Blade Runner 2049 director was "frightened" to take on the sequel

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And it's influence in the genre is second only to the earlier "Star Wars" in 1977.

"Blade Runner" had a stylish, unique depiction of a semi-post-apocalyptic Los Angeles in 2019 with its rain-soaked streets at night and its ever-present neon lights that has stuck with audiences for more than three decades. The story concludes (spoiler alert) with a blade runner, Rick Deckard (Ford), escaping LA with a prototype replicant, Rachael (Sean Young).

Featuring input from across the musical spectrum, from synth pop legend Gary Numan and trip-hop king Tricky, to contemporary producers like Ikonika and Hans Berg, the doc also features Blade Runner 2049 director Denis Villeneuve, who sees the soundtrack as the flawless counterpoint to the film's dystopian vision. Whenever 2049 references the original movie, it shifts into a tone of cautious, unquestioning reverence, cowering away from risks exactly when it should be taking them.

Jean-Pierre Bacri and Jean-Paul Rouve stronger than Ryan Gosling, and Harrison Ford... For example, at the UGC ciné cité les Halles, Paris: The Meaning of the feast has nine daily sessions, compared with eight for Blade Runner 2049. Jared Leto plays her creator, Niander Wallace, an Ozymandias type with a data-enhanced brain but blind eyes. By his side is second-in-command Luv (Sylvia Hoeks), who offers a more emotional, and certainly more terrifying presence than her otherwise well-mannered and reserved boss. On the surface, his silent and sullen demeanor has a lot in common with Deckard. Villeneuve here is a raw and raucous engineer behind these all-too-human replicants and their search for a goal upon which most of humankind has turned its back.

"That's so cool that you did that", Gosling said in all earnestness.

Thankfully, in just a few hours fans will finally get to see the sequel to the 1982 sci-fi classic, but if you can't wait that long, there's something else to tide you over: You can now stream the soundtrack. What will likely please them is the devotion by Villenueve and cinematographer Roger Deakins to the aesthetics of the original film. Those sets are intricately crafted, and the set decoration by Alessandra Querzola and production design by Dennis Gassner are jaw-dropping in every frame. Villeneuve and the primary studio behind the film, Warner Bros. They're merely lithographs. Still, they're free, so you can't really complain. What ensued was much more laughing, drinking, Gosling going to help the cameramen shoot the interview, and Ford exclaiming, "Show me the money!" This is a movie you must see with as little information, narratively speaking, as possible. I said, 'Okay, I get it.' It's not a regurgitation, it's not recycling something. The movie's visual palette is so striking that I was nearly disappointed when Villeneuve would cut away from a long, slow plan through the dystopian streets of Los Angeles to get back to the narrative.

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