lot from it and that'swhat I need, that's what I'm
hungry for and that's what I really want.
And for that reason, leaving that cinema, I felt like I was
learning about cinema again. I felt like I'd learned

(02:22:31):
something new and I'd seen something fresh and exciting.
In 2017, I was still waiting forit to happen again.
And every time I watch this, I do it sparingly and I'm not
going to watch it again for another year now because I've
seen it enough times for this. But I'm excited to know that
it's there. So for me, it's a perfect film,
it's a perfect 10. Wow.
It's right up there for me. It's right up there for me.

(02:22:51):
It's amazing. Yeah, I mean, we've covered a
lot of ground with this one. And for me, this is filming at a
very high level. Denisia Nerve must have
respected him for taking on an impossible task, making a sequel
to one of the most influential science fiction films ever.
And in my mind, he's pulled it off.
And not just him, It was hugely collaborative.
The visuals from Roger Deakins are stunning.

(02:23:13):
Some of the best cinematography I've ever seen.
Hands in, man Benjamin Wallfish created the score.
The ties in the van get us whilebeing its own beast.
That horn sound still ringing around my brain.
Yeah. I think the performances are
excellent across the board. Gotham leads it very well.
Ford brings new decks to Deckard, which I wasn't
expecting. Yeah, I'm as it almost as joy
breaks hearts. Certainly mine.

(02:23:35):
Yeah. And Sylvia Hoax's love.
But us. But what really impresses me is
how I expand on the themes of the original without just
repeating them. His journey from obedient
replicant to someone who chooseshis own path, accepting he's not
special and not being what makeshim special.
I think that's really good science fiction writing.
Yeah. I mean, it's not perfect.
The pacing is deliberate, shall we say.

(02:23:55):
And as I said, it might benefit from an exciting B plot and set
piece or two. Or every frame is beautiful.
Every scene is there for a reason and is a film that gets
better on each viewing. It's 100% a worthy sequel in my
eyes. That's a feat in itself, but
also as a film that gives me hope that Hollywood is still
capable of intelligence, thoughtprovoking science fiction.

(02:24:17):
That makes it even more special.So it's a nine out of 10 for me.
OK. I'm not your submarine score for
BR2049 please. I'll get the negatives out the
way first because there's very, very few of them.
It is just a bit over long for me because it's not always
better and they're all elements of the plot.
The more that you think about them, the shakier they get.
But that is really about it for the negatives.

(02:24:39):
Everything else on an artistic level is exceptional.
And as I said at the top, it's asequel I didn't think we'd ever
see, certainly not in this form.Like we've said, it's mad that
the studios gave him that much money to basically do exactly
what he wanted with no notes. It's such a one off in that
sense. I've said before I'm not a huge
failure fan. I don't quite get the hype, but

(02:25:01):
I have to be honest and give credit words to you.
I think this is easily his best film.
What he's accomplished here is something I generally just don't
think anyone else would have hadthe mindset or skill set to do.
So it's really easy to score this for me.
Is it as good as the original? No, it's a little bit of a step
blow. So therefore it's also a nine

(02:25:21):
for me. Very nice.
But we also put this out there to our ACRM patrons to get their
thoughts as loyal as love, but thankfully less murderous.
And you've got some big opinionson the film.
So we were, the Reds said. This is a 10A follow up to the
original, expanded on its themesand wisely at the first films
question about Deckard remain upfor interpretation.

(02:25:44):
Visually stunning, the scores, perfection and solid acting
performances. I'm always left wondering just
one thing at the end with Key onthe steps.
I want him to crack a small smile, then cut to black a smile
from Key at the end. You get 1 Before he hits the
steps, though, he smiles. Just as he says to your
daughter, Yeah. I probably wouldn't go for that
just at the end, to be honest. That feels like one step away

(02:26:06):
from Joy turning up again, to behonest.
Yeah, I think you just need, need to watch the end 6 times
like we have and you'll see it'sall there just in that it's all
the right. No, it's just in the different
order. Yeah, classic.
Yeah. Thomas Boyd, not quite as big a
fan, said This is a movie I wantto love but can't.
Beautifully shot and a natural extension of the world in the
original, but the third act let's the film down.

(02:26:28):
Things happened that made no sense just to set up a
confrontation between Love and Key and facilitate the reunion
between Decor and Stallone. 8 out of 10.
I'm guessing Thomas means Stallone, unless I miss Slide
turning up. One say that version.
I'm just running up this step. And Kieran said massively

(02:26:52):
underrated. I love how they flipped the
mystery from the original on itshead and I can't think of any
other film where we can't be sure if the protagonist
motivations are his own. Plus Vegas rising out of the
sandstorm was class. It was that is classic you when
you're right, you're right. So mostly very positive from our
patrons and all together they read the film as what do you

(02:27:13):
think? They gave it our turn.
I'll say it's a solid 9 like. Yeah, it won't be perfect.
I'll go night as. Well, nobody's as visually
excited this thing. It was already solid, 9 out of
10, Yeah. So in total like this blade in
the 204937 out of 40 grand score.
Grand score and. That's us done on blazing the

(02:27:34):
2049. Hopefully you don't think we're
not even close to baseline. Please, anything but.
Yeah. Next time out, Luke, Westy and
Matt are trading their podcasting Mike through a Glock
17 and a great soundtrack. You're talking professional
killing John Cusack, Mini Driverand Grosse Point Blank.
Popcorn certainly are. Yeah, looking forward to that

(02:27:55):
one. Yeah, that's gonna have to.
Do 10 years for it either 1010 years.
And in the meantime, to find outmore about becoming a patron,
supporting what we do, and accessing our archive and bonus
episodes, please visit patreon.com/all the Right
Movies. Or you can subscribe on Spotify,
Apple Podcasts and YouTube as well.

(02:28:16):
Also, if you could leave us a five star review on Apple
Podcasts or whatever platform you use, that helps us out more
than you could ever know. Yes, it really does.
Yes, and socially in keeping with all the right movies on
Twitter or X, wherever you're at.
AT right movies, we post threadson there that tell the stories
behind classic films. Everything we post has been said
by someone involved in the production or it comes from

(02:28:38):
three separately verified sources, which is the same as
our podcast. So go check that out.
And you also find this on Instagram, Threads, Blue Sky,
TikTok, Facebook and then all websites, which is all the right
movies.com. Exactly.
Try not to find us. That's harder.
That's the harder thing. Yeah.
Yeah. We're all off now to lie in the

(02:28:58):
snow and currently how special we are.
Not very. I would imagine, yeah, I'm just
going to look up and to the leftand then go to sleep.
Rose by blank special though, soI'll come back for that and for
now I for listening everyone. Thank you so much guys.
Take care.

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Blade Runner 2049 (2017) | Ep. 117

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Blade Runner 2049 (2017) | Ep. 117