Collider is excited to exclusively present the extensive, in-depth, and insightful production journal of Blade Runner 2049 producer Cynthia Yorkin. What follows below is a journal written by Yorkin detailing her experience making the ambitious Blade Runner sequel, presented in full. Enjoy.

The following is a journal, or a ‘diary’ of sorts, reflecting my thoughts, observations, and experiences during the production of, and press events attendant to, Blade Runner 2049. The road to making this film was long and often arduous, but also thrilling, wonderful and one of the most exciting, and gratifying experiences of my life.

LIST OF PLAYERS

FILMMAKERS:

  • Andrew Kosove        Alcon Co-President & Co-CEO, Producer
  • Broderick Johnson   Alcon Co-President & Co-CEO, Producer
  • Bud Yorkin                Producer
  • Ridley Scott              Executive Producer
  • Frank Giustra           Executive Producer
  • Tim Gamble              Executive Producer
  • Bill Carraro               Executive Producer
  • Don Sparks               Associate Producer
  • Denis Villeneuve      Director
  • Tanya LaPointe        Assistant to Denis Villeneuve
  • Roger Deakins         Cinematographer
  • James Deakins         Roger Deakins wife & assistant
  • John Nelson             Visual Effects Supervisor
  • Douglas Trumbull     Special Photographer Effects Supervisor on Original BR
  • Michael Green          Screenplay By
  • Dennis Gassner       Production Designer
  • Dana Belcastro        Co-Producer
  • Paul Docherty          Visual Effects Coordinator
  • Francine Maisler      Casting
  • Doug Harlocker        Property Master
  • Renee April              Costume Designer
  • Carl Rogers              Development Executive at Alcon
  • Ryann Fraser           Assistant to Andrew Kosove and Broderick Johnson

CAST:

  • Ryan Gosling            K
  • Harrison Ford           Rick Deckard
  • Ana de Armas          Joi
  • Robin Wright             Lieutenant Joshi
  • Sylvia Hoeks             Luv
  • Chloe Bruce              Sylvia Hoeks Stunt Double
  • Jared Leto                 Niander Wallace
  • McKenzie Davis        Mariette
  • Carla Juri                  Dr. Ana Stelline
  • Rachel                      Sean Young
  • Hiam Abass              Freysa
  • Dave Bautista           Sapper Morton
  • Barkhad Abdi           Doc Badger
  • Wood Harris             Nandez
  • Ben Johnson            Elvis Impersonator

OTHER:

  • Jessica Yorkin -  my daughter
  • Michael Yorkin - my son

MONTREAL

Friday, March 10

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Image via Alcon Entertainment / Warner Bros.

In Montreal, cold and storming, with Andrew, Broderick, Bill, Dana, John Nelson, Dennis, Roger Deakins, Paul, Don, and Denis to visit several CGI houses and review their work. Fascinating and diverse. John explained that he likes to use several houses, which makes sense as there will be a lot to do on this film in a short period of time.

BUDAPEST

Friday, April 10

Flew to Budapest with Andrew and Broderick to meet with the team for location scouting, including Denis, Bill C., Roger, Dennis, and Dana.

These are a few practical locations we are considering:

  • Kelenfold Boiler Room – Bibi’s Bar
  • Inota Power Plant – Orphanage boiler room
  • Old TV Building – Casino
  • Szalay Street Corner Building – K’s exterior and snow blower street

OR

  • Balaton Street – K’s exterior and snow blower street
  • Tin Factory “Pyramids” – Abandoned basement
  • Vas School – K’s apartment staircase option

We also held several production meetings to discuss budget, sets, shooting schedule, casting, and writing. We are currently waiting on new pages from screenwriter Michael Green.

Friday, June 24

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Image via Alcon Entertainment / Warner Bros.

So much is happening, we are in pre-production meetings daily while sets are being built. The costumes are fabulous! The props are incredibly original. I’m in awe of what is being accomplished, the miniature work is happening in New Zealand, Spinner work is being done in England. We just made visits to the final exterior locations and saw the final designs from Dennis and Paul showing us the latest CGI and special effects. We are making many decisions, all at once, and it’s exciting to see all the parts coming together.

Developing this project and getting into the details of the story has been so exciting. To sit in a room with Hampton, who is so brilliant and creative and in sync with this material, along with Carl and Andrew and Broderick and Michael Green has been more thrilling and intellectually stimulating then I could have imagined.

Hampton has such a deep intimate history with the material and he sees the story so clearly.

Looked at Francine’s casting suggestions with Denis, Andrew and Broderick. Denis so loves all the actresses, as well as Hiam Abbass and Dave Bautista, for their roles. We are so lucky to have this team of great acting talent.

Monday, July 10

Continued pre-production meetings today. We are filming inserts now so they are ready before Ryan begins. We begin principal photography on July 12 and are enthusiastic to start.

Robin Wright is here. She was able to fit this into her House of Cards schedule. Very tough scenes, she is terrific and such a pro. Sylvia Hoeks as Luv is fantastic --so scary. Denis thinks she is one of the finest actresses he’s ever worked with.

