1
00:00:07,711 --> 00:00:10,828
Deckard's character
is not described in the scenario.

2
00:00:11,031 --> 00:00:12,669
Anyone could have played him.

3
00:00:12,911 --> 00:00:15,789
It was in the casting department
to discuss it.

4
00:00:15,991 --> 00:00:17,185
PRODUCER

5
00:00:17,391 --> 00:00:19,222
The most interesting actor. . .

6
00:00:19,431 --> 00:00:21,422
Author
Future Noir: Making of Blade Runner

7
00:00:21,631 --> 00:00:24,065
. . . that Hampton chose
was Robert Mitchum.

8
00:00:24,311 --> 00:00:27,462
This is the perfect example of actors
thrillers from the 1940s.

9
00:00:27,711 --> 00:00:29,861
I'm sure Hampton
kept that in mind

10
00:00:30,111 --> 00:00:32,545
when he thought of the one

11
00:00:32,751 --> 00:00:35,584
who would become Deckard on screen.

12
00:00:35,791 --> 00:00:37,907
Robert Mitchum was still young. . .

13
00:00:38,111 --> 00:00:39,942
EXECUTIVE PRODUCER - SCREENPLAY

14
00:00:40,151 --> 00:00:42,221
. . . and still sturdy to be Deckard.

15
00:00:42,431 --> 00:00:44,945
He's the one I wanted
and who I was writing for.

16
00:00:45,151 --> 00:00:49,667
I wrote dialogues based
on what Mitchum inspired in me.

17
00:00:50,311 --> 00:00:54,190
There were others. Thousands
suggestions, as always,

18
00:00:54,391 --> 00:00:55,870
like Dustin Hoffman,

19
00:00:56,111 --> 00:00:58,750
and it would have worked for a minute.

20
00:00:58,951 --> 00:01:02,739
Then I put my foot down.

21
00:01:02,951 --> 00:01:04,748
''We won't have a film without it. . . ''

22
00:01:04,951 --> 00:01:07,465
what they said.
Deeley then said to forget it.

23
00:01:07,711 --> 00:01:09,463
Because I said: “No chance. ''

24
00:01:09,711 --> 00:01:12,862
It's weird now, but
It was a good idea at the time.

25
00:01:13,071 --> 00:01:19,306
to have this personality
unheroic and improbable

26
00:01:19,511 --> 00:01:20,990
in this rather sinister film.

27
00:01:21,191 --> 00:01:22,226
We thought that. . .

28
00:01:22,431 --> 00:01:23,546
DIRECTOR

29
00:01:23,751 --> 00:01:28,142
. . . physically, Dustin
wasn't the heroic cop type.

30
00:01:28,351 --> 00:01:31,070
Although he is sporty,
he wasn't our man.

31
00:01:31,271 --> 00:01:34,104
I said: ''He's a good actor,
I want his personality. ''

32
00:01:34,311 --> 00:01:36,905
I didn't know him
nor how he worked

33
00:01:37,111 --> 00:01:43,141
and I went to New York
meet him for hours.

34
00:01:43,391 --> 00:01:45,780
His interest lay
in the nature of the film.

35
00:01:45,991 --> 00:01:49,620
It was a major observation
of society.

36
00:01:49,831 --> 00:01:55,667
What did he bring?
How did it expand the imagination?

37
00:01:55,871 --> 00:01:58,385
There was a lot
social implications, then.

38
00:01:58,591 --> 00:02:00,786
We had the agreement
to get Dustin Hoffman.

39
00:02:00,991 --> 00:02:02,060
CHIEF DECORATOR

40
00:02:02,311 --> 00:02:05,621
It was great.
Looking at the storyboard closely,

41
00:02:05,831 --> 00:02:08,106
we saw that Mentor Huebner
had started

42
00:02:08,311 --> 00:02:11,542
drawings that resembled
to Dustin Hoffman

43
00:02:11,751 --> 00:02:14,584
compared to the drawings
that he had done before.

44
00:02:14,791 --> 00:02:18,306
We spent months with him.
In and around New York.

45
00:02:18,511 --> 00:02:20,103
We got to know each other well.

46
00:02:20,311 --> 00:02:22,950
But the more we continued
the further we moved away

47
00:02:23,151 --> 00:02:25,619
of the project that we had and that we loved.

48
00:02:28,231 --> 00:02:31,507
We studied several people.
One of them being Harrison Ford

49
00:02:31,711 --> 00:02:35,147
because he hadn't played
this type of character

50
00:02:35,351 --> 00:02:38,946
and he worked with
excellent directors.

51
00:02:39,271 --> 00:02:42,069
I always liked Harrison Ford.

52
00:02:42,271 --> 00:02:46,389
I discovered it
in Secret Conversation.

53
00:02:46,631 --> 00:02:48,587
And we had of course seen Star Wars.

54
00:02:48,791 --> 00:02:50,827
I was very impressed by Star Wars

55
00:02:51,031 --> 00:02:53,147
because what he did was not easy.

56
00:02:53,351 --> 00:02:57,469
Errol Flynn had not done
as good as him and it's hard.

57
00:02:57,671 --> 00:03:00,231
This guy is a great actor.

58
00:03:00,431 --> 00:03:02,069
Great movie actor.

59
00:03:02,311 --> 00:03:04,700
It's luck

60
00:03:04,911 --> 00:03:09,223
which allowed me to make two films
popular science fiction films.

61
00:03:09,711 --> 00:03:14,865
I like science fiction movies
that I did.

62
00:03:15,111 --> 00:03:16,590
I find them interesting.

63
00:03:16,791 --> 00:03:20,147
But I don't have an attraction
special for this.

64
00:03:20,351 --> 00:03:22,069
I knew he was in London

65
00:03:22,271 --> 00:03:24,262
working on Indiana Jones.

66
00:03:24,511 --> 00:03:28,789
Barbara Hershey was the one
who had suggested to Hampton Fancher

67
00:03:28,991 --> 00:03:31,824
to take Harrison Ford
into consideration.

68
00:03:32,031 --> 00:03:37,788
Barbara called Spielberg:
''How's the editing going?''

69
00:03:37,991 --> 00:03:42,985
Spielberg says:
''He's a big star now. ''

70
00:03:43,191 --> 00:03:47,469
The boys, Michael, Ridley,
went to London to see the rushes.

71
00:03:47,671 --> 00:03:51,186
He looked great,
we found him wonderful.

72
00:03:52,071 --> 00:03:55,586
We were convinced.
The only thing,

73
00:03:55,791 --> 00:03:59,227
it was only when he came
talk to us at the hotel,

74
00:03:59,431 --> 00:04:02,867
he wore Indiana's hat.

75
00:04:03,111 --> 00:04:07,389
And Ridley was unhappy
because he wanted to use this hat.

76
00:04:07,591 --> 00:04:09,866
I remember reading this script

77
00:04:10,071 --> 00:04:14,508
which I found interesting.

78
00:04:14,911 --> 00:04:18,347
The first version of the film
that I read,

79
00:04:19,031 --> 00:04:22,341
I had problems with it.

80
00:04:22,551 --> 00:04:27,466
There was a voiceover,
a narration attached to the script.

81
00:04:27,711 --> 00:04:33,661
And I told Ridley I was playing
a detective who detected nothing.

82
00:04:33,871 --> 00:04:37,022
What if we removed
voiceover information

83
00:04:37,271 --> 00:04:40,024
to put them in the scenes?

84
00:04:40,271 --> 00:04:45,026
And the public would then discover
information and character

85
00:04:45,271 --> 00:04:48,024
seeing it in context

86
00:04:48,271 --> 00:04:52,230
rather than telling them.

87
00:04:52,431 --> 00:04:55,548
Part of this was kept
and not another.

88
00:04:55,751 --> 00:04:58,106
We spent two weeks sitting

89
00:04:58,311 --> 00:05:01,542
at my kitchen table
to try to get there.

90
00:05:01,751 --> 00:05:04,219
With the meetings in Los Angeles,

91
00:05:04,431 --> 00:05:06,626
he was packed

92
00:05:06,831 --> 00:05:09,391
to the idea of doing
another science fiction film.

93
00:05:09,591 --> 00:05:13,379
Because he was on the right track
with Star Wars, Indiana Jones.

94
00:05:13,591 --> 00:05:16,901
So what he would do would be exotic.

95
00:05:17,111 --> 00:05:21,627
He had already tasted the best things.

96
00:05:21,831 --> 00:05:24,220
Like Secret Conversation
by Francis Ford Coppola.

97
00:05:24,431 --> 00:05:26,899
And Apocalypse Now.

98
00:05:27,111 --> 00:05:29,022
Small roles, but he was there.

99
00:05:29,231 --> 00:05:31,426
He had been in good hands.

100
00:05:31,671 --> 00:05:34,424
And here I am with this weird idea,

101
00:05:34,631 --> 00:05:39,022
if not disconcerting,
because it is not very simple.

102
00:05:39,231 --> 00:05:41,301
It's very Philip Marlowe

103
00:05:41,831 --> 00:05:43,742
and very black.

104
00:05:43,951 --> 00:05:48,308
Harrison has an attitude
and an incredible smile,

105
00:05:48,511 --> 00:05:51,423
cool and carefree.

106
00:05:52,271 --> 00:05:53,306
CASTING DIRECTOR

107
00:05:53,511 --> 00:05:55,979
He has an incredible presence
and he's a good sport.

108
00:05:56,191 --> 00:05:58,261
Harrison is naturally laconic,

109
00:05:58,471 --> 00:06:00,302
deadpan

110
00:06:00,951 --> 00:06:03,670
and intelligent.

111
00:06:04,231 --> 00:06:05,630
So you better be ready.

112
00:06:07,631 --> 00:06:10,623
During the casting,
Ridley was auditioning actors.

113
00:06:10,831 --> 00:06:13,026
I made him sit down
in the projection room

114
00:06:13,231 --> 00:06:17,110
and watch Katie Tippel,
The Choice of Destiny and Turkish Delights.

115
00:06:17,311 --> 00:06:18,664
ASSOCIATED PRODUCER

116
00:06:18,871 --> 00:06:21,669
And I said:
''It's Batty. It's obvious, right?''

117
00:06:21,911 --> 00:06:23,060
Him: ''Quite. ''

118
00:06:23,311 --> 00:06:27,065
And he chose Rutger
without even meeting him.

119
00:06:27,271 --> 00:06:30,229
He came,
always dressed strangely.

120
00:06:30,431 --> 00:06:36,779
He is tall and he wore
a nylon jumpsuit,

121
00:06:36,991 --> 00:06:38,947
something that closes from the bottom up.

122
00:06:39,151 --> 00:06:43,827
A Kenzo sweater with on the shoulder
a fox with red eyes.

123
00:06:44,031 --> 00:06:47,341
He had cut his hair
as I conceived Batty,

124
00:06:47,551 --> 00:06:49,667
i.e. short and blond.

125
00:06:49,911 --> 00:06:54,746
And he wore green glasses
with flowers, like Elton John.

126
00:06:55,391 --> 00:06:57,302
We're happy you found us.

127
00:06:57,511 --> 00:07:00,184
I could almost
seeing Ridley's heart stop.

128
00:07:00,391 --> 00:07:01,983
''Is he my bad guy?''

129
00:07:02,191 --> 00:07:03,624
And I have. . .

130
00:07:04,231 --> 00:07:09,908
I said, "Ridley, I assure you
that this guy is Batty. ''

131
00:07:10,111 --> 00:07:13,183
Of course it was Rutger
who was playing a trick on Ridley

132
00:07:13,391 --> 00:07:14,380
or maybe not.

133
00:07:14,591 --> 00:07:18,982
Then I had a meeting with Ridley,
something that rarely happens.

134
00:07:19,231 --> 00:07:22,621
We talk about everything
while having a good lunch.

135
00:07:23,751 --> 00:07:28,188
And we never get to the goal,
It doesn't really matter.

136
00:07:28,431 --> 00:07:33,664
But in the end, I said, "Ridley,
What is Blade Runner about?

137
00:07:33,911 --> 00:07:35,264
''What does it look like?''

138
00:07:35,471 --> 00:07:38,508
He said:
''One of the major influences,

139
00:07:38,711 --> 00:07:43,501
It’s Bilal. ''
The French designer.

140
00:07:43,711 --> 00:07:47,226
And I knew this designer.
And I said:

141
00:07:48,791 --> 00:07:52,830
Character discussion
was at the 2nd meeting

142
00:07:53,031 --> 00:07:57,070
before I sign.
I explained to him

143
00:07:57,271 --> 00:08:00,502
what seemed interesting to me
for the character

144
00:08:00,711 --> 00:08:02,747
and I basically said:

145
00:08:02,951 --> 00:08:07,308
''Can I put things in there that
don't belong to his world?''

146
00:08:07,511 --> 00:08:10,742
Incredible things about people.

147
00:08:11,191 --> 00:08:13,421
The sense of poetry, of humor.

148
00:08:13,631 --> 00:08:17,101
Of sexuality.

149
00:08:17,951 --> 00:08:23,230
The sense of childhood, of the soul.

150
00:08:23,471 --> 00:08:26,861
Ridley said: ''I love all of that.

151
00:08:27,071 --> 00:08:30,950
Keep them warm. We will use them

152
00:08:31,151 --> 00:08:34,223
in the appropriate scenes. ''

153
00:08:37,231 --> 00:08:38,903
Back then, not like now,

154
00:08:39,111 --> 00:08:42,467
we did real studio tests.

155
00:08:42,671 --> 00:08:46,027
They are very elaborate and very expensive.

156
00:08:46,271 --> 00:08:48,227
We had a crew to film them.

157
00:08:48,471 --> 00:08:49,426
RACHAEL’S ESSALS

158
00:08:49,631 --> 00:08:51,986
And Ridley wasn't very convinced

159
00:08:52,191 --> 00:08:56,389
that the girls were the ones
that we were looking for.

160
00:08:56,591 --> 00:08:59,230
We wanted someone
that no one would recognize.

161
00:08:59,471 --> 00:09:00,790
Completely new.

162
00:09:00,991 --> 00:09:04,586
My agent called me:

163
00:09:04,791 --> 00:09:06,509
''A director, Ridley Scott,

164
00:09:06,711 --> 00:09:10,101
made this sci-fi film, Blade Runner...

165
00:09:10,311 --> 00:09:11,903
He wants you to be Harrison Ford. ''

166
00:09:12,111 --> 00:09:13,863
I said: “What does that mean?

167
00:09:14,071 --> 00:09:15,470
What are you talking about?''

168
00:09:15,671 --> 00:09:17,707
Him:
''They want to audition girls.

169
00:09:17,911 --> 00:09:20,584
One he will be in love with
and another

170
00:09:20,791 --> 00:09:23,066
and he thinks you look like him. ''

171
00:09:23,271 --> 00:09:25,580
I accepted.

172
00:09:25,791 --> 00:09:28,589
it went well.
I met Ridley.

173
00:09:28,791 --> 00:09:30,190
We went to Warner Bros.

174
00:09:30,391 --> 00:09:33,667
and he called all the girls
for the same thing

175
00:09:33,871 --> 00:09:36,021
and I made sure

176
00:09:36,231 --> 00:09:38,347
that they all be treated the same.

177
00:09:38,551 --> 00:09:42,430
I always played Harrison
in the same way.

178
00:09:43,911 --> 00:09:45,139
The only one to stand out

179
00:09:45,351 --> 00:09:48,821
from the beginning was Sean Young.

180
00:09:49,031 --> 00:09:50,749
She said:
''We won't do it like that. ''

181
00:09:50,951 --> 00:09:52,748
I said, “Great. ''

182
00:09:52,951 --> 00:09:55,385
And Ridley let her.
And I said:

183
00:09:55,591 --> 00:09:58,469
''Good. Are we using this girl?''
And he: “Yes. ''

184
00:09:59,111 --> 00:10:01,466
I saw her in a casting
and she reminded me

185
00:10:01,671 --> 00:10:04,060
Vivien Leigh, for bizarre reasons.

186
00:10:04,271 --> 00:10:09,584
I always believed that this sharp harshness
that Vivien Leigh had,

187
00:10:09,791 --> 00:10:13,864
apart from its beauty
and his eccentricity, was. . .

188
00:10:14,071 --> 00:10:16,221
An intelligence is
what she needed.

189
00:10:16,471 --> 00:10:22,706
He realized he could do
a film with classic beauty,

190
00:10:22,911 --> 00:10:24,742
with me in it.

191
00:10:27,071 --> 00:10:28,982
I really like what she did.

192
00:10:29,191 --> 00:10:32,661
They were less in love.

193
00:10:32,871 --> 00:10:33,826
She was beautiful. . .

194
00:10:34,031 --> 00:10:35,146
ASSOCIATED PRODUCER

195
00:10:35,351 --> 00:10:38,070
. . . but I wasn't convinced
of her acting skills.

196
00:10:38,711 --> 00:10:42,306
Sean Young was chosen
because in Ridley's eyes,

197
00:10:42,511 --> 00:10:44,945
she was visually
the perfect Rachael.

198
00:10:45,151 --> 00:10:49,064
As soon as he chose her,
he wanted me to work with her

199
00:10:49,311 --> 00:10:52,701
so that his game is
lives up to its appearance.

200
00:10:53,511 --> 00:10:56,503
I remember having
a little scared when I got the role.

201
00:10:56,711 --> 00:10:58,941
I remember
to have been almost depressed.

202
00:10:59,151 --> 00:11:01,870
It's a strange reaction, I know.

203
00:11:02,071 --> 00:11:05,108
But it's because,
when I got the role,

204
00:11:05,311 --> 00:11:08,109
I knew I had to be responsible

205
00:11:08,311 --> 00:11:10,745
to play this role and I was young

206
00:11:10,951 --> 00:11:14,307
and it was unknown to me.

207
00:11:14,511 --> 00:11:16,502
So I was a little scared.

208
00:11:16,711 --> 00:11:20,306
She was so superior and so fair.

209
00:11:20,511 --> 00:11:21,864
And immensely beautiful.

210
00:11:22,471 --> 00:11:24,109
She could be an android.

211
00:11:24,311 --> 00:11:27,428
Maybe she still is.

212
00:11:29,711 --> 00:11:34,068
I remember that the first casting
was done in a caravan

213
00:11:34,311 --> 00:11:37,064
on the 20th Century estate.

214
00:11:37,311 --> 00:11:38,664
Originally, in the scenario,

215
00:11:38,871 --> 00:11:42,500
Pris had to swing on rings.

216
00:11:42,711 --> 00:11:44,781
Gymnastic rings.

217
00:11:44,991 --> 00:11:48,904
There was no gym
incorporated into combat.

218
00:11:49,111 --> 00:11:50,749
It just took place at the gym.

219
00:11:50,951 --> 00:11:54,341
I was a gymnast at school

220
00:11:54,551 --> 00:11:57,463
and I suggested to Ridley
that I could do gym

221
00:11:57,671 --> 00:11:59,946
and incorporate it into action scenes.

222
00:12:00,151 --> 00:12:04,941
And he asked me to show him

223
00:12:05,151 --> 00:12:06,379
what the gym was.

224
00:12:06,591 --> 00:12:10,379
I did a turnaround
in the caravan

225
00:12:10,591 --> 00:12:12,070
and it was good.

226
00:12:12,551 --> 00:12:14,587
I met Daryl and it was good.

227
00:12:14,791 --> 00:12:17,021
I loved her immediately.

228
00:12:17,231 --> 00:12:20,223
She is physically perfect.

229
00:12:20,671 --> 00:12:23,743
intelligent and eccentric.

230
00:12:23,951 --> 00:12:25,350
We went to the tests. . .

231
00:12:25,551 --> 00:12:26,506
SETTING TESTS

232
00:12:26,711 --> 00:12:30,465
. . . and there were 4 other women
who were auditioning.

233
00:12:30,951 --> 00:12:33,306
All very different from me.

234
00:12:33,711 --> 00:12:35,542
What is your name?

235
00:12:36,871 --> 00:12:37,826
Taken.

236
00:12:38,031 --> 00:12:41,023
Stacey Nelkin, perfect, petite.

237
00:12:41,271 --> 00:12:44,388
Small curls,
a beautiful face

238
00:12:44,591 --> 00:12:46,343
and a dream body,

239
00:12:46,551 --> 00:12:49,588
small, but perfectly proportioned.

240
00:12:49,791 --> 00:12:54,103
I remember
from all that smoke on the set.

241
00:12:54,311 --> 00:12:57,587
Not like a bar. Worse.
At least at the time.

242
00:12:59,511 --> 00:13:01,263
Ridley said that was part of it.

243
00:13:01,511 --> 00:13:05,140
The environment had already started
to influence the lungs

244
00:13:05,351 --> 00:13:07,626
and that sort of thing.

245
00:13:07,831 --> 00:13:12,268
Those who took the tests
had to create their character.

246
00:13:12,471 --> 00:13:15,349
Take the time to meet
the makeup artists

247
00:13:15,551 --> 00:13:16,506
and costume designers.

248
00:13:16,711 --> 00:13:21,148
I remember finding
a wig in a basket.

249
00:13:21,351 --> 00:13:25,663
She was cool and I went from there.

250
00:13:25,911 --> 00:13:29,790
I had seen Nosferatu
Night Ghost by Werner Herzog

251
00:13:29,991 --> 00:13:33,620
and I remember the big eyebrows

252
00:13:33,831 --> 00:13:38,029
and black circles.
Klaus Kinski's black eyes.

253
00:13:38,271 --> 00:13:41,149
And it inspired me.

254
00:13:41,351 --> 00:13:45,663
I grew my eyebrows
and I did this black eye thing.

255
00:13:45,871 --> 00:13:51,787
The tests lasted one day and one night.

256
00:13:51,991 --> 00:13:54,949
It was very early
for styling and makeup.

257
00:13:55,151 --> 00:13:57,904
And we were separated from each other.

258
00:13:58,111 --> 00:14:01,387
It was very well produced.

259
00:14:01,871 --> 00:14:04,385
They had a meal organized
in the studio

260
00:14:04,591 --> 00:14:06,468
for the lunch break.

261
00:14:06,711 --> 00:14:08,941
And I went there.

262
00:14:09,151 --> 00:14:12,188
And that's when I saw
the other girls for the first time.

263
00:14:12,391 --> 00:14:14,859
Monique van de Ven
looked like a doll.

264
00:14:15,071 --> 00:14:17,869
She looked like some sort

265
00:14:18,071 --> 00:14:20,904
of beautiful woman doll.

266
00:14:21,111 --> 00:14:24,501
I looked like a monster.

267
00:14:24,711 --> 00:14:27,384
A circus creature.

268
00:14:27,591 --> 00:14:30,059
I was giant with
platform shoes,

269
00:14:30,311 --> 00:14:35,783
stockings, a wig
and black eyes.

270
00:14:35,991 --> 00:14:37,344
I started to cry.

271
00:14:37,551 --> 00:14:40,861
I was a teenager.
Looking around, I thought:

272
00:14:41,071 --> 00:14:45,349
''My God. I'm a monster. ''

273
00:14:45,551 --> 00:14:48,224
And the others are so beautiful.

274
00:14:48,831 --> 00:14:49,786
Hi.

275
00:14:49,991 --> 00:14:52,380
Ridley didn't think
that I could beat

276
00:14:52,591 --> 00:14:55,583
Harrison Ford because I was little.

277
00:14:55,791 --> 00:14:59,545
He's right. I believe it.

278
00:14:59,751 --> 00:15:01,707
It was a cold shower

279
00:15:01,911 --> 00:15:06,109
because there was only
very few girls in smooth.

280
00:15:06,591 --> 00:15:08,661
A little time has passed

281
00:15:08,911 --> 00:15:12,271
before they decide
to add this part of the book

282
00:15:12,271 --> 00:15:13,863
before they decide
to add this part of the book

283
00:15:14,071 --> 00:15:16,266
on the 5th Replicant, Mary.

284
00:15:16,471 --> 00:15:18,507
Mary was a fabulous role.

285
00:15:18,711 --> 00:15:21,908
There was a beautiful scene.
She would die

286
00:15:22,111 --> 00:15:24,227
and was very vulnerable.

287
00:15:24,431 --> 00:15:26,786
She had already
completely collapsed.

288
00:15:26,991 --> 00:15:29,380
At this moment,
the authors' strike took place.

289
00:15:29,591 --> 00:15:31,661
It wasn't good.
Everyone was

290
00:15:31,871 --> 00:15:35,864
on strike. And the rumors were flying.
It was not a good situation.

291
00:15:36,071 --> 00:15:39,381
I called Michael
and I spoke to him on the phone.

292
00:15:39,591 --> 00:15:42,469
He said: ''We are not yet
arrived at your role.

293
00:15:42,711 --> 00:15:44,588
The strike continues. ''

294
00:15:44,791 --> 00:15:47,100
And this whole thing. . .

295
00:15:47,311 --> 00:15:50,906
''We're not there yet.
We'll have to cut it. ''

296
00:15:51,111 --> 00:15:54,865
It was terrible.

297
00:15:55,431 --> 00:15:58,628
God, she must have been so disappointed.

298
00:15:58,831 --> 00:16:02,870
We started on time.
And I had finished my tests.

299
00:16:03,071 --> 00:16:05,027
Everyone was in place.

300
00:16:05,231 --> 00:16:06,869
We looked at the budget.
I said:

301
00:16:07,071 --> 00:16:08,663
''I'm going to have to cut scenes.

302
00:16:08,871 --> 00:16:11,624
We can't build this
nor plan this. ''

303
00:16:11,831 --> 00:16:16,541
She would be one of the Replicants
who would die.

304
00:16:16,751 --> 00:16:20,027
There would have been the awakening of the Replicants.

305
00:16:20,231 --> 00:16:23,064
Like the awakening of the vampires,
that would have been cool.

306
00:16:23,311 --> 00:16:26,109
In the end, I was asked

307
00:16:26,311 --> 00:16:29,144
who would be best for the role.

308
00:16:29,351 --> 00:16:31,660
I rehearsed with them

309
00:16:31,871 --> 00:16:34,465
so I knew how
they approached things,

310
00:16:34,671 --> 00:16:37,469
while doing the test.

311
00:16:37,711 --> 00:16:41,943
I said: ''It will be
Daryl Hannah for Taken. ''

312
00:16:42,151 --> 00:16:45,860
And Nina Axelrod for Rachael.

313
00:16:46,071 --> 00:16:48,949
And Ridley said:
''Sean Young, I think. ''

314
00:16:49,271 --> 00:16:52,388
Harrison was looking for
surely someone. . .

315
00:16:52,591 --> 00:16:54,547
He was nervous with a beginner.

316
00:16:54,751 --> 00:16:56,025
He surely did:

317
00:16:56,231 --> 00:16:59,109
''Oh No. And this one? And her?''

318
00:16:59,311 --> 00:17:01,825
I said:
''Aren't they a little old?

319
00:17:02,031 --> 00:17:06,388
Or a little sophisticated? We want
someone less sophisticated. ''

320
00:17:06,591 --> 00:17:08,707
We tried. It wasn't hot.

321
00:17:08,911 --> 00:17:11,505
Harrison is a consummate professional.

322
00:17:11,711 --> 00:17:13,861
When we go there, it's good.

323
00:17:14,071 --> 00:17:18,189
At the end of the trials, Ridley said:

324
00:17:18,391 --> 00:17:20,268
''It was good working with you. ''

325
00:17:20,471 --> 00:17:22,029
I said great, with you too.

326
00:17:22,271 --> 00:17:24,466
He said: ''We have a role for you. ''

327
00:17:24,711 --> 00:17:27,828
Me: ''What is this role?''

328
00:17:28,031 --> 00:17:30,465
Him: ''He's a guy
who questions the Replicants

329
00:17:30,711 --> 00:17:32,906
at the beginning, and there is no
thought again.

330
00:17:33,111 --> 00:17:35,625
I'll call your agent. ''
I said, “Okay. ''

331
00:17:35,831 --> 00:17:37,947
I came home, happy with the tests

332
00:17:38,151 --> 00:17:39,789
and I received a phone call.

333
00:17:39,991 --> 00:17:43,461
I was offered the role of Holden,
which was great for me.

334
00:17:46,271 --> 00:17:49,343
When I got the script from my agent,

335
00:17:49,551 --> 00:17:52,861
I told him to call Ridley
to tell him:

336
00:17:53,071 --> 00:17:54,026
''I have the snake.

337
00:17:54,471 --> 00:17:57,304
Don't go to another

338
00:17:57,511 --> 00:17:59,866
because I know how to work with snakes. ''

339
00:18:00,071 --> 00:18:04,030
It was a Burmese python,
a very cool snake.

340
00:18:04,271 --> 00:18:09,299
He was 8 years old.
He did these scenes perfectly.

341
00:18:09,671 --> 00:18:14,108
I thought she was
both very physical,

342
00:18:14,311 --> 00:18:20,022
feminine and sexual.
She is physically very powerful.

343
00:18:20,271 --> 00:18:22,501
For this type of physical woman,
she's great.

344
00:18:22,711 --> 00:18:25,509
If you must have an amazon,
it's her.

345
00:18:25,711 --> 00:18:30,148
Very athletic.
The most athletic of all

346
00:18:30,351 --> 00:18:34,742
and the most capable
to achieve exploits.

347
00:18:34,951 --> 00:18:38,227
The femme fatale.

348
00:18:38,431 --> 00:18:40,183
I fit that well.

349
00:18:40,391 --> 00:18:42,780
Of course they would choose me

350
00:18:42,991 --> 00:18:46,620
for a dangerous character.

351
00:18:46,831 --> 00:18:52,144
She was a superwoman.
Built as strong as a man.

352
00:18:52,351 --> 00:18:56,424
Almost like a machine.

353
00:18:56,631 --> 00:18:58,861
But with a present femininity.

354
00:18:59,071 --> 00:19:04,509
Ridley and I talked about it a lot.
She was a survivor.

355
00:19:07,071 --> 00:19:09,187
I had known Eddie for a long time.

356
00:19:09,391 --> 00:19:11,461
And I took him to see Ridley.

357
00:19:11,711 --> 00:19:14,669
It was Eddie's idea
to play a multinational character,

358
00:19:14,871 --> 00:19:21,106
multiethnic and multilingual
with its own vocabulary.

359
00:19:21,311 --> 00:19:25,702
It's hard, because Eddie was like, "What is it?
this story of cityspeak?''

360
00:19:25,911 --> 00:19:31,463
Eddie drove me crazy
with his Esperanto ideas

361
00:19:31,671 --> 00:19:33,502
and dialogue rhythms

362
00:19:33,711 --> 00:19:39,786
which are vaguely coherent
and wanted to say something

363
00:19:39,991 --> 00:19:43,427
in terms of dramaturgy.
he was obsessed

364
00:19:43,631 --> 00:19:45,189
by the fact that it is realistic.

365
00:19:45,391 --> 00:19:49,270
Cityspeak was never
described in the script.

366
00:19:49,471 --> 00:19:50,904
It's all from Eddie Olmos.

367
00:19:51,431 --> 00:19:53,740
While preparing for the role of Gaff,

368
00:19:53,951 --> 00:19:57,023
he went to language school
Berlitz of Los Angeles,

369
00:19:57,271 --> 00:19:58,499
he took lessons

370
00:19:58,711 --> 00:20:04,149
and he found key phrases
in Hungarian, German and French

371
00:20:04,351 --> 00:20:08,264
which he mixed with cityspeak.

372
00:20:08,471 --> 00:20:10,985
And that's what he says to Deckard

373
00:20:11,191 --> 00:20:13,182
at the start of the film in the restaurant.

374
00:20:13,391 --> 00:20:15,063
First of all, it's Hungarian.

375
00:20:15,311 --> 00:20:19,190
When the film was shown in Hungary,

376
00:20:19,391 --> 00:20:20,904
there were fits of laughter.

377
00:20:21,751 --> 00:20:23,662
Stop your bullshit!

378
00:20:23,911 --> 00:20:25,867
You are the blade. . . Bladerunner.

379
00:20:26,071 --> 00:20:28,187
He says you blade runner.

380
00:20:28,391 --> 00:20:31,463
As long as he followed
my understanding

381
00:20:31,711 --> 00:20:33,588
of what was going to happen,

382
00:20:33,791 --> 00:20:37,466
that is to say culturalization
from Los Angeles,

383
00:20:37,711 --> 00:20:42,341
what people
didn't expect.

384
00:20:42,551 --> 00:20:45,907
And he was happy with that from the start.

385
00:20:46,111 --> 00:20:48,864
He said: ''Yes, that looks good to me. ''

386
00:20:49,071 --> 00:20:51,027
He is very down to earth.

387
00:20:51,271 --> 00:20:56,106
it really allowed me
to explode into my world.

388
00:20:56,311 --> 00:20:58,666
He never doubted it.

389
00:20:58,871 --> 00:21:02,147
Of course, the others

390
00:21:02,551 --> 00:21:06,829
could hesitate because no one
didn't understand what I was saying.

391
00:21:07,031 --> 00:21:09,306
I didn't care.

392
00:21:09,511 --> 00:21:12,184
Because I knew that this
what I said was correct.

393
00:21:12,391 --> 00:21:14,700
It was real dialogue.

394
00:21:14,911 --> 00:21:18,347
If he wanted to put subtitles,
it was up to him to see.

395
00:21:18,551 --> 00:21:22,260
I didn't think it was useful.

396
00:21:22,511 --> 00:21:24,308
It would look very Latin American.

397
00:21:24,511 --> 00:21:27,742
He could be dressed
like a rich drug dealer.

398
00:21:27,951 --> 00:21:32,706
He was actually responsible
dirty work of the department.

399
00:21:32,911 --> 00:21:35,106
The word Gaff is a good name, actually.

400
00:21:35,311 --> 00:21:39,350
He took care of himself
obsessively.

401
00:21:39,551 --> 00:21:40,666
And effective.

402
00:21:40,911 --> 00:21:42,981
He changed his eyes.

403
00:21:43,191 --> 00:21:46,183
But the most elaborate detail
was his street language

404
00:21:46,391 --> 00:21:50,225
which he more or less invented.

405
00:21:50,431 --> 00:21:54,219
It's a big job on his part
for a small role,

406
00:21:54,431 --> 00:21:55,830
but very effective.

407
00:21:58,511 --> 00:22:03,187
Looking at it today,
it was an extraordinary cast.

408
00:22:03,391 --> 00:22:08,829
It's a casting that I knew,
that Ridley had met

409
00:22:09,031 --> 00:22:12,740
and that he would guide
throughout the filming.

410
00:22:13,671 --> 00:22:16,504
He brought out the best of his actors.

