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  此頁面介紹的是the 1982 film。關於其他用法，請見「Bladerunner (disambiguation)」。
Blade Runner
基本資料
導演雷利·史考特
監製Michael Deeley（英語：Michael Deeley）
劇本
原著銀翼殺手 (小說)
菲利普·狄克作品
主演
配樂范吉利斯
攝影Jordan Cronenweth（英語：Jordan Cronenweth）
剪接
(Director's Cut)
製片商
片長116 minutes (original theatrical cut)
(see below for other versions)
產地 美國
語言English
上映及發行
上映日期
  • 1982年6月25日 (1982-06-25)
發行商華納兄弟
預算$28 million
票房$32,868,943

Blade Runner is a 1982 American science fiction film directed by 雷利·史考特 and starring 哈里森·福特, 魯格·豪爾, and 辛·楊. The screenplay, written by 漢普頓·芬奇 and David Peoples（英語：David Peoples）, is loosely based on the novel 銀翼殺手 (小說) by 菲利普·狄克.

The film depicts a 反烏托邦n Los Angeles in November 2019 in which genetically engineered organic robots called replicants—visually indistinguishable from adult humans—are manufactured by the powerful Tyrell Corporation as well as by other "mega–manufacturers" around the world. Their use on Earth is banned and replicants are exclusively used for dangerous, menial or leisure work on Earth's 太空移民. Replicants who defy the ban and return to Earth are hunted down and "retired" by police special operatives known as "Blade Runners". The plot focuses on a brutal and cunning group of recently escaped replicants hiding in Los Angeles and the burnt out expert Blade Runner, 瑞克·戴克 (Harrison Ford), who reluctantly agrees to take on one more assignment to hunt them down.

Blade Runner initially polarized critics: some were displeased with the pacing, while others enjoyed its thematic complexity. The film performed poorly in North American theaters but, despite the box office failure of the film, it has since become a 邪典電影[1] and is now widely regarded as one of the best movies ever made. Blade Runner has been hailed for its production design, depicting a "retrofitted（英語：retrofitted）" future,[2] and it remains a leading example of the 新黑色電影 genre.[3] Blade Runner brought the work of author Philip K. Dick to the attention of Hollywood and several later films were based on his work.[4] Ridley Scott regards Blade Runner as "probably" his most complete and personal film.[5][6] In 1993 Blade Runner was selected for preservation in the United States 國家影片登記表 by the 國會圖書館 (美國) as being "culturally, historically, or aesthetically significant".

Seven versions of the film have been shown for various markets as a result of controversial changes made by film executives. A rushed Director's Cut was released in 1992 after a strong response to workprint screenings. This, in conjunction with its popularity as a video rental, made it one of the first films released on DVD, resulting in a basic disc with mediocre video and audio quality.[7] In 2007 華納兄弟 released The Final Cut, a 25th anniversary digitally remastered version by Scott in selected theaters, and subsequently on DVD, HD DVD, and 藍光光碟.[8]

Plot

  Note: There are several versions of Blade Runner（英語：versions of Blade Runner）.

In Los Angeles, November 2019, retired police officer Rick Deckard (Harrison Ford) is detained at a noodle bar by officer Gaff（英語：Characters in Blade Runner） (愛德華·詹姆斯·奧莫斯). Gaff takes Deckard to see his former supervisor, Bryant（英語：Characters in Blade Runner） (M. Emmet Walsh（英語：M. Emmet Walsh）). Deckard's former job, as a "Blade Runner", was to track down replicants, bioengineered robots, and "retire" them. Bryant tells Deckard that several late-model replicants have escaped, and have come to Earth illegally. These replicants are Tyrell Corporation Nexus-6 models and have a four-year life as a 失效安全, to prevent them from developing emotions. They may have come to Earth to try to have their lives extended.

Bryant shows Deckard a video of another Blade Runner, Holden (Morgan Paull（英語：Morgan Paull）), administering a 銀翼殺手, which distinguishes humans from replicants based on their 同理心 response to questions. The subject of the test, Leon（英語：Characters in Blade Runner） (布瑞恩·詹姆斯), shoots Holden when it becomes likely he will be exposed. Bryant wants Deckard to return to work to retire Leon and three other replicants—Roy Batty（英語：Characters in Blade Runner） (魯格·豪爾), Zhora（英語：Characters in Blade Runner） (喬安娜·卡西迪) and Pris（英語：Characters in Blade Runner） (戴露·漢娜). Deckard attempts to shirk the duty, but reluctantly agrees after Bryant issues a veiled threat.

Deckard is teamed with Gaff and sent to the Tyrell Corporation to ensure that the Voight-Kampff test works on Nexus-6 models. While he is there Deckard discovers that Tyrell's（英語：Characters in Blade Runner） (喬·特科爾) assistant Rachael（英語：Characters in Blade Runner） (辛·楊) is an experimental replicant who believes she is human; Rachael's consciousness has been enhanced with childhood memories from Tyrell's niece. As a result, a more extensive Voight-Kampff test is required to identify her as a replicant.

The replicants attempt to meet with Tyrell. Their first attempt leads Roy and Leon to the eye-manufacturing laboratory of Chew（英語：Characters in Blade Runner） (吳漢章 (演員)). Under duress, Chew directs them to J.F. Sebastian（英語：Characters in Blade Runner） (William Sanderson（英語：William Sanderson）), a gifted designer who works closely with Tyrell. Rachael visits Deckard at his apartment to prove her humanity by showing him a family photo. She leaves in tears after Deckard tells her that her memories are implants and the photo is actually of Tyrell's niece. Pris meets J.F. Sebastian at his apartment in the Bradbury Building（英語：Bradbury Building）, where he lives with manufactured companions.

At Leon's apartment, Deckard finds an image of Zhora in Leon's photos, and some sort of 鱗 in the bathtub. Deckard visits a replicant animal vendor and learns that it came from a snake made by Abdul Ben Hassan (Ben Astar). Hassan directs Deckard to a strip club where Zhora works. Deckard "retires" Zhora, whose death is witnessed by Leon. Deckard meets with Bryant shortly after and is told to add Rachael to his list of retirements, as she has disappeared from the Tyrell Corporation headquarters. Deckard spots Rachael in a crowd but is attacked by Leon. Rachael saves Deckard by killing Leon. The two return to Deckard's apartment, where Deckard promises not to hunt Rachael. Later they share an intimate moment; Rachael then tries to leave, but Deckard forcibly compels her to kiss him and ask for sex.

