document_title: Blade Runner 2049

question_text: who wrote the score for blade runner 2049

text: Blade Runner 2049

text: Plot

text: In 2049, replicants (described as "bioengineered humans") are slaves. K, a replicant, works for the Los Angeles Police Department (LAPD) as a "Blade Runner", an officer who hunts and "retires" (kills) rogue replicants. At a protein farm, he retires Sapper Morton and finds a box buried under a tree. The box contains the remains of a female replicant who died during a caesarean section, demonstrating that replicants can reproduce sexually, previously thought impossible. K's superior Lieutenant Joshi is fearful that this could lead to a war between humans and replicants. She orders K to find and retire the replicant child to hide the truth.

text: K visits the Wallace Corporation headquarters (the successor-in-interest in the manufacturing of replicants to the Tyrell Corporation, which went out of business) where the deceased female is identified from DNA archives as Rachael, an experimental replicant designed by Dr. Tyrell. K learns of Rachael's romantic ties with former blade runner Rick Deckard. Wallace CEO Niander Wallace wants to discover the secret to replicant reproduction to expand interstellar colonization. He sends his replicant enforcer Luv to steal Rachael's remains from LAPD headquarters and follow K to Rachael's child.

text: At Morton's farm, K sees the date 6-10-21 carved into the tree trunk and recognizes it from a childhood memory of a wooden toy horse. Because replicants' memories are artificial, K's holographic girlfriend Joi believes this is evidence that K was born, not created. K burns down the farm and leaves. He searches the LAPD records and discovers twins born on that date with identical DNA aside from the sex chromosome but only the boy is listed as alive. K tracks the child to an orphanage in ruined San Diego, but discovers the records from that year to be missing. K recognizes the orphanage from his memories and finds the toy horse where he remembers hiding it.

text: Dr. Ana Stelline, a designer of replicant memories, confirms that his memory of the orphanage is real, leading K to conclude that he is Rachael's son. At the LAPD headquarters, K fails a post-traumatic baseline test. He talks with his superior Joshi and lies by implying he killed the replicant child. Joshi gives K a chance to escape within 48 hours. At Joi's request, K transfers her to a mobile emitter, an emanator. He has the toy horse analyzed, revealing traces of radiation that lead him to the ruins of Las Vegas. He finds Deckard, who reveals that he is the father of Rachael's child and that he scrambled the birth records to protect the child's identity; Deckard left the child in the custody of the replicant freedom movement.

text: After killing Joshi, Luv tracks K to Deckard's hiding place in Las Vegas. She kidnaps Deckard, destroys Joi and leaves K to die. The replicant freedom movement rescues K. Their leader Freysa informs him that Rachael's child is female and he is not Rachael's son. To prevent Deckard from leading Wallace to the child or the freedom movement, Freysa asks K to kill Deckard for the greater good of all replicants.

text: Luv brings Deckard to Wallace Co. headquarters to meet Niander Wallace. He offers Deckard a clone of Rachael for revealing what he knows. Deckard refuses and Luv kills the clone. As Luv is transporting Deckard to a ship to take him off-world to be tortured, K intercepts and kills Luv but is severely injured in the fight. He stages Deckard's death to protect him from Wallace and the rogue replicants and leads Deckard to Stelline's office, having deduced that she is his daughter and that the memory of the toy horse is hers; K dies peacefully from his wounds while Deckard approaches Stelline.

text: Cast

text:
Ryan Gosling as K
Harrison Ford as Rick Deckard
Ana de Armas as Joi
Sylvia Hoeks as Luv
Robin Wright as Lt. Joshi
Mackenzie Davis as Mariette
Carla Juri as Dr. Ana Stelline
Lennie James as Mister Cotton
Dave Bautista as Sapper Morton
Jared Leto as Niander Wallace
Barkhad Abdi as Doc Badger
Hiam Abbass as Freysa
David Dastmalchian as Coco
Wood Harris as Nandez

text: Edward James Olmos briefly reprises his role as Gaff in the original film. Sallie Harmsen briefly portrays a replicant killed in front of Luv by Niander Wallace. Archival footage, audio and stills of Sean Young from the original film are used to represent her character of Rachael.[12] Young's likeness was digitally superimposed onto Loren Peta, who was coached by Young on how to recreate her performance for a brief scene and to portray a replicant designed by Wallace to be physically identical to the original Rachael. The voice of the replicant was created with the use of a sound-alike actress to Young.[13] Young was credited in the film's credits.

text: Production

text: Development

text: On March 3, 2011, it was reported that Alcon Entertainment, a production company financed by Warner Bros., was "in final discussions to secure film, television and ancillary franchise rights to produce prequels and sequels to the iconic 1982 science-fiction thriller Blade Runner."[14] It was also reported that month that Christopher Nolan was desired as director.[15]

text: On August 18, 2011, it was announced that Ridley Scott, director of the original film, would direct and produce a new Blade Runner film, although work would not begin until at least 2013. Producer Andrew A. Kosove suggested that Harrison Ford, who had starred in the original film, was unlikely to be involved.[16][17] Scott said that the film was "liable to be a sequel" but without the previous cast, and that he was close to finding a writer.[18] On February 6, 2012, Kosove stated: "It is absolutely, patently false that there has been any discussion about Harrison Ford being in Blade Runner. To be clear, what we are trying to do with Ridley now is go through the painstaking process of trying to break the back of the story ... The casting of the movie could not be further from our minds at this moment."[19] When Scott was asked about the possibility of a sequel in October 2012, he said, "It's not a rumor—it's happening. With Harrison Ford? I don't know yet. Is he too old? Well, he was a Nexus-6 so we don't know how long he can live. And that's all I'm going to say at this stage."[20]

