Blade Runner

I have yet to see Blade Runner 2049, released last month, slightly before Jupiter ingressed into Scorpio.  It’s a remake of the iconic 80’s Sci-fi movie, directed by Ridley Scott about a futuristic America, where a group of rogue Andriod “replicants” are hunted down by a human cop. It’s very Film-Noir and remembered mostly for Harrison Ford’s dark, brooding character, neo-urban imagery but most arguably.. the music.

I’m making my case for this film as a product of Neptune going over the Galactic Center. As discussed before, I indicated that Neptune in Sagitarrius was big for the rise of electronic music, and film depictions of space, dystopian societies, aliens and other images of sci-fi/fantasy.

The original Blade Runner was released in theatres on June 25th, 1982. Putting in a 7:30 pm Hollywood, CA showtime, sets Neptune at 25° Sagittarius, just above the Ascendant at 26°, which is the location of the Galactic Center.

In the astrological world, I’ve seen “natal” charts for movies with different dates. Some elect the date of principal photography, but for me, this is an incubation period. It’s the pre-natal development of the film.  By using this philosophy, you could say that the day the script was completed, the rights bought, the green light date, actors signing on, or post-production could all arguably be as important inception dates.

  Truly, a movie’s identity is “born” when it is shown to an audience.

It’s when box office revenues start, when tickets are counted, reviews start pouring in, when the film is physically seen and exposed to the human psyche. Until then, the movie does not exist in the collective consciousness.


Using this logic, it’s easy to see this movie coming forth into the world with the Galactic Center stamped firmly on it’s reels.  Your Ascendant/Rising sign is what people see about you, and with Blade Runner, the hypnotic visual and auditory experience of the film is what people remember most about it.

The opening sequence (as shown above) shows us floating above a dystopian land. The endless lights in the city below look like the stars in a galaxy, and the music is eerie, cosmic and mysterious. We are approaching two massive pyramids in the distance, also immeshed with hundreds of lights.  The spouting flames & star/lights are reflected in the eyes of our hero, spiraling around his pupils like the arms of our own milky way. As the spaceship approaches, is it as if we are being drawn in to the Galactic Center itself.

Blade Runner’s music was composed by Greek musician Vangelis who is central to my research on Neptune and music. His music is known for being otherworldly, unconventional and his style almost impossible to pinpoint. He composes on the fly, feeling the sound, as if he is absorbing music from the cosmos. His work is entirely done on synthesizers, letting him create sounds that don’t exist in the acoustic world. His work on Blade Runner is the key to it’s GC iconography.


Back to the chart, there’s a T-Square between the Moon , Venus and Uranus. Interestingly, there’s also a T-Square involving Moon, Venus and Saturn on the natal chart for Blade Runner 2049.

It’s important to note that Blade Runner was not a commercial success. The whole film was riddled with delays, frustration and a lot of Neptunian hurdles. People didn’t understand what Ridley Scott was trying to do. The story was hard to follow, the pace was slow, and the action confusing. The studio actually attempted to seize creative control over the director, forcing him to finally release a cut before losing his authority.

[The] first cut ran four hours. Most the crew, including the writers and director, admitted that while it looked beautiful, it was mostly incomprehensible, necessitating additional editing and an explanatory voice-over. –

Likewise, the new Blade Runner bombed at the opening weekend box office. It failed to pull in the  $150 million needed to exceed production costs, only banking $36 mil.

So the T-square proved difficult for both: Uranus effecting the emotional & aesthetic desires of the original film, while Saturn being the pivot point for the reboot.  Ridley Scott was quite the Uranian director, causing all sorts of chaos in the film.

Ridley Scott was dismayed to discover that American crews operated very differently from British ones (this was Scott’s first American film). In his native UK, Scott was primarily a camera operator and would always step behind the camera to see through the viewfinder himself. This wasn’t common practice in America and led to much tension between director and crew. Scott also frustrated cast and crew by continuously making changes to sets and story. Screenwriter David Webb Peoples, who was asked to re-write the screenplay throughout the shoot, often found that his re-writes were already obsolete by the time he handed them in. –

For the release of Blade Runner 2049, Saturn sitting 4° away from the GC could be interpreted as hard work towards preserving the cosmic essence and beauty of the original film, only to fall short and end up financially strained.

Talent Names -

Blade Runner continues to be mysterious, just as the Galactic Center is mysterious. It’s bleak. It’s long. It leaves you scratching your head on what the HELL you just watched. But it’s also gorgeous. It’s hypnotic. It’s alluring and entices you into it’s world. The music creates a dream-like atmosphere that stands on it’s own.

The fact that it was born during Neptune’s stay at the hotel GC in the early 80’s, makes it a rare representation of what the planet of dreams and illusions can produce on film.



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