Ufo terror wars blade runner

ufo terror wars blade runner

Fictional company from the Alien franchise, this logo uses both the W and Y, Grafik Design, Ridley Scott Movies, Blade Runner 2049, Sci Fi Films, Cult. Gewalt von links: Eine Bewegung zwischen Protest und Terror: Directed by Rainer Fromm. Ever since 1982 science-fiction fans have looked at Ridley Scott's Alien and Blade Runner and noted similarities between the two.

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ufo terror wars blade runner

Blade Runner/Alien

140hld1Ever since 1982 science-fiction fans have looked at Ridley Scott’s Alien and Blade Runner and noted similarities between the two. Many concluded that the two movies at least shared connective tissue, if not universes. Though Blade Runner was not constructed to stand in canon with Alien, the two intertwine not only in terms of aesthetics and thematics, but also share visual and audio cues, as well as behind-the-scenes inspirations that reach both before and beyond either Blade Runner or Alien.

“I’m looking for another science-fiction script right now,” Ridley Scott told Fantastic Films in 1979, shortly after completing ufo terror wars blade runner. “Something that has a little bit of speculation or prediction about it, rather than just a thriller. Purely, as an art director, I find the the whole area of hardware and environment fascinating. One day I’ll do a film just about people, hardware and environment. Actually, that’s what science-fiction is all about, isn’t it?”

The project that Scott next latched himself onto wasn’t Blade Runner, but Dune, a film which, ufo terror wars blade runner, under Alejandro Jodorowsky, helped to introduce many of Alien’s creative team to one another. Dan O’Bannon was introduced to Chris Foss, HR Giger and Jean ‘Moebius’ Giraud during Jodorowsky’s attempt on the film, and all four moved on to craft Alien’s characters, creatures, vehicles and environments – now, in an amusing case of synchronicity, Alien’s director was tackling Dune, and he took Giger along with him.

Unfortunately for fans of Herbert’s novel, Dune collapsed again, this time after Scott pulled out due to the death of his older brother, Frank. However, Scott found that working helped him to grieve, and he took another science-fiction film under his wing; an adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep?, for now titled Dangerous Days, and later known as Blade Runner.

Though Blade Runner existed in a world quite distinct from Ridley’s 1979 effort (that is, they share no continuity) it still found itself being informed by Alien as well as that film’s creative contributors. Firstly, Scott’s vision for the film was drawn directly from a strip penned by Dan O’Bannon and inked by Moebius during their Dune days. “We had [Moebius] working a little bit nikon d200 error codes Alien, and I tried to get him involved in Blade Runner,” Ridley revealed to Film Comment magazine in 1982. “My concept of Blade Runner linked up to a comic script I’d seen him do a long time ago; it was called The Long Tomorrow, and I think Dan O’Bannon wrote it.” The Long Tomorrow would also influence some imagery in Prometheus.

The most notable and obvious onscreen relationship between Alien and Blade Runner was in the grungy aesthetic employed by Scott. In Alien the Nostromo is cramped, dirty, oily, and battered. In Blade Runner the city is an amalgamation of crumbling stone and retro-fitted tech. “We’re in a city which is in a state of over-kill, of snarled up energy,” explained Scott, “where you can no longer remove a building because it costs far more than constructing one in its place. So the whole economic process is ufo terror wars blade runner down.” This meant that the towers and apartment blocks of the film were in a state of half-collapse, half-construction; old brick and cement infused with new steel girders and soaked in neon light.

Looking over the smoke and grime of Los Angeles, Scott quipped that, “This [film] kind of followed through on Alien, because there was almost like a connective tissue between all the stuff I went through on Alien, into the environment of the Nostromo, and people who still have Earth-bound connections … this world could easily be the city that ports the crew that go out in Alien. In other words, when the Alien crew come back in, they might go into this place and go into a bar just off the street where Deckard lives. That’s how I thought about that.”

Indeed, it’s not hard to imagine Dallas sulking at Taffey’s, or Parker mending a spinner.

The most famous Alien-Blade Runner are the latter's visual homages.

The most famous of Alien and Blade Runner’s connective tissue are the latter’s visual homages. Screens from the Nostromo’s monitors appear within the spinner vehicles. Top images are from Alien, the bottom from Blade Runner.

Other Alien/Blade Runner parallels include the role of corporations in the future. Scott imagined that companies would become bigger than legitimate political institutions  and would act as de facto governments. These industrial imperialists would hold monopolies over property, robotics, space-travel, off-world colonies, ufo terror wars blade runner, the terrestrial police, paramilitary units and even, in the case of the replicants and the androids of Alien/s, the creation of life. 

In an 1984 interview, Ridley Scott said in regards to the corporate worlds of Alien and Blade Runner: “Here you see a large corporation that does something in one area buying up another corporation that specialises in an entirely different field. Obviously two separate sides of the conglomerate world -perhaps engineering and biochemistry- will eventually merge, just as I think industries will develop their own independent space programs.”

Sound effects from Alien also returned. Alien/Blade Runner editor Terry Rawlings revealed that “There’s this low, monotonous, humming noise you hear every time you’re in Deckard’s apartment. It’s there all the time, but you don’t know where it’s coming from until the end of the picture. Then Harrison discovers Sean Young sleeping under the sheets in his bed, and you realize that that sound has been coming from these two flickering TV monitors besides Deckard’s bed. Well, in that particular case, we reused a sound effect originally created for Alien. It had been done by a terrific header php error header already sent editor chap named Jimmy Shields; Jimmy had initially cooked up the sound you hear in Deckard’s apartment for Alien’s Autodoc, the automated medical scanner John Hurt’s put under after the facehugger clamps onto his head. The reason we reused this audio bit for Blade Runner was because Ridley just liked the sound of it. It was so dynamic, it really stood up and hit you in the ear. Or ufo terror wars blade runner it, as the case may be.”

Blade Runner and the Alien series continued to intermingle throughout the 80’s and 90’s. Syd Mead, who had designed Blade Runner’s cityscapes, was recruited by Aliens writer/director James Cameron to design the Sulaco and its interiors. Though it can’t be seen onscreen, Dallas’ profile ufo terror wars blade runner the inquest sequence details his prior work and transits for one Tyrell Corporation.

Androids, Replicants, and dangerous days: Neither Alien nor Aliens ufo terror wars blade runner the roles and social statuses of their respective androids, but the plight of Roy Batty and his replicant cohorts informed, in some small way, the performance of Bishop actor, Lance Henriksen.”When I got the part,” he said in 2011, “the first thing I did was look at actors who’d played characters like that, Rutger Hauer in Blade Runner, Ian Holm in the first Alien. They were phenomenal.” Earlier, in 1987, Henriksen had told Starlog, “I read a couple of books [for Aliens].” One book, Mockingbird by Walter Tevis, gave Henriksen an idea of Bishop’s unseen struggle with his artificial nature that reminds one of the elegiac mood hanging about the replicants. “There’s a bit in it where the android knew how to play a piano,” Henriksen explains, “but didn’t know why. He didn’t know what music was, but he kept hearing it. It was part of his builder’s input that hadn’t been completely erased. That image stuck in my mind, and what it translated to me was that there were feelings that Bishop didn’t understand, like a joke.”

Henriksen also alluded to technophobia in the Alien-verse: “For [Bishop], the world is xenophobic. He’s an alien to anything alive. He must be as careful as, say, a black man in South Africa, where you make a mistake and you’re out.” Henriksen concluded by saying, 3vi cg1 error either replaced or you’re destroyed,”  an allusion to Deckard’s “They’re either a benefit or a hazard” line.

In addition to being a theme of Blade Runner, technophobia, persecution, ufo terror wars blade runner, and Ludditism were points in William Gibson’s Alien III, and similar themes also swiveled around Prometheus’ David.

For Alien 3, ufo terror wars blade runner, David Fincher hired Blade Runner’s director of photography Jordan Cronenweth, solely based on his work on Scott’s movie. Unfortunately, Cronenweth’s struggle with Parkinson’s Disease caused Fincher to release him from the film, ufo terror wars blade runner, only two weeks into shooting. Rumours abounded that Twentieth Century Fox had strong-armed Fincher into firing Jordan, but the director ploughed on with Alien 3 with Alex Thomson serving as cinematographer.

Blade Runner managed to bleed itself into other areas of Alien 3. Though Ridley had envisioned the Nostromo and Company as being one-part Japanese, his film never made this overt. Los Angeles in Blade Runner however capitalised on the idea. The streets are strewn with Asian bicycle riders, lanterns, lingo, graffiti and advertisements. Seeing this, Fincher decided to make Weyland-Yutani’s presence on Fiorina 161 reflect its Japanese heritage; as such, the company’s logos in the film are accompanied by kanji, ufo terror wars blade runner, as do soda machines and other props scattered around the film. They usually translate as “Weyland Yutani kabushiki-g/kaisha”, meaning “Weyland Yutani joint-stock corporation”. Another obvious example is the large red lettering in the prison scrapyard.

The famous 'Hades'' landscape from Blade Runner also influenced-

The famous “Hades” landscape from Blade Runner also influenced-

-this shot of Fiorina's hellish machinery.

-this shot of Fiorina’s hellish machinery. “A pretty nice Blade Runner-esque shot,” according to Richard Edlund of Boss Film.

Alien 3 matte painter Paul Lasaine added a Blade Runner homage in his painting of the Fiorina refineries, where distant towers styled after the stacks from Blade Runner‘s famous opening shot were included in the background –  which you’re unlikely to have a chance of spotting in Alien 3 due to the overlapping effects and the diminutiveness of the painted towers. Allegedly, the Tyrell Pyramid structure is also in there, somewhere.