text: Scott said in November 2014 that he would not direct the film and would instead produce; that filming would begin in late 2014 or 2015, and that Ford's character would only appear in "the third act" of the sequel.[21] On February 26, 2015, the sequel was confirmed, with Denis Villeneuve as director. Ford was confirmed to return as Deckard; so too Hampton Fancher, one of the two writers of the original film. The film was expected to enter production in mid-2016.[22] According to Scott, he co-wrote much of the script, but went uncredited.[23]

text: Pre-production

text: On April 16, 2015, Ryan Gosling entered negotiations for a role.[24] Gosling confirmed in November 2015 that he had been cast, citing the involvement of Villeneuve and the cinematographer Roger Deakins as factors for his decision;[25] Deakins was hired as director of photography on May 20, 2015.[26] Principal photography was set to begin in July, with Warner Bros. distributing the film domestically, and Sony Pictures Releasing distributing internationally.[27] On February 18, 2016, an official release date of January 12, 2018 was announced.[28]

text: On March 31, 2016, Robin Wright entered final negotiations for a role in the film,[29] and on April 2, Dave Bautista posted a picture of himself with an origami unicorn, hinting at a role in the film.[30] Bautista and Wright were confirmed to be joining the cast on April 4, and a filming start date of July was established.[31] In late April 2016, the film's release date was moved up to October 6, 2017,[32] as well as Ana de Armas and Sylvia Hoeks being added to the cast.[33][34] Carla Juri was cast in May 2016.[35] In June, Mackenzie Davis and Barkhad Abdi were cast,[36][37] with David Dastmalchian, Hiam Abbass and Lennie James joining in July.[38][39] Jared Leto was cast in the film in August; Villeneuve had hoped to cast David Bowie, but Bowie died before production began.[40][41] In March 2017, Edward James Olmos confirmed he was in the film in a sequence playing his original character, Gaff.[42]

text: Interviewed at the 2015 Toronto International Film Festival, Villeneuve said the plot would be ambiguous about whether Deckard was a replicant.[43] In an interview, Villeneuve mentioned that the film is set a few decades after the original set in 2019. It would again take place in Los Angeles, and the Earth's atmosphere would be different: "The climate has gone berserk – the ocean, the rain, the snow is all toxic."[44] It was announced that Scott would be executive producer.[44]

text: Filming

text: Principal photography took place between July and November 2016,[45][46] mainly at Korda Studios and Origo Studios in Budapest, Hungary.[47] For the casino scenes, the old Stock Exchange Palace in Budapest's Liberty Square served as a filming location.[48]

text: On August 25, 2016, a construction worker was killed while dismantling one of the film's sets at Origo Studios.[49]

text: Post-production

text: Warner Bros. announced in early October 2016 that the film would be titled Blade Runner 2049.[50] Editing commenced in December in Los Angeles, with the intention of having the film being rated R.[51] At the 2017 San Diego Comic-Con, Villeneuve said that the film would run for two hours and 32 minutes.[52]

text: Soundtrack

text: Rapper-producer El-P was asked to compose music for the first Blade Runner 2049 trailer, but his score was "rejected or ignored".[53] Jóhann Jóhannsson, who had worked with Villeneuve on Prisoners, Sicario and Arrival, was initially announced as composer for the film.[54] However, Villeneuve and Jóhann decided to end the collaboration because Villeneuve thought the film "needed something different", and also that he "needed to go back to something closer to Vangelis's soundtrack".[55] Composers Hans Zimmer and Benjamin Wallfisch joined the project in July 2017. In September, Jóhann's agent confirmed that he was no longer involved and was contractually forbidden from commenting.[56]

text: Release

text: Blade Runner 2049 premiered on October 3, 2017 at the Dolby Theatre in Los Angeles, although following the 2017 Las Vegas Strip shooting, the red carpet events were cancelled prior to the screening.[57] It was the opening feature at the Festival du nouveau cinéma in Montreal the following day.[58] It also was premiered in Switzerland at the Zurich Film Festival on October 4, 2017.[59][60]

text: Sony Pictures Releasing, who had obtained rights to release the film in overseas territories,[61] was the first to release Blade Runner 2049 in theaters, first in France and Belgium on October 4, 2017,[60] then in other countries on the two following days.[60] The film was released by Warner Bros. domestically in the United States on October 6, 2017.[60] In addition to standard 2D and 3D formats, Blade Runner 2049 was released in IMAX theaters.[62] Also, Alcon Entertainment partnered with Oculus VR to create and distribute content for the film exclusively for its virtual reality format and launched it alongside the theatrical release of October 6, 2017.[63]

text: Due to the popularity and preference of IMAX in 2D (as opposed to 3D) among filmgoers in North America, the film was shown in IMAX theaters in only 2D domestically, but was screened in 3D formats internationally.[64]

text: The film is rated R by the Motion Picture Association of America for "violence, some sexuality, nudity, and language".[65]

text: Marketing

text: Warner Bros. and Columbia Pictures jointly released an announcement teaser on December 19, 2016.[66][67] A selection of excerpts (lasting 15 seconds) were released as a trailer tease on May 5, 2017 in the lead up to the full trailer, which was released on May 8, 2017.[68] A second trailer was released on July 17, 2017.[69]

text: Three short films have been made to explore events that occur in the 30-year period between Blade Runner 2049 and Blade Runner, set in 2019:

text:
2036: Nexus Dawn is directed by Luke Scott, and follows Niander Wallace as he presents a new Nexus-9 replicant to lawmakers in an attempt to have a prohibition on replicants lifted. The short film also stars Benedict Wong as one of the lawmakers.[70][71]
2048: Nowhere to Run, also directed by Scott, follows Sapper Morton as he protects a mother and daughter from thugs.[72]
Blade Runner Black Out 2022, is an anime directed by Shinichirō Watanabe[73] wherein a rogue replicant named Iggy carries out an operation to detonate a nuclear warhead over Los Angeles, triggering an electromagnetic pulse that erases the Tyrell Corporation's database of registered replicants. Edward James Olmos reprises his role as Gaff in this film. Flying Lotus composed the soundtrack; Watanabe had used his music as a temp score in making a rough cut of the short.[74]

