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Ray Pride

By Ray Pride Pride@moviecitynews.com

BYOFuture

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The first wave of the very cautiously-embargoed Blade Runner 2049 are out. What are your expectations for Denis Villeneuve’s 164-minute sequel?

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25 Responses to “BYOFuture”

  1. brack says:

    I’ve liked everything I’ve seen from Villeneuve. I’ve only seen his “American” films. Arrival was one of my favorite films from last year, and Sicario, Enemy and Prisoners were well done as well. Hoping to BR2049 in a Dolby Cinema.

  2. Ray Pride says:

    The québécois work is very idiosyncratic, in a good way. .

  3. PcChongor says:

    Not a big fan of Villeneuve or the original, but if it finally gets Deakins a best cinematography Oscar I’ll worship the film until my dying day.

  4. Triple Option says:

    I’ll be avoiding reviews as much as possible. I’ll be honest and say the trailer(s?) I’ve seen for it haven’t done much for me. I’ll be seeing this on IMAX. First time I saw the original it was on VCR. A family friend who worked at the video store gave us the rec. I don’t think I heard of it when it was out in the theater. I can’t remember when exactly I saw it. I wasn’t 18 and I’m pretty sure it was R-rated but there was no concern about violence or nudity. It was so vibrant! I loved it! My parents dug it, too. I hate to say novelty because it sounds like a gimmick but that newness of the universe created won’t be there to give me the same sense of wonderment.

    I’m trying to keep expectations within reason. Although, I’m doing more to tell myself it’s prolly going to be long, too impressed with itself and a bit on the dull side. I’ll watch the original this week as a reminder and then hope to have my palate cleansed by next week.

  5. Hallick says:

    My expectation is that it’ll be good but not actually great, a lot of people will go overboard and praise it as an instant classic, and then around a year later when the dust settles it’ll be considered a good but not great movie. Like what seems to have happened to the reputation of The Force Awakens.

  6. JS Partisan says:

    TFA, is a tremendous Star Wars film, that is saddled with absolute bullshit. It’s either JJ dislike, the similar tones of TFA and ANH, or some other shit that is just hands throwing up inducing. Whatever the case, TFA is a great Star Wars film and as the dust has settled, it has set Disney up to keep the Saga going for years to come. This time, we don’t have to wait 30 years, to find out what’s happening after episode 9. WOOOO!!!

    Defending a truly unnecessarily trampled on movies aside, Villeneuve is going to get praised out the ass for this movie. He already is, because he’s the new favorite director of all the critics. This just means, that this movie will probably be treated better than TFA, because 2049 has a director everyone loves.

    Here’s my question though: what’s this movie’s opening weekend? It screams 30m tops to me, but apparently it’s tracking higher… like at 50m. Which is fucking insane, given no one under the age of 35, knows what the fuck Blade Runner is or what the fuck it’s about.

  7. palmtree says:

    I’m actually curious about the score, how it will (or won’t) honor the original Vangelis synth-noir aesthetic. And Zimmer knows his way around a synth. Pretty stoked for it aurally….and I guess visually too.

    The original isn’t my favorite film, so my expectations aren’t quite so high for this one. I think this movie will do just nicely.

  8. Ray Pride says:

    I have not seen the film yet… but rumors indicate Vangelis will find his way.

  9. Ray Pride says:

    What if BR2049 turns out to be as great as the early Twitter reactions and it finds an audience because… it’s good? That would be the sweet shocker.

  10. spassky says:

    we can only hope the world hasn’t gone too mad to allow this, ray…

    as to the score, was dissapointed zimmer’s on it. he’ll do fine yeah, and I know he’s all into modular sweet synth goodies and all, but vangelis at the cs80 is like jimi on a strat. i wish they pulled together an all-star score or maybe music inspired by album of popular synthesists/electronic ambient artists of today and legends still working. eno, kaitlyn aurelia smith, OPN, junkie xl, allesandro cortini, lichens, s u r v i v e, aphex, nico jaar, venetian snares richard devine (these are just some of the more popular ones, for god sakes)… rich scene that worships the aesthetics of bladerunner and its soundtrack. missed opportunity.

