CITYSPEAK (From Bladerunner) Sushi Master: Nani Ni Shimasho Ka. [Japanese: "What Would You Like to Have?"] Deckard: {P

Total Page：16

File Type：pdf, Size：1020Kb

CITYSPEAK (from Bladerunner) Sushi Master: Nani ni shimasho ka. [Japanese: "What would you like to have?"] Deckard: {Points} Give me four. Sushi Master: Futatsu de jubun desu yo. [Japanese: "Two is enough!"] Deckard: No. Four. Two, two, four. Sushi Master: Futatsu de jubun desu yo. [Japanese: "Two is enough!"] Deckard: {Resignedly} And noodles. Sushi Master: Wakatte kudasai yo. [Japanese: "Please understand!" (Actually implying sarcastically, "Can't you understand?") Policemnan: Hey, idi-wa. [Korean: "Hey, come here.] Gaff: Monsieur, azonnal kövessen engem bitte. [French-Hungarian-German: "Sir, follow me immediately please!" "azonnal" - means immediately; "kövessen" - means follow imperative; "engem" - means me. And of course "Monsieur" is French for Sir and "bitte" is German for please.)] Sushi Master: He say you under arrest, Mr. Deckard. Deckard: You got the wrong guy, pal. Gaff: Lófaszt, nehogy már. Te vagy a Blade ... Blade Runner. [Hungarian: "Horsedick, no way! You are the Blade ... Blade Runner." Sushi Master: He say you 'Brade Runner'. Deckard: Tell him I'm eating. Gaff: Captain Bryant toka. Me ni omae yo. [Japanese: "Captain Bryant wants to see your mug in front of his immediately!" (This is a loose translation. "Me ni omae yo" is a sort of pun. "Me ni mae" means to meet someone. "omae" is the very informal use of "you" - in Japanese, this is significant. "yo") Deckard (V/O): The charmer's name was Gaff, I'd seen him around. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was city speak, gutter talk. A mishmash of Japanese, Spanish, German, what have you. I didn't really need a translator, I knew the lingo, every good cop did. But I wasn't going to make it easier for him. .

Copy Link

Recommended publications

BLADE RUNNER 2049 “I Can Only Make So Many.” – Niander Wallace REPLICANT SPRING ROLLS
BLADE RUNNER 2049 “I can only make so many.” – Niander Wallace REPLICANT SPRING ROLLS INGREDIENTS • 1/2 lb. shrimp Dipping Sauce: • 1/2 lb. pork tenderloin • 2 tbsp. oil • Green leaf lettuce • 2 tbsp. minced garlic • Mint & cilantro leaves • 8 tbsp. hoisin sauce • Chives • 2-3 tbsp. smooth peanut butter • Carrot cut into very thin batons • 1 cup water • Rice paper — banh trang • Sriracha • Rice vermicelli — the starchless variety • Peanuts • 1 tsp salt • 1 tsp sugar TECHNICOLOR | MPC FILM INSTRUCTIONS • Cook pork in water, salt and sugar until no longer pink in center. Remove from water and allow to cool completely. • Clean and cook shrimp in boiling salt water. Remove shells and any remaining veins. Split in half along body and slice pork very thinly. Boil water for noodles. • Cook noodles for 8 mins plunge into cold water to stop the cooking. Drain and set aside. • Wash vegetables and spin dry. • Put warm water in a plate and dip rice paper. Approx. 5-10 seconds. Removed slightly before desired softness so you can handle it. Layer ingredients starting with lettuce and mint leaves and ending with shrimp and carrot batons. Tuck sides in and roll tightly. Dipping Sauce: • Cook minced garlic until fragrant. Add remaining ingredients and bring to boil. Remove from heat and garnish with chopped peanuts and cilantro. BLADE RUNNER 2049 “Things were simpler then.” – Agent K DECKARD’S FAVORITE SPICY THAI NOODLES INGREDIENTS • 1 lb. rice noodles • 1/2 cup low sodium soy sauce • 2 tbsp. olive oil • 1 tsp sriracha (or to taste) • 2 eggs lightly beaten • 2 inches fresh ginger grated • 1/2 tbsp.
