Once You Know a Hazard Exists the Length of Time

Bract Runner (1982) is an American scientific discipline-fiction moving-picture show, directed by Ridley Scott, with a screenplay written by Hampton Fancher and David Peoples, loosely based on the novel Exercise Androids Dream of Electric Sheep? by Philip G. Dick.

For the game, see Blade Runner (video game)

Rick Deckard [edit]

Replicants are like any other car. They're either a benefit or a hazard. If they're a do good, it'southward not my problem.

Replicants weren't supposed to take feelings... neither were bract runners.

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

• I was quit when I came in here. I'chiliad twice every bit quit now.
  • In response to news that he is wanted on another consignment as a "bract runner" — an officer of the constabulary who "retires" renegade "replicants."

• Replicants are similar whatever other machine. They're either a benefit or a hazard. If they're a do good, it'southward 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, yous're talking about memories.

• [Revealing to Rachael that she is a replicant] You ever tell anyone that? Your female parent, Tyrell? They're implants. Those aren't your memories, they're somebody else's. They're Tyrell'due south niece's. Okay, bad joke, I'm lamentable... No, really, I made a bad joke. Go domicile, you're not a Replicant... (sigh) you wanna drink? I'll become you a drink.

• I've had people walk out on me before, only not when I was beingness so charming.

Voiceovers [edit]

I don't know why he saved my life. Possibly in those last moments he loved life more he ever had before. Not but his life... anybody's life... my life.

These were expunged from the Managing director's 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 can nonetheless be institute 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'due south what my ex-wife used to telephone call me. "Cold fish."

• The charmer'southward proper name was Gaff, I'd seen him around. Bryant must have upped him to the Bract Runner unit of measurement. That gibberish he talked was city speak, gutter talk. A mishmash of Japanese, Spanish, German, what have you. I didn't actually need a translator, I knew the lingo, every good cop did. But I wasn't going to brand information technology easier for him.

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

• I'd quit considering I'd had a belly total of killing. Merely so I'd rather exist a killer than a victim, and that'due south exactly what Bryant's threat about "little people" meant. Then I hooked in once more than thinking if I couldn't have information technology I'd split later. I didn't have to worry almost 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 pb I had, then I checked information technology out.

• Whatever was in the bathtub was not human. Replicants don't accept scales.

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

• Tyrell actually did a task 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 bract runners. What the hell was happening to me?

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

• The report would be "routine retirement of a Replicant", which didn't brand me feel any ameliorate 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 last moments he loved life more he ever had earlier. Not just his life... everyone's life... my life. All he'd wanted was the aforementioned answers the residuum of united states desire. Where do I come from? Where am I going? How long accept I got? All I could do is sit at that place 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 appointment. I didn't know how long we had together... who does?

This narration was only used for the film's 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 dark. It was a long, slow thing... and he fought it all the style. He never whimpered, and he never quit. He took all the time he had, as though he loved life very much. Every second of it... even the hurting. Then, he was expressionless.

Bryant [edit]

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

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

• He can exhale okay every bit long as nobody unplugs him.

• End right where yous are! You know the score, pal! If you're not cop, y'all're footling people.

• Christ, Deckard, you expect almost every bit bad every bit that skin-job you lot left on the sidewalk!

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

• Talk about beauty and the beast — she'due south both.

• The only way you can hurt him is to kill him.

Eldon Tyrell [edit]

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

• Commerce is our goal here at Tyrell. "More human being than homo" is our motto.

Rachael [edit]

Have you e'er retired a human by mistake?

• Have you ever retired a man by mistake?

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

• I'thou non in the business organization. I am the business.

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

Leon [edit]

• Painful to live in fear, isn't it?

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

• Wake up! Time to die!

