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Blade Runner is a 1982 American neo-noir science fiction film directed by Ridley Scott and starring Harrison Ford, Rutger Hauer, Sean Young, and Edward James Olmos. The script was written by Hampton Fancher and David Peoples, and is a loose adaptation of the 1968 novel Do Androids Dream of Electric Sheep? by Philip K. Dick.[6][7] Set in a dystopian Los Angeles in 2019, the story depicts a future in which synthetic humans known as replicants are bioengineered by the powerful Tyrell Corporation to work on off-world colonies. When a fugitive group of replicants led by Roy Batty (Hauer) escape back to Earth, burnt-out LA cop Rick Deckard (Ford) reluctantly accepts one last assignment to hunt them down. During his investigations, Deckard meets Rachael (Young), an advanced replicant who causes him to question his mission.
Blade Runner initially underperformed in North American theaters, and polarized critics; some praised its thematic complexity and visuals, while others were displeased with its unconventional pacing and plot. However, it has subsequently become an acclaimed cult film,[8] and is now regarded by many critics as one of the all-time best science fiction movies. Hailed for its production design depicting a "retrofitted" future,[9] Blade Runner remains a leading example of neo-noir cinema,[10] and has been highly influential on many subsequent science fiction films, video games, anime, and television series. The film's soundtrack, composed by Vangelis, was critically acclaimed, and was nominated in 1983 for a BAFTA and Golden Globe as best original score.
The film brought the work of Philip K. Dick to the attention of Hollywood, and several later films were based on his work.[11] Ridley Scott regards Blade Runner as "probably" his most complete and personal film.[12][13] In the year after its release, the film won the prestigious Hugo Award for Best Dramatic Presentation, and in 1993 it was selected for preservation in the United States National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant".
Seven versions of the film have been constructed as a result of controversial changes made at the request of studio executives. A director's cut was released in 1992 after a strong response to test screenings of a workprint. This, in conjunction with the film's popularity as a video rental, made it one of the first movies to be released on DVD—albeit a basic production with mediocre video and audio quality.[14] In 2007, Warner Bros. released The Final Cut, a 25th-anniversary digitally remastered version, the only one over which Scott retained complete editorial and artistic control.[15] This version was shown in selected theaters and subsequently released on DVD, HD DVD, and Blu-ray.[16] A sequel, Blade Runner 2049, was released in October 2017.[17]
Plot[]
In Los Angeles, 2019, ex-police officer Rick Deckard is detained by officer Gaff and brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered beings known as replicants and "retire" (i.e. kill) them, is informed that four have come to Earth illegally. As Tyrell Corporation Nexus-6 models, they have a four-year lifespan, and may have come to Earth to try to extend their lives.
Deckard watches a video of a blade runner named Holden administering the "Voight-Kampff" test designed to distinguish replicants from humans based on their emotional response to questions. The test subject, Leon, shoots Holden after Holden asks about Leon's mother. Bryant wants Deckard to retire Leon and the other three replicants: Roy Batty, Zhora, and Pris. Deckard initially refuses, but after Bryant ambiguously threatens him, he reluctantly agrees.
Deckard begins his investigation at the Tyrell Corporation to ensure that the test works on Nexus-6 models. While there, he discovers that Eldon Tyrell's assistant Rachael is an experimental replicant who believes she is human. As Rachael has been given false memories to provide an "emotional cushion", a more extensive test is required to determine whether she is a replicant.
Events are set in motion that pit Deckard's search for the replicants against their own search for Tyrell (to force him to extend their lives). Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian, a gifted genetic designer who works closely with Tyrell. Rachael visits Deckard at his apartment to prove her humanity by showing him a family photo, but after Deckard reveals that her memories are implants from Tyrell's niece, she leaves his apartment in tears. Meanwhile, Pris locates Sebastian and manipulates him to gain his trust.
