Blade Runner의 전체 녹취록

00:03:56.439 --> 00:03:59.280 would. And it kind of meanders and you don't 00:03:59.280 --> 00:04:01.699 really get a sense of like there being any type 00:04:01.699 --> 00:04:04.750 of a structure that we're used to, but. those 00:04:04.750 --> 00:04:07.849 movies are also can be really good and they can 00:04:07.849 --> 00:04:09.129 be a different way of seeing things. So I don't 00:04:09.129 --> 00:04:10.990 know that you have to have that three act structure, 00:04:10.990 --> 00:04:14.330 but I feel like we kind of subliminally notice 00:04:14.330 --> 00:04:17.089 if it's not there just because it's so typical 00:04:17.089 --> 00:04:21.410 in films that we get these days. Yeah. I think, 00:04:21.569 --> 00:04:24.810 I mean, I think it's smart to learn the three 00:04:24.810 --> 00:04:28.529 act structure because it really is just pretty 00:04:28.529 --> 00:04:31.759 simple rules to make your story go from just 00:04:31.759 --> 00:04:35.000 a mess that goes nowhere into a really coherent, 00:04:35.579 --> 00:04:38.360 strong story. And so I think if you're thinking 00:04:38.360 --> 00:04:41.100 of writing something, understanding, you know, 00:04:41.180 --> 00:04:43.899 the save the cat rules, which gets very granular 00:04:43.899 --> 00:04:46.899 and specific, or just the idea of what you're 00:04:46.899 --> 00:04:50.699 going for in three acts and the different the 00:04:50.699 --> 00:04:52.699 way the story develops and things like that. 00:04:53.240 --> 00:04:56.379 I think it is very helpful. But it is also, I 00:04:56.379 --> 00:04:59.980 think a lot of films that we might We might argue 00:04:59.980 --> 00:05:01.439 whether they're three acts or not. You could 00:05:01.439 --> 00:05:04.079 make a case. Here are the three acts in those 00:05:04.079 --> 00:05:08.139 films I guess a little bit. It's It maybe doesn't 00:05:08.139 --> 00:05:10.480 matter when you're watching a film after the 00:05:10.480 --> 00:05:12.839 fact whether it's whether you consider it to 00:05:12.839 --> 00:05:16.240 be in three acts or not so I guess to me it comes 00:05:16.240 --> 00:05:19.399 down to is that helpful in you making the story 00:05:19.399 --> 00:05:25.779 work and I find it usually is but I guess the 00:05:25.779 --> 00:05:28.800 thing that I would push back sometimes on is 00:05:28.800 --> 00:05:32.160 that a lot of students are like, I don't want 00:05:32.160 --> 00:05:33.579 to have the three -act structure. I just want 00:05:33.579 --> 00:05:36.019 life to happen. Then you sometimes have other 00:05:36.019 --> 00:05:38.300 students who are like, I need to do everything 00:05:38.300 --> 00:05:40.680 exactly the way that Save the Cat says to do 00:05:40.680 --> 00:05:42.779 it. Save the Cat, if people don't know, is a 00:05:42.779 --> 00:05:45.800 book about screenwriting and it breaks down sort 00:05:45.800 --> 00:05:48.439 of 10 minutes into the movie, this is supposed 00:05:48.439 --> 00:05:50.899 to happen. 15 minutes into the movie, this is

00:05:50.899 --> 00:05:52.959 supposed to happen. And so it's getting very, 00:05:52.959 --> 00:05:55.899 very specific about when things tend to happen 00:05:55.899 --> 00:05:59.180 in films. And I would say it's generally true 00:05:59.180 --> 00:06:01.839 that most movies follow those rules. Sometimes 00:06:01.839 --> 00:06:04.000 people read Save the Cat and come away with a 00:06:04.000 --> 00:06:06.800 sense, you need to do it exactly on those pages 00:06:06.800 --> 00:06:09.220 or those many minutes into the film, exactly 00:06:09.220 --> 00:06:12.779 this kind of thing needs to happen. So I think 00:06:12.779 --> 00:06:15.360 it could go either way, but I find that a lot 00:06:15.360 --> 00:06:20.009 of students and a lot of beginning writers love 00:06:20.009 --> 00:06:23.110 the idea of being smarter than the formula or 00:06:23.110 --> 00:06:26.490 being more organic and honest than the formula. 00:06:26.910 --> 00:06:30.149 And so they want to just let the story evolve. 00:06:30.949 --> 00:06:34.069 And I think the proof is in the pudding. If it 00:06:34.069 --> 00:06:36.149 works and it's compelling, then great. And if 00:06:36.149 --> 00:06:38.629 you never think about it as a three act structure, 00:06:38.689 --> 00:06:41.529 then great. But often those stories that people 00:06:41.529 --> 00:06:43.910 write that way, just nothing ends up happening. 00:06:44.410 --> 00:06:46.370 And I think that's a real trap that people fall 00:06:46.370 --> 00:06:49.370 into. Typically in a movie, you want something 00:06:49.370 --> 00:06:53.949 to happen. And then that usually becomes an act. 00:06:55.850 --> 00:07:00.189 I think that's a good point. And I think sometimes 00:07:00.189 --> 00:07:02.470 people are like, I don't want this to be cheesy 00:07:02.470 --> 00:07:06.129 and just follow the strict formula. But then 00:07:06.129 --> 00:07:08.170 you need a really good alternative. If you're 00:07:08.170 --> 00:07:10.589 going to not do that, you need to have some really 00:07:10.589 --> 00:07:12.610 good ideas about what it's doing instead. And 00:07:12.610 --> 00:07:15.310 often, It's just people sitting around talking 00:07:15.310 --> 00:07:17.449 for two hours is what people mean when they say 00:07:17.449 --> 00:07:21.290 they don't want to follow a formula. So I think, 00:07:21.290 --> 00:07:23.930 you know, I think that it is helpful for me as 00:07:23.930 --> 00:07:26.069 a writer. I think that it is a useful way to 00:07:26.069 --> 00:07:28.750 think about films. It's not necessarily the only 00:07:28.750 --> 00:07:32.490 way. And, uh, it might not be the best way for 00:07:32.490 --> 00:07:34.470 you as a writer, but I do think it's good to 00:07:34.470 --> 00:07:37.670 be aware of the three act structure because people 00:07:37.670 --> 00:07:41.980 talk about it so much. typically follow, at least 00:07:41.980 --> 00:07:43.879 with the films we've been writing, we're following 00:07:43.879 --> 00:07:46.660 a 3x structure, even if

it's not exact, but like 00:07:46.660 --> 00:07:48.899 that's our first initial breakdown. How do we 00:07:48.899 --> 00:07:51.740 get this into 3x? So I think it works. That's 00:07:51.740 --> 00:07:57.339 what we do. You want to do what we do. That's 00:07:57.339 --> 00:08:00.000 learned from the best. All right. So now let's 00:08:00.000 --> 00:08:01.720 get into some other people's work. So let's, 00:08:01.759 --> 00:08:04.360 what have you been watching, Andrew? I watched 00:08:04.360 --> 00:08:07.639 this film from 1981. It's called Quest for Fire. 00:08:08.220 --> 00:08:13.100 And, uh, this is a, like a prehistoric take on 00:08:13.100 --> 00:08:15.920 humanity. It's set like 80 ,000 years ago is 00:08:15.920 --> 00:08:19.819 what they say. And so you have these humans and 00:08:19.819 --> 00:08:23.399 like humanoid people that are here and it feels 00:08:23.399 --> 00:08:29.500 very like, you know, caveman style. There's no 00:08:29.500 --> 00:08:32.080 understandable language in this. It's mostly 00:08:32.080 --> 00:08:35.340 grunts. It's movements. There's a language that's 00:08:35.340 --> 00:08:38.110 spoken, but there's no translation given. So 00:08:38.110 --> 00:08:40.350 the whole movie is kind of like it's not a silent 00:08:40.350 --> 00:08:43.529 film, but like you're just following action and 00:08:43.529 --> 00:08:45.409 movement And so I think that's kind of a strong 00:08:45.409 --> 00:08:47.909 take first of all to give you that I think a 00:08:47.909 --> 00:08:50.169 lot of films would just give it a language so 00:08:50.169 --> 00:08:52.590 you could follow the story easier But in this 00:08:52.590 --> 00:08:56.080 one, it's kind of this realistic Approach to 00:08:56.080 --> 00:08:58.120 what life may have been like back then. It's 00:08:58.120 --> 00:09:01.740 not romanticizing anything Everybody's just dirty 00:09:01.740 --> 00:09:04.940 covered in mud. The hair has never been cut They 00:09:04.940 --> 00:09:07.340 have these furs that just kind of fit over them 00:09:07.340 --> 00:09:11.259 half half -haverly and it's like there's there's 00:09:11.259 --> 00:09:15.000 almost this like nature documentary feel to it 00:09:15.000 --> 00:09:17.039 as if you're just like coming in and watching 00:09:17.039 --> 00:09:19.120 animals and so there's there's this little bit 00:09:19.120 --> 00:09:21.440 of like Okay, these aren't quite humans, but 00:09:21.440 --> 00:09:24.440 they kind of are in a way. The film is about 00:09:24.969 --> 00:09:28.889 Fire so this group has fire it goes out somebody 00:09:28.889 --> 00:09:31.090 steals it then it goes out and they're like well 00:09:31.090 --> 00:09:33.049 We got to get more fire so they go on a hunt 00:09:33.049 --> 00:09:36.409 send a few guys out to find fire And because 00:09:36.409 --> 00:09:38.330 they don't know how to make it they eventually 00:09:38.330 --> 00:09:40.750 find it from this other group. They interact 00:09:40.750 --> 00:09:43.830 There's a little bit of like a love story in 00:09:43.830 --> 00:09:47.720 a way, but also do they know that? What they're 00:09:47.720 --> 00:09:50.360 feeling is love. I think that question is something 00:09:50.360 --> 00:09:52.419 you could consider. Like what do they actually 00:09:52.419 --> 00:09:56.440 know emotionally? And cause it's just so archaic 00:09:56.440 --> 00:10:00.299 in a way of how this is. Um, but then they kind 00:10:00.299 --> 00:10:02.059 of learn, you know, he learns this is how you 00:10:02.059 --> 00:10:05.379 can make fire and just blows his mind. And, uh, 00:10:05.379 --> 00:10:07.980 so there's this, I like this film is like super 00:10:07.980 --> 00:10:11.179 interesting because the way that it's set up 00:10:11.179 --> 00:10:14.950 with like. The costuming and everything is so 00:10:14.950 --> 00:10:18.629 intricate so detailed and I was thinking of like 00:10:18.629 --> 00:10:20.629 films like Planet of the Apes or that opening 00:10:20.629 --> 00:10:25.330 of 2001 Where you have like these apes? But you 00:10:25.330 --> 00:10:27.669 can tell like it's not like meant to be I think 00:10:27.669 --> 00:10:30.759 in a way, you know, maybe it's realistic, but 00:10:30.759 --> 00:10:32.940 a lot of times like they'll be, they'll go campy 00:10:32.940 --> 00:10:34.600 with this. Like there's going to be somebody 00:10:34.600 --> 00:10:36.919 that has like a bikini on and there's going to 00:10:36.919 --> 00:10:39.220 be like sexualizing people and like, Oh, this 00:10:39.220 --> 00:10:41.799 is romantic, but this is not that this is all 00:10:41.799 --> 00:10:44.919 very raw. And like there's nudity, but there's 00:10:44.919 --> 00:10:46.940 nothing sexual about it. It's just kind of like 00:10:46.940 --> 00:10:49.759 watching a national geographic documentary, like 00:10:49.759 --> 00:10:52.100 that type of a thing. And so I think there's, 00:10:52.139 --> 00:10:54.379 there's a story here, but it also kind of feels 00:10:54.379 --> 00:10:57.289 like this. documentary in a way. It's a really 00:10:57.289 --> 00:10:59.210 interesting line that they played with there. 00:10:59.570 --> 00:11:01.450 But I thought it was really cool, really interesting 00:11:01.450 --> 00:11:04.889 movie. That's great. That's there was a film 00:11:04.889 --> 00:11:09.090 last year that I think was last year, that was 00:11:09.090 --> 00:11:12.190 a sort of a similar nuts. I mean, not not as 00:11:12.190 --> 00:11:14.370 not as serious, but it was something I think 00:11:14.370 --> 00:11:17.850 it was like Neanderthals sort of on the run from 00:11:17.850 --> 00:11:20.070 some kind of monster. But then it turned out 00:11:20.070 --> 00:11:23.379 the monster was homo sapiens. Something like 00:11:23.379 --> 00:11:25.679 that. It was kind of an interesting twist. A 00:11:25.679 --> 00:11:28.620 fun twist. But my history teacher in high school 00:11:28.620 --> 00:11:31.419 showed us Quest for Fire over three class periods. 00:11:32.980 --> 00:11:34.919 I could see