Roy Derailed [edit]

• Fiery the angels brutal; deep thunder rolled around their shores; burning with the fires of Orc.
  • This is a deliberate misquote of William Blake's America a Prophecy "Fiery the angels rose, and as they rose deep thunder roll'd / Around their shores: indignant burning with the fires of Orc." In context, the Replicants were exiled from Earth, to the off-world infinite colonies, but Roy's group of Replicants hijacked a ship to sneak back to Earth. Thus in a sense, like Friction match and the Fallen Angels, Roy and his grouping were both "cast out" and "fell to Earth" (though non at the aforementioned time).

• Chew, if only you could encounter what I've seen with your eyes!
  • A double-entendre, equally Chew builds Replicant eyes.

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

• I've done questionable things.

• Tin can the maker repair what he makes?

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

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

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

• C'mon Deckard, show me... what you're made of... [pulls Deckard'southward hand through the wall and removes his gun]... This is for Zhora [breaks finger] and this is for Pris [breaks another] You gotta shoot direct! [Deckard shoots and misses] Straight doesn't seem skilful plenty!

• You meliorate get it upwards. Or I'm gonna take to kill ya.

• We're not computers, Sebastian, we're physical.
  • After Sebastian asks Roy and Pris to "do something"

• That...injure. That was irrational. Not to mention, unsportsman-like. Ha ha ha. [break] Where are you going?
  • After Deckard beats him with a lead pipe.

• Quite an experience to alive in fear, isn't it? That'southward what it is to be a slave.
  • Standing over Deckard as he hangs from the side of the building.

• I've seen things you people wouldn't believe. Assault ships on fire off shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments volition be lost in time, like tears in rain. Time to die.

Gaff [edit]

• You've done a man's job, sir! I approximate you lot're through, huh?

• It's too bad she won't live. But then again, who does?

Pris [edit]

• Then nosotros're stupid, and we'll die.

• I think, Sebastian, therefore I am.

J.F. Sebastian [edit]

• They're my friends. I make them.

• There'southward some of me in you.

Others [edit]

• PA Phonation: A new life awaits you in the Off-World colonies. The chance to begin once again in a golden land of opportunity and adventure!

• Holden: The tortoise lays on its back, its abdomen blistering in the hot sun, chirapsia its legs, trying to plough itself over but it can't. Not without your assist. But you're not helping.

• Hannibal Chew: You not come here! Illegal!

• Zhora: Y'all think I'd be working in a place like this if I could afford a real snake?

Dialogue [edit]

The calorie-free that burns twice as bright burns half as long, and you have burned so very very brightly, Roy. Look at you. You lot're the prodigal son. Yous're quite a prize!

All those ... moments volition be lost in time, like tears...in rain.

Dave Holden: Describe in single words only the expert things that come into your mind well-nigh your mother?

Leon Kowalski: My female parent?

Holden: Yes.

Leon: Permit me tell you lot 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 with me at once.)

Howie Lee: He say you under arrest, Mr. Deckard.

Rick Deckard: Got the incorrect guy, pal.

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

Lee: He say you Blade Runner.

Deckard: Tell him I'm eating.

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

Deckard: Bryant, huh?

---

Rachael: Information technology seems you feel our work is not of benefit to the public.

Rick Deckard: Replicants are similar any other machine: they're either a benefit or a hazard. If they're a benefit, it'south not my trouble.

Rachael: May I inquire 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 risk.

---

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

Roy Batty: Information technology's non an easy matter to run across your maker.

Tyrell: What can he practise for you?

Roy: Can the maker repair what he makes?

Tyrell: Would yous like to be modified?

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

Roy: Had in mind something a little more radical.

Tyrell: What? What seems to be the problem?

Roy: Death.

Tyrell: Death? Well, I'm afraid that'south a trivial out of my jurisdiction, you—

Roy: I want more than life, fucker!

---

Eldon Tyrell: You lot were made as well equally nosotros could make yous.

Roy Derailed: But non to last.

Tyrell: The light that burns twice equally bright burns half every bit long, and you have burned so very very brightly, Roy. Await at you. Y'all'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 heaven for. [kisses Tyrell and kills him]

---

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

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

---

Roy Batty: [taunting Deckard with a counting rhyme] Half-dozen! Seven! Go to Hell or go to Sky!