Sunday, July 24

I’ve been here since June 24 – exactly one month. I’m finally getting into a rhythm, despite schedule turned upside down, some very hot weather, and especially an entirely new world without Bud. My husband has died but I’m helping to birth a major film which we worked on together for over twelve years. A new chapter and a new ‘role’ as producer. It’s strange to enter into this new world. But after years of marriage and raising children, I find myself back where I started. It’s truly a miracle to have made it here, and I’m so sad Bud isn’t here to share in it. Hearing about the progress with the casting, the story, the announcements kept him going. I would read him the press releases and discuss the progress we were making on the project, which he loved. He was such a talent and a decent, kind and caring man. I miss him so much. I carry his picture with me everywhere.

Monday, July 25

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Image via Alcon Entertainment / Warner Bros.

We are beginning the 3rd week of shooting. I just saw dailies from last Wednesday, Thursday and Friday including scenes:

  • Luv taking bones and killing Coco
  • K after he retires Sapper - the shower is so cool and a nod to the hair dryer in first film
  • K and Joi - afterwards

Ryan is so good in this with a combination of masculine, sexy strength and vulnerability. He and Ana have great chemistry. And it’s such a welcome respite from the grey gloomy world they inhabit. In one scene, she changes costumes from a 50’s housewife into a baseline black as she picks up a Nabokov book, then to a silver spangled party dress asking him to dance, back to black baseline and then finally a blue dress to twirl in with new found freedom. It gives Ryan so many colors to play. And Ana is so beautiful and a breath of fresh air and emotion in K’s otherwise grey, lonely world. When she disappears later, it will be so sad for the audience.

I’m also in awe of James Deakins, Roger’s wife, she does such a good job.

Tuesday, July 26

Bad allergies. The snow / rain / smoke machine has been working non-stop and is affecting my sinuses.

Wednesday, July 27

Discussed a scene with Gaff that is essential to the mythology of the movie. Coincidently, Gaff speaks in Hungarian in first Blade Runner. And here we are all these years later in Budapest!

Meanwhile we are filming the threesome scene today, which we refer to in one liner as the “shee-some.” This has never been done before, this intricate dance wherein Ana and Makenzie have to duplicate their exact moves to be blended together. Each cut has to be done twice to match. Ana once, then Mackenzie. John Nelson is brilliant with special effects. Ana and Ryan have great chemistry. She’s so beautiful and darling. Their love story will be so exciting to watch and it such a ray of sunshine for the film. Ryan and I were talking and he said the blending of the two women feels as though they are creating a third person. Denis told me he loves this scene.

Thursday, July 28

Went to check out the big water tank we are building. 100 feet across with a floating platform. We saved $1M by building it here instead of going to Malta. We have about 230 crew per day on this film which would have had to relocate. It’s also really cool to think that such a huge piece of the set will get to stay on in Budapest and be a part of many more films for years to come.

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Image via Alcon Entertainment / Warner Bros.

Meanwhile, we are all still working on coming up with a title for the film.  I read a list of suggestions and wasn’t grabbed by anything, so I made some notes on words that had depth and meaning for me. I went to bed thinking about it and woke up in the middle of the night with the idea “Blade Runner: Time to Live”.  It felt right.  A play on words that refers to Roy Batty’s line from the first film “Time to die” – one of the most important and beloved scenes in the original. “Time to Live” foreshadows what our film is about – the replicants in the first film were never given the chance to live. It’s an homage with many layers, and it’s poetic.

John Nelson, VFX supervisor, showed us the plates being shot in Mexico, when K is on the way to Sapper’s farm. John explained how he would augment it with miniatures to give it more definition and depth. Need additional longer shots of rural town, not so much of the buildings.

We’re going ahead with Gaff’s scene and will film it at the end of this. He works in a nursing home.

Monday, August 1

Beginning week 4 of filming.

Doing scene 81 and rehearsing 84 – the morning after the threesome with Joi and Mariette. Mariette awakens while K is in the kitchen. She dresses and places a tracing device in his coat.

Tuesday, August 2

Scene 112AB – Luv breaks into K’s apartment looking for him and sees the broken antenna. Joi is free.

Scene 84 – Joi begs K to delete her from the console. This is an important moment in this love story because Joi is risking everything to be human – to be a real girl.

Wednesday, August 3

Moving off Origo Studio for the first time to Vas School. So extraordinary with the most amazing old American Indian and Aztec tiles. It’s a Heritage sight.

84A - Doc Badger – Barkhad Abdi – is wonderful and speaking in Somali.

He is examining the small wooden horse toy of K’s. Tells him it indicates radiation – from a dirty bomb.

Friday, August 5

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Image via Alcon Entertainment / Warner Bros.

Waited for Blair Rich, Head of Marketing at Warners, to land. Met her at Origo studios and toured all the sets. Dennis Gassner was wonderful, explaining how he worked out the vision he and Denis have for the film.

He described every detail to Blair. It was magical. Wallace’s office is huge and going to be amazing, especially with the water. Deckard’s plate glass is installed and it looks out at Vegas.

Trash Mesa now has all the little tables and tech items on them. It’s huge. Blair was so impressed by the amount of practical sets we’re doing instead of CGI.

Tuesday, August 9

Frank, Tim, and five friends came to visit straight from climbing Mt. Kilimanjaro. I took them to lunches, dinners, and showed them around the set. Frank is thrilled and will come back in October when Harrison is here.

Wednesday, August 24

Back in Budapest after being in LA and London.

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Image via Alcon Entertainment / Warner Bros.

