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使用者:EzrealChen/備用沙盒16

維基百科，自由的百科全書
Blade Runner
基本資料
導演雷利·史考特
監製Michael Deeley（英語：Michael Deeley）
劇本
原著銀翼殺手 (小說)
菲利普·狄克作品
主演
配樂范吉利斯
攝影Jordan Cronenweth（英語：Jordan Cronenweth）
剪輯
製片商
片長117 minutes[1]
產地United States[2][3]
Hong Kong[4]
語言English
上映及發行
上映日期
  • 1982年6月25日 (1982-06-25)（United States）
  • 1982年12月22日 (1982-12-22)（Hong Kong）
發行商華納兄弟影業 (worldwide)
Shaw Brothers (Hong Kong)
預算$30 million[5]
票房$41.6 million[6]

Blade Runner is a 1982 科幻電影 directed by 雷利·史考特, and written by 漢普頓·芬奇 and David Peoples（英語：David Peoples）.[7][8] Starring 哈里森·福特, 魯格·豪爾, 辛·楊, and 愛德華·詹姆斯·奧莫斯, it is an adaptation of 菲利普·狄克's 1968 novel 銀翼殺手 (小說) The film is set in a 反烏托邦n future Los Angeles of 2019, in which 人形機器人 known as replicants are 生物工程學 by the powerful Tyrell Corporation to work on 太空移民. When a fugitive group of advanced replicants led by Roy Batty（英語：Roy Batty） (Hauer) escapes back to Earth, burnt-out cop 瑞克·戴克 (Ford) reluctantly agrees to hunt them down.

Blade Runner initially underperformed in North American theaters and polarized critics; some praised its thematic complexity and visuals, while others critiqued its slow pacing and lack of action. The film's soundtrack（英語：Blade Runner (soundtrack)）, composed by 范吉利斯, was nominated in 1982 for a BAFTA（英語：36th British Academy Film Awards） and a Golden Globe（英語：40th Golden Globe Awards） as best original 電影配樂. Blade Runner later became a 邪典電影, and has since come to be regarded as one of the greatest science fiction films（英語：List of films considered the best）. Hailed for its production design depicting a 高科技 but decaying future, the film is often regarded as both a leading example of 新黑色 cinema as well as a foundational work of the 賽博朋克 genre. It has influenced many science fiction films, 銀翼殺手系列s, 日本動畫, and television series. It also brought the work of Dick to Hollywood's attention and led to several film adaptations of his works（英語：List of adaptations of works by Philip K. Dick）. In 1993, it was selected for preservation in the 國家影片登記表 by the 國會圖書館 (美國).

Seven different versions of Blade Runner（英語：versions of Blade Runner） exist as a result of controversial changes requested by studio executives. A 導演剪輯版 was released in 1992 after a strong response to test screenings of a workprint（英語：workprint）. This, in conjunction with the film's popularity as a video rental, made it one of the earliest movies to be released on DVD. In 2007, 華納兄弟 released The Final Cut（英語：Versions of Blade Runner）, a 25th-anniversary digitally remastered version; this is the only version over which Scott retained artistic control. The film is the first of 銀翼殺手系列. A sequel, titled 銀翼殺手2049, was released in 2017 alongside a trilogy of short films covering the thirty-year span between the two films' settings. The anime series, 銀翼殺手：黑蓮花, was released in 2021.

Plot[編輯]

Note: Since there are several versions of Blade Runner, this summary excludes version-specific events. See the Versions of Blade Runner（英語：Versions of Blade Runner） article for discussion of version-specific plot elements.

In 2019 Los Angeles, former police officer 瑞克·戴克 is detained by Officer Gaff, who likes to make 摺紙 figures, and is brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered humanoids known as replicants and terminally "retire" them, is informed that four replicants are on Earth illegally. Deckard begins to leave, but Bryant ambiguously threatens him and Deckard stays. The two watch a video of a blade runner named Holden administering the Voight-Kampff test, which is designed to distinguish replicants from humans based on their emotional responses to questions. The test subject, Leon（英語：Leon Kowalski）, shoots Holden on the second question. Bryant wants Deckard to retire Leon and three other Nexus-6 replicants: Roy Batty, Zhora, and Pris.

Bryant has Deckard meet with the CEO of the company that creates the replicants, Eldon Tyrell, so he can administer the test on a Nexus-6 to see if it works. Tyrell expresses his interest in seeing the test fail first and asks him to administer it on his assistant Rachael. After a much longer than standard test, Deckard concludes privately to Tyrell that Rachael is a replicant who believes she is human. Tyrell explains that she is an experiment who has been given false memories to provide an "emotional cushion", and that she has no knowledge of her true nature.

In searching Leon's hotel room, Deckard finds photos and a scale from the skin of an animal, which is later identified as a synthetic snake scale. Deckard returns to his apartment where Rachael is waiting. She tries to prove her humanity by showing him a family photo, but Deckard reveals that her memories are implants from Tyrell's niece, and she leaves in tears.

Replicants Roy and Leon meanwhile investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian, a gifted genetic designer who works closely with Tyrell. Pris locates Sebastian and manipulates him to gain his trust.

A photograph from Leon's apartment and the snake scale lead Deckard to a strip club, where Zhora works. After a confrontation and chase, Deckard kills Zhora. Bryant also orders him to retire Rachael, who has disappeared from the Tyrell Corporation. Deckard spots Rachael in a crowd, but he is ambushed by Leon, who knocks the gun out of Deckard's hand and beats him. As Leon is about to kill Deckard, Rachael saves him by using Deckard's gun to kill Leon. They return to Deckard's apartment and, during a discussion, he promises not to track her down. As Rachael abruptly tries to leave, Deckard restrains her and forces her to kiss him, and she ultimately relents. Deckard leaves Rachael at his apartment and departs to search for the remaining replicants.

Roy arrives at Sebastian's apartment and tells Pris that the other replicants are dead. Sebastian reveals that because of a genetic premature aging（英語：premature aging） disorder, his life will be cut short, like the replicants that were built with a four-year lifespan. Roy uses Sebastian to gain entrance to Tyrell's penthouse. He demands more life from his maker, which Tyrell says is impossible. Roy confesses that he has done "questionable things" but Tyrell dismisses this, praising Roy's advanced design and accomplishments in his short life. Roy kisses Tyrell and then kills him by crushing his skull. Sebastian tries to flee and is later reported dead.[nb 1]

At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns. Roy's body begins to fail as the end of his lifespan nears. He chases Deckard through the building and onto the roof. Deckard tries to jump onto another roof but is left hanging on the edge. Roy makes the jump with ease and, as Deckard's grip loosens, Roy hoists him onto the roof to save him. Before Roy dies, he laments that his memories "雨中淚水獨白". Gaff arrives to congratulate Deckard, also reminding him that Rachael will not live, but "then again, who does?" Deckard returns to his apartment to retrieve Rachael. While escorting her to the elevator, he notices a small origami 獨角獸 on the floor. He recalls Gaff's words and departs with Rachael.

