See link above. Blade Runner’s sci-fi noir interpreted as a hard-boiled 40’s noir is pretty cool - just making the links more obvious. I love the music - actually prefer it to Vangelis*
*it works as a “future” sounding music for Blade Runner (a favorite of mine) and it’s near-future look and feel. Unfortunately, IMHO, I find his work in both BR and Chariots of Fire to sound dated now.
If you like that, you might like this too…
An 80s style opening for Firefly…
It is nice, but… redundant? Wasn’t it obvious enough in the movie? Is there anyone who understands and likes this that didn’t already get it? So many visual details and shot compositions were textbook noir in the first place.
Still, nice.
I’d go with that. I guess I would say that I like the B&W because it points out the visuals even more starkly and I like the music - because, as you say, the links to 40’s noir is so obvious that the period music aligns better IMHO with the visuals…
Hey, if they’d make that movie, I’d watc…oh, yeah, never mind.
The trailer is better great because it really does draw you into the characters and the story, but it doesn’t seem to give it away.
I agree that the Vangelis soundtracks for both movies are the most dated parts of them. I had a friend who owned a record store (who was the person who first made me listen to Prince), who loved his soundtrack to BR, and when he obtained a copy he played the whole thing for us. At the time I thought it was mostly mushy synth noodling. I don’t think much better of it now. I know the intro music to the mock trailer is 40’s era, but the piano piece through most of the trailer is actually in the movie. It’s “Memories Of Green” by Vangelis. In retrospect, it’s pretty nice.
Oh, cool - thanks for that information.
You’d better thank me - I listened to several Vangelis clips to get that title. 
Yeah, sorry about that 
It really is amazing how a step in one direction or another might’ve meant that Vangelis’ music wouldn’t sound as dated now. I mean, Giorgio Moroder’s production work on Donna Summer’s I Feel Love still sounds great.
Well, to a certain segment of the population, I imagine that soundtrack is their equivalent of classic rock. - it’s just not my idea of the classics. I actually like some of the structure to his stuff, but the waveforms irk me. If he’d been working at his height ten years earlier, when synths sounded like machines; or if he’d been working ten years later, when sampling was trivial; it would still sound kind of dated, but it wouldn’t drive me nuts. OTOH, there’s people using those kinds of waveforms today, they like them, and it still drives me batty. Someday soon, probably in the past, they’ll be the new traditionalists.
But now I’ve listened to Memories of Green three times in a row, and there’s nothing about it I don’t like. It’s got enough Sonic Youth loneliness with Eno introspection and quirkiness to make me sublimate. Damn you. You’ve made me admit that I like a Vangelis song to the point where the next time I see the Blade Runner soundtrack in the bargain bin, I’m buying it. I suffered through a couple of years of playing the Chariots of Fire theme in orchestra. If I ever meet you, I’m going to stab you with a grand piano.
Simon doesn’t even get an “…and the rest” mention.
Of course if you want further self-torture, there’s the Watchmen cartoon.
Wouldn’t it be better to stab me with an early polyphonic synth? Say a Prophet 5 or something?
Bryan Ekers - yeah, I’ve seen that (if its the one I’m thinking of; having probs with the mobile link). Hilarious.
As for synth tones, I don’t know - some just sound “better” in a more timeless sort of way. Moroder/Summer; Clarke/Yaz and Depeche Mode; some Gary Numan; most New Order.
Pretty good noir ad for Blade Runner. I wouldn’t have had the last shot be the PURGE screen in the police car, though.