Bibi’s Bar – the set is all we had hoped it would be and more. It’s amazing to see the storyboard become this extraordinary lit up set filled with extras and rain and smoke. It’s such an homage to the original. Mackenzie and Ryan have such good scenes. She reminds me of Darryl Hannah – even her costume is reminiscent.

Andrew told me they are going with “Blade Runner 2051” (or 49 if they want the exact 30-year span with the 9 again). He and Sony both liked my suggestion of “Time to Live” as one of the top 3. Sony thinks they will end up using my title for the one of their presentation pieces later down the road in marketing.

Monday, August 29

We’re half a day behind. Discussed w/Don and Bill where to make it up. Ana’s lab is too important and too technical to rush or cut anything. Need to do the Mariette campfire scene before she leaves the 24th. It’s modular so it’s doable. Could be that Deckard’s walk through the Vegas statues will go faster and we can make it up there. Have to wait and see. Will need to be here tomorrow for the rooftop scene. The way the rain goes through Joi on the roof is so magical and I love the romantic feeling between them when K dances with her.

Tuesday, August 30

We all tried on the Virtual Reality glasses and viewed the rough cut of scenes for marketing. It’s amazing! Sitting down and spinning in a chair with the VR headsets kept me from falling down.

I took a photo in Bibi’s Bar. I was here!

Finishing up K’s apartment rooftop scene today. Dennis came up with the giant “Moebius” sign on the roof as an homage to Jean Moebius Gerraud, the genius graphic artist whose work inspired Ridley during the making of the first film. It’s a beautiful scene that perfectly captures a yearning to be more human. And the rain makes Joi look more human - it gives her form until she shorts out.

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Image via Eric Charbonneau

Wednesday, August 31

Dr. Ana Stelline today. Set is based on the “Cocoon” museum in London. It’s like being in a giant egg with the most amazing lights. Roger is truly a genius. Carla Juri gives a dreamlike performance – perfectly suited to someone living in a protected environment for so long. Her craft of creating memories is fascinating - our bodies react to memories as if we are reliving them, the same way they do when you dream. Hence, giving the replicatants memories is so important as essentially it is a way of giving them a meaningful existence and an opportunity to experience actual emotions. Dr. Stelline creates these emotions with skill.

Thursday, September 1

Doing birthday cake part of same scene with Ana and K. So beautiful and haunting, and so appropriate since her “birth” is the most important part of the film. Carla is truly unlike anyone else. Her rhythm lends itself well to someone who has actually been trapped behind glass since she was 8.

The way the birthday candles are set up on a swiveling rotating plate so she can seemingly manipulate them to make lifelike memories is fascinating. She’s the best “memory maker” and has a special empathy for replicants, doing all she can to make their lives happier.

The prop master, Douglas, created the cake and all the other great items for the memory scenes.

Since we are a day behind, Luv’s spinner on a gimbal will be postponed and the Mariette campfire will happen next Tuesday instead. We lose Mackenzie soon but we have Luv and the spinner to play with. So that will float around for a while until we can fit it in somewhere when we have time.

Monday, September 12

Jared is here filming his office scene. The set is magnificent, particularly with Roger’s mysterious and poetic lighting. We first hear Jared’s voice with Luv in this scene and it’s deep, beautiful and ominous; he has the voice of God. Decided on Jared having long hair and a beard and he looks striking and mysterious in his tests, especially with his riveting blind eyes. This is truly one of the most important and exciting scenes in the film.

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Image via Alcon Entertainment / Warner Bros.

Ryan is in Toronto until Thursday.

Ridley coming in Wednesday night. He, Denis, Ryan and Harrison will do a photo at the bar in Deckard’s apartment set. I suggested they do it at the bar a la the famous Slim Aaron’s photo of Clark Gable, Gary Cooper, Jimmy Stewart and Van Heflin photo. I have a copy of that photo in my house and showed it to Andrew today to remind him. He agreed and said our photo should be shot in the same way.

Harrison is here with shorter hair and no beard since he wants to recreate his character from the original as accurately as possible. He’s so excited to be here! He had a long dinner with Denis and they had a great time together. I’ll see him today for his hair, makeup and costume tests. He’s such a pro and a talented actor.

Harrison just did his test and he looks fantastic! He’s bringing his trademark appeal and humor and is in such good shape. His trainer is with him and he’s finished with makeup and hair. He’s in high spirits and gave me a big greeting today.

We went to see the transport limo and encountered some glitches. Door is too heavy to stay open but it has to be due to the pressure of the water that will flow over it.

Just went up to see the amazing reflections on the wall behind Wallace on the office set. The lighting is stationed on a ring high above the set and starts out soft, becoming harsher as it comes down and reflects off the white walls. Roger does each set with reflections differently and it’s astonishing to see him work.

Watched a lot of scenes with Harrison who loved the sets, lighting, and acting. He said he’d never seen anything like the Vegas walk through with K. He’s very impressed.

Stunt with replicant being born was brilliant. 2 takes!

Tuesday, September 13

Jared continues to give a magnificent, disturbing, dangerous, brilliant performance. His voice is so mesmerizing; it’s going to sound remarkable in the film.

Scene continues today where Wallace examines the newborn replicant and give a long, haunting monologue about life and expanding the workforce. He’s clearly a mad man, desperate to understand Tyrell’s secrets about bearing children.

