Back to the Future Analysing the film architecture of Metropolis and Blade Runner by recreating contemporary set designs

by Katharina Kühne

Summer Semester 2020 Bachelor Thesis BA Interior Design, Berlin International University of Applied Sciences

First Advisor: Professor Adrian von Starck Second Advisor: Professor Yüksel Pögün-Zander

3rd of August 2020 2 Contents

1 Introduction 5

2 Film Architecture 7 2.1 The relationship between set design/plot and film architecture/message ...... 7 2.2 The importance of film architecture ...... 7

3 Analysis of spatial characteristics 9 3.1 Metropolis ...... 9 3.1.1 Set 1: Fredersen’s Office ...... 9 3.1.2 Set 2: Maria’s Church ...... 11 3.1.3 Set 3: Rotwang’s Laboratory ...... 13 3.2 Blade Runner ...... 17 3.2.1 Set 1: Tyrell’s Office ...... 17 3.2.2 Set 2: Tyrell’s Private Quarters ...... 21 3.2.3 Set 3: J.F. Sebastian’s Apartment/Laboratory ...... 23 3.3 Similarities ...... 25 3.4 Contrast ...... 25

4 Comparison of visual elements between Blade Runner and Metropolis 27 4.1 The City Scape ...... 27 4.2 The "New Tower of Babel" ...... 31 4.3 The Picture Telephone ...... 33 4.4 The Artificial Intelligence (Robot vs Android) ...... 35 4.5 The Scientists/Creators ...... 39

5 Evolution of special effect technology in Film Set Design – from hand made to CGI 41 5.1 Stop Trick/Stop Motion and Miniature ...... 41 5.2 Debris Camera ...... 45 5.3 Schüfftan Process ...... 46 5.4 Matte Painting ...... 47 5.5 The Picture Telephone ...... 49 5.6 Multiple Exposure ...... 51 5.7 CGI (Computer Generated Imagery) ...... 54 5.8 Retrofitting ...... 54

3 6 Design Proposal 55 6.1 Fredersen’s Office ...... 55 6.2 Maria’s Church ...... 57 6.3 Rotwang’s Laboratory ...... 58

7 Conclusion 59

4 Chapter 1

Introduction

People have always been fascinated by science-fiction, time travel, and the exploration of the unknown. With the development of the medium film, the role of set design in the making of a movie increased in importance. It became more of a focal point in order to support the plot of the movie and create a better understanding for the viewer. This thesis aims to compare and contrast the visualization of one or various probable futures through the means of film architecture and production design by looking at the films Metropolis (1927) and Blade Runner (1982) as well as the evolution of technology in set design and special effects (SFX). Hence, my practical part aims towards developing a set design for a 2020 remake of Metropolis. Methodically, the two films will be analysed in regards of their sets and the special effects, which were used. Additionally, a meticulous study of literature, books, academic expositions and internet research will be conducted and summarized. The thesis structure explains the actual essence of set and production design as well as film architecture. To be able to explain the aspects of production design, three key scenes from Metropolis and Blade Runner are chosen and compared with each other. These set analyses follow a detailed investigation of the most important special effects used in both movies. Taking all these findings into consideration, it is the intention of this work to be able to develop a possible set design for a Metropolis remake.

5 6 Chapter 2

Film Architecture

2.1 The relationship between set design/plot and film architec- ture/message

What is the difference between Architecture in Film and Film Architecture? Architecture in Film can simply be explained as films about architecture. The architectural design and/or creation is their main motif. In contrast to Architecture in Film, set design, or Film Architecture, is the overall notion of designing a world, a concept for a scope of action, meaning the plot of a film.

2.2 The importance of film architecture

According to Dietrich Neumann in “Film Architecture: From Metropolis to Blade Runner”, there are "three major roles of film architecture. A reflection of commentary on contemporary developments, a testing ground for innovative visions, and as a realm in which a different approach to the art and practice of architecture can be realized. At the same time it intends to demonstrate the compelling visual power and informative quality of set designer’s sketches, paintings and models, which are usually seen as mere byproducts of the artistic process." “The set in order to be a good set, must act. Whether realistic, expressionistic, modern, or historical, must play its role... The set must present the character before he appears, must indicate his social position, hist tastes, his habits, his lifestyle, his personality.” wrote French architect and set designer Robert Mallet-Stevens in 1929 (Le Décor moderne au Cinéma). "In recent years, a renewed interest in set design, and especially film architecture, has become apparent. The fantastic or visionary designs of unrealized projects by architects have long been recognized as important contributions to the history of architecture." Architectural set designs deserve to occupy a similar position. As Luis Buñuel said after seeing Metropolis in Madrid in 1927, architects have not been replaced by set designers, but film has indeed – on numerous occasions – faithfully translated the boldest dreams (and worst nightmares) of architecture.” (Neumann 1996, 5-7) Compared to real-life architecture, Film Architecture does not have any limits other than the designer’s imagination. To quote Terry Meyer Boake in regard to her understanding of Film Architecture: ”Much the same as visionary works of art and architecture, films, and in particular the fantasy and science fiction

7 genres, have been used to provide societies with a means to escape reality. Unlike architecture, film spaces have never had to be realistic, functional, nor have they been obliged to possess a conscience. Yet, in architectural education, we can use these “expensive”, ready-made images of both, past and future worlds, to centre critical discussions about our world and to raise issues of conscience.” (Boake 2006)

8 Chapter 3

Analysis of spatial characteristics

In this chapter, spatial characteristics are analysed in regard to lighting, materiality, geometry, scale and ornamentation by selecting three example sets.