Cast[編輯]

順序: The Director's Cut DVD中文字幕(根本是用聽的翻譯出來的)

泰勒公司

連鎖六號

Abdul Ben Hassan 人造蛇製作師 代亞杜那

Production[編輯]

Development[編輯]

Map of Ridleyville
Map of Ridleyville, exterior sets for Blade Runner located on the New York Street of the Warner Bros. Studios lot (伯班克 (加利福尼亞州))

菲利普·狄克的小說《仿生人會夢見電子羊嗎？》在1968年出版後不久就引起了改編的興趣。導演馬丁·斯科塞斯曾有意想把它搬上大銀幕，但他從未買下過改編權[10]。製片人赫伯·傑夫（英語：Herb Jaffe）於1970年代早期獲得改編權，但狄克不滿意傑夫之子羅伯特·傑夫寫的劇本，狄克曾說：「傑夫的劇本真是太糟糕了……羅伯特飛到聖安娜來和我討論這個項目。他下飛機後我說的第一句話是：『我是應該在機場就揍你一頓，還是回到我的公寓後再揍你？』[11]

1977年，漢普敦·芬奇執筆的劇本被選中並買下[12]。製片人邁可·迪利（英語：Michael Deeley）對芬奇的草稿深感興趣，勸說雷德利·斯科特來導演。史考特一度謝絕此計畫，但在離開《沙丘魔堡》（此片後由大衛·林區執導）進展緩慢的製作後，他想要接手一個快節奏的企劃案，來轉移自己的兄長法蘭克（Frank）甫去世所帶來的傷痛[13]。史考特於1980年2月21日正式加入，他成功地讓電影之路公司（英語：Filmways）把原先承諾投資的1300萬美元增加到1500萬美元。芬奇發現了威廉·柏洛茲為艾倫·E·諾斯（英語：Alan E. Nourse）的小說《The Bladerunner（英語：The Bladerunner）》寫的劇本小樣（英語：Film_treatment），名為《銀翼殺手 （一部電影）（英語：Blade_Runner_(a_movie)）》[nb 2]。史考特喜歡這個標題，讓迪利取得了該標題的使用權[14]。他不太滿意芬奇的劇本着重於環境問題，而不是原著中占分量更重的人性與信仰主題。史考特另雇了大衛·畢波斯（英語：David Peoples）來改寫劇本，而芬奇於1980年12月21日離開了企劃團隊，儘管他後來又回來參與了一些改寫。[15]

電影之路公司在前期製作階段已投資了250萬美元[16]，但在開拍日期臨近時宣布撤資。在十天內，迪利從一椿三方交易中，獲得了2,150萬美元的資金。交易的三方分別是賴德電影公司（英語：The Ladd Company）（透過華納兄弟影業）、香港電影製片邵逸夫爵士與串聯製片公司（英語：Tandem_Productions）[17]。

原著作者菲利普·狄克頗為介意無人告知他本片的製作事宜，這進一步加深了他對好萊塢的不信任感[18]。他在洛杉磯《電視選擇指南》（Select TV Guide）上撰文批評芬奇劇本的一個早期版本後，劇組將畢波斯改寫的劇本寄給了他[19]。狄克對改寫後的劇本感到滿意，並受邀來到劇組觀看了一段20分鐘的特效試驗片段，但他在影片上映前不久就去世了。儘管總體上狄克對好萊塢持懷疑態度，但他還是高興地向史考特表示影片中構建的世界正符合他的想象[20]，他說：「我在KNBC（英語：KNBC）的新聞節目裡看到了道格拉斯·特蘭布（英語：Douglas Trumbull）為《銀翼殺手》製作的一個特效片段。我一下子就認出來了。這是我內在所想的世界。他們完美地捕捉到它的樣子。」他也認同電影的劇本，說：「我讀完劇本後，拿出小說翻了一遍。兩者互為對方增色，先看小說的人會享受電影，而先看電影的人也會從小說中獲得樂趣。」[21]這部電影在片末字幕中註記將此片獻給狄克[22]。電影的主要攝影開始於1981年3月9日，在4個月後完成[23]。

1992年，福特透露說：「《銀翼殺手》不是我最喜歡的電影之一。我和雷利之間有過不愉快的糾葛。[24]」除了和導演不和外，福特也不喜歡片中的旁白：「開始拍攝時，我們默認一致同意的版本是之前說好的無旁白版本。那真是一個他媽的噩夢。我認為這部電影不用旁白就已經夠了。但現在我不得不為那些不能代表導演意圖的人重錄旁白。[25]」「我是又踢又叫地去錄音室錄製的。」[26]The narration monologs were written by an uncredited Roland Kibbee（英語：Roland Kibbee）.[27]

史考特在2006年被問起當時「和誰一起工作最痛苦？」他回答：「一定是哈里遜……我想他會原諒我這麼說的，因為我現在和他相處很融洽。現在他變得容易相處了。他懂得很多，問題就在這裡。我們合作當時，那是我第一次在美國拍電影，算是個新人。不過我們還是做出了一部好電影。」[28]福特在2000年評價史考特時曾說：「我欣賞他的作品。我們曾有一段時間不和，那對我來說已經過去了。」[29]2006年，福特回憶影片的製作過程時說道：「當我看《銀翼殺手》時想起最多的不是拍攝的50個夜晚，而是旁白……我依舊不得不為那些寫出一段又一段差勁旁白的小丑們工作。」[30]在2007年夏季的一期《完全電影（英語：Total Film）》雜誌上，史考特確認了福特對《銀翼殺手》的DVD特別版有所貢獻，並已完成他的採訪，他說：「哈里遜現在完全參與其中。」[31]

A photograph of a building interior showing stairs climbing up five storeys to the final floor where we can see the glass roof
The Bradbury Building（英語：Bradbury Building） in Los Angeles was used as one of the filming locations.

The Bradbury Building（英語：Bradbury Building） in downtown Los Angeles served as a filming location（英語：filming location）, and a Warner Bros. backlot（英語：backlot） housed the 2019 Los Angeles street sets（英語：Set construction）. Other locations included the 恩尼斯住宅 and the 2nd Street Tunnel（英語：2nd Street Tunnel）. Test screening（英語：Test screening）s resulted in several changes, including adding a 旁白, a happy ending, and the removal of a Holden hospital scene. The relationship between the filmmakers and the investors was difficult, which culminated in Deeley and Scott being fired but still working on the film.[32] Crew members created T-shirts during filming saying, "Yes Guv'nor, My Ass" that mocked Scott's unfavorable comparison of U.S. and British crews; Scott responded with a T-shirt of his own, "Xenophobia Sucks", making the incident known as the T-shirt war.[33][34]

選角[編輯]

參見：List of Blade Runner characters

為本片選擇合適的演員陣容相當棘手，尤其是主人翁戴克的選角。編劇漢普敦·芬奇把勞勃·米契預想為戴克，在創作戴克的台詞時也想著米契[35]。導演雷德利·斯科特和製片人「用了幾個月的時間」與德斯汀·荷夫曼會面和討論這個角色，但對方最終因想法不合而離開[35]。

斯科特最終選上哈里森·福特有幾個原因，包括他在《星球大戰》系列中的表現、他自己對《銀翼殺手》故事的興趣，以及斯蒂芬·斯皮爾伯格完成《奪寶奇兵》後對他在片中的表現大加稱讚[35]。在《星球大戰》和《法櫃奇兵》的成功後，福特也正尋找一個有深度的角色[25]。根據製片記錄，有很多演員被列入考慮演出這個角色，包括金·哈克曼、肖恩·康納利、傑克·尼科爾森、保羅·紐曼、克林特·伊斯特伍德、湯米·李·瓊斯、阿諾·施瓦辛格、彼得·福克、尼克·諾爾蒂、艾爾·帕西諾和畢·雷諾斯[35][36]。

不難決定的選角，是讓魯格·豪爾飾演暴力但有思想的人造人領袖羅伊·貝提[37][38]。史考特僅憑藉自己看過豪爾在保羅·范赫文電影中的表現，沒有和他見面就錄用了他[35]。原著作者菲利普·狄克認為豪爾的詮釋是「完美的貝提——冷血、一副雅利安人樣、毫無瑕疵」[20]。在豪爾參與的眾多電影中，《銀翼殺手》是他的最愛。在2001年的一次在線聊天中，他說：「《銀翼殺手》不需要任何解釋，它就是這樣，一切都是最棒的，從來沒有一部像這樣的作品。能參與一部改變世界思想的真正傑作真是太棒了。」[39]Hauer rewrote his character's "雨中淚水獨白" speech himself and presented the words to Scott on set prior to filming.[來源請求]

