Blade Runner 2049

[Kavinsky]

Atticus Ross & Reznor would have been very interesting for Blade Runner

[chenGOD]

Just watched it in IMAX. Fucking great.

That's chen's review.

[manmower]

Did they ever share any of Jóhannsson's score, in teasers or whatever? Or is it mostly just an assumption that he would've come up with something more remarkable than the eventual soundtrack?

[Rubin Farr]

Atticus Ross & Reznor would have been very interesting for Blade Runner

 

Did you hear what they did to the Halloween Theme?

 

http://riotfest.org/2017/10/trent-reznor-atticus-ross-release-cover-john-carpenters-halloween-friday-13th/

[zlemflolia]

 

saw it a second time in imax this time 10/10

 

going to see it again for sure maybe even 4 times

 

this is my favorite movie ive ever seen in a theatre before

but why , whyyy ??? its so fking boring and story is shit or are you watching because of the visual aesthetics ? tell me so i can understand.

 

one word

 

H O L O G R A P H I C       A I      W A I F U

 

 

and the advertisement scene near the end basically does the whole movie for me, it's the best scene by far

 

Edited October 15, 2017 by Zeffolia

[Echolalia]

Atticus Ross & Reznor would have been very interesting for Blade Runner

Vangelis living in Santa Monica on roids. Fuk dat.

[MaartenVC]

I really want to see this movie. 

 

Seems like they miraculously succeeded in meeting the tremendous high expectations.

 

(unlike another dark sci-fi movie I shall not mention, but of which the original was/is a masterpiece)

 

Looking forward to this. 

[fumi]

A bit sad that this masterpiece has been knocked off the top after only one week by some teen-orientated B-Movie Horror flick.

[Hugh Mughnus]

Me and Osc were talking about that on discord.

 

Fucking EMOJI MOVIE, universally panned by critics and consumers as being a really shit movie, box office = 200M USD. 

 

Blade Runner 2049, critics and fans praising it, box office = 160M so far and likely to be pulled from theaters in a week or two.

[fumi]

Me and Osc were talking about that on discord.

 

Fucking EMOJI MOVIE, universally panned by critics and consumers as being a really shit movie, box office = 200M USD. 

 

Blade Runner 2049, critics and fans praising it, box office = 160M so far and likely to be pulled from theaters in a week or two.

 

 

Already up for pre-order on Amazon. The Blu-ray and digital downloads are as early as 14th December.

 

It's a (happy) but unfortunate side to a film that has bombed really badly. It only took 15 million dollars this past weekend and has suffered a 50% drop since last week.

 

Profit is so far only $60 million (domestic) and $158 million worldwide. That's crushing for a film that cost upwards of $155 million.

 

In contrast, I.T has cruised past 600 million (it only cost 35 to make!!) and shows no sign of stopping.

 

I think we'll have to wait another 30+ years for another Blade Runner movie.

Edited October 15, 2017 by fumi

[zaphod]

i wonder what this means for dune

[hello spiral]

I sat next to a pair of cunts when I went to see it.

 

The one guy in particular felt the need to loudly comment on the last scene we'd watched to his friend if anything exciting or intense had happened. Got his phone out at full brightness to answer some messages 2hrs in and: when it had just ended and the credits started rolling they turned to each other and unsurely said "oh-kaaay?"

 

I would say that's kinda indicative of how the great unwashed are experiencing this film

[auxien]

Me and Osc were talking about that on discord.

 

Fucking EMOJI MOVIE, universally panned by critics and consumers as being a really shit movie, box office = 200M USD. 

 

Blade Runner 2049, critics and fans praising it, box office = 160M so far and likely to be pulled from theaters in a week or two.

Children.

 

 

Profit is so far only $60 million (domestic) and $158 million worldwide. That's crushing for a film that cost upwards of $155 million.

 

I think we'll have to wait another 30+ years for another Blade Runner movie.

Not at you fumi, but it's kinda fucked up that a movie with vast praise thrown at it, almost certain to garner more attention when it wins awards, and already at approximately 20+% profit return rate after only a few weeks out is seen as a failure/bomb. 

 

I'd also be okay with never seeing another Blade Runner movie. If they could make another tomorrow up to the quality of BR2049, then great, do it, but that's not too likely imo, lightning striking three times with the same property.

 

 

i wonder what this means for dune

Fuck don't scare me. I want Vilenneuve to do a Dune movie/trilogy/series/whatever-he-wants so bad and have a stupid budget to run with.

[eugene]

that 150 mil budget figure doesn't cover marketing costs which can be pretty huge, that's why it's seen as a failure i guess.

 

also, half of the budget was just ford's salary probably.

Edited October 15, 2017 by eugene

[Hugh Mughnus]

that 150 mil budget figure doesn't cover marketing costs which can be pretty huge, that's why it's seen as a failure i guess.

 

I read before that the budget was 150-185 mil, but everywhere I read now says 150 only? I imagine that 185 included marketing etc.

 

Or maybe that figure was just an estimate and the 150 is known to be actual now?

