Blade Runner with Midday Movies

WEBVTT
00:01.745 --> 00:03.807
[SPEAKER_03]: Do you love badass women of history?
00:04.228 --> 00:10.736
[SPEAKER_03]: Then you need to meet Clondite Kate, the queen of the Yukon, and her unexpected connection to Tacoma's pantages theater.
00:10.996 --> 00:15.001
[SPEAKER_03]: During Cheyenne Jodie, a rainy day rabbit holes for a special live podcast event.
00:15.241 --> 00:21.268
[SPEAKER_03]: Wednesday, September 16th at 7 p.m. at the beautiful Mcminiman's Elx Temple in Tacoma, Washington.
00:21.608 --> 00:28.851
[SPEAKER_03]: It's a night of storytelling, local history, and a few truly questionable life choices that somehow all lead right back to Tacoma.
00:29.051 --> 00:33.854
[SPEAKER_03]: We'll also be doing a meet and greet from 6 to 630 pm, so come say hi before the show.
00:34.234 --> 00:39.096
[SPEAKER_03]: Get your tickets at rainydayrabbleholes.com, and come find out why all roads lead to Tacoma.
00:42.812 --> 00:46.013
[SPEAKER_03]: Hey rabbit holders, this week I've got a special treat for you.
00:46.293 --> 00:58.795
[SPEAKER_03]: A couple of months ago, I joined my Big Brother Jason for an episode of Midday Movies, where we sat down with Laura and Steven to talk about one of my all-time favorite films, Ridley Scott's 1982 classic Blade Runner.
00:59.095 --> 01:10.978
[SPEAKER_03]: We dove into the movies, stunning visuals, it's richly imagined world, and some of the big ideas that make it such an enduring film, empathy, memory, identity, and the moral questions surrounding artificial life.
01:11.218 --> 01:21.830
[SPEAKER_03]: Fair warning, Jason and I love this movie so much that we may have accidentally taken over the podcast for a while, so huge thanks to Laura and Steven for being such good sports.
01:22.310 --> 01:27.576
[SPEAKER_03]: Give the episode a listen, and while you're at it, be sure to follow Midday movies wherever you get your podcasts.
01:27.917 --> 01:29.018
[SPEAKER_03]: See you down the rabbit hole.
01:34.703 --> 01:35.503
[SPEAKER_02]: Hey, this is Laura.
01:35.903 --> 01:36.443
[SPEAKER_00]: And Steven.
01:36.943 --> 01:37.504
[SPEAKER_00]: And Jay.
01:38.044 --> 01:38.604
[SPEAKER_00]: And Jason.
01:38.864 --> 01:43.505
[SPEAKER_02]: And this is our podcast Midday Movies, where we take our lunch break to talk about the movies that are on our mind.
01:43.805 --> 01:48.566
[SPEAKER_01]: The day we're discussing the 1982 cyberpunk cult classic, Blade Runner.
01:49.326 --> 01:55.407
[SPEAKER_01]: Joining us are the co-hosts of Randy D. rabbit holes, history and age podcast, siblings, Jay and Jason.
01:55.747 --> 01:57.928
[SPEAKER_01]: Her home Blade Runner is a movie that made them.
01:58.408 --> 02:12.879
[SPEAKER_01]: Together, we're discussing the timeless tale of replicants attempting to survive and stage capitalism in a post-apocalyptic Los Angeles, pursued by agents of the state, doubts about the nature of identity, and the underlying threat of a minuscule or year lifespan.
02:13.619 --> 02:14.380
[SPEAKER_01]: Let's get into it.
02:21.445 --> 02:22.826
[SPEAKER_01]: Well, hello, Steven.
02:22.966 --> 02:23.787
[SPEAKER_01]: How are you doing?
02:28.527 --> 02:29.187
[SPEAKER_02]: I'm doing great.
02:29.207 --> 02:33.869
[SPEAKER_02]: But I'm even more interested in the following things, which is Shay Jason.
02:34.509 --> 02:36.049
[SPEAKER_02]: Welcome in how are you doing?
02:36.689 --> 02:37.750
[SPEAKER_02]: I'm doing great.
02:38.210 --> 02:38.810
[SPEAKER_02]: Right here.
02:39.290 --> 02:40.750
[SPEAKER_00]: Yeah, super happy to be here today.
02:41.771 --> 02:50.693
[SPEAKER_02]: Dude, I'm so excited to have you guys because we're discussing 1982's Blade Runner and you guys are super fans, which means you are super valuable.
02:51.473 --> 02:54.854
[SPEAKER_02]: Well, I wouldn't go that far, but... Yeah, I might.
02:57.495 --> 02:58.655
[SPEAKER_01]: We are jazzed to have you here.
02:59.076 --> 03:02.137
[SPEAKER_01]: We do enjoy some Blade Runner, but you all have like deep lore.
03:02.177 --> 03:04.377
[SPEAKER_01]: We really want to get into it when I get your perspective.
03:04.397 --> 03:06.638
[SPEAKER_01]: You know, we talk about the films we appreciate.
03:06.818 --> 03:09.299
[SPEAKER_01]: So tell us what you appreciate, what's your perspective.
03:10.159 --> 03:14.960
[SPEAKER_01]: And I think one of the first things we wanted to talk about is like, what is the first time that you watched this movie?
03:14.980 --> 03:16.241
[SPEAKER_01]: It was the first time you saw this movie.
03:16.881 --> 03:18.582
[SPEAKER_03]: I don't know if my memory goes back that far.
03:21.031 --> 03:22.432
[SPEAKER_03]: back.
03:24.714 --> 03:38.127
[SPEAKER_03]: I saw this, you know, my brother probably introduced this movie to me when I was a teenager, so I probably would have seen it in the mid early to mid 1990s, so probably at least a decade or more after it came out.
03:38.707 --> 03:43.191
[SPEAKER_03]: So don't remember the first time, but I do know that it really resonated
03:45.033 --> 03:58.038
[SPEAKER_03]: emo living inside of me at the time that that got the girl that really wanted to come out, but wasn't allowed to be on wearing some black as far as I got with the topic.
03:58.198 --> 04:02.719
[SPEAKER_01]: I made you want to run out in the rain, just wear a lot of black and have neon lights in your background.
04:02.799 --> 04:03.159
[SPEAKER_01]: Oh, yeah.
04:03.260 --> 04:03.800
[SPEAKER_01]: Exactly.
04:03.880 --> 04:04.280
[SPEAKER_01]: I see it.
04:05.707 --> 04:13.713
[SPEAKER_00]: my first experience with this movie was not overly positive because I think it was looking for something that was like star wars to be quite honest.
04:14.094 --> 04:17.757
[SPEAKER_00]: So I was looking for that kind of, you know, a little more exciting.
04:17.777 --> 04:20.679
[SPEAKER_00]: And I was like, oh, Blader, this sounds really cool and really interesting.
04:21.240 --> 04:24.102
[SPEAKER_00]: And when I watched it, I was kind of like, oh, man, this thing is slow and boring.
04:24.142 --> 04:25.003
[SPEAKER_00]: And I really don't care.
04:25.043 --> 04:25.803
[SPEAKER_00]: There's not action.
04:25.823 --> 04:26.784
[SPEAKER_00]: There's not spaceships.
04:26.824 --> 04:28.525
[SPEAKER_00]: There's not laser swords and stuff.
04:28.545 --> 04:30.847
[SPEAKER_00]: So I really wasn't super into it at first.
04:31.608 --> 04:33.690
[SPEAKER_00]: And then I came back around after
04:35.831 --> 04:50.761
[SPEAKER_00]: probably some anime and probably do, quite frankly, really understanding a little bit more from Alien that I kind of revisited and it was like, oh, this is the progenitor of a lot of things.
04:50.821 --> 04:53.382
[SPEAKER_00]: Like this is something that really should be paid attention to.
04:53.602 --> 04:57.585
[SPEAKER_00]: Or not necessarily even if it's not progenitor, this is the distillation of a lot of stuff.
04:58.185 --> 05:00.026
[SPEAKER_00]: and then all of a sudden it was on.
05:00.046 --> 05:09.410
[SPEAKER_00]: It was like, oh, yeah, there's something median and solid here and it doesn't have to be, you know, space battles and laser swords to have really good hard sci-fi.
05:10.271 --> 05:13.212
[SPEAKER_00]: It's slowly transitioned into probably my favorite movie.
05:13.639 --> 05:29.005
[SPEAKER_03]: Both Jason and I are big fans of William Gibson and Neuromancer, of course, one of our very favorite novels of all time, and I'm wondering, you know, which came first the William Gibson or the Blade Runner and how close those were together and how they helped us appreciate each piece of media.
05:29.316 --> 05:39.622
[SPEAKER_00]: Well, NureMatcher was, I believe, 84 NureMatcher is one of those books that is foundational on how we deal with cyberspace and stuff like the Matrix and that sort of philosophy.
05:40.022 --> 05:44.365
[SPEAKER_00]: And I think it was probably inspired a lot by this film, if nothing else.
05:44.625 --> 05:46.106
[SPEAKER_00]: Again, probably one of my favorite books.
05:46.546 --> 05:49.229
[SPEAKER_00]: for a lot of the same reasons why this is one of my favorite movies.
05:49.409 --> 06:00.460
[SPEAKER_00]: Both have a very good ability to set a tone and texture of a world and still populate it with enough character.
06:00.560 --> 06:04.344
[SPEAKER_00]: We don't know every single thing in Deckard's life or Rachel's or
06:04.944 --> 06:08.788
[SPEAKER_00]: Roy's or anything like that, and some of the characters in Nuremance are the same sort of way.
06:08.908 --> 06:13.072
[SPEAKER_00]: They're just deep enough to hint to a deeper life and more in the world.
06:13.152 --> 06:18.758
[SPEAKER_00]: And I think that that's something really interesting and special on both the book and the movie is setting that tone in texture.
06:19.421 --> 06:21.701
[SPEAKER_02]: Yeah, there's an undeniable energy to blade runner.
06:22.042 --> 06:29.603
[SPEAKER_02]: The plot depending on which version you're watching is radically different, but the aesthetic of that particular dystopia is unforgettable.
06:30.263 --> 06:43.286
[SPEAKER_02]: Looking at these screenshots even today, they seem so distinctly futuristic, despite being the future of 1982, me and Stephen have been debating what this world is about because we have a dark,
06:43.686 --> 06:44.147
[SPEAKER_02]: sky.
06:44.247 --> 06:48.553
[SPEAKER_02]: We have oil and gas happening in Los Angeles, still being dugout.
06:48.593 --> 06:52.017
[SPEAKER_02]: We have a bunch of people advertising going off world.
06:52.157 --> 06:54.320
[SPEAKER_02]: And is this an LA that's emptying out?
06:54.821 --> 06:58.606
[SPEAKER_02]: It feels somehow, though it's kind of rotting or derelict.
06:58.686 --> 06:59.247
[SPEAKER_01]: Yeah.
06:59.627 --> 07:00.328
[SPEAKER_02]: And so it's like,
07:00.969 --> 07:13.743
[SPEAKER_01]: And stage capitalism, what's this world does feel like end state capitalism because again all these ads saying go off planet get out of here and you've got people like JF Sebastian who are saying they couldn't pass the medical to get off world.
07:13.783 --> 07:17.568
[SPEAKER_01]: So it seems like people are trying to leave and the people that are left.
07:18.028 --> 07:21.631
[SPEAKER_01]: They're basically in like the carapace of capitalism.
07:21.751 --> 07:22.351
[SPEAKER_01]: They're here.
07:22.571 --> 07:28.256
[SPEAKER_01]: They have all this stuff, but it seems like most of the people that are on this planet are people that are like leftover.
07:28.316 --> 07:30.618
[SPEAKER_01]: Like if they could be in outer space, they would be.
07:30.978 --> 07:33.360
[SPEAKER_01]: It's still this beautiful cyberpunk world.
07:33.380 --> 07:37.963
[SPEAKER_01]: And I think it inspired so much of all these cyberpunk worlds that we have later on.
07:38.003 --> 07:44.248
[SPEAKER_01]: I don't know if this was the progenitor of cyberpunk, but it definitely heavily influenced a lot that came after it.
07:44.488 --> 07:45.548
[SPEAKER_00]: There's been tons of debate on that.
07:45.568 --> 07:49.589
[SPEAKER_00]: There's been books written about that without a doubt, but I think it definitely plays a part in that.
07:49.769 --> 07:53.490
[SPEAKER_00]: I think it's mentioned in every sort of like cyberpunk noir that comes into play.
07:53.850 --> 07:56.250
[SPEAKER_00]: Neuromancer was a is a quintessential cyberpunk book.
07:56.370 --> 07:56.910
[SPEAKER_00]: It really is.
07:56.950 --> 08:03.052
[SPEAKER_00]: It's kind of where the term cyber space is came into public consciousness for lack of a better term.
08:03.252 --> 08:04.472
[SPEAKER_00]: And it literally starts off.
08:04.632 --> 08:10.033
[SPEAKER_00]: The opening line is the sky above the port was the color of a television tuned to a dead channel.
08:10.593 --> 08:25.048
[SPEAKER_00]: And when this movie opens, it's that same sort of thing, and this movie opens, and it starts off even before you get a single picture with something that I think is one of its strengths, and that's the Vanjela soundtrack, and it just starts off with this boom, boom, boom, boom.
