What would you in your personal life be willing to risk it all for? The big black when we all close our eyes at the end of our existence. Love, prospects, a job??? But mostly our will to live, the fight or flight behind our biological nature.Now, how hard will you fight when your life is coined to have less meaning than those that created you? When you yourself can’t see the difference without a glimmer in a dark room. How important is your life as a flame that burns twice as bright for half as long?
What would you in your personal life be willing to risk it all for? The big black when we all close our eyes at the end of our existence. Love, prospects, a job??? But mostly our will to live, the fight or flight behind our biological nature.Now, how hard will you fight when your life is coined to have less meaning than those that created you? When you yourself can’t see the difference without a glimmer in a dark room. How important is your life as a flame that burns twice as bright for half as long?
blade-runner-part-1
Gabby Browne: [00:00:00] This podcast is an association with Spotlight Studios, a family of podcasts driven to create unique, one of a kind content. If you have any interest in learning more, please visit Spotlight studios podcast.com.
The limelight.
What would you and your personal life be willing to risk it all? For the big black, when we all close our eyes at the end of our existence. Love prospects a job, but mostly our will to live. The fight or flight behind our biological nature. How hard will you fight when your life is coined to have less meaning than those that created you?
When you yourself can't see the difference without a glimmer in a dark room? How important is your life as a flame that burns twice as bright for half as long? I'm Gabby Brown with Erin Cower. Hello, Jonathan Van Sickle. Hey Gabby, [00:01:00] and our first guest on the show. Alberto Santoro, how you doing? This is the Limelight by Spotlight Studios.
Aaron Couser: As her first guest, I picked my dear friend, Buro Santoro. I've known Buro probably now for about 15 years. Started working with him at Extroversion when it first opened up way back in the day, and he's always been one of the greatest bartenders the city has ever seen working with him so long. We've talked about technology, we talk about art, we talk about movies.
And not all the time do we agree, but we always learn something from each other, which is the reason I thought he would be the perfect first guest for this show. He is, uh, an amazing man. Berto. Santoro. Thank you so much, Berto, for being here.
Berto Santoro: Oh, thank you so much for having me. Love your kind words. Thank you.
Uh, we have. Talked about movies for the last 15 years, [00:02:00] and what you said was totally true. We don't always agree, and I think that that's one of the most important things. Like if we just agreed on every movie, God, what a boring conversation we would have.
Aaron Couser: And that's what we want. We want, uh, different perspectives.
On this art form that we call movies. Mm-hmm. Which makes, uh, makes me think about things differently. Talking to you about all sorts of different films. I get a different perspective, which I believe that's probably what I'll, what I'll have with this conversation. Mm-hmm. So thank you so much. Berta, why did you pick Blade Runner?
Berto Santoro: I listened to your 2001 Space Odyssey Show. Ooh. And I had no expectations at the time, but when I listened to it, I was really excited for what you guys were doing here. Right. You were breaking down a very hard film to break down. And I thought that Blade Runner is in this show's wheelhouse for sure.
Right. I mean, this show is a thought provoking genre defining sci-fi neo noir film with such [00:03:00] deep symbolism and, uh, such deep meanings. This movie came out in 1982, and when I saw this as a kid, I didn't really like this movie at all. Right? I didn't get the adult themes, the symbolism, but as an adult, when I revisited, and I've seen this movie, I don't know, hundreds of times.
I don't think that's an exaggeration either. Yeah. When I analyze this movie, I mean, there's so many deep meanings, deep symbolism, the neo noir dystopian future of a destroyed planet where everyone that was anyone is gone. This movie is about beautiful imperfection and raises an existential question of what it is to be human.
But I think ultimately that this film is about loneliness. Every single aspect of this movie evokes that feeling, the melancholy pace. The, the score from vangelis, the lighting, I just thought that this was an extremely deep thought-provoking film. Uh, so this film starts out with a black screen. [00:04:00] The Vangelis score starts, which introduces you to the melancholic nature of this film right off the bat.
Then they give a brief text about what the replicants are. What it is to be the Blade Runner after minutes. What? Because eighties movies, right? They start out still from the old days, like to where there's all these credits and we finally figured out that nobody wants to watch the credits. Put that at the end.
You see an opening landscape of a hyper industrialized Los Angeles. Los Angeles, 2019. The flames of industry are, are shooting up into the air. You see those giant pyramid buildings in the background, and then it reflects to the scene of the eye. In the eye. You see the reflection of that landscape from Los Angeles.
The eyes right there have such a deep symbolic meaning to this film. You see it in everything. The eyes are the window to the soul, and I think that that's what they mean there. You see it from the void comp test. They [00:05:00] focus in on the eye, the replica's, eyes glowing, and then of course there's a lot of tight shots, constantly looking at the eyes.
Eldon Tyrell, his comically thick glasses, they wanted to make him look smart. Yeah, right. Because this is the smartest man on earth. Right, right here. This is like the Elon Musk of the time. Right. And he's still there on earth for some reason. Probably because he has this empire that's, yeah. I mean, he's probably the rich, richest person.
Like if you're
Gabby Browne: the ahead of the pyramid, you're probably not gonna leave the pyramid.
Berto Santoro: Yeah. Who, who else lives on those pyramids, right? Yeah, exactly.
Gabby Browne: Jesus. Jesus.
Aaron Couser: These are nexus sixes. Now these are top of the line models, actually. Pretty dangerous. Mm-hmm. I guess they're illegal now on earth.
Gabby Browne: Yeah. They killed a bunch of people on another planet and then escaped and they were like, oh, we gotta get rid of these guys.
Berto Santoro: They're problematic. But that must have not been the first time that that's happened. No way. Right? And that's why. It's illegal in the first place. Decker's job as a Blade Runner was to retire [00:06:00] these things, right? Mm-hmm. Uh, and, sorry, weird little side plot, how he didn't know what a Nexus six was when he meets up with the Detective Bryant.
And they're like, he's like, what's this? I feel like it's, it's like one of those movie things. Like that's the way to explain how important that they are, even though he would've known what they are, but to the audience, they need to explain that somehow, and that was probably the perfect opportunity.
Gabby Browne: Next step.
Kowalski Leon Engineer, waste Disposal. Five section, new employees six days.
Berto Santoro: Leon. Yeah. We're
Aaron Couser: we're introduced to our first Nexus six Replicant, Leon, what's the test called again? Bura Void Comp. Void Comp. What do, what do they try
Gabby Browne: to do here? It's an empathy test. They're trying to consider if this is like a replicant or a human based on the level of reaction to like messed up stuff that they tell them.
Berto Santoro: And I think that that actually has roots in the real world. I think void comp, uh, and the [00:07:00] test itself has some kind of meaning in real life. Like it was a real kind of a thing. The empathy test. How does Leon
Aaron Couser: do in this test?
Berto Santoro: Uh, he doesn't make it too far. Nah. He asked
Gabby Browne: him about his mother, and he's done for, he's, you
Berto Santoro: know, like you're talking about my mother, and then he shoots him.
The question was about, you see a tortoise, and he's like, what's tortoise like? You know what a turtle is? Same thing. Yeah. And you immediately see how he's like playing, like he's not very smart. Even though in the beginning when they, when they tell you what a replica is, it says that they're, you know, whatever.
