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October November Live Magazine

Sci-fi edition!

YOUR MOVIESAY INTERVIEW

YOUR MOVIESAY INTERVIEW WITH DIRECTOR DENIS VILLENEUVE Why is the original Blade Runner a film that fans, directors and designers love? Well I think that the first Blade Runner, when it came out on the screen, it sent a shockwave into the world. It was a collective shock. For some people it was a positive one, they were amazed, others were terrified. I feel that Ridley Scott and Hampton Fancher had a strong vision of what could be our future. It striked everybody. I think that the dream was so powerful and so seductive and frightening at the same time, that you had to choose your camp. Do you dream about this world? Do you want to be part of it? Or are you afraid of it and trying to avoid it? People had to choose between two camps. I think that we all felt when we saw the movie, that the filmmakers had created something that could be possible. That was fascinating, from a design point of view, but very frightening at the same time. And

that we will have to be careful what we wish for. And it was the first time that I was seeing a vision of what could be the future for real. The movie was aesthetically an extension of what was going on in the 80s. And it was the first time that someone was showing me the future, and it was fascinating and quite frightening at the same time. Ridley Scott is a specialist of hybridization. He had successfully merge science-fiction with horror with Alien... With Blade Runner he was blending SciFi and Film Noir. The film has been influential in terms of its visuals and aesthetic sense and ideas it raises. Would you agree with that? Yes. From a visual point of view, it’s a movie that took as its root, and was deeply influenced by the punk movement that was a very radical aesthetic movement at the end of the 60s and in the 70s. And we see that radical point of view in the movie. I will say it’s like a movie that revisits the Frankenstein mythology about a man that will want to play God. And for me the main idea of the movie is how angry we are towards God, towards our creator. How angry we are towards the fact that we have to deal with the human condition. And that anger is something that is very alive inside us. Ridley Scott just put his finger on it. I think that’s why the movie is so visceral, so powerful. It’s not a very intellectual movie, it’s a very visceral movie. You have a great story about when you came into contact with Blade Runner. What was the impact on you at that time? I vividly remember seeing the first images coming out on the fanzine, of Deckard flying above Los Angeles. And it was something that was so far away from anything we had seen before. This was so different. I remember seeing the first movie and being shocked by what I think is one of the most powerful openings of any movie in cinema history. Los Angeles, November, 2019. Then you see that field, that landscape of oil factories. It was so nightmarish and powerful at the same time. A very powerful dream. Aesthetically it’s a movie that influenced me. I didn’t know at the time I would become a filmmaker, but I know that it has had a deep influence on my work since then. Why did you want to direct the continuation? How did you come about doing that? I would have never dared, honestly, to propose myself for such a task. I vividly remember the moment when I was meeting with Andrew Kosove and Broderick Johnson about Prisoners. They stopped the meeting, and they said, “We have to stop because Ridley Scott will come in. He’s in the other room right now and we have to meet with him because we are planning to do a sequel to Blade Runner.” At that precise moment, I thought it was the most insane and beautiful idea at the same time. Because it’s such a challenge. It’s such a difficult

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