Talking with the creators of Alien (1979). Interviews with Ridley Scott (Director), Walter Hill (Producer), David Giler (Producer), Carlo Rambaldi (Creator of Alien Head Effects), Bolaji Badejo ("The Alien"), Michael Seymour (Production Designer), Ivor Powell (Associate Producer), Roger Dicken (Creator of Small Alien Forms), H.R. Giger (Alien Designer)
Doll and Faller assert that Ridley Scott's film, Blade Runner, exhibits elements of two distinct pulp genres, film noir and science fiction. The genre cross-pollination is a reflection of Philip K. Dick's novel, Do Androids Dream of Electric Sheep?, upon which the movie is based.
Interviews with screenwriters Hampton Fancher and David Peoples, industrial designer Syd Mead, production designer Lawrence C. Paull and director Ridley Scott. Articles & Interviews by Randy & Jean-Marc Lofficier for Starlog magazine, November 1992 issue.
Ridley Scott's film "Blade Runner" is rooted in the myths and legends of Western culture and draws on a number of genres including film noir and science fiction. Central to the plot, though, is the Genesis story of the creation and fall. Gravett examines the religious subtext of the film, and discusses Deckard and Roy Batty's relationship in terms of the biblical story of Jacob and Esau.
Excerpts from an interview with David Dryer, one of three special photographic effects supervisors for Blade Runner along with Douglas Trumbull and Richard Yuricich
“Films usually attempt to do the future by presenting a rather bleak, pristine, austere, clean look. It could go that way, but I’ve got a feeling it’s going to go the other way.” Ridley Scott is discussing his approach in directing Blade Runner, a detective thriller set forty or fifty years in the future.
Ridley Scott's 1982 film 'Blade Runner' appeared just before William Gibson's quintessential cyberpunk novel 'Neuromancer' was published in 1984, and the two share enough features that one might well retroactively call Blade Runner the first truly cyberpunk film.
Quiet. Calm. Intense. Concerned. Experienced. Each word is a valid description of Harry Dean Stanton. Many who have seen his seemingly effortless performance as "Brett" in Alien might be surprised to learn the breadth of his career and the depth of his abilities.
Both in what it shows and in what is absent from it, Blade Runner (1982) deviates in morally significant ways from the 1968 novel by Dick on which it is based.
One of the big questions in Blade Runner is "What does it mean to be Human?" John W. Whitehead has a look at this and related questions in Blade Runner couched in a view of the postmodern world.
by Michael Dempsey In director Ridley Scott’s $30-million noir thriller, Blade Runner, set in Los Angeles 36 years from now, sophisticated new robots known as “replicants” have drastically narrowed the gap between humans and machines. Prize creations of the cadaverous, ironic Dr. Eldon Tyrell and his superconglomerate, they not only [...]
by Elissa Marder In the decade that has elapsed since Blade Runner's first commercial release, Ridley Scott’s 1982 science-fiction film has been retroactively hailed as one of the most powerful and influential examples of cinematic postmodernism.1 Despite the fact that Blade Runner has achieved almost canonical status in the annals [...]
Unlike the vast majority of films in the science fiction genre, 'Blade Runner' refuses to neutralize the most abhorrent tendencies of our age and casts serious doubt on a host of the cliches about where we should locate their causes
by Harlan Kennedy Do Androids dream of electric sheep? Do Northumbrians dream of eclectic myths? Every so often the British cinema hatches a mold-busting filmmaker, and the world stops, looks, and listens, aware that an accident has happened in the process of Nature. Ridley Scott, Northumberland-born and 41, has made [...]
The view of the future offered by Ridley Scott's muddled yet mesmerizing 'Blade Runner' is as intricately detailed as anything a science-fiction film has yet envisioned
Interview by Ana Maria Bahiana. In a town like LA, where everybody from your valet parker to your dentist seems to be writing a screenplay with dreams of wealth and glory on their minds, Callie Khouri is a strange, notable exception.
Uno dei più clamorosi film di fantascienza che si siano visti negli ultimi anni, una delle più sgomentevoli profezie sull'imminente medioevo, uno dei frutti più maturi del cinema spettacolare.
Blade Runner doesn’t engage you directly; it forces passivity on you. It sets you down in this lopsided maze of a city, with its post-human feeling, and keeps you persuaded that something bad is about to happen.