When Ridley returned to the Alien-verse with Prometheus, he also considered featuring error 1723 java windows 7 allusions and outright references to Blade Runner. “There’s one idea that I’m ufo terror wars blade runner sad that we didn’t do,” explained Prometheus concept artist, Ben Proctor. “Ridley, one day, came in and said, ‘You know, I’m thinking what if it’s the Weyland-Tyrell Corporation? Is that cool?’ Maybe swish error cannot find image_1 bodyguards, you know, that come out with Weyland, maybe one of them says Batty on his uniform. And we’re like ‘Awesome! Do it, do it!’ And it didn’t end up making it but I thought that was a really cool thing that there is such a compatibility between the sort of, you know, dystopian future of Blade Runner and Alien that they may as well be the same universe. And if we’re doing a Weyland versus a Weyland-Yutani, why not have corporate mergers shifting and make some kind of a connection there. I thought that was cool.”

Batty, a proposed Weyland Corp mercenary, obviously modelled on Rutger Hauer.

Batty, a proposed Weyland Corp mercenary, obviously modelled on Rutger Hauer.

But a role as a military man wasn’t the only piece of connective tissue that was planned for Prometheus, as Ridley had toyed with the idea of casting Hauer as Peter Weyland.

Ridley’s sketch of Weyland. “Rutger or Max,” it reads. Rutger Hauer and Max von Sydow were originally considered for the role.

Ridley’s sketch of Weyland. “Rutger or Max,” it reads. Rutger Hauer and Max von Sydow were originally considered for the role.

Ultimately no nod to Blade Runner made it into the film, but an ode of sorts did make it into the home release, courtesy of Alien Anthology/Blade Runner/Prometheus DVD/BDproducer Charles de Lauzirika. A memo dictated by Peter Weyland reads:

“A mentor and long-departed competitor once told me that it was time to put away childish things and abandon my ‘toys’. He encouraged me to come work for him and together we would take over the world and become the new Gods. That’s how he ran his corporation, like a God on top of a pyramid overlooking a city of angels. Of course, he chose to replicate the ufo terror wars blade runner of creation in an unoriginal way, by simply copying God. And look how that turned out for the poor bastard. Literally blew up in the old man’s face. I always suggested he stick with simple robotics instead of those genetic abominations he enslaved and sold off-world, ufo terror wars blade runner, although his idea to implant them with false memories was, well… ‘amusing’, is how I would put it politely.”

The easter egg attracted much attention online. However, Lauzirika told movies.com that the memo was only a gag, and not intended to be taken seriously:

‘That was me having fun and being cutesy. I wrote all that stuff. I actually said this at the press conference they had in London, which is that if it’s in the film, it’s canon. I would argue that the viral pieces that are included in the Peter Weyland Files are canon just because they originated with Ridley and Damon Lindelof. I would say those, to some degree, are canon. But anything else – especially these which are kind of like little cute, embedded text graphics on the menus – I wouldn’t take those too seriously. It’s just meant to be an in-universe framework for those viral pieces.

As a Blade Runner fan, and because there’s been so much talk before this even occurred with people on the Internet speculating that maybe Alien and Blade Runner and Prometheus could all exist in the same universe, it was just more of a wink at that. Absolutely nothing to be taken seriously. I mean, I sent it to Ridley ufo terror wars blade runner he had no comment. [Laughs] So, it’s error could not load ads_light icing on top of icing. It’s not the cake. It’s a fun, little side thing that’s very superficial. And, by the way, it in no way officially establishes that it’s Blade Runner because, if a lawyer were to comb through that, there’s no reference to Tyrell or anything in Blade Runner. It’s just a very lightly intentioned joke.”
~ Charles de Lauzirika, movies.com, 2012.

One last thing: in the 1980’s rumours of a Blade Runner sequel surfaced – to be directed by James Cameron. “I have nothing to do with Blade Runner II,” Cameron told Starburst magazine in 1989. “I wouldn’t be interested and I don’t want to go around cleaning up after Ridley Scott for the rest of my life!”

Alien/Blade Runner banner created by Space Sweeper. Many thanks.

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Bloody Images

Developing the distinctive look of the original X-COM: UFO Defense

with 48 posters participating

Julian and Nick Gollop signed a contract with MicroProse UK in 1991. The agreement granted them approximately £3,000 per month (roughly $2,224 in 1991 US dollars) to tide them over while they developed UFO: Enemy Unknown, which the publisher estimated should take 18 months.

"They didn't really have any sophistication about planning a development release schedule for a game," says Julian. "It was 18 months: That's how long these games take, so that's how long it will be. Of course, it took a lot longer, almost twice as long as that, which got us quite worried, ufo terror wars blade runner, actually."

Nick was content with the arrangement. "To have proper funding made a huge difference to us. Before, we didn't really have money."

At the start of the project, MicroProse UK's Pete Moreland asked Julian to provide Mike Brunton and Stephen Hand, the designers assisting with UFO, a design document. Julian was as confused by this request as he was by MicroProse's earlier appeal for a storyboard. ufo terror wars blade runner I produced an initial game design document for them, which was about twelve pages long—I'd never written a design document before, by the way—it was a very high-level thing. It didn't go into a lot of detail," Julian admits.

Design documents have grown into understood constructs. Developers write them to explain a prospective game's art style, ufo terror wars blade runner, atmosphere, gameplay systems, production needs, costs, and a timetable with milestone dates for completing tasks and showing playable builds or demos of the game to the publisher. In the early '90s, they were virtually unheard of.

Steve Hand called Julian to complain. The design document was so poor, he declared, that if not for his love of Laser Squad, he would have dropped the project. Julian returned to the MicroProse UK office to walk them through his plans. "I think they were happy enough with the explanations I gave, but clearly the document wasn't good enough."

The meeting illuminated Enemy Unknown's grand scope. Players would fight back against aliens through two interfaces. The first, called the Geoscape, showed a view of Earth from space. Players started with a base in a random location on the globe and built others to more quickly research technologies, build weapons, train soldiers, and more. The Ufo terror wars blade runner interface took place on Earth and gave players control over their soldiers, where they deployed and positioned error premature eof to search out and exterminate aliens.


You’ve got the look

Julian's breakdown of the design document gave MicroProse UK's team a chance to weigh in on all aspects of development. For instance, Julian's document included sketches of aliens players would encounter. Steve Hand raised concerns about the artwork, ufo terror wars blade runner. "The original aliens were boring or comical. Some graphics were almost childlike," Hand remembers.

This piece is an excerpt from <em>Monsters in the Dark: The Making of X-COM: UFO Defense</em>, which is <a href=
Hand realized he and Julian were approaching aliens from different perspectives. He was thinking of creatures seen in Marvel comics, classic horror films such as Dracula remade by British production studio Hammer Film Productions, and Gerry Anderson's UFO show. Julian seemed to have a more contemporary vision, such as abductees taken by flying saucers, experimented on, and dropped back to Earth with no memory of the encounter. Little gray men worked as a cultural touchstone, Hand thought, but the rest of Julian's sketches portrayed fantasy creatures such as gnomes, or Vikings with floppy faces and elephantine noses.

Moreland assigned Tim Roberts as Enemy Unknown's project manager, and Roberts, with input from MicroProse UK's art directors, added John Reitze and Martin Smillie to handle artwork. Reitze had been busy drawing sketches of aliens, so Julian, Brunton, and Hand went to Reitze's office to look at what he'd come up evolution update 11.10 error. "We went down to John's computer and he had a whole selection of sprites. Steve Hand and I picked from those sprites which aliens would be in the game," Julian remembers.

Hand was impressed by Reitze's creations. He had combined the artistic flair of Marvel artist Jack Kirby, renowned for illustrating characters with distinctive texture and line weight and recognizable symbols such as a soldier holding a rifle to communicate visually a character's intent, with Japanese-influenced portraits far ahead of their time in 1991. "John had a superb art style that everyone at MicroProse thought was brilliant for the game: it was manga-esque," says Mike Brunton. "And it was a way of MicroProse giving added value to the product: day-to-day design and coding was being handled extremely well by Julian and Nick. Art was an area where we could bring something really worthwhile to the party."

"I didn't talk too much to John directly," Hand says, "but I'd helped to form John's brief, ufo terror wars blade runner, and I ufo terror wars blade runner at all his finished work and was involved in choosing which graphics we planned to 'persuade' Mythos to like most."

Julian needed little persuasion. "I think I did most of the picking, and I was trying to pick things that would be interesting in terms of what aliens could be doing," he says. "From the images John made, I had to sort of retrofit what the alien was about and what was his role in the alien hierarchy."


War on “terror units”

Over development, MicroProse UK and the Gollops sorted aliens into low- medium- and high-threat categories. Sectoids, the most common type, resembled the classic "Greys," or little gray men. Sectoids wore no armor and fell easily to most weapons, but packs of them could overwhelm players who grew reckless. The aliens hailed from different species, and each species had special fighters known as terror units that intentionally challenged players' understanding of low, medium, and high threats. Terror units accompanied standard units such as Sectoids on more difficult missions, but wise players viewed low-threat invaders such as the Reaper, a bipedal creature coated in armor and able to chew on players at close range, as formidable obstacles. Any alien was a dangerous alien.