08:26.309 --> 08:30.711
[SPEAKER_00]: And all that does is set of tones, like this is not going to be a happy moment.
08:30.751 --> 08:35.133
[SPEAKER_00]: This is going to be like kind of dark and heavy and kind of oppressive.
08:35.593 --> 08:40.655
[SPEAKER_00]: And Lori, you brought this up when you're like, this is kind of like a Los Angeles that is emptying.
08:41.255 --> 08:47.138
[SPEAKER_00]: They explain why it's emptying with a very offhand comment of like, oh, go off world.
08:47.798 --> 09:07.028
[SPEAKER_00]: but people who can't go off-world, this is where you got to live, and that immediately sets a tone of separation between halves and halves knots, and we don't really ever see the halves except for Tyrell, and Tyrell represents that as a singular person in this entire film.
09:07.448 --> 09:10.570
[SPEAKER_00]: You don't see a ton of rich people, you just see humanity.
09:11.270 --> 09:26.183
[SPEAKER_00]: And since this movie is all about humanity, you see what would normally be considered like the drags in my mind, the drags of humanity, not in my mind is like, that's my judgment, but what they're kind of portraying is like, this is just the raw humanity living on the street level.
09:26.543 --> 09:31.848
[SPEAKER_00]: And you have one person who represents that high level and he lives in a pyramid.
09:32.428 --> 09:39.969
[SPEAKER_00]: And he's surrounded by luxury and Egyptian mythology in this like almost God-like presence.
09:40.589 --> 09:45.490
[SPEAKER_00]: And in fact, he's referred to as the creator of the people that are coming off from.
09:45.510 --> 09:52.852
[SPEAKER_00]: So obviously Tyrell could go off the world if he felt like it, but he has chosen to stay there because of his work and what he's doing.
09:53.212 --> 09:55.432
[SPEAKER_00]: And he's basically had gotten this world.
09:55.732 --> 09:57.012
[SPEAKER_00]: They don't show other planets.
09:57.052 --> 09:58.393
[SPEAKER_00]: They don't show off world at all.
09:58.413 --> 09:59.733
[SPEAKER_00]: They just go, go off world.
10:00.213 --> 10:25.478
[SPEAKER_00]: You don't know if it's good or bad, but hey, why are the rest of the people here and why are they acting the way they are is because people have gone off world it's telling that it does really good job without spelling it out for you why it looks the way it does why it's kind of got that dark gritty tone and why we don't see it anything else and so I think that's kind of some of the genius of the scene setting that happens pretty rapidly.
10:25.778 --> 10:26.939
[SPEAKER_02]: No, that's that's beautiful.
10:27.059 --> 10:34.302
[SPEAKER_02]: The Veronica imagery of Tyrell is so compelling, particularly because he is the creator of this slavery, right?
10:34.562 --> 10:39.644
[SPEAKER_02]: And we have this strong association with with ancient Egypt and slavery and the drama.
10:40.064 --> 10:41.125
[SPEAKER_02]: I'm glad you brought it up.
10:41.285 --> 10:48.028
[SPEAKER_02]: I love the idea of it being sort of this god on earth because, of course, of course, that's that's what a fairy is.
10:48.128 --> 10:48.468
[SPEAKER_02]: And that's
10:49.208 --> 11:00.041
[SPEAKER_02]: that's communicated by the pyramid and it's communicated by the way he treats his creations, who have these four-year limited lifespans and these escaped replicants.
11:00.422 --> 11:04.026
[SPEAKER_02]: Their goal is just to have more life, which is such a humble goal.
11:05.728 --> 11:15.402
[SPEAKER_03]: you know, in this same thing in that opening scene and seeing the pyramids, these godlike pyramids, they're the biggest thing in the city, this crowded city, the biggest thing.
11:15.703 --> 11:20.430
[SPEAKER_03]: And this goes back to the theme of hypercapitalism and instage capitalism.
11:20.750 --> 11:46.340
[SPEAKER_03]: this corporation has replaced the government and our strongest greatest minds have moved off world and they've abandoned this world that is as you said it's dying but the corporation that has replaced government holds the utmost power in this world and so he's chosen to stay because it's now his playground and even law enforcement seems to work in service of these corporate interests.
11:46.960 --> 11:53.292
[SPEAKER_03]: The replicants themselves, I think, are the biggest indicator of this late-state hypercapitalism.
11:53.779 --> 11:58.880
[SPEAKER_03]: You know, right now we're in a world where products are made to be disposable.
11:59.260 --> 12:04.041
[SPEAKER_03]: You know, there's that built in obsolescence to your phones to your computers to your cars now.
12:04.601 --> 12:08.382
[SPEAKER_03]: And the replicant is that the replicant has a four year lifespan.
12:08.422 --> 12:11.723
[SPEAKER_03]: It has planned obsolescence built into it.
12:11.783 --> 12:14.423
[SPEAKER_03]: You have to buy a new one after four years.
12:14.443 --> 12:18.264
[SPEAKER_03]: I mean, even their motto, more human than human, but you're going to throw it away.
12:18.284 --> 12:20.584
[SPEAKER_02]: So that just really strikes me.
12:20.804 --> 12:23.345
[SPEAKER_02]: Yeah, it communicates so much about how they feel about human beings too.
12:23.805 --> 12:29.510
[SPEAKER_01]: It's incredibly striking, especially since the reason they give for these replicants to have a four year lifespan.
12:29.590 --> 12:36.176
[SPEAKER_01]: I didn't catch it until this time around, but they said it's because they start developing motions around four years in.
12:36.216 --> 12:38.138
[SPEAKER_01]: They start getting more feelings.
12:38.499 --> 12:40.701
[SPEAKER_01]: They pop out fully formed intellectually.
12:40.721 --> 12:41.521
[SPEAKER_01]: They get everything.
12:41.541 --> 12:42.502
[SPEAKER_01]: They understand how to talk.
12:42.522 --> 12:43.623
[SPEAKER_01]: They know how logic works.
12:44.104 --> 12:45.425
[SPEAKER_01]: All of that makes sense to them.
12:45.565 --> 12:49.286
[SPEAKER_01]: but they start developing emotions once they hit three, four years.
12:49.326 --> 12:51.807
[SPEAKER_01]: And so they said, you know what, that could be a problem for us.
12:51.927 --> 12:53.647
[SPEAKER_01]: Let's just make them only live four years.
12:53.707 --> 13:03.450
[SPEAKER_01]: So they could live longer, but they're basically don't want them to be these fully emotional beings, because I think they're worried that they might uprise, they might want to have more rights.
13:03.891 --> 13:05.851
[SPEAKER_01]: I think it would be a big big problem for Tyrell.
13:06.371 --> 13:09.732
[SPEAKER_01]: So they could have more life, but he's chosen to truncate them.
13:10.172 --> 13:10.893
[SPEAKER_00]: I disagree with that.
13:11.013 --> 13:11.553
[SPEAKER_00]: I'm going to count this.
13:12.193 --> 13:17.698
[SPEAKER_00]: But there's a scene where the main replicant Royabadi played by a rucket tower is going to see Tyrell.
13:18.439 --> 13:22.882
[SPEAKER_00]: The way he's gotten into see Tyrell is via one of Tyrell's engineers.
13:23.083 --> 13:29.288
[SPEAKER_00]: The engineer is still on planet because he has a genetic deficiency in his system.
13:29.308 --> 13:34.212
[SPEAKER_00]: He has Methuselah syndrome, which basically means it's accelerated to crepatuties.
13:34.232 --> 13:37.976
[SPEAKER_00]: He's aging rapidly, much like the replicants.
13:38.676 --> 13:39.917
[SPEAKER_00]: And so they go and see Tyrell.
13:40.357 --> 13:43.998
[SPEAKER_00]: And so Tyrell is talking to Batty and Batty is like, I want more life.
13:44.538 --> 13:45.299
[SPEAKER_00]: What can you do?
13:45.839 --> 13:51.521
[SPEAKER_00]: And Tyrell is going through all the permutations of how to get these things, how to change the DNA.
13:51.941 --> 13:57.043
[SPEAKER_00]: And Sebastian, who has disease, is sitting there watching from the background.
13:57.484 --> 14:08.088
[SPEAKER_00]: And every time that Tyrell talks about something that could also help him and is shocked down, he's seeing his chances for a better life being destroyed each time.
14:08.288 --> 14:08.948
[SPEAKER_00]: And he knows this.
14:08.988 --> 14:11.810
[SPEAKER_00]: He's probably going up and through it himself being a genetic designer.
14:11.950 --> 14:18.693
[SPEAKER_00]: But he's hearing the master at this Tyrell that is slowly going through going, can't do this.
14:18.913 --> 14:19.434
[SPEAKER_00]: Can't do this.
14:19.514 --> 14:20.054
[SPEAKER_00]: Can't do this.
14:20.154 --> 14:28.839
[SPEAKER_00]: And Sebastian's just having his worst fears kind of confirmed for how he is trying to basically save his own life essentially.
14:28.859 --> 14:29.579
[SPEAKER_00]: He can get off the net.
14:30.039 --> 14:37.192
[SPEAKER_00]: And so Tyrell comes in and in his line is we made you the best we could possibly make you and Roy goes but not to last.
14:37.672 --> 14:43.382
[SPEAKER_00]: And Tyrell's next statement is the flame that burns twice as bright, burns half as long.
14:44.158 --> 15:07.299
[SPEAKER_00]: However, if you go back further in the movie back to when Decker realizes that Rachel, one of the other characters in there is a replicant he's talking to Tyrell by himself and Tyrell's very basically talking to Decker being like, yeah, they have a four year lifespan and you were right, Steven, around the time they start developing their own emotions.
15:07.739 --> 15:14.103
[SPEAKER_00]: This to me kind of gets to the heart of what this movie is about is what it means to be human, even if you are not human.
15:14.323 --> 15:21.228
[SPEAKER_00]: And so Tyrell actually says when he's talking about Rachel, Dekker, it's like, how can she not, how can it not know what it is?
15:21.308 --> 15:24.350
[SPEAKER_00]: He doesn't even say, she, he says, how can it not know what it is?
15:24.670 --> 15:29.814
[SPEAKER_00]: Tyrell goes, we gave them memories to control them.
15:31.094 --> 15:32.095
[SPEAKER_00]: That was the key.
15:32.135 --> 15:37.096
[SPEAKER_00]: I was like, oh, you gave them memories to make them more human to control them.
15:37.676 --> 15:42.578
[SPEAKER_00]: What the memories that they had determine their personality going forward.
15:43.018 --> 15:46.979
[SPEAKER_00]: So depending on what memories you give them, you now have control over this.
15:47.319 --> 15:48.860
[SPEAKER_00]: So what are we as humans?
15:48.960 --> 15:51.841
[SPEAKER_00]: Are we the sum of our experiences in memories?
15:52.421 --> 15:52.861
[SPEAKER_00]: I don't know.
15:52.941 --> 15:58.245
[SPEAKER_00]: So there's another fantastic cyberpunk anime film out there called Ghost in the Shell.
15:58.645 --> 16:00.986
[SPEAKER_00]: And Ghost in the Shell is a fantastic anime.
16:01.006 --> 16:03.808
[SPEAKER_00]: If you guys haven't seen it, if you guys haven't covered it, I would highly suggest it.
16:04.068 --> 16:07.670
[SPEAKER_00]: And it is also about what it means to be human.
16:07.790 --> 16:14.114
[SPEAKER_00]: And even in the Book Nuromancer, they have two AI's that represent different parts of human consciousness
16:18.857 --> 16:27.681
[SPEAKER_00]: the AIs and Nuremansor in Ghost and the Shell, you've got somebody who is a human brain in a cyborg body.
16:28.321 --> 16:41.727
[SPEAKER_00]: The antagonist is an AI trying to get into a body and so they're looking for kind of the same thing like what does it mean to be human and it's those kind of memories and that's where it comes back to this film is
16:42.707 --> 16:57.380
[SPEAKER_00]: they implant the memories, they give them the memories to control them, which I thought was just like insidious and fantastic, and it's like you were making them more human by giving them memories, but you were putting them more and more under your control by what you give them for memories.
16:57.800 --> 17:08.049
[SPEAKER_00]: And this doesn't even get to start into the feelings that these replicants are developing on their own, because they have obviously developed feelings, they're taking pictures and photographs.
17:08.750 --> 17:12.793
[SPEAKER_00]: And I's, and photographs are massively important in this film.
17:13.253 --> 17:20.157
[SPEAKER_00]: It literally starts off the film with a shot of Roy's eye with the landscape reflected in it, which is also Egyptian.
17:20.177 --> 17:23.199
[SPEAKER_00]: And it talks about photographs, photographs play a huge part in this thing.
17:23.439 --> 17:28.702
[SPEAKER_00]: But the photographs that the replicants that have come back to earth are of their group.
17:29.303 --> 17:31.564
[SPEAKER_00]: So they have obviously started forming these feelings.
17:31.824 --> 17:33.065
[SPEAKER_00]: And where would you want more life?
17:33.285 --> 17:37.669
[SPEAKER_00]: when I'm starting to develop these feelings that are in my own, that are not accepted in me.
17:37.889 --> 17:47.978
[SPEAKER_00]: So they're kind of the antithesis to Rachel, who has photographs of a life that's not hers, whereas they have photographs of a life that they've made over four years.
17:48.298 --> 17:52.160
[SPEAKER_01]: And in glad you bring up the memories, that's an excellent point about the memories being used to control them.
