But having the ability to make it feel real is a real task, and that's the hardest thing to do in our business."Īccording to Gassner, around "90 to 95%" of Blade Runner 2049 was designed and built using practical effects. "We were looking for the magic of why somebody would want to have one of these characters in your life," he said.
Credit: Alcon Entertainmentįor that matter, how much of what we see as Joi's personhood comes from her physical appearance? "If that had been words on a screen on a computer, it's a non-animated version of that consciousness, would you have felt the same way?" asked Green.Īs it is, it's hard to look at the love and pain on Joi's face and not feel for her. Honestly one of the most devastating moments of cinema 2017. Or is she? Joi's is a story of "questioning whether that consciousness has consciousness, whether she is programming or whether she is capable of emotion and individual evolution as well," said Green. She has wants and needs, she's capable of surprising K, or sacrificing herself for him.
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Over the course of the film, however, Joi appears to exercise something like free will. Joi, though, would never be mistaken for human – she's more akin to Samantha in Her, even if she occasionally gets to appear in the "real" world as a hologram.
K is a replicant in the process of becoming human. But digis, as represented by Joi, represent something else entirely – a "computer-generated, non-physical entity," as Green described her.ĭeckard is either a human, or a replicant so close to being human that he may as well be one. And now, "we have Joi, who represents a digi – a digital construction."īy the time Blade Runner 2049 picks up, humans and replicants are essentially indistinguishable. "I put the word 'species' in quotes because the question that the film very much asks is, 'Are replicants species? Is this a speciation moment, or are they just things to be owned?'" said Green. Meanwhile, those in the city have a new population to deal with – a third species. Credit: Stephen Vaughan / Alcon Entertainment Two "artificial" beings ponder humankind. Both environment and citizenry alike are "all discarded and not thought about by others in the city," as Green put it. The people there sift through the refuse looking for tiny, useful scraps, and live inside bigger ones, like an overturned satellite that's used as an orphanage. This notion is never clearer than when K visits San Diego, now a literal dump filled with trash from Los Angeles.
"The idea of this world being built atop of the mistakes that people had made before it was very real in my head," said Green. But the past is still there, even if it's buried. "I missed the fires, though," he added.Ģ049 picks up decades after the catastrophic blackout of 2022, which, as one character puts it in the movie, "paved over" the previous world by wiping most of the digital data in existence. Hampton Fancher – a writer on the original Blade Runner, who returned to write the sequel – said it was a simple matter of "deductive reasoning" to figure out how the film's universe might have changed thanks to smog, temperature changes, and the like. "And everything west of it is now ocean." "That sea wall, where they have you see in the last act of the film, is on Sepulveda Boulevard," said Green. The brutality wasn't just a reflection of the film's mood, but of the environment in which Blade Runner 2049 takes place – one ravaged by climate change to the point that the California coast has been fundamentally altered. The Wallace Tower, for instance, was also developed as a structure that could remain standing in a Los Angeles that looks far grimmer than the one we know now. To that end, Gassner redesigned the spinner (the flying police car) to withstand harsher environments, and used that as the foundation of the entire look and feel of the film. "And he paused and he said, ‘Brutality.’"
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What I’d like you to do, is if you could describe in one word what you want this movie to be like.’" recalled production designer Dennis Gassner. "When I first met, I asked him, I said, ‘I have a way of starting a film as a designer. And it's a harsh one – all strong angles, towering structures, and rugged materials. What they will find is a film that reflects our present hopes and fears, as filtered through a dystopian dreamscape that will never come to pass. The new Sepulveda Boulevard, according to 2049 screenwriter Michael Green.
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