I saw a segment of Douglas Trumbull's special effects for 'Blade Runner' on the KNBC-TV news. I recognized it immediately. It was my own interior world. They caught it perfectly.
Interpretation
The quote expresses the connection between an artist's vision and the final artistic representation in film.
Philip K. Dick reflects on the powerful experience of seeing a visual representation of his internal thoughts and feelings in the special effects of 'Blade Runner.' This connection highlights how art can translate complex inner worlds into shared experiences, resonating deeply with both the creator and the audience.
In practice
During a discussion about the role of visual effects in film, this quote illustrates how closely they can align with an artist's vision.
We are living in a computer-programmed reality, and the only clue we have to it is when some variable is changed, and some alteration in reality occurs. We have the overwhelming impression that we were reliving the present - deja vu.
Don't try to solve serious matters in the middle of the night.
On some other world, possibly it is different. Better. There are clear good and evil alternatives. Not these obscure admixtures, these blends, with no proper tool by which to untangle the components.
"Do you have information that there's an android in the cast? I'd be glad to help you, and if I were an android would I be glad to help you?" "An android," he said, "doesn't care what happens to another android. That's one of the indications we look for." "Then," Miss Luft said, "you must be an android."
The universe is information and we are stationary in it, not three dimensional and not in space or time.
A man is an angel that has gone deranged.
I say, 'If I had a serious brain injury I might well write a children's book', but otherwise the idea of being conscious of who you're directing the story to is anathema to me, because, in my view, fiction is freedom and any restraints on that are intolerable.
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
As a dramatist, you have 200 choices at every fork in the road. But the audience will reject it if you make the wrong choice, if they feel you are trying to shape the character in a way that suits you. It rings false immediately. People can sense when you're being cynical or schematic.
It is important that we have the inner richness to be able to look up at the stars or the moon and compose a poem once in a while. When we open wide our minds and fix our gaze on the universe, we fix our gaze on our own life.
Our language needs endless synonyms for beautiful; the eyes could see what the tongue cannot possibly describe.
To understand bad taste one must have very good taste.
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