17:52.360 --> 17:54.460
[SPEAKER_01]: The content of these memories always struck me.
17:54.681 --> 17:57.121
[SPEAKER_01]: These implanted memories always seemed traumatic.
17:57.141 --> 17:58.362
[SPEAKER_01]: They seem fear-based.
17:58.942 --> 18:08.126
[SPEAKER_01]: Like, there's one about, uh, there's one where Rachel has a memory that her brother showed her, his, his parts, and then she was too afraid to show hers.
18:09.086 --> 18:10.247
[SPEAKER_01]: a very traumatic memory.
18:10.668 --> 18:15.692
[SPEAKER_01]: Another memory of a spider laying eggs and then the eggs hatch and then eat the spider that laid the eggs.
18:15.832 --> 18:18.415
[SPEAKER_01]: All of these memories would make you distrust people.
18:18.655 --> 18:26.002
[SPEAKER_01]: They would just fill you with fear and anxiety and I do see how, as humans, if we have these traumatic memories, they can control us.
18:26.442 --> 18:39.463
[SPEAKER_01]: But I also see how if we were engineering a race of replicants to be controlled, putting memories in them that basically induces trauma and not really a happy childhood would be an excellent way to keep them controlled.
18:40.231 --> 18:44.832
[SPEAKER_02]: I'm so glad we brought up memories being these foundational elements of their consciousness.
18:45.972 --> 18:52.434
[SPEAKER_02]: I think it's important because it's actually a chain of philosophical thought, which is the core question, what makes a person?
18:53.114 --> 18:57.715
[SPEAKER_02]: And Descartes, Renee Descartes, the first one to sort of address this in the modern age, and we have,
19:01.576 --> 19:17.752
[SPEAKER_02]: the idea that if you can think you are a person, but this idea is further pursuit in philosophical history, notably we're talking about memories, meaning that we're talking about the psychological continuity theory, and this is pioneered by John Locke.
19:17.872 --> 19:25.520
[SPEAKER_02]: We love a social contract philosopher, but he's the founder of this theory, and he argues that consciousness, which is written in memory, makes a person.
19:25.980 --> 19:34.146
[SPEAKER_02]: So in his view, you are the exact same person as your younger self, simply because your current consciousness can extend backward to remember the experiences of your past self.
19:34.927 --> 19:49.018
[SPEAKER_02]: And this is for their developed in the 20th century by Derek Parfee who as a modern proponent refined the idea into psychological connectedness, arguing that identity is less about a strict all or nothing rule and more about overlapping chains of
19:49.538 --> 19:51.299
[SPEAKER_02]: memories and psychological traits.
19:51.819 --> 19:56.821
[SPEAKER_02]: So this is clearly an effort to define a psychology, the embedding of memory.
19:57.301 --> 19:59.822
[SPEAKER_02]: But there are questions about this.
20:00.162 --> 20:08.845
[SPEAKER_02]: The question has been pursued even further into the 21st century where the question is, if you have amnesia, are you still the same person that you were without memories?
20:09.205 --> 20:13.407
[SPEAKER_02]: And the answer usually in social behavioral contexts when people
20:19.089 --> 20:23.412
[SPEAKER_02]: whatever, the without that everyone stops at is values.
20:23.832 --> 20:29.596
[SPEAKER_02]: So people feel that they are themselves, as long as they retain connectedness to their original value set.
20:30.556 --> 20:46.346
[SPEAKER_02]: I think that's really interesting, because we are discussing memory first as a creation of identity, and now in this conversation as an initiatory controlling mechanism, I would ask if we can identify any values shared amongst
20:48.687 --> 20:52.210
[SPEAKER_02]: nurture our current idea of what identity is philosophically.
20:52.230 --> 20:54.812
[SPEAKER_03]: And it relates back to emotions as well.
20:54.832 --> 21:05.700
[SPEAKER_03]: You know, because they haven't only had four years to develop their own memories, we don't know for sure if they were implanted with any memories upon inception or not.
21:06.120 --> 21:11.844
[SPEAKER_03]: It kind of seems like they're saying no because he's doing this experiment with Rachel where he's implanted memories in her.
21:12.224 --> 21:20.429
[SPEAKER_03]: So they've formed these memories and somehow they've formed this bond between these replicants that have come back from off-world.
21:21.069 --> 21:25.692
[SPEAKER_03]: And you see that in the relationships and bonds that they've built together.
21:25.872 --> 21:28.454
[SPEAKER_03]: They obviously look out for one another.
21:28.634 --> 21:29.334
[SPEAKER_03]: They mourn.
21:29.414 --> 21:29.675
[SPEAKER_03]: I mean,
21:33.577 --> 21:37.118
[SPEAKER_03]: finds Chris's body are heartbreaking.
21:37.539 --> 21:39.239
[SPEAKER_03]: He howls like an animal.
21:39.599 --> 21:42.540
[SPEAKER_03]: He kisses her and spreads the blood on his lips.
21:43.381 --> 21:48.143
[SPEAKER_03]: You can see he is so emotionally distraught by this.
21:49.083 --> 21:57.406
[SPEAKER_03]: And it's hard to say that something that feels that deeply because of this bond that they formed with this other creature
21:59.770 --> 22:04.973
[SPEAKER_03]: human is not a value besides the very end scene with him on the roof.
22:05.133 --> 22:14.918
[SPEAKER_03]: I think that just one moment is the strongest for showing that these individuals have value as much as decreed.
22:14.938 --> 22:20.521
[SPEAKER_03]: In fact, their empathy is more so than decreed at that point.
22:20.621 --> 22:24.543
[SPEAKER_03]: Because decreed, we don't know how many replicants that he's killed.
22:25.298 --> 22:27.840
[SPEAKER_01]: The empathy component is a huge factor here, Shay.
22:27.860 --> 22:31.062
[SPEAKER_01]: And like I've watched Blade Runner rush, Blade Runner 249.
22:31.642 --> 22:40.208
[SPEAKER_01]: And I've never said to myself these creatures that are made of flesh and blood that were created in a lab, seem anything less than human.
22:40.668 --> 22:43.330
[SPEAKER_01]: They always seem very, very human, especially in Blade Runner.
22:43.830 --> 22:45.952
[SPEAKER_01]: All of the replicants to me seem incredibly human.
22:46.719 --> 22:48.761
[SPEAKER_01]: It's odd to me that they're even having this conversation.
22:48.782 --> 22:52.806
[SPEAKER_01]: I think it's about control for them trying to keep these replicants under underlocking key.
22:53.387 --> 23:03.479
[SPEAKER_01]: If they were fashioned out of mechanical parts, if they didn't have a beating heart and they had some other mechanism, I think a lot of emotions come from just having a physical body.
23:03.999 --> 23:06.681
[SPEAKER_01]: I think a lot of what makes us human comes from having a physical body.
23:07.061 --> 23:11.223
[SPEAKER_01]: And so these replicants, virus understand, they have actual physical human bodies.
23:11.564 --> 23:15.306
[SPEAKER_01]: They just were created in a lab versus, you know, born up a human.
23:15.626 --> 23:19.869
[SPEAKER_00]: But they're also like, kind of genetically superior to humans in a lot of ways.
23:19.889 --> 23:22.150
[SPEAKER_00]: Yes, stronger, et cetera, et cetera.
23:22.510 --> 23:26.713
[SPEAKER_00]: And remember too, like the memories that were implanted in Rachel were, were not created.
23:26.753 --> 23:28.474
[SPEAKER_00]: They were actually from Tyrell's niece.
23:28.934 --> 23:40.599
[SPEAKER_00]: Yeah, and yeah, there were some traumatic things in there, but that's kind of part of being human those touchpoints, but she also carries around pictures of not her, but supposedly her with her mother.
23:41.119 --> 23:42.360
[SPEAKER_00]: So there's still good stuff in there.
23:42.380 --> 23:44.260
[SPEAKER_00]: There's got to be good memories and stuff like that.
23:45.401 --> 23:46.601
[SPEAKER_00]: You know, they just picked out for her.
23:46.621 --> 23:47.962
[SPEAKER_03]: Yeah, no lessons.
23:48.262 --> 23:49.343
[SPEAKER_03]: Yeah, you know, stuff like that.
23:49.503 --> 24:00.852
[SPEAKER_00]: So, and then to Laura's point when Chris is quoting Dick Hart is literally like, I think therefore I am, and Roy's next line is now show him why.
24:01.673 --> 24:03.915
[SPEAKER_00]: And, you know, she does like backlash and stuff.
24:03.955 --> 24:07.738
[SPEAKER_00]: And he's then Roy's like, yeah, we're physical Sebastian, we're here.
24:08.539 --> 24:11.821
[SPEAKER_00]: But what's really interesting is throughout all this, even though they're
24:12.982 --> 24:19.147
[SPEAKER_00]: And this goes back to something Chase that is in social contracts and social values where a lot of our values come from or from social.
24:19.627 --> 24:26.593
[SPEAKER_00]: There's something about them and how they act that Sebastian picks out right away that they're not human.
24:27.354 --> 24:35.060
[SPEAKER_00]: Even though they have developed a void comp machine to get emotional response to figure it out, Sebastian figures it out.
24:35.540 --> 24:38.803
[SPEAKER_00]: So he has somehow been able to pick out like,
24:39.423 --> 24:57.750
[SPEAKER_00]: I know like what generally he did literally ask like what generation and so I think that's kind of interesting is just there's something a little off there's something a little off is a bastion which it may be why he understands that also he's a genetic engineer probably does that as well you know he said he makes his friends his friends or toys that he makes.
24:58.324 --> 25:04.051
[SPEAKER_03]: And they look like they are also some sort of not completely artificial creature.
25:04.611 --> 25:06.133
[SPEAKER_03]: This is what he surrounds himself with.
25:06.574 --> 25:11.719
[SPEAKER_03]: He's able to pick them out like Jason was saying more so than the regular Joe on the street.
25:12.473 --> 25:17.198
[SPEAKER_02]: Yeah, definitely, we just as viewers kind of can identify their increased empathy.
25:17.378 --> 25:24.164
[SPEAKER_02]: They have a child like quality, right, a softness to them that is absent from the rank-and-file members of Los Angeles.
25:24.204 --> 25:33.593
[SPEAKER_02]: Like, one of the things that really strikes me about Blade Runner is that though replicants are hunted down and retired, quote unquote,
25:34.234 --> 25:37.036
[SPEAKER_02]: They are not treating human beings really much better.
25:37.216 --> 25:41.459
[SPEAKER_02]: Like I think if they could get away with it, they would also hunt down and retire human beings.
25:42.019 --> 25:49.404
[SPEAKER_02]: Cause you have deckerard being pulled into Brian's office, him threatening him with that little people line and what it would mean.
25:50.084 --> 25:53.406
[SPEAKER_02]: This is a world that devalues humanity.
25:53.927 --> 25:59.810
[SPEAKER_02]: And that's what makes replicants such as salient metaphor because they seem so much more human.
26:04.313 --> 26:06.594
[SPEAKER_02]: best parts of humanity that we really like.
26:07.035 --> 26:15.299
[SPEAKER_02]: The willingness to connect and they're like making friends, Chris very quickly gets very close to our genetic engineer.
26:15.839 --> 26:23.523
[SPEAKER_02]: They are in human because they love or connect so willingly, behaving in a fundamentally different way.
26:23.843 --> 26:30.625
[SPEAKER_00]: Yeah, and I mean, every one of them is willing to murder without a doubt, like they're all unhappy to survive.
26:30.706 --> 26:32.746
[SPEAKER_00]: They're like, yeah, we don't really care.
26:32.786 --> 26:33.927
[SPEAKER_00]: We're going to just kill whoever.
26:34.487 --> 26:40.449
[SPEAKER_00]: And it's funny that you mentioned that because Prist, she's just doing it to manipulate Sebastian.
26:40.489 --> 26:41.609
[SPEAKER_00]: She doesn't care about Sebastian.
26:41.650 --> 26:48.112
[SPEAKER_00]: She's just getting close to him to be able to introduce Roy so that he can go and see Tyrell for a being who does not have
26:48.692 --> 26:55.295
[SPEAKER_00]: that much experience, the fact that she's able to do that that well, and that quickly is really interesting.
26:55.375 --> 26:57.596
[SPEAKER_00]: How she goes about it, she plays on his sympathies.
26:58.076 --> 27:02.858
[SPEAKER_00]: And that's something I hadn't really considered all the times I watched this until just now.
27:02.878 --> 27:14.203
[SPEAKER_00]: It's like, yeah, wow, for somebody who has no experience, it's supposedly, you know, not even in like that human society, like that's a societal thing to be able to do that and manipulate somebody and have that happen.
27:14.223 --> 27:15.884
[SPEAKER_00]: It's just, it's really interesting.
27:16.183 --> 27:18.186
[SPEAKER_03]: You know, you mentioned their child like demeanor.
27:18.226 --> 27:24.053
[SPEAKER_03]: I mean, having only been alive for four years, there's a child like lack of impulse control as well.
27:25.034 --> 27:28.198
[SPEAKER_03]: You see that when Roy Batty murders Tyrell.
27:28.599 --> 27:31.622
[SPEAKER_03]: You know, he is killing that one person that could
27:32.223 --> 27:39.125
[SPEAKER_03]: actually implement his life expansion, even though he's saying that he can't now, which, you know, we could get into whether or not that's a lie or not.
