Gaff: Its Too Bad She Wont Live! But Then Again

Blade Runner (1982) is an American science-fiction picture, 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? past Philip G. Dick.

For the game, run across Bract Runner (video game)

Rick Deckard [edit]

Replicants are like any other machine. They're either a benefit or a risk. If they're a benefit, it's not my trouble.

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

• I'g Deckard. Bract Runner. B Ii sixty-three fifty-four. I'm filed and monitored.

• I was quit when I came in here. I'm twice as quit now.
  • In response to news that he is wanted on another assignment as a "blade runner" — an officeholder of the law who "retires" renegade "replicants."

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

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

• Memories, you lot're talking about 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's. They're Tyrell'southward niece's. Okay, bad joke, I'm sorry... No, really, I made a bad joke. Go home, you lot're not a Replicant... (sigh) yous wanna drink? I'll become you a drink.

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

Voiceovers [edit]

I don't know why he saved my life. Possibly in those terminal moments he loved life more he ever had earlier. Not just his life... anybody'due south 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 projection. They tin can still exist institute in International editions, and all were spoken by Harrison Ford.

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

• Sushi. That's what my ex-wife used to phone 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 of measurement. That gibberish he talked was urban center speak, gutter talk. A mishmash of Japanese, Spanish, German, what have you. I didn't really need a translator, I knew the lingo, every good cop did. But I wasn't going to brand it easier for him.

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

• I'd quit because I'd had a belly total of killing. But and then I'd rather be a killer than a victim, and that's exactly what Bryant's threat about "little people" meant. And so I hooked in once more thinking if I couldn't accept it I'd divide afterward. I didn't have to worry about Gaff. He was brown-nosing for a promotion, and so he didn't want me around anyway.

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

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

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

• Tyrell actually did a job on Rachael. Correct downwardly to a snapshot of a female parent she never had... a girl she never was. Replicants weren't supposed to take feelings... neither were bract runners. What the hell was happening to me?

• Leon's pictures had to exist every bit phony as 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 make me feel any amend most shooting a adult female in the dorsum. There 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 than he ever had earlier. Not just his life... everyone'due south life... my life. All he'd wanted was the aforementioned answers the rest of us want. Where exercise I come from? Where am I going? How long have I got? All I could exercise is sit down at that place and picket him die.

• Gaff had been there, and let her live. Four years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination appointment. I didn't know how long nosotros 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 dice all night. Information technology was a long, slow thing... and he fought it all the way. 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 hurting. Then, he was expressionless.

Bryant [edit]

You know the score, pal! If y'all're not cop, you lot're niggling people.

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

• He can breathe okay equally long every bit nobody unplugs him.

• Stop right where you are! Y'all know the score, pal! If you're not cop, yous're little people.

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

• You could acquire from this guy Gaff, he'south a god-damn ane homo slaughterhouse.

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

• The but manner y'all can hurt him is to impale him.

Eldon Tyrell [edit]

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

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

Rachael [edit]

Have y'all ever retired a man by mistake?

• Take yous ever retired a human being by error?

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

• I'm not in the concern. I am the business.

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

Leon [edit]

• Painful to live in fearfulness, isn't it?

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

• Wake upwardly! Time to dice!

Roy Batty [edit]

• Fiery the angels fell; deep thunder rolled around 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 every bit they rose deep thunder roll'd / Around their shores: indignant called-for 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 transport to sneak back to Earth. Thus in a sense, like Lucifer and the Fallen Angels, Roy and his group were both "cast out" and "fell to Earth" (though non at the same time).

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

• It'south non an like shooting fish in a barrel thing to run into your maker.

• I've done questionable things.

• Can the maker repair what he makes?

• Gosh, you've actually got some prissy toys here.

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

• Non very sporting to fire on an unarmed opponent. I idea yous were supposed to be expert. Aren't you the... "good" man?

• C'mon Deckard, show me... what you're made of... [pulls Deckard's 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 expert enough!

• You ameliorate get it up. Or I'thousand gonna accept to kill ya.

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

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

• Quite an feel to live in fright, isn't it? That's what it is to exist a slave.
  • Standing over Deckard as he hangs from the side of the building.

