OFFICIAL COLLECTOR'S EDITION

150 Photos & Art Tell Complete Movie Story

TM
K49107
SOUVENIR MAGAZINE VOLUME 1 $2.95

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This publicati9n,is dedicated to
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Ph·ilip K.. Dick; a ·li_terary legend, '
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\fl{ithol}t yvbos~ extraordinary .
imagination and .cautionary vision,
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. ...r":>-·. ,there w0uld be no BLADE-RUNNER .
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· ·+·Table of contents · ·· ·-~····... • Author Philip K·.;Dick .: . , . ·

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(la~t lntervi~w:·;:2. ·.· ·
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,. ·• lntroduct1on--of ·. . . . .
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principal , .. · . . .before.his death·) · ' •

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·cast and crew · ·:. : ·• ·Director Ridley Scott ·interview
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·• The pyramids , ···: .' . . . .

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· .... • Setting·and·background · • .The Voight·Xampff machine · -.. ' '- . '
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.,: ·. . .·:·of the story ... . . . . · .: +•Special effects . _: . .

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· · ·. • Replicants . · . • Doug Trumbu·11 i_

nterview •
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, · · · ' ·1:nt•r~oga·tion .of L·eon_:. . · ·+ Harrison Ford inter_view ..

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·.~ ·.. : :- .. at .T·yrell C.orporation.· .
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• Spi'nne·
. rs and vehicles section:
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I :Fu.turist·Syd Mead •
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Production artwork •

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Bluepri_nts . .· <

Speo·i:al eff,~ts photos :

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'. +·E·xterior ·ana interior · ~ .+··Deckard'& initia·1encounte'r

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of the police station with Rachael· .· .. .. . '
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· • Interior of 'Dr. ·Tyrell's • CENTERFOLD by Al:~emus

office '
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• Chew's laboratory ' ... . \.. . -.

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+·Searching for clues in •.
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• .Deckard's apartment the Animoid Mart . •

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•• Deckard on the· . .. _ .· • · The final battle . ,
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+ ·BLADE R.UNNER· ... .'

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PubJisher~ Jra Friedm·an . ..

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1: Director Ridley Scott and
author Philip K. Dick sur·
rounded by composite
storyboards of dozens of
special effects shots used
in the film. (photo by Kim
Gottlieb)
2: Ridley Scott, weff·known
for his box office hit ALIEN,
was previously a successful
director of TY commercials 3
in Britain.
3: Michael Deeley, producer
ofBLADE RUNNER, won an
Academy Award for his
work on THE DEER
HUNTER.
4: The inspiring music for
BLADE RUNNER is by
Yangells, also the com·
poser, performer, producer
olthe highly acclaimed
CHARIOTS OF FIRE
soundtrack.
5: Syd Mead, the futuristic
artist/industrial designer
responsible for visualizing
Ridley Scott's images of
BLADE RUNNER.
6: Smalf·scale buildings 4
were constructed with ex·
treme care and detail-even
down to the tiny, lndlvidu·
ally paned windows, ~
venetian blinds and
shutters.
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car: ·~ remember exactly, but -I think the pyramid was a composite .of my id~as and
Rid:e1f· ·s. Originally, the lyrell buitding was going.to be right in town, it was going to be
a mass: .~a building right inside the city We decided it would be much more ~isual and
stark to p ~ace it way outside of town, so that it really.rose above the horizon. The
pyramid \A'as ~~ e first miniature that we built. Across it$ base it was probably-eig.ht feet
by eight fee~. T9'""'e top was probably two feet square. It yvas built prior to prin_c~pal
photograph~ because the_first.$cene shot was the interiqr of Tyrell's office, and we had
to have process c.ates of the ·other pyramid outside the window. So we had to build the -
C)'ramid. oho~c~~anh it prepare t~e plates and do front projection on that set.
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-DOUGLAS TRUMBULL (Special Effects Photographic Supervisor)

