"There's alot of detail in the cityscapes and in the industrial landscapes. A
lot of it was just adding one piece to another. Sometimes Ridley was involved
in setting up the shots and sometimes he wasn't, but he had a general concept
of what he wanted in all the shots. Quite often he'd turn upside down
something he used as a spinner and stick a few things on it and it became a
"The environment in the film is almost a protagonist. It's an implied menace
all the way through. One of the things I was constantly keeping in my mind
was that this city almost closes in on you or you're being bombarded with
constant shapes and forms. Its almost organic.
"If the air conditioning breaks down or whatever, you just add to the
building, add to it on the outside rather than fix that part. Leave that part
and build something else over it and then build another building on top of
that. It worked very well for the model making because, in fact, that's the
way we normally put things together. Just adding pieces on to other
Gaff's spinner circles police headquarters as it "spins" in for a landing.
When Deckard quit his job there he thought he'd never have to return.
Mentor Huebnors drawing of the (approaching) spinner looks remarkably close
to the final shot seen in the film.
A miniature model of the police headquarters.
Entertainment Effects Group constructed this model to represent the sides of
the police building. It was used for a series of effects shots for the view
from inside the spinner.
EEG technician at work on the menacing industrial landscape.