該片也選用了一些當時並不出名的演員，例如黛瑞·漢娜和西恩·楊[40]。該片也選用了一些當時並不出名的演員，例如黛瑞·漢娜和西恩·楊[41]。為普莉絲和瑞秋選擇合適的演員也非易事，劇組讓摩根·保爾（英語：Morgan Paull）扮演戴克與許多參加試鏡的女演員對戲，並拍下試鏡過程。保羅憑藉在這些試鏡中的表現，得到了片中開場被擊傷的那位銀翼殺手賀登一角[35]。前來試鏡的演員中有保羅推薦的妮娜·艾索羅德（英語：Nina Axelrod）[35]和史黛西·尼爾金（英語：Stacey Nelkin），後者雖然得到了另外一個角色，但該角色的戲份在拍攝前被刪除[35]。這兩位演員的試鏡畫面，後來皆收錄在2007年的紀錄片《危險的日子：銀翼殺手幕後》中。楊被選中出演泰瑞的助手瑞秋，是一位被植入泰瑞侄女記憶的人造人。漢娜飾演普莉絲，她和羅伊的愛情，是人造人也擁有人性的象徵。布瑞恩·詹姆斯飾演強壯的人造人李昂，他在電影開場處槍擊了一位銀翼殺手得以逃走。瓊安娜·卡西迪（英語：Joanna Cassidy）飾演左拉，一名臥底和暗殺型人造人，經歷人性黑暗的強大女性。摩根·保羅飾賀登，在戴克接手前負責追捕這些人造人的銀翼殺手，在開場情節中遭李昂槍擊成重傷。

愛德華·詹姆斯·奧莫斯飾演蓋夫，他利用自己的種族背景，和深入的個人研究，創造出蓋夫在片中所使用的虛構語言「城市混合語」[42]。在麵攤和戴克碰面的場景中，他說的話部分為匈牙利語，意思是：「胡說！不可能。你是銀翼……銀翼殺手。[42]」麥克·艾密特·沃許（英語：M. Emmet Walsh）飾演布萊恩隊長，一名黑色電影中常見的邋遢好酒、心懷叵測、缺少人手的老警探。喬·特科爾飾演泰瑞博士，一位企業大亨，建立了基於人造人奴隸的商業帝國。威廉·桑德森（英語：William Sanderson）飾演J·F·賽巴斯汀，是一名不多話且孤獨的天才，他具有慈悲心和服從性格。塞巴斯汀同情人造人，把他們視為同伴[43]。他患有類似早衰症的基因疾病「麥修撒拉症候群」，因此和人造人一樣壽命很短[44]。喬·潘托里亞諾（英語：Joe Pantoliano）曾被考慮過出演該角色[45]。華裔演員吳漢章飾演漢尼拔·周，一名老年亞裔基因科學家，專長為製作眼睛。海伊·派克（英語：Hy Pyke）飾演低級酒吧的老闆泰菲·路易斯，他的鏡頭只拍攝了一遍就完成，對於追求完美經常一個鏡頭拍攝兩位數次數的史考特，這樣的情況幾乎聞所未聞[46]。

Design[編輯]

雷利·史考特指出本片風格化的情緒基調來源於愛德華·霍普的畫作《夜遊者》，以及漫畫家莫比斯參與的法國科幻漫畫雜誌《重金屬》[47]。他也參考了「香港在天氣很糟糕時的城市景觀」[48]，和他曾居住過的東北部英格蘭的工業化景象[49]。The visual style of the movie is influenced by the work of futurist Italian architect Antonio Sant'Elia（英語：Antonio Sant'Elia）.[50] 史考特雇用了席德·米德作為概念設計師，他像史考特一樣也受到《重金屬》影響[51]。莫比斯曾受邀參與《銀翼殺手》的前期製作，但他因為參與了赫內·拉魯的動畫片《時間之主（法語：Les Maîtres du temps）》而婉拒了這項邀約，日後他對這個決定表示後悔[52]。製片指導勞倫斯·G·普爾（英語：Lawrence G. Paull）與藝術指導大衛·史奈德（英語：David Snyder）把米德和史考特的概念草圖轉為實物。道格拉斯·特蘭布（英語：Douglas Trumbull）和理查德·尤里西奇（英語：Richard Yuricich）主管特效製作，and 馬克·斯泰森 served as chief model maker.[53]。

《銀翼殺手》和弗里茨·朗的默片《大都會》（1927年）有許多相似之處，兩者都運用了完全人造的都市環境布景，其中富人居住於高處，如同其地位一般，整座城市由一座巨大的建築物主宰——《大都會》中的城冠塔（the Stadtkrone Tower）和本片中的泰瑞大樓。特效主管大衛·卓萊爾（David Dryer）在安排本片的微縮模型鏡頭時，使用了《大都會》的劇照[54]。

The extended end scene in the original theatrical release shows Rachael and Deckard traveling into daylight with pastoral aerial shots filmed by director 斯坦利·庫布里克. Ridley Scott contacted Kubrick about using some of his surplus helicopter aerial photography from 閃靈 (電影).[55][56][57]

迴旋車[編輯]

主條目：Spinner (Blade Runner)
A "spinner" (police variant) on display at 迪士尼好萊塢夢工場 in the 1990s

迴旋車（Spinner）是影片中虛構飛行汽車的名稱。一輛迴旋車可以作為陸地交通工具駕駛，也可以像垂直起降飛行器一樣用噴氣發動機垂直升空、盤旋和巡航。警方廣泛使用他們來巡邏和監控人群，顯然儘管有限制存在，富人依然能得到其駕駛執照[58]。該交通工具由席德·米德構想並設計，他將其描述為「重航空器」（aerodyne）——通過使空氣向下運動來獲得升力，儘管電影宣傳資料包中稱它由三種機器推動：傳統內燃機、噴氣發動機和反重力系統[59]。米德的概念設計圖由汽車定製師吉恩·溫菲爾德（英語：Gene Winfield）轉化為25輛真實大小的車；其中至少有兩輛是地面行駛載具，其餘則是重量很輕的Mockup，用於吊著拍攝和當作街道鏡頭的裝飾。[60]在美國華盛頓州西雅圖的科幻博物館和名人堂中，有一輛迴旋車作為常設展覽[61]。有兩輛最終留在奧蘭多的華特迪士尼世界度假區，後來遭到銷毀，其他一些則變成私人收藏[60]。

Voight-Kampff machine[編輯]

A very advanced form of lie detector that measures contractions of the iris muscle and the presence of invisible airborne particles emitted from the body. The bellows were designed for the latter function and give the machine the menacing air of a sinister insect. The VK is used primarily by Blade Runners to determine if a suspect is truly human by measuring the degree of his empathic response through carefully worded questions and statements.
 – Description from the original press kit.

The Voight-Kampff machine is a fictional interrogation tool, originating from the novel (where it is spelled "Voigt-Kampff"). The Voight-Kampff is a 測謊機-like machine used by blade runners to determine whether an individual is a replicant. It measures bodily functions such as respiration, blush response, heart rate and eye movement in response to questions dealing with 同理心.[62]

Music[編輯]

主條目：Blade Runner (soundtrack)

《銀翼殺手》的電影配樂由范吉利斯譜寫，黑暗的旋律結合了古典編曲和未來風格的合成器音樂，反映史考特所構想的黑色復古未來。范吉利斯當時剛以《烈火戰車》榮獲奧斯卡金像獎[63]，他以合成器來為《銀翼殺手》編寫和演奏配樂[64]。他也運用了好幾個chimes和合作對象迪米斯·盧索斯的聲樂[65]。另一個令人印象深刻的配樂是次中音薩克斯風獨奏"Love Theme"，由演出過多張范吉利斯專輯的英國演奏家Dick Morrissey（英語：Dick Morrissey）演出。導演史考特也在本片中使用范吉利斯專輯《See You Later（英語：See You Later）》中的歌曲"Memories of Green"，之後又在電影《Someone to Watch Over Me（英語：Someone to Watch Over Me (film)）》中使用該曲的管弦樂版本[66]。

除了范吉利斯的曲子和環境音樂外，本片的聲景也出現了日本樂團「Ensemble Nipponia」的一首作品"Ogi no Mato"，或稱"The Folding Fan as a Target"（在 Nonesuch Records發行的Traditional Vocal and Instrumental Music），和豎琴演奏家Gail Laughton專輯"Harps of the Ancient Temples"（Laurel Records發行）的一首作品。[67]

電影的官方原聲帶時隔十年多後才問世，儘管配樂本身備受好評、電影的片尾字幕也預告稱原聲帶將由寶麗多唱片發行。1992年，New American Orchestra（英語：New American Orchestra）錄製了電影配樂的管弦樂改編版，和原版幾無相似之處。1989年，部分曲目收錄在合集Vangelis: Themes，之後一直到1992年Director's Cut發行後，本片的配樂才終於有整體上的商業發行[65]