411
00:22:16,711 --> 00:22:19,509
It wasn't always very pleasant,

412
00:22:19,711 --> 00:22:22,066
but on the other hand, he persuaded

413
00:22:22,311 --> 00:22:25,144
and handled very kindly
the performance of these people

414
00:22:25,351 --> 00:22:28,627
which I have rarely seen equaled.

415
00:22:53,404 --> 00:22:57,955
I will always remember
the first day I arrived,

416
00:22:58,164 --> 00:23:01,315
and the columns were upside down.

417
00:23:01,524 --> 00:23:04,243
All.
I even drew them a drawing.

418
00:23:04,444 --> 00:23:05,399
DIRECTOR

419
00:23:05,604 --> 00:23:08,118
I had put the weight on top.

420
00:23:08,364 --> 00:23:11,003
He said:
''The only thing I would like to do,

421
00:23:11,204 --> 00:23:15,038
it's flipping the columns''.

422
00:23:15,244 --> 00:23:16,677
I looked at him in disbelief.

423
00:23:16,884 --> 00:23:18,283
CHIEF DECORATOR

424
00:23:18,484 --> 00:23:20,554
''That is to say, return them?''

425
00:23:20,804 --> 00:23:24,353
''It's simple.
We put the top down. ''

426
00:23:24,564 --> 00:23:26,839
I said, “Okay. ''

427
00:23:27,044 --> 00:23:28,796
They do not support
the ceiling,

428
00:23:29,004 --> 00:23:30,323
but they are huge.

429
00:23:30,524 --> 00:23:34,642
I asked: ''Without damaging the floor,
how long to cover it

430
00:23:34,844 --> 00:23:37,961
without scratching it,
and return the columns?''

431
00:23:38,204 --> 00:23:40,354
He said:
''You will shoot this afternoon''.

432
00:23:40,604 --> 00:23:44,233
It was 7 a.m. I saw
the assistant director to say:

433
00:23:44,444 --> 00:23:47,959
''Come back at 2 p.m.,
we will be ready for the shoot,

434
00:23:48,164 --> 00:23:49,756
we have changes to make. ''

435
00:23:50,004 --> 00:23:51,995
It was terrible for the team.

436
00:23:52,204 --> 00:23:53,398
PROPS MANAGER

437
00:23:53,604 --> 00:23:56,880
We had to come, with all these hoists,

438
00:23:57,084 --> 00:23:58,802
turn everything around, like that.

439
00:23:59,004 --> 00:24:01,882
And then the ground.
Lord, time has passed

440
00:24:02,084 --> 00:24:05,076
to polish and wax it. . .

441
00:24:05,284 --> 00:24:08,162
They didn't arrive
to obtain a beautiful shine.

442
00:24:08,404 --> 00:24:11,714
They took everything away,
slab after slab,

443
00:24:11,924 --> 00:24:14,518
and they polished them all.

444
00:24:14,724 --> 00:24:17,363
At 2 p.m., everyone
came back from lunch,

445
00:24:17,604 --> 00:24:20,562
Ridley was happy,
the columns were turned over,

446
00:24:20,804 --> 00:24:23,034
everything was in place, we shot.

447
00:24:23,244 --> 00:24:25,963
it was worth returning them,
without that,

448
00:24:26,164 --> 00:24:27,677
it would all have been up there.

449
00:24:29,204 --> 00:24:32,879
His eyes are unique.
Like Rutger's character.

450
00:24:33,084 --> 00:24:36,156
''If you saw what I see. . . '',
do you see the type?

451
00:24:36,404 --> 00:24:37,757
That's Ridley Scott.

452
00:24:38,004 --> 00:24:39,881
He was very demanding.

453
00:24:40,484 --> 00:24:43,635
For lighting,

454
00:24:43,844 --> 00:24:47,439
the acting, the setting.

455
00:24:47,644 --> 00:24:51,159
He said:
''No more makeup on the lips.

456
00:24:51,404 --> 00:24:53,679
Even more, add more.

457
00:24:53,884 --> 00:24:55,317
No, no, again. ''

458
00:24:55,524 --> 00:24:59,881
I was later told that he wanted
that I stay in my little dressing room,

459
00:25:00,084 --> 00:25:04,521
so as not to interact too much
with the others.

460
00:25:04,764 --> 00:25:09,679
maybe it was part
manipulation.

461
00:25:09,884 --> 00:25:13,274
Ridley, who had also done
lots of advertisements,

462
00:25:13,484 --> 00:25:18,319
constantly trying to add
scintillating visual stimulation.

463
00:25:18,564 --> 00:25:20,759
VISUAL EFFECTS SUPERVISOR

464
00:25:20,964 --> 00:25:23,398
For example,
Tyrell's office.

465
00:25:23,604 --> 00:25:26,323
In this great setting,
we struggled with our task,

466
00:25:26,564 --> 00:25:28,555
the projection in front, through the windows,

467
00:25:28,764 --> 00:25:31,881
real catch guys
struggled with the lighting,

468
00:25:32,084 --> 00:25:35,156
and Ridley said:
''I want this light to bounce

469
00:25:35,364 --> 00:25:36,558
on the walls. ''

470
00:25:36,764 --> 00:25:38,595
And we:
''For what reason?

471
00:25:38,804 --> 00:25:40,396
Is it raining? Is the floor wet?''

472
00:25:40,604 --> 00:25:42,720
He replies: ''No, I have to. . .

473
00:25:42,924 --> 00:25:44,243
It's like that. ''

474
00:25:44,444 --> 00:25:48,278
I said:
''If Ridley wants that, he'll get that''.

475
00:25:48,484 --> 00:25:50,554
Watching the film, we say to ourselves:

476
00:25:50,804 --> 00:25:53,682
''Why,
What's coming in through the window?''

477
00:25:53,884 --> 00:25:56,603
Is there an atmospheric reason?'

478
00:25:56,804 --> 00:25:59,523
No need to explain. But Ridley has. . .

479
00:25:59,724 --> 00:26:04,718
incredible sensitivity

480
00:26:04,924 --> 00:26:07,563
to create visual stimulation.

481
00:26:08,884 --> 00:26:11,842
After the first day of filming,
Doc Erickson told me:

482
00:26:12,044 --> 00:26:14,353
''We're five days late. ''

483
00:26:14,604 --> 00:26:17,835
I wasn't happy to hear that,
but Ridley was busy

484
00:26:18,044 --> 00:26:20,160
smoke, mirrors,

485
00:26:20,364 --> 00:26:22,002
columns, etc.

486
00:26:22,204 --> 00:26:23,796
PRESIDENT - THE LADD COMPANY

487
00:26:24,004 --> 00:26:26,564
Meanwhile,
Harrison was waiting to play,

488
00:26:26,764 --> 00:26:30,154
and had enough
don't call him

489
00:26:30,404 --> 00:26:33,282
on the board.

490
00:26:33,484 --> 00:26:35,361
I was delighted to have Ridley,

491
00:26:35,604 --> 00:26:37,754
because he has the best eye
cinema.

492
00:26:38,004 --> 00:26:39,278
it has a price.

493
00:26:39,484 --> 00:26:41,952
To know the time
and the effort he invests.

494
00:26:42,164 --> 00:26:43,199
PRODUCER

495
00:26:43,404 --> 00:26:45,634
He often sat upstairs,
on the crane,

496
00:26:45,844 --> 00:26:48,916
to adjust the details of the positions,

497
00:26:49,124 --> 00:26:54,721
and Harrison was furious
that we do not give him instructions.

498
00:26:54,924 --> 00:26:57,802
Ridley didn't think it was necessary
to tell him what to do.

499
00:26:59,084 --> 00:27:01,723
Harrison
had worked with directors. . .

500
00:27:02,084 --> 00:27:04,552
AUTHOR - FUTURE NOIR:
THE MAKING OF BLADE RUNNER

501
00:27:04,764 --> 00:27:07,198
. . . like Francis Ford Coppola,
Steven Spielberg,

502
00:27:07,404 --> 00:27:09,713
and George Lucas,
who had something in common

503
00:27:09,964 --> 00:27:11,477
to know

504
00:27:11,724 --> 00:27:13,954
that all three were pulling Harrison

505
00:27:14,204 --> 00:27:17,753
in the creative process
character construction.

506
00:27:18,004 --> 00:27:21,394
Ridley thought Harrison
perfectly capable of doing

507
00:27:21,604 --> 00:27:26,280
what he had to do,
while he was composing the film.

508
00:27:26,484 --> 00:27:28,714
In you there is a part that is

509
00:27:28,924 --> 00:27:31,597
in sync
with the ambition of the director.

510
00:27:31,804 --> 00:27:36,275
Then there is a perverse part
who says: ''You know what?

511
00:27:36,524 --> 00:27:40,358
We don't care.
The important thing is to be there.

512
00:27:41,604 --> 00:27:44,402
As well as taking full part

513
00:27:44,604 --> 00:27:49,758
to the relationships in the scene.

514
00:27:50,004 --> 00:27:55,681
And damn, after all, it's not
than a film. That's his problem. ''

515
00:27:55,884 --> 00:27:59,877
Maybe Ridley was giving me more
attention only to Harrison,

516
00:28:00,084 --> 00:28:03,156
because he assumed
that he didn't need it.

517
00:28:03,364 --> 00:28:06,640
Harry was never happy,
on this shoot. Never.

518
00:28:06,844 --> 00:28:09,517
Not really.
The only time,

519
00:28:09,724 --> 00:28:13,956
it was because we were reaching the end.
That made him happy.

520
00:28:18,684 --> 00:28:22,472
For the first prop master,
who died,

521
00:28:22,684 --> 00:28:27,519
it was the cup and the desk
for Holden's interview.

522
00:28:27,764 --> 00:28:30,119
He brought two or three pens. . .

523
00:28:30,364 --> 00:28:31,513
ARTISTIC DIRECTOR

524
00:28:31,724 --> 00:28:34,921
. . . and three four cups,
but Ridley wanted to see others.

525
00:28:35,124 --> 00:28:37,479
He didn't understand:
''Why?

526
00:28:37,684 --> 00:28:40,642
It's never
just a cup and a pen. ''

527
00:28:40,884 --> 00:28:44,843
I took him aside and said:
''Go buy a hundred cups

528
00:28:45,044 --> 00:28:47,956
and a hundred pens, you don't care.

529
00:28:48,164 --> 00:28:50,439
Don't you see what's happening?'

530
00:28:50,644 --> 00:28:52,282
I saw what was happening.

531
00:28:52,484 --> 00:28:58,116
He wanted to see all the cups
that existed before choosing one.

532
00:29:00,164 --> 00:29:03,600
He was our man in Havana,
somehow,

533
00:29:03,804 --> 00:29:05,715
on set, every day.

534
00:29:05,924 --> 00:29:06,879
FINANCIAL

535
00:29:07,084 --> 00:29:10,759
We saw the rushes.
Bud was more involved,

536
00:29:10,964 --> 00:29:12,363
Ridley is a perfectionist.

537
00:29:12,564 --> 00:29:15,761
He came from the world of advertising,

538
00:29:15,964 --> 00:29:19,639
in England,
and he was very successful.

539
00:29:19,844 --> 00:29:23,519
He is very meticulous,
this is where his genius lies.

540
00:29:23,724 --> 00:29:27,433
I don't want to take anything away from him,
but it's slowing down

541
00:29:27,644 --> 00:29:32,593
to take over and over again
of certain scenes.

542
00:29:32,804 --> 00:29:36,274
We started,
we were a few weeks late.

543
00:29:37,164 --> 00:29:39,962
In a few weeks.

544
00:29:40,644 --> 00:29:43,954
I thought it was going to take off.

545
00:29:44,204 --> 00:29:46,399
He must have started to get nervous,

546
00:29:46,604 --> 00:29:49,402
after a week of filming.
We were already late.

547
00:29:49,604 --> 00:29:51,993
After two weeks
in Tyrell's play,

548
00:29:52,204 --> 00:29:54,320
we started
to reverse the scenes.

549
00:29:54,524 --> 00:29:55,639
ASSOCIATED PRODUCER

550
00:29:55,844 --> 00:29:58,756
He must have suffered from apoplexy,
they had invested

551
00:29:58,964 --> 00:30:01,603
and they were guaranteed
that we would finish the film.

552
00:30:01,804 --> 00:30:04,841
I imagine he was very irritated.

553
00:30:05,764 --> 00:30:08,801
Ridley knew they were worried

554
00:30:09,004 --> 00:30:11,916
the number of shots taken,
once, seeing the rushes.

555
00:30:12,164 --> 00:30:14,120
He got very angry.

556
00:30:14,364 --> 00:30:16,719
In retrospect,
he sent them a message back,

557
00:30:16,924 --> 00:30:19,154
in his own way.

558
00:30:19,364 --> 00:30:20,683
He told them. . .

559
00:30:20,884 --> 00:30:21,839
SCREENPLAY

560
00:30:22,044 --> 00:30:24,160
''Don't take me for a joke. ''

561
00:30:24,884 --> 00:30:27,398
I liked what I saw.

562
00:30:27,764 --> 00:30:31,439
I thought, and I told Ridley,

563
00:30:31,644 --> 00:30:35,080
that he printed far too many takes,
at that time,

564
00:30:35,284 --> 00:30:38,242
and shot way too many.

565
00:30:38,444 --> 00:30:40,162
I didn't find it necessary.

566
00:30:40,364 --> 00:30:42,924
He was clearly looking for something
in each.

567
00:30:43,164 --> 00:30:45,883
We discussed it twice.

568
00:30:46,084 --> 00:30:48,837
I told him: ''I don't understand.

569
00:30:49,044 --> 00:30:54,482
Why the 1 6th take
was the best?''

570
00:30:54,764 --> 00:30:59,121
He explained it to me.
In his own way, he knew why.

571
00:30:59,364 --> 00:31:02,720
We used a lot of film.

572
00:31:02,924 --> 00:31:05,040
They were irritated.
I did seven takes.

573
00:31:05,244 --> 00:31:06,757
''Why seven takes?''

574
00:31:06,964 --> 00:31:08,875
I know some who make 40.

575
00:31:09,084 --> 00:31:12,394
Seven takes, at that time,
wasn't that abnormal.

576
00:31:12,604 --> 00:31:15,118
I was very different,

577
00:31:15,324 --> 00:31:17,884
hence my great success
in advertising,

578
00:31:18,084 --> 00:31:20,040
I used different lighting,

579
00:31:20,244 --> 00:31:21,757
arranged things differently,

580
00:31:21,964 --> 00:31:24,683
and they had never seen that.
I'm being recruited for that.

581
00:31:24,924 --> 00:31:29,076
That's what was happening.
But that's how it is.

582
00:31:29,364 --> 00:31:33,243
Ridley has a strong personality,
he knows what he wants.

583
00:31:33,444 --> 00:31:36,242
When we are
on such a special project,

584
00:31:36,444 --> 00:31:41,518
with the studio guy on one side,
Ridley on the other. . .

585
00:31:41,724 --> 00:31:45,319
Nothing is done without difficulties.

586
00:31:45,844 --> 00:31:48,881
All I remember
of the filming, it's his anger.

587
00:31:49,084 --> 00:31:50,233
DIRECTOR - DEJA VU

588
00:31:50,444 --> 00:31:53,675
Anger towards those
who did not understand his work.

589
00:31:53,884 --> 00:31:56,000
Many people do not seek
to understand

590
00:31:56,244 --> 00:31:58,314
what he's trying to do.

591
00:31:58,524 --> 00:32:00,355
This is what happened.

592
00:32:00,564 --> 00:32:02,316
There was a lot of nervousness.

593
00:32:02,524 --> 00:32:04,560
Lots of competition.

594
00:32:04,764 --> 00:32:06,117
SCRIPT SUPERVISOR

595
00:32:06,324 --> 00:32:08,713
It was very amplified at the beginning.

596
00:32:08,964 --> 00:32:10,682
We anticipated before shooting:

597
00:32:10,924 --> 00:32:12,721
''He won't be happy.

598
00:32:12,924 --> 00:32:15,597
He finds Americans bad. ''

599
00:32:15,804 --> 00:32:17,476
He never said that.

600
00:32:17,684 --> 00:32:19,834
he wanted
that all provide the best.

601
00:32:20,724 --> 00:32:24,034
I couldn't make it come
the people I worked with,

602
00:32:24,244 --> 00:32:26,963
because of the union. That's how it is.

603
00:32:27,164 --> 00:32:31,715
Being new here,
I had to learn everything.

604
00:32:31,924 --> 00:32:34,040
I could use that, but not this. . .

605
00:32:34,244 --> 00:32:37,680
I'm used to
to be my own operator.

606
00:32:38,324 --> 00:32:40,884
There's nothing worse,
after making 2500 ads,

607
00:32:41,084 --> 00:32:43,473
and I know I have perfect eyes.

608
00:32:43,684 --> 00:32:46,357
I can give a set up,
three seconds

609
00:32:46,564 --> 00:32:48,077
after entering somewhere.

610
00:32:48,324 --> 00:32:49,803
I don't like
discussions.

611
00:32:50,004 --> 00:32:52,802
I know what I want,
and I want us to do it.

612
00:32:53,004 --> 00:32:54,995
This is the role of the director.

613
00:32:55,204 --> 00:32:58,753
He is not supposed to consult
half a dozen people

614
00:32:58,964 --> 00:33:00,192
on site.

615
00:33:00,404 --> 00:33:05,683
A director directs, he does the job.

616
00:33:07,404 --> 00:33:09,281
At the benchmarks.

617
00:33:13,204 --> 00:33:14,398
Action.

618
00:33:14,604 --> 00:33:17,516
What can it do for you?

619
00:33:18,564 --> 00:33:20,475
Can he repair his work?

620
00:33:20,684 --> 00:33:24,757
The first day was the scene
where I strangle my father,

621
00:33:24,964 --> 00:33:26,556
or I don't know what.

622
00:33:27,604 --> 00:33:29,754
My father-creator.

623
00:33:30,124 --> 00:33:31,955
And. . .

624
00:33:32,764 --> 00:33:34,914
I had never seen
such production.

625
00:33:35,124 --> 00:33:38,912
250 people.
I didn't know anyone.

626
00:33:40,044 --> 00:33:44,993
We arrive at 6 a.m.
it evolves very slowly,

627
00:33:45,204 --> 00:33:47,195
we start
to shoot one scene a day,

628
00:33:47,404 --> 00:33:50,202
every scene is finished
three days later,

629
00:33:50,404 --> 00:33:52,235
we no longer know where we are.

630
00:33:52,444 --> 00:33:53,763
It was a real shock.

631
00:33:54,204 --> 00:33:56,764
But the good side,

632
00:33:56,964 --> 00:33:59,080
there were brilliant people.

633
00:33:59,284 --> 00:34:01,923
The director of photography
was wonderful.

634
00:34:02,124 --> 00:34:03,682
DIRECTOR OF PHOTOGRAPHY

635
00:34:03,884 --> 00:34:08,594
He painted with light,
it took him hours.

636
00:34:09,964 --> 00:34:12,034
Jordan came with his team,

637
00:34:12,244 --> 00:34:13,563
he is an excellent cameraman.

638
00:34:13,764 --> 00:34:17,040
He brought two very good operators

639
00:34:17,244 --> 00:34:20,793
and I realized
that I would not be an operator.

640
00:34:21,004 --> 00:34:24,041
I made the choices
camera positions, instead.

641
00:34:24,244 --> 00:34:27,520
It's more efficient, faster.

642
00:34:27,764 --> 00:34:30,517
Every film brings frustrations.

643
00:34:30,724 --> 00:34:36,913
The artistic director sees things
in a way,

644
00:34:37,124 --> 00:34:42,278
and he is the one who leads the dance.

645
00:34:42,484 --> 00:34:43,712
LIGHTING ASSISTANT

646
00:34:43,964 --> 00:34:48,913
Jordan was not in good health,
so he was frustrated.

647
00:34:49,124 --> 00:34:52,082
He couldn't follow Ridley everywhere.

648
00:34:52,324 --> 00:34:54,280
He couldn't do it, physically.

649
00:34:54,484 --> 00:34:58,113
For years,
my father suffered from an illness

650
00:34:58,364 --> 00:35:00,559
which turned out to be
Parkinson's disease.

651
00:35:00,764 --> 00:35:02,755
PHOTO DIRECTOR - FIGHT CLUB

652
00:35:02,964 --> 00:35:05,000
Gradually, during the film,

653
00:35:05,204 --> 00:35:06,239
it deteriorated,

654
00:35:06,444 --> 00:35:09,914
and the last month,
he was in a wheelchair.

655
00:35:11,004 --> 00:35:16,522
Ridley knew how to overcome that
and made the courageous choice

656
00:35:16,764 --> 00:35:19,358
to work with Jordan.

657
00:35:25,364 --> 00:35:27,594
intense.
That's what describes it best.

658
00:35:27,804 --> 00:35:29,203
We had scenes together.

659
00:35:29,404 --> 00:35:32,362
There is the very long one. . .
Roy, ''I want more life''.

660
00:35:33,964 --> 00:35:35,920
I looked him in the eyes

661
00:35:36,124 --> 00:35:38,592
We went there too, and it was great.

662
00:35:38,844 --> 00:35:40,914
Rutger has a natural dramatic talent.

663
00:35:41,124 --> 00:35:42,682
It's positive.

664
00:35:42,884 --> 00:35:44,602
He understands the dramatic aspect.

665
00:35:44,884 --> 00:35:46,715
Take five.

666
00:35:47,564 --> 00:35:49,839
it's running, benchmarks.

667
00:35:50,764 --> 00:35:53,836
I want to live longer.

668
00:35:55,564 --> 00:35:57,316
Life has its laws.

669
00:35:57,564 --> 00:36:01,443
Then the murder.
It was a major element.

670
00:36:01,644 --> 00:36:03,794
They made an extra head.

671
00:36:04,444 --> 00:36:08,278
Another Tyrell head, at $20,000.

672
00:36:08,484 --> 00:36:10,395
It was one of the prosthetics, made. . .

673
00:36:10,604 --> 00:36:11,832
MAKEUP ARTIST

674
00:36:12,044 --> 00:36:13,875
. . . so that we can crush it.

675
00:36:14,084 --> 00:36:15,312
It was never used.

676
00:36:15,564 --> 00:36:19,034
We placed tubes behind the ear,

677
00:36:19,244 --> 00:36:21,712
and when he crushed his head,
it did. . .

678
00:36:22,604 --> 00:36:25,038
It couldn't be more primitive.

679
00:36:25,244 --> 00:36:28,395
A blister, a tube and blood.

680
00:36:28,604 --> 00:36:30,435
Blood spurted.

681
00:36:30,644 --> 00:36:33,716
Tyrell was also a replicant.

682
00:36:34,924 --> 00:36:39,042
Once the eyes and the head are crushed,

683
00:36:39,244 --> 00:36:41,474
everything was
as bolts, nuts, springs.

684
00:36:41,684 --> 00:36:44,642
That was the idea.
Let it be just another facade,

685
00:36:44,844 --> 00:36:47,836
another form of NEXUS 6,
I imagine.

686
00:36:48,684 --> 00:36:53,075
it pushed me
to go to the upper floor.

687
00:36:53,324 --> 00:36:55,394
And there, in the glass pyramid,

688
00:36:55,604 --> 00:37:01,713
the Creator would be found
in person, dead for four years.

689
00:37:01,964 --> 00:37:05,798
I had to design the sarcophagus,
and Batty was supposed to

690
00:37:06,004 --> 00:37:07,562
to be there, to watch its creator.

691
00:37:07,764 --> 00:37:08,958
VISUAL FUTURISTIC

692
00:37:09,164 --> 00:37:12,156
I wanted him to
to the right of a small table,

693
00:37:12,364 --> 00:37:18,633
which showed the Mayan capsule
where he had come from, the entrance to the crypt.

694
00:37:19,364 --> 00:37:21,719
that was never filmed either.

695
00:37:28,524 --> 00:37:34,520
Harrison must have had the only story
love story of the film, starring Rachael.

696
00:37:34,724 --> 00:37:38,683
Sean Young was very young,
very inexperienced,

697
00:37:38,884 --> 00:37:43,514
and Ridley guided her
more or less all the time,

698
00:37:43,724 --> 00:37:44,918
in a certain way.

699
00:37:45,644 --> 00:37:51,480
it didn't work on any level,
between Sean and Harrison.

700
00:37:54,884 --> 00:37:57,318
Any love scene is delicate.

701
00:37:57,524 --> 00:38:00,277
The actors must imagine
that it's real.

702
00:38:00,484 --> 00:38:04,636
Very uncomfortable. We can't
wait for it to pass,

703
00:38:04,844 --> 00:38:07,358
letting go, that can't be done.

704
00:38:07,564 --> 00:38:09,202
It's not professional.

705
00:38:09,564 --> 00:38:13,398
So it's very delicate

706
00:38:13,604 --> 00:38:16,914
to find what to do,
how far to go,

707
00:38:17,124 --> 00:38:18,955
and when to stop.

708
00:38:19,164 --> 00:38:23,919
Ridley had an idea, they stuck

709
00:38:24,124 --> 00:38:26,513
my legs together
and greased them.

710
00:38:26,764 --> 00:38:29,517
We had plenty of costumes,
it didn't work.

711
00:38:29,724 --> 00:38:32,192
He was trying to grab my legs,

712
00:38:32,404 --> 00:38:34,964
and pull up my skirt.

713
00:38:35,164 --> 00:38:36,916
Everyone was complaining.

714
00:38:37,124 --> 00:38:38,955
My legs were cleaned

715
00:38:39,164 --> 00:38:40,483
and we did something else.

716
00:38:40,684 --> 00:38:42,914
Then Ridley told him to push me.

717
00:38:44,364 --> 00:38:46,924
I remember being surprised.

718
00:38:47,164 --> 00:38:49,678
Harrison too, I think.

719
00:38:49,884 --> 00:38:52,239
I cried afterwards, it seems to me.

720
00:38:52,444 --> 00:38:55,641
And Harry moved to the side.

721
00:38:55,844 --> 00:38:58,756
I was sitting on the edge,
with the blinds behind,

722
00:38:58,964 --> 00:39:01,922
we made the scene.
He came around the corner,

723
00:39:02,124 --> 00:39:05,161
turned around. It went down
his pants and showed me his ass

724
00:39:05,364 --> 00:39:07,798
to make me laugh,
because I was there. . .

725
00:39:08,004 --> 00:39:09,995
I looked and saw her ass.

726
00:39:10,244 --> 00:39:12,041
It made me laugh.

727
00:39:12,244 --> 00:39:14,360
What he was trying to tell me was:

728
00:39:14,564 --> 00:39:16,043
''It's not so bad. ''

729
00:39:16,284 --> 00:39:19,913
Sean had a very interesting role.

730
00:39:21,364 --> 00:39:23,673
Perhaps one of the most interesting.

731
00:39:24,524 --> 00:39:26,719
She understood what was happening.

732
00:39:26,924 --> 00:39:29,757
She worked well.

733
00:39:30,004 --> 00:39:33,155
Harrison
was the great technician.

734
00:39:33,364 --> 00:39:36,037
''No, you have to sit there.
Your face should be here.

735
00:39:36,244 --> 00:39:38,041
Stand here, go this way.

736
00:39:38,244 --> 00:39:41,122
Back off. Come back. ''
He always knew what to do.

737
00:39:41,364 --> 00:39:46,643
Also in terms
lighting and speech.

738
00:39:46,844 --> 00:39:50,723
We had a metronome
which was supposed to create a rhythm.

739
00:39:50,964 --> 00:39:54,240
This metronome worked.
And he went towards this object

740
00:39:54,444 --> 00:39:55,923
and stopped him.

741
00:39:56,124 --> 00:39:58,513
He told me: ''I don't want to

742
00:39:58,724 --> 00:39:59,918
to overtake, doll. ''

743
00:40:00,124 --> 00:40:03,719
I was like: “What is doubling?”
I didn't understand anything.

744
00:40:03,964 --> 00:40:07,081
He taught me. . .

745
00:40:07,324 --> 00:40:09,519
No, actually,
he was making fun of me, but. . .

746
00:40:09,764 --> 00:40:12,324
He showed me my mistakes.

747
00:40:13,484 --> 00:40:15,918
Harrison never left his dressing room
than to turn.

748
00:40:16,124 --> 00:40:19,321
None of us had too much
interaction with him,

749
00:40:19,564 --> 00:40:20,963
nor even Ridley.

750
00:40:21,644 --> 00:40:22,838
MARKETING CONSULTANT

751
00:40:23,084 --> 00:40:25,552
Harrison arrived ready to work.

752
00:40:25,804 --> 00:40:27,556
They didn't talk much to each other.

753
00:40:27,764 --> 00:40:31,200
Maybe being unhappy helped him

754
00:40:31,404 --> 00:40:35,795
to convey Deckard's despair,
subliminally.

755
00:40:36,044 --> 00:40:38,956
As well as his discontent
with his life.

756
00:40:39,164 --> 00:40:41,724
Bladerunner,
for better and for worse,

757
00:40:41,964 --> 00:40:44,717
remains a real signature,
for Harrison Ford.

758
00:40:44,924 --> 00:40:47,916
It is surely
one of his best films.

759
00:40:51,124 --> 00:40:53,513
Harrison
is one of the most brilliant actors

760
00:40:53,724 --> 00:40:55,043
who I worked with.

761
00:40:55,244 --> 00:40:56,757
Those of the highest level.

762
00:40:56,964 --> 00:40:58,192
A, they know how to do it.

763
00:40:58,404 --> 00:41:01,362
B, they can
because they are intelligent.

764
00:41:01,564 --> 00:41:04,158
It's not just intuition.
They understand.

765
00:41:04,364 --> 00:41:08,198
Sometimes they don't understand
my job, with a great film.

766
00:41:08,404 --> 00:41:10,634
My performance is also important

767
00:41:10,844 --> 00:41:13,802
than that of others,
especially that of the star.

768
00:41:14,004 --> 00:41:15,483
The film that I am directing,

769
00:41:15,684 --> 00:41:19,040
At the end of the day, it's my film.
It's teamwork,

770
00:41:19,244 --> 00:41:21,997
but it's me
who takes the risks and the blows.

771
00:41:22,204 --> 00:41:24,320
I developed everything, etc.

772
00:41:24,564 --> 00:41:25,792
So this is my movie.

773
00:41:26,004 --> 00:41:29,041
I invite others to participate.
That's what a director is.

774
00:41:29,884 --> 00:41:32,876
I find it easy and encouraging

775
00:41:33,084 --> 00:41:34,995
to do what we feel.

776
00:41:35,724 --> 00:41:38,636
If he loved, he smiled, was happy.

777
00:41:38,844 --> 00:41:42,359
And even then he asked you
to do something else,

778
00:41:42,564 --> 00:41:46,113
because it was fun.
To go further.

779
00:41:46,404 --> 00:41:49,919
No actors
can't help but love him.

780
00:41:50,124 --> 00:41:53,480
Deckard.
It's good to see you, old man.

781
00:42:02,124 --> 00:42:04,240
In L.A., opposite the Bradbury Building,

782
00:42:04,444 --> 00:42:07,163
in the middle of the night.
We generally started

783
00:42:07,604 --> 00:42:10,243
at sunset.

784
00:42:10,444 --> 00:42:12,321
Vampire schedules.

785
00:42:12,564 --> 00:42:14,794
I was buried
in a pile of garbage,

786
00:42:15,004 --> 00:42:17,472
as during the filmed test.

787
00:42:18,164 --> 00:42:21,634
I meet J.F. Sebastian
for the 1st time.

788
00:42:21,844 --> 00:42:24,483
It was raining a lot.

789
00:42:24,724 --> 00:42:29,400
At one point,
I was moving away from J.F. Sebastian,

790
00:42:29,604 --> 00:42:34,724
I ran, hit the truck
and went through the window.

791
00:42:34,964 --> 00:42:39,082
It wasn't breakable glass.
and I still have a scar.

792
00:42:39,324 --> 00:42:41,554
We can see it there.

793
00:42:41,764 --> 00:42:45,723
Eight or nine splinters were removed from me

794
00:42:45,964 --> 00:42:48,637
and there must be some left,

795
00:42:48,844 --> 00:42:51,836
which didn't help
for back flips,

796
00:42:52,084 --> 00:42:54,757
to have a damaged elbow.

797
00:42:56,764 --> 00:42:59,836
I filmed at the Bradbury Building,
which is perfect,

798
00:43:00,044 --> 00:43:03,354
very clean.

799
00:43:03,964 --> 00:43:05,283
An amazing place.

800
00:43:05,924 --> 00:43:09,963
Superb ironwork, etc.
and the visuals are fabulous.

801
00:43:10,164 --> 00:43:14,157
Still plenty of rear lighting.

802
00:43:14,364 --> 00:43:17,674
The passing xenons, the smoke.

803
00:43:17,884 --> 00:43:19,681
It was very worrying.

804
00:43:19,884 --> 00:43:22,523
Which is astonishing,

805
00:43:22,724 --> 00:43:26,239
it's that the Bradbury people
did not understand

806
00:43:26,444 --> 00:43:31,564
what Ridley wanted,
because it was a real mess.

807
00:43:32,444 --> 00:43:37,074
Inside, we had
a 20 m truck of rubbish.

808
00:43:37,284 --> 00:43:39,718
We had rain inside.

809
00:43:39,924 --> 00:43:41,562
Absolutely everywhere.

810
00:43:41,764 --> 00:43:43,914
What we had to do,

811
00:43:44,124 --> 00:43:46,399
because the building was occupied,

812
00:43:46,604 --> 00:43:50,517
it started at 6 p.m.,
and clear the premises at 6 a.m.,

813
00:43:50,724 --> 00:43:52,999
and make it clean.

814
00:43:53,204 --> 00:43:57,561
As we needed
a dirty and dilapidated place,

815
00:43:57,764 --> 00:44:00,915
we didn't know what to do,
but we found an idea.

816
00:44:01,124 --> 00:44:04,321
We took cork, we crushed it,

817
00:44:04,524 --> 00:44:07,322
it has the texture
and the color of the earth.

818
00:44:07,564 --> 00:44:11,443
We covered the floor with cork
and it absorbed the rain.

819
00:44:11,644 --> 00:44:13,874
The next day, while sweeping,

820
00:44:14,084 --> 00:44:18,282
everything was clean, we didn't have
need to scrub with soap and water.

821
00:44:18,484 --> 00:44:20,952
We had about an hour

822
00:44:21,164 --> 00:44:23,075
to free the building in the morning.

823
00:44:25,324 --> 00:44:29,317
Coming to the studio for the first time,
I went through this maze,

824
00:44:29,524 --> 00:44:33,233
and seen all the signs,
buildings, all that.

