Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
Credits: TheMovieDb.
Film Cast:
- K: Ryan Gosling
- Rick Deckard: Harrison Ford
- Joi: Ana de Armas
- Luv: Sylvia Hoeks
- Lt. Joshi: Robin Wright
- Mariette: Mackenzie Davis
- Niander Wallace: Jared Leto
- Dr. Ana Stelline: Carla Juri
- Mister Cotton: Lennie James
- Sapper Morton: Dave Bautista
- Coco: David Dastmalchian
- Doc Badger: Barkhad Abdi
- Freysa: Hiam Abbass
- Nandez: Wood Harris
- Gaff: Edward James Olmos
- File Clerk: Tómas Lemarquis
- Replicant: Sallie Harmsen
- Rachael: Sean Young
- Rachael double: Loren Peta
- Interviewer: Mark Arnold
- Doxie #2: Krista Kosonen
- Doxie #3: Elarica Johnson
- Liberace Look-A-Like: David Benson
- Boy with One Ear: Kingston Taylor
- Elvis Look-A-Like: Ben Thompson
- Little Ellie: Ellie Wright
- Marilyn Look-A-Like: Suzie Kennedy
- Sinatra Look-A-Like: Stephen Triffitt
- Angry Old Lady: Vilma Szécsi
- Birthday Girl: Kincsö Sánta
- Memory Child: André Lukács Molnár
- Scavenger #1: István Göz
- Scavenger #2: Pál Nyári
- Scavenger #3: Joshua Tersoo Allagh
- Scavenger #4: Zoltán Béres
- Scavenger #5: Konstantin Pál
- Scavenger #6: Ferenc Györgyi
- Orphanage Boy: Samuel Brown
- Hologram Joi (voice) (uncredited): Mary Lukasiewicz
Film Crew:
- Supervising Sound Editor: Mark A. Mangini
- Casting: Lucinda Syson
- Director of Photography: Roger Deakins
- Original Music Composer: Hans Zimmer
- Executive Producer: Ridley Scott
- Characters: Philip K. Dick
- Story: Hampton Fancher
- Casting: Francine Maisler
- Thanks: Syd Mead
- Production Design: Dennis Gassner
- Costume Design: Renée April
- Casting Associate: Kathy Driscoll
- Conceptual Design: Peter Popken
- In Memory Of: Klaus Mielich
- Original Music Composer: Benjamin Wallfisch
- Foley Editor: Ezra Dweck
- Makeup Artist: Bill Corso
- Sound Re-Recording Mixer: Ron Bartlett
- Second Assistant Director: Joel Kramer
- Co-Producer: Dana Belcastro
- Foley Artist: Goro Koyama
- Foley Artist: Andy Malcolm
- Executive Producer: Bill Carraro
- Art Direction: Rod McLean
- Set Decoration: Alessandra Querzola
- Second Unit Director of Photography: Pierre Gill
- Supervising Art Director: Paul Inglis
- Extras Casting: Veronika Varjasi
- Producer: Broderick Johnson
- Producer: Andrew A. Kosove
- Casting: Zsolt Csutak
- Production Manager: India Osborne
- Thanks: Andrew G. Vajna
- Data Wrangler: Jean-Louis Darville
- ADR Voice Casting: Caitlin McKenna-Wilkinson
- Producer: Bud Yorkin
- Production Supervisor: Gavin J. Behrman
- Aerial Director of Photography: Dylan Goss
- Foley Mixer: Don White
- Aerial Coordinator: Cliff Fleming
- Producer: Cynthia Sikes
- Director: Denis Villeneuve
- Animation: Patrick Kalyn
- Special Effects Makeup Artist: Jason Collins
- Screenplay: Michael Green
- Digital Compositor: Tiago Santos
- Musician: Tristan Schulze
- Visual Effects: Rohit Agarwal
- Conceptual Design: Ed Natividad
- Dolly Grip: Bruce Hamme
- Visual Effects Supervisor: Pierre Buffin
- Co-Producer: Steven P. Wegner
- Editor: Joe Walker
- Art Direction: Tibor Lázár
- Compositing Supervisor: Robert Pik
- Temp Music Editor: Del Spiva
- Compositing Lead: Andreas Bravin Karlsson
- Musician: Nico Abondolo
- Sound Designer: Theo Green
- Techno Crane Operator: Zoltán Schrammel
- Executive Producer: Tim Gamble
- Executive Visual Effects Producer: Marc Sadeghi
- Unit Production Manager: Anna Cassina
- VFX Artist: Ankur Mishra
- Post Production Assistant: John Sylva
- Thanks: Aaron Haye
- Construction Manager: Gyula Herjeczki
- Digital Compositor: Pierre D’oncieu
- Production Controller: Joshua Ravetch
- Rigging Gaffer: Patrick Bramucci
- Thanks: Ryôta Nakanishi
- Camera Operator: Ádám Fillenz
- Musician: Rio Mangini
- Makeup Department Head: Donald Mowat
- Costume Supervisor: Cori Burchell
- Art Direction: Bence Erdelyi
- Hair Supervisor: Lizzie Lawson
- Conceptual Design: George Hull
- Conceptual Design: Emmanuel Shiu
- Visual Effects Coordinator: Paul Docherty
- Painter: Lauren Stewart
- Conceptual Design: Victor James Martinez
- Sound Effects Editor: Lee Gilmore
- Supervising Music Editor: Clint Bennett
- Key Makeup Artist: Jo-Ann MacNeil
- Set Designer: Joseph Hiura
- Property Master: Doug Harlocker
- Sound Re-Recording Mixer: Doug Hemphill
- Visual Effects Producer: Michelle Eisenreich
- VFX Artist: Katie Hamberger
- Script Supervisor: Jessica Clothier
- ADR Recordist: Tom Hambleton
- Still Photographer: Stephen Vaughan
- 3D Editor: Emily Wallin
- Epk Camera Operator: Steve Unwin
- Sound Effects Editor: Christopher S. Aud
- Standby Art Director: Annamária Orosz
- First Assistant Sound Editor: György Mihályi
- Stunt Coordinator: Domonkos Pardanyi
- Transportation Coordinator: Claudia Kossik
- Visual Effects Producer: Karen M. Murphy
- Construction Manager: Zoltán Tóth
- Assistant Art Director: László Szirmai
- Art Direction: David Doran
- Location Manager: Rudolf András
- Visual Effects Supervisor: Sébastien Moreau
- Production Manager: Miklós Tóth
- Camera Operator: László Bille
- Unit Publicist: Larry Garrison
- Unit Manager: Gábor Ujházy
- Post Production Supervisor: Brad Arensman
