Jordan Cronenweth, ASC's photography for Blade Runner, with its use of strong shafts of light and backlighting, immediately evokes images from classic black-and-white movies, and it is not accident that it does. Cronenweth explains, "[Director] Ridley Scott felt that the style of the photography in Citizen Kane most closely approached the look he wanted for Blade Runner. This included, among other things, high contrast, unusual camera angles, and the use of shafts of light."
David Dryer, one of the special photographic effects supervisors, worked with black-and-white prints of most scenes in the film for one reason or another, and almost wishes the film could be released in black-and-white. He thinks it seems to have even more depth and style in black-and-white. Needless to say, this would not do justice to Cronenweth's work, but it is an indication of the way in which the photographic style of the picture harks back to classic movies.
Like every other …show more content…
We rented a number of them from One From the Heart. In order to achieve a photographic reality, the on-camera neons were often on dimmers set at a level just above where they would start to flicker. At the same time, the off-camera neons were used as the primary source of light whenever possible by leaving them at their brightest level. When the existing neons weren't sufficient for either illumination or dressing, we would create new ones on the spot and place them wherever we wanted. An example of this was placing letters on the side and strips along the interior of a bus that Deckard [Harrison Ford] runs through in one scene. At one point, we had a seven-man crew doing nothing but overseeing the neon signs. There were many more neons than there were dimmers, so we had to rob Peter to pay Paul at various
David Dryer, one of the special photographic effects supervisors, worked with black-and-white prints of most scenes in the film for one reason or another, and almost wishes the film could be released in black-and-white. He thinks it seems to have even more depth and style in black-and-white. Needless to say, this would not do justice to Cronenweth's work, but it is an indication of the way in which the photographic style of the picture harks back to classic movies.
Like every other …show more content…
We rented a number of them from One From the Heart. In order to achieve a photographic reality, the on-camera neons were often on dimmers set at a level just above where they would start to flicker. At the same time, the off-camera neons were used as the primary source of light whenever possible by leaving them at their brightest level. When the existing neons weren't sufficient for either illumination or dressing, we would create new ones on the spot and place them wherever we wanted. An example of this was placing letters on the side and strips along the interior of a bus that Deckard [Harrison Ford] runs through in one scene. At one point, we had a seven-man crew doing nothing but overseeing the neon signs. There were many more neons than there were dimmers, so we had to rob Peter to pay Paul at various