Roy arrives at Sebastian's apartment and tells Pris they are the only ones left alive. They gain Sebastian's help after explaining their plight. Sebastian reveals that their lives will be similarly short; Sebastian suffers from a genetic disorder that accelerates his aging. Under the pretext of Sebastian informing Tyrell of a winning move in a game of correspondence chess（英語：correspondence chess）, Roy and Sebastian enter Tyrell's penthouse. Roy demands more life from his maker, but Tyrell explains that a way to accomplish this was never found. Roy asks absolution for his sins, confessing that he has done "questionable things". Tyrell dismisses Roy's guilt, praising Roy's advanced design and his accomplishments. He tells Roy to "revel in his time", to which Roy responds "Nothing the god of biomechanics wouldn't let you into Heaven for". Roy then holds Tyrell's head in his hands, kisses him, and then kills him. Sebastian runs for the elevator with Roy following. Roy rides the elevator down alone; Sebastian is not seen again.[nb 1]

Deckard arrives at Sebastian's apartment and is ambushed by Pris, managing to kill her just as Roy returns. Roy punches through a wall, grabbing Deckard's right arm and breaks two of his fingers in retaliation for "retiring" Zhora and Pris. Roy releases Deckard and gives him time to run before hunting him through the building. The symptoms of Roy's limited life worsen and his right hand begins failing; he jabs a nail through it to regain control. Roy forces Deckard to the roof where, as Deckard attempts to escape, he leaps across to another building but falls short and ends up hanging from a rain-slicked girder. As Deckard loses his grip Roy, having made the same leap effortlessly, seizes his arm and hauls him onto the roof. As Roy's life ends he delivers a soliloquy on his life: "I've seen things you people wouldn't believe: Attack ships on fire off the shoulder of Orion; I've watched C-beams glitter in the dark near the 雨中淚水獨白. All those moments will be lost in time, like tears in rain. Time to die."

Gaff arrives and shouts over to Deckard, "It's too bad she won't live but then again, who does?" Deckard returns to his apartment to find Rachael alive and sleeping in his bed; as they leave Deckard finds an 摺紙 unicorn, a calling card left by Gaff. Depending on the version, the film ends with Deckard and Rachael either leaving the apartment block to an uncertain future or driving through an idyllic pastoral landscape.

Technology

Spinner

A screenshot from the film shows a line of police vehicles with flashing lights flying high above a smog-covered cityscape. Below them several small pinpoints of light from aircraft-avoidance lights on the tops of towers are all that can be seen of the city
Screenshot of police spinners flying above Los Angeles

"Spinner" is the generic term for the fictional flying cars used in the film. A Spinner can be driven as a ground-based vehicle, and take off vertically, hover, and cruise using 噴氣發動機 much like 垂直起降 aircraft. They are used extensively by the police to patrol and survey the population, and it is clear that despite restrictions wealthy people can acquire spinner licenses.[10] The vehicle was conceived and designed by 席德·米德 who described the spinner as an "aerodyne" – a vehicle which directs air downward to create 升力, though press kits for the film stated that the spinner was propelled by three engines: "conventional 內燃機, jet and 反重力".[11] Mead's conceptual drawings were transformed into 25 working vehicles by automobile customizer Gene Winfield（英語：Gene Winfield）.[12] A Spinner is on permanent exhibit at the 流行文化博物館 in Seattle, Washington.[13]

Voight-Kampff machine

A very advanced form of lie detector that measures contractions of the iris muscle and the presence of invisible airborne particles emitted from the body. The bellows were designed for the latter function and give the machine the menacing air of a sinister insect. The VK is used primarily by Blade Runners to determine if a suspect is truly human by measuring the degree of his empathic response through carefully worded questions and statements.
Description from the original 1982 Blade Runner press kit.

The Voight-Kampff machine (or device) is a fictional interrogation tool, originating in the book where it is spelled Voigt-Kampff. The Voight-Kampff is a 測謊機-like machine used by Blade Runners to assist in the testing of an individual to determine if he or she is a replicant. It measures bodily functions such as respiration, "blush response", heart rate, and eye movement in response to emotionally provocative questions.[14] In the film two replicants take the test, Leon and Rachael, and Deckard tells Tyrell that it usually takes 20 to 30 cross-referenced questions to distinguish a replicant; in contrast with the book, where it is stated it only takes "six or seven" questions to make a determination. In the film it takes more than one hundred questions to determine if Rachael is a replicant.

Casting and characters

主條目：List of Blade Runner characters

Casting the film proved troublesome, particularly for the lead role of Deckard. Screenwriter Hampton Fancher envisioned 羅伯特·米徹姆 as Deckard and wrote the character's dialogue with Mitchum in mind.[15] Director Ridley Scott and the film's producers "spent months" meeting and discussing the role with 德斯汀·荷夫曼, who eventually departed over differences in vision.[15] Harrison Ford was ultimately chosen for several reasons, including his performance in the 星際大戰 films, Ford's interest in the story of Blade Runner, and discussions with 史提芬·史匹堡 who was finishing 法櫃奇兵 at the time and strongly praised Ford's work in the film.[15] According to production documents, a long list of actors were considered for the role, including, but not limited to, 金·哈克曼, 肖恩·康納利, 傑克·尼科爾森, 保羅·紐曼, 克林·伊斯威特, 湯米·李·瓊斯, 阿諾·施瓦辛格, 艾爾·帕西諾, and 畢·雷諾斯.[15]

Coming off the success of 星際大戰四部曲：曙光乍現 (1977), 星際大戰五部曲：帝國大反擊 (1980) and 法櫃奇兵 (1981), Ford was looking for a role with dramatic depth. After Steven Spielberg praised Ford, he was hired for Blade Runner. In 1992, Ford revealed, "Blade Runner is not one of my favorite films. I tangled with Ridley."[16] Apart from friction with the director, Ford also disliked the voiceovers: "When we started shooting it had been tacitly agreed that the version of the film that we had agreed upon was the version without voiceover narration. It was a f**king（原文如此） nightmare. I thought that the film had worked without the narration. But now I was stuck re-creating that narration. And I was obliged to do the voiceovers for people that did not represent the director's interests."[17] "I went kicking and screaming to the studio to record it."[18]

In 2006 Scott was asked "Who's the biggest pain in the arse you've ever worked with?", he replied: "It's got to be Harrison ... he'll forgive me because now I get on with him. Now he's become charming. But he knows a lot, that's the problem. When we worked together it was my first film up and I was the new kid on the block. But we made a good movie."[19] Ford said of Scott in 2000: "I admire his work. We had a bad patch there, and I'm over it."[20] In 2006 Ford reflected on the production of the film saying: "What I remember more than anything else when I see Blade Runner is not the 50 nights of shooting in the rain, but the voiceover ... I was still obliged to work for these clowns that came in writing one bad voiceover after another."[21] Ridley Scott confirmed in the summer 2007 issue of Total Film（英語：Total Film） that Harrison Ford contributed to the Blade Runner Special Edition DVD, having already done his interviews. "Harrison's fully on board", said Scott.[22]

The film also used a number of then less well-known actors such as 戴露·漢娜 and 辛·楊.[23] Casting their roles of Rachael and Pris was also challenging, and a lengthy series of screen tests, with Morgan Paull（英語：Morgan Paull） playing the role of Deckard, were filmed with numerous actresses auditioning. Paull was cast as Deckard's fellow bounty hunter Holden based on his performances in the tests.[15] Among the actresses tested for the role of Rachael was Nina Axelrod（英語：Nina Axelrod）, who was Paull's recommendation.[15] Stacey Nelkin（英語：Stacey Nelkin） tried out for Pris but was instead given another role in the film, which was ultimately cut before filming.[15] Both Axelrod's and Nelkin's screen tests are featured in the 2007 documentary Dangerous Days: Making Blade Runner. Young was picked to play Rachael, Tyrell's assistant, a replicant with memories that belonged to Tyrell's niece. Hannah played Pris, a "basic pleasure model" replicant, and the development of her relationship with Roy Batty is shown as a symbol of the replicants' underlying humanity.