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All I can say is that the world' in BLADE RUNNER
is where I really live. That is where I think I arn
anyway. This world will now be a world that every
member of the audience will inhabit. It will not be
my private world. It is now a world where anyorie
who will go into the theatre and sit down and
· watch that film wi)I be caught up and the world is ·
so overpowering, it is so profoundly overpowering
• that it is going to be _very hard for people to come
out of it and adjust back to what we normally
encounter.
- Once the film begins, you are taken from this
world into that world and you really are in that .
.. . world. And I think the most exciting thing is that it
is a lived-in world. A world where people actually
live. It is not a hygienically pristine space colony
which looks like a model seen at the Smithsonian
Institute. No, this is a world where peopfe live.
And the cars use gas and are dirty and there is
Above: Philip K. Dick, well 1
kind of a gritty rain falling and it s smoggy. It's just terribly convincing when you see it.
respecteil science-fiction Everybody seems to have some kind of business that he is engaged in. Everybody is involved in
writer, .worked• closely with some kind of thing. Which is what you really do see in a big metropolis. You always wonder, who are
the BL~DERUNNER pro· these people? Where are they going? What are they doing? What kind of lives are they leading? You
ducers uniil his untimely become endlessly curious about this.ama~ingly complex life of the metropolis. What exists .behind
pissing March 1982. {photo those closed doors? What is going on behind those lighted windows? You get a glimpse but you never
by Tessa Dick) get the full story.
One day I woke up and realized that there are 47,000 barrels of nuclear
Far Righti DOANDROIDS waste that have been dumped in the Atlantic and about half that in the
DREAM OF ELECTRIC Pacific. In 45 years these thousands and thousands of barrels of nuclear
SJ(EEP?, t~e classic waste, radioactive waste will begin to leak into the ocean and begin to
science-fiction novel from d~stroy the life chain at its source. And I suddenly realized that, although I
which BLADE RUNNER was won't be alive When it happens, my children and other people will be alive. I
adapted, was first realized that this is the most urgent problem that faces us. Destruction of the
publishedin 1969. ocean is destruction of the whales, the porpoises and the life chain itself. We
are poisoning our entire life and we really must be the guardians and the
caretakers of the whole biosphere. I .always thought of it as a hypothetical
situation and all of a sudden it became extremely real.
The Voight-Kampff empathy test is probably as valid a test as there is ever
going to be-because it is testing for something beyond intelligence, bt..it
which is still a form of intelligence. It is sort of a higher form of inteJligence,
that is; a co11cern for other living beings. What the test really asks the
replicant to demonstrate is a reciprocal concern for other life. One is
concerned for the replicants and one asks in return from the replicants a
concern for the lives of other creatures. The replicants are entitled to this concern but only if they
themselves can exhibit it.
The purpose of the story as I saw it was that in his job of hunting and killing these replicants,
Deckard b~comes progressively deht.Jmanized. At the same time, the replicants are perceived as
becoming more human. Finally, Deckard must question what he is doing., and really what is the
essential difference between him and them? And, to take it one step further, who is he if there is no real
difference? ·
Seeing Rutger Hauer as Batty just scared me to death, because it was exactly as I had pictured
Batty, but more so. I could have picked Sean Young out of a hundred different women as Rachael. She
has that look.
Of course _Harrison Ford is more like Rick Deckard than I could have even imagined. I mean it is just
incredible. It was simply eerie when I first saw the stills of _Harrison Ford. I was looking at some stills
from the movie and I thought, this character, Deckard, really exists..There wa~ a tirr1e that he did not .
exist, now he actually exists. But ·he is not the result of any. one individual's conception or effort. He is
the result.of my effort, Hampton Fancher's efforts, David Peoples' efforts, Ridley Scott's efforts, and to
a very large extent, Harrison Ford's efforts. And there is actually, in some eerie way, a genuine, real,
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authentic Deckard now. . .
Friends of mine who looked at the photographs, who read the novel, said, "D.o you realize that if you
had not written that book, Harrison Ford would not be wearing that tie, he would not be wearing those
shoes?" And I said, "That is true. But what is more exciting is that if Harrison Ford had not played that
role, Deckard would never have become an actual person." Ford radiates this tremendous reality when
you see him. And seeing him as a character I created is a stunning and almost supernatural
experience to me.
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.The BLADE RUNNER script was a great screenplay and., oddly enough, a
. similar thing happe~ed with ALIEN. When ALIEN·came in out of the blue, I
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thought it was a·wonderful script and I keyed in what I thought could be
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done with it :I saw it totally. Michael Deeley brought BLAD~ RUNNER to

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me when I was finishing ALIEN. At the time I was reading the screenplay, I
thought it was very intere.sting, ·but thought, "Oh, science fiction again."
Then, while I was preparing somet_ hing else, the BLADE RUNNER
screenplay stp.yed in my mind. I kept thinking it wasn't really science fiction .
at all. Jn a funr y kind of way, it wa~ a rather contemporary movie. -So I went
back to Michael and said, ''Let's do it."
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Going throWgh cities like Chicago and New York on a bad winter .
afternoon; yo~ get a sense of the city on overload. And even going .through
the modern sections that have just 'been put up, there's rubbish and thE3re
are bigger and bigger buildings going up: Essentially the city is becoming more and more dwar.fed by
the environment. •
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Fashions aren't going to be changing that drastically in·forty years. I think that's always a disatrous
mistake that filmmakers fall into the di~gonal zippers and silver hair .syndrome. When you do a . /

futuristic story, unless you're going to leap fo~ard 100, 200, 300 year·s, you're not going to see that
drastic a change. Certainly not in forty y~ars. . .
When we set out to do this film, we -de~ided to make ''android'' a taboo word-. I said anybody who
uses the wo.rd ''android" gets their head broken with a baseball bat. The word sets ·up all sorts of .
preconceptions of the kind of film this co~ld be. An android might be human, actually·be flesh and · Top: Director Ridley Scott ·
blood, genetically structured, but we simply decided not to.use the word. because it's ove_ r-used and demonstrates a choke hold
misused. So we developed our own word, whi~h is the word '' replicant." · . ,fo Harrison Ford for an up0 /

