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Hampton Fancher (screenplay) and
David Webb Peoples (screenplay) ...
(suite)
25 juin 1982 (USA) suite
A Futuristic Vision Perfected [2007 Final Cut] suite
Deckard, a blade runner, has to track down and terminate 4 replicants who hijacked a ship in space and have returned to earth seeking their maker. full summary | add synopsis
Nominated for 2 Oscars. Another 9 wins & 14 nominations suite
The Last Great Noir plus de (914 total)
Réalisé par | |||
| Ridley Scott | |||
Scénaristes | ||
| Hampton Fancher | (screenplay) and | |
| David Webb Peoples | (screenplay) (as David Peoples) | |
| Philip K. Dick | (novel "Do Androids Dream of Electric Sheep?") | |
| Roland Kibbee | (voiceovers) uncredited | |
Produit par | |||
| Michael Deeley | .... | producer | |
| Charles de Lauzirika | .... | producer (final cut version) | |
| Hampton Fancher | .... | executive producer | |
| Brian Kelly | .... | executive producer | |
| Jerry Perenchio | .... | co-executive producer | |
| Ivor Powell | .... | associate producer | |
| Paul Prischman | .... | associate producer (final cut version) | |
| Run Run Shaw | .... | associate producer | |
| Bud Yorkin | .... | co-executive producer | |
| Ridley Scott | .... | co-producer (uncredited) | |
Musique originale | |||
| Vangelis | |||
Image | |||
| Jordan Cronenweth | (director of photography) | ||
Distribution des rôles | |||
| Jane Feinberg | |||
| Mike Fenton | |||
| Marci Liroff | |||
Création des décors | |||
| Lawrence G. Paull | |||
Direction artistique | |||
| David L. Snyder | (as David Snyder) | ||
Décorateur de plateau | |||
| Linda DeScenna | |||
| Leslie McCarthy-Frankenheimer | (as Leslie Frankenheimer) | ||
| Thomas L. Roysden | (as Tom Roysden) | ||
| Peg Cummings | (uncredited) | ||
Création des costumes | |||
| Michael Kaplan | |||
| Charles Knode | |||
| Jean Giraud | (uncredited) | ||
Maquillage | |||
| Bridget O'Neill | .... | makeup artist: Joanna Cassidy (final cut version) | |
| Shirley Padgett | .... | hair stylist (as Shirley L. Padgett) | |
| Marvin G. Westmore | .... | makeup artist | |
| John Chambers | .... | prosthetic makeups (uncredited) | |
Directeur de production | |||
| C.O. Erickson | .... | executive in charge of production | |
| John W. Rogers | .... | unit production manager | |
Assistant réalisateur | |||
| Newt Arnold | .... | first assistant director (as Newton Arnold) | |
| Morris Chapnick | .... | second assistant director | |
| Peter Cornberg | .... | first assistant director | |
| Donald Hauer | .... | second assistant director (as Don Hauer) | |
| Victoria E. Rhodes | .... | dga trainee (as Victoria Rhodes) | |
| Richard Peter Schroer | .... | second assistant director (as Richard Schroer) | |
Technicien du son | |||
| Bud Alper | .... | sound mixer | |
| Gene Ashbrook | .... | boom operator (as Eugene Byron Ashbrook) | |
| Christopher Assells | .... | sound editor | |
| Brydon Baker III | .... | cable person (as Beau Baker) | |
| Peter Baldock | .... | assistant dialogue editor | |
| Joe Gallagher | .... | assistant sound editor | |
| Graham V. Hartstone | .... | chief dubbing mixer | |
| Mike Hopkins | .... | dialogue editor (as Michael Hopkins) | |
| Gerry Humphreys | .... | dubbing mixer | |
| Peter Pennell | .... | sound editor | |
| Joel Fein | .... | sound recording mixer (uncredited) | |
| John Hayward | .... | sound re-recording mixer (uncredited) | |
| Nicolas Le Messurier | .... | sound re-recording mixer (uncredited) | |
| Gordon K. McCallum | .... | sound mixer (uncredited) | |
Effets spéciaux | |||
| William Curtis | .... | special effects technician (as William G. Curtis) | |
| David Dryer | .... | special photographic effects supervisor | |