[Deckard beats Roy on the side of the head with a atomic number 82 pipe]

Roy: Good! That'south the spirit!

Voight-Kampff test questions [edit]

• It'due south your birthday. Someone gives yous a calfskin wallet.

• Yous've got a little boy. He shows y'all his butterfly drove plus the killing jar.

• You're watching idiot box. All of a sudden you realize there'due south a wasp crawling on your arm.

• You're in a desert walking along in the sand when all of the sudden yous look down, and you encounter a tortoise, it'south itch toward you. You reach down, y'all flip the tortoise over on its back. The tortoise lays on its back, its belly baking in the hot lord's day, beating its legs trying to turn itself over, but it tin can't, not without your help. But you're not helping. Why is that?

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

• You're reading a magazine. You come up across a full-folio nude photo of a daughter. You prove it to your husband. He likes it and so much, he hangs it on your sleeping room wall.

• You go pregnant by a homo who runs off with your best friend, and y'all decide to get an abortion.

• Ane more than question: You're watching a stage play - a banquet is in progress. The guests are enjoying an titbit 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 by her inappropriate emotional response.

Taglines [edit]

• Man has made his friction match. Now it's his problem.

Quotes virtually Bract Runner [edit]

The purpose of this story as I saw it was that in his task of hunting and killing these replicants, Deckard becomes progressively dehumanized. At the same time, the replicants are being perceived as becoming more than human. Finally, Deckard must question what he is doing, and actually what is the essential deviation between him and them? And, to take it one step further, who is he if at that place is no real difference? ~ Philip K. Dick

That was the main expanse of contention between Ridley and myself at the time. I thought the audience deserved one man on screen that they could establish an emotional relationship with. I thought I had won Ridley's understanding to that, just in fact I recollect he had a little reservation about that. I think he actually wanted to take it both ways. ~ Harrison Ford

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 allowed to live no longer than four years, because as fourth dimension passes they begin to develop raw emotions. Why emotion should be a capital offence is never sufficiently explained; only it is of a slice with the pic's investigation of a flight from feeling – what psychologist Ian D Suttie once named the "taboo on tenderness". Intimacy here is frightful (everyone appears to live lonely), especially that closeness that suggests that the replicants might be duplicate from usa. ~ Michael Newton

It's non merely that Harrison Ford looks dashing in neo-noir hereafter wear or that the lighting is ever moody and perfect, as if the entire urban center had been converted into a sultry nightclub — though none of that hurts. It'southward that Bract Runner presents its futuristic city as one that is overrun by the liveliness of mass humanity. Its bustling sci-fi cityscape is defined by multifariousness and walkability, past commerce and cultural mixing, past industrial ingenuity and panoramas of larger-than-life advertising. Even as the city is dying, it teems with the concern of life.
The combination of realism and romanticism makes the movie's 2019 Los Angeles a place you tin imagine not only going to just wanting to visit. ~ Peter Suderman

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

• In an before review of "Blade Runner," I wrote; "It looks fabulous, information technology uses special effects to create a new world of its ain, but information technology is sparse in its homo story." This seems a strange complaint, given that so much of the movie concerns who is, and is non, man, and what information technology means to be human anyway.
  Now report that paragraph over again and discover I have committed a journalistic misdemeanor. I have referred to replicants without ever establishing what a replicant is. It is a tribute to the influence and reach of "Bract Runner" that 25 years later its release almost everyone reading this knows about replicants. Reviews of "The Wizard of Oz" never define Munchkins, do they? This is a seminal film, building on older classics similar "Metropolis" (1926) or "Things to Come," simply establishing a pervasive view of the future that has influenced science fiction films ever since. Its cardinal legacies are: Giant global corporations, environmental decay, overcrowding, technological progress at the top, poverty or slavery at the bottom -- and, curiously, almost always a flick noir vision. Expect at "Dark Metropolis," "Total Recall," "Brazil," "12 Monkeys" or "Gattaca" and you will see its progeny.
  I have never quite embraced "Blade Runner," admiring it at arm's length, but at present information technology is time to cave in and admit information technology to the canon.
  • Roger Ebert, "Blade Runner: The Last Cut", Roberebert.com, (November 3, 2007)