that because it kind of feels like 00:11:34.919 --> 00:11:37.200 you could learn something from this in a way. 00:11:37.220 --> 00:11:39.000 You could learn something. I don't know. I mean, 00:11:39.000 --> 00:11:42.320 I think we were studying like 18th century European 00:11:42.320 --> 00:11:45.259 history. Yeah, this is a little before that. 00:11:46.519 --> 00:11:48.559 I think that might have just been him nursing 00:11:48.559 --> 00:11:52.210 a hangover or something. But anyway, But Quest 00:11:52.210 --> 00:11:55.669 for Fire, that's an interesting one. And yeah, 00:11:55.669 --> 00:11:57.549 that's an interesting kind of like documentary 00:11:57.549 --> 00:12:01.610 -ish, because there isn't real dialogue in the 00:12:01.610 --> 00:12:04.070 way we think of. And so we're sort of observing 00:12:04.070 --> 00:12:06.210 them. And they're like humans, but they really 00:12:06.210 --> 00:12:09.250 don't act like humans in a lot of ways. But it's 00:12:09.250 --> 00:12:10.509 interesting, like, I was thinking about, heck, 00:12:10.610 --> 00:12:13.710 how many movies take place, you know, pre -history? 00:12:13.970 --> 00:12:15.669 There's just, it's kind of hard to do a movie 00:12:15.669 --> 00:12:18.809 like that, where it's like, this takes place 00:12:18.809 --> 00:12:20.980 before we have any records. Flintstones is about 00:12:20.980 --> 00:12:23.940 it, and they did a good job, I think. Very similar 00:12:23.940 --> 00:12:26.139 to Quest for Fire. Very similar. If you like 00:12:26.139 --> 00:12:28.639 Flintstones, you might like this. I'm sure they're, 00:12:28.639 --> 00:12:31.559 like, riding a Brontosaurus slide when they finish 00:12:31.559 --> 00:12:35.000 work. They do have woolly mammoths that you can 00:12:35.000 --> 00:12:38.779 tell are just elephants covered in fur, so. Oh, 00:12:39.200 --> 00:12:42.159 well. But that's still impressive, I think, to 00:12:42.159 --> 00:12:45.120 get elephants covered in fur. It's a big coat, 00:12:45.320 --> 00:12:47.559 a big fur coat for that elephant. All right. 00:12:47.580 --> 00:12:49.799 Well, great quest for fire. I watched very different, 00:12:49.799 --> 00:12:53.779 uh, a show called industry, which is on, uh, 00:12:53.779 --> 00:12:58.659 HBO and, uh, industry it's, I like it. I've never 00:12:58.659 --> 00:13:01.620 watched the show euphoria. I'm aware of its existence. 00:13:01.940 --> 00:13:04.620 I I've maybe seen one episode of euphoria, but 00:13:04.620 --> 00:13:08.639 I've, I've never watched it. My take, my understanding 00:13:08.639 --> 00:13:12.259 is that industry is kind of like euphoria, but 00:13:12.259 --> 00:13:15.240 on wall street. Uh, it's on a wall street. It's 00:13:15.240 --> 00:13:17.539 in London, but it's sort of like in the high 00:13:17.539 --> 00:13:21.679 finance world, but a lot of sex and drugs, uh, 00:13:21.799 --> 00:13:24.500 young people, lots of sex and drugs and then 00:13:24.500 --> 00:13:27.659 insider trading and hedge funds and, and, you 00:13:27.659 --> 00:13:31.539 know, venture capital. It's interesting. I, I 00:13:31.539 --> 00:13:34.600 find, uh, I, this is, I guess where I'm at in 00:13:34.600 --> 00:13:37.279 life, but I find the, uh, the venture capital 00:13:37.279 --> 00:13:39.320 side much more interesting than the sex and drugs 00:13:39.320 --> 00:13:44.240 part of industry. But I think it's a really interesting 00:13:44.240 --> 00:13:47.559 show. It's now in its fourth season. I'm just 00:13:47.559 --> 00:13:51.080 watching the fourth season now. And I think it's 00:13:51.080 --> 00:13:53.139 really interesting characters. It's kind of like 00:13:53.139 --> 00:13:55.879 Succession meets Euphoria. And again, I haven't 00:13:55.879 --> 00:13:59.059 seen Euphoria, but it's in its kind of wildness. 00:13:59.440 --> 00:14:03.850 But it's a lot of different... machinations and 00:14:03.850 --> 00:14:06.029 people plotting to, you know, we're going to 00:14:06.029 --> 00:14:08.870 take over this company, but we have to sell this 00:14:08.870 --> 00:14:10.570 first. And we're trying to get information on 00:14:10.570 --> 00:14:13.110 these guys. And I love shows like that where 00:14:13.110 --> 00:14:14.769 there's, you know, it's kind of like the movie 00:14:14.769 --> 00:14:17.009 Wall Street. It's kind of like the big short, 00:14:17.409 --> 00:14:19.529 just like where there's a lot of different elements 00:14:19.529 --> 00:14:23.370 going on in this kind of world. Uh, it's a mixture 00:14:23.370 --> 00:14:26.629 of Americans and Brits, but it takes place in 00:14:26.629 --> 00:14:29.409 England. And so there's interesting sort of cultural 00:14:29.409 --> 00:14:31.090 dynamics there. There's lots of interesting. 00:14:31.769 --> 00:14:35.450 class differences between people, uh, upper class 00:14:35.450 --> 00:14:37.710 people, which they call middle. Actually, there 00:14:37.710 --> 00:14:39.929 are some actual upper -class people in England. 00:14:40.129 --> 00:14:42.690 They say middle -class for what we in America 00:14:42.690 --> 00:14:46.330 would call rich. It's a weird, uh, I think because, 00:14:46.470 --> 00:14:49.710 uh, like everybody's working class unless you're 00:14:49.710 --> 00:14:51.629 really rich. And then you go up to middle -class 00:14:51.629 --> 00:14:54.509 in England, but anyway, different class things, 00:14:54.809 --> 00:14:57.919 race things. It's so I would say. It's not for 00:14:57.919 --> 00:14:59.960 everybody. There are a lot of, there's a lot 00:14:59.960 --> 00:15:02.340 of sex and drugs. Maybe that's a real plus for 00:15:02.340 --> 00:15:05.059 some people wanting to watch it. Maybe that's 00:15:05.059 --> 00:15:08.179 a real negative, but I would say if you're okay 00:15:08.179 --> 00:15:09.879 with that, I think it's a really interesting 00:15:09.879 --> 00:15:13.000 show. Does it compare to like succession? You 00:15:13.000 --> 00:15:16.200 know, it's a lot of this drama between businesses 00:15:16.200 --> 00:15:18.419 and

people going under, or is it like the sex 00:15:18.419 --> 00:15:21.019 and drugs is like to make everything else interesting. 00:15:21.139 --> 00:15:22.860 Is the rest of the stuff really interesting too? 00:15:23.639 --> 00:15:25.700 I would say the rest of the stuff is more interesting. 00:15:25.820 --> 00:15:29.649 It's more interesting. I think a little bit the 00:15:29.649 --> 00:15:31.509 sex and drugs is just to give it a little, I 00:15:31.509 --> 00:15:33.649 mean, and maybe it's just realistic that this 00:15:33.649 --> 00:15:36.649 is how these sort of young, you know, traders 00:15:36.649 --> 00:15:39.509 are, you know, doing cocaine and sleeping with 00:15:39.509 --> 00:15:42.250 each other. I'm not sure, but there's some element 00:15:42.250 --> 00:15:45.590 of that. But I would say the business and the, 00:15:45.590 --> 00:15:47.450 you know, the politicking and things like that 00:15:47.450 --> 00:15:50.769 is very interesting. One difference from succession 00:15:50.769 --> 00:15:54.690 is that they... They churn through characters. 00:15:54.870 --> 00:15:56.990 Like, there are some core characters that stay 00:15:56.990 --> 00:15:59.690 throughout the series, but some people die, some 00:15:59.690 --> 00:16:02.029 people go to prison, some people sort of disappear 00:16:02.029 --> 00:16:05.350 for long stretches of time. So it's not quite 00:16:05.350 --> 00:16:08.429 the same where you've got one core group of characters 00:16:08.429 --> 00:16:11.470 you're gonna follow the whole show. Each season, 00:16:11.889 --> 00:16:13.690 and even from episode to episode, you're gonna 00:16:13.690 --> 00:16:16.149 be following different characters. Oh, that's 00:16:16.149 --> 00:16:19.679 interesting. Yeah, so... It's pretty good. Industry, 00:16:20.259 --> 00:16:22.659 I think, you know, if that sounds interesting 00:16:22.659 --> 00:16:24.919 to you, check it out. Quest for Fire, would you 00:16:24.919 --> 00:16:27.059 recommend it to people? Yeah, I thought it was 00:16:27.059 --> 00:16:30.360 really cool. Really interesting film. Okay, great. 00:16:30.559 --> 00:16:32.700 Especially if it's during a history class, you 00:16:32.700 --> 00:16:34.580 can get out of that. Watch Quest for Fire. If 00:16:34.580 --> 00:16:38.080 you're a teacher, just show it. I'd imagine there'd 00:16:38.080 --> 00:16:41.240 be a lot of parents would be mad about that. 00:16:41.679 --> 00:16:44.379 That same teacher showed us Quest for Fire and 00:16:44.379 --> 00:16:47.690 History of the World Part 1, which... To be fair, 00:16:48.009 --> 00:16:51.889 it is about history, but it's a Mel Brooks comedy. 00:16:52.350 --> 00:16:55.690 It's not an accurate take on history. He's just 00:16:55.690 --> 00:16:57.889 seeing what he can get away with. As we were 00:16:57.889 --> 00:17:00.409 studying for the AP test, he's like, ah, we're 00:17:00.409 --> 00:17:01.750 just going to put on the history of the world 00:17:01.750 --> 00:17:04.930 part one. You need to laugh sometimes. You need 00:17:04.930 --> 00:17:10.410 to laugh. Yep. Okay, there we go. So now let's 00:17:10.410 --> 00:17:12.890 get into our film of the week. Andrew, let's 00:17:12.890 --> 00:17:14.809 talk about Blade Runner. What can you tell us 00:17:14.809 --> 00:17:18.619 about it? 1982 directed by Ridley Scott in the 00:17:18.619 --> 00:17:22.779 smog choked dystopian Los Angeles of 2019, Blade 00:17:22.779 --> 00:17:24.700 Runner Rick Deckard is called out of retirement 00:17:24.700 --> 00:17:27.299 to terminate a quartet of replicants who have 00:17:27.299 --> 00:17:29.900 escaped to earth seeking their creator for a 00:17:29.900 --> 00:17:33.279 way to extend their short lifespans. And, uh, 00:17:33.339 --> 00:17:36.119 I would say that is kind of the story of this. 00:17:36.160 --> 00:17:40.150 Um, it's. Harrison Ford as this kind of detective 00:17:40.150 --> 00:17:44.109 agent hunting down replicants who are these kind 00:17:44.109 --> 00:17:47.769 of not quite humans made beings that look like 00:17:47.769 --> 00:17:49.670 humans that are very hard to discern if they 00:17:49.670 --> 00:17:52.750 are humans or not. And he's got the skills to 00:17:52.750 --> 00:17:56.490 figure out, you know, if. If these people that 00:17:56.490 --> 00:17:59.170 look like people are them or not, hunt them down 00:17:59.170 --> 00:18:02.230 and then retire them, which just means kill them 00:18:02.230 --> 00:18:04.569 because they look like humans and always time 00:18:04.569 --> 00:18:07.990 to die. What a great line. And, uh, so that's 00:18:07.990 --> 00:18:11.990 kind of like the, the story of this, but in a 00:18:11.990 --> 00:18:13.950 lot of ways, I feel like when you think of this 00:18:13.950 --> 00:18:16.109 movie, you're not thinking, Oh, detective story. 00:18:16.490 --> 00:18:19.349 It like the things that stand out to me are Like 00:18:19.349 --> 00:18:21.849 the world building in this, there's these visual, 00:18:22.089 --> 00:18:25.170 like the visual atmosphere of it, the neon lights, 00:18:25.430 --> 00:18:29.789 the, the rain and like the shadows and the smog 00:18:29.789 --> 00:18:32.569 and everything. There's this real visual style 00:18:32.569 --> 00:18:36.690 to this that really makes this stand out. And 00:18:36.690 --> 00:18:38.470 I don't know, what do you think? Like, if you 00:18:38.470 --> 00:18:41.410 think of those two things, the story versus the 00:18:41.410 --> 00:18:44.109 visuals, I feel like it's the visuals that make 00:18:44.109 --> 00:18:47.190 this film what it is. Cause the, that storyline 00:18:47.190 --> 00:18:49.849 just doesn't seem like. that's what the film 00:18:49.849 --> 00:18:52.170 is. I don't know. How do you think about that? 00:18:52.170 --> 00:18:54.049 No, I think that's a really good point. I would 00:18:54.049 --> 00:18:56.529 break it down into even a few more factors, but 00:18:56.529 --> 00:18:59.849 I would say the actual storyline with Deckard 00:18:59.849 --> 00:19:02.690 as the