Searching Leon's hotel room, Deckard finds a photo of Zhora and a synthetic snake scale that leads him to a strip club where Zhora works. Deckard kills Zhora. Bryant instructs him to also retire Rachael, who has disappeared from the Tyrell Corporation. After Deckard spots Rachael in a crowd, he is attacked by Leon; he drops his pistol but Rachael uses it to kill Leon. They return to Deckard's apartment, and, during an intimate discussion, he promises not to track her down; as she abruptly tries to leave, Deckard restrains her, forcing her to kiss him.
Arriving at Sebastian's apartment, Roy tells Pris the others are dead. Sympathetic to their plight, Sebastian reveals that because of "Methuselah Syndrome", a genetic premature aging disorder, his life will also be cut short. Sebastian and Roy gain entrance into Tyrell's secure penthouse, where Roy demands more life from his maker. Tyrell tells him that it is impossible. Roy confesses that he has done "questionable things", but Tyrell dismisses this, praising Roy's advanced design and accomplishments in his short life. Roy kisses Tyrell, then kills him. Sebastian runs for the elevator, followed by Roy, who rides the elevator down alone.[nb 1]
At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns. Roy's body begins to fail as the end of his lifespan approaches. He chases Deckard through the building, ending on the roof. Deckard tries to jump to an adjacent roof, but is left hanging between buildings. Roy makes the jump with ease, and as Deckard's grip loosens, Roy hoists him onto the roof, saving him. Before Roy dies, he delivers a monologue about how his memories "will be lost in time, like tears in rain". Gaff arrives and shouts to Deckard about Rachael: "It's too bad she won't live, but then again, who does?" Deckard returns to his apartment and finds Rachael asleep in his bed. As they leave, Deckard notices a tin-foil origami unicorn on the floor, a calling card that recalls for him Gaff's final words. Deckard and Rachael leave the apartment block.
Cast[]
- Harrison Ford as Rick Deckard
- Rutger Hauer as Roy Batty
- Sean Young as Rachael
- Edward James Olmos as Gaff
- M. Emmet Walsh as Harry Bryant
- Daryl Hannah as Pris Stratton
- William Sanderson as J. F. Sebastian
- Brion James as Leon Kowalski
- Joe Turkel as Dr. Eldon Tyrell
- Joanna Cassidy as Zhora Salome
- James Hong as Hannibal Chew
- Morgan Paull as Dave Holden
- Kevin Thompson as Bear
- John Edward Allen as Kaiser
- Hy Pyke as Taffey Lewis
- Kimiko Hiroshige as Cambodian lady
- Robert Okazaki as Howie Lee
- Carolyn DeMirjian as saleslady
- Ben Astar as Abdul Ben Hassan
Source: Blade Runner: The Final Cut
Production[]
Development[]
Interest in adapting Philip K. Dick's novel Do Androids Dream of Electric Sheep? developed shortly after its 1968 publication. Director Martin Scorsese was interested in filming the novel, but never optioned it. Producer Herb Jaffe optioned it in the early 1970s, but Dick was unimpressed with the screenplay written by Herb's son Robert, saying "Jaffe's screenplay was so terribly done ... Robert flew down to Santa Ana to speak with me about the project. And the first thing I said to him when he got off the plane was, 'Shall I beat you up here at the airport, or shall I beat you up back at my apartment?'"
The screenplay by Hampton Fancher was optioned in 1977. Producer Michael Deeley became interested in Fancher's draft and convinced director Ridley Scott to film it. Scott had previously declined the project, but after leaving the slow production of Dune, wanted a faster-paced project to take his mind off his older brother's recent death. He joined the project on February 21, 1980, and managed to push up the promised Filmways financing from US$13 million to $15 million. Fancher's script focused more on environmental issues and less on issues of humanity and religion, which are prominent in the novel and Scott wanted changes. Fancher found a cinema treatment by William S. Burroughs for Alan E. Nourse's novel The Bladerunner (1974), titled Blade Runner (a movie). Scott liked the name, so Deeley obtained the rights to the titles. Eventually, he hired David Peoples to rewrite the script and Fancher left the job over the issue on December 21, 1980, although he later returned to contribute additional rewrites.
