I am less interested in “Horror” films than Thrillers and smart science fiction. I caved to horror the year Saw came out, which I loved — it was so well done but I had nightmares for days. When I think of films around halloween, I think Costume and set design and bigger than life characters and gorgeous images. I think Cabaret, Metropolis and Blade Runner.
Rick Deckard, (Harrison Ford) is a Blade Runner, a detective of the future who hunts down and terminates replicants, artificially created humans who have escaped from the Off World, a colony where they are made to be slave labor for the Tyrell Corporation. Deckard wants to get out of the force, but is drawn back in when 4 “skin jobs”, a slang term for replicants, who have hijacked a ship back to Earth. Deckard must search for his targets in a huge, sprawling, bleak vision of the future. The film questions what it is to be human and choose humanity in the face of a world corrupted by corporate greed and power. Ever relevant.
Blade Runner (1982) is simply fabulous. A fabulous movie, fabulous set design, fabulous costumes, fabulous story. Not a hit when released the films popularity and cult following grew out of its fantastic production design. The film is based on a story by writer Phillip K. Dick. Directed by Ridley Scott, Production Design by Lawrence G. Paull and David L. Snyder. Set decoration by Linda DeScenna and Costume Design by Michael Kaplan.
Utilizing a cluttered urban skyline inspired by Hong Kong and art deco styling it is a perfect blend of science fiction and noir storytelling set in future Los Angeles, 2019.
“After reading the script, we definitely felt that Blade Runner was of that film noir genre, and we looked back to the films of the 1940s for inspiration. Deckard (Harrison Ford’s character) was as much a Gumshoe as Sam Spade (Humphrey Bogart). For Rachel’s character, our chief inspirations were the tailored suits that Adrian designed in the late 1930s and early 40s. I liked the idea of combining different shades of suiting fabrics to create patterns – something Adrian did. In this case I used amazing vintage suiting woollens in shades of grey and beige, with metallic threads that I was lucky enough to find, which created a subtle luminous quality. I wanted to create a futuristic heroine who was believable in the future, but with her feet firmly planted in film noir past.” — Mark Kaplan
Blade Runner j’taime.