En pleine promotion de Prometheus, Ridley Scott en vient tout naturellement à évoquer le reste de sa filmographie ainsi que ses prochains projets, au nombre desquels nous pouvons compter Blade Runner 2 !
Par exemple dans une interview pour The Daily Beast, où il parle des personnages féminins forts dans ses films, il affirme :
Funny enough, I started my first meetings on the Blade Runner sequel last week. We have a very good take on it. And we’ll definitely be featuring a female protagonist.
LOS ANGELES, CA, MAY 17, 2012—Hampton Fancher is in talks to reunite with his Blade Runner director Ridley Scott to develop the idea for the original screenplay for the Alcon Entertainment, Scott Free, and Bud Yorkin produced follow up to the ground-breaking 1982 science fiction classic, it was announced by Alcon co-founders and co-Chief Executive Officers Broderick Johnson and Andrew Kosove.
The filmmakers are also revealing for the first time that the much-anticipated project is intended to be a sequel to the renowned original. The filmmakers would reveal only that the new story will take place some years after the first film concluded.
The three-time Oscar-nominated Scott and his Blade Runner collaborator Fancher originally conceived of their 1982 classic as the first in a series of films incorporating the themes and characters featured in Philip K. Dick‘s groundbreaking novel Do Androids Dream of Electric Sheep?, from which Blade Runner was adapted. Circumstances, however, took Scott into other directions and the project never advanced.
Fancher, although a writer of fiction, was known primarily as an actor at the time Scott enlisted him to adapt the Dick novel for the screen. Fancher followed his “Blade Runner” success with the screenplays, The Mighty Quinn (1989) and The Minus Man (1999). He has continued to write fiction throughout his career.
Scott also will produce with Alcon co-founders and co-Chief Executive Officers Broderick Johnson and Andrew Kosove as well as Bud Yorkin and Cynthia Sikes Yorkin. Frank Giustra and Tim Gamble, CEO’s of Thunderbird Films, will serve as executive producers.
The original film, which has been singled out as the greatest science-fiction film of all time by a majority of genre publications, was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.” The film was selected for preservation in the United States National Film Registry in 1993 and is frequently taught in university courses. In 2007, it was named the 2nd most visually influential film of all time by the Visual Effects Society.
State Kosove and Johnson: “It is a perfect opportunity to reunite Ridley with Hampton on this new project, one in fact inspired by their own personal collaboration, a classic of cinema if there ever was one.
I told myself over and over again, if I hadn't done it, they would have.
I didn't go back to the city, not that city, I didn't want the job.
She said the great advantage of being alive was to have a choice. And she chose. And a part of me was almost glad. Not because she was gone but because this way they could never touch her.
As for Tyrell -- he was murdered, but he wasn't dead. For a long time I wanted to kill him. But what was the point? There were too many Tyrells. But only one Rachael. Maybe real and unreal could never be separated. The secret never found. But I got as close with her as I'd ever come to it. She'd stay with me a long time. I guess we made each other real.
Deckard regarde alentours. Son portefeuille posé à côté de lui contient une photo de sa femme et de son fils.
It was too late now. They would'nt give me papers for the Colonies even if I wanted them. It made me wonder more than ever what they do up there... I wondered who designs the ones like me... what choices we have... and which ones we just think we have.
La caméra zoome sur le visage tendu de Deckard.
I wondered if I had really loved her. I wondered which of my memories were real and which belonged to someone else.
The great Tyrrell hadn't designed me, but whoever had, hadn't done so much better. 'You're programmed too,' she told me, and she was right. In my own modest way, I was a combat model. Roy Batty was my late brother.
I knew it on the roof that night. We were brothers, Roy Batty and I ! Combat models of the highest order. We had fought in wars not yet dreamed of... in vast nightmares still unnamed. We were the new people... Roy and me and Rachael ! We were made for this world. It was ours!
CREDITS ARE ROLLING, God help us all !
(j'ai honteusement repris un article de io9)
Sur le même sujet lire :
La première section du DVD aborde la phase de conception et d'écriture de Blade Runner, en partant bien entendu du roman. On débute ce quatrième disque par une Featurette sur Philip K. Dick (14mns22), auteur du roman original Do Androids Dream Of Electric Sheeps? Ce documentaire se présente comme une biographie revenant sur son parcours mais aussi sur sa personnalité, ses obsessions, sa créativité. Entrecoupée d'interviews de membres de la famille de l'auteur et de biographes, cette featurette comprend aussi les images d'une interview de Dick lui-même s'exprimant sur son œuvre et ses difficultés à faire reconnaître le genre de la science-fiction comme faisant partie intégrante de la littérature.
Suit un Comparatif entre le roman et le film (15mns22) qui tente, au travers d'interviews croisées du réalisateur Ridley Scott, du scénariste Hampton Francher et d'auteurs spécialistes, de dégager les principales différences thématiques entre l'œuvre originale et le long métrage. Un documentaire synthétique mais pertinent. Enfin, cette première section s'achève par des extraits audio d'une interview avec Philip K. Dick lui-même, réalisée par Paul Sammon entre 1980 et 1982. Au cours de cet entretien passionnant, l'auteur apporte quelques éclaircissements sur les thématiques de son roman, avant de s'attaquer à Hollywood et à ses craintes de voir son film adapté. Enfin, il raconte sa rencontre avec Ridley Scott et son coup de foudre pour la version finale du scénario, tout en exprimant une divergence importante de point de vue avec celui du réalisateur sur les Répliquants.