Having invested over $2.5 million in pre-production, as the date of commencement of principal photography neared, Filmways withdrew financial backing. In ten days Deeley had secured $21.5 million in financing through a three-way deal between The Ladd Company (through Warner Bros.), the Hong Kong-based producer Sir Run Run Shaw and Tandem Productions.
Dick became concerned that no one had informed him about the film's production, which added to his distrust of Hollywood. After Dick criticized an early version of Fancher's script in an article written for the Los Angeles Select TV Guide, the studio sent Dick the Peoples rewrite. Although Dick died shortly before the film's release, he was pleased with the rewritten script and with a 20-minute special effects test reel that was screened for him when he was invited to the studio. Despite his well-known skepticism of Hollywood in principle, Dick enthused to Scott that the world created for the film looked exactly as he had imagined it. He said, "I saw a segment of Douglas Trumbull's special effects for Blade Runner on the KNBC news. I recognized it immediately. It was my own interior world. They caught it perfectly." He also approved of the film's script, saying, "After I finished reading the screenplay, I got the novel out and looked through it. The two reinforce each other so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel." The motion picture was dedicated to Dick. Principal photography of Blade Runner began on March 9, 1981, and ended four months later.
In 1992, Ford revealed, "Blade Runner is not one of my favorite films. I tangled with Ridley." Apart from friction with the director, Ford also disliked the voiceovers: "When we started shooting it had been tacitly agreed that the version of the film that we had agreed upon was the version without voiceover narration. It was a f**king [sic] nightmare. I thought that the film had worked without the narration. But now I was stuck re-creating that narration. And I was obliged to do the voiceovers for people that did not represent the director's interests." "I went kicking and screaming to the studio to record it." The narration monologs were written by an uncredited Roland Kibbee.
In 2006, Scott was asked "Who's the biggest pain in the arse you've ever worked with?", he replied: "It's got to be Harrison ... he'll forgive me because now I get on with him. Now he's become charming. But he knows a lot, that's the problem. When we worked together it was my first film up and I was the new kid on the block. But we made a good movie." Ford said of Scott in 2000: "I admire his work. We had a bad patch there, and I'm over it." In 2006 Ford reflected on the production of the film saying: "What I remember more than anything else when I see Blade Runner is not the 50 nights of shooting in the rain, but the voiceover ... I was still obliged to work for these clowns that came in writing one bad voiceover after another." Ridley Scott confirmed in the summer 2007 issue of Total Film that Harrison Ford contributed to the Blade Runner Special Edition DVD, and had already recorded his interviews. "Harrison's fully on board", said Scott.
The Bradbury Building in downtown Los Angeles served as a filming location, and a Warner Bros. backlot housed the 2019 Los Angeles street sets. Other locations included the Ennis-Brown House and the 2nd Street Tunnel. Test screenings resulted in several changes, including adding a voice-over, a happy ending, and the removal of a Holden hospital scene. The relationship between the filmmakers and the investors was difficult, which culminated in Deeley and Scott being fired but still working on the film. Crew members created T-shirts during filming saying, "Yes Guv'nor, My Ass" that mocked Scott's unfavorable comparison of U.S. and British crews; Scott responded with a T-shirt of his own, "Xenophobia Sucks" making the incident known as the T-shirt war.
Casting[]
Casting the film proved troublesome, particularly for the lead role of Deckard. Screenwriter Hampton Fancher envisioned Robert Mitchum as Deckard and wrote the character's dialogue with Mitchum in mind. Director Ridley Scott and the film's producers spent months meeting and discussing the role with Dustin Hoffman, who eventually departed over differences in vision. Harrison Ford was ultimately chosen for several reasons, including his performance in the Star Wars films, Ford's interest in the Blade Runner story, and discussions with Steven Spielberg who was finishing Raiders of the Lost Ark at the time and strongly praised Ford's work in the film. Following his success in films like Star Wars (1977) and Raiders of the Lost Ark (1981), Ford was looking for a role with dramatic depth. According to production documents, several actors were considered for the role, including Gene Hackman, Sean Connery, Jack Nicholson, Paul Newman, Clint Eastwood, Tommy Lee Jones, Arnold Schwarzenegger, Peter Falk, Nick Nolte, Al Pacino and Burt Reynolds.