So much stronger, but at least as equally in their mind as the genetic engineers that made them in the first place.
And
Gabby Browne: that's also a tactic to kind of get your interviewer out of it is, To question them back, like, oh, you're in a desert. What desert am I in? Oh, right. Oh, oh, yeah. Like, oh, what's a, what's a tortoise?
I don't know what that is. Yeah. What desert? Yeah. It doesn't matter. You're literally trying to like, get your, uh, interviewer out of their, uh, own shoes. So it's like, right, he's trying to trip him up a little bit and [00:08:00] annoy him. And he's not having, he's not being as attentive to the test.
Aaron Couser: The motif is the father of the movie.
So it was, it was interesting that they asked about the mom and how that really, uh,
Berto Santoro: affected him. The original question, you saw it right off the bat. You heard in the background, they brought in the heartbeat. Mm-hmm. And it got faster and faster, and that's kind of drowned out the background music. And you saw how serious that this was and how in his mind he's like, oh shit.
I'm probably not gonna pass this test on the, the first question. He is given
Gabby Browne: me this much trouble. I'm sure he's also thinking as well, like, I mean, it comes in later that the implanted memories and the photos that he had in his drawer, but he's actually thinking about his mother, quote unquote in that moment because of these faux memories
Berto Santoro: Await.
Aaron Couser: LA is kind of opened up now and we see Decker for the first time above the streets. We see these blimps advertising off world life. Maybe a better place to go. [00:09:00] Do you really think that's true with the
Gabby Browne: pollution in the streets? Yeah, I do. Honestly, there's so much trash and I can't imagine that people are breathing he air down there
Berto Santoro: right now.
Yeah, definitely not. I
Aaron Couser: guess it couldn't get any worse being a normy, you're walking the
Berto Santoro: streets over industrialized society that's run by the corporation, the capitalists, and that's why everything is an advertisement. Coca-Cola, Atari, PanAm, pan-American Airlines, which was huge in the eighties. Ridley.
Scott didn't see their failure either. Cause PanAm was such an eighties thing. That was the airline of the 19 Atari. Atari. Of course, they thought Atari was gonna,
Jonathan VanSickle: they're gonna stick around forever for sure.
Aaron Couser: Decker's reading a paper and waiting for some food. We yet to meet,
Berto Santoro: uh, gaff. Mm-hmm.
Aaron Couser: This interesting, mysterious, uh, police officer who speaks multiple languages in one Edward James, almost Edward James.
Almost, yes. Incredible. Great
Gabby Browne: performance. Absolutely. And
Berto Santoro: can we, it's not necessarily several different languages at once. [00:10:00] Uh, they explain this in the book. It's a combination of Spanish and Japanese that, cause this is just the language of the common people. That's what he speaks the whole time in this movie.
And Rick's like pretends he doesn't understand and he asks. The, the guy behind the counter to come over here and translate for him. He was just playing him. He speaks the language. He has to,
Gabby Browne: I'm sure it was like a screw you type of thing. Like, ah, I'm sorry. I'm gonna need you to do a little bit more work to get me, make him work for it a little bit, right?
Yeah. Gaff picks him up and they hop in his truck. He even lets him take his noodles, which I appreciate, you know, if you're gonna, if you're gonna interrupt my meal, let me take my noodles. They roll up to the police station and here we are introduced to Captain Bryant. You wouldn't
Aaron Couser: have come if I
Berto Santoro: just asked you to
Aaron Couser: sit down, pal.
Come on. Don't be an asshole. Decker,
Gabby Browne: who is kind of a douche also, this is the first time I was really like, I. [00:11:00] Overwhelmed by the costume design. I was like, Ooh, I really like this. Gaff fit was so good and I was really enjoying like the eighties techno costume design during that time. Like,
Aaron Couser: ugh. The thing about Ridley Scott is his atmosphere that he creates for his movies are just incredible.
Mm-hmm. You know, he's probably one of the greatest to do it. Um, and in this movie in particular, he create, you know, the costume designs and the atmosphere he creates of Los Angeles is just draws you into,
Gabby Browne: into yeah, you are in the mood. You are cyber punk. Um, well this
Jonathan VanSickle: is another one of those, like we had talked about before that inspired so many others.
And I'll be quick about this real fast, but a Kara Ghost in the Shell, Brazil. Yeah, the Matrix. I mean this, this movie inspired the future of movies as far as the way that the future was going to look. Genre
Berto Santoro: defining. Right. Like it really didn't exist before. No. This movie, there was plenty of thought-provoking movies, but nothing cyberpunk came about because of, of this for sure.[00:12:00]
No one's ever gonna find out they're down here. And you're gonna spot 'em and you're gonna
Jonathan VanSickle: air 'em up.
Berto Santoro: I don't work here anymore.
Aaron Couser: Bryant basically calls these, um, replicants skin jobs, which skin jobs. I, I love that. And there's four skin jobs now walking the streets.
Berto Santoro: And they, because two were killed trying to infiltrate the Tyrell Corporation.
Mm-hmm.
Gabby Browne: There were six total.
Aaron Couser: So we know that six of them escaped the slave labor. And have come back to earth, but we don't know quite yet why. Right. And four of 'em skin jobs are who survive. Who survived
Berto Santoro: those? We just started jobs
Gabby Browne: over here. You literally just called them slaves and then just, and then went back to skin jobs.
Replicants, I
Berto Santoro: apologize. It's like battle started lactic of calling 'em toasters.
No choice. Huh?
Aaron Couser: No choice
Gabby Browne: pal. We get introduced to each of the replicates that he will be trying to find. Obviously we have Leon and his interview, so that is [00:13:00] like he has that recording there. We see a little spin around picture of Roy Batty. They believe he is the leader. Then we see Zora and Chris too.
These are the four replicants. That we're going to be finding. And
Jonathan VanSickle: Decker doesn't want this job. Yeah. Do. He clearly doesn't want any, that clearly he, any part of this. He's like, get Holden to do it or whatever. And he is like, ah, got hospitalized,
Berto Santoro: whatever. That was the guy we saw get shot through the wall in the beginning.
Who was it that
Jonathan VanSickle: was, you're literally, yeah. So good. I never even put that together. I didn't know that. He's
Berto Santoro: like, yeah, I did. He could talk. Okay. But, uh, his jaws held together with wire or
Jonathan VanSickle: something. Oh, that's great. Oh, that
Aaron Couser: is great. And, and this is also where we kinda see, like the parallel themes of this is this is basically a film noir mixed in with the cyberpunk.
Mm-hmm. With certain lines like, you know, the score pal, which is
Berto Santoro: you can jazz,
Aaron Couser: you can take, if you're not a cop. You're little people you know, which [00:14:00] basically sets the theme too. Like there's this hierarchy now. Yeah. The cops are much more powerful than, than the common people who are walking around
Jonathan VanSickle: one, as we see most of the time through the city.
Yeah, the cops flying through the air. There's not a lot of other vehicles, but it's just another one of those layers to the superiority here. When
Berto Santoro: Decker walks in, captain Bryant pours out two shots and it's Johnny Walker Black. And you could clearly tell that it's a bottle of Johnny Walker. Uh, but it's a futuristic version of it, which was just another advertisement.