John Reitze showed off more alien types in Enemy Unknown's striking introduction cinematic. Painting in vibrant colors that came to life over MicroProse UK composer John Broomhall's eerie score, UFOs arrived on Earth and unleashed aliens such as the purple-skinned Muton, a behemoth outfitted with high-tech weaponry, on Earth's cities. That was when the X-COM Force hit the scene. Soldiers clad in space-age armor opened fire with heavy-duty rifles and machine guns. The invaders roared their fury before fleeing in their spaceships. With the attack squashed, the X-COM Force returned to base to tend to their wounded and continued surveillance, knowing that another large-scale attack was a matter of where and when, not if.

Reitze's use of colors, smooth animation, and scenes that flowed perfectly between unsettling and action-packed galvanized the team. It also set the table for players' primary mission. Obliterating aliens was step two. Step one as commander of the X-COM Force was to win the allegiance of Earth's governments, who would repay X-COM's loyalty and protection with funding for players to perform research.

"Everyone loved it," Hand remembers, "and it seemed to crystallize more clearly than anything previous what the finished game should be trying to represent: violent, comic book action, with a dark, realistic kick."

The team dreamed up more alien types than they could use. Mike Brunton proposed an editing program for players to create invaders. "Once the tactical, turn-based combat was going to be linked to an alien invasion game and planetary defense management system, those ideas fell by the wayside," he says.

Another unused special unit (men in black as created by Julian) would have infiltrated governments to sow dissension in countries funding the X-COM Force. Over several turns, funding from those countries would dwindle as the aliens spread. "We were told to remove the men in black from the game because MicroProse had another title in development which featured men in black, and they didn't want it to conflict with UFO," remembers Julian. "That game never saw the light of day. So it was on a bit of a whim that we removed it, and a bit silly, really, given the success of men in black in the Men in Black film, which came later."

David L. Craddock is the author of the bestselling Stay Awhile and Listen trilogy detailing the history of Blizzard Entertainment, Shovel Knight by Boss Fight Books, and over a dozen more books about video game culture. Follow him online @davidlcraddock on Twitter. Monsters in the Dark: The Making of X-COM: UFO Defense is funding now on Kickstarter.

Sci-Fi Violence

Do Androids Dream of Ufo terror wars blade runner Sheep?

1968 science fiction novel by Philip K. Dick

For other uses, see Do Androids Dream of Electric Sheep? (disambiguation).

Do Androids Dream of Electric Sheep? (retitled Blade Runner: Do Androids Dream of Electric Sheep? in some later printings) is a dystopianscience fiction novel by American writer Philip K. Dick, first published in 1968. The novel is set in a post-apocalypticSan Francisco, where Earth's life has been greatly damaged by a nuclearglobal war, leaving most animal species endangered or extinct. The main plot follows Rick Deckard, a bounty hunter who is tasked with "retiring" (i.e. killing) six escaped Nexus-6 model androids, while a secondary plot follows John Isidore, a man of sub-par IQ who aids the fugitive androids.

The book served as the primary basis for the 1982 film Blade Runner, even though some aspects of the novel were changed, and many elements and themes from it were used in the film's 2017 sequel Blade Runner 2049.


Background and setting[edit]

In 1992 (2021 in later editions)[1] following a devastating global war called World War Terminus, the Earth's radioactively polluted atmosphere leads the United Nations to encourage mass emigrations to off-world colonies to preserve humanity's genetic integrity. Moving away from Earth comes with the incentive of free personal androids: robot servants identical to humans. The Rosen Association manufactures the androids on a colony on Mars, but some ufo terror wars blade runner violently rebel and escape to Earth, where they hope to remain undetected. As a result, American and Soviet police departments remain vigilant and keep android bounty-hunting officers on duty.

On Earth, owning real live animals has become ufo terror wars blade runner fashionable status ufo terror wars blade runner, both because mass extinctions have made authentic animals rare and because of the accompanying cultural push for greater empathy. However, poor people can only afford realistic-looking robot imitations of live animals. Rick Deckard, the novel's protagonist, for example, ufo terror wars blade runner, owns an electric black-faced sheep. The trend of increased empathy has coincidentally motivated a new technology-based religion called Mercerism, which uses "empathy boxes" to link users simultaneously to a virtual reality of collective suffering, centered on a martyr-like character, Wilbur Mercer, who eternally climbs up a hill while being hit with crashing stones. Acquiring high-status animal pets and linking in to empathy boxes appear to be the only two pavtube mkv error characters in the story strive for existential fulfillment.

Plot summary[edit]

Rick Deckard, a bounty hunter for the San Francisco Police Department, is assigned to "retire" (kill) six androids of the new and highly intelligent Nexus-6 model which have recently escaped from Mars and traveled to Earth. These androids are made of organic matter so similar to a human's that only a posthumous "bone marrow analysis" can independently prove the difference, making them almost impossible to distinguish from real people. Deckard hopes this mission will earn him enough bounty money to buy a live animal to replace his lone electric sheep to comfort his depressed wife Iran. Deckard visits the Rosen Association's headquarters in Seattle to confirm the accuracy of the latest empathy test meant to identify incognito androids. Deckard suspects the test may not be capable of distinguishing the latest Nexus-6 models from genuine human beings, and it appears to give a false positive on his host in Seattle, Rachael Rosen, meaning the police have potentially been executing human beings. The Rosen Association attempts to blackmail Deckard to get him to drop the case, but Deckard retests Rachael and determines that Rachael is, indeed, an android, which she ultimately admits.

Deckard soon meets a Soviet police contact who turns out to be one of the Nexus-6 renegades in disguise. Deckard kills the android, then flies off to kill his next target, an android living in disguise as an opera singer. Meeting her backstage, Deckard attempts to administer the empathy test but she calls the police. Failing to recognize Deckard as a bounty hunter, the cops arrest and detain him at a police station he has never heard of, filled with officers whom he is surprised to have never met. An official named Garland accuses Deckard himself of being an android with implanted memories. After a series of mysterious revelations at the station, Deckard ponders the ethical and philosophical questions his line of work raises regarding android intelligence, empathy and what it means to be human. Garland, pointing a gun at Deckard, then reveals that the entire station is a sham, claiming that both he and Phil Resch, the station's resident bounty hunter, are androids. Resch shoots Garland in the head, escaping with Deckard back to the opera singer, whom Resch brutally kills in cold blood when she alludes that he himself may be an android. Desperate to know the truth, Resch asks Deckard to administer the empathy test on him, which confirms that he is actually human, if a particularly ruthless one. Deckard then tests himself, confirming that he is human but has a sense of empathy for certain androids.

Deckard is now able to buy his wife Iran an authentic Nubian goat with his commission. Later, his supervisor insists that he visit an abandoned apartment building where the three remaining android fugitives are assumed to be hiding. Experiencing a vision of the prophet-like Mercer confusingly telling him to proceed, despite the immorality of the mission, Deckard calls on Rachael Rosen again since her knowledge of android psychology may aid his investigation. Rachael declines to help, but reluctantly agrees to meet Deckard at a hotel in exchange for him abandoning the case. At the hotel, she reveals that one of the fugitive androids is the same exact model as herself, meaning that he will have to shoot down an android that looks exactly like her. Despite having initial doubts by Rachael, Rachael and Deckard end up having sex, after which they confess their love for one another. Rachael reveals she has slept with many bounty hunters, having been programmed to do so in order to dissuade them from their missions. Deckard threatens to kill her but holds back at the last moment before he leaves for the abandoned apartment building.

Meanwhile, the three remaining Nexus-6 android fugitives plan how they can outwit Deckard. The building's only other inhabitant, John R. Isidore, a radioactively damaged and intellectually below-average human, ufo terror wars blade runner, attempts to befriend them, but is shocked when they callously torture and mutilate a rare spider he discovers. They all watch a television program which presents definitive evidence that the entire theology of Mercerism is a hoax. Deckard enters the building, experiencing strange, supernatural premonitions of Mercer notifying ufo terror wars blade runner of an ambush. When the androids attack him first, Deckard is legally justified as he shoots down all three without testing them beforehand. Isidore is devastated and Deckard is soon rewarded for a record number of Nexus-6 kills in a single day. When Deckard returns home, he finds Iran grieving because, while he was away, Rachael Rosen stopped by and killed their goat.

Deckard travels to an uninhabited, obliterated region of Oregon to reflect. He climbs a hill and is hit by falling rocks, when he realizes this is an experience eerily similar to Mercer's martyrdom. He stumbles abruptly upon what he thinks is a real toad (an animal thought to be extinct) but, when he returns home with it, he is crestfallen when Iran discovers it merely is a robot. As he goes to sleep, she prepares to care for the electric toad anyway.

Influence and inspiration[edit]

Dick also intentionally imitates noir fiction styles of scene delivery, a hard-boiled investigator dealing coldly with a brutal world full of corruption and stupidity.[2] Another influence on Dick was author Theodore Sturgeon, writer of More Than Human, a surrealistic story of humanity broken into different tiers, one controlling another through telepathic means.

A few years after ufo terror wars blade runner publication of Do Androids Dream of Electric Sheep?, the author spoke about man's animate creations in a 1972 famous speech: "The Android and the Human":

Our environment — and I mean our man-made world of machines, artificial constructs, computers, electronic systems, interlinking homeostatic components — all of this is in fact beginning more and more to possess what the earnest psychologists fear the primitive sees in his environment: animation. In a very real sense our environment is becoming alive, or at least quasi-alive, and in ways specifically and fundamentally analogous to ourselves.Rather than learning about ourselves by studying our constructs, perhaps we should make the attempt to comprehend what our constructs are up to by looking into what we ourselves are up to[3]

In the novel, the android antagonists are indeed more human than [the] human protagonist, intentionally. They are a mirror held up to human action, contrasted with a culture losing its own humanity.[4]


Do Androids Dream of Electric Sheep? influenced generations of science fiction writers, becoming a founding document of the new wave science fiction movement as well as a basic model for its cyberpunk heirs. It influenced other genres such as SF-based metal from artists such as Rob Zombie and Powerman 5000.



