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Blade Runner (1982)

Trailer
1:02 | Trailer

On Disc

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A blade runner must pursue and terminate four replicants who stole a ship in space, and have returned to Earth to find their creator.

Director:

Ridley Scott

Writers:

Hampton Fancher (screenplay), David Webb Peoples (screenplay) (as David Peoples) | 1 more credit »
Popularity
448 ( 9)

Explore 'Blade Runner'

Check out our side-by-side comparison of the Blade Runner 2049 trailer with scenes from the original Blade Runner. Plus, take a look at Harrison Ford's career in photos.

Top Rated Movies #155 | Nominated for 2 Oscars. Another 12 wins & 16 nominations. See more awards »

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Cast

Cast overview, first billed only:
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 Kowalski
Joe Turkel ... Dr. Eldon Tyrell
Joanna Cassidy ... Zhora
James Hong ... Hannibal Chew
Morgan Paull ... Holden
Kevin Thompson ... Bear
John Edward Allen John Edward Allen ... Kaiser
Hy Pyke ... Taffey Lewis
Edit

Storyline

In the 21st century, a corporation develops human clones to be used as slaves in colonies outside the Earth, identified as replicants. In 2019, a former police officer is hired to hunt down a fugitive group of clones living undercover in Los Angeles. Written by MadMovieManiac

Plot Summary | Plot Synopsis

Taglines:

Man Has Made His Match... Now It's His Problem See more »

Genres:

Sci-Fi | Thriller

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
Edit

Details

Country:

USA | Hong Kong

Release Date:

25 June 1982 (USA) See more »

Also Known As:

Dangerous Days See more »

Filming Locations:

London, England, UK See more »

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Box Office

Budget:

$28,000,000 (estimated)

Opening Weekend USA:

$6,150,002, 27 June 1982, Wide Release

Gross USA:

$27,000,000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (Workprint Version)

Sound Mix:

70 mm 6-Track (70 mm prints)| Dolby Stereo (35 mm prints)| 12-Track Digital Sound (IMAX 12 .0 Surround)

Color:

Color (Technicolor)

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

The hero blaster being used by Harrison Ford was believed to have been lost after production wrap. However, it was displayed at a convention celebrating the 25th anniversary of the film. For 25 years it was kept in the dark by a private collector, Jeff Walker. Later it was sold to another private collector for USD$270,000 in 2009. See more »

Goofs

A hand is visible on Batty's shoulder while he is supposedly alone in the phone booth. This is because the shot of him looking up and smiling is a flipped shot from later in the film when he meets Tyrell, just prior to saying "Nothing the god of biomechanics wouldn't let you into heaven for" (corrected in the 2007 "Final Cut" of the movie; the hand has been digitally removed). See more »

Quotes

[first lines]
Female announcer over intercom: Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
See more »

Crazy Credits

In the "happy ending" Theatrical/International cuts, the credits play over the gorgeous scenery. In later Director/Final cuts, they play over a normal black background. See more »