Diageo is the mother company that owns Johnny Walker, and you see a, a sign for it in the sequel. What I meant about the shots is like he pours two shots, one for him, one for Brian, one for Deckert. And he takes the shot. And when he says I'm twice as quit when I, you know, twice as quit. Now he takes his shot too.
Oh. Which just adds to the noir thing, right? The, the detective noir thing, I mean, it's a classic alcoholic, retired detective bit. You know,
Gabby Browne: after we are introduced to [00:15:00] all of the replicants, we also find out a little bit about their lifespan. How long they got, they got four years total. But they did say that these specific replicants after two years start to develop their own emotional capabilities.
And so that makes them even more dangerous.
Berto Santoro: And is that why their lifespan is so? In the first place. Yeah. It's, it's a fail safe. It's so that they don't develop their own emotional responses or whatever. Yeah.
Gabby Browne: They, they said if we're gonna be making something that is this close to human existence, we have to make sure they die quickly just in case things go
Aaron Couser: wrong.
Right. And these things must be expensive cuz why wouldn't you just kill 'em after two years? Retire
Gabby Browne: them. I'm sorry. Well, you're, you're making them like, I, I just can't imagine making something that's like so expensive and so profitable and making it have a four year lifespan and then it's over. Like that's insane.
Berto Santoro: Well, that's exactly like real life, right? We call that planned [00:16:00] obsolescence, and your phone is no good in four years. If you're still using the same cell phone these days, four years later, you're not gonna be able to get all the features right. Like sometimes Apple, for instance. It won't support the new operating system on a phone that's four years old or whatever.
It might not be that much, but Exactly. You get the point. These corporations are in the business to make money. You can't make money on selling somebody a thing that's gonna live for 30 years. When you can replace that for them for more money in four years, what do they want out of the Tyrell Corporation make?
Oh, you tell me, pal. That's what you're here for. Decker's just leaving the
Gabby Browne: office. Yeah. And as he's leaving gaff, yes. He takes that little, little, little thing. Yes. And he folds it Little, little origami. And what is it in this
Jonathan VanSickle: time? It's a chicken because he's a chicken. This is, I think one of the things with gaff in the little origami and figures he does throughout the movies.
It's really just kind of an internal look. At what Deckard is feeling at this time? Oh,
Berto Santoro: you know, I never thought of that, but that makes complete sense to me right now. I think all
Jonathan VanSickle: [00:17:00] until the last one, I think they do. Cuz the first one in this
Berto Santoro: scene,
Gabby Browne: no, the last one I think more was more the last one makes the most sense.
Yeah. To me now that you say that,
Jonathan VanSickle: the last one's way up for interpretation, but we'll get there. Yeah. This scene. It's a chicken. He makes a chicken, and, uh, we're implying that, you know, Decker's chicken, he doesn't wanna do this. He doesn't want to go after these nexus sixes
Berto Santoro: because he's, because Gaff is so dedicated in his job, you could see that clearly that he is 100% dedicated to this job, right?
Gabby Browne: That is a man with a cane and that cane has power.
Berto Santoro: Now there's a Nexus six over the Tyrell Corporation. I want you to go put the machine on
Aaron Couser: Gaff, basically takes Deckert to go see Tyrell getting to meet Tyrell. That's a huge, uh, that's a huge experience. You know, he's got this amazing office. I dunno if it's office or that's his residence.
Berto Santoro: Probably both. Mm-hmm. It reminds he probably doesn't get out very much. He probably doesn't get past the 900th floor. He
Gabby Browne: probably doesn't want to get past the 900th floor. Fuck no. It's dirty down there. Yeah, [00:18:00] absolutely. It literal, it reminds me of like one of the uh, places in Legend of Zelda, breath of the wild.
I just like, cuz it's like open and I just know it just looked really pretty nice. Yes, it's beautiful. We see this owl flying. Whew. Majestically across the room, landing on its beautiful little perch. Eyes, eyes, eyes,
Aaron Couser: eyes, eyes, eyes. Yes. And can we talk about animals for a second? Are, are these animals, are they, are they replicas or most of 'em, or are they, are they
Berto Santoro: real?
Well, you find out in this scene he asks, Rachel comes in and she's like, do you like our owl? And he's like, yeah. Is it real? And she's like, of course not. Is it expensive? Very, I'm
Gabby Browne: assuming with most of the pollutants and destruction and nastiness throughout what the world is, that living animals are really not that much of a thing anymore.
Berto Santoro: They're, they're totally not. But I, and I thought that they just didn't exist anymore until the snake scene later where exactly where she says, you think I'd be working here if I can afford a real snake? This comes from the book. Do Android's Dream [00:19:00] of Electric Sheep, which was very, very different from the movie.
But one thing that was such a prevalent theme in the book was the animals to have an Animal was a sign of status, right? They had order catalogs, uh, where you can order a horse or whatever, and people would just have like a little mini horse in their house instead of a dog, because it's a replicant animal, you know, you could train it to do different things, and so people coveted.
Animals, but they were all replicant
Gabby Browne: animals. Okay. So Ridley did actually make a part of his universe that I would actually like little replicant mini horse, mini horses in my house. Horses. Oh yeah. Yeah, please. Okay. That's the only part of this world I would like mini be a part of. Yeah. Yeah, I would like, I would like a little sweet owl on my shoulder.
That sounds pretty fun. So cool. I'd like to see how big
Aaron Couser: those replicant poops were though, before I Oh God. Before I invested.
Gabby Browne: Oh my God. Okay.
Aaron Couser: We were introduced to Rachel. Mm-hmm.
Gabby Browne: Eyes, eyes
Jonathan VanSickle: again. It's brilliant the way he sets it up in the scene. I [00:20:00] think first we see it with the owl, really intentional, big glowing eyes.
The way we're used to seeing with owls kind of shot in this light. And then as Rachel's walking in kind of through the shadows and as the light from the entrance and the pyramid hits her, you almost kind of notice she has that same sort of gleam. It's the reflect and that reflection in her
Gabby Browne: eyes, reflection the way cats are able to see at night, during the day.
They have their little. Slits. Tiny little slits in their eyes because they are saving the refraction from the sun later for the nighttime. So when they are nighttime animals, big pupils, so they can reflect as much as they can to see better. In nighttime, I watched a lot of stuff about cats.
Aaron Couser: That's how kinda how you can tell of it's
Berto Santoro: really a replica or not.
Yeah. What do we need? These void comp tests? Yeah, they're a fraction of lights. You see your eyeballs.
Gabby Browne: Rachel asks, have you ever retired a human by mistake? You can tell that Ford is so comfortable in every space he's in. He's literally being brought [00:21:00] to the leader of this new world, basically. And he sits in his chair, like as Rachel is talking to him and asking the
Berto Santoro: questions.
And not only that, I noticed, uh, that he calls him Tyrell. Yeah. By his last name. With somebody with such high status and regard, you would, normal people would be like Dr. Tyrell. You wouldn't just say Tyrell, you don't just go Musk. You don't just say somebody important, their last name, you know? Right. Oh, man.
It, it's a, it's a sign of dominance. It's, it's showing that you were. Equal to them or that you're not going to subscribe to, why they're important in the first place. Tyrell is
Aaron Couser: very interested in this test that Decker and the Blade Runners use to detect Replicants, but he wants to do test on a non replicant.