- Co-Producer: Carl Rogers
- Storyboard Artist: Sam Hudecki
- Executive Visual Effects Producer: Fay McConkey
- Executive Visual Effects Producer: Melissa Taylor
- Gaffer: Bill O’Leary
- Location Manager: Robin Citrin
- Visual Effects Editor: Xinyi Puah
- Visual Effects Editor: Dhuha Isa
- Steadicam Operator: Pete Cavaciuti
- Location Manager: Emma Pill
- Unit Production Manager: Pamela Harvey-White
- Location Manager: Félix Rosell
- Additional Still Photographer: Kata Vermes
- Second Unit: Nick Fulton
- Art Direction: Stefan Speth
- Production Consultant: Des Carey
- Visual Effects Designer: Russell Sadeghpour
- Animation: Adam Klein
- Head of Production: Donna Langston
- Music Editor: Ryan Rubin
- Visual Effects Supervisor: Viktor Müller
- Visual Effects Supervisor: Ryan Tudhope
- Head of Production: Nicolas Bonnell
- Hairstylist: Krisztina Fehér
- Script Supervisor: Dora Simko
- Digital Intermediate: Robert E. Phillips
- Sound Effects Editor: Greg ten Bosch
- Thanks: Dennis McCarthy
- Dialect Coach: Rick Lipton
- Head of Animation: Marco Foglia
- Visual Effects Producer: Adam O’Brien-Locke
- Stunts: Adam Hart
- Animation: Evan Clover
- Set Costumer: Mark Avery
- Editorial Staff: Ken Lebre
- Stunt Double: Martin De Boer
- Visual Effects Supervisor: John Nelson
- Visual Effects Technical Director: Brian N. Bentley
- Stunts: Jason Chu
- Set Costumer: Dóra Papp
- Camera Operator: Imre Juhász
- Hair Designer: Kerry Warn
- Matte Painter: Mark Orme
- Animation Supervisor: Eric Bates
- Visual Effects Editor: Shawn Broes
- Digital Compositor: Sean Coonce
- Electrician: Péter Bognár
- Set Supervisor: Isabel Bloor
- Visual Effects Supervisor: Olivier Cauwet
- Concept Artist: Michael Broom
- First Assistant Director: Donald Sparks
- Assistant Costume Designer: Martine Gagnon
- Stunt Double: Mike Massa
- Special Effects Supervisor: Gerd Nefzer
- Visual Effects Producer: Chad Nixon
- Special Effects Supervisor: Gábor Kiszelly
- First Assistant “B” Camera: Chris Summers
- Visual Effects Supervisor: Richard R. Hoover
- Music Supervisor: Deva Anderson
- Compositing Supervisor: Laurent Spillemaecker
- Sound Mix Technician: Jeremy B. Davis
- Musician: Avi Kaplan
- ADR Mixer: Michael Miller
- 3D Sequence Supervisor: Rhys Salcombe
- ADR Supervisor: Byron Wilson
- VFX Editor: Guillaume Poulin
- Swing: Norbert Alte Fieszl
- Art Direction: Gergely Rieger
- Assistant Costume Designer: Bea Merkovits
- Rigging Grip: Charley Gilleran
- Hairstylist: Karen Asano-Myers
- Art Direction: Lydia Fry
- Stunts: Joel Michael Kramer
- Assistant Costume Designer: Margaret Robbs
- Animation Supervisor: Bernd Angerer
- Stunts: Narantsogt Tsogtsaikhan
- First Assistant Sound Editor: Mark Coffey
- Stunts: Levente Tamási
- Gaffer: Krisztián Paluch
- Key Grip: Mitchell Andrew Lillian
- Animation: Marilyn Marcotte
- Set Decoration Buyer: Valeria Paoloni
- Pilot: Marc Wolff
- Digital Compositor: Angelica Perez Anzures
- Art Direction: Deak Ferrand
- Visual Effects Supervisor: Huseyin Caner
- Compositing Lead: Xavier Fourmond
- Digital Compositor: Philippe Soeiro
- Stunts: Gyula Tóth
- Production Assistant: Gergely Orbán
- Matte Painter: Arnaud Brisebois
- Assistant Editor: Taylor Mason
- Color Timer: Matt Wallach
- Executive Producer: Frank Giustra
- Conceptual Design: Scott Lukowski
- Editorial Staff: Daniel Czinkota
- Location Manager: Zsolt Molnar
- Production Office Assistant: Rachel Amanda Alterman
- Compositor: Jiri Kilevnik
- Hairstylist: Jaime Leigh McIntosh
- Production Coordinator: Laurie Wright
- Visual Effects Supervisor: Jeremy Robert
- Stunts: Ferenc Berecz
- Compositor: Andrew Barry
- First Assistant Director: Albert Cho
- VFX Artist: Simon Leclair
- Visual Effects Editor: Céline Zapater
- First Assistant Director: Charlie Watson
- Makeup Supervisor: Csilla Blake-Horváth
- Pyrotechnic Supervisor: Marcus Preussing
- Special Effects Supervisor: Bernd Rautenberg
- Supervising Technical Director: Carsten Woithe
- Visual Development: Nikul Patel
- Title Designer: Danny Yount
- Stunts: Balázs Lengyel
- Art Department Coordinator: Fern Hodgson
- Makeup Artist: Szandra Bíró
- Digital Compositor: Rob Garner
- Stereoscopic Supervisor: Jeremy Nicolaides
- Production Assistant: Gábor Csépai
- Production Accountant: Tish Johnson
- Digital Compositor: Mélanie Le Bloa
- Head of Production: Gergö Balika
- Digital Compositor: Aélis Héraud
- First Assistant Editor: Mary Lukasiewicz
- Production Coordinator: Jessica Pearce
- Boom Operator: Norbert Szekeres
- VFX Editor: Sasha Leigh Izadpanah
- Visual Effects Supervisor: Richard Clegg
- Makeup Artist: Nóra Kapás
- Makeup Artist: Szilvia Dobrovitz
- Makeup Artist: Anna Törjék
- Production Supervisor: Demelza Cronin
- Storyboard Artist: Darryl Henley
- Matchmove Supervisor: Jin Yong Kim
- Sound Effects Editor: Charlie Campagna
- Visual Effects Producer: Sabrina Gagnon
- Foley Mixer: Kevin Schultz
- Pilot: Cory Fleming
- Casting Associate: Natasha Vincent
- VFX Artist: Martin Chabannes
- Visual Effects: Chris Hardman
- Second Assistant Director: Karen Davis
- Drone Pilot: Adam Varadi