27:39.645 --> 27:49.708
[SPEAKER_03]: But in that disappointment and rage, you know, crushes his maker's skull in a way that, you know, like a toddler not getting their way, might break something.
27:49.968 --> 27:54.470
[SPEAKER_03]: And I think that child likeness comes forth most in Leon.
27:55.110 --> 27:57.873
[SPEAKER_03]: He's the most simple of them all.
27:58.173 --> 28:01.096
[SPEAKER_03]: And you see, he has that connection to those photographs.
28:01.136 --> 28:04.719
[SPEAKER_03]: He wanted his photographs and and just the way she's photos.
28:05.139 --> 28:14.268
[SPEAKER_03]: Yeah, the way he interacts with Roy Badi, he really does come across as the most childlike, which makes you feel more empathy for these characters.
28:14.608 --> 28:20.133
[SPEAKER_03]: In contrast to Brian, who A has pure child molester vibes, I'm sorry.
28:21.214 --> 28:34.419
[SPEAKER_03]: And he, you know, the way he talks about them, calling them skin jobs, you know, obviously incredibly derogatory, incredibly dehumanizing, to make it easier to take them out and murder them.
28:34.619 --> 28:37.040
[SPEAKER_00]: Like, even when he tells Decker, he's like, there's four left.
28:37.440 --> 28:38.821
[SPEAKER_00]: And Decker is like, no, there's three.
28:38.841 --> 28:40.481
[SPEAKER_00]: He's like, no, Rachel disappeared.
28:40.601 --> 28:41.802
[SPEAKER_00]: Turns out she was really good.
28:41.822 --> 28:42.142
[SPEAKER_00]: Yeah.
28:42.482 --> 28:43.482
[SPEAKER_00]: And he kind of smiles.
28:43.522 --> 28:44.863
[SPEAKER_00]: He's kind of like, all right.
28:44.923 --> 28:45.543
[SPEAKER_00]: What do I care?
28:45.603 --> 28:47.664
[SPEAKER_00]: Another replicant dead, you know?
28:47.864 --> 28:51.989
[SPEAKER_03]: you've mentioned before when he's said to Deckard, you're not cop your little people.
28:52.289 --> 28:56.033
[SPEAKER_03]: So if you don't do this, you're at the level of these replicants.
28:56.113 --> 29:04.543
[SPEAKER_03]: It also shows that world in which we live, especially with the police state that's happening in that world and throughout all the Blade Runner media.
29:04.843 --> 29:09.346
[SPEAKER_00]: So since we're talking about police state, I'd kind of like to get your guys's tone and feeling about gas.
29:09.386 --> 29:10.627
[SPEAKER_03]: You have taken over here.
29:10.787 --> 29:11.367
[SPEAKER_03]: Sorry.
29:11.588 --> 29:12.969
[SPEAKER_03]: I'm just going to go on.
29:13.209 --> 29:13.969
[SPEAKER_00]: Yeah.
29:14.009 --> 29:18.012
[SPEAKER_00]: And we're just, that's why you're here, the character of Gaff.
29:18.132 --> 29:22.555
[SPEAKER_00]: I kind of just, I'm really curious to see what you guys think and about him and his characterization.
29:23.025 --> 29:30.968
[SPEAKER_02]: Okay, so I have my own conspiracy theory that I developed watching this, uh, which was much like in Blade Runner 249.
29:31.128 --> 29:41.551
[SPEAKER_02]: I feel like everyone who's retiring replicants is also a replicant because they talked about who replaced Deckard and they're like, I mean, he's fine as long as you remember to plug them in.
29:42.091 --> 29:47.296
[SPEAKER_02]: And I'm like, that's a weird thing to say with no further information about this man.
29:47.596 --> 29:53.181
[SPEAKER_02]: And there's something about Gaff that is also distinctly in human.
29:53.521 --> 29:58.725
[SPEAKER_02]: Maybe it's maybe it's the origami interest, which is charming and far too whimsical for this land.
29:59.326 --> 30:03.329
[SPEAKER_02]: Maybe it's his strange contacts they put on him to make him look slightly unreal.
30:03.750 --> 30:08.814
[SPEAKER_03]: Yeah, you know, there's something about him too that's interesting because this world is set.
30:09.935 --> 30:19.400
[SPEAKER_03]: Philip K. Dick's idea was that, by this time, by 20, I think it was really nice, I mean, like, 16, yeah, I think it was something years ago.
30:19.840 --> 30:25.063
[SPEAKER_03]: The original book was a really nice set, I think, 2007 or about a decade earlier.
30:25.404 --> 30:31.287
[SPEAKER_03]: Anyway, his idea was that Japan and China had become such technological powers that they basically
30:31.767 --> 30:34.229
[SPEAKER_03]: were the economic powers of the world.
30:34.269 --> 30:40.574
[SPEAKER_03]: And so that's why we see so much Japanese and other Asian influence in this scene.
30:41.114 --> 30:50.282
[SPEAKER_03]: And Gaff to me, and I think the actor is Hispanic, but he comes across as very much like he could be Asian.
30:50.842 --> 30:52.643
[SPEAKER_03]: It fits in really well with the world.
30:52.663 --> 30:54.004
[SPEAKER_03]: And that's one thing that struck me.
30:54.065 --> 30:57.127
[SPEAKER_03]: And then his language that he uses, the city speak, which is...
30:57.267 --> 30:57.948
[SPEAKER_03]: The Petra.
30:58.708 --> 31:06.358
[SPEAKER_03]: is this patrol that, you know, you're not quite sure what it is, what the language is, some people understand it, that your doesn't for some reason.
31:06.578 --> 31:07.860
[SPEAKER_02]: No, you think that's good.
31:08.140 --> 31:17.392
[SPEAKER_02]: Yeah, if you're watching with voiceover, then it's explained that it's a mishmash of of English and Japanese and Spanish and German and blah, blah, blah, blah, it's everything.
31:17.725 --> 31:23.228
[SPEAKER_00]: So what's really funny is the scene where Gaff comes to get up the first time and he's literally sitting down to eat at this thing.
31:23.969 --> 31:29.753
[SPEAKER_00]: And he's talking to the proprietor of the sushi bar where he's at that he's sitting down to eat noodles.
31:30.473 --> 31:31.133
[SPEAKER_03]: It's like four.
31:31.454 --> 31:33.515
[SPEAKER_00]: Yeah, no, two, two, four.
31:33.735 --> 31:34.175
[SPEAKER_00]: Four.
31:34.676 --> 31:34.976
[SPEAKER_00]: He's like.
31:35.556 --> 31:43.960
[SPEAKER_00]: and noodles, Brian, whatever, so but he sits down and he's like the guy is talking to him, Gaff is talking to him and the proprietor understands him.
31:44.320 --> 31:45.540
[SPEAKER_00]: He says you're under arrest.
31:45.800 --> 31:46.621
[SPEAKER_00]: He says you're under arrest.
31:46.661 --> 31:48.822
[SPEAKER_00]: He's like, yeah, you got the wrong guy, pal.
31:49.202 --> 31:58.425
[SPEAKER_00]: He's like, you were you a blade runner and he's, and so Dekker does 100% understanding him because then Gaff says something and he's like, Brian it, he's like, okay, fine.
31:58.686 --> 32:02.247
[SPEAKER_00]: And that was Edward James almost his idea was to do that kind of like Esperanto thing.
32:02.307 --> 32:04.248
[SPEAKER_00]: It's really funny because Gaff is kind of the flip of
32:04.768 --> 32:28.943
[SPEAKER_00]: Dekert in a lot of ways because Dekert's kind of sloppy and Gaff is like super put together with the hat all the stuff always clean prim proper tight and it's kind of interesting that if there is a replicant it's probably not Gaff it's probably Dekert and that's something that really Scott has always maintained he's like, yeah, I didn't want there to be a definitive answer.
32:29.303 --> 32:37.007
[SPEAKER_00]: He thinks the decker is a replicant that's where he's gone with it and we can talk about the eyes again Where people's eyes kind of glow and really Scott did that on purpose.
32:37.147 --> 32:49.152
[SPEAKER_00]: He did that with a light splitter And so he's like yeah, we wanted to have this happen and so it was a real owl to use same sort of thing And they did that so there's a couple scenes where Deckard has that as well when he's talking to Rachel and
32:49.372 --> 32:54.439
[SPEAKER_00]: And it's funny because Rachel's eyes go back to more human and decades become a little more replicant.
32:54.679 --> 33:02.370
[SPEAKER_00]: The irony that gaff is human but is like super put together and the sloppy dude Dekert is the replicant I always think is really interesting.
33:02.870 --> 33:04.653
[SPEAKER_00]: For me though, all the little or agami
33:04.793 --> 33:10.537
[SPEAKER_00]: that gaff leaves around is really important, I think, that it's really cool because he does like the little matchstick men.
33:10.818 --> 33:14.040
[SPEAKER_00]: He literally pulls a match, like a wooden match out makes this little matchstick men.
33:14.080 --> 33:15.401
[SPEAKER_00]: He kind of just does it in the background.
33:15.421 --> 33:26.309
[SPEAKER_00]: You don't really notice, but he leads it down and it's this matchstick men or a unicorn and I think that's really interesting how gaff is not a major character, but it's kind of like a through line.
33:26.710 --> 33:27.630
[SPEAKER_00]: And gaff never really
33:30.352 --> 33:31.873
[SPEAKER_00]: way that's not that patrol.
33:31.893 --> 33:32.773
[SPEAKER_00]: That's really interesting.
33:32.793 --> 33:35.815
[SPEAKER_00]: It's almost like he's trying to take his job or something like that.
33:35.855 --> 33:38.016
[SPEAKER_03]: I don't know, but I have read things about that.
33:38.056 --> 33:51.243
[SPEAKER_03]: That Gaff hates Deckard because I think it was Gaff was injured, which is why he walks with a walking stick and a bit of a limp and that he hates Deckard and he does not want to see Deckard succeed.
33:51.523 --> 33:57.847
[SPEAKER_03]: And you can see him mocking Deckard with his origami with the chicken and the matchstick man that has an erection.
33:59.487 --> 34:00.627
[SPEAKER_03]: I missed that.
34:01.068 --> 34:04.328
[SPEAKER_03]: And the final origami, the unicorn.
34:04.408 --> 34:07.849
[SPEAKER_03]: And this is one of the big differences between the theatrical cut that you guys watched.
34:08.069 --> 34:18.771
[SPEAKER_03]: And the final cut, which is the best of all of them, is that unicorn specifically refers to a scene that was added for the final cut.
34:18.811 --> 34:21.032
[SPEAKER_03]: And that's a kind of daydream sequence.
34:21.332 --> 34:30.818
[SPEAKER_03]: Decorate is playing the piano and kind of dozing off because he's drunk and this scene of a unicorn running through the forest comes on.
34:31.418 --> 34:43.626
[SPEAKER_03]: Then at the end, Gaff leaves this unicorn or gummy and people argue about what that meant, but the strongest argument is that Decorate is a replicant.
34:44.066 --> 35:01.432
[SPEAKER_03]: that this is one of the implanted memories, and the reason that Gaff knew about the unicorn is because he knows Dekord is a replicant, and he knows about this memory, and so this is just a sign from Gaff, another final tease saying, I know what you are.
35:02.112 --> 35:08.695
[SPEAKER_03]: And even his last words to Dekord, it's a shame she won't live, but then again, who does?
35:09.495 --> 35:14.657
[SPEAKER_03]: I think is a jab from Gaff to Deckard saying, like, you're not going to live either.
35:16.158 --> 35:27.463
[SPEAKER_02]: So yeah, I also do like the running of the miniatures of animals and people because it's it's sort of reflective of the world too where we have this owl who's artificial.
35:27.503 --> 35:31.424
[SPEAKER_02]: We have one of the replicants using a snake in a stage show, but it's a fake snake.
35:31.644 --> 35:32.665
[SPEAKER_02]: We can guess that organic
35:35.966 --> 35:41.268
[SPEAKER_02]: because in the test that they're doing on Rachel, one of the questions is someone gives you a calf skin wallet.
35:41.288 --> 35:41.848
[SPEAKER_02]: What do you do?
35:42.249 --> 35:43.389
[SPEAKER_02]: And she's like, I report them.
35:43.469 --> 35:44.410
[SPEAKER_02]: I do not accept it.
35:44.610 --> 35:47.771
[SPEAKER_02]: Someone talking about the snake is saying, I couldn't afford a real snake.
35:48.351 --> 35:53.573
[SPEAKER_02]: There is a birth of organic material in here, but there is an abundance of fakes.
35:54.133 --> 36:00.556
[SPEAKER_02]: And I think it's interesting that we also have calf producing little fake animals too, because that is that is in micro
36:02.857 --> 36:22.030
[SPEAKER_03]: So the animals are, you know, they seem like they're just, uh, background in this movie, but this is one of the direct connections to Philip K. Dex, but do Andrew's stream of electric sheep because in that world, the world that that decorative living in comes after multiple world wars and a nuclear event.
36:22.230 --> 36:25.813
[SPEAKER_03]: So which is why people are moving off world, people that are
36:32.177 --> 36:34.759
[SPEAKER_03]: They are found to be deficient yet.
36:34.779 --> 36:36.420
[SPEAKER_03]: They're not allowed to go off world.
36:37.081 --> 36:42.745
[SPEAKER_03]: And one of the things is most animal life has died out because of this nuclear event.