Main articles: Blade Runner and Blade Runner 2049

Hampton Fancher and David Peoples wrote a loose cinematic adaptation that became the film Blade Runner, released in 1982, featuring several of the novel's characters. It was directed by Ridley Scott. Following the international success of the film,[5] the title Blade Runner was adopted for some later editions of the novel, although the term itself was not used in the original. This movie garnered a sequel in 2017 entitled Blade Runner 2049 which retains many themes of the novel.


As part of their Dangerous Visions dystopia series in 2014, BBC Radio 4 broadcast a two-part adaptation of the novel. It was produced and directed by Sasha Yevtushenko from an adaption by Jonathan Holloway. It stars James Purefoy as Rick Deckard and Jessica Raine as Rachael Rosen.[6] The episodes were originally broadcast on Sunday 15 June and 22 June 2014.


The novel has been released in audiobook form at least twice. A version was released in 1994 that featured Matthew Modine and Ufo terror wars blade runner Flockhart.

A bit error rate too high audiobook version was released in 2007 by Random House Audio to coincide with the release of Blade Runner: The Final Cut. This version, read by Scott Brick, is unabridged and runs approximately 9.5 hours over eight Bo error cdaoexception. This version is a tie-in, using the Blade Runner: The Final Cut film poster and Blade Runner title.[7]


A stage adaptation of the book, written by Edward Einhorn, ran from November 18 to December 10, 2010, at the 3LD Art & Technology Center in New York[8] and made its West Coast Premiere on September 13, 2013, playing until October 10 at the Sacred Fools Theater Company in Los Angeles.[9]

Comic books[edit]

BOOM! Studios published a 24-issue comic booklimited series based on Do Androids Dream of Electric Sheep? containing the full text of the novel and illustrated by artist Tony Parker.[10] The comic garnered a nomination for "Best New Series" from the 2010 Eisner Awards.[11] In May 2010, BOOM! Studios began serializing an eight-issue prequel subtitled Dust To Dust, written by Chris Roberson and drawn by Robert Adler.[12] The story takes place in the days immediately after World War Terminus.[13]


Three novels intended to serve as sequels to both Do Androids Dream of Electric Sheep? and Blade Runner have been published:

These official and authorized sequels were written by Dick's friend K. W. Jeter.[14] They continue the story of Rick Deckard and attempt to reconcile many of the differences between the novel and the 1982 film.

Critical reception[edit]

Critical reception of Do Androids Dream of Electric Sheep? has been overshadowed by the popularity of its 1982 film adaptation, Blade Runner. Of those critics who focus on the novel, several nest it predominantly in the history of Philip K. Dick's body of work. In particular, Dick's 1972 speech "The Human and the Android" is cited in this connection. Jill Galvan[15] calls attention to the correspondence between Dick's portrayal of the narrative's dystopian, polluted, man-made setting and the description Dick gives in his speech of the increasingly artificial and potentially sentient or "quasi-alive" environment of his present. Summarizing the essential point of Dick's speech, Galvan argues, "[o]nly by recognizing how [technology] has encroached upon our understanding of 'life' can we come to full terms with the technologies we have produced" (414). As a "bildungsroman of the cybernetic age", Galvan maintains, Do Androids Dream of Electric Sheep? follows one person's gradual acceptance of the new reality. Christopher Palmer[16] emphasizes Dick's speech to bring to attention the increasingly dangerous risk of humans becoming "mechanical".[17] "Androids threaten reduction of what makes life valuable, yet promise expansion or redefinition of it, and so do aliens and gods".[17] Gregg Rickman[18] cites another, ufo terror wars blade runner, earlier, and lesser-known Dick novel that also deals with androids, We Can Build You, asserting that Do Androids Dream of Electric Sheep? can be read as a sequel.

In a departure from the tendency among most critics to examine the novel in relation to Dick's other texts, Klaus Benesch[19] examined Do Androids Dream of Electric Sheep? primarily in connection with Jacques Lacan's essay on the mirror stage. There, Lacan claims that the formation and reassurance of the self depends on the construction of an Other through imagery, beginning with a double as ufo terror wars blade runner in the mirror. The androids, Benesch argues, perform a doubling function similar to the mirror image of the self, but they do this on a social, not individual, scale. Therefore, human anxiety about androids expresses uncertainty about human identity and society. Benesch draws on Kathleen Woodward's[20] emphasis on the body to illustrate the shape of human anxiety about an android Other. Woodward asserts that the debate over distinctions between human and machine usually fails to acknowledge the presence of the body. "If machines are invariably contrived as technological prostheses that are designed to amplify the physical faculties of the body, they are also built, according to this logic, to outdo, to surpass the human in the sphere of physicality altogether".[21]

Sherryl Vint emphasizes the importance of animals for the novel’s exploration of the alienation of humans from their authentic being. In wrestling with his role as a bounty hunter who is supposedly defending society from those who lack empathy, Deckard comes to realize the artificiality of the distinctions that have been used in Western culture to exclude animals and "animalized" humans from ethical consideration. "The central role of animals in Do Androids Dream of Electric Sheep? and the issues of species being that they raise show the need to struggle for a different way of being in the world. This way resists commodification in our relations with one another and with nature to produce a better future, one in which humans might be fully human once again by repairing our social relations with animals and nature."[22]

Awards and honors[edit]

See also[edit]


  1. ^Note: This change attempts to counteract a problem common to near-future stories, ufo terror wars blade runner, where the passage of time overtakes the period in which the story is set; for a list of other works that have fallen prey to this phenomenon, see List of stories set in a future now past.
  2. ^"Blade Runner's source material says more about modern politics than the movie does". 5 October 2017.
  3. ^"The Android and the Human".
  4. ^"Entering the Posthuman Collective in Philip K. Dick's Do Androids Dream of Electric Sheep?".
  5. ^Sammon, Paul M (1996), ufo terror wars blade runner. Future Noir: the Making of Blade Runner. London: Orion Media. pp. 318–329. ISBN .
  6. ^"BBC Radio 4 - Dangerous Visions, Do Androids Dream of Electric Sheep?, Episode 2". bbc.co.uk. BBC Radio 4. 28 Jun 2014. Retrieved 11 May 2015.
  7. ^Blade Runner (Movie-Tie-In Edition) by Philip K. Dick - Unabridged Compact Disc Random House, November 27, 2007, ISBN 978-0-7393-4275-6 (0-7393-4275-4).
  8. ^"Do Androids Dream of Electric Sheep?". Untitled Theater Company #61. Retrieved 1 January 2014.
  9. ^"Do Androids Dream of Electric Sheep?". Sacred Fools Theater Company. Retrieved 1 January 2014.
  10. ^Philip K. Dick Press Release - BOOM! ANNOUNCES DO ANDROIDS DREAM OF ELECTRIC SHEEP?Archived September 20, 2012, at the Wayback Machine
  11. ^Heller, Jason (April 9, 2010). "Eisner Award nominees announced". The A.V. Club. Retrieved July 24, 2013.
  12. ^Langshaw, ufo terror wars blade runner, Mark (29 April 2010). "BOOM! expands on 'Blade Runner' universe". Digital Spy.
  13. ^"BOOM! Studios publishes 'Electric Sheep' prequel". Tyrell-corporation.pp.se. Retrieved July 24, 2013.
  14. ^Jeter, K. W. "Summary Bibliography: K. W, ufo terror wars blade runner. Jeter".
  15. ^Galvan, Jill (1997). "Entering the Postman Collective: Philip K. Dick's Do Androids Dream of Electric Sheep?". Science Fiction Studies. 24 (3): 413–429.
  16. ^Palmer, Christopher (2003). Philip K. Dick: Exhilaration and Terror of the Postmodern. Liverpool: University of Liverpool Press. p. 259.
  17. ^ abPalmer, Christopher (2003). Philip K. Dick: Exhilaration and Terror of the Postmodern. Liverpool: University of Liverpool Press. p. 225.
  18. ^Rickman, Gregg (1995), ufo terror wars blade runner. "What Is This Sickness?": "Schizophrenia" and We Can Build You. Westport, Connecticut: Greenwood Press. pp. 143–157.
  19. ^Benesch, Klaus (1999). "Technology, Art, and the Cybernetic Body: The Cyborg as Cultural Other in Fritz Lang's "Metropolis" and Philip K. Dick's "Do Androids Dream of Electric Sheep?"". Amerikastudien. 44 (3): 379–392. JSTOR 41157479.
  20. ^Woodward, Kathleen (1997). "Prosthetic Emotions". In Error in /tmp/package.zip, Gerhard (ed.). Emotions in the Postmodern. Heidelberg: Alfred Hornung. pp. 75–107.
  21. ^Woodward, Kathleen (1997). "Prosthetic Emotions". In Hoffman, Gerhard (ed.). Emotions in the Postmodern. Heidelberg: Alfred Hornung. p. 391.
  22. ^Vint, Sherryl (2007). "Speciesism and Species Being in Do Androids Dream of Electric Sheep?". Mosaic: An Interdisciplinary Critical Journal. 40 (1): 125.
  23. ^"1968 Award Winners & Nominees". Worlds Without End. Retrieved 2009-09-27.