Walking alongside Jared outside, I introduced myself as one of the producers. I said I knew he couldn’t actually see me with his blind contacts in but that he was doing an incredible job. He was so dear, saying “thank you for hiring me, I’m glad you didn’t fire me”.

Ridley in tomorrow.

Wednesday, September 14

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Image via Alcon Entertainment / Warner Bros.

Ridley arrived today. We showed him a sample of dailies from many scenes so he could get a sense of the bigger sets and the way that Ana is being shown, particularly with lighting as well as the issues we’ve had with Joi’s transparency.

Great dinner at Café Pierot in the Castle district up on the hill. Ridley, Harrison, Andrew, Broderick, and me. Denis and Tanya came a little later. Harrison is extremely funny and quick-witted; he had us laughing all evening. Everyone is so thrilled he is here, it will be so exciting to have him on set.

Thursday, September 15

VFX Supervisor John Nelson is giving a presentation to Ridley demonstrating all of the special effects. Again, explaining the Ana scenes from his perspective with models. Ridley wanted to know more about the plates, models, and prices, and told us about the challenges he and Douglas Trumbull faced with the smoke level consistency in the first film.

Ridley didn’t like the ceiling mechanism for Joi and said he preferred an internet type remote. John explained which companies were doing the special effects, plates, models, the layers use to create the city, and how Joi changes when she is transparent and overlaps with Mariette in the scene with K. Every time John presents it’s amazing and thorough.

Friday, September 16

Still shooting the transport scene with Harrison and Sylvia (Luv). It was a long and arduous day involving lots of water. Harrison mentioned to me a conversation he had with Andrew and Broderick about some of the writing. He explained that he really likes working with Denis, who came up with improved, concise dialogue. We made the transport conversation simpler so Deckard now says, “Where are you taking me?” and Luv says, “Home.”

Jared spent the day doing an “In World” film with 11 minutes of dialogue according to Michael Green. Jared was phenomenal and mastered it all.

Monday, September 19

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Image via Alcon Entertainment / Warner Bros.

Starting a new scene with Wallace, Deckard and Rachel.

Talked to Denis after rehearsal and he was very happy that today went so well. He explained that he always feels like shit until the rehearsal, when everything comes together and he knows it’s going to be good.

Jared had pages of what was essentially a monologue and was flawless in his performance with Harrison, who is equally brilliant and emotional. Wallace (Jared) struck the perfect balance of a mad man who is brilliant in his madness. This is one on the most important scenes in the film and Denis is thrilled with it.

Tuesday, September 20

Continuing the “Rachel” scene. The set with Wallace’s office floating in the water is spectacularly lit, and reminds me of entering a sort of womb. Saw dailies from the last few days and it’s going to be brilliant when it’s cut together.

The stand in for Rachel is an uncanny look alike. Even Sean said she looked just like her.

It’s such a gift to watch Harrison perform this role, he embodies a masculine cool guy toughness while at the same time conveying such emotion. The scene where he walks past Rachel commenting the eye color is wrong left everyone on set in tears. I don’t think it is going too far to say he is one of the best living actors today.

Wednesday, September 21

Jared is so incredible. He performs long stretches of dialogue over and over again and is completely prepared, always giving a riveting performance.

Jared finished tonight so my daughter Jessica and I took a golf cart over to his trailer to visit him. He hadn’t had the chance to see us previously since he had, impressively, kept his blind contacts on while shooting and was constantly in character. We arranged to say goodbye and had a lovely talk. He leaves for Tokyo tomorrow to finish a film and said they would be cursing him because he left their set abruptly to come to film BR.

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Image via Cynthia Sikes Yorkin

Thursday, September 22

Working on Penthouse scene. Very important to establish certain points in this scene in an emotional way and not hit the audience over the head with exposition.

Worked on the timeline with Michael Green, Andrew and Broderick to establish Ana’s birthdate and age so that she’d be in her early 30’s. We had to figure it out vis-à-vis Freysa and Sapper fighting on Calantha, coming back to earth and how and when they met up with Harrison. We put a lot of thought into how fast these previous events all occurred and decided she would have been born around 2021 – 2022.

Tuesday, September 27

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Image via Alcon Entertainment / Warner Bros.

My mom and Sister have been visiting this week, it was so much fun to introduce them to the BLADE RUNNER world and show them what we’ve been working on for so many years. I’m going to bring them to set this afternoon to meet Ryan.

Finishing Stage 6 today and will go to Vegas casino Thursday and Friday.

Ana working today – back from LA. While she was gone she sent me a darling photo of herself at Armani where she was with my friend Wanda who dresses celebrities. Her contagious energy reminds me of when I was young and hopeful, looking forward to beginning my acting career and starting a new chapter in such an exciting city far from Wichita.

We’re doing French hours all week.

Saw dailies with Ridley, of the rewritten penthouse bar scene with Harrison and Ryan. We agreed that the best takes need to have real anger and fire so they don’t come across too sad. It’s going to be a wonderful scene. I’d argue that this is some of Harrison’s best work, but then again, he’s always so great!

Wednesday, September 28

Started Vegas casino today at the old TV station building. Evidently, about five years ago, some radicals took over the station to broadcast their views and ended up torching the place. Sadly, it’s destroyed a lot of it but it’s perfect for BR. We’re using the main entrance and it looks great. We have masks to keep the dust out of our face. There’s so much dust on the floor and in the room to show how long the building has been abandoned.