| Logan Frazee | .... | special effects technician | |
| Terry D. Frazee | .... | special floor effects supervisor (as Terry Frazee) | |
| Steve Galich | .... | special effects technician | |
| Douglas Trumbull | .... | special photographic effects supervisor | |
| Richard Yuricich | .... | special photographic effects supervisor | |
| Robert Cole | .... | special effects action property foreman (uncredited) | |
| Robert DeVine | .... | special effects (uncredited) | |
| Ken Estes | .... | special effects foreman (uncredited) | |
| Scott Forbes | .... | special effects technician (uncredited) | |
| Gene Young | .... | model construction (uncredited) | |
Visual Effects | |||
| Michael Backauskas | .... | visual effects assistant editor (as Michael Bakauskas) | |
| Robert D. Bailey | .... | matte photographer (as Robert Bailey) | |
| Don Baker | .... | camera operator: special photographic effects | |
| Philip Barberio | .... | optical line-up | |
| Jill Bogdanowicz | .... | digital intermediate colorist (2007 restorated version) | |
| Christian Boudman | .... | compositing supervisor: SPI (final cut version) | |
| Diane Caliva | .... | visual effects producer: The Orphanage (The Final Cut version) | |
| Trent Claus | .... | digital compositor (final cut version) | |
| Charles Cowles | .... | camera operator: special photographic effects | |
| Lisa Deaner | .... | lead artist (final cut version) | |
| Leslie Ekker | .... | model maker | |
| Collin Fowler | .... | visual effects coordinator: Illusion Arts Arts (final cut version) | |
| Robert Hall | .... | optical photography supervisor | |
| David R. Hardberger | .... | camera operator: special photographic effects (as David Hardberger) | |
| Jeffrey Jasper | .... | digital artist: New Deal Studios (final cut version) | |
| Benjamin Kutsko | .... | Flame artist (final cut version) | |
| Ronald Longo | .... | camera operator: special photographic effects | |
| Tim McHugh | .... | camera operator: special photographic effects (as Timothy McHugh) | |
| Gregory L. McMurry | .... | electronic engineer (as Greg McMurray) | |
| Syd Mead | .... | visual futurist | |
| Jarrod Nesbit | .... | visual effects coordinator: SPI (final cut version) | |
| Thomas Nittmann | .... | visual effects producer: Lola Visual Effects (final cut version) | |
| Brian Nugent | .... | Flame artist (final cut) | |
| Luke O'Byrne | .... | visual effects executive producer: The Orphanage (The Final Cut version) | |
| Richard Ripple | .... | optical line-up | |
| Jonathan Rothbart | .... | visual effects supervisor: The Orphanage (The Final Cut version) | |
| Marc Sadeghi | .... | executive visual effects producer: The Orphanage (final cut version) | |
| Georgia Scheele | .... | visual effects coordinator (final cut version) | |
| John Scheele | .... | visual effects supervisor (final cut version) | |
| Robert Spurlock | .... | miniature technician (as Bob Spurlock) | |
| Mark Stetson | .... | chief model maker | |
| David K. Stewart | .... | cinematographer: special photographic effects (as Dave Stewart) | |
| Tama Takahashi | .... | matte photography | |
| Sean Wallitsch | .... | Flame artist (final cut version) | |
| Edson Williams | .... | visual effects supervisor: Lola Visual Effects (final cut version) | |
| Matthew Yuricich | .... | matte artist | |
| Ryan Zuttermeister | .... | associate visual effects producer: Lola Visual Effects (final cut version) | |
| Daphne Apellanes-Ackerson | .... | rotoscope artist: The Orphanage (The Final Cut version) (uncredited) | |
| Dana Basinger | .... | film I/O coordinator: The Orphanage (The Final Cut version) (uncredited) | |
| Jerry Castro | .... | editorial supervisor: The Orphanage (The Final Cut version) (uncredited) | |
