Blade Runner 2049 – Created by Brian Taylor
“I like those references to a world that has disappeared,” Roger Deakins says of the sequence where Gosling’s character finds himself in a dead city filled with relics from another era, including a hologram jukebox that plays Frank Sinatra. “There’s just something sort of odd and a throwback to the past.” Adds Denis Villeneuve: “The word dream is so important. It’s a movie about dreams and broken dreams. It’s important to have that kind of presence in the film.” – EW
“I wanted to approach the movie keeping elements of film noir and darkness that were in Los Angeles,” Villeneuve says, but he decided the scenes outside the city, like this one, would have a cooler palette. “The sunlight would peek through the smog and dust and have a wintery kind of silvery light. It was an important way to bring this universe close to me. As a Canadian I cannot brag about a lot of things. But winter?” he laughs. “That I can do.” – Denis Villeneuve
“Roger is a master. If there’s a Mount Rushmore of DPs, he’d be right there in the middle. He goes about his work very modestly and quietly, but you learn so much from just looking. You realize that once you are in one of his shots, half your job is already done.”
“I remember one day, it was a third of a page, it was like my character walks up to a desk. And I assumed I’d just go to work and walk up to a desk, but they had turned the entire soundstage into one desk, it was so massive. And after Roger had lit it, it was just so beautiful. But I was confused. I said to Denis: “Isn’t this scene just three quarters of a page?” and he said: “That’s in the movie, isn’t it?” I said: “Yeah… Yes.” Then he said: ‘Well, then it has to operate under the same rules as everything else.“” – Ryan Gosling
“Blade Runner 2049 and Her use AI to paint a certain type of future relationship. It’s not one that’s better or more fulfilling, but it is far easier and more convenient. When the complicated messiness of another person’s emotions are removed from the equation — or, perhaps, an optional feature that you can turn off at a moment’s notice — the focus is entirely on how they’re feeling. K and Theodore are no longer as lonely because they have someone to talk to
someone programmed to occupy and entertain them until they’re ready to stop. Samantha and Joi are safety blankets, protecting K and Theodore from the cruelness of reality.
In both instances, the men fall in love with the fantasy. In both instances, albeit for different reasons, they’re both left alone. They’re left catering to the wound they’re left with after the fantasy dissolves. There’s nothing to show for their relationships beyond their pain. Theodore and K are left worse off than they were before because they can’t revisit any part of their physical relationship because it never existed. They can’t revisit photos or hold onto clothing left behind. Even the most basic act of physical intimacy, in K and Joi’s case, required a surrogate. All they have to reflect upon are their own memories that will eventually fade away.”
I can’t help your future, but I can give you good memories to think back on and smile.