A control. A control. And Decker's like he doesn't really understand the purpose of that. What's
Berto Santoro: that gonna prove? Well, it's
Jonathan VanSickle: whenever he's questioning him about Leon, and that's, that's the basis of Leon. He's saying, Hey, look, one of your products went, Hey, why we were trying to give it this test? That's when he [00:22:00] questions the validity of the test and, uh, asked him to perform it on Rachel.
Is this
Berto Santoro: to be an empathy test? Mm-hmm. Uh, and again, Another subterfuge tactic that I see in this movie because Eldon Tyrell, the designer of the replicants, well, I would think he would know what the void comp test to detect such things are. Again, he's just kind of going out there just for him to explain it, or he wants to see
Aaron Couser: what his top model, how great she can be right against these
Gabby Browne: tests and testing him against literally the number one blade runner.
Like it's, it's, it's the elite against the elite in this test. All right. I'm gonna ask you a
Berto Santoro: series of questions. Just relax and answer him as simply as you can.
Aaron Couser: Initially, Decker doesn't wanna do it, but Tyrell goes, indulge me. And then he like puts his hand up like, like Jesus would do, like indulge me
Berto Santoro: and that's another power play on his part to show Decker that he's in control here.
He
Gabby Browne: agrees. But he says, this room is way too [00:23:00] bright. We gotta go somewhere else. So we are off to the dark and gloomy conference room. And this is honestly the first time that we've like seen light in this movie. That's honestly too,
Berto Santoro: that's correct. I thought that there was no light and I thought it was totally at, at at night.
I thought the whole world was just covered in, in clouds or whatever. And then I, and I saw that last night and I was like, oh yeah, there is a scene where you do see the sun. Yep. And
Gabby Browne: it's because he is above the clouds.
Berto Santoro: Right. Okay.
Aaron Couser: You know, this test takes quite a long time. Leon was picked, I think at at 30 questions, and Rachel gets up to about a hundred questions and you barely see it.
It's right at that last question about boiling the dog, and he can see that the eyes don't, don't squint. She doesn't, and she didn't have an answer. And she didn't have an
Berto Santoro: answer. That's true. And do you think that she questioned it herself at that point? You could see that. I mean, to me, I could see that she did.
She knows that she did something wrong. She's not questioning whether she's a replica. She believes she's a person and that's why she was able to go through a hundred questions. But I think she realized there was something [00:24:00] wrong right there. Yeah.
Jonathan VanSickle: Something ticked didn't, and she just felt it. She was like, wait, that was.
Definitely boiled dog.
Gabby Browne: Is that good? Just kidding.
Berto Santoro: Yeah. Should, how should I answer this question? Yes. Dinner. Dinner consists of boiled dog. No. You say no to
Gabby Browne: boiled dog.
Aaron Couser: Tyrell comes back and asks it. Does she note that she's a replicant? And Tyrell assumes no, but she's our best model. She's as close to perfection.
He says More human than human is our motto. And that is, The top of the line so far. This is like basic Nexus seven, I would assume. Mm-hmm. Over the six
Gabby Browne: or 6.5 is she's n their iPhone in it. She's six. She's just
Berto Santoro: got the The memories. Yeah. She's so, and she wasn't told that she was a replicant and everyone else knew.
They knew what they were. Does Batty knows what he is?
Aaron Couser: Do the Nexus six have have memories? Oh,
Berto Santoro: two, right. No, I don't think so. I think that's what made her test different. That's why I took a hundred questions.
Gabby Browne: Okay. Yeah. So that is one that we reveal. Yep. She has memories. Tyrell's niece's. Tyre. Memories.
Memories,
Aaron Couser: yeah. [00:25:00] Wonder what happened to her. Maybe his niece died. He created her out of this.
Gabby Browne: That's never good to create things out of death. That's never good to create things outta debt. It doesn't seem to work out
Berto Santoro: in any other movies. So,
1 180 7 Hunter. That's the hotel. What? Where I lived. Nice place. Yeah, sure. I guess it's not
Aaron Couser: fancy or anything.
Gabby Browne: Harry Ford gets popping over to Old Leon Kowalski's apartment to check it out. You can tell he is a good detective. Every time he's in the car, he's re-listening to Leon's interview over and over and over again to get more information, to try to figure out where am I gonna find this guy?
So they go to check out him and Gaff. Go to check out Leon's apartment.
Berto Santoro: Well, I mean, he just got to earth, right. Do they know, have credit checks or anything in the future? I know. Like how was he able to get an apartment?
Gabby Browne: Dude, I don't even idea. Tell idea. Were we talking about the girl with a snake with a job?
I'm like, how did you get a job already? Like might nevermind a place to stay. You're a working girl already. Well,
Berto Santoro: with her [00:26:00] unique skills. You know, somebody's gonna water, I
Gabby Browne: guess. Yeah, I guess. But, um, yeah. Yeah. He found, he found housing very quickly, apparently.
Berto Santoro: Well, there's plenty of housing and they do mention that.
Yeah, they do. Because everyone, that's everyone is gone. Mm-hmm. You want to not be on earth.
Gabby Browne: So while they are in the apartment, Deckerd is, Searching through all of these things, and he finds a bunch of pictures in one of Kowalski's drawers. He's very obviously trying to hide these pictures, collects the photos,
Aaron Couser: and then goes to the bathtub.
This really? Yeah, fancy scale, clean bathtub, very clean. He picks up this scale, got some weird substance on it, and then he puts it in a plastic bag as evidence
Berto Santoro: for later. Okay. Yeah. And at that point F makes his little origami matchstick figure. And in this one, it seems like he's got a big giant penis in the front.
Is that, am I misreading that one, or? Nope. That's
Aaron Couser: kinda what I assume too. It's a kind of a giant wee wee. I
Gabby Browne: think gaff is like supposed to represent an [00:27:00] all-knowing figure kind of in this movie. Oh, definitely. Absolutely. And I think that it's the insinuation that they need to go to a like risky industry place to find the snake lady.
Oh, okay. Because she's like naked, you know, like she's naked with a snake. Just a little man with a boner, so he is gonna go find the snake lady. I think it's just supposed to insinuate, like, why would he do a unicorn at the end of the movie? You know? It's like a, it's a, he, he's, he's just kind of an all-knowing kind of figure.
I feel like, I don't know if gaff would know. But at that time, Leon tries to go back to his apartment too. Well, you can kinda see Leon. Yeah. And, and so does Gaff see him. And that little man with the, with their erect penis is like, Hey, we're in your space. Like, I'm a dog pissing here, Terry. Oh, erritory.
Okay. That makes sense. Most sense. Also be that sense too, so that's
Berto Santoro: very good. Yeah. Yeah. We're ballsy.
Gabby Browne: We're marking our territory. Hey, guess what? We're in your space. Look at how big my, yeah. Look at how big my dick is. Magic penises. [00:28:00] Yeah. I felt like it was one of those two, but I also feel like Gaff is an all-knowing figure in this movie.
So the chicken might even mean some more. Who knows? Bach.
Berto Santoro: Bach. Bach. Bach.
Did you get your precious
Aaron Couser: photos? Someone was there.