text: Spirit distiller Johnnie Walker made a limited edition Scotch Whisky called Black Label The Director's Cut, created by Master Blender Jim Beveridge in collaboration with Denis Villeneuve. The experimental blend comes in a futuristic bottle.[75]

text: Home release

text: It was released on DVD and Blu-ray on January 16, 2018 and distributed by Netflix and Redbox on January 23, 2018.[76]

text: Reception

text: Box office

text: As of January 18, 2018[update], Blade Runner 2049 has grossed $92 million in the United States and Canada, and $167.2 million in other territories, for a worldwide total of $259.2 million, against a production budget of $150–185 million.[6][7][8][9] The projected worldwide total the film needed to gross in order to break even was estimated to be around $400 million.[77] Scott attributed the film’s underperformance to the runtime, saying: "It's slow. Long. Too long. I would have taken out half an hour."[78]

text: In the United States and Canada, the film was initially projected to gross $43–47 million in its opening weekend.[79] In September 2017, a survey from Fandango indicated that the film was one of the most anticipated releases of the season.[79] It made $4 million from Thursday night previews, including $800,000 from IMAX, but just $12.6 million on its first day, lowering weekend estimates to $32 million.[80] It made $11.4 million on Saturday and went on to debut to $31.5 million, well below initial projections but still finishing first at the box office and marking the biggest openings of Villeneuve and Gosling's careers.[80] Regarding the opening weekend, director Villeneuve said, "It's a mystery. All the indexes and marketing tools they were using predicted that it would be a success. The film was acclaimed by critics. So everyone expected the first weekend's results to be impressive, and they were shocked. They still don't understand."[81]

text: Deadline.com attributed the film's performance to the 163-minute runtime limiting the number of showtimes theaters could have, lack of appeal to mainstream audiences, and the marketing being vague and relying on nostalgia and established fanbase to carry it.[82] In its second weekend, the film dropped 52.7% to $15.5 million, finishing second behind newcomer Happy Death Day ($26 million)[83] and dropped another 54% in its third weekend to $7.2 million, finishing in 4th behind Boo 2! A Madea Halloween, Geostorm and Happy Death Day.[84]

text: Overseas, it was expected to debut to an additional $60 million, for a worldwide opening of around $100 million.[8] The debut ended up making $50.2 million internationally, finishing number one in 45 markets, for a global opening of $81.7 million. It made $8 million in the United Kingdom, $4.9 million in Russia, $1.8 million in Brazil and $3.6 million in Australia.[85] It debuted in China on October 27, and made $7.7 million in its opening weekend, which was considered a disappointment.[86][87]

text: Critical response

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 87% based on 345 reviews, with an average rating of 8.2/10. The site's critical consensus reads, "Visually stunning and narratively satisfying, Blade Runner 2049 deepens and expands its predecessor's story while standing as an impressive filmmaking achievement in its own right."[88] Metacritic, another review aggregator, assigned the film a weighted average score of 81 out of 100, based on 54 critics, indicating "universal acclaim".[89] Critics who saw the film before its release were asked by Villeneuve not to reveal certain characters and plot points.[90] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[80]

text: Peter Travers of Rolling Stone gave the film three-and-a-half stars out of four, calling it an instant classic and writing: "For Blade Runner junkies like myself, who've mainlined five different versions of Ridley Scott's now iconic sci-fi film noir, [...] every minute of this mesmerizing mindbender is a visual feast to gorge on."[91] Peter Bradshaw of The Guardian gave the film five out of five stars, praising the production design, cinematography and score, and calling the CGI some of the best he had ever seen, writing: "It just has to be experienced on the biggest screen possible. Blade Runner 2049 is a narcotic spectacle of eerie and pitiless vastness, by turns satirical, tragic and romantic."[92] A. O. Scott of The New York Times described the film as "a carefully engineered narrative puzzle" that "tries both to honor the original and to slip free of its considerable shadow", and mostly succeeds. He found it, though, ultimately unequal to the original, describing Blade Runner 2049 as "a more docile, less rebellious 'improvement'". He also lauded Villeneuve's direction to which he attributed an "unnerving calm, as if he were exploring and trying to synthesize the human and mechanical sides of his own sensibility", as well as the cinematography and visual effects, which he describes as "zones of strangeness that occasionally rise to the level of sublimity".[93]

text: Eric Kohn of IndieWire gave the film an A- rating, saying: "Blade Runner 2049 may not reinvent the rules for blockbuster storytelling, but it manages to inject the form with the ambitions of high art, maintaining a thrilling intensity along the way."[94] Scott Collura of IGN awarded the film a score of 9.7 out of 10 and called it one of the best sequels ever, saying: "2049 plays off of the themes, plot, and characters of the 1982 movie without cannibalizing it or negating or retroactively ruining any of those elements. Rather, it organically expands and grows what came before. It's a deep, rich, smart film that's visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait."[95] Mick LaSalle of San Francisco Chronicle rated the film 3.5 out of 4 stars, labeling the film as a "quiet, thoughtful science fiction" while drawing a similarity on its tone to Villeneuve's recent film, Arrival and praising the performances, particularly Gosling and Ford.[96]