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A replicant is essentially a total human being, an all-flesh culture, that is very advanced and highly coming scene• .
perfected. That's the odd dichotomy of the whole story. .The detective's job is
to be a kind of policeman but also an exterminator, if necessary. Hi·s job is·to
hunt replicants who happen to find their way into the city. They have no right
. to be there because the replicants were originaly developed for offworld situa-
tions, military, industrial, mining. ·They are kind of a second-class generation ·
developed for inhospitable environments;and dangerous or boring work. There
may come a time when, if we're sendinglan astronaut off into deep space and
know he'll never come b~ck, we may·waht to send a replicant instead. ·
Before the film, I spent a· little bit of tin-le with the actors findin,g a level and
dimension on the characters. After a fair amount of discussion, the actor
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starts to key in on what he feels would b~. right for himself with what I want,
and starts forming it himself along that rqute. It's almost like a sculpting ·
process. You gradually build up the character as you go. I also find it useful .
to write out a·biography of each chara·cter i.t helps give the actor a direction._ . .
: I spent time explaining to Rutger and Brion how the replicants w~re originally designed and what Above: Ridley Scott (wear·
duties they would have performed. Almost like·giving them a plotted history of how science had · ing cap) and crew brave the
developed uµ this particular point and .what uses had been found for ·what·had essentially become a . below-zero temperatures in
second-class generation. They started td key in on that and argue about it. As soon as you get an actor · Chew'slaboratori, which ·
arguing "about something, then you know you're getting somewh.ere. . · · . · wasactuallytheinteriorof
' I think a lot of directors are sudden·ly realizing that special effects films don't nece$sarily mean · · - afreezeratameatpacking
crappy movies. The word ''special effects'': is frequently a$sociated with lousy horror r:novies. But now ·1 plant inDowney, California.
a
think good effects ·movies are attracting different level of director. D.irectors and producers are , ·. ·
beginning to realize that the special eff~¢ts are simply tools·to make a good film, a ·very necessary part . Bel~w. On the way to the ,
Unless the di_reytor gets involved.in them, he's gambling. The director ha$·got to have input or he'll get po~iceheadquarters, ~aH~
the wrong effects. · · · spinner pass~s this g1gant1c
. billboard, which appears
3·dimensional. The adver·
tisement had to be
separatelyphotographed
•• · andprojected onto its futur· ·
isticbillboard. Scott's
theory ofadvertising inthe
.' future called for a media ·
·blitz including video out·
door billboards.

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Top: Inside the Tyrell Corpo··

ration, investigator Holden
interrogates his next sus·
pect, Leon, with the
sensitive Voight·Kampff
test.
Above: Ridley Scott
sketched this early render·
ing of the Tyrell
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was a form he wanted to

use, The crew called Scott's
drawings ''Ridleygrams'',
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. - . idley drew a sk~tch of this machine,

which he said was an exotic
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kind-of Iie detector, and it .
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_ reads the.iris contraction·. When

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_you lie., or are under stress, ·your iris tends

to contract or·expand. The Voight-Kampff
machi_ne would C?nter on th~ pupil and
the ope·rator.wpuld have a fuJl-screen
enlarged_picture of the iris. T_ he machine
would measure the contractions of the iris
and put it on a graph or something . ..
Ridley _wanted this machine to be fairly
delicate, bri.~fcase size~ easily portable,
but it also had to look very dangerous
sitting on a d~sk, very threatening; and
S·Ort of li~e a·giant tarantul_a. Since it isn't
·dangerous because it's large, it had to be
dangerous because it's threatening.
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So
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we
decided it should breathe. My rationale for
that was that the machine would draw in
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a'ir samples in the imm~diate area. When .

you are scared or·apprehensive, -your
gives off an odor. And .1think it's
minute molecular detachments of protein
or something that your sweat glands g·ive
out& So your chemistry changes when .
·you're tense. You unfold the machine-and
it starts itself.as soon as the ·subject walks·
in the room; this- arm moves around and .

focuses at the suspect's eye. It's sort of ·

alive in a way all by itself; an·d it's very,
very threatening.-svo M~AD (Vi·sual Futurist)

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yd Mead came up with the designs for th_ e incredible .

· Voight-Kampff machine. fie had a discussion about it with
Ridley and me and then came ·up with ~bout three or four
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- schem_ e s. Finally we came dqwn to a unit that opens u_
p
and has a _breather and an oscillator and all sorts of gadgets.
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Basically it was ·a li~-detector machine. The lie is, .1am not a

replicant.-LAWR~NCE G. PAULL (Production Designer)
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· Le,ft: Aminiature spinner

flies toward the Tyrell.pyra·
mid in this composite sho_ t. '

The twin.kling lights.make it

appear more realistic. •
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LEON .. _ LION -_ .
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Oh. It's not fancy or
anything.
You make up thes¢ .
questions, t\1r. Holden,·or
. they write 'em down for
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HOLDEN . you? _ '

You're in a desert,
walking along in the sand
Disregarding the .
question, Holden. · . _ .I
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continues~ picking up the
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Is this the test noW? HOLDEN . _
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LEON . . The tortoise lays on its

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Okay if I talk? back, its belly baking in
Yes. You're in a desert, · the hot sun, beating its .- '. '
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Holden doesh-'t answer: walking along in the sand . -legs trying to turn itself _
Hes centering Leon s eye when all of a sudden you over. But it ·can't. Not
on the machine. look down and see a ... without your help~ But
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• LEON you' re not helping .
LEON - .

I kinda get ner\ious when

What one? Leon s_upper lip is
I take tests. It was a timid interruption, . quivering.
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hardly audible.
HOLDEN - .
LEON . . ..
Don't move. HOLDEN Whatya mean, I'm not
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What? helping?
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LEON .

Sorry. LEOll _ HOLDEN

1·mean you're not .
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What desert? -.. .. ..

