听 In 1982 director Ridley Scott was ahead of his time with Blade Runner, an arresting sci-fi noir starring Harrison Ford. However, in later years, stories of backstage strife revealed there wasn't just one vision but seven! The Final Cut promises to be the last go for this angst-drenched "masterpiece".
Back To The Future
In his introduction to this 2-disc set, Scott insists that this is his "favourite" version and assures us that he oversaw every aspect of its restoration and editing. In case you don't know what all the fuss is about, a feature-length documentary on the Making Of the film is presented on disc two. It starts innocently enough with writer Hampton Fancher picking up the novel by Philip K Dick, but he admits that many rewrites were required to make the plot coherent. Ridley Scott says he passed on it initially, but the tragic death of his older brother changed his perspective on its dark, existential themes.
Casting was another key factor in shaping the story. Dustin Hoffman was attached for many months before Harrison Ford signed up and we see how his input took the story in a different direction. Scott also has a giggle remembering Rutger Hauer turning up for his audition in a "puce jumpsuit and flowery, Elton John sunglasses." To break further ground in design, Scott hired 'visual futurist' Syd Mead to sketch a book of ideas. Among the initial concept art is a parking meter that can kill a man! Scott scrapped that idea, suggesting it was "maybe too much." Largely because of a tight budget, he focussed on "retrofitting", ie, using traditional architecture as a framework.
Dreaming Of Electric Sheeps
Scott recalls turning up on set on the first day of shooting only to find a series of large columns fitted upside down. It was a sign of trouble to come and soon the production was way behind schedule. Harrison Ford freely admits to being moody and difficult ("It was a bitch working all night long.") and co-star Sean Young (Rachael) reckons he felt like he wasn't getting enough attention from Scott. Darryl Hannah (Pris) contributes as well and tries to hide her glee at getting to kick Ford's face in during one memorable scene. There is more from the effects team as well, who devised new techniques for building model cityscapes in what they term as "The last analogue science fiction movie".
Post production was another minefield. Scott's first cut ran four hours and even he admits he didn't know "What the f*** it was about." Test screenings confirmed that sentiment and studio execs insisted on explanatory voiceover. Ford's original recordings convey his bemusement quite explicitly as he delivers lines of dialogue to a chorus of laughter. The unicorn sequence was another bugbear for the studio and there are clips of other footage (various endings etc) that never made it to the screen. In the concluding part of this fascinating documentary, everyone gets to be smug (quite rightly) about the film's indelible impact on popular culture.
A range of audio commentaries hears more battle stories from the director, writers, designers and the producers. In all this set offers a rare and thoroughly engrossing look at where art intersects with commercialism. Scott, who is certainly one of the greatest directors working today, is eloquent and engaging. For anyone who really loves movies, it is essential viewing.
EXTRA FEATURES
Blade Runner DVD is released on Monday 3rd December 2007.