| Craig Chandler | .... | optical effects (uncredited) | |
| Steve Cho | .... | lead compositor: The Orphanage (The Final Cut version) (uncredited) | |
| Joe C. D'Amato | .... | resource manager: The Orphanage (The Final Cut version) (uncredited) | |
| Tim Dobbert | .... | matchmove supervisor: The Orphanage (The Final Cut version) (uncredited) | |
| Rama Dunayevich | .... | public relations: The Orphanage (The Final Cut version) (uncredited) | |
| Bill George | .... | miniature design and construction (uncredited) | |
| Rocco Gioffre | .... | matte artist (uncredited) | |
| Julieta Gleiser | .... | digital production manager: The Orphanage (The Final Cut version) (uncredited) | |
| Daniel Gloates | .... | senior staff: The Orphanage (The Final Cut version) (uncredited) | |
| Joanna Goldfarb | .... | post production supervisor: The Orphanage (The Final Cut version) (uncredited) | |
| Monique Gougeon | .... | human resources: The Orphanage (The Final Cut version) (uncredited) | |
| Rich Grande | .... | rotoscope artist: The Orphanage (The Final Cut version) (uncredited) | |
| Timothy Gross | .... | systems administration: The Orphanage (uncredited) | |
| Sunghwan Hong | .... | rotoscope artist: The Orphanage (The Final Cut version) (uncredited) | |
| Michelle Kater | .... | rotoscope artist: The Orphanage (The Final Cut version) (uncredited) | |
| Bill Kent | .... | camera operator: special photographic effects (uncredited) | |
| Ivan Landau | .... | visual effects editor: The Orphanage (The Final Cut version) (uncredited) | |
| Diana K. Lee | .... | roto/matchmove coordinator: The Orphanage (The Final Cut version) (uncredited) | |
| Soyoun Lee | .... | rotoscope artist: The Orphanage (The Final Cut version) (uncredited) | |
| Stuart T. Maschwitz | .... | senior staff: The Orphanage (The Final Cut version) (uncredited) | |
| Dan McNamara | .... | senior staff: The Orphanage (The Final Cut version) (uncredited) | |
| Michele Moen | .... | matte artist: EEG (uncredited) | |
| Tom Pahk | .... | model maker (uncredited) | |
| Christine Peterson | .... | roto/paint artist: The Orphanage (final cut version) (uncredited) | |
| Aaron Rhodes | .... | compositing supervisor: The Orphanage (The Final Cut version) (uncredited) | |
| Christopher S. Ross | .... | miniature design and construction (uncredited) | |
| Jonathan Seay | .... | visual effects camera (uncredited) | |
| Carsten Sørensen | .... | senior staff: The Orphanage (The Final Cut version) (uncredited) | |
| Scott Squires | .... | visual displays: DQI (uncredited) | |
| Scott Stewart | .... | senior staff: The Orphanage (The Final Cut version) (uncredited) | |
| Bee Jin Tan | .... | rotoscope artist: The Orphanage (The Final Cut version) (uncredited) | |
| George Trimmer | .... | model maker (uncredited) | |
| Ryan Tudhope | .... | compositor: The Orphanage (The Final Cut version) (uncredited) | |
| Tiffany Wu | .... | roto/matchmove coordinator: The Orphanage (The Final Cut version) (uncredited) | |
| Hoyt Yeatman | .... | visual displays: DQI (uncredited) | |
Cascadeur | |||
| Gary Combs | .... | stunt coordinator | |
| Ray Bickel | .... | stunts (uncredited) | |
| Janet Brady | .... | stunts (uncredited) | |
| Diane Carter | .... | stunts (uncredited) | |
| Ann Chatterton | .... | stunts (uncredited) | |
| Gilbert B. Combs | .... | stunts (uncredited) | |
| Tony Cox | .... | stunts (uncredited) | |
| Rita Egleston | .... | stunts (uncredited) | |
| Gary Epper | .... | stunts (uncredited) | |
| Jeannie Epper | .... | stunts (uncredited) | |
| James M. Halty | .... | stunts (uncredited) | |
| Jeff Imada | .... | stunts (uncredited) | |
| Gary McLarty | .... | stunts (uncredited) | |
| Karen McLarty | .... | stunts (uncredited) | |