- Visual Effects Technical Director: Phoenix Woung-Bi Lee
- Production Sound Mixer: Mac Ruth
- First Assistant Sound Editor: Balazs Varga
- Boom Operator: Bálint Csáki
- Digital Compositor: Lionel Jacobs
- 3D Generalist: Andrii Zavolokin
- VFX Editor: Leo-Patrick Houde
- Digital Compositor: Francesco Capone
- Visual Effects Producer: Kim Menaster
- Key Hair Stylist: Jon Henry Gordon
- Assistant Editor: Balázs Budai
- First Assistant Director: Gábor Hegedüs Hege
- Assistant Editor: Zach Marshall
- Key Makeup Artist: Ruth Haney
- Sound Mix Technician: Brian Tarlecki
- Concept Artist: Gabor Szabo
- Musician: Owen Gurry
- Stunt Double: Rob de Groot
- Visual Effects Technical Director: Marco van der Merwe
- Visual Effects Technical Director: Jiayin Wang
- Head of Animation: Omar Morsy
- Stunts: Géza Kovács
- Stunts: Jozsef Fodor
- Stunts: Kinga Gavalda
- Stunts: Orsányi Iván
- Stunts: Richard Nagy
- Stunts: Béla Orsányi
- Stunts: Péter Sokorai
- Stand In: Peter Cseri
- Unit Production Manager: Arni Hansson
- Draughtsman: Bence Kalmár
- Stunts: Cody Banta
- Special Effects Coordinator: Linda Mester
- Makeup Artist: Ancsa Kriskó
- Matte Painter: Olivier Martin
- Matte Painter: Rene Morel
- Digital Compositor: Philippe Pelletier
- Special Effects Technician: Bence Füredi
- Stunts: Gáspár Szabó
- Props: Gena Vazquez
- First Assistant Director: Brandon Lambdin
- Post Production Assistant: Amy Geist
- Visual Effects Coordinator: Yogesh Chautel
- Visual Effects Producer: Annie Normandin
- Visual Effects Editor: Kelly Noordermeer
- Makeup Artist: Nóra Koltai
- Stunts: Gábor Pesta
- Sound Mixer: János Csáki Jr.
- Matchmove Supervisor: Etienne Poulin St-Laurent
- ADR Recordist: Seva Solntsev
- Assistant Production Manager: Teodora Ilie
- Creature Technical Director: Abhisek Chatterjee
- Visual Effects Coordinator: Lucas John Ng
- Camera Operator: Gusztáv Kirsch
- Key Grip: Attila Szücs
- Rigging Gaffer: Antal Berger
- VFX Artist: Félix Pirritano
- VFX Artist: Troy Summersett
- Visual Effects Producer: Julien Cimino
- Second Assistant Camera: Balázs Várszegi
- Executive Visual Effects Producer: Robert Schajer
- Grip: Róbert Nagy
- Supervising Art Director: Ben Milsom
- Concept Artist: Kim Frederiksen
- Pre-Visualization Supervisor: Duane Floch
- Digital Compositor: Edward Andrews
- Production Accountant: Andrea Biklian
- Draughtsman: Petra Balogh
- Executive Visual Effects Producer: Laura Fitzpatrick
- Art Department Coordinator: Veronika Szücs
- Construction Coordinator: Colin H. Fraser
- 3D Artist: Tibor Dajko
- 3D Coordinator: Michael Anders
- Animation Supervisor: Wesley Chandler
- Lead Animator: Jakub Pazera
- CG Supervisor: Chris McLaughlin
- 3D Generalist: Erik Lehmann
- Sequence Supervisor: Miles Lauridsen
- Visual Effects Editor: Bianca Cuffaro
- Visual Effects Coordinator: Ryan Basaraba
- Visual Effects Coordinator: Fanny Bissonnette
- Visual Effects Coordinator: Gabriel Jalbert
- Visual Effects Coordinator: Cindy O’Hare
- Visual Effects Coordinator: André Geoffroy
- Visual Effects Coordinator: Philippe Lépine
- Visual Effects Coordinator: Christ Ohoueu
- Visual Effects Coordinator: Annabelle Zoellin
- Visual Effects Coordinator: Lorie Bussières
- Visual Effects Coordinator: Heather Martini
- Ager/Dyer: Lilla Kleininger
- Armorer: Zsolt Gonda
- Assistant Property Master: Bradley Good
- Assistant Art Director: Orsolya Maza
- Assistant Art Director: Elicia Scales
- Assistant Art Director: Abby J. Smith
- Construction Coordinator: Máté Herjeczki
- Prop Maker: Tamas Gelei
- Prop Maker: Istvan Muranyi
- Prop Maker: Torma Zoltán
- Prop Maker: Vilmos Törköly
- Special Effects Technician: Gergely Laszlo
- Visual Effects Supervisor: Paul Lambert
- Concept Artist: Steve Jung
- VFX Artist: Eduardo Bivar
- On Set Dresser: Gergely Schummer
- On Set Dresser: Ferenc Brandenburg
- Drone Cinematographer: Tamas Hevizi
- Extras Casting: Zsolt Ferenc Maier
- Second Assistant Accountant: April Marie Mabry
- Draughtsman: Dominique Pace
- Digital Compositor: Tracie Donais
- Digital Compositor: Patrick Hall
- Digital Compositor: Leo Pean de Ponfilly
- Digital Compositor: Jorge Sanchez Fresno
- Sound Mix Technician: Tom Burns
- Art Department Assistant: Adam Berces
- Draughtsman: Levente Sulyok
- Creature Technical Director: Charlotte Roberts
- Driver: Tibor Bodor
- VFX Artist: Vikas Chandel
- Compositor: Salima Needham
- Sequence Supervisor: Mitul Patel
- Animation: Philip Melancon
- Matchmove Supervisor: Amit Narwani
- Visual Effects Technical Director: Damiano Moltisanti
- Post Production Assistant: Emma Escamilla
- Visual Effects Technical Director: Christine Liu
- Location Scout: Pier Laurenza
- Foley Recordist: Jenna Dalla Riva
- Visual Effects Supervisor: Scott Mitchell
- Concept Artist: Carlos Huante
- Visual Effects Coordinator: Marc Faladeau
- Digital Compositor: Gudjon Kristjansson
- Digital Compositor: Kyle Greenberg
- Digital Compositor: Oded Granot
- Foley Mixer: Jack Heeren
- Extras Casting Assistant: Tibor Gadácsi
- Best Boy Grip: Gábor Balda
- Grip: Vilmos Keszler
- Concept Artist: Kouji Tajima
- CG Artist: Alyson Lamontagne