Berto Santoro: Men, police
Aaron Couser: men. Time enough. The first lines from our antagonist. If you will, if there is an antagonist in this movie. Right. Roy Batty. First off, Rucker. How crushed this crushed this
Berto Santoro: character? Did you know that he wrote all of his own monologues for this movie?
What? It doesn't ever work. That never works. That's unheard of. Not since Apocalypse Now as anybody really been allowed to write their own monologues. He,
Aaron Couser: he must have just total trust from Ridley Scott,
Berto Santoro: and I'm glad that they, that he did, because I mean, he crushed it in his
Aaron Couser: performance. I mean, he was one of the reasons that movie was so, so special and magical.
Absolutely. He greets Leon [00:29:00] and asks him about the photos. Mm-hmm. Did you get the photos? I mean, the photos are so important. You get your
Berto Santoro: precious photos.
Aaron Couser: Leon probably could not exist without these photos. Maybe. It's obviously the model that Leon is. Maybe he's a little sentimental.
Berto Santoro: I think it's something about him holding onto humanity.
That's one piece is one thing that in his own head makes him human, and that's what they're all striving to be or not understand why they're not. If
Gabby Browne: we're also being metaphorical here, the camera is another lens to the soul. If we're being it's, it's the proven physical copy of the lens of the soul.
You're printing out memories.
Aaron Couser: And then they, they both walk into this building and on top of the building is another eyeball. That's right. They're going to see old, um, Hannibal
Berto Santoro: Chew. I was
Gabby Browne: about to say old eyeball man
Berto Santoro: who was, I think he was the same guy that played Lo Pan in big trouble in little China, wasn't it?
I think so. I think so.
Aaron Couser: That's right. A
Berto Santoro: classic actor. Oh yeah. He's probably [00:30:00] in more movies than I don't know anyone else. He's probably in thousands
Aaron Couser: of movies. What is Hannibal's job? What is his
Berto Santoro: vocation? I guess he's a genetic designer designing eyeballs for the replicants. Morphology, longevity, incept dates.
I, I don't know, such stuff. I just do. Eyes is just eyes, just genetic design,
Aaron Couser: just eyes.
Gabby Browne: It's obviously very cold in this room as well. So cold that Hannibal has to be hooked up to heaters underneath his coat to keep from freezing while he's doing his work. And of course, uh, being the ruffians that they are.
Roy comes in, pops those off, and Leon and him start roughing them up a little bit. Of course. And they're not wearing any jackets. No, they're obviously not. Leon can
Berto Santoro: just, so right there you can see how strong that they are different so they can, temperature doesn't really affect them. They're built to do some pretty hardcore things on the off world colonies.
Gabby Browne: Absolutely. [00:31:00] And as Roy is questioning the eye eyeball man. Leon is slowly taking eyeballs out of all the frozen containers and just placing him all over. Don't touch that cold. It's cold. Yeah. Yeah. It's really cold. I'm sure it probably burned through his clothing to his skin. That's insane. And
Berto Santoro: then Roy says, one of the most pivotal lines, I think, in the entire movie, if only you could see what I've seen with your eyes.
Mm-hmm.
Aaron Couser: That's. Perfect. It's a beautiful line. These humans don't understand the horrors that these replicants go go through. Well, not
Jonathan VanSickle: only that, EnCap, it encapsulates one of the big themes, which is these replicants, although they only live for four years, they're so exceptional compared to these people that are living for say, 40, 50 years on LA's surface, this rat like existence compared to what these nexus replicants have seen, these exceptional beings that have.
I mean, it looks like no limitations essentially. Mm-hmm.
Aaron Couser: Which is worries. They don't want them to have [00:32:00] emotions to process pain and suffering that they have to deal with would be just overwhelming to any creature.
Berto Santoro: Absolutely. But, but they do design, the minds are designed so much like a human. They're worried about them coming up with their own emotions.
When you're thrown into a situation like the replicants are in, in these off world colonies or whatever, crazy, nasty things that they have to do, those are experiences that define. People in such a big way. I mean, the, the bigger the experience, the more hardcore, the bigger that, that defines you and changes your, your personality.
So it's like that's what makes them have the emotions. They'll eventually get to a certain point to where they won't be right in the head, and you probably will lose control over them. Well,
Jonathan VanSickle: as we're seeing with like Leon trying to develop his own memories with the photos. Mm-hmm. As we're seeing with Roy, obviously trying to come to terms with his own existence.
I mean, yeah. They're starting to take on, they're not just like waking up and doing their task. Now they're starting to think about bigger picture things and Yeah. So that's why Tyrell probably, that's why they're here in the first place [00:33:00] four years. That's when we gotta
Berto Santoro: cut it.
Aaron Couser: Hanwell explains that he cannot make them eternal.
It's not in his wheelhouse. He has to go see Tyrell. But the only way to see Ty Rail is through an engineer named
Berto Santoro: Sebastian Jf Sebastian Jf Sebastian. It, it, it's almost, uh, like a mirror flip of what Decker's doing. He's a detective trying to find them, and then they're being detectives trying to find what they're looking for, and they don't necessarily know.
Maybe they do know it's Eldon Tyrell. But they're just trying to find someone that can give them the answers, and this was the first step.
Gabby Browne: You think I'm a replica, don't you? Ford is done for the day. Boy is tired. He's gonna go head home. He's making his way to his apartment, and he is so tired and ready for a drink that he does not notice that Rachel is in the elevator until the very end.
He turns around and he points his gun at her. I know. I'm like, Jesus Christ, [00:34:00] dude. Like you've been doing really well all day, but you didn't notice someone else in the elevator. How
do
Berto Santoro: you not see someone else in an elevator, especially with that hair?
Gabby Browne: Oh my God. Outfit and her fit. Yeah.
Berto Santoro: Truthfully, high neck.
Aaron Couser: He invites her in, I guess.
Gabby Browne: Yeah, he says. He says, come on in. You're here as well. Not at first. Oh
Berto Santoro: yeah. Really doesn't want, he's like, go ask. Tyrell, and then she says he wouldn't see me as he slams the door, and then he immediately felt bad, opened the door up and invited her in. You wanna come in? You want a drink?
Because she has now
Aaron Couser: questions.
Gabby Browne: Mm-hmm. Yeah. And she's brought things with her, right? Because she, she needs the answers. So she has a picture of her with her mother from when she was young, and he, he, he, she asks him, you think I'm a replica, don't you?
Berto Santoro: This is the first time in the movie that you see an, an actual connection for me again.
This movie is about loneliness. You see him feel bad for what he knows to be a replicant. And this is a person that hunted replicants without any emotions whatsoever. [00:35:00] That was his job. And this is the first time that he cares enough because he's in love with her. Mm-hmm. Or he's got some kind of attraction at this point.
Jonathan VanSickle: Mm-hmm. He starts off feeling very cold about the interaction. Get outta here. What the, what are you doing here? You have these memories. You're not even real. He, he's truly thinking of her as a replicant, this piece of metal. With skin on top of it. And then as she's clearly hurt and affected by it, that switch just flips.
And he's like, oh, shh. What have I done? The emotions. And then all of a sudden, yeah, we start to see this empathy for something that he has hunted for years and years and years,
Gabby Browne: and he chooses to comfort her in the only way he knows how can I get you a drink? Get you a drink? You want some Johnny Walker?
