I'm going to come out and say it, I'm just not that into Blade Runner.
Ridley Scott's 1982 flick might be one of the most influential sci-fi films around, especially in its design and the themes of humanity vs androids which it explore, but as a film I've always found it a bit dull and lifeless. Inert, like a lot of Ridley Scott's filmography.
But even I can't argue against the sheer aesthetic achievement of the feature, with massive sets bristling with detail and the kind of world-building Scott does like no one else. And a big part of that was the incredible lensing by cinematographer Jordan Cronenweth, filled with deep shadows, tactile lens flares and a neon dream haze that remains one of the most arresting films ever shot.
With the news that Blade Runner 2 is in the works - yes its really happening - it was vital that the look of the film be of primary concern, and new director Denis Villeneuve (Prisoners) has chosen a great ally in cameraman Roger Deakins.
In case you don't recognise the name, he's easily the best man working in the business today and you've definitely seen some of his masterpieces. The list includes: 1984, Barton Fink, The Shawshank Redemption, Kundun, A Beautiful Mind, Jarhead, The Assassination of Jesse James by the Coward Robert Ford (sublime!), True Grit, Prisoners and Skyfall...
After a career spanning 40 years Deakins has been nominated for an Academy Award for best cinematography 12 times... and he hasn't won once. 12 times! Jesse James - one of the best looking films ever - lost out to There Will Be Blood and Skyfall lost out to Life of Pi! It's a sad state of affairs but who knows, maybe he'll finally pick one up for the Blade Runner sequel.
The new film takes place a number of decades after the original, with Harrison Ford set to return. Deakins will reteam with director Villeneuve who he worked with on Prisoners and the yet to be released Sicario starring Emily Blunt.
Blade Runner 2 (which hopefully will get a better title) will start shooting in mid 2016 for a likely 2017 release.