Can You Carry a Forward Facing Baby on Your Back

Blade Runner (1982) is an American scientific discipline-fiction film, directed by Ridley Scott, with a screenplay written by Hampton Fancher and David Peoples, loosely based on the novel Do Androids Dream of Electric Sheep? by Philip K. Dick.

For the game, see Bract Runner (video game)

Rick Deckard [edit]

Replicants are like any other machine. They're either a benefit or a run a risk. If they're a benefit, information technology's not my problem.

Replicants weren't supposed to have feelings... neither were blade runners.

• I'm Deckard. Blade Runner. B Two threescore-iii fifty-iv. I'm filed and monitored.

• I was quit when I came in here. I'yard twice equally quit at present.
  • In response to news that he is wanted on another assignment equally a "blade runner" — an officer of the law who "retires" renegade "replicants."

• Replicants are like whatsoever other machine. They're either a benefit or a hazard. If they're a benefit, it's not my problem.

• I don't get it, Tyrell. How can it not know what it is?
  • On Rachael not knowing that she is a replicant.

• Memories, you're talking most memories.

• [Revealing to Rachael that she is a replicant] You ever tell anyone that? Your mother, Tyrell? They're implants. Those aren't your memories, they're somebody else'southward. They're Tyrell'south niece'due south. Okay, bad joke, I'one thousand distressing... No, really, I fabricated a bad joke. Go home, yous're non a Replicant... (sigh) you wanna potable? I'll get yous a drinkable.

• I've had people walk out on me before, but non when I was beingness then mannerly.

Voiceovers [edit]

I don't know why he saved my life. Mayhap in those last moments he loved life more than than he ever had before. Not just his life... everyone's life... my life.

These were expunged from the Managing director'southward Cut version. It has been said that both Scott and Ford were unhappy with the dialogue, as it was forced by the studio and was written by another scriptwriter (Roland Kibbee) not associated with the project. They tin can still be found in International editions, and all were spoken by Harrison Ford.

• They don't advertise for killers in the newspaper. That was my profession. Ex-cop. Ex-blade runner. Ex-killer.

• Sushi. That'south what my ex-wife used to call me. "Cold fish."

• The charmer's name was Gaff, I'd seen him effectually. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was city speak, gutter talk. A mishmash of Japanese, Spanish, German, what take you. I didn't really demand a translator, I knew the lingo, every practiced cop did. Merely I wasn't going to make information technology easier for him.

• "Peel jobs". That'southward what Bryant called Replicants. In history books he's the kind of cop who used to call black men "niggers".

• I'd quit because I'd had a abdomen full of killing. But then I'd rather be a killer than a victim, and that's exactly what Bryant's threat almost "niggling people" meant. So I hooked in once more thinking if I couldn't take it I'd divide later. I didn't have to worry virtually Gaff. He was brown-nosing for a promotion, so he didn't want me effectually anyway.

• I didn't know whether Leon gave Holden a legit address. But it was the only lead I had, so I checked it out.

• Whatever was in the bathtub was non human. Replicants don't have scales.

• And family photos? Replicants didn't have families either.

• Tyrell really did a job on Rachael. Right down to a snapshot of a mother she never had... a daughter she never was. Replicants weren't supposed to have feelings... neither were blade runners. What the hell was happening to me?

• Leon's pictures had to be as phony equally Rachael's. I didn't know why a Replicant would collect photos. Perchance they were like Rachael... they needed memories.

• The report would be "routine retirement of a Replicant", which didn't brand me feel any amend about shooting a woman in the back. At that place it was again... feeling in myself... for her... for Rachael.

• I don't know why he saved my life. Maybe in those terminal moments he loved life more than he ever had before. Not just his life... anybody's life... my life. All he'd wanted was the same answers the rest of us want. Where exercise I come from? Where am I going? How long have I got? All I could do is sit there and watch him die.

• Gaff had been there, and let her live. 4 years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination date. I didn't know how long nosotros had together... who does?

This narration was only used for the moving picture'due south workprint. The only slice of narration used in this version, it is an alternate version of Deckard's questioning of Roy saving his life.

• I watched him die all night. It was a long, slow thing... and he fought it all the mode. He never whimpered, and he never quit. He took all the time he had, as though he loved life very much. Every 2d of it... even the pain. Then, he was dead.

Bryant [edit]

Yous know the score, pal! If you're not cop, you lot're little people.