main character as a detective hunting 00:19:02.690 --> 00:19:06.809 for the replicants is not that interesting. It's 00:19:06.809 --> 00:19:09.730 mildly interesting, but it's not groundbreaking. 00:19:10.410 --> 00:19:13.950 That would not make this a classic film. There 00:19:13.950 --> 00:19:16.049 are these guys out there. He needs to find them. 00:19:16.269 --> 00:19:20.880 He eventually does. And there we go. But I think 00:19:20.880 --> 00:19:25.339 the world building is the visuals are the music 00:19:25.339 --> 00:19:28.299 as well, which is sort of separate from the world. 00:19:28.480 --> 00:19:30.559 But because I mean, there's nothing about the 00:19:30.559 --> 00:19:32.299 world that screams you need to have this music. 00:19:32.319 --> 00:19:34.380 But because the music is there, it really gives 00:19:34.380 --> 00:19:38.019 another element to the feel of the film. But 00:19:38.019 --> 00:19:41.599 I would say that that kind of and Star Wars did 00:19:41.599 --> 00:19:44.319 a little of this to where it was. Well, it says 00:19:44.319 --> 00:19:46.920 it's in the past a long time ago in the galaxy 00:19:46.920 --> 00:19:49.440 far far away But clearly it seems like it's in 00:19:49.440 --> 00:19:52.440 the future but everything seems kind of worn 00:19:52.440 --> 00:19:56.359 as opposed to a bright shiny future and and Blade 00:19:56.359 --> 00:19:59.359 Runner takes that several degrees farther, which 00:19:59.359 --> 00:20:04.400 is it's it's the future but it's decaying kind 00:20:04.400 --> 00:20:06.759 of and so it's it's like things are advanced 00:20:06.759 --> 00:20:10.470 but have broken down and And it's like grungy 00:20:10.470 --> 00:20:13.329 and gritty, but in a futuristic way. And I think 00:20:13.329 --> 00:20:16.150 we've now seen a lot more films that were inspired 00:20:16.150 --> 00:20:18.970 by Blade Runner. So maybe that's not as earth 00:20:18.970 --> 00:20:21.690 shattering a concept, but I think the world, 00:20:21.730 --> 00:20:25.289 the visuals, the feel of it. Also, I would say 00:20:25.289 --> 00:20:28.509 the fact that it plays with like, we're going 00:20:28.509 --> 00:20:30.930 to have these crazy new pieces of technology, 00:20:31.230 --> 00:20:33.730 but people are still eating food. People are 00:20:33.730 --> 00:20:36.809 still wearing clothes. It's not just everyone. 00:20:37.130 --> 00:20:39.930 taking their nutrition pill and wearing a silver 00:20:39.930 --> 00:20:43.210 jumpsuit. It's still, it feels more like an actual 00:20:43.210 --> 00:20:45.609 world might feel. And I think that, I think that's 00:20:45.609 --> 00:20:48.490 a huge part of it. It's not the type of future 00:20:48.490 --> 00:20:50.869 that you get in 2001 space Odyssey, which is 00:20:50.869 --> 00:20:54.170 like the sterilized version of things that, you 00:20:54.170 --> 00:20:56.150 know, that was a movie predicting the future. 00:20:56.230 --> 00:20:57.650 I don't know predicting, but like takes place 00:20:57.650 -->

00:21:00.769 in the future, very different style made in the 00:21:00.769 --> 00:21:03.589 sixties. This is just does feel like it's got 00:21:03.589 --> 00:21:07.019 a lot of like grit to it and like, It spends 00:21:07.019 --> 00:21:09.420 a lot of time on the details of the world. There 00:21:09.420 --> 00:21:12.559 is no sense like we need to rush through this. 00:21:12.880 --> 00:21:14.920 A lot of this film just feels like let's just 00:21:14.920 --> 00:21:19.140 spend time here. Let's just watch him sit and 00:21:19.140 --> 00:21:22.019 eat. Let's watch him talk to somebody. We'll 00:21:22.019 --> 00:21:25.059 keep these scenes as long as they need to be 00:21:25.059 --> 00:21:28.240 because it's the visuals that are keeping you 00:21:28.240 --> 00:21:30.779 here. They're, the story is almost secondary 00:21:30.779 --> 00:21:34.039 to all of that, which I think in this case does 00:21:34.039 --> 00:21:38.359 work to a certain degree. Um, I don't know. I, 00:21:38.359 --> 00:21:42.539 I enjoyed it, but like the, the story, I think 00:21:42.539 --> 00:21:45.390 you could argue there could be more there. Yeah, 00:21:45.390 --> 00:21:48.069 well and I think I think to that point I think 00:21:48.069 --> 00:21:49.910 there are a few other elements that I would I 00:21:49.910 --> 00:21:51.869 would say are really important here and one of 00:21:51.869 --> 00:21:54.890 them is But beyond just the world building up 00:21:54.890 --> 00:21:56.930 the kind of world in which this is taking place 00:21:56.930 --> 00:21:59.690 I think there's the there are the themes that 00:21:59.690 --> 00:22:02.789 are brought up in the film that I don't I think 00:22:02.789 --> 00:22:05.269 sometimes you have a movie that's plot first 00:22:05.269 --> 00:22:08.029 but if it's good it will have themes that it 00:22:08.029 --> 00:22:11.869 evokes and that it's asking but Here I would 00:22:11.869 --> 00:22:16.250 say the themes and the ideas are more important 00:22:16.250 --> 00:22:19.329 than the plot itself. And the idea of what does 00:22:19.329 --> 00:22:22.670 it mean to be human? What are our memories mean? 00:22:22.769 --> 00:22:25.210 What do our relationships mean? I mean, we have 00:22:25.210 --> 00:22:29.309 this idea that Rachel, the woman that Deckard 00:22:29.309 --> 00:22:31.930 meets, initially not knowing whether she's a 00:22:31.930 --> 00:22:34.049 human or replicant, then comes to believe that 00:22:34.049 --> 00:22:38.950 she is a replicant. But this idea that she has 00:22:38.950 --> 00:22:41.849 these memories that are so important to her. 00:22:42.089 --> 00:22:44.509 and Deckard says, those aren't your memories. 00:22:44.630 --> 00:22:47.950 Those are memories from the creator's niece that 00:22:47.950 --> 00:22:51.289 have been implanted into you. And so like those 00:22:51.289 --> 00:22:53.170 might be real memories, but they're not your 00:22:53.170 --> 00:22:55.910 memories. But then we have this author element 00:22:55.910 --> 00:22:59.750 where Roy, played by Rector Hauer, who is sort 00:22:59.750 --> 00:23:02.910 of the main bad guy, but I wanna talk about that 00:23:02.910 --> 00:23:06.269 a little more, but he's sort of the main antagonist 00:23:06.269 --> 00:23:09.819 to Deckard here. And he has this amazing line 00:23:09.819 --> 00:23:12.000 at the end of the film, but basically talking 00:23:12.000 --> 00:23:16.099 about, I have all these memories of things that 00:23:16.099 --> 00:23:19.720 I have seen in my life as a replicant. I'm not 00:23:19.720 --> 00:23:22.519 claiming to not be a replicant, but in my time 00:23:22.519 --> 00:23:25.460 as a replicant, I have seen things that you can't 00:23:25.460 --> 00:23:28.559 believe. I've seen amazing things. And when I 00:23:28.559 --> 00:23:30.839 die, they will all disappear. All those memories 00:23:30.839 --> 00:23:34.759 will just disappear like tears in the rain. Like 00:23:34.759 --> 00:23:37.220 tears in the rain. But it's this crazy moment, 00:23:37.259 --> 00:23:40.619 because you have this question of what is memory? 00:23:41.160 --> 00:23:44.700 What is true to our identity? And with Rachel, 00:23:44.859 --> 00:23:48.160 it's this idea of she feels like those memories 00:23:48.160 --> 00:23:50.299 are core to her, but really they've just been 00:23:50.299 --> 00:23:53.460 implanted in her. Roy is clear that he's not 00:23:53.460 --> 00:23:56.839 a real person, and yet he has these genuine memories 00:23:56.839 --> 00:24:00.559 of places where he was. And it's just a fascinating 00:24:00.559 --> 00:24:04.289 question about what is life? What is... our experience 00:24:04.289 --> 00:24:07.190 here on earth, what's here, what remains when 00:24:07.190 --> 00:24:11.230 we're gone. And so I think those questions to 00:24:11.230 --> 00:24:13.549 me are really interesting about Blade Runner 00:24:13.549 --> 00:24:16.009 beyond just the, will he find the replicants 00:24:16.009 --> 00:24:19.569 or not? Right. And those questions, the themes, 00:24:19.609 --> 00:24:22.509 the questions it asks, it explores a little bit. 00:24:22.970 --> 00:24:25.789 I feel like those are kind of the core of what 00:24:25.789 --> 00:24:28.509 this is. If you walk away from this film, you 00:24:28.509 --> 00:24:30.829 will have at least considered something different. 00:24:30.829 --> 00:24:33.619 And maybe those those messages, those things 00:24:33.619 --> 00:24:36.259 aren't as novel today as they were back then. 00:24:36.640 --> 00:24:38.339 I'd imagine back in 81, this would have been 00:24:38.339 --> 00:24:41.420 just a kind of a mind blowing film today. It's 00:24:41.420 --> 00:24:44.180 been copied so much, but those ideas are so fun 00:24:44.180 --> 00:24:47.140 to play within a film. And it's almost like the 00:24:47.140 --> 00:24:50.740 film. I don't know if this was just at the time 00:24:50.740 --> 00:24:53.200 they were so new or the ideas they didn't know, 00:24:53.319 --> 00:24:55.599 but it feels like there's so

much to explore 00:24:55.599 --> 00:24:57.400 with those themes. There's so many ways you could 00:24:57.400 --> 00:25:01.359 go exploring those ideas and. It doesn't quite 00:25:01.359 --> 00:25:04.700 explore them as fully as you might want. It does 00:25:04.700 --> 00:25:07.559 ask it. It does present it, but it just feels 00:25:07.559 --> 00:25:09.880 like it leaves a lot on the table for where you 00:25:09.880 --> 00:25:13.000 could go with those ideas. Um, I don't know if 00:25:13.000 --> 00:25:14.880 you felt that way. That was just something I 00:25:14.880 --> 00:25:18.000 was like, you could do more with this. I think 00:25:18.000 --> 00:25:19.539 you could, I think there's a lot you could do 00:25:19.539 --> 00:25:21.779 with this. I mean, I think it raises a lot of 00:25:21.779 --> 00:25:23.720 interesting questions. I think, and I think a 00:25:23.720 --> 00:25:26.440 lot of the questions go beyond. I think you could 00:25:26.440 --> 00:25:30.279 have too reductive of a, uh, conclusion about, 00:25:30.640 --> 00:25:32.460 you know, what is human versus robot or what 00:25:32.460 --> 00:25:35.819 is human versus AI? And in our age of AI now 00:25:35.819 --> 00:25:38.680 that we're kind of just starting, like who, who 00:25:38.680 --> 00:25:40.539 knows where we go with that? What is consciousness? 00:25:40.539 --> 00:25:44.079 What is, uh, what is a living being? But I also 00:25:44.079 --> 00:25:48.200 think there's a, there's another level of which, 00:25:48.960 --> 00:25:52.259 like they do this test. What is the Voight Conf? 00:25:52.660 --> 00:25:55.859 No, Voight. What was the name of that? It is, 00:25:55.859 --> 00:25:58.849 uh, the test where they look at your eye. They're 00:25:58.849 --> 00:26:00.930 watching your eye while they get you to like 00:26:00.930 --> 00:26:04.529 they ask you series of questions. Yeah, and and 00:26:04.529 --> 00:26:08.970 then they see how you react to them and And that 00:26:08.970 --> 00:26:12.009 so that's how the film they call the VK test 00:26:12.009 --> 00:26:16.349 void comp. Yeah. Okay, so I was right. So this 00:26:16.349 --> 00:26:20.130 test I think it's interesting because the replicant 00:26:20.130 --> 00:26:22.849 Leon in the beginning fails the test and then 00:26:22.849 --> 00:26:26.420 kills the person asking the questions and Decker 00:26:26.420 --> 00:26:29.859 does this test at other times. And first of all, 00:26:29.859 --> 00:26:31.700 it's a fascinating test. We could talk about 00:26:31.700 --> 00:26:35.859 that a little bit more. But I also think the 00:26:35.859 --> 00:26:38.980 answers, the way that people answer what you're 00:26:38.980 --> 00:26:43.700 looking for as signs of humanity are also based 00:26:43.700 --> 00:26:46.920 on a very particular understanding of what it 00:26:46.920 --> 00:26:50.440 is to be human. And I think for instance, if 00:26:50.440 --> 00:26:52.700 you were talking to people with different language, 00:26:52.940 --> 00:26:56.690 different