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- . He·tries not to move, but .
helping! Why is that, - -. , ~

finally his lips can't help a HOLDEN __ · - Leon? l

sheepish smile. Doesn't make any Holden looks hard at

difference what desert ... Leon, piercing look
LEON _ . it's completely .
I al ready had an I. Q . .test hypothetical. Leon is flushed with _
this year . ._. but I don't .
anger, breathing hard, its
think I ever had a ... LEON
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a bad moment, he might
- . . But how come I'd be _erupt.
HOLDEN . _ there?
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Reaction time is a factor Suddenly Holden grins

in this so please-pay . disarmingly.
HOLDEN _
attention. Answer as Maybe you're fed up, . . .

quickly as you can. maybe you want to be by HOLDEN _ • •

yourself ... who knows. _ Th~y' re just qu.estions,

LEON So you look down .and Leon. In answer to your
Uh ... sure .... see a tortoise. It's - query, th~y' re written --
- crawling toward you ... down for me. It's a test, .
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HOLDEN designed.to provoke an Above; Holden a.nalyzes test
One one eight seven at LEON - _ emotional.response.
Hunterwasser. , . data as he -administers the
A tortoise. What's that? L~n is glaring now, -the - -V·K test-to.Leon, Le.on real·
LEON blush subsides, his anger izes his response.·will mark
HOLDEN slightly diffused.
Oh . .. that's the hotel. · ·Know what a turtle is? . him as areplicant eicapie
. . Ho/def! smiles cheerfully, and
. . reacts violently.
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HOLDEN LEON very smooth.
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What? Top Left: Analysis ofthe

Of course.
eyeball is akey factor in the
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HOLDEN J •

LEON . HOLDEN Shall·we continue? Voighi·Kamptl,te$1. A-flue~

Where I live. Same thing.
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- tuition.of th.e pupil with an
.. Leon ·nod$, -still frowning,
HOLDEN - :
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suspiciously. involpntary dilation ofthe
LEON ._ . ·iris indicatis apositive
Nice place? I never seen. a turtle. HOLDEN __ . emotional response-a re·
LEON He sees Holden s Oescribe in single words. sponse replicants cannot
Huh? Sure. Yeah. I guess. patience is wearing thin. Oruy the good things that supply,
·is that ... part of the - come into your mind.
test? LEON _ About your mother.
But I understano what -
Holden smiles a you mean. LEON _
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patronizing smile. My mother, .. . I'll tell you
HOLDEN about my mother.
HOLDEN You reach oown and flip
Warming you up, that's . the tortoise over on its
all. back, Leon.
Keeping an eye on his •

subject, Holden notes the

-dials in the _
Voight-Kampff. •
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One of the.needles .

quivers slightly.

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In a space film like STAR TREK or STAR WARS
you have flying vehicles that are out in space, not
interacting with. anything: There are no reflections
on the surface of the vehicle or any particular
lighting complexity. The lighting of miniatures like
that is relatively simple . .But wh~n you have a
miniature that has to interact with a live
environment or an9ther miniature environment, it
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becomes very complicated. For example, the
vehicles iri BLADE RUNNER have a lot of bright
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lights on them, ~nd those lights have to shine on
the ~iniature buildings. If the buildings have lights
on th.em, they have to.reflect on ttie m i~iatures .
And they' re actually being shot at two different
t.irries. You really have to think it out to get the
interactive lighting to work right.
It's difficult to photograph spac.ecraft
miniatures with the elements of layers of gray and
rain being opticalled into it. Smoke, steam and fire
were all added in miniature. And, traditionally,
water and fire are the bigge?t problems for
special effects people because it's so hard to get
them in seal~. If they're not done right, your eye
tends to notice it. A lot of work went into shootihg
large-scale rain _effects. For instancel wheri you . .
see miniature shots or matte·painting shots, there's rain qripping through the frame or distant
appearing rain, that's actually just shot outdoors late at night with nothing else. Just rain with nothing
else and that rai~ is superimposed with the miniature shots optically. It took many more optical levels
than the normal kind of effeQts of space or a CLOSE ENCOUNTERS. So, it was a real expansion on the
kinds of effects we had done before. . . ·
Ridley's plan was to saturate the movie with advertisements and media. We came u_p with this idea
of orojecting slides and movies orito a screen surface that was made of a sort of textured plastic. So,
-
. , instead of looking like a movie projected on a
Top: Construction of thein· screen, it looked like a series of bulbs shooting up
tricately detailed downtown like _the lights in Times Square~ Actually, they were
~ovies being projected onto those surfaces .in a
Los Angeles streets took
separate shot and then optic.alled into the main
place.on The. Burbank .
' shot. All those commercials _ had to be shot, they
Stu~ios backlot, against the
had to be built for the film opticals, animation,
backdrop of the
. San .
titles, and costumes.
Bernardino
. mountains.
. . I think Ridley is brilliant; _he's very demanding,·
Right: To accomplish the ro· ve~ry particular. He's wonderful because he _ draws
tating flying effect ofthe so wel!. He used ~o be an illustrator, so when you
spin,,,r, the miniatur.e get into a storyboard meeting or a conference
•

