Blade Runner

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Sometimes the best scene in a film can leave you asking yourself exactly why you think so highly of it. Each and every aspect of a film has a purpose and a reason. When we sit down to watch a movie, some of the most crucial elements are overlooked. I have never heard anyone say "wow, did you see the lighting in that film…" or even "the

College papers on Blade Runner

costumes were amazing!" Personally, before I took an interest in film, I had no clue as to how much work actually went into the process of lighting and costume design. Just to think that there are people out there that make a living off lighting movie sets and designing character costumes blows my mind. Who would have ever thought that the film industry would dedicate so much time, effort, and money into making just one scene print properly to film. It's the simple elements such as these that we hardly notice that make those small and irrelevant scenes, into something we talk about with a smile on our faces with friends across the nation. Today I will discuss the lighting techniques and the costumes used in the film Blade Runner. The first thing that I noticed about the film was it's overall use of neon. Although the general lighting for the film is rather dark and brooding, the neon acts as a secondary light form, bringing out the futuristic glow of the film. While the surrounding was dark, street signs, blazing fires, and incandescent lights set the mood of the film. I also want to take a second to mention the colors that were used in the lighting. Rather than your typical fluorescent or tungsten lighting, the film used lots of bright orange and neon blue patterns. It was as if the streets that Deckard walked on were made to change colors with every step. One street would be bright and loud, the next would be dark and shallow. One of my favorite scenes was the drive through the tunnel. The inside was lit up with a sort of bright green, while the ends we're almost pitch black. The headlamps from the cars ahead reflected on the surface of the windshield, as did the blue lamps on the tunnel ceiling in order to create and illustrate the sense of motion. Another thing I noticed was the sufficient amount of lighting provided by police lights and street signs. It almost feels as if they turned off every light on the set, and simply allowed for each scene to run strictly off on set lighting, such as those created by props and people in the film. In the scene where Deckard is cleaning himself up in the bathroom, a woman stands outside his door. The woman's face is illuminated by the headlights of passing vehicles that shine through the blinds beside her. When the vehicles pass, her face is clear; yet in the dark, we are left with harsh shadows and a mysterious image. Another particular scene that I found interesting was the scene with the four androids around the table discussing their strategy. The room is extremely dark, yet there is a very strong shadow on only one side of their faces. The Rembrandt style lighting allows the audience to depict and identify the antagonists in the film. Moments later in a game of chess, the two players remain dark as the chessboard and pieces are brightly illuminated. This shows me that as the characters and their beliefs remain dark and untold, the world around them still functions normally. Off the topic, the androids lair is very well designed. It is a sort of a play world where they can pretend that everything is fake, yet plan their rebellion and hostility. There is never a moment of full and absolute brightness, or sunlight. The closest we come to a shot of daylight is the establishing shot of the headquarters, to that is still hazy and lit in late sunlight. Inside, although it is not yet completely dark outside, we see no sight of light, and continue to live in the dark world that we have been placed in. When Sebastian is asked to come up for a discussion, he is lit from both sides with nothing other than pure candlelight. Although candles flood the entire room, we are not given too much light. In this particular scene, the discussion becomes heavy and crucial; therefore too much light can ruin our sense of its urgency. Overall, the film found a way to carry itself along, remaining as dark and hidden as possible, yet providing us with enough light to keep our interests. With a futuristic film comes futuristic sets and costumes. Before I get to Deckard's costume, I must point out the outfit worn by the main villain Batty. You can say the black was definitely his color, because although this is all he wore, we was meant to be seen that way. By this I mean that regardless of the costume he was wearing, he would still be seen as a dark character. His long costume added substantial length and width to his body, allowing him to appear as a supreme being. Early on in the film, Batty moves about the area as if he is invincible, hidden and tucked away in his jacket. Later, he becomes more vulnerable in his bare skin as Deckard turns the heat up. As Detective, Deckard stayed in a dark, long jacket. Unlike that of Batty's, Deckard's jacket fit comfortably around his body, allowing him to look rather human and mortal. Aside from all the confrontations he got himself into, he was dressed conservative and looked very intelligent as he set forth in his mission. Early on in the film, we see him with a shirt and tie under his jacket, proving to us that with his attitude comes wisdom. In the entire film, he only takes off his dark jacket once, to be then placed right back on with the next scene. The costumes I found most interesting were those if the women in the film. The conservative women wore gorgeous mink coats and long jackets, while the villains were practically naked and revealing. I think that the naked costumes were a perfect decision for the antagonist because it showed no sense of concern or heed in their mannerisms. Once Zorra had done her makeup, she immediately fell into place with her costume and character. Her thin, black, see-through outfit went perfect with her relentless character. Her choke chain gave her an animalistic look and allowed for her character to be rather ferocious and violent. In conclusion, I think that the cinematographers along with the set and costume designers did a fantastic job of making this film a true epic. Under certain restrictions and circumstances, it is often a difficult task to meet the standards and needs of the production team and directors. Films such as Blade Runner, that call upon certain lighting effects and stage design often tend to bring a sense of curiosity to the eyes of the viewers, making the film original and interesting to watch. The lighting techniques and strategies, combined with the futuristic stage design and original costumes have placed Blade Runner in the realms of other films that bring that same sense of joy to our faces. Please note that this sample paper on Blade Runner is for your review only. 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