text: Christopher Orr writing for The Atlantic found the sequel to be a faithful and worthwhile continuation of the original film stating: "This is in part because, like its predecessor, Blade Runner 2049 is a decidedly cool artifact, and not primarily an actors' film. Villeneuve's most important collaborators are the cinematographer Roger Deakins and the production designer Dennis Gassner, who between them conjure a future world breathtaking in its decrepitude, a gorgeous ruin. From the grayed-out countrysides over which the sky has closed like a lid; to the drizzly neon decadence of Los Angeles; to a San Diego refashioned as a waste dump worthy of WALL-E; to the Ozymandian wreckage of Las Vegas—the film is a splendor of the first order."[97] Graeme Virtue, in The Guardian stated that the film's "impact is never at the expense of visual comprehension. Characters may crash through walls but it is never unclear where those walls are in relation to the mayhem. These occasional jolts of intensity do not snap us out of the film's hypnotic spell, which remains persuasive enough to make the 163-minute duration feel like something to luxuriate in rather than an endurance test."[98]

text: John Serba in his review for Mlive also saw the film as a worthy successor and continuation of the original film and capable of standing next to other strong films in this genre such as the 1927 Metropolis, stating: "Blade Runner 2049 is a feast for the eyes and intellect, and for more patient audiences. It broods so intently and for so long, its occasional bursts of violent action break the film's exquisitely meditative constitution. A key atmospheric component is the thrumming synthesizer score, by Hans Zimmer and Benjamin Wallfisch, emulating Vangelis' masterful original."[99]

text: Michael O'Sullivan of The Washington Post put emphasis on the depiction of the villain-aspects of the industrialist played by Jared Leto stating: "In the world of 2049, there are now two kinds of replicants, in addition to people: the old, rogue versions, and a newer, more subservient variety designed by a godlike industrialist (Jared Leto portraying Wallace), who refers to his products, tellingly, as good and bad 'angels.'"[100]

text: The Economist was more critical of the film, calling it a "bombastic sequel" and noting its "thin and threadbare" storyline, which was "riddled with holes", and the "little more than a cameo" appearance of Ford, despite his being used heavily in the film's promotion.[101] Kevin Maher of The Times gave it three of five stars, claiming "a more devastatingly beautiful blockbuster has yet to be made", but concluding that the plot was lackluster.[102]

text: In December 2017, Variety magazine announced that AMPAS considered Blade Runner 2049 to be one of the top ten VFX films of 2017 and eligible for nomination at the Academy Awards.[103]

text: Social commentary

text: Reviewing the film for Vice.com, Charlotte Gush was critical of its portrayal of women, who she said were "either prostitutes, holographic housewives" or victims dying brutal deaths. While acknowledging that "misogyny was part of the dystopia" in Scott's 1982 original, she stated that the sequel was "eye-gougingly sexist".[104] Writing for The Guardian, Anna Smith expressed similar concerns, stating that "sexualised images of women dominate the stunning futuristic cityscapes" and questioned whether the film catered heavily to heterosexual men.[105] Rachael Kaines of Moviepilot countered that "the gender politics in Blade Runner 2049 are intentional": "The movie is about secondary citizens. Replicants. Orphans. Women. Slaves. Just by depicting these secondary citizens in subjugation doesn't mean that it is supportive of these depictions – they are a condemnation."[106] Helen Lewis of the New Statesman suggested that the film is "an uneasy feminist parable about controlling the means of reproduction" and that "its villain, Niander Wallace, is consumed by rage that women can do something he cannot":

text: Fertility is the perfect theme for the dystopia of Blade Runner 2049, because of the western elite anxiety that over-educated, over-liberated women are having fewer children, or choosing to opt out of childbearing altogether. (One in five women is now childless by the age of 45; the rates are higher among women who have been to university.) Feminism is one potential solution to this problem: removing the barriers which make women feel that motherhood is a closing of doors. Another is to take flight, and find another exploitable class to replace human females ... Maybe androids don't dream of electric sheep, but some human men certainly dream of electric wombs.[107]

text: In an interview with Vanity Fair, Denis Villeneuve responded that he is very sensitive about his portrayal of women: "Blade Runner is not about tomorrow; it's about today. And I'm sorry, but the world is not kind on women."[108][109] Quoting from the Variety magazine breakdown of viewer demographics for the film, Donald Clarke for The Irish Times indicated that female audiences seemed alienated from it; just eight percent of its audiences were females under 25.[110] Esquire magazine commented on the controversial aspects of the sex scene, calling it a "robo-ménage à trois", and compared it to the sex scene between Joaquin Phoenix and Scarlett Johansson in Her (2013).[111]

text: Accolades

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Blade Runner 2049
Won
[112]

Golden Trailer Awards
June 6, 2017
Best Teaser
[113]

Hollywood Film Awards
November 5, 2017
Hollywood Producer Award
Andrew A. Kosove, Broderick Johnson and Cynthia Sikes Yorkin
[114]

Hollywood Cinematography Award
Roger Deakins

Hollywood Production Design Award
Dennis Gassner

Hollywood Music in Media Awards
November 16, 2017
Best Original Score – Sci-Fi/Fantasy/Horror Film
Hans Zimmer and Benjamin Wallfisch
Nominated
[115]

Detroit Film Critics Society
December 7, 2017
Best Use of Music
Blade Runner 2049
[116]
[117]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Adapted Screenplay
Michael Green and Hampton Fancher
[118]

Best Production Design
Dennis Gassner and Alessandra Querzola
Won

Best Cinematography
Roger Deakins

Best Editing
Joe Walker
Nominated

Best Original Score
Hans Zimmer and Benjamin Wallfisch
Won

San Francisco Film Critics Circle
December 10, 2017
Best Cinematography
Roger Deakins
[119]

Best Production Design
Dennis Gassner
Nominated

Best Original Score
Hans Zimmer and Benjamin Wallfisch

Best Film Editing
Joe Walker

Chicago Film Critics Association
December 12, 2017
Best Adapted Screenplay
Michael Green and Hampton Fancher
[120]