36:43.266 --> 36:55.776
[SPEAKER_03]: And so real animals are very expensive and highly prized and this kind of weird thing about the book is that a social status symbol was whether or not you own to real animal.
36:56.156 --> 37:01.421
[SPEAKER_03]: And so people would have these, they'd live in these tenement apartments, but that they'd have a rooftop terrace.
37:01.722 --> 37:03.744
[SPEAKER_03]: That's where they would keep their animals.
37:04.024 --> 37:07.587
[SPEAKER_03]: And Deckard had a synthetic sheep.
37:08.228 --> 37:12.853
[SPEAKER_03]: That was his animal, but he longed for a real animal.
37:12.893 --> 37:14.774
[SPEAKER_03]: His neighbor had a real horse.
37:15.635 --> 37:19.739
[SPEAKER_03]: And so one of the things in the book early on was him just,
37:20.560 --> 37:30.806
[SPEAKER_03]: He was going to go after these replicants because he wanted the money so he could buy his wife a real animal and he checked in on pricing for a real ostrich.
37:31.739 --> 37:37.604
[SPEAKER_03]: which is why we see the ostriches in that one scene where there are kind of in the animal market.
37:37.704 --> 37:42.768
[SPEAKER_03]: And this is why the animals and the synthetic animals are so prevalent in the movie.
37:42.808 --> 37:44.569
[SPEAKER_03]: Now, I do have to mention one scene.
37:45.310 --> 37:47.832
[SPEAKER_03]: I don't know if it was in the theatrical cut, but in the final cut.
37:47.912 --> 37:51.435
[SPEAKER_03]: He finds that scale in Leon's bathtub, right?
37:51.475 --> 37:53.016
[SPEAKER_03]: And he takes it down to the animal market.
37:53.416 --> 37:55.718
[SPEAKER_03]: to the woman to see is as a fish scale.
37:56.058 --> 38:15.076
[SPEAKER_03]: No, it's a snake scale, but when he's coming up to her as the camera is moving around to focus in on them, there's this archway and there's this like fake bird, not like a synthetic bird, like a plastic fake bird sitting on top of the archway and as somebody is moving through the scene, they bump the arch and right before the camera moves away that bird falls.
38:16.897 --> 38:28.207
[SPEAKER_03]: But I got left in the movie and it just makes me giggle every time little little things like that, but yeah, the animals are the importance of the animals ties back to the book.
38:28.769 --> 38:29.189
[SPEAKER_00]: And for sure.
38:29.369 --> 38:33.071
[SPEAKER_00]: So yeah, that's one of the things with where Zora is talking about the snake.
38:33.111 --> 38:36.572
[SPEAKER_00]: And she's like, yeah, do you think I'd be working here if I could afford a real snake?
38:37.172 --> 38:38.472
[SPEAKER_00]: I, you know, I thought was really interesting.
38:38.733 --> 38:43.394
[SPEAKER_00]: Just as a quick thing about animals and people owning animals, Joanne Cassidy is the actress of Zora.
38:44.154 --> 38:47.816
[SPEAKER_00]: And so when she was looking at the part, she was reading for the part and stuff like that.
38:48.236 --> 38:52.637
[SPEAKER_00]: And she basically, like, called really Scott happens like you have to give you this part.
38:52.917 --> 38:53.818
[SPEAKER_00]: Because I have.
38:54.678 --> 38:55.458
[SPEAKER_00]: an actual snake.
38:56.039 --> 38:57.459
[SPEAKER_00]: So, and that was her snake.
38:57.620 --> 38:58.800
[SPEAKER_00]: There was in the film.
38:59.160 --> 38:59.661
[SPEAKER_00]: It was her.
38:59.681 --> 39:03.302
[SPEAKER_00]: She's like, I know how to act with the snake because I have a snake.
39:03.662 --> 39:06.684
[SPEAKER_00]: And so that was literally her snake that was in the film, which I just thought was rad.
39:06.704 --> 39:07.945
[SPEAKER_00]: That was such a cool little touch.
39:08.405 --> 39:10.186
[SPEAKER_00]: So, that's amazing.
39:10.226 --> 39:13.767
[SPEAKER_00]: And it's funny because I'm a huge, really Scott fan.
39:14.008 --> 39:17.229
[SPEAKER_00]: I don't really think that this is like really Scott at his peak.
39:17.849 --> 39:18.270
[SPEAKER_00]: However,
39:19.110 --> 39:23.971
[SPEAKER_00]: I think that so much stuff came together on this film that everything's kind of fell into place.
39:24.231 --> 39:29.012
[SPEAKER_00]: Even though there was a lot of tension and a lot of stuff and they were like tons of night shooting.
39:29.032 --> 39:31.033
[SPEAKER_00]: There was like six weeks of night shooting.
39:31.413 --> 39:33.333
[SPEAKER_00]: The where they shot at with a Bradley building.
39:33.353 --> 39:37.154
[SPEAKER_00]: They had to put back together every morning because it was an actual working office building.
39:37.414 --> 39:41.935
[SPEAKER_00]: Like all the stuff that they did, you know, and he was super tight on money on some of these things.
39:42.475 --> 39:44.936
[SPEAKER_00]: They didn't have a lot of the effects capabilities that they have.
39:44.956 --> 39:48.237
[SPEAKER_00]: So like yeah, we had a frame of shot with the spinner, the flying cars in there.
39:49.337 --> 40:15.579
[SPEAKER_00]: We didn't have a really good way to remove the wires that we're holding them in there and some of the original cuts You can still see the wires from the sminners and stuff bringing them down and they're like yeah We just kind of tried to hide them as much as we could but and so I think there's a lot of things that came into play And there was things that the actors did there was things that really Scott did There were things in the production managers did the designers on it that kind of all came together to make this kind of incredible film
40:16.253 --> 40:45.187
[SPEAKER_01]: Yeah, it's clear that there was a very, very strong vision coming from really Scott to cinematographer Jordan Cronin with to everyone on this staff notably the cinematographer Jordan Cronin with confirmed that really Scott felt the style of photography and citizen cane most closely approached the look that he wanted for blade runner specifically the high contrast and usual camera angles and the use of shafts of light Jordan Cronin with also use a lot of crack or oil for this, which is not
40:46.067 --> 40:47.388
[SPEAKER_01]: It is not a laughable today.
40:47.408 --> 41:01.620
[SPEAKER_01]: It's not safe for humans, but it did create the we stopped using it since, but it did create this incredibly smoky, beautiful dystopian look that you see when these replicants and decad are running through these scenes and they're running through this heavy heavy smoke.
41:01.900 --> 41:02.861
[SPEAKER_01]: That's all the cracker oil.
41:02.901 --> 41:07.225
[SPEAKER_01]: In fact, then all of this intense lighting that cronin with and really Scott collaborated on.
41:07.305 --> 41:10.488
[SPEAKER_01]: So yeah, it's clear that this was just so beautifully designed.
41:10.868 --> 41:22.632
[SPEAKER_02]: Well, yeah, and I like that you pointed out that it shared stylistic nodes with citizen can because you, you do see the foreground, the middle ground, and the background being in crisp focus in every single scene.
41:22.912 --> 41:23.592
[SPEAKER_00]: Yeah, almost.
41:24.152 --> 41:27.793
[SPEAKER_00]: I would disagree with that with some of the internal like Tyrell's apartment.
41:28.253 --> 41:30.954
[SPEAKER_00]: And I guess I was talking about the series.
41:31.174 --> 41:33.095
[SPEAKER_00]: They're kind of smoky and foggy.
41:33.155 --> 41:39.017
[SPEAKER_00]: And what's really interesting is if you look at like, any sort of production stuff of like debtless, say, Decker's apartment.
41:39.537 --> 41:44.445
[SPEAKER_00]: It looks like a real apartment and some of the production designers are like, yeah, you could have like lived here.
41:44.465 --> 41:47.008
[SPEAKER_03]: Right, this is what I've been waiting to mention.
41:49.097 --> 41:49.397
[SPEAKER_03]: Okay.
41:49.417 --> 41:50.738
[SPEAKER_03]: Go ahead, Jay, what have we got?
41:51.159 --> 41:51.499
[SPEAKER_03]: Okay.
41:51.779 --> 41:53.020
[SPEAKER_03]: So this is very cool.
41:53.140 --> 41:55.663
[SPEAKER_03]: So just talking about some of the anatomy of the movie.
41:56.203 --> 42:04.370
[SPEAKER_03]: So this is apartment was the Inis house, which is a Frank Lloyd Wright house in Los Veles.
42:04.870 --> 42:06.271
[SPEAKER_03]: And this house is amazing.
42:06.292 --> 42:07.493
[SPEAKER_03]: It has an amazing history.
42:07.513 --> 42:13.898
[SPEAKER_03]: You got to just get on and read about the history of this house and the struggles that this house has gone through.
42:14.298 --> 42:18.280
[SPEAKER_03]: It was built using 27,000 blocks that are patterned.
42:18.761 --> 42:23.243
[SPEAKER_03]: So they're cast blocks, and in this like Mayan Revival style.
42:23.683 --> 42:27.545
[SPEAKER_03]: And so they actually filmed quite a few scenes inside this house.
42:27.966 --> 42:31.528
[SPEAKER_03]: So there's a scene where he's kind of like driving down into his parking garage.
42:31.548 --> 42:33.509
[SPEAKER_03]: That is the actual parking garage at the house.
42:33.929 --> 42:35.049
[SPEAKER_03]: Some of the scenes inside.
42:35.089 --> 42:39.712
[SPEAKER_03]: They brought in all these fiberglass panels to set up his apartment,
42:41.813 --> 42:44.174
[SPEAKER_03]: And it does have a kind of tomb-like feel.
42:44.214 --> 42:52.856
[SPEAKER_03]: And when you're in his apartment, it has that tomb-like feel and old and crumbling, because the in-as-house was crumbling.
42:52.956 --> 42:54.176
[SPEAKER_03]: It was falling apart.
42:54.236 --> 42:59.678
[SPEAKER_03]: It has taken millions of dollars of renovation just to keep it from being literally condemned.
42:59.878 --> 43:02.158
[SPEAKER_03]: It was partially condemned for quite a while.
43:02.698 --> 43:05.159
[SPEAKER_03]: I absolutely love that use of that.
43:05.239 --> 43:08.680
[SPEAKER_03]: And then the other one is the Bradbury building that Jason mentioned.
43:09.135 --> 43:14.279
[SPEAKER_03]: where on the outside of the blood, Bradbury building is very kind of not that exciting.
43:14.359 --> 43:33.676
[SPEAKER_03]: It wouldn't look at it and be very excited, but the inside is where it really lives with those lattice iron work and those elevators that are still in existence today, and they really do help set the scene, especially the Bradbury building the inside, because you see like there's debris everywhere, there's puddles everywhere.
43:34.216 --> 43:34.597
[SPEAKER_03]: And J.F.
43:34.617 --> 43:39.881
[SPEAKER_03]: Sebastian says, yeah, there's no shortage of housing around here because everybody's gone off worlds.
43:39.921 --> 43:45.807
[SPEAKER_03]: You have these massive buildings that are pretty much empty so you can live there alone, but it's falling apart around you.
43:46.147 --> 43:47.628
[SPEAKER_00]: Yeah.
43:47.808 --> 43:59.439
[SPEAKER_00]: That shot into the apartment building is one of my favorite scenes and it took something like 12 different passes filming that to get all those lights through because that's all practical and that's just that blows my mind.
43:59.559 --> 44:00.200
[SPEAKER_00]: That's crazy.
44:01.141 --> 44:04.802
[SPEAKER_02]: Do the interior of the Bradbury is unequaled in gorgeousness?
44:05.182 --> 44:09.643
[SPEAKER_02]: Okay, so, Shay, you brought us my in-revival architecture inside Deckard's house.
44:10.303 --> 44:19.266
[SPEAKER_02]: Compare that then to Tyrell's like ironic pyramid, because there are two cultures that have pyramids, but they are deeply opposing.
44:19.386 --> 44:27.808
[SPEAKER_02]: In a lot of ways, I love that the two influences exist and sort of act as antagonistic architecture towards each other if you think about it.
44:28.328 --> 44:39.560
[SPEAKER_02]: A my impurement is about religion and religious festivals for people, and a Pharaoh's pyramid is about the tomb, like quality, but just a tomb to one man.
44:40.040 --> 44:50.631
[SPEAKER_00]: So what's really interesting is in the designs that they were looking at doing for Tyrell, and there was even a scene when Roy shows up, he would go into the hearts of the pyramid.
44:50.971 --> 44:59.996
[SPEAKER_00]: and there was a sarcophagus with essentially the original Tyrell entoomed in the sarcophagus in the middle of the pyramid, which makes it ton of sense.
45:00.156 --> 45:06.539
[SPEAKER_00]: This could easily be a Tyrell, you know, has memories of being Tyrell, but isn't is just recycled every four years.
45:06.979 --> 45:12.702
[SPEAKER_00]: You know, I said it put some plot holes and stuff, but it was kind of an interesting thing when I heard that, I was like, oh, there's a lot of stuff that makes sense.
45:13.002 --> 45:18.386
[SPEAKER_00]: really Scott, I don't think he necessarily super consciously went after a lot of these details.
45:18.426 --> 45:20.087
[SPEAKER_00]: It was like, oh, this just kind of feels right.