- CG Artist: Emmanuelle Morin
- CG Artist: David Bishop Noriega
- Generalist: Sara Hansen
- Matte Painter: Stéphane Keller
- Pipeline Technical Director: Jonathan Niquet
- Stereoscopic Supervisor: Brad Darrow
- Stereoscopic Technical Director: Andrew Kennedy
- Rotoscoping Artist: Ève Giordani
- Visual Effects Production Manager: Alexandra Gunter
- Digital Compositor: Hemant Parshuram Sawant
- Accountant: Maria Gerencser
- Title Designer: Nicolas Girard
- Production Coordinator: Jason Habelow
- Health and Safety: Altus Health
- Choreographer: Viktória Jaross
- Production Coordinator: Jordi Roca Agut
- Production Coordinator: Nathalie Rodriguez Martinez
- Pilot: Desiderio Vite
- Thanks: Dan Spellman
- Executive Music Producer: Ashley Culp
- Executive Music Producer: Alcon Sleeping Giant
- Executive Music Producer: Michael Hodges
- Executive Music Producer: Kayla Morrison
- Musician: Simone Vitucci
- Location Manager: Bill Twiston-Davies
- Costume Supervisor: Lilla Vasvári
- Seamstress: Laszlo Tahy
- Seamstress: Klarissza Kis
- Seamstress: Rita Jakab
- Casting Assistant: Molly Rose
- Casting Assistant: Kristi Lugo
- Casting Assistant: David Bush
- Animation: Chris Sokalofsky
- Animation: Ben Hurand
- Animation: Bassem Hawili
- Animation: Leonardo Bonisolli
- Electrician: András Zsák
- Grip: Gergo Vasari
- Grip: Gabor Schmidt
- Electrician: Béla Rácz
- Electrician: Andras Rudasy
- Electrician: David Rondzik
- Grip: Csaba Pápai
- Grip: Jack Lillian
- Grip: Tamás Kollár
- Grip: Antal Kató
- Grip: Róbert Jász
- Electrician: Gábor Inczédy
- Best Boy Grip: Paul Candrilli
- Electrician: Istvan Banga
- Grip: Ádám Balogh
- Stunts: Farkas Tamás
- Stunts: Gergo Szekér
- Stunts: István Draco Markolt
- Stunts: Ádám Bertalan
- Stunts: Laszlo Utvari
- Stunts: György Szántó
- Stunts: Gabor Szeman
- Stunts: Zoltan Szanto
- Stunts: Zalan Szabo
- Stunts: Viktor Sokorai
- Stunts: Andras Sereci
- Stunts: Németh Tamás
- Stunts: Vanda Mocár
- Stunts: Micos Sventary Lucacs
- Stunts: Akos Lenkei
- Stunts: Norbert Kovács
- Stunts: Laszlo Kosa
- Stunts: Csaba Komondi
- Stunts: Abel Kocsis
- Stunts: Altamiro Junior Jubilee
- Stunts: Gergö Horpácsi
- Stunts: Zoltán Hódi
- Stunts: Tamas Hagyo
- Stunts: Szilvia Fuzessy
- Stunts: Eniko Fulop
- Stunts: Egyed Ferenc
- Stunts: Balázs Farkas
- Stunts: Miklós Danka
- Stunts: Nick Carraro
- Stunts: Dénes Bálind
- Stunt Double: Chloé Bruce
- Stunts: Krisztián Botka
- Stunts: Kristof Belovai
- Stunts: Milan Bartha
- Stunts: Szigethy Balázs
- Stunts: Gaspar Adam
- Line Producer: Ravi Mahapatro
- Line Producer: Jessica Sharp
- Digital Compositor: Tomas Ariño Sobotkiewicz
- Digital Compositor: Daniel Batt
- Digital Compositor: Philippe Bienvenue
- Digital Compositor: Kathryn Jane Black
- Digital Compositor: Romain Bouvard
- Digital Compositor: Christiane Caya
- Digital Compositor: Kamelia Chabane
- Digital Compositor: Abhishek Chaturvedi
- Digital Compositor: Julian Chong
- Digital Compositor: Liudmyla Chorna
- Digital Compositor: Martin Cicmanec
- Digital Compositor: Jaroslav Cízek
- Concept Artist: Kamen Anev
- Concept Artist: Dan Walker
- Second Assistant Director: Alejandro Mora
- Creature Technical Director: Steven Bills
- Visual Effects: Pascal Clement
- Digital Compositor: Fangfei Li
- Digital Compositor: Chris Dawson
- First Assistant Camera: Péter Faludi
- Second Assistant “A” Camera: Gergely Hajba
- Construction Manager: Balázs Kovács
- Props: Jack Cave
- Props: Philip O’Connell
- Props: Scott A. Riley
- Props: Charlotte Runagall
- Production Secretary: Russell Blanchard
- Visual Effects: Daniel Thron
- Compositing Lead: Farhad Mohasseb
- VFX Artist: Pierre Masseron
- Digital Compositor: Andrea Dutti
- Matte Painter: Sarah Neveu
- Data Wrangler: Joe Wehmeyer
- Digital Compositor: Thomas Salama
- Third Assistant Director: Vera Janisch
- Construction Manager: József Kiss
- Draughtsman: Zita Galántai
- Sculptor: Balazs Pelcz
- Second Assistant Director: Tamás Péter Chipie
- Transportation Captain: Viktor Lehoczki
- Production Assistant: Márton Vojnits
- Second Assistant Camera: Szabolcs Sitkei
- Assistant Camera: Attila Kárpáti
- Second Assistant Accountant: Joe Petényi
- First Assistant Accountant: Erika Tamás
- Production Accountant: Kolos Trimmel
- Production Secretary: Zsuzsanna Kurucz
- Second Assistant Accountant: Gyorgy Dejtari
- Third Assistant Director: Gergely Apjok
- Digital Compositor: Eduardo Villarreal
- Digital Compositor: Jonny Gu
- Digital Imaging Technician: Jason Naran
- Head of Production: Grant Bensley
- Special Effects Technician: Andreas Schiller
- Digital Compositor: Nguon Vissal Ong
- Rotoscoping Artist: David Monfette
- Digital Compositor: Michel Frenette
- Digital Compositor: Luke Drummond
- VFX Artist: Pierre Rousseau
- Matte Painter: Antoine Rouleau
- Matte Painter: Frederic Dupere
- Pipeline Technical Director: Marc-Olivier Rouleau
- VFX Artist: William Perreault
- Rotoscoping Artist: Geneviève Gareau
- CG Artist: Marie Soleil Chabot
- Rotoscoping Artist: Marc-André Roy
- Executive Producer: Yale Badik
- Co-Executive Producer: Asa Greenberg
