Barcelona-based transportation-themed art studio Bel&Bel has created a new and highly accurate replica of the fantasy bike, and will now build them to order on a limited basis for less than $30,000USD.
I somewhat disagree with the last few paragraphs, about Life being life and all that. To me this is presented much, much differently. Roy (Olmos’ character) wants to live. He loves life. The Tyrell corporation created life and couldn’t use the old models for profit anymore so it wants them scrapped.
I also think Decker not knowing he’s a replicant works very well, specifically because of this dichotomy. For all he can tell, he is a regular human doing his job. Decker portrays the 9-5 workforce, mostly faceless, simple humans just going about their day to day, until they die. When we get to interact with the Blade Runner world, we see the chefs and the other officers. Some of them have strong feelings, some of them are just puttering along. This is you and I living our lives without any revelation about life.
And then there’s Roy (and Pris). Roy is one of the most emotive characters in Blade Runner, at times inhumanely so. But all of his motivations aren’t just centered around survival, they are centered around finding freedom for the beauty of life. His character portrays the western outlaw, to live free or die.
I’ve always felt that in Roy’s death he becomes human. Or at least he lived as a human would have. In life, Roy was enslaved, escaped, and lived on the lamb. He sought vengeance towards God (Tyrell), found love, exacts vengeance once more before, in my opinion, realizing and accepting that God was right. There is no extending life.
Not Roy’s. As he sees Deckard about to die, with the understanding that Roy himself will soon as well, Roy saves Deckard not as an act of mercy but as a birth. To extend life.
For me, the story isn’t much about Deckard. It’s about what Deckard’s piece represents for humanity. Whether Deckard is a replicant or not, IMO doesn’t much matter. The question is “Does Deckard live free?” And I believe that Roy’s revelation in saving Deckard allows Deckard to carve his own path to freedom, followed up in 2049. I felt this way before I saw 2049 and thematically I think it fits very well.
Star Wars fans who want good stories and characters: “They just told me you were a shite producer. The fact that you’re a woman never came up.”
Also, remind Kennedy that the first and biggest reason good fans hate her is because she hired a white guy …who’s also shite at his job and fucked up a lot of good things about Star Wars lore.
George, you don’t even own your movie anymore. The mouse bought it for four billion dollars.
Art belongs to its audience. Nobody has a right to censor it after-the-fact - least of all the artist. If you wanted it to be yours alone, you had the choice, and you instead decided to publish. Any control after that is a gift from us to you, and it’s a gift for the explicit purpose of getting us more art.
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