September 20, 2017 § Leave a comment
As the countdown to “Blade Runner 2049” continues, it’s worth remembering that the original “Blade Runner” wasn’t met with the kind of reverence it enjoys now. When it came out in 1982, I was living in Berkeley and saw it in a packed theater on what I’m pretty sure was opening night. From the first scene–explosions over an ominous-looking Los Angeles–I knew “Blade Runner” was a masterpiece. I loved the dystopian future it depicted, from the constant rain to the Japanese-influenced motifs. I loved the fact that Deckard was an updated Raymond Chandler detective who lived in a famous Frank Lloyd Wright house. I loved the fact that the climactic chase scene was filmed in the Bradbury Building, George Herbert Wyman’s 1893 iron-and-glass masterpiece that, like the film itself, was years ahead of its time.
I was surprised, to put it mildly, when the critics didn’t share my enthusiasm. Janet Maslin, though she praised the movie’s special effects, called “Blade Runner” “a mess, at least as far as its narrative is concerned.” On their TV show “At the Movies,” Gene Siskel called it “a waste of time,” while Roger Ebert gave it a thumbs up only for the effects. Twenty-five years later, Ebert reappraised it positively, in part because the once-futuristic lighted billboards had become a reality: “the story benefits…by seeming more to inhabit is world than be laid on top of it.” (Siskel died in 1999, so there’s no way of knowing whether he would have changed his mind.) The Hollywood Reporter called it “a Felliniesque journey into Dante’s Inferno, with Micky Spillane in tow,” though it also called it “mesmerizing.” Thanks to its decidedly mixed critical reception, “Blade Runner” was a box office dud.
The film’s reputation started changing with the release of Ridley Scott’s director’s cut in 1992. Shorn of its voice-over narration, “Blade Runner” gained a new following and began to be regarded as a science fiction classic. The lack of narration–tacked onto the original because some thought the story confusing–gives the film greater dynamism, as did additional footage that seems to affirm the theory that Deckard himself is a replicant. In 2007, the Final Cut, which I haven’t seen, expanded the unicorn dream sequence, remastered the haunting Vangelis score and added three scenes.
On October 6th, we’ll finally get the sequel: “Blade Runner 2049,” starring Ryan Gosling and Harrison Ford. Directed by Denis Villeneuve, it looks worthy of the original and will draw a massive audience of fans, including me. As for the critical reception, it’s safe to assume a much better response than the original received in 1982.
My ebook on “Blade Runner” is available here:
December 12, 2016 § Leave a comment
DVDs will be shipped overseas as well as domestically. Please order soon to have them arrive in time for the holidays.
Documentaries on DVD:
JIM THOMPSON, SILK KING–Remastered 2015 Version with DVD extras http://www.hopeandersonproductions.com/dvds/
THE JIM THOMPSON HOUSE AND ART COLLECTION http://www.hopeandersonproductions.com/dvds/
UNDER THE HOLLYWOOD SIGN http://www.hopeandersonproductions.com/dvds/
PEG ENTWISTLE: THE LIFE AND DEATH OF AN ACTRESS http://www.hopeandersonproductions.com/dvds/
Documentaries on Vimeo:
JIM THOMPSON, SILK KING–2015 Version with DVD extras https://vimeo.com/ondemand/silkking?utm_source=email&utm_medium=vod-vod_publish_confirmation-201408&utm_campaign=10308&email_id=dm9kX3B1Ymxpc2hfY29uZmlybWF0aW9ufGYyYjY0OTMzYjc0MTVjM2Y4ODdiY2E5ZWJjNGJmM2I0NjUwfDI1Nzc3MzE3fDE0NDI5NDU5MDV8MTAz
UNDER THE HOLLYWOOD SIGN: https://vimeo.com/ondemand/uths
PEG ENTWISTLE: THE LIFE AND DEATH OF AN ACTRESS http://vimeo.com/ondemand/17445/100467934
PEG ENTWISTLE AND THE HOLLYWOOD SIGN https://www.amazon.com/Entwistle-Hollywood-Sign-Hope-Anderson-ebook/dp/B00FSOGCV4/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1400119275&sr=1-1-spell&keywords=peg+entwistle+and+the+hollywoodsign+by+hope+anderson
March 18, 2014 § Leave a comment
In the near future of “Her,” Los Angeles has grown better as well as bigger. Shots of the Basin show a recognizable skyline, except that there are many more highrises in the areas between Downtown, Hollywood, Century City and Westwood, as there undoubtably will be in the years to come. These new buildings are CGI creations, but the jarringly smoggy scenes featuring elevated plazas and walkways were filmed in Shanghai. In them, one catches glimpses of the Bund, Shanghai’s riverfront commercial district, where old colonial buildings co-exist with new skyscrapers. And though Los Angeles will never have a navigable waterway, the broad curves of Huangpu offer a tantalizing suggestion of the future LA River.
But many aspects of “Her” didn’t have to be imagined at all, since they already exist. Theodore makes extensive use the Metro, even if it doesn’t yet go all the way to the beach. And he lives in a real place: the South Park district of Downtown, on the 35th floor of the Watermarke Tower (705 W. 9th Street). The buildings seen from his windows are all real buildings, shown to maximum advantage by the production designer K.K. Barrett, who covered the upper window panels and switched the glass from tinted to clear.
Says Barrett, the “focus was to bring the outside city in, and push light towards [Theodore].” The resulting message is unmistakable: Theodore lives in the heart of a dynamic and desirable city. Though he is shy and lovelorn, his location confers an enviable status. In the photo above, Theodore is framed against a view of nine notable towers: (l-r) 777 Figueroa, Ernst + Young Plaza, PWC Plaza, Union Bank Plaza, HSBC, City National Plaza, Bank of America Plaza, AON and Verizon (MCI Plaza).
Arguably, the real love story in “Her” is not between Theodore and his OS but the director Spike Jonze and Los Angeles. Having escaped both the dull suburban sprawl of its past and the ruins of its previously imagined future, Los Angeles appears a beautiful, modern and sustainable place. It’s obvious why Theodore, a dreamer of the first order, would want to live there, and why others would as well.
Thanks to Ian McFarren Anderson for identifying the buildings seen from Theodore’s apartment.
August 28, 2013 § 3 Comments
That’s the title of my new eBook, which is available at Barnes and Noble and Amazon, among other eBook publishers. Two of the essays appeared here in somewhat different form. Two longer pieces–a comparison of the film and the book on which it is based, Do Androids Dream of Electric Sheep?, and an exploration of Japanese influences in the film–have never been published before. Here’s a link:
May 28, 2013 § Leave a comment
A version of this article appears–along with new, unpublished essays–in my new eBook, “On Blade Runner: Four Essays.” It can be purchased for $4.99 at:
Other eBook sellers that have it include Amazon, Kobo, Baker and Taylor, Copia, ebookpie and Scribed.
August 22, 2011 § 1 Comment
From the New York Times comes this tantalizing update on Ridley Scott’s forthcoming “Blade Runner” movie. Apparently we can’t call it a sequel, because it might not be.
Who cares whether the new movie is set before or after the original? Just make it, and we’ll come out for it.
June 8, 2011 § Leave a comment
Remember my Blade Runner contest? It’s still on; the deadline is June 15th. Email your essays (700-1000 words) on “Blade Runner” to me at firstname.lastname@example.org with “Blade Runner Contest” in the heading. I’ll publish the winning entry on this blog; the writer will get an interview and a free DVD of “Under the Hollywood Sign.” The winner will be announced June 20th.