This moment in the film was one that Denis Villeneuve and Roger…

This moment in the film was one that Denis Villeneuve and Roger Deakins storyboarded not knowing that executive producer Ridley Scott had scribbled a drawing that turned out to match their vision almost identically. “When I saw the sketch I thought, ‘Oh, fantastic. I’m going in the right direction,’” Villeneuve says. A gigantic 40’ × 30’ LED screen played images across from Gosling to simulate the right light and color of the neon hologram. And yet Deakins still wanted to supersize it: “Denis and I were always frustrated that it didn’t feel big enough.” –  (EW)

“I like those references to a world that has…

“I like those references to a world that has disappeared,” Roger Deakins says of the sequence where Gosling’s character finds himself in a dead city filled with relics from another era, including a hologram jukebox that plays Frank Sinatra. “There’s just something sort of odd and a throwback to the past.” Adds Denis Villeneuve: “The word dream is so important. It’s a movie about dreams and broken dreams. It’s important to have that kind of presence in the film.” – EW

“I wanted to approach the movie keeping elements of film…

“I wanted to approach the movie keeping elements of film noir and darkness that were in Los Angeles,” Villeneuve says, but he decided the scenes outside the city, like this one, would have a cooler palette. “The sunlight would peek through the smog and dust and have a wintery kind of silvery light. It was an important way to bring this universe close to me. As a Canadian I cannot brag about a lot of things. But winter?” he laughs. “That I can do.” – Denis Villeneuve

“Roger is a master. If there’s a Mount Rushmore of DPs, he’d be…

“Roger is a master. If there’s a Mount Rushmore of DPs, he’d be right there in the middle. He goes about his work very modestly and quietly, but you learn so much from just looking. You realize that once you are in one of his shots, half your job is already done.”

“I remember one day, it was a third of a page, it was like my character walks up to a desk. And I assumed I’d just go to work and walk up to a desk, but they had turned the entire soundstage into one desk, it was so massive. And after Roger had lit it, it was just so beautiful. But I was confused. I said to Denis: “Isn’t this scene just three quarters of a page?” and he said: “That’s in the movie, isn’t it?” I said: “Yeah… Yes.” Then he said: ‘Well, then it has to operate under the same rules as everything else.“” – Ryan Gosling