3.1 Metropolis

In 1927 Fritz Lang along with his film architects Otto Hunte, Erich Kettelhut and Karl Vollbrecht created two opposing worlds: "a skyscraper modernized utopian upper and a dystopian suppressed “City of Workers” under-ground world. The dichotomy of the movie plot highlights the differences between day and night, above and underneath, black and white, quick and slow and all this is subject to architectural encryption." (Lindner 2007) According to Jack Gillmer: “Metropolis (Lang, 1927) for example illustrates numerous contemporary issues relevant to the society of its era. The issues contained in the film include economic, social, generational, and technological control and separation.” (Gillmer 2015)

3.1.1 Set 1: Fredersen’s Office

The city of Metropolis is overlooked by the “New Tower of Babel”. It is from there that Joh Fredersen rules over the two worlds. As being the most powerful man, he can be described as a domineering father, political commander and an innovative creator. In a more biblical sense, he can also be seen as a god-like figure as he is defined not merely as a builder, but more like a maker and creator of the city of Metropolis. As described in the Bible “the construction of the Tower of Babel is a parable of the human hubris, to stand on the same level as God and to compare with him. Hence, God’s punishment was the confusion of speech between the people.” (Eisenschitz et al. 2010) Fredersen’s office, his centre of power is based at the very top of the “New Tower of Babel”. His tremendous office consists of double-height ceilings and oversized, heavy doors. A large half-round work desk is placed almost in the centre of this vast room (see figure 3.1). For the year 1927, it is well equipped with highly modern objects which symbolise the power of communication and complete control, such as a Morse telegraph, several control panels, different time clock’s (one 24-hour clock and one clock for the 10- hours shift of the workers), a considerable amount of luminous dials and a picture telephone mounted to one side of the office. For its time an almost futuristic and modern office chair on wheels provides J. Fredersen with high flexibility and quick interactions at his desk. Opposite to this large office desk, a gigantic square window offers a superior view of the city of Metropolis. This window is

9 furnished with a blackout curtain, which is drawn when unprivileged people, like the heart-machine guardian Grot, enter the room. According to Fredersen, they are not worthy to share this view. Located between the desk and the window is an additional smaller sitting arrangement consisting of two comfortable seats and a small round table. The futuristic mood of the movie is again symbolized by another modern object on this table. This more comfortable setting contrasts the otherwise large and vast open room, but also provides a place of peace and quiet for a moment of rest for Fredersen.

Figure 3.1: View out of J. Fredersen’s Office (Lang 1927)

Figure 3.2: Sideview of J. Fredersen’s Office (Lang 1927)

10 3.1.2 Set 2: Maria’s Church

A provisional church is located at the very bottom of the over two-thousand year old catacombs, based under the “City of Workers”. Here Maria preaches to the workers about hope and a mediator that will arrive one day to unite the two worlds. The church is an old cave which lies underneath the “City of Workers”. The architectural space of it can be compared to an amphitheatre, as steps are leading down to a raised platform on which Maria stands. This platform resembles the stage like in a classic church, including a classic altar behind her. Also behind Maria are various sized crosses, but without an actual crucifix. Even though Maria does not mention the Name of Jesus, the three larger crosses behind her symbolise the Christian beliefs, as they resemble the three crosses on the hill site of Golgotha, just outside of Jerusalem. Furthermore, the lit candles exemplify God without actually saying His name. Fritz Lang used all these symbols to make the viewer feel connected to the movie.

In Metropolis – A cinematic Laboratory for Modern Architecture Maria’s Church is described as follows: “Below the “City of Workers” lie the catacombs; rough tunnels lead into a hall deep down whose walls rest skeletons and skulls, deposits of past centuries. Here, in front of a crude altar surrounded by wooden crosses of varying sizes, Maria preaches death and salvation, composure and devotion. This is the room where hope is proclaimed, but also, because it is the most distant point of all, it is the room of hopelessness; the end as well as the beginning of civilization.” (Jacobsen and Sudendorf 2000, 25) The only light in the room is provided by several candles burning behind her. Even though there are only a few candles in this dark underground environment, they provide some comfort and warmth paired with a feeling of hope.