Further reading[edit]

  • Benesch, Klaus (1999). "Technology, Art, and the Cybernetic Body: The Cyborg As Cultural Other in Fritz Lang's Metropolis and Philip K. Dick's Do Androids Dream of Electric Sheep". Amerikastudien. 44 (3): 379–392. JSTOR 41157479.
  • Butler, ufo terror wars blade runner, Andrew M. (1991). "Reality versus Transience: An Examination of Philip K. Dick's Do Androids Dream of Electric Sheep? and Ridley Scott's Blade Runner". In Merrifield, Jeff (ed.). Philip K. Dick: A Celebration (Programme Book). Epping Forest College, Loughton: Connections.
  • Gallo, Domenico (2002). "Avvampando gli angeli caddero: Blade Runner, Philip K. Dick e ufo terror wars blade runner cyberpunk". In Bertetti; Scolari (eds.). Lo sguardo degli angeli: Intorno e oltre Blade Runner (in Italian). Torino: Testo & Immagine. pp. 206–218. ISBN .
  • Galvan, Jill (1997). "Entering the Posthuman Collective ufo terror wars blade runner Philip K. Dick's Do Androids Dream of Electric Sheep?". Science-Fiction Studies. 24 (3): 413–429. JSTOR 4240644.
  • McCarthy, Patrick A. (1999–2000). "Do Androids Dream of Magic Flutes?", ufo terror wars blade runner. Paradoxa. 5 (13–14): 344–352.
  • Niv, Tal (2014). "The Return of a Terrifying and Wonderful Creation On Our Ufo terror wars blade runner and Our Present". Haaretz. (Hebrew) Critical analysis of the 2014 edition of Do Androids Dream of Electric Sheep?
  • Street, Joe (2020). "Do Androids Dream of Black Sheep?: Reading Race into Philip K. Dick". Foundation. 49 (3): 44–61.
  • Vint, Sherryl (2007). "Speciesism and Species Being in Do Androids Dream of Electric Sheep?". Mosaic. 40 (1): 111–26.

External links[edit]

When Ridley Scott’s Blade Runner was released in 1982, its dystopian future seemed light years away. But fans of the critically-acclaimed science fiction film might have woken up this morning feeling a little funny, ufo terror wars blade runner. As its opening sequence informs us, the movie takes place in Los Angeles, November 2019. In other words, from this day forward, Blade Runner is no longer set in the future.

Blade Runner, which is loosely based on Phillip K. Dick’s novel Do Androids Dream of Electric Sheep?, paints a bleak portrait of the City of Angels in 2019. Its projected vision of Los Angeles features synthetic humanoids known as “replicants”, flying cars, and extraterrestrial colonies. Harrison Ford stars as Rick Deckard, a “blade runner” whose job it is to hunt down these artificial humans who appear to be just like us. The movie, to its merit, makes some pretty accurate predictions about our modern world. Powerful corporations, climate change (it’s raining throughout the entire film), and even voice activation technology all hit close to home. But something big is missing from Blade Runner’s depicted future. iPhones. Instagram. TikTok. While the movie does get an eerie amount right, it couldn’t account for the role social media plays in our lives. Who knows how things would have panned out for Deckard if he could have looked up his targets on Facebook?

Blade Runner isn’t the only piece of media that tried to predict life in Southern California during this fateful year. My Chemical Romance (who announced their reunion tour yesterday) set their 2010 album Danger Days: The True Lives of the Fabulous Killjoys in November 2019 as well. Blade Runner 2049, the sequel to Blade Runner, ufo terror wars blade runner out in 2017. Mark your calendars — we have 30 years to find out if its predictions come true.

Gallery — The Best Sci-Fi Movie Posters of All Time:

From the Archives: ‘Blade Runner’ went from Harrison Ford’s ‘miserable’ production to Ridley Scott’s unicorn scene, ending as a ufo terror wars blade runner classic

Upon its initial release in 1982, Ridley Scott’s “Blade Runner” was a critical and commercial disappointment. Over time the film amassed a devoted cult following, and in 1992, upon the release of Scott’s director’s cut, Times film critic Kenneth Turan wrote a deep dive into the making of the film and its rediscovery. Twenty-five years later a sequel, “Blade Runner 2049,” will open in theaters nationwide. This article was originally published on Sept. 13, 1992.

Elegant cars gliding through a decaying infrastructure, the dispossessed huddling in the shadow of bright skyscrapers, the sensation of a dystopian, multiethnic civilization that has managed to simultaneously advance and regress — these are scenes of modern urban decline, and if they make you think of a movie, and chances are they will, it can have only one name: “Blade Runner.”

Few, if any, motion pictures have the gift of ufo terror wars blade runner the future as well as crystallizing an indelible image of it, but that is the key to “Blade Runner’s” accomplishments. One of the most enduringly popular science-fiction films, it revived the career of a celebrated writer, helped launch a literary movement and set a standard for the artistic use of special effects many people feel has never been equaled. And, until now, it has never been seen in anything like the form intended by the people who created it.

Starting this weekend, a full decade later than anyone anticipated, Ridley Scott’s original director’s cut of this moody, brilliant film is having its premier engagement, opening in 60 cities nationwide, with another 90 to follow in three weeks. While classic revivals have become commonplace, the usual re-released versions offer either a technical improvement (Orson Welles’ “Othello”) or else a sprinkle of new footage (“Lawrence of Arabia”). This “Blade Runner” is a very different version, a cut that until two years ago no one even knew existed, and because of the film’s reputation and power it is intended by Warner Bros. to make some serious money.

Yet if this seems like a simplistic tale of good finally triumphing over ufo terror wars blade runner, be aware that absolutely nothing about “Blade Runner” is as simple as it first seems, ufo terror wars blade runner. For this was a film that was awful to make, even by normal Hollywood standards of trauma, agonizing to restructure and rediscovered by a total fluke. The people who worked on it called it “Blood Runner,” a sardonic tribute to the amount of personal grief and broken relationships it caused, and they recall it with horror and awe.

Production designer Lawrence G. Paull remembers it as “a dream and a nightmare all at once.” Art director David L. Snyder, whose personal life was one of those that broke under the strain, remembers that, psychologically, “Ridley beat the hell out of me; beatings were in order all the time.” But he now looks on that time as the most intoxicating of his career, calling it “keeping up with the genius, like working with Orson Welles.” While star Harrison Ford considers “Blade Runner” his worst movie experience, co-star Sean Young calls it “still my favorite film.” Director Scott finds himself “progressively amazed” as interest ufo terror wars blade runner the film “gets bigger and bigger and bigger.” Yet it took veteran producer Michael Deeley, whose previous picture was the Oscar-winning “The Deer Ufo terror wars blade runner 10 years to find the enthusiasm to produce another theatrical film.

More than anything else, “Blade Runner’s” saga is, as the best Hollywood stories invariably are, a microcosm for the industry, starkly underlining how irredeemably deep the classic split between aesthetics and commerce is and also how painfully inevitable. As with an etching by Escher, the final decision on who the villains are here, or even if there are any villains at all, depends on your point of view.

The man who benefited the most, albeit posthumously, from “Blade Runner” was the man who started it all. When he died at the age of 53 in March, 1982, ufo terror wars blade runner, less than four months before the film’s premiere, he was, according to his agent, Russell Galen, looking forward to that event “like a kid on Christmas Eve.”

Philip K. Dick was one of the architects of modern science fiction. A passionate, emotionally unstable visionary, author of dozens of books and hundreds of short stories, he was, according to critic Ufo terror wars blade runner Clute, “the first writer of genre science fiction to become an important literary figure.” As Richard Bernstein noted in a recent front-page New York Times Book Review piece (an august location the writer never expected to inhabit while he was alive), Dick articulated “our deepest fears and most persistent fantasies about technology and its potential to destroy us.”

These themes come out quite vividly in his 1968 novel, “Do Androids Dream of Electric Sheep?” The main character, Rick Deckard, a futuristic bounty hunter with an unhappy marriage, is offered the job of hunting down half a dozen Nexus 6 androids, or “andys”: synthetic human beings with four-year life spans who’ve escaped from Mars and are trying to pass as authentic humans on a bleak planet Earth.

Deckard agrees to the task because he wants the money to buy the environmentally plundered future’s ultimate status symbol, a live animal — specifically, ufo terror wars blade runner sheep. He meets Tyrell, the maker of the Nexus 6 robots, as well as his nominal niece, Rachal, ufo terror wars blade runner, who, Deckard discovers, is an android. He has a brief affair with Rachal, terminates the six andys and, after much philosophical speculation about how androids and humans differ and ruminations about a futuristic religion called Mercerism, Deckard returns to a somehow strengthened relationship with his wife.

When Hampton Fancher, an actor turned screenwriter in search of a project, called on Dick in his Santa Ana apartment in 1975, he wasn’t concerned about the writer’s place in literature. He didn’t care that “Androids” had been optioned three times before or that Dick thought Victoria Principal would make a perfect Rachal.

“Phil was crazy, wonderful; he’d stop and look at his hands for five minutes straight, like he was getting messages from Mars,” remembers Fancher, a striking man with a casually bohemian air. “But he didn’t like me. He kept insulting me, acting like I was Hollywood, some emissary from people with cigars.” No deal resulted, but five years later, when Brian Kelly, an actor friend of Fancher, was looking for a property to produce, Fancher, “just to put him off, knowing he’d be going up a blind alley,” sent him off to Phil Dick. But the two got on; Kelly ufo terror wars blade runner an option on “Androids,” and Fancher eventually became screenwriter.

