And they ate her.
And they ate her. Those aren't your memories. No really, I'm sorry. I'll get a glass. First, the quality of the writing. The dialogue is beautifully written.
The first stroke of brilliance is to have Rachael offer a photograph of her with her mother as proof that she's human. Photographs are a universal means of capturing the unique memories that constitute personhood.
The second stroke of genius is Deckard's response of reciting her memories. As he recites very specific incidents that only she could know, Rachael's shock of discovery is registered by a series of reaction shots, which we'll discuss in more detail later.
Rachael's verbal response is beautifully timed as she moves toward Deckard, repeats his line about the spider: He finally shows some human feeling as he tries to tell her it was just a joke.
But the damage has been done. Second, the "dialogue" is actually Deckard's monologue with only three brief statements from Rachael. And yet Rachael is the dominant presence in the scene because the focus is on her reactions to what Deckard is saying. So her reaction-shots are the key element in the scene.
Reaction shots The scene has a simple shot construction: Rachael's reaction-shots are the central element that makes the scene emotionally powerful. As Deckard begins to recite her memories, Scott cuts in four medium close-up reaction-shots to what Deckard is saying.
All we see is the same medium close-up of her with the same expression of silent attention. The key moment and the most brilliantly conceived shot begins with a cut to a CU of her reacting to Deckard's: The camera stays focused on her face, allowing time for her to convey deep emotion by means of head movement and a variety of facial expressions of pain and sadness.
He registers for a moment shock at what he has done to Rachael. Then he tries to save the situation by claiming he was joking.
Her CU reaction-shot shows that she doesn't believe him. Back to Deckard who lies: Only this time the camera stays with her as Deckard moves past her into the kitchen to get her a drink. As the camera stays focused on her reactions, the sound track adds the sounds of her crying to reinforce the effect of her tear-laden face.
The scene concludes with D. In the final long shot of her, her gestures, rather than her face, convey the sad resolution: The scene ends with a series of Deckard's reaction shots, which allow the audience time to digest the emotion of the scene.
Music The simple but subtle use of a soft piano piece is a major factor in creating the emotional intensity of the scene.
It's effectiveness is all about timing. The music begins precisely at the dramatic climax of the scene, when Rachael begins her move toward Deckard reciting her lines about the spider.
From there on through the scene, the elegiac piano reiterates, intensifies the emotions which Rachael is conveying through her reaction-shots. The pacing is impecable. Roy meets Tyrell Pris: I don't think there's another human being in the whole world who would have helped us.
What can I do for you Sebastian. Queen to Bishop 6. What are you thinking about? Bishop to King 7.
Quite a brainstorm, uh, Sebastian. Milk and cookies kept you awake, huh?My blog about all things filmmaking.
“Vashi Frames” is my project of capturing every individual shot from my favorite films and compiling them into a single high-resolution image for cinematic analysis. Jun 11, · What can Blade Runner teach us about the art of filmmaking?
was a big year for movies—an existential cyberpunk noir film had a tough time competing with . Blade Runner filmed in at a time of consumerism, flux of migration and global de-stabilisation, discontent and mutiny was a prime problem in society. Scott further ellaborates this idea of a sociocultural world, whereby lack of responsibility has resulted in the economic rationalism and consumerism phenomena.
Prosthetic memory is a concept put forth by Alison Landsberg in her article “Prosthetic Memory: Total Recall and Blade Runner.” This concept is particularly relevant in terms of examining the ways that different forms of media have contributed to the era of .
We see he is analyzing some cinematic shots from Blade Runner. When we look at the construction of the grid, ratios with Game of Thrones (see Day 26 and #, also see), but it would definitely be a welcome to have more cinematic analysis articles dealing with ratios.
Blade Runner Analysis To analyze the movie “Blade Runner” I started by watching the film (I had already seen it several times in the past) and then re-watching to analyze various scenes as well as get a more overall reaction to the work as a whole.