Hanson, M, (2004), The Scene Behind The Fiction Building Sci-Fi Moviescapes, Rotovision SA, Switzerland
P 19
The films visual futurist, retrofitted this set, layering it with pipes, tubing, neon signs - the flotsam and jetsam of the the future - to fast forward it into the world of 2019.
P 19
The set mashed western architectural elements from Manhattan avenues and London's Piccadilly Circus, with Asian influenced street life from Tokyo's Omotesando and Hong Kong's bustling Wanchai district.
P 20
I brought in just about my architectural research library, and we went from Egyptian to Deco to Streamline Moderne to Classical, from Frank Lloyd Wright to Antonio Gaudi
P 20
Blade Runner's stunning vistas are evident from the film's opening: the hazy, nightmare vision of the Hades Landscape - L.A's industrialized, never-ending suburbs - is the defining shot of modern sci-fi
P 23
So in that respect Blade Runner - which takes great pains to logically extend the appearance and functionality of 1980's - style buildings, vehicles, fashions, and machines, into early - twenty - first - century manifestations of those same objects - can be said to have successfully portrayed a believable near future. Even if it is a decaying, callous, dystopic one.
P 40
created an environment based on New York, fast-forwarded to the future. He used artists from the science-fiction comics Besson was addicted to in his youth - Moebius and Jean-Claude-Mezieres - to create an idiosyncratic futurescape
P 40
Over a year, Besson's team systematically tackled the major elements of this future world - it's transport (both on Earth and in space), interior design and exterior architecture, alongside the ubiquitous design inherent in future living
P 40
Besson's overriding aim was to steer away from cliches of the genre. He wanted to build on traditional design (as can be seen with the flying New York cabs zipping between the skyscraper canyons of this future city).
P 106
It was a very mechanical world, in real opposition to the organic nature of things. They were keen to achieve the ext generation on from what mankind had built
P 106
We decide that the real world, outside the Matrix, would be cold, mechanic. So we would have a blue-grey colour sense to the real world. Within the Matrix, it was natural to have a green hue, because we just thought of the basic computer monitor colour, that of the green type on the black screen of early DOS- operating computers
P 161
The city of Etorofu blends images images of the New York skyline, a gothic cathedral, and Hong Kong's densely clustered high-rises... A construction of images drawn from the memory of it's creators
P 19
The films visual futurist, retrofitted this set, layering it with pipes, tubing, neon signs - the flotsam and jetsam of the the future - to fast forward it into the world of 2019.
P 19
The set mashed western architectural elements from Manhattan avenues and London's Piccadilly Circus, with Asian influenced street life from Tokyo's Omotesando and Hong Kong's bustling Wanchai district.
P 20
I brought in just about my architectural research library, and we went from Egyptian to Deco to Streamline Moderne to Classical, from Frank Lloyd Wright to Antonio Gaudi
P 20
Blade Runner's stunning vistas are evident from the film's opening: the hazy, nightmare vision of the Hades Landscape - L.A's industrialized, never-ending suburbs - is the defining shot of modern sci-fi
P 23
So in that respect Blade Runner - which takes great pains to logically extend the appearance and functionality of 1980's - style buildings, vehicles, fashions, and machines, into early - twenty - first - century manifestations of those same objects - can be said to have successfully portrayed a believable near future. Even if it is a decaying, callous, dystopic one.
P 40
created an environment based on New York, fast-forwarded to the future. He used artists from the science-fiction comics Besson was addicted to in his youth - Moebius and Jean-Claude-Mezieres - to create an idiosyncratic futurescape
P 40
Over a year, Besson's team systematically tackled the major elements of this future world - it's transport (both on Earth and in space), interior design and exterior architecture, alongside the ubiquitous design inherent in future living
P 40
Besson's overriding aim was to steer away from cliches of the genre. He wanted to build on traditional design (as can be seen with the flying New York cabs zipping between the skyscraper canyons of this future city).
P 106
It was a very mechanical world, in real opposition to the organic nature of things. They were keen to achieve the ext generation on from what mankind had built
P 106
We decide that the real world, outside the Matrix, would be cold, mechanic. So we would have a blue-grey colour sense to the real world. Within the Matrix, it was natural to have a green hue, because we just thought of the basic computer monitor colour, that of the green type on the black screen of early DOS- operating computers
P 161
The city of Etorofu blends images images of the New York skyline, a gothic cathedral, and Hong Kong's densely clustered high-rises... A construction of images drawn from the memory of it's creators
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