Liverpool Blade Runner Night
Special Guests: Paul M. Sammon and Ivor Powell
Static Gallery and Bar
Saturday 9 November 2019
In the month that Blade Runner is set, we are delighted to present an evening of Blade Runner magic, including a very special ‘In Conversation’ between Ivor Powell, Associate Producer of Blade Runner and Alien, and Hollywood insider and world’s leading authority on Blade Runner, Paul M. Sammon (author of Future Noir).
The ‘In Conversation’ will follow a low-tech screening of Blade Runner Final Cut. Static is not a sealed box auditorium experience, it’s more street level, more noise, more industrial, more how Blade Runner screen writer Hampton Fancher envisaged the world of Philip K Dick's masterpiece ‘Do Androids Dream of Electric Sheep’, the source novel for the film.
The evening will conclude with a screening of Liverpool based Paul Sullivan’s DEATH OF AN ANDROID with score by VESSEL and Daniel Thorne.
Speaking ahead of the event, Ivor Powell states:
“I’m excited to be coming up to Liverpool on the 9th November for the Blade Runner screening followed by the Q&A with my old friend Paul Sammon.”
“The date of this screening is an emotional moment for all those involved in the making of the movie. Superimposed over the memorable, opening shot of Los Angeles is the title card that reads Los Angeles November 2019. That date seemed a lifetime in the future way back in 1980!!”
“But now that time is literally here and with each viewing Blade Runner has this uncanny ‘Prophetic’ quality about it. The movie seems to get better and better along with it’s growing fan base.”
“Finally and most poignantly, Rutger Hauer has recently been taken from us which gives his “Time to Die” moment at the end of the movie a massive, additional impact.”
Paul M. Sammon states:
“It is my great pleasure to appear in Liverpool, on-stage, with my dear friend Ivor Powell, associate producer on Blade Runner and Alien. Ivor and I have a fond relationship stretching back nearly 40 years; we look forward to not only discussing Ridley Scott's earthshaking science fiction classic Blade Runner and my book about Future Noir, but also regaling you with tales from Hollywood during our mutual years in the filmmaking trenches.”
Paul Sullivan, Director of Static Gallery states:
“It’s an honour to screen Blade Runner in November 2019, the month the film is set, and to be joined by Ivor Powell and Paul M. Sammon, two giants from the movie’s making and its subsequent ascent into film folklore!”
“I recorded Blade Runner on VHS in the mid-eighties when it was first screened on TV and it seeped into my own memories after being paused, rewound, studied and replayed on a seemingly endless nocturnal loop, mostly after post-nightclub Liverpool meanderings which always seemed to also include run-ins with Pete Waterman’s ‘The Hit Man and Her’ and the ‘James Whales Radio Show’.”
“The evening is for the fans of Blade Runner”
BLADE RUNNER NIGHT
Static Gallery, 23 Roscoe Lane, Liverpool, L1 9JD
Friday 9 November 2019, from 5pm
18.00 Blade Runner Final Cut
20.30 Paul M. Sammon and Ivor Powell ‘In Conversation’ plus Q+A
22.00 Screening: DEATH OF AN ANDROID (EQUAL RIGHTS FOR REPLICANTS)
Note: Ticket price is for the ‘In Conversation’ element of the evening, but you must be in the venue by 5.30pm to see the Blade Runner screening.
Notes on Blade Runner:
Blade Runner is a 1982 science fiction film directed by Ridley Scott, and written by Hampton Fancher and David Peoples. Starring Harrison Ford, Rutger Hauer and Sean Young, it is loosely based on Philip K. Dick's novel Do Androids Dream of Electric Sheep? (1968). The film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants are bio-engineered by the powerful Tyrell Corporation to work on off-world colonies. When a fugitive group of Nexus-6 replicants led by Roy Batty (Hauer) escapes back to Earth, burnt-out cop Rick Deckard (Ford) reluctantly agrees to hunt them down.
The film has influenced many science fiction films, video games, anime, and television series. It brought the work of Philip K. Dick to the attention of Hollywood, and several later big-budget films were based on his work. In the year after its release, Blade Runner won the Hugo Award for Best Dramatic Presentation, and in 1993 it was selected for preservation in the U. S. National Film Registry by the Library of Congress as being 'culturally, historically, or aesthetically significant'. A sequel, Blade Runner 2049, was released in October 2017.
