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Future Noir: The Making of Blade Runner Paul M. Sammon, Paul M. Sammon
Publisher: HarperCollins Publishers

Blade Runner is very open with that idea and tackles that issue of fear head on. The look of Blade Runner is solidly a 1982 vision of the future. Set in 2019, Ridley Scott's sci-fi noir gives us a neon-lit but grungy Los Angeles landscape filled with flying cars, vague Asian influences, and a whole lot of shoulder pads. It may not be very much more than a noir thriller in the very near future but each viewer has taken something more away from it, something that has left Blade Runner amongst the few films that are of such a sizeable cult that, occasionally, it threatens to tip over into the mainstream. As long as we control it we are comfortable with it. -For future reading, check out Paul Sammon's book, Future Noir: The Making of Blade Runner and Charlie Lauzirika's 3.5-hour documentary, Dangerous Days: Making Blade Runner. Yes, the It's unlikely that Scott or any other director would willingly return to the comparatively slow processes it took to achieve the somewhat-dated effects, although those are what make help to make Blade Runner so iconic. Compilation made by toronto.com out of IMDb.com; Future Noir: The Making of Blade Runner; The Guardian; Toronto Star interviews. Sammon, author of Future Noir: The Making of Blade Runner on the “Workprint” version of the film. In a cyberpunk vision of the future, man has developed the technology to create replicants, human clones used to serve in the colonies outside Earth but with fixed lifespans. Will it similarly be viewed as a late-blooming masterpiece, 30 years from now?