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

Gaff [edit]

• You lot've done a man'due south task, sir! I gauge you're through, huh?

• Information technology'south as well bad she won't live. Merely then over again, who does?

Pris [edit]

• Then we're stupid, and we'll die.

• I think, Sebastian, therefore I am.

J.F. Sebastian [edit]

• They're my friends. I brand them.

• There'southward some of me in you.

Others [edit]

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

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

• Hannibal Chew: You not come up here! Illegal!

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

Dialogue [edit]

The lite that burns twice as vivid burns half as long, and you accept burned and so very very brightly, Roy. Expect at you. You lot're the dissipated son. You lot're quite a prize!

All those ... moments will be lost in time, like tears...in pelting.

Dave Holden: Depict in single words only the practiced things that come up into your mind almost 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 up hither.)

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

Howie Lee: He say yous under abort, Mr. Deckard.

Rick Deckard: Got the wrong guy, pal.

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

Lee: He say yous Blade Runner.

Deckard: Tell him I'm eating.

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

Deckard: Bryant, huh?

---

Rachael: It seems you feel our work is not of do good to the public.

Rick Deckard: Replicants are like any other machine: they're either a benefit or a hazard. If they're a benefit, it'southward not my problem.

Rachael: May I ask yous a personal question?

Deckard: Sure.

Rachael: Take you ever retired a homo by mistake?

Deckard: No.

Rachael: But in your position that is a risk.

---

Eldon Tyrell: I'chiliad surprised yous didn't come up hither sooner.

Roy Batty: It'due south non an easy affair to meet your maker.

Tyrell: What can he do for you?

Roy: Can the maker repair what he makes?

Tyrell: Would you like to be modified?

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

Roy: Had in heed something a lilliputian more radical.

Tyrell: What? What seems to be the problem?

Roy: Decease.

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

Roy: I desire more life, fucker!

---

Eldon Tyrell: You were fabricated as well every bit we could make you lot.

Roy Derailed: But not to last.

Tyrell: The light that burns twice as vivid burns half as long, and you have burned so very very brightly, Roy. Await at yous. You're the prodigal son. You're quite a prize!

Roy: I've done questionable things.

Tyrell: Besides boggling things. Revel in your time!

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

---

Hannibal Chew: Y'all Nexus, huh? I design your eyes.

Roy Batty: Chew, if simply you could come across what I have seen with your eyes.

---

Roy Batty: [taunting Deckard with a counting rhyme] Six! Seven! Get to Hell or become to Heaven!

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

Roy: Good! That'south the spirit!

Voight-Kampff test questions [edit]

• It's your birthday. Someone gives you a calfskin wallet.

• You lot've got a niggling male child. He shows you his butterfly drove plus the killing jar.

• You're watching television. All of a sudden you realize there's a wasp crawling on your arm.

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

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

• You're reading a mag. Yous come beyond a full-folio nude photo of a girl. You bear witness it to your husband. He likes it so much, he hangs it on your bedroom wall.

• You lot become pregnant by a man who runs off with your best friend, and you decide to get an abortion.

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

Taglines [edit]

• Human has made his match. Now it's his trouble.

Quotes about Blade Runner [edit]

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 being perceived equally becoming more human being. Finally, Deckard must question what he is doing, and really what is the essential difference between him and them? And, to take it i step further, who is he if there is no real difference? ~ Philip Chiliad. Dick

That was the main area of contention between Ridley and myself at the fourth dimension. I thought the audition deserved one human being being on screen that they could plant an emotional relationship with. I thought I had won Ridley's understanding to that, but in fact I call up he had a lilliputian reservation about that. I think he really wanted to have it both ways. ~ Harrison Ford

It is a starkly empty pic, 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 four years, because as fourth dimension passes they begin to develop raw emotions. Why emotion should exist a capital letter offence is never sufficiently explained; but it is of a slice with the flick's investigation of a flying from feeling – what psychologist Ian D Suttie once named the "taboo on tenderness". Intimacy here is frightful (everyone appears to alive alone), especially that closeness that suggests that the replicants might be indistinguishable from us. ~ Michael Newton

