sciencefiction:These are fictional magazine covers from Blade Runner. They were created by production illustrator Tom Southwell in 1980-1981 and appeared in the background on a magazine stand in the city streets. (!!!!)
I talked about this a little bit, where I have my own experiences getting among these kids who grew up in New York, and they had their look, and they were really cultured, with all their references. And for me, I knew some of the references, but it was only through my own auto-didacticism, searching through libraries, trying to find culture somewhere in the homogenized suburbs of Pasadena. [Laughs.] Then I would get around these other kids, and I felt like a rube, and it just seemed so effortless. So there was a part of me that was exploring this idea of this woman who wants to be a part of this world, but even for them, she’s a little too enthusiastic and, [Amy voice.] “Wasn’t that amazing?” There’s something very endearing to me about that part of Amy, her enthusiasm and sometimes the simplicity of her reaction, as opposed to somebody who was more nuanced and sophisticated.
The group was haunted by the failure of a similar venture in Obama’s 2008 campaign, when a get-out-the-vote computer program called Houdini crashed and could have cost the election if the race had been closer. This time, Reed and his team created a successor that they named Gordon, after the person who punched Houdini in the stomach shortly before the magician died.
It is common to hear people in the arts say something to the effect of, “If this work reaches just one person, it will be worth it.” With the “The Last Pictures,” which is intended, ostensibly, anyway, for some imaginary, profoundly unknowable future audience, the bromide needs some adjusting: “If this work reaches just one alien…
There are few images as evocative as the idea of slumbering astronauts from another planet, huge and dreaming, unleashing waves of seismic activity across the celestial body they’ve landed on, like gods rolling over in their sleep.