![]() ![]() ![]() This wrinkle reminded me instantly of John Carpenter’s The Thing, which features a similar, albeit reversed “shiny eye” trick to distinguish humans from non-humans. Sammon, author of the Blade Runner making-of bible Future Noir, Scott maintained that the effect is non-diegetic “ one more bit of detailing, if you like,” for the narrative benefit of the audience. Why do Deckard and other Blade Runners need a psychological test to bust replicants when the eyes give it away? Well, according to Paul M. They also have reflective eyes: shining, golden pupils that glow when the light hits them just right. The “Nexus” series of replicants we see in Blade Runner are indistinguishable from regular human beings: they look like us, they act like us, they have our memories, and they have feelings. Unless you’re an expert (or have a Voight-Kampff test handy), figuring out if someone is or is not a replicant is no easy task. More specifically, about the eerily luminous pupils of the film’s bioengineered androids, the replicants. ![]() And when we talk about Blade Runner’s visuals, we have to talk about eyes. From the film’s neon-filtered debt to film noir to the Tyrell Corporation’s Myan Revival-inspired ziggurats, style and substance work together to tell a great story. I’m not making a radio play, I’m making a movie.”īlade Runner provides ample proof of Scott’s passion for visual storytelling. And I thought, ‘What the fuck does that mean?’ Just because I could shoot better than most people, which is what made me such an employable commercial director, didn’t mean I wasn’t interested in story. In an interview with Variety, director Ridley Scott addresses the old critique that his early films were too visual: “They said was too beautiful, too image-driven. Welcome to How’d They Do That? - a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. ![]()
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