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

• 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 aforementioned time, the replicants are being perceived as becoming more human. Finally, Deckard must question what he is doing, and actually what is the essential departure between him and them? And, to accept it one pace further, who is he if there is no real difference?
  • Philip G. Dick, "P.K. 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, but it is thin in its human being story." This seems a strange complaint, given that so much of the movie concerns who is, and is not, human, and what it means to exist human being anyhow.
  Now report that paragraph over again and notice I take committed a journalistic misdemeanor. I take referred to replicants without always establishing what a replicant is. It is a tribute to the influence and achieve of "Blade Runner" that 25 years after its release about everyone reading this knows about replicants. Reviews of "The Magician of Oz" never define Munchkins, practise they? This is a seminal picture show, building on older classics like "Metropolis" (1926) or "Things to Come," but establishing a pervasive view of the time to come that has influenced science fiction films ever 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 e'er a picture noir vision. Look at "Dark City," "Total Think," "Brazil," "12 Monkeys" or "Gattaca" and you volition run into its progeny.
  I have never quite embraced "Blade Runner," admiring it at arm'southward length, simply now it is time to cavern in and admit information technology to the canon.
  • Roger Ebert, "Blade Runner: The Final Cut", Roberebert.com, (November 3, 2007)

• What I take ever wondered is why the Tyrell Corporation fabricated their androids and so lifelike. Why not give them four arms and settle the thing, and get more work out of them? Is there a cached possibility that Tyrell's long-range plan is to replace humans altogether? Is the whole blade-running antic simply a cover for his scheme? Merely never mind. What matters to the viewer is that the ground rules seem to be in place, and apply in one of the about extraordinary worlds ever created in a picture show.
  • Roger Ebert, "Blade Runner: The Terminal Cut", Roberebert.com, (November three, 2007)

• That was the main area of contention between Ridley and myself at the fourth dimension. I idea the audience deserved i man on screen that they could constitute an emotional relationship with. I thought I had won Ridley's agreement to that, only in fact I remember he had a little reservation about that. I think he really wanted to take it both ways.
  • Harrison Ford, Hollywood Greats – Edited clip from BBC1 documentary program.

• About 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 [and so] 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 head! [...] Information technology was also obvious that Scott understood the importance of data density to perceptual overload. When Blade Runner works all-time, it induces a lyrical sort of information sickness, that quintessentially postmodern cocktail of ecstasy and dread. It was what cyberpunk was supposed to be all near
  • William Gibson, Details, (October 1992).

• The secret of "Blade Runner" is that Scott'due south fantastically baroque, time to come-daze imagery, all dark decay and techno-clutter, effectively becomes the story. As the layers of mood and detail settle in, the very process by which we sentry the flick — scanning those shimmering, claustrophobic frames for signs of life — turns into a running metaphor for what "Blade Runner" is about: a world in which humanity has been snuffed past "progress." This is perhaps the simply scientific discipline-fiction film that tin exist called transcendental.
  • Owen Gleiberman, "Blade Runner", Entertainment Weekly, (October 02, 1992)

• Every bit the movie explored 1980s themes, including genetic applied science and consumerism, it said more with production pattern than words, detailing a grim, overcrowded future where ornate architecture has been replaced by industrial overload. Harrison Ford, as Deckard, has an apartment so 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 Bract Runner envisaged the then far-off time to come world of Nov 2019 every bit being filled with lifelike androids, neon-drenched cities and ubiquitous flying cars.
  But November 2019 has arrived, and the time to come looks very dissimilar from the sci-fi noir prediction.
  • Stuart Layt, "Flying cars didn't have off simply Blade Runner wasn't far off later on all", Sydney Morning Herald, (November 1, 2019)

• "Today nosotros use WhatsApp or FaceTime or any program you apply to make video calls merely in the flick they predicted people would get to video-phone booths," he said.
  "So although the film 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 picture show thought we would be."
  • Stuart Layt, "Flying cars didn't take off but Blade Runner wasn't far off later all", Sydney Morn Herald, (November 1, 2019)