Best Art Direction
Blade Runner 2049
Won

Best Original Score
Hans Zimmer and Benjamin Wallfisch
Nominated

Best Cinematography
Roger Deakins
Won

Dallas–Fort Worth Film Critics Association
December 13, 2017
Best Cinematography
Runner-up
[121]

Dublin Film Critics Circle
December 13, 2017
Best Film
Blade Runner 2049
4th place
[122]

Best Director
Denis Villeneuve
2nd place

Best Actor
Ryan Gosling
Runner-up

Best Screenplay
Michael Green and Hampton Fancher

Best Cinematography
Roger Deakins
Won

St. Louis Film Critics Association
December 17, 2017
Best Director
Denis Villeneuve
Nominated
[123]

Best Cinematography
Roger Deakins
Won

Best Production Design
Dennis Gassner
Nominated

Best Visual Effects
Blade Runner 2049
Won

Best Score
Hans Zimmer and Benjamin Wallfisch
Nominated

Seattle Film Critics Society
December 18, 2017
Best Picture of the Year
Blade Runner 2049
[124]
[125]

Best Director
Denis Villeneuve

Best Cinematography
Roger Deakins
Won

Best Costume Design
Renée April
Nominated

Best Film Editing
Joe Walker

Best Original Score
Hans Zimmer and Benjamin Wallfisch

Best Production Design
Dennis Gassner and Alessandra Querzola
Won

Best Visual Effects
John Nelson, Paul Lambert, Richard R. Hoover and Gerd Nefzer
Nominated

IGN's Best of 2017 Awards
December 20, 2017
Movie of the Year
Blade Runner 2049
Won
[126]
[127]
[128]
[129]

Best Sci-Fi/Fantasy Movie

People's Choice Award for Best Sci-Fi/Fantasy Movie

Best Director
Denis Villeneuve

Best Supporting Performer in a Movie
Sylvia Hoeks
Nominated

Florida Film Critics Circle
December 23, 2017
Best Cinematography
Blade Runner 2049
Won
[130]

Best Visual Effects

Best Art Direction/Production Design

Best Score

Online Film Critics Society
December 28, 2017
Best Cinematography
Roger Deakins
[131]

Golden Tomato Awards
January 3, 2018
Best Sci-Fi/Fantasy Movie 2017
Blade Runner 2049
3rd Place
[132]

Houston Film Critics Society
January 6, 2018
Best Cinematography
Roger Deakins
Won
[133]
[134]

Best Original Score
Hans Zimmer and Benjamin Wallfisch
Nominated

Best Visual Effects
Blade Runner 2049
Won

National Society of Film Critics
January 6, 2018
Best Cinematography
Roger Deakins
[135]

Austin Film Critics Association
January 8, 2018
Best Director
Denis Villeneuve
Nominated
[136]
[137]

Best Cinematography
Roger Deakins
Won

Best Original Score
Blade Runner 2049
Nominated

Critics' Choice Movie Awards
January 11, 2018
Best Cinematography
Roger Deakins
Won
[138]
[139]

Best Production Design
Dennis Gassner and Alessandra Querzola
Nominated

Best Editing
Joe Walker

Best Costume Design
Renée April

Best Visual Effects
Blade Runner 2049

Best Sci-Fi/Horror Movie

Best Score
Hans Zimmer and Benjamin Wallfisch

Los Angeles Film Critics Association Awards
January 12, 2018
Best Production Design
Dennis Gassner
Won
[140]

Best Cinematography
Roger Deakins
Runner-up

Eddie Awards
January 26, 2018
Best Edited Feature Film (Dramatic)
Joe Walker
Nominated
[141]
[142]

Art Directors Guild Awards
January 27, 2018
Fantasy Film
Dennis Gassner
Won
[143]
[144]

London Film Critics Circle
January 28, 2018
Technical Achievement Award
[145]
[146]

Evening Standard British Film Awards
February 8, 2018
Technical Achievement Award
Roger Deakins
Nominated
[147]
[148]

Satellite Awards
February 10, 2018
Best Art Direction and Production Design
Blade Runner 2049
Nominated
[149]
[150]

Best Sound
Nominated

Best Visual Effects
Won

Best Cinematography
Roger Deakins
Won

Visual Effects Society Awards
February 13, 2018
Outstanding Visual Effects in a Photoreal Feature
John Nelson, Karen Murphy Mundell, Paul Lambert, Richard R. Hoover, Gerd Nefzer
Nominated
[151]
[152]

Outstanding Animated Character in a Photoreal Feature
Axel Akkeson, Stefano Carter, Wesley Chandler, Ian Cooke-Grimes for "Rachael"

Outstanding Created Environment in a Photoreal Feature
Chris McLaughlin, Ryan Salcombe, Seungjin Woo, Francesco Dell'Anna for "Los Angeles"
Won

Didier Muanza, Thomas Gillet, Guillaume Mainville, Sylvain Lorgeau for "Trash Mesa"
Nominated

Eric Noel, Arnaud Saibron, Adam Goldstein, Pascal Clement for "Vegas"

Outstanding Model in a Photoreal or Animated Project
Alex Funke, Steven Saunders, Joaquin Loyzaga, Chris Menges for "LAPD Headquarters"
Won

Outstanding Compositing in a Photoreal Feature
Tristan Myles, Miles Lauridsen, Joel Delle-Vergin, Farhad Mohasseb for "LAPD Approach and Joy Holograms"
Nominated

American Society of Cinematographers Awards
February 17, 2018
Outstanding Achievement in Cinematography in Theatrical Releases
Roger Deakins
Won
[153]
[154]

British Academy Film Awards
February 18, 2018
Best Director
Denis Villeneuve
Nominated
[155]