One role that was not difficult to cast was Rutger Hauer as Roy Batty, the violent yet thoughtful leader of the replicants. Scott cast Hauer without having met him, based solely on Hauer's performances in Paul Verhoeven's movies Scott had seen (Katie Tippel, Soldier of Orange, and Turkish Delight). Hauer's portrayal of Batty was regarded by Philip K. Dick as "the perfect Batty – cold, Aryan, flawless". Of the many films Hauer made, Blade Runner was his favorite. As he explained in a live chat in 2001, "Blade Runner needs no explanation. It just [is]. All of the best. There is nothing like it. To be part of a real masterpiece which changed the world's thinking. It's awesome." Hauer rewrote his character's "tears in rain" speech himself and presented the words to Scott on set prior to filming.
Blade Runner used a number of then-lesser-known actors: Sean Young portrays Rachael, an experimental replicant implanted with the memories of Tyrell's niece, causing her to believe she is human; Nina Axelrod auditioned for the role. Daryl Hannah portrays Pris, a "basic pleasure model" replicant; Stacey Nelkin auditioned for the role, but was given another part in the film, which was ultimately cut before filming. Debbie Harry turned down the role of Pris. Casting Pris and Rachael was challenging, requiring several screen tests with Morgan Paull playing the role of Deckard. Paull was cast as Deckard's fellow bounty hunter Holden based on his performances in the tests. Brion James portrays Leon Kowalski, a combat and laborer replicant, and Joanna Cassidy portrays Zhora, an assassin replicant.
Edward James Olmos portrays Gaff. Olmos drew on diverse ethnic sources to help create the fictional "Cityspeak" language his character uses in the film. His initial address to Deckard at the noodle bar is partly in Hungarian and means, "Horse dick [bullshit]! No way. You are the Blade ... Blade Runner." M. Emmet Walsh portrays Captain Bryant, a rumpled, hard-drinking and underhanded police veteran typical of the film noir genre. Joe Turkel portrays Dr. Eldon Tyrell, a corporate mogul who built an empire on genetically manipulated humanoid slaves. William Sanderson was cast as J. F. Sebastian, a quiet and lonely genius who provides a compassionate yet compliant portrait of humanity. J. F. sympathizes with the replicants, whom he sees as companions, and he shares their shorter lifespan due to his rapid aging disease. Joe Pantoliano had earlier been considered for the role. James Hong portrays Hannibal Chew, an elderly geneticist specializing in synthetic eyes, and Hy Pyke portrayed the sleazy bar owner Taffey Lewis – in a single take, something almost unheard-of with Scott, whose drive for perfection resulted at times in double-digit takes.
Design[]
Ridley Scott credits Edward Hopper's painting Nighthawks and the French science fiction comics magazine Métal Hurlant, to which the artist Jean "Moebius" Giraud contributed, as stylistic mood sources. He also drew on the landscape of "Hong Kong on a very bad day" and the industrial landscape of his one-time home in northeast England. The visual style of the movie is influenced by the work of futurist Italian architect Antonio Sant'Elia. Scott hired Syd Mead as his concept artist; like Scott, he was influenced by Métal Hurlant. Moebius was offered the opportunity to assist in the pre-production of Blade Runner, but he declined so that he could work on René Laloux's animated film Les Maîtres du temps – a decision that he later regretted. Production designer Lawrence G. Paull and art director David Snyder realized Scott's and Mead's sketches. Douglas Trumbull and Richard Yuricich supervised the special effects for the film, and Mark Stetson served as chief model maker.