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Image via Alcon Entertainment / Warner Bros.

John Nelson showed us the pictures of the entrance to Vegas and we discussed including the Welcome to Las Vegas sign, although Denis is not sure if he wants it. The star is still in the drawing. Shot begins with a real lamppost and burnt out car and then goes into miniatures up until we reach the Luxor. We have to consider the two timelines and realities of the original movie as well as the real timeline of Vegas building history, which we’ll reestablish. Per our conversation, huge buildings would have been built in Vegas or big structures would have overlaid existing ones around 2008 or so. Our buildings would have been built about 10 years before 2021 (when Ana is born), when the blackout happened.

One of my favorite things in Harrison’s penthouse apartment is the Sinatra hologram which sets such a mood for Deckard. I’m so glad we were able to license the music from the Sinatra estate. Andrew says this is a special nod to Bud as Bud directed Sinatra in his first film in Come Blow Your Horn. Sinatra was a huge star at the time so it was a big deal. Bud used to tell a story of how Sinatra told him they would work well together as long as Bud understood that they would need to stop filming every day at 5pm for cocktails. Bud agreed and the two remained friends for a very long time.

Monday, October 3

Today is Denis’ birthday so Tanya had t-shirts made with his favorite line: “I Deeply Love It”. It’s so touching and nice to see such a solid partnership between them. She’s so attentive. It reminds me of Bud and I. He’s on my mind so much, I’m missing him terribly.

Last day on Vegas set with Deckard and K. K is hiding then hits trip wire setting off the explosion, which looks extremely real.

Ryan does one-arm pushups to achieve the right level of adrenaline for the scene.

Harrison has to sprint down the long hall with the dog and its powerful, good thing he’s so athletic!

Tuesday, October 4

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Image via Alcon Entertainment / Warner Bros.

In the egg lab with Ana and Deckard shooting one of the most important scenes in the film. K and Deckard see her at the window. It’s snowing. K is injured but tells Deckard to go to her. He enters lab and sees his daughter for the first time. She’s created the same snowfall inside her lab as a memory. He’s crying, tears of joy, lost time, hope. It’s a spiritual moment.

Tuesday, October 11

Great fight scene with Ryan and Sylvia. Transport is wrecked on the sea wall with Deckard handcuffed in and it’s slowly sinking while Ryan and Sylvia fight. Waves crash as she fights him using martial arts and a knife.

Wednesday, October 12

More of the fight. Sylvia’s stunt double Chloe is amazing at martial arts. Looks just like Sylvia in action. Very exciting.

Denis came into the tent to say he’d like to stay on this exciting scene all night to get all of the pieces finished. This way, we won’t need Harrison in the middle of the night. Tomorrow is a day off and then it’s back to work on Friday at 3:00pm. We’ll finish this scene by Sunday morning as we’ve added 3 days here. Broderick said we are now right working up to Thanksgiving.

What an extraordinary crew! So professional, hardworking and dedicated; the best in their fields.

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Image via Steven Vaughn

Thursday, October 13

Turn around day so not shooting.

Trying to get Ryan out by Thanksgiving so he can be in NY to complete press for “La La Land”. He was supposed to take his family home to LA and then fly to NY but unfortunately it looks like there won’t be time. We’ll be lucky to get him out on Nov. 23 if all goes well.

The transport sequence took 3 days and other scenes have added on a handful of days so we’re now looking at 100 days of shooting rather than 91. Unfortunately, we’ve run out of Saturday shoot options and can’t work the crew 7 days since it would add up to 12 days straight. We have the option to come back at the end of January to add scenes if necessary.

Friday, October 14

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Image via Alcon Entertainment / Warner Bros.

Met Andrew and Broderick at Origo studio to see dailies from the last few days including the fight between Luv and K, which looks outstanding. Sylvia is extremely talented and brings a spot-on sense of danger to her role. And Ryan, as always, is terrific. Fight scene in the water looks great.

Tonight, we’re shooting the crashed transport as it sits on the sea wall. Broderick noticed that as they were filming the crash Luv jerks backwards and is then thrown back again as the transport skips across the water. For continuity, she should first be jerked forwards and then back. Denis appreciated this observation. Since they’d already been shooting the stuntwoman, we all discussed how to amend so Denis has coverage that is accurate and will match what he’s already shot. To fix the issue, we now have her jerk forward, then back, then forward, then back again to land near Deckard, now matching what was shot already. The stunt woman’s hand placement was setting her up to jerk forwards. So Luv put her hands behind the seat backs to start so she could jerk forwards then switched their hands back to behind the seat backs so she could jerk forward to match what was shot. Seemingly a little thing but it shows you how much detailed thought and planning goes into every shot.

Saturday, October 15

We are at the far end of the tank with the transport half submerged in the water.

John Nelson showed us previews of Vegas – how we get into town on the bridge, the tracks, where the MGM and Luxor are, and the buildings in the background. Weta has done gorgeous miniatures of the buildings. This future Vegas is built upon the old Vegas so it’s rooted in a reality that’s reminiscent of what you imagine the city to be in the future, although it’s ghostly and eerily destroyed.

Also saw the entrance to the police station, which is now more prominent and has a bright, well-lit landing pad on the roof.

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Image via Alcon Entertainment / Warner Bros.