  11. Ray Pride says:

    Lead credit goes to BENJAMIN WALLFISCH “with a career spanning over a decade and encompassing more than 60 feature films. He has composed for Steven Spielberg, Rupert Wyatt, Gore Verbinksi and Lars von Trier…earned a Golden Globe nomination for the score for Ted Melfi’s 2016 hit “Hidden Figures,” which Wallfisch co-composed with Hans Zimmer and Pharrell Williams. Recent work includes “A Cure for Wellnes,” “Lights Out,” “Annabelle: Creation,” “IT.” Wallfisch’s past projects include orchestrating and conducting the Oscar-winning score for “Atonement”; writing additional music for “12 Years a Slave”; and scoring the short film “Auschwitz,” produced by Steven Spielberg and directed by James Moll.”

  12. JS Partisan says:

    Ray, we know it doesn’t work that way anymore. It’s based on a bunch of things, that may or may not have to do with the movie. This movie, no matter how good, isn’t exactly screaming to anyone younger than 35, to come and see it. What it is telling those people is, “HEY! COME SEE RYAN GOSLING SHARE THE SCREEN WITH SOME GUY, WHO YOU JUST DIED IN A STAR WARS MOVIE!”

    I fucking love Blade Runner, and love all that it did for sci fi films. I am an old, ornery bastard, who was alive when the last one came out, and is looking forward to this sequel… even if Denis does jack and shit for me, as a director. It’s going back to that world, and guess what? That world. Looks a hell of a lot like the GITM world, that people stayed away from in droves.

    This leaves me to ask… again… what’s the opening for this film?

  13. hcat says:

    Cautiously optimistic, was not planning on seeing it in the cinema (not a true believer of the original plus I don’t get out much anymore) but if the end result even approaches the enthusiasm that’s drumming about I am going to have to make the trip.

    If Blade Runner lands big his would be quite an accomplishment for Warners to puddlejump from WW to Dunkirk to It to Blade Runner.

  14. Ray Pride says:

    Some trackers are saying it’s weirdly high, but I don’t trust “punditry.” Arrival played off for a while to get to its eventual gross; be nice is this becomes a strong WOM play as well?

  15. Ray Pride says:

    Wouldn’t it?

    The preview I’m seeing will be first time i’ve been at one of the “Dolby cinema” auditoriums: “Here, pay extra for a properly projected, properly lit image!”

  16. palmtree says:

    Ray, as I was distinctly interested in the electronics, I don’t know that Benjamin Wallfisch inspires much enthusiasm from me. He always seems to work in collaboration, which leads me to believe he’s more journeyman.

    Honestly, was there something Benjamin could do that Jóhann Jóhannsson couldn’t? Maybe they’re going more in the direction of classic noir than electronic. That might be cool too, but not exactly what’s advertised.

    And yeah, Zimmer makes it a safer choice, but I think going back to his electro roots might inspire something cool in him.

    I second Spassy’s suggestion of a real EDM artist. Aphex would be fascinating although perhaps his voice is too singular for collaboration.

  17. Ray Pride says:

    Concur with all that. Hoping, hoping.

  18. PTA Fluffer says:

    Film or sci-fi geeks might revere Blade Runner, but nobody else does.
    Back in the legendary summer of 82, BR landed with a thud way down the list of satisfying movies. Seemed like a half-interesting misfire compared to ET, Poltergeist, ST2, The Thing, and most of all, what turned out to be most influential of all, Mad Max 2.

  19. LBB says:

    Though to be fair, the version of BR released in the summer of ’82… was not its best version.

  20. Ray Pride says:

    Nice to see its worldwide title, “Mad Max 2”!

  21. Bulldog68 says:

    Didn’t know where else to post this, but Jeepers Creepers 3 was released on Tuesday, and now it has all but disappeared from Wednesday’s box office results. Didn’t even know this was being released in September, and apparently neither did many of the monthly forecast columns. Did the studio just yank it?

  22. Nick Rogers says:

    I think Jeepers Creepers 3 was a one-off Fathom Event thing, Bulldog.

  23. Stella's Boy says:

    Fathom’s website says it’s screening again on October 4. Mojo says that on September 26 it made about $1.8 million in 635 theaters. http://www.boxofficemojo.com/movies/?id=jeeperscreepers3.htm

  24. brack says:

    “The preview I’m seeing will be first time i’ve been at one of the “Dolby cinema” auditoriums: “Here, pay extra for a properly projected, properly lit image!”

    I was hesitant about Dolby Cinema before I experienced it, but it is by far my favorite way to watch anything in theaters that I really want to see. Sound and picture are second to none imo, but I don’t live in a big city, so there could be other theaters that are better out there.

  25. Ray Pride says:

    I liked the sound. Aud had some light leakage issues, but the image was notably bright.

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I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
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