- Executive Producer: Val Hill
- Co-Executive Producer: Ian McGloin
- Prosthetic Makeup Artist: Sven Granlund
- Assistant Director: Hajós Péter
- Assistant Production Manager: Dániel Jakab
- Assistant Production Manager: Gergely Balazs
- First Assistant Director: Susan M. Elmore
- Production Assistant: Árpád Görögh
- Production Assistant: Gergely Török
- Second Second Assistant Director: Brian Niemczyk
- Third Assistant Director: Levente Kölcsey-Gyurkó
- Third Assistant Director: Attila Veres
- Unit Manager: Daniel Dallos
- Assistant Property Master: Andras Pal Szabo
- Concept Artist: Jeremy Paillotin
- Concept Artist: Jon McCoy
- Draughtsman: Róbert Taller
- Draughtsman: Peter Várdai
- Graphic Designer: Enci Bognar
- Leadman: Marton Szalay
- Props: Robin Lawrence
- Scenic Artist: Nigel Hughes
- Set Decorating Coordinator: Vivien Dömötör
- Set Decoration Buyer: Szilvia Szisza Toth
- Set Dresser: Dávid Szekeres
- Set Dresser: Oscar Krupiczer
- Standby Art Director: Alina Papp
- Swing: Federico Vianelli
- Swing: Haraszti Balazs
- Foley Recordist: Davi Aquino
- Second Assistant Sound: Áron Havasi
- Production Assistant: Rita Maxim
- Special Effects: Joel Savage
- Special Effects Supervisor: Jens Schmiedel
- Special Effects Technician: Adam Szlávy
- Special Effects Technician: Andreas Herberg
- Special Effects Technician: Daniel Godec
- Special Effects Technician: Furedi Csaba
- Special Effects Technician: Jan Luppino
- Special Effects Technician: Monty Ploch
- Special Effects Technician: Rene Barthel
- Special Effects Technician: Ruan Liebenberg
- Special Effects Technician: Swen Luppino
- Special Effects Technician: Tamas Uzoni
- Special Effects Technician: Andre Emme
- Second Unit: Nándor Gulyás
- Aerial Camera: Atli Kristófer Pétursson
- Aerial Camera: Paul Maletich
- Digital Imaging Technician: Dávid Vécsey
- Digital Imaging Technician: Joshua Gollish
- Digital Imaging Technician: Pablo Montesinos
- First Assistant Camera: Virgil Tatu
- First Assistant Camera: Michael Rathgeber
- Lighting Technician: Keri Manuel
- Second Assistant Camera: Ambrus Hernádi
- Second Assistant “A” Camera: Kristóf Párdányi
- Second Assistant Camera: Ákos Gulyás
- Second Assistant Camera: Ákos Szathmáry
- Second Assistant Camera: István Djuroska
- Assistant Editor: André Léger
- Assistant Editor: Mercédesz Czanka
- Post Production Assistant: Mayleen Vega
- In Memory Of: Gábor Egyed
- Assistant Location Manager: István Papp
- Driver: István Bognár
- Driver: Zsolt Bécsi
- Driver: Csaba Vida
- Driver: Dániel Zima
- Transportation Coordinator: Jr. Sandor Paradi
- Pilot: Jon Kjartan Bjornsson
- Assistant Accountant: Chad Clark
- Construction Coordinator: Daniel Besnyo
- First Assistant Accountant: Greg Highsmith
- Payroll Accountant: Felicia Craggs
- Payroll Accountant: Péter Danó
- Production Assistant: Anna Lilli Garai
- Production Assistant: Dylan Beck
- Production Assistant: Kitty Bich Thuy Ta
- Production Assistant: Gábor Bukai
- Production Assistant: Mirjam Takács
- Production Assistant: Ainara Sánchez de Toro
- Second Assistant Accountant: Kinga Trimmel
- Second Assistant Accountant: Kristof Trimmel
- Set Production Assistant: Sándor Csali
- Set Production Assistant: Gábor Bakos
- Set Production Assistant: Gergely Riba
- Set Production Assistant: Bence Csörnyei
- Matte Painter: Florence Durante
- Pipeline Technical Director: Declan McGuire
- Digital Compositor: Oliver Fergusson-Taylor
- Compositor: Benjamin Jean
- Digital Compositor: Steven O’Connor
- VFX Artist: Jacob Yorke
- Compositor: Melissa Goddard
- Digital Compositor: Laurent Srey
- Digital Compositor: Felix Lafontaine
- CG Artist: Samuel Jacques
- Visual Effects Production Manager: Sarah Essam
- 3D Sequence Supervisor: Frederik Lillelund
- Animation: Adam Slater
- Animation: Yadav Shridhar
- CG Artist: Hideki Okano
- CG Artist: Andrée-Anne Bouffard-Verreault
- CG Artist: Austin Baerg
- CG Artist: Bradleigh McKay
- CG Artist: Christine Leclerc
- CG Artist: Sarah Mesmacre
- CG Artist: Vincent Vezina
- Stereoscopic Coordinator: Zayn Jinah
- Data Wrangler: Gergely Galisz
- Compositing Lead: Jedediah Smith
- Compositing Supervisor: Filip Sustek
- Compositing Supervisor: Tristan Myles
- Compositor: Maciej Skoluba
- Compositor: Marco Bordignon
- Compositor: Mateusz Krzastek
- Compositor: Vincent Chang
- Compositor: Yasemin Hepguler
- VFX Artist: Romane Landrieux
- Concept Artist: Seungjin Woo
- Concept Artist: David Tilton
- I/O Manager: Martin Hromadko
- VFX Artist: Berenice Antoine
- Digital Compositor: Adrian Nurse
- Digital Compositor: Alexandra Zyrina
- Digital Compositor: Antoine Goethals
- Digital Compositor: Antoine Wibaut
- Digital Compositor: Carlos Guillén
- Digital Compositor: Chaehyeon Lee Julie
- Digital Compositor: Charles Labbé
- Digital Compositor: Cindy Perez
- Digital Compositor: Csaba Pépp
- Digital Compositor: Daniel Veszely
- Digital Compositor: Elfar Sverrisson
- Digital Compositor: Erik Werlin
- Digital Compositor: Foram Pardiwala
- Digital Compositor: Jeremy Meltzer
- Digital Compositor: Jonathon Sumner
- Digital Compositor: Katya Ruslanova