culture, different, you know, from 00:26:56.690 --> 00:26:59.289 a different time period, for instance, would 00:26:59.289 --> 00:27:02.390 they register as human if this is your, if this 00:27:02.390 --> 00:27:04.410 is your test to see if they're human. I mean, 00:27:04.450 --> 00:27:07.089 and maybe you're looking for specific eye movements. 00:27:07.089 --> 00:27:09.410 And so maybe specifically within the world of 00:27:09.410 --> 00:27:12.329 this, of this movie, there's a big difference 00:27:12.329 --> 00:27:15.450 between any human and a replicant. But I would 00:27:15.450 --> 00:27:18.910 say that the concept of There is a normal way 00:27:18.910 --> 00:27:21.109 that humans should process this information. 00:27:21.589 --> 00:27:23.869 And if you're processing it in a different way, 00:27:24.029 --> 00:27:27.089 you are a replicant. I would say that's not taking 00:27:27.089 --> 00:27:31.730 into account the wide range of different ways 00:27:31.730 --> 00:27:34.049 that humans might deal with different information. 00:27:35.160 --> 00:27:37.319 And they don't really give a backstory of how 00:27:37.319 --> 00:27:39.940 this came about. And like the question is asked 00:27:39.940 --> 00:27:42.339 to Decker, like, have you ever killed a human 00:27:42.339 --> 00:27:44.819 on accident? And he's like, no, like, oh, interesting. 00:27:44.900 --> 00:27:46.240 And then she's like, have you ever taken the 00:27:46.240 --> 00:27:48.539 test yourself? Which is a whole other, like, 00:27:48.680 --> 00:27:51.440 oh, wow. Like, why would you even ask that? Obviously 00:27:51.440 --> 00:27:54.480 Decker is a human. Is he, but like the, the test 00:27:54.480 --> 00:27:56.839 itself has all of these implications along with 00:27:56.839 --> 00:27:59.119 that of like, how does society function? If this 00:27:59.119 --> 00:28:02.170 is what we're doing. And you can prove or not 00:28:02.170 --> 00:28:05.009 prove something and like, how far can you take 00:28:05.009 --> 00:28:06.829 it? Is it a hundred percent accurate? If it's 00:28:06.829 --> 00:28:08.710 not a hundred percent accurate, how do we know? 00:28:09.170 --> 00:28:11.069 And there's just all these like the, the world 00:28:11.069 --> 00:28:13.869 building implications around that to open with 00:28:13.869 --> 00:28:16.329 that, I think just sets the stage really well 00:28:16.329 --> 00:28:19.930 of like, okay, this is just kind of an alternate 00:28:19.930 --> 00:28:23.309 reality that we don't know about. And then where 00:28:23.309 --> 00:28:25.569 does this all come from? It's all these questions 00:28:25.569 --> 00:28:27.740 that are there that you don't really have time 00:28:27.740 --> 00:28:30.200 to ask yourself, but are just kind of underneath 00:28:30.200 --> 00:28:32.059 the surface of all of this, of just like, how 00:28:32.059 --> 00:28:35.539 does this world work? Which it is fairly vague, 00:28:35.960 --> 00:28:38.740 the details of how everything works. And I will 00:28:38.740 --> 00:28:42.920 say I watched the final cut this time. I've watched 00:28:42.920 --> 00:28:45.400 the original before. I don't know if you, I looked 00:28:45.400 --> 00:28:47.420 up the differences. And I think there are a few 00:28:47.420 --> 00:28:50.759 different cuts, but I watched a cut without voiceover. 00:28:50.960 --> 00:28:53.440 That's what I watched. Okay. Yeah. Yeah. Which 00:28:53.440 --> 00:28:55.990 I think is the... It was originally released 00:28:55.990 --> 00:28:59.950 in theaters with voiceover. And then this was 00:28:59.950 --> 00:29:03.210 the directors cut, but then they did a few versions 00:29:03.210 --> 00:29:06.710 after the initial directors cut. But I think 00:29:06.710 --> 00:29:09.289 we probably saw the same thing, which is what 00:29:09.289 --> 00:29:11.609 most people nowadays see. That's what you watch 00:29:11.609 --> 00:29:13.490 nowadays, yeah. And that's what Ridley Scott 00:29:13.490 --> 00:29:15.650 wanted it to be. Because it sounds like, at least 00:29:15.650 --> 00:29:18.069 I was looking up, what are the differences? And 00:29:18.069 --> 00:29:21.329 it's that the studio forced them to give you... 00:29:21.390 --> 00:29:23.630 like this voiceover to explain things because 00:29:23.630 --> 00:29:27.150 it doesn't explain a lot of stuff. And I will 00:29:27.150 --> 00:29:30.630 say, I think that's for like the benefit of the 00:29:30.630 --> 00:29:32.869 film. Cause I think in a world like this, if 00:29:32.869 --> 00:29:35.250 you get bogged down in the details, I think you 00:29:35.250 --> 00:29:39.210 might lose a lot. Like if you had Decker to explain 00:29:39.210 --> 00:29:41.150 his past, if you're like, here's how the world 00:29:41.150 --> 00:29:42.750 came about. And maybe there's a little bit of 00:29:42.750 --> 00:29:44.910 that, but like this movie just feels so much 00:29:44.910 --> 00:29:48.319 more of like. There's just a tone to it. There's 00:29:48.319 --> 00:29:51.259 a vibe to it that you get on board with. And 00:29:51.259 --> 00:29:53.720 that's kind of the experience of the film more 00:29:53.720 --> 00:29:56.700 than like getting into the nitty gritty of this 00:29:56.700 --> 00:29:59.720 is how the world is and how it works. And kind 00:29:59.720 --> 00:30:01.940 of like Dune where you have like, here's all 00:30:01.940 --> 00:30:04.319 the political aspects of everything. And here's 00:30:04.319 --> 00:30:06.059 how it all came about. Like there's, you don't 00:30:06.059 --> 00:30:08.839 get that in this film, which I think is to the 00:30:08.839 --> 00:30:10.519 benefit of it. Although I know a lot of people 00:30:10.519 --> 00:30:12.519 don't like that, that it's just so vague and 00:30:12.519 --> 00:30:15.349 out there. Yeah, and the film was not successful 00:30:15.349 --> 00:30:18.269 when it first came out in 82 I think and and 00:30:18.269 --> 00:30:21.710 it was not very successful it became sort of 00:30:21.710 --> 00:30:25.089 a it had a cult following

through the 80s, but 00:30:25.089 --> 00:30:29.250 but then in the 90s with the director's cut coming 00:30:29.250 --> 00:30:32.490 out and a new print was found and they showed 00:30:32.490 --> 00:30:35.809 it sort of got a new life and Then it became 00:30:35.809 --> 00:30:40.670 like ten years later this classic film but it's 00:30:40.670 --> 00:30:45.019 I I do feel a little bit like It's kind of like 00:30:45.019 --> 00:30:48.559 some artwork where if you see it in a museum, 00:30:49.140 --> 00:30:51.019 you say, yeah, there's something really interesting 00:30:51.019 --> 00:30:53.359 about that art. If you saw it just on a random 00:30:53.359 --> 00:30:55.519 wall, you might not think it was that great. 00:30:56.180 --> 00:30:58.599 And there's something about like, and it's the 00:30:58.599 --> 00:31:01.380 same art. And if you really can see great things 00:31:01.380 --> 00:31:04.599 in it, then it's genuine, really good art. But 00:31:04.599 --> 00:31:07.259 I think it might be easy to just pass it by and 00:31:07.259 --> 00:31:09.579 just notice some things that you're not impressed 00:31:09.579 --> 00:31:12.650 by. Because I think Blade Runner, is a little 00:31:12.650 --> 00:31:18.309 confusing, it's a little slow. It purports to 00:31:18.309 --> 00:31:21.930 be this mission that Deckard is on to find these 00:31:21.930 --> 00:31:24.890 replicants. And then it doesn't really play out 00:31:24.890 --> 00:31:27.529 that plot in too interesting a way. And I would 00:31:27.529 --> 00:31:29.589 say that's not really the plot that the movie's 00:31:29.589 --> 00:31:32.609 most interested in, but if that's what the movie 00:31:32.609 --> 00:31:34.670 says it is, and then it doesn't really deliver 00:31:34.670 --> 00:31:36.809 on that in a very interesting way, that's gonna 00:31:36.809 --> 00:31:40.210 alienate a lot of viewers. Because that first 00:31:40.210 --> 00:31:41.930 act, if you were to say, like, if you break this 00:31:41.930 --> 00:31:45.369 down to an act, it's we have a replicant, they're 00:31:45.369 --> 00:31:48.529 an issue on Earth, they will kill people. Deckard 00:31:48.529 --> 00:31:50.750 is retired. He doesn't want to get back into 00:31:50.750 --> 00:31:53.230 it. We force him back into it. He's really good 00:31:53.230 --> 00:31:55.470 at this. That's a classic action movie setup. 00:31:55.569 --> 00:31:58.349 Yeah, it's perfect. Like, you see that in so 00:31:58.349 --> 00:32:00.730 many action films. And then it just, from there, 00:32:00.910 --> 00:32:03.910 does not go. I mean, it kind of does, but it's 00:32:03.910 --> 00:32:07.009 just, it's slow and it's like contemplative. 00:32:07.089 --> 00:32:09.670 And it's like, from there on, it's like the bigger 00:32:09.670 --> 00:32:11.730 thing here is we need to present these ideas 00:32:11.730 --> 00:32:13.650 and ask these questions and make you consider 00:32:13.650 --> 00:32:15.950 things more than follow that story where it would 00:32:15.950 --> 00:32:19.609

go. And I think there's pros and cons to that. 00:32:19.789 --> 00:32:21.549 I think there's some good parts of that. There's 00:32:21.549 --> 00:32:23.950 some parts that like, could you not have both 00:32:23.950 --> 00:32:27.450 somehow? Um, but yeah, there's, I think it can 00:32:27.450 --> 00:32:29.730 be alienating for a lot of people, especially 00:32:29.730 --> 00:32:32.559 with how that's set up. I think another interesting 00:32:32.559 --> 00:32:38.000 part of this is that Roy, in many ways, is the 00:32:38.000 --> 00:32:40.460 more natural main character of the story. I mean, 00:32:40.480 --> 00:32:42.839 you could say, I mean, I would say that Deckard 00:32:42.839 --> 00:32:45.359 is the main character the way the film is presented 00:32:45.359 --> 00:32:51.140 to us, but he doesn't really, he's not that dynamic 00:32:51.140 --> 00:32:53.200 of a character. He doesn't change very much. 00:32:53.240 --> 00:32:58.480 He's not that active. Whereas Roy is fighting 00:32:58.480 --> 00:33:03.589 for his life. And he can be bad. I think he uses 00:33:03.589 --> 00:33:06.690 a... What does he say? I did some unfortunate 00:33:06.690 --> 00:33:11.710 things or something like that. But really, he's 00:33:11.710 --> 00:33:14.190 trying to survive. And he's been built in a way 00:33:14.190 --> 00:33:17.150 that means he's going to die in only a few years 00:33:17.150 --> 00:33:20.829 based on how his sort of synthetic body has been 00:33:20.829 --> 00:33:23.450 built. Or I guess it's organic, but the way it's 00:33:23.450 --> 00:33:25.109 been built, it's not gonna live very long. So 00:33:25.109 --> 00:33:27.910 he's trying to find a solution to that. that 00:33:27.910 --> 00:33:30.809 makes sense as that would be your main character 00:33:30.809 --> 00:33:34.250 and that you're going on that journey. And I 00:33:34.250 --> 00:33:37.650 think we have this big emotional moment with 00:33:37.650 --> 00:33:41.769 him when he dies and this idea of, you know, 00:33:41.809 --> 00:33:45.970 I've seen things you couldn't imagine. And it, 00:33:45.970 --> 00:33:49.009 A, seems like he's got the most powerful emotional 00:33:49.009 --> 00:33:52.650 moment in the movie. And B, doesn't seem like... 00:33:52.829 --> 00:33:55.910 Oh, he's a heartless villain. It seems like he's 00:33:55.910 --> 00:33:58.130 fighting to protect what's most wants to live. 00:33:58.829 --> 00:34:01.630 Yeah. Like, can you blame him for like trying 00:34:01.630 --> 00:34:04.970 to live? He has it. He looks like a human. He 00:34:04.970 --> 00:34:06.869 has a lot of emotions. If you were to compare 00:34:06.869 --> 00:34:09.650 him to Deckard in this film, you would say, well, 00:34:09.650 --> 00:34:11.750 he's the one that has emotions. He's the one 00:34:11.750 --> 00:34:14.130 that seems to care about something. Whereas Deckard, 00:34:14.130 --> 00:34:16.070 you're like, it doesn't seem like he cares if 00:34:16.070 --> 00:34:18.329 he kills these people or not. If he goes home, 00:34:18.590 --> 00:34:21.269 you know, he has that love interest with Rachel, 00:34:21.269 --> 00:34:24.329 but. I don't know. You, you get a sense that 00:34:24.329 --> 00:34:26.409 he likes her. Is that serious? I don't know. 00:34:26.409 --> 00:34:27.869 You know, and that kind of just kind of comes 00:34:27.869 --> 00:34:31.369 and goes. So you do feel like the replicants 00:34:31.369 --> 00:34:34.469 are the ones with the stronger backstory, with 00:34:34.469 --> 00:34:37.369 the stronger motives, with the actual emotions 00:34:37.369 --> 00:34:40.989 that you see on screen. And yet we have Deckard, 00:34:41.110 --> 00:34:43.510 who's the one who we're following around, which 00:34:43.510 --> 00:34:46.110 it's Harrison Ford. So it's hard to blame them 00:34:46.110 --> 00:34:48.570 for being like, let's make Harrison Ford the 00:34:48.570 --> 00:34:51.639 main person in this film, but. There does seem 00:34:51.639 --> 00:34:54.519 to be like, you could go about this story in 00:34:54.519 --> 00:34:56.599 a different way. Like what if you started with 00:34:56.599 --> 00:34:58.719 the replicants and did it from their perspective? 00:34:58.780 --> 00:35:01.179 How would that change things? And I think you 00:35:01.179 --> 00:35:03.199 could get, there's an argument for that being 00:35:03.199 --> 00:35:06.199 a more interesting story. Although maybe not 00:35:06.199 --> 00:35:08.000 exploring the themes they want to explore in 00:35:08.000 --> 00:35:11.460 the same way. Yeah. I mean, and I do love the 00:35:11.460 --> 00:35:14.659 idea of movies that are subversive in the sense 00:35:14.659 --> 00:35:17.039 of you think you're watching one thing, but really 00:35:17.039 --> 00:35:19.780 you're watching another. And I love that as a 00:35:19.780 --> 00:35:22.969 concept. Sometimes, though, it does get in the 00:35:22.969 --> 00:35:25.909 way of the flow of the film of like, oh, you 00:35:25.909 --> 00:35:27.349 thought that Deckard was the main character, 00:35:27.369 --> 00:35:30.789 but really Roy is the more interesting one. Sometimes 00:35:30.789 --> 00:35:34.130 you would say, well, then make Roy the main character. 00:35:34.809 --> 00:35:37.170 But at the same time, I think there's real riches. 00:35:37.269 --> 00:35:39.929 There's also the big question of is Deckard a 00:35:39.929 --> 00:35:43.070 replicant or not, which I don't think is the 00:35:43.070 --> 00:35:46.309 central question of the movie. I think more the 00:35:46.309 --> 00:35:48.960 movie is about sort of generally a reflection 00:35:48.960 --> 00:35:54.360 on life and, and existence and humanity. Um, 00:35:54.960 --> 00:35:58.659 but, but, but there is this question of, you 00:35:58.659 --> 00:36:00.219 know, have you ever taken the test yourself? 00:36:00.500 --> 00:36:03.480 Could you be a replicant? How do you know? How 00:36:03.480 --> 00:36:05.739 would you know if you were a replicant or not? 00:36:06.460 --> 00:36:09.280 And there's the unicorn at the end of