One role that was not difficult to cast was 魯格·豪爾 as Roy Batty, the violent yet thoughtful leader of the replicants.[24] Scott cast Hauer without having met him, based solely on Hauer's performances in other films Scott had seen.[15] Hauer's portrayal of Batty was regarded by Philip K. Dick as, "the perfect Batty—cold, 雅利安人種, flawless".[25] Of the many films Hauer has done, Blade Runner is his favorite. As he explained in a live chat in 2001, "BLADE RUNNER needs no explanation. It just IZZ （原文如此）. All of the best. There is nothing like it. To be part of a real MASTERPIECE which changed the world's thinking. It's awesome."[26]

Edward James Olmos played Gaff and used his diverse ethnic background, and some in-depth personal research, to help create the fictional "Cityspeak（英語：Cityspeak）" language his character uses in the film.[27] His initial addresses to Deckard at the noodle bar is partly in Hungarian and means, "Horse dick! No way. You are the Blade ... Blade Runner."[27] M. Emmet Walsh（英語：M. Emmet Walsh） lived up to his reputation as a great character actor with the role of Captain Bryant, a hard-drinking, sleazy, and underhanded police veteran typical of the 黑色電影 genre. 喬·特科爾 was Dr. Eldon Tyrell, a corporate mogul who built an empire on genetically manipulated humanoid slaves. William Sanderson（英語：William Sanderson） was cast as J. F. Sebastian, a quiet and lonely genius who provides a compassionate yet compliant portrait of humanity. J. F. sympathizes with the replicants, whom he sees as companions,[28] and shares their shorter lifespan because he has "Methuselah Syndrome", a genetic disease that causes faster aging.[29] 喬·潘托利亞諾, who later played the role of Cypher in 黑客帝國, was considered for the role.[30]

布瑞恩·詹姆斯 played Leon Kowalski, a replicant masquerading as a waste disposal engineer; he shoots a Blade Runner to escape, establishing the physical threat the replicants pose to their would-be captors. 喬安娜·卡西迪 was a special-ops, undercover and assassin replicant model called Zhora. Cassidy portrays a strong female who has seen the worst humanity has to offer. Morgan Paull plays Holden, the Blade Runner initially assigned to the case. 吳漢章 (演員) as Hannibal Chew, an elderly Asian geneticist specializing in synthetic eyes. Hy Pyke（英語：Hy Pyke） conveyed the sleazy bar owner Taffey Lewis with ease and in a single take, something almost unheard-of with Scott whose drive for perfection resulted at times in double-digit takes.[31]

Production

A photograph of a building interior showing a series of stairs climbing up five storeys to the final floor where we can see the glass roof.
The Bradbury Building（英語：Bradbury Building） in Los Angeles was a filming location.

Interest in adapting 菲利普·狄克's novel 銀翼殺手 (小說) developed shortly after its 1968 publication. Director 馬丁·斯科塞斯 was interested in filming the novel, but never 期權 it.[32] Producer Herb Jaffe（英語：Herb Jaffe） optioned it in the early 1970s, but Dick was unimpressed with the screenplay written by Herb's son Robert: "Jaffe's screenplay was so terribly done ... Robert flew down to Santa Ana to speak with me about the project. And the first thing I said to him when he got off the plane was, 'Shall I beat you up here at the airport, or shall I beat you up back at my apartment?' "[33] The screenplay by 漢普頓·芬奇 was optioned in 1977.[34]

Producer Michael Deeley（英語：Michael Deeley） became interested in Fancher's draft and convinced director Ridley Scott to use it to create his first American film. Scott had previously declined the project, but after leaving the slow production of 沙丘 (消歧義), wanted a faster-paced project to take his mind off his older brother's recent death.[35] He joined the project on February 21, 1980, and managed to push up the promised Filmways（英語：Filmways） financing from US$13 million to $15 million. Fancher's script focused more on environmental issues and less on issues of humanity and faith, which had featured heavily in the novel and Scott wanted changes. Fancher found a cinema treatment by 威廉·柏洛茲 for Alan E. Nourse（英語：Alan E. Nourse）'s novel The Bladerunner（英語：The Bladerunner） (1974), entitled Blade Runner (a movie)（英語：Blade Runner (a movie)）.[nb 2] Scott liked the name, so Deeley obtained the rights to the titles. Eventually he hired David Peoples（英語：David Peoples） to rewrite the script and Fancher left the job over the issue on December 21, 1980, although he later returned to contribute additional rewrites.[36]

Having invested over $2.5 million in pre-production,[37] as the date of commencement of principal photography neared, Filmways withdrew financial backing. In ten days Deeley had secured $21.5 million in financing through a three way deal between The Ladd Company（英語：The Ladd Company） (through Warner Bros.), the Hong Kong-based producer 邵逸夫, and Tandem Productions（英語：Tandem Productions）.[38]

A photograph showing three costumes and some smaller items from the film. The left-hand costume is brightly coloured with striped trousers and an orange and yellow coat with a diamond pattern. The middle costume is a long black dress and the right-hand is a plastic see-through short coat.
Some of the costumes used in the movie, such as Zhora's raincoat and Sean Young's dark suit (流行文化博物館, Seattle)

Philip K. Dick became concerned that no one had informed him about the film's production, which added to his distrust of Hollywood.[39] After Dick criticized an early version of Hampton Fancher's script in an article written for the Los Angeles Select TV Guide, the studio sent Dick the David Peoples rewrite.[40] Although Dick died shortly before the film's release, he was pleased with the rewritten script, and with a twenty-minute special effects test reel that was screened for him when he was invited to the studio. Despite his well known skepticism of Hollywood in principle, Dick enthused to Ridley Scott that the world created for the film looked exactly as he had imagined it.[25] He said, "I saw a segment of Douglas Trumbull（英語：Douglas Trumbull）'s special effects for Blade Runner on the KNBC-TV news. I recognized it immediately. It was my own interior world. They caught it perfectly." He also approved of the film's script, saying, "After I finished reading the screenplay, I got the novel out and looked through it. The two reinforce each other, so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel."[41] The motion picture was dedicated to Dick.[42]