[auxien]

I wanna say that I've heard before that marketing is figured in to overall budgets generally, but I certainly could be misremembering or just plain wrong. The same point still stands even if the numbers are off, a lot of shit I've seen over the years is that if a film doesn't make like 2-10 times what was spent on it, it ain't worth it to many investors or producers or whoever. Just always struck me as strange.

[fumi]

I sat next to a pair of cunts when I went to see it.

 

The one guy in particular felt the need to loudly comment on the last scene we'd watched to his friend if anything exciting or intense had happened. Got his phone out at full brightness to answer some messages 2hrs in and: when it had just ended and the credits started rolling they turned to each other and unsurely said "oh-kaaay?"

 

I would say that's kinda indicative of how the great unwashed are experiencing this film

 

 

That's really bad. If I had paid $15 or whatever to see a film, I would have grabbed that phone and chucked it. Or complained to the staff. There's no excuse.

 

People who need to check their phones during a movie don't have an attention span long enough for any movie, let alone one running nearly three hours.

i wonder what this means for dune

 

 

LOL. Dune was an even bigger financial failure with an even smaller niche audience. There's no way that's going to be made now. In today's Hollywood, how would you even market a film like this? I assume you've seen the film and/or read the book. 

Me and Osc were talking about that on discord.

 

Fucking EMOJI MOVIE, universally panned by critics and consumers as being a really shit movie, box office = 200M USD. 

 

Blade Runner 2049, critics and fans praising it, box office = 160M so far and likely to be pulled from theaters in a week or two.

 

 

Critics and fans are the only people who've bothered going to watch it. And they mostly saw it within a day or two of release. 

[Perezvon]

The one guy in particular felt the need to loudly comment on the last scene we'd watched to his friend if anything exciting or intense had happened. Got his phone out at full brightness to answer some messages 2hrs in and: when it had just ended and the credits started rolling they turned to each other and unsurely said "oh-kaaay?"

[fenton]

they should double their money, at least! it's not been very long yet

[fumi]

 

that 150 mil budget figure doesn't cover marketing costs which can be pretty huge, that's why it's seen as a failure i guess.

 

I read before that the budget was 150-185 mil, but everywhere I read now says 150 only? I imagine that 185 included marketing etc.

 

Or maybe that figure was just an estimate and the 150 is known to be actual now?

 

 

 

I wanna say that I've heard before that marketing is figured in to overall budgets generally, but I certainly could be misremembering or just plain wrong. The same point still stands even if the numbers are off, a lot of shit I've seen over the years is that if a film doesn't make like 2-10 times what was spent on it, it ain't worth it to many investors or producers or whoever. Just always struck me as strange.

 

 

that 150 mil budget figure doesn't cover marketing costs which can be pretty huge, that's why it's seen as a failure i guess.

 

also, half of the budget was just ford's salary probably.

 

 

Bladerunner 2049 will undoubtedly make its money back eventually. The problem is that studios and investors want that money now, not two or three years down the road.

 

When you consider how Hollywood works now - endless comic book movies, (conveniently) expanded universes for every concievable intellectual property, millions flocking to see an emoji movie, it's nothing sort of a miracle in itself that Blade Runner 2049 ever got made and turned out to be so magnificent. 

[fumi]

There are so many amazing touches and stuff in this movie. I wonder how long before someone copies the presentation box that the Emanator come in?

 

Also, good article on how likely/realistic the technologies in the movie are in the near future (50 years).

 

https://qz.com/1095377/how-realistic-is-the-incredible-futuristic-technology-in-blade-runner-2049/

[fumi]

Consequence Of  Sound article on the soundtrack. 

 

https://consequenceofsound.net/2017/10/album-review-hans-zimmer-and-benjamin-wallfisch-blade-runner-2049-original-motion-picture-soundtrack/

 

It’s hard to think of a Blade Runner movie without Vangelis. Of course, until now, there’s only been one Blade Runner movie, but Ridley Scott’s 1982 neo-noir sci-fi cult classic is all about aesthetic, and as such, the Greek composer’s work has always been as integral to the film as, say, Syd Mead’s neo-futuristic concepts or Harrison Ford’s stoic portrayal as titular hero, Rick Deckard. The very mention of the film can’t go by without hearing echoes of “Rachel’s Song” or “Blade Runner Blues” or any of the other dozen compositions that add to the dystopian feelings of isolation, uncertainty, or paranoia. So, when it was first announced that Scott and screenwriter Hampton Fancher were (finally) moving ahead with a followup, some 35 years after the original confused American audiences, fans consciously assumed that Vangelis would also be along for the ride. Not exactly.

 

Instead, it was Icelandic mastermind Jóhann Jóhannsson who was scooped up by a Spinner, leaving our trusty Academy Award-winning composer in the rain, only there were no tears to be shed — it was ostensibly by choice. “You can never repeat certain things,” Vangelis told NPR last year of his decision to recuse himself. “It’s only once in lifetime. It’s like doing another Chariots of Fire, it’s impossible.” To his credit, it’s an understandable notion — after all, who in their right mind would want to followup one of the most iconic scores of all time? — but that didn’t stop director Denis Villeneuve from wanting to try. And so, Jóhannsson was surprisingly deactivated late into the process, opening the doors for Hans Zimmer and rising talent Benjamin Wallfisch.