• Don't be an asshole, Deckard. I've got four skin-jobs walking the streets.

• He can breathe okay as long as nobody unplugs him.

• Terminate right where you are! You know the score, pal! If you're not cop, you lot're fiddling people.

• Christ, Deckard, you look almost as bad as that skin-job you left on the sidewalk!

• You could larn from this guy Gaff, he's a god-damn one man slaughterhouse.

• Talk about beauty and the animal — she's both.

• The only way y'all tin can hurt him is to kill him.

Eldon Tyrell [edit]

• Milk and cookies kept you awake, eh, Sebastian?

• Commerce is our goal hither at Tyrell. "More human than man" is our motto.

Rachael [edit]

Take you ever retired a human by mistake?

• Take you e'er retired a human being by mistake?

• Is this testing whether I'1000 a Replicant or a lesbian, Mr. Deckard?

• I'yard not in the business. I am the business organisation.

• You know that Voight-Kampff test of yours? Did you ever take that test yourself?

Leon [edit]

• Painful to live in fear, isn't information technology?

• Nothing is worse than having an itch you lot tin never scratch.

• Wake up! Time to die!

Roy Batty [edit]

• Fiery the angels fell; deep thunder rolled effectually their shores; burning with the fires of Orc.
  • This is a deliberate misquote of William Blake's America a Prophecy "Peppery the angels rose, and equally they rose deep thunder roll'd / Effectually their shores: indignant burning with the fires of Orc." In context, the Replicants were exiled from Globe, to the off-globe space colonies, merely Roy'south group of Replicants hijacked a send to sneak dorsum to Earth. Thus in a sense, similar Lucifer and the Fallen Angels, Roy and his group were both "bandage out" and "brutal to Earth" (though not at the same time).

• Chew, if only you could run into what I've seen with your eyes!
  • A double-entendre, as Chew builds Replicant optics.

• It's not an easy thing to meet your maker.

• I've done questionable things.

• Can the maker repair what he makes?

• Gosh, you lot've really got some nice toys here.

• Proud of yourself, little man?
  • Afterward hunting down Deckard, who had already killed Pris.

• Non very sporting to burn on an unarmed opponent. I thought you were supposed to exist adept. Aren't you the... "good" man?

• C'mon Deckard, show me... what you're fabricated of... [pulls Deckard'due south paw through the wall and removes his gun]... This is for Zhora [breaks finger] and this is for Pris [breaks another] You gotta shoot straight! [Deckard shoots and misses] Straight doesn't seem proficient enough!

• You lot better get it up. Or I'1000 gonna have to impale ya.

• We're non computers, Sebastian, nosotros're physical.
  • Afterward Sebastian asks Roy and Pris to "do something"

• That...injure. That was irrational. Not to mention, unsportsman-similar. Ha ha ha. [pause] Where are you going?
  • Afterwards Deckard beats him with a pb pipe.

• Quite an experience to live in fear, isn't it? That'south what information technology is to be a slave.
  • Standing over Deckard as he hangs from the side of the edifice.

• I've seen things y'all people wouldn't believe. Set on ships on burn down off shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will exist lost in time, like tears in rain. Time to die.

Gaff [edit]

• You lot've washed a man's job, sir! I estimate y'all're through, huh?

• It'due south likewise bad she won't alive. Just then again, who does?

Pris [edit]

• Then we're stupid, and we'll die.

• I recollect, Sebastian, therefore I am.

J.F. Sebastian [edit]

• They're my friends. I brand them.

• There'due south some of me in you.

Others [edit]

• PA Voice: A new life awaits y'all in the Off-World colonies. The chance to begin once more in a golden land of opportunity and take a chance!

• Holden: The tortoise lays on its back, its abdomen baking in the hot sun, beating its legs, trying to turn itself over merely it tin can't. Not without your help. Simply you lot're not helping.

• Hannibal Chew: You non come hither! Illegal!

• Zhora: You think I'd be working in a place like this if I could afford a existent serpent?

Dialogue [edit]

The light that burns twice every bit brilliant burns half as long, and y'all accept burned so very very brightly, Roy. Look at you. You're the prodigal son. You're quite a prize!

All those ... moments will be lost in time, similar tears...in rain.

Dave Holden: Describe in single words just the good things that come up into your mind about your mother?

Leon Kowalski: My mother?

Holden: Yes.

Leon: Let me tell you almost my mother! [shoots Holden]

---

Policeman: (Korean) Hey, idi-wa. (Hey, come here.)

