"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 building.

"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 pieces."

-David Dryer

The Police Tower

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.

The Police Tower- sketch

Mentor Huebnors drawing of the (approaching) spinner looks remarkably close to the final shot seen in the film.

The Police Tower- model

A miniature model of the police headquarters.

The Police Tower- model

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.

City Scape

EEG technician at work on the menacing industrial landscape.

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