11 Figure 3.3: Maria preaching to the workers in the catacomb’s church (Lang 1927)

12 3.1.3 Set 3: Rotwang’s Laboratory

As stated in “Fritz Lang’s Metropolis” by Werner Sudendorf, Professor Rotwang’s house and laboratory are described as follows: “Rotwang lives in an old house with asymmetric roofs. It seems to be from pre-modern times, maybe even prehistoric, roofs like his do not exist anywhere in Metropolis. Thea von Harbou calls it “Like a Golem” in her script. The word “Golem” derives from the Babylonian culture. (Eisenschitz et al. 2010, 259) Situated on the first floor is Rotwang’s laboratory filled with chemical glasses with seething fluids so called “primordial soup” (see figure 3.5). Cables and enigmatical instruments, electric spools, dial extensometers, thick porcelain safeguards and levers, which discharge powerful electric energy are scattered throughout the room. Behind the robot a large pentagram is visible (see figure 3.6), which symbolizes black magic.” Additionally, a medieval fireplace at the very back of Rotwang’s laboratory can be seen, which is another remnant of old times and stands in contrast to all the highly technological and scientific equipment. To characterize Rotwang, he is a genius combined with a hint of craziness. The words “primordial soup” and the impression of an old kitchen (with the large fireplace, old forge in the background, see figure 3.4) lead to the assumption that Rotwang personifies the character of Dr. Faustus, who joined a pact with the devil, by Johann Wolfgang von Goethe, as his creation of the human-machine can be seen as a rather unethical undertaking. He is creating this artificial human secretly and only for his own purposes in his personal “hell’s kitchen”. He is not bothered with anyone else, but himself. As he feels he knows everything about anything, nothing could ever be good enough for him.

Excerpt from Thea von Harbou’s Script (Eisenschitz et al. 2010):

“Rotwang’s Laboratory TECHNOLOGY, PHYSICS, CHEMISTRY, ALCHEMY ; centuries back – millennia ahead, half a quaksalver’s kitchen of a man from 1500, half an experimental station of a man from the year 2000 “.

13 Figure 3.4: View 1 of Rotwang’s Laboratory (Lang 1927)

Figure 3.5: View 2 of Rotwang’s Laboratory (Lang 1927)

14 Figure 3.6: Rotwang shows his robot creation to Fredersen, the large Pentagram can be seen behind it (Lang 1927)

Figure 3.7: Wagner, Dr. Faustus’ assistant, incubating the Homunculus in a glass plunger (Wikipedia 2020)

15 16 3.2 Blade Runner

Wintersgill and Bartlet describe the establishing scene in Blade Runner as “Dozens of tiny explosions ripple across the night sky as a vast, illuminated city scape comes into view, its horizon obscured by smoke. Hover cars in the foreground haloed by rings of light direct our gaze towards vast twin pyramids in the far distance. The camera drifts slowly in to allow us to explore the texture of one of these glittering monoliths, all ironwork and blinking light, external elevators crawling up its surface. In flashes, we see the megalopolis reflected on the surface of a gigantic eye.” (Wintersgill and Bartlet 2017)

3.2.1 Set 1: Tyrell’s Office

From the outside, the Tyrell corporation Buildings are two 800 story high pyramids, two colossal structures on the outskirts of Los Angeles. The Boardroom, where Rachael, Deckard and Tyrell meet for the first time, resembles the inside of a temple or a church, similar to a house of God. The room is aligned with eight large sturdy pillars, four on each side (see figure 3.8 and 3.10). They direct the person entering the room towards a gigantic window, which reaches from the ceiling to the floor, overlooking the city of Los Angeles. This is the only time in the film when the sun can be seen as his office is located high up in the building. Just like Fredersen in Metropolis, it symbolizes that Tyrell is the most powerful man on earth and can be seen as a god-like figure. Along the wall different artefacts are lined up, such as eagles and owls, which represent wisdom and wealth. The large long table in front of the window gives the impression of an altar. Shortly after their first encounter, Rick Deckard and the Nexus replicant Rachael sit down across from each other, while Deckard is conducting the Voight- Kampff Test on Rachael (see figure 3.9). By asking emotionally provocative questions, the test provides insights into autonomic body functions such as heart rate, blushing and respiration. 1 As Jack Gillmer cites Salim from his 1998 thesis: “The Tyrell Corporation headquarters is presented as a Mayan-style pyramid, an important structure of their culture, also anticipated in Blade Runner with the same conception. The Mayans utilized temples as a place they worshipped the sun through human sacrifice. In Blade Runner there is only one scene the sun is presented, which happens to be witnessed from the interior of Tyrell’s building, suggesting that he is the most powerful figure in the film. Tyrell after enduring enough sunlight tints the windows, controlling the sun, symbolizing him as a godly figure.” (Gillmer 2015)

1. https://bladerunner.fandom.com/wiki/Voight-Kampff_test

17 Figure 3.8: View looking out of Tyrell’s Office (Scott 1982)

Figure 3.9: Sideview of Tyrell’s Office (Scott 1982)

18 Figure 3.10: Floor Plan and Section of Tyrell’s Office (Alvarado et al. 2005)

19 20 3.2.2 Set 2: Tyrell’s Private Quarters

Tyrell’s private quarters are a combination of two rooms. His personal room is decorated in a lavish style and is rather reminiscent of the Vatican. The room features high ceilings and double-height doors. Large heavy pillars are framing it, but do not inflict a feeling of oppression as much as they are draped with white cloth to provide a more comfortable impression (see figure 3.12). Additionally, the imposing bed in the centre of the room is surrounded by many candle stick holders. This composition underpins the impression of the chamber looking more like a temple or church rather than a regular bedroom. Comfortable sitting arrangements can be seen in the background, contributing to the fact that Tyrell is using this space also for recreational purposes. In addition to the furniture, his room is decorated with a lot of animal busts and decorational objects like vases and figures. Another detail that reinforces the impression of Tyrell being godlike is his nightgown, which reminds the viewer of a priest’s robe (see figure 3.13). However, Tyrell’s private quarters not only function as his dormitory, but also as his office as he can be seen sitting in his bed and reciting numbers which indicate he is working while already being in bed. Furthermore, he has a technical device standing right beside his bed, which is revealed as an intercom announcing the late and unexpected arrival of J.F. Sebastian. Another technical device in the room cannot be seen, but imagined as there is a direct light installed above Tyrell’s head which makes it possible to read properly and comfortably in his bed (see figure 3.11).