First shot now at 9:05pm. We need additional waves and larger swells that will make the transport bob more noticeably in the water, but Gerd isn’t able to due to safety concerns. Disappointing because it would give the scene a heightened sense of excitement and danger, but we can’t achieve the desired effect on camera and don’t have time to linger on this shot. Instead we chose to do this as a close up because otherwise it looks too calm.

We’ve been up all night. Went down to the dock to see the transport, which is held up in the water by a giant crane. Another crane holds a nozzle that sprays water over the transport next to the wave maker. It’s cold and raining but they brought tons of hot water for the tank. Harrison and Ryan are laughing with Denis, who’s in the water in his wet suit. There are many divers on hand for safety. It’s an incredible effort by our crew. We got all of Harrison except for the close up shot and he and Ryan swim to shore. I’m blown away by all that Denis was able to get. We’re basically back on schedule. We all finally left around 6:30am after a 6:00 PM call time the night before!

Tuesday, October 18

At Sapper’s farm on the backlot shooting Ryan landing the spinner by the tree. Smoke machines going and set photographer, Steven Vaughn (he was the photographer on the first film) is getting great shots of Ryan emerging from the smoke with a green screen behind. Steven says he’ll probably fill it in with grey sky. So cold. It’s been so nice to talk about Bud with Steven and listen to stories from the first film from Steven’s perspective.

Wednesday, October 19

Still at Sapper’s farm shooting the spinner landing. Camera is hanging from the gimbal as Ryan goes into Sapper’s house.

Thursday, October 20

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Image via Alcon Entertainment / Warner Bros.

Outside at Sapper’s. Shooting Ryan in the spinner with the eyeball, talking to Joshi on his monitor.

Had a nice talk with Ryan about Peter Falk who he really liked. I told him about my first acting job as a magician’s assistant to Jack Cassidy on an episode of Columbo and how nice Peter was to me.

It’s so cold we did a group hug with Roger, James, his wife and Tatiana. Big hug from Denis. He really sets the tone on set, inspiring everyone to work hard and give this film their all. I’m so impressed by how kind and professional our crew is; it makes things run so smoothly.

Friday, October 21

Back at tank for night shoot with Luv and Ryan stand-ins. Ryan will arrive soon to do close ups with her, drowning her. It’s raining. He’s strangling and holding her up to the ceiling of the transport vehicle and then pushing her down under the water and drowning her. Sylvia is amazing, such a trooper doing this for hours, as we get closer in. She’s a break out star in this film.

Monday, October 24

Carla’s last day. We added in a scene where she walks in front of a green screen - we’ll put in her apartment as she goes across the walkway. Big applause for her as we say goodbye. Hard to believe we’re in the home stretch!

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Image via Alcon Entertainment / Warner Bros.

Saw the lighting tests for the Vegas show; it’s a beautiful yet dramatic light show. Roger deserves an Oscar nomination for this. He’s been nominated 14 times. I have a feeling this is his year!

Ryan and Harrison were called in to rehearse the fight sequence. It has to be done in pieces in order to have the exact background and music so we can duplicate it for second unit filming; it’s very complex. The location of each hologram at any given moment will be synched with the music, lighting and actors. The room is filled with banquet tables and abandoned drinks mired in dust. It’s dark until Ryan and Harrison activate the lights as they walk through shadows, at which point the bright show and remnants of the old Vegas acts illuminate them. There are holograms of dancers and a tiger walking by.

Tuesday, October 25

Started the Vegas show/fight today.

Elvis impersonator is really good. We will impose Elvis’ face on his. He already looks like a glowing hologram in this light. It’s very dramatic with the strobe lights going on but it’s a little dark and hard to see. This is probably how it came to be that Harrison accidentally punched Ryan today. It was clearly a mistake and Ryan was such a good sport about it! I believe Harrison plans to bring Ryan a bottle of scotch as an apology.

Will be a late night. We wanted to get 15 shots but will probably get to 12 if we’re lucky.

We really want to catch up so everyone can be home for Thanksgiving.

Denis just told me he is thrilled with how the scene is going. The way he sees the scene in his mind and keeps track of all the moving parts in each shot is genius.

Ryan is wrapped so he can come in early tomorrow and Harrison can come later, which gives us more time. We’ll have maybe an hour, but every bit helps!

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Image via Alcon Entertainment / Warner Bros.

Talked with Steven. He showed me the latest photos of today, and the one of Sylvia in the hood is hauntingly beautiful.

Clapping for Elvis (Ben Thompson) – he has great moves and gyrations.

We got all the shots.

Wednesday, October 26

Fight scene going well.

I’m meeting with Denis, Don, Bill, Andrew, and Broderick at lunch. Scheduling Sapper and tank this Friday, so we’ll have a split day. Originally, 2nd unit was going to set up as much as possible and light at the tank while they are shooting Sapper but Roger wants to set it up himself, not 2nd unit. Andrew and Broderick think Pierre’s work is terrific, so we’ll have to add half a day. He wants to control the lighting, especially since these are important shots are with principal cast.

John Nelson showed us some pictures that will be used for the Entertainment Weekly cover story. This cover is very important for us.

Also saw some WETA work and it’s amazing.

Thursday, October 27

Dave Bautista is wonderful and his work both in the film and the in-world piece is thrilling to watch. I think these in-world pieces are going be wonderful in bridging the mythology between the universe in the original film and ours 30 years later.

