And I would actually agree with that entirely.
I was being facetious based on our last discussion on the subject, in the context of a single edit of a work having ātotally confirmedā an aspect of canon
mostly just ribbing you though, I donāt feel strongly about this case
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the unicorn dream has been there since the first directorās cut yo
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Oh I wasnāt necessarily saying it was/is canon or anything, just like it seemed (here and elsewhere) that people just weāre unaware of it or something.
Oh had it? Iāve only seen theatrical and FC.
I just watched that big ass documentary about the production, so I can be specific: Scott shot the unicorn sequence while location scouting for Legend during Blade Runnerās post production in England, and intended to include it even in the theatrical release, but the producers cut it.
They try to paint the producers like a bunch of morons that donāt understand true art but they did the right thing there, the unicorn can get bent. My favorite cut is the workprint: no unicorn and no voice over (mostly)
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deckard is a terminator
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Not an expert in BR lore by any means, but for me the strongest evidence for why Deckard is a replicant BR, is how heās able to win the fight with big guy Kowalski.
Thatās why the opening scene with Batistaās character in 2049 to me felt like: weāre establishing this from the get-go
he doesnāt win that fight though. heās getting man handled until rachel blows kowalskiās head off
deckard being human makes for a better story so to me deckard is a human
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As I saw someone say recently, if heās a replicant that means they made a replicant to hunt other replicants and then made him weaker than them and also bad at his job which seems like something you probably wouldnāt do
But he hunts every single one of them?
Like, yeah, Batty was at the end of his lifespan and stopped attacking at the end, but the rest?
He gives the game away and gets his ass beaten hard in standard noir hero style every time he catches up with them.
Zhora and Priss probably would have rubbed him into paste if they had stuck close to do the job instead of presenting him with openings for a bullet.
I can believe in shitty replicants
I can believe in shitty directors talking out their ass.
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Legend is a pretty good movie still I think
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also why would you make an alcoholic replicant guys come on they donāt know theyāre in a noir movie you canāt just take that shit for granted
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The correct reading is that Rick Deckard is deeply troubled by the notion of unicorns
He leaves so briskly because even a simple model is intolerable
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Hereās a washed dope whoās had a helluvah couple days, received a bizarrely touching sermon from his latest victim who was supposed to by just another broken toy and is going to be freshly sceptical about all flavours identity/agency/determinism/guilt/memory shit, so all itās going to take is one nasty little personal coincidence, generated by a lurking authority figure, to confirm yeah Iām with the fleshdroids now esp the cute ones fuck all yall
Not so much āI actually am one omgā but āI could be or might as well be one in LA 2019 huhā
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i watch tim curry as darkness on youtube a lot
also what was the DEAL with father night? why is this satan saying some forest kid is his equal / brother eternal?? so much
The replicant whom K retires in the movieās first scene describes the pregnancy, like a pro-life advocate, as a āmiracle.ā The carrier of this miracle, the robot who got pregnant in the first place, never gets to affirm or contradict such an idealization of her labor; like so many filmic linchpins, sheās dead. We hear her only in flashback, in audio from a scene in the original Blade Runner where sheās flirting with Deckard. The sequel presents their relationship as a genuine romance ā Wallace tempts Deckard with a clone of his late beloved Rachel, only to have her shot dead when Deckard points out he got her eye color wrong ā but the first film is more ambiguous. Deckard begins courting her when they both still believe heās human, and their scenes of intimacy scan as more coercive than consensual. Heās rough with her, and he can be ā heās three full classes of being above her, human, cop, and male. At the very end of the film, he demands to know if she loves him and trusts him, then whisks her off into the unknown.
Rachelās pregnancy is revered by her fellow replicants, and yet we donāt even know if she wanted it. The film never questions whether she chose to get pregnant, give birth, and give her life in doing so. It assumes she did. Is this love? When K leaves to find Deckard and unearth the mystery of his possibly genuine memories, Joi begs him to bring her along and destroy her cloud backups, lest they be accessed by his boss. Her portable hardware, the only remaining vessel for her consciousness, is later smashed by one of Wallaceās goons, killing her. In her last moment of life, she tells K, āI love you.ā
Cloaked in the visual language of futurity and transhumanism, 2049 reproduces contemporary capitalist value systems in its imagining of gender. Women sacrifice themselves for their partners or their children, and their sacrifices are revered with near-religious fervor. The filmās paradoxical treatment of its female characters ā they are at once the reason for replicantsā liberation and utterly disposable ā holds a blue-tinted mirror up to reproductive politics in the contemporary United States.
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What did you make of the way Blade Runner 2049 was received?
[Whispers] I have to be careful what I say. I have to be careful what I say. It was fucking way too long. Fuck me! And most of that scriptās mine.Really?
Yes!The story, or the script?
I sit with writers for an inordinate amount of time and I will not take credit, because it means Iāve got to sit there with a tape recorder while we talk. I canāt do that to a good writer. But I have to, because to prove Iām part of the actual process, I have to then have an endless amount [of proof], and I canāt be bothered.But the big idea comes from Blade Runner. Tyrell is a trillionaire, maybe 5 to 10 percent of his business is AI. Like God, he has created perfect beings that, for all intents and purposes, there is no telling the difference from humans. Then he says, āYou know what? Iām going to create an AI. Iāll have a male and female, they will not know that theyāre both AIs, Iāll have them meet each other, they will fall in love, they will consummate, and they will have a child.ā Thatās the first film. The second film is, what happens to the baby? Youāve got to have the baby, you canāt have the mother, so the mother has to inexplicably die four months after she breastfeeds. The bones are found in the box at the foot of the tree ā thatās all me. And the digital girlfriend is me. I wanted an evolution from Pris, who is inordinately sexy in the original, right?
I would say iconically so.
I shouldnāt talk. Iām being a bitch.Youāve watched other people take over franchises youāve made. How often are you asked to do that? Has Kathleen Kennedy offered you a Star Wars movie?
No, no. Iām too dangerous for that.Why is that?
Because I know what Iām doing. [Laughs.] I think they like to be in control, and I like to be in control myself. When you get a guy whoās done a low-budget movie and you suddenly give him $180 million, it makes no sense whatsoever. Itās fuckinā stupid. You know what the reshoots cost?I canāt imagine.
Millions! Millions. You can get me for my fee, which is heavy, but Iāll be under budget and on time. This is where experience does matter, itās as simple as that! It can make you dull as dishwater, but if youāre really experienced and you know what youāre doing, itās fucking essential. Grow into it, little by little. Start low-budget, get a little bit bigger, maybe after $20 million, you can go to $80. But donāt suddenly go to $160.One of the problems with the studio system at present is that there isnāt that middle ground anymore. Thereās low-budget, and thereās $160 million.
And you get killed.
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