. buildings wer, placed at an about a prop or a scer:ie, he's able to express

angle. Many different an· · what he wants very clearly by drawing a picture
gles were photographed to . of it. It was delightful working with a man like
achieve the special effect of him a movie c;jirector who also really knows his
the spinner flying through craft. He's had a lot of experience with TV
commercials and technology. He knows his .
the futuristic city. cameras,.his lenses and is able to express what
he wants technically and he really enjoys it. It's
not.very easy for just any director to come in and
make a movie like BLADE RUNNER. He's
insatiable. ' .
The challenge w~s to make.composites of
vehicles, spinners, live action, rain , lighting
effects, big read out screens, flash ing lights, neon
spinner.s in the di~tance, and camera mqvements
all w9rk s.imultaneously. These w_ ere the most ·
compliQated opticals we haye ever done. There
are more elen:ients per shot, more .things moving ·
per shot, more different techniques in each shot.
We're really proud of it. Some of the best effects
I've ever seen .

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e chose to use The Burbank Studios backlot, the street there, for several
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reas9ns. One, it was available to us for a long length of tirne, arid two, it
had never been used in the way we were going to use it. ft ~s a street that's
been seen in a Jot of forties movies, arid it's been seen in movies that
•
Warner Brothers had made recently '' 1941 '' is a prime.exan1ple. But ou t~ Job was to take
the street and design it into the future. The whole desigr·1idea was to give us a ve.r·y
dense-looking, cl·oistered look. --LAWRENCE G. PAULL
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Ultirnately it is the actor who has to perform
the act and commit it to film. So, while a director's
job is incredibly complicated and difficult, there
are elements never resolved how a prop should
work, whether the character carries his gun here
or carries it there. These may be simple little
details, but they are only decided when
somebody gets a strong attitude about things and
begir1s to form a point of .view. The character
D·eckard does finally, he begins to develop a point
of view.about the circumstances around him. .
We do·some very complex technical things.
The scene where Batty appears at Pris'
apartment·after I've beeri beatet1 up by her is an
example. What Ridley wanted from Rutger
Hauer's character was a demonstration of his
• prowess right at the beginr1ing. If you think you 've
seen our hero suffer up to now, you ain't see11
nothi11g yet. He really meets his match in this
super-replicant. The first thing that Ridley wa11ted
to demonstrate was his speed, so he de'-'.ised a
shot which involved me coming in the door of the
apartment, searching for a place to hide at1d
ambush him.
The camera was over n1y shoulder and could
register that niy gun was coming up and pointing
right at Rutger. Rutger comes into the shot1
throwir1g a shadow that I see , but not close
enough for me to get a shot at him. Whe11 he
finally does come in I see him and fire. But he
moves so quickly that ·he can 't be caught.
Ordinarily, that would be done by bringii1g the
actor in, cutting, taking the actor out, and
shooting at an empty space. That might convince
you that he had been there when the shot vvas
fired. Ridley did something more complex, 111uch
more difficult, and finally much more convincing .
He brought Rutger in at one speed, changed the speed of the camera, and t1ad t1im exit the frame at
another speed, a much slower speed, which r11ade it seem much faster:·And it was.
That's story telling. That's a very complicated ever1t to get ot1 film. if you sit dqwn and analyze it,
•
there are probably twenty co.ntingent factors that all have to be rigt1t at the same tin1e to n1ak6 t~1at
scene work. Ridley demands that of hin1self and of ·everybody else. It's r10~ an e·asy task but that~s what
I like. I like to work hard and I like to work for son1ebody who is exacti·ng and sure of himself.
The film shows a very overcrowded future. Three quarters of the extras on tt1e streets are Chinese.
The audience may simply think a certain part of this fi lm takes place in the Chinatovvn district and ,
never question it. f n fact~ Ridley s argument at the.
1

tit11e was that tt1e Oriental population, with as

Right: Sherman Labby's much of a nu1r-nerical advantage as they al ready
storyboard. of the noodle have, would have even more vveight o'f numbers
bar shows the early version forty years it1 the future.
ofDeckard's outfit, includ· Ridley predicts a style of architecture that is ·
ing the felt hat that was "retro fitted" to cleat1se the atmosphere and has
later dropped from Deck· a very disciplined vision . And that is an attracti~v'e
ard's character. . part of the filt11. It's not as foreig r1 as space. T~1ere
Top: Deckard grasping for are fan1iliar eleme11ts to it.
support during an encoun· The haircut was 111y idea. Ridley had
ter with a fearless envisioned a big felt hat i11 his first visual concept
of the character at a tir11e prior to seeir1g
replicant.
RAIDERS OF THE LOST ARK. It vvas it11portar1t to
Far Right: Blade Runner
' . . .me not to wear the same hat ir1 one movie after
•

replicant detective Rick another. I didn't vvar1t to drag the baggage of one
Deckard (HARRISON FORD). project to the next. You can 't do that. So the hat
was 0L1t. Ridley still war1ted somethi11g to
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distinguish the character and I vvat1ted sor11ething
easy-care. So I got that haircut, figuring it would
give the character defir1ition, a certait1 look .
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Above: With Gaffand Deck·

ard aboard, the police
spinner takes oH and~eads ·
for Deckard's momentous
meeting with his old boss
Captain Bryan~. ·
Left: The spinner interior
dashboard with its barrage
of computerized informa·
lion.

