Indeed, they’re both great examples of their medium in very different and complementary ways. Have been reading a bit of the final interviews with PKD and it’s nice to hear he felt very positive toward Scott’s interpretation, based on the pre-release screenings that he got to see.
Does that account cover the labor strike circumstances around the production? Seem to remember a story from a film studies class that claimed the sets received far more attention than typical because a strike was on or threatened which prevented new projects from being contracted - and resulted in an extra luxurious degree of care from the crews who weren’t being hurried to the next gig.
From this video I think the picture is actually static, but the shadows in the image are animated for a moment, and there might be some extra background audio as well.
Deckard has obviously been watching some background material on Rachel and I wonder if this is his recollection of the original data, mixed up with Rachel’s photo.
The enhance machine always made sense to me. It’s just an advanced souped up movie-version of this algorithm that can decipher reflected light and shadows:
How an ordinary camera can see around corners
–Digital cameras have been used to reconstruct rough images of hidden objects just by analysing light that bounces off a wall.– https://www.nature.com/articles/d41586-019-00267-x
