BYOFuture
The first wave of the very cautiously-embargoed Blade Runner 2049 are out. What are your expectations for Denis Villeneuve’s 164-minute sequel?
April 25, 2024
The Hot Blog
amit on: Review: Frozen 2 (spoiler-free)
movieman on: BYOB Fall Back, Film Forward
Christian on: BYOB Fall Back, Film Forward
movieman on: Review: Marriage Story (spoilers only in the broadest sense)
movieman on: BYOB Fall Back, Film Forward
movieman on: Review: Frozen 2 (spoiler-free)
YancySkancy on: Review: Little Women (no spoilers)
Hcat on: Why You Should Be Afraid Of The End Of The Paramount Decree
movieman on: BYOB Fall Back, Film Forward
movieman on: I Should Be Doing Box Office
Review: Little Women (no spoilers)
Why You Should Be Afraid Of The End Of The Paramount Decree
Review: Frozen 2 (spoiler-free)
Review: Marriage Story (spoilers only in the broadest sense)
see all »
[twitter-widget username="DavidPoland" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"][twitter-widget username="MCNTweets" hiderss="true" hidereplies="true" hidefrom="true" items="3" showts="60" title=" " targetBlank="true"]
Quote Unquotesee all »
It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
I’ve liked everything I’ve seen from Villeneuve. I’ve only seen his “American” films. Arrival was one of my favorite films from last year, and Sicario, Enemy and Prisoners were well done as well. Hoping to BR2049 in a Dolby Cinema.
The québécois work is very idiosyncratic, in a good way. .
Not a big fan of Villeneuve or the original, but if it finally gets Deakins a best cinematography Oscar I’ll worship the film until my dying day.
I’ll be avoiding reviews as much as possible. I’ll be honest and say the trailer(s?) I’ve seen for it haven’t done much for me. I’ll be seeing this on IMAX. First time I saw the original it was on VCR. A family friend who worked at the video store gave us the rec. I don’t think I heard of it when it was out in the theater. I can’t remember when exactly I saw it. I wasn’t 18 and I’m pretty sure it was R-rated but there was no concern about violence or nudity. It was so vibrant! I loved it! My parents dug it, too. I hate to say novelty because it sounds like a gimmick but that newness of the universe created won’t be there to give me the same sense of wonderment.
I’m trying to keep expectations within reason. Although, I’m doing more to tell myself it’s prolly going to be long, too impressed with itself and a bit on the dull side. I’ll watch the original this week as a reminder and then hope to have my palate cleansed by next week.
My expectation is that it’ll be good but not actually great, a lot of people will go overboard and praise it as an instant classic, and then around a year later when the dust settles it’ll be considered a good but not great movie. Like what seems to have happened to the reputation of The Force Awakens.
TFA, is a tremendous Star Wars film, that is saddled with absolute bullshit. It’s either JJ dislike, the similar tones of TFA and ANH, or some other shit that is just hands throwing up inducing. Whatever the case, TFA is a great Star Wars film and as the dust has settled, it has set Disney up to keep the Saga going for years to come. This time, we don’t have to wait 30 years, to find out what’s happening after episode 9. WOOOO!!!
Defending a truly unnecessarily trampled on movies aside, Villeneuve is going to get praised out the ass for this movie. He already is, because he’s the new favorite director of all the critics. This just means, that this movie will probably be treated better than TFA, because 2049 has a director everyone loves.
Here’s my question though: what’s this movie’s opening weekend? It screams 30m tops to me, but apparently it’s tracking higher… like at 50m. Which is fucking insane, given no one under the age of 35, knows what the fuck Blade Runner is or what the fuck it’s about.
I’m actually curious about the score, how it will (or won’t) honor the original Vangelis synth-noir aesthetic. And Zimmer knows his way around a synth. Pretty stoked for it aurally….and I guess visually too.
The original isn’t my favorite film, so my expectations aren’t quite so high for this one. I think this movie will do just nicely.
I have not seen the film yet… but rumors indicate Vangelis will find his way.
What if BR2049 turns out to be as great as the early Twitter reactions and it finds an audience because… it’s good? That would be the sweet shocker.
we can only hope the world hasn’t gone too mad to allow this, ray…
as to the score, was dissapointed zimmer’s on it. he’ll do fine yeah, and I know he’s all into modular sweet synth goodies and all, but vangelis at the cs80 is like jimi on a strat. i wish they pulled together an all-star score or maybe music inspired by album of popular synthesists/electronic ambient artists of today and legends still working. eno, kaitlyn aurelia smith, OPN, junkie xl, allesandro cortini, lichens, s u r v i v e, aphex, nico jaar, venetian snares richard devine (these are just some of the more popular ones, for god sakes)… rich scene that worships the aesthetics of bladerunner and its soundtrack. missed opportunity.
Lead credit goes to BENJAMIN WALLFISCH “with a career spanning over a decade and encompassing more than 60 feature films. He has composed for Steven Spielberg, Rupert Wyatt, Gore Verbinksi and Lars von Trier…earned a Golden Globe nomination for the score for Ted Melfi’s 2016 hit “Hidden Figures,” which Wallfisch co-composed with Hans Zimmer and Pharrell Williams. Recent work includes “A Cure for Wellnes,” “Lights Out,” “Annabelle: Creation,” “IT.” Wallfisch’s past projects include orchestrating and conducting the Oscar-winning score for “Atonement”; writing additional music for “12 Years a Slave”; and scoring the short film “Auschwitz,” produced by Steven Spielberg and directed by James Moll.”
Ray, we know it doesn’t work that way anymore. It’s based on a bunch of things, that may or may not have to do with the movie. This movie, no matter how good, isn’t exactly screaming to anyone younger than 35, to come and see it. What it is telling those people is, “HEY! COME SEE RYAN GOSLING SHARE THE SCREEN WITH SOME GUY, WHO YOU JUST DIED IN A STAR WARS MOVIE!”
I fucking love Blade Runner, and love all that it did for sci fi films. I am an old, ornery bastard, who was alive when the last one came out, and is looking forward to this sequel… even if Denis does jack and shit for me, as a director. It’s going back to that world, and guess what? That world. Looks a hell of a lot like the GITM world, that people stayed away from in droves.
This leaves me to ask… again… what’s the opening for this film?
Cautiously optimistic, was not planning on seeing it in the cinema (not a true believer of the original plus I don’t get out much anymore) but if the end result even approaches the enthusiasm that’s drumming about I am going to have to make the trip.
If Blade Runner lands big his would be quite an accomplishment for Warners to puddlejump from WW to Dunkirk to It to Blade Runner.
Some trackers are saying it’s weirdly high, but I don’t trust “punditry.” Arrival played off for a while to get to its eventual gross; be nice is this becomes a strong WOM play as well?
Wouldn’t it?
The preview I’m seeing will be first time i’ve been at one of the “Dolby cinema” auditoriums: “Here, pay extra for a properly projected, properly lit image!”
Ray, as I was distinctly interested in the electronics, I don’t know that Benjamin Wallfisch inspires much enthusiasm from me. He always seems to work in collaboration, which leads me to believe he’s more journeyman.
Honestly, was there something Benjamin could do that Jóhann Jóhannsson couldn’t? Maybe they’re going more in the direction of classic noir than electronic. That might be cool too, but not exactly what’s advertised.
And yeah, Zimmer makes it a safer choice, but I think going back to his electro roots might inspire something cool in him.
I second Spassy’s suggestion of a real EDM artist. Aphex would be fascinating although perhaps his voice is too singular for collaboration.
Concur with all that. Hoping, hoping.
Film or sci-fi geeks might revere Blade Runner, but nobody else does.
Back in the legendary summer of 82, BR landed with a thud way down the list of satisfying movies. Seemed like a half-interesting misfire compared to ET, Poltergeist, ST2, The Thing, and most of all, what turned out to be most influential of all, Mad Max 2.
Though to be fair, the version of BR released in the summer of ’82… was not its best version.
Nice to see its worldwide title, “Mad Max 2”!
Didn’t know where else to post this, but Jeepers Creepers 3 was released on Tuesday, and now it has all but disappeared from Wednesday’s box office results. Didn’t even know this was being released in September, and apparently neither did many of the monthly forecast columns. Did the studio just yank it?
I think Jeepers Creepers 3 was a one-off Fathom Event thing, Bulldog.
Fathom’s website says it’s screening again on October 4. Mojo says that on September 26 it made about $1.8 million in 635 theaters. http://www.boxofficemojo.com/movies/?id=jeeperscreepers3.htm
“The preview I’m seeing will be first time i’ve been at one of the “Dolby cinema” auditoriums: “Here, pay extra for a properly projected, properly lit image!”
I was hesitant about Dolby Cinema before I experienced it, but it is by far my favorite way to watch anything in theaters that I really want to see. Sound and picture are second to none imo, but I don’t live in a big city, so there could be other theaters that are better out there.
I liked the sound. Aud had some light leakage issues, but the image was notably bright.