I saw Blade Runner when it first came out and saw it again recently.
Kind of a shock to see that Roy Baty's "incept" date was Jan 2016. That was last year!  Where are all those
flying cars?

bjornpdx
I saw Blade Runner when it first came out and saw it again recently.
Kind of a shock to see that Roy Baty's "incept" date was Jan 2016. That was last year!  Where are all those
flying cars?

Can't tell ya Bjorn, the answer would just go right over your head! 
 
(The "real" answer is that the Government began brainwashing people to be stupider to the point where they can barely drive a non-flying car!  You live in Portland, you've seen plenty of evidence of this I'm sure!  )

bjornpdx
I saw Blade Runner when it first came out and saw it again recently.
Kind of a shock to see that Roy Baty's "incept" date was Jan 2016. That was last year!  Where are all those
flying cars?

I was able to re-watch BladeRunner the other day On-Demand and thought the same thing. These sci-fi writers need to move further ahead (year-wise) in these movies. Maybe at least a 100-years beyond the youngest audience member. Maybe go 200 years, so no one alive at the time of the movie release will be able to compare. A small nit, but did anyone really thing the world would be like this in 2016 back in the original movie release date of 1982? Reminds me of the scientific magazines that were around when I was a kid and their future predictions for our lifetime (think Jetsons cartoon). Some of that stuff is still centuries ahead as yet. Computing, and its off-springs, is the one major advance we have experienced. But we still are years away from flying cars for the average family. Heck, even the classic '2001 Space Odyssey' missed the mark by at least a 100-years. I sure would like to ride a real HoverBoard though.

Worth noting that the source book for Bladerunner, 'Do Androids Dream of Electric Sheep?' by Philip K Dick, was published in 1968, but set in 1992!
 
I suppose with the 'space-race' in full flight, anything seemed possible.

I remember reading a novel, c. 1973, in which computers were tiny enough to carry around with you, were your primary communicator, let you watch TV and take videos. And every computer was networked to every other with all the world's information instantly available. The government spied on computer users through their computers. Bad guys figured out how to steal using computers. Identities could be stolen and peoples' reputations destroyed.
 
What the hell was that guy smoking? That sh*t's never gonna happen!

Watched it.
 
Sitting on the fence...

Hi,
...

KenB123
I was able to re-watch BladeRunner the other day On-Demand and thought the same thing. These sci-fi writers need to move further ahead (year-wise) in these movies ...

 
Actually, one has to be a bit careful here ... there was a Hungarian film (My 20th Century) that did this and it was a look at 100 years ago, when the film camera was new, and in the end, there were too many bits in there that were funny, weird, and off its rocker, that made the film very tough to understand, and appreciate. But it was a nice and fun film!
 
I think, that the best way to handle this, is that we have to be willing, AS AN AUDIENCE, to suspend all beliefs and disbeliefs, and we simply can't do it, because our life/living does not allow us any moments of inner peace where the "dope" (so to speak) can enjoy a few moments, a little more than just plain non-rem dreams!
 
Time-warping, is not something that we can enjoy ... we're way too married to today, and so stuck on it, media-wise, that it is almost impossible to see something different and not call it the debil! 
 
It's bad enough that many folks can't even listen to different music's as it is, and talk about it. Imagine Strummy listening to Yeti (the title piece) and looking like ALEX in Clockwork Orange, with eyes bugged out and tied to a chair! That's my fun image of it, as it is, though ... I'm not sure that is a guitar style that Strummy can easily play, or do.

Saw BR2049 this past Sunday evening.  Overall, BR2049 is awesome, epic, dark, sad, lonely, and definitely respected the original.  Ryan Gosling was great.  Joi (Ana de Armas) was adorable.  I am a fan of the original masterpiece from 1982.  However, perhaps it was because it was a Sunday evening, but there was a total of 8 of us in the theater.  That's pretty abysmal.
 
My biggest beef was, and remains to this day, the audio.  It sounded like crap!  Hans Zimmer, despite his professionalism, experience, and technique really phoned this one in, IMO.
 

 
Distortion...and lots of it!  The theater had the volume cranked a little too loud overall, but HOLY BOTTOM-END, BATMAN!  The speakers were over-driven to the point of clipping.  Was it on purpose to perhaps be "edgy?"  When I heard a character's voice become nastily distorted (i.e. big-time crunch) during a big, low-end part, I knew at that point that "Nope, definitely not on purpose!"

So I got on Youtube and listened to a few of the tracks.  While none clipped in my headphones as harshly as I heard in the theater, all of them had HUGE, OVERPOWERING BOTTOM-END...so much in fact that I would question everything that is "right" with mixing/mastering.  A bottom-end so big, that when analyzed, has energy 60Hz and lower almost up to 0dB. And evvverrrythiiiinnng had bass in the movie.  Thankfully no hackneyed bass-drops, but a flying car that weighs maybe 3,000 pounds should, IMO, sound a little zippy or jet-turbine-like and not like a continuous thunderstorm inside the hull of an oil tanker ship!
 
Furthermore, it's super muddy.  It was as if Hans used multiple instances of LoAir, RBass on the bass channels, creating that muddy-as-Hell-wobbly-subharmonic-crap while over-driving tape saturation on the Master which affected the mids/highs...including voice-overs, which seem to have been completely ignored during the mix-down to film.  I mean, come on!  Hans Zimmer is like this big name in everything, right?  He even has his own "Master Class" ("...There's a question...oooh, kind of a dodgy question!").  Maybe he gets paid by the plugin?  Ridiculous!

Overall, the end of my rant will say that the low-end in Blade Runner 2049 is absolutely killing the overall quality of the score in general and definitely killing the sound systems in theaters!  Maybe this could be a contributing factor in its poor ticket sales?  At this point, I hope the Blu-Ray release will have remastered audio, because IMO, it desperately needs it.

2:43AM
perhaps it was because it was a Sunday evening, but there was a total of 8 of us in the theater.

LOL! There was seven in our "screen," me, my wife and eldest son, plus four "randoms."
 
And, yeah, Volume was definitely on 11 although I didn't complain at the time because I like my movies loud and my missus is always asking my to "turn it down" when we watch movies at home.
 
One gripe I had with the sound was, I wasn't always sure if a sound was supposed to be associated with a particular action on the screen, like an air car whizzing past, or what ever, or if it was supposed to be part of the musical score.
 
I'll more than likely add it to my collection, even though it wasn't as good as the original... Are they ever?
 
What's next? Blade Runner 2051? I reckon they must be leaving it till then to deal with the "baddy" of the movie...

The volume was too loud in the theater I saw it in, too. Not to the point of distortion, but certainly above the sweet spot. Given that theater systems are calibrated, I'm assuming the hot mix was intentional.
 
It probably wasn't Hans Zimmer's idea; the most painful parts were low-frequency sound effects. In contrast, one complaint I had about Wonder Woman was the music wasn't up enough in the mix. It would seem Herr Zimmer has little influence over the mixing process.
 
And to be fair to Hans, he was brought in very late in the game, just six weeks before the film's release and after most of the music had already been composed and recorded. The official credits don't even mention the original composer, but I've read that a total of four composers contributed music.
 
They could have saved a lot of time and money - and kept true to the original - by just hiring Vangelis to start with.
 
The list of audio engineers is long enough to form two or three softball teams. While both of the mixers named have extensive filmographies, few of their past projects stand out for sound (Kung Fu Panda 3, Monster Trucks). One of them does list Apocalypse Now among his credits, but that was a long time ago and back then he was probably the intern who brought coffee.