21 Figure 3.11: Tyrell sitting and working in his bed (Scott 1982)

Figure 3.12: Tyrell’s private quarters resembling a church (Scott 1982)

Figure 3.13: Tyrrel in his priestlike nightgown (Scott 1982)

22 3.2.3 Set 3: J.F. Sebastian’s Apartment/Laboratory

J.F. Sebastian is working and living all by himself in the Bradbury Building. The actual building can be traced back to its year of construction in 1893, which makes it one of the oldest building still existing in today’s City of Los Angeles. Meanwhile, this building was chosen by Ridley Scott to create a connection to time and age. J.F. Sebastian is only 25 years old, but looks like an elderly man as he suffers from a condition called the Methuselah Syndrome, which makes him age rapidly and will eventually lead to an untimely death. The Bradbury Building doubles as his home and place of work or laboratory, where he is designing the replicants for the Tyrell Corporation. Unlike a regular laboratory, J.F. Sebastian’s work place is dark and dingy and even though the rooms have large windows, only little and very hazy light is getting through from the outside. The only proper light is provided by surgical lighting fixed above a pool table functioning as both, an operating table or work desk (see figure 3.15). A rather comfortable chair reflects that J.F. is spending a lot of time in it, while he is assembling the replicants, possibly also because he is considering his creations his “friends” (see figure 3.14). According to Caroline Wintersgill and Savithri Bartlett J.F.’s apartment is filled with dozens of “automata”. “Sebastian explains that he has ’made’ his own friends, but for a high-tech genetic designer he has created them to a curiously retrograde model: this is a 19th century toymakers workshop, straight out of Offenbach’s Tales of Hoffmann (1880), with mechanical toys including tin soldiers, bewigged princesses and a bear in a Napoleon costume.” (Wintersgill and Bartlet 2017)

23 Figure 3.14: J.F. Sebastian’s Laboratory/Work Space (Scott 1982)

Figure 3.15: J.F. Sebastian’s Work Space/Kitchen (Scott 1982)

24 3.3 Similarities

Quoting Jack Gillmer: “Blade Runner presents a variety of dominant related scenes driven by darkness, helplessness and industrial sensation the film encompasses. It shares an interchangeable relationship with Metropolis in terms of dystopian narrative, they both share the themes of overpopulation, technological delinquently, poverty, political and vertical segregation of classes. Despite the age difference between Blade Runner and Metropolis, the techniques utilized to convey certain philosophies are also quite similar. The both utilize darkness in order to express uncanny, undesirable places; camera angles to present positions of power; and an arrangement of familiar structures and materials “retrofitted” to fabricate futuristic conceptions. Overall through clever and unique techniques they successfully perceive a realistic possible future that is not too far fetched from believable in relation to contemporary issues of society.” (Gillmer 2015) Another aspect which is coherent in both movies is a powerful and authoritative figure that thrones over the city. Both, Metropolis and Blade Runner, present their ruling characters in “over-towering buildings above ground, designed significantly different in comparison to its surroundings, home to the villain.” (Gillmer 2015) The “owners” of these structures are compared to godlike characters, due to them being the most powerful men on earth.

3.4 Contrast

Meanwhile, Cyrus Manasseh mentions contrasts in his Dissertation “Architectural space and form in science fiction movies” regarding Blade Runner and Metropolis “However, one of the most noteworthy things about Metropolis apart from its visual complexity is the way it sets up a binary structuralism between Capitalist and worker; brain and hand; reason and emotion; tyranny and anarchy; individual and mass; and old and young. This system of opposites also exists in Blade Runner and is allowed to function precisely because of the kind of space created by the architectural form in both films. Metropolis portrays the city as a space divided – workers below ground/upper classes above the ground. Through this dichotomy of space, both social types are contrasted in the film. In Metropolis, the upper classes who revel in amusement profit from the hard labour of the mediator son of the Lord of the Metropolis who attempts to reconcile the two. A hierarchy within the space is evident and can be seen to divide into three steps or levels, which also extends to Blade Runner. In Metropolis, we see repeated shots of towering skyscrapers, which create a labyrinthine view of space allowing numerous aeroplanes to travel through.” (Manasseh 2000)

25 26 Chapter 4

Comparison of visual elements between Blade Runner and Metropolis

This chapter compares different stylistic elements used both in Metropolis and Blade Runner and looks at the change of visual language over time.

