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Home , Barjo, Bitter Moon, Blade Runner, Brion James, Hampton Fancher, James Hong filmography

April 26, 2011 (XXII:14) : : THE FINAL CUT (1982/2007, 117 min)

Directed by Ridley Scott Written by , , Philip K. Dick (novel) Produced by Michael Deeley Cinematography by Edited by Production Design by Lawrence G. Paull Art Direction by David L. Snyder Visual Futurist Special Effects supervised by Music Composed by

Harrison Ford... ... Roy Batty ... Rachael ... Gaff M. Emmet Walsh... Bryant ... Pris William Sanderson…J.F. Sebastian PHILIP K. DICK (December 16, 1928, Chicago, Illinois – March 2, …Leon 1982, Santa Ana, California) wrote many novels and stories, 21 of Joe Turkel…Dr. Eldon Tyrell which became films or the bases for films: 2011 “The Man in the …Zhora High Castle” (novel The Man in the High Castle) (announced), …Hannibal Chew 2012 Total Recall (short story "We Can Remember It For You Morgan Paull…Holden Wholesale") (pre-production), 2011 Blade Runner 60: Director's Cut (post-production), 2011 (short story RIDLEY SCOTT (November 30, 1937, South Shields, County "Adjustment Team"), 2010 Radio Free Albemuth (novel Radio Free Durham (now South Shields, Tyne & Wear), England, UK) has Albemuth), 2009 “Screamers: The Hunting” (short story “Second directed 28 titles 2010 Robin Hood, 2008 Body of Lies, 2007 Variety”), 2007 Next (story "The Golden Man"), 2006 A Scanner American Gangster, 2006 , 2001 Black Hawk Down, Darkly (novel ), 2003 (short story), 2001 Hannibal, 2000 Gladiator, 1997 G.I. Jane, 1996 White Squall, 2002 Minority Report (short story), 2001 (short story "The 1992 1492: Conquest of Paradise, 1991 Thelma & Louise, 1989/I Impostor"), 1999 “Total Recall: The Series” (short story), 1999 Black Rain, 1987 Someone to Watch Over Me, 1985 Legend, 1982 “Total Recall 2070” (short story), 1997 Blade Runner (Video Blade Runner, 1979 , 1977 , 1967 “The Game) (novel Do Androids Dream of Electric Sheep?), 1995 Informer”, and 1966 “Thirty-Minute Theatre.” He is also a well- Screamers (short story "Second Variety"), 1994 Drug-Taking and known director of commercials, most notably the 1984 Apple the Arts (novel A Scanner Darkly), 1992 (novel), 1990 Total McIntosh commercial played at half-time during the Superbowl. Recall (short story "We Can Remember It For You Wholesale" / inspiration), 1987 Proini peripolos (excerpt), 1982 Blade Runner DAVID PEOPLES (1940, Middletown, Connecticut) has 10 film (based on the novel Do Androids Dream of Electric Sheep?), credits: 1998 Soldier, 1995 Twelve Monkeys, 1992 Hero, 1992 and1962 “Out of This World” (short story). , 1990 Fatal Sky, 1989 , 1989 Leviathan, 1985 Ladyhawke, 1982 Blade Runner, and 1981 The MICHAEL DEELEY (August 6, 1932) won a best picture Oscar for Day After Trinity. The Deer Hunter (1978). He has 23 other producer credits, among them 1987 “A Gathering of Old Men”, 1985 “Deceptions”, 1982 Blade Runner, 1978 The Deer Hunter, 1978 Convoy, 1976 The Man Scott—BLADE RUNNER—2

Who Fell to Earth, 1975 Conduct Unbecoming, 1971 Murphy's War, 1969 The Italian Job, 1967 Red, White and Zero, 1965 The ... Rick Deckard (July 13, 1942, Chicago, Knack... and How to Get It, 1962 Crosstrap, 1957 At the Stroke of Illinois) has 64 acting credits, some of which are 2011 Cowboys & Nine, and, in 1956, one of Bruce’s all-time favorite shorts, “The Aliens (post-production), 2010 Morning Glory, 2010 Extraordinary Case of the Mukkinese Battle-Horn.” Measures, 2009 Crossing Over, 2008 Indiana Jones and the Kingdom of the Crystal Skull, 2002 K-19: The Widowmaker, 2000 JORDAN CRONENWETH (February 20, 1935, , What Lies Beneath, 1999 Random Hearts, 1998 Six Days Seven California – November 29, 1996, Los Angeles, California) has 30 Nights, 1997 Air Force One, 1995 Sabrina, 1994 Clear and Present cinematographer credits, some of which are 2002 : The Best of Danger, 1993 The Fugitive, 1992 Patriot Games, 1991 Regarding 1980-1990 (video "When Love Comes To Town"), 1992 Final Henry, 1990 Presumed Innocent, 1989 Indiana Jones and the Last Analysis, 1990 Madonna: The Immaculate Collection (video), 1990 Crusade, 1988 Frantic, 1986 The Mosquito Coast, 1985 Witness, State of Grace, 1988 U2: Rattle and Hum, 1987 Gardens of Stone, 1984 Indiana Jones and the Temple of Doom, 1983 : 1986 , 1986 Just Between , 1982 Episode VI - , 1982 Blade Runner, 1981 Raiders Best Friends, 1982 Blade Runner, 1981 Cutter's Way, 1980 Altered of the Lost Ark, 1980 Star Wars: Episode V - The Empire Strikes States, 1977 Rolling Thunder, 1977 Handle with Care, 1976 Gable Back, 1979 Hanover Street, 1979 Apocalypse Now, 1978 Force 10 and Lombard, 1972 Play It As It Lays, 1972 Cry for Me, Billy, and from Navarone, 1977 Heroes, 1977 Star Wars: Episode IV - A New 1970 Brewster McCloud. Hope, 1974 “The Conversation”, 1973 “American Graffiti”, 1972- 1973 “”, 1970 Getting Straight, 1970 Zabriskie Point, TERRY RAWLINGS (1933, , England, UK) has 23 editor 1969 “The F.B.I.”, 1968 “The Mod Squad”, 1967 “The Virginian”, credits: 2004 The Phantom of the Opera, 2003 The Core, 2001 The 1967 Luv, 1966 Dead Heat on a Merry-Go-Round, and 1963 The Musketeer, 1999 Entrapment, 1998 U.S. Marshals, 1997 The Saint, Great Escape. 1995 GoldenEye, 1994 Trapped in Paradise, 1994 No Escape, 1992 Alien³, 1991 Not Without My Daughter, 1990 Bullseye!, 1989 Slipstream, 1987 The Lonely Passion of Judith Hearne, 1987 White of the Eye, 1986 F/X, 1985 Legend, 1983 Yentl, 1982 Blade Runner, 1981 , 1980 The Awakening, 1979 Alien, 1978 Watership Down, and 1977 The Sentinel.

LAWRENCE G. PAULL (1938) was production designer for 34 films, among them 2000 “Murder in the Mirror”, 1996 Escape from L.A., 1994 Naked Gun 33 1/3: The Final Insult, 1993 Born Yesterday, 1992 Unlawful Entry, 1991 City Slickers, 1990 , 1989 Harlem Nights, 1987 Project X, 1985 American Flyers, 1984 Romancing the Stone, 1982 Blade Runner, 1978 FM, 1978 Blue Collar, 1977 Which Way Is Up?, 1976 The Bingo Long Traveling All-Stars & Motor Kings, and 1971 The Hired Hand.

SYD MEAD (July 18, 1933, St. Paul, Minnesota), the “visual futurist” for the film, has 13 art department titles: 2006 Mission: Impossible III, 2000 Mission to Mars, 1999 “Turn-A Gundam”, 1997 Wing Commander: Prophecy (), 1994 Timecop, 1992 From Time to Time, 1990 Solar Crisis, 1988 “UFO Cover- Up?: Live!”, 1986 Aliens, 1984 2010, 1982 , 1982 Blade Runner, and 1979 : The Motion Picture.

DOUGLAS TRUMBULL (April 8, 1942, Los Angeles, California) has 8 special visual effects credits: 1982 Blade Runner, 1979 Star Trek: RUTGER HAUER... Roy Batty (January 23, 1944, Breukelen, The Motion Picture, 1977 Close Encounters of the Third Kind, 1973 Utrecht, ) has appeared in 130 films and television “The Starlost”, 1972 Silent Running, 1971 The Andromeda Strain, series, among them 2011 Il villaggio di cartone (post-production), 1968 Candy, and 1968 2001: A Space Odyssey. 2010 Tonight at Noon (post-production), 2011 Portable Life, 2011 Hobo with a Shotgun, 2011 The Mill and the Cross, 2010 Life's a VANGELIS (March 29, 1943, Volos, Greece) won a Best Original Beach, 2008 Magic Flute Diaries, 2007 Dead Tone, 2005 Batman Score Oscar for Chariots of Fire (1981). Some of his 42 other film Begins, 2005 Sin City, 1999 Simon Magus, 1997 Bleeders, 1997 score credits are 2007 , 2005 “Fight Against Time: Oliver Knockin' on Heaven's Door, 1994 Nostradamus, 1994 “Amelia Stone's ”, 2004 Alexander, 2001 I Hope..., 2001 Earhart: The Final Flight”, 1992 Buffy the Vampire Slayer, 1989 “ - Music for the NASA Mission, 2001 Mars Odyssey”, The Blood of Heroes, 1989 Bloodhounds of Broadway, 1988 The 1992 1492: Conquest of Paradise, 1992 Bitter Moon, 1988 Vampire Legend of the Holy Drinker, 1986 The Hitcher, 1985 Ladyhawke, in Venice, 1985 Wonders of Life, 1984 The Bounty, 1982 Blade 1983 The Osterman Weekend, 1982 Blade Runner, 1981 Chanel Runner, 1982 Pablo Picasso Painter, 1982 Missing, 1981 Chariots Solitaire, 1981 , 1980 Spetters, 1979 Woman Between of Fire, 1980 “Death of a Princess”, 1976 La fête sauvage, 1974 Wolf and Dog, 1977 , 1975 “Floris von Love, 1972 Hello Jerusalem, 1970 Sex-Power, 1966 Five Thousand Rosemund” (15 episodes), 1975 The Wilby Conspiracy, 1973 Lies, and 1963 My Brother, the Traffic Policeman. Turkish Delight, and 1969 “Floris.” Scott—BLADE RUNNER—3

Man, 1995 Grumpier Old Men, 1993 Grumpy Old Men, 1992 SEAN YOUNG... Rachael (November 20, 1959, Louisville, Memoirs of an Invisible Man, 1991 At Play in the Fields of the Kentucky) has 83 acting credits, some of them for 2010 Random Lord, 1989 Steel Magnolias, 1989 Crimes and Misdemeanors, 1987 Encounters (post-production), 2010 “The Young and the Restless” Wall Street, 1986 Legal Eagles, 1986 The Clan of the Cave Bear, (39 episodes), 2008 The Man Who Came Back, 2006 “CSI: Crime 1984 The Pope of Greenwich Village, 1984 Splash, 1984 Reckless, Scene Investigation”, 2006 The Drop, 2003 “The King and Queen 1982 Blade Runner, 1981 Hard Country, and 1978 The Fury. of Moonlight Bay”, 2003 “1st to Die”, 2002 “Third Watch”, 2002 Threat of Exposure, 2002 The House Next Door, 2002 Aftermath, 2001 Night Class, 2001 Mockingbird Don't Sing, 2001 Sugar & Spice, 2000 The Amati Girls, 2000 Poor White Trash, 1997 Motel Blue, 1997 Men, 1995 Dr. Jekyll and Ms. Hyde, 1993 Fatal Instinct, 1993 Even Cowgirls Get the Blues, 1991 A Kiss Before Dying, 1989 Cousins, 1987 Wall Street, 1987 No Way Out, 1985 “Tender Is the Night”, 1984 , 1982 Young Doctors in Love, 1982 Blade Runner, 1981 Stripes, and 1980 Jane Austen in Manhattan.

EDWARD JAMES OLMOS... Gaff (February 24, 1947, East Los Angeles, California) has 87 acting credits, some of them for 2011 The Green Hornet, 2010 “CSI: NY”, 2010 America, 2004-2009 “Battlestar Galactica” (73 episodes), 2008 Beverly Hills Chihuahua, 2003 “Battlestar Galactica” (TV mini-series), 2000 “The Princess & the Barrio Boy”, 1999 “Bonanno: A Godfather's Story”, 1998 “The Taking of Pelham One Two Three”, 1997 “12 Angry Men”, 1997 Selena, 1996 Disturbing the Peace, 1995 Mirage, 1994 “Menendez: A Killing in Beverly Hills”, 1993 Even Cowgirls Get the Blues, JOANNA CASSIDY…Zhora (Joanna Virginia Caskey, August 2, 1992 American Me, 1984-1990 “” (106 episodes), 1988 1945, Haddonfield, NJ) has appeared in 141 films and TV series, Stand and Deliver, 1986 Saving Grace, 1982 “The Ballad of the first of which was an uncredited bit part in (1962) and Gregorio Cortez”, 1982 Blade Runner, 1982 “American the most recent of which is Jacked, currently in post-production. Playhouse”, 1981 Zoot Suit, 1981 Wolfen, 1977 “Hawaii Five-O”, She was in 21 episodes of “Six Feet Under” (2001-2005) and was a 1977 “Starsky and Hutch”, 1976 “Police Woman”, 1976 “The Blue regular on the unfortunately short-lived “Buffalo Bill” series (1983- Knight”, 1975 “Kojak”, and 1974 “Cannon.” 1984). Some of her other appearances have been in 2010 Anderson's Cross, 2009 “,”, 2008 The M. EMMET WALSH... Bryant (March 22, 1935, Ogdensburg, New Human Contract, 2006 Larry the Cable Guy: Health Inspector, York) has appeared in 198 films and TV series, among them 2010 2006 The Virgin of Juarez, 2006 “” (5 episodes), The Assignment (post-production), 2009 Don McKay, 2008 “Beverly Bridge” (5 episodes), 2004 “Star Trek: Enterprise” (2 Sherman's Way, 2002 Snow Dogs, 2001 “Frasier”, 2000 Jack of episodes), 1999-2000 “Diagnosis Murder “(8 episodes), 1997-1998 Hearts, 2000 Poor White Trash, 2000 “NYPD Blue”, 1999 “The X- “,” 1997 “” (3 episodes), 1995 Vampire in Files”, 1997 My Best Friend's Wedding, 1996 Romeo + Juliet, 1993 Brooklyn, 1993-1994 “L.A. Law” (3 episodes), 1992 “Northern “The Naked Truth”, 1989 “Tales from the Crypt”, 1989 Exposure,” 1991 Lonely Hearts, 1990 Where the Heart Is , 1989 Thunderground, 1989 “Unsub” (8 episodes), 1988 The Milagro The Package, 1988 , 1983 Under Fire, Beanfield War, 1987 Raising Arizona, 1986 Critters, 1985 “The 1982 “ “(5 episodes), 1982 Blade Runner, 1981 Twilight Zone”, 1985 Fletch, 1984 Blood Simple., 1984 The Pope “Charlie's Angels,” 1980-1981 “Dallas,” 1980 Night Games, 1979- of Greenwich Village, 1983 Silkwood, 1982 Blade Runner, 1982 1980 “240-Robert “ (13 episodes), 1978 Our Winning Season, 1977 Fast-Walking, 1982 Cannery Row, 1981 Reds, 1981 “Little House The Late Show, 1976 Stay Hungry, 1973 The Laughing Policeman, on the Prairie”, 1980 Ordinary People, 1980 Raise the Titanic, 1980 1973 The Outfit, and 1972-1973 “Mission: Impossible” (3 Brubaker, 1979 The Jerk, 1979 The Fish That Saved Pittsburgh, episodes). 1978 Straight Time, 1977 Airport '77, 1977 Slap Shot, 1976 Mikey and Nicky, 1976 Nickelodeon, 1976 Bound for Glory, 1975 The From Future Noir: The Making of Blade Runner. Paul M. Prisoner of Second Avenue, 1975 “”, 1975 At Long Sammon. Harper, NY, 1996. Last Love, 1975 “”, 1974 The Gambler, 1973 Serpico, 1972 “The Sandy Duncan Show” (11 episodes), 1972 “Interview with Ridley Scott in which the director reminisces on What's Up, Doc?, 1971 “”, 1971 “Ironside”, 1971 They Blade Runner fourteen years after the fact and answers some of the Might Be Giants, 1971 Escape from the Planet of the Apes, 1971 film’s most frequently asked questions” Cold Turkey, 1970 End of the Road, 1969 Alice's Restaurant, and 1969 Midnight Cowboy. PMS: I’d like to begin with a query regarding one of Blade Runner’s biggest question marks: the “Unicorn Scene” in the DARYL HANNAH... Pris (December 3, 1960, Chicago, Illinois) has Director’s Cut, that moment in the film when Harrison Ford is been in 75 films, among them 2011 Garbage (post-production), slumped at his piano and daydreaming about this mythical beast. 2011 Eldorado (post-production), 2010 Blind Revenge, 2009 Before we get into that shot’s thematic meanings, I’d like to ask you Shannon's Rainbow, 2008 “Kung Fu Killer”, 2008 Vice, 2007 The about its origins. Was it in any way influenced by Legend, the film Poet, 2004 Kill Bill: Vol. 2, 2003 Kill Bill: Vol. 1, 2003 The Big you did after Blade Runner, which also featured unicorns? Empty, 2001 Jackpot, 1999 Wildflowers, 1998 The Gingerbread Scott—BLADE RUNNER—4

RS: No. That unicorn was actually filmed prior to any which came into his mind ought to be something which we would thought of making Legend. In fact, it was specifically shot for Blade otherwise never see in the movie. Runner during the post production process. At that point in time I was editing the picture in England, at Pinewood Studios, and we I must confess that when I first saw the completed film at the San were heading toward a mix. Yet I still, creatively speaking, had this Diego preview, I felt the exclusion of the unicorn scene seriously blank space in my head in regards to what Deckard’s dream at the disrupted the connections you were trying to make. I picked up on piano was going to be all about. the other clues that Deckard might be a —his collection of That was distressing, because this was an important photographs, the scene where Ford’s eyes glow—but without that moment for me. I’d predetermined that that unicorn scene would be specific shot of the unicorn in the woods, I felt more inclined to the strongest clue that Deckard, this hunter of , might accept Olmos’ act of leaving behind the tinfoil unicorn as merely an actually be an artificial human himself. I did feel that this dream indication that Gaff had come to Deckard’s apartment and decided had to be vague, indirect. I didn’t mind if it remained a bit to let Sean Young live. But then, when I saw the Director’s Cut, the mysterious, either, so that you had to think about it. Because there is inclusion of the live unicorn made a more emotional impact. Now I a clear thread throughout the film that would later explain it. could see that the tinfoil origami was a sign Gaff knew Deckard’s Anyways, I eventually realized I had to think of an image thoughts. that was so personal it could only belong to an individual’s inner So it’s almost as if there are two different movies there. In thoughts. And eventually I hit on a unicorn. the original theatrical release, Deckard, might be a replicant; in the Director’s Cut, he is one. You mentioned the word “dream,” which is interesting. Because the They are two different movies. But the Director’s Cut is way you staged that scene in Blade Runner, it’s almost as if Ford’s closer to what I was originally after. drifting off into a reverie. What I find interesting about that unicorn scene is that Yeah. Well, actually, he’s pissed. He’s drunk. On a rather while so much has been made by the critics of the unicorn, they’ve strange bottle of twenty-first-century Johnny Walker Red. Which he actually missed the wider issue. It is not the unicorn itself which is took with him, you may remember, when he went to get his hard important. It is the landscape around it—the green landscape—they copy from the Esper. should be noticing. Unfortunately, I don’t think I really played Deckard drunk enough in that scene. What I mean I understand what you’re by that is the Deckard character was saying. But, to be fair, I can supposed to be somewhat also understand the confusion. Marlowesque, after the Raymond The original prints of Blade Chandler antihero, you know? And Runner did, in fact, conclude Marlowe was always a little tiddly. with green landscapes. Even if So I thought that that scene would they were tacked-on ones. be a good opportunity to see our Tack-on, as you say. own hero a bit drunk while he was By some of the producers, and trying to work, as he was puzzling by the studio. Which I’m sure over these old photographs. we’ll talk about later. But before that Ah, Blade Runner’s infamous happened, my original thought photographs. Why did you choose had been to never show a that particular device to associate green landscape during Blade with the film’s replicants? Runner. We would only see an Because photographs are urban world. But I essentially history. Which is what subsequently figured, since these replicants don’t have. this moment of Deckard noodling at the piano offered the pictorial opportunity of a dream, One final question regarding the replicants’ fascination with why not show the unicorn? In a forest? It’s an image that’s so out of photographs—couldn’t these snapshots also be interpreted as hard- place with the rest of the picture that even if I only run it for three copy analogs of the artificial memories implanted in the androids? seconds, the audience will understand that they’re witnessing some Definitely. Don’t forget that just prior to the unicorn scene, sort of reverie. Deckard has told Rachel that her memories are not hers. Then he gives her a couple of examples of these implants, like the spider Given the confusion that that unicorn has raised in some circles, giving birth outside her window. At which point Rachel basically I’m not sure your faith in the audience was justified. breaks down and leaves Deckard’s apartment. And he feels, I guess, I know what you mean. Maybe I should amend that to say, guilty about that process. I was sure that the part of the audience which was paying attention We next find Deckard poring over the photographs and would understand it! [laughs] doodling at his piano. And of course what we do then is reveal an extremely private and innermost thought of his, which is triggered Besides creative differences, I understand another reason the by the music Deckard is playing. Now, music, in my mind at least, unicorn shot was deleted from the original theatrical prints had is a very visual medium. It can provoke intense imagery. So when something to do with the fact that you’d filmed it relatively late in Deckard kind of drifts off at that moment, I thought that the image the game. Scott—BLADE RUNNER—5

True. Besides the tacked-on ending, the unicorn scene was studio back lot. Which I was really scared to death of, because back more or less the last thing I shot for the picture. By that time, the lots always look like back lots. pressure had grown quite intense to just get the bloody film into theaters. You managed to make it not look like a back lot. Well, the fact that we were shooting at night was certainly That raises another question. Over the years, you’ve been quoted as a helpful factor. But Warner’s back lot isn’t that big. So if we saying that you very much wanted that unicorn footage back in the hadn’t filmed Blade Runner at night, you would have been able to film. Yet my own research indicates that when certain producers see beyond the margins of our set to all those small hills which originally requested that you delete that shot, you didn’t necessarily surround the Warner Brothers’ studio. That's also the reason it’s object. What's the real story here? Had the Blade Runner pressures raining all the time in Blade Runner, you know. To disguise the fact grown so great, the problems so numerous, that you finally just that we were shooting on a back lot. threw in the towel? No. You see, by then I’d been through the whole process Were the constant rain and night-time exteriors purely pragmatic of going to war. Which was making the movie, with all its attendant decisions? I mean, that ubiquitous damp and darkness certainly budgetary problems and “clashes with certain producers” and so on. adds to Blade Runner’s atmosphere. Still, I really thought I’d got it with Blade Runner, you know? I It does help lend a realistic quality to the story, yes. But genuinely felt I’d made an interesting movie. really, a lot of the reason we finally settled on all that rain and night Then came the confusion that followed the previews in shooting was to hide the sets. I was really paranoid that audiences Texas and Colorado. Which would notice we were shooting on a created—I guess the word is back lot. insecurity, A certain insecurity was going around at the time This is a basic question, but how did between myself and the Ladd you latch onto the actual title for this Company and Michael Deeley and film? I do know you bought the rights Yorkin and Perenchio, the film’s to the words ‘Blade Runner’ from other producers. It was that Burroughs and Norton, but who insecurity which led to the initially discovered those words? And original deletion of the unicorn why did you choose them? sequence. That’s a good question, but a long answer. Frankly, I’m not surprised. Blade We actually spent months, in Runner is quite an uusual, stylized early 1980s, when I first came here to and, if I may say so, artistic Los Angeles—Hampton Fancher and product. Especially for the I, and sometimes Michael Deeley— studios. That must have been spending every day slogging through difficult, particularly since you the Dangerous Days script. Now, and I are both well aware of the Hampton had composed a clever fact that —at least in terms of the screenplay about a man who falls in Hollywood commercial mindset— love with his quarry. But for anything smacking of “art” budgetary reasons, he’d kept it very automatically breeds insecurity. internal. So I said to him, “You know, I never thought about it Hampton, as soon as this Deckard that way. My way of thinking was, character walks out a door, whatever hey, I just made the movie. he looks at must endorse the fact that his world has reached the point where Moving on, why did you decide to it can create replicants. Otherwise this primarily film Blade Runner on picture will not fly. It’ll become an the Warner Brothers back lot? That seems an unusual choice for intellectual sci-fi.” you, given the penchant for location shooting I’ve noticed in your This was the point where we began to create the other pictures. architecture of the film. Not long after, we’d arrived at a screenplay Actually, Michael Deeley and I did quite a bit of location which I think nicely integrated Hampton’s original storyline, scouting on Blade Runner—Boston, Atlanta, New York, even characterizations, and dialogue with what we’d managed to London. Funnily enough, today I could probably shoot Blade logically decide what Blade Runner’s outside world had to be like. Runner in the city of London, because of the way it’s being But then I finally said to Hampton, ”You know, we can’t developed. It’s as spectacular as New York. keep calling Deckard a goddamn detective.” And he said “Why In any event, we had done all this location hunting before I not?” I replied, “Because we’re telling a story in 2019, for Christ’s finally realized I’d never be able to control the two or three real city sake. The word ‘detective’ will probably still be around then, but blocks we’d need to dress as a set for the length and space of time this job Deckard does, killing androids, that requires something I’d need them. Which would have been months. We never could new. We’ve got to come up with a bloody name for his profession.” have done that in a genuine city and kept a lid on the situation. That was on a Friday. Hampton slunk in the next Monday. Therefore, it became very apparent that my only alternative was a We had our meeting, and he said, “By the way, I’ve come up with a name.” And I asked “What is it?” But instead of telling me, he Scott—BLADE RUNNER—6 wrote it down. And as he handed the slip of paper Hampton said, I always felt I’d been a bit fanciful with the underlying “It’s better you read it than hear it.” concept of the replicants, really. Because if a society decided to Of course, it read “Blade Runner.” I said, “That’s great! produce a second-class species, that society would also probably It's wonderful!” But the more I enthused about it, the more develop it with subhuman capabilities. You wouldn’t want your Hampton looked guiltier and guiltier. So I asked, “Where’d it come twin objecting to your going to its cupboard to remove its kidney. from? Is it yours?” [laughs] Finally he said, “Welll…no, not really. The fact that the replicants in Blade Runner are indeed intelligent Actually it’s William Burroughs’. From a slim book he wrote in complicates the situation. You immediately have a huge morality 1979 called Blade Runner: A Movie.” And I said “Well, we gotta problem. But I must say that I’m not comfortable with these issues. buy it, we gotta buy it!” If I’d gone into them in Blade Runner, I would have had a totally Burroughs, who turned out to be a fan of Philip Dick’s, different picture. So I didn’t. then said “Sure!” when we approached him, and gave it to us for a nominal fee. So that’s how the title was acquired. I thought the Why not? words “Blade Runner” very well-suited our Two absolutely essential needs. It was a nice, threatening name that considerations are critical to the success of any neatly described a violent action. so-called Hollywood picture. The first is that the end result of any film is communication It also neatly describes Deckard’s character, with its audience. And the second is, the larger which runs on the knife’s edge between the film, the larger your budget—which also humanity and inhumanity. means the larger audience you have to consider. Yes, it does. What's more, there are a I think a lot of people actually don’t realize that. lot of delivery services in Hollywood that So what you’ve got to set in your now have exactly the same style of typeface. mind, right up front, is what kind of audience [laughs] you’re hoping your subject will reach. Therefore, unless you’re a fool, you construct How did you get along with Hampton? your story and budget and the scope of your It used to vary a bit day by day, but film accordingly. In other words, if you’re basically I thought we got along extremely going to end up in an art cinema, you should well. Incidentally, I think Hampton’s stay within the confines of a small budget definitely got a touch of genius. He’ll be movie, which will allow you to explore most amused to hear me say that. any esoteric idea you wish. But if you’re going to attempt to follow along the path of a One thing I’ve always found amusing about Spielberg, then your choice of subject matter the response to this picture is how it’s and the way you’re going to explain and perceived as being such a deadly serious communicate your story to that larger audience work. Now, don’t misunderstand me—I think is, of necessity, going to be on a slightly more you’ve created a motion picture which is both thought-provoking simplified level. I wouldn’t say on any less intelligent level, just and mature—but I also remember you telling me you were trying to less esoteric. create a live-action version of Heavy Metal. A comic book, in other words. And Blade Runner is a comic book. Choosing to present your subject matter in this manner sounds like It is indeed. I really made a film which is a comic book, a delicate balancing act. and you’ve got to remember that. But people always misinterpret Well, it all gets down to instinct. If you apply pure logic to this aspect of the production. your choice of subject, that’s dangerous. Potentially sterile. So to a They also underestimate the huge problem of taking a certain extent you’re drawn into a film by your own instincts. And I comic strip and adapting it to the screen. That’s a difficult process, think that my own instincts happen to be fairly commercial ones. because the comic strips work on a two-dimensional level. You’re looking at one line here, one line there, some terrific art work and Moving on to a plot point, one that's constantly discussed, is the dynamic layout, and your brain supplies the rest. But to duplicate matter of how many replicants Deckard’s supposed to be hunting. that experience in a film requires enormous discipline and Specifically, I think you know what I mean—the confusion from preplanning. This is one reason that I won’t even touch a futuristic Bryant saying that out of the six original escaped androids, one was picture until I get its script into reasonable shape. Because already dead, leaving five. But Deckard only retires four. I think I everything else springs from that, including the film’s visual know the answer to this question, but could you officially put it on aspects. Which in turn creates the concrete environment of that the record? future. I assume you’re speaking of Mary, the sixth replicant we Therefore, if I do a , it’s got to somehow not had to drop. I’d actually cast that part. Given the role to an be wasted, if you know what I mean. Sci-fi presents a wonderful interesting young lady about the same age as Daryl Hannah, whose opportunity, because if you get it right, anything goes. But you’d name I can’t recall— better have drawn up your rulebook for the world you’ve created first. Then you’d better stick to it. Stacey Nelkin? That’s it. Actually, we removed Mary’s scenes because we What about the ethical problems regarding the replicants in Blade couldn’t afford to do them. We suddenly realized, about the third Runner? More than once, they’re compared to slaves. week into filming, that with the kind of detail I work with, we were going to have to build in a hedge against going over budget. In Scott—BLADE RUNNER—7 other words, we’d have to remove some scenes, remove some action. Mary’s action, as it turned out. Continuing with Blade Runner’s use of vision, there seems to also be a definite “eye motif” in the film. I mean, besides the giant eye in So all this confusion resulted from a money issue. the first act, you have the Voight-Kampff machine that looks into Yep. Stacey was devastated, poor thing. I still feel a bit eyes, Chew works at an eye lab, Batty holds up artificial eyes in badly about that. I’m also sorry the character itself had to be written front of his own, Tyrell’s eyes are gouged out, the replicants eyes out; Mary was going to be the only replicant that the audience glow…this sort of thing persists throughout the picture. Was this would have gotten to see naturally fade away. What we’d come up insistent repetition intentional on your part? with was a situation that took place early on in the film. In a dark Well, who was it said that the eyes are the windows to the room, with the other replicants watching Mary die. That’s how we soul? I believe that. Just as I believe that they are the windows in were going to introduce the replicants. your head. But the basic reason I started out the film on an eye and That’s interesting, because in the last draft of the script I have then continued to emphasize eyes through action or dialogue was mentioning Mary, she survives up until the end of the film. At which because of the Voight-Kampff machine. It just sat there and focused point we see her hiding in a closet in Sebastian’s apartment. Until on the windows in your head. Therefore, it was logical that I begin Deckard shoots through the closet door, killing her. the film on this window and attempt to develop and sustain that We’d rewritten that. Mary’s primary scene was now going imagery throughout the film. to take place very early on. You’d witness all these replicants Also, you know, when you think about it, the eye is the hovering over her deathbed before you even met Roy Batty. So it single most vulnerable aperture in your body. Without your eyes, gave these replicants an instant sort of sympathy. I was sorry to see man, you’ve got nothing. And sticking something through that go—it was rather a sad scene, actually. someone’s eye is a very simple way of killing somebody. That feeds right back into the atmosphere of paranoia I was attempting to create. So it all comes back to the Voight-Kampff machine. Which was a stroke of collective genius. First came Philip K. Dick, who invented this totally believable instrumentality and term— “Voight-Kampff” sounds like a real piece of equipment, like an Arriflex. Then Hampton Fancher brilliantly expanded and deepened Dick’s concept. Finally, Syd Mead came up with a marvelous design for a working model of this imaginary thing. All of these accomplishments were quite extraordinary.

The use of the Voight-Kampff instrument raises a basic question, though. If Blade Runners have photographs and videotapes of what replicants look like—and you establish both of these facts early in Let’s discuss an interesting visual motif that runs throughout Blade the film—why do they have to give them a Voight-Kampff to Runner. It begins with that giant eye at the start of the film, the determine if they are indeed replicants? close-up of the blue iris which is intercut with the wide shots of the If replicants have been replicated from human beings, then industrial landscape. Was that meant to be a symbolic or literal I guess a law would have to be passed as a “fail-safe.” Zone eye? demanding that all replicants had to be tested in case you found the I think it was intuitively going along with the root of an real thing. Either way, they would deny being replicants. Orwellian idea. That the world is more of a controlled place now. It’s really the eye of Big Brother. Obviously, the glowing eyes of the replicants were meant to be a dramatic and not a literal device, correct? Or Eldon Tyrell? Yes. Because if you could walk into a room and see Or Tyrell. Tyrell, in fact, had he lived, would certainly someone’s eyes shining away at you, why take the trouble of testing have been Big Brother. them? You’d just blow them away where they stood. So that retinal kickback was primarily a cinematic technique, mainly used as a tip- I ask this because Blade Runner’s special effects storyboards off for the audience. suggested that the eye belonged to Holden, the Blade Runner shot However I’d also intended a couple of other, more subtle by Leon in the Interrogation Room. things with the replicants’ glowing eyes. One was semihumorous That was the early intent, yes. But I later realized that and slightly ironic—the fact that, despite all their , the linking that eye with any specific character was far too literal a genetic designers of Blade Runner’s world still hadn’t quite maneuver and removed the particular emotion I was trying to perfected their products’ eyeballs. So that kickback you saw from induce. the replicants’ retinas was a bit of a design flaw. I was also trying to say that the eye is really the most important organ in the human Inserting that gigantic, staring orb up front set up an interesting body. Its like a two-way mirror; the eye doesn't only see a lot, the paranoid vibe, I thought. Because instead of the audience watching eye gives away a lot. A glowing human retina seemed one way of the film, the film is watching the audience…. stating that. You hit it. Blade Runner, in a sense, actually is about paranoia. And that eye underscores Deckard’s dilemma, because by Your casting of Sean Young was an interesting choice—she’s the end of the film, he believes he may be a replicant himself. almost too beautiful to be true. Scott—BLADE RUNNER—8

But that was the point, you see. If this patriarchal two years after 1941 [Stephen Spielberg’s costly WWII comedy], technology could create artificial women, then they’d surely design and about one year after Heaven’s Gate. Both of which had cost them to be young and sexually attractive. Blade Runner even considerably more than our estimated budget, and both of which obliquely comments on this, through Pris’ designation as a had flopped. So there was some financial hesitation going on in the “pleasure unit.” That’s a totally fantastic concept, by the way, and I industry. Yet $15 or $20 million certainly wasn’t inordinate, it was don’t agree with it. I do’t even want to discuss it. But that would be about medium high. the reality of this civilization. So Michael Deeley said to Filmways, “Okay, okay,” and Also [laughs], when Sean was made up in her forties quickly bailed out and went and saw a few people, and then brought outfit, she somewhat reminded me of Rita Hayworth. She had that back and Tandem. Tandem, basically came in look. And Hayworth had been my ideal of the sphinxlike femme with expenses money, which is the money that you are short of. fatale ever since I saw her in Gilda [1946, and an important film With a view to also picking up any money we went overbudget on noir]. So I suppose you could say Rachel was my homage to Gilda as well. Right? in a way. Yes? I’m sure this has been brought up to you before, but the only people So I think that by the time Tandem signed on we’d finally Deckard kills in the film are women. And the first one he kills, budgeted the film out—and I’ll get to the point in a moment—to Zhora, he shoots in the back. Now, the hero was always about $22.5 million. cynical, but Deckard’s actions seem to carry things beyond that. Was this further deconstruction of the film noir protagonist Which ultimately ended up costing a little over $28 million. intentional on your part? Yes. So I think and were Yeah, but you know, I was going down this avenue of originally obliged to put in somewhere between $3 or $4 million for exploring Hollywood. The first real Hollywood movie I’d done was Blade Runner, which then rose by another $3 million or so. Which Alien, and Alien was pretty dark. So I decided to make Blade in those days was a lot of money. But for those guys, I think, it was Runner a further inversion of a drop in the ocean. Hollywood values. Anyway, eventually I What I was really was rightly beaten up because of dealing with in BR was an our involvement with Tandem. antihero, an almost soulless man And that was the crossover point who really didn’t give a shit for me. Because when I looked whether he shot these artificial around—and this is not being humans in the front or shot them superior in any form, and mustn’t in the back. He’s simply there to come out as being superior—I do the job. But what we learn at realized I was essentially with, the beginning of the film through for the most part, the wrong kind the voice-over, which is now of people to make this movie. gone, thank , is that he’s also We’d started the process with begun to act with a certain people who, on the surface, felt amount of remorse. Deckard pretty supportive. On reflection, starts the picture realizing he’s however, and I discovered this getting touched by his work. fairly quickly, I found out that Which of course sets up the Tandem and I just didn't think on ensuing situations that turn his the same wavelength. They were world upside-down. people who were basically—well. So I walked into Blade Runner from Alien, believe it or Lets call them sophisticated television people. People who weren’t not, with a tiny reputation for being excessive. And I thought, “Well capable of visualizing the type of accurate film budget I required for jeez , if that’s all it takes to get this reputation, guys, I’ll be a film. Tandem, I think, always felt that my asking for additional excessive.” funds while we were shooting Blade Runner, was, to some degree, Anyway, it was some time before I decided to saddle up some kind of indulgence. It wasn’t. It was me, as the director of that back into science fiction. It took me almost two years to kick off film, having a certain vision. And I was sticking to that fucking with Blade Runner, and that was after a lot of hemming and hawing vision! and trudging around looking at various locations. At which point I decided that the only way for me to do BR was to somehow fake it You were simply being true to your project. up on a studio back lot. So we budgeted it out and I think it came That’s right. Something else Tandem didn't understand. out at somewhere near $15 or $20 million. Now this figure was already well above what had been I know you also had problems with your crew while you were projected for the original Dangerous Days script. But Hampton had filming Blade Runner. To what do you ascribe that? written a certain type of film, of a certain scale, and then Blade Well, I didn’t have problems with everyone on the crew. Runner grew. Really, I think, in terms of what I wanted to add to it. But you know what? I think it might have been something as simple Finding that initial $15 or $20 million, though, wasn’t as certain people on the crew not understanding what I was trying to easy. First we had Filmways drop out, although they were actually get. quite nice about the way they handled that. Then we couldn't find I mean, Jim Cameron [Terminator 2], when he makes a the start funds we needed, because at this point in time it was about film, nobody asks a fuckin’ question. Because the world is educated Scott—BLADE RUNNER—9 as to special effects and such. But in those days, they didn’t know That was very confusing—when you get that sort of response, you what the fuck I was doing! I was the only one saying, “We do this, don’t believe anybody. we do that, we paint it gold, we paint it black…” And people In any event, Harrison and I did get on better later. So it’s around me were giving me blank stares and saying “Gold? Black? not as if we parted mortal enemies. I was never really able to talk to Why?” Eventually, I would get really angry and say, “Just do it!” him in depth to find out whether Harrison liked the film or not, Which was frustrating, believe me. however. Or liked what we had done.

In Future Noir, I mention the tension that grew up between you and Another controversial aspect of Blade Runner was Harrison’s Harrison Ford while you were shooting the film. It’s certainly not voice-over. Now, in almost all of the scripts I read, Deckard does my main focus in the book, but I’m curious—what do you think narrate the story in one form or another. Which I always assumed caused this rift? was a nod toward the old Marlowesque, film noir convention of the I think it’s honest to say that doing Blade Runner wasn’t hard-boiled private-eye narrating his story in a world-weary voice. tremendously smooth in terms of a working relationship with But I understand you were never really comfortable with Deckard’s Harrison. There’s no point in pussyfooting around that. voice-over. Harrison’s a very charming man. But during the No. Nor was Harrison. Apocalypse Now was made— filmmaking process I think we grew apart, mainly because of the when? logistics of the film I was trying to make. In concentrating on getting Blade Runner’s environment exactly the way I wanted it, I It was released in 1979. Why? probably short-changed him. Because I always felt that one of the main backbones of Apocalypse was its voice-over. Which actually gave another dimension to Martin Sheen’s character, by letting you inside his head. That voice-over worked very well; it was somehow well- written and well-delivered. But voice-over is extremely difficult to pull off, because in a way it has to be totally internal and reflective. If the tone of what you’re saying is just a bit off, it's never working. And then you start to struggle with the performance—it is not functioning because it is tonally incorrect, or what? The bottom line of Deckard’s narration was that we just couldn't get it. We wrestled with it and wrested with it. Which frustrated Harrison to no end, because he’s clearly a talented and formidable actor. So neither he nor I were comfortable with it. The trouble is, the more you do it, the more you start to convince yourself that, well, it’s going to be okay. You don’t become pragmatic. That’s unfortunate. Its only when you really view and hear these things later that you think, “Oh my God! It’s awful!” Because, A) Blade Runner’s voice-over was overexplanation, and B), the narration, although admittedly influenced by Raymond By not giving him as much attention as the environment? Chandler, wasn’t Chandleresque enough. Yes. That was a failure on my part, I suppose. Do you see what I mean? I felt Deckard’s narration could But when a film is being made, nobody ever thinks about have been more lyrical. Because Marlowe, I always felt, was a little the director, you know. In fact, there were times when I could tell bit of a street poet. Blade Runner’s narration wasn’t really written Harrison was displeased with me, and I’d think, “What about me?! that way. We struggled to have it written that way, but nobody I’ve got nineteen thousand other things to think about and deal could put that spin on it. with.” I actually said something like that to him once. I said, Were the weaker elements of the narration also influenced by the “Listen, this is my movie, I have my performance as well as you Denver/Dallas sneaks? have yours. And, you know, both will be brought together. That’s Actually, we dropped most of the voice-over at first, and all I can promise.” Because if I hadn’t, a lot would have gone out then reviewed that version without it in Denver and Dallas. But the the window. To put that kind of thing on screen requires enormous studio felt there were certain areas of confusion within the storyline. attention to detail. And it can only finally be accomplished through People didn’t know this and didn’t know that. To which my initial one pair of eyes. response was, “Well, that’s the whole point of watching the goddamn movie. To find out what Blade Runner’s all about!” You still sound conflicted about the experience. But frankly, I then became puzzled myself by the preview Well, our rift was very draining. At the same time, our audience’s reactions. Because I’d felt that Blade Runner might have collaboration was an exciting one, because Harrison is so smart. been subtle, yes, but also comprehensible. So I think I let myself be He’s a very intelligent, incisive, and articulate man, At the end of swayed by my own confusion. the day, though, as I say, I think I probably short-changed him. Anyway, I was losing wicket at that point. So we ended up Funny enough, we got along much better after the struggling to put the voice-over onto Blade Runner not for street production was over and during the process when we were doing poetry, which was our original intention, but to clarify things. our Blade Runner press junkets. Even though those junkets varied Which I think became ridiculous. So did Harrison. between the film getting thrashed and people kind of eulogizing it. Scott—BLADE RUNNER—10

How did the idea for tacking on Blade Runner’s happy ending with pointless. Not to mention the fact that Ms. Kael wouldn’t have had helicopter footage from The Shining come about? a job if we didn’t have a film industry. By the time I agreed to add the happy ending, I was so beaten up, so on the ropes, that I was spittin’ in the bucket. I was Why do you think the general public initially rejected the picture? punchy, really. Because prior to this I’d been insisting that we had I think people were confused, because they expected to end Blade Runner when Rachel and Deckard go into the elevator. another experience from the one they got. Star Wars had already But Tandem said, “No. that's too depressing. And this is happened twice by then, Harrison was an established star because of already the most depressing film we’ve ever seen. [laughs] We’ve .— got to end this on an up note! Something heroic, with them driving off together in the countryside.” At first I fought that. I said, “But —A very particular star, of a very particular type. there is no countryside. It’s all either industrial wasteland or factory As you say. An action hero. And I had done a film without farms!” And they replied, “Well shit, there you go again!” [laughs] action, with visual density substituting action, with essentially an So I eventually capitulated and said, “Look, I’ll tell you unsympathetic character. Blade Runner taught me that the what. I’ve got an idea. Since I don’t want to go off reccy-ing for American public tends to favor a high-fiber diet. Which infers that another four weeks [looking for another location] to try to find this the American system is one containing a certain degree of perfect landscape—and we’d already tried to shoot some landscape optimism. footage in Monument Valley, and failed—let me talk to Stanley I, on the other hand, tend to be a bit darker. To look to the Kubrick. I know Stanley a little bit, and I’m going to have him help dark side. Not because I’m a manic-depressive, but because I find me solve this.” And they said, “WHAT?!” I just replied, “Leave it the darkness interesting. Particularly in its more unusual aspects. to me.” I’m sure this has something to do So with the help of Ivor with my own heritage. I am a Powell, who’d worked with Celt, after all. And the Celts are Stanley on 2001, I got Kubrick’s traditionally fascinated by number and called him up. melancholia. Because I figured, if anybody’s Anyway, so what circa- going to know where the best 1982 audiences got from Blade mountain scenery is, it’s got to be Runner was not what they Stanley! expected. It’s funny. I remember Now, this was the first going to the very first BR time I’d ever called Kubrick, but preview, and since Harrison was he was quite cordial. I explained now a known face, he had to be the problem I was having getting snuck into the back of the hold of proper landscape footage theater. He came with his wife for this new ending on Blade Melissa Mathison, a very sweet Runner—which he’d heard lady who’s a good writer. about—and then said “You know your opening footage of The After the preview was over, Harrison and I were sitting in Shining? I’m sure you must have shot hours of that…have you got this little office in the cinema. And I was depressed. Because there anything I could use from that?” Stanley said, “Sure, I’ll send you had been a kind of silence emanating off the people who were something. Go ahead and take a look and cut what you want. As watching our movie. Harrison was a little confused and a little long as you don’t use anything that I used.” worried as well. But then Melissa came over—and I’ll never forget Within two hours I had seventeen 2000 foot rolls of this—and she said, “I just wanted to tell you how much I loved your helicopter footage. And that’s how it happened. movie.” She said it very quietly, and she really meant it. That was great. It helped a lot. By this point you had a new happy ending and a new voice-over on the film. So now you’re at the San Diego sneak preview—and you Professionally speaking, how did you react to the initial failure of cut a few scenes after that sneak as well, including a shot of Blade Runner? Deckard reloading his firearm and a couple of other shots. Were Relatively philosophically. Remember, not long before these moments edited out after that preview because they were Blade Runner I had done The Duellists, to very good critical deemed unnecessary padding? acclaim and virtually no box office. Then came Alien, which in one I think people felt generally that the film was a little slow sense was almost the reverse situation. So I had already experienced after the San Diego preview, so I trimmed a bit here and there. both extremes in my professional life. Blade Runner is a bit slow, in a sense, since it as its own pace. How did you take the film’s failure on the personal level? The overall critical reaction to Blade Runner wasn’t very kind I think it’s safe to say I was quite disappointed. Because I during the film’s initial release. did think Blade Runner was quite unique. God, no. You'd have thought we were boiling babies or something. We began this discussion with an examination of one of Blade Runner’s most controversial elements: the unicorn. I’d like to wind ’s review of the film was particularly scathing. our talk up with its other most high-profile ingredient: the question You know, there are cases when I think that the taking up of whether Deckard is or isn’t a replicant. of valuable media spaced by critics, for destruction, seems Well, in preparing the storyline, it always seemed logical to me that in the full turn of events, which pertained to a film of Scott—BLADE RUNNER—11 paranoia, that Deckard should find out he was a replicant. It seemed his profession, not to mention the growing empathy he displays proper that a replicant detective might begin to wonder whether at towards the replicants. Which, to me, are demonstrably human some point the police department hadn’t done precisely the same characteristics. But if Deckard’s a replicant—well, it almost wipes thing to him. out his spiritual . So I always felt the amusing irony about Harrison’s Unless he’s a more sophisticated replicant and has had a character would be that he was, in fact, a synthetic human. A spiritual implant. And is a Nexus-7. narrative detail which would always be hidden, except from those audience members who paid attention and got it. But Tandem felt Interesting thought! What do you mean by that? this idea was corny. I said, “I don’t think it’s corny. I think it’s Well, it’ not exactly an action-oriented idea. Because now logical. It's part of the full circle of the original idea. Ties it off with we’re getting into the notion of a world and a situation which at a certain elegance, in fact.” That’s why, at the end of Blade Runner, some point is going to fail us. But that’s the value of science fiction, Deckard picks up that teeny piece of foil— going into these interior philosophies.

—the tinfoil unicorn origami— —right, the unicorn, which visually links up with his previous vision of seeing a unicorn. Which tells us that the Olmos character A) has been to Deckard’s apartment, and B) is giving Deckard a full blast of his own paranoia. Gaff’s message there is, “Listen, pal, I know your innermost thoughts. Therefore you’re a replicant. How else would I know this?”

But how can Deckard be an when he’s physically outmatched by the replicants, whom you’ve previously established as being stronger than humans? Deckard was the first android who was the equivalent of being human—with all our vulnerabilities. And who knows how long he would live? Maybe longer than us? Why build in the “aging” gland if you don’t have to?

Now you’re bringing immortality into the equation, which is a completely different factor— —one I find fascinating—

—but I must say I better appreciate the more subtle suggestions that Deckard must be a replicant. Such as the fact that he collects Expand on this idea of Deckard being a “Nexus-7.” photographs, which you see scattered over his piano. And of course If Deckard was the “piece de resistance” of the replicant the most significant visual clue is that over-the-shoulder, out-of- business—“more human than human,” as Tyrell would say—with focus shot in Deckard’s kitchen, when you see Ford’s eyes briefly all the complexities suggested by that accomplishment, then a glowing. Was that setup intentional? Nexus-7 would, by definition, have to be replication’s perfection. Totally intentional, sir. I was hoping there’d be those Physically, this would mean that the Tyrell Corporation would be who’d pick up on that. prudent in having Deckard be of normal strength, but extended Since Blade Runner is a paranoid film, throughout there is lifespan-resistance to disease, etc. Then, to round off their creation, this suggestion that Deckard may be a replicant himself. His the perfect Nexus-7 would have to be endowed with a . glowing eyes were another allusion to that notion, another of the Which would in turn suggest some kind of need for a faith. Spiritual subtle little bits and pieces which were all leading up to that scene need. Or a spiritual implant, in other words. in the end where Deckard retrieved Gaff’s tinfoil unicorn and realizes the man knows his secret thoughts. That sounds like the perfect idea to pursue in a Blade Runner Actually, though, my chief purpose in having Deckard’s sequel. A course I understand you’re thinking of taking, because, in eyes glow was to prepare the audience for the moment when Ford a Newsday article (dated October 6, 1992) you’re quoted as nods after he picks up the unicorn. I had assumed that if I’d clued saying: “I’d really like to do that. I think ‘Blade Runner’ made them in earlier, by showing Harrison’s eyes glowing, some viewers some very interesting suggestions to the origins of Harrison Ford’s might be thinking “Hey, maybe he’s a replicant, too.” Then when character, addressing the idea of immortality. I think it would be a Deckard picked up the tinfoil unicorn and nodded—a signal that very intelligent sequel.” What are the sequel possiblities for Blade Ford is thinking, “Yes, I know why Gaff left this behind”—the Runner? same viewers would realize their suspicions had been confirmed. Well, that's partly a game. The Hollywood thing. It’ll cost a lot of money to buy the title off the original producers, and the The only problem I have with Deckard being a replicant is that if question remains, is the title worth it. Or should I prepare another he’s a replicant to begin with, it rather undercuts his moral project that’s along the lines of the same genre? Notwithstanding evolution as a human being. Because when the film starts, the question of using an actor named Harrison Ford. Because by the Deckard’s clearly on the cusp of a change—he’s trying to get out of time you end up paying $2 million just for the bloody rights and his profession. But he’s still the macho jerk. Then, as the story another $15 to $20 million for Harrison, it’s kind of crazy, you progresses, he just as clearly gains insight into the wretchedness of know? I don’t know yet—it’s something I’d certainly like to do, Scott—BLADE RUNNER—12 and science fiction is certainly something I want to get into again. I think Blade Runner is a good lesson for all serious film Because as we all know, the arena of science fiction, if you attack it makers to “stand by your guns.” Don’t listen to acclaim or criticism. correctly, or whatever way you address it, is an area in which Simply carry on. anything can happen. Hopefully, you’ll do some worthwhile work which stands the test of time. Despite its potential cost, the proper Blade Runner sequel could, I think, be immensely profitable. You wouldn’t have to fight the same battles in trying to get the audience to understand the picture, for instance—Blade Runner’s now a well-known piece of entertainment history. Well, I definitely feel that if I went back to a sequel, any such project would have to further perpetuate and explore the idea that instead of a four-year lifespan, he has an indefinite lifespan. There could also be the idea of a Blade Runner sequel which contains a situation where they’ve perfected the process of cryogenics to prolong lives—in a world that has a big population problem. Following that line of thought, the next thing you’d have to develop would be of Off-world angle—you certainly couldn’t have hordes of people with extended lifespans living on an overcrowded Earth. So perhaps Off-world in a Blade Runner sequel really means “the frontier.” A place that maybe has become so perverse that the right to die a normal death becomes the thing to seek for. Changes in the 2007 Blade Runner: The Final Cut version (from What about this “Metropolis” picture you’re planning on doing in IMdB): a couple of years? Rumor has it that this is actually a Blade Runner In 2007, Ridley Scott released "Blade Runner: The Final sequel. Cut", digitally remastered with improved visual and sound effects, They will say that, won’t they? That sort of talk’ll get me and with numerous revisions to the 1992 Director's Cut. The more into trouble. noticeable differences between The Director's Cut and The Final All I can say at this point is that Metropolis is indeed a Cut include: science fiction picture. We’ve got rather a good first-draft The overall film has been brightened considerably, screenplay, which was better than I expected. But, you know, like revealing previously hidden details in many shots. Additionally, the all these subjects, Metropolis requires a lot of preplanning. Big digital enhancement reveals many heretofore obscured details, such preplanning. We’ve got to go on one more draft, well, several more as dirty dishes in Deckard's apartment and a freeway high above drafts. But this project actually looks more than promising. Pris as she approaches the Bradbury. The opening credits have been completely redone, I guess we’ll have to wait and see…Two last questions. First, have although in the exact same font as in the original film. The you watched Blade Runner lately? noticeable shimmer effect from the theatrical cut and the Director's You know, it ran on BBC in mid-1995, when I was home Cut has been removed. for a short time. And I thought, “I’m going to sit down and watch In the opening shot, the flames shooting up have been re- this thing, to see if I can last twenty minutes.” Which is what animated to look more synchronized with the associated light play usually happens after you’ve made a movie—you bail out. You on the smokestacks. think “Oh God, I’ve seen this.” So when you hear that people never In the shots of the staring eye, you can briefly see the pupil watch their movies again, there’s a very good reason for that. react to the setting of 2019 L.A. Anyway, I watched my so-called Director’s Cut. And you A couple of shots were trimmed (such as Deckard's intro know what? I was absolutely stunned by how clear it was in terms reading the newspaper). of story. The removal of the voice-over also makes a tremendous Additional smoke was added behind the cook when Gaff difference. (Edward James Olmos) and a police officer are talking to Deckard But my final impression was of how much of Blade while he is eating at the White Dragon. Runner was Hampton Fancher’s movie. I think you’ve got to lay it All wires have been removed and matte lines with Hampton, because the script is his. David Peoples did some erased. colorful stuff with Hampton’s blessing, and these two guys got on Bryant's (M. Emmet Walsh) line "I've got four skin jobs very well. But really, it’s Fancher’s motion picture. walking the streets" has been improved so it's not obviously an Blade Runner works on a level which I haven’t seen inserted recording. much—or ever—in a mainstream film. It works like a book. Like a Bryant says that "2" replicants were fried in the electrical very dark novel. Which I like. It’s definitely a film that’s designed field (as opposed to the theatrical release and Director's Cut, where not to have the usual crush-wallop-bang! impact. he says only 1 was killed). Bryant describes Leon's job during the incept tapes scene. Last question—what do you think is the film’s most important New Cityspeak and other chatter comes over on the police quality? scanner in Gaff's spinner rides both to the police station and the Tyrell building. Scott—BLADE RUNNER—13

The original shot of Roy (Rutger Hauer) in the VidPhone In Zhora's death scene, you can tell it is her the entire time; booth that had been recycled from the later confrontation with previously it was obvious that her stunt double, Lee Pulford, was in Tyrell (Joe Turkel) has been digitally altered so that it truly does the shot. Joanna Cassidy's head was digitally superimposed over look like Roy was in the booth. The thumb on his shoulder has also Pulford's. been digitally removed from the shot. Deckard's cut after retiring Zhora was digitally removed (it The hotel manager mutters "Kowalski" as he opens the wasn't supposed to be there until after the fight with Leon). door to Leon's (Brion James) room for Deckard and Gaff. The marquee inconsistencies on the Million Dollar Theatre The new Unicorn footage is longer and shows Deckard to have been corrected. be awake during the sequence. This is how Ridley Scott and editor During Roy's confrontation with Tyrell, he says, "I want Terry Rawlings originally conceived of the scene. Deckard is more life, father", as opposed to "I want more life, fucker". shown staring into space, and there is a cut to the unicorn. The film When Roy kills Tyrell, the footage is the same as that then cuts back to Deckard and found in the International Cut, again cuts back to the unicorn, with the additional violence. before returning to Deckard once Additionally, when Roy turns to more. The shot of the unicorn Sebastian, he says "I'm sorry, which appeared in the Director's Sebastian. Come. Come", as he Cut has also been recolored, and walks towards him. the sound mix has been When Pris (Daryl completely redone. Hannah) attacks Deckard, she The blue grid lines on the reaches down and grabs him by Esper machine have been the nostrils reanimated, to make them look less smooth. When Deckard shoots Pris, he shoots 3 times instead of 2. When Deckard finds Zhora lying down in the back room The two shadows (of Ridley Scott and Jordan Cronenweth) on the photo, the image is now that of Joanna Cassidy; previously, seen on the wall during the chase sequence have been removed. it was clearly someone else. When Roy pushes the nail through his hand, there is a shot New footage of the LA streets before Animoid Row and of the nail coming through the skin on the other side. Taffy Lewis's club, including the hockey-masked geisha dancers. When Roy releases the dove, it now flies up into a The serial number on the snake scale now matches the background that matches 2019 L.A. Animoid Row lady's dialog. The music which plays over the end credits is a newly There is a shot of Deckard asking for directions to Taffy composed piece by Vangelis; a different version of the 'End Credits' Lewis' from a uniformed policeman. theme as heard in all other cuts. The lip flap between Deckard and Abdul Ben Hassan has In the closing credits, David L. Snyder is now listed as been digitally corrected (using Harrison Ford's son, Ben, as a stand- 'David L. Snyder', instead of 'David Snyder'. Additionally, Ben in for his mouth movements). Astar is now credited for playing the role of Abdul Ben Hassan.

The graphics in the physical Goldenrod Handouts are all greyscale. For the past few years, all the versions of the Handouts posted online have been full-color. To access them, go to http://csac.buffalo.edu/goldenrodhandouts.html

Scott—BLADE RUNNER—14

That’s it for Buffalo Film Seminars 22. Have a good summer. We hope to see you Tuesday, August 30, when the Buffalo Film rd Seminars begins its 23 series with Mervyn LeRoy’s GOLD DIGGERS OF 1933. Here’s the current version of our fall schedule. We’ll email the final version out once the bookers are done with it. If you’re not on our email list, send us an email address and we’ll add you to it.

August 30: Mervyn LeRoy, GOLD DIGGERS OF 1933 1933 September 6: Anthony Asquith & Leslie Howard, PYGMALION 1938 September 13: Jean Cocteau BEAUTY AND THE BEAST 1946 September 20: Michael Powell and Emeric Pressburger THE RED SHOES 1948 September 27: Marcel Camus BLACK 1959 October 4: Arthur Penn BONNIE AND CLYDE 1967 October 11: Robert Bresson MOUCHETTE 1967 October 18: Frantisek Vlacil MARKETA LAZAROVÁ 1967 October 25: Peter Weir THE LAST WAVE 1977 November 1: István Szabó, MEPHISTO 1981 November 8: Wong Kar Wei CHUNKING EXPRESS 1994 November 15: Richard Loncraine: RICHARD III 1995 November 22: Julie Taymor FRIDA 2002 November 29: Götz Spielmann REVANCHE 2008 December 6: George Cukor MY FAIR LADY 1964

Don’t forget to check out Dipson Amherst’s spectacular Culture in Cinema Series which will soon be presenting As You Like It (April 28), Aida (May 3), the Bolshoi Coppelia (May 29), Verdi’s Macbeth from the Royal Opera House and much more. Visit http://www.dipsontheaters.com/events/ for details.

CONTACTS: ...email Diane Christian: [email protected] …email Bruce Jackson [email protected] ...for the series schedule, annotations, links and updates: http://buffalofilmseminars.com ...to subscribe to the weekly email informational notes, send an email to addto [email protected] ....for cast and crew info on any film: http://imdb.com/

The Buffalo Film Seminars are presented by the Market Arcade Film & Arts Center and State University of New York at Buffalo with support from the Robert and Patricia Colby Foundation and the Buffalo News.