the film, 00:36:10.019 --> 00:36:13.420 which that is kind of subtle. I mean, it's something 00:36:13.420 --> 00:36:15.099 that people talk about a lot. So maybe it doesn't 00:36:15.099 --> 00:36:17.960 seem subtle, but kind of the idea is that Deckard 00:36:17.960 --> 00:36:21.900 has dreamed about a unicorn. And then then this 00:36:21.900 --> 00:36:24.360 unicorn is left by his apartment and the idea 00:36:24.360 --> 00:36:28.480 being that his dream might be an implanted memory 00:36:28.480 --> 00:36:31.599 instead of just a genuine dream. And so maybe 00:36:31.599 --> 00:36:34.019 he too is a replicant like the people he's been 00:36:34.019 --> 00:36:38.699 tracking. So that's one read on this. Did you? 00:36:38.940 --> 00:36:41.099 come away from this thinking clearly he's human, 00:36:41.199 --> 00:36:44.559 clearly he's a replicant, did you care? That's 00:36:44.559 --> 00:36:46.860 the thing. They bring up this question and it's 00:36:46.860 --> 00:36:48.760 kind of like about halfway through they kind 00:36:48.760 --> 00:36:50.599 of bring up the idea like have you taken the 00:36:50.599 --> 00:36:52.360 test yourself which makes you think oh could 00:36:52.360 --> 00:36:55.019 he be a replicant and then throughout it you 00:36:55.019 --> 00:36:58.539 kind of like kind of wonder a little bit but 00:36:58.539 --> 00:37:01.940 ultimately if he is or if he isn't I don't think 00:37:01.940 --> 00:37:04.539 changes anything about the movie and so it's 00:37:04.539 --> 00:37:06.440 like this it's an interesting question to think 00:37:06.440 --> 00:37:10.150 about. But when it doesn't actually matter to 00:37:10.150 --> 00:37:13.269 the film and like how the film plays out, like 00:37:13.269 --> 00:37:15.409 at the end of the film, let's say he's a replicant. 00:37:15.690 --> 00:37:17.489 Does that change things? Let's say he's human. 00:37:17.610 --> 00:37:19.510 Does that change things? I don't know that it 00:37:19.510 --> 00:37:22.210 really changes too much. So I don't know how 00:37:22.210 --> 00:37:24.869 much that matters if it makes the story better 00:37:24.869 --> 00:37:26.570 or worse. I don't think it does. I don't think 00:37:26.570 --> 00:37:28.489 it really plays a role, but it is an interesting 00:37:28.489 --> 00:37:30.230 question just to ask because I feel like it's 00:37:30.230 --> 00:37:32.530 right there. Like you have to ask it. He couldn't 00:37:32.530 --> 00:37:35.429 not do that, but I don't know if it really changes 00:37:35.429 --> 00:37:38.420 how the story. Feels to people when it's done. 00:37:38.420 --> 00:37:41.980 Did you think it mattered? I? Didn't really think 00:37:41.980 --> 00:37:44.199 it mattered that much. I think it's kind of a 00:37:44.199 --> 00:37:46.940 fun thing to question, but I think it's almost 00:37:46.940 --> 00:37:49.940 just like a It's not like a twist that makes 00:37:49.940 --> 00:37:52.320 you reconsider everything. It's more of like 00:37:52.320 --> 00:37:56.820 a we're we want to

play with that ambiguity and 00:37:56.820 --> 00:38:01.280 I mean, I think also if he within the the roles 00:38:01.280 --> 00:38:05.159 of the world if he is a replicant He's not very 00:38:05.159 --> 00:38:08.019 strong which is established again and again, 00:38:08.400 --> 00:38:10.400 both in what we hear and in what we see that 00:38:10.400 --> 00:38:13.139 the replicants are superhuman in their abilities 00:38:13.139 --> 00:38:16.559 and that he doesn't really seem that way. It 00:38:16.559 --> 00:38:20.460 also seems like he's been alive for a long time 00:38:20.460 --> 00:38:23.239 unless that's all just implanted memories. And 00:38:23.239 --> 00:38:25.880 I mean, that would be an interesting twist. If 00:38:25.880 --> 00:38:29.940 there were some reason why it were beneficial. 00:38:30.329 --> 00:38:33.610 If he, suppose he's a brand new replicant, but 00:38:33.610 --> 00:38:36.750 there's some benefit to having this replicant 00:38:36.750 --> 00:38:42.489 be, uh, like believe that it is coming from retirement. 00:38:42.809 --> 00:38:44.849 Like it's coming out of retirement. It's not 00:38:44.849 --> 00:38:46.690 just you've been programmed to be a cop. It's 00:38:46.690 --> 00:38:48.650 like, you're coming out of retirement to solve 00:38:48.650 --> 00:38:50.989 one last case. Like that, like that would be 00:38:50.989 --> 00:38:53.269 an interesting sort of thing to see, like, why 00:38:53.269 --> 00:38:55.889 would that be beneficial? What would you gain 00:38:55.889 --> 00:38:59.510 from that? Uh, But they don't really explore 00:38:59.510 --> 00:39:02.730 that here. And so I'm kind of like, I think it's 00:39:02.730 --> 00:39:05.829 more just throwing out that idea and that uncertainty. 00:39:06.489 --> 00:39:10.610 And I think it's an important question of doubting 00:39:10.610 --> 00:39:14.510 in ourselves, how are we so sure that we're real 00:39:14.510 --> 00:39:17.989 if the replicates also feel like they're real? 00:39:18.590 --> 00:39:22.230 And that may be the main point of that. Just 00:39:22.230 --> 00:39:24.130 for the audience has to then ask themselves, 00:39:24.570 --> 00:39:27.769 how do I know that I'm human? is kind of a question. 00:39:27.929 --> 00:39:29.909 It's a fun question for a movie to make you do 00:39:29.909 --> 00:39:32.389 that. But for the answer, there doesn't need 00:39:32.389 --> 00:39:34.130 to be an answer. I feel like if there was a solid 00:39:34.130 --> 00:39:36.570 answer in this film, I don't think it would make 00:39:36.570 --> 00:39:39.329 anything better. They have the sequel to this 00:39:39.329 --> 00:39:43.090 Blade Runner 2049. I think it's 49. And Harrison 00:39:43.090 --> 00:39:46.610 Ford's in that. And there's more of like hinting 00:39:46.610 --> 00:39:49.050 that he is a replicant, but they never state 00:39:49.050 --> 00:39:53.380 it even in the sequel. So I think it's. intentionally 00:39:53.380 --> 00:39:55.980 ambiguous. They want it to be ambiguous and they 00:39:55.980 --> 00:39:58.519 just want the audience to question within themselves, 00:39:58.639 --> 00:40:00.860 to look inward if you can, which I think a lot 00:40:00.860 --> 00:40:03.139 of this film kind of does that and kind of forces 00:40:03.139 --> 00:40:05.920 you into that of just thinking what is identity 00:40:05.920 --> 00:40:08.559 and meaning and life and all of this does really 00:40:08.559 --> 00:40:16.860 well. It's an interesting, I feel like as a film, 00:40:17.719 --> 00:40:23.389 it's one that I love the aesthetic the feel of 00:40:23.389 --> 00:40:26.690 it, the themes that are brought up. But I would 00:40:26.690 --> 00:40:30.989 say it is challenging to me that I want to see 00:40:30.989 --> 00:40:34.170 more satisfaction from the plot. I think in films 00:40:34.170 --> 00:40:37.210 that I really love, it's a little hard for me 00:40:37.210 --> 00:40:39.949 to put Blade Runner up with my favorite films, 00:40:40.030 --> 00:40:45.150 just because I don't feel like I connect with 00:40:45.150 --> 00:40:49.079 the plot line itself that much. I was wondering, 00:40:49.099 --> 00:40:52.119 cause we just did no country for old men, which 00:40:52.119 --> 00:40:54.440 kind of has a similar idea. It sets up this nice 00:40:54.440 --> 00:40:56.420 little plot and then it kind of doesn't deliver 00:40:56.420 --> 00:40:58.539 on what you expect it to be. And it's a lot about 00:40:58.539 --> 00:41:01.400 exploring these themes and this kind of, in a 00:41:01.400 --> 00:41:03.239 way, I wouldn't say they're exactly the same, 00:41:03.300 --> 00:41:05.139 but there's a way that these are set up similarly 00:41:05.139 --> 00:41:07.340 where it's like, we set up a story that's going 00:41:07.340 --> 00:41:08.840 to be a little straightforward. Don't really 00:41:08.840 --> 00:41:11.389 deliver on that, but We do explore all these 00:41:11.389 --> 00:41:13.929 themes. And for some reason, I feel like no country 00:41:13.929 --> 00:41:16.429 for old men is way more satisfying than this. 00:41:16.869 --> 00:41:19.190 This is just, I feel like interesting. You're 00:41:19.190 --> 00:41:21.369 like, Oh, that was cool. I liked the vibe of 00:41:21.369 --> 00:41:24.849 it. I liked what I saw, but there is some element 00:41:24.849 --> 00:41:28.550 that's just missing. I feel like for personal 00:41:28.550 --> 00:41:31.829 level of like, it doesn't satisfy in the same 00:41:31.829 --> 00:41:35.090 way. I think other people do get a lot of satisfaction 00:41:35.090 --> 00:41:37.869 from this film. I don't, I don't really see it 00:41:37.869 --> 00:41:40.650 there in that same way. And maybe that's my issue 00:41:40.650 --> 00:41:44.170 with it. Like I understand it. I get from the 00:41:44.170 --> 00:41:45.690 perspective, I will say that watching it a second 00:41:45.690 --> 00:41:47.650 time was better than the first time. First time 00:41:47.650 --> 00:41:50.250 I was just really confused, but there is something 00:41:50.250 --> 00:41:53.050 there. It's