Best Cinematography
Roger Deakins
Won

Best Original Music
Hans Zimmer and Benjamin Wallfisch
Nominated

Best Sound
Ron Bartlett, Theo Green, Doug Hemphill, Mark Mangini, and Mac Ruth

Best Production Design
Dennis Gassner and Alessandra Querzola

Best Special Visual Effects
Richard R. Hoover, Paul Lambert, Gerd Nefzer and John Nelson
Won

Best Makeup and Hair
Donald Mowat and Kerry Warn
Nominated

Best Editing
Joe Walker

Golden Reel Awards
February 18, 2018
Outstanding Achievement in Sound Editing – Music Score
Clint Bennett, Ryan Rubin and Del Spiva
Nominated
[156]
[157]

Outstanding Achievement in Sound Editing – Dialogue / ADR
Mark Mangini, Byron Wilson and Michael Hertlein

Outstanding Achievement in Sound Editing – Effects / Foley
Mark Mangini, Theo Green, Chris Aud, Lee Gilmore, Greg ten Bosch, Charlie Campagna, Dave Whitehead, Eliot Connors, Ezra Dweck, Goro Koyama and Andy Malcolm
Won

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Makeup
Donald Mowat, Jo-Ann Macneil and Csilla Horvath Blake
Nominated
[158]
[159]

Feature Motion Picture: Best Period and/or Character Hair Styling
Kerry Warn, Lizzie Lawson Zeiss and Jaime Leigh Mcintosh

Academy Awards
March 4, 2018
Best Cinematography
Roger Deakins
Pending
[160]

Best Production Design
Dennis Gassner and Alessandra Querzola

Best Sound Editing
Mark Mangini and Theo Green

Best Sound Mixing
Ron Bartlett, Doug Hemphill and Mac Ruth

Best Visual Effects
John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover

text: Possible sequel

text: During the promotional tour for the 2015 film The Martian, Scott expressed interest in making additional Blade Runner films.[161] In October 2017, Villeneuve said that he expected a third film would be made if 2049 was successful.[162] Fancher, who wrote both films, said he was considering reviving an old story idea involving Deckard travelling to another country.[162] Ford said that he would be open to returning if he liked the script.[162]


document_title: History of United States drug prohibition

question_text: when was the first legislation to control the distribution and use of narcotics passed

root

text: Timeline[edit]

text: Around 1860: Efforts to regulate the sale of pharmaceuticals began, and laws were introduced on a state-to-state basis that created penalties for mislabeling drugs, adulterating them with undisclosed narcotics, and improper sale of those considered "poisons". Poison laws generally either required labels on the packaging indicating the harmful effects of the drugs or prohibited sale outside of licensed pharmacies and without a doctor's prescription. Prominent pharmaceutical societies at the time supported the listing of cannabis as a poison.[1]

tag: p

text: 1880: The U.S. and Qing Dynasty China complete an agreement prohibiting the shipment of opium between the two countries; Qing China itself was still reeling from the effects of fighting the Opium War after a failed attempt to stem the British importing of opium into China proper (see Lin Zexu).

text: 1906: The Pure Food and Drug Act requires that certain specified drugs, including alcohol, cocaine, heroin, morphine, and cannabis, be accurately labeled with contents and dosage. Previously many drugs had been sold as patent medicines with secret ingredients or misleading labels. Cocaine, heroin, cannabis, and other such drugs continued to be legally available without prescription as long as they were labeled. It is estimated that sale of patent medicines containing opiates decreased by 33% after labeling was mandated.[2]

text: 1911: United States first Opium Commissioner, Hamilton Wright argues that of all the nations of the world, the United States consumes most habit-forming drugs per capita.[3]

text: 1913: The American Medical Association created a propaganda department to outlaw health fraud and quackery.[4] In the same year, California outlawed cannabis.

text: 1914: The first recorded instance of the United States enacting a ban on the domestic distribution of drugs is the Harrison Narcotic Act[5] of 1914. This act was presented and passed as a method of regulating the production and distribution of opiate-containing substances under the commerce clause of the U.S. Constitution, but a [1] section of the act was later interpreted by law enforcement officials for the purpose of prosecuting doctors who prescribe opiates to addicts.

text: 1919: Alcohol prohibition in the U.S. first appeared under numerous provincial bans and was eventually codified under a federal constitutional amendment in 1919, having been approved by 36 of the 48 U.S. states.

text: 1925: United States supported regulation of cannabis as a drug in the International Opium Convention.[6] and by the mid-1930s all member states had some regulation of cannabis.

text: 1930: The Federal Bureau of Narcotics was created. For the next 32 years it was headed by Harry J. Anslinger who came from the Bureau of Prohibition as did many of its initial members.

text: 1932: Democrat Franklin Roosevelt ran for President of the United States promising repeal of federal laws of Prohibition of alcohol.

text: 1933: Eighteenth Amendment to the United States Constitution is repealed. The amendment remains the only major act of prohibition to be repealed, having been repealed by the Twenty-first Amendment to the United States Constitution.

text: 1935: President Roosevelt hails the International Opium Convention and application of it in US. law and other anti-drug laws in a radio message to the nation.[7]

text: 1937: Congress passed the Marijuana Tax Act. Presented as a $1 nuisance tax on the distribution of marijuana, this act required anyone distributing the drug to maintain and submit a detailed account of his or her transactions, including inspections, affidavits, and private information regarding the parties involved. This law, however, was something of a "Catch-22", as obtaining a tax stamp required individuals to first present their goods, which was an action tantamount to confession. This act was passed by Congress on the basis of testimony and public perception that marijuana caused insanity, criminality, and death.