由於原聲帶發延遲日久及複製品的質與量堪憂，這些年來有許多私制唱片被製作出來。1982年，一支私製錄音帶在科幻大會上出現，並因為官方品久未發行而大為流行，1993年"Off World Music, Ltd"製作了一張私製CD，內容比范吉利斯1994年的官方CD還要更詳盡齊全[65]。2007年，一個三合一的CD套裝問世，收錄了與《銀翼殺手》相關的范吉利斯配樂作品。該套裝題為Blade Runner Trilogy，第一碟收錄與1994年版相同的曲目，第二碟收錄先前並未收錄的電影曲目，第三碟只收錄范吉利斯創作的全新配樂，這些配樂啟發自或繼承《銀翼殺手》的精神。[68]

Special effects[編輯]

本片的特效廣泛被視為該類型電影的最佳[69][70]，將當時有的非數位技術發揮到極致。本片的特效師用來製作和設計視覺觀感的創新技術，常使他們受到稱讚[71]。除了接景和模型以外, 多重曝光也是採用的技術之一。某些橋段採取的作法是，布景先打光並拍攝，將膠捲倒帶，用不同的打光重新錄影一遍。在某些案例中，這個做法一共重複了16次。拍片時，攝影機的移動經常是由電腦操控[69]。許多特效使用了在《第三類接觸》製作期間已發展出來的技術[72]

Release[編輯]

Theatrical run[編輯]

在美國，《銀翼殺手》於1982年6月25日在1290家影院上映。此日期是由製片小艾倫·拉德（英語：Alan Ladd Jr.）選中，由於他之前的高票房作品（《星際大戰四部曲：曙光乍現》與《異形》）在接近的日期上映（1977年與1979年的5月25日），使這天成為他的「幸運日」[73]。然而首周票房令人失望，僅有615萬美元[74]，雖然以某些原因來看這個表現算良好[75]。造成票房不如預期的重要因素是本片與其他科幻片《突變第三型》、《星艦迷航記II：星戰大怒吼》和《E.T. 外星人》幾乎同期上映，尤其是占據當年夏季票房的大片《E.T. 外星人》對其影響很大[76]。

Versions[編輯]

主條目：Versions of Blade Runner

Several versions of Blade Runner have been shown. The original workprint version (1982, 113 minutes) was shown for audience test previews in Denver and Dallas in March 1982. Negative responses to the previews led to the modifications resulting in the U.S. theatrical version.[77][78] The workprint was shown as a director's cut without Scott's approval at the Los Angeles Fairfax Theater in May 1990, at an AMPAS showing in April 1991, and in September and October 1991 at the Los Angeles NuArt Theater and the San Francisco Castro Theatre.[79] Positive responses pushed the studio to approve work on an official director's cut.[80] A San Diego Sneak Preview was shown only once, in May 1982, and was almost identical to the U.S. theatrical version but contained three extra scenes not shown in any other version, including the 2007 Final Cut.[81]

Two versions were shown in the film's 1982 theatrical release: the U.S. theatrical version (117 minutes),[1] known as the original version or Domestic Cut (released on Betamax, CED Videodisc（英語：CED Videodisc） and 家用錄像系統 in 1983, and on 鐳射影碟 in 1987), and the International Cut (117 minutes), also known as the "Criterion Edition" or "uncut version", which included more violent action scenes than the U.S. version. Although initially unavailable in the U.S. and distributed in Europe and Asia via theatrical and local Warner Home Video releases, the International Cut was later released on VHS and 標準收藏 Laserdisc in North America, and re-released in 1992 as a "10th Anniversary Edition".[82]

Ridley Scott's Director's Cut (1992, 116 minutes)[83] had significant changes from the theatrical version including the removal of Deckard's voice-over, the re-insertion of the unicorn sequence, and the removal of the studio-imposed happy ending. Scott provided extensive notes and consultation to Warner Bros. through film preservationist Michael Arick, who was put in charge of creating the Director's Cut.[84]

Scott's definitive The Final Cut (2007, 117 minutes)[85] was released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and 藍光光碟 in December 2007.[86] This is the only version over which Scott had complete artistic and editorial control.[84]

Reception[編輯]

Critical response[編輯]

On 爛番茄, the film holds an 89% approval rating based on 126 reviews, with an average rating of 8.50/10. The website's critics consensus reads, "Misunderstood when it first hit theaters, the influence of Ridley Scott's mysterious, neo-noir Blade Runner has deepened with time. A visually remarkable, achingly human sci-fi masterpiece."[87] Metacritic, which uses a weighted average, assigned the film a score of 84 out of 100 based on 15 critics, indicating "universal acclaim".[88]

Initial reactions among film critics were mixed. Some wrote that the plot took a back seat to the film's special effects and did not fit the studio's marketing as an action and adventure film. Others acclaimed its complexity and predicted it would stand the test of time.[89] Negative criticism in the United States cited its slow pace.[90] Sheila Benson（英語：Sheila Benson） from the 洛杉磯時報 called it "Blade Crawler", and Pat Berman in The State（英語：The State (newspaper)） and Columbia Record（英語：Columbia Record） described it as "science fiction pornography".[91] Pauline Kael（英語：Pauline Kael） praised Blade Runner as worthy of a place in film history for its distinctive sci-fi vision, yet criticized the film's lack of development in "human terms".[92] Ares（英語：Ares (magazine)） magazine said, "Misunderstood by audiences and critics alike, it is by far the best science fiction film of the year."[93]

Cultural analysis[編輯]

Academics began analyzing the film almost as soon as it was released. One of the first books on the film was Paul M. Sammon's Future Noir: The Making of Blade Runner (1996),[94] which dissects all the details concerning the film making. He was followed by Scott Bukatman（英語：Scott Bukatman）'s Blade Runner[95] and other books and academic articles.[96] In Postmodern Metanarratives: Blade Runner and Literature in the Age of Image, Décio Torres Cruz analyzes the philosophical and psychological issues and the literary influences in Blade Runner. He examines the film's cyberpunk and dystopic elements by establishing a link between the Biblical, classical and modern traditions and the postmodern aspects in the film's collage of several literary texts.[97]

The boom in home video formats helped establish a growing cult around the film,[71] which scholars have dissected for its dystopic aspects, questions regarding "authentic" humanity, 生態女性主義 aspects[98] and use of conventions from multiple genres.[99] Popular culture began to reassess its impact as a classic several years after it was released.[100][101][102] 羅傑·埃伯特 praised the visuals of both the original and the Director's Cut and recommended it for that reason; however, he found the human story clichéd and a little thin.[37] He later added The Final Cut to his "Great Movies" list.[103] Critic Chris Rodley and Janet Maslin（英語：Janet Maslin） theorized that Blade Runner changed cinematic and cultural discourse through its image repertoire and subsequent influence on films.[104] In 2012, 時代雜誌 film critic Richard Corliss（英語：Richard Corliss） surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective.[105] 丹尼斯·維勒弗, who directed the sequel, 銀翼殺手2049, cites the film as a huge influence for him and many others.[102]

It has also been noted for its postmodernist approach and that it contributes to the historical development of modern dystopia in film.[106] Furthermore, the futuristic version of Los Angeles has been widely discussed by academics with some comparing it to Milton's descriptions of hell in 失樂園.[107] A 2019 retrospective in the 英國廣播公司 argued that elements of the film's socio-political themes remained prescient in the real year of the film's setting, such as its depiction of 全球變暖.[108] From a more philosophical perspective, Alison Landsberg described Scott's direction of the film as a "prosthetic memory"—an action that has never happened and appears to be divorced from lived experience, yet it defines personhood and identity within the wider Blade Runner universe.[109]

Awards and nominations[編輯]

Blade Runner won or received nominations for the following awards:[110]