825
00:44:33,684 --> 00:44:37,313
I thought, “This is astronomical.

826
00:44:37,564 --> 00:44:41,159
it's going to take a lifetime
to make this film. ''

827
00:44:41,364 --> 00:44:43,480
I was thinking of going to the studio,

828
00:44:43,684 --> 00:44:48,553
and I saw a refrigerated lab.

829
00:44:48,924 --> 00:44:51,643
They turned
in a real monstrous refrigerator.

830
00:44:51,844 --> 00:44:55,803
Everything was frozen inside.

831
00:44:56,444 --> 00:44:58,162
It was very cold.

832
00:44:58,364 --> 00:45:00,798
I didn't know how long
the cameras were holding,

833
00:45:01,004 --> 00:45:04,394
but we had
20 or 30 minutes, approximately,

834
00:45:04,604 --> 00:45:08,074
before
the oil in the mechanism does not freeze.

835
00:45:08,284 --> 00:45:10,718
It was strange that they did that,

836
00:45:10,964 --> 00:45:14,718
the conditions were
almost uncontrollable.

837
00:45:14,964 --> 00:45:17,956
We could not resolve
freezer temperature

838
00:45:18,164 --> 00:45:22,680
to the point where we see breathing
come out of the mouth,

839
00:45:22,884 --> 00:45:25,523
and where everything seems frozen.

840
00:45:25,764 --> 00:45:29,757
We started to put
two bows in the freezer.

841
00:45:29,964 --> 00:45:32,239
Charcoal bows.

842
00:45:32,444 --> 00:45:34,719
It works
by burning coal.

843
00:45:34,964 --> 00:45:37,922
After an hour,

844
00:45:38,124 --> 00:45:42,037
everyone was sniffling.

845
00:45:42,244 --> 00:45:47,079
One more hour,
people felt bad,

846
00:45:47,324 --> 00:45:52,637
because we consumed the oxygen in the air,

847
00:45:52,844 --> 00:45:57,315
and smoke from coal

848
00:45:57,524 --> 00:45:59,196
made people sick.

849
00:45:59,404 --> 00:46:04,524
We turned them off,
opened the freezer,

850
00:46:04,724 --> 00:46:06,760
renewed the air, put in fans.

851
00:46:07,564 --> 00:46:10,522
The lamps didn't work,
people shouted:

852
00:46:10,724 --> 00:46:14,239
''What are we going to do?''
We brought out the lighting, the cameras.

853
00:46:14,444 --> 00:46:16,162
The producer said to Ridley:

854
00:46:16,364 --> 00:46:19,800
''It's okay, that's enough. ''
Something like that.

855
00:46:20,004 --> 00:46:23,076
I wouldn't want to work again
in this atmosphere.

856
00:46:23,324 --> 00:46:24,962
It's too much.

857
00:46:25,164 --> 00:46:28,713
Too many issues,
for too short deadlines.

858
00:46:35,644 --> 00:46:39,159
Surely one of the experiences
the most special

859
00:46:39,364 --> 00:46:41,434
that I saw on an outdoor setting.

860
00:46:41,644 --> 00:46:44,716
All night scenes
of Blade Runner were long.

861
00:46:44,964 --> 00:46:47,524
There were 33 nights in total.

862
00:46:47,764 --> 00:46:51,234
These scenes were filmed
in the ''Streets of New York'' setting.

863
00:46:51,444 --> 00:46:54,163
This is where The Maltese Falcon
was filmed

864
00:46:54,364 --> 00:46:56,082
by Warner Bros.
in the 40s,

865
00:46:56,284 --> 00:47:00,835
and it was
the typical New York urban look.

866
00:47:01,044 --> 00:47:03,160
Shoot a studio street
for Blade Runner

867
00:47:03,364 --> 00:47:06,242
at Warner would have had a bad effect.

868
00:47:06,444 --> 00:47:08,639
If we watch television series,

869
00:47:08,844 --> 00:47:12,632
we see that it was filmed
in a studio street.

870
00:47:12,844 --> 00:47:16,120
To soak everything,
to add heavy rain,

871
00:47:16,364 --> 00:47:18,161
it added life.

872
00:47:18,364 --> 00:47:21,401
That's why
that we could not turn the day:

873
00:47:21,604 --> 00:47:24,596
it would not have been successful,
quite the contrary.

874
00:47:24,804 --> 00:47:26,476
We should have spent more.

875
00:47:26,684 --> 00:47:28,879
By shooting at night, we saved money.

876
00:47:29,084 --> 00:47:31,917
It rains all the time,
it's more beautiful, more successful.

877
00:47:32,124 --> 00:47:33,239
That's what it's about.

878
00:47:33,444 --> 00:47:35,002
Why the constant smoke?

879
00:47:35,204 --> 00:47:37,160
I didn't have the money,
and it makes it better.

880
00:47:37,364 --> 00:47:39,639
These three elements were my weapons.

881
00:47:39,844 --> 00:47:42,881
Night, rain, smoke.

882
00:47:53,444 --> 00:47:56,436
Someone said that the decor
from Blade Runner looked like

883
00:47:56,644 --> 00:47:58,714
at a coal mine
in Pennsylvania.

884
00:47:58,964 --> 00:48:02,115
That's right, the team wore
painter's masks,

885
00:48:02,364 --> 00:48:05,640
soot all over your face,
protective glasses,

886
00:48:05,844 --> 00:48:10,156
everyone was tired,
It stank, it was damp and rotten.

887
00:48:10,364 --> 00:48:13,959
The smoke,
it was smoke for the hives.

888
00:48:14,644 --> 00:48:20,162
This is an urban area in 2020

889
00:48:20,364 --> 00:48:24,152
without sun, with a drizzle
and perpetual fog.

890
00:48:24,684 --> 00:48:29,235
The atmosphere was very important.
At night, smoke. . .

891
00:48:29,444 --> 00:48:31,878
The team wore gas masks,

892
00:48:32,084 --> 00:48:34,882
because they breathed that
20 hours a day

893
00:48:35,084 --> 00:48:36,119
for weeks.

894
00:48:36,364 --> 00:48:39,640
I was out of the studio,
filled with smoke, too.

895
00:48:39,844 --> 00:48:41,960
Ridley went out to smoke a cigar,

896
00:48:42,164 --> 00:48:45,042
I said to him: ''Ridley,
Do you have smoke in your house?

897
00:48:45,244 --> 00:48:46,723
STUNTS COORDINATOR

898
00:48:46,964 --> 00:48:50,923
He laughed and told me no.
But the effect is very successful.

899
00:48:52,964 --> 00:48:55,000
The art direction was excellent

900
00:48:55,204 --> 00:49:00,597
and the created world
very dense and interesting.

901
00:49:00,804 --> 00:49:04,513
The visual of the film comes in part
due to the fact that it was filmed on location

902
00:49:04,764 --> 00:49:06,482
and the night.

903
00:49:07,044 --> 00:49:11,481
It was terrible working at night.

904
00:49:11,684 --> 00:49:15,393
All night, in the rain.

905
00:49:15,604 --> 00:49:18,277
It was not a pleasant shoot.

906
00:49:18,484 --> 00:49:21,317
Action, everyone.

907
00:49:22,204 --> 00:49:25,514
When we see the film,
we know we were soaked

908
00:49:25,764 --> 00:49:27,243
day and night, all the time.

909
00:49:27,444 --> 00:49:31,437
We had twice as many costumes

910
00:49:31,644 --> 00:49:33,874
because everything was soaked
all the time.

911
00:49:34,084 --> 00:49:36,473
We had to turn the scene around,

912
00:49:36,724 --> 00:49:39,716
put on another suit,
no time to dry.

913
00:49:39,964 --> 00:49:42,637
We were late all the time
on the schedule.

914
00:49:42,844 --> 00:49:44,277
It all culminated

915
00:49:44,484 --> 00:49:48,477
when we shot
outdoors night at the studio.

916
00:49:48,684 --> 00:49:52,120
Never less than 1 3, 1 4 hours.

917
00:49:52,364 --> 00:49:55,037
We filmed at night.
The recurring joke was:

918
00:49:55,244 --> 00:49:57,838
''Keep your gaze to the East,
as soon as we see a light,

919
00:49:58,044 --> 00:50:00,604
we know there is only an hour left.

920
00:50:02,004 --> 00:50:03,960
Some days we didn't film.

921
00:50:04,164 --> 00:50:07,793
Others, we shot two scenes
during the day.

922
00:50:08,004 --> 00:50:10,393
There were overtime hours,
sometimes at dawn.

923
00:50:10,604 --> 00:50:11,957
1st ASSISTANT CAMERAMAN

924
00:50:12,164 --> 00:50:13,836
It happened more than once.

925
00:50:14,564 --> 00:50:19,035
What he did, and for me,
it was the first time,

926
00:50:19,244 --> 00:50:20,597
he was running. . .

927
00:50:20,804 --> 00:50:25,878
He had huge speakers
at the top of buildings.

928
00:50:26,084 --> 00:50:28,917
He started the scene,

929
00:50:29,164 --> 00:50:33,043
started
to perceive the reality of the moment,

930
00:50:33,244 --> 00:50:35,360
and put on the music from the film.

931
00:50:35,564 --> 00:50:39,477
Vangelis had already given him
temporary soundtracks.

932
00:50:39,684 --> 00:50:42,721
He put it on full blast in the street,

933
00:50:42,924 --> 00:50:47,554
we worked in an environment
complete, continuous

934
00:50:47,804 --> 00:50:50,682
sound and special effects.

935
00:50:50,884 --> 00:50:53,921
There were centrifuges,
cranes,

936
00:50:54,164 --> 00:50:57,554
the smoke, the water, all at the same time.

937
00:50:57,764 --> 00:51:00,881
The decor was alive.

938
00:51:03,844 --> 00:51:05,994
It was incredible, what he did.

939
00:51:06,204 --> 00:51:08,798
We spent eight hours
to make an installation.

940
00:51:09,004 --> 00:51:10,483
We were doing it.

941
00:51:10,684 --> 00:51:13,596
Normally,
we see what the final result will be.

942
00:51:13,804 --> 00:51:15,635
It's really like that,
usually.

943
00:51:15,844 --> 00:51:19,917
But this film was unique,

944
00:51:20,124 --> 00:51:23,673
because seeing the rushes,
I was like, “Did we shoot that?”

945
00:51:24,164 --> 00:51:26,519
I was in shock.

946
00:51:42,361 --> 00:51:46,115
In 1975, I was given some money.

947
00:51:46,361 --> 00:51:47,874
They told me:

948
00:51:48,081 --> 00:51:49,719
EXECUTIVE PRODUCER - SCREENPLAY

949
00:51:49,921 --> 00:51:51,559
''Do what you want,

950
00:51:51,761 --> 00:51:54,070
will write. ''
And that's what I did.

951
00:51:54,281 --> 00:51:56,556
And it didn't work.

952
00:51:56,761 --> 00:51:58,353
I wanted to produce a film.

953
00:51:58,561 --> 00:52:03,316
I knew Jim Maxwell well,
he was a friend,

954
00:52:03,521 --> 00:52:05,477
and he suggested me. . .

955
00:52:05,681 --> 00:52:08,434
I believed in the future
science fiction.

956
00:52:08,641 --> 00:52:11,553
He knew a writer,

957
00:52:11,761 --> 00:52:13,911
Philip K. Dick, who published

958
00:52:14,161 --> 00:52:16,834
Do Androids dream
electric sheep?

959
00:52:17,041 --> 00:52:19,760
I read the book
and I didn't really like it.

960
00:52:19,961 --> 00:52:22,919
But it was commercial,
there was an idea,

961
00:52:23,121 --> 00:52:26,511
that of the bureaucratic detective
who chases androids.

962
00:52:26,761 --> 00:52:30,879
In 1978, my friend Brian Kelly
had $5000.

963
00:52:31,081 --> 00:52:34,357
He told me: ''Take an option.
The project is valid,

964
00:52:34,561 --> 00:52:37,155
it could earn you some money. ''

965
00:52:37,361 --> 00:52:39,352
We wanted to make money.

966
00:52:39,561 --> 00:52:42,553
Brian Kelly was chasing me
for two years. He was a good friend.

967
00:52:42,761 --> 00:52:43,989
PRODUCER

968
00:52:44,201 --> 00:52:46,317
He had an idea in mind,

969
00:52:46,561 --> 00:52:51,112
he wanted to make a film about the novel
by Dick, The Androids...

970
00:52:51,361 --> 00:52:54,273
I didn't really like the book.

971
00:52:54,481 --> 00:52:56,995
Deeley had read it and didn't believe it.

972
00:52:57,201 --> 00:53:00,318
Brian came back furious.

973
00:53:00,561 --> 00:53:02,517
He was sure we could
make a film about it.

974
00:53:02,721 --> 00:53:05,155
He asked me to write
something to prove it.

975
00:53:05,361 --> 00:53:09,798
I wrote five pages,
a kind of structure.

976
00:53:10,001 --> 00:53:12,674
He gave them to Michael Deeley,
that I didn't know.

977
00:53:12,881 --> 00:53:16,760
Brian came back saying:
''Michael Deeley thinks it's rubbish. ''

978
00:53:16,961 --> 00:53:20,920
He then came with a script,
not very good,

979
00:53:21,161 --> 00:53:22,389
but interesting.

980
00:53:22,601 --> 00:53:24,876
Unfortunately,
Hampton's first screenplay. . .

981
00:53:25,081 --> 00:53:27,515
Author
Future Noir: The Making of Blade Runner

982
00:53:27,721 --> 00:53:29,837
. . . didn't appeal to Phil, so to speak.

983
00:53:30,041 --> 00:53:33,033
He found it less strong than the novel.

984
00:53:33,241 --> 00:53:36,916
It had become a detective's story
chasing androids.

985
00:53:37,161 --> 00:53:38,389
He was tied up. . .

986
00:53:38,601 --> 00:53:39,954
DAUGHTER OF PHILIP K. DICK

987
00:53:40,201 --> 00:53:42,556
. . . to the book The Androids.
Rightly so.

988
00:53:42,761 --> 00:53:46,356
Some things were dear to him,

989
00:53:46,561 --> 00:53:49,951
especially everything that makes us
humans.

990
00:53:50,161 --> 00:53:52,117
The screenplay by Hampton Fancher. . .

991
00:53:52,321 --> 00:53:54,676
AUTHOR - THE WAYS OF ANUBIS

992
00:53:54,881 --> 00:53:58,874
. . . left Phil skeptical
because of the voiceovers.

993
00:53:59,081 --> 00:54:02,756
The first version was
much more modest

994
00:54:02,961 --> 00:54:04,952
that everything we saw on the internet

995
00:54:05,161 --> 00:54:06,958
or whatever we could say.

996
00:54:07,161 --> 00:54:09,994
It was more of a low budget film,

997
00:54:10,201 --> 00:54:12,590
the type of film made
in one room.

998
00:54:12,801 --> 00:54:15,998
it was happening inside,
with some exterior scenes,

999
00:54:16,201 --> 00:54:19,159
and in the end, Rachael committed suicide.

1000
00:54:19,361 --> 00:54:22,956
It was a small film.
That's what I wanted. Rooms,

1001
00:54:23,161 --> 00:54:28,315
a strange film, face-to-face encounters.

1002
00:54:28,561 --> 00:54:30,552
People talk to each other.

1003
00:54:30,761 --> 00:54:34,231
And I dreamed of actors. . .
Good actors

1004
00:54:34,441 --> 00:54:36,238
and good direction of actors.

1005
00:54:36,441 --> 00:54:42,232
For Hampton, the novel translated
real concerns.

1006
00:54:42,441 --> 00:54:45,513
Curiously, one of the motivations
the most important

1007
00:54:45,721 --> 00:54:49,111
remains the ecological question,
found in the book.

1008
00:54:49,321 --> 00:54:53,519
The fact that everything is collapsing on Earth
because of the world wars

1009
00:54:53,761 --> 00:54:56,321
and these biological scourges,
that sort of thing.

1010
00:54:56,561 --> 00:55:01,316
Of course, it brings up pollution
and overpopulation.

1011
00:55:01,561 --> 00:55:04,678
The intellectual side of the scenario

1012
00:55:04,881 --> 00:55:09,352
comes from my response to the disappearance
of animal life on this planet

1013
00:55:09,561 --> 00:55:12,837
and what it means.
This is what comes out

1014
00:55:13,041 --> 00:55:15,077
in this 1st version,
my passion for it.

1015
00:55:15,281 --> 00:55:18,512
So I had good reasons
to be attached to the project.

1016
00:55:18,761 --> 00:55:21,878
Finally, while I was looking
something,

1017
00:55:22,081 --> 00:55:24,549
Brian came back
with another scenario.

1018
00:55:24,761 --> 00:55:27,798
Several studios were interested,

1019
00:55:28,001 --> 00:55:30,310
but out of friendship, he let me read it.

1020
00:55:30,561 --> 00:55:32,438
I read it and found it excellent.

1021
00:55:32,641 --> 00:55:36,475
Twenty-four hours later,
they wanted to meet me.

1022
00:55:36,681 --> 00:55:39,115
They wanted to do it.

1023
00:55:39,921 --> 00:55:41,912
I had found an important one in London. . .

1024
00:55:42,121 --> 00:55:45,193
A comic book

1025
00:55:45,401 --> 00:55:47,392
called Mechanismo.

1026
00:55:47,601 --> 00:55:51,560
There were replicants, gyros. . .

1027
00:55:51,761 --> 00:55:54,229
Metal things. . .
I love this book.

1028
00:55:54,441 --> 00:55:57,513
I showed it to Michael Deeley
and I told him that

1029
00:55:57,761 --> 00:56:00,036
That was what I was looking for, visually.

1030
00:56:00,241 --> 00:56:03,074
That's before Ridley.

1031
00:56:03,281 --> 00:56:06,079
I wanted to call it Mechanismo.

1032
00:56:06,281 --> 00:56:08,351
I had convinced him.
So one of the versions

1033
00:56:08,561 --> 00:56:11,121
is called Mechanismo.

1034
00:56:11,361 --> 00:56:15,957
We finally chose to title it
Dangerous Days. I loved this title,

1035
00:56:16,161 --> 00:56:17,958
because it fit well

1036
00:56:18,161 --> 00:56:21,471
with a rather romantic storyline
of Hampton.

1037
00:56:21,681 --> 00:56:25,560
I was absolutely against it,
but we were going to sort that out later.

1038
00:56:25,761 --> 00:56:28,594
They agreed to finance it.
Go for Dangerous Days,

1039
00:56:28,801 --> 00:56:30,712
while waiting for better.

1040
00:56:30,961 --> 00:56:33,794
Then Michael Deeley
Blade Runner suggested.

1041
00:56:34,001 --> 00:56:35,832
I had already used it.

1042
00:56:36,041 --> 00:56:39,954
The expression came to me from Burroughs.

1043
00:56:40,161 --> 00:56:43,233
One of his books is called
Blade Runner.

1044
00:56:43,441 --> 00:56:44,954
It was a matter of turning it.

1045
00:56:45,161 --> 00:56:47,277
We tried to get Ridley,

1046
00:56:47,481 --> 00:56:49,631
but he was planning to do Dune.

1047
00:56:49,841 --> 00:56:51,559
I was editing Alien

1048
00:56:51,801 --> 00:56:54,110
when Michael Deeley
came to see me at EMI.

1049
00:56:54,321 --> 00:56:56,994
I knew him from back then
where he worked at EMl.

1050
00:56:57,201 --> 00:56:59,431
He told me about the script
from Blade Runner.

1051
00:56:59,641 --> 00:57:00,869
DIRECTOR

1052
00:57:01,081 --> 00:57:03,959
I didn't want to turn
another science fiction film,

1053
00:57:04,161 --> 00:57:06,959
but I read the script
by Hampton Fancher.

1054
00:57:07,161 --> 00:57:09,038
It was called Dangerous Days.

1055
00:57:09,241 --> 00:57:11,471
And I refused.

1056
00:57:11,721 --> 00:57:14,360
Ridley Scott was to direct Dune,

1057
00:57:14,561 --> 00:57:19,237
Dino De Laurentiis hired him
and they built the sets.

1058
00:57:19,441 --> 00:57:23,434
They were going to shoot a film
based on the novel

1059
00:57:23,641 --> 00:57:26,360
and it would be a sci-fi film
large-scale.

1060
00:57:26,561 --> 00:57:30,679
Dune attracted me because
it went further than Alien,

1061
00:57:30,921 --> 00:57:34,800
a harsh film, more of a horror film.

1062
00:57:35,121 --> 00:57:39,239
And Dune was going to be a milestone,

1063
00:57:39,441 --> 00:57:42,751
very important,
in the tradition of Star Wars.

1064
00:57:43,041 --> 00:57:45,350
A rather sad thing happened,

1065
00:57:45,561 --> 00:57:49,076
Ridley's older brother died.

1066
00:57:49,281 --> 00:57:50,760
Quite young, obviously.

1067
00:57:50,961 --> 00:57:54,271
Ridley was depressed.
He really had to work.

1068
00:57:54,521 --> 00:57:57,479
He wanted to do something,
he needed to work.

1069
00:57:57,681 --> 00:57:59,114
To be in front. . .

1070
00:57:59,321 --> 00:58:00,549
SON OF RIDLEY SCOTT

1071
00:58:00,761 --> 00:58:03,229
. . . a brother with cancer

1072
00:58:04,561 --> 00:58:06,677
and who dies from it, it is often. . .

1073
00:58:06,921 --> 00:58:11,915
I would say that this loss of control

1074
00:58:12,121 --> 00:58:15,511
plunged him into darkness.

1075
00:58:15,801 --> 00:58:17,871
He sometimes talked about Frank,

1076
00:58:18,081 --> 00:58:19,275
ASSOCIATED PRODUCER

1077
00:58:19,521 --> 00:58:22,513
. . . his older brother.
They were really very close.

1078
00:58:25,681 --> 00:58:30,232
it affected him a lot

1079
00:58:30,441 --> 00:58:33,672
on an emotional level.

1080
00:58:33,881 --> 00:58:37,556
It's a strange coincidence
that he is making this rather dark film

1081
00:58:37,761 --> 00:58:41,834
on creation, on control.

1082
00:58:42,921 --> 00:58:47,631
And also about the loss of control
and the lost fight against death.

1083
00:58:47,841 --> 00:58:49,479
We were filming a commercial.

1084
00:58:49,681 --> 00:58:52,514
I remember asking him
to read the script.

1085
00:58:52,721 --> 00:58:56,270
I read it on the train,
when I went to this shoot.

1086
00:58:56,521 --> 00:58:58,000
I told him I believed. . .

1087
00:58:58,201 --> 00:59:00,510
Things weren't going so well

1088
00:59:00,721 --> 00:59:03,758
and I suggested he reread it.

1089
00:59:03,961 --> 00:59:06,919
I found the storyline very strong,
very moving,

1090
00:59:07,121 --> 00:59:08,349
really interesting.

1091
00:59:08,561 --> 00:59:11,200
I always had Blade Runner in mind.

1092
00:59:11,401 --> 00:59:14,359
I called Deeley
to ask him where he was.

1093
00:59:14,561 --> 00:59:17,712
He replied: ''Nowhere. ''
I told him: ''I reread it

1094
00:59:17,921 --> 00:59:20,833
and it's interesting,
it could make a great

1095
00:59:21,041 --> 00:59:25,637
urban, futuristic film noir. ''

1096
00:59:25,841 --> 00:59:28,799
He looked at the script

1097
00:59:29,001 --> 00:59:30,229
and it was gone.

1098
00:59:30,921 --> 00:59:32,639
It was obviously great

1099
00:59:32,921 --> 00:59:37,073
to suddenly have a man
of his talent in the team.

1100
00:59:38,801 --> 00:59:41,110
We went to Filmways,
which had just been bought

1101
00:59:41,321 --> 00:59:45,200
by a former Universal employee,
Raphael Etkes.

1102
00:59:45,401 --> 00:59:46,834
A very nice guy, a friend.

1103
00:59:47,041 --> 00:59:50,317
We were with Filmways,
and Michael had found someone.

1104
00:59:50,521 --> 00:59:53,433
But the budget he proposed to us

1105
00:59:53,641 --> 00:59:55,836
was completely unrealistic.

1106
00:59:56,041 --> 00:59:59,158
We were very far from our goals.

1107
00:59:59,361 --> 01:00:01,079
We had already spent
$2.5 million

1108
01:00:01,321 --> 01:00:05,519
and it was obvious that the universe
that we wanted to create

1109
01:00:05,761 --> 01:00:09,197
would cost more than $12.5 million,
much more.

1110
01:00:09,401 --> 01:00:12,711
Raphi was stuck

1111
01:00:12,921 --> 01:00:15,355
because he did not have
more money.

1112
01:00:15,561 --> 01:00:19,076
It was a small company
and she didn't have much money.

1113
01:00:19,281 --> 01:00:22,637
We began to feel
that it wasn't going well,

1114
01:00:22,841 --> 01:00:25,435
then we read somewhere

1115
01:00:25,641 --> 01:00:28,599
that Filmways
had financial problems.

1116
01:00:28,801 --> 01:00:31,634
We understood that we had a problem

1117
01:00:31,881 --> 01:00:34,759
and that we needed
a new sponsor.

1118
01:00:34,961 --> 01:00:37,395
We collected the drawings
in a room,

1119
01:00:37,601 --> 01:00:39,432
a sort of overview.

1120
01:00:39,641 --> 01:00:42,439
We brought in the big oils
from other studios

1121
01:00:42,641 --> 01:00:45,951
and we treated them with great care
to make them want

1122
01:00:46,161 --> 01:00:48,755
to resume the film.
We had built sets.

1123
01:00:49,761 --> 01:00:51,831
We had meetings,

1124
01:00:52,041 --> 01:00:54,953
tips to impress
distributors,

1125
01:00:55,161 --> 01:00:56,753
ARTISTIC DIRECTOR

1126
01:00:56,961 --> 01:00:59,395
. . . and we met people from MGM

1127
01:00:59,601 --> 01:01:02,957
and United Artists,
which was on the verge of bankruptcy.

1128
01:01:06,561 --> 01:01:10,349
We built the sets
and we were looking for somewhere to shoot outdoors.

1129
01:01:10,561 --> 01:01:11,914
PRODUCTION DIRECTOR

1130
01:01:12,161 --> 01:01:15,437
We had a whole team to pay.

1131
01:01:15,641 --> 01:01:19,680
Everything was in danger of falling apart
if we didn't act very quickly.

1132
01:01:19,881 --> 01:01:23,669
I first addressed
to Alan Ladd, Jr., an old friend

1133
01:01:23,881 --> 01:01:25,200
on good terms with WB.

1134
01:01:25,401 --> 01:01:27,517
We really liked the script.

1135
01:01:30,161 --> 01:01:32,675
We immediately launched production.

1136
01:01:32,881 --> 01:01:36,317
The arrangement was as follows:
Warner Bros., by Alan Ladd,

1137
01:01:36,521 --> 01:01:40,116
injected 7.5 or 7 million dollars

1138
01:01:40,361 --> 01:01:43,000
for distribution rights
in the United States

1139
01:01:43,201 --> 01:01:47,956
in the cinema, but not on television,
on DVD, that sort of thing.

1140
01:01:48,441 --> 01:01:51,160
I said, “Are you interested?”
He wanted to read the script.

1141
01:01:51,361 --> 01:01:54,671
He read it very quickly
and immediately expressed interest in investing.

1142
01:01:54,921 --> 01:01:57,481
He asked me if I had any plans.

1143
01:01:57,681 --> 01:02:02,436
I told him about Blade Runner,
what Ridley Scott wanted to shoot.

1144
01:02:02,641 --> 01:02:05,360
I said, “Are you interested?”
He wanted to read the script.

1145
01:02:05,561 --> 01:02:08,473
He read it very quickly
and immediately expressed interest in investing.

1146
01:02:08,681 --> 01:02:10,319
We were missing 7 million.

1147
01:02:10,561 --> 01:02:14,315
We got them from a company run

1148
01:02:14,561 --> 01:02:18,395
by Jerry Perenchio, Bud Yorkin
and another partner

1149
01:02:18,601 --> 01:02:20,751
who did not want to participate.

1150
01:02:20,961 --> 01:02:23,714
Tandem Productions was a company
that I had started

1151
01:02:23,921 --> 01:02:29,314
with Norman Lear
1 5 years before Blade Runner.

1152
01:02:29,561 --> 01:02:33,520
At that time,
we did simultaneously

1153
01:02:33,721 --> 01:02:36,997
television and film.

1154
01:02:37,201 --> 01:02:39,874
We received tons of scripts,

1155
01:02:40,081 --> 01:02:42,914
for the cinema
and especially for television.

1156
01:02:44,721 --> 01:02:46,120
They submitted the project to us.

1157
01:02:46,321 --> 01:02:50,473
We didn't make films back then

1158
01:02:50,681 --> 01:02:52,273
and they had presented it elsewhere.

1159
01:02:52,481 --> 01:02:54,870
What we received
in general was not exciting

1160
01:02:55,081 --> 01:02:57,311
and we didn't want to get involved.

1161
01:02:57,561 --> 01:03:00,917
The Blade Runner storyline
ended up on my desk.

1162
01:03:01,121 --> 01:03:04,318
I read it and I loved it.

1163
01:03:04,561 --> 01:03:06,199
We saw the storyboards.

1164
01:03:06,401 --> 01:03:08,995
We all loved the gadgets, the gun

1165
01:03:09,201 --> 01:03:13,035
and the look that Ridley wanted to give it.

1166
01:03:13,241 --> 01:03:15,516
It was basically a question of cloning.

1167
01:03:15,721 --> 01:03:18,679
We now do it genetically.

1168
01:03:18,881 --> 01:03:20,917
That's partly what I liked,

1169
01:03:21,161 --> 01:03:25,757
it was really a futuristic film,
a black film

1170
01:03:25,961 --> 01:03:29,749
and I was convinced
that it would be a disaster.

1171
01:03:30,001 --> 01:03:34,916
I loved Philip Dick's books.
I've been a sci-fi fan for years.

1172
01:03:35,161 --> 01:03:37,550
I never imagined adapting one.

1173
01:03:37,761 --> 01:03:41,231
I was very relieved
to read such a thing.

1174
01:03:41,441 --> 01:03:44,478
I couldn't imagine
that we could make a film about it.

1175
01:03:44,681 --> 01:03:48,356
We therefore agreed to finance it.

1176
01:03:48,561 --> 01:03:50,119
They paid $7 million

1177
01:03:50,321 --> 01:03:55,679
and they received all the rights
for TV and DVD

1178
01:03:56,321 --> 01:04:00,917
as well as a part of the surplus
cinema revenues.

1179
01:04:03,521 --> 01:04:06,638
They also asked for a stamp.

1180
01:04:06,841 --> 01:04:09,992
That said, a deferred stamp,
but a fee of $1.5 million,

1181
01:04:10,201 --> 01:04:11,680
to vouch for the film.

1182
01:04:11,921 --> 01:04:14,993
They present a budget.

1183
01:04:15,201 --> 01:04:19,240
Let's say, for example,
that it is a million dollars.

1184
01:04:19,441 --> 01:04:23,639
There is an overrun
and the budget rises to $1,200,000

1185
01:04:23,841 --> 01:04:25,354
or $1,300,000, whatever.

1186
01:04:25,561 --> 01:04:28,917
Someone had to be able to

1187
01:04:29,161 --> 01:04:32,756
advance the missing $300,000.

1188
01:04:33,041 --> 01:04:35,953
If the film went over budget
21 or 22 million,

1189
01:04:36,161 --> 01:04:38,117
they had to advance this sum,

1190
01:04:38,361 --> 01:04:40,352
which gave them a lot of rights.

1191
01:04:40,561 --> 01:04:43,678
They had more
that they would not have had

1192
01:04:43,881 --> 01:04:47,078
if we had time to negotiate.
We only had two weeks.

1193
01:04:47,281 --> 01:04:50,751
I wasn't reassured.
I did Alien with Ridley

1194
01:04:50,961 --> 01:04:54,158
and he had shot a lot of film.

1195
01:04:54,361 --> 01:04:59,151
It was such a new way

1196
01:04:59,361 --> 01:05:02,034
to do everything
what they planned to do,

1197
01:05:02,241 --> 01:05:03,833
special effects, etc.

1198
01:05:04,041 --> 01:05:06,635
We were wondering
how many months would it take,

1199
01:05:06,881 --> 01:05:08,439
or how many years.

1200
01:05:08,721 --> 01:05:11,872
While we were putting together the budget,

1201
01:05:12,081 --> 01:05:15,471
I continued to discuss
with Hampton Fancher.

1202
01:05:15,681 --> 01:05:19,230
Our view of the world was changing.

1203
01:05:19,441 --> 01:05:22,638
We worked all day,
every day, I think.

1204
01:05:22,841 --> 01:05:24,877
It seemed endless to me.

1205
01:05:25,401 --> 01:05:27,915
I kept saying: ''it doesn't work,
it is not sellable.

1206
01:05:28,121 --> 01:05:29,793
Too vague,
not cinematic enough. ''

1207
01:05:30,001 --> 01:05:34,279
I was hard,
in front of the romanticism of Hampton.

1208
01:05:34,481 --> 01:05:38,440
I really liked his storyline,
his way of working, of writing.

1209
01:05:38,641 --> 01:05:42,839
I loved his intelligence,
its realistic side.

1210
01:05:43,041 --> 01:05:47,273
Ridley started working
on the script with Hampton

1211
01:05:47,481 --> 01:05:52,635
asking all kinds of questions,
like: ''What kind of universe?''

1212
01:05:52,881 --> 01:05:55,315
''What is it?
on the other side of the window?''

1213
01:05:55,521 --> 01:05:57,432
I didn't understand.

1214
01:05:57,641 --> 01:05:59,472
''There's a world. ''

1215
01:05:59,681 --> 01:06:02,593
Whereas for me, the world was there.
And we talked.

1216
01:06:02,801 --> 01:06:04,632
The hunter fell in love
of its prey,

1217
01:06:04,841 --> 01:06:08,550
but they never went out.
Everything was happening inside.

1218
01:06:08,761 --> 01:06:10,479
I wanted to get them out.

1219
01:06:10,681 --> 01:06:12,990
Once we're outside,
this world

1220
01:06:13,201 --> 01:06:18,559
must bear the idea that
he's an android, a robot.

1221
01:06:18,761 --> 01:06:20,752
It's a word
that I didn't want to use

1222
01:06:20,961 --> 01:06:24,556
because it had been abused.
We had to find another one.