Fancher’s drafts (he ultimately did eight) eliminated both Mercerism and the wife, upgraded Rachal to girlfriend and placed the “Androids” story in the dark, fatalistic world of film noir. “I wrote it for Robert Mitchum,” he says, “a wiped-out guy with scars and hangovers who got up and did his job. But there was no love in his life. He was missing part of himself, and he found it through contact with this woman. He found his heart by falling in love with the Tin Man.”

These drafts concluded with Deckard taking Rachal out of the city, letting her see nature for the first time, and then, because she has only a few days to live, shooting her in the snow.

While Fancher was writing, Kelly brought the project to the attention of the more experienced Michael Deeley, who in addition to stop unknown hard error virus Deer Hunter” ufo terror wars blade runner overseen dozens of films, including Sam Peckinpah’s “The Convoy,” and had run British Lion and Thorn EMI. Deeley, a polished Briton, liked the novel, seeing it as “a thriller and a romance, like the Nazi commandant falling in love with the Jewish girl who’s supposed to be his victim.”

Deeley immediately thought of Ridley Scott, a filmmaker he’d known for a number of years. But Scott, a successful director of commercials whose only released film was the little-seen “The Duellists,” was in box error 20 hwk with something called “Alien” and was not ready to commit to another science-fiction project. So the script, whose name kept changing from “Android” to “Animal” to “Mechanismo” to “Dangerous Days,” made the well-traveled Hollywood rounds.

Director Robert Mulligan, best known for the sweetly sentimental “To Kill A Mockingbird,” briefly became involved. “The romantic element was a lot softer then,” says Deeley by way of explaining what now seems like a curious choice. Mulligan never got beyond preliminary ufo terror wars blade runner, but by then, Scott, ufo terror wars blade runner, who had become an A-list director with the success of “Alien,” decided he was interested after all. In April, 1980, Filmways Pictures announced a $13-million budget for an as-yet-untitled tale of “technological terror.”

Scott liked Fancher’s dark take on the script. In fact, both men found their collaboration energizing. “For a writer it was awesome, really inspiring, a creative fun house,” remembers Fancher. “And Scott had a way of speaking in shorthand. ‘What’s out the window?’ he said one day. I told him I didn’t know. ‘Well, think about it,’ he said,” ufo terror wars blade runner brief dialogue that led eventually to the elaborately imagined future world that would become the film’s trademark.

It was Fancher who uncovered the name “Blade Runner,” taken from the title of an obscure work by William Burroughs. It was during his tenure that Dustin Hoffman was seriously considered for the role of Deckard. But Hoffman pulled out, and Fancher, after all those drafts, was replaced. “Ridley and I had had disagreements, but I thought I’d won the arguments,” he says with bemused irony. “I was so naive, I didn’t know that writers did what they’re told.”

David Peoples, the second writer on the project, had a background in the documentary field, including co-writing the moving Oscar-nominated study of J. Robert Oppenheimer, “The Day After Trinity.” But though they’d never been produced, he’d written seven or eight dark, futuristic spec scripts (and went on to write Clint Eastwood’s current “Unforgiven”) that had come to the attention of director Tony Scott, Ridley’s brother.

Though excited by the opportunity, Peoples remembers being “totally bummed out” when he read Fancher’s last draft, telling Ridley Scott, “This is brilliant; there is nothing I can do to make it better.” But Scott, not for the last time, persevered. “He’s very demanding,” says Peoples. “He has something in mind and he goes after it.”

Scott had Peoples, in the writer’s words, “move away from Deckard in a ufo terror wars blade runner of jeopardy to a plot involving clues, like ‘Chinatown.’ ” Peoples also worked on the humanity of Deckard’s adversaries, ufo terror wars blade runner, and, in fact, helped by his daughter, who told him about the biological term replicate, he came up with the androids’ new name: replicants. The change was necessary because Scott thought the sturdy science-fiction term android was xrdp error x11/speedo cliché and half-seriously decreed that anybody who used it on the set would get his head broken with a baseball bat.

Just as Peoples was starting to work, he was informed that “a bit of a hiccup” had developed. After having invested more than $2 million in the project, Filmways abruptly pulled out, ufo terror wars blade runner. This set off a frantic scramble to secure financing and distribution for the project, then slated to cost in the neighborhood of $20 million.

“For two weeks, Larry Paull and I did presentations to every studio in town,” remembers art director Snyder. “Ridley and Michael Deeley kept making the point that they weren’t trying to do ‘Star Wars,’ they were trying something else, and the distributors kept saying, ‘You should be so lucky as to do “Star Wars.” ’ “

Finally a complex, three-cornered deal was announced early in 1981. Though the Ladd Co. would release the film (through Warner Bros.), their financial stake would be fixed. According to Deeley, the Ladd Co. put in $8.5 million while foreign rights were sold to Hong Kong film mogul Run Run Shaw for another $8.5 million. To cover the rest, Deeley sent the script over to the three partners at Tandem Productions — Norman Lear, Jerry Perenchio and Bud Yorkin — to see if they were interested in the video and other ancillary rights.

“Jerry was a player; he’d been an agent and a boxing promoter, and he had excellent timing in buying and selling,” remembers Deeley. Yorkin had directed such features as “Divorce, ufo terror wars blade runner, American Style” and “Come Blow Your Horn.” Lear passed on the project, but Perenchio and Yorkin were interested. The pair decided, in Yorkin’s words, “Let’s take a flyer.”

Though they differ on the amount of money initially involved (Yorkin says it was $1.5 million, Deeley $4 million) both men agree on two points. First, without those dollars, however many there were, “Blade Runner” would never have been made. And Perenchio and Yorkin, in industry parlance, took the place of a completion bond company: If “Blade Runner” went over budget, they agreed to pay whatever it took to finish the picture. And that agreement gave them, not the Ladd Co. or Warner Bros. or even Ridley Scott, effective final cut of the movie.

Next, the casting fell into place. Harrison Ford, star of “Star Wars” and the as-yet-unreleased “Raiders of the Lost Ark,” was signed as Deckard. Sean Young, a 20-year-old actress with what cinematographer Jordan Cronenweth described as “wonderful, light, creamy, highly reflective skin,” had exactly the look Scott wanted; she was signed as Rachal. International star Rutger Hauer became Roy Batty, the leader of the replicant band Deckard was to track down.

Shooting was scheduled to begin on March 9, ufo terror wars blade runner, 1981, and last for 15 weeks, and in the beginning, all was sweetness and light. That first day, Yorkin sent Deeley a note: “I know that we are embarking upon a project that you have worked a long time 3rd harddisk error and that is going to be everything you have dreamed of.”

That Ridley Scott did not work in a way anyone on the crew had ever experienced became obvious the very first day of shooting. The elaborate set for the Tyrell Corp. office, complete with nearly 6,000 square feet of polished black marble and six enormous columns, was to be used first. “It was a very pristine set. Everyone was standing around in their socks,” production designer Paull ufo terror wars blade runner, “and Ridley walked in, took a look at the middle columns and said, ‘Let’s turn them upside down,’ ” a decision that meant a major delay.

“Ridley literally changed everything. I can’t think of one set we went into and shot the way we found it,” Snyder says. “It was brutal.” Adds Paull: “Working with him was the first time in my career as a designer that the paint was still wet as the cameras were rolling.”

Trained at London’s prestigious Royal College of Art, with extensive experience as a set designer, Scott directed thousands of commercials (including Chanel’s haunting “Share the Fantasy” spots). Even then, ufo terror wars blade runner, he had a reputation for possessing what production executive Katherine Haber describes as “an eye that was totally and utterly brilliant.”

“Most directors are hyphenates,” explains Snyder. “They can be actor-directors or editor-directors. Because Ridley was an art director-director, he spent the majority of his time with the art department.” In fact, when Snyder was first introduced as the film’s art director, Scott, in a hint of things to come, shot a look at the man and said simply, “Too bad for you, chap.”

A man who’d rather sketch than write, Scott was tireless in pursuit of ideas for the film’s look. The alternative comic book, Heavy Metal, was a major inspiration, and Paull and Scott screened everything from “Metropolis” to “Eraserhead,” “Citizen Kane” and “The Blues Brothers,” which inspired “Blade Runner’s” flaring gas fires.

As he had on “Alien,” where he’d worked with artist H.R. Giger, the director decided to bring in a conceptual illustrator to, as he put it in advertising terminology, “spitball with.” The man chosen was Syd Mead, an industrial designer with a futuristic bent who had created visuals for such companies as U.S. Steel and the Ford Motor Co. Originally hired merely to design the film’s cars, Mead put backgrounds in his sketches that intrigued Scott, and soon Mead, the director, Paull and Snyder were involved in conceptualizing the future.

Though Dick’s novel was set in 1992, the script had updated things to 2020 (finally changed to 2019 so it didn’t sound so much like an eye chart). Scott, who’d been attracted to the film because of a chance to design a city-oriented future, knew he wanted to avoid “the diagonal zipper and silver-hair ufo terror wars blade runner a la “Logan’s Run.” Based on his experiences with urban excess in New York and the Orient, “Blade Runner” was going to be error code 0x80070017 present only much more so, “Hong Kong on a bad day,” Scott says, a massive, teeming, on-the-verge-of-collapse city that the director at one point was going to call “San Angeles.”

“This was not a science-fiction film so much as a period piece,” Paull explains. “But it would be 40 years from now, not 40 years ago.”

The key design concept came to be called retrofitting, the idea being that once cities start to seriously break down, no one would bother to start new construction from scratch. Rather, such essentials as electrical and ventilation systems would simply be added onto the exteriors of older buildings, giving them a clunky, somehow menacing look. Progress and decay would exist hand in hand, and the city’s major buildings, like the massive, Mayan-inspired pyramid that houses the Tyrell Corp., would tower miles above the squalor below.