· -here were four sizes of the spir1ner. One was four-feet long, another one a foot
·· long, one ·a half-toot lor~1g· and another one four-inches long. Depending on the
.. shot, we]d use ar~1e of thos·e sizes. Many times when you see many spinners, it's
just the sar~r,,1e spir1r1er used over and over· again. There is an Alfa Romeo spinner
and a Lobster spir1r·ier;
. .
botr1 a foot long. We. gave that foot-long spinner different
appearances by painting it different colors and lighting it a little bit differently
-DAVID DR"vER
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or Chew's laborato 1~y we found a large meat pack.ing plant ' .... •' .·..
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ih Downey. Befor·e we began filming, they.had to star.t·to .'

lower· the temperature _because if you j.ust turn the -

.......-....
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thermostat down to ?ero o·r six degrees, t.he concrete·walls
crack, all sorts of funny things happen. So .
you h_
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down g.radually Over a·period of about two weeks the owner. • ...
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turned -it down to about four degrees below zerq; We put up the
set about.four days befo(e. For the next cou.ple of days, we sen_ t
an effe.cts crew down there with spray cans _ and they proceeded
to ice up the· walls. We not 9nly iceQ up.t.he vyalis, but wound up ·1

having: icicles two feet· l9ng, real icicles, hanging from the ceilin_g I

and real ice. It w.as cold!· ~LAWRENCE._G. PAULL r.. ·' .!""'
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Top.Left: Chew, who special· Above: Deckard
. zooms in .

izes in supplying human for a closer look at the ·

eyes to·the replicant results (Jf his probe with
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, in His arctic laboratory. Top Right: Syd Me~d's pro·
Below Left: B~tty and Leon duction:painting of
quest~oti the terrified Chew Deckard's one bedroom
.about their genetic design apartmeni was used a~ a
and their chances for sur· refe;ence in, building the
viva/. Chew
. . informs theni elaborate set.
that Sebastian can lead
• Letti.Phone base and head·
them to their maker. set design by $yd Mead for
Deckard's apartment.

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e used alt kinds of unusual cart devices out in the
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street and under the arcade and came up with
II strang.e shops that sell replicant animals. There are
' not many live animals left i.n this society. Obviously,
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we used real anirnats posing as replicant animals, but we also
~SE?d some stuffed animals. Very bizarre, exotic types of people
wander in and out of this whole scene. -LAWRENCE G. PAULL
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Left: The mechanical ·os·
trich~ one of the unique
creations
. . from the
production.
Above: Ridley Scott's story·
boards of the scene at the
animoid mart, where expen·
'
slve, artificial animals are
sold and where Deckard
goes with the scale flake •

' he's found in Leon's

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ot only did we have hundreds of extras, vv·e had 50-60 •

vehicles, lighting effects and niovit1g 1·r~1ar1nequir1s. We

had to create a red light dis·trpict, a hus·tte bustle sce11e, so
it was a huge amount ·of coordination vvitt1 backg t~ound I

action, cars moving, lights fiashit1g at1d people r(1oving. With

Ridley's eye on detail ~ everythit1g had to be perfect. ·1~he
wardrobe was incredible. Every single secondhand stor·e was
looted by our wardrobe departr11ent to cr-ea·te the effect of a
rr1 ulti ~national , multi-racial society. We rlad tor-1s of punks, Blacks
and Mexicans; we used Russians and Chinese arr-ny ut1ifor111s. l
There were t~11en dressed up as nuns, Hari Krishnas . ··=·-·a rnelange
of absolutely eve·ry par·t of society you· could in1agir1e.
-KATHERINE HABER Top: Deckard follows up one l
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ofhis clues at the animoid
mart, and begins to ze1·0 in
on Zhora, the exotic snake
dancer.
-
Above: Deckard discusses
the snake scale he found in
Leon's apartment with a
synthetic snake maker,

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,. , . , . ., . ssentlally it was one man in search

....._ of four characters in this massive
~alopolis. It is a spooky idea,
rse than a needle in a haystack
're looking for four people in a
iUions of people. In fact, it's
ssible. -RIDLEY SCOTT

Above: Zhora attacks Deck·

ard in her dressing room at
the snake bar after she
realizes he is huniing
offworld replicants,
Right: Deckard leaps on top
of the bumper·lo·bumper
vehicles in pursuit of Zhora ,
as a weird assortment of
street people walk by.
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hara and Deckard have a fight and she emerges out of

·the doorway of the bar onto a section of the street we
had never used before. We took 4 columns from the
Tyrell Corporation and turned them upside down. Then
we placed dozens of Orier1tal.s in the street and started building
fires so that it looked like they were cooking right on the street by
• the columns. Zhora, followed by Deckard, runs out through this
I hectic scene and into a traffic jam. He chases her in between
cars, jumping on top of the various vehicles. Finally he turns a
corner and goes dowr1 another street part of our main
•
·street which was ''redressed'' into a department store. One
I'
i section .of·it yvas all glassed in witt1 rnannequins and these very,
11 1

I very strange outfits. We d hung a lot of neon from the ceilings

j
inside the windows and placed the mannequins on the neon and
'
lit them up. Because o·f Zhora's replicant strength, when Deckard
shoots her, the bullet's impact keeps her crashing through the
window. She went through 5 windows before she Top: Zhora darts across the
snarled traffic, desperately
died.-LAWRENCE G. PAULL attempting to escape death.
•
Above: Zhora, finally ''aired
•
out'', lies motionless after
crashing through five
windows.

