theantidote: “The simplest and most radical thing that Ridley Scott did with Blade Runner was to put urban archeology in the frame. I hadn’t been obvious to mainstream American science fiction that cities are like compost heaps — just layers and layers of stuff. In cities, the past and the present and the future can all be totally adjacent. In Europe, that’s just life — it’s not science fiction, it’s not fantasy. But in American science fiction, the city in the future was always brand-new, every square inch of it.” — William Gibson, on Blade Runner (via petervidani:) theantidote: “The simplest and most radical thing that Ridley Scott did with Blade Runner was to put urban archeology in the frame. I hadn’t been obvious to mainstream American science fiction that cities are like compost heaps — just layers and layers of stuff. In cities, the past and the present and the future can all be totally adjacent. In Europe, that’s just life — it’s not science fiction, it’s not fantasy. But in American science fiction, the city in the future was always brand-new, every square inch of it.” — William Gibson, on Blade Runner (via petervidani:)

theantidote:

“The simplest and most radical thing that Ridley Scott did with Blade Runner was to put urban archeology in the frame. I hadn’t been obvious to mainstream American science fiction that cities are like compost heaps — just layers and layers of stuff. In cities, the past and the present and the future can all be totally adjacent. In Europe, that’s just life — it’s not science fiction, it’s not fantasy. But in American science fiction, the city in the future was always brand-new, every square inch of it.”

— William Gibson, on Blade Runner

(via petervidani:)

(via burningfp)

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    That moment when you’re scrolling through your dash and you see a screen grab and know exactly what movie it’s from.
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