Gaff: (French/Hungarian/German) Monsieur, azonnal kövessen engem, bitte. (Sir, please come up with me at in one case.)

Howie Lee: He say you nether abort, Mr. Deckard.

Rick Deckard: Got the wrong guy, pal.

Gaff: (Hungarian) Lófaszt! Nehogy már! Te vagy a Blade, Bract Runner. (Horse shit! Don't give me that! Yous're a Bract Runner.)

Lee: He say you Blade Runner.

Deckard: Tell him I'grand eating.

Gaff: (Japanese) Captain Bryant toka. Meni-o mae-yo. (Helm Bryant insists. Face to face.)

Deckard: Bryant, huh?

---

Rachael: Information technology seems you experience our work is not of do good to the public.

Rick Deckard: Replicants are like whatsoever other machine: they're either a benefit or a chance. If they're a benefit, information technology's not my problem.

Rachael: May I ask yous a personal question?

Deckard: Certain.

Rachael: Have you ever retired a human past mistake?

Deckard: No.

Rachael: But in your position that is a take a chance.

---

Eldon Tyrell: I'm surprised you didn't come here sooner.

Roy Batty: It's not an easy thing to meet your maker.

Tyrell: What can he practise for you lot?

Roy: Can the maker repair what he makes?

Tyrell: Would you lot similar to be modified?

Roy: [to J. F. Sebastian] Stay here.

Roy: Had in mind something a little more than radical.

Tyrell: What? What seems to be the trouble?

Roy: Death.

Tyrell: Death? Well, I'm afraid that's a little out of my jurisdiction, yous—

Roy: I desire more life, fucker!

---

Eldon Tyrell: Y'all were made besides as we could make you.

Roy Derailed: But not to last.

Tyrell: The light that burns twice as bright burns half as long, and you take burned so very very brightly, Roy. Look at y'all. You're the prodigal son. You're quite a prize!

Roy: I've done questionable things.

Tyrell: Also extraordinary things. Revel in your time!

Roy: Nothing the god of biomechanics wouldn't let you in sky for. [kisses Tyrell and kills him]

---

Hannibal Chew: You Nexus, huh? I design your optics.

Roy Batty: Chew, if just you could see what I have seen with your eyes.

---

Roy Batty: [taunting Deckard with a counting rhyme] 6! Seven! Go to Hell or go to Heaven!

[Deckard beats Roy on the side of the head with a lead pipe]

Roy: Proficient! That's the spirit!

Voight-Kampff test questions [edit]

• Information technology'south your altogether. Someone gives y'all a calfskin wallet.

• You lot've got a trivial boy. He shows you his butterfly collection plus the killing jar.

• You're watching television. Of a sudden y'all realize there's a wasp crawling on your arm.

• Yous're in a desert walking along in the sand when all of the sudden you look down, and you see a tortoise, information technology's crawling toward y'all. Yous reach downwards, you lot flip the tortoise over on its back. The tortoise lays on its back, its abdomen blistering in the hot sunday, beating its legs trying to turn itself over, but it can't, not without your help. Only you're not helping. Why is that?

• Describe in single words, only the good things that come into your heed about your mother.

• Yous're reading a mag. You come across a full-folio nude photo of a girl. Y'all show it to your hubby. He likes information technology so much, he hangs it on your bedchamber wall.

• You become pregnant past a man who runs off with your all-time friend, and y'all make up one's mind to get an abortion.

• Ane more question: You're watching a stage play - a banquet is in progress. The guests are enjoying an appetizer of raw oysters. The entree consists of boiled dog.
  • Rachael "fails" this question when she shows more than empathy for the oysters than the dogs, indicating she's a Replicant past her inappropriate emotional response.

Taglines [edit]

• Man has fabricated his match. Now information technology's his problem.