 

As Villeneuve told Al Arabiya, “The thing I will say is that making movies is a laboratory. The movie needed something different, and I needed to go back to something closer to Vangelis. Jóhann and I decided that I will need to go in another direction — that’s what I will say.” Seeing how Blade Runner 2049 is a bonafide masterpiece, we’re not going to argue with his decision, but we will say it was a risky one. Very rare do we ever see a composer successfully take the reins from the celebrated work of a previous icon, even when they’re icons themselves: Danny Elfman did zilch with Brad Fiedel’s industrial tones on 2009’s Terminator: Salvation; Daft Punk pulled the plug on Wendy Carlos’ future sounds on 2010’s Tron: Legacy; and the Force was not with Michael Giacchino’s attempt to capture the intergalactic majesty of John Williams on last year’s Rogue One.

 

But Zimmer’s on another level right now, arguably the most in-demand composer in Hollywood, save for Giacchino, and while he came late into the game on Blade Runner 2049, he’s delivered one hell of a Hail Mary. Alongside Wallfisch, who recently struck gold with Andy Muschietti’s blockbuster phenomenon It, the two found the perfect balance between reverence and ingenuity. Their collaborative score for Villeneuve’s masterful sequel is powerful and elaborate, brimming with all the right sounds that fans need to hear to not only know they’re in the same universe, but one that has since evolved. Because really, that’s what this score sounds like: a total evolution of what Vangelis set in motion way, way back in 1982. It’s louder, it’s gloomier, it’s heavier, and it’s much more expansive, all qualities one might tag with Villeneuve’s breathtaking sequel.

 

Those who’ve grown up worshipping the original score will undoubtedly hear faint echoes of the past, much like the narrative that unfolds on-screen, but it’s hardly as abrasive or on-the-nose as that might read. With the exception of their “Tears in the Rain” redux, the two opt for a more subtle approach to past motifs, one that thrives with hush-hush flourishes sprinkled throughout. It’s as if Zimmer and Wallfisch are sneaking through the abandoned confines of the Tyrell Corporation, and they happened to brush by an ancient machine or two. Instead, you get the idea that Zimmer’s leaning heavily on his recent work for Christopher Nolan’s Dunkirk, capitalizing on that signature bass and those distant strings of his, all of which makes for an essential touch to the hollowed-out world of Blade Runner 2049. But there are also hints of The Dark Knight Rises, what with those haunting Gregorian chants (“Wallace”) and the unforgiving digital storms (“Blade Runner”), and they also set aside enough room for the beauty in the universe, as evidenced by the tranquility of stunning tracks like “Rain” or “Joi” or “Memory”. It’s stunning stuff.

 

Completists will also appreciate the two Elvis Presley songs — “Suspicious Minds” and “Can’t Help Falling in Love” — and the lonely Frank Sinatra classic (“One For My Baby (And One More For The Road)”) that soundtrack arguably the greatest scene in a film of greatest scenes. Hearing those pop up during the listen should send a few shivers down the spine of anyone who’s seen the film, particularly the way they’re wedged between haunting tracks like “Pilot” and “Hijack”. Unfortunately, the whole shebang is somewhat soured by Lauren Daigle’s godawful closing ballad “Almost Human”, but the song itself works like a post-credits sequence — superfluous and extra baggage the majority will otherwise ignore. Instead, due attention should be given to the real closers, the two sweeping 10-minute suites, “Sea Wall” and “Blade Runner”, all the evidence you need to know that Villenueve made the right choice in giving the job to Zimmer and Wallfisch. You’ve never seen a miracle, but you can hear one.

[Rpeg]

this is a pretty bad movie and I'd love someone to convince me I'm wrong.  there are interesting ingredients:  sound design, some of the lighting and scene stuff, maybe two acting moments.  it's pretty.  it does not make a good movie.

 

it feels sterile, and the soundtrack is boring and apes vangelis hard, but in a boring way.  this is like star wars ep7 all over again where a massive crew of people attempt tirelessly to capture old magic, and instead make lifeless ingredients which amount to an uncomfortable echo.

 

shame on me I guess for re-watching the original last week and re-reading the book too.  at least that was enjoyable

[Lane Visitor]

Finally just watched this tonight, and thought it was excellent. Not gonna make any sweeping statements or anything, and i expect to get shit on for this, but in a number of ways I actually enjoyed it just as much if not slightly more than the original.

[fumi]

this is a pretty bad movie and I'd love someone to convince me I'm wrong.  there are interesting ingredients:  sound design, some of the lighting and scene stuff, maybe two acting moments.  it's pretty.  it does not make a good movie.

 

it feels sterile, and the soundtrack is boring and apes vangelis hard, but in a boring way.  this is like star wars ep7 all over again where a massive crew of people attempt tirelessly to capture old magic, and instead make lifeless ingredients which amount to an uncomfortable echo.

 

shame on me I guess for re-watching the original last week and re-reading the book too.  at least that was enjoyable

 

 

I'd be interested in hearing what you'd say is a really good movie. I'm not being trite. Genuinely interested because for me, this movie is probably the best I've seen this decade.