Blade Runner has numerous deep similarities to 弗里茨·朗's Metropolis（英語：Metropolis (film)）, including a built up urban environment, in which the wealthy literally live above the workers, dominated by a huge building—the Stadtkrone Tower in Metropolis and the Tyrell Building in Blade Runner. Special effects supervisor David Dryer used stills from Metropolis when lining up Blade Runner's miniature building shots.[43]

Ridley Scott credits 愛德華·霍普's painting Nighthawks（英語：Nighthawks） and the French science fiction comic magazine Metal hurlant ("Heavy Metal"（英語：Heavy Metal (magazine)）), to which the artist 尚·吉羅 contributed, as stylistic mood sources.[44] He also drew on the landscape of "Hong Kong on a very bad day",[45] and the industrial landscape of his one-time home in the North East of England.[46] Scott hired 席德·米德 as his concept artist who, like Scott, was influenced by Métal Hurlant.[47] Moebius was offered the opportunity to assist in the pre-production of Blade Runner, but he declined so that he could work on 赫內·拉魯 animated film Les Maîtres du temps（英語：Les Maîtres du temps）—a decision he later regretted.[48] Lawrence G. Paull（英語：Lawrence G. Paull） (production designer) and David Snyder (art director) realized Scott's and Mead's sketches. Douglas Trumbull and Richard Yuricich supervised the special effects for the film. Principal photography of Blade Runner began on March 9, 1981, and ended four months later.[49]

Interpretation

主條目：Themes in Blade Runner
A screen-shot from the film depicts a large room as we look between two rows of pillars. At the far end of room there is a massive window that dwarfs a man in front of it. The man is facing away from us looking out of the window, through which the sun can be seen.
Dr. Tyrell polarizing his office window to control the Sun implies the god-like powers of the Tyrell Corporation. The dark and shadowy film-noir cinematography are clearly visible.

Although Blade Runner is ostensibly an action film, it operates on multiple dramatic and narrative levels. It is indebted to film noir conventions: the 致命女郎; protagonist-narration (removed in later versions); dark and shadowy cinematography; and the questionable moral outlook of the hero—in this case, extended to include reflections upon the nature of his own humanity.[50][51] It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of 基因工程 in the context of classical Greek drama and 傲慢.[52] It also draws on Biblical images, such as Noah's flood,[53] and literary sources, such as 科學怪人.[54] Linguistically, the theme of mortality is subtly reiterated in the chess game between Roy and Tyrell, based on the famous 不朽對局 of 1851[55] though Scott has said that was coincidental.[56]

Blade Runner delves into the implications of technology on the environment and on society by reaching to the past, using literature, religious symbolism（英語：religious symbolism）, classical dramatic themes, and film noir. This tension between past, present, and future is mirrored in the retrofitted future of Blade Runner, which is high-tech and gleaming in places but decayed and old elsewhere. Ridley Scott was interviewed in 2002 by reporter 琳恩·巴柏 of 觀察家報 where he described the film as: "extremely dark, both literally and metaphorically, with an oddly masochistic feel". Director Scott said he "liked the idea of exploring pain" in the wake of his brother's skin cancer death: "When he was ill, I used to go and visit him in London, and that was really traumatic for me."[6]

An aura of paranoia suffuses the film: corporate power looms large; the police seem omnipresent; vehicle and warning lights probe into buildings; and the consequences of huge biomedical power over the individual are explored—especially the consequences for replicants of their implanted memories. Control over the environment is depicted as taking place on a vast scale, hand in hand with the absence of any natural life, with artificial animals substituting for their extinct predecessors. This oppressive backdrop explains the frequently referenced migration of humans to extra-terrestrial ("off-world") colonies.[57] The dystopian themes explored in Blade Runner are an early example of 賽博朋克 concepts expanding into film. Eyes are a recurring motif, as are manipulated images, calling into question reality and our ability to accurately perceive and remember it.[58][59][60]

These thematic elements provide an atmosphere of uncertainty for Blade Runner's central theme of examining humanity. In order to discover replicants an empathy test is used, with a number of its questions focused on the treatment of animals—it seems to be an essential indicator of someone's "humanity". The replicants appear to show compassion and concern for one another and are juxtaposed against human characters who lack empathy while the mass of humanity on the streets is cold and impersonal. The film goes so far as to put in doubt whether Deckard is human, and forces the audience to re-evaluate what it means to be human.[61]

The question of whether Deckard is intended to be a human or a replicant has been an ongoing controversy since the film's release.[62] Both Michael Deeley and Harrison Ford wanted Deckard to be human while Hampton Fancher preferred ambiguity.[63] Ridley Scott has confirmed that in his vision Deckard is a replicant.[64][65] Deckard's unicorn dream sequence, inserted into the Director's Cut, coinciding with Gaff's parting gift of an origami unicorn is seen by many as showing that Deckard is a replicant—as Gaff could have accessed Deckard's implanted memories.[54][66] The interpretation that Deckard is a replicant is challenged by others who believe the unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognize their affinity,[67] or that the absence of a decisive answer is crucial to the film's main theme.[68] The inherent ambiguity and uncertainty of the film, as well as its textual richness, have permitted viewers to see it from their own perspectives.[69]

Adapting the novel

Philip K. Dick refused an offer of $400,000 to write a novelization（英語：novelization） of the Blade Runner screenplay, saying: "[I was] told the cheapo novelization would have to appeal to the twelve-year-old audience" and "[it] would have probably been disastrous to me artistically." He added, "That insistence on my part of bringing out the original novel and not doing the novelization—they were just furious. They finally recognized that there was a legitimate reason for reissuing the novel, even though it cost them money. It was a victory not just of contractual obligations but of theoretical principles."[41] Do Androids Dream of Electric Sheep? was eventually reprinted as a 商業搭配, with the film poster as a cover and the original title in parentheses below the Blade Runner title.[70]

Reception

Blade Runner was released in 1,290 theaters on June 25, 1982. That date was chosen by producer Alan Ladd, Jr.（英語：Alan Ladd, Jr.） because his previous highest-grossing films (星際大戰四部曲：曙光乍現 and 異形 (電影)) had a similar opening date (May 25) in 1977 and 1979, making the date his "lucky day".[71] The gross for the opening weekend was a disappointing $6.15 million.[72] A significant factor in the film's rather poor box office performance was that its release coincided with other science fiction film releases, including The Thing（英語：The Thing (film)）, 星際旅行II：可汗怒吼, and, most significantly, E.T.外星人, which dominated box office revenues that summer.[73]

Film critics were polarized as some felt the story had taken a back seat to special effects and that it was not the action/adventure the studio had advertised. Others acclaimed its complexity and predicted it would stand the test of time.[74]