1223
01:06:24,761 --> 01:06:26,319
We finally found a replicant.

1224
01:06:26,521 --> 01:06:30,833
The next day he came
with the comic book, Métal Hurlant.

1225
01:06:31,041 --> 01:06:32,394
''Oh yes ! ''

1226
01:06:32,601 --> 01:06:35,593
I read a lot
of comic books Métal Hurlant

1227
01:06:35,801 --> 01:06:38,838
and I followed the work of people
like Jean Giraud ''Moebius''

1228
01:06:39,041 --> 01:06:43,512
who I consider to be the father
of all that, undoubtedly one of the best.

1229
01:06:43,721 --> 01:06:49,193
There was a little graphic news
quite fabulous,

1230
01:06:49,401 --> 01:06:51,517
about a detective
in a modern world.

1231
01:06:51,721 --> 01:06:55,509
It stayed somewhere
in Ridley's mind,

1232
01:06:55,721 --> 01:06:57,518
for the future, for Blade Runner.

1233
01:06:57,721 --> 01:07:00,997
Some of his drawings. . .
If we look at the storyboards,

1234
01:07:01,201 --> 01:07:02,429
they look like... . .

1235
01:07:02,641 --> 01:07:07,396
Without taking anything away from the visual imagination
by Ridley, but he saw it.

1236
01:07:07,601 --> 01:07:08,670
ICONOGRAPHY OF R. SCOTT

1237
01:07:08,921 --> 01:07:11,674
Which seems interesting to me
in this mix of genres

1238
01:07:11,881 --> 01:07:14,349
between Métal Hurlant authors
like O'Bannon

1239
01:07:14,561 --> 01:07:15,789
or people like Moebius

1240
01:07:16,001 --> 01:07:17,070
or Bilal. . .

1241
01:07:17,281 --> 01:07:18,680
PUBLISHER - METAL HURLANT

1242
01:07:18,881 --> 01:07:22,556
So many authors have a vision
really interesting about the future.

1243
01:07:22,761 --> 01:07:25,195
And Ridley

1244
01:07:25,401 --> 01:07:28,074
is the kind of person who is open

1245
01:07:28,281 --> 01:07:31,830
to all these influences
to broaden your horizons,

1246
01:07:32,041 --> 01:07:34,316
develop your storytelling skills
and his vision.

1247
01:07:34,521 --> 01:07:37,513
All artists tend
towards the next inspiration,

1248
01:07:37,721 --> 01:07:41,111
the next vision that
will take them elsewhere, to another level.

1249
01:07:41,321 --> 01:07:44,916
Nothing is linear.
My thinking is not linear.

1250
01:07:45,121 --> 01:07:46,998
I continue to collect
all the elements

1251
01:07:47,201 --> 01:07:50,637
and turn everything upside down,
to see what it looks like.

1252
01:07:50,881 --> 01:07:52,519
That's the only way to find out.

1253
01:07:52,721 --> 01:07:55,110
And suddenly, logic imposes itself.

1254
01:07:55,321 --> 01:07:57,277
He said:
''What if there was snow?''

1255
01:07:57,481 --> 01:07:59,312
''Snow? Yes, snow! ''

1256
01:07:59,521 --> 01:08:00,749
He wrote: ''snow''.

1257
01:08:00,961 --> 01:08:03,998
''If it was a train?
What if it was a desert? If it was. . . ''

1258
01:08:04,201 --> 01:08:06,317
it never stopped.

1259
01:08:06,521 --> 01:08:08,955
The first time
that it really stuck,

1260
01:08:09,161 --> 01:08:11,277
he told me:
''Hampton, I'll be honest.

1261
01:08:11,481 --> 01:08:15,110
You're taking too much. . . ''
He called me “Go faster”.

1262
01:08:15,681 --> 01:08:17,990
It's a real chance
to work with Ridley.

1263
01:08:18,201 --> 01:08:20,715
He has wonderful ideas.

1264
01:08:20,921 --> 01:08:23,389
And you have to remain discreet,
otherwise he gets carried away

1265
01:08:23,601 --> 01:08:25,910
and he is able
to write an encyclopedia.

1266
01:08:29,401 --> 01:08:32,598
He wanted to introduce the character
spectacularly

1267
01:08:32,881 --> 01:08:35,634
and that, visually, it fits

1268
01:08:35,841 --> 01:08:38,958
to the idea of a very strange future world,

1269
01:08:39,161 --> 01:08:41,675
the one who started
to germinate in his mind.

1270
01:08:41,921 --> 01:08:44,993
It abandons the most recent version.

1271
01:08:45,201 --> 01:08:47,510
He sees a cabin,

1272
01:08:47,721 --> 01:08:50,793
on the stove there is a pot

1273
01:08:51,001 --> 01:08:53,595
and in the pot, a soup boiling.

1274
01:08:53,801 --> 01:08:55,120
And I'm like this:

1275
01:08:56,321 --> 01:08:57,674
It was precisely that.

1276
01:08:57,921 --> 01:08:59,639
Awesome. Soup in a pot.

1277
01:08:59,881 --> 01:09:02,395
I came home
and I started writing.

1278
01:09:05,801 --> 01:09:09,191
Actually, we wanted to see Deckard
sitting in the kitchen.

1279
01:09:09,401 --> 01:09:12,677
Then, through the window,
the sky was darkening.

1280
01:09:12,921 --> 01:09:14,877
However, it was the afternoon.

1281
01:09:15,081 --> 01:09:17,037
Then there was this strange vehicle.

1282
01:09:17,241 --> 01:09:21,280
A guy in farmer's overalls
entered the house,

1283
01:09:21,481 --> 01:09:23,199
saw Deckard, but ignored him.

1284
01:09:23,401 --> 01:09:26,996
He entered the kitchen
and began to stir the soup.

1285
01:09:27,201 --> 01:09:29,761
''You want some soup?''
Deckard didn't respond.

1286
01:09:29,961 --> 01:09:32,191
''Who are you?''
the guy asked, stirring.

1287
01:09:32,401 --> 01:09:34,869
Deckard stood up:
''I'm Deckard. Blade Runner. ''

1288
01:09:35,361 --> 01:09:37,829
And he was killing this guy.
For no reason. Like that.

1289
01:09:38,321 --> 01:09:41,950
We wonder what's going on.
The guy collapses against the wall,

1290
01:09:42,161 --> 01:09:45,153
falls and Deckard rushes

1291
01:09:45,361 --> 01:09:47,158
and detaches his lower jaw.

1292
01:09:47,361 --> 01:09:51,400
It is made of aluminum
with an identification number.

1293
01:09:51,601 --> 01:09:54,069
We understand that it is not
a person, but a robot.

1294
01:09:54,681 --> 01:09:56,114
Deckard takes it,

1295
01:09:56,321 --> 01:09:58,960
puts her in her trench coat,

1296
01:09:59,161 --> 01:10:01,391
walks towards the farm,

1297
01:10:01,601 --> 01:10:04,593
followed by a small dog barking

1298
01:10:04,801 --> 01:10:08,237
and who continues to bark
while Deckard takes off.

1299
01:10:09,001 --> 01:10:12,710
We are in pre-production,
around a large table.

1300
01:10:12,921 --> 01:10:15,389
She is very big.
There are a lot of people.

1301
01:10:15,601 --> 01:10:19,435
And they ask:
''What about the love scene?''

1302
01:10:19,761 --> 01:10:22,798
I answer that she is there,
but it is not explicit.

1303
01:10:23,001 --> 01:10:24,878
''What if you made it more explicit?''

1304
01:10:25,081 --> 01:10:26,434
I don't want to. No way.

1305
01:10:26,641 --> 01:10:29,201
Hampton and I disagreed

1306
01:10:29,561 --> 01:10:32,121
and this brings us back
to commercial matters.

1307
01:10:32,361 --> 01:10:36,639
I wanted a sex scene
more explicit.

1308
01:10:38,401 --> 01:10:39,914
They are good people.

1309
01:10:40,121 --> 01:10:42,510
I walk around the table

1310
01:10:42,721 --> 01:10:44,473
and I ask them what they want.

1311
01:10:44,681 --> 01:10:47,070
For Hampton,
it was in very bad taste

1312
01:10:47,321 --> 01:10:49,357
and he tried to demonstrate it

1313
01:10:49,561 --> 01:10:52,314
and did everything to convince me.

1314
01:10:52,521 --> 01:10:55,081
He may have even kissed me.

1315
01:10:55,281 --> 01:10:59,638
It was convincing, but it wasn't
the scene I had in mind.

1316
01:11:02,361 --> 01:11:05,876
Hampton became touchy

1317
01:11:06,121 --> 01:11:09,272
and it was a tragedy every time
that we were asking for a change.

1318
01:11:09,481 --> 01:11:11,676
I remember
of an argument with Ridley.

1319
01:11:11,921 --> 01:11:14,310
He came in and sat on the bed.

1320
01:11:14,521 --> 01:11:17,319
I told him we couldn't
do this, which was necessary. . .

1321
01:11:17,521 --> 01:11:19,273
He didn't want to talk to me anymore.

1322
01:11:19,521 --> 01:11:24,754
Eventually, Hampton was exhausted.

1323
01:11:24,961 --> 01:11:26,952
And he insisted. . .

1324
01:11:27,161 --> 01:11:28,913
I told him:
''If we have that, there is that. ''

1325
01:11:29,161 --> 01:11:33,120
In fact, the more I talk,
the more my ideas advance.

1326
01:11:33,321 --> 01:11:34,993
I was furious, I walked away.

1327
01:11:35,201 --> 01:11:37,635
lvor, the wonderful lvor has come

1328
01:11:37,841 --> 01:11:40,309
and tried to talk to me.

1329
01:11:42,201 --> 01:11:44,112
It hurt me.

1330
01:11:44,321 --> 01:11:45,993
That's the delicacy of lvor.

1331
01:11:46,201 --> 01:11:47,919
He didn't say it directly.

1332
01:11:48,121 --> 01:11:50,191
He said:
''If you don't. . . ''

1333
01:11:50,401 --> 01:11:52,961
And then he was more direct.

1334
01:11:53,161 --> 01:11:55,391
He said: ''I know the man.

1335
01:11:55,641 --> 01:11:59,520
he will do something
and he will do what he wants, Hampton. ''

1336
01:11:59,721 --> 01:12:02,360
I asked Michael
what he wanted to do

1337
01:12:02,561 --> 01:12:04,552
and he asked me what I wanted.

1338
01:12:04,761 --> 01:12:07,559
He had to be given a choice.

1339
01:12:07,761 --> 01:12:11,151
It would take two days
then we would discuss it afterwards.

1340
01:12:11,361 --> 01:12:13,591
I prefer to work
with the original screenwriter.

1341
01:12:13,801 --> 01:12:15,712
It was difficult

1342
01:12:15,961 --> 01:12:17,997
because Hampton
was there from the start.

1343
01:12:18,201 --> 01:12:20,920
And he was executive producer

1344
01:12:21,121 --> 01:12:22,315
and it remained so.

1345
01:12:22,561 --> 01:12:26,759
But it was over for him.

1346
01:12:26,961 --> 01:12:28,110
I receive a call,

1347
01:12:28,361 --> 01:12:29,555
SCREENPLAY

1348
01:12:29,761 --> 01:12:35,472
. . . and I'm told Ridley wants to talk
with me from Blade Runner.

1349
01:12:36,081 --> 01:12:38,800
I generally react
to this kind of thing by telling me

1350
01:12:39,041 --> 01:12:40,759
that it won't work.

1351
01:12:40,961 --> 01:12:42,360
I told Mike:

1352
01:12:43,881 --> 01:12:46,076
I'm being flown to L.A.,

1353
01:12:46,281 --> 01:12:50,160
I am installed at the Chateau Marmont,
in a royal suite,

1354
01:12:50,361 --> 01:12:52,921
and they send me the script by courier.

1355
01:12:53,161 --> 01:12:56,039
This kind of thing
never happened to me.

1356
01:12:56,241 --> 01:12:58,118
I read the script. . .

1357
01:12:58,321 --> 01:13:00,118
I read it in about two hours.

1358
01:13:00,361 --> 01:13:03,273
and I am amazed.
The storyline was great.

1359
01:13:03,481 --> 01:13:07,599
Ridley and Michael
show up at the appointed time

1360
01:13:07,801 --> 01:13:09,712
and ask me what I think about it.

1361
01:13:09,961 --> 01:13:11,519
''The script is great.

1362
01:13:11,721 --> 01:13:14,315
I don't think I can do better. ''

1363
01:13:14,561 --> 01:13:17,519
They both laughed.

1364
01:13:17,721 --> 01:13:21,316
I realized years later
how naive my response was.

1365
01:13:21,521 --> 01:13:23,671
Who cares
what the screenwriter thinks?

1366
01:13:23,921 --> 01:13:26,674
It's not the screenwriter
who was going to improve it was Ridley,

1367
01:13:26,881 --> 01:13:29,190
and I was going to follow his instructions.

1368
01:13:29,401 --> 01:13:34,919
Michael told me
that Ridley had some ideas.

1369
01:13:35,121 --> 01:13:38,033
And I was hired.

1370
01:13:44,281 --> 01:13:47,637
I remember
of a Christmas meal at lvor.

1371
01:13:49,681 --> 01:13:51,637
We sat down

1372
01:13:51,921 --> 01:13:54,719
and he put a script
on my plate.

1373
01:13:54,961 --> 01:13:57,191
I didn't know what it was.
Sometimes I was asked

1374
01:13:57,401 --> 01:14:00,393
to rewrite something.
I opened

1375
01:14:00,601 --> 01:14:03,320
and I saw that it was our film.

1376
01:14:03,561 --> 01:14:08,112
My movie.
I turn the first page and there it was. . .

1377
01:14:08,361 --> 01:14:10,317
The scene wasn't bad.
It was

1378
01:14:10,521 --> 01:14:15,197
in a scrap metal warehouse.
We buried androids.

1379
01:14:15,441 --> 01:14:20,037
I wrote a scene from another world
where these bodies are piled up.

1380
01:14:20,241 --> 01:14:24,553
There were lots of damaged replicants
in all this junk.

1381
01:14:24,761 --> 01:14:28,913
Then, slowly,
someone emerges from the pile

1382
01:14:29,121 --> 01:14:30,600
and it's Roy Batty.

1383
01:14:30,801 --> 01:14:33,474
It’s one of the debuts I wrote.

1384
01:14:33,681 --> 01:14:38,197
I turn a few pages
because I recognize the ideas

1385
01:14:38,401 --> 01:14:42,713
and I see my scene from the interview,
the one that opens the film.

1386
01:14:42,921 --> 01:14:47,597
lvor is standing in front of me
and I ask him what it is.

1387
01:14:47,801 --> 01:14:50,474
He answers me
that this is the new scenario,

1388
01:14:50,681 --> 01:14:53,559
that of David Peoples.

1389
01:14:53,761 --> 01:14:54,989
I say: ''Who's that?''

1390
01:14:55,201 --> 01:14:57,317
I couldn't hear anything anymore.
I was standing. . .

1391
01:14:57,521 --> 01:15:00,593
I had the impression
that my world was falling apart.

1392
01:15:00,801 --> 01:15:02,678
It was obvious he would be in pain.

1393
01:15:02,921 --> 01:15:06,550
Because what he had written
was fantastic.

1394
01:15:07,841 --> 01:15:13,040
And suddenly someone else
the baby asked again. . .

1395
01:15:13,241 --> 01:15:14,754
Michael Deeley is so diplomatic.

1396
01:15:14,961 --> 01:15:18,636
I remember begging him,
told him it wasn't okay.

1397
01:15:18,841 --> 01:15:20,513
This guy who wrote. . .

1398
01:15:20,721 --> 01:15:22,837
It was impossible,
it had to be me.

1399
01:15:23,041 --> 01:15:25,077
I remember
of Michael's reaction,

1400
01:15:25,281 --> 01:15:27,112
of his diplomacy.

1401
01:15:27,361 --> 01:15:30,512
He didn't say I was stupid
and it couldn't continue,

1402
01:15:30,721 --> 01:15:35,033
he said:
''What you do is very elegant,

1403
01:15:35,241 --> 01:15:37,357
but something else is needed
to make a film.

1404
01:15:37,561 --> 01:15:39,472
Because we're making a movie, Hampton. ''

1405
01:15:39,681 --> 01:15:41,000
Peoples is more. . .

1406
01:15:41,241 --> 01:15:42,879
Let's say, to summarize, that Peoples

1407
01:15:43,121 --> 01:15:46,670
is simpler
and Hampton, more cerebral.

1408
01:15:46,921 --> 01:15:49,515
And this scenario was very cerebral.

1409
01:15:49,761 --> 01:15:53,310
By involving
someone like Peoples,

1410
01:15:53,521 --> 01:15:59,676
we brought something new
who would move things forward.

1411
01:15:59,921 --> 01:16:04,278
As a director,
I tend to be very cerebral

1412
01:16:04,521 --> 01:16:08,594
and I get into dark stuff,
details.

1413
01:16:08,801 --> 01:16:12,760
The first content meeting
took place at the Chateau Marmont.

1414
01:16:12,961 --> 01:16:15,873
I'm trying to understand
where we're going with this thing.

1415
01:16:16,121 --> 01:16:18,874
We go back to Sebastian's house

1416
01:16:19,081 --> 01:16:21,390
and Ridley tells me about a mouse

1417
01:16:21,601 --> 01:16:23,637
who will appear with a bow tie.

1418
01:16:23,841 --> 01:16:26,560
And Ridley begins to describe
all the details

1419
01:16:26,761 --> 01:16:29,070
and rather than talking
of history itself,

1420
01:16:29,281 --> 01:16:31,192
we start talking about the mouse.

1421
01:16:31,401 --> 01:16:33,596
I am completely stunned.

1422
01:16:34,201 --> 01:16:36,874
I had never attended
to such a thing.

1423
01:16:37,121 --> 01:16:40,272
And Michael Deeley said to me:
''Now you know. ''

1424
01:16:40,481 --> 01:16:44,269
it didn't exactly fit
with the narration,

1425
01:16:44,481 --> 01:16:48,838
and suddenly, this wonderful
little mouse appeared.

1426
01:16:49,041 --> 01:16:52,829
His universe was very science fiction.

1427
01:16:53,041 --> 01:16:54,838
He brought good dialogues.

1428
01:16:55,321 --> 01:17:00,349
He was able to easily fill the holes.

1429
01:17:00,561 --> 01:17:03,473
I was writing and they were excited
by my speed.

1430
01:17:03,681 --> 01:17:07,959
I wrote like crazy
and I gave them all that.

1431
01:17:08,161 --> 01:17:10,914
There had been Hampton

1432
01:17:11,121 --> 01:17:14,272
and he had laid them
I don't really know how many versions

1433
01:17:14,521 --> 01:17:16,273
and he. . .

1434
01:17:17,001 --> 01:17:19,071
It's completely exhausting,

1435
01:17:19,281 --> 01:17:23,433
they were on the tenth version
with Hampton.

1436
01:17:23,641 --> 01:17:25,871
They told him:
''Try this,

1437
01:17:26,081 --> 01:17:28,231
so try that. ''
it drives you crazy.

1438
01:17:28,441 --> 01:17:30,796
It drove me crazy.

1439
01:17:32,961 --> 01:17:34,553
Batty changed with me.

1440
01:17:34,761 --> 01:17:35,876
If my memory serves me correctly,

1441
01:17:36,121 --> 01:17:38,999
Deckard killed Batty
at the top of this thing.

1442
01:17:39,201 --> 01:17:43,399
Some of his dialogues. . .
''On the Baldric of Orion'',

1443
01:17:43,601 --> 01:17:48,595
it's me, except that on first reading,

1444
01:17:48,801 --> 01:17:54,080
when we sat down with the actors
to read the script,

1445
01:17:54,441 --> 01:17:58,116
Rutger read the speech and added

1446
01:17:58,321 --> 01:18:01,870
a few lines
about memories in the rain.

1447
01:18:02,121 --> 01:18:04,555
And he looked at me like this
naughty little boy,

1448
01:18:04,761 --> 01:18:06,479
to see if I was upset.

1449
01:18:06,681 --> 01:18:09,673
I was, at the time,
but I didn't show any of it.

1450
01:18:09,921 --> 01:18:12,560
I felt threatened by all of this.

1451
01:18:12,761 --> 01:18:16,071
When watching the film,
I realized it was brilliant.

1452
01:18:16,281 --> 01:18:19,239
This line about the rain,
tears in the rain,

1453
01:18:19,441 --> 01:18:23,275
it's absolutely beautiful
and we owe it to Rutger.

1454
01:18:23,481 --> 01:18:28,714
They were lucky enough to have
David Peoples who. . .

1455
01:18:28,921 --> 01:18:31,481
When I watch the film again,

1456
01:18:31,681 --> 01:18:34,559
it works
and I wouldn't have done it like that.

1457
01:18:34,761 --> 01:18:39,152
David knew what he was doing
and David worked well with Ridley.

1458
01:18:39,361 --> 01:18:41,272
He did what Ridley asked.

1459
01:18:41,521 --> 01:18:43,034
We really needed it.

1460
01:18:43,241 --> 01:18:44,993
We needed to finish this scenario

1461
01:18:45,201 --> 01:18:48,079
because each modification

1462
01:18:48,321 --> 01:18:51,040
had a domino effect.

1463
01:18:51,241 --> 01:18:53,630
Ridley found out afterwards,
with Hampton's latest jet.

1464
01:18:53,841 --> 01:18:55,957
Hampton had done

1465
01:18:56,161 --> 01:18:58,356
everything he thought Ridley wanted,

1466
01:18:58,561 --> 01:19:01,553
but he lacked what Ridley

1467
01:19:01,761 --> 01:19:03,558
thought I'd get with David Peoples,

1468
01:19:03,761 --> 01:19:06,753
something more clear-cut.
It is to David that we owe

1469
01:19:06,961 --> 01:19:09,634
the character, the nature of the film.

1470
01:19:09,841 --> 01:19:12,275
I was wrong, Ridley was right

1471
01:19:12,481 --> 01:19:14,790
and Peoples was absolutely right.

1472
01:19:15,001 --> 01:19:17,674
If this hadn't happened,
Blade Runner would not have existed.

1473
01:19:36,584 --> 01:19:40,133
Ridley and I watched the movie
before showing it to Tandem,

1474
01:19:40,344 --> 01:19:43,336
alone. We sat down,
the light went out

1475
01:19:43,584 --> 01:19:46,940
and we didn't say a single word
of the entire film.

1476
01:19:47,144 --> 01:19:48,975
At the end, Ridley said:

1477
01:19:49,184 --> 01:19:50,412
CHIEF EDITOR

1478
01:19:50,624 --> 01:19:54,663
''It's wonderful,
but what does that mean?''

1479
01:19:55,384 --> 01:19:58,296
We saw that the film had to be restructured

1480
01:19:58,504 --> 01:20:01,541
and there was still a lot of work
for it to work.

1481
01:20:01,744 --> 01:20:03,462
There was no need to change everything,

1482
01:20:03,664 --> 01:20:05,541
but watch every scene again

1483
01:20:05,784 --> 01:20:07,615
and develop them.

1484
01:20:07,824 --> 01:20:10,497
When we were shown the film
at Ladd Company,

1485
01:20:10,704 --> 01:20:14,333
it was a version
very long and very dark.

1486
01:20:14,584 --> 01:20:15,733
MARKETING CONSULTANT

1487
01:20:15,944 --> 01:20:17,536
Some impenetrable elements

1488
01:20:17,744 --> 01:20:19,860
motivated the decision

1489
01:20:20,064 --> 01:20:23,295
to add a voiceover.
There was a lot of controversy

1490
01:20:23,504 --> 01:20:25,734
on how to render the film
more accessible.

1491
01:20:25,984 --> 01:20:26,939
The first edit

1492
01:20:27,144 --> 01:20:28,816
was shown at Hampton one day,

1493
01:20:29,024 --> 01:20:30,696
then to me the next day,

1494
01:20:30,904 --> 01:20:33,134
so that we don't cross paths.

1495
01:20:33,384 --> 01:20:34,373
SCREENPLAY

1496
01:20:34,584 --> 01:20:37,144
Hampton was quite horrified
by the film.

1497
01:20:37,384 --> 01:20:38,737
I hated the editing, everything.

1498
01:20:38,984 --> 01:20:40,702
EXECUTIVE PRODUCER
SCREENPLAY

1499
01:20:40,904 --> 01:20:43,543
''I told you,
that you had no end. ''

1500
01:20:43,744 --> 01:20:46,542
It was at Warner Bros.,
in the amphitheater.

1501
01:20:46,744 --> 01:20:52,501
We went to talk in an office
and I was furious.

1502
01:20:52,704 --> 01:20:53,898
He said:
''You ruined it. ''

1503
01:20:54,104 --> 01:20:55,059
DIRECTOR

1504
01:20:55,264 --> 01:20:57,016
It made me very uncomfortable,

1505
01:20:57,224 --> 01:20:59,135
this viewing.

1506
01:20:59,344 --> 01:21:01,938
He didn't know what it was,
to make a film like this.

1507
01:21:02,184 --> 01:21:05,733
That's what scared me the most,

1508
01:21:05,984 --> 01:21:07,383
someone say that.

1509
01:21:07,584 --> 01:21:09,973
This film lasts four hours.

1510
01:21:10,184 --> 01:21:12,015
I had written a 3 page scene,

1511
01:21:12,224 --> 01:21:14,692
which lasted 14 minutes, in the film.

1512
01:21:14,904 --> 01:21:16,735
It was pretty scary,

1513
01:21:16,984 --> 01:21:20,340
but it was also magical,
impressive and overwhelming.

1514
01:21:22,624 --> 01:21:25,184
After filming,
we showed what we had

1515
01:21:25,384 --> 01:21:27,852
and they didn't like it, of course.

1516
01:21:28,064 --> 01:21:30,100
We won it in England,

1517
01:21:30,304 --> 01:21:32,499
because the mixing
had to be done there,

1518
01:21:32,704 --> 01:21:34,615
and we put it together at home.

1519
01:21:34,824 --> 01:21:36,177
ADDITIONAL SCENES
LONDON

1520
01:21:36,384 --> 01:21:38,659
During the holidays,
instead of hanging around,

1521
01:21:38,864 --> 01:21:40,820
we were going, if possible, to work.

1522
01:21:41,024 --> 01:21:42,423
We were learning production.

1523
01:21:42,624 --> 01:21:43,693
SON OF RIDLEY SCOTT

1524
01:21:43,904 --> 01:21:47,260
Or, as for this film,
we were going to the editing room

1525
01:21:47,464 --> 01:21:49,056
with Terry Rawlings
and Blade Runner.

1526
01:21:49,264 --> 01:21:52,017
We labeled the film reels,

1527
01:21:52,224 --> 01:21:55,500
we decorated the boxes,
we cataloged everything, we made tea,

1528
01:21:55,704 --> 01:21:57,695
we were going to get take-out meals.

1529
01:21:57,904 --> 01:22:00,213
It was a great experience,
to look. . .

1530
01:22:00,424 --> 01:22:02,096
To be able to see all the rushes.

1531
01:22:02,344 --> 01:22:05,097
We had a job to do.
We wore a white glove

1532
01:22:05,304 --> 01:22:06,976
to wind the spools

1533
01:22:07,184 --> 01:22:08,902
and we stopped in front of images.

1534
01:22:09,104 --> 01:22:10,219
SON OF RIDLEY SCOTT

1535
01:22:10,424 --> 01:22:11,652
''What is it?''

1536
01:22:11,864 --> 01:22:14,378
And then, Terry said:

1537
01:22:14,584 --> 01:22:17,576
''Yeah. Jake, Luke, come see this. ''

1538
01:22:17,784 --> 01:22:21,140
It was completely smokey, and he. . .

1539
01:22:21,344 --> 01:22:22,663
was puffing on his cigarette.

1540
01:22:22,864 --> 01:22:26,095
It was dark, there was steam,

1541
01:22:26,344 --> 01:22:30,860
it smelled like celluloid,
smoke and sweat.

1542
01:22:31,064 --> 01:22:33,783
There were often boxes
''Missing scene''.

1543
01:22:33,984 --> 01:22:35,019
Scene
Missing

1544
01:22:35,224 --> 01:22:38,296
I said: “What is it?
What's the missing scene?''

1545
01:22:38,504 --> 01:22:42,497
It was truly remarkable.
We said to ourselves:

1546
01:22:42,704 --> 01:22:45,537
''Oh, my God.
I've never seen anything like it. ''

1547
01:22:46,384 --> 01:22:49,103
We returned
and we started editing.

1548
01:22:49,344 --> 01:22:52,495
It was fun to edit
during the English summer.

1549
01:22:52,704 --> 01:22:54,296
Until fall.

1550
01:22:54,544 --> 01:22:57,820
Bud, me and Robin French,
one of our associates,

1551
01:22:58,024 --> 01:23:00,060
we spent six weeks in England

1552
01:23:00,264 --> 01:23:03,142
with Ridley, to edit the film.

1553
01:23:03,384 --> 01:23:06,023
And to do the special effects, etc.

1554
01:23:06,224 --> 01:23:08,454
They were merciless struggles

1555
01:23:08,664 --> 01:23:10,894
to know what would stay or not.

1556
01:23:11,144 --> 01:23:13,977
They came to see where we were

1557
01:23:14,184 --> 01:23:18,416
and the problem was that
whatever we did, they didn't like it.

1558
01:23:19,104 --> 01:23:22,733
They took away a lot of things
which for me were necessary

1559
01:23:22,944 --> 01:23:24,502
and the film had to be shortened.

1560
01:23:24,704 --> 01:23:27,218
We had the right, at that time,

1561
01:23:27,424 --> 01:23:29,699
Warner Bros. had the right to. . .

1562
01:23:29,944 --> 01:23:33,619
They could cut
anything longer than two hours.

1563
01:23:33,824 --> 01:23:35,576
What are you reading?

1564
01:23:35,784 --> 01:23:37,900
My favorite novel. Treasure Island.

1565
01:23:38,144 --> 01:23:41,739
The first scene to be cut,
It's the one at Holden Hospital.

1566
01:23:41,944 --> 01:23:44,299
Lots of things were removed.

1567
01:23:44,544 --> 01:23:45,897
They were cut.

1568
01:23:46,144 --> 01:23:51,343
When he returns,
after being beaten by Léon,

1569
01:23:51,544 --> 01:23:55,173
and he takes her home,

1570
01:23:55,384 --> 01:23:58,660
he washes himself at the sink.
that was much longer.

1571
01:23:58,864 --> 01:24:00,138
It was hypnotic.

1572
01:24:00,344 --> 01:24:03,814
She just wanted to look at him.
And it lasted forever.

1573
01:24:04,024 --> 01:24:08,097
We saw him washing in much more detail,
blood was flowing from his mouth

1574
01:24:08,304 --> 01:24:10,818
and she was getting closer little by little.

1575
01:24:11,024 --> 01:24:13,458
It was wonderful.

1576
01:24:13,664 --> 01:24:15,814
The scene where he kisses her
against the wall,

1577
01:24:16,024 --> 01:24:20,302
it was much more. . . It was more sensual,

1578
01:24:20,544 --> 01:24:21,533
at the beginning.

1579
01:24:21,744 --> 01:24:24,133
She became more violent,
during assembly.

1580
01:24:24,344 --> 01:24:27,973
But she wrapped her legs around him,
he had his hand on his thigh,

1581
01:24:28,184 --> 01:24:31,574
lots of things like that.
It was much more sensual.

1582
01:24:31,784 --> 01:24:32,773
But it was cut.

1583
01:24:32,984 --> 01:24:33,939
Towards the end,

1584
01:24:34,144 --> 01:24:35,259
ASSOCIATED PRODUCER

1585
01:24:35,464 --> 01:24:37,694
we were thinking about the next film.

1586
01:24:37,944 --> 01:24:39,821
We were working on a project

1587
01:24:40,024 --> 01:24:42,697
who was called Legend,
affectionately nicknamed Leg End.

1588
01:24:43,384 --> 01:24:45,500
Behind Penn was Black Park.

1589
01:24:45,704 --> 01:24:50,300
Approximately 100 hectares of superb forest
like Robin Hood.

1590
01:24:50,744 --> 01:24:54,419
We brought one of Vic's horses there.

1591
01:24:55,384 --> 01:24:57,534
I always knew it would come out of the trees

1592
01:24:57,744 --> 01:24:59,063
and would gallop towards me,

1593
01:24:59,264 --> 01:25:02,381
passing between two trees
and right in front of the camera.

1594
01:25:02,584 --> 01:25:05,303
That's exactly what he did.
He shook his head,

1595
01:25:05,504 --> 01:25:08,018
trying to get rid of
horn,

1596
01:25:08,224 --> 01:25:10,294
so it was absolutely perfect.

1597
01:25:10,504 --> 01:25:13,860
Ridley never revealed
what he had in mind,

1598
01:25:14,064 --> 01:25:15,383
at the time. And I thought:

1599
01:25:15,584 --> 01:25:18,735
''We move on to something else,
with this little test. ''

1600
01:25:18,944 --> 01:25:24,337
Unfortunately, that added to the bill.
from Blade Runner for another film.

1601
01:25:24,544 --> 01:25:26,853
But Ridley had
something else in mind.

1602
01:25:27,104 --> 01:25:29,060
It was more than a test.

1603
01:25:29,304 --> 01:25:31,374
I wanted us to see

1604
01:25:31,584 --> 01:25:33,017
his thoughts about him.

1605
01:25:33,224 --> 01:25:35,818
He took a photo,

1606
01:25:36,024 --> 01:25:39,653
he started looking at her
and to remember

1607
01:25:39,904 --> 01:25:43,214
and we saw this unicorn galloping
towards us in the forest.

1608
01:25:43,424 --> 01:25:44,903
She was coming up to the camera

1609
01:25:45,104 --> 01:25:46,423
and shook his head.

1610
01:25:46,624 --> 01:25:49,218
Afterwards, I inserted a plan
where he moved his head,

1611
01:25:49,424 --> 01:25:50,982
as if to chase away this thought.

1612
01:25:51,184 --> 01:25:54,654
it made for a very lyrical scene

1613
01:25:54,904 --> 01:25:57,134
and magical.

1614
01:25:57,624 --> 01:26:01,378
I never understood the unicorn
and lots of other things.

1615
01:26:01,624 --> 01:26:06,903
But these were things that Ridley
clearly appreciated it.

1616
01:26:07,104 --> 01:26:10,938
Until today I never knew

1617
01:26:11,144 --> 01:26:13,135
what it was, neither did the others.

