Log In
Or create an account ->
Imperial Library
Home
About
News
Upload
Forum
Help
Login/SignUp
Index
Cover
Title Page
Dedication
Epigraph
Contents
Los Angeles 2017 (Preface to the 2017 Edition)
One Man’s Obsession (Introduction to the 1996 Edition)
I. The Film
Blade Runner
II. The Book
The Author: Philip K. Dick
Do Androids Dream of Electric Sheep?
III. Development
“Do I Love Hollywood? No.”
The First Option Attempts
Enter Hampton Fancher
Brian Kelly Carries the Ball
Treatments and Pitches
The Producer: Michael Deeley
IV. The Director and The Deal
Fancher’s First Script
Robert Mulligan, Universal Pictures, and CBS Films
The Director: Ridley Scott
The (First) Studio: Filmways Pictures
V. Script Wars
Rewrites
Fancher Out, Peoples In
More Rewrites
An Unhappy Dick
The (Second) Studio: Warner Bros., Tandem Productions, and Sir Run-Run Shaw
VI. Designing Blade Runner
Syd Mead, “Visual Futurist”
Lawrence G. Paull, David L. Snyder and the Art Department
VII. The Cast and Crew
Looking for the Lead
Harrison Ford
The Actors and the Crew
VIII. The Shoot
Ridleyville
Street Scene 2019: A Visit to the Blade Runner Set in 1981
Leon’s Voigt-Kampff Test
The Mother Blimp and The Noodle Bar
Liftoff
Bryant’s Briefing
Holden and the Hospital
Rachael and Tyrell
Leon’s Hotel Room
“If Only You Could See What I’ve Seen With Your Eyes”
Deckard’s Apartment
Pris and Sebastian
The Esper
Animoid Row
The Snake Pit
Zhora/Deckard’s Blaster/Death in the Arcade
“Wake up! Time to Die!”
Rachael Lets Down Her Hair
Breakfast for Three
“I Want More Life . . .”
Deckard Phones Pris
Deckard Kills Pris
Tears in Rain
Gaff on the Roof
Tinfoil Unicorn
IX. “Blood Runner”: Friction on the set
Fired?
Unhappy Actors
Exhausted Crews
The T-Shirt War
Witnesses for the Defense
X. The Special Effects
Douglas Trumbull and EEG
Scott F/X
Hades
Tyrell’s Pyramid
Leon’s V–K Test
An Asian Billboard
The Mother Blimp
Spinner to Police HQ
Sunrise at Tyrell’s
Deckard’s Apartment
The Bradbury
The Esper
Elevator to Hell
The Showdown
End of the F/X
XI. Postproduction and The Music
Principal Wraps–Post Begins
Vangelis
The Score
The Album(s)
XII. Sneaks snd Panic
More Postproduction
The Publicity Machine Gears Up
The Author Resurfaces–and Dies
The Denver and Dallas Sneaks (A Different Version #1)
XIII. Voice-Overs, San Diego, and A New Happy Ending
The Voice-overs
Ride into the Sunset
The San Diego Sneak (A Different Version #2)
XIV. The Theatrical Release
A Different Version (#3)
The Crew’s Reaction
The Critics Attack
An Indifferent Public
Shock in the Trenches
Gone . . . But Not Quite Forgotten
XV. The Cult
A Growing Popularity
The Birth of Cyberpunk
The International Cut (A Different Version #4)
Tapes and Discs
XVI. The Workprint
Everything Old Is New Again
The Fairfax and UCLA Screenings
The NuArt and Castro Screenings
A Different Version (#1 Again)
XVII. The Director’s Cut
Building a Better Director’s Cut
Do Androids Dream of Unicorns?
Deckard a Replicant?
Releasing the Theatrical Version
The Critics React
A Different Version (#5)
More Tapes and Discs
XVIII. The Legend Grows
PKD in the 21st Century
The Blade Runner Virus: Texts & Documentaries
The Blade Runner Virus: Fame, Fashion and FanEdits
Flying Spinner, Restored!
XIX. The Final Cut
Do Androids Dream of DVDS?
De Lauzirika, Ascendant
The (Lost) Definitive Cut
Digital Days
A Final Cut—Really
Differences (The Final Cut vs. The Director’s Cut)
The Original Unicorn
Tweaking the Blunders
(Re)Shooting Zhora/The Lips of Deckard’s Son
The Send-Off
XX. Blade Runner 2049
Sequels, Sequels-Sequel?
35 Years Later …
The Bare Bones
Full Circle/Anticipation
XXI. Check the Gate
Martini Shots
My Own Private Blade Runner
Interviews
“A 700-Layer Layer Cake: Interview with Sir Ridley Scott
“How Can It Not Know What It Is?”: Interview with Harrison Ford
“I Am the Business”: Interview with Sean Young
“Fiery the Angels Fell:” Interview with Rutger Hauer
Credits
Blade Runner Film Credits (including The Final Cut)
Acknowledgments
About the Author
Credits
Copyright
About the Publisher
← Prev
Back
Next →
← Prev
Back
Next →