just not, it's, it's hard to like 00:41:53.050 --> 00:41:55.289 say, I want it to be explained more because usually 00:41:55.289 --> 00:41:57.449 it's like they over explain things, but this 00:41:57.449 --> 00:42:00.130 is like way under explained, way under explored 00:42:00.130 --> 00:42:04.849 in certain ways. Yeah, it's a I wonder what people 00:42:04.849 --> 00:42:08.010 love about it so much. I think it's really interesting. 00:42:08.349 --> 00:42:12.550 I think it's good But I I feel like the idea 00:42:12.550 --> 00:42:15.570 of it being your favorite film is interesting 00:42:15.570 --> 00:42:19.570 I feel like you must feel a connection with that 00:42:19.570 --> 00:42:22.829 reflection on identity and humanity and existence 00:42:23.420 --> 00:42:26.019 I guess to me, I find my answers for those things 00:42:26.019 --> 00:42:30.119 elsewhere. So I'm like, Blade Runner is not speaking 00:42:30.119 --> 00:42:33.139 to me in a unique way on, you know, what am I 00:42:33.139 --> 00:42:35.860 doing here on this earth? And so maybe that's, 00:42:35.860 --> 00:42:37.780 you know, maybe that's something that for some 00:42:37.780 --> 00:42:39.519 people, that's the real connection they're making. 00:42:39.579 --> 00:42:42.440 I don't feel like I don't feel that much of a 00:42:42.440 --> 00:42:44.559 connection to Deckard. I don't feel that much 00:42:44.559 --> 00:42:47.500 of a connection to Roy either. And so I feel 00:42:47.500 --> 00:42:51.440 like that's something there about the about the 00:42:51.440 --> 00:42:54.639 humanity of the characters that is a little bit. 00:42:54.659 --> 00:42:57.380 It is hard to connect to. The one thing I would 00:42:57.380 --> 00:43:01.880 say is the opening of the film when the guy is 00:43:01.880 --> 00:43:05.119 being tested and we don't know yet what is going 00:43:05.119 --> 00:43:08.699 on and he's being asked questions and his responses 00:43:08.699 --> 00:43:12.719 are so human. I mean, it turns out very quickly 00:43:12.719 --> 00:43:16.139 that he is in fact a replicant with no question 00:43:16.139 --> 00:43:18.760 that Leon at the beginning. Yeah. But the idea 00:43:18.760 --> 00:43:23.349 that like, the way that he's talking is almost, 00:43:24.530 --> 00:43:26.949 you would never think of programming a robot 00:43:26.949 --> 00:43:29.730 to talk that way, because he's just being annoying. 00:43:30.329 --> 00:43:32.190 And like, he's just talking about his hotel that 00:43:32.190 --> 00:43:34.730 he's staying at and, you know, making small talk 00:43:34.730 --> 00:43:38.269 in a very, very human kind of blue collar kind 00:43:38.269 --> 00:43:42.230 of way. And it's like a very weird, very weird 00:43:42.230 --> 00:43:44.170 kind of conversation. I thought that was such 00:43:44.170 --> 00:43:47.610 an interesting way of getting us into that. I 00:43:47.610 --> 00:43:51.980 thought that was a, was a time where the movie 00:43:51.980 --> 00:43:54.420 really caught my attention with, you know, what 00:43:54.420 --> 00:43:57.780 is human and what, what isn't because it sort 00:43:57.780 --> 00:44:01.699 of upset my expectations right there. Yeah, it's, 00:44:01.920 --> 00:44:04.619 it gets you right into that. That first 10, 20 00:44:04.619 --> 00:44:07.519 minutes I feel like are just so good. And you 00:44:07.519 --> 00:44:09.719 expect it to be kind of at that pace at that 00:44:09.719 --> 00:44:12.280 like surprise level, which it doesn't later on 00:44:12.280 --> 00:44:13.900 deliver. There's a lot of good scenes throughout 00:44:13.900 --> 00:44:16.500 it, but like just that opening, I think really 00:44:16.500 --> 00:44:20.409 stands out as like. what this film is. If you 00:44:20.409 --> 00:44:22.969 think about this film though, would you rather 00:44:22.969 --> 00:44:26.190 watch this or Blade Runner 2049? Like what's 00:44:26.190 --> 00:44:28.969 the better film in your mind? Well, I've only 00:44:28.969 --> 00:44:34.469 seen Blade Runner 2049 once. Me too. I think 00:44:34.469 --> 00:44:38.250 I'd have to go with this one just because I've 00:44:38.250 --> 00:44:41.130 seen it more. I mean, I guess if I was going 00:44:41.130 --> 00:44:42.670 to watch one tomorrow, it'd probably be Blade 00:44:42.670 --> 00:44:45.489 Runner 2049 because I just saw this. There's 00:44:45.489 --> 00:44:47.960 much more of a story to that. It explores the 00:44:47.960 --> 00:44:51.179 same themes, similar themes, and then some. I 00:44:51.179 --> 00:44:53.420 prefer, like, I would rather watch 49 because 00:44:53.420 --> 00:44:55.920 it's just, it's more of like what you expect 00:44:55.920 --> 00:44:58.420 from a movie. But there is something to this. 00:44:58.519 --> 00:45:00.699 It's hard. Like there's something to this you 00:45:00.699 --> 00:45:03.780 don't want to give up. Yeah, I do respect in 00:45:03.780 --> 00:45:06.579 this that, and I think, I think one really cool 00:45:06.579 --> 00:45:09.300 thing about Blade Runner is that it posits this, 00:45:09.300 --> 00:45:12.579 this future world where I wouldn't really call 00:45:12.579 --> 00:45:15.380 it dystopian. I guess it's this, I mean, it really 00:45:15.380 --> 00:45:18.780 just seems like it's grungy, but dystopian seems 00:45:18.780 --> 00:45:21.400 a little extreme. There seems to be rules in 00:45:21.400 --> 00:45:24.760 society. Yeah. Yeah. But it, but it's this sort 00:45:24.760 --> 00:45:28.719 of like lived in grungy kind of future. And I 00:45:28.719 --> 00:45:32.360 feel like, and we do meet Tyrell, like the, the 00:45:32.360 --> 00:45:34.940 creator of the replicants, but I feel like so 00:45:34.940 --> 00:45:38.409 many movies like this. need to go up to the top. 00:45:38.550 --> 00:45:41.090 Like, we need to spend a lot of time with, like, 00:45:41.210 --> 00:45:43.809 here's the secret conspiracy going on. And here 00:45:43.809 --> 00:45:46.389 are the people, here's, like, the real Earth 00:45:46.389 --> 00:45:48.769 mission, and these are the things going

on. And 00:45:48.769 --> 00:45:51.829 here, I feel like this is more of, it's more 00:45:51.829 --> 00:45:54.989 of like a noir detective story from, you know, 00:45:55.170 --> 00:45:57.829 the 30s or 40s, where it's like, you know, Maltese 00:45:57.829 --> 00:46:01.389 Falcon. It's like, within the world that exists, 00:46:01.730 --> 00:46:03.420 although we've... actually created that world. 00:46:03.460 --> 00:46:05.960 And it's fascinating. Within the world that exists, 00:46:06.199 --> 00:46:09.699 we have this detective story. But the story isn't 00:46:09.699 --> 00:46:13.360 about, you know, all the conspiracies going on 00:46:13.360 --> 00:46:15.239 in the government and whatnot. It's just about 00:46:15.239 --> 00:46:18.099 this detective and the mission he's on. Yeah, 00:46:18.440 --> 00:46:21.219 that's true. You don't get like Who are the people 00:46:21.219 --> 00:46:23.480 in charge? How did Los Angeles become this way? 00:46:23.599 --> 00:46:26.340 Are other cities like Los Angeles? Like where, 00:46:26.400 --> 00:46:28.380 where does this start and end and what's the 00:46:28.380 --> 00:46:31.099 world like? You don't get any of that. And I 00:46:31.099 --> 00:46:33.739 think that is a good thing for this film because 00:46:33.739 --> 00:46:36.559 the vagueness of everything, the questioning 00:46:36.559 --> 00:46:39.980 of everything, and just focusing on the few people 00:46:39.980 --> 00:46:43.179 that are in it that we see is a good way to just 00:46:43.179 --> 00:46:46.440 be in the world without. getting all the stuff 00:46:46.440 --> 00:46:48.539 that you would, like you have questions. You're 00:46:48.539 --> 00:46:51.179 like, I would like to know the answers, but would 00:46:51.179 --> 00:46:53.000 you want that in the film? Do you want the film 00:46:53.000 --> 00:46:54.800 to start explaining all this stuff? It could 00:46:54.800 --> 00:46:56.619 just never end. There's a lot going on there. 00:46:57.460 --> 00:47:00.320 Yeah. It'd be funny and not that unlikely if 00:47:00.320 --> 00:47:02.000 the whole rest of the world is quite pleasant 00:47:02.000 --> 00:47:05.980 and it's just LA that's like, that seems not 00:47:05.980 --> 00:47:08.440 that far -fetched. Yeah. Like, yeah, if you just, 00:47:08.480 --> 00:47:11.039 if you just go, you know, a couple hours West 00:47:11.039 --> 00:47:13.500 or East and it's going to be nice and sunny, 00:47:13.500 --> 00:47:17.559 you know? What are we doing in LA? Go right into 00:47:17.559 --> 00:47:21.159 the desert. But the other one other thing I wanted 00:47:21.159 --> 00:47:24.199 to say is, what did you think of when they're 00:47:24.199 --> 00:47:27.440 testing the replicants? And so many of the specific 00:47:27.440 --> 00:47:31.380 things are quite repulsive. I mean, it's like 00:47:31.380 --> 00:47:33.960 the idea of like, the tortoise is on its back 00:47:33.960 --> 00:47:36.659 and you won't help it up. What's a tortoise? 00:47:40.599 --> 00:47:43.559 lays an egg and

then it's devoured by its babies. 00:47:43.780 --> 00:47:48.960 And it's like, that really paints a, it's an 00:47:48.960 --> 00:47:51.500 interesting element of the story that it's not 00:47:51.500 --> 00:47:56.099 just random kind of memories or random kind of 00:47:56.099 --> 00:47:59.059 images. They're disturbing and kind of repulsive 00:47:59.059 --> 00:48:01.420 images that the movie brings up. I wasn't quite 00:48:01.420 --> 00:48:05.079 sure what to make of that. Yeah, you could. I 00:48:05.079 --> 00:48:07.000 think there's elements of that, which is almost 00:48:07.000 --> 00:48:09.099 like horror -like. And there's like, they have 00:48:09.099 --> 00:48:10.980 these, the eyeballs that they are kind of putting 00:48:10.980 --> 00:48:14.139 on him at that one point. There's some like gore 00:48:14.139 --> 00:48:16.960 to this. There are elements. And I think, I mean 00:48:16.960 --> 00:48:19.139 Ridley Scott, who goes on to make other horror 00:48:19.139 --> 00:48:22.199 type films that feel very horror -like that are 00:48:22.199 --> 00:48:24.519 meant to be disturbing. And I wonder if that's 00:48:24.519 --> 00:48:27.480 just, I don't know how many films Ridley Scott 00:48:27.480 --> 00:48:29.199 had made before this, but it seems like that's 00:48:29.199 --> 00:48:31.400 like his personality coming through in this and 00:48:31.400 --> 00:48:34.800 how you tell a story. It seems very. um, personal 00:48:34.800 --> 00:48:37.380 to him, like that, just to add these little elements 00:48:37.380 --> 00:48:40.340 that are kind of fun. Cause with that interview 00:48:40.340 --> 00:48:42.659 scene, you could do any question, but to go the 00:48:42.659 --> 00:48:44.699 disturbing way, I think sets a tone in this film 00:48:44.699 --> 00:48:47.699 that really gives, you know, it's kind of this 00:48:47.699 --> 00:48:50.400 moody, it matches with the energy, with the music 00:48:50.400 --> 00:48:53.320 and all that. So I think it fits, but it's interesting 00:48:53.320 --> 00:48:55.519 that just to make that choice actively of like, 00:48:55.539 --> 00:48:58.099 this is the way we're going to go with it. Yeah. 00:48:58.199 --> 00:49:00.380 Yeah. It's an interesting, it really sets a tone 00:49:00.380 --> 00:49:05.000 for it. So, you know, as we. As we think about 00:49:05.000 --> 00:49:08.599 Blade Runner, I feel, I feel bad for not being 00:49:08.599 --> 00:49:11.579 more enthusiastic about it, but I think that 00:49:11.579 --> 00:49:17.460 there's a lot positive here. Um, would you consider 00:49:17.460 --> 00:49:20.300 it a favorite film? Would you consider it a great 00:49:20.300 --> 00:49:22.639 work of cinema? Who would you recommend it to? 00:49:22.739 --> 00:49:24.360 What do you, what do you think? Definitely not 00:49:24.360 --> 00:49:26.119 a favorite film. I don't think I ever really 00:49:26.119 --> 00:49:28.900 want to revisit this. Maybe. I mean, I watched 00:49:28.900 --> 00:49:30.420 it once. I enjoyed it more this time than the 00:49:30.420 --> 00:49:33.099 first time. Um, is it a great work of cinema? 00:49:33.420 --> 00:49:35.760 I think because of its cultural standing, you 00:49:35.760 --> 00:49:37.500 could put it there. There's some films that are 00:49:37.500 --> 00:49:39.960 like, I don't. You know, like this on a personal 00:49:39.960 --> 00:49:41.980 level isn't my favorite film, but you cannot 00:49:41.980 --> 00:49:45.739 deny the influence it had on films, on society, 00:49:45.940 --> 00:49:48.460 on culture, that it is still relevant, still 00:49:48.460 --> 00:49:51.179 talked about. I think that's just undeniable 00:49:51.179 --> 00:49:53.960 and it needs to get some credit for doing that. 00:49:54.159 --> 00:49:57.039 And I think there may be an aspect of. I wasn't 00:49:57.039 --> 00:49:59.500 around when this came out. I didn't experience 00:49:59.500 --> 00:50:02.960 this in my teens or twenties. Like I didn't have 00:50:02.960 --> 00:50:05.179 that. And there could be an element of like, 00:50:05.300 --> 00:50:07.599 if you weren't there, you just don't get it. 00:50:07.840 --> 00:50:10.179 And there that I'm open to that idea of like, 00:50:10.400 --> 00:50:12.000 you just had to be there. You didn't know what 00:50:12.000 --> 00:50:14.340 the world was like then. And this has this impact. 00:50:14.679 --> 00:50:17.099 So I think this is a film that I'd recommend 00:50:17.099 --> 00:50:19.599 to people cause you've heard about it. You've 00:50:19.599 --> 00:50:22.119 heard the phrases, you know, the, the style just 00:50:22.119 --> 00:50:25.550 to see where. All of this comes from like the 00:50:25.550 --> 00:50:28.570 origin of this style of how it's influenced movies 00:50:28.570 --> 00:50:30.210 after this. I think there's a lot of value in 00:50:30.210 --> 00:50:32.710 that. Um, I, I don't think everybody's going 00:50:32.710 --> 00:50:35.150 to like it though. I think a modern audience 00:50:35.150 --> 00:50:37.750 is going to have a harder time within this than 00:50:37.750 --> 00:50:41.949 when it came out. Yeah. I think it's, it's kind 00:50:41.949 --> 00:50:45.489 of slow. It's very visual, which I think is one 00:50:45.489 --> 00:50:47.670 of its greatest strengths, but I think sometimes 00:50:48.179 --> 00:50:50.940 these days people struggle with being able to 00:50:50.940 --> 00:50:54.619 pay attention to just visuals. People want to 00:50:54.619 --> 00:50:57.039 have like, you know, people are looking away 00:50:57.039 --> 00:50:58.900 for a lot of the time or something like that. 00:50:58.900 --> 00:51:02.260 So it's tough to, it's, I feel like it's, this 00:51:02.260 --> 00:51:04.699 would be a great one, I think, to go see in a 00:51:04.699 --> 00:51:07.400 theater. If you get that opportunity and you 00:51:07.400 --> 00:51:09.400 can really give your attention to the film, I 00:51:09.400 --> 00:51:12.340 think that would be great. And you know, if you 00:51:12.340 --> 00:51:14.199 want to get to get a group of friends together,