45:20.248 --> 45:26.252
[SPEAKER_00]: Because even in Sebastian's apartment, you know, Sebastian is kind of also has this child like wonder about him.
45:26.592 --> 45:29.134
[SPEAKER_00]: And he's got almost like a ren fair jacket on.
45:29.154 --> 45:29.995
[SPEAKER_00]: He has all these weird
45:30.255 --> 45:31.797
[SPEAKER_00]: you know, little creatures in this house.
45:31.917 --> 45:34.600
[SPEAKER_00]: But then he also has a stuffed ostrich in his house.
45:35.080 --> 45:43.990
[SPEAKER_00]: And then the chest game that he's playing with Tyrell is all birds, all the pieces of birds.
45:44.391 --> 45:48.715
[SPEAKER_00]: And then when he's talking to Chris and Roy, what generation are you?
45:48.975 --> 45:50.437
[SPEAKER_00]: He's like, yeah, I do genetic design work.
45:50.457 --> 45:52.119
[SPEAKER_00]: There's some of me in you.
45:52.479 --> 45:57.921
[SPEAKER_00]: which is like, oh, advanced decrepitude, the thuseless syndrome for your lifespan or something.
45:57.961 --> 46:10.126
[SPEAKER_00]: Me in you is that where that came from, which is which makes Sebastian seen with Tyrell later on, where he's watching what Tyrell is saying is like, oh, can Tyrell potentially fix me, I think in a lot of those.
46:10.226 --> 46:15.648
[SPEAKER_00]: And Roy, it's off screen, but Roy actually kills Sebastian after he kills Tyrell because it's brought up later on.
46:15.688 --> 46:17.289
[SPEAKER_00]: So yeah, there's two of those two dead bodies.
46:18.069 --> 46:20.510
[SPEAKER_00]: So Roy just is like, sorry, Sebastian, you gotta go.
46:20.832 --> 46:28.016
[SPEAKER_03]: You know, the, the world that they've built really sets a scene to enhance the sense of loneliness.
46:28.076 --> 46:33.620
[SPEAKER_03]: I think that's one of the running themes throughout not only this film, but 249, the loneliness.
46:33.900 --> 46:40.184
[SPEAKER_03]: You know, Decker lives alone, he eats alone, he drinks alone, he doesn't seem to have any social connections outside of work.
46:40.604 --> 46:43.506
[SPEAKER_03]: You know, and he's retired at the beginning of this movie.
46:43.566 --> 46:49.970
[SPEAKER_03]: So it doesn't seem that he actually interacts with human beings and a meaningful way beyond just
46:50.470 --> 46:58.962
[SPEAKER_03]: You know, capitalist transactions and that and same thing with JF Sebastian, you know, he's, he makes his friends.
46:59.082 --> 47:07.814
[SPEAKER_03]: It's a lonely person who had to make his friends living alone in this giant building and even to force out Sebastian or Dekert.
47:08.938 --> 47:14.440
[SPEAKER_03]: Uh, I, well, I think that Sebastian has found a way to not be lonely by making his friends.
47:14.720 --> 47:15.700
[SPEAKER_03]: Decards of a miserable.
47:15.760 --> 47:17.921
[SPEAKER_03]: Decards of a waste of space at this point.
47:17.961 --> 47:19.941
[SPEAKER_03]: Yeah, it's how Blade Runner is treated.
47:20.201 --> 47:22.082
[SPEAKER_00]: Blade runners are like, oh, you're a Blade Runner.
47:22.102 --> 47:25.343
[SPEAKER_00]: They're like, we're kind of afraid of you, but you're also like, but you kill people.
47:25.443 --> 47:26.503
[SPEAKER_00]: Like, you're scum.
47:26.903 --> 47:30.144
[SPEAKER_00]: But then, but Brian's like, Blade Runner, if you're not cop, you're a little person.
47:30.304 --> 47:31.964
[SPEAKER_00]: I think Sebastian does have a friend.
47:32.004 --> 47:33.685
[SPEAKER_00]: I think it's Tyrell in a weird way.
47:34.244 --> 47:36.066
[SPEAKER_03]: Oh yeah, because they're playing chess, right?
47:36.446 --> 47:43.572
[SPEAKER_01]: Well, they can understand each other, Tyrell and Sebastian are both creating creatures creating a legacy.
47:44.152 --> 47:49.416
[SPEAKER_01]: Sebastian very literally Tyrell conceptually, since he came up with the technology and so about.
47:49.436 --> 47:51.438
[SPEAKER_01]: Yeah, and they're like the executor of that technology.
47:51.978 --> 47:59.765
[SPEAKER_02]: Yeah, and they are playing with their, their created friends because Tyrell created Rachel for his own amusement.
47:59.805 --> 47:59.985
[SPEAKER_00]: Yeah.
48:00.485 --> 48:01.466
[SPEAKER_02]: That's why she's so special.
48:01.875 --> 48:07.081
[SPEAKER_00]: Yeah, I don't necessarily know for his amusement, but definitely as a test bed, I think for something.
48:07.742 --> 48:08.923
[SPEAKER_00]: And that would amuse him.
48:08.984 --> 48:11.847
[SPEAKER_00]: Yeah, well, I think it's a means to him.
48:12.428 --> 48:16.472
[SPEAKER_00]: And it's really interesting the dichotomy between those two characters because you've got the genite designers.
48:17.093 --> 48:38.565
[SPEAKER_00]: And you've got one of them who's super childlike and he's got toys and he's got a pool table and then you go to Tyrell's room and it's this big giant bed and there's like in scene amount of candles in here, what you got to figure and luxury like super luxurious to have candles and not neon Sebastian's room is just a riot of color and texture and everything going on.
48:38.925 --> 48:59.950
[SPEAKER_00]: and Tyrell's, it's white, they're white candles, there's gold, his chess board is standard like King's Queens, Brooks, you know, very ornate, and so there's a dichotomy between even those two characters that I think is really interesting that that comes into play, and I love the actor that played Tyrell, he was in the shining, you know, he's he's been in a bunch of other stuff.
49:00.490 --> 49:02.471
[SPEAKER_00]: Yeah, he was the bartender in the shining.
49:02.571 --> 49:05.131
[SPEAKER_00]: Yeah, he was Lloyd Lloyd.
49:05.891 --> 49:06.732
[SPEAKER_03]: So he was the one who
49:08.637 --> 49:11.881
[SPEAKER_03]: I heard a very interesting little bit of trivia.
49:12.862 --> 49:23.176
[SPEAKER_03]: Last night about the scene where Roy Kisses Tyrell, so originally, very first time they shot that, the actor playing Tyrell.
49:23.576 --> 49:24.257
[SPEAKER_03]: French kiss.
49:26.099 --> 49:35.303
[SPEAKER_03]: Prager Howard stuck his tongue in his mouth and he said after real like when Ray was like, whoa, or when a regular Howard was like, whoa, he was like, I don't know what came over me.
49:37.023 --> 49:39.224
[SPEAKER_00]: Prager, I was good like a dude, you know.
49:39.244 --> 49:45.046
[SPEAKER_03]: I mean, this doctor in his beautiful face 37 years old at that time, super.
49:45.086 --> 49:50.949
[SPEAKER_03]: Yeah, I just thought that was funny because there is a little bit of like father son creator creation.
49:52.049 --> 49:53.950
[SPEAKER_03]: But there is a weird sexual
49:54.610 --> 50:04.893
[SPEAKER_03]: tension moment in that one scene where he goes to kiss him and it becomes more than a father son kiss really interesting.
50:04.913 --> 50:09.934
[SPEAKER_03]: And so I think that that actor kind of picked up on that weird tension that was happening.
50:09.974 --> 50:15.475
[SPEAKER_03]: And I don't know if that actor is gay or not, or if he was just inspired by by Rugger Howard's beauty.
50:15.655 --> 50:17.176
[SPEAKER_00]: I mean, Rugger Howard is an interesting dude.
50:17.236 --> 50:17.556
[SPEAKER_00]: Anyways,
50:22.017 --> 50:24.639
[SPEAKER_00]: And so they're like, oh, this is totally crazy.
50:24.679 --> 50:31.384
[SPEAKER_00]: Like a lot of these people got cast, even Rachel Shaniang, she was super young, she got cast for her looks, Rugger Howard kind of the same thing.
50:31.745 --> 50:42.413
[SPEAKER_00]: And then Rugger Howard, when he actually meets really Scott, shows up and really Scott's talking about this, he's like, it's this puce jumpsuit, like zippered jumpsuit, he's got almost like a fox stole on.
50:42.853 --> 50:47.977
[SPEAKER_00]: And so like the super crazy like outfit and Rugger Howard's basically just messing with him, you know?
50:48.017 --> 50:49.758
[SPEAKER_00]: So it's like, yeah, this is crazy.
50:49.778 --> 50:50.839
[SPEAKER_00]: She's just kind of messing with it.
50:51.139 --> 50:53.822
[SPEAKER_00]: The Rugger Howard turned to his casting director after the first meeting.
50:53.842 --> 51:02.030
[SPEAKER_00]: It was like what have you brought me and he had already had like his hair cut in like the short spikey hair and the whole bit and then of course He turned out to be perfect.
51:02.050 --> 51:07.796
[SPEAKER_00]: I mean he he literally Adlib probably the best line in the entire movie.
51:08.337 --> 51:12.962
[SPEAKER_03]: So yeah, and it turns out I hope he lost in time like tears in rain
51:14.563 --> 51:16.044
[SPEAKER_01]: Yes, Rutger Howard.
51:16.424 --> 51:21.067
[SPEAKER_01]: Rutger Howard brings in such intense and consistent improvisation to this.
51:21.387 --> 51:22.328
[SPEAKER_01]: It's not just those lines.
51:22.388 --> 51:25.550
[SPEAKER_01]: It's such European vibes and such European Dutch vibes.
51:25.610 --> 51:26.190
[SPEAKER_01]: It's great.
51:26.630 --> 51:29.832
[SPEAKER_01]: Apparently he improvised a ton of lines and a ton of the things he did.
51:30.473 --> 51:33.815
[SPEAKER_01]: There's that scene where he's he's caressing the dove on the roof.
51:33.895 --> 51:35.196
[SPEAKER_01]: That is also improvised.
51:35.236 --> 51:35.736
[SPEAKER_01]: He jails.
51:35.756 --> 51:36.597
[SPEAKER_01]: But or Howard.
51:37.137 --> 51:38.438
[SPEAKER_01]: Yeah, he's like I can make that jump.
51:38.658 --> 51:38.878
[SPEAKER_01]: Yeah.
51:39.098 --> 51:39.999
[SPEAKER_01]: With the dove in hand.
51:40.759 --> 51:41.820
[SPEAKER_01]: Oh, he's just nothing with it.
51:41.880 --> 51:43.240
[SPEAKER_01]: That part he came up with.
51:43.260 --> 51:44.121
[SPEAKER_03]: That was a power up.
51:44.281 --> 51:48.082
[SPEAKER_03]: Of course, in his unease for some of his undies and tinnishes.
51:48.402 --> 51:50.663
[SPEAKER_02]: I mean, you know, he was the thing about Rutger Howard.
51:50.783 --> 51:54.545
[SPEAKER_02]: He is bringing so much sexuality to the screen and all of these scenes.
51:54.985 --> 52:03.149
[SPEAKER_02]: Even with the dove, and I know that we are meant to understand that he interests our interromantic relationship and there's intense sexuality there.
52:03.469 --> 52:06.230
[SPEAKER_02]: But he is just pouring sexuality.
52:06.730 --> 52:16.440
[SPEAKER_02]: Yeah, I mean, Chris was like, even in the scene where he's talking to the eye maker going through trying to get as close as he can to Tyrell by going to up Tyrell's little underlings.
52:16.740 --> 52:25.849
[SPEAKER_02]: There is still a strangely sexual quality to like the stripping him down in the cold and asking him questions.
52:26.630 --> 52:33.892
[SPEAKER_03]: The thing about that scene that struck me, such a weird touch is when Leon puts the eyeball on his shoulder.
52:34.332 --> 52:36.493
[SPEAKER_01]: Yes, yes, what's that about?
52:36.953 --> 52:37.633
[SPEAKER_03]: It was so weird.
52:37.653 --> 52:39.313
[SPEAKER_03]: I don't know what the point of it was.
52:39.853 --> 52:45.415
[SPEAKER_03]: It was just, and again, maybe that just goes back to Leon's like super childlike demeanor of like,
52:45.915 --> 52:48.796
[SPEAKER_03]: of this week's and funny if I put this on your shoulder.
52:48.816 --> 52:51.356
[SPEAKER_03]: I just, I, it tickled me pink.
52:51.396 --> 53:02.218
[SPEAKER_03]: There aren't comedic scenes and notes in this movie amongst all the darkness and, you know, and maybe that's, this is a good place to talk about the ending.
53:03.319 --> 53:03.559
[SPEAKER_00]: Yes.
53:03.599 --> 53:05.499
[SPEAKER_00]: Can I talk about Diana really quick?
53:06.139 --> 53:07.139
[SPEAKER_03]: Yes, please.
53:07.239 --> 53:07.920
[SPEAKER_03]: Okay.
53:08.000 --> 53:09.720
[SPEAKER_03]: And the fact that she did those back with time.
53:09.760 --> 53:10.080
[SPEAKER_00]: I know.