Blade Runner has numerous similarities to Fritz Lang's Metropolis, including a built-up urban environment, in which the wealthy literally live above the workers, dominated by a huge building – the Stadtkrone Tower in Metropolis and the Tyrell Building in Blade Runner. Special effects supervisor David Dryer used stills from Metropolis when lining up Blade Runner's miniature building shots.
The extended end scene in the original theatrical release shows Rachael and Deckard traveling into daylight with pastoral aerial shots filmed by director Stanley Kubrick. Ridley Scott contacted Kubrick about using some of his surplus helicopter aerial photography from The Shining.
Spinner[]
"Spinner" is the generic term for the fictional flying cars used in the film. A spinner can be driven as a ground-based vehicle, and take off vertically, hover, and cruise much like vertical take-off and landing (VTOL) aircraft. They are used extensively by the police as patrol cars, and wealthy people can also acquire spinner licenses. The vehicle was conceived and designed by Syd Mead who described the spinner as an aerodyne – a vehicle which directs air downward to create lift, though press kits for the film stated that the spinner was propelled by three engines: "conventional internal combustion, jet, and anti-gravity" A spinner is on permanent exhibit at the Science Fiction Museum and Hall of Fame in Seattle, Washington. Mead's conceptual drawings were transformed into 25 vehicles by automobile customizer Gene Winfield; at least two were working ground vehicles, while others were light-weight mockups for crane shots and set decoration for street shots. Two of them ended up at Disney World in Orlando, Florida, but were later destroyed, and a few others remain in private collections.
Voight-Kampff machine[]
The Voight-Kampff machine is a fictional interrogation tool, originating from the novel (where it is spelled "Voigt-Kampff"). The Voight-Kampff is a polygraph-like machine used by blade runners to determine whether an individual is a replicant. It measures bodily functions such as respiration, blush response, heart rate and eye movement in response to questions dealing with empathy. (Tyrell states: "Capillary dilation of the so-called blush response? Fluctuation of the pupil? Involuntary dilation of the iris?") In the film, two replicants – Leon and Rachael – take the test. Deckard tells Tyrell that it usually takes 20 to 30 cross-referenced questions to distinguish a replicant; in contrast with the book, where it is stated it only takes six or seven questions to make a determination. In the film, it takes more than a hundred questions to determine that Rachael is a replicant. Blade Runner 2049 uses a different but related tool called the Baseline Test.
Music[]
The Blade Runner soundtrack by Vangelis is a dark melodic combination of classic composition and futuristic synthesizers which mirrors the film-noir retro-future envisioned by Ridley Scott. Vangelis, fresh from his Academy Award-winning score for Chariots of Fire, composed and performed the music on his synthesizers. He also made use of various chimes and the vocals of collaborator Demis Roussos. Another memorable sound is the tenor sax solo "Love Theme" by British saxophonist Dick Morrissey, who performed on many of Vangelis's albums. Ridley Scott also used "Memories of Green" from the Vangelis album See You Later, an orchestral version of which Scott would later use in his film Someone to Watch Over Me.
Along with Vangelis's compositions and ambient textures, the film's soundscape also features a track by the Japanese ensemble Nipponia – "Ogi no Mato" or "The Folding Fan as a Target" from the Nonesuch Records release Traditional Vocal and Instrumental Music – and a track by harpist Gail Laughton from "Harps of the Ancient Temples" on Laurel Records.
Despite being well received by fans and critically acclaimed and nominated in 1982 for a BAFTA and Golden Globe as best original score, and the promise of a soundtrack album from Polydor Records in the end titles of the film, the release of the official soundtrack recording was delayed for over a decade. There are two official releases of the music from Blade Runner. In light of the lack of a release of an album, the New American Orchestra recorded an orchestral adaptation in 1982 which bore little resemblance to the original. Some of the film tracks would, in 1989, surface on the compilation Vangelis: Themes, but not until the 1992 release of the Director's Cut version would a substantial amount of the film's score see commercial release.