Quotes most Blade Runner [edit]

The purpose of this story as I saw information technology was that in his job of hunting and killing these replicants, Deckard becomes progressively dehumanized. At the same fourth dimension, the replicants are beingness perceived as becoming more homo. Finally, Deckard must question what he is doing, and really what is the essential difference between him and them? And, to have it 1 step further, who is he if there is no real difference? ~ Philip Chiliad. Dick

That was the chief area of contention between Ridley and myself at the fourth dimension. I idea the audience deserved one homo on screen that they could institute an emotional relationship with. I idea I had won Ridley's understanding to that, only in fact I think he had a niggling reservation about that. I think he really wanted to have information technology both ways. ~ Harrison Ford

It is a starkly empty flick, preoccupied as it is with the thought that people themselves might be hollow. The plot depends on the notion that the replicants must be allowed to live no longer than iv years, because as fourth dimension passes they begin to develop raw emotions. Why emotion should exist a capital offence is never sufficiently explained; but information technology is of a slice with the film'due south investigation of a flight from feeling – what psychologist Ian D Suttie one time named the "taboo on tenderness". Intimacy here is frightful (everyone appears to live alone), especially that closeness that suggests that the replicants might be indistinguishable from u.s.. ~ Michael Newton

Information technology's not only that Harrison Ford looks dashing in neo-noir future wear or that the lighting is ever moody and perfect, as if the entire city had been converted into a sultry nightclub — though none of that hurts. Information technology'south that Blade Runner presents its futuristic city as one that is overrun by the liveliness of mass humanity. Its bustling sci-fi cityscape is defined past multifariousness and walkability, by commerce and cultural mixing, by industrial ingenuity and panoramas of larger-than-life advert. Even as the city is dying, information technology teems with the business concern of life.
The combination of realism and romanticism makes the motion-picture show's 2019 Los Angeles a place you tin can imagine non only going to but wanting to visit. ~ Peter Suderman

• The purpose of this story as I saw it was that in his job of hunting and killing these replicants, Deckard becomes progressively dehumanized. At the same time, the replicants are existence perceived as becoming more human. Finally, Deckard must question what he is doing, and really what is the essential difference between him and them? And, to have information technology one step farther, who is he if in that location is no real difference?
  • Philip K. Dick, "P.M. Dick Interview", Devo.com, (Retrieved May 23, 2012). ^{[citation needed]}

• In an earlier review of "Blade Runner," I wrote; "It looks fabled, it uses special effects to create a new world of its ain, merely it is sparse in its homo story." This seems a strange complaint, given that so much of the movie concerns who is, and is not, man, and what it means to be human being anyhow.
  Now study that paragraph again and find I have committed a journalistic misdemeanor. I take referred to replicants without ever establishing what a replicant is. It is a tribute to the influence and attain of "Bract Runner" that 25 years after its release well-nigh everyone reading this knows nigh replicants. Reviews of "The Sorcerer of Oz" never define Munchkins, do they? This is a seminal film, building on older classics like "Metropolis" (1926) or "Things to Come," but establishing a pervasive view of the future that has influenced science fiction films always since. Its key legacies are: Giant global corporations, environmental decay, overcrowding, technological progress at the top, poverty or slavery at the bottom -- and, curiously, almost always a movie noir vision. Wait at "Dark City," "Total Retrieve," "Brazil," "12 Monkeys" or "Gattaca" and you will see its progeny.
  I have never quite embraced "Blade Runner," admiring information technology at arm's length, simply now it is time to cavern in and acknowledge it to the canon.
  • Roger Ebert, "Blade Runner: The Last Cut", Roberebert.com, (November 3, 2007)

• What I have always wondered is why the Tyrell Corporation made their androids so lifelike. Why not requite them 4 artillery and settle the matter, and get more than piece of work out of them? Is there a buried possibility that Tyrell's long-range program is to replace humans altogether? Is the whole blade-running antic simply a cover for his scheme? But never listen. What matters to the viewer is that the basis rules seem to exist in place, and utilise in one of the most boggling worlds ever created in a film.
  • Roger Ebert, "Blade Runner: The Final Cutting", Roberebert.com, (November 3, 2007)

• That was the master area of contention between Ridley and myself at the time. I thought the audience deserved i human being on screen that they could institute an emotional relationship with. I thought I had won Ridley's understanding to that, but in fact I call back he had a lilliputian reservation almost that. I think he really wanted to take information technology both ways.
  • Harrison Ford, Hollywood Greats – Edited clip from BBC1 documentary plan.

• Nearly ten minutes into Blade Runner, I reeled out of the theater in complete despair over its visual brilliance and its similarity to the "look" of Neuromancer, my [then] largely unwritten commencement novel. Non only had I been beaten to the semiotic punch, merely this damned picture show looked ameliorate than the images in my caput! [...] It was also obvious that Scott understood the importance of information density to perceptual overload. When Blade Runner works all-time, information technology induces a lyrical sort of information sickness, that quintessentially postmodern cocktail of ecstasy and dread. It was what cyberpunk was supposed to be all about
  • William Gibson, Details, (October 1992).

