×
You will be redirected back to your article in seconds

Roger Deakins to Shoot ‘Blade Runner’ Sequel

Roger Deakins, who has received a dozen Academy Award cinematography nominations, will join director Denis Villeneuve on Alcon Entertainment’s sequel to “Blade Runner.”

Deakins will be presented with the Pierre Angénieux Excellens in Cinematography Award at the Cannes Film Festival on May 22. Deakins teamed with Villeneuve on Alcon’s “Prisoners” and “Sicario,” starring Emily Blunt, Josh Brolin and Benicio Del Toro, which is in competition at Cannes.

Deakins received his latest Academy Award nomination this year for his work on Angelina Jolie’s “Unbroken.” He was previously nominated for “The Man Who Wasn’t There,” “O Brother, Where Art Thou?,” “No Country for Old Men,” “True Grit,” “The Shawshank Redemption,” “Kundun,” “The Assassination of Jesse James by the Coward Robert Ford,” “The Reader,” “Prisoners” and “Skyfall.”

The “Blade Runner” sequel is scheduled to start principal photography in the summer of 2016. Hampton Fancher (co-writer of the original) and Michael Green have written the original screenplay based on an idea by Fancher and Ridley Scott, set several decades after the conclusion of the 1982 original.

Harrison Ford will reprise his role as Rick Deckard. Ryan Gosling is attached to star.

Alcon Entertainment acquired the film, television and ancillary franchise rights to “Blade Runner” in 2011 from producer Bud Yorkin to produce prequels and sequels. Yorkin will serve as a producer on the sequel along with Alcon’s Andrew Kosove and Broderick Johnson. Cynthia Sikes Yorkin will also produce.

Ridley Scott directed “Blade Runner” — set in Los Angeles in 2019 — from a screenplay by Fancher and David Peeples. Jordan Scott Cronenweth was the cinematographer.Deakins is repped by ICM Partners.

Popular on Variety

More Artisans

  • First still from the set of

    How the 'Jojo Rabbit' Production Team Created a Child's View of Nazi Germany

    When picturing Nazi Germany during World War II, most people think of black-and-white or sepia-toned images of drab cities. For the cinematographer and production designer of “Jojo Rabbit,” a film set squarely in that time and place, it became clear that the color palette of the era was far more varied than they could have [...]

  • National Theatre Live Midsummer's Night Dream

    National Theatre Live Marks Decade of Stage-to-Screen With Immersive ‘Midsummer’

    National Theatre Live has filmed nearly eight dozen theatrical productions over the last decade, bringing theater to the cinema using top technologies and talents in the videography space. This month, on the eve of its 10th anniversary, its production of “A Midsummer Night’s Dream” is challenging the technical producers and crew with an immersive stage [...]

  • 180423_A24_Day_03B_0897.jpg

    How Bright Bulbs Enabled 'The Lighthouse's' Tough Black-and-White Shoot

    Early in development on “The Lighthouse,” writer-director Robert Eggers asked cinematographer Jarin Blaschke if he thought they could capture the look they were going for digitally. Blaschke answered no: Digital wouldn’t let them achieve the texture they had in mind — “what we photography nerds would call ‘micro-contrast.’ [The look] was never going to be [...]

  • Advanced Imaging Society Honors 10 Women

    AIS Honors 10 Women in Tech

    Celebrating 10 years of achievement in entertainment technology, the Advanced Imaging Society today named 10 female industry innovators who will receive the organization’s 2019 Distinguished Leadership Awards at the its 10th annual Entertainment Technology Awards ceremony on October 28 in Beverly Hills. The individuals were selected by an awards committee for being significant “entertainment industry [...]

  • Will Smith Gemini Man Special Effects

    How the 'Gemini Man' VFX Team Digitally Created a Younger Version of Will Smith

    More human than human — yes, that’s a “Blade Runner” reference — yet it sounds like an unattainable standard when it comes to creating believable, photorealistic, digital human characters. But the visual effects team on Ang Lee’s “Gemini Man” set its sights on something even more difficult: creating a digital version of young Will Smith [...]

  • Jest to Impress Cartoon Network Virtual

    New In-House VR Program Helps Cartoon Network Artists Add a Virtual Dimension

    Teams of animators and artists from across Cartoon Network’s numerous properties are getting the chance to expand into virtual reality storytelling via the company’s pilot program, Journeys VR. The work of the first three teams — including experiences based on action, nature and comedy — was unveiled to global audiences Oct. 1 on Steam and [...]

  • Frozen 2

    How the 'Frozen II' Artists Created Believable Emotion Through Animation

    “The more believable you can make the character [look], the more people believe how [it’s] feeling,” says Tony Smeed, who, with Becky Bresee, shared the challenge of heading animation on Disney’s highly anticipated “Frozen II.” “Emotion comes from inside and manifests itself into actions and facial expressions. Anything beyond that is movement for the sake [...]

More From Our Brands

Access exclusive content