Year Award Category Nominee Result
1982 British Society of Cinematographers（英語：British Society of Cinematographers） Best Cinematography Jordan Cronenweth（英語：Jordan Cronenweth） 提名
洛杉磯影評人協會 Best Cinematography（英語：Los Angeles Film Critics Association Award for Best Cinematography） 獲獎
1983 英國電影學院獎 Best Cinematography（英語：BAFTA Award for Best Cinematography） 獲獎
Best Costume Design（英語：BAFTA Award for Best Costume Design） Charles Knode and Michael Kaplan（英語：Michael Kaplan (costume designer)） 獲獎
Best Editing（英語：BAFTA Award for Best Editing） Terry Rawlings（英語：Terry Rawlings） 提名
Best Film Music（英語：BAFTA Award for Best Film Music） 范吉利斯 提名
Best Makeup and Hair（英語：BAFTA Award for Best Makeup and Hair） Marvin Westmore（英語：Marvin Westmore） 提名
Best Production Design（英語：BAFTA Award for Best Production Design） Lawrence G. Paull（英語：Lawrence G. Paull） 獲獎
Best Sound（英語：BAFTA Award for Best Sound） Peter Pennell, Bud Alper, Graham V. Hartstone, and Gerry Humphreys 提名
Best Special Visual Effects（英語：BAFTA Award for Best Special Visual Effects） Douglas Trumbull（英語：Douglas Trumbull）, Richard Yuricich（英語：Richard Yuricich）, and David Dryer 提名
雨果獎 雨果獎最佳戲劇表現獎 獲獎
倫敦影評人協會 Special Achievement Award Lawrence G. Paull, Douglas Trumbull, and Syd Mead 獲獎
金球獎s 金球獎最佳原創配樂獎 Vangelis 提名
奧斯卡金像獎 奧斯卡最佳藝術指導獎 Lawrence G. Paull, David Snyder（英語：David Snyder）, and Linda DeScenna（英語：Linda DeScenna） 提名[111]
奧斯卡最佳視覺效果獎 Douglas Trumbull, Richard Yuricich, and David Dryer（英語：David Dryer） 提名[112][113]
土星獎 Best Director（英語：Saturn Award for Best Director） 雷利·史考特 提名
土星獎最佳科幻電影 提名
Best Special Effects（英語：Saturn Award for Best Special Effects） Douglas Trumbull and Richard Yuricich 提名
土星獎最佳電影男配角 魯格·豪爾 提名
Fantasporto（英語：Fantasporto） International Fantasy Film Award Ridley Scott 提名
1993 Fantasporto（英語：Fantasporto） International Fantasy Film Award Best Film – Ridley Scott (Director's Cut) 提名
1994（英語：20th Saturn Awards） 土星獎 Best Genre Video Release Blade Runner (Director's Cut) 提名
2008（英語：35th Saturn Awards） Best DVD Special Edition Release（英語：Saturn Award for Best DVD or Blu-ray Special Edition Release） Blade Runner (5-Disc Ultimate Collector's Edition) 獲獎

Themes[編輯]

主條目：Themes in Blade Runner

The film operates on multiple dramatic and narrative levels. It employs some of the conventions of 黑色電影, among them the character of a 致命女郎; narration by the protagonist (in the original release); 明暗對照法 cinematography; and giving the hero a questionable moral outlook – extended to include reflections upon the nature of his own humanity.[114][115] It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of 基因工程 in the context of 古希臘戲劇 and 傲慢.[116] It also draws on Biblical images, such as Noah's flood（英語：Genesis flood narrative）,[117] and literary sources, such as 科學怪人[118] and 威廉·布萊克.[119] Although Scott said any similarity was merely coincidental,[120] fans claimed that the chess game between Sebastian and Tyrell was based on the famous 不朽對局 of 1851.[121]

Blade Runner delves into the effects of technology on the environment and society by reaching to the past, using literature, religious symbolism（英語：religious symbolism）, classical dramatic themes, and film noir techniques. This tension between past, present, and future is represented in the "retrofitted" future depicted in the film, one which is high-tech and gleaming in places but decayed and outdated elsewhere. In an interview with 觀察家報 in 2002, director Ridley Scott described the film as "extremely dark, both literally and metaphorically, with an oddly masochistic feel". He also said that he "liked the idea of exploring pain" in the wake of his brother's death: "When he was ill, I used to go and visit him in London, and that was really traumatic for me."[122]

A sense of foreboding and paranoia pervades the world of the film: corporate power looms large; the police seem omnipresent; vehicle and warning lights probe into buildings; and the consequences of huge biomedical power over the individual are explored – especially regarding replicants' implanted memories. The film depicts a world post ecocide（英語：ecocide）, where warfare and capitalism have led to destruction of 'normal' ecological systems.[123][124] Control over the environment is exercised on a vast scale, and goes hand in hand with the absence of any natural life; for example, artificial animals stand in for their extinct predecessors.[125] This oppressive backdrop explains the frequently referenced migration of humans to "off-world" (extraterrestrial) colonies. Eyes are a recurring motif, as are manipulated images, calling into question the nature of reality and our ability to accurately perceive and remember it.[126][127]

These thematic elements provide an atmosphere of uncertainty for Blade Runner's central theme of examining humanity. In order to discover replicants, an empathy test is used, with a number of its questions focused on the treatment of animals – seemingly an essential indicator of one's "humanity". Replicants will not respond the same way humans would, showing a lack of concern. The film goes so far as to question if Deckard might be a replicant, in the process asking the audience to re-evaluate what it means to be human.[128]

The question of whether Deckard is intended to be a human or a replicant has been an ongoing controversy since the film's release.[129][130] Both Michael Deeley and Harrison Ford wanted Deckard to be human, while Hampton Fancher preferred ambiguity.[131] Ridley Scott has stated that in his vision, Deckard is a replicant.[132][133] Deckard's unicorn-dream sequence, inserted into Scott's Director's Cut and concomitant with Gaff's parting gift of an origami unicorn, is seen by many as showing that Deckard is a replicant – because Gaff could have retrieved Deckard's implanted memories.[118][134][135] The interpretation that Deckard is a replicant is challenged by others who believe the unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognize their affinity,[136] or that the absence of a decisive answer is crucial to the film's main theme.[137] The film's inherent ambiguity and uncertainty, as well as its textual richness, have permitted multiple interpretations.[138]

Legacy[編輯]

Cultural impact[編輯]

參見：Tears in rain monologue
Screenshot of a police spinner flying through a cityscape next to a large building which has a huge face projected onto it. In the distance a screen can be seen with writing and pictures on it
A police spinner flying beside enormous skyscrapers, some with electronic billboards on them. Special effects such as these were benchmarks and have been highly influential on the esthetics of subsequent sci-fi movies.
Tesla's Cybertruck was heavily inspired by Blade Runner.

While not initially a success with North American audiences, Blade Runner was popular internationally and garnered a 邪典追捧.[139] The film's dark style and futuristic designs have served as a benchmark and its influence can be seen in many subsequent science fiction films, 電子遊戲s, 日本動畫, and television programs.[114] For example, Ronald D. Moore（英語：Ronald D. Moore） and David Eick（英語：David Eick）, the producers of the re-imagining of 太空堡壘卡拉狄加, have both cited Blade Runner as one of the major influences for the show.[140]

The film was selected for preservation in the United States 國家影片登記表 in 1993 and is frequently taught in university courses.[141][142][143] In 2007, it was named the second-most visually influential film of all time by the Visual Effects Society.[144] The film has also been the subject of parody, such as the comics Blade Bummer by Crazy（英語：Crazy (magazine)） comics,[145] Bad Rubber by Steve Gallacci（英語：Steve Gallacci）,[146] and the 紅矮星號 2009 three-part miniseries "Back to Earth（英語：Red Dwarf: Back to Earth）".[147][148] The anime series PSYCHO-PASS by Production I.G was also highly influenced by the movie.[149]

Blade Runner continues to reflect modern trends and concerns, and an increasing number of critics consider it one of the greatest science fiction films of all time.[150] It was voted the best science fiction film ever made in a 2004 poll of 60 eminent world scientists.[151] Blade Runner is also cited as an important influence to both the style and story of the 攻殼機動隊 franchise, which itself has been highly influential to the future-noir genre.[152][153] Blade Runner has been very influential to the 賽博朋克 movement.[154][155][156][157] It also influenced the 賽博朋克衍生體裁 生物朋克, which revolves around 生物技術 and 基因工程.[158][159]