Notes on participants, screenings:
Paul M. Sammon
Paul M. Sammon is an author, filmmaker, and Hollywood Insider. His many articles have appeared in THE LOS ANGELES TIMES, EMPIRE and THE AMERICAN CINEMATOGRAPHER magazines. His dozen books include CONAN THE PHENOMENON (by Dark Horse Books), THE MAKING OF STARSHIP TROOPERS, and the ALIEN/ALIENS screenplay books.
However, Sammon’s best-known textual work is FUTURE NOIR: THE MAKING OF BLADE RUNNER. FUTURE NOIR has been in continuous print for 23 years, has appeared in three different printings, and was expanded in 2017 for the Revised/Updated Edition. Sammon was embedded on-set with BLADE RUNNER for 18 months; he is now considered the world authority on Ridley Scott’s ground-breaking SF masterpiece, while FUTURE NOIR has been acclaimed as one of the greatest of all “making of” books.
Additionally, Paul Sammon has worked on approximately 100 films and television programs. His job titles have included stints as a Studio Executive, Producer, Computer Graphics Supervisor, Unit Still Photographer, DVD Audio Commentator and actor. He co-produced the long-running Japanese TV series HELLO! MOVIES (1988-1992) and co-wrote the 1988 screenplay - in Moscow - for “Stereotypes”, the first jointly-made Russian/American animated film.
Sammon was also fortunate enough to work directly with Paul Verhoeven on ROBOCOP and STARSHIP TROOPERS, experiences informing his next book, which examines ROBO, TROOPERS and Verhoeven’s TOTAL RECALL.
Ivor Powell’s early career highlights include training as an Assistant Stage Manager on the New York production of West Side Story, acting as understudy in Terence Rattigan’s ‘Ross’ with the late Sir Alec Guinness at the Theatre Royal Haymarket - followed by a year with BBC TV - then working for nearly three years as an assistant for Stanley Kubrick on 2001: A Space Odyssey, and line producing for Ridley Scott on The Duellists, Alien & Blade Runner.
After spending fifteen years running a prolific, UK Advertising and Commercials Production Company, and writing feature screenplays in his spare time, in 1998 Ivor decided to make the break back into feature films as a writer and producer.
Recent work includes a short film that he wrote and produced, The Dreamer, directed by Miguel Sapochnik. The Dreamer was short-listed for both Academy and BAFTA nominations. This was followed by several development deals and assignments including working for Miramax Films in developing a feature length version of The Dreamer and developing two projects with Working Title.
More recent completed screenplays include ‘Angels over Babylon’ – a tragic ‘Romeo & Juliet’ romance set against the backdrop of the invasion of Iraq, between a US sniper and an Iraqi diplomat’s daughter – commissioned by Enigma International, and ‘Shroud’ a dark, psychological horror-thriller.
Ivor has also recently completed a first draft of his first novel, Knight – A ‘Close Encounter of the Dark Ages’, that he hopes will fire the imagination of both young and old readers alike.
BIOS - his most recent original screenplay, was co-written with Craig Luck - “On a post-apocalyptic Earth, a robot, built to protect the life of his dying creator’s beloved dog, learns about life, love, friendship and what it means to be human.” With Tom Hanks in the lead role and Miguel Sapochnik as director, filming has just been completed in New Mexico with a release date of October 2nd 2020 under the banner of Steven Spielberg’s Amblin Entertainment.
Acclaimed electronic producer and composer Sebastian Gainsborough started his career as a purveyor of left-field, bass driven electronica, using his unique sonic palate to create immersive, electronic compositions, exploring texture and tone, the organic and the man-made. His first album, Order of Noise (Tri Angle Records 2012) saw position himself as an artist at the vanguard of new British electronic music.
2014’s ‘Punish, Honey’ signalled a distinct departure from everything Vessel had previously released. Following two years of touring the output from ‘Order of Noise’ and his output from the ten years prior, Vessel approached ‘Punish, Honey’ differently, stepping aside from digital music tools in favour of analogue hardware and unique, hand-crafted instrumentation in order to develop an entirely unique sonic palette. Lead single, Red Sex picked up cult status, being used in Park Chan Wook’s The Handmaiden, on Alexander McQueen’s catwalks and as the soundtrack to a swathe of contemporary dance works whilst simultaneously destroying dank basement dancefloors around the world.