These delays and poor reproductions led to the production of many bootleg recordings over the years. A bootleg tape surfaced in 1982 at science fiction conventions and became popular given the delay of an official release of the original recordings, and in 1993 "Off World Music, Ltd" created a bootleg CD that would prove more comprehensive than Vangelis' official CD in 1994. A set with three CDs of Blade Runner-related Vangelis music was released in 2007. Titled Blade Runner Trilogy, the first disc contains the same tracks as the 1994 official soundtrack release, the second features previously unreleased music from the movie, and the third disc is all newly composed music from Vangelis, inspired by, and in the spirit of the movie.
Special effects[]
The film's special effects are generally recognized to be among the best of all time, using the available (non-digital) technology to the fullest. Special effects engineers, who worked on the film, are often praised for the innovative technology they used to produce and design certain aspects of those visuals. In addition to matte paintings and models, the techniques employed included multipass exposures. In some scenes, the set was lit, shot, the film rewound, and then rerecorded over with different lighting. In some cases this was done 16 times in all. The cameras were frequently motion controlled using computers. Many effects used techniques which had been developed during the production of Close Encounters of the Third Kind.
Release[]
Theatrical run[]
Blade Runner was released in 1,290 theaters on June 25, 1982. That date was chosen by producer Alan Ladd Jr. because his previous highest-grossing films (Star Wars and Alien) had a similar opening date (May 25) in 1977 and 1979, making the 25th of the month his "lucky day". Blade Runner grossed reasonably good ticket sales in its opening weekend; earning $6.1 million during its first weekend in theaters. The film was released close to other major science-fiction and fantasy releases such as The Thing, Star Trek II: The Wrath of Khan, Conan the Barbarian and E.T. the Extra-Terrestrial, which affected its commercial success.
Versions[]
Several versions of Blade Runner have been shown. The original workprint version (1982, 113 minutes) was shown for audience test previews in Denver and Dallas in March 1982. Negative responses to the previews led to the modifications resulting in the U.S. theatrical version. The workprint was shown as a director's cut without Scott's approval at the Los Angeles Fairfax Theater in May 1990, at an AMPAS showing in April 1991, and in September and October 1991 at the Los Angeles NuArt Theater and the San Francisco Castro Theatre. Positive responses pushed the studio to approve work on an official director's cut. A San Diego Sneak Preview was shown only once, in May 1982, and was almost identical to the U.S. theatrical version but contained three extra scenes not shown in any other version, including the 2007 Final Cut.
Two versions were shown in the film's 1982 theatrical release: the U.S. theatrical version (117 minutes), known as the original version or Domestic Cut (released on Betamax, CED Videodisc and VHS in 1983, and on LaserDisc in 1987), and the International Cut (117 minutes), also known as the "Criterion Edition" or "uncut version", which included more violent action scenes than the U.S. version. Although initially unavailable in the U.S. and distributed in Europe and Asia via theatrical and local Warner Home Video Laserdisc releases, the International Cut was later released on VHS and Criterion Collection Laserdisc in North America, and re-released in 1992 as a "10th Anniversary Edition".
Ridley Scott's Director's Cut (1992, 116 minutes) had significant changes from the theatrical version including the removal of Deckard's voice-over, the re-insertion of the unicorn sequence, and the removal of the studio-imposed happy ending. Scott provided extensive notes and consultation to Warner Bros. through film preservationist Michael Arick, who was put in charge of creating the Director's Cut.
Scott's definitive The Final Cut (2007, 117 minutes) was released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and Blu-ray Disc in December 2007. This is the only version over which Scott had complete artistic and editorial control.
Gallery[]
Trivia[]
Differences from the 1968 novel[]
References[]
Informational notes[]
Citations[]
- ↑ Cite error: Invalid
<ref>tag; no text was provided for refs namedbbfcoriginal - ↑ "Blade Runner". American Film Institute. Archived from the original on November 6, 2015. Retrieved on December 3, 2015.