The dialogue and music in Blade Runner has been 取樣 (音樂) in music more than any other film of the 20th century.[160] The 2009 album I, Human（英語：I, Human） by Singaporean band Deus Ex Machina（英語：Deus Ex Machina (Death Metal)） makes numerous references to the genetic engineering and cloning themes from the film, and even features a track titled "Replicant".[161]

Blade Runner is cited as a major influence on 華倫·埃文·史佩特,[162] designer of the video game 殺出重圍, which displays evidence of the film's influence in both its visual rendering and plot. Indeed, the film's look – and in particular its overall darkness, preponderance of neon lights and opaque visuals – are easier to 渲染 than complicated backdrops, making it a popular reference point for video game designers.[163][164] It has influenced 冒險遊戲s such as the 2012 graphical 文字冒險遊戲 Cypher（英語：Cypher (video game)）,[165] Rise of the Dragon（英語：Rise of the Dragon）,[166][167] Snatcher（英語：Snatcher (video game)）,[167][168] the Tex Murphy（英語：Tex Murphy） series,[169] 鋼鐵天空下,[170] Flashback: The Quest for Identity（英語：Flashback: The Quest for Identity）,[167] 吹泡糖危機 (and their 吹泡糖危機),[171][172] the 角色扮演遊戲 暗影狂奔,[167] the 第一人稱射擊遊戲 Perfect Dark,[173] the 射擊遊戲 Skyhammer（英語：Skyhammer）,[174][175] and the Syndicate（英語：Syndicate (series)） series of video games.[176][177]

The logos of 雅達利, 貝爾系統, 可口可樂, Cuisinart（英語：Cuisinart）, 泛美航空, and RCA, all market leaders at the time, were prominently displayed as 置入性行銷 in the film, and all experienced setbacks after the film's release,[178][179] leading to suggestions of a Blade Runner curse.[180] 可口可樂 and Cuisinart（英語：Cuisinart） recovered, and 青島啤酒 was also featured in the film and was more successful after the film than before.[178]

The design of 特斯拉 (公司) Tesla Cybertruck was inspired by the film.[181] Prior to its release 埃隆·馬斯克 promised that it would "look like something out of Blade Runner".[182] Besides referring to the truck as the "Blade Runner Truck", Musk chose to debut the truck in order to coincide with the film's setting of November 2019.[183] The film's art designer 席德·米德 praised the truck and said he was "flattered" by the homage to Blade Runner.[182]

Media recognition[編輯]

Year Presenter Title Rank Refs
2001 The Village Voice（英語：The Village Voice） 100 Best Films of the 20th Century 94 [184]
2002 在線影評人協會 (OFCS) Top 100 Sci-fi Films of the Past 100 Years 2 [185]
視與聽 視與聽 45 [186]
50 Klassiker, Film 不適用 [187]
2003 1001 Movies You Must See Before You Die（英語：1001 Movies You Must See Before You Die） [188]
娛樂周刊 The Top 50 Cult Movies 9 [189]
2004 衛報, scientists Top 10 Sci-fi Films of All Time 1 [190][191][192]
2005 Total Film's editors 100 Greatest Movies of All Time 47 [193]
時代雜誌's critics "All-Time 100" Movies（英語：Time's All-Time 100 Movies） 不適用 [194][195][196]
2008 新科學人 All-time favorite science fiction film (readers and staff) 1 [197][198]
帝國雜誌 The 500 Greatest Movies of All Time 20 [199]
2010 Total Film（英語：Total Film） 100 Greatest Movies of All Time 不適用 [200]
2012 Sight & Sound Sight & Sound 2012 critics top 250 films 69 [201]
Sight & Sound Sight & Sound 2012 directors top 100 films 67 [202]
2017 Empire The 100 Greatest Movies Of All Time 13 [203]
2022 IGN Top 25 Sci-Fi Movies of All Time 2 [204]
2022 Sight & Sound Sight & Sound 2022 critics top 100 films 54 [205]

American Film Institute recognition[編輯]

In other media[編輯]

Before filming began, Cinefantastique（英語：Cinefantastique） magazine commissioned Paul M. Sammon to write a special issue about Blade Runner's production which became the book Future Noir: The Making of Blade Runner.[206] The book chronicles Blade Runner's evolution, focusing on film-set politics, especially the British director's experiences with his first American film crew; of which producer Alan Ladd, Jr.（英語：Alan Ladd, Jr.） has said, "Harrison wouldn't speak to Ridley and Ridley wouldn't speak to Harrison. By the end of the shoot Ford was 'ready to kill Ridley', said one colleague. He really would have taken him on if he hadn't been talked out of it."[207] Future Noir has short cast biographies and quotations about their experiences as well as photographs of the film's production and preliminary sketches. A second edition of Future Noir was published in 2007, and additional materials not in either print edition have been published online.[208]

菲利普·狄克 refused a $400,000 offer to write a Blade Runner novelization（英語：novelization）, saying: "⁠[I was] told the cheapo novelization would have to appeal to the twelve-year-old audience" and it "would have probably been disastrous to me artistically". He added, "That insistence on my part of bringing out the original novel and not doing the novelization – they were just furious. They finally recognized that there was a legitimate reason for reissuing the novel, even though it cost them money. It was a victory not just of contractual obligations but of theoretical principles."[21][209] 銀翼殺手 (小說) was eventually reprinted as a 商業搭配, with the film poster as a cover and the original title in parentheses below the Blade Runner title.[210] Additionally, a novelization of the movie entitled Blade Runner: A Story of the Future by Les Martin（英語：Les Martin） was released in 1982.[211] Archie Goodwin（英語：Archie Goodwin (comics)） scripted the comic book adaptation, A Marvel Comics Super Special: Blade Runner（英語：A Marvel Comics Super Special: Blade Runner）, published in September 1982, which was illustrated by Al Williamson, Carlos Garzon, Dan Green, and Ralph Reese, and lettered by Ed King.[212]

Blue Dolphin Enterprises（英語：List of Pacific Comics publications） published the film's screenplay combined with selected production storyboards as The Illustrated Blade Runner (June 1982);[213] a book of original production artwork by Syd Mead, Mentor Huebner, Charles Knode, Michael Kaplan, and Ridley Scott as Blade Runner Sketchbook (1982);[214] and The Blade Runner Portfolio (1982), a collection of twelve photographic prints, similar to the artist portfolios released by their Schanes & Schanes（英語：List of Pacific Comics publications） imprint.[215]

There are two 電子遊戲s based on the film, both titled Blade Runner: one from 1985（英語：Blade Runner (1985 video game)）, a 橫向捲軸遊戲 for 康懋達64, Sinclair ZX Spectrum, and Amstrad CPC by CRL Group PLC, which is marked as "a video game interpretation of the film score by Vangelis" rather than of the film itself (due to licensing issues); and 銀翼殺手 (遊戲), a point-and-click adventure for PC by 西木工作室. The 1997 game has a non-linear plot based in the Blade Runner world, 非玩家角色s that each ran in their own independent 人工智能, and an unusual pseudo-3D engine (which eschewed polygonal solids in favor of 體素 elements) that did not require the use of a 3D accelerator card to play the game.[216] Eldon Tyrell, Gaff, Leon, Rachael, Chew, J. F. Sebastian and Howie Lee appear, and their voice files are recorded by the original actors, with the exception of Gaff, who is replaced by Javier Grajeda (as 銀翼殺手 (遊戲)) and Howie Lee, who is replaced by Toru Nagai.[217] The player assumes the role of McCoy, another replicant-hunter working at the same time as Deckard.[163][164]

The television film (and later series) Total Recall 2070（英語：Total Recall 2070） was initially planned as a spin-off of the film 全面回憶 (based on Philip K. Dick's short story "We Can Remember It for You Wholesale（英語：We Can Remember It for You Wholesale）"), but was produced as a hybrid of Total Recall and Blade Runner.[218] Many similarities between Total Recall 2070 and Blade Runner were noted, as well as apparent influences on the show from 艾薩克·阿西莫夫's 鋼穴 and the TV series Holmes & Yoyo（英語：Holmes & Yoyo）.[219]

Documentaries[編輯]

The film has been the subject of several documentaries.