4.1 The City Scape

"The few impressive signs about how city life is successfully organized are visually dominant, and obscure the chaos that actually predominates “City of Workers” - no daylight, no sun can reach these buildings, only static light is present. There are numbers at the entrances of the houses, instead of the worker’s names. This is a sign of loss of individuality and interchangeability. Instead of being allowed to see inside the rooms, viewers can only see the dreary uniformity of the exterior. The canyons of the cities in Ridley Scott’s Blade Runner and the dangers of artificial, uncontrollable and therefore all the more seductive lifestyles directly reflect the iconography of the Moloch that is the city, and of its ruler." (Lang 1927)

27 Figure 4.1: City Scape Drawing by Erich Kettelhut in Metropolis (Lang 1927)

Figure 4.2: City Scape Image in Blade Runner (Scott 1982)

28 Figure 4.3: Metropolis City View with Urban Canyons (Lang 1927)

Figure 4.4: Blade Runner City View with Urban Canyons (Scott 1982)

29 30 4.2 The "New Tower of Babel"

"Maria talks about the historical allegory with a view towards the present, onto the “New Tower of Babel” from which the “Brain” Joh Fredersen governs the city. Importantly, the “New Tower of Babel” is round, reflecting a futuristic skyscraper with a star shaped crown which can be considered an icon of the modern big city architecture. A contemporary parallel to the antique Babylon can be found: the New York of the 1920s with skyscraper canyons and pleasure temples has also been described as “New Babylon”." (Eisenschitz et al. 2010, 169) In Blade Runner, the L.A.P.D. Headquarter Tower strongly resembles the “New Tower of Babel” in Metropo- lis. As it is the Headquarters it also represents power, as the police force are controlling the streets to keep crime low on the streets of L.A..

Figure 4.5: “Tower of Babel” as seen in Metropolis (Lang 1927)

31 Figure 4.6: J. Fredersen’s “New Tower of Babel” (Lang 1927)

Figure 4.7: Blade Runner’s L.A.P.D. Headquarters (Scott 1982)

32 4.3 The Picture Telephone

The technical alternative of this infinite perspective is the picture telephone. The use of it makes it possible for Joh Fredersen to widen his power, to be in places without physically being there. With the picture telephone the technology moves closer to witchcraft and magical power. Joh Fredersen is the alter ego of Rotwang, a magician of technology, who uses his ability for domination and repression. Through this communication apparatus he executes orders and controls the workflow in the machine halls. Therefore, Joh Fredersen can see into the “City of Workers” at any time. The idea of the picture telephone is taken up again in Blade Runner, when Rick Deckard is calling Rachael from a bar to invite her over for a drink, which she declines. Unlike Metropolis, the picture telephone is a regular day to day object, which is accessible for everyone. This can be seen as the device is covered in scribbles and uncleanliness. In this scene the picture telephone represents a tool for communication, unlike in Metropolis. He is the only person having access to one of these.

33 Figure 4.8: Fredersen talking from his office to Grot via Picture Telephone (Lang 1927)

Figure 4.9: Rick Deckard talking from a Bar to Rachel via Picture Telephone (Scott 1982)

34 4.4 The Artificial Intelligence (Robot vs Android)

With his creation of a human-machine he wants to resurrect his lost love Hel, whose love he lost when she fell in love with Joh Fredersen. She died while giving birth to Freder. Rotwang kidnaps Maria to transfer her appearance to the robot to deceive Freder and with that surreptitiously takes revenge on Joh Fredersen. After the transformation, the false and evil Maria cannot visually be distinguished from the real Maria. Caroline Wintersgill and Savithri Bartlett describe the female replicants as follows: “However, as the robot continues to become less distinguishable from a living human, our emotional response becomes positive once again, until it approaches the normal empathetic response to a human subject. Blade Runner plays with this uncanny trajectory.” (Wintersgill and Bartlet 2017) After Rachael, Deckard and Tyrell meet for the first time, Tyrell is telling Deckard that the Tyrell Corporation’s motto is to create replicants that are “more human than human”, which means that one day, it will be almost impossible to distinguish between the artificial life form and a real human being. Additionally, the following statement can also be applied to Metropolis: “the woman emerges as an erotic figure. We might recall here that the femme fatale was not invented by film noir. She extends back into mythology, to Pandora, Eve or Lilith, women who tempted and ultimately ruined men. ‘Cold but sensual, erotic but invulnerable’: this epitomizes the male fear of the replicant woman.” (Wintersgill and Bartlet 2017) This is true as the evil Maria performs an erotic dance and causes chaos between the men of the upper class.

35 Figure 4.10: Rotwang’s creation of the Human-Machine (Lang 1927)

Figure 4.11: Evil Maria after the transformation (Lang 1927)

36 Figure 4.12: Sebastian’s self-designed robotic "friend" (Scott 1982)

Figure 4.13: The female Replicant Rachael (Scott 1982)

37 38 4.5 The Scientists/Creators

"Both Rotwang and Joh Fredersen are creators. Joh Fredersen is the creator of Metropolis and Rotwang is the creator of the human-machine. The role of Dr. Eldon Tyrell, the creator of the replicants in Blade Runner, represents the master of ceremonies, Joh Fredersen and C.A. Rotwang, rolled into one. He, too, is both victim and perpetrator." (Jacobsen and Sudendorf 2000, 39) J.F. Sebastian is the alter ego of Tyrell in Blade Runner. He, too, is a scientist and a creator, the one who physically assembles the replicants to their final stage as well as the counterpart to Rotwang in Metropolis.

