The scene where Ryan Gosling's character has sex with a prostitute robot - synchronized with a virtual photo program - took a year to complete.
Blade Runner 2049, directed by Denis Villeneuve, is a science fiction film part two of Blade Runner (1982). Through the investigation of clone K (Ryan Gosling), the story raises many philosophical questions about existence and the nature of life. Released on October 6 in the US, the work was praised by many critics with 88% positive comments on Rotten Tomatoes, an average score of 8.2. In addition to the script, the film was also praised for its visuals with scenes of a future world where humans and cloned robots live together.
The work has a "hot" scene when Joi (Ana de Armas) - K's virtual photo program and lover - synchronizes with a prostitute robot named Mariette (Mackenzie Davis) to have sex with her boyfriend. In this scene, the two female characters gradually blend into each other, synchronizing their movements so that K feels like she is really having sex with Joi.
This is an important excerpt, a highlight in the film, reflecting the efforts of a virtual program to stand on par with clones, in a situation where these clones themselves also want to reach the stature of real humans.
On Syfy, special effects expert John Nelson shared about the scene: "We rehearsed and filmed with Mackenzie first, then Denis chose a suitable double, then I calculated it with the script supervisor. We used watch to keep time. At 2 seconds, she raised her hand. At 4 seconds, she touched his face. She started circling at 8 seconds."
John shared: "After that, I placed an iPad with the recorded excerpt in front of Ana, right in front of where Ryan stood. She would step up and stand right where Mackenzie was, connecting the characters Joi and Mariette. Then I Take the iPad, let Ana repeat the movements from memory. Ryan also filmed along, reenacting the previous scene."
"The remaining work was up to editor Joe Walker, connecting the two scenes with an axial overlay effect on the two women. We took the digital pulses of the two women, then adjusted each one. The special effects team It took a year to create this scene," John said. The most important goal is to have the two characters' eyes overlap for a few moments, creating a brief sense of Joi's "humanity".
Mackenzie and Ana cannot have perfectly overlapping movements and Joe Nelson takes advantage of this for the work's meaning. When filming, sometimes Joi's virtual image is blurred and slightly skewed from the prostitute's body. That image conveys the imperfection of lovemaking, as well as reiterates the impossibility of physical contact between K and Joi.
John Nelson also explained how the team created Joi - a character with a partially transparent body. "When you pour water into a glass, you see both the front and back of it. The audience can see Joi's back through the semi-transparent front. We shot Ana de Armas from as many angles as possible, then That's processed to create the effect. All of these views were needed to create a three-dimensional version of Joi. The back part of Joi is very dynamic, like a semi-transparent window."
"These things can be done entirely with effects without filming. However, we wanted to create a character that captivated both those in the room and those far away from this strange place (meaning said the audience). She looks very realistic, because she is made from real photos," he said.
The director's idea was to build a character with human nature but without a human body. Many tricks are used to confirm this visually, such as Joi being able to change multiple outfits quickly or smoke spreading through her body. After that, the character was brought outside by K and began adjusting the program to feel the rain falling.
"When Joi is frozen, she becomes more transparent. Every time the audience sees Joi, she has a transparency effect of varying degrees. If there is a bright light behind her, the audience sees it "It was like a fire was burning through her. In the hallway scene, the crew lit Joi from behind so that when filming, the audience felt the light passing through her coincided with the natural light source in the scene," said John Nelson.
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On Syfy, special effects expert John Nelson shared about the scene: "We rehearsed and filmed with Mackenzie first, then Denis chose a suitable double, then I calculated it with the script supervisor. We used watch to keep time. At 2 seconds, she raised her hand. At 4 seconds, she touched his face. She started circling at 8 seconds."
John shared: "After that, I placed an iPad with the recorded excerpt in front of Ana, right in front of where Ryan stood. She would step up and stand right where Mackenzie was, connecting the characters Joi and Mariette. Then I Take the iPad, let Ana repeat the movements from memory. Ryan also filmed along, reenacting the previous scene."
"The remaining work was up to editor Joe Walker, connecting the two scenes with an axial overlay effect on the two women. We took the digital pulses of the two women, then adjusted each one. The special effects team It took a year to create this scene," John said. The most important goal is to have the two characters' eyes overlap for a few moments, creating a brief sense of Joi's "humanity".
The director's idea was to build a character with human nature but without a human body. Many tricks are used to confirm this visually, such as Joi being able to change multiple outfits quickly or smoke spreading through her body. After that, the character was brought outside by K and began adjusting the program to feel the rain falling.
"When Joi is frozen, she becomes more transparent. Every time the audience sees Joi, she has a transparency effect of varying degrees. If there is a bright light behind her, the audience sees it "It was like a fire was burning through her. In the hallway scene, the crew lit Joi from behind so that when filming, the audience felt the light passing through her coincided with the natural light source in the scene," said John Nelson.