Tuesday, November 1

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Image via Alcon Entertainment / Warner Bros.

Rehearsing inside Sapper’s house with Ryan and Dave. They are constructing a wall for the fight to break through. Padded wall just came out. Dave is like a solid mountain.

Wednesday, November 2

Shooting breaking through the wall to the next room where the fight continues as Ryan tries to take Sapper in. Denis and I discussed having Sapper’s dialogue happen once he gets up. Sapper would then decide to charge K, which provokes K to shoot him. Sapper decides to die rather than be taken in and examined which could give away his “piece of the puzzle”. We don’t want K to assassinate him. Need to see it from Sapper’s point of view. This supports the storyline with Freysa later saying how each of them had a piece of the puzzle regarding the child.

Discussion about schedule – not able to finish this fight sequence today because it would cause a late call time for rest of week. Just decided to go ahead and shoot late as to finish this up tonight. Don will let us know if we get into the position where we can’t finish at which point we’ll decide about moving.

Just saw dailies from Friday when K is first introduced as he walks into Sapper’s place. The shot coming into the rusty red doorway surrounded by yellow walls is incredible. Dave Bautista is exceptional; he’s been perfectly cast. The scene begins on such a low-key tone, and the violence quickly escalates with Dave smashing Ryan’s head against the wall, crashing through it, still fighting.

Thursday, November 3

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Image via Alcon Entertainment / Warner Bros.

In Penthouse. Siren has gone off to warn Deckard that someone is coming – Luv’s men. As Deckard and K run toward the spinner to leave, K grabs him in time before the spinner is hit. The explosion was done in 1 take. So extraordinary and extremely loud. We weren’t quite prepared for it in our tent.

Friday, November 4

In Penthouse with spinner on gimbal coming into the window, turning and landing, it’s a thing of beauty. Agents get out and drag Deckard toward the spinner. He comes to and fights but is knocked down by Luv’s agents and dragged into spinner.

Went with Andrew to 2nd unit to see the Vegas dancing sequences. Doing the go-go girls. Saw the monitor where K and Deckard are fighting around and through holograms.

Sunday, November 6

Wrap party early before anyone leaves. My daughter, Jessica Yorkin and I attend the festivities. It was a blast having everyone together in one place to celebrate our incredible journey.

I told Harrison how great he is in the film and how we couldn’t have done it without him. He said I was so sweet and mentioned that he loves Denis.

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Image via Cynthia Yorkin

Monday, November 7

This is a very challenging week since Harrison needs to be finished by tomorrow so he can leave on Wednesday. It’s very technical with the spinner and all of the moving parts. I’m amazed that we’ve managed to stay on schedule give or take a day, even with the addition of a handful of scenes.

Joi (Anna) is here for an important scene with Luv when the emanator is destroyed. Joi appears to try stop Luv from killing K but Luv viciously smashes the emanator killing Joi. It’s one of a series of scenes that will be an undoubtedly emotional ride for the audience. Joi’s character is more human than human.

The scene might be too brutal, but Denis wants to try it. Luv is putting her fingers in his stomach and then stabbing him!

The set is incredibly hot with all the lights; outside it is freezing.

Just saw dailies w/Broderick and Andrew and discussed the speed of spinner entering and exiting the building. It looks better double time, so we’ll decide in post.

Need to get a shot of Deckard’s dog barking today. May complete with 2nd unit.

Tuesday, November 8

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Image via Alcon Entertainment / Warner Bros.

Stage 3 is being used for the outside of Ana’s lab and it’s covered in snow. This will be the last scene of movie, as K and Deckard are walking through the snow toward the lab.

Just finished Harrison’s last shot as Deckard. It was very emotional, and everyone was crying and clapping for him. I said goodbye to Harrison. He’s so happy with Denis, Ryan, Roger and the entire experience. This is a huge day getting this delicate scene just right.

Wednesday, November 9

Covering the spinner for scenes today as it’s so sunny outside. Fortunately, we expect overcast skies and slight rain tomorrow. We’re shooting Ryan flying to Trash Mesa with Joi today.

We encountered some problems with the screen being gray as it prevents adding plates of the land outside of the spinner windows with CGI. We’ve wasted a lot of time fixing the grey one.

The question was whether to change it now or shoot all we can with grey then change to blue when we get to those angles where it’s required. Roger and Denis want the grey for the flying and don’t want blue for all the shots, so that’s what we are doing. Luckily Roger, Denis and John will get what they need.

Thursday, November 10

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Image via Warner Bros.

Started on the Trash Mesa today. Perfect overcast weather. This shipyard graveyard is immense in scale. The most amazing set! Ghost like gigantic rusted remnants loom over trash spread out over the field and hills. All practical. Will do CGI and extend set.

After K crashes, the scavengers try to get into the spinner with a machine with 2 discs that attach to his window.  I noticed a 3rd disc dangling down which was confusing. I mentioned to Broderick that it was weird. He talked to Denis and came back to tell me it’s supposed to grind the door as the 2 discs grind on the window. So now the 3rd disc is in the correct position on the door and not just dangling so far down.

