One of my favourite shots from Blade Runner is when we are approaching the Tyrell Corporation up close, and just left of centre we can see the panoramic window and look ‘into’ the room where Deckard will soon meet Rachel and Tyrell. It is a moment of exquisite detail. There’s no need for it, and it certainly isn’t highlighted- that section of the miniature is just in the background, and very quickly the passing Spinner car intentionally takes the attention away from it, and the viewer can’t even recognise that room on first viewing as he hasn’t seen it yet. Its really just something you notice on your second, third, fourth viewing. I imagine a lot of viewers haven’t noticed it even then. Its just another of the films sublime details that makes the film so special.
And of course, it dates from a time when effects shots involved miniatures rather than CGI. People had to craft by hand everything we see; miniatures, matte paintings on glass. Whenever people question me moaning about CGI, this is the kind of thing I bring up. I don’t hate CGI. We have films now that would be impossible otherwise. We see genuine wonders now. But the artistry of the old pre-CGI days has been lost, and the due care and attention to the crafting and framing of those effects shots has, I believe, suffered. More ‘wow’, less thought, now, most of the time.
Anyway, I just love that shot in Blade Runner, and these stills showing that part of that Pyramid miniature being built. That room with the long table where Deckard will test Rachel and those pillars standing… I wonder who had the balls to even suggest such a complex shot back then? Just imagine the sheer fearless ambition in attempting a shot like that. Maybe the effects boys knew they were working on something special. Its wonderful really. All that fine model detail destined to be lost in the background of a shot diffused by smoke on the shooting stage. Like tears in the rain, eh?