• THE view of the future offered past Ridley Scott'south muddled nonetheless mesmerizing Blade Runner is as intricately detailed equally annihilation a science-fiction film has nevertheless envisioned. The yr is 2019, the place Los Angeles, the landscape garish but bleak. The metropolis is a canyon bounded past industrial towers, some of which discharge burn. Ad billboards, which are everywhere, now feature lifelike electronic people who are the size of giants. The police cruise both horizontally and vertically on their patrol routes, just there is seldom anyone to arrest, considering the identify is much emptier than it used to be. In an age of space travel, anyone with the wherewithal has presumably gone away. Just 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 equally 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 film so darkly fanciful, rather a colorless hero; he fades as well easily into the bleak background. And he is often upstaged by Rutger Hauer, who in this moving-picture show and in Night Hawks appears to be specializing in fiendish roles. Mr. Hauer is properly cold-blooded hither, merely there is something virtually humorous backside his nastiness. In whatever case, he is by far the almost animated performer in a film intentionally populated by automatons.
  • Janet Maslin, "FUTURISTIC 'BLADE RUNNER'", (June 25, 1982)

• The stop of the movie is both gruesome and sentimental. Mr. Scott tin can't accept it both ways, whatsoever more than than he tin expect overdecoration to carry a movie that has neither strong characters nor a strong story. That hasn't stopped him from trying, even 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 non that of a fantasy character like Superman only of an ordinary human being confronted with a state of affairs in which he may either escape or be seduced by his environment, and whose testament of courage is that he does non resign himself to the mo-rose life of his contemporaries. Having been nurtured by a pessimistic environment, Deckard manages to rise higher up the dreariness and corruption of his world and es-cape the suffocating influences of the future Los Angeles, while rescuing the hunted woman he loves
  Since "Blade Runner" is a written report of the private'southward emptiness in the face of his society, Deckard succeeds in doing what few characters in Hollywood scientific discipline fiction have done: He outgrows his futuristic, technologically-awesome globe and reestablishes his worth as a homo existence (or, if yous will, a replicant), something which, though not equally spectacular as defeating a squadron of invading aliens or slaying a monster, is nevertheless only every bit triumphant –and, in a dystopian hereafter, something even harder to accomplish.
  • David Morgan, "Picture Essay for Bract Runner", Library of Congress National Movie Preservation Board, as appeared in wideanglecloseup.com.

• It is a starkly empty moving-picture show, 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 alive no longer than iv years, considering as time passes they brainstorm to develop raw emotions. Why emotion should exist a capital offence is never sufficiently explained; but it is of a piece with the flick's investigation of a flight from feeling – what psychologist Ian D Suttie once named the "taboo on tenderness". Intimacy here is frightful (anybody 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 flick is based on, Philip K Dick'due south thoughtful Do Androids Dream of Electric Sheep? (1968), the dilemma of the foot soldier plays out, commanded to kill an adversary considered less human than ourselves, yet troubled by the possibility that the enemy are in fact no unlike. Shades of Vietnam darken the story, besides as memories of America's slave-owning past. We are told that the replicants can practice everything a human existence can do, except feel empathy. Yet how much empathy do 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 equally cyberpunk fictions but I personally don't think they are. There are some films that I really enjoy such equally Blade Runner, and they may have been helpful in shaping my movies to a certain degree. When yous create a film dealing with humans and cyborgs, you have no pick but to refer dorsum to Ridley Scott's Blade Runner, as this flick is probably the foundation of movies with this theme. Whether I'grand trying to re-appropriate his linguistic communication or non may not apply to my movies, because my goal is to e'er make a new movie that nobody has ever seen before. I recall I've proven that with Innocence.
  • Mamoru Oshii, Midnight Eye, (Sep 23, 2004).