Friday, November 11

Still shooting Trash Mesa. Light rain and very cold. We are debating what to do if we have heavy rain tomorrow preventing us from finishing this scene. Don’t have cover because of turnaround issues and that we shoot long 13-hour days from now on. And we shoot next Saturday long hours. Now Ryan will be able to leave the evening of the 22nd with his family to be home for Thanksgiving as we promised. Ryan is truly a consummate professional. He is always extremely prepared and ready with ideas, further he is kind and respectful to everyone on set, it’s lovely to watch. I’ve laughed so hard at his stories – he’s hilarious.

And we should be able to shoot the Gaffe scene here in Budapest as well.

Wood is arriving soon to shoot the newly added Nandez character scenes. Denis will meet with him first to explain that he is being inserted into existing scenes and will not actually be working with Robin. Instead, he will act and react from studying the scene playback on the monitor. Wood will shoot 2 scenes with Ryan in person – in the morgue and in the spinner.  He’s such a good actor, it should be good.

Wood Harris arrived at the end of day. I met with Anime director Watanabe and Arimake, Al and Joseph interpreting. They want to do the story about the blackout. Great ideas. It ties right into Freysa and Sapper from Calantha. And it bridges the mythology between the first film and ours. Don’t want to reveal too much since this will be the first one in the anthology. Michael Green has already written material about the black out and we want him to write this anime for us for them.

Sunday, November 11

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Image via Warner Bros.

5:00 pm meeting at the Four Seasons with anime director Watanabe, Arimake and Joseph and Al.

Need to discuss the story with Denis. Broderick and Carl Rogers (head of development at Alcon) were there as well. It was so interesting to see how Denis spoke with them. I’m enjoying being with creative people who are so focused on every detail to make the BR story come to life and live up to the first one. After seeing some footage, they said it transcended the first one. About replicants finding their soul. They love it visually – Roger’s lighting. Discussed the philosophy of Wallace building such a monolithic structure to last for centuries like an Egyptian temple, even if water came. It was big enough, blade like, to withstand it.

Denis really loved the ideas and spoke so eloquently. He said he always carries Roy Batty on his shoulder, so he can ask him if the work is true to his story.

Monday, November 13

At Wallace’s building today at Korda Studios – like walking inside of an Egyptian tomb/pyramid. Very large-scale hall and eerie. Different replicant models line the hallway in cases, four on each side, suspended. John will take away the wires suspending them and CGI water into the cases. It’s surreal, magnificent and gorgeous the way Roger has lit this. It lights up ahead of them as they walk and then follows them with darkness as they walk.

We ended up not filling the cases with water as it made them to heavy and they would have broken.

Discussion on how to shoot the 360 In World piece – angle for camera.

Looking at Steven Vaughn’s photos of Sylvia and Harrison.

Tuesday, November 14

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Image via Warner Bros.

Whirlwind of a schedule of things to decide before Andrew and Broderick leave at 1:00.

Skimmed through the scenes Ryan selected for a play list to show Fred Smith, Sony and Warners. Met with John Nelson in VFX (Visual Effects) to decide what he will show them.

Special effects are the rain, snow, sand etc. CGI is the extensions on the practical and putting in created scenery around the actors.

John is concerned about some of the miniatures. They don’t look authentic because the camera can’t get high enough to film them and make them look real. John advises us to let him take what they’ve done, enhance it and CGI it. Vegas miniature is good but the pilot fish moves will be locked in once they film it. Whereas if he does CGI, he can make changes later. He can do the first shot in as practical with the light and the car, then CGI up to the statue and go in that way. Roger and Denis will look at it today and make recommendations as to what they want to do vis a vis lighting. Also, we feel their needs to be a ghost of buildings as K walks into Vegas instead of just blank sand.

Said goodbye to Andrew and Broderick.

Jessica and I leave in the morning.

Signing off as this is the last day for us. An unbelievable journey. It’s going to be stunning.

July 2017

The press activities are under way. So exciting to everyone together again. We’ve recreated Bibi’s bar complete with the spinner from the movie all in the middle of San Diego for Comic Con and fans have been sleeping out overnight just to see this. It’s incredible!

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Image via Eric Charbonneau

 

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Image via Eric Charbonneau

Tuesday, October 3, 2017

The premiere is tonight! We’re finally here!

Sunday, November 5, 2017

It’s thrilling to be at the Hollywood Film Awards accepting an award from Harrison from producing this film alongside Andrew and Broderick. I am so honored. We’ve made a great team.

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Image via Cynthia Yorkin

Harrison Ford presenting producers Andrew Kosove, Broderick Johnson, and Cynthia Yorkin at the Hollywood Foreign Film awards in 2017 for their work on Blade Runner 2049.

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Image via Eric Charbonneau

Producers Cynthia Yorkin, Andrew Kosove and Broderick Johnson welcome audience to the BLADE RUNNER 2049 premiere on Oct. 3, 2017.

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Image via Cynthia Yorkin

Director Denis Villeneuve and Producer Cynthia Yorkin hugging at the BLADE RUNNER 2049 Premiere after-party, Oct. 3, 2017.

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Image via Cynthia Yorkin

Cynthia Yorkin photographed with Garrett Thornburg and replicant models during the Blade Runner 2049.

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Image via Cynthia Yorkin

Producer Cynthia Yorkin with her son Michael Yorkin at the BLADE RUNNER 2049 Premiere, Oct. 3, 2017.

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Image via Cynthia Yorkin

Cynthia Yorkin with her husband Bud Yorkin.