Following ‘Punish, Honey’ Gainsborough’s focus shifted to a collaborative, exploratory approach, in particular, blurring the boundaries between live and synthesised sound. Gainsborough teamed up with Erased Tapes’ Immix Ensemble for his first foray into the ‘classical’ world, this resulted in a new commission for the re-launch of Tate Britain ‘Transition’, released on Erased Tapes in 2016.
'At some point, I realised I had faded away from much of the music I used to identify with,' Gainsborough told Dazed. 'When I started getting deeply into classical and chamber music, I let out a big sigh of relief, like, finally. This is the language I've been looking for.'
This sparked a critical mass of new ideas and partnerships that would change Gainsborough’s music output forever. Gainsborough formed a close bond with Rakhi Singh, Immix’s violinist who opened his eyes to a lifetime of new listening. They began to write their first collaborative work not long after meeting. Written In Fire, a response to Janáček’s string quartet ‘Intimate Letters’ dropped in 2019, kicking off a rapid fire triptych alongside chamber opera ‘Paradise Lost’ and ‘Passion’, alongside acclaimed cellist Lucy Railton. If ‘Transition’ was Gainsborough dipping his toe into the water of the instrumental world, this was him diving in head first.
All the while, alongside this exploration, collaboration and creative play, Gainsborough was simultaneously penning ‘Queen of Golden Dogs’, an album that would be his first true, cohesive amalgamation of his deep, nuanced electronic music and the new world of experimental and classical music that was unfolding before his eyes.
Marrying ‘orchestral string stabs with propulsive percussion for a sound that is equal parts Arnold Schoenberg and Oneohtrix Point Never.’ Queen of Golden Dogs, was released (again by Tri Angle) in 2018. It marks a stark departure from the producer’s previous work, taking that next step on Gainsborough’s creative journey, combining chamber-rave freak outs with vocal segues and neo-classical pieces.
In the live domain, the work is performed alongside acclaimed visual artist, and long time collaborator Pedro Maia, director of the masterpiece accompaniment to QOGD’s lead single Paplu. Maia creates a visual companion truly befitting of Gainsborough’s immersive, visceral, fluid musical output.
Vessel, continues to be a truly singular voice, whatever his next move is, it’s likely to be unlike anything you’ll have ever heard before.
Daniel Thorne is a composer and saxophonist, who is fascinated by the infinite shades of possibility that exist between the notions of acoustic and electronic, and composition and improvisation. This blurring of lines is at the heart of his music, creating a unique sonic world that obscures and detaches his instrument’s sound from its more-typical associations.
Born in Perth, Australia, Daniel’s musical journey began as jazz saxophonist, however his formal studies at the Western Australian Academy of Performing Arts sparked wider curiosity for music that lead him to composition, classical music and electronic music. Now based in Liverpool, UK, he is known in the city predominantly for his work as the artistic director of acclaimed new music group Immix Ensemble, which champions innovative cross-genre and cross-artform collaborations.
Prior to leaving Australia, Daniel was fortunate to work with some of the country’s leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts in 2009. Since moving to the UK, Daniel has continued to explore his interests in contemporary classical composition, improvisation and electronic music. He was the recipient of the 2013 Dankworth Prize for Jazz Composition, and in 2014 he undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.
A firm believer in the importance of collaboration, Daniel frequently creates music with other artists. His collaboration with the experimental electronic artist, Vessel, resulted in “Transition”, which was released on Erased Tapes in 2016 and described by BBC Radio 6’s Mary Anne Hobbs as “a remarkable new piece of music.” Most recently he worked together with the acclaimed modular synthesist, Luke Abbott, to create a four-part suite, “Basic Forms”, which was premiered by Immix in June 2017. His remix of Manu Delago’s ‘Abrupt’ (featuring fellow Erased Tapes family member, Douglas Dare) was included on Manu’s “Metromonk Remixed” EP, while he has also provided arrangements and orchestrations for a number of artists and producers, including Jane Weaver, Bill Ryder-Jones, Stealing Sheep, James Canty, Dialect and Joe Wills.
His debut solo album, Lines of Sight, is due to be released on Erased Tapes on March 15, 2019.
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