In the United States, a general criticism was its slow pacing that detracts from other strengths;[75] Sheila Benson from the 洛杉磯時報 called it "Blade crawler", while Pat Berman in 國 (政治實體) and Columbia Record（英語：Columbia Record） described it as "science fiction pornography".[76] 羅傑·埃伯特 praised the visuals of both the original Blade Runner and the Director's Cut versions and recommended it for that reason; however, he found the human story clichéd and a little thin.[24] In 2007, upon release of The Final Cut, Ebert somewhat revised his original opinion of the film and added it to his list of Great Movies, while noting, "I have been assured that my problems in the past with Blade Runner represent a failure of my own taste and imagination, but if the film was perfect, why has Sir Ridley continued to tinker with it?"[77]

Accolades

Blade Runner has won and been nominated for the following awards:[78]

Year Award Category Nominee Result
1982 British Society of Cinematographers（英語：British Society of Cinematographers） Best Cinematography Award Jordan Cronenweth（英語：Jordan Cronenweth） Nominated
1982 Los Angeles Film Critics Association Award Best Cinematography Jordan Cronenweth Won
1983 英國電影和電視藝術學院 Film Award Best Cinematography Jordan Cronenweth Won
Best Costume Design Charles Knode & Michael Kaplan（英語：Michael Kaplan (costume designer)） Won
Best Production Design/Art Direction Lawrence G. Paull（英語：Lawrence G. Paull） Won
Best Film Editing Terry Rawlings（英語：Terry Rawlings） Nominated
Best Make Up Artist Marvin Westmore（英語：Marvin Westmore） Nominated
Best Score 范吉利斯 Nominated
Best Sound Peter Pennell, Bud Alper, Graham V. Hartstone, Gerry Humphreys Nominated
Best Special Visual Effects Douglas Trumbull（英語：Douglas Trumbull）, Richard Yuricich, David Dryer Nominated
1983 雨果獎 Best Dramatic Presentation Blade Runner Won
1983 London Critics Circle Film Awards Special Achievement Award Lawrence G. Paull, Douglas Trumbull, Syd Mead Won
1983 金球獎 Best Original Score – Motion Picture Vangelis Nominated
1983 奧斯卡金像獎s Best Art Direction – Set Decoration Lawrence G. Paull（英語：Lawrence G. Paull）, David L. Snyder（英語：David L. Snyder）, Linda DeScenna（英語：Linda DeScenna） Nominated
Best Effects, Visual Effects Douglas Trumbull, Richard Yuricich, David Dryer Nominated
1983 土星獎 Best Science Fiction Film Blade Runner Nominated
Best Director Ridley Scott Nominated
Best Special Effects Douglas Trumbull, Richard Yuricich Nominated
Best Supporting Actor Rutger Hauer Nominated
1983 Fantasporto（英語：Fantasporto） International Fantasy Film Award Best Film – Ridley Scott Nominated
1993 Fantasporto（英語：Fantasporto） International Fantasy Film Award Best Film – Ridley Scott (Director's Cut) Nominated
1994 土星獎 Best Genre Video Release Blade Runner (Director's Cut) Nominated
2008 土星獎 Best DVD Special Edition Release Blade Runner (5 Disc Ultimate Collector's Edition) Won

Lists of the best films

Recognitions for Blade Runner include:

Year Presenter Title Rank Notes
2010 IGN Top 25 Sci-Fi Movies of All Time 1 [79]
Total Film（英語：Total Film） 100 Greatest Movies Of All Time None [80]
2008 新科學人 All-time favorite science fiction film (readers and staff) 1 [81][82]
帝國雜誌 The 500 Greatest Movies of All Time 20 [83]
美國電影學會 (AFI) AFI十大類型十大佳片 6 [84]
2007 AFI百年百大電影 97 [85]
2005 Total Film's Editors 100 Greatest Movies of All Time 47 [86]
時代雜誌's Critics "All-TIME" 100 Best Movies（英語：Time's All-TIME 100 Movies） None [87][88][89]
2004 衛報, Scientists Top 10 Sci-fi Films of All Time 1 [90][91][92]
2003 娛樂周刊 The Top 50 Cult Movies 9 [93]
1001 Movies You Must See Before You Die（英語：1001 Movies You Must See Before You Die） None [94]
2002 50 Klassiker, Film [95]
在線影評人協會 (OFCS) Top 100 Sci-fi Films of the Past 100 Years 2 [96]
Sight & Sound 視與聽 45 [97]
2001 村聲 100 Best Films of the 20th Century 94 [98]

Cultural influence

A screenshot of a police spinner flying through a cityscape next to a large building which has a huge face projected onto it. In the distance a screen can be seen with writing and pictures on it
A police spinner（英語：Spinner (Blade Runner)） flying beside huge advertising-laden skyscrapers. These special effects are benchmarks that have influenced many subsequent science-fiction films.

While not initially a success with North American audiences, the film was popular internationally and became a 邪典電影.[99] The film's dark style and futuristic designs have served as a benchmark and its influence can be seen in many subsequent science fiction films, 日本動畫, video games, and television programs.[50] For example Ronald D. Moore（英語：Ronald D. Moore） and David Eick（英語：David Eick）, the producers of the re-imagining of 太空堡壘卡拉狄加, have both cited Blade Runner as one of the major influences for the show. Blade Runner continues to reflect modern trends and concerns, and an increasing number consider it one of the greatest science fiction films of all time.[100] Blade Runner is also cited as an important influence to both the style and story of the 攻殼機動隊 film series, which itself has been highly influential to the future-noir genre.[101][102]

The film was selected for preservation in the United States 國家影片登記表 in 1993 and is frequently used in university courses.[103] In 2007 it was named the 2nd most visually influential film of all time by the 視覺效果工會.[104]

Blade Runner is one of the most musically 取樣 (音樂) films of the 20th century.[105] The 2009 album, I, Human（英語：I, Human）, by Singaporean band Deus Ex Machina（英語：Deus Ex Machina (Death Metal)） makes numerous references to the genetic engineering and cloning themes from the film, and even features a track entitled "Replicant".[106]

Blade Runner has influenced 冒險遊戲s such as; Rise of the Dragon（英語：Rise of the Dragon）,[107][108] Snatcher（英語：Snatcher）,[108][109] 鋼鐵天空下,[110] Flashback: The Quest for Identity（英語：Flashback: The Quest for Identity）,[108] 吹泡糖危機 (and its original anime films),[111][112] the 角色扮演遊戲 暗影狂奔,[108] the 第一人稱射擊遊戲 Perfect Dark,[113] and the Syndicate（英語：Syndicate (series)） series of video games.[114][115] The film is also cited as a major influence on 華倫·埃文·史佩特,[116] designer of the computer-game 駭客入侵系列, which displays evidence of the film's influence in both its visual rendering and plot. The look of the film, darkness, neon lights and opacity of vision, is easier to 渲染 than complicated backdrops, making it a popular choice for game designers.[117][118]

Blade Runner has also been the subject of parody, such as the comics Blade Bummer by Crazy（英語：Crazy (magazine)） comics,[119] Bad Rubber by Steve Gallacci,[120] and the 紅矮星號 2009 twenty-first anniversary three-part miniseries, "Back To Earth（英語：Red Dwarf: Back to Earth）".[121][122]

