Nelson worked with Double Negative, recording the actress with a batch of small cameras and then creating a frontal transparency effect with a back shell. ” “Blade Runner 2049”īy contrast, there was more of an analog feel to the creation of K’s holographic girlfriend, Joi (Ana de Armas). From a cinematic point of view, it’s interesting to see the character coming out of the. What I liked was the way she was revealed through his reaction. If it didn’t work, there would be no movie. I didn’t want the audience to doubt it was her. “I put a lot of pressure on the VFX crew,” he said. Overseen by production visual effects supervisor John Nelson, MPC scanned Young and body double Loren Peta, who played the part on set with Ford and Leto, and then hand-animated the entire character. In replicating the original Rachael as a digital human, Villeneuve wanted to convey her confidence, longing, and rejection when confronted by Harrison Ford’s Deckard. It was delicate, very heartfelt and a poetic comment on how the world is hard and dystopic.” “After watching the movie, Hans turned to me and said, ‘It’s a very beautiful movie but it needs something.’ And he started to play a theme on the keyboard and I was really moved and started to cry,” Villeneuve added. There were a lot of ambiences that sounded very musical, and, at the same time, music that sounds like sound design.” “Blade Runner 2049” Warner Bros.Īfter letting go of his favorite composer, Jóhann Jóhannsson, because his score was too far afield from the iconic original by Vangelis, editor Joe Walker arranged for Hans Zimmer and Benjamin Wallfisch to collaborate on an entirely new score. So, at the end, when I was doing the sound mixing, the sounds were mature. “We started making sounds looking at the props and made a library of sounds for this world. “I was able to fulfill an old fantasy of mine, which was to work on sound very early and to hire a crew of sound designers as we were shooting,” said Villeneuve. His favorite sound was the revving up of a motorcycle engine as we approached Bibi’s Bar or the police station. Sounds from nature or from technology that we have never heard before. Like the original “Blade Runner,” Villeneuve wanted an organic blurring of sound and score in an unusual way that was very musical. So we showed it as a trail of light in the air from unknown technology that creates that kind of a source.” But I told Roger that I would do it for him. But it was important for Roger that the audience see the source of the light. He’s not fond of light that is not justified, even in such an unnaturalistic setting. I didn’t need to see it. “It created a different kind of tension and I used it with Roger on the actors. “There’s a shot in the movie that’s very powerful and beautifully theatrical, a shifting of light on Wallace and Deckard and the other characters where it’s rotating around them,” Villeneuve said. There was only one problem: It wasn’t always logical. The wooden walls and floors were a perfect complement to the warm yellow glow, and the pool of water in Wallace’s office allowed Deakins to further play with eerie caustic lighting effects. This was the best example of the interface between design and lighting. The most atmospheric use of yellow came from the artificial sunlight effect inside the Wallace Corp., the lair of the nefarious replicant creator played by Jared Leto. I wanted to be focused on the light more specifically.” “Blade Runner 2049” It was the first time I had the chance to work with color like that, but I wanted to be careful not to fall into the trap of clothes or props. Slowly, it becomes red when he goes to Vegas, but the edges are still yellow. It’s like a thread that K follows all the way through until the very end. “And that story you feel is linked with the idea of creation and childhood and mad desires. “The first thing you see is that Sapper Morton goes through a yellow door and then the flower ,” said Villeneuve. K’s journey is linked to the color yellow, inspired by the yellow brick road metaphor from “The Wizard of Oz.” But what Villeneuve hadn’t revealed until now was that it leads to replicant Rachael (Sean Young) as a bridge between the two movies.
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