- ↑ "Blade Runner". British Film Institute. Archived from the original on December 6, 2015. Retrieved on December 3, 2015.
- ↑ Blade Runner – Box Office Data, DVD and Blu-ray Sales, Movie News, Cast and Crew Information, The Numbers, archived from the original on December 16, 2014, retrieved December 11, 2014 Unknown parameter
|deadurl=ignored (|url-status=suggested) (help)Page Module:Citation/CS1/styles.css has no content. - ↑ Blade Runner: The Final Cut (2007), Box Office Mojo, archived from the original on April 12, 2014, retrieved April 12, 2014 Unknown parameter
|deadurl=ignored (|url-status=suggested) (help)Page Module:Citation/CS1/styles.css has no content. - ↑ Johnson, David (2005). "Chapter 3". The Popular & the Canonical: Debating Twentieth-century Literature. Psychology Press. p. 142.
- ↑ Caldwell, Thomas (2011). "Intertextuality". Film Analysis Handbook: Essential Guide to Understanding, Analysing and Writing on Film. Insight Publications. p. 152.
- ↑ Sammon, pp. xvi–xviii
- ↑ Bukatman, p. 21; Sammon, p. 79
- ↑ Conard, Mark T. (2006), The Philosophy of Neo-Noir, University Press of Kentucky, ISBN 978-0-8131-2422-3, archived from the original on April 7, 2014, retrieved July 27, 2011Page Module:Citation/CS1/styles.css has no content.
- ↑ Bukatman, p. 41
- ↑ Greenwald, Ted (September 26, 2007), "Read the Full Transcript of Wired's Interview with Ridley Scott", Wired Issue 15.10, archived from the original on June 18, 2013, retrieved July 27, 2011Page Module:Citation/CS1/styles.css has no content.
- ↑ Barber, Lynn (January 6, 2002), "Scott's Corner", The Observer, London: Guardian News and Media, archived from the original on July 20, 2008, retrieved July 27, 2011 Unknown parameter
|deadurl=ignored (|url-status=suggested) (help)Page Module:Citation/CS1/styles.css has no content. - ↑ Hunt, Bill (December 12, 2007), Blade Runner: The Final Cut – All Versions, The Digital Bits, Inc., archived from the original on February 22, 2014, retrieved July 27, 2011Page Module:Citation/CS1/styles.css has no content.
- ↑ Sammon, pp. 353, 365
- ↑ Blade Runner: The Final Cut, The Digital Bits, Inc., July 26, 2007, archived from the original on February 22, 2014, retrieved July 27, 2011Page Module:Citation/CS1/styles.css has no content.
- ↑ Egner, Jeremy (September 8, 2017). "'Blade Runner 2049': Harrison Ford, Ryan Gosling and the Creators Discuss the Sci-Fi Sequel and Rehash Old Arguments". The New York Times. Retrieved September 9, 2017.Page Module:Citation/CS1/styles.css has no content.
- ↑ Sammon, p. 175
Bibliography[]
- Brooker, Will, ed. (2005), The Blade Runner Experience, London: Wallflower, ISBN 978-1-904764-30-4Page Module:Citation/CS1/styles.css has no content.
- Bukatman, Scott (1997), BFI Modern Classics: Blade Runner, London: BFI (British Film Institute), ISBN 978-0-85170-623-8Page Module:Citation/CS1/styles.css has no content.
- Macarthur, David (2017), ""A Vision of Blindness": Bladerunner and Moral Redemption", Film Philosophy, Edinburgh University Press, 21 (3)Page Module:Citation/CS1/styles.css has no content.
- Sammon, Paul M. (1996), Future Noir: the Making of Blade Runner, London: Orion Media, ISBN 978-0-06-105314-6Page Module:Citation/CS1/styles.css has no content.
External Links[]
Blade Runner at the Internet Movie Database- Blade Runner at the TCM Movie Database
- Blade Runner at Box Office Mojo
- Blade Runner at Rotten Tomatoes
- Blade Runner at Metacritic
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