Blade Runner curse

Among the folklore that has developed around the film over the years has been the belief that the film was a curse to the companies whose logos were displayed prominently as 置入性行銷s in some scenes.[123] While they were market leaders at the time, more than half experienced disastrous setbacks during the next decade. 雅達利 dominated the 電子遊戲機 market when the film came out, but was making losses by the 1990s. Cuisinart（英語：Cuisinart） and 泛美航空 went bankrupt in 1989 and 1991 respectively. The 貝爾系統 monopoly was broken up（英語：United States v. AT&T） in the year of the film's release. 可口可樂公司 suffered losses during its failed introduction of 新可口可樂 in 1985, but soon afterwards regained its market share.[55]

Future Noir

更多資訊：Tech noir

Before the film's 主體拍攝 began, Cinefantastique（英語：Cinefantastique） magazine commissioned Paul M. Sammon to write an article about Blade Runner's production which became the book Future Noir: The Making of Blade Runner (referred to as the "Blade Runner Bible" by many of the film's fans).[124] The book chronicles the evolution of Blade Runner as a film and focuses on film-set politics, especially the British director's experiences with his first American film crew; of which producer Alan Ladd, Jr.（英語：Alan Ladd, Jr.） has said, "Harrison wouldn't speak to Ridley and Ridley wouldn't speak to Harrison. By the end of the shoot Ford was 'ready to kill Ridley', said one colleague. He really would have taken him on if he hadn't been talked out of it."[125] Future Noir has short cast biographies and quotations about their experiences in making Blade Runner, as well as many photographs of the film's production and preliminary sketches. The cast chapter was deleted from the first edition, though it is available online. A second edition of Future Noir was published in 2007.[126]

Soundtrack

主條目：Blade Runner (soundtrack)

The Blade Runner soundtrack by 范吉利斯 is a dark melodic combination of classic composition and futuristic synthesizers which mirrors the film-noir retro-future envisioned by Ridley Scott. Vangelis, fresh from his 奧斯卡金像獎 winning score for 烈火戰車 (1981年電影),[127] composed and performed the music on his synthesizers.[128] He also made use of various chimes and the vocals of collaborator 迪米斯·盧索斯.[129] Another memorable sound is the haunting tenor sax solo "Love Theme" by British saxophonist Dick Morrissey（英語：Dick Morrissey）, who appeared on many of Vangelis' albums. Ridley Scott also used "Memories of Green" from Vangelis' album See You Later（英語：See You Later） (an orchestral version of which Scott would later use in his film Someone To Watch Over Me（英語：Someone to Watch Over Me (film)）).[130]

Along with Vangelis' compositions and ambient textures, the film's sound scape also features a track by the Japanese Ensemble Nipponia ('Ogi No Mato' or 'The Folding Fan as a Target' from the Nonesuch Records release "Traditional Vocal And Instrumental Music") and a track by harpist Gail Laughton ("Harps of the Ancient Temples" from Laurel Records).[131]

Despite being well received by fans and critically acclaimed and nominated in 1983 for a 英國電影和電視藝術學院 and 金球獎 as best original score, and the promise of a soundtrack album from Polydor Records in the end titles of the film, the release of the official soundtrack recording was delayed for over a decade. There are two official releases of the music from Blade Runner. In light of the lack of a release of an album, the New American Orchestra recorded an orchestral adaptation in 1982 which bore little resemblance to the original. Some of the film tracks would in 1989 surface on the compilation Vangelis: Themes, but not until the 1992 release of the Director's Cut version would a substantial amount of the film's score see commercial release.[129]

These delays and poor reproductions led to the production of many 私制唱片s over the years. A bootleg tape surfaced in 1982 at science fiction conventions and became popular given the delay of an official release of the original recordings, and in 1993 "Off World Music, Ltd." created a bootleg CD that would prove more comprehensive than Vangelis' official CD in 1994.[129] A set with three CDs of Blade Runner-related Vangelis music was released in 2007. Titled Blade Runner Trilogy, the first CD contains the same tracks as the 1994 official soundtrack release, the second CD contains previously unreleased music from the movie, and the third CD is all newly composed music from Vangelis, inspired by, and in the spirit of the movie.[132]

Versions

主條目：Versions of Blade Runner

Seven different versions of Blade Runner have been shown. The original workprint version (1982, 113 minutes) was shown for audience test previews in Denver and Dallas in March 1982. Negative responses to the test previews led to the modifications resulting in the U.S. theatrical version.[133][134] It was shown as a director's cut without Scott's approval at the Los Angeles Fairfax Theater in May 1990, at an AMPAS showing in April 1991, and in September and October 1991 at the Los Angeles NuArt Theater and the San Francisco Castro Theater.[135] Positive responses pushed the studio to approve work on an official director's cut.[136] It was re-released with the 5-disc Ultimate Edition in 2007. A San Diego Sneak Preview was shown only once, in May 1982, and was almost identical to the Domestic Cut but contained three extra scenes.[137]

The releases seen by most cinema audiences were: the U.S. theatrical version (1982, 116 minutes), known as the original version or Domestic Cut, released on Betamax and VHS in 1983 and 鐳射影碟 in 1987; the International Cut (1982, 117 minutes), also known as the "Criterion Edition" or "uncut version", which included more violent action scenes than the U.S. version. Although initially unavailable in the U.S., and distributed in Europe and Asia via theatrical and local Warner Home Video laserdisc releases, it was later released on VHS and 標準收藏 laserdisc in North America, and re-released in 1992 as a "10th Anniversary Edition".[138]

The U.S. broadcast version (1986, 114 minutes) was the U.S. theatrical version edited by CBS (電視網) to tone down the violence, profanity, and nudity to meet broadcasting restrictions.[139]

The Ridley Scott-approved (1991, 116 minutes) Director's Cut was prompted by the unauthorized 1990/1991 workprint theatrical release. This Director's Cut was made available on VHS and laserdisc in 1993, and on DVD in 1997. Significant changes from the theatrical version include: the removal of Deckard's voice-over; re-insertion of a unicorn sequence; and removal of the studio-imposed happy ending. Scott provided extensive notes and consultation to Warner Bros. through film preservationist Michael Arick, who was put in charge of creating the Director's Cut.[140]

Ridley Scott's The Final Cut (2007, 117 minutes), or the "25th Anniversary Edition", was released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and 藍光光碟 in December 2007.[8] This is the only version over which Ridley Scott had complete artistic control, as he was not directly in charge of the Director's Cut.[140] In conjunction with the Final Cut cinema release, extensive documentary and other materials were produced for the DVD releases which culminated in a five-disc "Ultimate Collector's Edition" release by Charles de Lauzirika（英語：Charles de Lauzirika）.[7]