00:51:14.360 --> 00:51:16.639 no phones, just watch this film. I think that 00:51:16.639 --> 00:51:20.949 would be great. I feel like both because it's 00:51:20.949 --> 00:51:26.090 so visual and slow paced and the plot itself 00:51:26.090 --> 00:51:29.150 is not the strongest part of the film. I think 00:51:29.150 --> 00:51:31.809 it would be easy to watch this and not have it 00:51:31.809 --> 00:51:34.190 keep your attention. And I think it is worth 00:51:34.190 --> 00:51:36.489 more than that. I think it's a good, I would 00:51:36.489 --> 00:51:39.530 recommend people watch it, but I think if you 00:51:39.530 --> 00:51:42.710 just sort of like click on the thumbnail and 00:51:42.710 --> 00:51:45.869 start watching, It's I think you need to be a 00:51:45.869 --> 00:51:47.630 little bit more deliberate about sitting down 00:51:47.630 --> 00:51:52.250 to watch Blade Runner All right, well now that 00:51:52.250 --> 00:51:57.090 we have that Measured response to a much -loved 00:51:57.090 --> 00:52:00.449 film. Let's let's let's dig ourselves deeper 00:52:00.449 --> 00:52:04.449 by imagining how we would remake it So if a Hollywood 00:52:04.449 --> 00:52:07.789 studio was gonna say we want to do a family -friendly 00:52:07.789 --> 00:52:09.670 version of Blade Runner How would you approach 00:52:09.670 --> 00:52:13.900 that? I think you could animate this. I was thinking 00:52:13.900 --> 00:52:17.059 the style that like a Miyazaki film where you 00:52:17.059 --> 00:52:20.300 have like themes that are like the 10 to 12 year 00:52:20.300 --> 00:52:22.760 old range. Like it's not quite a teenager. There's 00:52:22.760 --> 00:52:25.019 not a lot of romance in here. It's not for little 00:52:25.019 --> 00:52:27.139 kids, but there's that range of films that are 00:52:27.139 --> 00:52:29.679 a little more mature to where you could explore 00:52:29.679 --> 00:52:32.559 these ideas. I think you keep it a lot more straightforward. 00:52:33.059 --> 00:52:35.059 You have Deckard. He's supposed to hunt down 00:52:35.059 --> 00:52:38.070 these four replicants. I don't Don't have them 00:52:38.070 --> 00:52:39.369 kill them. There's got to be some way to like 00:52:39.369 --> 00:52:41.769 turn them off or like erase their minds or something 00:52:41.769 --> 00:52:45.349 like more like a, uh, like a computer in a way. 00:52:45.650 --> 00:52:47.889 So it's not as kind of intense and graphic of 00:52:47.889 --> 00:52:49.570 like, Oh, we're going to like have these bloody 00:52:49.570 --> 00:52:52.230 battles. But if you were to animate that in that 00:52:52.230 --> 00:52:55.210 way, have it be pretty straightforward and still 00:52:55.210 --> 00:52:57.329 have a little bit of like when he meets these 00:52:57.329 --> 00:52:59.889 people, they can bring up these ideas of I have 00:52:59.889 --> 00:53:01.590 memories. Wait, these aren't my memories. What 00:53:01.590 --> 00:53:04.110 does it mean to be human? Which I think could 00:53:04.110 --> 00:53:07.809 be fun themes for like. younger kids, not like 00:53:07.809 --> 00:53:10.230 really young, but like a middle -aged preteen 00:53:10.230 --> 00:53:13.489 into high school kids to just explore in a way 00:53:13.489 --> 00:53:16.449 that is more relatable to them, that's more on 00:53:16.449 --> 00:53:19.570 their terms, a little more approachable for them. 00:53:19.829 --> 00:53:22.050 And I think that could be a fun way to do it, 00:53:22.210 --> 00:53:25.010 an animated version like that. I, yeah, I think 00:53:25.010 --> 00:53:29.250 I was thinking of the idea of like what, you 00:53:29.250 --> 00:53:31.869 know, what, what do we need here? I mean, I think 00:53:31.869 --> 00:53:35.780 the idea of the, there's a movie called AI. Is 00:53:35.780 --> 00:53:37.500 it called AI or artificial intelligence? I think 00:53:37.500 --> 00:53:40.019 it's called AI with, uh, that Steven Spielberg 00:53:40.019 --> 00:53:42.599 did that Stanley Kubrick started with. I think 00:53:42.599 --> 00:53:46.739 it's Haley Joel Osmond. Um, and, um, and I think 00:53:46.739 --> 00:53:50.139 that is kind of like the boy version of Roy is 00:53:50.139 --> 00:53:52.940 the main character. And he's trying to, he is 00:53:52.940 --> 00:53:55.440 an AI boy, but he's trying to sort of like find 00:53:55.440 --> 00:53:58.420 a new life for himself. And so I think, you know, 00:53:58.500 --> 00:54:01.659 that exists in a way, but I think with the Blade 00:54:01.659 --> 00:54:04.659 Runner, with the Deckard kind of story. I was 00:54:04.659 --> 00:54:07.760 thinking, what if you had a kid and probably 00:54:07.760 --> 00:54:11.579 animated, uh, but he's, he's searching for these, 00:54:11.739 --> 00:54:15.380 like he's like, he needs to find these, these 00:54:15.380 --> 00:54:19.340 other replicants. But I, I wonder, I might make 00:54:19.340 --> 00:54:22.500 them robots. I think if they're, if they are 00:54:22.500 --> 00:54:25.800 too human looking, that's just too confusing. 00:54:25.820 --> 00:54:29.059 And I think I'm, but, and I think that kids. 00:54:29.880 --> 00:54:32.460 would feel a real connection with a robot. Like 00:54:32.460 --> 00:54:35.239 I feel like with an adult, the robot seems so 00:54:35.239 --> 00:54:39.719 artificial. I think for kids, seeing a figure 00:54:39.719 --> 00:54:41.960 that looks like a human, but being told it's 00:54:41.960 --> 00:54:44.960 not really a human is just too much. But a robot, 00:54:45.400 --> 00:54:47.500 you can still feel like it's basically a human. 00:54:48.119 --> 00:54:51.559 And so I think I would make them, robots not... 00:54:51.630 --> 00:54:54.230 replicants in the same way. And I think maybe 00:54:54.230 --> 00:54:58.010 they're lost, as opposed to the Deckard kid needs 00:54:58.010 --> 00:55:00.610 to find them to terminate them. It's more like 00:55:00.610 --> 00:55:02.590 he needs to find them to get them back to where 00:55:02.590 --> 00:55:06.030 they need to go. And along the way, he's finding 00:55:06.030 -->

00:55:09.289 out about, you know, some things about memory 00:55:09.289 --> 00:55:12.909 and some things about his own experiences, what 00:55:12.909 --> 00:55:15.789 you know, what's important to him. But a lot 00:55:15.789 --> 00:55:19.519 of it is sort of going on a journey through really 00:55:19.519 --> 00:55:23.199 well -drawn world maybe like I think I think 00:55:23.199 --> 00:55:26.420 just exploring I think especially for a kids 00:55:26.420 --> 00:55:29.000 movie just a lot of little vignettes in this 00:55:29.000 --> 00:55:31.780 world might work well as He's on this search 00:55:31.780 --> 00:55:34.760 and so we play a little bit more in the world 00:55:34.760 --> 00:55:39.320 of the of the film for this like for his like 00:55:39.320 --> 00:55:42.760 adventures and Ultimately, he finds the robots 00:55:42.760 --> 00:55:44.940 and they all live happily ever after or something 00:55:44.940 --> 00:55:48.519 something like that Yeah, you don't want to give 00:55:48.519 --> 00:55:50.900 up the world. The world is what the best part 00:55:50.900 --> 00:55:52.719 of this. So if you can keep that, there's a lot 00:55:52.719 --> 00:55:56.360 you could do with it. Yeah. Yeah. All right. 00:55:56.460 --> 00:55:58.400 So what about if you were going to do this for 00:55:58.400 --> 00:56:01.739 no budget? And this was a, this was not quite 00:56:01.739 --> 00:56:04.300 the budget of, you know, Avatar, but this was 00:56:04.300 --> 00:56:07.780 not a low budget film. So if you were going to 00:56:07.780 --> 00:56:09.679 try this as a no budget film, how would you approach 00:56:09.679 --> 00:56:12.559 it? I was thinking you focus on the interviews. 00:56:13.179 --> 00:56:15.099 So you get these people in a room and you have 00:56:15.099 --> 00:56:17.320 that cool interview machine and they're asking 00:56:17.320 --> 00:56:19.539 these questions and you do a little more kind 00:56:19.539 --> 00:56:22.400 of in depth than that. Um, there's this movie 00:56:22.400 --> 00:56:25.340 X Machina where they kind of, it's very contained 00:56:25.340 --> 00:56:27.619 film and it's like trying to figure out, I mean, 00:56:27.619 --> 00:56:29.599 they know it's not a human, but like, what is 00:56:29.599 --> 00:56:31.699 the difference between us robot, this artificial 00:56:31.699 --> 00:56:34.159 intelligence and a human. And if they put, you 00:56:34.159 --> 00:56:36.400 know, human clothes on the look human, how are 00:56:36.400 --> 00:56:38.940 they not human? It kind of plays with that and 00:56:38.940 --> 00:56:41.019 it's very contained. It's all in like one little 00:56:41.019 --> 00:56:43.960 space So I think if you did that kind of idea 00:56:43.960 --> 00:56:46.239 with this where it's all about the interviews 00:56:46.239 --> 00:56:49.519 You're kind of gathering information as we interview 00:56:49.519 --> 00:56:52.739 these beings as they come and go Maybe there's 00:56:52.739 --> 00:56:55.559 a little shootout at the end, but there's an 00:56:55.559 --> 00:56:57.179 aspect of this where he's not hunting them down 00:56:57.179 --> 00:57:00.079 It's just we have them here figure out who's 00:57:00.079 --> 00:57:03.639 who and that becomes the story Yeah, I think 00:57:03.639 --> 00:57:06.389 I think that's a great idea. I think One thing 00:57:06.389 --> 00:57:08.489 that I think could work really well with this 00:57:08.489 --> 00:57:13.050 as a no budget film is that you've got human 00:57:13.050 --> 00:57:15.630 people characters who look like human, but are 00:57:15.630 --> 00:57:17.989 more complicated than that. And I think that 00:57:17.989 --> 00:57:21.489 works so well because it's both free because 00:57:21.489 --> 00:57:23.409 they're just a person. You don't need crazy special 00:57:23.409 --> 00:57:27.630 effects, but like a sci -fi twist on a person. 00:57:28.309 --> 00:57:31.389 And I think I'm thinking of the film primer, 00:57:31.769 --> 00:57:34.760 which is a I think it was made for a few thousand 00:57:34.760 --> 00:57:38.840 dollars, six, six or $7 ,000. And, uh, where 00:57:38.840 --> 00:57:42.360 it's, it's about time travel, but the idea is, 00:57:42.400 --> 00:57:45.400 you know, our current selves versus our future 00:57:45.400 --> 00:57:48.760 selves and like the which different future self. 00:57:48.920 --> 00:57:51.320 And so there's a lot of playing around with characters 00:57:51.320 --> 00:57:54.320 who are, uh, they're all human looking. And in 00:57:54.320 --> 00:57:56.300 fact, they're all played by the same two actors, 00:57:56.300 --> 00:58:00.559 but they, uh, they play different roles within 00:58:00.559 --> 00:58:02.719 the movie. And I think that's a really interesting 00:58:02.719 --> 00:58:06.000 way of just like having these normal -looking 00:58:06.000 --> 00:58:08.800 human characters have this deeper significance 00:58:08.800 --> 00:58:11.599 to them. There's another movie called Coherence, 00:58:11.900 --> 00:58:16.199 which is a really cool, low -budget film about 00:58:16.199 --> 00:58:19.179 people having a dinner party in LA, you know, 00:58:19.360 --> 00:58:26.409 just as dystopian. 2019? Pretty much. like a 00:58:26.409 --> 00:58:29.389 comet passes overhead and it turns out that like 00:58:29.389 --> 00:58:34.010 it sort of disrupted the the space -time continuum 00:58:34.010 --> 00:58:37.210 kind of and anytime anyone leaves the house from 00:58:37.210 --> 00:58:39.789 this dinner party they're entering another dimension 00:58:39.789 --> 00:58:43.829 but a dimension in which this house also exists 00:58:43.829 --> 00:58:46.369 but so you have these characters coming in and 00:58:46.369 --> 00:58:50.010 out who might be exactly the same actor looking 00:58:50.010 --> 00:58:53.030 exactly the same way but are actually from the 00:58:53.030 --> 00:58:56.599 other dimension Anyway, all that's to say a check 00:58:56.599 --> 00:58:58.539 out primer check out coherence if people are 00:58:58.539 --> 00:59:01.679 interested but in