Yeah. And boy has to literally clean a glass in order to get her a drink. Time to go girl. So, uh, Rachel is very, very obviously upset. She started crying and she storms out of the apartment, but not before leaving the picture behind. What I believe to be true for my entire existence is false. Throws that
Aaron Couser: [00:36:00] picture on the ground.
Berto Santoro: She's visibly affected and hurt by this, uh, cuz she thinks she's a human and she wants
Aaron Couser: Decker to tell her that she is human. But then, but Decker is like a Rolodex telling her these memories that only she would know, only she would know deep down
Berto Santoro: inside. And how does he know those memories? Did, did Tyrell give him like a pamphlet of all the memories that she was implanted with?
He says he read her file and that's in there. Mm-hmm. Like all the, all the memories I like, those are detailed. The two things that he said are detailed crazy memories that Like the spider. The spider, yeah. And like how.
Aaron Couser: Well, I know. Yeah, you'd have to be, I mean, during the file, this would've to be on page 87 and Yeah, maybe
Gabby Browne: Tyrell told him specifics.
I don't, yeah, maybe,
Berto Santoro: maybe the, the way to implant the memories. Maybe it's just not every single memory you've ever had. It's just these key little things that define you and make, make you the person that you are.
Gabby Browne: This is not the first Jazzy film noir scene, but [00:37:00] he's like sad. No. The sexy saxophone, sexy, savage, drunk over the piano, looking at pictures, looking at his memories.
He's like, oh,
Berto Santoro: jazz again, melancholy, lowness. The most emotional loneliness that you see is right there. He regrets what he's done to change her life, to change her perception. He's. Unhappy with just, it looks like just about everything. His own life. Right? There's, that's why he drinks and he's got the towel or the, the blanket over him.
He goes outside and then again, you see the landscape of just how the blimp and the lights and the, the cyberpunk city or whatever, which just evokes again, loneliness.
Aaron Couser: He's looking at a picture from Leon's picture collection, a picture of a man at a table sitting and thinking. Mm-hmm. And then it cuts.
Gabby Browne: I
Aaron Couser: lost.
Gabby Browne: Uh, disheveled looking woman in a pretty rank wig walking around in the rain. Uh, she's looking not well, not [00:38:00] well. Now she decides I'm gonna just go lay down in this trash pile over here for him to find me later. Just cover up in this new. Paper. This is gonna be very nice. She went
Berto Santoro: to a thrift store and was like, all right, I need to look like a crack head Homeless.
Yeah. Have you got any really garbage looking wigs here too
Gabby Browne: that I can have? She, she's looking nar. She is looking. Nar. Darryl
Berto Santoro: Hannah. Darryl. Hannah. Darryl Hannah. And she was huge back then in the eighties.
Jonathan VanSickle: Really unique. Style of casting too. With some of these replicas. Leon kind of breaks the mold, but these nexus sixes, every actor they chose are some of these like stunning, just like incredible, beautiful looking sculpted humans almost.
And it really sells
Gabby Browne: the effect. Jf Sebastian Gini. F Crickets. Sorry. That's like literally every time a Franklin Sebastian. Literally the entire time I was just like Pinocchio. But um, yeah, we meet JF Sebastian. He rolls out of his vehicle and. They both scare the shit out of each other. Like she's in the trash, [00:39:00] he's trying to get into his house.
And of course with all of this normalcy in this movie, he just decides, Hey, I'm gonna invite this random woman from the trash up to my apartment because she's hungry after,
Berto Santoro: after she broke his window of his car. Oh yeah. She runs away right?
Gabby Browne: Punches through the window of his vehicle. Oh, yeah. And, and
Berto Santoro: she's a replicant, so she knows exactly what she's doing.
Every movement there are pros at that, right. So she did that on purpose. Every aspect of what she was doing there was intentional to change his perception. To get him to invite her in. Damn. Sorry to feel bad for her. Yeah. You forgot your purse. And when I saw that, it's like, wow, what a creepy thing to say.
I'm like, I'm good. You keep the purse, I'm outta here.
Aaron Couser: Yeah. So Roy, Sent her to be like a damsel in distress. She's like a spy first. Mr. Sebastian to Yeah. To bring, to bring in, which is,
Gabby Browne: she's Daphne Blake right now. She is getting up into that apartment. We're gonna Scooby do it.
Berto Santoro: This is a dire, gross, [00:40:00] dark, very lonely looking place.
It's huge in the lobby and the stairs, the lights from the skylight up above from the blimp and the advertisements, and it's raining in there. So, Obviously there's not much upkeep. I'm like, who's the superintendent of this?
Gabby Browne: He literally says, watch out for the water. Yeah, there's probably a
Berto Santoro: bunch of holes in the floor because it probably hasn't been maintained or kept up for in in so long.
But he also says that there's no housing shortage. There's another indication of how many people are just not there on earth anymore. But I
Gabby Browne: mean, that's not even the creepiest part of this building because then JF decides, I'm gonna open my door and open you up to hell. He lives there alone, but not alone.
Cuz he makes toys, he makes them. They're my
Berto Santoro: friends. Yeah. I made them. I don't wanna
Gabby Browne: be your friend jf, I don't want to, I'm sorry. Again,
Berto Santoro: a super loneliness aspect right there is that he creates his own friends so that he doesn't feel lonely. He's a genetic designer. Those little guys, there's like two little guys.
You said again, Pinocchio home, [00:41:00] EJ Home again, home again, J ej, God, all those little things that he designed there are all living and I wonder. How human are they? I mean, in comparison to the replicants, I mean, do they have feelings? And you see that a couple times. When you see these guys later on in their eyes, again, the eyes, they have emotions too.
They're not just robots that like walk around like humans. It's like they're genetically engineered life forms,
Aaron Couser: obviously advanced toys, but yeah, you wonder what the emotions status is
Gabby Browne: for them. Right. And as a creator, I will say this right now, this is why I like anime so much. If I'm watching something or making something, I want it to be pretty.
If I am gonna create a bunch of toys to be my friends, they're not gonna look like that. Sorry. Like they're, that's like actually terrifying. He's like, I'm gonna make friends. Really fucked up friends.
Berto Santoro: Terrifying.
Gabby Browne: Yeah, absolutely terrifying. Yeah, dude. And you live there by yourself. What does your mental St.
State look like. Ugh.
Berto Santoro: Yeah, it's got yikes puppets. They look like a bunch of weird little, not [00:42:00] Jim Henson designed puppets. No. Like
Gabby Browne: make 'em cute.
Jonathan VanSickle: I mean, you can imagine some of these people who have those, you know, those type of lifestyles today who are, you know, home alone by themselves. Maybe they do something on a, a bigger scale of, well, shit, let's even think about ai.
Think about all the people working on AI right now that probably go home and just like continue just talking to ai. I mean, it's, this is what these people do. I literally, they find those relationships any way they can. When you don't have that human inner interaction,
Berto Santoro: I think that human beings. Desire more than anything.
Attachment. That's where emotional stability comes from. Feeling close to someone else, another, another human or, or whatever. And you find it in any way you can. And I think that human beings strive to do that in, in a pet or a loved one, uh, a partner, whatever. The necessity for a companionship is so important that this guy being a genetic designer would design his own companions so that he's not lonely.
Back at Deckard.