Derivative works

Documentaries

On the Edge of Blade Runner (2000, 55 minutes) was produced by Nobles Gate Ltd. (for 第四台 (英國)), directed by Andrew Abbott and hosted/written by Mark Kermode（英語：Mark Kermode）. Interviews with production staff, including Scott, give details of the creative process and the turmoil during preproduction. Stories from Paul M. Sammon and Hampton Fancher provide insight into 菲利普·狄克 and the origins of 銀翼殺手 (小說)[141]

Interwoven are cast interviews (with the notable exceptions of Harrison Ford and Sean Young), which convey some of the difficulties of making the film (including an exacting director and humid, smoggy weather). There is also a tour of some locations, most notably the Bradbury Building（英語：Bradbury Building） and the Warner Bros. backlot that became the LA 2019 streets, which look very different from Scott's dark vision. The documentary then details the test screenings and the resulting changes (the voice over, the happy ending, and the deleted Holden hospital scene), the special effects, the soundtrack by Vangelis, and the unhappy relationship between the filmmakers and the investors which culminated in Deeley and Scott being fired but still working on the film. The question of 銀翼殺手主題 surfaces.[141]

Future Shocks (2003, 27 minutes) is a documentary by TVOntario（英語：TVOntario）.[142] It includes interviews with executive producer Bud Yorkin（英語：Bud Yorkin）, 席德·米德, and the cast, this time with Sean Young, but still without Harrison Ford. There is extensive commentary by science fiction author 羅伯特·J·索耶 and from film critics, as the documentary focuses on the themes, visual impact and influence of the film. Edward James Olmos describes Ford's participation, and personal experiences during filming are related by Young, Walsh, Cassidy and Sanderson. They also relate a story about crew members creating T-shirts that took pot shots at Scott. The different versions of the film are critiqued and the accuracy of its predictions of the future are discussed.

Dangerous Days: Making Blade Runner (2007, 183 minutes) is a documentary directed and produced by Charles de Lauzirika（英語：Charles de Lauzirika） for The Final Cut version of the film. It appears with every edition of The Final Cut on DVD, HD DVD and Blu-ray Disc, except for the 2010 single-disc DVD and Blu-Ray editions. (It is a DVD format disc, even in the HD DVD and Blu-ray Disc editions). It was culled from over 80 interviews, including Harrison Ford, Sean Young, Rutger Hauer, Edward James Olmos, Jerry Perenchio, Bud Yorkin and Ridley Scott, and also contains several alternate and deleted shots within the context of the documentary itself.[143][144] The documentary consists of eight chapters, each covering a portion of the film-making—or in the case of the final chapter, the film's controversial legacy.[145]

All Our Variant Futures: From Workprint to Final Cut (2007, 29 minutes), produced by Paul Prischman, appears on Disc 5 of the Blade Runner Ultimate Collector's Edition and provides an overview of the film's multiple versions and their origins, as well as detailing the seven year-long restoration, enhancement and remastering process behind The Final Cut. Included are interviews with director Ridley Scott, restoration producer Charles de Lauzirika, restoration consultant Kurt P. Galvao, restoration VFX supervisor John Scheele and Future Noir: The Making of Blade Runner author Paul M. Sammon. Behind-the-scenes footage documenting the restoration—from archival work done in 2001 through the 2007 filming of Joanna Cassidy and Benjamin Ford for The Final Cut's digital fixes—are seen throughout.[8] A variety of other supplemental featurettes produced and directed by Charles de Lauzirika are included both the four- and five-disc collector's editions of Blade Runner released by Warner Home Video in 2007.[8]

Sequels

K. W. Jeter（英語：K. W. Jeter）, a friend of Philip K. Dick, has written three officially authorized Blade Runner novels that continue Deckard's story; attempting to resolve many of the differences between Blade Runner and Do Androids Dream of Electric Sheep?[146]

Ridley Scott apparently toyed with the idea of a sequel film, which would have been titled Metropolis. The project was ultimately shelved due to rights issues. A script was also written for a proposed sequel titled Blade Runner Down, which would have been based on Jeter's first sequel novel.[147] At the 2007 Comic-Con Scott again announced that he was considering a sequel to the film.[148] 鷹眼 (電影) co-writer Travis Wright worked with producer Bud Yorke for a few years on the project. His colleague John Glenn, who left the film by 2008, stated the script explores the nature of the off-world colonies as well as what happens to the Tyrell Corporation in the wake of its founder's death.[149]

Blade Runner co-author David Peoples（英語：David Peoples） wrote the 1998 action film Soldier（英語：Soldier (film)）, which was referred to by him as a "sidequel（英語：sidequel）", or 精神續作, to the original film.[150]

Prequel

In June 2009 紐約時報 reported that Ridley Scott and his brother 托尼·斯科特, were working on a prequel to Blade Runner set at a point in time before 2019. The prequel, Purefold, was planned as a series of 5–10 minute shorts, aimed first at the 網絡劇集 and then perhaps television. Due to rights issues the proposed series was not linked too closely to the characters or events of the 1982 film.[151]

On March 4, 2011, io9（英語：io9） reported that Bud Yorkin, the producer of Blade Runner, is now developing a sequel or prequel to the film. It was not announced whether this was connected to Ridley Scott or any of the other original filmmakers.[152] It was reported that 克里斯托弗·諾蘭, who has worked with Warner Bros. many times in the past, was wanted at the helm of any eventual prequel or sequel.[153]

Comics

Archie Goodwin（英語：Archie Goodwin (comics)） scripted the comic book adaptation, A Marvel Comics Super Special: Blade Runner（英語：A Marvel Comics Super Special: Blade Runner）, published in September 1982. The Jim Steranko（英語：Jim Steranko） cover leads into a 45-page adaptation illustrated by the team of Al Williamson（英語：Al Williamson）, Carlos Garzon, Dan Green and Ralph Reese（英語：Ralph Reese）. This adaptation includes the narrative line, "Blade runner. You're always movin' on the edge".

In 2009 BOOM! Studios published a 24-issue miniseries comic book adaptation of Do Androids Dream of Electric Sheep?, the Blade Runner source novel.[154] In April 2010 BOOM! Studios announced a follow up comic Dust To Dust, written by Chris Robertson and drawn by Robert Adler, a four issue miniseries which started production on May 26, 2010.[155]

Video games

主條目：Blade Runner (1985 video game)和Blade Runner (1997 video game)

There are two video games based on the film, one for 康懋達64, Sinclair ZX Spectrum and Amstrad CPC (1985) by CRL Group PLC based on the music by Vangelis (due to licensing issues), and another action adventure 銀翼殺手 (遊戲) (1997) by 西木工作室. The 銀翼殺手 (遊戲) featured new characters and branching storylines based on the Blade Runner world. 銀翼殺手 (遊戲) are seen, and their voice files were recorded by the original actors. DNA Row, the Eye Works, the Police Headquarters, Howie Lee's, the Tyrell Corporation building, and J.F. Sebastian's hotel are faithfully replicated.[156] The events portrayed in the 1997 game occur not after, but in parallel to those in the film. The player assumes the role of McCoy, another replicant-hunter working at the same time as Deckard. Although Deckard is seen in photo evidence and referred to in dialogue,[156] Deckard and McCoy never meet, preserving the canon of the film and the independence of the game plot.[117][118]

