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More On ‘Blade Runner’ Projects

3 min read

The flurry of news about potential new Blade Runner projects has had people feeling fairly divisive about it but at least somewhat calmed by the stipulation that the original cannot be remade. The folks at i09 managed to snag an interview with the producers of the project to get some idea of what it’s all about it. Definitely check out the full piece for all the details about it, but there are some very good take away items to be had here.

Have you reached out to Ridley Scott?

Kosove: The answer to that question is as follows. I’m going to answer it very briefly — we won’t say if we’ve reached out to Ridley Scott or not, but what we will say is that Ridley Scott’s blessing to what we’re doing is very important to Alcon. It’s important to Bud [Yorkin], and certainly we have the greatest degree of respect to him as a filmmaker. He’s one of the greatest living directors and one of the greatest directors of all time. So of course he’s very important.

When we posted the news, reactions were split right down the middle. Some fans felt this could be good, because we have to we have the technology to make this really fascinating. And then there were a lot of people worried that Hollywood was going to ruin the legacy of Blade Runner. Can you address those fans’ concerns?

Kosove: I would really appreciate it if you guys could clarify something: Alcon is not owned by Warner Bros. None of this is being paid by WB. We are a wholly independent financial and production company. Our relationship with Warner, which is very strong, runs back to the earliest years of our company. They’re the distributor on all of our movies. First of all, we’re paying for everything, but second of all — and this a way of answering maybe partially the concerns of your fans — this may work, or it may not work. We may make this movie, but in truth it may never get made.

But what I can tell you for certain today is that we will not go about this process in some form of large group think where 15 executives are going to sit around a table micromanaging the creative talent. Broderick and I will meet with writers and directors and we will figure out what direction we want to go and what story we believe in.

And then they will have the artistic autonomy to go out and make a great movie. I think whatever success we’ve had at Alcon, whether it was helping Chris Nolan’s career with Insomnia, or working with the Hughes Brothers on Book of Eli or Jonathan Hancock with Blind Side — that philosophy of believing in filmmakers, giving them some parameters and then letting them do their jobs, has served us very very well. And it’s how we’ll approach this process. I don’t know how better to answer the question than that.

 

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