• What I accept always wondered is why the Tyrell Corporation made their androids so lifelike. Why not give them four artillery and settle the affair, and get more work out of them? Is there a buried possibility that Tyrell's long-range plan is to supercede humans birthday? Is the whole blade-running caper simply a cover for his scheme? But never listen. What matters to the viewer is that the basis rules seem to be in place, and apply in ane of the well-nigh extraordinary worlds ever created in a film.
  • Roger Ebert, "Blade Runner: The Final Cut", Roberebert.com, (November 3, 2007)

• That was the main area of contention betwixt Ridley and myself at the time. I thought the audience deserved 1 homo on screen that they could establish an emotional relationship with. I thought I had won Ridley'due south agreement to that, but in fact I think he had a fiddling reservation virtually that. I call back he really wanted to have information technology both ways.
  • Harrison Ford, Hollywood Greats – Edited prune from BBC1 documentary program.

• Almost ten minutes into Blade Runner, I reeled out of the theater in complete despair over its visual luminescence and its similarity to the "look" of Neuromancer, my [then] largely unwritten first novel. Not only had I been beaten to the semiotic punch, but this damned movie looked better than the images in my caput! [...] It was as well 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. Information technology was what cyberpunk was supposed to be all virtually
  • William Gibson, Details, (October 1992).

• The secret of "Bract Runner" is that Scott's fantastically baroque, hereafter-shock imagery, all dark decay and techno-ataxia, effectively becomes the story. As the layers of mood and detail settle in, the very process past which we watch the film — scanning those shimmering, claustrophobic frames for signs of life — turns into a running metaphor for what "Blade Runner" is most: a world in which humanity has been snuffed past "progress." This is perhaps the only science-fiction motion picture that tin can be called transcendental.
  • Owen Gleiberman, "Blade Runner", Entertainment Weekly, (October 02, 1992)

• As the movie 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, as Deckard, has an apartment and then cramped and blocky, he appears to be living in a game of Tetris.
  • Peter Hartlaub, "Review: 'Blade Runner'", SFGate, (November 30, 2007)

• In 1982, the movie Blade Runner envisaged the then furthermost future world of Nov 2019 as being filled with lifelike androids, neon-drenched cities and ubiquitous flight cars.
  But Nov 2019 has arrived, and the time to come looks very different from the sci-fi noir prediction.
  • Stuart Layt, "Flying cars didn't take off but Blade Runner wasn't far off subsequently all", Sydney Morn Herald, (November 1, 2019)

• "Today we use WhatsApp or FaceTime or whatever program you use to brand video calls but in the movie they predicted people would go to video-phone booths," he said.
  "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 actually surpassed where the movie thought we would be."
  • Stuart Layt, "Flying cars didn't take off merely Bract Runner wasn't far off after all", Sydney Morning time Herald, (Nov 1, 2019)

• THE view of the future offered by Ridley Scott'southward muddled yet mesmerizing Blade Runner is every bit intricately detailed as annihilation a science-fiction film has yet envisioned. The yr is 2019, the place Los Angeles, the landscape garish but bleak. The city is a canyon bounded past industrial towers, some of which belch burn. Advert billboards, which are everywhere, at present feature lifelike electronic people who are the size of giants. The constabulary cruise both horizontally and vertically on their patrol routes, but there is seldom anyone to arrest, because the place is much emptier than it used to be. In an age of space travel, anyone with the wherewithal has presumably gone away. Merely the dregs remain.
  • Janet Maslin, "FUTURISTIC 'Blade RUNNER'", (June 25, 1982)