[Show full text]
The Search for Philip K. Dick Pdf, Epub, Ebook
THE SEARCH FOR PHILIP K. DICK PDF, EPUB, EBOOK Anne R. Dick | 279 pages | 05 Nov 2010 | Tachyon Publications | 9781616960001 | English | United States The Search for Philip K. Dick PDF Book Exposing personal details of their married life as well as the ways he continued to haunt her even after their relationship collapsed, Anne Dick provides thorough research combined with personal memories of this mysterious man. Dick addresses with Dr. Whether Dick was mostly to blame or not for his turbulent life is a matter of opinion. VALIS is a theological detective story, in which God is both a missing person and the perpetrator of the ultimate crime. Goodreads helps you keep track of books you want to read. At one point he got into spiritualism. And what is their constant theme? I do co-own a large selection of them, though, and in — or some time thereabouts — I attended a seminar at the ICA, hosted by Brian Aldiss who else? But if I think no longer guarantees I am, then how can we be sure anything at all is real? The notion that bourgeois life is a comforting illusion, that American capitalism is an insane trick founded on a complex lie, is not new to SF, but Dick came to own it. Dick Item Preview. At certain points, events and people are referred to without sufficient context, making some sections difficult to follow. Error rating book. Dick biographies. And hidden amongst the survivors is Dr. The Collected Stories of Philip K. PKD had five wives, two of which wrote biographies.
[Show full text]
Science Fiction, Steampunk, Cyberpunk
SCIENCE FICTION: speculative but scientific plausability, write rationally, realistically about alternative possible worlds/futures, no hesitation, suspension of disbelief estrangement+cognition: seek rational understanding of NOVUM (D. Suvin—cognitive estrangement) continuum bw real-world empiricism & supernatural transcendentalism make the incredible plausible BUT alienation/defamiliarization effect (giant bug) Literature of human being encountering CHANGE (techn innovat, sci.disc, nat. events, soc shifts) origins: speculative wonder stories, antiquity’s fabulous voyages, utopia, medieval ISLAND story, scientifiction & Campbell: Hero with a 1000 Faces & Jules Verne, HG Wells (Time Machine, War of the Worlds, The Island of Dr Moreau), Mary Shelley (Frankenstein), Swift Gulliver’s Travels Imaginative, Speculative content: • TIME: futurism, alternative timeline, diff hist. past, time travel (Wells, 2001. A Space Odyssey) • SPACE: outer space, extra-terrestrial adventures, subterranean regions, deep oceans, terra incognita, parallel universe, lost world stories • CHARACTERS: alien life forms, UFO, AI, GMO, transhuman (Invisible Man), mad scientist • THEMES: *new scientific principles, *futuristic technology, (ray guns, teleportation, humanoid computers), *new political systems (post-apocalyptic dystopia), *PARANORMAL abilities (mindcontrol, telekinesis, telepathy) Parallel universe: alternative reality: speculative fiction –scientific methods to explore world Philosophical ideas question limits & prerequisites of humanity (AI) challenge
[Show full text]
Blade Runner and the Right to Life Eli Park Sorensen
Blade Runner and the Right to Life Eli Park Sorensen Trans-Humanities Journal, Volume 8, Number 3, October 2015, pp. 111-129 (Article) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/trh.2015.0012 For additional information about this article https://muse.jhu.edu/article/635253/summary [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Blade Runner and the Right to Life Eli Park SORENSEN (Seoul National University) Ⅰ. Introduction One of the most debated issues in connection with Ridley Scott’s sci-fi masterpiece Blade Runner (1982) is whether Deckard — the protagonist, played by Harrison Ford — is a replicant or not. Allegedly, Ford was strongly opposed to Scott’s decision to include the famous unicorn scene in the film, which apparently confirms that Deckard — like Rachael — possesses “implants,” synthetic memories; a scene anticipating the film’s ending, during which Deckard finds an origami unicorn left by detective Gaff, who thus reveals that he knows about Deckard’s real identity — that he is in fact a replicant (Sammon 362). In this article, I suggest that although much of the scholarship and criticism on Blade Runner tends to focus on this particular issue, it nonetheless remains one of the least interesting aspects of the film. Or, to put it differently, whether Deckard is a replicant is a question whose real purpose rather seems to be covering a far more traumatic issue, which Michel Foucault in the first volume of History of Sexuality addresses thus: “The ‘right’ to life, to one’s body, to health, to happiness, to the satisfactions of needs, and beyond all the oppressions or ‘alienations,’ the ‘right’ to rediscover what one is and all that one can be” (145).