| Beth Nufer | .... | stunts (uncredited) | |
| Roy K. Ogata | .... | stunts (uncredited) | |
| Bobby Porter | .... | stunts (uncredited) | |
| Lee Pulford | .... | stunts (uncredited) | |
| Ruth A. Redfern | .... | stunts (uncredited) | |
| George Sawaya | .... | stunts (uncredited) | |
| Charles A. Tamburro | .... | stunts (uncredited) | |
| Jack Tyree | .... | stunts (uncredited) | |
| Mike Washlake | .... | stunts (uncredited) | |
| Michael Zurich | .... | stunts (uncredited) | |
Departement Animation | |||
| John C. Wash | .... | animator (as John Wash) | |
Département Costume et garde-Robe | |||
| Winnie D. Brown | .... | costumer: women (as Winnie Brown) | |
| Bob E. Horn | .... | costumer: men (as Bobby E. Horn) | |
| James Lapidus | .... | costumer: men | |
| Linda Matthews | .... | costumer: women (as Linda A. Matthews) | |
| Jan Ferris | .... | designer/sculptor: jewelry and metalwork for costumes (uncredited) | |
| Jerry Herrin | .... | costumer supervisor: day crew (uncredited) | |
Dpartement Editorial | |||
| Kurt P. Galvao | .... | restoration consultant | |
| Les Healey | .... | editor: Director's cut | |
| Terry Rawlings | .... | supervising editor | |
| R. William Zabala | .... | assistant editor (as William Zabala) | |
Département Musique | |||
| Vangelis | .... | music arranger | |
| Vangelis | .... | music producer | |
| Ian Underwood | .... | musician: synthesizers (uncredited) | |
Département Transport | |||
| Howard Brady Davidson | .... | transportation captain | |
| Mario Simon | .... | transportation (uncredited) | |
Divers | |||
| Vickie Alper | .... | production coordinator | |
| Tom Cranham | .... | effects illustrator | |
| Bud Elam | .... | special engineering consultant | |
| Joyce Goldberg | .... | production office manager | |
| David Grafton | .... | special engineering consultant | |
| Katherine Haber | .... | production executive | |
| Jack Hinkle | .... | film coordinator | |
| Richard E. Hollander | .... | computer engineer (as Richard Hollander) | |
| Saul Kahan | .... | publicist | |
| Michael Knutsen | .... | craft service | |
| Gregory L. McMurry | .... | electronic engineer (as Greg McMurray) | |
| Virgil Mirano | .... | still lab | |
| Michael Neale | .... | location manager | |
| George Polkinghorne | .... | cinetechnician | |
| Ana Maria Quintana | .... | script supervisor (as Anna Maria Quintana) | |
| David Scharf | .... | electron microscope photography | |
| Charles A. Tamburro | .... | helicopter pilot | |
| Steve Warner | .... | production controller | |
| Evans Wetmore | .... | electronic and mechanical design | |
| Brian O. Haynes | .... | production assistant (uncredited) | |
| Jeffrey A. Humphreys | .... | studio utility (uncredited) | |
| Roland Kibbee | .... | voice-over engineer (uncredited) | |
| Nancy Ramey | .... | assistant accountant (uncredited) | |
| Jasmine Sabu | .... | horse trainer (final cut) (uncredited) | |
Blade Runner: The Final Cut (International: English title) (recut version)
suite
Rated R for violence and brief nudity (definitive cut); Rated R for violence. (1991 version)
117 min
Couleur (Technicolor)
2,20 : 1 suite
70 mm 6-Track (70 mm prints) | Dolby (35 mm prints)
Canada:13+ (Quebec) | Canada:A (Nova Scotia) | Canada:AA (Ontario) | Canada:PA (Manitoba) | Italy:T | USA:R (Definitive Cut) | Germany:12 (re-rating) (2007) | Brazil:14 | West Germany:16 (f) | Portugal:M/12 | Ireland:15A | New Zealand:M | Denmark:15 (original rating) | Spain:13 | UK:15 (video rating) (1986) | Argentina:16 | Australia:M | Chile:18 | Finland:K-16 | France:-12 | Ireland:15 | Israel:PG | Japan:R-15 (director's cut) | Netherlands:16 (director's cut) | Norway:15 | Peru:18 | Singapore:NC-16 | South Korea:18 | Sweden:15 | UK:AA (original rating) | USA:R | Norway:16 (original rating) | Iceland:16