- Digital Compositor: Leo Pritchard
- Digital Compositor: Lies Veldeman
- Digital Compositor: Lisa Funkel
- Digital Compositor: Marco Fiorani Parenzi
- Digital Compositor: Marco Leone
- Digital Compositor: Melanie Dorn Carter
- Digital Compositor: Michael Rouayroux
- Digital Compositor: Nathan Hurlburt
- Digital Compositor: Nicolas Desmet
- Digital Compositor: Nicolas Guyon
- Digital Compositor: Nicolas Laprise Pellicelli
- Digital Compositor: Péter Farkas
- Digital Compositor: Petr Hastík
- Digital Compositor: Rakesh Pusuluri
- Digital Compositor: Rodions Jepejevs
- Digital Compositor: Sharon Marcussen
- Digital Compositor: Simon Lehembre
- Digital Compositor: Szentkuti Tibor
- Digital Compositor: Tanya Kular
- Digital Compositor: Yascine Harmali
- Digital Compositor: Yohann Hays
- Digital Compositor: Zofie Olsson
- Digital Compositor: Yoon See Ng
- Human Resources: Cécile Freyther
- Compositing Lead: Francesco Dell’Anna
- Compositing Lead: Jeremie Ducrocq
- Compositing Lead: Joel Delle-Vergin
- Compositing Lead: Viviane Lévesque Bouchard
- VFX Artist: Julien Mercier
- Lighting Artist: Chris Archinet
- Lighting Artist: Francois Madere
- Matchmove Supervisor: Virender Dass
- Matte Painter: Adrian Dudak
- Matte Painter: Arnaud Havart
- Matte Painter: Eric Aubry
- Matte Painter: Jérémie Touzery
- Matte Painter: Maeva Pierre
- Matte Painter: Marie Tricart
- Matte Painter: Simona Ceci
- Modeling: Stuart Turnbull
- Pipeline Technical Director: Akila Lakshminarayanan
- Pipeline Technical Director: Cameron Billingham
- Pipeline Technical Director: Carl Berube
- Pipeline Technical Director: Sehwi Park
- Visual Effects: Wai Sun Cheng
- Production Coordinator: Cathrine Mitchell
- Production Coordinator: Elliesse Cuniff
- Production Coordinator: Kisholay Ray
- Rotoscoping Artist: Akmal Mlahaili
- Rotoscoping Artist: Alexandra Torelli
- Rotoscoping Artist: Jonathan Moulin
- Rotoscoping Artist: Juliette Compignie
- Senior Animator: Makoto Koyama
- Sequence Lead: Prashant Dhotre
- VFX Artist: Anand V. Jadhav
- VFX Artist: B. Kalyan Chakravarthy
- VFX Artist: Balthazar Sahel
- VFX Artist: Basile Durieux
- VFX Artist: Brittany Piacente
- VFX Artist: Carlos Quijada
- VFX Artist: Cem Olcer
- VFX Artist: Charles Christoforou
- VFX Artist: David Uystpruyst
- VFX Artist: Dominique Zenon
- VFX Artist: Effandi Mohamed
- VFX Artist: Emanuele Goffredo
- VFX Artist: Francois Cote-Paquet
- VFX Artist: Genevieve Trottier
- VFX Artist: Gretchen Bangs
- VFX Artist: Guillaume Dureux
- VFX Artist: Irshad Patel
- VFX Artist: Jean Bennamias
- VFX Artist: Juan Carlos Huerta
- VFX Artist: Juan Sebastian Perez
- VFX Artist: Julien Barbault
- VFX Artist: Keith Acheson
- VFX Artist: Kindra McCall
- VFX Artist: Lianne Forbes
- VFX Artist: Marc-Antoine Bressand
- VFX Artist: Marion Eloy
- VFX Artist: Martin Pélissier
- VFX Artist: Natalianne Boucher
- VFX Artist: Nicolas Bouf
- VFX Artist: Pierre-Yves Marin
- VFX Artist: Renaud Louvet
- VFX Artist: Sébastien Nebout
- VFX Artist: Sotiris Georghiou
- VFX Artist: Souvik Dey
- VFX Artist: Thibault Plancq
- VFX Artist: Tomas Langevin-Côté
- VFX Artist: William Banti
- VFX Artist: Yan Caspar Hirschbuehl
- Visual Effects: Baptiste Lebouc
- Visual Effects: Carlos E. Flores
- Visual Effects: Danilo Ivanisevic
- Visual Effects: Ian Cooke-Grimes
- Visual Effects: Robin De Lillo
- Visual Effects: Samy Lamouti
- Visual Effects: Stefano Carta
- Visual Effects Coordinator: Anton Schefter
- Visual Effects Coordinator: Michael Legato
- Visual Effects Production Assistant: Emilie Gagnon
- Visual Effects Production Assistant: Jared Keesing
- Visual Effects Production Assistant: Marilou Marchand
- Visual Effects Supervisor: Eric Horton
- Visual Effects Supervisor: Nicolas Maillard
- Visual Effects Supervisor: Peter Bowmar
- Visual Effects Technical Director: Benoit Gadreau
- Visual Effects Technical Director: Cody Stoof
- Visual Effects Technical Director: Elisa Valenzisi
- Visual Effects Technical Director: Florent Falipou
- Visual Effects Technical Director: Gawade Dipti
- Visual Effects Technical Director: Jonny Wang
- Visual Effects Technical Director: Lionel Mullot
- Visual Effects Technical Director: Miguel Angel Ortiz Rivera
- Visual Effects Technical Director: Romain Sunier
- Visual Effects Technical Director: Tangi Vaillant
- Visual Effects Technical Director: Valerio Tarricone
- Visual Effects Technical Director: Xian Guan
- Art Direction: Steven Saunders
- Sculptor: Christopher Alex Menges
- Sound Designer: Matt Lange
- Stunts: Alex Kingi
Movie Reviews:
- Simon Foster: “Blade Runner 2049 embraces the enormous shadow cast by Blade Runner 1982 by crafting a vast immersion in scale and vision…”
Read the full review here: http://screen-space.squarespace.com/reviews/2017/10/5/blade-runner-2049.html
- tmdb15214618: In a wonderfully woeful world, a detective makes a sad attempt at a relationship, has the most inventive sex scene ever committed to screen, and grapples with an existential crisis as he does his work. This stuff, which could work as a standalone story, is so strong that this movie must be seen.