[Show full text]
Panel About Philip K. Dick
Science Fiction Book Club Interview with Andrew M. Butler and David Hyde July 2018 Andrew M. Butler is a British academic who teaches film, media and cultural studies at Canterbury Christ Church University. His thesis paper for his PhD was titled “Ontology and ethics in the writings of Philip K. Dick.” He has also published “The Pocket essential Philip K. Dick”. He is a former editor of Vector, the Critical Journal of the British Science Fiction Association and was membership secretary of the Science Fiction Foundation. He is a former Arthur C. Clarke Award judge and is now a member of the Serendip Foundation which administers the award. David Hyde, a.k.a. Lord Running Clam, joined the Philip K. Dick Society in 1985 and contributed to its newsletter. When the PKDS was discontinued, he created For Dickheads Only in 1993, a zine that was active until 1997. Since then, his activities include many contributions to and editorial work for the fanzine PKD OTAKU. His book, PINK BEAM: A Philip K. Dick Companion, is a detailed publication history of PKD's novels and short stories. In 2010, David organized the 21st century's first Philip K. Dick Festival in Black Hawk, Colorado. Recently, in partnership with Henri Wintz at Wide Books, he has published two full-color bibliographies of the novels and short stories of Philip K. Dick. In early 2019 Wide Books will publish the French bibliography. On the 35th anniversary of Phil’s passing in 2017 David held a memorial celebration for PKD fans in Ft. Morgan, Colorado, the final resting place of Phil and his twin sister Jane.
[Show full text]
Ideology As Dystopia: an Interpretation of "Blade Runner" Author(S): Douglas E
Ideology as Dystopia: An Interpretation of "Blade Runner" Author(s): Douglas E. Williams Source: International Political Science Review / Revue internationale de science politique, Vol. 9, No. 4, (Oct., 1988), pp. 381-394 Published by: Sage Publications, Ltd. Stable URL: http://www.jstor.org/stable/1600763 Accessed: 25/04/2008 20:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=sageltd. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org InternationalPolitical ScienceReview (1988), Vol. 9, No. 4, 381-394 Ideology as Dystopia: An Interpretation of Blade Runner DOUGLASE.
[Show full text]
Extreme Surveillance and Preventive Justice
EXTREME SURVEILLANCE AND PREVENTIVE JUSTICE: NARRATION AND SPECTACULARITY IN MINORITY REPORT Noemí Novell [email protected] SUMMARY hrough a compared analysis between the narrative of Philip K. Dick and the filmic imagery of Steven Spielberg, the present article explores the forms in which dominant ideas around surveillance and preventive justice are portrayed in Minority Report. The author examines the links between literary fiction and audiovisual representation, focusing on the notions of narrative and spectacularity in order to establish up to what point does the film adaptation interpret de innovative and challenging ideas that identify Dick's visionary science fiction writing. KEY WORDS Science Fiction, Crime, Extreme surveillance, Preventive justice, Civil rights, National security, Privacy, State control, Dystopia, Panopticon, Film adaptation, Philip K. Dick, Steven Spielberg, Minority Report ARTICLE Based on “The Minority Report” (1956), by Philip K. Dick, Minority Report (Steven Spielberg, 2002) is, without a doubt, one of the film scripts that most highlights the ideas of surveillance of citizens and preventive justice.1 Although it is undeniable that both ideas are taken from the original story by Dick, in the film they are highlighted and modified, to some extent thanks to the audiovisual narration that sustains and supports them. This is a relevant point since sometimes opinion has tended towards the idea that cinematographic, unlike literary, science fiction, strips this genre of the innovative and non-conformist ideas that characterise it, and that it lingers too long on the special effects, which, from this perspective, would slow down the narration and would add nothing to it.2 This, this article seeks to explore the ways in which the dominant ideas of surveillance and preventive justice are shown in Minority Report and how their audiovisual representation, far from hindering, contribute to better illustrating the dominant ideas of the film.