Aaron Couser: He's drunk, of course, [00:43:00] getting drunker back at the piano. Oh, he's
Berto Santoro: getting hammered now? Mm-hmm. Mm-hmm. He's, he's, I
Gabby Browne: don't think we should say back at the piano, Aaron, because I don't think he ever left it. No. He's in there for hours. He's been there, he's had his head set up there, just,
Jonathan VanSickle: he's already got his bottle on top of it.
He's set. He
Gabby Browne: doesn't have to move. He just turns his head to pour the liquor in.
Aaron Couser: We have this strange vision of this unicorn. Mm, this white unicorn galloping through this mystical forest. Decker immediately wakes up from his sleep and is inspired. Mm. This vision triggered him to do something that he knew he had to do.
He looks again back at the picture at the table. Leon's picture of the man sitting at the table thinking decides to take it to his, this incredible machine that is able to magnify, enhance,
yeah,
Gabby Browne: enhance to the left. Yeah. He just,
Berto Santoro: yeah. 45 to 72. Yeah, that makes no
Aaron Couser: sense. One of the coolest technical scenes in the movie, you see a mirror in the background and he keeps, keeps enhancing on the mirror and it's basically a reflection.
[00:44:00] Of Zuora, who is one of the four replicants. Then you see the snake scales next to her. Oh, you do? Mm-hmm.
Gabby Browne: You see the snake scales on the mirror on, yeah. They're hanging on the mirror. That's what those, he zooms into the scales. They're reflecting the yellow light, sees the snake scales, and then uses the reflection from the mirror to see Zuora around, around the corner, and he notices this pretty neat.
Snake tattoo on her face. Yeah. First I
Aaron Couser: thought it was like maybe she was
Gabby Browne: dying. That's kind of what I thought too. I thought like, oh man, these scales, like when they die they start turning scaly. That's what I thought. But um, because
Aaron Couser: I thought that blue tattoo was like maybe replicant juice,
Gabby Browne: something.
Yeah, no, I was, I was thinking her face was getting like moldy or something.
Aaron Couser: He makes a hard copy of that picture
Berto Santoro: of Zuora, which no looked nothing like the picture on the screen. Yeah. Like gimme a hard copy right there. And it was a totally different picture.
Gabby Browne: Perfect. Yeah. So he's off on a mission now. He has to go find out, [00:45:00] uh, what the scales are about.
9, 9, 0 6, 9. Four, seven XB 71.
Berto Santoro: Interesting. He just goes to one of the local vendors that has like a microscope and looks into these things. That's, that's what that person does. Microscope people. They were the
Gabby Browne: fish people, fish manufacturers. Oh yes. Because like, and that's, that's, they're like, actually, so they probably make little gold fish manufacturing the animals.
Oh. That's why they, that's why scope. They zoom in, in on it and they say, this scale literally has. It's creator's code on it. So like yeah, serial number. They serial numbers. So they're literally looking at the serial number and they're like, this ain't fish scale, this is snake scale. You gotta go to the snake guy.
Which
Berto Santoro: is a, a really funny scene cuz it's filmed from the outside of the building looking into the glass. So you can't really hear what they're saying, which I think is really artistic cause you don't need to hear it. It was just all in the acting. You could see that he's asking a question. The guy's like, nah, I don't, what do I know?
I don't know nothing. And he grabs him by the tie and the guy's like, oh, it's blah, blah, blah, blah, blah. [00:46:00] He really gave up that guy real quick. Yeah. Chinatown. We're going to fourth sector. Fourth sector in the future. We also call all the little parts of town the sectors. Yeah. For
Gabby Browne: some reason, sectors not instead of,
Berto Santoro: yeah.
I mean, LA changed that much. We're, we're not calling it, we're not calling it West Hollywood anymore. It's sector four. It's cyber
punk.
Gabby Browne: We have to call them sectors. Right. I just have to comment on this line that I just wrote down here. Titty, go-go dancers and Jason masks. That sounds hell. Oh,
Berto Santoro: I also noticed that I made a comment last night when I was watching this with uh, my girlfriend Allie, where I'm like, I'm like, wow, nothing turns me on more than a couple.
Go-go dancers with Jason Hockey
Gabby Browne: masks. Taffy Lewis Taff Taffy. Taffy Lewis, another one. He's gotta go to this sector to find taffy, so everyone's hanging around, smoking, drinking, and he asks Taffy, you know, have you ever bought snakes from that Egyptian dude? All the
Berto Santoro: time,
Gabby Browne: pal. He literally does not want to answer any more questions.
So, I mean, he must [00:47:00] know, uh, Harrison Ford's kryptonite. So he buys him a drink. Of course, of course. Well,
Berto Santoro: Harrison Ford is like all your licenses in order, and he threatens him with typical old school, like forties cops, uh, noir styles like the cops strong arming him with police, work with, uh, licenses and permits or whatever.
And how he's gonna make, he basically threatened him with, he's going to make his life miserable unless he gives up the answers he's looking for. And it was, again, really quick. Like this is a very effective detective. So he is like, this man's dry, buy him a drink. And you see the drink too. And I noticed at the bottom of it where a bunch of worms like, like a really garbage mezcal where they have the con guano, the little worms in the bottom.
Gabby Browne: I thought we were gonna have a tripping scene. Me too. That's really what I thought when I saw those worms. I thought he knows
Berto Santoro: his weakness, alcohol and uses that because immediately he stopped asking questions and now he's drunk. And
Gabby Browne: now he's alone drinking at the bar by himself, and he's like, usually like, I'm alone drinking at home.
I might as well, you know, call somebody and say, Hey, why don't you come on down? So he calls up [00:48:00] Rachel, I'm in a bar here now
Berto Santoro: down in the fourth sector. Why don't you come on down here and
Gabby Browne: have a drink? He's trying to be charming over the phone, trying to be charming. He says he's at a fourth sector and girl of course turns him down.
This is not her spot. She literally lives on like the 900th floor of a pyramid. What are you asking? Did you see
Berto Santoro: hair? I know she's coming down in fourth sector. I don't think so. You got to hear for the first time, like what the future of music sounds like in this bar. Yeah, that's true. The 2019 music, which is, which was really great.
Nailed it. Really, really
Aaron Couser: great. He turns around and then there's Zuora performing with this snake,
Berto Santoro: and she takes the pleasures from the serpent and you see him looking and then he's like, whoa. And he looks away in such horror and disgust, like he's never gonna be able to unsee what he just saw. I'm really
Gabby Browne: anxious about what happened on that stage.
Yeah, well that's why they didn't show that, and that's why that's not a real snake. Yeah. Once
Berto Santoro: again,
Jonathan VanSickle: really, Scott, just leave it to your imagination.
Berto Santoro: Thank you, Ridley. I hope
Gabby Browne: [00:49:00] that's doesn't feel emotion. Thank you. Of course, Decker's over here trying to be the detective. He's had a couple drinks in him and if he decides to disguise his voice, and he goes, hi, how you doing?
And he's like talking in this Mickey Mouse voice almost. Well, he's like a
Berto Santoro: talent agent. He says,
Jonathan VanSickle: well, he said, yeah, no, he says he's from the committee on moral abuse. Well, he first
Gabby Browne: says he's a talent agent, and then he says he's a committee on moral abuses. And he goes, have you been exploited in any
Berto Santoro: way?