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

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

• In the context of science fiction, Deckard is the rare existential sci-fi hero. His claims to heroism are non that of a fantasy character like Superman but of an ordinary human being confronted with a situation in which he may either escape or exist seduced by his environs, 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 surround, Deckard manages to rise above the dreariness and corruption of his globe and es-cape the suffocating influences of the future Los Angeles, while rescuing the hunted adult female he loves
  Since "Blade Runner" is a study of the individual's emptiness in the face of his society, Deckard succeeds in doing what few characters in Hollywood scientific discipline fiction have washed: He outgrows his futuristic, technologically-awesome earth and reestablishes his worth equally a human being (or, if you will, a replicant), something which, though non every bit spectacular as defeating a squadron of invading aliens or slaying a monster, is still just equally triumphant –and, in a dystopian futurity, something even harder to reach.
  • David Morgan, "Film Essay for Blade Runner", Library of Congress National Film Preservation Board, as appeared in wideanglecloseup.com.

• It is a starkly empty film, preoccupied every bit information technology is with the thought that people themselves might exist hollow. The plot depends on the notion that the replicants must be immune to alive no longer than four years, because equally time passes they begin to develop raw emotions. Why emotion should be a capital offence is never sufficiently explained; but it is of a piece with the film's investigation of a flight from feeling – what psychologist Ian D Suttie once named the "taboo on tenderness". Intimacy here is frightful (everyone appears to live solitary), specially that closeness that suggests that the replicants might exist indistinguishable from us.
  This feet may originally have had tacit political resonances. In the novel that the picture is based on, Philip Thou Dick'due south thoughtful Exercise Androids Dream of Electric Sheep? (1968), the dilemma of the foot soldier plays out, commanded to kill an adversary considered less man than ourselves, all the same troubled past the possibility that the enemy are in fact no different. Shades of Vietnam darken the story, as well every bit memories of America'south slave-owning past. We are told that the replicants can practice everything a human beingness can practise, except feel empathy. Even so how much empathy practice nosotros feel for faraway victims or inconvenient others?
  • Michael Newton, "Tears in rain? Why Blade Runner is timeless ", The Guardian, (14 Mar 2015).

• People tend to classify my movies every bit cyberpunk fictions simply I personally don't think they are. In that location are some films that I actually enjoy such equally Blade Runner, and they may have been helpful in shaping my movies to a certain degree. When you lot create a picture show dealing with humans and cyborgs, y'all have no choice but to refer back to Ridley Scott's Blade Runner, every bit this movie is probably the foundation of movies with this theme. Whether I'thousand trying to re-appropriate his language or not may non apply to my movies, because my goal is to always make a new picture that nobody has ever seen earlier. I think I've proven that with Innocence.
  • Mamoru Oshii, Midnight Eye, (Sep 23, 2004).

• Y'all want an accounting, non a whodunnit only a what-got-dun? Bract Runner got the computerized parking meters right, and the talking streetlights. ("Cantankerous now … cross now … don't walk … don't walk.") Robot Metrokabs? Then close. Streetside newsstands carrying an assortment of glossy magazines? Aye, virtually that. Face-recognizing polygraphs? Check your telephone's forrad-facing camera. We enhance digital photographs, and we have voice-controlled gadgets in our kitchens. Billionaires promise a life off-world of excitement and adventure, merely we don't fifty-fifty have billboard dirigibles, much less reliable rockets.
  • Adam Rogers, "Los Angeles, Blade Runner, and the Theory of Relativity", WIRED, (11.01.2019)

• Blade Runner always raised far more questions, literal and cosmological, than it answered, glibly presenting united states of america with a complex and mysterious vision of our future selves, telling us only the scraps we needed to know to follow a plot about a detective who must observe and impale the 21st Century equivalent of illegal aliens-then-called replicants, robots and then sophisticated they tin laissez passer for humans.
  • Johanna Steinmetz, "RE-EDITED `BLADE RUNNER` BOASTS A Hard-EDGED Luminescence", CHICAGO TRIBUNE, (September eleven, 1992).