[Show full text]
Humanity and Heroism in Blade Runner 2049 Ridley
Through Galatea’s Eyes: Humanity and Heroism in Blade Runner 2049 Ridley Scott’s 1982 Blade Runner depicts a futuristic world, where sophisticated androids called replicants, following a replicant rebellion, are being tracked down and “retired” by officers known as “blade runners.” The film raises questions about what it means to be human and memories as social conditioning. In the sequel, Blade Runner 2049, director Denis Villeneuve continues to probe similar questions, including what gives humans inalienable worth and at what point post-humans participate in this worth. 2049 follows the story of a blade runner named K, who is among the model of replicants designed to be more obedient. Various clues cause K to suspect he may have been born naturally as opposed to manufactured. Themes from the Pinocchio story are interwoven in K’s quest to discover if he is, in fact, a “real boy.” At its core Pinocchio is a Pygmalion story from the creature’s point of view. It is apt then that most of 2049 revolves around replicants, with humans as the supporting characters. By reading K through multiple mythological figures, including Pygmalion, Telemachus, and Oedipus, this paper will examine three hallmarks of humanity suggested by Villeneuve’s film: natural birth, memory, and self-sacrifice. These three qualities mark the stages of a human life but particularly a mythological hero’s life. Ultimately, only one of these can truly be said to apply to K, but it will be sufficient for rendering him a “real boy” nonetheless. Although Pinocchio stories are told from the creatures’ point of view, they are still based on what human authors project onto the creature.
[Show full text]
Blade Runner and the Archiving of Memory and Identity Michael K
University of Wollongong Research Online Deputy Vice-Chancellor (Academic) - Papers Deputy Vice-Chancellor (Academic) 2018 Catching 'tears in the rain': Blade Runner and the archiving of memory and identity Michael K. Organ University of Wollongong, [email protected] Susan Jones University of Wollongong, [email protected] Anthony M. Rice University of Wollongong, [email protected] Grant C. White University of Wollongong, [email protected] Publication Details Organ, M., Jones, S., Rice, A. & White, G. 2018, 'Catching 'tears in the rain': Blade Runner and the archiving of memory and identity', Australian Society of Archivists Conference: Archives in a Blade Runner Age: Identity & Memory, Evidence & Accountability, pp. 1-24. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Catching 'tears in the rain': Blade Runner and the archiving of memory and identity Abstract Blade Runner presents the ultimate archival dilemma: to preserve or "retire" (dispose of) a sentient record. Beneath the Hollywood love story lays a dystopian view of the future wherein the line between human and humanoid is blurred through the existence of biorobotic androids known as replicants. Beyond this, new gadgets, systems and technologies dazzle in futuristic, though familiar, landscapes. And what do replicants, being human, EMP blackouts and origami have to do with archives? Answers reside in their present and possible relation to aspects of the world of the archivist in the modern era, as evidenced through technological innovation, the limitations and inherent fragility of electronic records, consideration of what is worth saving, and issues of identity.
[Show full text]
The Cinematography of Roger Deakins: How His Visual Storytelling Reflects His Philosophies Abstract I. Introduction
The Cinematography of Roger Deakins by Jeff Leu — 93 The Cinematography of Roger Deakins: How His Visual Storytelling Reflects His Philosophies Jeff Leu Cinema and Television Arts Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract Cinematography is a visual medium that connects the film experience to the viewers. Just like directors and actors, certain names of cinematographers become common in the industry. Roger Deakins, who has a career spanning many decades and popular titles, is regarded as one of the best directors of photography of all time. This qualitative content analysis examines 15 of Deakins’ films that were nominated for Best Cinematography category at the Oscars in order to determine what makes his art so memorable. Themes that emerged were his ability to utilize framing and composition, camera mobility, and lighting techniques to naturally tell the story respective of the directors’ inputs. I. Introduction From director to gaffer, producer to sound mixer, it takes an entire team of dedicated artists to make a movie happen. The camera is the tool that lets the audience see, and directors of photography (DP) handle this particular tool. They provide the best shot by adjusting lights and shadows, deciding what should be in the background and what should be focused, and choosing the angle. One man who has mastered this art form is 15-time Oscar nominated cinematographer Roger Deakins. Since 1995, he has dominated the film industry and award shows, becoming a household name within the cinematography world (Desowitz, 2018). While he has worked on many Coen brothers’ movies like Fargo (1996) and No Country for Old Men (2007), he has also earned award nods with The Shawshank Redemption (1994), Unbroken (2014), and Blade Runner 2049 (2017), the latter being his first Academy Award win.