Figure 4.14: Joh Frederson, ruler of Metropolis (Lang 1927)

Figure 4.15: Professor C.A. Rotwang (Lang 1927)

39 Figure 4.16: Blade Runner’s Dr. Eldon Tyrell (Scott 1982)

Figure 4.17: Scientist and Creator J.F. Sebastian (Scott 1982)

40 Chapter 5

Evolution of special effect technology in Film Set Design – from hand made to CGI

To quote Terri Meyer Boake from her work regarding special effects, filming techniques and the impression they provide: “Filming techniques now have the ability to make visual images of environments that blend seamlessly from the physically constructed full sized set to realistically animated visions of characters speeding through highly complex urban cities set on earth or unknown planets. Special effects have allowed for more realistic representations of the effects of disaster in the architectural setting. Fritz Lang’s “Metropolis” (1927) depicted a fairly realistic flooding scene in the underground city, using a combination of live full sized sets and real water, combined with cut outs to models of machines that were to have been on a much larger scale. Computer animation has allowed the scale of such depictions to increase to a realistic portrayal of disaster on an urban scale, that seems to take into account the weight and materiality of the building elements.” (Boake 2006)

5.1 Stop Trick/Stop Motion and Miniature

"The Set for the main shopping street combined two- and three-dimensional presentation. A relief model with painted background. The building at the foreground at a scale of 1:16 - the simulated heights a painting of the “New Tower of Babel” in the background at a scale of 1:100. Three and a half meters representing 350." (See figure 5.1) (Forsche 2011)

For filming the shots of the traffic on the roads of the upper city they used 300 tiny model cars, each of which had to me moved forward a few millimetres for each frame (see figure 5.2). This technique was the first type of photographic trickery and was only possible in motion picture.

“A pyramid structure was built as a clear plastic shell. Flat panel patterns were accurately cut to make up the basic pyramid shape. The patterns’ surfaces were intricately detailed with plastic strip stock. [...] Rubber molds were poured over the completed patterns. Then a new set of pyramid panels were cut from

41 clear Plexiglas, exactly matching the pattern panels. The inner surface of the molds was spray painted with automotive primer and then opaquing fluid, then poured full of clear polyester casting resin and ‘squish- moulded’ with the pre-cut Plexiglas sheets pressed into the mold. When assembled, this made up the clear plastic shell for the pyramid structure. Once put together, the paint covering the raised plastic window areas was then hand- scraped away to make it appear like windows and lights all across the pyramid.” (See figure 5.4) (Failes 2017)

42 Figure 5.1: Stagehands assembling Metropolis city view (Neumann 1996, 2)

Figure 5.2: Assistants moving 300 miniature cars, airplanes and trains frame-by-frame (Eisenschitz et al. 2010, 102)

43 Figure 5.3: Angled City Set – Blade Runner (Neumann 1996, 153)

Figure 5.4: An assistant hand-scraping away the paint of the window areas all across the pyramid (Marshall 2015)

44 5.2 Debris Camera

For the panorama shot of the “Eternal Garden scene” Erich Kettelhut painted a small model backdrop. This backdrop was mounted on two rotating coils. This appliance enabled the backdrop to rotate evenly in front of a stabilized camera. This stabilized slow motion single framed process gave the impression that the camera is floating through the “Eternal Garden”.

Figure 5.5: Günther Rittau (left) and Erich Kettelhut (right) during filming the “Eternal Garden” Panorama Shot with a Caméraéclair (Eisenschitz et al. 2010, 322)

45 5.3 Schüfftan Process

UFA had purchased the license of the mirror trick technique developed by cameraman and architect Eugen Schüfftan. With the help of this technique only small models of the constructed buildings were needed. They then were combined with realistic scenes as to give the impression of the actors of actually moving around in actual buildings. To achieve this effect, a mirror mounted at 45 degrees in front of the camera lens reflected the image of the miniature model positioned directly behind the camera. Part of the mirror surface had been scratched away so as to provide the camera with an unrestricted view of the real scenery. The final image is captured “in-camera” and is a blend of the two pictures.

Figure 5.6: Sketch explaining the Schüfftan Process (Mesquita 2009)

46 5.4 Matte Painting

“Matte painting is one of cinema’s oldest visual-effects techniques, used to extend sets and create scenery for films by means of a painted image rather than a physical set. This matte painting was used for the shot in which Deckard (Harrison Ford) fled from the replicant Roy Batty (Rutger Hauer) and climbed out of a window onto a ledge of the Bradbury building. The painting is achieved using acrylic paints on a large sheet of masonite. The board features an unpainted section at the top right that has a pencilled layout where the live-action photography would overlap. The painting was deliberately rendered with a limited colour range, as the matte paintings were shot on a high-contrast film stock that enhanced the colour latitude of the image. The artwork is partially painted onto a large printed photograph of the live-action photography featuring Rutger Hauer and Harrison Ford — this enabled the effects artists to ensure a seamless blend between the painting and the live-action photography.“ (Yuricich 2018)

Figure 5.7: A matte painting by Matthew Yuricich from Ridley Scott’s sci-fi classic Blade Runner (Yuricich 2018)