• The hugger-mugger of "Blade Runner" is that Scott'southward fantastically baroque, futurity-shock imagery, all nighttime disuse and techno-ataxia, effectively becomes the story. As the layers of mood and detail settle in, the very process by which we picket the pic — scanning those shimmering, claustrophobic frames for signs of life — turns into a running metaphor for what "Blade Runner" is nearly: a world in which humanity has been snuffed by "progress." This is perhaps the simply scientific discipline-fiction film that can exist called transcendental.
  • Owen Gleiberman, "Blade Runner", Amusement Weekly, (October 02, 1992)

• As the picture show explored 1980s themes, including genetic technology and consumerism, it said more with production design than words, detailing a grim, overcrowded future where ornate architecture has been replaced by industrial overload. Harrison Ford, equally Deckard, has an flat then cramped and blocky, he appears to be living in a game of Tetris.
  • Peter Hartlaub, "Review: 'Bract Runner'", SFGate, (November thirty, 2007)

• In 1982, the flick Blade Runner envisaged the then far-off future world of November 2019 equally being filled with lifelike androids, neon-drenched cities and ubiquitous flying cars.
  But November 2019 has arrived, and the time to come looks very unlike from the sci-fi noir prediction.
  • Stuart Layt, "Flight cars didn't take off merely Blade Runner wasn't far off subsequently all", Sydney Morning Herald, (November 1, 2019)

• "Today nosotros apply WhatsApp or FaceTime or whatever program you utilize to make video calls only in the picture show they predicted people would become to video-phone booths," he said.
  "And so although the movie seemed quite advanced at the time and we are yet to get to some of its predictions, in other ways we've really surpassed where the flick thought we would be."
  • Stuart Layt, "Flying cars didn't have off but Blade Runner wasn't far off later all", Sydney Morning time Herald, (November 1, 2019)

• THE view of the hereafter offered past Ridley Scott's muddled nonetheless mesmerizing Blade Runner is as intricately detailed as annihilation a science-fiction moving picture has however envisioned. The yr is 2019, the identify Los Angeles, the landscape garish simply bleak. The metropolis is a canyon divisional by industrial towers, some of which belch fire. Advert billboards, which are everywhere, now characteristic lifelike electronic people who are the size of giants. The police cruise both horizontally and vertically on their patrol routes, but in that location is seldom anyone to arrest, considering the identify is much emptier than information technology used to be. In an age of space travel, anyone with the wherewithal has presumably gone abroad. Only the dregs remain.
  • Janet Maslin, "FUTURISTIC 'Blade RUNNER'", (June 25, 1982)

• At several points in the story, Deckard is called on to wonder whether Rachael has feelings. This seems peculiar, because the icy, poised Rachael, played by Sean Young as a 1940's heroine with spaceage trimmings, seems a lot more expressive than Deckard, who is played by Harrison Ford. Mr. Ford is, for a movie so darkly fanciful, rather a colorless hero; he fades too hands into the bleak background. And he is often upstaged by Rutger Hauer, who in this film and in Nighttime Hawks appears to be specializing in fiendish roles. Mr. Hauer is properly cold-blooded here, but there is something almost humorous backside his nastiness. In any case, he is by far the virtually blithe performer in a motion picture intentionally populated by automatons.
  • Janet Maslin, "FUTURISTIC 'Bract RUNNER'", (June 25, 1982)

• The end of the film is both gruesome and sentimental. Mr. Scott can't take information technology both means, any more than than he tin can look overdecoration to carry a moving-picture show that has neither strong characters nor a stiff story. That hasn't stopped him from trying, fifty-fifty if it perhaps should have.
  • Janet Maslin, "FUTURISTIC 'Blade RUNNER'", (June 25, 1982)

• In the context of scientific discipline fiction, Deckard is the rare existential sci-fi hero. His claims to heroism are not that of a fantasy graphic symbol like Superman merely of an ordinary homo confronted with a situation in which he may either escape or be seduced by his environment, and whose testament of backbone is that he does not resign himself to the mo-rose life of his contemporaries. Having been nurtured by a pessimistic environment, Deckard manages to rise to a higher place the dreariness and corruption of his world and es-cape the suffocating influences of the futurity Los Angeles, while rescuing the hunted woman he loves
  Since "Bract Runner" is a study of the private'south emptiness in the face of his order, Deckard succeeds in doing what few characters in Hollywood science fiction take done: He outgrows his futuristic, technologically-awesome world and reestablishes his worth as a man (or, if y'all will, a replicant), something which, though not equally spectacular as defeating a squadron of invading aliens or slaying a monster, is nonetheless just as triumphant –and, in a dystopian future, something even harder to accomplish.
  • David Morgan, "Film Essay for Bract Runner", Library of Congress National Motion-picture show Preservation Board, as appeared in wideanglecloseup.com.