Though Mead and the director were involved in conceptualizing the future, the task of actually building it fell to Paull and Snyder. “Our job was not just design or dreaming,” recalls Snyder, “it was to stand something up for principal photography.” Which meant, among other tasks, renting some of the neon signs from the recently completed “One From the Heart” and salvaging spare parts from an Air Force base in Tucson. “Syd would do these illustrations, but you had to do it, you had to finesse it if things didn’t work,” Paull adds. “That was the tough, tough part.”

The New York street, on the back lot of what was then the Burbank Studios, was built for Warner Bros. in 1929. Once populated by Humphrey Bogart and James Cagney, it became the arena for Scott’s painstaking artistry. Someone who sees joomla error_reporting php.ini film as “a 700-layer cake,” Scott is, in error getting send status of message gammu Deeley’s apt phrase, “a pointillist, creating things out of masses of tiny dots, like Seurat.”

Almost immediately, Scott began the time-consuming, very gradual piling of precise detail upon precise detail. The never-to-be-seen magazines on the barely glimpsed newsstands had futuristic headlines such as “Guard Dogs You Never Feed.” Hundreds of highball glasses were examined before a single one was selected as a minor prop. Screenwriter David Peoples remembers sinking into a chair in Deckard’s apartment internal server error htaccess realizing with a jolt that “this was not like a movie set, this was like somebody’s apartment, like somebody lived there. It was stunning that way.”

Because much of the film was shot at night (partly for the look, partly to save the expense of hiding the Burbank hills), a 24-hour art department had to be maintained. “Ridley and I would walk the street every morning at dawn,” Paull recalls with something like a shudder. “He’d say, ‘Larry, why don’t we take this and do that with it.’ Then he’d leave with a twinkle in his eye, ufo terror wars blade runner, and I’d pull together 15 or 20 guys so that by the time he walked on the set that night, it would be done.”

With so much attention paid to the visuals, it was inevitable that the actors would get shorter shrift. Edward James Olmos, who played a policeman, welcomed the opportunity to be left on his own to create a street language for his character, and Rutger Hauer was happy to be allowed to improve some of his dialogue, resulting in his wonderful closing line about memories being “lost in time, like tears in the rain.” But M, ufo terror wars blade runner. Emmet Walsh, who also played a policeman, ufo terror wars blade runner to Snyder that “by the time you guys get finished lighting, we’re lucky if we have time for three takes.” Ford was, by several accounts, frustrated to be dealing with a director who was, as one observer put it, “happier to be sitting on a crane looking through the camera than talking to him.”

Invariably, though, dealing with Scott was hardest on “Blade Runner’s” crew. “His view of what was finished work,” Deeley explains, “was different than everyone else’s. If there was something not right in the top right-hand corner, the crew would say, ‘No one’s looking up there.’ But Ridley was looking up there.”

And, says Snyder, “When you didn’t get it with Ridley, you were gone.” The original physical-effects people were fired just before principal photography commenced; the original set decorator was dismissed because Scott didn’t like the look of some crucial department-store windows. “To get the detail I wanted to get,” Scott said in a post-shooting interview, “you do become a relatively unpopular fellow.”

What brought to a head all this pressure, compounded by the threat of a directors’ strike, was an impolitic interview Scott gave to the Manchester Guardian. “He said how much more he enjoyed working with English crews; they all called him ‘Guv’nor,’ and did what he wanted,” remembers Katherine Haber. “A copy of the story was left in Ridley’s trailer, and by the next morning 150 copies had been Xeroxed and distributed.” Almost immediately, the crew declared a T-shirt war.

Though everyone involved remembers the shirts slightly differently, the likeliest scenario seems to be that the challenge “Yes Guv’nor My Ass” appeared on the front, with the sentiment “Will Rogers Never Met Ridley Scott” emblazoned on the back. To retaliate, and to open lines of communication, the British members of the production load dll error, please update system, Deeley and Haber--came back with shirts that insisted, “Xenophobia Sucks.”

Over at Entertainment Effects Group, the special-effects house then run by Douglas Trumbull (who’d become a legend through his work on “2001: A Space Odyssey”) and Richard Yuricich, Scott’s perfectionism was also taking its toll. “He drove the effects people crazy. At the end they were ready to lynch him,” reports Don Shey, editor of Cinefex magazine, who devoted an entire issue to the effects created by Trumbull, Yuricich and David Dryer. “Not only ufo terror wars blade runner he beat them to death, it didn’t bother him to take a shot that cost a quarter of a million dollars and say, cavalierly, ‘It didn’t work as well as I thought it would. I’m cutting it.’ ”

Though “Blade Runner’s” special effects are dazzling, they were hardly, Trumbull says today, a result of extraordinary expenditure of money. “It was the lowest budget we had ever seen, less than a third of that allocated for ‘Star Wars’ or ‘Close Encounters,’ ” he says. “We had no money to invent new gizmos, so we took a very conservative approach,” doing things like reusing the mold for the spaceship from “Close Encounters” as the landing dock on the roof of “Blade Runner’s” police station.

The effects were memorable for two reasons. One was the unusually close coordination between the effects and the live-action photography, what Trumbull calls “one of the most seamless linkups ever,” ensuring a unified look for the entire production. The other was simply Scott’s eye. “It’s almost trite to say these days, but Ridley Scott had a vision, and ‘Blade Runner’ is probably the first and only science-fiction art film,” Shey says.

Scott refused to be rushed. Haber recalls that “he’d fiddle and diddle until it was perfect.” But Scott defends his actions to this day. “In a way, directors ought to get tunnel vision when they’re doing a film, or they shouldn’t be doing the job.”

Hardly that philosophical about the situation were Bud Yorkin and Jerry Perenchio, the men who had contracted to pay whatever it took to finish the film. Deeley describes what he considered “panic from the front office, ufo terror wars blade runner, from Bud Yorkin, who somehow felt as a filmmaker himself that there should be a way to restrain the costs. But he was a meat-and-potatoes, ‘a-picture-is-a-picture’ guy, not on the same creative wavelength as Ridley.”

Yorkin, a silver-haired man with an air of melancholy, sees it differently. “Jerry and I didn’t go into this naively. We knew it would be a very difficult shoot, and we left ourselves a pad of $1.5 million samsung scx-4520 open heat error $2 million,” he says. But as the motorola v3 error 35 02 of ufo terror wars blade runner the pair had to put into the picture rose to something like $5 million, the frustration level escalated.

“We’re not a studio, but unfortunately we were placed in the position of the heavy that a studio would take,” Yorkin says, still irritated, ufo terror wars blade runner. “We were two guys taking it out of our own pockets or going to the bank and borrowing it ourselves. Going on the set and watching someone take five hours longer to set up a shot, seeing a lot of money go out of your pocket, that kind of thing one doesn’t need unless you have a very good heart.”

The time is early 1982, the cities Denver and Dallas, and the feeling is one of happiness and anticipation as movie fans open their newspapers and see advertisements announcing the sneak preview of a science-fiction epic starring Harrison Ford. The mood inside the theaters is cheerful and expectant, for both of Ford’s previous films have conditioned audiences to expect a lighthearted, action-oriented romp, ufo terror wars blade runner. Instead, the lights go down and what appears is something entirely different.

According to one source, the preview cards filled out after both screenings told the same story: “This was a film that made demands on an audience that wasn’t expecting a movie that made demands on them, an audience somewhat befuddled by the film and very disappointed by the ending.” It wasn’t so much that people actively disliked “Blade Runner,” they were simply unprepared for it. Another crisis had arrived.

Though one participant emphasizes that overall “the cards were good, ufo terror wars blade runner not through the roof,” Yorkin saw it differently. “After so much talk, so much anticipation about the film, the cards were very disappointing. We all were in a state of shock.”

It was at this point that changes in the film’s structure were decreed, ufo terror wars blade runner. And though Yorkin says the changes made to the film were a group decision involving the Ladd Co., Warner Bros., Perenchio and the filmmakers, writer Fancher is not alone when he says angrily, “Perenchio and Yorkin came in and shoved people around. They brought in the money that was missing at the end, but they took more than their pound of flesh.”

First, an extensive voice-over was added to help people relate to Harrison Ford’s character and make following the plot easier. According to Haber, after a draft by novelist-screenwriter Darryl Ponicsan was discarded, a TV veteran named Roland Kibbee got the job. As finally written, the voice-over met with universal scorn from the filmmakers, mostly for what Scott characterized as its “Irving the Ufo terror wars blade runner quality.

“You’re looking at a red door, and it’s telling you it’s a red door,” says film editor Terry Rawlings. “It was ludicrous.” Fujitsu ac 5 flashing error code sounded so tinny and ersatz that, in a curious bit of film folklore, many members of the team believe to this day that Harrison Ford, consciously or not, did an uninspired reading of it in the hopes it wouldn’t be used, ufo terror wars blade runner. And when co-writers Fancher and Peoples, now friends, saw it together, they were so afraid the other had written it that they refrained from any negative comments until months later.

The film’s ending was equally troublesome. Scott had wanted the film to end on the nicely enigmatic line, “It’s a shame she won’t last forever; but then again, no one does,” as an elevator door closed in front of a fleeing Deckard and Rachal. Scott had also decided he wanted to leave the viewer with a hint that Deckard himself was a replicant. So he had Deckard notice a small origami unicorn on the floor, a unicorn that would hark back to a unicorn dream that he had earlier in the film, making him realize that his very thoughts 302 error web programmed.