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Letti Deckard, who informs

,

Leon of the Nexus 6 four •

'
year life span~ is no match
for his extraordinary
strength.·

'

Top:
. Leon attacks an. unsus·
peeling Deckardand
•

dema.nds to know how long

his life span is.
,
•

Left: Rachael appears

from nowhere and ner·
.,vously pulls the trigger that
kills Leon and saves Dect·
arti. Deckard realizes he
owes his life to her.
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ebastian has a disease called the Methuseleh Syndrome

or, as Pris calls it, ''accelerated decrepitude." It serves as
a sympathetic inte.rplay between Sebastian and the
replicants. They have something in common because
they will all die before their time.- MICHAEL DEELEY

Top: Sebastian, the genetic

designer, announces
proudly to his guests Pris
and Batty that, ''There's
some of me in, you!''
•

Right: Sebastian's toys and

best friends, Kaiser
WHhelm andNapoleoi1,
•
greet him each day as he •

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enters his lonely apartment,
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Little people, Kevin Thomp·
son and John Edward Allen,
l are underneath
. the costume
and makewup,
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Above Left: The stereo~

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.. ·:·.
scope in Sebastian's
apartment is an advanced
1nic.roscope designed by
SydMeadK
. '
Be/0111"Left: As Sebastian
sleeps, Pris e1ramines the
$tereoscope and the many
other wondrous inve11tions
strewn about his apartp
me11tg
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ou work \JVith ·th.e fiim f ro111 its

concep·ti·or~i and get to a poit1t
where ~yoL1 feel e·verythir1g is
exactly right. Tr1en other points of 1

view ar1d other ide·as are incorporated. So

you··try ar~1d· retain the f ilr1q' you really want
to present and also get across as rnuch of
tt1e other's pet~spectives as you can.
Editir1g t equires c·onvoluting arid
1

juxtaposir1g scenes that look good in the 1

script but do riot vvork well visua'lly. We ve
experimer1ted by ·turning sorrre scenes
i11side out tr·ying ·to make ther11 wor~k· in a
1
t
differet1t way. It's been a good exercise to
see what I car1 get away with by taktng a
·scene and part of another and cornbinir1g
them to make or1e sce·ne t~ather thar1
two.~TERRY RAWLINGS (Supervisit1g Editor)
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t's clear that Deckard doesn't thi'nk very much about women
'

at all. He's the type of guy th~t would see them occasionally
but not have any use for them around the house. He has a
wife and child .but they .seem to have gone in search of a
better life. Deckard ·acknowledges at Rachael's ·first appearance
that she·is attractive. But then she becomes a puzzle and, when ~
·he figures out. she is a replicant, he $eetl)s to·have no further use
for her. He sees Rachael as a zero. But her display of emotion,
even though he knoyvs it's false, implanted, pulls him out of his · ·
despair. As he begins to become involved with her, he is forced to
confront what's really going on.around him. -HARRISON FORD

•
.. •

• •

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·- ~
-
. . ,_..., .. . -. .

Top Right: De~kard puzzles

over the photographs he
· found in Leon's apartment,
wondering if the replicants
can actually feel the same
emotions as humans.
Right: Deckard and ·
Rachael-an unusual
romance.
. .

•
• achael and Deck~rd's . r~lationship is a major issue of
. . .

. the film. Deckard has spent his entire adult career

tracking down replicants'. whom he has killed or arrested.
All of a sudden he is falling in !ove with one of .
I
them.·That is ''Deckard's dilemma." Rachael, on the other hand,
I
has to come to grips with ·the reality that all her .thoughts have ·.
•
•
been created out of someone else's mind, someone else's
memory._The prospect of dying is ver.y real, not only because of
the 4 year lifespan, but because ·she knows it's Deckard's job to
kill her. This is a very human, emotional situation.
Two people have to deal with extremely·important, difficult
things and work it out in a very short·period of time. In the love
scene Rachael is apprehensive because she's not sure what to
do, she doesn't know if she is relying on someone else's .memory.
She resists and is frightened of Deckard's prejudices. But
\
Deckard is just.trying to say ''Hold on, you're okay. I'm doing this
because I want to and because I care about you." •

-KATHERINE HABER
•
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Left: A curious Rachael

inspects Deckard's photo·
graphs of his offworld wife
and tries to find aclue to his I
backgroundand emotions.
Below Left: Deckard kisses
the frightened Rachael who
has no memory to know how
to kiss a man•
•

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 e cation cout ng
turned up th s ph to·
gri 1' o the int rior of ...,
Bri 'bury b l Ing. This
struct eis rchili cturall
renowned for ii es of
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ee
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ecrepit i ·ng and.
a suite of rooms an use . that as
,_b stian's apartm ·n .One d y we w re
L ft: With bl s er fl ~ . .t wn s An el s I oking t a
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., .;. possible ·cation, d I to k.a s r II across
t e s re t with id ey an f w other
.;. "
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partment. .... .· •.. ,, "' >
-:
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.. .. .. ... , .,
pe le ~nd Ridle took a look i 'd the
Below Left: Police ar r. ed be if I .radbury bu'lding. at we id
in front of Se a tian 1s apart·
that building yo woul 't eli . On
ment.
p~rficial level we tra hed i wi h
r

Righ •• I
high~ ech, then ii e it with smoke on t.he I
sig one ipt for ·.· .
•
.
I side an hot it night. . e also adde
"· A· Y, ·~··
... .f'.•

rd's gun. ,.;. <:· ... .. ..• .,, ..

can py with ig colu ns .to m ke i I. . , . . ,,k
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it w .s n old apart nt b. II . All f
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n 1ronme t. -L • ~ULL
,

as the ri dbury buil ing. .. .... . •·.·. ·"'· ·.•.