1618
01:26:13,344 --> 01:26:15,858
I don't know if they were in the editing.

1619
01:26:16,104 --> 01:26:19,460
When we see this, we ask ourselves:
''What does this unicorn mean?''

1620
01:26:19,664 --> 01:26:22,940
They said: ''If it doesn't mean anything,
we're going to cut it. ''

1621
01:26:23,144 --> 01:26:27,342
They threw away things that were there

1622
01:26:27,544 --> 01:26:29,262
for good reason.

1623
01:26:29,464 --> 01:26:33,503
Everything overlaps
in the last frames of the film,

1624
01:26:33,704 --> 01:26:35,057
when he takes the unicorn

1625
01:26:35,304 --> 01:26:38,899
and the fact that they know that his thought
works with unicorns,

1626
01:26:39,104 --> 01:26:41,095
It’s one of his memories.

1627
01:26:41,304 --> 01:26:46,503
There is another scene, where he is
behind her, in her apartment,

1628
01:26:46,704 --> 01:26:48,376
and it's blurry.

1629
01:26:48,584 --> 01:26:52,896
But he has a glint in his eyes,
and we ask ourselves:

1630
01:26:53,104 --> 01:26:54,457
''Could he be a Replicant?

1631
01:26:54,704 --> 01:26:56,899
''Is it possible?'' it was cut.

1632
01:26:57,104 --> 01:26:58,981
All the subtleties have been removed.

1633
01:26:59,184 --> 01:27:01,459
That's what's terrible about cinema.

1634
01:27:01,704 --> 01:27:04,616
The first things cut,
when it's too long,

1635
01:27:04,824 --> 01:27:06,257
These are the subtleties.

1636
01:27:06,504 --> 01:27:08,734
What's terrible about Blade Runner,

1637
01:27:08,944 --> 01:27:14,143
it was made for people
who did not understand the subject.

1638
01:27:14,344 --> 01:27:16,255
I said to Tony, “Do you want to see it?”

1639
01:27:16,504 --> 01:27:20,895
Tony said, “Yes. ''
And I believe Tony was

1640
01:27:21,104 --> 01:27:22,298
truly stunned.

1641
01:27:22,504 --> 01:27:24,495
I have five favorite films.

1642
01:27:24,704 --> 01:27:25,898
DIRECTOR - DEJA VU

1643
01:27:26,104 --> 01:27:29,062
One, Blade Runner, not only
because it's from my brother.

1644
01:27:29,304 --> 01:27:31,943
Blade Runner is a masterpiece.

1645
01:27:32,144 --> 01:27:33,372
I find my past there,

1646
01:27:33,584 --> 01:27:36,542
I see Ridley there and where we grew up.

1647
01:27:36,744 --> 01:27:40,703
Much of his imagination
and his dreams

1648
01:27:40,904 --> 01:27:42,735
find themselves on the screen, with this film.

1649
01:27:42,944 --> 01:27:45,014
But above all, the real brand,

1650
01:27:45,224 --> 01:27:47,738
in terms of background, it was rain.

1651
01:27:47,944 --> 01:27:51,220
We grew up in the north of England,
it was raining non-stop.

1652
01:27:51,464 --> 01:27:55,343
And I found the comics there
that Ridley was reading.

1653
01:27:55,544 --> 01:27:59,378
When I saw the film, I saw
a large part of his personality

1654
01:27:59,584 --> 01:28:01,620
brought to the screen.

1655
01:28:03,184 --> 01:28:05,334
When we screened the film in Denver,

1656
01:28:05,584 --> 01:28:06,653
we received the cards

1657
01:28:06,904 --> 01:28:09,054
and many people
didn't understand it.

1658
01:28:09,264 --> 01:28:10,936
It was unintelligible.

1659
01:28:11,144 --> 01:28:12,862
They didn't understand the dialogues.

1660
01:28:13,064 --> 01:28:14,338
It was another language.

1661
01:28:16,904 --> 01:28:19,657
People were lost, they said:
''What is it?

1662
01:28:19,864 --> 01:28:21,855
What is cityspeak? I don't. . .

1663
01:28:22,064 --> 01:28:24,862
What does he say?''
I thought, “Oh, my God. ''

1664
01:28:25,104 --> 01:28:29,382
The previews
reflected this reaction.

1665
01:28:29,584 --> 01:28:31,461
But I insisted.

1666
01:28:31,664 --> 01:28:36,818
We put a voiceover with Harrison,

1667
01:28:37,024 --> 01:28:40,414
to clarify some. . .
To get things done.

1668
01:28:40,624 --> 01:28:43,297
And I know that Ridley
never approved of that.

1669
01:28:43,504 --> 01:28:44,857
He never liked it.

1670
01:28:45,104 --> 01:28:47,823
As soon as they did
the director's version,

1671
01:28:48,024 --> 01:28:51,141
that was the first thing
which he removed.

1672
01:28:51,744 --> 01:28:53,974
It was our idea, not theirs.

1673
01:28:54,184 --> 01:28:55,583
I wasn't stupid.

1674
01:28:55,784 --> 01:28:58,935
I looked at the results and said:
''it doesn't work.

1675
01:28:59,144 --> 01:29:02,898
I agree,
but what can we do?''

1676
01:29:03,104 --> 01:29:05,902
''Why not a voiceover?''
''Okay, let's do this. ''

1677
01:29:06,304 --> 01:29:11,059
Hampton had written a voice-over,
in a fairly black style.

1678
01:29:11,264 --> 01:29:14,222
I rewrote it a lot.

1679
01:29:14,424 --> 01:29:17,416
I was asked to go to England,
where Ridley rode,

1680
01:29:17,624 --> 01:29:21,014
and still write voiceover
to resolve the problems.

1681
01:29:21,224 --> 01:29:25,854
So I did that. Then I learned,

1682
01:29:26,064 --> 01:29:27,736
I don't know exactly when anymore,

1683
01:29:27,944 --> 01:29:29,582
that they had asked at Hampton,

1684
01:29:29,784 --> 01:29:32,617
because, like Michael Deeley
said to Hampton:

1685
01:29:32,824 --> 01:29:34,894
''David's texts are great in writing,

1686
01:29:35,104 --> 01:29:37,777
but when you play them, they don't work. ''

1687
01:29:37,984 --> 01:29:41,659
And we must understand that at that moment,

1688
01:29:41,904 --> 01:29:44,293
the story needed help
of the voiceover.

1689
01:29:45,184 --> 01:29:46,697
Like this, it looks terrible,

1690
01:29:46,904 --> 01:29:49,816
when we start to explain
to people what is happening.

1691
01:29:50,024 --> 01:29:54,540
- Is ''Forced'' in or out?
- Coil 3, section 1, socket 1.

1692
01:29:54,864 --> 01:29:56,217
NEW VOICE-OVER SESSIONS

1693
01:29:56,464 --> 01:29:59,615
It didn't help me.
And neither does the bathtub slat.

1694
01:29:59,824 --> 01:30:03,453
Nothing helped me, not even alcohol.

1695
01:30:03,664 --> 01:30:08,897
I was impatient and hungry.
I needed the streets and food.

1696
01:30:09,104 --> 01:30:12,221
- Rather strange. Rather strange.
- It's good.

1697
01:30:12,464 --> 01:30:18,539
The slat. Maybe it was a scale.
A fish scale.

1698
01:30:18,744 --> 01:30:21,133
Natural or artificial?

1699
01:30:22,424 --> 01:30:24,858
Only an expert could say that.

1700
01:30:25,064 --> 01:30:28,693
It's weird. It's really weird.

1701
01:30:28,904 --> 01:30:31,372
- For what ?
- I don't know.

1702
01:30:31,584 --> 01:30:34,815
I didn't think it would be used.

1703
01:30:36,904 --> 01:30:39,099
When I told Ridley about it,

1704
01:30:39,304 --> 01:30:46,255
I realized that he was not
favorable to these things.

1705
01:30:46,664 --> 01:30:48,655
He thought it sounded false.

1706
01:30:48,864 --> 01:30:50,138
I said, “You’re right. ''

1707
01:30:50,344 --> 01:30:52,300
We tried to rewrite it.

1708
01:30:52,504 --> 01:30:54,813
But it was hard to write.

1709
01:30:55,024 --> 01:30:59,461
We couldn't put our finger on
about the things he should say.

1710
01:30:59,704 --> 01:31:03,743
It is a romanticized vision. . .

1711
01:31:03,944 --> 01:31:08,460
it internalizes what is happening
in his head. What is he thinking?

1712
01:31:08,704 --> 01:31:11,537
Coil 1 1, section 1, socket 4.

1713
01:31:11,744 --> 01:31:13,621
She told me she loved me too.

1714
01:31:13,824 --> 01:31:17,214
No. Bad.
''She told me. . . ''Damn!

1715
01:31:17,464 --> 01:31:21,139
It'll work. Really.
This method is perfect.

1716
01:31:21,344 --> 01:31:23,096
Let's start again.

1717
01:31:23,664 --> 01:31:25,222
Take 11.

1718
01:31:25,504 --> 01:31:28,064
I would no longer have migraines
nor tremors.

1719
01:31:28,264 --> 01:31:32,382
Oh shit. No, no, no.
We'll do it again.

1720
01:31:33,744 --> 01:31:34,779
Twenty-three.

1721
01:31:34,984 --> 01:31:37,054
I told him about Batty, on the roof.

1722
01:31:37,264 --> 01:31:39,334
Die,
make every second count.

1723
01:31:39,544 --> 01:31:44,060
- Sorry.
- I'm breaking the * * *, there.

1724
01:31:44,264 --> 01:31:46,095
And he laughs.

1725
01:31:46,784 --> 01:31:50,902
In fact, Ridley and Warner Bros.
had reservations

1726
01:31:51,104 --> 01:31:54,062
vis-à-vis voice-over narration.

1727
01:31:54,264 --> 01:32:00,863
The latest versions of the narration
were made without Ridley.

1728
01:32:01,064 --> 01:32:03,817
And I missed him.

1729
01:32:04,024 --> 01:32:06,219
We went to London for the editing.

1730
01:32:06,424 --> 01:32:07,379
PRODUCER

1731
01:32:07,584 --> 01:32:10,656
During our absence,
they did the voiceover on the sly.

1732
01:32:11,704 --> 01:32:16,220
My contract required me

1733
01:32:16,424 --> 01:32:20,702
to provide this voice-over narration.

1734
01:32:21,264 --> 01:32:26,463
For the last record,
I arrived

1735
01:32:26,664 --> 01:32:28,495
and I was looking for the others.

1736
01:32:28,704 --> 01:32:30,615
The room was empty, the microphone ready,

1737
01:32:30,824 --> 01:32:33,213
but there was no one there.
I went next door

1738
01:32:33,464 --> 01:32:36,501
and there was a guy
in gray overalls,

1739
01:32:36,704 --> 01:32:38,456
with a braided belt

1740
01:32:38,664 --> 01:32:40,859
and a small elastic around it.

1741
01:32:41,904 --> 01:32:44,498
He had a little pipe and he was hard at work

1742
01:32:44,704 --> 01:32:48,982
on a small portable typewriter.
I thought: 'He must be a screenwriter. ''

1743
01:32:49,184 --> 01:32:53,735
So I leaned towards him and
I said, "Hi, I'm Harrison, how are you?"

1744
01:32:53,944 --> 01:32:56,378
And he did this to me.

1745
01:32:58,984 --> 01:33:00,622
So I left.

1746
01:33:00,824 --> 01:33:02,894
1 5 minutes later it appeared,

1747
01:33:03,104 --> 01:33:06,414
it was clearly the author
of what I was supposed to read.

1748
01:33:06,624 --> 01:33:10,663
Tandem, Blade Runner, narration,
0.6 cm, film number 3.

1749
01:33:10,904 --> 01:33:13,896
I said to myself:
''This guy is so far removed from the procedure

1750
01:33:14,104 --> 01:33:18,780
that I must not fall into the trap
trying to talk to him about it. ''

1751
01:33:19,704 --> 01:33:22,980
''Just do it.
As best as possible. ''

1752
01:33:23,184 --> 01:33:27,063
And I left.
I had already painfully tried,

1753
01:33:27,264 --> 01:33:30,700
for other versions,
to do the best possible

1754
01:33:30,904 --> 01:33:32,462
for the narration,

1755
01:33:32,704 --> 01:33:34,535
even if for me it was useless.

1756
01:33:34,744 --> 01:33:36,655
- Again.
- Try, one, two.

1757
01:33:36,904 --> 01:33:38,895
LATEST VOICE OVER SESSIONS

1758
01:33:39,104 --> 01:33:42,460
Gaff had come.
He would let Rachael live.

1759
01:33:42,704 --> 01:33:46,413
He had nothing to fear from Bryant,
but a lot of me, if he killed her.

1760
01:33:46,624 --> 01:33:48,137
I don't like it, let's start again.

1761
01:33:48,344 --> 01:33:50,141
- Excuse me.
- Yes.

1762
01:33:50,344 --> 01:33:53,495
- You said it bothered you?
- No, but I. . .

1763
01:33:53,704 --> 01:33:55,615
I believed
that you found it embarrassing.

1764
01:33:55,824 --> 01:33:57,576
- No.
- Sorry, I misunderstood.

1765
01:33:57,784 --> 01:33:58,739
Carry on, then.

1766
01:33:58,944 --> 01:34:01,014
Many people like this voiceover.

1767
01:34:01,224 --> 01:34:03,863
In fact, maybe
because they are friends,

1768
01:34:04,064 --> 01:34:07,261
but the majority of people
who I showed it to

1769
01:34:07,504 --> 01:34:09,460
preferred the version with voiceover

1770
01:34:09,664 --> 01:34:14,180
to the director's version
without the voiceover.

1771
01:34:14,384 --> 01:34:16,056
I loved that voiceover.

1772
01:34:16,264 --> 01:34:18,414
DIRECTOR - PAN'S LABYRINTH

1773
01:34:18,624 --> 01:34:20,057
I played the laserdisc again

1774
01:34:20,264 --> 01:34:21,458
to hear the voice.

1775
01:34:21,664 --> 01:34:26,215
I believe there was an effect
which worked for me.

1776
01:34:27,624 --> 01:34:29,455
If there is a moment

1777
01:34:29,664 --> 01:34:32,815
where I found that voiceover
was really clumsy,

1778
01:34:33,024 --> 01:34:36,539
where it sounded hollow, it is for
''tears in the rain''.

1779
01:34:36,744 --> 01:34:39,178
When I discovered the film, at the cinema,

1780
01:34:39,384 --> 01:34:40,863
DIRECTOR - THE ESCAPES

1781
01:34:41,064 --> 01:34:42,941
. . . I was absorbed in Rutger Hauer.

1782
01:34:43,144 --> 01:34:45,863
I was absorbed by the theme
what the film raised.

1783
01:34:46,064 --> 01:34:50,342
This magnificent moment
where he lets life escape.

1784
01:34:50,544 --> 01:34:53,581
And in these last moments
where he lets life escape,

1785
01:34:53,784 --> 01:34:55,740
he really learned to appreciate it,

1786
01:34:55,944 --> 01:34:58,981
to the point of sparing Deckard's life.

1787
01:34:59,184 --> 01:35:01,903
And he holds a dove

1788
01:35:02,144 --> 01:35:05,693
just to hold a living being
in his hands.

1789
01:35:05,904 --> 01:35:09,340
There is an incredible crescendo

1790
01:35:09,544 --> 01:35:11,819
and Rutger Hauer says:

1791
01:35:12,024 --> 01:35:16,461
''I saw things
that you people wouldn't believe.

1792
01:35:16,664 --> 01:35:18,097
All these moments will be lost

1793
01:35:18,304 --> 01:35:18,941
in time,

1794
01:35:19,144 --> 01:35:20,736
like tears in the rain. ''

1795
01:35:20,984 --> 01:35:22,133
I said to myself:

1796
01:35:22,344 --> 01:35:24,096
''It's time to die. ''

1797
01:35:24,304 --> 01:35:25,976
And right when I. . .

1798
01:35:26,184 --> 01:35:28,982
It's like making love
and receive a bucket of cold water.

1799
01:35:29,184 --> 01:35:32,335
Right at this moment, while
I experience my emotional crescendo,

1800
01:35:32,544 --> 01:35:37,538
as a spectator,
comes the muffled, idiotic voiceover.

1801
01:35:37,744 --> 01:35:40,736
I don't know why he spared me.

1802
01:35:41,584 --> 01:35:45,577
Perhaps in his last moments,
he loved life more than ever.

1803
01:35:45,784 --> 01:35:47,695
''Maybe
that in his last moments,

1804
01:35:47,944 --> 01:35:50,094
he loved life more than ever. ''

1805
01:35:50,304 --> 01:35:51,896
Yes, I am aware. THANKS.

1806
01:35:52,144 --> 01:35:57,343
Thanks for hitting that lovely note,
delicate and emotional

1807
01:35:57,544 --> 01:36:00,502
which ended, in your face.

1808
01:36:01,144 --> 01:36:05,934
She had to be taken out of the film,

1809
01:36:06,144 --> 01:36:09,454
so that I can finally have fun
to see him.

1810
01:36:09,664 --> 01:36:11,097
- Is it running?
- Yes.

1811
01:36:11,304 --> 01:36:14,774
Once I knew that people
didn't stick. . .

1812
01:36:14,984 --> 01:36:18,056
And I didn't think
that we were ahead of our time,

1813
01:36:18,264 --> 01:36:19,617
all this nonsense.

1814
01:36:19,824 --> 01:36:22,622
Being ahead of your time,

1815
01:36:22,824 --> 01:36:27,375
it's almost as bad
than being behind the times.

1816
01:36:27,584 --> 01:36:29,700
It's the same problem.

1817
01:36:29,904 --> 01:36:32,816
I always prefer
try to resolve the problem,

1818
01:36:33,024 --> 01:36:35,492
so I always say:
''What can we do?

1819
01:36:35,744 --> 01:36:39,453
Damn, it doesn't work. ''
Jerry's team said

1820
01:36:39,664 --> 01:36:43,179
that it was a dark ending
and that there needed to be a happy ending.

1821
01:36:44,864 --> 01:36:46,536
There was a mandate

1822
01:36:46,744 --> 01:36:50,339
saying that it was necessary
that the spectators come out

1823
01:36:50,544 --> 01:36:51,613
much happier.

1824
01:36:51,824 --> 01:36:54,418
Author
Future Noir: The Making of Blade Runner

1825
01:36:54,624 --> 01:36:56,342
So they showed them both

1826
01:36:56,544 --> 01:36:59,012
fleeing the city,
in a lush forest,

1827
01:36:59,224 --> 01:37:02,773
and heading towards a place
very pretty and cheerful,

1828
01:37:02,984 --> 01:37:05,703
unlike the world they were leaving.

1829
01:37:05,904 --> 01:37:07,053
Okay, cut.

1830
01:37:07,264 --> 01:37:11,177
It was a small team,
with a spinner on a flatbed truck,

1831
01:37:11,424 --> 01:37:13,415
at Big Bear Lake.

1832
01:37:13,624 --> 01:37:15,182
The spinner was on a tray,

1833
01:37:15,424 --> 01:37:18,177
the cameras were glued to the cockpit,

1834
01:37:18,384 --> 01:37:21,262
so that we don't see
as Sean Young and Harrison Ford

1835
01:37:21,464 --> 01:37:22,817
in the driver's seat,

1836
01:37:23,064 --> 01:37:25,532
with Big Bear Forest
who was parading behind.

1837
01:37:25,744 --> 01:37:27,814
And Deckard told us:
''By the way,

1838
01:37:28,024 --> 01:37:30,663
everything we told you
for 2 hours is wrong.

1839
01:37:30,864 --> 01:37:33,139
Rachael will not die
and we will be happy. ''

1840
01:37:33,344 --> 01:37:35,096
Are we lovers?

1841
01:37:38,424 --> 01:37:40,176
Yes.

1842
01:37:40,624 --> 01:37:44,902
They decided to make plans
wide angle

1843
01:37:45,104 --> 01:37:47,015
of a very beautiful nature.

1844
01:37:47,224 --> 01:37:50,694
I was sent to shoot this with
a cameraman. There were only two of us.

1845
01:37:50,904 --> 01:37:52,223
EXECUTIVE PRODUCER

1846
01:37:52,464 --> 01:37:54,694
We filmed by helicopter
for 6 days.

1847
01:38:01,664 --> 01:38:03,495
When we returned, we saw nothing,

1848
01:38:03,704 --> 01:38:06,013
there were lots of clouds and snow.

1849
01:38:06,224 --> 01:38:08,055
Our images were unusable,

1850
01:38:08,264 --> 01:38:13,622
that's why the final scene
from the first edit

1851
01:38:13,824 --> 01:38:15,337
contains footage from The Shining.

1852
01:38:15,544 --> 01:38:18,297
Ridley, being a fan of Stanley Kubrick,

1853
01:38:18,504 --> 01:38:21,416
remembered the images
at the beginning of The Shining.

1854
01:38:21,624 --> 01:38:25,412
Stanley doesn't steal.
He's never been to Montana,

1855
01:38:25,624 --> 01:38:29,412
so he had to film
all the peaks of Montana

1856
01:38:29,664 --> 01:38:32,497
for Shining, sending
the best helicopter team.

1857
01:38:32,704 --> 01:38:35,662
I bet he has weeks of footage
helicopter tours.

1858
01:38:35,864 --> 01:38:38,139
I contacted him,
which was a feat in itself,

1859
01:38:38,344 --> 01:38:40,619
because Stanley was very secretive,

1860
01:38:40,824 --> 01:38:42,382
even when he knew you.

1861
01:38:42,584 --> 01:38:45,656
He was very receptive, he loved Alien,

1862
01:38:45,864 --> 01:38:50,255
and he even admired Ridley,
and he said, “Yes.

1863
01:38:50,464 --> 01:38:52,739
As long as no images used

1864
01:38:52,944 --> 01:38:56,095
does not appear in Shining,
there are lots of rushes,

1865
01:38:56,304 --> 01:38:58,215
and if there are good ones, fine. ''

1866
01:38:58,464 --> 01:39:00,773
SHINING RUSH

1867
01:39:04,304 --> 01:39:08,058
In 17 hours,
I had six weeks of images by helicopter.

1868
01:39:08,264 --> 01:39:10,494
Filmed in Troy, that's it.

1869
01:39:10,704 --> 01:39:12,217
He has an escape plan,

1870
01:39:12,464 --> 01:39:14,261
where I have to film them on the road,

1871
01:39:14,464 --> 01:39:17,183
saying: 'Let's get married',

1872
01:39:17,424 --> 01:39:19,813
and all that junk stuff.

1873
01:39:20,064 --> 01:39:24,182
I did it because I thought
that it would affect. . .

1874
01:39:24,424 --> 01:39:26,892
The result of the film would be negative,

1875
01:39:27,104 --> 01:39:28,423
I had to get used to it.

1876
01:39:28,624 --> 01:39:31,696
I didn't know
how much time we had.

1877
01:39:32,504 --> 01:39:34,222
Who knows?

1878
01:39:38,064 --> 01:39:41,579
I knew we would have
the music of Vangelis.

1879
01:39:41,784 --> 01:39:45,060
I had already worked with Vangelis
on Chariots of Fire.

1880
01:39:45,264 --> 01:39:49,576
So I went to see him in his studio.

1881
01:39:49,784 --> 01:39:52,014
And that's how it is
that I found this, ''Green''.

1882
01:39:52,224 --> 01:39:54,863
The love theme of the film.

1883
01:39:55,064 --> 01:39:59,580
''Memories of Green'' lasts eight minutes.
He's fantastic.

1884
01:39:59,784 --> 01:40:01,422
One of the advantages,

1885
01:40:01,664 --> 01:40:03,495
an experience that marked me,

1886
01:40:03,704 --> 01:40:06,218
it's making music at Marble Arch
with Vangelis.

1887
01:40:06,464 --> 01:40:09,501
Every evening,
I went to Vangelis' studio,

1888
01:40:09,704 --> 01:40:12,616
and he was alone,
or with an assistant, no more,

1889
01:40:12,824 --> 01:40:16,419
in a place reminiscent
a large barn, behind Marble Arch.

1890
01:40:16,624 --> 01:40:20,412
When I arrived, he said to me:
''Come, listen to this. ''

1891
01:40:20,664 --> 01:40:22,620
And he said: “Look. ''

1892
01:40:22,864 --> 01:40:27,494
And he played the music himself.

1893
01:40:27,704 --> 01:40:31,060
At the same time he looked at me,
while playing.

1894
01:40:31,264 --> 01:40:36,054
I was watching
this superb music evolves.

1895
01:40:36,264 --> 01:40:39,415
That's where I could see
his true art.

1896
01:40:39,624 --> 01:40:43,458
He was a real movie fan.

1897
01:40:43,664 --> 01:40:46,098
He looked at each frame

1898
01:40:46,304 --> 01:40:48,659
saying:
''Look at the actor, that blink.

1899
01:40:48,864 --> 01:40:52,140
I want to start there. ''
He was ready, like that.

1900
01:40:52,984 --> 01:40:55,862
While I was drawing,
I was listening to Vangelis.

1901
01:40:56,064 --> 01:40:57,338
Chariots of Fire, China.

1902
01:40:57,544 --> 01:41:00,104
I played them through my headphones,

1903
01:41:00,304 --> 01:41:03,501
while drawing.
And listening to this music,

1904
01:41:03,704 --> 01:41:05,615
ILLUSTRATOR

1905
01:41:05,864 --> 01:41:08,139
. . . and let yourself be carried away,

1906
01:41:08,344 --> 01:41:14,613
it was magical, for me.
It was a wonderful experience.

1907
01:41:14,824 --> 01:41:18,703
What if I got carried away
five minutes,

1908
01:41:18,904 --> 01:41:23,694
I wasn't paying attention anymore
to my drawings.

1909
01:41:23,904 --> 01:41:28,534
I felt the story,
the emotions of the characters

1910
01:41:28,744 --> 01:41:33,374
and I was lost in the middle
of this wild world.

1911
01:41:33,584 --> 01:41:36,701
It is so rich and painful.

1912
01:41:36,904 --> 01:41:43,173
It's a dark story, full
of blues, told with compassion.

1913
01:41:43,384 --> 01:41:46,456
I was in London
when the music was recorded

1914
01:41:46,664 --> 01:41:49,622
by Vangelis
and I had seen a lot of images,

1915
01:41:49,864 --> 01:41:52,458
and she made me cry.

1916
01:41:52,704 --> 01:41:55,616
It was so beautiful. Extraordinary.

1917
01:41:56,184 --> 01:42:01,019
Ridley spoke about his images
and what he wanted to achieve,

1918
01:42:01,224 --> 01:42:03,180
of the appearance he was looking for.

1919
01:42:03,384 --> 01:42:08,219
And it worked. It was touching,
to see the whole thing take shape.

1920
01:42:08,464 --> 01:42:11,820
I knew somewhere that
It shouldn't have been a disappointment.

1921
01:42:12,024 --> 01:42:14,697
I knew I had made a film
rather successful.

1922
01:42:15,504 --> 01:42:20,976
Afterwards, I said to myself:
''I did it. What else to do?''

1923
01:42:21,184 --> 01:42:25,621
So we released it on the screens
and you know the rest.

1924
01:42:31,226 --> 01:42:34,184
Enlargement 224-1 76.

1925
01:42:50,546 --> 01:42:51,695
Towards detail.

1926
01:42:51,906 --> 01:42:52,975
Stop.

1927
01:43:09,786 --> 01:43:13,381
You have all the instruments,

1928
01:43:13,586 --> 01:43:16,225
all colors,
at your disposal,

1929
01:43:16,426 --> 01:43:20,339
to be transported
in an imaginary world.

1930
01:43:20,546 --> 01:43:24,380
Patience and motivation
of everyone was decreasing

1931
01:43:24,586 --> 01:43:27,498
when we were shooting at night.

1932
01:43:27,706 --> 01:43:29,583
It was hard to work at night.

1933
01:43:29,786 --> 01:43:32,937
All night long, in the rain.

1934
01:43:33,146 --> 01:43:36,024
It wasn't a very pleasant shoot.

1935
01:43:37,826 --> 01:43:40,215
The tension

1936
01:43:40,426 --> 01:43:44,214
and the atmosphere that reigned
were palpable.

1937
01:43:45,266 --> 01:43:49,498
It was huge, impressive,
magnificent, gigantic, fantastic.

1938
01:43:51,026 --> 01:43:53,096
I was living the moment.

1939
01:43:53,306 --> 01:43:57,379
I don't believe the team
understood how far

1940
01:43:57,586 --> 01:43:59,338
Ridley wanted to go.

1941
01:44:00,426 --> 01:44:03,736
Everyone hated
the confusion that reigned.

1942
01:44:04,506 --> 01:44:06,974
They no longer wanted to make films.

1943
01:44:07,186 --> 01:44:10,974
As if we had discovered
something through this.

1944
01:44:12,266 --> 01:44:17,021
When he came out he was showing
in a very dark way poverty

1945
01:44:17,226 --> 01:44:22,141
and what life could be like in 2019.

1946
01:44:22,506 --> 01:44:26,738
Ridley wanted to show
a multi-faceted study

1947
01:44:26,946 --> 01:44:30,461
and detailed
of this very special universe.

1948
01:44:30,666 --> 01:44:33,499
How to prepare the audience

1949
01:44:33,706 --> 01:44:36,504
to see something so different?

1950
01:44:36,706 --> 01:44:39,743
Time helped him prepare for it.

1951
01:44:40,506 --> 01:44:42,622
It was so dark,

1952
01:44:42,826 --> 01:44:46,023
so intense and so well constructed.

1953
01:44:46,706 --> 01:44:51,780
I wanted to show beauty,
all the shots had to be superb.

1954
01:44:52,586 --> 01:44:54,099
My weapon is the camera.

1955
01:44:54,306 --> 01:44:55,705
I will have what I want.

1956
01:44:55,906 --> 01:44:57,544
If you're with me, great.

1957
01:44:57,746 --> 01:45:00,385
If you are not with me,
too bad for you.

1958
01:45:23,305 --> 01:45:26,024
I saw a huge canvas.

1959
01:45:26,225 --> 01:45:27,624
CHIEF DECORATOR

1960
01:45:27,825 --> 01:45:32,819
A very versatile canvas
where we were going to make our own rules.

1961
01:45:35,785 --> 01:45:39,903
Artistic direction and decor
presented a great challenge.

1962
01:45:40,105 --> 01:45:42,096
We knew we had a budget.

1963
01:45:42,305 --> 01:45:43,101
DIRECTOR

1964
01:45:43,305 --> 01:45:44,897
We needed an exterior decor.

1965
01:45:47,225 --> 01:45:50,615
Michael always said
that when Ridley removes

1966
01:45:50,825 --> 01:45:52,975
the pencil,
it's hundreds of dollars. . .

1967
01:45:53,185 --> 01:45:54,095
ARTISTIC DIRECTOR

1968
01:45:54,305 --> 01:45:57,297
. . . and when he takes away a pen,
it's thousands of dollars.

1969
01:46:03,625 --> 01:46:05,695
Ridley was looking for people

1970
01:46:05,905 --> 01:46:08,135
to work on the film
which he had accepted.

1971
01:46:08,345 --> 01:46:10,984
I met
Michael Deeley, Ridley Scott,

1972
01:46:11,185 --> 01:46:14,336
lvor Powell and John Rogers.

1973
01:46:14,625 --> 01:46:16,741
They gave me the script. . .

1974
01:46:16,945 --> 01:46:17,980
CONCEPTUAL ARTIST

1975
01:46:18,185 --> 01:46:21,143
. . . titled Dangerous Days.
Luckily, it wasn't used.

1976
01:46:21,345 --> 01:46:24,860
I took him home
and I made sketches.

1977
01:46:25,065 --> 01:46:28,455
I submitted them to Ridley and then,

1978
01:46:28,665 --> 01:46:32,101
Lawrence Paull was hired.
I was hired first.

1979
01:46:32,305 --> 01:46:38,062
Syd Mead, the futurist,
was one of the best illustrators

1980
01:46:38,265 --> 01:46:41,940
industrial objects,
cars, electric irons,

1981
01:46:42,145 --> 01:46:45,376
apartments, skyscrapers,
of urban landscapes.

1982
01:46:45,585 --> 01:46:47,894
Urban planning.
I took a look at his illustrations.

1983
01:46:48,105 --> 01:46:52,337
I looked at them
as if they were imaginary.

1984
01:46:52,545 --> 01:46:58,063
Syd's illustrations foreshadowed
current landscapes

1985
01:46:58,265 --> 01:47:02,895
in Tokyo. . . I'm coming back from Shanghai.
In Shanghai, most certainly.

1986
01:47:03,105 --> 01:47:05,573
The direction urban planning is taking.

1987
01:47:05,825 --> 01:47:07,383
Syd was right.

1988
01:47:07,585 --> 01:47:11,260
I didn't know that at the time.
I felt he knew it.

1989
01:47:11,465 --> 01:47:13,217
I called him in and said:

1990
01:47:13,505 --> 01:47:16,258
''It must be like this.
We will have an exterior decor,

1991
01:47:16,465 --> 01:47:19,377
we must do our best.
The budget is limited.

1992
01:47:19,585 --> 01:47:23,134
I can't do things

1993
01:47:23,345 --> 01:47:27,896
like Stanley. . .
For its time, 2001 was expensive, I think.

1994
01:47:28,105 --> 01:47:30,824
But he had done everything,
even the centrifugal wheel,

1995
01:47:31,065 --> 01:47:34,375
and everything worked, but my budget
wouldn't have allowed me to.

1996
01:47:34,585 --> 01:47:37,622
This is how it came
the idea of adaptation.

1997
01:47:37,865 --> 01:47:41,653
We had to adapt elements
on the surface

1998
01:47:41,865 --> 01:47:44,902
traditional buildings
from the background.

1999
01:47:45,105 --> 01:47:47,699
We installed
pipes and conduits.

2000
01:47:47,905 --> 01:47:49,896
And an air conditioning system.

2001
01:47:50,105 --> 01:47:52,699
A famous architect,
years later,

2002
01:47:52,905 --> 01:47:55,544
made me come
in its superb offices,

2003
01:47:55,745 --> 01:47:57,656
in London and he told me:

2004
01:47:57,865 --> 01:48:00,015
''We play Blade Runner
every month. ''

2005
01:48:00,225 --> 01:48:02,534
Because, he told me:
''When I saw Blade Runner,

2006
01:48:02,745 --> 01:48:06,294
the evolution of beauty
and technology

2007
01:48:06,505 --> 01:48:08,735
suddenly became visible. ''
Namely,

2008
01:48:08,945 --> 01:48:11,664
when we see
the bowels of the building

2009
01:48:11,865 --> 01:48:13,696
and that they are part of the decor.