Unfortunately, the movie doesn’t realise that the protagonist’s everyday life is the best part, and instead focuses on a larger-than-life, goofy premise meant to tie 2049 to the original and set up another sequel, thus undermining what would otherwise be a gripping, intimate story.
- Frank Ochieng: Hail to the Science Fiction gods as they came to their senses and granted upon the eagerly movie-going masses the long-awaited arrival of a stunning and opulent _Blade Runner_ sequel. Perhaps we should praise the understated genius and visionary mastermind Ridley Scott for his 1982 directorial accomplishment in serving up what appeared to be an underappreciated and overlooked SF thriller in its heyday over three decades ago only for it to emerge now as one of the greatest Science Fiction futuristic capers worthy of its cult classic following?
Maybe the long overdue kudos are reserved for the diehard nostalgic _Blade Runner_ bunch whose committed and fanatical fandom was the key catalyst for this undeniably brilliant, brainy, dazzling and polished presentation to resurface and give new vitalizing breath and striking energy to the Science Fiction genre in conception? Could it be possible that Hollywood simply saw opportunistic and healthy box office receipts to restart another pop cultural juggernaut from yesteryear’s cinematic scene?
Is there a returning Harrison Ford fixation/fetish blossoming courtesy of his past blockbuster film resume that boasts the obvious inclusion of prominent SF/adventure fantasy biggies such as both the _Star Wars_ phenomenon and the _Indiana Jones_ installments with _Blade Runner_ now taking up the matinee mantle?
Regardless of the film-making forces at hand or the key reasoning for this 164 minute visually arresting odyssey updated and packaged for bombastic _Blade Runner_ enthusiasts and dedicated SF connoisseurs the proof is in the proverbial pudding as **Blade Runner 2049** has made its auspicious presence known and succeeds thrillingly as an indelible wonderment in imagination, intrigue and intelligence.
Breathtakingly rich and vibrant in its overlong execution, **Blade Runner 2049** is a lustrous escapist epic that resonates with snappy pop, thought-provoking tendencies and atmospheric grittiness that soundly resonates. And yes…the participation of the aforementioned and omnipresent Ford reprising his role from 35 years ago is indeed the appealing and motivating factor to re-enter the anxiety-driven world of intrusive replicants, societal annihilation and the guessing game of humanity infiltration.
It seems that the intense workmanlike charm and structured suspense in the rebooted **Blade Runner 2049** has not missed a single beat as it colorfully brings its brand of contemplative tension and underlying humorous texture to this sumptuous spectacle. Importantly, the film’s philosophical edginess and saturated cynicism stays true to Scott’s unflinching vision of introspection about the valued properties of life and who are the chief architects of such a unique gift of existence. Consequently, speechless Science Fiction audiences once again are transfixed by the mesmerizing yet old adage about the rivaling ‘have’s and ‘have nots’ especially so vital in the gloomy squalor and doomsday darkness that Scott created so fervently in his vintage edition that set the stage for renegade blade runners in a power struggle with defiant, roguish replicants disastrously flirting with the sacred boundaries of humankind.
Filmmaker Denis Villeneuve (‘Arrival’, ‘Sicario’, ‘Prisoners’) has stepped into some pretty mighty cinematic shoes in dusting of the mothballs of _Blade Runner’s_ haunting and hedonistic past in an accomplished effort to bring forth a percolating potboiler of a challenging and imaginative hue to its succulent successor in 2049 with surging, exquisite aplomb. Screenwriters Michael Green (‘Alien: Covenant’, ‘Logan’) and Hampton Fancher (‘Blade Runner’, ‘The Minus Man’) manage to brilliantly convey the dystopian disillusionment as the caustic yet compelling commentary concerning the decline of humanity and how it is feverishly on the brink of non-existence. The fuzzy lines are crossed for the calculating chaos and corruptible wheels that are turning so aimlessly and shockingly. The sins of sinners, good, bad or indifferent, gloriously are stemmed in moodiness and mystery. Additionally, notably iconic cinematographer Roger Deakins (‘Fargo’) cultivates a dank, hazy-coated landscape where shadowy imagery compliments the dour suspicions of determined man versus durable machine co-existing in a hostile futuristic fantasy world of techno-dismal dimensions. Also, kudos are reserved for Hans Zimmer and Benjamin Wallfisch for their soaring, energetic score that undercuts the tension and turmoil.
In a nutshell, Ryan Goslin (Oscar-nominated for 2016’s ‘La La Land’) is a young blade runner known as ‘K’ whose mission is to track down veteran Rick Deckard (the returning Harrison Ford…also a former Oscar nominee) in the aftermath of a major uncovered secretive revelation that requires the missing senior badge-flashing blade runner’s undivided attention. The problem remains, however, is that Deckard has been out of circulation for three decades and so the search is on for K to hunt down the long-absent Deckard.