• It is a starkly empty film, preoccupied as it is with the idea that people themselves might be hollow. The plot depends on the notion that the replicants must be immune to live no longer than four years, because as fourth dimension passes they brainstorm to develop raw emotions. Why emotion should be a majuscule offence is never sufficiently explained; but it is of a piece with the moving-picture show's investigation of a flight from feeling – what psychologist Ian D Suttie in one case named the "taboo on tenderness". Intimacy here is frightful (everyone appears to live alone), especially that closeness that suggests that the replicants might be indistinguishable from us.
  This anxiety may originally have had tacit political resonances. In the novel that the pic is based on, Philip K Dick's thoughtful Exercise Androids Dream of Electric Sheep? (1968), the dilemma of the human foot soldier plays out, commanded to kill an adversary considered less human than ourselves, however troubled by the possibility that the enemy are in fact no different. Shades of Vietnam darken the story, too equally memories of America'south slave-owning by. We are told that the replicants can do everything a homo being can do, except experience empathy. Yet how much empathy do we feel for faraway victims or inconvenient others?
  • Michael Newton, "Tears in rain? Why Bract Runner is timeless ", The Guardian, (14 Mar 2015).

• People tend to classify my movies as cyberpunk fictions but I personally don't think they are. There are some films that I actually relish such as Blade Runner, and they may accept been helpful in shaping my movies to a certain degree. When you create a moving picture dealing with humans and cyborgs, you accept no selection but to refer back to Ridley Scott's Bract Runner, as this picture is probably the foundation of movies with this theme. Whether I'm trying to re-appropriate his language or not may not apply to my movies, considering my goal is to always make a new film that nobody has e'er seen earlier. I think I've proven that with Innocence.
  • Mamoru Oshii, Midnight Middle, (Sep 23, 2004).

• You want an accounting, not a whodunnit but a what-got-dun? Blade Runner got the computerized parking meters correct, and the talking streetlights. ("Cross at present … cross now … don't walk … don't walk.") Robot Metrokabs? So close. Streetside newsstands carrying an array of glossy magazines? Yeah, about that. Face-recognizing polygraphs? Check your phone's forward-facing photographic camera. Nosotros enhance digital photographs, and we have vocalization-controlled gadgets in our kitchens. Billionaires promise a life off-globe of excitement and adventure, but we don't even accept billboard dirigibles, much less reliable rockets.
  • Adam Rogers, "Los Angeles, Blade Runner, and the Theory of Relativity", WIRED, (11.01.2019)

• Blade Runner ever raised far more questions, literal and cosmological, than it answered, glibly presenting us with a circuitous and mysterious vision of our hereafter selves, telling us only the scraps nosotros needed to know to follow a plot about a detective who must find and kill the 21st Century equivalent of illegal aliens-so-called replicants, robots so sophisticated they tin laissez passer for humans.
  • Johanna Steinmetz, "RE-EDITED `BLADE RUNNER` BOASTS A HARD-EDGED Luminescence", CHICAGO TRIBUNE, (September 11, 1992).

• Blade Runner is a big-upkeep mood piece, an existential tone verse form about the precarious nature of humanity and its relationship to the planet, gear up in one of the most elaborately constructed and imagined futures ever put on motion picture.
  Watch whatsoever of Blade Runner's street scenes, and information technology's immediately credible how much work went into creating its well-nigh-time to come Los Angeles. Director Ridley Scott'south shots are densely packed, well-nigh cluttered, with data: one-time cars outfitted with industrial odds and ends; flying vehicles with blinking monitors; graffiti-covered video payphones; storefronts with blaring neon signs competing for your attending; bands of strangely dressed people carrying umbrellas lit from the handles; video advertizing, some of it vaguely menacing, plastered everywhere. Dirt and smog and steam glaze everything.
  • Peter Suderman, "Bract Runner's 2019 Los Angeles helped define the American metropolis of the future", Phonation, (Oct 2, 2017).