[Show full text]
Blade Runner Originally Released in 1982, Ridley Scott’S Film Adaptation of Phillip K Dick’S Novel ‘Do Androids Dream of Electric Sheep?’ Was a Box-Office Failure
Blade Runner Originally released in 1982, Ridley Scott’s film adaptation of Phillip K Dick’s novel ‘Do Androids Dream of Electric Sheep?’ was a box-office failure. However, despite this initial negative response, it became a cult movie, and its status as a significant science fiction film was further enhanced by the re-release of Blade Runner - The Director’s Cut in 1992 which omitted the voice-over and, more significantly, featured a substantial change to the original ‘happy’ ending. Ridley Scott’s films include ‘The Duellists’ 1977; ‘Alien’ 1979; ‘Someone to Watch Over Me’ 1987 and’ Thelma and Louise’ 1991. After being an art student and then a film student at London’s Royal College of Art, Ridley spent ten years as a director of television commercials and he still runs a company that produces commercials with his brother Tony. As a film director Ridley Scott has a talent for delivering and fusing striking images and an eye for instant spectacle. His imagery is found from the Dark Ages, 1800 or 1492 or from the future of twenty first century Los Angeles. ‘Alien’ and Blade Runner have been highly influential of high-tech design and they have also fed back into TV advertising. Scott is recognised for his thoughtful direction of actresses such as Sean Young, Daryl Hannah, Lorraine Bracco and Geena Davis, enabling them to expand their range. Harrison Ford plays the retired Super-cop in 2019 Los Angeles whose job is hunting mutinous androids that have escaped from the off world colonies. He is a specialist in identifying and destroying androids and is pressed back into service when a group of replicants illegally return to Earth.
[Show full text]
Dick Selon Spielberg
CRITIQUES m JEAN-PIERRE DUFREIGNE . Dick selon Spielberg eraclite d'Éphèse, dit l'Obscur au motif qu'on ne connaît de sa pensée que des fragments qui malmènent délicieusement notre sens des réalités supposées, H affirme que la « nature des choses à coutume de se I dissimuler ». Autant dire que le faux-semblant est notre ! vérité. Mais aussi, que c'est dans des œuvres humaines ! jugées mineures que la vérité se niche et se protège | quand il s'agit d'art et de doute sur cet art. L'esprit ! humain aimant les classements, en chimie comme à l'école, il n'épargna pas les genres. La littérature et le ! cinéma son frère cadet liés par leur goût pour l'explo ration de la durée passèrent à cette moulinette : polars, • SF et fantastique furent des sous-genres, même si trois | pages au style en silex de Raymond Chandler, de i Philip K. Dick, l'hérétique spéculatif, ou de Stephen ; King, nous en apprennent sur le monde des années trente, cinquante, quatre-vingt, et sur ses répercussions | dans nos univers mentaux bien plus que bien des i romans de main stream (littérature « normale ») de ces | mêmes années. • Il en est de même pour le cinéma où le « film de genre » ; reprend ses droits même en France, terrain d'exception, ! champignonnière rêvée d'années de nombrilisme. Le ; Pacte des loups fut l'un des cinq succès à plus de 5 mil- [ lions d'entrées de 2001. On remarquera aussi que des I trois auteurs de genre cités plus haut, Chandler, Dick, King I (aux vertus littéraires inégales), des cinéastes tirèrent des œuvres de première grandeur : le Grand Sommeil, de \ Howard Hawks ; Blade Runner, de Ridley Scott ; Shining, ; de Stanley Kubrick.
[Show full text]