Author Philip K. Dick created something pretty special with this 44 published novels, and 120+ short stories. His 1968 novel “Do Androids Dream Of Electric Sheep” became a touchstone of the science fiction genre when filmmaker Ridley Scott used it as the base for his 1982 film, Blade Runner.
Although Dick passed away in March of 1982 and did not see the finished film, according to some first hand accounts of a trip to EEG (Entertainment Effects Group) for a screening, a basic theory of his opinon is revealed.
A segment from the the revised and updated reprinting of Future Noir: The Making of Blade Runner written by Paul Sammon sort of kind of answers that question. Thanks to Flavorwire for their posting of it:
“I got a call from one of the ladies at the [Blade Runner] production department saying that Philip K. Dick was coming down at three in the afternoon for a screening,” [David] Dryer recalls, [one of Blade Runner‘s special effects chief]. “She told me to assemble an effects reel showing the best of the best. So I did. I planned on showing it to Dick in EEG’s screening room, which was pretty remarkable. Doug Trumbull had one of the best screening rooms I’ve ever seen. The image on that screen was spectacular—it was in 70mm—and a great sound system had been installed that made the floor rumble.
“Now, Vangelis hadn’t supplied any music yet, but Matthew Yuricich had been painting some of his mattes to old Vangelis albums—Matt likes to paint to music. Since we were already familiar with that, we decided to also play Vangelis music while we showed our reel to Dick.
“Then the production rented out a chauffeured limousine to pick up Philip Dick in Santa Ana,” continues Dryer. “They were really giving him the deluxe treatment. That limo drove him all the way up to Maxella, and when he arrived at EEG, I noticed Dick had brought a woman along with him [Wilson]. I could also tell right away that Dick was unhappy; he acted like somebody with a burr up their ass. First he started kind of grilling me in this grouchy tone about all kinds of things—he wanted to know what was going on, told me that he’d been very unhappy with the script, and so on and so forth.
“So first we gave him a quick tour of the EEG shop, which I thought might settle him down. But Dick didn’t seem impressed, even when we showed him all the preproduction art and the actual models we’d used for certain effects shots. (Then, after Dick and Ridley had a meeting), we went into the screening room.”
“Dick was a bit guarded at first,” recalls Ridley Scott. “Until we doused the lights, turned up the music, and ran the reel for him,” adds Dryer.
However, according to Blade Runner’s coeffects supervisor, “Dick didn’t say a word at first. He sat there for twenty minutes like a statue. Then the lights came up, and Philip K. Dick turned around to me. He said in this gruff voice, ‘Can you run that again?’ So the projectionist rethreaded and ran it again.
“Now the lights come up a second time. Dick looks me straight in the eye and says, ‘How is this possible? How can this be? Those are not the exact images, but the texture and tone of the images I saw in my head when I was writing the original book! The environment is exactly as how I’d imagined it! How’d you guys do that? How did you know what I was feeling and thinking?!’
“Let me tell you, that was one of the most successful moments of my career,” Dryer concludes. “Dick went away dazed.”
Pick up a copy of “Do Androids Dream” and “Future Noir” to read after watching Blade Runner: The Final Cut and 2049.
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