Indeed, Officer K’s critical and contemplative police work is, to mildly put it, seek out the about-to-expire, unpredictable and resistant replicants and eradicate them when necessary. The replicants, mechanical menaces with artificial intelligence that are living among the humans incognito, are the main focus of the LAPD and K enthusiastically is immersed in the manhunt for the hidden techno-tyrants with militant mindsets that could strike at any moment among the walking flesh. K strives to put them out of their mechanical misery as his sworn duty to serve and protect but he is handcuffed (no pun intended) by the political politeness and procedural proprieties as pushed by his boss Lt. Joshi (Robin Wright). Basically, K is under surveillance based on his fragile mental state and Joshi is the one to contain this gritty-minded cop’s wandering psyche.
Thankfully, there is undeniable texture and intensity that fortifies **Blade Runner 2049** due to the layered and complex story that effectively taps into the robust realm of man’s possible mercy call at the dominant feet of advanced and sophisticated technology. This observational sentiment certainly rings true in contemporary times as selective human beings feel lost, intimidated, overwhelmed and need to surrender to the mounting shifty pressures of an exposed society seemingly ruled by sinning opportunists on both sides of the shady aisle, mechanisms rendered equally with blood and bolts.
Refreshingly, **Blade Runner 2049** is devoutly cerebral in passion and old school perception. Oddly, Villeneuve’s mixture of science fictional roots and thought-provoking dramatic art house probing works while adding a realistic and somber milieu of existential foreshadowing. Gosling is gloriously geared as the hound dog-faced law enforcer too close for comfort on the fringe of film noir-style burnout as he gets embroiled deep into an abyss of head-scratching discoveries. Ford does not miss a single beat as the gravel-faced, handsome-aged Deckard saddled in adventurous mode despite the matured years since his early 80s heyday in the mundane, ground-breaking _Blade Runner_ blueprint from yesterday. Oscar winner Jared Leto (‘Dallas Buyers Club’) joyously lets it all hang out as the wickedly off-kilter character Niander Wallace. The feminine inclusion of Wright’s top policing babysitter Joshi and Ana de Armas as K’s love interest, Joi, are welcomed personalities. Ex-wrestler/actor Dave Bautista (hot off the ‘Guardians Of The Galaxy’ film series) is a larger-than-life specimen as always in proven popcorn blockbusters.
Convincingly well-structured, profound, purposeful and without a prosaic bone in its bountiful body **Blade Runner 2049** is stunningly sumptuous Science Fiction theater for the thinking man and for the progressive machinery master-blasters as well.
**Blade Runner 2049** (2017)
Warner Bros. Pictures
2 hrs. 44 mins.
Starring: Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista and Carla Juri
Directed by: Denis Villeneuve
Written by: Michael Green and Hampton Fancher
MPAA Rating: R
Genre: Science Fiction/Action & Adventure/Fantasy/Drama
Critic’s Rating: ***1/2 stars (out of 4 stars)
(c) **Frank Ochieng** (2017
- Mex5150: The film was actually rather disappointing. As a film it was OK, but as a sequel to Blade Runner, it was terrible. There were some nice in-jokes and references, but overall low-brow junk masquerading as high-brow gold (it was directed by Villeneuve, so I really shouldn’t have expected better, the only thing he’s good at is making stupid people think they are clever). Everything seemed forced and unnatural. The plot was trite and cliched, and everything was very predictable. Totally a wasted opportunity ;^<
- Gimly: Strikes a true balance between new and old. Denis Villeneuve has a perfect filmmaking record in my mind, and _Blade Runner 2049_ continues that trend with aplomb.
_Final rating:★★★★ – Very strong appeal. A personal favourite._
- Per Gunnar Jonsson: As a movie this is a very good movie. The scenery, the acting, the colors etc. are of a very high technical standard. To me personally however, this movie is much too dark and depressing for my taste.
I cannot say that I am surprised that the movie is dark. The first movie was a rather dark one after all and this one is a truly post-apocalyptic one. I quite liked the first movie despite its dark setting though. However this one takes the darkness and melancholy to an entirely new level.
As I said before, technically the movie is great. The scenery is stunning whether it is a dirty little hut out in the badlands or the equally dirty vast cityscapes. The scenes of the abandoned city where Decker is (re)introduced is sad but beautiful.
The acting is more or less great from all the main characters and the special effects are very well done and just right to fit with the rest of the movie.
Unfortunately I cannot bring myself to give it more than 3 out of 5 stars. It has nothing to do with the quality of the film but a lot to do with my personal taste which of course is reflected in my ratings.
- Dean09199: I don’t understand what people like in this movie. It has some good things, but nothing much to deserve such big rating. Soundtracks & atmosphere are really good & it’s well shot, however story is confusing & everything is all over the place. I still didn’t understand what was the whole story of movie and it is extremely slow & prolonged. Very small amount of talking & a lot observing moments. Every minor action is prolonged. Like you see man laying in the snow for a few minutes & etc… I didn’t like the movie & it took more than 2:30 hours of torture and boredom…
- renzo-benzo: The only thing _great_ about Blade Runner 2049 is the cinematography and the Atari sign, but it was just trying to copy Blade Runner instead of a new story. Outside of that it’s dog dung. The music is a poor knock off Vangelis score. The story is basically fan-service and pandering by the studio with the tons of plot holes. It includes of biblical references, and aspects from the books _Fahrenheit 451_ by Ray Bradbury, that also takes place in 2049, mixed with _1984_ by George Orwell to try to come off as intellectual, but utterly fails and is poorly done. It practically ignored _Do Androids Dream of Electric Sheep_ by Phillip K. Dick. The original Blade Runner film did too, but at least that film was interesting. This film doesn’t introduce anything new or anything that could be considered an original idea. The editing is awful. Dragging out scenes for no reason other than an attempt to appear “intelligent and serious” or to try to mimic ‘Blade Runner’ doesn’t work since there’s no reason for it story wise. It’s kind of like a Zack Snyder movie, in that regards. The acting is subpar and wooden. Harrison Ford was phoning it in. It’s a shallow film that misses the point. Here’s a neat idea, why not try to actually adapt _Do Androids Dream of Electric Sheep_ into a film.
I don’t understand why people think this shallow movie is an intellectual and intelligent movie.