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Blade Runner (1982)

Trailer
1:02 | Trailer
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
387 ( 68)

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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 #153 | 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
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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:

A Futuristic Vision Perfected [2007 Final Cut] See more »

Genres:

Sci-Fi | Thriller

Certificate:

12 | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | Hong Kong

Release Date:

11 November 1982 (Netherlands) See more »

Also Known As:

Der Blade Runner 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

Make-up designer Michael Westmore credits Sean Young with having the most perfect lips. See more »

Goofs

Neither Holden nor Deckard utilize the videos they already had of the replicants for identification. If they already knew what they looked like then why did Holden need to test Leon, or Deckard need to make a new photo of Zhora? It's not like the replicants went to any great lengths to change their appearances. 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

The opening credits sequence features a detailed, dictionary-style definition of the word Replicant. See more »

Alternate Versions

In 2007, 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 () 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 () 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 () in the VidPhone booth that had been recycled from the later confrontation with Tyrell () 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 () 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 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 ; 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 '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, , 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 () 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 ) 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 ; a different version of the 'End Credits' theme as heard in all other cuts.
  • In the closing credits, is now listed as 'David L. Snyder', instead of 'David Snyder'. Additionally, is now credited for playing the role of Abdul Ben Hassan.
See more »


Soundtracks

Harps of the Ancient Temples
Composed by Gail Laughton
Performed by Gail Laughton
Courtesy of Laurel Records
See more »

Frequently Asked Questions

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User Reviews

 
An incredibly beautiful-looking film as one would expect with director Ridley Scott…
11 August 2008 | by Nazi_Fighter_DavidSee all my reviews

But it's almost like an art movie, the first science-fiction art film… It's a futuristic film beautifully put together… It's really impeccably made by one of the great visionary directors… And you really saw a future that looked very different from the future you had seen before… A future that looked very believable like the visual-effects shots of the flying car going over a futuristic city… The fight sequence doesn't prepare you for the traumatic emotional side that there is in the film, it leaves you sort of broken…

There is a beautiful, delicate emotional great scene that I remember when I first saw the movie… I'm in the theater and I'm so drawn in what Rutger Hauer's doing… I'm so drawn in by what the theme of the movie has brought us to… The magnificent moment where he is letting go of life… And in those last moments of letting go of life he's really learned to appreciate life to the point where he spares Deckard's life, and where he's even holding a white dove because he just wants to have something that's alive in his hands… It's an amazing sort of crescendo that's going and there's Rutger saying: "I've seen things you people wouldn't believe. All these moments will be lost in time like tears in rain." Hauer puts all the things that are so amazing about people: sense of poetry, sense of humor, sense of sexuality, sense of the kid, sense of soul…

Scott brought out the best qualities in his performers… He coaxed and very gently manipulated performances from his actors that in some instances I think they've rarely topped… You feel the story, you feel the emotions of the characters and you will be lost in the middle of this wild world, you know, it's so rich and it's painful… I mean it's a very bluesy, dark story and told very compassionately…

The overpopulation, the sort of crowd scenes is so rich and varied and there's such an extreme detail designing the magazine covers, designing the look of the punks, the Hare Krishnas, the biological salesman, everything is designed… You have just Piccadilly Circus punks walking by… You have a sense of layers in that society… That is one of those things that you see again and again… The city landscape with the big billboards à la Kyoto or Tokyo… Scott was able to create the look based on what goes on in various cities all over the world… Whether it is Tokyo, Kyoto or Beijing or Hong Kong or whatever, you're right in "Blade Runner" country…

"Blade Runner," to me, embodies the elegance, the power, and the uniqueness of a film experience… It's the most classical, beautiful, purest movie-making writing and then the film-making itself is… The images and the sound and the music, it's pure cinema… Ridley came out with an amazing, brilliantly executed future of an absolute dystopia… The intensity of his perfectionism on "Blade Runner" made the movie… This is a master at his best…


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