So I knew what the sequel could be because, having made the first one, I used to sit and think there’s a very obvious choice. “ IGN: In planning the sequel, how much did you want to call back to the original film in terms of visuals? How did you find that line between sticking to the look of the original but also not just rehashing it? RS: Well, that's always the challenge. And from our first meeting, which was about a week and a bit, we formed a very nice, almost a 100-page novella, which tells the whole story of where we will be today. IGN: Is that why, as a producer on the sequel, you brought Fancher back? RS: Immediately, I talked to him on the phone and he went, “Oh, s#!t, not again.” He still walks the walk, talks the talk. It was one of my better experiences, I would say. So, in a funny kind of way, it was a very nice marriage of a very clever writer and a very visual director. We worked for five bloody months on it, almost every day going through it, going through what we went through yesterday, and gradually he evolved it. And actually, it's probably one of the best experiences I've had with a writer. See what that is.” So from that point on, I've never worked so much in all my life with a writer, the writer Hampton. It told in apartments where the one party would go out and return, and I said, “You know, what you're proposing in the story, you've got to go outside and see the world. So that became the backdrop of how the exterior, the world of Blade Runner, evolved, because originally the script that Hampton Fancher wrote was very, very good, very much written as a lower budget film. So mate, how the are you gonna clean these buildings? How do you clean the windows? It's impossible. And therefore I didn't love it, but I figured it represented what we called retro-architecture. I thought it was smelly, dirty, and grungy. “New York was always the city of overload.
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