A blade runner must pursue and terminate four replicants who stole a ship in space and have returned to Earth to find their creator.A blade runner must pursue and terminate four replicants who stole a ship in space and have returned to Earth to find their creator.A blade runner must pursue and terminate four replicants who stole a ship in space and have returned to Earth to find their creator.
- Nominated for 2 Oscars
- 13 wins & 22 nominations total
Bob Okazaki
- Sushi Master
- (as Robert Okazaki)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
The Life and Times of Harrison Ford
The Life and Times of Harrison Ford
Take a look back at Harrison Ford's movie career in photos.
Storyline
Did you know
- TriviaDirector Sir Ridley Scott and director of photography Jordan Cronenweth achieved the famous "shining eyes" effect by using a technique invented by Fritz Lang and his cinematographer Eugen Schüfftan known as the "Schüfftan Process": light is bounced into the actors' and actresses' eyes off a piece of half-mirrored glass mounted at a forty-five-degree angle to the camera.
- Goofs(at around 9 mins) When we see Deckard waiting for his noodles, he is reading that day's newspaper. Later in Leon's apartment (at around 25 mins), the same newspaper is seen in one of the drawers, except it is old and soiled, as if it has been there for years. We know they are the same since both newspapers have the same headline about farming on the moon.
- Crazy creditsIn the "happy ending" Theatrical/International cuts, the credits play over the gorgeous scenery. In later Director/Final cuts, they play over a normal black background.
- Alternate versionsAll U.S video tape releases before January 1993 are the unrated version and contain the extra violence in the Euro-release that's not seen in the 117 minute American theatrical release:
- When Roy attacks Tyrell we clearly see him pushing his thumbs into Tyrell's eyes, and blood spurting out
- When Pris (Daryl Hannah) attacks Deckard, she reaches down and grabs him by the nostrils
- When Deckard shoots Pris, he shoots 3 times instead of 2
- When Roy pushes the nail through his hand, there is a shot of the nail coming through the skin on the other side.
- ConnectionsEdited into 5 Second Movies: Blade Runner (2009)
- SoundtracksHarps of the Ancient Temples
Composed by Gail Laughton
Performed by Gail Laughton
Courtesy of Laurel Records
Featured review
A frame to die for.
I spent a weekend with the new DVD set of Blade Runner. Watched all four versions pretty much back to back (minus the work print version) starting with the US theatrical and finishing with the Final Cut. And across those eight hours I spent with the film, I did not get tired of watching – just watching – that futuristic film-noir vibe: deep dark shadows and majestic use of light and color used to make a run-down polluted cityscape look so beautiful. In fact, when I got to the Final Cut, which had been cleaned up, restored, and remixed, the picture and sound quite literally took my breath away.
Blade Runner is easily one of the best looking films ever made.
In some ways, many ways, Blade Runner strikes me as silly. Particularly in its more climactic moments where the protagonist faces off against a replicant. Pris's acrobatic means of attacking Deckard? When Roy Batty chases Deckard in his shorts (when a few moments before he was fully clothed?) The film goes over-the-top to the point where I find myself asking, "why in the world would the characters do that?!" But here's what's interesting: as silly as Blade Runner may get it never betrays its own world. Everything that happens, in some queer way, feels natural to this strange futuristic world.
I like the movie in its action scenes, but I simply adore it during the quieter moments – the parts where not a whole hell of a lot is happening, and you can simply watch and absorb Jordan Cronenweth's marvelous cinematography. My favorite scene comes when Rachel has saved Deckard's life. An emotional wreck of killing another replicant on top of the revelation that she, herself, is a replicant – she stands by a window where light floods in, so much light that the whole screen goes white, and then it recedes again and we see the characters again. Later in that same scene, she sits at the piano, plays for a bit, and then lets her hair down. Hearing Deckard stumbling in the other room, she looks out of the corner of her eye and shot after shot after shot through this entire sequence demonstrates absolute mastery over the frame.
Plus some of the other quiet moments resonate with a truer low-key science-fiction feel such as the scene in Tyrell corporation where Deckard applies the Voight-Kampff test to Rachel. More or less a mundane questionaire/interview with a typical sci-fi gadget sitting on the table, but Ridley Scott and Terry Rawlings compacts the lengthy endeavor into a few short moments using a stunningly simple montage.
Later on, Deckard sits in front of a voice-activated screen analyzing a photograph. The task is presented as a dull monotonous job (made especially evident in Harrison Ford's delivery), yet the scene, itself, never bores. The voice-activation not only serves as a staple sci-fi device, but cleverly allows Deckard to take the audience's hand and guide them through this investigative process. And perhaps what I like most about the scene: the audience, and even Deckard himself, doesn't even really know what he's found. Things don't magically fall into place with a Scooby-Doo moment of revelation. He finds another clue that might lead somewhere (albeit, since it's a movie it's a good guess the clue does lead somewhere.) In my mind at least moments such as the Voight-Kampff scenes, Deckard's briefing, the photograph analysis, both of Rachel's scenes in Deckard's apartment gives the world of Blade Runner a solid grounding so later on it can get away with the absurd.
Which brings me to the replicants. Roy Batty (Rutger Hauer) in particular, whose strangely sympathetic in that his murderous tendencies spawn directly from his fear of dying. This is a man who possesses a strong conviction that he deserves life perhaps because he looks around on earth and sees people squandering their existence while he knows he only has a few short moments. Why should a shmuck like Deckard live for 50+ years when Roy in his 4 short years has seen attack ships burning off the shoulder of Orion and seen C-beams glitter in the dark "If only you could see what I've seen with your eyes," he proudly and warmly tells one of the scientists who helped create him.
As for which cut of the film, I don't think any single one is perfect (and I'd honestly watch any of them in a heartbeat.) I prefer the "Final Cut" over the others and admire Ridley Scott's restraint in his definitive DVD release. Most of the modifications are fine-tuning tweaks the casual viewer won't even notice unless watching two version back to back, and most of said fine-tuning improve the film (although, admittingly, Roy's beckoning of Sebastian could've been left out.) But hell, all versions of Blade Runner are included, so people don't have much room to complain about the changes. And no matter what version you go with, it's still a beautiful film to just watch.
Blade Runner is easily one of the best looking films ever made.
In some ways, many ways, Blade Runner strikes me as silly. Particularly in its more climactic moments where the protagonist faces off against a replicant. Pris's acrobatic means of attacking Deckard? When Roy Batty chases Deckard in his shorts (when a few moments before he was fully clothed?) The film goes over-the-top to the point where I find myself asking, "why in the world would the characters do that?!" But here's what's interesting: as silly as Blade Runner may get it never betrays its own world. Everything that happens, in some queer way, feels natural to this strange futuristic world.
I like the movie in its action scenes, but I simply adore it during the quieter moments – the parts where not a whole hell of a lot is happening, and you can simply watch and absorb Jordan Cronenweth's marvelous cinematography. My favorite scene comes when Rachel has saved Deckard's life. An emotional wreck of killing another replicant on top of the revelation that she, herself, is a replicant – she stands by a window where light floods in, so much light that the whole screen goes white, and then it recedes again and we see the characters again. Later in that same scene, she sits at the piano, plays for a bit, and then lets her hair down. Hearing Deckard stumbling in the other room, she looks out of the corner of her eye and shot after shot after shot through this entire sequence demonstrates absolute mastery over the frame.
Plus some of the other quiet moments resonate with a truer low-key science-fiction feel such as the scene in Tyrell corporation where Deckard applies the Voight-Kampff test to Rachel. More or less a mundane questionaire/interview with a typical sci-fi gadget sitting on the table, but Ridley Scott and Terry Rawlings compacts the lengthy endeavor into a few short moments using a stunningly simple montage.
Later on, Deckard sits in front of a voice-activated screen analyzing a photograph. The task is presented as a dull monotonous job (made especially evident in Harrison Ford's delivery), yet the scene, itself, never bores. The voice-activation not only serves as a staple sci-fi device, but cleverly allows Deckard to take the audience's hand and guide them through this investigative process. And perhaps what I like most about the scene: the audience, and even Deckard himself, doesn't even really know what he's found. Things don't magically fall into place with a Scooby-Doo moment of revelation. He finds another clue that might lead somewhere (albeit, since it's a movie it's a good guess the clue does lead somewhere.) In my mind at least moments such as the Voight-Kampff scenes, Deckard's briefing, the photograph analysis, both of Rachel's scenes in Deckard's apartment gives the world of Blade Runner a solid grounding so later on it can get away with the absurd.
Which brings me to the replicants. Roy Batty (Rutger Hauer) in particular, whose strangely sympathetic in that his murderous tendencies spawn directly from his fear of dying. This is a man who possesses a strong conviction that he deserves life perhaps because he looks around on earth and sees people squandering their existence while he knows he only has a few short moments. Why should a shmuck like Deckard live for 50+ years when Roy in his 4 short years has seen attack ships burning off the shoulder of Orion and seen C-beams glitter in the dark "If only you could see what I've seen with your eyes," he proudly and warmly tells one of the scientists who helped create him.
As for which cut of the film, I don't think any single one is perfect (and I'd honestly watch any of them in a heartbeat.) I prefer the "Final Cut" over the others and admire Ridley Scott's restraint in his definitive DVD release. Most of the modifications are fine-tuning tweaks the casual viewer won't even notice unless watching two version back to back, and most of said fine-tuning improve the film (although, admittingly, Roy's beckoning of Sebastian could've been left out.) But hell, all versions of Blade Runner are included, so people don't have much room to complain about the changes. And no matter what version you go with, it's still a beautiful film to just watch.
helpful•589
- jaywolfenstien
- Feb 1, 2008
Women in Science Fiction
Women in Science Fiction
Whether they are exploring the stars, escaping dystopias, or making the world a better place, these women are what science fiction is all about.
Details
- Release date
- Countries of origin
- Official site
- Languages
- Also known as
- Dangerous Days
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $28,000,000 (estimated)
- Gross US & Canada
- $32,914,489
- Opening weekend US & Canada
- $6,150,002
- Jun 27, 1982
- Gross worldwide
- $41,762,210
- Runtime1 hour 57 minutes
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
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