53:10.120 --> 53:11.780
[SPEAKER_00]: That was the thing that she told really Scott.
53:11.800 --> 53:12.381
[SPEAKER_00]: She's like, oh, yeah.
53:12.401 --> 53:12.961
[SPEAKER_00]: I did gymnasties.
53:15.423 --> 53:29.294
[SPEAKER_00]: Tell me what you mean by gymnastics and she just does a backman form and he was like done and then she does it in the film I was like yeah, and she's also you know, she's got like the thigh high fish nets or whatever they were You know, I was like, I mean, yeah, I think it's something interesting.
53:29.334 --> 53:30.795
[SPEAKER_03]: Well, her like, I see.
53:30.815 --> 53:31.535
[SPEAKER_03]: Yeah, exactly.
53:31.575 --> 53:36.939
[SPEAKER_00]: But she also kind of like, you know, unknown, but she just actually killed it as well.
53:36.979 --> 53:42.724
[SPEAKER_00]: Like, yeah, it's all all the actors they picked for this are all, you know, phenomenal.
53:43.314 --> 53:53.822
[SPEAKER_03]: So the big difference between one of the biggest difference we've very talked about the unicorn scene between the theatrical cut and the final cut is the ending.
53:53.842 --> 53:57.765
[SPEAKER_03]: So in the theatrical cut, there's kind of a happy ending, right?
53:57.965 --> 54:04.550
[SPEAKER_03]: He drives off into the field with Rachel and you're like, maybe this is all going to work out.
54:04.590 --> 54:06.852
[SPEAKER_00]: Hey, I'm used footage from the shining.
54:09.695 --> 54:16.958
[SPEAKER_03]: And in the final cut, you get that, and I don't know, it was the, in the theatrical cut, was there the scene with the unicorn origami?
54:17.778 --> 54:23.600
[SPEAKER_02]: Yeah, you see the unicorn outside of a decorative apartment as he goes in, and he fears finding a,
54:24.980 --> 54:27.101
[SPEAKER_03]: dead, but it's okay.
54:27.161 --> 54:27.761
[SPEAKER_03]: She's asleep.
54:28.121 --> 54:28.742
[SPEAKER_03]: It's all dead.
54:29.162 --> 54:29.902
[SPEAKER_03]: That did happen.
54:30.002 --> 54:35.085
[SPEAKER_03]: But in the final cut, you don't know what happens with them.
54:35.525 --> 54:38.606
[SPEAKER_03]: They get into the elevator and that's basically it.
54:39.386 --> 54:41.868
[SPEAKER_03]: You don't know what's going to happen at this point.
54:42.008 --> 54:46.630
[SPEAKER_03]: It leaves it kind of ambiguous and dark and up to your own interpretation.
54:46.710 --> 54:50.191
[SPEAKER_03]: It doesn't paint that happy ending onto it.
54:50.411 --> 54:50.811
[SPEAKER_03]: We don't know
54:54.473 --> 55:13.212
[SPEAKER_03]: life span was I think we find out in some of the later films, but maybe in 249 they might mention it because there is a death date for Rachel in there, so So we don't know, and if Decker's a replica, it does bring up these questions of like, well, he's obviously been a played runner for a while, so he doesn't have
55:13.692 --> 55:19.015
[SPEAKER_03]: the standard replicant for your lifespan if he is a replicant.
55:19.435 --> 55:22.997
[SPEAKER_03]: So that also brings into question like maybe they've built Rachel that way too.
55:23.077 --> 55:24.818
[SPEAKER_03]: So we don't know what their lifespan's are supposed to be.
55:25.638 --> 55:32.141
[SPEAKER_03]: The fact that Deckard shows up in 2049, I think, belies the idea that he is a replicant.
55:32.181 --> 55:33.242
[SPEAKER_03]: So I would agree.
55:33.942 --> 55:39.243
[SPEAKER_03]: Yeah, so I think even though release got says, yeah, I wanted to make you think he's a replicant.
55:39.623 --> 55:51.826
[SPEAKER_00]: So you're saying they deleted the happy ending from this movie in which they used parts from another movie, which is, you know, known for having a very happy ending the shining.
55:54.187 --> 55:56.367
[SPEAKER_01]: To give everybody a happy ending, everybody win.
55:56.687 --> 55:58.788
[SPEAKER_00]: I mean, I was going to burn down.
55:59.008 --> 56:02.449
[SPEAKER_03]: The good guys get out and one very toxic marriage ends.
56:04.169 --> 56:24.404
[SPEAKER_03]: Yeah, so anyway, so the big difference there between the two cuts is the ending and and I like the darker more ambiguous ending that leaves it up to your own personal interpretation personally That's that's one of the reasons why I like the final cut the most and the final cut is darker That they added some of the violence back in as well that you don't see in the theatrical cut.
56:24.424 --> 56:25.505
[SPEAKER_03]: I don't know in the theatrical cut.
56:25.545 --> 56:27.627
[SPEAKER_03]: Did you get to see Tyros
56:28.287 --> 56:32.431
[SPEAKER_03]: Like, uh, baddies, eyes go into tirals, eye sockets or not.
56:32.452 --> 56:32.732
[SPEAKER_03]: I know.
56:32.752 --> 56:33.352
[SPEAKER_00]: I'm just going into it.
56:33.372 --> 56:45.085
[SPEAKER_01]: Yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes,
56:45.105 --> 56:51.169
[SPEAKER_01]: because I've seen the theatrical cut, I've not seen the final cut, but I love that the final cut does that.
56:51.389 --> 56:57.473
[SPEAKER_01]: It lets you steep in the ambiguity, because all throughout this movie, you're asking yourself, is Decker to Replicant?
56:57.793 --> 56:58.394
[SPEAKER_01]: Is he not?
56:58.774 --> 56:59.694
[SPEAKER_01]: Is Gaffer Replicant?
56:59.754 --> 57:00.135
[SPEAKER_01]: Is he not?
57:00.215 --> 57:01.856
[SPEAKER_01]: What are all these origami characters about?
57:02.376 --> 57:03.757
[SPEAKER_01]: What is Rachel's lifespan?
57:04.057 --> 57:04.578
[SPEAKER_01]: We don't know.
57:04.758 --> 57:06.519
[SPEAKER_01]: Why is Rutger Howard amazing?
57:06.539 --> 57:08.960
[SPEAKER_01]: Why is he doing all these incredible things?
57:10.121 --> 57:14.303
[SPEAKER_01]: Why did he save Decker to the end of it all so it leaves you steeped in ambiguity?
57:14.644 --> 57:15.724
[SPEAKER_01]: Just leaves you with a question.
57:15.964 --> 57:16.625
[SPEAKER_01]: What is real?
57:16.785 --> 57:17.585
[SPEAKER_01]: What is human?
57:17.966 --> 57:18.546
[SPEAKER_01]: Who are we?
57:18.646 --> 57:19.446
[SPEAKER_01]: Why are we here?
57:19.887 --> 57:21.708
[SPEAKER_01]: And I think that's the point of this film.
57:22.108 --> 57:22.348
[SPEAKER_01]: Really?
57:22.368 --> 57:24.829
[SPEAKER_01]: And I was just leading you to ask more questions about why.
57:24.849 --> 57:26.790
[SPEAKER_01]: And then he comes to the nature of why we're here.
57:26.930 --> 57:31.533
[SPEAKER_00]: There's so much like you don't know if Gath knows you don't know if Doug is a replicant.
57:31.833 --> 57:33.774
[SPEAKER_00]: You don't know in subdates on either of them.
57:33.794 --> 57:34.835
[SPEAKER_00]: So you don't know Langev.
57:35.450 --> 57:36.431
[SPEAKER_00]: a lot of stuff comes up.
57:36.531 --> 57:38.213
[SPEAKER_00]: You're just like, uh, we don't know.
57:38.733 --> 57:41.896
[SPEAKER_00]: And the general public does not really like ambiguity.
57:41.956 --> 57:43.858
[SPEAKER_00]: Everybody complained about the end of his inception.
57:43.878 --> 57:45.439
[SPEAKER_00]: We're like, oh, to the top, follow or not.
57:45.459 --> 57:46.741
[SPEAKER_00]: You're like, doesn't really matter.
57:46.821 --> 57:48.502
[SPEAKER_00]: That's the whole point is you don't know.
57:48.602 --> 57:49.583
[SPEAKER_00]: That is the point.
57:49.964 --> 57:51.285
[SPEAKER_00]: And I think a lot of this happened.
57:51.305 --> 57:53.407
[SPEAKER_00]: And I think that's part of the reason why it was,
57:55.008 --> 58:04.932
[SPEAKER_00]: Um, not received as well as it was when it came out and I don't think people really start thinking about Dekert as a replicant until later on until this kind of hit cult classic status.
58:05.092 --> 58:14.056
[SPEAKER_00]: And I think this is kind of gone through the cult classic cycle and then come out where it's like, no, this really is an excellent film and we're gonna do a sequel of it.
58:14.156 --> 58:17.377
[SPEAKER_00]: But at the time it was part of it was was released poorly.
58:17.397 --> 58:19.058
[SPEAKER_00]: It was released like six weeks after ET.
58:20.318 --> 58:35.170
[SPEAKER_00]: And people were like, oh yeah, it's really light-hearted and sci-fi and then oh, this will get released and people will be ready for something heavier and they were like, no, it's still rolling and it just kind of got lost and in the wash on that and then people started getting that deeper, but I think.
58:35.550 --> 58:59.263
[SPEAKER_00]: part of what makes this film successful is that ambiguity is exactly what you said is like you just don't you know you don't know about the world you don't know about like what is what is off world or their more replicants are is there another generation of replicants that is decert and racial that do have longer life demands is it going to be eight years is it double is it forever the fact that the Blade Runner sequel
58:59.983 --> 59:04.125
[SPEAKER_00]: had all those things to deal with, and they were like, hmm, let's give it a shot.
59:05.085 --> 59:10.067
[SPEAKER_00]: Is really admirable that movie much like this was received in some of the same ways.
59:10.107 --> 59:12.728
[SPEAKER_00]: And I think it's like, that movie's gonna have to go through.
59:13.308 --> 59:21.651
[SPEAKER_00]: It's like people don't really recognize the some of the genius in that movie until many years of past, unfortunately.
59:22.192 --> 59:25.293
[SPEAKER_00]: And I think we're gonna kind of come back around with some of the philosophical questions.
59:26.193 --> 59:49.561
[SPEAKER_00]: And some of the same philosophical questions that are proposed in that film are the same that we're proposed in this and I think that's one of the nice through lines on that is what does it really mean and they obviously deal with memories they have somebody is actually creating memories in that movie for synthetics and that's you know I think that that through line is is really intriguing and I think that's one of the nice things about this movie is that it did.
59:50.421 --> 59:52.403
[SPEAKER_00]: propose all those questions.
59:52.703 --> 59:53.203
[SPEAKER_00]: I think you're right.
59:53.223 --> 59:57.127
[SPEAKER_00]: I think that ambiguity is kind of the some of the secret sauce to this movie.
59:57.747 --> 01:00:00.129
[SPEAKER_00]: And the questions of what it does mean to be human.
01:00:00.429 --> 01:00:01.570
[SPEAKER_01]: What is not ambiguous though?
01:00:01.951 --> 01:00:03.992
[SPEAKER_01]: Is the clear legacy of Blade Runner?
01:00:04.152 --> 01:00:14.321
[SPEAKER_01]: As you mentioned, it had the direct sequel, Blade Runner 249, which is one of those rare cases where the sequel is as good if not potentially better than the OG Blade Runner.
01:00:14.621 --> 01:00:32.074
[SPEAKER_01]: We can get into that later, I could see Shave being like, how dare you blast me, but also so much about Blade Runner, like in 1993, it was selected for preservation in the U.S. National Film Registry by the Library of Congress, because they said it is culturally, historically, or aesthetically significant, in this case, all of the above.
01:00:32.394 --> 01:00:41.000
[SPEAKER_01]: It's also the film that brought the work of Philip K. Dick to the attention of Hollywood, and led to several film adaptations of his work like Total Recall, Minority Report, and a scanner darkly.
01:00:41.520 --> 01:00:46.365
[SPEAKER_01]: And Jason to her point about Ghost in the Shell, it's influence on anime alone is incalculable.
01:00:46.485 --> 01:00:52.871
[SPEAKER_01]: Ghost in the Shell, Akira, Kawabibab, Neon Genesis, Evangelion, all curious DNA directly.
01:00:53.531 --> 01:00:56.975
[SPEAKER_01]: And we were talking about, is this the first film that cyberpunk came out of?
01:00:57.175 --> 01:01:02.480
[SPEAKER_01]: And yes, it is widely regarded as the film that invented the sci-fi sub genre that we now know as cyberpunk.
01:01:02.920 --> 01:01:05.401
[SPEAKER_01]: it was also the first film noir in a sci-fi setting.
01:01:05.921 --> 01:01:07.742
[SPEAKER_01]: So for all these reasons, there's a many more.
01:01:07.882 --> 01:01:17.205
[SPEAKER_01]: Blade Runner is just a masterpiece of a film and it has all these pieces that continue to show why it is such an important and impactful and fun watch too.
01:01:17.345 --> 01:01:18.686
[SPEAKER_01]: There is a lot of humor in it.
