I feared I could end up doing things that weren’t necessarily Blade Runner and it was a huge responsibility. I’m different to Scott and a different director so it would have been easy to go so far away from the original and that was my fear. I had complete freedom when making this film, but I wanted to do the opposite - I wanted to make sure I honored the legacy of the first movie. What did you have to do to make sure your vision didn’t get lost when making the film? You have Ridley Scott’s film, and you have your vision. I remember watching astronauts being on the moon. I didn’t understand the importance at the time but I saw how the adults around me were behaving. I was a young boy, probably three or four and it’s one of my earliest memories. I remember the astronauts walking on the moon. So, I’m curious, what is your first memory of watching a film or seeing something on TV that impacted you? It’s very strange, you read books and screenplays and you know you can’t do them, but this one I knew I had to do. I knew how I was going to make it and I said, “If it’s my last movie then that’s OK.” There was this promise of a great movie and I knew if I didn’t do it then someone else would and I didn’t want anyone else to fuck it up. When I read the screenplay, it felt right to take the risk and it spoke to me. I’d thought about doing it before, but it needs to work to risk everything and it needs to be meaningful. When you make a movie of that scale it’s a big risk. It made sense in what I was doing and the exploration about what I was saying about this world. When you make a movie, you’re inspired by the story and when I read the screenplay, I felt home. The director of Sicario and Arrival explains how he brought his crew in early on and storyboarded every frame of the film, in a process that helps unify every aspect from lighting to cinematography to the soundscape. We spend the next half hour talking about the big risk he felt he was taking by doing a sequel to a film that is so iconic, his relationship with cinematographer Roger Deakins, and how he built over 90% of the sets to create that immersive dystopian world we see in the film. He’s been fielding the press all day, talking about Blade Runner 2049. Denis Villeneuve is sitting in the bar of a Beverly Hills hotel.
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