"For the exterior of Deckard's one-bedroom apartment, we used a 1920s Frank
Loyd Wright house up in the Los Feliz hills of Los Angeles. Two matte shots
were painted to make it look like a 20-50 story condominium complex.
"This apartment was the first major interior done for the film. The whole
interior was designed for Panavison. The ceilings were very low--only
6'8"--and it felt very claustrophobic inside. The walls were all textured
concrete block. The living room was designed with a couple of sets of glass
windows; one set leads to the outside balcony. In the film, when you stand up
and look out the balcony from the living room down on the entire city 100
stories below, you'll see the little flashing lights that simulate vehicles,
little, tiny pin dots way out there. The details that went into this matte
painting shot (see below) was incredible."
-Lawrence G. Paull
Deckard works with the extraordinary Esper machine tracing clues to the
replicants' whereabouts. The computer follows Deckard's verbal instructions,
zooming in on a very small part of a photograph Deckard found in Leon's
Syd Mead's production painting of Deckard's kitchen.
Syd Mead's production painting of Deckard's one bedroom apartment was used as
a reference in building the elaborate set.
Ridley Scott's drawing of Deckard's apartment, showing the influence of the
spanish architect, Gaudi (1852-1926.)