2010
01:48:13,985 --> 01:48:16,897
This is what we did,
so it's out of necessity

2011
01:48:17,105 --> 01:48:18,902
that we proceeded
in this way.

2012
01:48:19,105 --> 01:48:21,061
Although the visual influence
by Syd Mead. . .

2013
01:48:21,265 --> 01:48:23,176
Author
Future Noir: The Making of Blade Runner

2014
01:48:23,385 --> 01:48:26,536
. . . in Blade Runner was huge,
she was part of an entity:

2015
01:48:26,745 --> 01:48:29,384
the art department.
This is the case with every film.

2016
01:48:29,585 --> 01:48:32,019
This is where the drawings, the plans

2017
01:48:32,225 --> 01:48:34,785
and the overall visual concept
movies

2018
01:48:34,985 --> 01:48:37,101
are established before filming.

2019
01:48:37,305 --> 01:48:40,183
The head of this department
is the production designer.

2020
01:48:40,385 --> 01:48:42,694
In Blade Runner,
it was Lawrence Paull.

2021
01:48:42,945 --> 01:48:47,894
Larry largely contributed to the choice
people from the art department,

2022
01:48:48,145 --> 01:48:50,534
coordinating the different decors

2023
01:48:50,745 --> 01:48:53,782
and their synthesis
meets Ridley specifications.

2024
01:48:54,825 --> 01:48:59,694
We were lucky
to have the famous actors' strike.

2025
01:48:59,945 --> 01:49:02,379
It lasted for months.

2026
01:49:02,585 --> 01:49:06,021
And the fact that. . .
I don't think we could have

2027
01:49:06,225 --> 01:49:08,580
refine the drawings

2028
01:49:08,785 --> 01:49:10,776
that we develop

2029
01:49:10,985 --> 01:49:15,422
in our department,
nor refine the technical aspects,

2030
01:49:15,705 --> 01:49:17,696
without the actors' strike.

2031
01:49:17,905 --> 01:49:20,738
We needed time,
and pre-production

2032
01:49:20,945 --> 01:49:23,857
lasted nine months
or nine and a half months,

2033
01:49:24,065 --> 01:49:27,978
the pre-production period
the longest I have known.

2034
01:49:28,185 --> 01:49:33,339
We went to Sunset Gower,
he took me to Ridley's office.

2035
01:49:33,545 --> 01:49:37,140
He said: ''I want to introduce you. . .
This is David Snyder.

2036
01:49:37,345 --> 01:49:39,984
He will be the artistic director. ''

2037
01:49:40,225 --> 01:49:45,219
Ridley removed the Macanudo from
his mouth, stood up, shook my hand

2038
01:49:45,425 --> 01:49:47,143
and said: ''Sorry, old man. ''

2039
01:49:47,985 --> 01:49:51,614
It wasn't an art department
conventional.

2040
01:49:51,825 --> 01:49:54,180
Ridley is responsible
of the artistic department.

2041
01:49:54,425 --> 01:49:57,542
He is also in other films,
but especially in this one.

2042
01:49:57,745 --> 01:49:59,975
It's not very fair to minimize. . .

2043
01:50:00,225 --> 01:50:01,180
PRODUCER

2044
01:50:01,385 --> 01:50:04,138
. . . this department
or the artistic director,

2045
01:50:04,345 --> 01:50:08,020
but Ridley really tops it,
he manages the department very closely.

2046
01:50:08,225 --> 01:50:11,581
It's difficult for
artistic directors, but on screen,

2047
01:50:11,785 --> 01:50:13,059
it’s their name that appears.

2048
01:50:13,265 --> 01:50:15,699
They had to work hard
to satisfy Ridley

2049
01:50:15,945 --> 01:50:18,300
and had to be very effective.

2050
01:50:18,505 --> 01:50:20,336
But it was Ridley who decided.

2051
01:50:20,545 --> 01:50:23,105
I knew he had been
artistic director

2052
01:50:23,305 --> 01:50:26,103
and that was a good thing,
because he understood

2053
01:50:26,305 --> 01:50:30,344
and unlike some films
where a lot of money is spent

2054
01:50:30,545 --> 01:50:35,938
and attention to the script and the actors,
which is a good thing,

2055
01:50:36,145 --> 01:50:40,661
a certain emphasis would be given
on the appearance of the film.

2056
01:50:40,865 --> 01:50:43,937
We were creating a picture of the future

2057
01:50:44,145 --> 01:50:47,820
with Larry Paull, my production designer
with whom I had never worked

2058
01:50:48,025 --> 01:50:50,220
and who must have taken me for a madman,

2059
01:50:50,425 --> 01:50:52,814
but as I knew how to draw,
it helped.

2060
01:50:53,065 --> 01:50:54,896
The 3 illustrators who worked. . .

2061
01:50:55,105 --> 01:50:56,424
ILLUSTRATOR

2062
01:50:56,665 --> 01:51:00,578
. . . with Larry Paull are Mentor Huebner,
Sherman Labby and myself.

2063
01:51:00,785 --> 01:51:05,575
Ridley watched everything I drew.
Everything I offered him.

2064
01:51:05,785 --> 01:51:08,060
He answered yes or no.

2065
01:51:08,265 --> 01:51:12,577
In a meeting,
he asked me for more diversity.

2066
01:51:12,785 --> 01:51:14,184
To take more risks.

2067
01:51:14,465 --> 01:51:18,583
To get closer to Métal Hurlant,
a Moebius comic book that happens

2068
01:51:18,785 --> 01:51:21,538
in a futuristic city
where everything is different.

2069
01:51:21,745 --> 01:51:24,498
It's a real mess.

2070
01:51:24,705 --> 01:51:26,377
Sherman did the storyboards

2071
01:51:26,585 --> 01:51:28,815
working collaboratively
with Ridley Scott.

2072
01:51:29,025 --> 01:51:30,822
Ridley gave little drawings,

2073
01:51:31,025 --> 01:51:31,980
DRAWING BY RIDLEY SCOTT

2074
01:51:32,185 --> 01:51:34,460
. . . which we called Ridleygrammes,
in Sherman

2075
01:51:34,665 --> 01:51:36,735
and Sherman made some pretty big ones. . .

2076
01:51:36,945 --> 01:51:37,980
SHERMAN LABBY DRAWING

2077
01:51:38,225 --> 01:51:40,898
. . . rendered in black and white.

2078
01:51:41,105 --> 01:51:43,300
They were superb.

2079
01:51:43,505 --> 01:51:45,496
Mentor did the illustrations. . .

2080
01:51:45,745 --> 01:51:46,814
DRAWING BY MENTOR HUEBNER

2081
01:51:47,025 --> 01:51:48,902
. . . sets that Larry was building.

2082
01:51:49,145 --> 01:51:51,215
Mentor Huebner, this great gentleman

2083
01:51:51,425 --> 01:51:53,177
real classic films

2084
01:51:53,385 --> 01:51:56,104
made his final sketches
in Conté pencil, I think.

2085
01:51:56,305 --> 01:51:58,455
These are superb drawings.

2086
01:51:58,705 --> 01:52:01,265
I was hired to work
one-on-one with Ridley.

2087
01:52:01,465 --> 01:52:02,341
DRAWING BY SYD MEAD

2088
01:52:02,545 --> 01:52:06,254
It's God.
The director is the god of a film.

2089
01:52:06,465 --> 01:52:08,695
I was working
to obtain approval

2090
01:52:08,945 --> 01:52:12,221
passing by different people

2091
01:52:12,425 --> 01:52:16,896
which then gave the appearance
which Ridley had approved.

2092
01:52:17,145 --> 01:52:22,503
It was an elitist way
to participate in a film.

2093
01:52:22,705 --> 01:52:26,414
But I got along well
with everyone.

2094
01:52:26,625 --> 01:52:28,855
One of the problems relating to Syd Mead

2095
01:52:29,065 --> 01:52:32,341
was that he had become important,
although he had not been hired

2096
01:52:32,545 --> 01:52:35,264
only for a few days
at $1,500 per day

2097
01:52:35,465 --> 01:52:37,137
and now,
there were weeks left.

2098
01:52:37,385 --> 01:52:40,695
It was a factor
of exceeding the budget.

2099
01:52:41,385 --> 01:52:44,183
In retrospect,
they were seduced by the idea

2100
01:52:44,385 --> 01:52:47,741
to engage
to only make vehicles.

2101
01:52:47,985 --> 01:52:50,783
I had been rendering for 20 years

2102
01:52:50,985 --> 01:52:53,943
when I entered
in the cinema industry,

2103
01:52:54,185 --> 01:52:57,143
so I knew how to reproduce the atmosphere,

2104
01:52:57,345 --> 01:53:00,337
the light, the furniture,
everything we saw

2105
01:53:00,585 --> 01:53:05,136
and I had never done
isolated object on a white sheet

2106
01:53:05,385 --> 01:53:08,183
because things weren't like that
in the real world,

2107
01:53:08,385 --> 01:53:10,740
they are in a framework, a context.

2108
01:53:10,985 --> 01:53:13,453
When I drew
Sebastian's truck,

2109
01:53:13,785 --> 01:53:15,503
I placed it in the street,

2110
01:53:15,705 --> 01:53:20,654
without driver,
in front of a covered building

2111
01:53:20,905 --> 01:53:24,102
illuminated screens
by a cathode ray tube,

2112
01:53:24,305 --> 01:53:27,263
and in the distance, it's a little blurry,

2113
01:53:27,505 --> 01:53:29,894
we have an indistinct row of buildings

2114
01:53:30,105 --> 01:53:33,017
which produces a rather gloomy effect.

2115
01:53:33,265 --> 01:53:35,699
This is the effect I was looking for.

2116
01:53:35,905 --> 01:53:38,783
Show these vehicles
in their context.

2117
01:53:38,985 --> 01:53:41,545
Syd created this whole world,
not only

2118
01:53:41,745 --> 01:53:43,656
matte paintings,

2119
01:53:43,865 --> 01:53:46,060
he designed the appearance of the streets

2120
01:53:46,305 --> 01:53:47,704
or the appearance of neon lights.

2121
01:53:47,905 --> 01:53:49,497
VISUAL EFFECTS SUPERVISOR

2122
01:53:49,705 --> 01:53:53,254
The appearance of the grim streets
and sticky rain.

2123
01:53:53,465 --> 01:53:57,014
He also designed the vehicles.
Everything fits together perfectly.

2124
01:53:57,265 --> 01:54:00,940
Syd wasn't really the decorator,
but the stylist.

2125
01:54:01,145 --> 01:54:05,024
I think it was a good decision
to hire someone

2126
01:54:05,265 --> 01:54:08,018
who not only had
an idea of the future,

2127
01:54:08,225 --> 01:54:11,581
but also someone who was
industrial designer and illustrator,

2128
01:54:11,825 --> 01:54:14,293
who designed products
for the future, for the people

2129
01:54:14,545 --> 01:54:15,665
who were going to make them.

2130
01:54:15,665 --> 01:54:16,893
who were going to make them.

2131
01:54:17,105 --> 01:54:19,016
Syd went into great detail:

2132
01:54:19,225 --> 01:54:22,217
''Will we have parking meters?''
''There will be much worse than this. ''

2133
01:54:22,425 --> 01:54:25,735
He developed a parking meter
that kills you.

2134
01:54:25,945 --> 01:54:29,494
The post-mechanical box
becomes electrified

2135
01:54:29,745 --> 01:54:31,895
so that when you touch it
or we attack it,

2136
01:54:32,105 --> 01:54:37,896
we are electrocuted, which represents
a brutal attack on a human.

2137
01:54:38,105 --> 01:54:40,573
I said, 'Syd, that's a little too much. ''

2138
01:54:40,785 --> 01:54:43,299
First we had to draw the vehicles,

2139
01:54:43,505 --> 01:54:47,783
because these are the accessories
the most elaborate.

2140
01:54:47,985 --> 01:54:50,374
Gene Winfield came
see me at home,

2141
01:54:50,585 --> 01:54:53,622
in Orange County,
we looked at the plans

2142
01:54:53,825 --> 01:54:55,099
which Ridley had to approve.

2143
01:54:55,345 --> 01:54:59,543
The spinner, the taxi,
Sebastian's truck, his vehicle.

2144
01:54:59,745 --> 01:55:02,623
And other vehicles that were. . .

2145
01:55:02,825 --> 01:55:05,293
They were not built
because of the budget.

2146
01:55:05,545 --> 01:55:08,662
They ordered 54 cars from me
and I knew that never

2147
01:55:08,865 --> 01:55:10,378
they couldn't afford it. . .

2148
01:55:10,585 --> 01:55:11,734
VEHICLE MANUFACTURER

2149
01:55:11,945 --> 01:55:17,781
. . . all these cars
and their number was reduced to 27.

2150
01:55:17,985 --> 01:55:21,739
I had three workshops,
up to 50 people

2151
01:55:21,945 --> 01:55:23,901
working on this project
at the same time.

2152
01:55:24,105 --> 01:55:27,700
I think I had 1 8 people
for fiberglass.

2153
01:55:27,945 --> 01:55:29,060
Just for that.

2154
01:55:29,305 --> 01:55:32,058
We worked 18 hours a day,
seven days a week.

2155
01:55:32,305 --> 01:55:34,739
For five and a half months
to produce these vehicles.

2156
01:55:34,985 --> 01:55:38,295
It required a lot of work,
notably the shape,

2157
01:55:38,505 --> 01:55:41,975
and Syd did a magnificent job

2158
01:55:42,185 --> 01:55:44,745
but these vehicles
were difficult to build.

2159
01:55:44,945 --> 01:55:48,779
They took his renderings, drew them
to scale. There were seven of them

2160
01:55:48,985 --> 01:55:50,737
in the art department,

2161
01:55:50,945 --> 01:55:53,584
to draw plans to scale

2162
01:55:53,785 --> 01:55:56,936
so I can build the cars
and they are scale models

2163
01:55:57,145 --> 01:55:59,295
of some
to make them fly in the film.

2164
01:55:59,545 --> 01:56:03,504
When we started,
they came to my workshop,

2165
01:56:03,705 --> 01:56:06,378
Ridley Scott and people
from the artistic department,

2166
01:56:06,585 --> 01:56:09,304
they came constantly
and took photos,

2167
01:56:09,545 --> 01:56:12,423
I also took photos
regularly.

2168
01:56:12,705 --> 01:56:15,583
I marked the sedan,

2169
01:56:15,785 --> 01:56:19,334
I used metal, wood,
fiberglass.

2170
01:56:19,545 --> 01:56:22,776
I also had another workshop
for taxis,

2171
01:56:23,025 --> 01:56:26,734
a carpentry workshop
and we built the taxis out of wood.

2172
01:56:26,985 --> 01:56:31,501
They were built
on a VW van chassis.

2173
01:56:31,705 --> 01:56:34,583
I used a VW chassis

2174
01:56:34,785 --> 01:56:37,777
for most small cars.
I reduced

2175
01:56:38,025 --> 01:56:42,223
the chassis of the coupes and
I lengthened them for those of the sedans.

2176
01:56:42,425 --> 01:56:46,577
Like Harrison Ford's sedan
and that of the police,

2177
01:56:46,785 --> 01:56:50,983
it was a VW chassis
extended by 30 cm.

2178
01:56:51,185 --> 01:56:55,019
One of the spinners
was just a model

2179
01:56:55,225 --> 01:56:57,898
which we put on a table.

2180
01:56:58,105 --> 01:57:01,142
Some dialogues
were filmed indoors

2181
01:57:01,385 --> 01:57:03,740
and it was equipped with a lot of gadgets,

2182
01:57:03,945 --> 01:57:07,176
the doors were lifted
and it had a bunch of mechanisms.

2183
01:57:07,425 --> 01:57:09,495
The interior was completely furnished.

2184
01:57:09,705 --> 01:57:13,539
There were gadgets,
monitors and everything else.

2185
01:57:13,745 --> 01:57:16,305
Everything worked inside.

2186
01:57:16,545 --> 01:57:18,615
It was placed on a rolling table.

2187
01:57:18,865 --> 01:57:21,379
The actors sat inside,

2188
01:57:21,585 --> 01:57:24,383
they were filming from different sides
for dialogue

2189
01:57:24,585 --> 01:57:27,258
and everything else.
As for the spinner

2190
01:57:27,465 --> 01:57:31,424
that they made fly,
it did not have an engine,

2191
01:57:31,625 --> 01:57:35,618
but the rest worked,
it was totally hydraulic.

2192
01:57:38,905 --> 01:57:41,214
I drew some vehicles

2193
01:57:41,465 --> 01:57:43,581
from the superb silhouettes
by Ridley.

2194
01:57:43,785 --> 01:57:45,138
ASSISTANT ARTISTIC DIRECTOR

2195
01:57:45,345 --> 01:57:48,621
We presented them to him.
It was a huge

2196
01:57:48,825 --> 01:57:52,738
mobile toxic waste container.
A real fortress.

2197
01:57:52,945 --> 01:57:55,015
Stephen Dane tinkered

2198
01:57:55,225 --> 01:57:56,897
parts and accessories,

2199
01:57:57,105 --> 01:58:00,017
found from Arizona
to New Mexico,

2200
01:58:00,225 --> 01:58:02,739
and he brought these airplane parts.

2201
01:58:02,945 --> 01:58:05,903
He had his own band
at the Burbank hangar

2202
01:58:06,105 --> 01:58:09,336
who made this.
In fact, Ridley liked

2203
01:58:09,545 --> 01:58:12,013
so much Stephen that he wanted him by his side

2204
01:58:12,225 --> 01:58:14,978
all the time with a notebook
so Stephen can crunch

2205
01:58:15,185 --> 01:58:17,699
non-stop.
He was the assistant to the artistic director,

2206
01:58:17,985 --> 01:58:19,816
but it was Ridley's favorite.

2207
01:58:20,025 --> 01:58:22,698
Many things from the film,
like umbrellas,

2208
01:58:22,945 --> 01:58:28,144
were built
in tiny garages.

2209
01:58:28,345 --> 01:58:32,623
Dream Quest employees,
who made the spinner scoreboard

2210
01:58:32,825 --> 01:58:35,339
also worked in garages
or at someone's house.

2211
01:58:35,545 --> 01:58:38,901
Those from the art department
wanted to work with Ridley Scott again

2212
01:58:39,145 --> 01:58:40,498
on this film after Alien.

2213
01:58:40,705 --> 01:58:43,139
Alien is splendid,
the best artistic direction

2214
01:58:43,345 --> 01:58:44,619
that I have seen in my life.

2215
01:58:44,825 --> 01:58:48,977
We thought: 'We're doing
a film about Replicants,

2216
01:58:49,185 --> 01:58:51,460
on the future and flying cars,

2217
01:58:51,665 --> 01:58:55,897
we're going to do Alien II.
It's the same thing. ''

2218
01:58:56,145 --> 01:58:58,375
Everyone changed their mind
and said to himself:

2219
01:58:58,585 --> 01:59:01,099
''Wait, we're not doing Alien II.

2220
01:59:01,505 --> 01:59:04,497
We're doing something different.
It's about the future,

2221
01:59:04,705 --> 01:59:06,900
but it's not that far away. ''

2222
01:59:07,105 --> 01:59:11,257
We were warned from the start
that it would be a big film.

2223
01:59:11,505 --> 01:59:15,259
It's American International Pictures.
who made this film.

2224
01:59:15,505 --> 01:59:20,625
They wanted us to go
do it in Mexico.

2225
01:59:20,985 --> 01:59:24,136
I was told that the only decor

2226
01:59:24,345 --> 01:59:26,142
that I would realize,

2227
01:59:26,345 --> 01:59:28,461
because the rest would be outside,

2228
01:59:28,665 --> 01:59:31,304
would be the street.

2229
01:59:31,545 --> 01:59:35,458
Everything else
was going to be shot on location.

2230
01:59:35,825 --> 01:59:38,942
Given the situation
of the cinema industry,

2231
01:59:39,185 --> 01:59:42,097
and that sort of thing,
we answer: “Yes. ''

2232
01:59:43,065 --> 01:59:44,544
When I started,

2233
01:59:44,745 --> 01:59:46,781
there was already a manager

2234
01:59:46,985 --> 01:59:48,543
hired by the production designer

2235
01:59:48,745 --> 01:59:52,897
and there were two places
that Ridley loved in L.A.

2236
01:59:53,105 --> 01:59:54,936
One was the Bradbury building

2237
01:59:55,145 --> 01:59:58,740
and the other was Union Station.

2238
01:59:58,945 --> 02:00:01,823
The Bradbury was a hotel

2239
02:00:02,025 --> 02:00:03,617
where one of the key characters lived

2240
02:00:03,825 --> 02:00:06,385
and Union Station
was the police station.

2241
02:00:06,585 --> 02:00:10,737
The decor we built
in a corner of the station is still there,

2242
02:00:10,945 --> 02:00:14,142
at Union Station.
It is part of their offices.

2243
02:00:14,425 --> 02:00:16,461
We made an agreement with them

2244
02:00:16,665 --> 02:00:19,020
to reduce costs,
and the condition was

2245
02:00:19,225 --> 02:00:22,183
that they keep the decor,
what they did.

2246
02:00:22,385 --> 02:00:26,617
Oddly enough, I think
that you shouldn't come from L.A.

2247
02:00:26,865 --> 02:00:30,983
to do it in L.A., because I'm new,
I've never seen that

2248
02:00:31,185 --> 02:00:34,222
and I say to myself:
''Great, that's good, very good. ''

2249
02:00:34,425 --> 02:00:37,383
The Bradbury is superb,
we added an advance.

2250
02:00:37,585 --> 02:00:41,373
I brought the columns from the studio
because they are made of polystyrene.

2251
02:00:41,585 --> 02:00:47,694
I had a style of architecture
more like a comic book.

2252
02:00:47,905 --> 02:00:51,739
It's almost real.
We have to make it real.

2253
02:00:51,945 --> 02:00:56,700
Everyone uses the Bradbury
on TV, but I said:

2254
02:00:56,905 --> 02:01:00,864
''It's good. I'm going to use it and film it
like never before. ''

2255
02:01:01,065 --> 02:01:03,374
Being an architecture student, I said:

2256
02:01:03,625 --> 02:01:05,775
'It doesn't make any sense to me

2257
02:01:05,985 --> 02:01:08,419
to cross the Bradbury corridor

2258
02:01:08,665 --> 02:01:11,338
and suddenly,
we come across plaster walls.

2259
02:01:11,545 --> 02:01:13,820
I said, “That doesn’t make any sense to me. ''

2260
02:01:14,105 --> 02:01:16,539
It was precisely done on purpose.

2261
02:01:16,745 --> 02:01:20,704
Why does it have to be
meaning, isn't it more interesting

2262
02:01:20,905 --> 02:01:23,214
to have a different architecture?

2263
02:01:23,425 --> 02:01:28,055
He must have said something like this to me:
''Don't talk sense to me. ''

2264
02:01:28,265 --> 02:01:30,733
Michael Deeley said:
''It's 3 p.m., Ridley will arrive,

2265
02:01:30,985 --> 02:01:33,579
I want the drawings on the wall.
He's going to look at them. ''

2266
02:01:33,945 --> 02:01:36,175
At that time,
I had to go to the printer

2267
02:01:36,385 --> 02:01:40,264
and make copies,
it was really endless.

2268
02:01:40,745 --> 02:01:44,340
Everything smelled of ammonia
because they were coming out of the machine.

2269
02:01:44,545 --> 02:01:49,300
The whole room stank of ammonia
because of the hanging drawings.

2270
02:01:49,505 --> 02:01:51,382
Michael Deeley and Ridley
were going around

2271
02:01:51,585 --> 02:01:54,053
and I was waiting with Larry Paull
like this,

2272
02:01:54,265 --> 02:01:57,860
terrified,
while he looked at the drawings,

2273
02:01:58,065 --> 02:02:01,341
and as if we had left the room,

2274
02:02:01,545 --> 02:02:05,174
he looked at Michael and said:
''You know,

2275
02:02:05,385 --> 02:02:07,182
it’s never what we want. ''

2276
02:02:07,385 --> 02:02:09,853
He said: ''We never get what we want. ''

2277
02:02:11,945 --> 02:02:14,175
Because there was so much to do,

2278
02:02:14,465 --> 02:02:17,025
and I think at some point,
we had

2279
02:02:17,225 --> 02:02:20,934
around 400 carpenters,
painters, plasterers,

2280
02:02:21,145 --> 02:02:23,659
there were so many people working

2281
02:02:23,865 --> 02:02:26,698
that personnel management
became a job in its own right

2282
02:02:26,905 --> 02:02:30,784
which was within the jurisdiction
from the construction department,

2283
02:02:31,025 --> 02:02:34,222
but someone had to ensure
the connection between what was being built

2284
02:02:34,425 --> 02:02:36,416
and what was drawn.

2285
02:02:36,625 --> 02:02:40,664
I had a lot of work
because Larry was concentrating

2286
02:02:40,865 --> 02:02:44,699
on the drawings
and I was going to oversee all of this for him.

2287
02:02:45,905 --> 02:02:49,784
I've never seen anything like this.
I had never seen

2288
02:02:49,985 --> 02:02:51,782
a set constructed like that.

2289
02:02:52,825 --> 02:02:55,578
It was incredible,

2290
02:02:55,825 --> 02:02:58,100
incredible volume

2291
02:02:58,305 --> 02:03:00,145
construction had to be carried out.

2292
02:03:00,145 --> 02:03:00,418
construction had to be carried out.

2293
02:03:00,625 --> 02:03:04,459
Jerry Perenchio and Bud Yorkin
came to the Burbank hangar.

2294
02:03:04,665 --> 02:03:07,623
We made the cars
and furniture.

2295
02:03:07,825 --> 02:03:10,703
They came
and saw the entire hangar

2296
02:03:10,905 --> 02:03:13,738
full of people and I assure you
that I saw the color change

2297
02:03:13,985 --> 02:03:17,773
on Bud Yorkin's face.
He didn't know what was happening.

2298
02:03:18,025 --> 02:03:20,744
He didn't believe it.
''You make chairs, you make. . .

2299
02:03:20,945 --> 02:03:25,143
What are you doing ? Buy a chair,
a table. What are you doing?''

2300
02:03:25,345 --> 02:03:30,214
But they were museum pieces
beautiful and impossible to buy.

2301
02:03:30,425 --> 02:03:32,620
I always knew what
would look like the street.

2302
02:03:32,865 --> 02:03:34,583
Everything would be really oppressive,

2303
02:03:34,785 --> 02:03:37,424
the buildings would overlook
the sidewalks.

2304
02:03:37,625 --> 02:03:41,379
It would be very heavy
and very austere.

2305
02:03:41,585 --> 02:03:47,342
But seeing Syd's illustrations,
I was like, “Oh, my God. ''

2306
02:03:47,545 --> 02:03:51,424
The scenery of the street, with its lights

2307
02:03:51,625 --> 02:03:53,855
oblong shapes
at the corners of buildings

2308
02:03:54,065 --> 02:03:57,057
come from the illustration.
Exactly.

2309
02:03:57,265 --> 02:04:00,974
All these things
are based on Ridley's sketches,

2310
02:04:01,185 --> 02:04:04,063
his instructions transmitted
via Lawrence Paull

2311
02:04:04,265 --> 02:04:07,974
accompanying him
in the Warner Bros. studios.

2312
02:04:08,185 --> 02:04:11,734
Some streets had been used
in westerns for ages.

2313
02:04:11,945 --> 02:04:14,664
They were extremely familiar.

2314
02:04:14,945 --> 02:04:17,061
This place still looks the same.

2315
02:04:17,265 --> 02:04:19,654
He looks like he did a long time ago.

2316
02:04:19,905 --> 02:04:21,736
Like all exterior decorations,

2317
02:04:21,945 --> 02:04:24,300
it is very limited.

2318
02:04:24,545 --> 02:04:27,139
It is limited to two or three floors.

2319
02:04:27,345 --> 02:04:30,542
Two most often.
It's not high enough.

2320
02:04:30,745 --> 02:04:34,215
At that time, as we did not use
computer imaging,

2321
02:04:34,425 --> 02:04:37,303
the decision to do it at night
was logical.

2322
02:04:37,545 --> 02:04:39,775
Because I am a decorator,
I am often there,

2323
02:04:39,985 --> 02:04:42,374
on the back of poor Larry.

2324
02:04:42,945 --> 02:04:47,223
To show you how Ridley
controlled the art department,

2325
02:04:47,425 --> 02:04:51,782
during the first visit to the sets,

2326
02:04:51,985 --> 02:04:54,499
when we made it,

2327
02:04:54,705 --> 02:04:56,696
we avoided his gaze and he said:

2328
02:04:56,945 --> 02:04:59,778
''Very good.
Good start, let's get to work. ''

2329
02:05:02,185 --> 02:05:06,463
I walked through the street scenery,
it was filmed backwards,

2330
02:05:06,665 --> 02:05:10,180
for a promotional clip.

2331
02:05:10,385 --> 02:05:13,377
It was really strange for me,
because I was crossing

2332
02:05:13,585 --> 02:05:16,702
one of my miniature renderings.
It was very close

2333
02:05:16,945 --> 02:05:19,061
of the illustration made for Ridley.

2334
02:05:19,265 --> 02:05:22,416
He had ensured that Lawrence Paull
and the whole team

2335
02:05:22,625 --> 02:05:26,903
get as close as possible
of this drawing.

2336
02:05:27,145 --> 02:05:31,536
It was very fascinating
and very flattering, of course.

2337
02:05:31,745 --> 02:05:37,024
I was very close to what he had
in mind and the appearance he wanted.

2338
02:05:38,345 --> 02:05:40,461
Larry Paull came to my office
and said:

2339
02:05:40,665 --> 02:05:44,180
''I want you to imagine
two neon drawings,

2340
02:05:44,385 --> 02:05:48,060
two drawings per day
for the next 20 days. ''

2341
02:05:48,265 --> 02:05:52,099
I was going to draw the equivalent
$1,00,000 worth of neon lights.

2342
02:05:52,345 --> 02:05:55,576
They inherited neon lights
of Favorite

2343
02:05:55,785 --> 02:05:57,457
and they bought more

2344
02:05:57,665 --> 02:06:00,782
and we were going to use them
for the film in a different way.

2345
02:06:00,985 --> 02:06:03,499
We weren't going to use them
like in their film.

2346
02:06:03,705 --> 02:06:06,503
I saw a poster

2347
02:06:06,705 --> 02:06:09,458
which included a katakana or kanji

2348
02:06:09,665 --> 02:06:12,304
and I said to myself:
''What does that mean?''

2349
02:06:12,505 --> 02:06:16,180
She told me: ''that means 'origin'. ''

2350
02:06:16,465 --> 02:06:20,299
I transformed this word origin into neon,

2351
02:06:20,505 --> 02:06:23,497
the one behind Deckard
when he reads the newspaper

2352
02:06:23,705 --> 02:06:26,742
before being served at the noodle bar.

2353
02:06:26,945 --> 02:06:29,743
The way I saw it,

2354
02:06:29,945 --> 02:06:31,936
I could make it look

2355
02:06:32,145 --> 02:06:35,103
a world map,
because the shape was more that of continents

2356
02:06:35,305 --> 02:06:39,298
so many letters
because I don't speak Japanese.

2357
02:06:39,505 --> 02:06:43,259
I chose orange or pink color,

2358
02:06:43,465 --> 02:06:47,777
and the blue that shines
strongly all together.

2359
02:06:48,025 --> 02:06:52,177
The origin is really
the question of Blade Runner.

2360
02:06:52,425 --> 02:06:55,144
It's a little hidden secret.

2361
02:06:55,345 --> 02:06:57,176
What is our origin?

2362
02:06:57,385 --> 02:06:59,660
Where do we come from? Who are we ?

2363
02:06:59,905 --> 02:07:02,294
It was very clever
from Ridley Scott,

2364
02:07:02,505 --> 02:07:05,497
because most English speakers
will not know the meaning

2365
02:07:05,705 --> 02:07:07,821
but with these characters,

2366
02:07:08,025 --> 02:07:10,937
it is visually very important.

2367
02:07:11,145 --> 02:07:14,137
If we could read it,
our gaze would be attracted,

2368
02:07:14,425 --> 02:07:16,222
we would look at it and read it,

2369
02:07:16,465 --> 02:07:18,217
but he doesn't want you to read it,

2370
02:07:18,425 --> 02:07:22,498
he wants you to be amazed
by its beauty.

2371
02:07:29,625 --> 02:07:32,742
Deckard's apartment
was a fantastic

2372
02:07:32,945 --> 02:07:35,175
decor by Frank Lloyd Wright.

2373
02:07:35,385 --> 02:07:38,138
We couldn't film
at Frank Lloyd Wright's house,

2374
02:07:38,345 --> 02:07:40,222
because we would stay there for a long time.

2375
02:07:40,425 --> 02:07:45,499
Larry and I molded the walls
of the Ennis house.

2376
02:07:45,705 --> 02:07:50,096
We had gone home
Ennis-Brown by Frank Lloyd Wright.

2377
02:07:50,305 --> 02:07:53,581
Once we arrived home
by Lloyd Wright,

2378
02:07:53,785 --> 02:07:56,583
and that I had taken photos,
I realized

2379
02:07:56,785 --> 02:07:59,697
that the concrete walls were drawn

2380
02:07:59,905 --> 02:08:01,702
shaped like chests

2381
02:08:01,905 --> 02:08:06,421
and we had the impression
to be in a cave.

2382
02:08:06,625 --> 02:08:10,504
It was a real revelation
for the entire decor,

2383
02:08:10,705 --> 02:08:15,540
from a design point of view,
I wanted to make it oppressive.

2384
02:08:20,785 --> 02:08:24,016
I drew the interior
from Deckard's room.

2385
02:08:24,225 --> 02:08:26,455
It was supposed to be the pinnacle

2386
02:08:26,665 --> 02:08:32,217
in terms of fun bachelor pad
modular. it was never built.

2387
02:08:34,305 --> 02:08:38,014
Some things didn't work
and we told him so.

2388
02:08:38,225 --> 02:08:42,298
It was more for a playboy.
it looked very Playboy magazine,

2389
02:08:42,545 --> 02:08:47,016
it was a conceptual apartment
and not intended for Blade Runner.

2390
02:08:50,585 --> 02:08:53,622
I was chatting with the director.

