It's the same as trying to do a monster movie. You know, Alien is a C film elevated to an A film, honestly, by a great monster. In this instance, my special effect was the world. That's why I put together people like [industrial designer] Syd Mead who were actually serious futurists. The big test is saying, Draw me a car in 30 years' time, without it looking like bad science fiction. Or, Draw me an electric iron that will be pressing shirts in 20 years without it looking silly. I wanted the world to be futuristic and yet feel — not familiar, because it won't be — but feel authentic. One of the hardest sets to design was the kitchen. It's easy to fantasize about Tyrell's giant neo-Egyptianesque boardroom, but imagining a bathroom and kitchen in those times, that's tricky. Nevertheless, fascinating. I love the problem.The piece also includes pullquotes from various luminaries about Blade Runner:
J. Craig Venter, Geneticist:
"The movie has an underlying assumption that I just don't relate to: that people want a slave class. As I imagine the potential of engineering the human genome, I think, wouldn't it be nice if we could have 10 times the cognitive capabilities we do have? But people ask me whether I could engineer a stupid person to work as a servant. I've gotten letters from guys in prison asking me to engineer women they could keep in their cell. I don't see us, as a society, doing that."
Ray Kurzweil, Futurist
"The scenario of humans hunting cyborgs doesn't wash because those entities won't be separate. Today, we treat Parkinson's with a pea-sized brain implant. Increase that device's capability by a billion and decrease its size by a hundred thousand, and you get some idea of what will be feasible in 25 years. It won't be, 'OK, cyborgs on the left, humans on the right.' The two will be all mixed up."
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