NC

'

•
•

' ..
aryl Hannah, the actr~ss who plays Pris, is a traine.d
gymnast and did many of the flips herself. While we used
a stuntman for the difficult backflips, she landed on
Harrison's shoulders, for.example. The_fight between
Harrison and h.er is quite viciOU$ and we all cri.nged yvhen she put
her two fingers in Harrison's nostrils to haul him up. Harrison
came up with that idea and, even though all of us. fo.und it very
'

painful to watch, he insisted on doing it. -MICHAEL. DEELEY

' .

·'
,
Above: Acautious Deckard Above ,nd Right: While
enters Se~astian's apart· Deckard lies stunned on the
ment as Prfs-under the floor, the agile replicant
veil-sits perfectly still, steps ~ack and, with a fly·
' ippearing to be just another
'
ing somers,ult leap, lands
mannequin. Left: De_ckard squarely on Deckard's
gets too clo~e iii his ,x-mi· shoulders and applies a
natitJn and is $In~ flying brutal scissor grip with her
across the room with one legs.
forceful kick from Pris.

'
 ' •
• .,
•

'

, •
' •
' . •

Left: Pris finally releases

Deckard and, fighting fo;
breath, he manages to •
'

squeeze oH sever~/ shots,

stopping
. .
her in her tracks.'
Pris has so much energy
and life in her that her body
continues to violently kick
and thrash as she dies.

•
•
'

j
I
 •

idley wanted Batty to be a sort of Bruce Lee; I did

I
what I could. I didn't want tq push iron too much, so I . .
went to stretching and that sort of thing. But in
preparing for a part, it's more important to get your
thoughts togeth_er. -~The thoughts are always much more
necessary to clar!fy than the visual aspect of the body
-RUTGER HAUER

Top: Batty breaks through

the wall and pulls Deck·
ard's hand. On the other
,side, Batty slowly breaks
two of Deckard's fingers.
I
I Right: Ridley Sco,tt's story·
board of the painful scene•
•

Top Right: During his re·

treat, Deckard tries to hold I \

on to the cornice of Sebas· i J f

tian's building. Batty is not r. !
l' i
I ,I l
!' .
far behind. , $
$
,

.'! 1
~
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!

Far Right: Deckard franti· ;

~
t ,, i
'
cally tries to escape from '
!
.

thesuperreplicantand )

"
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-
....... ..
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l finds himselfon a slippery ~

'
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ledge some 50 stories l
Y,

above the street. ,,.,.._,__, .... I

 hile most of the battle took place on the soundstage,
·1designed a roof set for when Harrison gets out the
-window and up onto the roof. This was a very
in.teresting idea because we originally wanted to do
that scene on location downtown at what used to be an old hotel
on 5th and Main Street in Los Angeles. When we went up on the
roof, Ridley wanted both Harrison and Rutger to jump across a
20-foot alleyway. It was a 12-story drop if they missed. You can
.put nets out, but it became very impractical to shoot downtown,
·especially for the amount of time we needed to shoot the scene.
Ridley a~.d I sat down and came up with a design of a sectioned
roof top that·was 22 feet above the ground and could be
~ adjusted for the distance between the two roofs. The stuntman •

.
Above: Harriso~ Ford poses -
·said, ''No Larry, I'm not jumping 20 feet. Let's make it 1Ofeet."
r stunt double. We ended up moving it a little closer and he made the
. l
l leap just I -LAWRENCE G. PAULL
"
••

•
-'
'.
,,.. ••
 •

. '
. '

top: Deckard is on the Above: A beaten Deckard

verge oflosing his life. With sits all night.with the
• •

,
his one good hand, he hangs fading Batty, watching
on. It's along, long fall to him die slowly until the bft·
•
the ground• terend.
. . .. Left: As his hand slips from Top Right: An exhausted,
'
•
•
tt••
.'',., '
.
. .
. ' the building, Deckard is an· battered Deckard gazes.
' .

i
•
.. gry but prepared to die. cautiously toward his
Batty, moved by Deckard's apartment door. Will he find
• •
¥ rage, catches him at the last Rachael dead or alive?
.
! moment and dramatically
'
hauls Deckard up
I

~.. . one-handed onto the roof. ·

•
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@ : © The Blade Runner Partnership 1982 . .
Copy right © 1982 by the Marvel Comics Group, a division of Cadence Industries Corporation.
,

\
 •
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'

Or Rachael's. Or Bryant's police spinner. Or

Deckard's ground car. Now you can have •

all four in your search for replicants. Ertl

makes these perfectly detailed metal rep-
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Look for these Blade Runner minia-
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'

•
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The ERTL Company, Dyersville, Iowa 52040

Cars shown actual size •
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BLADE RUNNER
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