The Art and Beauty of Blade Runner (2015)

《银翼杀手》（2015）的艺术与美感

This article was published last year, but due to its enduring popularity I’ve moved it to the front page for those of you who haven’t seen it yet. Blade Runner is one of the most visually haunting and memorable movies in the history of cinema. It has inspired art, and is a work of art. It’s a movie I can’t stop watching and talking about. 这篇文章发表于去年，但由于其持久的人气，我将其移至首页，以便那些还没看过的人阅读。《银翼杀手》是电影史上视觉效果最令人难忘、最震撼的作品之一。它启发了艺术，本身也是一件艺术品。这是一部我无法停止观看和谈论的电影。

This article, as such, is an indulgence for those like me who can’t help but go back to this classic neo-noir again and again. The first picture embedded in this article, below, gave me the excuse to write this. This piece of fan art, depicting one of the many iconic moments of the movie, spurred me to start looking at what else the collective consciousness of the internet had to offer on this matter. 因此，这篇文章是为那些像我一样忍不住一次又一次重温这部新黑色经典电影的人所准备的。本文下方嵌入的第一张图片给了我写这篇文章的借口。这幅描绘电影中众多标志性时刻之一的同人画，促使我开始寻找互联网集体意识在这一主题上还提供了什么。

Now, I’ve seen a lot of Blade Runner art over the years, but this time when I fell down the Google rabbit-hole I found myself spiralling through pages upon pages of remarkable imagery. I found the following at a site that has a bunch of cool homages to classic movies. Ridley Scott said that while making Blade Runner he tried to create beauty, frame by frame, shot by shot. It’s hard to disagree. The film is stunning and retains its power to inspire 35 years later. 多年来，我见过很多《银翼杀手》的艺术作品，但这次当我陷入谷歌搜索的“兔子洞”时，我发现自己沉浸在数不尽的非凡影像中。我在一个汇集了许多向经典电影致敬的酷炫网站上发现了以下内容。雷德利·斯科特曾说，在制作《银翼杀手》时，他试图逐帧、逐镜头地创造美。这一点很难反驳。这部电影令人惊叹，并在35年后依然保持着启发人心的力量。

“I’ve seen things you people wouldn’t believe…” I continue to be struck by still shots from the movie. Nearly all are perfect in their composition, in the use of light, shadow, smoke, and sweat to create the terrible beauty of the Blade Runner universe. The use of smoke, in particular, remains true to the purest of noir sensibilities. “我曾见过你们人类无法置信的事物……”我依然被电影中的静止画面所震撼。几乎每一帧在构图、光影、烟雾和汗水的运用上都堪称完美，共同营造出《银翼杀手》宇宙中那种令人战栗的美感。尤其是烟雾的运用，依然忠实于最纯粹的黑色电影美学。

The first picture of Rachel below is actually a painting, and you should click on the image to enlarge and have a closer look (the artist of which can be found here). 下面第一张瑞秋（Rachel）的照片实际上是一幅画，你应该点击图片放大仔细观察（该画作的艺术家可以在这里找到）。

“The tortoise lays on its back, its belly baking in the hot sun.” “I mean, you’re not helping. Why is that, Leon?” “乌龟翻倒在背上，腹部在烈日下炙烤。”“我的意思是，你没在帮忙。为什么会这样，里昂？”

Futurist Syd Mead did much of the design work for Blade Runner. ‘Futurist’ is a pretty foolish thing to call oneself, all things considered, as predicting what the world will look like fifty years away is bloody hard. And no matter how much you do get right, you’ll always have some wit declaring “yeah – so where are my flying cars?” 未来主义者席德·米德（Syd Mead）为《银翼杀手》完成了大部分设计工作。考虑到种种因素，“未来主义者”是一个相当愚蠢的自称，因为预测五十年后的世界是什么样子实在太难了。而且无论你预测得多么准确，总会有一些聪明人跳出来说：“是啊，那我的飞行汽车在哪儿呢？”

Mead’s art, which you can see a selection of here, feels very retro-future these days. And some of it looks like a brain explosion, as evidenced by these motorbike turtles: 米德的艺术作品（你可以在这里看到精选）在今天看来非常有复古未来感。其中一些看起来简直是脑洞大开，比如这些摩托车乌龟：

Yet, yet, yet, this is also the man responsible for the aesthetics of Star Trek: The Motion Picture, Aliens, and TRON. The original Star Trek doesn’t stand the test of time, but the Tron visuals are iconic and Aliens is, well, another landmark of science fiction cinema. For Aliens he designed the dropship and the power loader Ripley uses at the end. 然而，他也是《星际迷航：无限太空》、《异形》和《创：战神》美学设计的负责人。最初的《星际迷航》没能经受住时间的考验，但《创》的视觉效果是标志性的，而《异形》则是科幻电影的又一座里程碑。在《异形》中，他设计了登陆艇以及雷普利在结尾使用的动力装载机。

Of course, the recently departed H R Giger was the visionary behind the aliens themselves. Think about that for a moment: Aliens had the both the artist who imaged the aliens, plus the artist behind Blade Runner working on the same film. At 80, Syd is apparently still in demand, doing much of the design work on Elysium, for example. (which, while not quite getting there as a story, nonetheless has some stunning visuals). 当然，最近去世的H·R·吉格（H R Giger）是异形形象背后的远见者。试想一下：电影《异形》同时拥有了塑造异形的艺术家和《银翼杀手》背后的艺术家，他们共同参与了同一部电影。80岁的席德显然依然炙手可热，例如他为《极乐空间》做了大部分设计工作（虽然该片在故事上稍显不足，但视觉效果依然令人惊叹）。