The PC game featured a non-linear plot, 非玩家角色s that each ran in their own independent 人工智能, and an unusual pseudo-3D engine (which eschewed polygonal solids in favor of 體素 elements) that did not require the use of a 3D accelerator card to play the game.[157]

Television series

主條目：Total Recall 2070

Though not an official sequel to Blade Runner the TV movie Total Recall 2070 was initially planned as a spin-off of the movie Total Recall（英語：Total Recall）, it would eventually be transformed into a hybrid of them both.[158] The Total Recall film was also based on a Philip K. Dick story: "We Can Remember It for You Wholesale（英語：We Can Remember It for You Wholesale）". There are many similarities between the television series and the Blade Runner film.[159] The series takes place in a dark, crowded, industrial, and cosmopolitan setting. David Hume is a senior detective for the Citizens Protection Bureau (CPB) who is partnered with Ian Farve, an Alpha Class android. The series focused on questions such as the nature of humanity and the rights of androids.[來源請求]

Notes

  1. ^ Sebastian's death was never shot because of concerns over too much violence in the film.[9] In The Final Cut, Deckard is told by Bryant that Sebastian's body was found as well.
  2. ^ Some editions of Nourse's novel use the two-word spacing Blade Runner, as does the Burroughs book.

References

  1. ^ Sammon, pp. xvi–xviii
  2. ^ Bukatman, p. 21 and Sammon, p. 79
  3. ^ Conard, Mark T., The Philosophy of Neo-Noir, University Press of Kentucky, 2006 [2011-07-27], ISBN 0813124223 請檢查|isbn=值 (幫助) 
  4. ^ Bukatman, p. 41
  5. ^ Greenwald, Ted, Read the Full Transcript of Wired's Interview with Ridley Scott, Wired Magazine Issue 15.10, 2007-09-26 [2011-07-27] 
  6. ^ 6.0 6.1 Barber, Lynn, Scott's Corner, 觀察家報 (London: Guardian News and Media), 2002-01-06 [2011-07-27] 
  7. ^ 7.0 7.1 Hunt, Bill, Blade Runner: The Final Cut – All Versions, The Digital Bits, Inc., 2007-12-12 [2011-07-27] 
  8. ^ 8.0 8.1 8.2 8.3 Blade Runner: The Final Cut, The Digital Bits, Inc., 2007-07-26 [2011-07-27] 
  9. ^ Sammon, p. 175
  10. ^ Sammon, pp. 79–80
  11. ^ The top 40 cars from feature films: 30. POLICE SPINNER, ScreenJunkies.com, 2010-03-30 [2011-07-27], though press kits for the film stated that the spinner was propelled by three engines: "conventional internal combustion, jet and anti-gravity". 
  12. ^ Willoughby, Gary, BladeZone's Gary Willoughby has a One on One chat with Gene Winfield, the builder of the full size cars and spinners from the classic film Blade Runner., Bladezone, [2011-07-27] 
  13. ^ EMPSFM Brochure (PDF), Science Fiction Museum and Hall of Fame, [2011-07-27] 
  14. ^ Sammon, pp. 106–107
  15. ^ 15.0 15.1 15.2 15.3 15.4 15.5 15.6 15.7 Dangerous Days: Making Blade Runner (Blade Runner: The Final Cut DVD), 華納兄弟, 2007 
  16. ^ Sammon, p. 211
  17. ^ Ford: "'Blade Runner'" Was a Nightmare", Moono.com, 2007-07-05 [2011-07-27] 
  18. ^ Sammon, p. 296
  19. ^ Carnevale, Rob, Getting Direct With Directors ... Ridley Scott, BBC, September 2006 [2011-07-27] 
  20. ^ Kennedy, Colin, And beneath lies, the truth, Empire, November 2000, (137): 76 
  21. ^ In Conversation with Harrison Ford, Empire, April 2006, (202): 140 
  22. ^ Smith, Neil, The Total Film Interview, Total Film (130), Summer 2007 
  23. ^ Sammon, pp. 92–93
  24. ^ 24.0 24.1 Ebert, Roger, Blade Runner: Director's Cut, rogerebert.com, 1992-09-11 [2011-07-27] 
  25. ^ 25.0 25.1 Sammon, p. 284
  26. ^ Hauer, Rutger, Live Chat – February 7, 2001, Rutger Hauer, [2011-07-27] 
  27. ^ 27.0 27.1 Sammon, pp. 115–116
  28. ^ Bukatman, p. 72
  29. ^ Sammon, p. 170
  30. ^ Brinkley, Aaron, A Chat With William Sanderson, BladeZone – The Online Blade Runner Fan Club, 2000-10-05 [2011-07-27] 
  31. ^ Sammon, p. 150
  32. ^ Bukatman, p. 13 and Sammon, p. 23
  33. ^ Dick quoted in Sammon, p. 23
  34. ^ Sammon, pp. 23–30
  35. ^ Sammon, pp. 43–49
  36. ^ Sammon, pp. 49–63
  37. ^ Sammon, p. 49
  38. ^ Bukatman, pp. 18–19 and Sammon, pp. 64–67
  39. ^ Sammon, pp. 63–64
  40. ^ Sammon, pp. 67–69
  41. ^ 41.0 41.1 Boonstra, John, A final interview with science fiction's boldest visionary, who talks candidly about Blade Runner, inner voices and the temptations of Hollywood, Rod Serling's the Twilight Zone Magazine, June 1982, 2 (3): 47–52 [2011-07-27] 
  42. ^ Blade Runner film, dedication after credits, 1:51:30
  43. ^ Bukatman, pp. 61–63 and Sammon, p. 111
  44. ^ Sammon, p. 74
  45. ^ Wheale, Nigel, The Postmodern Arts: An Introductory Reader, Routledge: 107, 1995 [2011-07-27], ISBN 0-415-07776-1 
  46. ^ Monahan, Mark, Director Maximus, The Telegraph (London: Telegraph Media Group), 2003-09-20 [2011-07-27] 
  47. ^ Sammon, p. 53
  48. ^ Giraud, Jean, The Long Tomorrow & Other SF Stories, Marvel, 1988, ISBN 0-87135-281-8 
  49. ^ Sammon, p. 98
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Bibliography

  • Brooker, Will (編), The Blade Runner Experience, London: Wallflower, 2005, ISBN 1-904764-30-4 
  • Bukatman, Scott, BFI Modern Classics: Blade Runner, London: BFI (British Film Institute), 1997, ISBN 0-85170-623-1 
  • Sammon, Paul M., Future Noir: the Making of Blade Runner, London: Orion Media, 1996, ISBN 0-06-105314-7 
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