Having worked with Ridley before on Gladiator, he’s a supreme visualist. No one talks about the fact that they had an actors strike in the first film, so they had an immense amount of prep time. The sequel must have been handled quite differently. The notion of a Blade Runner follow-up seemed particularly interesting given that the original was made in the ‘80s, at a time when visual effects weren’t nearly as sophisticated. I want it to be like Montreal, on a cool day in February.” We kept looking at visibility, all these coal fire smog alerts in China where you couldn’t see maybe half a mile-stuff like that. I once asked him, “Do you want it to be like the first movie?” Have industry in it-belching smokestacks and stuff. I think he sort of rips the vision straight out from his insides.
He’s such a good director and a good human being. That’s what we’re going for.” I can’t say enough about Denis. What was discussed in your first conversations with Denis surrounding this project?ĭenis and I spoke and I showed him some pictures I’d taken of soccer players in fog shot in Venice, near my house.
With way more tools at his disposal-effects-wise-than Scott had when he set out on his Blade Runner journey, Nelson’s challenge would be to figure out the best use of visual effects within the sequel while not going overboard, landing at a sensibility in tandem with the original. ADG Awards: 'The Shape Of Water', 'Blade Runner 2049', 'Logan' & 'Coco' Take Film Trophies - Complete Winners List