None of the Ladd Co. executives or Yorkin were impressed. “You try and explain to some executive what thoughts are,” growls Rawlings. “They don’t have any.”

“Is he or isn’t he a replicant? You can’t cheat ufo terror wars blade runner audience that way. It’s another confusing moment,” Yorkin says. And so the unicorn dream was never used, and a new, more positive ending line--revealing that Rachal was a replicant without a termination date--was written. To indicate the joy the happy couple had in store for them, scenes of glorious nature were to be shot and added on, but attempts to get proper footage in Utah were foiled by bad weather. Instead, contact was made with Stanley Kubrick and, remembers Rawlings, they ended up with outtakes from “The Shining”: “Helicopter shots of mountain roads, the pieces that are in all the ‘Blade Runner’ prints you see everywhere.”

Though he was far from happy with the changes, especially the loss of his beloved unicorn scene, Scott, surprisingly, did not kick up a major fuss. “It was the first time I’d experienced the heavy-duty preview process,” Scott recalls, “and I was so daunted by the negative or puzzled reaction, I didn’t fight it. I thought, ‘My God, maybe I’ve gone too far. Maybe I ought to clarify it.’ I got sucked into the process of thinking, ‘Let’s explain it all.’ ”

With the voice-over and new ending, “Blade Runner” tested better, and the Ladd Co. planned to open it on June 25, the company’s “lucky day” when both “Star Wars” and “Alien” had debuted. True, another science-fiction film, a little picture from Universal, was opening a month earlier, but, says Deeley with a wan smile, “we all thought that ‘E.T.’ would be out of business in a few weeks, that people would be sick of that sentimental rubbish and be looking for something a little harder-edged. It didn’t quite work out that way.”

A new blade runner, played by Ryan Gosling, discovers a secret that could plunge what’s left of society into chaos. The discovery leads him on a quest to find a former blade runner, played by Harrison Ford, who has been missing for 30 years.

Although “Blade Runner” opened strongly, it was not embraced by the critics, who took special offense at that voice-over (“Should Be Seen Not Heard” read one headline). And while “E.T.” went on to become the highest-grossing film of all time, earning more than $300 million, “Blade Runner” returned only $14.8 million in rentals. Viewers were reluctant to embrace the film’s dark genius, and it gradually disappeared. “It was painful to see it happen,” Rutger Hauer says. “A film that unique pulled out of theaters.” Even “Blade Runner’s” legendary visuals could not stand up against the elfin, feel-good lure of its strongest competitor, losing the visual-effects Oscar to “E.T.”

When a film dies in Hollywood, no one expects it to come back to life, and the people around “Blade Runner” were resigned to its demise. Michael Deeley felt “so depressed I don’t think I ever saw it, never sat through it until the end.” Having successfully fought a bitter battle with Warner Bros. and the Ladd Co. to ufo terror wars blade runner Dick’s original novel instead of a quickie novelization as the official tie-in book, agent Russell Galen felt “that was the end of that.”

But there were still more twists to this plot. “Blade Runner’s” availability on video kept it alive in the eyes of the always loyal science-fiction crowd, and gradually, over time, the film’s visual qualities and the uncanniness with which it had seemed to see the future began to outweigh its narrative flaws. Scott says he saw the interest rise, “And I thought, ‘My God, we must have misfired somewhere; a lot of people like this movie.’ ” And not just in this country. In Japan, where the film had always been successful, “I was treated like a ufo terror wars blade runner art director Snyder reports. “The fans would be too in awe to even look at you.” The film’s look began to show up in art direction and design: Terry Gilliam’s “Brazil” and the stage design for the Rolling Run-time error - 2147417848 80010108 Steel Wheels tour were influenced by “Blade Runner.” And when laser discs appeared on the market, “Blade Runner” was one of the films that everyone just had to get. It became Voyager’s top-selling disc immediately upon its release in 1989, never losing the No. 1 spot.

“Blade Runner’s” influence has been literary as well. Many people who saw the film ended up reading the novel, making it Dick’s top seller and, according to Galen, sparking the Phillip K. Dick renaissance of the 1980s. Dick’s “We Can Remember It for You Wholesale” ufo terror wars blade runner the basis for Arnold Schwarzenegger’s “Total Recall,” and “Blade Runner,” along with “Road Warrior” and “Escape to New York,” is considered a key progenitor ufo terror wars blade runner the latest wrinkle in written science fiction, the darkly futuristic cyberpunk movement.

Yet, if anyone thought about Scott’s original cut of “Blade Runner” while all this was going on (and some people did), the accepted wisdom was that it no longer existed. That’s what Michael Arick thought when he took over as Warner Bros. director of asset management in 1989, in charge of recovering and restoring material on the studio’s films. Then, in October of that year, there occurred the first of a series of fluky events that would rearrange ufo terror wars blade runner was in the vault at Todd-AO’s screening room, looking for footage from ‘Gypsy,’ when I stumbled on a 70-millimeter print of ‘Blade Runner,’ ” Arick remembers. “What had probably happened was that no one had ufo terror wars blade runner to have it picked up after a screening. In order to save it from collectors, I hid it on the lot.”

Several months later, the management at the Cineplex Odeon Fairfax theater was in the midst of a classic-film festival featuring 70-millimeter prints. Having heard through the print grapevine that a 70-millimeter version of “Blade Runner” had been spotted, the Fairfax asked for it from Warner Bros. Arick, a supporter of revival theaters, agreed. But neither the Fairfax nor Arick (who had never screened the print in its entirety) knew what they had on their hands.

All this changed dramatically one morning in May. “Anyone who gets up for a 10 a.m. Sunday screening of ‘Blade Runner’ really knows the film,” Arick says, “and everyone knew immediately what they were watching. The audience was very rapt from ufo terror wars blade runner beginning; the atmosphere was incredible.” The print, almost devoid of the ufo terror wars blade runner and lacking the tacked-on ending, was closer to Scott’s original version than anyone ever thought they’d see again.

Though there was an immediate stir in the film-buff community, Warner Bros. wasn’t sure what to do with this new-old version. Scott came over to see it and told Arick that it was in fact not his final cut: The unicorn scene that he had come to love was still missing, and the music over the climactic fight scene was not film composer Vangelis’ work but temporary music lifted from Jerry Goldsmith’s score for “Planet of the Apes.” The two talked ufo terror wars blade runner the possibility of adding the unicorn footage, technically known as a “trim,” which was languishing in a film-storage facility in London.

What happened instead was that Arick and Warner Bros. parted company (although he continued to advise Scott), and the studio contacted Gary Meyer, executive vice president of the Landmark theater chain, which had earlier expressed interest in “Blade Runner,” and asked if he still wanted to show it. Meyer was enthusiastic; 15 theaters nationwide were booked, including the Nuart in West Los Angeles, and without knowing it wasn’t quite true, Warner Bros. created a campaign advertising “The Original Director’s Version of the Movie That Was Light Years Ahead of Its Time.”

Scott was not pleased. “As I understand it, he said, ‘This is not my version,’ which left Warner Bros. in a real dilemma,” reports Meyer. “My intuition is that the studio, which might want to hire him in the future, didn’t want to alienate him over some two-week repertory booking.” So a compromise was reached. The newly discovered version of “Blade Runner” would ufo terror wars blade runner in the Nuart and at the Castro in San Francisco, but nowhere else.

With little publicity, “Blade Runner” opened at the Nuart last September, and immediately attendance went through the roof. The first week set a house record, and the second week bettered the first. When Hampton Fancher, whose screenplay had started it all, tried to get in, he even showed his passport at the box office to prove who he was. But there was absolutely no room at the inn.

The same pattern of success repeated at the Castro, where its $94,000-plus box-office take in one week made it the top-grossing theater in the country. Encouraged by this, and by lucrative showings of the old voice-over version of “Blade Runner” in Houston and Washington, Warner Bros. agreed to pay for the technicians and editing rooms so that Scott could put the film back just the way he wanted it. Which is why, on a weak telephone connection from London a few months ago, there was quiet satisfaction in the director’s voice when he said, “I finally got me unicorn scene. Ten years later, but I got it.”

The tale of “Blade Runner” turns out to be a curious one. No one went bankrupt, no one’s life was ruined beyond repair, ufo terror wars blade runner, no one never worked in this town again, ufo terror wars blade runner. But the experience illuminated the oldest of Hollywood battles, the one about how much tribute must be paid to art in a multimillion-dollar business where money is always the bottom line. Movie executives have always tried to change films, often destroying any artistic merit on the screen — and in the end, ironically, the mutilated films don’t make any more money than the original versions would have. So, the dispute remains contentious — even though everyone agrees that “Blade Runner” was so ahead of its time that it wouldn’t have been a major hit even if not a frame had been altered.

Still, this was for almost all involved the project of projects, the one that no one has forgotten and that everyone sighs the deepest of sighs over. “Everything on ‘Blade Runner’ was a little bigger, a little better,” says Rutger Hauer wistfully. “You can only be a genius so many times in your life.”

Ufo terror wars blade runner - amusing

Some Sexuality/Nudity)

  • Genre:

    Sci-fi, Horror, Mystery & thriller

  • Original Language:


  • Director:

    Ridley Scott

  • Producer:

    Ridley Scott, Mark Huffam, Michael Schaefer, David Giler, Walter Hill

  • Writer:

    John Logan, Dante Harper

  • Release Date (Theaters):


  • Release Date (Streaming):

  • Box Office (Gross USA):


  • Runtime:

  • Distributor:

    20th Century Fox

  • Sound Mix:

    Dolby Atmos, Datasat

  • Aspect Ratio:

    Scope (2.35:1)

  • View the collection: