Blade Runner 2
- Thread starter WarpFactorZ
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I don't recall Rachel being that way.(Sure, she killed Leon, but that was in defense of Deckard.)
Lol. You know as soon as I typed that, I knew someone would bring up Rachael. But I am thinking of the group of Replicants, that she isn't a part of. We also know she isn't Nexus 6 but something else, so in narrative terms and otherwise, she's not really part of that group. I should have referred to them as 'rogue replicants' or 'returned replicants' (she goes rogue but isn't a returnee to earth.)
Yes. Rachael excepted. She's the electric unicorn. A literal symbol of purity that should not exist, yet somehow does. (Hence gaffes origami at the end. Nothing to do with Deckards closet furry fantasies, or indeed Ridleys.)
Part of my reason for not liking it, is that I find it hard to imagine it bringing anything useful to the plot...and then one step further, whether it brings anything to it that could be better done by some other narrative device. As it stands it's an unpleasant Fagin/Dickens character being shown. I will know once it's out, but it's chipped my enthusiasm.
I know, that's why I winked.
We don't know for sure if she is not Nexus 6 though...that info only comes from the versions before the Final Cut. Yeah, I know...but I can still make the argument.
I know, that's why I winked.
We don't know for sure if she is not Nexus 6 though...that info only comes from the versions before the Final Cut. Yeah, I know...but I can still make the argument.
Yup I gotcha. She's at least a 6.5 in the directors/final cut, because she has the memory implants the others don't. That or Roy's gonna be pissed...not even can we not see the things he has seen, but he didn't see them either xD
Probably one of the prototypes for the Nexus 8 series.
I keep thinking of the line in the trailer that goes something like, "Every civilization was built on the backs of a disposable workforce." Until a century ago in the United States and Europe, child labor was a disposable workforce. Not just the factories in the cities, but in the agricultural sector as well. (My grandfather, for example, was conceived because one of my great-grandparents' children had died; I owe my life to disposable farm labor.) The modern conception of childhood simply didn't exist. We find child labor unsettling because economic conditions created an extended childhood and laws made child labor illegal, so we're accustomed in the west to seeing it as a wrong. The disturbing quality of the scene that was released may be the point, that even our society can and will, under the right conditions, slide back into what it was a century ago, treating all human life, even children, as disposable and worth only what that life can economically produce. And one could argue that our society may be very near that tipping point now.
Yup...but the film is t going to be about that, not and fit every other thing it's hinted at through trailers etc. My concern is it's gonna be another use of suffering children for shock tactics, that I could always do without, and since becoming a parent myself, actively turn shit off for (I am one of the few people on the planet who has never intentionally watched Game of Thrones, and what little passing interest I had in it went out the window as it did more and more of that kind of thing.)
If it's just throwaway 'look how shit things have got' window dressing, then it serves no purpose. And that's my worry. The best scenario is that scene comes out of Bautista Replicant wanting a favour in return for info, and that favour is Gosling shutting down Fagin-dude.
And even then...it's window dressing.
I finished my reread of Blade Runner 2: Edge of Human this afternoon.
I hadn't read it since it came out in October 1995, so the plot wasn't clear in my mind. I remembered the broad strokes -- Deckard brought back to LA and hunted by the LAPD, Dave Holden hunting for Deckard, the ending reveal -- but not the details.
The plot revolves around the unaccounted-for sixth replicant from the original cuts of the film. (The Final Cut reloops the dialogue so there was never a sixth replicant.) Deckard is brought back to Los Angeles by the Tyrell Corporation and their new head, Sarah, who is also the human model for Rachael, to complete the assignment. Meanwhile, the human model for Roy Batty liberates Dave Holden from the hospital where he's been on life support since Leon shot him, has Holden implanted with artificial lungs and a heart, and they also go searching for the sixth replicant.
Edge of Human is a Blade Runner sequel written for Philip K. Dick fans. It's not really a pastiche of Dick -- Michael Bishop's Philip K. Dick Is Dead, Alas apes Dick's style far better than K.W. Jeter does here -- but it wallows in his ideas, mashing the original Do Androids Dream with The Three Stigmata of Palmer Eldritch and grafting the result onto Blade Runner. Reading Edge of Human, I felt like Jeter decided Blade Runner erred by ditching the middle section of Do Androids Dream, where Deckard is captured by a police department run by replicants that has its own replicant-hunting squad, and he decided to fix that mistake by expanding upon it at length. But it also has the problem of being a sequel to a story that wasn't designed to have a sequel, and so it falls into a pattern of telling a very similar story to the original that has familiar plot beats.
The interesting thing about the book is how ambiguous it is. Some of the book's revelations aren't meant to be taken at face value, and I think that readers err when they take those revelations as the truth when the characters themselves are in some doubt or the narrative itself raises doubts. This book doesn't hand you the answers. You have to figure them out for yourself, and some of the questions raised don't have absolute answers. (It helps to remember that in DADOES, Pris and Rachael were the same model.)
