ADG Perspective

November-December 2017

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96 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 7 reshoots by Katie C. Shipley, Associate Editor Images courtesy of the Margaret Herrick Library BLADE RUNNER is a widely referenced film, due in large part to the visual effects employed to create the futuristic settings. Above are photographs of some of the models used to create the original film, a replica of Tyrell's office created by Leslie Ekker, and a miniature in the process of being filmed. Miniatures, matte paintings, locations and large-scale set builds immerse the audience into a seemingly impossible, yet vaguely recognizable version of Los Angeles in 2019. In an interview with Vincent LoBrutto for his book, BY DESIGN: INTERVIEWS WITH FILM PRODUCTION DESIGNERS, Production Designer Lawrence G. Paull details, "There was no description of anything in the script. I was dealing with a design idea." Only the year was stated, and the setting of "a large metropolitan city in the United States." With a background in architecture and city planning, it could be expected that this would be a breeze, but Paull says he preferred not to focus on the enormity of the project, or else he would "go home and throw up every night." Surprisingly, there was no one definitive drawing of the entire city, or a color palette, just "many warm grey tones and a great deal of natural aging." Every location was large in scale, layered in decay, buried under meticulously designed set dressing and architecturally detailed. The visual layers are topped off with copious amounts of neon, which became another signature visual of the film. The overall success of the Production Design is attributed to a broad collaboration across the Art Department, and the close working relationship between Paull and director Ridley Scott. During the nine long months of preproduction, Scott would visit the design office daily. Paull recalls, "I was working at a drafting table in my room, piddling around with a marker, and Ridley came in one night and said, 'Why don't you just turn it upside down. It looks much more interesting that way.' I said, 'Yes, you're right.'" Visual futurist Syd Mead was enlisted to design the vehicles, and the prolific Matte Artist Matt Yuricich was responsible for adding the sprawling depth to the city. With BLADE RUNNER 2049, we are treated to another visually rich look at this world, set thirty years into the future, designed by Dennis Gas sner.

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