Do you mind if I search your dressing room for what? And she gets all defensive there for holes. She's like, what? You know, little peeping holes, you'd be surprised what a man would do to see a beautiful
Gabby Browne: body. And so she decides to get naked and get in the shower while he's there, while he's searching for holes, which is just like, so, it's so confusing to me.
But I also think it's her, like her comfortability in the space and being like, screw you. You can't make me uncomfortable in my own like dressing room. I think
Berto Santoro: it was her. Totally in control there and manipulating the situation into having him [00:50:00] a false sense of security so that she can gain the upper hand and the advantage.
At this point, she's thinking she's screwed something's up. Yeah.
Aaron Couser: But you also know she's much stronger than this guy too. Definitely. And so he knows that too. He asks about her snake. Is this a real snake? If I could afford a real snake, I wouldn't be working here. He knows that that scale is coming from that snake.
It must have, you know, kind of slithered through that bathtub before she
Gabby Browne: takes her shower. You see her face, but her face is covered in makeup and you cannot see her tattoo. And then after she showers, that's the reveal of the snake tattoo. So as the watcher who has never seen it before, Obviously, I did not remember what Zora looked like from the very beginning of the movie when she has no hair and she's spinning around or from the very terrible picture that he printed out that looks nothing like her.
So yeah, so it was the true solidification for me of her stepping out of the shower. Of course she's topless, but I noticed the snake tattoo too. I'm sure he was just looking at the boobies, but, uh, that that's why she did that. [00:51:00] Yeah, exactly. It was the step scar step out here, and then somebody does try and exploit me.
Who do I go to about it? Me pow. Kick to the face.
Aaron Couser: She's about to kill Decker. She's choking him out. One of the other dancers comes in and interrupts him and that's when she just takes
Gabby Browne: off. She does put a little bit of clothes on though before she heads out. Yes, she will say that. Back clear, see through jacket, see through.
What a fit though my God wants again? Cost. Tomb design. So cool. Beautiful. So cool.
Aaron Couser: He's chasing her through this fourth sector, shoots her in
Berto Santoro: the back after a long chase of her hiding, he lost her a couple times.
Jonathan VanSickle: Mm-hmm. We get, we get to see a lot of, I mean, anytime, like Alberto said, anytime we get to see la.
And we get to see more of this area. It's, it's, it's a treat. Seriously. The amount of time they spent on the set
Gabby Browne: is awesome. And I will say it always seems like this do and will always make me laugh. These film noir scenes where it's like running, running, running, slow motion shooting, falling through a window, getting up, running, running, running, shooting again, fall through another window, like it just makes me, [00:52:00] it, uh, will always make me
Berto Santoro: when, just a little bit, when that kicked up again from Vangelis.
Too to, to really, yeah. Really make that pop
Gabby Browne: that scene. Yep, absolutely. Absolutely. But it's just so pointedly film noir again, that it's like lol, definitely cyberpunk falling through all of these display windows.
Aaron Couser: Leon witnesses, this whole thing, retirement, if you will, of Zuora Decker's, obviously shaken up about it, gets another cocktail. Oh, that was
Gabby Browne: when he buys the full bottle. Oh yeah. He buys the bottle that he, that's when he buys the whole bottle. Another murder, another drink. Sorry, sorry. Another retirement, another drink.
Literally, anytime anything happens, gaff is just like, hello, I have my cane. I don't know how I got here. I walk very slow, but I'm here.
Aaron Couser: Bryant shows up and he says, one more to go, and then Decker says three, and then Bryant immediately says four. This is [00:53:00] how you know that Bryant and the cops know that Rachel's a replicant Now.
Leon is there now. Rachel is there too, witnessing this whole thing. So just like a replicant party.
Berto Santoro: So she did come down to the fourth sector? Yeah,
Gabby Browne: she did come down to the fourth sector after all, literally. Okay. She ran away in the bouies coat. You could run away in that. Like the fur literally goes up to her ears.
I'm like, looks like
Berto Santoro: a, a rich person that totally stands out amongst the
Gabby Browne: peasant people. The absolutely girl. Like that's not how you run away. This is how I'm telling. You're a replicant right now.
Jonathan VanSickle: As Decker's leaving the scene with his, uh, you know, bottle in hand. Leon shows up because he's been just kind of waiting to have his moment with him.
Since all these cops have been around, obviously he's not very happy cuz we could assume Leon had some feelings for Zora and after just watching her get killed in cold blood, he's trying to get his revenge on Decker. And he almost does, gets very
Gabby Browne: close, right, beating the shit out of him, and then all of a sudden pow, bougie coat girl on the way, shoots that man in the head, like [00:54:00] she's walking down the runway.
Berto Santoro: I think that this is the first time in the film where you start to question the antagonist versus the protagonists. So far we've thought as Decker as. The protagonist, the good guy, and the replicants are the bad guys. And now when she's running for her life, I mean, she's just trying to have the right to exist.
She's
Gabby Browne: a performer at this club, but she's like not going out and like murdering citizens or like being this like, Insane replicant that they would assume she's literally just working at a club.
Berto Santoro: Her very existence is in question. Yeah. Here, that's what she's, the only thing that she's doing wrong is existing.
Mm-hmm. And the fact
Aaron Couser: that he shoots her in the back kind of shows that she's also more of a victim. She's running away for her life. Yeah. She's not attacking him. Yeah.
Gabby Browne: So does Leon, he gets shot in the back too. No, he gets shot in the head. Well head, but back. Back of the head. Back of the head.
Berto Santoro: It's still the back.
He's dead. Back into the left.
Aaron Couser: Oh. Leon's dead. Two down. Shakes. [00:55:00]
Berto Santoro: Me too. It's part of the
Aaron Couser: business.
Gabby Browne: This is when Rachel has this realization and she says, I'm not in the business. I am the
Berto Santoro: business. Mm. Nice. And at this point he should be feeling accomplished, right? I mean, this was his task. This was his charge, right?
Is to retire these replicants and he's now too down and he should feel like I'm, I'm accomplishing things, but really only more loneliness. It's feeling
Jonathan VanSickle: worse than ever. Yeah. It's really weighing on him at this point.
Aaron Couser: Decker just puts his head in the sink, just dunks his head in the water
Berto Santoro: and pulls a tooth or something.
And also in that same scene, he, he gives her a drink and at this point it's not whiskey anymore. It looks like, like a shot of tequila. It's like clear. Mm-hmm. And you see him put it up to his lips and you see blood go into the glass. And I thought the attention to detail for something like that was really nice.
Very cool. Definitely very cool. Definitely. Like he's bleed, his gums are bleeding cuz he just got beat up.
Gabby Browne: I truly [00:56:00] think that Rachel came down to the bar, not because she wanted to like be with Deckard, but because she needed more information from him. So at this point, she decides to ask him what her inception date and her longevity are because she has fully accepted that she is not a human and that she will have the same fate as the people that he's trying to kill.
Have you ever tested yourself? Do you think that you're a replicant? There's so many questions being posed during this time. Are you ever afraid you're a bot? But in order to find that out, we're gonna have to tune in next time because this is gonna be a two-parter for sure. Tune in next week to find out what happens in the rest of our interpretation of Blade Runner.[00:57:00]
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