Denis Villeneuve: I felt intimidated making Blade Runner 2049

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Ford plays the titular "blade runner", an ex-cop assigned to assassinate androids known as "replicants".

Story: Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what is left of society into chaos. Blade Runner scribe Hampton Fancher and Michael Green (Logan) penned the screenplay. Maybe "Blade Runner" wore its complexities on its sleeve, too. On top of being the prince of breaking character on Saturday Night Live, he's a genuinely happy guy, and it's shown on his recent promo circuit for Blade Runner 2049.

"Blade Runner" starred Harrison Ford as Rick Deckard, a cop who hunted humanoid "replicants" and began to question his own humanity.

Cast: Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright, Jared Leto, Mackenzie Davis, Carla Juri, Lennie James, Dave Bautista, Hiam Abbass, Sean Young.

"That's so cool that you did that", Gosling says.

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FORD: "I felt like I had a partner when we started acting together". But that Elvis simulation is a striking metaphor for what the audience of BR2049 may be expecting - a careful recreation of a beloved pop culture artifact, one that's acquired the protective coating of "classic" in the many years since its initial, somewhat disreputable appearance.

The story does an admirable job in trying to push forward the ethical issues raised and explored in "Blade Runner". A big fan of the original - he is said to have received the blessing of Scott, who is counted among the film's producers - the director is meticulous and purposeful in executing his vision.

The 35 years later sequel is a decidedly tricky proposition, an itch you know you shouldn't scratch.

Jim Beveridge said: "What we have created in Johnnie Walker Black Label The Director's Cut is something really special that fans will be able to relate to and whisky drinkers will love".

Denis Villeneuve's impressively crafted and deeply respectful sequel, set 30 years later, has - more than most of its rebooting ilk - carefully preserved much of the original's DNA. (It's the first movie since Road to Perdition that legitimately made me feel bad for other cinematographers.) And the aggressiveness of the sound design - particularly Benjamin Wallfisch and Hans Zimmer's music - helps underscore the scary efficiency of the brutality.

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