47 Figure 5.8: A matte painting by Matthew Yuricich from Ridley Scott’s sci-fi classic Blade Runner (close-up of the background) (Yuricich 2018)

Figure 5.9: Matte painting as seen in the movie (Yuricich 2018)

48 5.5 The Picture Telephone

"Seeing with devices is the central topic in the scene with the television telephone merge into one. Günther Rittau described this as an interesting problem. It was solved by projecting the image of the foreman called backwards onto the TV screen using a projector before filming this with the camera positioned in front of it. The projector and camera were phase connected to ensure they worked at the same speed." (Forsche 2011)

Figure 5.10: Sketch explaining the functionality of the picture telephone (Novak 2012)

49 Figure 5.11: Günther Rittau and his assistants with an Erko-Projector; the recording of Grot on the telephone is projected through the duct onto the back of the screen, which Joh Fredersen is seeing telephone progress (magazine) (Eisenschitz et al. 2010, 341)

50 5.6 Multiple Exposure

"The first shot was of the mechanical person on the pedestal. The figure was then replaced by a black silhouette and around this figure two circular arched neon lights in tubes were moved up and down repeatedly. By a type of film through a glass plate which was smeared with a thin layer of grease. Finally the electrical discharges were filmed without the grease glass plate. The same piece of negative was exposed up to 30 times." (Forsche 2011)

Figure 5.12: Cut-out silhouette of the human-machine fixed on hoist (Eisenschitz et al. 2010, 279)

51 Figure 5.13: The robot of Metropolis being filmed with electricity encircling her (Novak 2012)

Figure 5.14: The transformation of the human machine (Lang 1927)

52 Figure 5.15: Illustration of how glowing effects where produced using electricity and Geissler tubes (Novak 2012)

Figure 5.16: Image of actual scene as seen in Metropolis (Lang 1927)

53 5.7 CGI (Computer Generated Imagery)

Neither Metropolis nor Blade Runner used the CGI process, as this technique was not available until the early 1990’s. Both films were made fully analogue. Nevertheless, this technique needs to be mentioned as it is vital for movie making nowadays and a commonly used practice. According to Terri Meyer Boake, she describes the benefits of 3D CGI as “The blend between live set and computer generated set in films such as the “Harry Potter” series, leav[ing] the viewer often questioning whether certain scenes were in fact filmed on location, fabricated or “blended”. When such techniques are used with history based sets, it assists in developing a more accurate understanding of the social and cultural implications of the architecture of the period, which could perhaps only be heightened by adding “surround smell” to “surround sound”. “There are no accidents of live shooting or shortcomings of actual constructed models or sets. With animation, as with CGI technologies used in live filming, the content is entirely flexible and can be directed to whatever is desired by the director.” (Boake 2006)

5.8 Retrofitting

“The buildings would just become surfaces on which you’d mount retrofitted electrical conduits, air conditioning ducts and all kinds of other things. Additional power would come from a generator sitting on the street – which might be there for years, but initially it was a temporary idea. And then these big cables would be running up the sides of all the buildings ... It had to look like what it was. And what it was a city whose discreet individual structures had been enveloped into sort of an urban machine, with people living inside."

Syd Mead (Gillmer 2015)

As Jack Gillmer quotes C. Rogers regarding retrofitting as follows: “The above quote reflects the tech- niques utilised by Ridley Scott to present a more realistic and believable narrative. ‘Retrofitting’ was utilised as a method to provide the background (surrounding architecture) of the film with context and relativity, it is the cladding of existing buildings/cities to create a futuristic cityscape (Rogers, 2012). ‘Retrofitting’ plays an enormous role in Ridley’s film to help present his dystopian depiction. He presents a future of overpop- ulation, immigration, poverty, pollution and deterioration through the presentation of basic surroundings to manipulate the perception of the future.” (Gillmer 2015)

54 Chapter 6

Design Proposal

As mentioned earlier the practical part is a redesign of three set designs of Metropolis , according to the previously analysed characteristics of how a 2020 remake of the film could look like.

6.1 Fredersen’s Office

The first example is Joh Fredersen’s office. It is situated in a highly contemporary glass tower, which is also the highest building of the city. As a suggested setting, the Gherkin Building in London, provided the basic idea of a contemporary setting (see figure 6.1). The building was chosen due to its powerful and mighty outward appearance, achieved by its grenade shape and its smooth and technoid aesthetics. As the office of Fredersen is based at the highest point of the building, the top of the tower is made out of glass and the panoptic shaped office provides a 360 degree view all over the city without any obstructions. Through its monumental presence, the building symbolizes Fredersen’s undivided single power, making him not only the most powerful man of the city of Metropolis, but also refers to him as an archetype, who has total power and control of everything and everyone. He can also be seen as a godlike figure, looking down onto the city and its inhabitants. As this is a very futuristic and contemporary set, the character still keeps all control elements. Every solid piece of furniture in his office is made out of glass. In this case it is a large round desk, a glass chair and a huge chandelier hanging from the ceiling. The tubular elevator is also made out of glass, but Fredersen keeps the privilege of being the only person using it. In case one of his employees should come to his office, they would have to exit the elevator on the entrance floor and use the spiral glass stairs to reach the floor Fredersen’s office is located on. In case it is needed, he can change the colour of the glass to darken it via voice command. In this example the picture telephone has changed into many different holographic screens, which make it possible for Fredersen to control every person in every location in the city without himself being seen.