text: 1951: The 1951 Boggs Act increased penalties fourfold, including mandatory penalties.[8]

text: 1956: The Daniel Act increased penalties by a factor of eight over those specified in the Boggs Act. Although by this time there was adequate testimony to refute the claim that marijuana caused insanity, criminality, or death, the rationalizations for these laws shifted in focus to the proposition that marijuana use led to the use of heroin, creating the gateway drug theory.[citation needed]

text: 1965: In Laos, the CIA's airline, Air America, began flying Hmong (Meo) opium out of the hills to Long Tieng and Vientiane. This opium was being refined into high grade no. 4 heroin, which is what was being used by U.S. soldiers.[9] During the Laotian Civil War, Long Tieng served as a town and airbase operated by the Central Intelligence Agency of the United States.[10]

text: 1969: Psychiatrist Dr. Robert DuPont conducts urinalysis of everyone entering the D.C. jail system in August 1969. He finds 44% test positive for heroin and starts the first methadone treatment program in the Department of Corrections in September 1969 for heroin addicts.[11][12]

text: 1970: The Controlled Substances Act (CSA) was enacted into law by Congress. The CSA is the federal U.S. drug policy under which the manufacture, importation, possession, use and distribution of certain substances is regulated.

text: 1971: The Vietnam War is linked with concerns over drugs and the Nixon administration coins the term War on Drugs.

text:
Starting in 1965, the CIA's Airline, Air America had been flying opium for the Hmong (Meo) hill tribe opium farmers until as late as 1971. "Southeast Asia's Golden Triangle region has become a mass producer of high-grade no. 4 heroin for the American market." The heroin refined in Laos was being shipped to Vietnam and this high grade fluffy white no. 4 heroin is what was being used by U.S. soldiers there.[13]
May: Congressmen Robert Steele (R-CT) and Morgan Murphy (D-IL) release an explosive report on the growing heroin epidemic among U.S. servicemen in Vietnam.[11]

tag: ul

text:
June 17: Nixon declares war on drugs.[11][16][17] He characterized the abuse of illicit substances as "public enemy number one in the United States". Under Nixon, the U.S. Congress passed the Controlled Substances Act of 1970. This legislation is the foundation on which the modern drug war exists. Responsibility for enforcement of this new law was given to the Bureau of Narcotics and Dangerous Drugs and then in 1973 to the newly formed Drug Enforcement Administration. During the Nixon era, for the only time in the history of the war on drugs, the majority of funding goes towards treatment, rather than law enforcement.[11]
Later in the month the U.S. military announces they will begin urinalysis of all returning servicemen. The program goes into effect in September and the results are favorable: "only" 4.5% of the soldiers test positive for heroin.[11]

text: 1972, March 22: The National Commission on Marijuana and Drug Abuse recommends legalizing possession and sales of small amounts of marijuana. Nixon and the Congress ignore the suggestion.[18]

text: 1974: A Senate Internal Security Subcommittee, chaired by Sen. James O. Eastland on The Marihuana-hashish epidemic and its impact on United States security invited 21 scientists of the first rank from seven different countries to testify, including Gabriel G. Nahas and Nils Bejerot. The testimony of these experts showed that the evidence accumulated by scientific researchers on marijuana had turned dramatically against this drug.[19][20]

text: 1979: Illegal drug use in the U.S. peaks when 25 million of Americans used an illegal drug within the 30 days prior to the annual survey.[21]

text: 1986: The Anti-Drug Abuse Act of 1986 was enacted into law by Congress. It changed the system of federal supervised release from a rehabilitative system into a punitive system. The bill enacted new mandatory minimum sentences for drugs, including marijuana.

text: 1988: Near the end of the Reagan administration, the Office of National Drug Control Policy was created for central coordination of drug-related legislative, security, diplomatic, research and health policy throughout the government. In recognition of his central role, the director of ONDCP is commonly known as the Drug Czar. The position was raised to cabinet-level status by Bill Clinton in 1993.

text: 1992 Illegal drug use in the U.S. fell to 12 million people.[21]

text: 1993, December 7: Joycelyn Elders, the Surgeon General, said that the legalization of drugs "should be studied", causing a stir among opponents.[citation needed]

text: 1998: The government commissions the first-ever full study of drug policy, to be carried out by the National Research Council (NRC); the Committee on Data and Research for Policy on Illegal Drugs is headed by Econometrician Charles Manski.

text: 2001: The National Research Council Committee on Data and Research for Policy on Illegal Drugs is published. The study reveals that the government has not sufficiently studied its own drug policy, which it calls "unconscionable". (see more under Efficacy of the War on Drugs)

text: 2001: 16 million in the U.S. were drug users.[21]

text: 2008 Several reports state the benefits of drug courts compared with traditional courts. Using retrospective data, researchers in several studies found that drug courts reduced recidivism among program participants in contrast to comparable probationers between 12% to 40%. Re-arrests were lower five years or more later. The total cost per participant was also much lower.[22] Office of National Drug Control Policy reports that the Actual youth drug use, as measured as the percent reporting past month use has declined from 19,4% to 14,8% among middle and high school students between 2001 and 2007.[23]

text: 2009 Gil Kerlikowske, the current Director of the Office of National Drug Control Policy, signaled that the Obama Administration would not use the term "War on Drugs," as he claims it is counter-productive and is contrary to the policy favoring treatment over incarceration in trying to reduce drug use. "Being smart about drugs means working to treat people who go to jail with a drug problem so when they get out and return to the communities you protect, you will be less likely to re-arrest them".[24]

text: 2010 California Proposition 19 (also known as the Regulate, Control & Tax Cannabis Act) was defeated, with 53.5% of California voters voting "No" and 46.5% voting "Yes."[25]

text: 2010 The Fiscal Year 2011 National Drug Control Budget proposed by the Obama Administration devote significant new resources, $340 million, to the prevention and treatment of drug abuse.[26]

text: 2012 Colorado and Washington (state) pass laws to legalize the consumption, possession, and sale of marijuana.

