Ryan Gosling IS Blade Runner

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Postby trouble » Thu Aug 24, 2017 11:25 pm

orange and teal only look great on gushers
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Postby Hal Jordan » Fri Aug 25, 2017 12:05 am

I will watch it, possibly at the theater
well that was intense
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Postby Hal Jordan » Fri Aug 25, 2017 12:05 am

That is, i will pay money to watch it.
well that was intense
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Postby jca » Fri Aug 25, 2017 12:09 am

this is gonna own
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Postby blurst of times » Fri Aug 25, 2017 12:32 am

it's too bad this won't be good

but then again what is?
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Postby Edgar Renteria » Sat Aug 26, 2017 12:52 am

this thread is shit, the first official trailer for this is sick, the music is spot on and the visuals and set pieces give me boosebumps...legit curious why people are skeptical of leto as a convincing villain
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Postby loaf angel » Sat Aug 26, 2017 1:03 am

because we're skeptical of leto as a convincing actor?
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Postby Grey Poupon » Sat Aug 26, 2017 1:05 am

Even if he was a convincing actor I'd still feel fight club about his stupid face and shit music
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Postby Edgar Renteria » Sat Aug 26, 2017 1:13 am

yeah who cares, hes got a weird face, i didnt listen to his music, this is gonna own. end thread (until release)
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Postby Buddy Glass » Sat Aug 26, 2017 1:18 am

It's time for some Color Theory
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Postby arepa » Sat Aug 26, 2017 4:34 am

what a shame this is being directed by the most joyless guy
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Postby spix et chicho » Sat Aug 26, 2017 4:40 am

the bummer is the inevitability that this thing has no humor, no sense of history, just a neon-lit aesthetic tumblr ride

the weird thing about Blade Runner that it's easy to forget after every viewing is that it's actually not a movie with no dialogue and only moody acting and moody setpieces. it's got a ton of weird 70s esque jokes and premises. and its aesthetic is as much 1920s Hollywood ghosts as it is wet rain-soaked neon LA. like for some reason in the 70s everyone was really into cabaret jazz and that influenced this movie in a weird way.

but like most of all it's such a good movie that fluked itself into existence that i hate the idea of even using it as source material in a slavish manner. and unconsciously i think we all who love it, love it as much for its limited technological context, the green Ladd Company logo to the Enhance Scene to the matte paintings and on and on. a sequel to this thing made today can only feel cheap because everything feels cheap now. if it can be good, it would find a way to incorporate that feeling of contemporary omnipresent cheapness (see: Twin Peaks s3). but it won't because it has an Moody Aesthetic that's recognizable and easily defined and it will just be that.

i'll eat my words obviously if it somehow manages to be good. i just don't even think that's possible
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Postby Daft Pun » Sat Aug 26, 2017 6:21 am

it's gonna be bad but i think it will be good for ppl who haven't seen the original film
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Postby Daft Pun » Sat Aug 26, 2017 6:27 am

the purists will likely hate it. the kids will see it cos gosling. . . maybe they'll watch the original 30 versions and possibly read a PKD novel
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Postby Jeremy » Sat Aug 26, 2017 6:39 am

spix et chicho wrote:the bummer is the inevitability that this thing has no humor, no sense of history, just a neon-lit aesthetic tumblr ride

the weird thing about Blade Runner that it's easy to forget after every viewing is that it's actually not a movie with no dialogue and only moody acting and moody setpieces. it's got a ton of weird 70s esque jokes and premises. and its aesthetic is as much 1920s Hollywood ghosts as it is wet rain-soaked neon LA. like for some reason in the 70s everyone was really into cabaret jazz and that influenced this movie in a weird way.

but like most of all it's such a good movie that fluked itself into existence that i hate the idea of even using it as source material in a slavish manner. and unconsciously i think we all who love it, love it as much for its limited technological context, the green Ladd Company logo to the Enhance Scene to the matte paintings and on and on. a sequel to this thing made today can only feel cheap because everything feels cheap now. if it can be good, it would find a way to incorporate that feeling of contemporary omnipresent cheapness (see: Twin Peaks s3). but it won't because it has an Moody Aesthetic that's recognizable and easily defined and it will just be that.

i'll eat my words obviously if it somehow manages to be good. i just don't even think that's possible


The 854th time I watched this I realized how critical the Ladd Company logo is to the whole experience. Makes you feel like you're watching it on a piece of AV equipment that would exist in the movie.
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Postby Jeremy » Sat Aug 26, 2017 7:17 am