Alternate Versions

In 2007, Ridley Scott released "Blade Runner: The Final Cut", digitally remastered with improved visual and sound effects, and with numerous revisions to the 1992 Director's Cut. The more noticeable differences between The Director's Cut and The Final Cut include:
  • The overall film has been brightened considerably, revealing previously hidden details in many shots. Additionally, the digital enhancement reveals many heretofore obscured details, such as dirty dishes in Deckard's apartment and a freeway high above Pris as she approaches the Bradbury.
  • The opening credits have been completely redone, although in the exact same font as in the original film. The noticeable shimmer effect from the theatrical cut and the Director's Cut has been removed.
  • In the opening shot, the flames shooting up have been re-animated to look more synchronized with the associated light play on the smokestacks.
  • In the shots of the staring eye, you can briefly see the pupil react to the setting of 2019 L.A.
  • A couple of shots were trimmed (such as Deckard's intro reading the newspaper).
  • Additional smoke was added behind the cook when Gaff (Edward James Olmos) and a police officer are talking to Deckard while he is eating at the White Dragon.
  • All spinner wires have been removed and matte lines erased.
  • Bryant's (M. Emmet Walsh) line "I've got four skin jobs walking the streets" has been improved so it's not obviously an inserted recording.
  • Bryant says that "2" replicants were fried in the electrical field (as opposed to the theatrical release and Director's Cut, where he says only 1 was killed).
  • Bryant describes Leon's job during the incept tapes scene.
  • New Cityspeak and other chatter comes over on the police scanner in Gaff's spinner rides both to the police station and the Tyrell building.
  • The original shot of Roy (Rutger Hauer) in the VidPhone booth that had been recycled from the later confrontation with Tyrell (Joe Turkel) has been digitally altered so that it truly does look like Roy was in the booth. The thumb on his shoulder has also been digitally removed from the shot.
  • The hotel manager mutters "Kowalski" as he opens the door to Leon's (Brion James) room for Deckard and Gaff.
  • The new Unicorn footage is longer and shows Deckard to be awake during the sequence. This is how Ridley Scott and editor Terry Rawlings originally conceived of the scene. Deckard is shown staring into space, and there is a cut to the unicorn. The film then cuts back to Deckard and again cuts back to the unicorn, before returning to Deckard once more. The shot of the unicorn which appeared in the Director's Cut has also been recolored, and the sound mix has been completely redone.
  • The blue grid lines on the Esper machine have been reanimated, to make them look less smooth.
  • When Deckard finds Zhora lying down in the back room on the photo, the image is now that of Joanna Cassidy; previously, it was clearly someone else.
  • New footage of the LA streets before Animoid Row and Taffy Lewis's club, including the hockey-masked geisha dancers.
  • The serial number on the snake scale now matches the Animoid Row lady's dialog.
  • There is a shot of Deckard asking for directions to Taffy Lewis' from a uniformed policeman.
  • The lip flap between Deckard and Abdul Ben Hassan has been digitally corrected (using Harrison Ford's son, Ben, as a stand-in for his mouth movements).
  • In Zhora's death scene, you can tell it is her the entire time; previously it was obvious that her stunt double, Lee Pulford, was in the shot. Joanna Cassidy's head was digitally superimposed over Pulford's.
  • Deckard's cut after retiring Zhora was digitally removed (it wasn't supposed to be there until after the fight with Leon).
  • The marquee inconsistencies on the Million Dollar Theatre have been corrected.
  • During Roy's confrontation with Tyrell, he says, "I want more life, father", as opposed to "I want more life, fucker".
  • When Roy kills Tyrell, the footage is the same as that found in the International Cut, with the additional violence. Additionally, when Roy turns to Sebastian, he says "I'm sorry, Sebastian. Come. Come", as he walks towards him.
  • When Pris (Daryl Hannah) attacks Deckard, she reaches down and grabs him by the nostrils
  • When Deckard shoots Pris, he shoots 3 times instead of 2.
  • The two shadows (of Ridley Scott and Jordan Cronenweth) seen on the wall during the chase sequence have been removed.
  • When Roy pushes the nail through his hand, there is a shot of the nail coming through the skin on the other side.
  • When Roy releases the dove, it now flies up into a background that matches 2019 L.A.
  • The music which plays over the end credits is a newly composed piece by Vangelis; a different version of the 'End Credits' theme as heard in all other cuts.
  • In the closing credits, David L. Snyder is now listed as 'David L. Snyder', instead of 'David Snyder'. Additionally, Ben Astar is now credited for playing the role of Abdul Ben Hassan.
See more »

Connections

Referenced in Hunting Grounds (2009) See more »

Soundtracks

One More Kiss Dear
(uncredited)
Written by Peter Skellern
Performed by Vangelis
See more »

Frequently Asked Questions

See more »

User Reviews

 
The Last Great Noir
10 February 2007 | by cp_spandexSee all my reviews

This is a film that is so deep, rich, and multi-layered, it may require more than one viewing to fully absorb the brilliance of what you've just seen. At first glance, it can be a bit slow. It's told in a classic film noir fashion, so this is to be expected. Director Ridley Scott seems to want to savor every shot, and an astute audience will be able to sense this.

Now, I say the film is told in a classic Noir style, but this can be misleading. There is no Humphrey Bogart in Blade Runner, snapping off brilliant one-liners once a second. Only hopeless people, in many ways victims of the merciless world of which they are all a part. Deckard is a typically downbeat protagonist, a hard-boiled cynical leading man with a weakness for heavy drinking. The plot is a mystery in name only, as the audience is allowed to know what Roy Batty, Pris and Leon are all up to before Deckard ever finds out. This only lends to the dread and inevitability of the film, lending further to its pervasive gloom. There is no final scene at the end where the bold detective puts all the pieces together and says "Ah-Ha!". Instead, we find Rick Deckard questioning his own existence and drinking away his constant doubts, all the while embroiled in a romantic relationship with someone he's sworn to kill.

Blade Runner requires audience participation, particularly in the Director's Cut, which is entirely devoid of some rather necessary exposition provided by the Original Cut's much-maligned voice-over. Certain facts will not be clear even at the end of the film, requiring personal interpretation in order to be appreciated fully. Other facts will be given away in much more subtle ways than in most modern cinema, such as through visual cues and tenuous dialogue.

Finally, visually, this movie is quite simply a science fiction triumph. It looks better than modern computer effects in every way that counts. Superimposed special effect objects don't give off that unnatural, clearly computer-generated "Lord of the Rings" sheen common in today's effects-driven blockbusters. This, of course, is because Blade Runner - while a gorgeous movie - is not effects driven in the least. Rather, it is a visually driven story that doesn't rely on special effects. This is an important distinction to make in today's Hollywood.

"Touch of Evil" really wasn't the last of the Great Film Noirs!


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