this version that I'm I'm pitching 00:59:01.679 --> 00:59:06.179 I think the idea of Taking that one location. 00:59:06.320 --> 00:59:09.360 Maybe it's Tyrell's house where there's gonna 00:59:09.360 --> 00:59:12.559 be this showdown with the creator and then Decker 00:59:12.559 --> 00:59:15.099 drives or maybe it is that interview room There's 00:59:15.099 --> 00:59:17.119 some kind of space where we're gonna focus things, 00:59:17.219 --> 00:59:20.559 but we're just playing with the idea of which 00:59:20.559 --> 00:59:24.559 of these people looking actors, but which one 00:59:24.559 --> 00:59:27.380 of these is actually human, which one isn't. 00:59:27.820 --> 00:59:30.179 And so we're not going to be, in this sense, 00:59:30.199 --> 00:59:32.599 I think we would lose the world. We would lose 00:59:32.599 --> 00:59:34.519 all the cool parts of the world building, but 00:59:34.519 --> 00:59:36.800 I think you could keep with that cool kind of 00:59:36.800 --> 00:59:39.619 replicant versus human kind of storyline. I mean, 00:59:39.619 --> 00:59:42.900 you also could like just shoot gorilla style, 00:59:43.199 --> 00:59:46.579 like in present day LA, just do it sort of like 00:59:46.579 --> 00:59:48.980 dystopian gorilla. You wouldn't have the rain, 00:59:49.079 --> 00:59:50.619 but everything else would be pretty similar. 00:59:51.489 --> 00:59:54.590 That's true a rainy LA that is a that's the real 00:59:54.590 --> 00:59:57.130 sci -fi of this. That's why it's not believable 00:59:57.130 --> 01:00:00.650 Okay. Now what about a TV show either an ongoing 01:00:00.650 --> 01:00:02.690 series or like a 10 -part Netflix show? What 01:00:02.690 --> 01:00:05.400 would you do with that? This feels right for 01:00:05.400 --> 01:00:08.800 a TV show. The world building is so good that 01:00:08.800 --> 01:00:11.300 it feels like whatever story you would have take 01:00:11.300 --> 01:00:13.860 place in this world could be super interesting. 01:00:14.340 --> 01:00:17.760 Um, my pitch would be you keep the world. We 01:00:17.760 --> 01:00:19.679 have like four replicants that came to earth. 01:00:20.119 --> 01:00:22.039 What if it's like we originally had four, but 01:00:22.039 --> 01:00:24.900 now we just realized we have like 400 and then 01:00:24.900 --> 01:00:28.039 it becomes like this team of like. Blade runners. 01:00:28.119 --> 01:00:29.539 And we've got to go out and we've got to hunt 01:00:29.539 --> 01:00:32.039 these things down. And so every episode is like 01:00:32.039 --> 01:00:34.659 finding them, finding a few of them and like, 01:00:34.780 --> 01:00:36.480 how do we figure it out? It becomes kind of like 01:00:36.480 --> 01:00:40.179 a, you know, like a detective show where we're 01:00:40.179 --> 01:00:42.179 trying to figure out who these people are. You're 01:00:42.179 --> 01:00:44.800 guaranteed to have some action, some chase scene 01:00:44.800 --> 01:00:47.360 at the end of it. And just kind of, you get to 01:00:47.360 --> 01:00:49.260

live in the world more and introduce more fun 01:00:49.260 --> 01:00:51.840 characters and has they do more detective work. 01:00:52.099 --> 01:00:54.920 I think that could be really cool. I think that 01:00:54.920 --> 01:00:58.199 could be really cool. Um, the, uh, and I think 01:00:58.199 --> 01:01:00.179 there's so much in this world that could really 01:01:00.179 --> 01:01:02.539 work well with that. I went a different direction, 01:01:03.079 --> 01:01:05.780 which was like more of like a limited series, 01:01:05.900 --> 01:01:09.000 but what if we saw over six to 10 episodes, the 01:01:09.000 --> 01:01:13.219 Roy story leading up to this. So leading up to 01:01:13.219 --> 01:01:16.139 like everything that Roy has seen over his life, 01:01:16.380 --> 01:01:19.219 all of these different experiences. So he's doing 01:01:19.219 --> 01:01:21.760 all of these things. And he's building up to, 01:01:21.900 --> 01:01:24.619 so it's kind of like the hero story of, are you 01:01:24.619 --> 01:01:27.679 going to break free and go out on your own? And 01:01:27.679 --> 01:01:30.679 it's really building up Roy as the hero of this 01:01:30.679 --> 01:01:34.179 story. And then ends right when Blade Runner 01:01:34.179 --> 01:01:38.119 begins with the idea of, you know, we now see 01:01:38.119 --> 01:01:40.860 from this perspective that Roy is the bad guy, 01:01:40.940 --> 01:01:44.380 but we've been watching the TV show to see like, 01:01:44.639 --> 01:01:47.539 in this context, Roy is the hero of his own story. 01:01:47.860 --> 01:01:50.530 And I think that could be. a way of exploring 01:01:50.530 --> 01:01:53.130 that a little bit more. You get like a real sense 01:01:53.130 --> 01:01:56.130 of his memories that would make that whole tears 01:01:56.130 --> 01:01:58.130 in the rain scene hit a little harder where it's 01:01:58.130 --> 01:02:00.570 like, Oh, I remember you could do a little montage 01:02:00.570 --> 01:02:02.250 of like, these are all the things that he did 01:02:02.250 --> 01:02:04.849 that he saw, you know, like you have real connection 01:02:04.849 --> 01:02:07.329 to him and what he saw feels like a real person. 01:02:07.750 --> 01:02:09.789 Yeah. I think that could be really cool. I think 01:02:09.789 --> 01:02:14.039 that would be the essence of, uh, Movie blasphemous 01:02:14.039 --> 01:02:17.099 to like we're gonna this most famous line from 01:02:17.099 --> 01:02:19.420 the film We're gonna go show you all those things 01:02:19.420 --> 01:02:21.219 because you're too dumb to just picture it in 01:02:21.219 --> 01:02:23.639 your mind I think that's I think people would 01:02:23.639 --> 01:02:27.420 hate it, but I think there would be there you 01:02:27.420 --> 01:02:30.920 go Blasphemously reimagine this that's right. 01:02:31.739 --> 01:02:33.699 Yeah Would any of these ideas be better than 01:02:33.699 --> 01:02:36.099 the film itself? I mean, I think there's an argument 01:02:36.099 --> 01:02:38.579 that Blade Runner 2049 is better than this film 01:02:38.579 --> 01:02:40.829 I think there's an argument that if You take 01:02:40.829 --> 01:02:42.750 the world that was developed and you just explore 01:02:42.750 --> 01:02:45.150 it in a different way. I'd be open to that being 01:02:45.150 --> 01:02:48.449 really cool and interesting. Um, I don't think 01:02:48.449 --> 01:02:51.730 this is the, I appreciate what Blade Runner is. 01:02:51.929 --> 01:02:53.750 I don't think it's the only way to do this. I 01:02:53.750 --> 01:02:56.210 don't think this, I think there's, it's possible 01:02:56.210 --> 01:02:59.070 to take the, what this is and elevate it in certain 01:02:59.070 --> 01:03:01.389 areas. So I'm open to that. I don't know if it 01:03:01.389 --> 01:03:04.550 would be, but I think it's possible. Yeah. I 01:03:04.550 --> 01:03:07.190 mean, I think I would enjoy a lot of these things 01:03:07.190 --> 01:03:11.170 and made. I feel like Blade Runner, I was gonna 01:03:11.170 --> 01:03:13.610 say maybe enjoy them more, but I don't, Blade 01:03:13.610 --> 01:03:17.849 Runner is interesting because I think it's just 01:03:17.849 --> 01:03:21.429 not my favorite film, but I do think, I don't 01:03:21.429 --> 01:03:24.070 wanna mess with what it's doing because I think 01:03:24.070 --> 01:03:26.869 it is very unique in telling this story in the 01:03:26.869 --> 01:03:29.110 way that it does. And it's kind of like, we're 01:03:29.110 --> 01:03:32.250 gonna be a slow drama. You think that we're a 01:03:32.250 --> 01:03:35.210 sci -fi action detective movie. really, it's 01:03:35.210 --> 01:03:37.429 going to be a slow drama about existence that 01:03:37.429 --> 01:03:41.809 just has that kind of as the trappings. And so 01:03:41.809 --> 01:03:46.650 if it is just a slow drama about what is life 01:03:46.650 --> 01:03:49.150 and meaning and existence, then I don't want 01:03:49.150 --> 01:03:51.670 to then say, nope, got to be snappier, got to 01:03:51.670 --> 01:04:00.750 have more action. So I think I might watch a 01:04:00.750 --> 01:04:03.349 show that's a little bit more fun in this world. 01:04:04.280 --> 01:04:07.219 Don't want to I don't want to you don't want 01:04:07.219 --> 01:04:08.860 to get rid of this. I don't want to get rid of 01:04:08.860 --> 01:04:10.679 this I think that's what I was saying. Yeah. 01:04:10.719 --> 01:04:14.300 All right. Well Blade Runner, I would recommend 01:04:14.300 --> 01:04:16.500 it to people. I think it's an important film 01:04:16.500 --> 01:04:20.840 to see I think it's I agree with you Andrew that 01:04:20.840 --> 01:04:23.840 it's great because of the cultural significance 01:04:23.840 --> 01:04:27.320 it has I think that its world -building is is 01:04:27.320 --> 01:04:29.760 amazing. I think it raises lots of interesting 01:04:29.760 --> 01:04:34.599 questions. I It is not my favorite movie I would 01:04:34.599 --> 01:04:36.719 say that. And we all know what my favorite movies 01:04:36.719 --> 01:04:40.059 are. And if you don't, just watch any of our 01:04:40.059 --> 01:04:41.519 episodes where I mentioned Good Will Hunting. 01:04:42.179 --> 01:04:47.619 But I would say that it is a good film. It's 01:04:47.619 --> 01:04:50.619 not my favorite. It's not, for me, the easiest 01:04:50.619 --> 01:04:55.659 watch. But I think it's worth paying attention 01:04:55.659 --> 01:04:57.980 to, deliberately sitting down and seeing at least 01:04:57.980 --> 01:05:00.889 once. Yeah. I think you owe it to yourself to 01:05:00.889 --> 01:05:02.610 watch this movie at least once in your life, 01:05:02.909 --> 01:05:06.070 just to understand what it is and why it's still 01:05:06.070 --> 01:05:12.969 so relevant and culturally impactful. All right. 01:05:13.090 --> 01:05:15.849 Thank you for joining us this episode of How 01:05:15.849 --> 01:05:18.429 to Make Films that Influence People. We'll see 01:05:18.429 --> 01:05:22.230 you next time and check us out at howtomakefilmspodcast 01:05:22.230 --> 01:05:22.889 .com.