55 Figure 6.1: Suggested building for Frederson office for Metropolis remake (Imgur 2012)

Figure 6.2: Personal design of Frederson office for the Metropolis remake

56 6.2 Maria’s Church

The second example is Maria’s Church. Instead of having it set in catacombs, it is now located in an old run down derelict cooling tower, which is reused as a place for gatherings. As Fredersen’s “New Tower of Babel” is in the centre of the city of Metropolis, the cooling tower lies at the very outskirts of the city. The temporary church is a big open space. Its appearance is impressive, yet overwhelming due to its gigantic size. It is a dark place with only very little light, very run down, rusty, dirty and muddy, due to it being left to rot for ages. Even though it is such a dark and depressing place, it is a place of reassurance and hope at the same time. Yet, it is at this discouraging and daunting place, that Maria preaches faith and encouragement to the desperate workers. Even though, this improvised church is at the very bottom of the two worlds, Maria is standing slightly elevated above the workers and preaches to them. An old pipe serves Maria as an altar from which she is speaking. As this is a very spacious room, loud speakers and large screens were added, this shows the technical advances, even though they are very simplistic compared to the technical adjustments in the highly modernised upper world. A spotlight has been added instead of the burning candles, as they would not provide sufficient light to highlight Maria. Nevertheless, they represent the presence of god and Him speaking through her, hence her seeming to reach enlightenment. No matter where this place is and what condition it is in, it still remains a place of hope and reassurance.

Figure 6.3: Personal design for Maria’s Church for Metropolis remake

57 6.3 Rotwang’s Laboratory

Professor Rotwang’s laboratory is still set at the very bottom of the upper world, in an old, forgotten, building. It used to be a public swimming pool, re-purposed as Rotwang’s laboratory in which he is secretly creating his robot in shape of a woman, as to resurrect his lost love Hel. Rather than being an old house with an oddly shaped roof, it is an dodecagonal room with a glass roof, that has been blackened out so the outside cannot see what is going on inside. The old pipes meet in the centre of the room at the bottom of the old swimming pool, which Rotwang has turned into a recreational tube. It is within this tube, that the human-machine floats in organic fluids. As the tube is located at the centre of the bottom of the old swimming pool, Rotwang is able to look down at his sinister creation as if he is looking down onto his unethical creation. It is like Rotwang being Dr. Faustus creating his Homunculus (see figure 3.6). Seen from above, the pipes resemble spiders legs and the old rusty window grid looks like its web. Instead of having a lot of instruments, levers, chemical glasses, extensometers and other scientific equipment, the remade version has all highly modernised holographic screens and interfaces. As these computers are a very futuristic set up, they also represent Rotwang’s virtual assistants.

Figure 6.4: Personal design for Rotwang’s laboratory for Metropolis remake

58 Chapter 7

Conclusion

In this thesis, six individual set designs within the movies Metropolis and Blade Runner have been analysed, compared and contrasted, including a detailed look at stage building, special effects, and the technology used. Three new and contemporary example set designs have then been created from these findings, in order to translate the old into the new without changing the main story and crucial plot elements. Technology has gotten more advanced but the intention and meaning is still the same. The two movies were chosen as they both capture very timeless topics such as the increasing gap between rich and poor, political and social differences in society, and the numerous challenges in a world that is getting adapted to a high use of technology. All these areas find reflections in the movies’ architecture via varying symbolic and descriptive arrangements in these sets. The construction of the original sets was very hands on, costly, and time consuming and required a lot of manpower. In conclusion it can be said that by contrasting the visualisation of film architecture and by comparing the films Metropolis and Blade Runner, especially in regards to their set design and production design, it is possible to distinguish the characteristics, like a strong use of recurring symbolism and archetypes and how they affect the plot of the film. The picture language is all about semantics and the usage of symbolism, icons, and ideas, which can be understood universally. For the set to depict a probable future, it has to be believable. If it is too erratic and deranged, the viewer will not take it seriously. Therefore, he or she needs to be able to recognize the surroundings, hence being able to connect and identify with the film. According to Robert Mallet-Stevens “ the set in order to be a good set, needs to act.” However, in reference to Buñuel, the architect has never replaced the set designer. Instead, by cooperation of film architects and set designers as well as their individual approaches within the process of creating a film, buildings can be constructed and visions achieved, which could never be possible or feasible in real life, therefore imagination has no boundaries. Metropolis opened the public’s eyes to the genre of science fiction and futuristic visions while Blade Runner then raised these notions to a new level in regards to making the artificial life form "more human than human", almost equivalent to how we strive for the development of artificial intelligence and automated computer learning in reality. Archetypes and symbols are timeless and can be reused and re-purposed at any point in time, adjusted to contemporary tastes, styles and circumstances. This translation of symbols and symbolism connects the old with the new but with adjustments, making sure the essence stays the same. Therefore, it is possible to remake the movie with modern techniques and technology but also to keep the actual plot and story of the movie intact while translating it into a modern set design.

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