2nd Street Tunnel, Downtown, Los Angeles, California, USA suite
For the Final Cut of the film, one day of entirely new shooting took place - which has become known as the Greenscreen Shoot. This involved correcting the obvious problem in the original cut that when Zhora (Joanna Cassidy) crashes through the sheets of glass, it clearly isn't Cassidy (it's actually stuntwoman Lee Pulford). New footage of Cassidy was shot and face replacement technology was used to digitally replace Pulford's face with Cassidy's. Not only was Cassidy thrilled that Zhora's costume still fit her, but the crew working on the shot were amazed at how easily Cassidy was able to exactly mimic her actions of 25 years previously. suite
Continuité: Bryant tells Deckard that six replicants escaped from an Off-World colony. One was killed trying to break into Tyrell's, and the others escaped. However, there are only four replicants in the film (Roy, Leon, Zhora and Pris); if one goes by Bryant's dialogue, there should be five. This infamous goof has been corrected in the 2007 Final Cut where Bryant now says that two replicants were killed trying to break into Tyrell's. suite
[first lines]
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
suite
Référencé sur Superman III (1983) suite
MEMORIES OF GREEN suite
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This is a film that is so deep, rich, and multi-layered, it may require more than one viewing to fully absorb the brilliance of what you've just seen. At first glance, it can be a bit slow. It's told in a classic film noir fashion, so this is to be expected. Director Ridley Scott seems to want to savor every shot, and an astute audience will be able to sense this.
Now, I say the film is told in a classic Noir style, but this can be misleading. There is no Humphrey Bogart in Blade Runner, snapping off brilliant one-liners once a second. Only hopeless people, in many ways victims of the merciless world of which they are all a part. Deckard is a typically downbeat protagonist, a hard-boiled cynical leading man with a weakness for heavy drinking. The plot is a mystery in name only, as the audience is allowed to know what Roy Batty, Pris and Leon are all up to before Deckard ever finds out. This only lends to the dread and inevitability of the film, lending further to its pervasive gloom. There is no final scene at the end where the bold detective puts all the pieces together and says "Ah-Ha!". Instead, we find Rick Deckard questioning his own existence and drinking away his constant doubts, all the while embroiled in a romantic relationship with someone he's sworn to kill.
Blade Runner requires audience participation, particularly in the Director's Cut, which is entirely devoid of some rather necessary exposition provided by the Original Cut's much-maligned voice-over. Certain facts will not be clear even at the end of the film, requiring personal interpretation in order to be appreciated fully. Other facts will be given away in much more subtle ways than in most modern cinema, such as through visual cues and tenuous dialogue.
Finally, visually, this movie is quite simply a science fiction triumph. It looks better than modern computer effects in every way that counts. Superimposed special effect objects don't give off that unnatural, clearly computer-generated "Lord of the Rings" sheen common in today's effects-driven blockbusters. This, of course, is because Blade Runner - while a gorgeous movie - is not effects driven in the least. Rather, it is a visually driven story that doesn't rely on special effects. This is an important distinction to make in today's Hollywood.
"Touch of Evil" really wasn't the last of the Great Film Noirs!