Blade Runner: Convention Reel (1982, 13 minutes)
Co-directed by Muffet Kaufman and Jeffrey B. Walker, shot and screened in 16 mm, featured no narrator, was filmed in 1981 while Blade Runner was still in production and featured short "behind-the-scenes" segments showing sets being built and sequences being shot, as well as interviews with 雷利·史考特, 席德·米德 and Douglas Trumbull（英語：Douglas Trumbull）. Appears on the Blade Runner Ultimate Collector's Edition.[220]
On the Edge of Blade Runner (2000, 55 minutes)
Directed by Andrew Abbott and hosted/written by Mark Kermode（英語：Mark Kermode）. Interviews with production staff, including Scott, give details of the creative process and the turmoil during preproduction. Insights into Philip K. Dick and the origins of Do Androids Dream of Electric Sheep? are provided by Paul M. Sammon and Hampton Fancher.[32]
Future Shocks (2003, 27 minutes)
Directed by TVOntario（英語：TVOntario）.[221] It includes interviews with executive producer Bud Yorkin（英語：Bud Yorkin）, 席德·米德, and the cast, and commentary by science fiction author 羅伯特·J·索耶 and from film critics.
Dangerous Days: Making Blade Runner (2007, 213 minutes)
Directed and produced by Charles de Lauzirika（英語：Charles de Lauzirika） for The Final Cut version of the film. Its source material comprises more than 80 interviews, including extensive conversations with Ford, Young, and Scott.[222] The documentary is presented in eight chapters, with each of the first seven covering a portion of the filmmaking process. The final chapter examines Blade Runner's controversial legacy.[223]
All Our Variant Futures: From Workprint to Final Cut (2007, 29 minutes)
Produced by Paul Prischman, appears on the Blade Runner Ultimate Collector's Edition and provides an overview of the film's multiple versions and their origins, as well as detailing the seven-year-long restoration, enhancement and remastering process behind The Final Cut.[86]
Blade Runner Phenomenon (2021, 53 minutes)
Directed by Boris Hars-Tschachotin and made by the France and Germany European public service channel ARTE, this documentary informs viewers using behind-the-scenes material from various sets, photos, original locations in Los Angeles, and interviews with those involved in the production.

Sequel and related media[編輯]

主條目：Blade Runner (franchise)
File:Prometheus-2012-easter-egg.jpeg
Screen capture of DVD bonus feature from Prometheus (2012), a dictated letter by Peter Weyland about Eldon Tyrell, chief executive officer of the Tyrell Corporation

A sequel was released in 2017, titled 銀翼殺手2049, with 瑞恩·高斯林 alongside Ford in the starring roles.[224][225] It entered production in mid-2016 and is set decades after the first film.[226] Harrison Ford reprised his role as 瑞克·戴克. The film won two Academy Awards, for cinematography and visual effects.[227]

The world of Blade Runner has also come to be explored in 動畫. Blade Runner 2049 was preceded by the release of three 短篇電影s that served as prequels, where the chronological first, 銀翼殺手：2022大停電, was 日本動畫 (the other two, 2036：複製人時代 and 2048：無處可逃, were live action, not animated).[228]

In November 2021, a Japanese-American anime television series called 銀翼殺手：黑蓮花 was released. The series tells the story of a female replicant protagonist, rather than that of a male Blade Runner one.[229][230]

Dick's friend K. W. Jeter（英語：K. W. Jeter） wrote three authorized Blade Runner novels that continue Rick Deckard's story, attempting to resolve the differences between the film and Do Androids Dream of Electric Sheep?[231] These are Blade Runner 2: The Edge of Human（英語：Blade Runner 2: The Edge of Human） (1995), Blade Runner 3: Replicant Night（英語：Blade Runner 3: Replicant Night） (1996), and Blade Runner 4: Eye and Talon（英語：Blade Runner 4: Eye and Talon） (2000)

Blade Runner cowriter David Peoples（英語：David Peoples） wrote the 1998 action film 兵人, which he referred to as a "sidequel（英語：sidequel）" or 精神續作 to the original film; the two are set in a 共同世界.[232] A bonus feature on the Blu-ray for 普羅米修斯 (電影), the 2012 film by Scott set in the 異形 (電影系列) universe, states that Eldon Tyrell, CEO of the Blade Runner Tyrell Corporation, was the mentor of 蓋·皮爾斯's character Peter Weyland.[233]

In late 2022, Amazon announced a Blade Runner 2049 sequel series would be produced.[234] On October 12, 2022, an apparent official approval to actually make a Blade Runner 2099 TV series was reported.[235]

See also[編輯]

Notes[編輯]

  1. ^ Sebastian's death was never shot because of concerns over too much violence in the film.[9]
  2. ^ Some editions of Nourse's novel use the two-word spacing Blade Runner, as does the Burroughs book.

References[編輯]