2391
02:08:53,825 --> 02:08:56,623
I then had to revise

2392
02:08:56,825 --> 02:09:02,297
not only the designs,
but also the costs, because the elements

2393
02:09:03,185 --> 02:09:06,143
became bigger,
best, the best there is.

2394
02:09:07,145 --> 02:09:10,854
So the one bedroom apartment
by Deckard

2395
02:09:11,065 --> 02:09:13,533
which was to cost 45,000
or $50,000

2396
02:09:13,825 --> 02:09:15,099
at the time,

2397
02:09:15,305 --> 02:09:18,536
cost $175,000.

2398
02:09:19,345 --> 02:09:24,021
I hadn't planned an apartment
which could cost $175,000.

2399
02:09:24,225 --> 02:09:25,943
It wasn't necessary.

2400
02:09:26,145 --> 02:09:29,694
But after my interview with Ridley,

2401
02:09:29,905 --> 02:09:31,702
the need was felt.

2402
02:09:31,905 --> 02:09:35,818
It's been several weeks
that we were filming, I wrote several pages

2403
02:09:36,025 --> 02:09:38,300
and I sent them to the set

2404
02:09:38,505 --> 02:09:41,178
and sometimes,
Ridley had already had an idea,

2405
02:09:41,425 --> 02:09:43,780
which made my text
was outdated.

2406
02:09:43,985 --> 02:09:44,940
SCREENPLAY

2407
02:09:45,145 --> 02:09:48,137
This is the kind of thing
which can drive you crazy.

2408
02:09:48,345 --> 02:09:50,415
I took some pages to Ridley.

2409
02:09:50,625 --> 02:09:54,584
And while I was there,

2410
02:09:54,785 --> 02:09:57,299
they went on strike for the day.

2411
02:09:57,505 --> 02:10:01,214
The lights went out,
we were in the apartment.

2412
02:10:01,425 --> 02:10:03,381
I sat down on a chair.

2413
02:10:03,625 --> 02:10:06,458
I swear I found myself
in a room where people lived.

2414
02:10:06,705 --> 02:10:09,902
This place was alive and real,
it was different

2415
02:10:10,105 --> 02:10:13,017
of all the sets I had seen
and I visited a set

2416
02:10:13,225 --> 02:10:15,898
by Ridley a few years later

2417
02:10:16,105 --> 02:10:17,936
when he was doing Hunted.

2418
02:10:18,225 --> 02:10:20,420
I entered the house
that they had made

2419
02:10:20,625 --> 02:10:23,537
and we found pieces
spaghetti, mold,

2420
02:10:23,745 --> 02:10:25,622
it was incredibly realistic.

2421
02:10:25,825 --> 02:10:27,702
It was really

2422
02:10:27,905 --> 02:10:29,463
realistic. It was realistic.

2423
02:10:29,665 --> 02:10:32,259
We had the impression
that people lived there.

2424
02:10:41,545 --> 02:10:44,105
I went there several evenings,
we were going there

2425
02:10:44,305 --> 02:10:47,695
when they weren't filming
to see the decorations.

2426
02:10:47,905 --> 02:10:50,100
Whether it is the decorations,

2427
02:10:50,305 --> 02:10:53,217
costumes
and everything else, I think,

2428
02:10:53,425 --> 02:10:55,097
it's very clear.

2429
02:10:55,305 --> 02:10:57,660
The studio people

2430
02:10:57,905 --> 02:11:01,659
passed next to the board or
crossed it during its construction.

2431
02:11:01,905 --> 02:11:04,135
When they came out,

2432
02:11:04,345 --> 02:11:07,462
they said to themselves:
''What are they making?''

2433
02:11:08,385 --> 02:11:10,660
I never destroy the board,

2434
02:11:10,865 --> 02:11:13,459
the scenography or decor.

2435
02:11:13,665 --> 02:11:14,814
The stage is the setting.

2436
02:11:15,065 --> 02:11:17,898
And for me,
in all my works,

2437
02:11:18,105 --> 02:11:21,620
the decor and scenography
are a character.

2438
02:11:21,825 --> 02:11:24,020
This sometimes annoys certain actors

2439
02:11:24,225 --> 02:11:26,022
and it always annoys the critics

2440
02:11:26,225 --> 02:11:28,534
who demolished me

2441
02:11:28,745 --> 02:11:32,181
many times, but I know
now that's an advantage:

2442
02:11:32,385 --> 02:11:37,015
I am capable of designing a world,
a universe and make it real.

2443
02:11:56,680 --> 02:12:00,559
For me, Blade Runner is the last film
analog science fiction. . .

2444
02:12:00,760 --> 02:12:01,875
ARTISTIC DIRECTOR

2445
02:12:02,080 --> 02:12:04,389
. . . because we didn't have
today's advantages.

2446
02:12:04,600 --> 02:12:07,239
I'm happy about it
because there is nothing artificial.

2447
02:12:07,480 --> 02:12:10,472
The film does not contain
synthetic images.

2448
02:12:10,760 --> 02:12:13,320
The things that obsessed us
during production. . .

2449
02:12:13,520 --> 02:12:14,873
VISUAL EFFECTS SUPERVISOR

2450
02:12:15,080 --> 02:12:17,435
. . . it was:
''How to work miracles?''

2451
02:12:17,680 --> 02:12:19,989
I remember them saying:

2452
02:12:20,200 --> 02:12:21,428
DIRECTOR

2453
02:12:21,640 --> 02:12:24,279
They almost implicated me
in special effects.

2454
02:12:24,640 --> 02:12:27,791
It was simple cinema,
in the old fashion. . .

2455
02:12:28,000 --> 02:12:29,399
VISUAL EFFECTS SUPERVISOR

2456
02:12:29,600 --> 02:12:34,720
. . . with spotlights,
adhesive and 65mm cameras.

2457
02:12:34,920 --> 02:12:37,480
In hindsight, it's probably
one of the last. . .

2458
02:12:37,680 --> 02:12:39,033
ASSISTANT ART DIRECTOR

2459
02:12:39,240 --> 02:12:41,754
. . . great films with special effects
camera.

2460
02:12:44,280 --> 02:12:46,953
At the end of the 70s,
there has been a sort of revival.

2461
02:12:47,160 --> 02:12:49,515
In terms of visual effects,
it was a rebirth

2462
02:12:49,800 --> 02:12:51,313
because there was a gap of 15 years.

2463
02:12:51,520 --> 02:12:52,919
VISUAL EFFECTS SUPERVISOR

2464
02:12:53,120 --> 02:12:55,475
There were effects in the films,
but not enough

2465
02:12:55,680 --> 02:12:59,116
infrastructure to make
Star Wars or Close Encounters of the 3rd Kind.

2466
02:12:59,320 --> 02:13:02,551
The basics were changing.
Suddenly we had assisted cameras

2467
02:13:02,760 --> 02:13:05,115
then computers
pointed their noses.

2468
02:13:05,360 --> 02:13:10,115
But in making Blade Runner,
I had personal connections. . .

2469
02:13:10,320 --> 02:13:11,309
ASSOCIATED PRODUCER

2470
02:13:11,520 --> 02:13:13,556
. . . with Dougie Trumbull
and Richard Yuricich.

2471
02:13:13,760 --> 02:13:17,992
I played a role in the fact
to persuade Richard to make the film.

2472
02:13:18,280 --> 02:13:19,952
It was a small film at the time.

2473
02:13:20,560 --> 02:13:25,554
It cost 2 million dollars,
and contained 50 or 56 shots.

2474
02:13:25,760 --> 02:13:30,072
They wanted to do it based on
on the number of shots in Alien

2475
02:13:30,280 --> 02:13:32,475
which was insufficient for this film.

2476
02:13:32,720 --> 02:13:36,713
The further Ridley advanced,
the more his vision grew.

2477
02:13:37,080 --> 02:13:38,877
After seeing what we could do

2478
02:13:39,080 --> 02:13:41,674
and demonstrations
beautiful work that was possible,

2479
02:13:41,920 --> 02:13:45,629
it was of course a childhood desire,
or a good director,

2480
02:13:46,560 --> 02:13:50,394
to do even more, to be able to say:

2481
02:13:50,600 --> 02:13:53,558
''But if we can do this,
we can also do this. ''

2482
02:13:53,800 --> 02:13:57,429
We always had the financial side
who caught up with us:

2483
02:13:57,680 --> 02:14:00,114
''How much can we spend?
How much time do we have?''

2484
02:14:00,320 --> 02:14:03,153
Little by little, we started the project.

2485
02:14:03,880 --> 02:14:08,112
It wasn't, ''Spend your money
and do the best you can. ''

2486
02:14:08,320 --> 02:14:13,348
It was: ''Do more with little money
and very little time. ''

2487
02:14:13,560 --> 02:14:15,755
We had a lot of fun.

2488
02:14:16,880 --> 02:14:19,792
What worked for Blade Runner
we were stupid,

2489
02:14:20,000 --> 02:14:22,434
that we were ignorant.
We had to find it on our own.

2490
02:14:22,840 --> 02:14:24,193
Certain choices of the time,

2491
02:14:24,440 --> 02:14:25,475
CHIEF MODEL DESIGNER

2492
02:14:25,680 --> 02:14:28,035
. . . I won't do them anymore,
even if they were good.

2493
02:14:28,240 --> 02:14:33,598
What made our work on
Blade Runner worked with the movie

2494
02:14:33,840 --> 02:14:35,671
we worked on the concept.

2495
02:14:36,240 --> 02:14:41,234
We cannot imagine an effect
so that the public shouts:

2496
02:14:41,480 --> 02:14:45,029
''What a beautiful visual effect!
Superb design. ''

2497
02:14:45,240 --> 02:14:47,037
It should tell a story.

2498
02:14:47,480 --> 02:14:49,675
Fortunately, for Blade Runner,

2499
02:14:49,880 --> 02:14:52,713
one of the protagonists was the city,
the environment.

2500
02:14:52,920 --> 02:14:56,629
People lived
in a very stifling environment.

2501
02:14:56,880 --> 02:15:00,395
This constitutes
one of the key characters in the story.

2502
02:15:00,600 --> 02:15:03,512
The good side is that pollution
was part of the story.

2503
02:15:03,720 --> 02:15:05,711
Pollution is not good,
but he had to

2504
02:15:05,920 --> 02:15:08,150
have aerial perspectives
and mist,

2505
02:15:08,360 --> 02:15:11,033
it was part of the scene.

2506
02:15:17,760 --> 02:15:20,593
The landscape of Hades
was a forced perspective miniature.

2507
02:15:20,800 --> 02:15:24,315
We have miniature elements
largest in the foreground

2508
02:15:24,520 --> 02:15:27,830
and smaller ones again and again
to the horizon.

2509
02:15:28,320 --> 02:15:30,834
From the camera
until what seems to be the horizon,

2510
02:15:31,040 --> 02:15:33,031
there are approximately 4.50 meters.

2511
02:15:33,240 --> 02:15:37,119
It's just a plywood table
6 meters wide behind

2512
02:15:37,320 --> 02:15:41,074
but only 1.50 m in front,
because the perspective is lengthening.

2513
02:15:41,280 --> 02:15:44,033
We don't build anything 1 cm outside
of the field of vision.

2514
02:15:44,240 --> 02:15:46,117
It would be a waste of time and money.

2515
02:15:46,400 --> 02:15:51,315
So we designed it for the focal length
of this camera lens.

2516
02:15:51,680 --> 02:15:56,708
Mark Stetson developed
a very good photoengraving system.

2517
02:15:56,960 --> 02:15:58,154
Basically, we draw. . .

2518
02:15:58,360 --> 02:15:59,554
MODEL ARTIST

2519
02:15:59,760 --> 02:16:02,911
. . . we make complicated drawings
and we apply them chemically

2520
02:16:03,120 --> 02:16:05,998
to a piece of brass
on which acid is applied,

2521
02:16:06,200 --> 02:16:09,033
what eats away the parts
where there was no line.

2522
02:16:09,240 --> 02:16:13,756
We get these details
very fine filigree, it was very pretty.

2523
02:16:13,960 --> 02:16:17,714
And for all these arrows,
we draw a sort of side view,

2524
02:16:17,960 --> 02:16:20,679
then we reproduce hundreds of them
and thousands

2525
02:16:20,880 --> 02:16:23,394
very, very easily with brass.

2526
02:16:23,600 --> 02:16:26,637
Although the engraved components
acid-etched are flat cuts

2527
02:16:26,840 --> 02:16:29,718
in 2 dimensions,
if we gather enough of them together,

2528
02:16:29,960 --> 02:16:35,353
we give it much more than 3 dimensions
than there is in reality.

2529
02:16:39,000 --> 02:16:41,639
I loved going there,
I loved seeing the lighting there was.

2530
02:16:41,840 --> 02:16:44,070
For the smoke, it was difficult.

2531
02:16:44,280 --> 02:16:46,919
When we film objects
3 meters from you

2532
02:16:47,160 --> 02:16:49,390
which must appear to be
4 kilometers away,

2533
02:16:49,600 --> 02:16:52,751
the only way to create
the impression of perspective

2534
02:16:53,000 --> 02:16:56,356
was to fill the room with smoke
miniatures to create things

2535
02:16:56,600 --> 02:16:59,592
which fade and lose
their colors in the distance.

2536
02:16:59,800 --> 02:17:02,678
It had to happen on camera.
That's where Doug came in

2537
02:17:02,880 --> 02:17:05,917
and worked on it by saying:
''I know what to do. ''

2538
02:17:06,120 --> 02:17:07,678
He made a hack

2539
02:17:07,880 --> 02:17:13,830
with electric fans
and smoke detectors.

2540
02:17:14,040 --> 02:17:17,555
We hung black fabrics
and plastic all over the room

2541
02:17:17,760 --> 02:17:19,159
to contain it.

2542
02:17:19,400 --> 02:17:24,428
The smoke detector detected
as the smoke diminished,

2543
02:17:24,640 --> 02:17:29,430
what triggered a machine
who was blowing smoke into the room

2544
02:17:29,640 --> 02:17:31,232
to maintain the level.

2545
02:17:31,440 --> 02:17:36,309
If we do animation
frame by frame, which was the case,

2546
02:17:36,520 --> 02:17:39,557
we got some fluttering,
because the smoke varies.

2547
02:17:39,760 --> 02:17:41,478
She will get agitated.

2548
02:17:41,680 --> 02:17:43,716
There was no commotion.

2549
02:17:44,400 --> 02:17:46,789
If two turns
were only 8 cm apart,

2550
02:17:47,080 --> 02:17:50,390
but there was a lot of smoke,
they separated.

2551
02:17:50,600 --> 02:17:53,637
One was clearer,
the one behind was darker

2552
02:17:53,840 --> 02:17:57,150
and the light on the one behind
made a difference

2553
02:17:57,360 --> 02:18:00,397
and gave life
to this enormous difference in scale.

2554
02:18:00,600 --> 02:18:02,192
There is a magic point

2555
02:18:02,720 --> 02:18:05,712
where the density of the smoke
becomes so dense

2556
02:18:05,920 --> 02:18:08,036
that the horizon practically disappears.

2557
02:18:08,240 --> 02:18:10,356
This is where we reach the magic point.

2558
02:18:10,560 --> 02:18:15,031
Where suddenly we have a separation
between the various cuts.

2559
02:18:15,480 --> 02:18:16,708
I had this plan.

2560
02:18:16,920 --> 02:18:19,832
I wanted to make it like a series
silhouettes in the smoke.

2561
02:18:20,080 --> 02:18:24,119
I wanted the smoke
be the light and let the light illuminate it.

2562
02:18:24,320 --> 02:18:27,949
The secret of miniatures
must have been the lighting.

2563
02:18:28,320 --> 02:18:30,914
There were around 20,000 optical fibers

2564
02:18:31,120 --> 02:18:32,633
who were coming out that way.

2565
02:18:32,880 --> 02:18:36,509
In the foreground,
there were tall towers like that.

2566
02:18:36,720 --> 02:18:40,838
We placed them there and put
some interactive lighting on it

2567
02:18:41,080 --> 02:18:44,959
because nothing exists in space
without reflections

2568
02:18:45,160 --> 02:18:47,276
and without the light
is not affected.

2569
02:18:47,480 --> 02:18:51,234
it started to come to life.
It was always crazy to see,

2570
02:18:51,520 --> 02:18:54,273
but I don't know.
Like I said, we were stupid.

2571
02:18:54,480 --> 02:18:56,198
And it worked.

2572
02:18:57,680 --> 02:18:59,432
One thing about this landscape,

2573
02:18:59,640 --> 02:19:01,790
it's almost
totally abstract

2574
02:19:02,000 --> 02:19:06,073
and we have no clue to tell us
how big it must be.

2575
02:19:07,080 --> 02:19:09,719
We had the idea of putting
these kinds of chimneys.

2576
02:19:09,960 --> 02:19:15,557
As if to let the flame escape
from a factory or something.

2577
02:19:15,760 --> 02:19:18,399
This is one of the elements
which added dimension

2578
02:19:18,600 --> 02:19:21,353
and a lot of excitement
to this miniature.

2579
02:19:21,680 --> 02:19:25,150
Doug had already filmed
huge explosions

2580
02:19:25,360 --> 02:19:28,318
flammable materials.
Big balls of fire.

2581
02:19:28,560 --> 02:19:30,471
He had them on 35mm.

2582
02:19:31,040 --> 02:19:35,238
We took them, we put
small white boxes behind the tower,

2583
02:19:35,440 --> 02:19:37,396
we literally projected in 35mm

2584
02:19:37,600 --> 02:19:39,477
and rephotographed with a 65mm camera

2585
02:19:39,680 --> 02:19:42,717
this explosion in situ.

2586
02:19:42,920 --> 02:19:45,673
With each explosion,
there is another exposition on the film.

2587
02:19:45,920 --> 02:19:48,115
The camera must refilm
this plan again and again.

2588
02:19:48,320 --> 02:19:52,393
These are overlays
on camera on a piece of film.

2589
02:19:53,400 --> 02:19:56,756
The opening plan makes 1 7 passages,
I believe.

2590
02:19:57,160 --> 02:20:02,678
We had to film, stop, rewind,
film, rewind.

2591
02:20:03,160 --> 02:20:06,948
It was tricky. If we made a mistake,
we had to start all over again.

2592
02:20:07,840 --> 02:20:12,356
This is where people like Dave
enter the arena to create magic.

2593
02:20:18,920 --> 02:20:21,593
It was another time
for visual effects.

2594
02:20:21,840 --> 02:20:26,277
They were optical compositions.
Quality was the number one issue.

2595
02:20:26,480 --> 02:20:29,233
If we rephotograph something,
like a photo. . .

2596
02:20:29,440 --> 02:20:31,271
If we photograph a negative. . .

2597
02:20:31,480 --> 02:20:32,879
If we take the photo. . .

2598
02:20:33,080 --> 02:20:36,470
There is a new negative of the photo,
This is what we do in optics,

2599
02:20:36,680 --> 02:20:38,989
you will see that there is a loss of quality.

2600
02:20:39,200 --> 02:20:41,111
It is called:
''a generation later''.

2601
02:20:41,320 --> 02:20:44,995
At the time, with an optical composite,
we were losing quality.

2602
02:20:45,200 --> 02:20:49,239
At EEG, they used a film
of 70 mm to film these elements.

2603
02:20:49,480 --> 02:20:52,916
When we degraded the optics,
when we put the images together

2604
02:20:53,120 --> 02:20:55,395
in large format,
we were losing quality.

2605
02:20:55,600 --> 02:21:00,230
Starting with a large format,
It blends better with the original.

2606
02:21:00,480 --> 02:21:03,119
Often, instead of doing
in optical composite,

2607
02:21:03,320 --> 02:21:05,117
we took several shots.

2608
02:21:05,320 --> 02:21:08,357
Which was risky,
because we are filming a passage,

2609
02:21:08,560 --> 02:21:11,870
we rewind, another passage,
we rewind.

2610
02:21:12,080 --> 02:21:14,310
I remember
that they opened the camera

2611
02:21:14,520 --> 02:21:17,432
and there was no more
what a ragged film.

2612
02:21:18,560 --> 02:21:21,358
Encounters of the 3rd type
had just ended.

2613
02:21:21,560 --> 02:21:22,440
Blade Runner benefited
of all this equipment already in place.

2614
02:21:22,440 --> 02:21:24,829
Blade Runner benefited
of all this equipment already in place.

2615
02:21:25,040 --> 02:21:26,996
The lenses, the cameras, the controller.

2616
02:21:27,200 --> 02:21:29,031
Everything had been done for us.

2617
02:21:29,240 --> 02:21:33,153
We had primitive tools,
compared to those of today.

2618
02:21:33,360 --> 02:21:37,069
To schedule a trip,
sometimes it took a day

2619
02:21:37,280 --> 02:21:41,034
because we used a system
close to the Telescreen.

2620
02:21:41,240 --> 02:21:43,708
We marked a trajectory,
then another

2621
02:21:43,920 --> 02:21:47,037
and another,
then we did a movement test

2622
02:21:47,240 --> 02:21:49,196
with a reversible film
in black and white. . .

2623
02:21:49,800 --> 02:21:52,155
No computer video
at that time.

2624
02:21:52,360 --> 02:21:54,874
Then we launched it, looked at it:
''Nothing is wrong.

2625
02:21:55,080 --> 02:21:56,991
What were we thinking?
And we started again. . .

2626
02:21:57,200 --> 02:21:59,475
After a while I knew clearly

2627
02:21:59,680 --> 02:22:02,035
that we had to predict
the things in our heads.

2628
02:22:02,240 --> 02:22:06,836
We learned this with Doug
thanks to its use of smoke

2629
02:22:07,080 --> 02:22:09,469
and how much
it made the details disappear.

2630
02:22:09,680 --> 02:22:11,989
But it depended so much
light

2631
02:22:12,200 --> 02:22:16,273
than the miniatures
became a basis for light.

2632
02:22:16,480 --> 02:22:19,153
When Dave Dryer arrived,
he had the same philosophy.

2633
02:22:19,360 --> 02:22:22,557
He said: ''A problem,
This is resolved with light. ''

2634
02:22:22,760 --> 02:22:24,432
I'll start with a joke.

2635
02:22:24,680 --> 02:22:27,558
If that doesn't work, try

2636
02:22:27,760 --> 02:22:31,912
to reduce it, to make it fall.
If all else fails, add a glow.

2637
02:22:32,120 --> 02:22:34,190
Just kidding, but a glimmer of light. . .

2638
02:22:34,400 --> 02:22:37,437
A glint in the lens is one thing

2639
02:22:37,640 --> 02:22:39,835
which exists in the lens.
It works like that.

2640
02:22:40,040 --> 02:22:42,998
It cannot be created or drawn.
it happens on the lens.

2641
02:22:43,200 --> 02:22:45,236
Each goal
has its characteristics,

2642
02:22:45,440 --> 02:22:49,752
but when we overexpose this source
light of 10 focal lengths, for example,

2643
02:22:50,040 --> 02:22:53,237
the glows occur.
When the light bounces

2644
02:22:53,440 --> 02:22:55,476
in the lens glass.

2645
02:22:55,680 --> 02:22:58,911
We focused on that.
it adds an element

2646
02:22:59,320 --> 02:23:03,313
of truth, of reality,
credibility to certain images.

2647
02:23:03,560 --> 02:23:05,994
Of course, one of the challenges of the film

2648
02:23:06,200 --> 02:23:08,668
was that it was different
from Star Wars, for example,

2649
02:23:08,880 --> 02:23:11,997
where everything was like a surface
with caches.

2650
02:23:12,200 --> 02:23:14,760
The spinner is shiny,
like a car,

2651
02:23:14,960 --> 02:23:16,712
which means we have reflections

2652
02:23:16,960 --> 02:23:20,919
and in terms of visual effects,
lots of problems for caches.

2653
02:23:21,160 --> 02:23:24,118
It had cool lights on it.
It was wonderful.

2654
02:23:24,320 --> 02:23:28,916
We started shooting,
to put it against a background

2655
02:23:29,160 --> 02:23:30,513
to try. We were not

2656
02:23:30,760 --> 02:23:33,274
necessarily on the intended basis.

2657
02:23:33,520 --> 02:23:37,638
it looked like nonsense
suspended in space.

2658
02:23:37,840 --> 02:23:39,398
There was no magic.

2659
02:23:39,600 --> 02:23:42,478
I asked the engineering guys:

2660
02:23:42,680 --> 02:23:44,079
''Which fiber shines the most?''

2661
02:23:44,280 --> 02:23:46,999
''We have this xenon thing,
It will shatter your goals. ''

2662
02:23:47,280 --> 02:23:50,431
We ran this fiber
to the top of the spinner

2663
02:23:50,640 --> 02:23:55,714
and after each passage, we made some
a long one with bright light.

2664
02:23:55,920 --> 02:23:59,913
As soon as we put on the light,
It made everything explode.

2665
02:24:00,120 --> 02:24:02,395
this solved the technical problems,
but above all

2666
02:24:02,600 --> 02:24:04,955
it became magical.

2667
02:24:13,120 --> 02:24:15,190
The base of the Tyrell pyramid

2668
02:24:15,400 --> 02:24:18,710
measured 1 m² at the tip
until an opening

2669
02:24:18,920 --> 02:24:23,038
which measured approximately
70 centimeters wide at the top.

2670
02:24:23,240 --> 02:24:25,151
We knew
that we were making a megastructure

2671
02:24:25,360 --> 02:24:27,078
which was a huge thing.

2672
02:24:27,520 --> 02:24:32,548
We said to ourselves: 'Let's take just one source,
like a light table. ''

2673
02:24:33,400 --> 02:24:36,836
So we decided to build it
in Plexiglas.

2674
02:24:37,040 --> 02:24:40,430
The details we put
outside were clear.

2675
02:24:40,640 --> 02:24:42,915
We therefore had
a large light table.

2676
02:24:43,120 --> 02:24:45,759
We covered it with paint

2677
02:24:46,080 --> 02:24:49,390
and we scraped the places
where we wanted to have windows.

2678
02:24:49,640 --> 02:24:53,030
We built the pyramid
with just two sides.

2679
02:24:53,280 --> 02:24:55,919
So there was the facade and a side.

2680
02:24:56,120 --> 02:24:58,509
We turned it around
and we filmed it again

2681
02:24:58,720 --> 02:25:03,555
to give the image of two pyramids,
but it was half of one.

2682
02:25:03,760 --> 02:25:05,671
We put edges where we could,

2683
02:25:05,880 --> 02:25:08,553
but we also wanted it open
as possible inside

2684
02:25:08,760 --> 02:25:12,799
to be able to illuminate it with
a 1,0,000 bulb in the middle.

2685
02:25:13,000 --> 02:25:15,230
10,000 watts of light.

2686
02:25:15,440 --> 02:25:18,238
All this together,
It gave off a lot of heat.

2687
02:25:18,440 --> 02:25:21,637
When it came to filming on set. . .

2688
02:25:21,840 --> 02:25:25,833
At that time,
the motion control was very slow.

2689
02:25:26,080 --> 02:25:28,116
Each shot took hours to film.

2690
02:25:28,320 --> 02:25:31,278
The lights were constantly working
during this time.

2691
02:25:31,920 --> 02:25:35,754
Once the plans are completed,
we were still filming

2692
02:25:35,960 --> 02:25:38,030
building funds,
for some views

2693
02:25:38,280 --> 02:25:42,193
expanded city of Los Angeles
in 2019.

2694
02:25:42,400 --> 02:25:46,234
Everyone thought it would be
a good idea to put it upside down

2695
02:25:46,440 --> 02:25:49,830
and to have this colossal city shape

2696
02:25:50,040 --> 02:25:53,237
which would complement a little
of the Tyrell pyramid.

2697
02:25:53,440 --> 02:25:57,752
We faked it like that,
but we didn't pay much attention

2698
02:25:58,040 --> 02:26:02,670
to ventilation
and it caught fire during filming.

2699
02:26:02,880 --> 02:26:07,032
Everything was ruined.

2700
02:26:07,240 --> 02:26:09,435
It wasn't dramatic.
We heard them say:

2701
02:26:09,640 --> 02:26:10,914
''My God! It caught fire! ''

2702
02:26:11,160 --> 02:26:14,675
They were filming when it happened
and it actually melted.

2703
02:26:14,880 --> 02:26:19,192
It was at the end of filming,
So it wasn't a disaster.

2704
02:26:21,760 --> 02:26:25,719
At the beginning of this era
new visual effects,

2705
02:26:25,920 --> 02:26:28,514
people were not specialists.

2706
02:26:28,760 --> 02:26:30,432
The model makers were painters. . .

2707
02:26:30,680 --> 02:26:31,556
MODEL PAINTER

2708
02:26:31,760 --> 02:26:35,355
. . . the painters were model makers
and on Blade Runner, that was the case.

2709
02:26:35,560 --> 02:26:38,472
To start a model,
we look at the drawings

2710
02:26:38,680 --> 02:26:41,752
and we break them down
in various constituent forms.

2711
02:26:41,960 --> 02:26:44,633
Sometimes it was clear
that we should create a piece

2712
02:26:44,840 --> 02:26:46,796
because it was very specific.
Other times,

2713
02:26:47,000 --> 02:26:49,833
with a covered rectangular room
details, we said:

2714
02:26:50,040 --> 02:26:54,352
''I know a model
where there is this room. The Revell F-1 8 jet.''

2715
02:26:54,560 --> 02:26:56,915
It was therefore necessary to find the components,

2716
02:26:57,200 --> 02:26:59,350
assemble and build them

2717
02:26:59,560 --> 02:27:02,518
so that they look
to be made for that.

2718
02:27:02,760 --> 02:27:05,479
Knowing what they had done
on the board. . .

2719
02:27:05,680 --> 02:27:07,910
We had photos, and later,

2720
02:27:08,120 --> 02:27:09,712
I went on set

2721
02:27:09,920 --> 02:27:12,480
I saw the sets and I said to myself:

2722
02:27:12,680 --> 02:27:15,319
''Good. I see.
Everything has this ashen appearance.

2723
02:27:15,520 --> 02:27:19,752
It's dirty, it's ugly,
it's leaking, it's eroded. ''

2724
02:27:19,960 --> 02:27:22,758
We also applied this to miniatures.

2725
02:27:22,960 --> 02:27:24,439
We learned very quickly

2726
02:27:24,640 --> 02:27:28,428
that even if we plan to work
on a certain scale,

2727
02:27:28,640 --> 02:27:30,119
it won't work.

2728
02:27:30,320 --> 02:27:32,754
He had to work the Ridley way.

2729
02:27:32,960 --> 02:27:36,032
We go to huge plateaus,
we take the strongest light

2730
02:27:36,240 --> 02:27:40,711
we send it back to the camera
and we put things in front.

2731
02:27:40,920 --> 02:27:42,672
And we add smoke to the room.

2732
02:27:43,120 --> 02:27:46,556
I started to make my plans
miniatures like that

2733
02:27:46,880 --> 02:27:49,030
and that's where it all started.

2734
02:27:49,280 --> 02:27:52,590
When we build in miniature
and we do it on a small scale,

2735
02:27:52,840 --> 02:27:53,909
you have to be careful.

2736
02:27:54,160 --> 02:27:55,878
To make it real,
you have to study

2737
02:27:56,080 --> 02:27:58,150
mass and speed
with which we film.

2738
02:27:58,360 --> 02:28:00,715
What we see first are the details.

2739
02:28:00,920 --> 02:28:05,436
If the detail is not perfect,

2740
02:28:05,640 --> 02:28:08,837
by losing resolution,
everything collapses.

2741
02:28:09,080 --> 02:28:12,629
So the painting
turns out to be the most important thing.

2742
02:28:13,640 --> 02:28:15,551
What I realized at first,

2743
02:28:15,760 --> 02:28:20,515
it's only 50%
what we do is not visible,

2744
02:28:20,720 --> 02:28:22,915
so you have to know how to cheat with that.

2745
02:28:23,240 --> 02:28:26,710
When working with miniatures,

2746
02:28:26,920 --> 02:28:31,471
I try to return them
as realistic as possible

2747
02:28:31,680 --> 02:28:36,435
and I add 25 or 30%
more approximation

2748
02:28:36,640 --> 02:28:40,110
because the camera will lose that.

2749
02:28:40,320 --> 02:28:43,073
We started
with a dozen buildings

2750
02:28:43,480 --> 02:28:49,715
who were supposed to be
the old modified base of the city.

2751
02:28:49,920 --> 02:28:51,592
They were two-sided buildings,

2752
02:28:51,840 --> 02:28:54,832
the facade and the oblique side.

2753
02:28:55,080 --> 02:28:57,833
They were plywood miniatures
with lights

2754
02:28:58,040 --> 02:29:00,076
and many details on the exterior.

2755
02:29:00,360 --> 02:29:04,239
One of the main scenes,
when I arrived on set,

2756
02:29:04,440 --> 02:29:07,193
it was flying between buildings.

2757
02:29:07,400 --> 02:29:11,234
Lots of time and effort
were necessary to put in place

2758
02:29:11,440 --> 02:29:14,238
the details of this scene,

2759
02:29:14,440 --> 02:29:17,238
because everyone knew
that we would see the windows

2760
02:29:17,440 --> 02:29:19,078
from the spinner.

2761
02:29:19,400 --> 02:29:24,758
These plans took on more importance
and have become very large.

2762
02:29:24,960 --> 02:29:29,158
We used everything we could
to represent the buildings.

2763
02:29:29,360 --> 02:29:31,271
No budget?
We cannot build

2764
02:29:31,480 --> 02:29:32,833
so we borrow.

2765
02:29:33,040 --> 02:29:34,268
PHOTO LABORATORY

2766
02:29:34,480 --> 02:29:36,914
We insert them.
If it's remotely correct

2767
02:29:37,120 --> 02:29:41,193
with smoke:
''We do it. We put it there. ''

2768
02:29:41,400 --> 02:29:45,313
We caught some other stuff
which were not buildings.

2769
02:29:45,560 --> 02:29:49,678
Ships from another movie
with antennae stuck on it.

2770
02:29:49,920 --> 02:29:53,959
We took the bases of the wings
of the pyramid itself.

2771
02:29:54,160 --> 02:29:56,720
We took them
because they were separated

2772
02:29:56,960 --> 02:29:59,349
and we collected them
to create a building.

2773
02:29:59,560 --> 02:30:01,232
There is even a sink

2774
02:30:01,440 --> 02:30:03,954
with stuff stuck to it.

2775
02:30:04,520 --> 02:30:07,796
Some buildings constructed
were different from those on the board.

2776
02:30:08,000 --> 02:30:10,150
The tower is one of them.