It's hard to recommend this book. It's not bad. Jeter's prose is very good, if sometimes off-putting and distant. But it feels quite superfluous, a retread of Blade Runner, mixed with DADOES and The Three Stigmata (the Salander 3 mission reminds me greatly of the return of the mission from Proxima Centauri), designed to set up the next story where Jeter's not quite so tied to the past. It functions as a sequel to Blade Runner, but it never feels essential or like a story that needed to be told.
I hadn't read it since it came out in October 1995, so the plot wasn't clear in my mind. I remembered the broad strokes -- Deckard brought back to LA and hunted by the LAPD, Dave Holden hunting for Deckard, the ending reveal -- but not the details.
The plot revolves around the unaccounted-for sixth replicant from the original cuts of the film. (The Final Cut reloops the dialogue so there was never a sixth replicant.) Deckard is brought back to Los Angeles by the Tyrell Corporation and their new head, Sarah, who is also the human model for Rachael, to complete the assignment. Meanwhile, the human model for Roy Batty liberates Dave Holden from the hospital where he's been on life support since Leon shot him, has Holden implanted with artificial lungs and a heart, and they also go searching for the sixth replicant.
Edge of Human is a Blade Runner sequel written for Philip K. Dick fans. It's not really a pastiche of Dick -- Michael Bishop's Philip K. Dick Is Dead, Alas apes Dick's style far better than K.W. Jeter does here -- but it wallows in his ideas, mashing the original Do Androids Dream with The Three Stigmata of Palmer Eldritch and grafting the result onto Blade Runner. Reading Edge of Human, I felt like Jeter decided Blade Runner erred by ditching the middle section of Do Androids Dream, where Deckard is captured by a police department run by replicants that has its own replicant-hunting squad, and he decided to fix that mistake by expanding upon it at length. But it also has the problem of being a sequel to a story that wasn't designed to have a sequel, and so it falls into a pattern of telling a very similar story to the original that has familiar plot beats.
The interesting thing about the book is how ambiguous it is. Some of the book's revelations aren't meant to be taken at face value, and I think that readers err when they take those revelations as the truth when the characters themselves are in some doubt or the narrative itself raises doubts. This book doesn't hand you the answers. You have to figure them out for yourself, and some of the questions raised don't have absolute answers. (It helps to remember that in DADOES, Pris and Rachael were the same model.)
It's hard to recommend this book. It's not bad. Jeter's prose is very good, if sometimes off-putting and distant. But it feels quite superfluous, a retread of Blade Runner, mixed with DADOES and The Three Stigmata (the Salander 3 mission reminds me greatly of the return of the mission from Proxima Centauri), designed to set up the next story where Jeter's not quite so tied to the past. It functions as a sequel to Blade Runner, but it never feels essential or like a story that needed to be told.
I don't think this featurette has been posted yet. Just as a warning, this one does have a couple of quick bits of female nudity.
EDIT: I removed the embedded version since the image before you play it shows a bare ass and changed it to a link.
EDIT2: I just watched Arrival for this first time this morning, and that really got me a lot more excited for this.
EDIT: I removed the embedded version since the image before you play it shows a bare ass and changed it to a link.
EDIT2: I just watched Arrival for this first time this morning, and that really got me a lot more excited for this.
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I have high hopes for this one. Only detail that sort of pisses me off is that why didn't they get Vangelis as the soundtrack composer? If there are some good reasons he couldn't be a part of the film, then I understand, but if they didn't even ask / try / thought of it, it makes me cringe. He should have been part of this one as well.
Maybe they were unable to get him. Films can't always get the composers they want, due to scheduling conflicts and the like -- which is why a couple of recent films that had major reshoots had to replace their composers because the original ones were too busy to come back (e.g. Rogue One replacing Alexandre Desplat with Michael Giacchino). So it's possible they considered Vangelis but couldn't get him, although I can't find any specific information one way or the other. Wikipedia says he travels around a lot; maybe he just wasn't available, or wasn't willing to commit the time to a whole movie score. Or, sure, maybe they just didn't ask him. But there's no proof that's the case.
The only thing that concerns me is the film's alleged length. Its supposed to be well over 2 and a half hours. That's just too long for most movies to maintain my interest. The original Blade Runner ran 117 minutes. The new Star Wars movies are longer than the originals. Will someone tell me why today's genre blockbusters have to be so frickin' long?
Because we all realised we preferred Lord Of The Rings to cut down 90 mins and done jobs. Look at poor Nemesis. Not that the deleted scenes would have saved it by much mind you....
And if you have been waiting 16 years, or 35 years, for a sequel...you kind of like spending a bit of time with a film.
But we will see I guess.
(Not to mention audiences will binge watch three episodes of an hour long show at home quite happily. And the Home market is where these things live on after their moment in the picture houses.)
I'm more bummed out that Jóhann Jóhannsson is no longer scoring the film, especially after his extraordinary score he did for Arrival. As much as I love Hans Zimmer (particularly his last sci-fi outing, Interstellar), I much rather have Jóhannsson.
I don't mind long movies as long as the movie is well paced. I kind of prefer it, it allows us to get a bigger, deeper story.
I guess it's lucky you know about the length ahead of time so you know not to bother with it.