A certain kind of cyberpunk aesthetic has become so established that the relationship between style and content in formative cyberpunk stuff seems almost totally eclipsed. What distinguishes the subgenre from most SF is the implicit view that technological development really is not socially transformative, even if it offers radical surface-level changes. So you have this new metaphorical vocabulary and this technique of implying these hybridized cultures through little clusters of peripheral detail, but you graft them all over old spy and detective novel plots (with appropriately retrograde social relations driving them). Blade Runner does this so elegantly that it doesn't even seem intentional. So many staples from more optimistic or transformative SF styles exist in it as inverted versions of themselves, unremarked on in the background. It even takes flying cars, the like single thing people think of as emblematic of the Gernsback golden era thing, and identifies them with oppression rather than freedom. But this stuff isn't just not in the movie's writing, it probably couldn't be. The entire thing is to make visible things that we can't see because we're so used to them by making them strange to us but transparent to the characters.

You like can't create the thematic resonance that makes the movie's look so interesting and rewarding to pick apart by aiming at it; you have to get at it through the look itself. But you also can't get the look right justly trying to get the look right.
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Postby Jeremy » Sat Aug 26, 2017 7:34 am

If anything the fact that we've had like 40 years of insane electronics and IT progress and wound up back in the 30s should make those old themes doubly relevant but mostly what people retain is neon kanji in the rain.

I don't know why I'm spinning all this, I haven't even seen the trailer for this thing.
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Postby incoherent grunting » Sat Aug 26, 2017 8:37 am

good posts, i like
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Postby incoherent grunting » Sat Aug 26, 2017 8:37 am

blurst of times wrote:it's too bad this won't be good

but then again what is?

but this 1 made me lol
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Postby alex » Sat Aug 26, 2017 8:45 am

hell yes, jeremy
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Postby saranclaps » Tue Aug 29, 2017 12:17 pm

This looks fine.

Villeneuve is great if he's 500 feet away from Taylor Sheridan, Jared Leto is a fine actor with a bad band, and Roger Deakins is GOAT.
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Postby spix et chicho » Tue Aug 29, 2017 12:28 pm

trusting saranclaps opinions on Roger Deakins would be like citing a forest design post in a dissertation on David Lynch
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Postby Ersaph » Tue Aug 29, 2017 12:46 pm

Sicario and Prisoners were both completely enjoyable to me (Arrival was less so) so whatevs, I'm in
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Postby Architecture » Tue Aug 29, 2017 12:55 pm

nonchalant wrote:

These look like Scholastic Books covers
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Postby chairkicker » Tue Aug 29, 2017 3:05 pm

Jeremy wrote:A certain kind of cyberpunk aesthetic has become so established that the relationship between style and content in formative cyberpunk stuff seems almost totally eclipsed. What distinguishes the subgenre from most SF is the implicit view that technological development really is not socially transformative, even if it offers radical surface-level changes. So you have this new metaphorical vocabulary and this technique of implying these hybridized cultures through little clusters of peripheral detail, but you graft them all over old spy and detective novel plots (with appropriately retrograde social relations driving them). Blade Runner does this so elegantly that it doesn't even seem intentional. So many staples from more optimistic or transformative SF styles exist in it as inverted versions of themselves, unremarked on in the background. It even takes flying cars, the like single thing people think of as emblematic of the Gernsback golden era thing, and identifies them with oppression rather than freedom. But this stuff isn't just not in the movie's writing, it probably couldn't be. The entire thing is to make visible things that we can't see because we're so used to them by making them strange to us but transparent to the characters.

You like can't create the thematic resonance that makes the movie's look so interesting and rewarding to pick apart by aiming at it; you have to get at it through the look itself. But you also can't get the look right justly trying to get the look right.


yeah

i think what you can't do in making a worthy sequel to blade runner - and ideally to anything - is defer to the kind of filmmaking that informs itself merely by proximity to that iconic thing. in other words, no fanservice. or at least no fanservice in place of doing anything else more interesting
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Postby chairkicker » Tue Aug 29, 2017 3:39 pm

that's a really trite way to put it on my part, though. i don't know
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Postby feaxfang » Tue Aug 29, 2017 3:41 pm

blurst of times wrote:it's too bad this won't be good

but then again what is?

:lol:
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Postby sigmonrunner » Tue Aug 29, 2017 6:18 pm

Hell yes
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Postby delgriffith » Tue Aug 29, 2017 6:22 pm

Nope!
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Postby reversemigraine » Tue Aug 29, 2017 6:28 pm

This really is gonna be Tron: Legacy, huh.
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