• You desire an accounting, not a whodunnit just a what-got-dun? Blade Runner got the computerized parking meters correct, and the talking streetlights. ("Cantankerous now … cantankerous now … don't walk … don't walk.") Robot Metrokabs? So close. Streetside newsstands carrying an assortment of sleeky magazines? Yeah, about that. Confront-recognizing polygraphs? Bank check your telephone's forrard-facing camera. We enhance digital photographs, and we have voice-controlled gadgets in our kitchens. Billionaires promise a life off-world of excitement and take a chance, simply nosotros don't even have billboard dirigibles, much less reliable rockets.
  • Adam Rogers, "Los Angeles, Blade Runner, and the Theory of Relativity", WIRED, (xi.01.2019)

• Blade Runner always raised far more questions, literal and cosmological, than it answered, glibly presenting u.s.a. with a complex and mysterious vision of our future selves, telling usa simply the scraps we needed to know to follow a plot nigh a detective who must find and kill the 21st Century equivalent of illegal aliens-and so-called replicants, robots and then sophisticated they can pass for humans.
  • Johanna Steinmetz, "RE-EDITED `Bract RUNNER` BOASTS A HARD-EDGED BRILLIANCE", CHICAGO TRIBUNE, (September 11, 1992).

• Blade Runner is a big-upkeep mood piece, an existential tone poem about the precarious nature of humanity and its relationship to the planet, set in i of the nearly elaborately synthetic and imagined futures ever put on film.
  Watch any of Blade Runner's street scenes, and it'due south immediately apparent how much work went into creating its near-hereafter Los Angeles. Director Ridley Scott's shots are densely packed, well-nigh cluttered, with information: quondam cars outfitted with industrial odds and ends; flying vehicles with blinking monitors; graffiti-covered video payphones; storefronts with blaring neon signs competing for your attention; bands of strangely dressed people conveying umbrellas lit from the handles; video advertising, some of it vaguely menacing, plastered everywhere. Dirt and smog and steam coat everything.
  • Peter Suderman, "Blade Runner'due south 2019 Los Angeles helped define the American metropolis of the time to come", Vocalisation, (Oct 2, 2017).

• It's not only that Harrison Ford looks dashing in neo-noir future habiliment or that the lighting is always moody and perfect, as if the entire metropolis had been converted into a sultry nightclub — though none of that hurts. It's that Blade Runner presents its futuristic city as one that is overrun past the liveliness of mass humanity. Its humming sci-fi cityscape is divers by variety and walkability, by commerce and cultural mixing, by industrial ingenuity and panoramas of larger-than-life advertisement. Even as the city is dying, information technology teems with the business of life.
  The combination of realism and romanticism makes the movie's 2019 Los Angeles a place you lot tin imagine non only going to simply wanting to visit.
  • Peter Suderman, "Bract Runner'southward 2019 Los Angeles helped define the American metropolis of the futurity", Vocalisation, (October two, 2017).

• With its references to off-earth colonies -- where humans get "a chance to begin once again in a gold land of opportunity and adventure" -- "Blade Runner" was ahead of its time in introducing the idea that there are consequences to humankind'south actions on Earth.
  • Kendall Trammell, "'Bract Runner' predicted what life would be like in 2019. Here'south what the picture show got right -- and wrong", CNN, (December 31, 2018).

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

• According to one source, the preview cards filled out subsequently both screenings told the same story: "This was a film that made demands on an audience that wasn't expecting a moving-picture show that made demands on them, an audience somewhat befuddled past the motion picture and very disappointed past the ending." Information technology wasn't so much that people actively disliked "Blade Runner," they were merely unprepared for information technology. Another crisis had arrived.
  • Kenneth Turan, "From the Archives: 'Blade Runner' went from Harrison Ford's 'miserable' production to Ridley Scott'southward unicorn scene, ending as 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 1,000 feet — well, the Empire State Building. And and then I thought, well let'due south add another chiliad feet or so — why non?
And then I had this vision of these incredible tall buildings, and that triggered the thought of how do you get in and out of a building that'southward 3,000 feet tall? Well, you need access on the ground plane. And that's why they had these pyramids at the bottom, for greater access around the perimeter to get into the building in the start identify.

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

Hampton Fancher: The reason I was able to write the motion picture, and not be distracted as I always am by a million other things, is because I was very serious about the demise of the planet. You know, this is '75. This is acid [rain]. Until 1980, information technology was like, Whole Earth Catalog, CoEvolution. It was important to me.

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

Cast [edit]

• Harrison Ford - Rick Deckard
• Rutger Hauer - Roy Batty
• 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]

browngiffer.blogspot.com

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

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