text: 2014 Alaska and Oregon pass laws to legalize the consumption, possession, and sale of marijuana.

text: In 2016 recreational marijuana use is legalized in California, Massachusetts, Nevada and Maine.


document_title: List of largest employers

question_text: list of companies with highest number of employees

text: List of largest employers

text: Companies and militaries[edit]

text: Non-corporate employers are included in this list:

text:
Employees

Employer
2015[1]
2010[2][3]
Headquarters

United States Department of Defense

3.2 million

United States

People's Liberation Army

2.3 million

China

Walmart

2.1 million

United States

McDonald's[note 1]
1.9 million
1.7 million
United States

National Health Service
1.7 million
1.4 million
United Kingdom

China National Petroleum Corporation
1.6 million
1.7 million
China

State Grid Corporation of China
1.5 million
1.6 million
China

Indian Railways

1.4 million

India

Indian Armed Forces

1.3 million

India

Hon Hai Precision Industry (Foxconn)
1.3 million
0.8 million
Taiwan[4]

tag: table

text: Largest private and semiprivate employers[edit]

text: The rankings below are the ten private-sector companies providing the most jobs worldwide, according to the 2017 list compiled by Fortune magazine.[5]

text:
Public and semipublic companies with the most employees in the world

Rank
Employer
Country
Employees

1
Walmart
 United States
2,300,000

5
China National Petroleum
 China
1,512,048

6
China Post Group
 China
941,211

6
State Grid
 China
926,067

5
Hon Hai Precision Industry
 Taiwan
726,772

6
Sinopec Group
 China
713,288

7
Volkswagen
 Germany
626,715

8
United States Postal Service
 United States
574,349

9
Compass Group
 United Kingdom
527,180

10
Agricultural Bank of China
 China
501,368

text: Notes[edit]

text: Jump up ^ including franchise employees

tag: ol


document_title: Frankie and Johnny (1966 film)

question_text: who played nellie bly in frankie and johnny

text: Frankie and Johnny (1966 film)

text: Plot[edit]

text: Johnny and girlfriend Frankie are performers on a Mississippi River riverboat, which also has a casino. Johnny is a compulsive gambler who is down on his luck and in debt.

text: Johnny and his friend Cully, a musician and composer, visit a gypsy camp to get his fortune told. A lady reads tea leaves and tells Johnny that he will soon meet a red-haired woman who will bring him luck.

text: Back on the boat, Johnny and Cully promptly encounter Nellie Bly, their boss Clint Braden's on-again, off-again girlfriend. Nellie has just caught Braden seducing another singer, Mitzi. Since she has red hair, Nellie is persuaded by Johnny to touch his chips for luck. After he wins, Johnny is convinced that the gypsy must be correct.

text: Frankie finds out and becomes jealous, as does Johnny's boss. In a bit of musical theatre, Frankie shoots Johnny for dancing with Nellie Bly while singing Cully's latest song. A Broadway recruiter sees the riverboat show and buys the rights to this new song, suggesting that Frankie and Johnny should work together with him in New York City.

text: Landing in New Orleans, the musical cast and riverboat crew attend a masked ball. Frankie, Nellie and Mitzi all rent the same Madame Pompadour costume.

text: Johnny is eager for the luck of redhead Nellie to win more money, contrary to Frankie's expressed wishes. Being masked and in costume, Frankie and Nellie scheme to switch places to test Johnny's lucky-redhead theory. Johnny wins $10,000 at roulette, but when he kisses the woman he believes to be Nellie, he discovers the switch. Frankie is furious and throws all the winnings out of a window, into the street.

text: Blackie, a dim-witted stooge who works for the boss, hears Braden drunkenly complain about how he has lost Nellie. Thinking he can be of help, Blackie switches the blank cartridge in Frankie's stage gun for a real bullet.

text: The boss tries to prevent the impending disaster, but arrives on stage too late and Johnny is shot for real. Frankie forgives his gambling as the love of her life appears to be dying but he stands up, apparently unhurt. Johnny was saved because the bullet struck a lucky medallion he was wearing that Frankie had given him.

text: Primary cast[edit]

text:
Elvis Presley as  Johnny
Donna Douglas as  Frankie
Harry Morgan as Cully
Sue Ane Langdon as Mitzi
Nancy Kovack as Nellie Bly
Audrey Christie as Peg
Anthony Eisley as Clint Braden
Robert Strauss as Blackie
Joyce Jameson as Abigail
Naomi Stevens as Princess Zolita (uncredited)
Dave Willock as the bartender (uncredited)

text: Production[edit]

text: There was discussion that Ann Margaret might play the female lead - she owed Edward Small a film under a contract with her.

text: Filming started in May 1965 and took place in Hollywood and New Orleans.[2] Under his contract with United Artists, Presley was paid $700,000 plus 50% of the profits.[3]

text: Reception[edit]

text: Howard Thompson of The New York Times reported that the film opened with a "dull thud" and "sheds feathers almost from the start" stating that Presley's formula never before "seemed so feeble and so obvious."[4]

text: Variety wrote that the film "hits the mark as pleasant entertainment, and is certain to be another Presley money-winner."[5]

text: Kevin Thomas of the Los Angeles Times felt that despite "generally mediocre production values" particularly lacking in good dance numbers, the film was "fast-moving fun" and a good vehicle for Presley.[6]

text: The Monthly Film Bulletin wrote: "After a long series of lifeless flops, Elvis Presley is here right back on form; or at least the film round him is (Elvis himself rarely changes) ... Although the story tends to sag a little during the romantic complications, the script is pleasantly witty, with Henry Morgan and the enchanting Nancy Kovack outstanding."[7]

text: Soundtrack[edit]