{"id":677,"date":"2014-09-05T11:34:38","date_gmt":"2014-09-05T10:34:38","guid":{"rendered":"http:\/\/www.filmandfurniture.com\/?p=677"},"modified":"2021-03-21T18:50:33","modified_gmt":"2021-03-21T17:50:33","slug":"blade-runner-design-whiskey-glasses","status":"publish","type":"post","link":"https:\/\/filmandfurniture.com\/2014\/09\/blade-runner-design-whiskey-glasses\/","title":{"rendered":"How Blade Runner combines a multi-cultural past with a retro-fitted present (plus details on those iconic whiskey glasses)"},"content":{"rendered":"

Blade Runner Guest Feature By Matt Cole, <\/strong>Creative Director at Branded Content agency Drum<\/a>, and founder of Penny Dreadful Menswear<\/a>.<\/span><\/p>\n

Ridley Scott<\/a>\u2019s Blade Runner <\/a>(1982) paints Los Angeles 2019 as a potent, multifaceted hybrid of cultures. The principal influence reflects the 1980\u2019s assumption that Japan\u2019s driving force in technology would see it become the ruling superpower of the future. Omnipresent billboards depict giant geisha girls popping pills to the baleful soundtrack of Japanese folk song Ogi No Mato. This hint of a society controlled by mood-enhancers is one of the few direct links back to Philip K Dick\u2019s \u201cDo Androids Dream Of Electric Sheep.\u201d<\/p>\n

\"Geisha<\/a>
Geisha Girl billboard in Blade Runner. Image\u00a0 \u00a9 Ladd Company\/The Shaw Brothers\/Warner Bros.<\/figcaption><\/figure>\n