01:01:19.646 --> 01:01:24.107
[SPEAKER_00]: If you can also look really interesting that really Scott was on tap to do
01:01:31.490 --> 01:01:37.411
[SPEAKER_00]: So it's like, yeah, you can see some throughput in that, you know, and those are kind of like almost hard sci-fi moments.
01:01:37.611 --> 01:01:41.332
[SPEAKER_00]: Like I said, when I first saw this, I was looking for the next Star Wars.
01:01:41.792 --> 01:01:43.553
[SPEAKER_00]: And Star Wars is not a sci-fi movie.
01:01:43.593 --> 01:01:44.993
[SPEAKER_00]: It's a fantasy movie in a lot of ways.
01:01:45.373 --> 01:01:47.234
[SPEAKER_00]: It has a sci-fi romance or a Western.
01:01:47.374 --> 01:01:54.535
[SPEAKER_00]: Yeah, but this was like that strict sci-fi, heady, what is the nature of reality and humanity.
01:01:54.715 --> 01:02:00.057
[SPEAKER_00]: I love seeing that genre still continue on in modern sci-fi movies.
01:02:02.538 --> 01:02:04.879
[SPEAKER_00]: And arrival is a hundred percent.
01:02:05.079 --> 01:02:05.980
[SPEAKER_00]: The same sort of thing.
01:02:06.220 --> 01:02:06.941
[SPEAKER_00]: What does it mean?
01:02:07.081 --> 01:02:12.744
[SPEAKER_00]: Those memories are huge, especially if you don't deal with linear language models.
01:02:12.944 --> 01:02:17.748
[SPEAKER_00]: Even some of the stuff was tapped in your guys is a fifth element review as well, which is fantastic.
01:02:17.768 --> 01:02:20.469
[SPEAKER_00]: Another favorite movie in mind for the fun of it if nothing else.
01:02:20.549 --> 01:02:21.550
[SPEAKER_00]: But again, it's like
01:02:21.670 --> 01:02:29.432
[SPEAKER_00]: what is humanity is part of that through, but there's so much that has come through that I think this kick started in a subtle way.
01:02:29.792 --> 01:02:39.075
[SPEAKER_00]: And I think if it had been more overt and if it had been more well received, I don't think it would have had an impact that it actually did in the end.
01:02:39.295 --> 01:02:45.137
[SPEAKER_00]: I think the subtlety of this, the ambiguity of it, the fact that it kind of just burnt in the background
01:02:50.891 --> 01:02:55.092
[SPEAKER_02]: Yeah, that it confused people was what made it made people think about it.
01:02:55.332 --> 01:03:10.494
[SPEAKER_01]: It made me think and what I think had an outsized impact on the quality of this episode was having Jason and Shay on to talk about this because again, I know a bit about Blade Runner, but you all came in and brought such depth and such passion to this.
01:03:10.694 --> 01:03:12.235
[SPEAKER_01]: I think this is going to be a really good one.
01:03:12.255 --> 01:03:13.615
[SPEAKER_01]: So thank you so much for sharing.
01:03:13.635 --> 01:03:19.736
[SPEAKER_01]: Thank you so much for like pulling in all of the deep dives and the deep cuts because this is exactly what we wanted to get into here.
01:03:19.876 --> 01:03:26.778
[SPEAKER_01]: But before we do like the final wrap up, are there any last pieces you all want to say before we like do your plugs, call out where we can find you that kind of thing?
01:03:26.958 --> 01:03:39.742
[SPEAKER_03]: You know, I think that maybe some of your listeners that might be in the younger generations may not immediately if they were to sit down to watch this get why we love it so much.
01:03:39.762 --> 01:03:41.223
[SPEAKER_03]: They probably would be bored by it.
01:03:41.303 --> 01:03:44.364
[SPEAKER_03]: I would see somebody who's a teenager these days being like, that's this boring.
01:03:44.424 --> 01:03:45.404
[SPEAKER_03]: But sit down,
01:03:45.984 --> 01:03:51.051
[SPEAKER_03]: Watch it, watch the background, rumenate on the world and the meanings behind it.
01:03:51.311 --> 01:03:58.400
[SPEAKER_03]: You don't need a ton of action and things to be constantly moving in order to create a great film that's entertaining.
01:03:58.701 --> 01:04:04.328
[SPEAKER_03]: And this movie proves that it is a slow burn, but it's definitely worth the patience.
01:04:04.828 --> 01:04:27.476
[SPEAKER_03]: And then just getting into the world as a whole who's don't forget there's several short films between this Blade Runner Blade Runner 2019 basically and Blade Runner 2049 and then sometime in the next couple of years hopefully we have that limited series Blade Runner 2099 yeah across our fingers before then though we will hopefully have the narrow answer short series, which maybe we can talk about in the room and so when that comes out.
01:04:28.096 --> 01:04:35.117
[SPEAKER_03]: For me, this was one of my favorite movies growing up still, probably my top favorite movie of all time.
01:04:35.577 --> 01:04:38.898
[SPEAKER_03]: And today just really made me appreciate even more.
01:04:38.918 --> 01:04:40.058
[SPEAKER_03]: So thank you for having me on.
01:04:40.478 --> 01:04:42.679
[SPEAKER_00]: Thanks for, again, thanks for having me on.
01:04:42.819 --> 01:04:45.119
[SPEAKER_00]: Oh, echo, what Chase said, you don't even have to like this movie.
01:04:45.359 --> 01:04:50.660
[SPEAKER_00]: This is kind of a stepping stone to a lot of other things that you may enjoy.
01:04:50.800 --> 01:04:56.321
[SPEAKER_00]: And just like me, you may come back to this with a different appreciation in years, much like I did.
01:04:56.565 --> 01:04:58.608
[SPEAKER_02]: It is essential cyberpunk viewing.
01:04:58.829 --> 01:04:59.370
[SPEAKER_01]: Yes, it is.
01:04:59.590 --> 01:05:02.495
[SPEAKER_01]: It is the grant for the originator of cyberpunk.
01:05:02.755 --> 01:05:03.015
[SPEAKER_01]: No.
01:05:03.035 --> 01:05:09.506
[SPEAKER_00]: So any of the kind of the fun stuff, like in the visuals and things like that, you know, we just got into the philosophy of it all.
01:05:10.363 --> 01:05:13.266
[SPEAKER_00]: Hey, we can always do a part to those are the visuals of the mind.
01:05:15.929 --> 01:05:21.974
[SPEAKER_00]: I'm I'm happy to come back for a part two to this 249 anything else you want that's played or unrelated.
01:05:22.095 --> 01:05:23.076
[SPEAKER_00]: I'm happy to be on board.
01:05:23.336 --> 01:05:23.596
[SPEAKER_01]: All right.
01:05:23.876 --> 01:05:27.200
[SPEAKER_01]: That said, you all want to say where we can find y'all on the internet.
01:05:27.859 --> 01:05:33.202
[SPEAKER_03]: Yeah, well, I'm sure I'm one of the hosts of the rainy day rabbit holes history unhinged podcasts.
01:05:33.262 --> 01:05:35.324
[SPEAKER_03]: Go to our website rainydayrabbitholes.com.
01:05:35.344 --> 01:05:40.027
[SPEAKER_03]: You can find our episodes and links to listen on most in all podcasts platforms.
01:05:40.367 --> 01:05:47.391
[SPEAKER_03]: And I am at rainy day rabbit holes pod on the internet on socials, but I don't really do a whole lot on socials because social media sucks.
01:05:47.651 --> 01:05:53.535
[SPEAKER_03]: So just listen to the pod and yeah, you occasionally also get to hear my brother Jason.
01:05:53.715 --> 01:05:54.475
[SPEAKER_00]: Yep, that's right.
01:05:54.556 --> 01:06:08.964
[SPEAKER_00]: I am occasionally on Shay's podcast, Randy Rabbit holds, I am also on another podcast, though, with Laura Steven and Shay playing a notoriously synthetic hating character, strangely enough.
01:06:09.004 --> 01:06:12.766
[SPEAKER_00]: As much as I love this movie, that character is not likes and that acts at all.
01:06:13.247 --> 01:06:19.450
[SPEAKER_00]: So you can find me on Facebook or his friends with Shay and Laura and Steven playing Fray, Yaden and pushing
01:06:24.475 --> 01:06:34.181
[SPEAKER_01]: Clearly, you're more of a synthetic or replicant lover than a synthetic cater, and it's good to see that, because Jason and I have an intense rivalry within the AlienRPG universe.
01:06:34.841 --> 01:06:35.422
[SPEAKER_00]: Yeah, we do.
01:06:35.502 --> 01:06:36.202
[SPEAKER_00]: It's so good.
01:06:36.382 --> 01:06:38.864
[SPEAKER_00]: Frey on the other hand, not a fan, so.
01:06:40.757 --> 01:06:44.558
[SPEAKER_01]: Well, that said folks, thank you so much for joining us on today's episode.
01:06:44.738 --> 01:06:47.099
[SPEAKER_01]: Jason, Shay, Laura, always a pleasure.
01:06:47.759 --> 01:06:51.360
[SPEAKER_01]: And dear listeners, if you haven't seen Blade Runner, what are you doing?
01:06:51.480 --> 01:06:52.020
[SPEAKER_01]: Go see it.
01:06:52.160 --> 01:06:53.360
[SPEAKER_01]: At least watch some clips.
01:06:53.380 --> 01:06:56.341
[SPEAKER_01]: I think you'll have an idea of why this is such an important film.
01:06:56.701 --> 01:06:58.342
[SPEAKER_01]: What made it have such a long-lasting legacy.
01:06:58.902 --> 01:07:02.843
[SPEAKER_01]: And also, it's impact on cyberpunk as an aesthetic, as a cultural thing.
01:07:03.243 --> 01:07:04.243
[SPEAKER_01]: Like, it's got everything.
01:07:04.463 --> 01:07:05.364
[SPEAKER_01]: Anyway, that's it folks.
01:07:05.404 --> 01:07:06.544
[SPEAKER_01]: Thank you so much for joining us.
01:07:06.904 --> 01:07:08.405
[SPEAKER_01]: And we will catch you on the next lunch break.
01:07:08.825 --> 01:07:08.985
[SPEAKER_01]: Bye.
01:07:09.005 --> 01:07:09.165
[SPEAKER_01]: Bye.
01:07:09.705 --> 01:07:09.905
[SPEAKER_01]: Bye.
01:07:12.717 --> 01:07:17.580
[SPEAKER_01]: Thanks for tuning in to Big Day Blue Vs, your media corner of the internet.
01:07:18.161 --> 01:07:20.863
[SPEAKER_01]: Now, a part of the Aurela podcast collecting.
01:07:21.763 --> 01:07:24.806
[SPEAKER_01]: Don't forget to keep us a follow and a five star.
01:07:25.686 --> 01:07:31.410
[SPEAKER_01]: Check out our shop for teas and totes and join our community, host Q and A's and comments.
01:07:32.311 --> 01:07:33.292
[SPEAKER_01]: This has been Steven.
01:07:33.932 --> 01:07:34.352
[SPEAKER_02]: And Laura?
01:07:35.093 --> 01:07:36.054
[SPEAKER_01]: Catch you next lunch break.
01:07:41.265 --> 01:07:42.686
[SPEAKER_03]: Hey, come closer.
01:07:43.166 --> 01:07:44.327
[SPEAKER_03]: I've got a secret to tell you.
01:07:44.908 --> 01:07:46.829
[SPEAKER_03]: It's Seattle, 1924.
01:07:47.269 --> 01:07:51.892
[SPEAKER_03]: Prohibition is in full swing, which means the city is drinking harder than ever.
01:07:52.513 --> 01:08:01.019
[SPEAKER_03]: Somewhere behind a locked door, Seattle's most interesting criminals are throwing a party, bootleggers, smugglers, gamblers, social lights,
01:08:01.339 --> 01:08:06.421
[SPEAKER_03]: And a few politicians who definitely shouldn't be there are all raising a glass together.
01:08:06.601 --> 01:08:08.361
[SPEAKER_03]: What could possibly go wrong?
01:08:08.802 --> 01:08:10.642
[SPEAKER_03]: And somehow, you've been invited.
01:08:11.042 --> 01:08:27.008
[SPEAKER_03]: On October 16th, bootlegger's ball transform Seattle's historic's odd fellow's hall into a living speak easy, inspired by the true stories chronicled by Brad Holden in Seattle, Brohibition, bootlegger's run runners and graft in the Queen City, expect immersive theater.
01:08:27.408 --> 01:08:36.130
[SPEAKER_03]: live music, social dancing, handcrafted cocktails and a cast of characters who may or may not be telling you the whole truth.
01:08:36.470 --> 01:08:37.070
[SPEAKER_03]: The best part?
01:08:37.390 --> 01:08:38.290
[SPEAKER_03]: You don't need a password.
01:08:38.610 --> 01:08:43.151
[SPEAKER_03]: Just the courage to walk through the door as alliance is shift and rivalry simmer.
01:08:43.351 --> 01:08:50.712
[SPEAKER_03]: You'll find yourself surrounded by the very people who built Seattle's underground empire and a few ghosts who may never have left.
01:08:54.653 --> 01:08:59.677
[SPEAKER_03]: And as someone offers you a drink, well, history suggests that you should probably say yes.
01:09:00.017 --> 01:09:01.158
[SPEAKER_03]: I'll see you at the speak easy.
01:09:01.338 --> 01:09:05.822
[SPEAKER_03]: Get your tickets now at StrangerTickets.com and search for BootLegersball.