• Blade Runner is a large-budget mood piece, an existential tone poem near 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 movie.
  Watch any of Blade Runner's street scenes, and information technology'due south immediately apparent how much piece of work went into creating its near-future Los Angeles. Director Ridley Scott's shots are densely packed, nearly chaotic, with information: old cars outfitted with industrial odds and ends; flying vehicles with blinking monitors; graffiti-covered video payphones; storefronts with clarion neon signs competing for your attention; bands of strangely dressed people carrying umbrellas lit from the handles; video advertising, some of it vaguely menacing, plastered everywhere. Dirt and smog and steam coat everything.
  • Peter Suderman, "Bract Runner's 2019 Los Angeles helped define the American city of the future", Vocalisation, (October ii, 2017).

• It'southward not simply that Harrison Ford looks dashing in neo-noir future article of clothing or that the lighting is always moody and perfect, every bit if the entire metropolis had been converted into a sultry nightclub — though none of that hurts. It's that Bract Runner presents its futuristic metropolis every bit one that is overrun by the liveliness of mass humanity. Its bustling sci-fi cityscape is divers past diverseness and walkability, past commerce and cultural mixing, by industrial ingenuity and panoramas of larger-than-life advertising. Even every bit the metropolis is dying, it teems with the business of life.
  The combination of realism and romanticism makes the motion picture's 2019 Los Angeles a place you tin can imagine non but going to only wanting to visit.
  • Peter Suderman, "Blade Runner's 2019 Los Angeles helped define the American metropolis of the hereafter", Voice, (Oct 2, 2017).

• With its references to off-world colonies -- where humans get "a take chances to begin once more in a golden land of opportunity and adventure" -- "Bract Runner" was ahead of its fourth dimension in introducing the thought that there are consequences to humankind'south deportment on Globe.
  • Kendall Trammell, "'Bract Runner' predicted what life would exist like in 2019. Hither's what the movie got right -- and wrong", CNN, (December 31, 2018).

• The key design concept came to exist chosen retrofitting, the idea being that in one case cities starting time to seriously interruption down, no one would bother to first new structure from scratch. Rather, such essentials equally electrical and ventilation systems would simply be added onto the exteriors of older buildings, giving them a clunky, somehow menacing expect. Progress and decay would exist hand in mitt, and the city's major buildings, like the massive, Mayan-inspired pyramid that houses the Tyrell Corp., would belfry miles in a higher place the squalor below.
  • Kenneth Turan, "From the Athenaeum: 'Blade Runner' went from Harrison Ford'south 'miserable' production to Ridley Scott's unicorn scene, ending as a cult classic", Los Angeles Times, (Oct. 5, 2017).

• According to one source, the preview cards filled out later on both screenings told the same story: "This was a film that made demands on an audition that wasn't expecting a movie that made demands on them, an audience somewhat befuddled past the moving-picture show and very disappointed by the ending." It wasn't and so much that people actively disliked "Blade Runner," they were just unprepared for it. Another crisis 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 grid cities. And New York already had buildings over one,000 anxiety — well, the Empire Country Building. And and then I thought, well let's add another k feet or then — why not?
So I had this vision of these incredible tall buildings, and that triggered the idea of how do you get in and out of a edifice that's 3,000 anxiety alpine? Well, you demand access on the ground airplane. And that'due south why they had these pyramids at the bottom, for greater access around the perimeter to get into the building in the first place.

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

Hampton Fancher: The reason I was able to write the flick, and not exist distracted every bit I always am by a million other things, is because I was very serious almost the demise of the planet. Yous know, this is '75. This is acid [pelting]. Until 1980, information technology was similar, Whole World Catalog, CoEvolution. Information technology was of import to me.

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

Cast [edit]

• Harrison Ford - Rick Deckard
• Rutger Hauer - Roy Batty
• Sean Immature - Rachael
• Edward James Olmos - Gaff
• M. Ant 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]

hathawayenditarray.blogspot.com

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