During the briefing, the shot of Bryant getting a bottle and pouring two drinks is absent. As Gaff and Deckard approach the Tyrell building, there is more air traffic control heard. When Rachael asks Deckard if she can ask him a personal question, Deckard responds "Sure. What is it? After Chew tells Roy that J. Sebastian will take him to Tyrell, the shot where Roy leans forward and says, "Now, where will we find this J.
After Rachael has left Deckard's apartment, and he walks out onto the balcony, there is the sound of a police siren, which is absent in all other cuts. When Deckard plays the piano in a depressed stupor: a there is no unicorn vision, b there is no background music, and c we hear one or two notes Harrison Ford actually played on the set.
A whirring sound comes from the Esper that is absent in all other versions. After zooming in on the shot of Roy in the photo, Deckard can be heard to say "Hello Roy.
As Deckard moves away from the Cambodian lady, there is an eighteen second crane shot showing Deckard disappearing into the crowd. The dialogue heard during the scene with Hassan matches perfectly with the lip movements. As Deckard nears Taffey Lewis' club, there is a twelve second crane shot showing the geography of the street.
There is a shot of two dancers in hockey masks outside Taffey's bar. The audio-only introduction of 'Miss Salome' is slightly different. There is a close-up shot of Deckard examining a sequin from Zhora's costume. After Zhora attacks Deckard and flees, we see Deckard loosen his tie from his throat. In Deckard's apartment, there is no "Love Theme"; the initial music track merely continues on longer.
Also, Rachel plays a different selection on the piano when testing herself, and the shot of her undoing her hair and letting it fall to her shoulders is missing. Roy says to Tyrell, "I want more life, father". When Roy kills Tyrell, the footage is the same as in the International version, showing Roy's thumbs going into Tyrell's eyes and blood spurting out. As Sebastian turns to run, he can be heard whimpering. Bryant's info to Deckard over the CB about Tyrell's and Sebastian's deaths are heard as we see Deckard driving through the tunnel.
When Deckard is parked in his sedan on the street, he is merely preparing to call J. Also, when the spinner arrives, we hear police sirens. During the fight between Pris and Deckard, we see Pris lift him up by the nostrils.
There is the sound of a thunderclap as Roy examines Pris' body. We actually see Roy break Deckard's fingers, in a split second close up, with a prop-hand. Also, the shot when Deckard pops his fingers back in is taken from a different angle, and Deckard's scream is much quieter than in all other versions of the film.
There are more shots of Roy running through the Bradbury. When Roy pushes his head through the wall, there is an extra line; "You're not in pain are you? Are you in pain? The music during the chase is completely different from the music of Vangelis according to Paul Sammon , the music used is from old soundtracks by James Horner and Jerry Goldsmith. Films are often recut and redistributed, like the extended editions of the Lord of the Rings trilogy or the multitude of retinkered Star Wars films that continue to revise the memories of the fandom.
Blade Runner is a bit more complicated. Blade Runner has had seven different versions. The very loose adaptation of Philip K. This debate surrounding which version is best actually mirrors the themes of the movie. What does it mean to be a real human as opposed to a replicant that is all but indistinguishable from one? The answers here are almost always like good sci-fi matters of degrees.
In early , two versions were shown to audiences before release: a workprint and a sneak peek. Thanks for signing up! Check your inbox for a welcome email. Email required. By signing up, you agree to our Privacy Notice and European users agree to the data transfer policy.
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Democrats have no plan to fight housing inflation By Jerusalem Demsas. Are we turning the corner on Covid treatments? By Kelsey Piper. Everything about it is wrong: Ford speaks in a dull monotone, the dialogue is written out of sync with the way the character speaks and acts, and it seems to be slotted in wherever the producers felt they could squeeze it.
The voiceover generally comes during transitional scenes that show off the world. The Final Cut sets out to captivate the audience, not spoon-feed them. Undermining your opponent by campaigning that you have the easy job is an interesting tactic, but I feel you never got off the runway here. Could this be a long con? Your own version of a slow movie, so to speak?
A round of applause for Bryan , who appears to have turned self-loathing into an argument strategy. A strong start for Bryan, but can he keep it up? Bryan: Thanks for your intervention there, Megan. What the hell, T. How do you mic-drop an online discussion with no mics?
Creighton, I enjoy your attempt to frame defending the Theatrical Cut — which is about as beloved as the ending of Lost — as the easier job, somehow. In any case, in terms of mood and feel, the Theatrical Cut of Blade Runner changed the trajectory of cinema.
Up until that point, we were on a run where robots and science fiction vistas meant raucous, operatic adventures. Ridley Scott did so many things right, and so differently for the era, Blade Runner is worthy of all the praise it received in However, the Theatrical Cut, feels like a film that would have been ripe for a remake in the post- Matrix world of the early s.
In all of these cases, the original films are full of great characters, great world-building, and great structure, but they leave the audience wanting just a little more, because they looked stylistically dated by The voiceover and the theatrical ending date Blade Runner in a way that would have made it a perfect candidate for a remake Bryan: Wait a second.
I thought we were arguing for a particular movie, not against our fear of Zack Snyder. Which, of course, is the exact reason we now have Blade Runner But I remain a die-hard fan of his older films, like Legend or the original Alien.
That gives me some modicum of faith in his preferred version.
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