• It'southward not just that Harrison Ford looks dashing in neo-noir future vesture or that the lighting is ever moody and perfect, as if the unabridged city had been converted into a sultry nightclub — though none of that hurts. It'southward that Bract Runner presents its futuristic metropolis equally one that is overrun past the liveliness of mass humanity. Its humming sci-fi cityscape is defined by diversity and walkability, past commerce and cultural mixing, by industrial ingenuity and panoramas of larger-than-life advertising. Fifty-fifty as the city is dying, it teems with the business of life.
  The combination of realism and romanticism makes the movie's 2019 Los Angeles a identify you lot tin can imagine not only going to merely wanting to visit.
  • Peter Suderman, "Blade Runner'due south 2019 Los Angeles helped ascertain the American city of the hereafter", Vox, (Oct ii, 2017).

• With its references to off-world colonies -- where humans go "a gamble to begin once again in a golden state of opportunity and adventure" -- "Blade Runner" was ahead of its time in introducing the idea that at that place are consequences to humankind's actions on Earth.
  • Kendall Trammell, "'Blade Runner' predicted what life would exist like in 2019. Here's what the flick got right -- and incorrect", CNN, (December 31, 2018).

• The primal pattern concept came to be called retrofitting, the idea beingness that once cities start to seriously break down, no one would carp to outset new construction from scratch. Rather, such essentials as electrical and ventilation systems would simply exist added onto the exteriors of older buildings, giving them a clunky, somehow menacing look. Progress and decay would be manus in hand, and the city's major buildings, like the massive, Mayan-inspired pyramid that houses the Tyrell Corp., would belfry miles above the squalor below.
  • Kenneth Turan, "From the Archives: 'Bract Runner' went from Harrison Ford's 'miserable' production to Ridley Scott'south unicorn scene, ending equally a cult classic", Los Angeles Times, (Oct. five, 2017).

• According to one source, the preview cards filled out later both screenings told the same story: "This was a film that made demands on an audience that wasn't expecting a movie that fabricated demands on them, an audience somewhat befuddled by the film and very disappointed by the ending." It wasn't and so much that people actively disliked "Blade Runner," they were only unprepared for it. Some other crunch had arrived.
  • Kenneth Turan, "From the Archives: 'Blade Runner' went from Harrison Ford's 'miserable' production to Ridley Scott's unicorn scene, ending every bit a cult classic", Los Angeles Times, (Oct. 5, 2017).

Dialogue [edit]

Syd Mead: [My primary influence was] from Chicago and New York, because they're filigree cities. And New York already had buildings over 1,000 feet — well, the Empire State Building. And then I thought, well let'southward add another thousand feet or so — why not?
And so I had this vision of these incredible tall buildings, and that triggered the idea of how do you lot arrive and out of a edifice that'south 3,000 anxiety alpine? Well, you need access on the ground plane. And that's why they had these pyramids at the lesser, for greater access around the perimeter to get into the building in the first place.

David Fifty. Snyder: What Ridley said was, he would draw, and Syd Mead would draw, and everyone would draw, and then "the poor bastard art departments" had to build everything.

Hampton Fancher: The reason I was able to write the flick, and not be distracted as I always am by a one thousand thousand other things, is because I was very serious about the demise of the planet. Yous know, this is '75. This is acrid [rain]. Until 1980, it was like, Whole Earth Itemize, CoEvolution. Information technology was important to me.

• Mike Roe, "An Oral History Of Blade Runner's 2019 Los Angeles, Because The Future Has Arrived", LAist, (November 5, 2019).

Cast [edit]

• Harrison Ford - Rick Deckard
• Rutger Hauer - Roy Derailed
• Sean Young - Rachael
• Edward James Olmos - Gaff
• M. Emmet Walsh - Bryant
• Daryl Hannah - Pris
• William Sanderson - J.F. Sebastian
• Brion James - Leon
• Joe Turkel - Tyrell
• Joanna Cassidy - Zhora
• James Hong - Hannibal Chew
• Morgan Paull - Holden
• Kevin Thompson - Bear
• John Edward Allen - Kaiser
• Hy Pyke - Taffey Lewis
• Ben Astar - Abdul Ben Hassan

External links [edit]

maezbunged.blogspot.com

Source: https://en.wikiquote.org/wiki/Blade_Runner

Share this post