In the far far future skirts will be shorter and computers larger. And without screens. Or keys that serve an identifiable function. When Ridley Scott got Syd on board with Blade Runner, he said to him: “…this is not Logan’s Run, where everything is slick and clean. It’s going to be gritty, noir style.” 在遥远的未来，裙子会更短，电脑会更大。而且没有屏幕。也没有具有明确功能的按键。当雷德利·斯科特邀请席德加入《银翼杀手》时，他告诉他：“……这不是《逃离地下天堂》，那里的一切都光滑整洁。我们要的是粗粝的、黑色电影风格。”

Good advice, given how embarrassingly Logan’s Run – made about a year before Blade Runner – has aged. It also counts as the right advice given to the right visionary. Mead not only went dark, he had – it has been said by many a fan of his work – the genetic coding of Japanese culture in his designs. This Asian influence is one of the visually distinctive aspects of the movie that helps it retain its aesthetic prescience. 这是一个很好的建议，考虑到《逃离地下天堂》（比《银翼杀手》早一年制作）如今看起来是多么令人尴尬。这也是给对的远见者提出的正确建议。米德不仅走暗黑路线，而且正如他的许多粉丝所言，他的设计中还带有日本文化的基因编码。这种亚洲影响是电影视觉上最独特的方面之一，使其能够保持其审美上的前瞻性。

Every detail in the movie was micro-managed by Ridley Scott. He infamously fired one of his design staff when they didn’t give him enough coffee cups to choose from to use as a prop in one of the scenes. But this exactness with detail is also one of the reasons the movie has such longevity. 电影中的每一个细节都由雷德利·斯科特亲自把控。他曾因一名设计人员没有提供足够的咖啡杯供他选择作为道具而将其解雇，这在当时臭名昭著。但这种对细节的严苛也是这部电影能够长盛不衰的原因之一。

Deckard’s gun, for example, is one of the coolest sidearms in science fiction history. The Blade Runner gun was made from a double trigger bolt action rifle and a pistol. The propmakers cut the barrel and the stock from the gun, added the curved grip from a pistol, then stuck some LEDs on the side (sorry to ruin the magic for you with these details). 例如，戴克（Deckard）的枪是科幻史上最酷的配枪之一。《银翼杀手》的枪是由一把双扳机栓动步枪和一把手枪拼凑而成的。道具师切掉了枪管和枪托，加上了手枪的弯曲握把，然后在侧面贴了一些LED灯（抱歉用这些细节破坏了你的幻想）。

The weapon weighed twice that of a normal handgun and actually fired .44 magnum ammunition (which, for the uninitiated, is a large calibre). So yes, Harrison Ford was actually firing a sawn-off rifle during those fight scenes. 这把武器的重量是普通手枪的两倍，而且实际上发射的是.44马格南弹药（对于外行来说，这是一种大口径弹药）。所以没错，哈里森·福特在那些打斗场景中确实是在发射一把截短的步枪。

As you may have gathered, Scott was something of a bastard during filming. He and the star, Harrison Ford, apparently had a very difficult relationship. The pictures below aren’t art, as such, but capture perfectly the friction between the two. 100 bucks says Ford was thinking ‘fuck off’ for pretty much this whole conversation. 正如你可能已经猜到的，斯科特在拍摄期间是个混蛋。他和主演哈里森·福特的关系显然非常紧张。下面的照片算不上艺术品，但完美地捕捉到了两人之间的摩擦。我敢打赌，在整个对话过程中，福特心里想的都是“滚蛋”。

The beauty Ridley sought for the film extended to the replicants, who were remarkable physical specimens (let’s all agree to overlook Leon on this point). The physicality of Rutger Hauer, in particular, was sublime: 雷德利为电影追求的美感延伸到了复制人身上，他们是卓越的身体标本（让我们都同意忽略里昂这一点）。尤其是鲁特格尔·哈尔（Rutger Hauer）的身体素质，简直是崇高：

Details, such extraordinary details in this movie. Take this street scene, for example. Now, it seems counter-intuitive to say the future depicted in a movie could seem ‘authentic,’ but this scene must come close. Click on the picture to enlarge: 细节，这部电影里有如此非凡的细节。以这个街景为例。现在，说电影中描绘的未来看起来“真实”似乎有悖常理，但这个场景一定很接近了。点击图片放大：

Given Ridley firmly rooted the philosophy and look his work in noir, a pulp treatment was inevitable. The following two covers by fans are the best examples of this. I could not find the artist of the one on the right, but the one of the left has a cool site that gives a number of films the pulp makeover. 鉴于雷德利将作品的哲学和外观牢牢扎根于黑色电影，通俗小说（pulp）风格的处理是不可避免的。以下两张粉丝创作的封面就是最好的例子。我找不到右边那张图的作者，但左边那张图的作者有一个很酷的网站，专门为许多电影进行通俗小说风格的改造。

The movie even inspired Anders Ramsell to paint 3285 water colour prints, and then turn those into a remarkable short film. You can watch it here on YouTube. 这部电影甚至启发了安德斯·拉姆塞尔（Anders Ramsell）绘制了3285幅水彩画，并将它们制作成了一部非凡的短片。你可以在YouTube上观看。