  1. ^ 1.0 1.1 Blade Runner. 英國電影分級委員會. May 27, 1982 [January 8, 2016]. （原始內容存檔於March 22, 2016）. 
  2. ^ Blade Runner. AFI.com. 美國電影學會. [December 3, 2015]. （原始內容存檔於November 6, 2015）. 
  3. ^ Blade Runner. BFI.org. 英國電影協會. [December 3, 2015]. （原始內容存檔於December 6, 2015）. 
  4. ^ Blade Runner (1982). British Film Institute. [April 26, 2018]. （原始內容存檔於February 15, 2017）. 
  5. ^ Gray, Tim. 'Blade Runner' Turns 35: Ridley Scott's Unloved Film That Became a Classic. 綜藝 (雜誌). June 24, 2017 [July 31, 2019]. （原始內容存檔於July 5, 2017）. 
  6. ^ Blade Runner (1982). Box Office Mojo. [May 15, 2020]. （原始內容存檔於May 15, 2020）. 
  7. ^ Turan, Kenneth. From the Archives: 'Blade Runner' went from Harrison Ford's 'miserable' production to Ridley Scott's unicorn scene, ending as a cult classic. 洛杉磯時報. September 13, 1992 [February 5, 2021]. （原始內容存檔於February 5, 2021）. 
  8. ^ Lussier, German. The Mistake That Changed the History of Blade Runner. Gizmodo. February 4, 2021 [February 5, 2021]. （原始內容存檔於February 5, 2021）. 
  9. ^ Sammon，第175頁.
  10. ^ Bukatman，第13頁；Sammon，第23頁.
  11. ^ Dick quoted in Sammon，第23頁
  12. ^ Sammon，第23–30頁.
  13. ^ Sammon，第43–49頁.
  14. ^ Abraham Riesman, "Digging Into the Odd History of Blade Runner's Title" 網際網路檔案館的存檔，存檔日期October 10, 2017，., Vulture, October 4, 2017. Retrieved October 10, 2017.
  15. ^ Sammon，第49–63頁.
  16. ^ Sammon，第49頁.
  17. ^ Bukatman，第18–19頁；Sammon，第64–67頁.
  18. ^ Sammon，第63–64頁.
  19. ^ Sammon，第67–69頁.
  20. ^ 20.0 20.1 Sammon，第284頁.
  21. ^ 21.0 21.1 Boonstra, John, A final interview with science fiction's boldest visionary, who talks candidly about Blade Runner, inner voices and the temptations of Hollywood, Rod Serling's the Twilight Zone Magazine（英語：Rod Serling's the Twilight Zone Magazine） 2 (3), June 1982, 2 (3): 47–52 [July 27, 2011], （原始內容存檔於May 28, 2013） –透過Philip K. Dick 
  22. ^ Blade Runner film, dedication after credits, 1:51:30
  23. ^ Sammon，第98頁.
  24. ^ Sammon，第211頁.
  25. ^ 25.0 25.1 Ford: 'Blade Runner Was a Nightmare', Moono.com, July 5, 2007 [July 27, 2011], （原始內容存檔於February 24, 2012） 
  26. ^ Sammon，第296頁.
  27. ^ Pahle, Rebecca, 10 Fascinating Facts About Blade Runner, Mental Floss（英語：Mental Floss）, August 28, 2015 [March 24, 2015], （原始內容存檔於August 29, 2015） 
  28. ^ Carnevale, Rob, Getting Direct with Directors: Ridley Scott, BBC News, September 2006 [July 27, 2011], （原始內容存檔於April 13, 2014） 
  29. ^ Kennedy, Colin, And beneath lies, the truth, 帝國雜誌 (137), November 2000, (137): 76 
  30. ^ In Conversation with Harrison Ford, Empire (202), April 2006, (202): 140 
  31. ^ Smith, Neil, The Total Film Interview, Total Film (130), Summer 2007, (130) 
  32. ^ 32.0 32.1 Ingels, Nicklas, On the Edge of Blade Runner, Los Angeles, 2019, [July 27, 2011], （原始內容存檔於April 7, 2014） –透過Tyrell-Corporation.pp.se 
  33. ^ Sammon，第218頁.
  34. ^ Davis, Cindy, Mindhole Blowers: 20 facts about Blade Runner that might leave you questioning Ridley Scotts humanity, Pajiba.com, November 8, 2011 [September 21, 2014], （原始內容存檔於August 2, 2014） 
  35. ^ 35.0 35.1 35.2 35.3 35.4 35.5 35.6 35.7 Dangerous Days: Making Blade Runner [documentary], Blade Runner: The Final Cut (DVD) (華納兄弟), 2007 [1982] 
  36. ^ Blade Runner at 30: Celebrating Ridley Scott's Dystopian Vision. 時代雜誌. [June 18, 2021]. （原始內容存檔於September 30, 2021）. 
  37. ^ 37.0 37.1 Ebert, Roger, Blade Runner: Director's Cut, rogerebert.com, 1992-09-11 [2011-07-27], （原始內容存檔於2013-03-04） 
  38. ^ Ebiri, Bilge. Even Now, Rutger Hauer's Performance in 'Blade Runner' Is a Marvel – With his combination of menace and anguish, he created an unforgettable character that made the movie the classic it remains today.. 紐約時報. July 25, 2019 [July 25, 2019]. （原始內容存檔於July 25, 2019）. 
  39. ^ Hauer, Rutger. Chatroom Transcripts: Live Chat February 7, 2001. RutgerHauer.org (訪談). February 7, 2001 [July 27, 2011]. （原始內容存檔於September 9, 2012）. [自述來源]
  40. ^ Sammon，第92–93頁.
  41. ^ Sammon, pp. 92–93
  42. ^ 42.0 42.1 Sammon，第115–116頁.
  43. ^ Bukatman，第72頁.
  44. ^ Sammon，第170頁.
  45. ^ Sanderson, William. A Chat with William Sanderson. BladeZone. 訪談 with Brinkley, Aaron. October 5, 2000 [July 27, 2011]. （原始內容存檔於April 28, 2014）. 
  46. ^ Sammon，第150頁.
  47. ^ Sammon，第74頁.
  48. ^ Wheale, Nigel, The Postmodern Arts: An Introductory Reader, 勞特利奇: 107, 1995 [July 27, 2011], ISBN 978-0-415-07776-7, （原始內容存檔於April 14, 2021） 
  49. ^ Monahan, Mark, Director Maximus, 每日電訊報 (London), September 20, 2003 [July 27, 2011], （原始內容存檔於June 21, 2008） 
  50. ^ Irish Arts Review, [September 27, 2014], （原始內容存檔於November 6, 2014） 
  51. ^ Sammon，第53頁.
  52. ^ Giraud, Jean, Moebius 4: The Long Tomorrow & Other SF Stories, 漫威漫畫, 1988, ISBN 978-0-87135-281-1 
  53. ^ Failes, Ian. The Miniature Models of Blade Runner. VFX Voice. October 2, 2017 [March 20, 2018]. （原始內容存檔於March 21, 2018）. 
  54. ^ Bukatman，第61–63頁；Sammon，第111頁.
  55. ^ Quentin Tarantino, Ridley Scott, Danny Boyle, & More Directors on THR's Roundtables I. 荷里活報道. 2016 [February 4, 2018]. （原始內容存檔於January 6, 2016） –透過YouTube. 
  56. ^ Eggersten, Chris. Ridley Scott: I used footage from Kubrick's The Shining in Blade Runner. Hitfix. Uproxx（英語：Uproxx）. December 10, 2015 [February 4, 2018]. （原始內容存檔於July 11, 2017）. 
  57. ^ Howard, Annie. Ridley Scott Reveals Stanley Kubrick Gave Him Footage from The Shining for Blade Runner Ending. The Hollywood Reporter. December 10, 2015. （原始內容存檔於January 14, 2016）. 
  58. ^ Sammon，第79–80頁.
  59. ^ The Top 40 Cars from Feature Films: 30. Police Spinner, ScreenJunkies, March 30, 2010 [July 27, 2011], （原始內容存檔於April 4, 2014）, though press kits for the film stated that the spinner was propelled by three engines: "conventional internal combustion, jet and anti-gravity". 
  60. ^ 60.0 60.1 Winfield, Gene. Deconstructing the Spinner. BladeZone. 訪談 with Willoughby, Gary. [July 27, 2011]. （原始內容存檔於September 27, 2013）. 
  61. ^ Experience Music Project / Science Fiction Museum and Hall of Fame (EMP/SFM) (PDF). 流行文化博物館. （原始內容 (PDF)存檔於January 24, 2011）. 
  62. ^ Sammon，第106–107頁.
  63. ^ Vangelis, Blade Runner – Scoring the music, NemoStudios.co.uk, [July 27, 2011], （原始內容存檔於October 19, 2013） [自述來源]
  64. ^ Sammon，第271–274頁.
  65. ^ 65.0 65.1 65.2 Sammon，第419–423頁.
  66. ^ Larsen, Peter, Film music, London: Reaktion Books（英語：Reaktion Books）: 179, 2007, ISBN 978-1-86189-341-3 
  67. ^ Sammon，第424頁.
  68. ^ Orme, Mike, Album Review: Vangelis: Blade Runner Trilogy: 25th Anniversary, Pitchfork, February 7, 2008 [July 27, 2011], （原始內容存檔於October 29, 2013） 
  69. ^ 69.0 69.1 Savage, Adam, Blade Runner at 25: Why the Sci-Fi F/X Are Still Unsurpassed, Popular Mechanics（英語：Popular Mechanics）, July 2007, （原始內容存檔於April 2, 2015） 
  70. ^ Los Angeles 2019 (Blade Runner) – Cinema's Greatest Effects Shots Picked by Hollywood's Top VFX Specialists, Empire, October 2, 2015, （原始內容存檔於May 18, 2015） 
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  72. ^ Blade Runner: Spinner Vehicles, DouglasTrumbull.com (Trumbull Ventures), 2010 [September 21, 2015], （原始內容存檔於July 4, 2015） [自述來源]
  73. ^ Sammon，第309頁.
  74. ^ Bukatman, p. 34; Sammon, p. 316
  75. ^ Harmetz, Aljean, E.T. May Set Sales Record, The New York Times, June 29, 1982, Section C, Cultural Desk, page 9 
  76. ^ Sammon，第316頁.
  77. ^ Kaplan, Fred, A Cult Classic Restored, Again, The New York Times, September 30, 2007 [July 27, 2011], （原始內容存檔於December 20, 2013） 
  78. ^ Sammon，第289頁.
  79. ^ Bukatman，第36–37頁；Sammon，第334–340頁.
  80. ^ Bukatman，第37頁.
  81. ^ Sammon，第306 and 309–311頁.
  82. ^ Sammon，第326–329頁.
  83. ^ Blade Runner [Director's Cut]. British Board of Film Classification. September 29, 1992 [January 8, 2016]. （原始內容存檔於April 6, 2016）. 
  84. ^ 84.0 84.1 Sammon，第353, 365頁.
  85. ^ Blade Runner [The Final Cut]. British Board of Film Classification. October 12, 2007 [January 8, 2016]. （原始內容存檔於March 5, 2016）. 
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Bibliography[編輯]

External links[編輯]

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