Denis Villeneuve is de man die verantwoordelijk is voor het inmiddels hoog geprezen Blade Runner 2049 die nu al een klassieker genoemd wordt en sinds gisteren in de Nederlandse bioscopen is te zien. De website FirstShowing had dit interview met hem en daar van kan je nu hier onder een klein stukje lezen.

From what I've been reading, so much of this was made with real, practical sets. Like how the scene with her giant hologram was an actual set filled with fog and a projector.

Denis: It was very impressive because from the start with Roger Deakins, we said, okay, let's do it the old fashioned way. Let's try to, for us first because as a filmmaker we need to see real, it's a thing to be together. So you see the impact of those books on us right now?

Yeah.

Denis: And if it was greenscreens and I said, there are books, you don't [feel it]. See it's not the same thing. And for actors it has an impact. A huge impact on them. Because they have just to focus on their inner self... On the "interior-ity" instead of having to imagine what is [around them], they don't think about the books. They think about the relationship between us, not that they have to figure out [what's around them]. Do you understand? So from the start with this, Roger [Deakins] wanted to make great excitement. He wanted to have full control over the lights. Meaning that if you have a character standing in a street in the rain, with fog, we will make sure that we construct most of the street with most of the buildings and the light will be practical. And there will be real rain. And if there is a giant hologram, we brought on set, like a gigantic... I don't remember the size of the screen, this was like 45 feet or something. It was massive, like several floors, a gigantic screen. The biggest screens on Earth. And then we were showing on this the image of Ana de Armas. Just on set, it was mesmerizing.

Oh, I'm sure.

Denis: And the thing is, the way that Roger used that, the idea was that the light would be perfect because what will be coming out of this gigantic image will light Ryan and the atmosphere on him in a very, very, very specific way. That can't be reproduced by computer. The computers, they are very powerful but there's a limit to them. Roger is so precise with light, you know? Nature of light. Even in an impressionistic world where he's designed a logic of it all. He's still very, very precise and he wants it to be totally accurate. We had a scene in an apartment... So we will do the apartment, design the apartment, construct the apartment for 360 degrees. And outside of the windows we will build things outside. And behind the building, Roger will add lights to create the city lights behind so we were coming on set and you were seeing a cityscape outside with the rain and it was really magic. Honestly the actors were all like kids. It was a really, yeah.