2777
02:30:10,360 --> 02:30:13,830
There were things that were not
to scale or forced perspective.

2778
02:30:14,040 --> 02:30:15,712
They were fancy shapes.

2779
02:30:15,920 --> 02:30:18,878
To save time, we said:
''We start with something. ''

2780
02:30:19,080 --> 02:30:21,913
And we started with the roof.

2781
02:30:22,120 --> 02:30:24,156
Once again,
it was a hybrid building

2782
02:30:24,400 --> 02:30:27,676
built with ends
of what was lying around.

2783
02:30:27,880 --> 02:30:32,351
The top is a piece of the new
version of Close Encounters of the 3rd Kind

2784
02:30:32,600 --> 02:30:34,955
where Richard Dreyfuss
enters the mothership

2785
02:30:35,160 --> 02:30:36,832
and the ceiling rises.

2786
02:30:37,040 --> 02:30:38,473
This is the piece of the ceiling

2787
02:30:38,680 --> 02:30:42,434
which became the roof
of the police station.

2788
02:30:43,400 --> 02:30:45,356
What surprises people in general,

2789
02:30:45,600 --> 02:30:49,559
it's just a lot of plateaus
measured less than 4 by 4 meters.

2790
02:30:49,840 --> 02:30:52,229
We weren't filming
on large platforms

2791
02:30:52,440 --> 02:30:56,718
and for this plane where they descend
on the roof of the police tower

2792
02:30:56,920 --> 02:31:00,117
we wanted to mount the camera
and she didn't want to go that high.

2793
02:31:00,320 --> 02:31:05,394
We lowered the miniature
on camera

2794
02:31:05,600 --> 02:31:06,960
by tilting it obliquely to the side

2795
02:31:06,960 --> 02:31:07,836
by tilting it obliquely to the side

2796
02:31:08,080 --> 02:31:10,833
for the camera to arrive
high enough for aerial view

2797
02:31:11,080 --> 02:31:14,629
and that it is, at the same time,
quite far from the top of the buildings.

2798
02:31:31,000 --> 02:31:34,117
I was there the night of the filming
from the Bradbury Atrium stage.

2799
02:31:34,320 --> 02:31:36,993
We went out to make this plate.
The team was so busy,

2800
02:31:37,200 --> 02:31:39,668
it was difficult,
every piece of equipment was used

2801
02:31:39,880 --> 02:31:42,838
there were cables everywhere
and when they left inside

2802
02:31:43,040 --> 02:31:45,235
of the Bradbury, he was black.
It was off.

2803
02:31:45,440 --> 02:31:47,431
We didn't have time
to illuminate everything,

2804
02:31:47,640 --> 02:31:51,349
to see the stairwell,
the elevator and the glass roof.

2805
02:31:51,560 --> 02:31:54,711
We found an angle for this shot,
the camera was placed at the top

2806
02:31:54,960 --> 02:31:56,791
and Douglas said:
''Wait for my signal. ''

2807
02:31:57,040 --> 02:31:58,951
I didn't know what he was going to do.

2808
02:31:59,160 --> 02:32:02,596
He walked through the building
and illuminated it in places.

2809
02:32:02,800 --> 02:32:05,473
We removed the lens protection

2810
02:32:05,680 --> 02:32:07,079
and he shouted: “Fire. ''

2811
02:32:07,280 --> 02:32:09,919
He turned on the strobe.
The number of shots. . .

2812
02:32:10,120 --> 02:32:11,758
There were at least 20 strobes.

2813
02:32:11,960 --> 02:32:13,279
They were 2.50 m by 3 m.

2814
02:32:13,480 --> 02:32:16,711
it increased the exposure
and that gave us this result.

2815
02:32:16,920 --> 02:32:20,993
John Wash and the others put this together
on a large piece of glass

2816
02:32:21,200 --> 02:32:25,432
and cut out the windows
in a mullion.

2817
02:32:25,680 --> 02:32:28,638
We put him in front of the airship.

2818
02:32:28,840 --> 02:32:31,229
We placed the miniature airship behind

2819
02:32:31,440 --> 02:32:33,670
and all the lights
who passed through the glass

2820
02:32:33,880 --> 02:32:36,713
came in front of the camera.

2821
02:32:36,920 --> 02:32:39,593
The shots through the glass roof
from Bradbury

2822
02:32:39,800 --> 02:32:41,028
with the airship passing

2823
02:32:41,240 --> 02:32:43,674
are breathtaking,
nothing better has been done.

2824
02:32:43,880 --> 02:32:47,236
We talk
impressive digital effects.

2825
02:32:47,480 --> 02:32:49,835
The plans of this passing airship

2826
02:32:50,040 --> 02:32:53,271
in front of the miniatures
or the lights of the Bradbury glass roof

2827
02:32:53,520 --> 02:32:55,988
with the skylights running through.

2828
02:32:56,200 --> 02:32:59,636
It's grandiose.
It's simply beautiful.

2829
02:33:05,640 --> 02:33:09,155
At that time, regarding
some visual effects from the film,

2830
02:33:09,360 --> 02:33:11,476
we used the process
called matte painting.

2831
02:33:11,680 --> 02:33:16,515
It is a technique used
to modify a site

2832
02:33:16,720 --> 02:33:19,280
or a set in a film.

2833
02:33:19,480 --> 02:33:24,156
It is usually a process
which takes place in post-production.

2834
02:33:24,400 --> 02:33:27,870
It's the combination of paint

2835
02:33:28,080 --> 02:33:30,719
and real-time photography.

2836
02:33:31,240 --> 02:33:33,435
It’s beyond digital.

2837
02:33:33,640 --> 02:33:38,191
It's better than anything,
because it's a photo taken

2838
02:33:38,400 --> 02:33:39,833
and exposed at the same time.

2839
02:33:40,040 --> 02:33:43,396
Matte painting is on display
with real photography.

2840
02:33:43,600 --> 02:33:47,752
It's on the same piece of film.

2841
02:33:48,040 --> 02:33:50,190
Everything I did,
it was a release.

2842
02:33:51,000 --> 02:33:55,198
Matt Yuricich, the matte painter,

2843
02:33:55,440 --> 02:34:00,639
is the brother of Yuricich,
the special effects cameraman.

2844
02:34:00,840 --> 02:34:03,877
Some things seem
more real in matte painting.

2845
02:34:04,080 --> 02:34:06,833
This is where art
matte painting comes into play.

2846
02:34:07,040 --> 02:34:10,350
Some colors appear differently,
certain densities are required

2847
02:34:10,560 --> 02:34:13,950
to produce
the desired depth effect.

2848
02:34:14,160 --> 02:34:18,199
Matthew was a genius
and he managed to do that.

2849
02:34:18,400 --> 02:34:22,552
One of his unique skills
was to paint the internegative.

2850
02:34:23,200 --> 02:34:26,272
It's hard to understand,
but to preserve

2851
02:34:26,480 --> 02:34:28,277
the quality of matte painting without. . .

2852
02:34:28,480 --> 02:34:31,677
Matte painting should cross
generations of copies.

2853
02:34:31,880 --> 02:34:36,158
It would be added to the last
shooting in a finished shot.

2854
02:34:36,400 --> 02:34:39,836
So the last shot
would be on an internegative,

2855
02:34:40,040 --> 02:34:42,554
not a normal cinema negative.

2856
02:34:42,800 --> 02:34:46,952
Matthew had learned to transpose
all these colors in his head,

2857
02:34:47,280 --> 02:34:50,636
to paint matte paintings
where he knew green would turn blue,

2858
02:34:50,840 --> 02:34:53,832
orange would turn red
or yellow, green, etc.

2859
02:34:54,040 --> 02:34:58,033
He knew how to paint these things which,
they themselves were horrible

2860
02:34:58,280 --> 02:35:01,750
but once on an internegative,
it was magical.

2861
02:35:02,280 --> 02:35:05,909
Of course, it saves a generation

2862
02:35:07,120 --> 02:35:09,918
going directly
from the internegative to the screen.

2863
02:35:10,120 --> 02:35:13,795
The paintings themselves,
in the case of Blade Runner,

2864
02:35:14,000 --> 02:35:16,434
measured 90 by 180 cm.

2865
02:35:16,680 --> 02:35:20,229
You can paint with brushes
of certain sizes

2866
02:35:20,480 --> 02:35:23,472
and soften enough so that the camera
doesn't catch the punches.

2867
02:35:23,680 --> 02:35:26,831
We can take brushes
wider and get away with it, actually.

2868
02:35:27,040 --> 02:35:33,036
Filming real things
gives a natural blurred look.

2869
02:35:33,280 --> 02:35:36,431
If we analyze a film photo,

2870
02:35:36,640 --> 02:35:40,349
of a building, of a horizon,
sky or clouds, it doesn't matter,

2871
02:35:40,560 --> 02:35:43,438
it's always a little blurry.

2872
02:35:43,680 --> 02:35:48,037
Straight lines are not.
If we stand near a pillar,

2873
02:35:48,320 --> 02:35:51,790
details and texture
of an object are lost.

2874
02:35:52,000 --> 02:35:56,278
If we paint very precisely
on something to scale

2875
02:35:56,480 --> 02:35:59,278
it comes back as is
and it doesn't seem true.

2876
02:35:59,480 --> 02:36:01,914
It's a question of texture
and light.

2877
02:36:02,120 --> 02:36:05,112
There was always what we call
dull or blurry

2878
02:36:05,320 --> 02:36:07,390
to soften the edges of the painting,

2879
02:36:07,600 --> 02:36:11,479
so that it gives the impression
to retreat onto the stage.

2880
02:36:11,920 --> 02:36:14,070
There's not really any paint
in this movie.

2881
02:36:14,280 --> 02:36:16,032
These are parts.
A certain plan

2882
02:36:16,240 --> 02:36:19,676
can have 5 or 6 paintings
when part has been embedded

2883
02:36:19,920 --> 02:36:21,353
which could have been fluorescent.

2884
02:36:21,560 --> 02:36:24,279
In Tyrell's office,
there is a cover for the exterior

2885
02:36:24,520 --> 02:36:28,479
where the pyramid under construction rose.

2886
02:36:29,200 --> 02:36:31,953
But Ridley wanted
backlit lighting.

2887
02:36:32,160 --> 02:36:34,276
It was normal.
The sun was just behind.

2888
02:36:34,480 --> 02:36:37,199
In frontal projection,
we don't have backlighting

2889
02:36:37,440 --> 02:36:40,159
because we illuminate
the beam splitter

2890
02:36:40,360 --> 02:36:42,191
and it illuminates and degrades everything.

2891
02:36:42,720 --> 02:36:45,109
It was a tense moment.

2892
02:36:45,360 --> 02:36:48,909
The upper third of the image
is an oil matte painting.

2893
02:36:49,960 --> 02:36:55,990
The sun has been added to
another machine called Compsee.

2894
02:36:56,200 --> 02:36:58,111
We then film an image

2895
02:36:58,320 --> 02:37:00,595
from the wing of the pyramid
and we embed it.

2896
02:37:00,800 --> 02:37:03,234
Matt Yuricich,
who did the matte painting, said:

2897
02:37:03,440 --> 02:37:05,112
''Okay, there's a bright light there. ''

2898
02:37:05,320 --> 02:37:08,392
It blurred everything else
so that everything fits.

2899
02:37:08,640 --> 02:37:10,278
Many things have been recreated.

2900
02:37:10,480 --> 02:37:15,429
The columns have been enlarged,
the ceiling was added in matte painting.

2901
02:37:15,640 --> 02:37:19,349
These plans fit together very well.
I really like to see

2902
02:37:19,560 --> 02:37:23,314
Sean pass in front of the sun,
because everything was rotoscoped

2903
02:37:23,520 --> 02:37:26,273
and it was a scary plan.

2904
02:37:26,480 --> 02:37:28,550
A beautiful plan. It's my favorite.

2905
02:37:28,800 --> 02:37:31,075
We watch the film,
we know that it is an effect

2906
02:37:31,280 --> 02:37:33,589
but we don't perceive it
as such.

2907
02:37:33,800 --> 02:37:38,316
They're in the Tyrell Corp office.
We really believe in it.

2908
02:37:43,080 --> 02:37:46,709
Katy Haber called me:
''Ridley wants you to see Philip Dick.

2909
02:37:47,000 --> 02:37:49,036
Can you come?''

2910
02:37:49,240 --> 02:37:51,356
I knew he would like what I had.

2911
02:37:51,560 --> 02:37:56,475
I took him to see the rushes
in Santa Monica one day.

2912
02:37:56,680 --> 02:37:57,908
I explained everything to him.

2913
02:37:58,120 --> 02:38:00,475
Shooting the miniatures
were finished.

2914
02:38:00,680 --> 02:38:02,875
We showed him some things.

2915
02:38:03,080 --> 02:38:05,469
He was very polite. A nice guy.

2916
02:38:05,680 --> 02:38:09,036
We saw everything, he was very reserved,
he asked a few questions.

2917
02:38:09,240 --> 02:38:12,073
We responded politely
and we went to the projection room.

2918
02:38:12,280 --> 02:38:17,354
Katy said: ''Go up 1 0 minutes
of your best plans and show him. ''

2919
02:38:17,840 --> 02:38:21,674
The music of Vangelis began,
the seats vibrated

2920
02:38:21,880 --> 02:38:23,632
and we did the screening.

2921
02:38:23,880 --> 02:38:26,519
The lights came back on,
Philip Dick turned around

2922
02:38:26,720 --> 02:38:28,631
his eyes vacant as he looked at me.

2923
02:38:28,840 --> 02:38:31,035
He asked:
''How is this possible?

2924
02:38:31,240 --> 02:38:32,832
How could this have happened?

2925
02:38:33,080 --> 02:38:35,435
Looks like you read
in my brain.

2926
02:38:35,640 --> 02:38:37,437
This is what I saw while writing.

2927
02:38:37,680 --> 02:38:39,875
I don't understand.
How is this possible?''

2928
02:38:40,080 --> 02:38:42,878
Our compliment was
when he said:

2929
02:38:43,080 --> 02:38:45,389
''Could you
iron it to me?

2930
02:38:45,600 --> 02:38:46,999
I want to see him again. ''

2931
02:38:47,280 --> 02:38:52,274
He asked them to iron it
and I was told that he liked it.

2932
02:38:52,480 --> 02:38:56,109
He was stunned.

2933
02:38:56,320 --> 02:39:01,474
He didn't believe that one thing
as serious was going on with his book

2934
02:39:01,680 --> 02:39:04,717
and we've been friends ever since.

2935
02:39:08,000 --> 02:39:11,436
When I think about it, in comparison
with what we are doing today,

2936
02:39:12,280 --> 02:39:14,953
with computers and everything. . .

2937
02:39:16,520 --> 02:39:18,670
It was truly astonishing.

2938
02:39:19,760 --> 02:39:23,799
Everything was done by hand,
you can feel it while watching the film.

2939
02:39:24,240 --> 02:39:27,710
When we see a film,
when it's a camera effect

2940
02:39:27,920 --> 02:39:30,195
It’s real.

2941
02:39:32,280 --> 02:39:34,589
Working on Blade Runner
impressed us.

2942
02:39:34,800 --> 02:39:37,633
To date,
he set the bar very high.

2943
02:39:37,840 --> 02:39:41,515
Our work, for the most part,
still holds up very well.

2944
02:39:45,920 --> 02:39:47,717
An interesting thing happened

2945
02:39:47,920 --> 02:39:52,789
because I knew there was little
special effects shots

2946
02:39:53,000 --> 02:39:54,228
in the film.

2947
02:39:54,440 --> 02:39:57,113
Compared to Star Wars,
Encounters of the 3rd type

2948
02:39:57,320 --> 02:39:59,151
or other films
with great effect.

2949
02:39:59,400 --> 02:40:01,470
We had a third of their plans.

2950
02:40:01,680 --> 02:40:04,877
But the fact that it doesn't show
like the nose in the middle of the face

2951
02:40:05,080 --> 02:40:08,959
and that they have been integrated
to this huge and amazing event

2952
02:40:09,200 --> 02:40:11,873
gave the impression
that there were more.

2953
02:40:12,080 --> 02:40:14,958
It was nice to see him
set up without problems.

2954
02:40:15,840 --> 02:40:18,957
When we look at how these images
add to the story,

2955
02:40:19,200 --> 02:40:22,158
everyone on the team believed it.

2956
02:40:22,400 --> 02:40:25,153
The whole team believed in it and not just a little.

2957
02:40:43,669 --> 02:40:47,139
Blade Runner, especially for
its fans, is a well-known film

2958
02:40:47,389 --> 02:40:50,586
for his big blunders.

2959
02:40:50,789 --> 02:40:52,586
And one of the most obvious
would be. . .

2960
02:40:52,789 --> 02:40:54,939
AUTHOR

2961
02:40:55,149 --> 02:40:57,344
. . .the scene of Zhora's death,
where Joanna Cassidy, Zhora,

2962
02:40:57,549 --> 02:41:00,063
crashes against all
these windows.

2963
02:41:00,269 --> 02:41:02,908
Another one of those huge mistakes
is to put

2964
02:41:03,109 --> 02:41:07,261
hair on someone,
which look nothing like mine.

2965
02:41:07,509 --> 02:41:11,388
It was such a stunt!

2966
02:41:11,589 --> 02:41:15,502
Unfortunately, she should have
be planned in advance.

2967
02:41:15,709 --> 02:41:19,258
It was a wig out
out of nowhere.

2968
02:41:19,469 --> 02:41:22,506
And she didn't do the trick.

2969
02:41:22,709 --> 02:41:24,745
It's his double, because I didn't want
Don't take any chances with Joanna.

2970
02:41:24,989 --> 02:41:25,944
DIRECTOR

2971
02:41:26,549 --> 02:41:29,188
Even if we go through sugar.

2972
02:41:29,389 --> 02:41:32,347
These are not sheets of glass
but a glass of sugar.

2973
02:41:32,549 --> 02:41:35,825
The glass of sugar that breaks is fine.
These are plates like that.

2974
02:41:36,029 --> 02:41:38,907
These had to be wider
and arranged carefully.

2975
02:41:39,109 --> 02:41:42,624
But when you cross them,
you can still cut yourself.

2976
02:41:42,829 --> 02:41:46,538
She was a famous stuntwoman
whose name was Lee Pulford.

2977
02:41:46,749 --> 02:41:51,300
She was very well known and respected
in the stunt world.

2978
02:41:51,509 --> 02:41:55,184
But the problem with his scenes
and his appearances in the film

2979
02:41:55,389 --> 02:41:59,905
it’s that they were turned
at the end

2980
02:42:00,109 --> 02:42:06,218
and again, the problems
money weighed on us all

2981
02:42:06,429 --> 02:42:08,943
and we found each other too
with a time problem.

2982
02:42:09,149 --> 02:42:12,744
Everything was rushed. And we didn't have
only entitled to one take and not two.

2983
02:42:12,989 --> 02:42:13,944
That's all.

2984
02:42:14,149 --> 02:42:15,264
That would be now. . .

2985
02:42:15,469 --> 02:42:17,107
FINAL SHOT GREEN SCREEN
APRIL 13, 2007

2986
02:42:17,309 --> 02:42:22,303
. . .done digitally or I would have
spent at least two nights there.

2987
02:42:22,509 --> 02:42:24,784
But once we have done
this mess and we cleaned it all up

2988
02:42:24,989 --> 02:42:27,264
we have to move on.

2989
02:42:29,709 --> 02:42:32,542
When they put on that wig,
I looked at them and said:

2990
02:42:32,749 --> 02:42:37,379
''I can't believe we're filming
this now. ''I protested.

2991
02:42:37,589 --> 02:42:39,227
I said, 'Let's wait another night. ''

2992
02:42:39,429 --> 02:42:44,059
So that she can put
a decent wig on his head.

2993
02:42:44,269 --> 02:42:46,658
One of the best images in the film,
for me. . .

2994
02:42:46,869 --> 02:42:49,906
Ridley came to me and said:
''O.K., this is what I want now.

2995
02:42:50,109 --> 02:42:53,260
I want you to find Plexiglas
and break it into pieces. ''

2996
02:42:53,869 --> 02:42:58,067
He took the pieces I had
broken and placed

2997
02:42:58,269 --> 02:43:00,737
that looked like broken glass
and mixed them with the glass. . .

2998
02:43:00,989 --> 02:43:01,944
ARTISTIC DIRECTOR

2999
02:43:02,149 --> 02:43:04,982
. . .there must have been six or
eight tripods around

3000
02:43:05,189 --> 02:43:06,747
where we hung neon lights

3001
02:43:06,949 --> 02:43:10,339
and what may seem
be simple

3002
02:43:10,589 --> 02:43:12,068
took us forever.

3003
02:43:12,269 --> 02:43:17,059
This image stayed with me
because she is so beautiful.

3004
02:43:21,709 --> 02:43:24,507
This time, I was invited.
I was on set.

3005
02:43:24,709 --> 02:43:25,937
EXECUTIVE PRODUCER
SCREENPLAY

3006
02:43:26,189 --> 02:43:31,547
I saw Yorkin and these guys lighting
Ridley and Deeley.

3007
02:43:31,789 --> 02:43:32,858
It wasn't a pretty sight.

3008
02:43:33,069 --> 02:43:36,459
I had little to do with them
and I rarely saw them.

3009
02:43:36,669 --> 02:43:38,625
We were starting to run late.

3010
02:43:38,829 --> 02:43:42,185
I know Bud Yorkin had
used to come on set

3011
02:43:42,389 --> 02:43:44,107
and in particular,
I remember one evening

3012
02:43:44,309 --> 02:43:47,346
we were shooting a difficult scene,
Zhora who was being killed.

3013
02:43:47,549 --> 02:43:48,504
ASSOCIATED PRODUCER

3014
02:43:48,709 --> 02:43:51,428
Bud Yorkin was there,
he wanted to know,

3015
02:43:51,789 --> 02:43:55,941
let's stop swearing,
why were we going so slowly

3016
02:43:56,189 --> 02:43:58,020
and what the hell were we doing

3017
02:43:58,229 --> 02:44:00,948
showing Ridley
aggressively with the finger.

3018
02:44:01,149 --> 02:44:05,381
As a director,
I understood it.

3019
02:44:05,589 --> 02:44:08,706
I knew the task was
huge and so on.

3020
02:44:08,909 --> 02:44:11,218
I never liked the idea of ​​producing.

3021
02:44:12,589 --> 02:44:17,265
There are only two films
that I have produced and not realized.

3022
02:44:17,629 --> 02:44:21,224
And it's very frustrating
for a director

3023
02:44:21,429 --> 02:44:26,139
to just produce, because he monitors
the work of another director

3024
02:44:26,389 --> 02:44:29,540
and he can say: ''move it''
or 'change that'

3025
02:44:29,749 --> 02:44:32,343
or “why are we arguing?”

3026
02:44:32,549 --> 02:44:35,507
I think Bud wanted
in secret himself realize. . .

3027
02:44:35,709 --> 02:44:37,347
PRESIDENT

3028
02:44:37,549 --> 02:44:40,825
. . .and if that had been the case, the film
would have been completely different.

3029
02:44:41,269 --> 02:44:45,706
Some conversations led
nowhere because we supported Ridley

3030
02:44:45,909 --> 02:44:48,139
they said:
''You have to finish the film.

3031
02:44:48,349 --> 02:44:51,944
This is what we bought,
what we pay for. ''

3032
02:44:52,589 --> 02:44:55,057
They said: ''The costumes are coming. ''
We saw the costumes

3033
02:44:55,269 --> 02:44:57,942
and Ridley took a look
then continued what he was doing.

3034
02:44:58,149 --> 02:45:00,947
They said: ''We're going to do
a meeting for this and that. ''

3035
02:45:01,189 --> 02:45:03,498
Then we had our lunch break
and we saw them come together

3036
02:45:03,709 --> 02:45:06,064
and everyone said:
''that's it, they're going to stop everything. ''

3037
02:45:06,269 --> 02:45:07,224
SCRIPTED

3038
02:45:07,429 --> 02:45:09,226
I told myself. . .

3039
02:45:09,429 --> 02:45:12,262
I knew it. But I didn't say anything.

3040
02:45:12,469 --> 02:45:14,778
And you could see Ridley coming in and out.

3041
02:45:14,989 --> 02:45:17,947
It must have been the boxing match

3042
02:45:18,189 --> 02:45:20,908
but he came out.
He didn't flinch.

3043
02:45:21,109 --> 02:45:23,748
I have been told several times
to activate things, that's all.

3044
02:45:23,989 --> 02:45:28,540
I said: ''If I can, I will activate.
But preparation takes time. ''

3045
02:45:28,989 --> 02:45:33,141
I reached the end of the film.
The pressure was incredible.

3046
02:45:33,349 --> 02:45:36,864
I don't know how
Ridley held on. He hardened

3047
02:45:37,069 --> 02:45:41,142
and moved forward as best he could,
piecemeal.

3048
02:45:41,349 --> 02:45:44,147
He wasn't going to let anyone stop him.

3049
02:45:45,189 --> 02:45:48,704
There were people on Blade Runner
who looked, observed

3050
02:45:48,909 --> 02:45:53,346
because we took a long time to film.

3051
02:45:53,589 --> 02:45:55,944
Those who had the money came
see us saying ''You can't''.

3052
02:45:56,189 --> 02:46:00,467
Ridley wouldn't back down.
They couldn't destroy it,

3053
02:46:00,669 --> 02:46:02,944
but he does.

3054
02:46:03,149 --> 02:46:04,423
CAPTAIN HARRY BRYANT

3055
02:46:04,629 --> 02:46:07,348
Nobody knew what
was happening apart from Ridley.

3056
02:46:07,789 --> 02:46:09,780
he wanted to do
what he had to do.

3057
02:46:09,989 --> 02:46:11,866
that reminds me
George C. Scott

3058
02:46:12,069 --> 02:46:15,141
in The Swindler.
''I'm talking about money! ''

3059
02:46:15,349 --> 02:46:17,146
Or ''you owe me money! ''

3060
02:46:17,349 --> 02:46:20,546
I think we have exceeded
the 20 million dollars

3061
02:46:20,749 --> 02:46:23,502
and suddenly someone
Pats you on the shoulder and tells you. . .

3062
02:46:24,869 --> 02:46:27,383
We then begin to do
a little more attention

3063
02:46:27,789 --> 02:46:30,986
when we start to write
the checks yourself.

3064
02:46:31,549 --> 02:46:34,666
It's a guarantor and they put
a lot of money in the film

3065
02:46:34,869 --> 02:46:38,384
and if we try
to put oneself in his place

3066
02:46:38,589 --> 02:46:42,582
what is happening?
Why are we so late?

3067
02:46:42,789 --> 02:46:44,507
We were supposed to be

3068
02:46:44,709 --> 02:46:46,506
professionals.

3069
02:46:46,709 --> 02:46:48,062
I was worried
for the budget

3070
02:46:48,269 --> 02:46:52,148
but I knew that Jerry and Bud
were guarantors.

3071
02:46:52,349 --> 02:46:54,943
Not that I want to go in
details of their warranty

3072
02:46:55,189 --> 02:46:57,544
but I knew we were
covered if there was a problem.

3073
02:46:57,789 --> 02:47:03,227
I would never deliberately
ignored the budget and said:

3074
02:47:03,429 --> 02:47:07,263
''Let's spend the money. ''I don't act
in this way.

3075
02:47:07,469 --> 02:47:10,302
it drives me crazy to overtake
the budget. I hate it.

3076
02:47:10,509 --> 02:47:12,465
For me, to exceed
scheduled times, I hate that.

3077
02:47:12,669 --> 02:47:16,901
One important thing,
it's when we're filming, in particular. . .

3078
02:47:17,109 --> 02:47:23,344
I am a director who must
always be informed of the budget

3079
02:47:23,589 --> 02:47:24,817
and what I have to do

3080
02:47:25,029 --> 02:47:27,497
well in advance to be able to
something if necessary.

3081
02:47:27,709 --> 02:47:30,701
My job is to do
what I promised to do.

3082
02:47:30,909 --> 02:47:33,218
it suited anyone
which investor

3083
02:47:33,429 --> 02:47:36,865
and they certainly have
understood now.

3084
02:47:46,149 --> 02:47:47,946
There was a sequence
where they wanted to do

3085
02:47:48,149 --> 02:47:51,266
somersaults here. . .

3086
02:47:51,469 --> 02:47:52,424
CASCADES MANAGER

3087
02:47:52,629 --> 02:47:54,301
. . .to end up stepping over
Harrison Ford.

3088
02:47:54,509 --> 02:47:59,219
With this girl, we rehearsed all night,
I don't know how long

3089
02:47:59,429 --> 02:48:01,943
in the gym,
and she did well.

3090
02:48:02,149 --> 02:48:07,018
In this sequence,
in 20 minutes

3091
02:48:07,229 --> 02:48:11,142
Ridley had worn her out. She was
in the corner out of breath.

3092
02:48:11,349 --> 02:48:14,068
She had repeated it,
I don't know how many times.

3093
02:48:14,269 --> 02:48:16,544
They came to see me
and told me: ''We have a problem. ''

3094
02:48:16,749 --> 02:48:18,546
I said:
''O.K., go film something else

3095
02:48:18,749 --> 02:48:21,388
where will I eat, I will have a guy
here after lunch. ''

3096
02:48:21,589 --> 02:48:24,740
I knew there was a gymnast,
a guy who overtook girls

3097
02:48:24,989 --> 02:48:27,742
and I brought him back in the afternoon.

3098
02:48:30,789 --> 02:48:34,099
One of them was
a fairly robust man,

3099
02:48:35,469 --> 02:48:37,664
a little wider. Not at all
trained the same way as me.

3100
02:48:38,389 --> 02:48:43,099
The rehearsals were real
for Ridley.

3101
02:48:43,309 --> 02:48:46,619
Somersaults,
the blow against the wall.

3102
02:48:46,829 --> 02:48:48,308
And sliding down the wall.

3103
02:48:48,509 --> 02:48:50,739
15 times or I don't know
how many times.

3104
02:48:50,989 --> 02:48:53,787
This afternoon, this guy got
probably more money

3105
02:48:53,989 --> 02:48:56,662
than in two years.

3106
02:48:56,869 --> 02:48:59,224
The following morning,
before we start filming

3107
02:48:59,429 --> 02:49:02,068
we went to his dressing room
and Mr. Deeley said:

3108
02:49:02,269 --> 02:49:03,827
''We have a problem
with your stuntmen. ''

3109
02:49:04,029 --> 02:49:05,826
I said, 'What's the problem?'
''This guy made himself. . . ''

3110
02:49:06,029 --> 02:49:09,021
I said, "You have no problem
with the stuntmen but

3111
02:49:09,229 --> 02:49:12,744
with Ridley. The guy did it.
I had counted, because I knew

3112
02:49:12,949 --> 02:49:15,509
that someone was going to ask me.
''How many times was that?''

3113
02:49:15,709 --> 02:49:18,177
And I paid him a little more
every time he did it.

3114
02:49:18,389 --> 02:49:22,621
I explained the situation to him
and he said, “Oh, thank you very much. ''

3115
02:49:22,829 --> 02:49:27,505
I left and nothing changed.
They accepted it.

3116
02:49:28,029 --> 02:49:32,659
Harrison insisted, when I am
supposed to stick my fingers

3117
02:49:32,869 --> 02:49:36,578
in his nose, raise his head and
throw away, let me really go there.

3118
02:49:36,789 --> 02:49:40,384
I was trying to take it slow

3119
02:49:40,589 --> 02:49:43,149
and pretend, but he
said to me: ''No, do it. ''

3120
02:49:43,389 --> 02:49:46,904
His nose was bleeding,
it was disgusting but

3121
02:49:47,109 --> 02:49:49,703
it was in some ways
the only way to do it.

3122
02:49:49,909 --> 02:49:56,144
At one point, we had to refilm
some of my close-ups

3123
02:49:56,349 --> 02:49:58,943
I was really shocked
because it was. . .

3124
02:49:59,149 --> 02:50:01,458
It was a disgusting battle.
I was really fighting

3125
02:50:01,669 --> 02:50:05,149
and I also certainly did
very bad for Harrison.

3126
02:50:05,149 --> 02:50:05,786
and I also certainly did
very bad for Harrison.

3127
02:50:05,989 --> 02:50:09,220
He wanted me to make faces
and be more aggressive.

3128
02:50:09,429 --> 02:50:14,583
So we redid the close-ups
so that I appear

3129
02:50:14,789 --> 02:50:18,259
a little scarier,
I think.

3130
02:50:21,789 --> 02:50:27,182
She sat without moving
in this very tight outfit

3131
02:50:27,389 --> 02:50:29,983
and she tried to give
kicks to Harrison.

3132
02:50:30,189 --> 02:50:32,419
To make him go away,
but Ridley didn't like it.

3133
02:50:32,629 --> 02:50:36,178
And he said:
''Combs, put on the suit. ''

3134
02:50:36,389 --> 02:50:42,225
It was very tight. I gave them
asked for a place to change

3135
02:50:42,429 --> 02:50:45,421
just behind the stage
and I said, "Now

3136
02:50:45,629 --> 02:50:48,905
I'm going to put on this suit
and no one laughs.

3137
02:50:49,109 --> 02:50:52,181
As soon as I hit Harrison,
I'm going back to change. ''

3138
02:50:52,389 --> 02:50:56,701
So I kicked it
instead of Daryl. It was terrible.

3139
02:51:01,029 --> 02:51:03,384
There is a scene that I did
but which was not in the film.

3140
02:51:03,589 --> 02:51:06,422
I was supposed not to move
and there were all these rats

3141
02:51:06,629 --> 02:51:10,224
who were running at me.
I was scared at the idea

3142
02:51:10,429 --> 02:51:13,580
to work with rats
because it was the first time

3143
02:51:13,789 --> 02:51:16,542
and they told me that the day before
of the filming

3144
02:51:16,789 --> 02:51:19,349
they let the water run
in the terrarium

3145
02:51:19,549 --> 02:51:22,985
and accidentally
we had filled it too much

3146
02:51:23,189 --> 02:51:26,306
and I was sad.

3147
02:51:26,509 --> 02:51:30,388
I was in so much pain
that I was no longer afraid of them

3148
02:51:30,589 --> 02:51:33,228
and so they were on me
walking.

3149
02:51:33,429 --> 02:51:35,943
I think that's the only thing
that we filmed

3150
02:51:36,149 --> 02:51:38,538
which was not in the film.

3151
02:51:46,549 --> 02:51:49,188
Among all the things and ideas

3152
02:51:49,389 --> 02:51:51,698
which were developed
then rejected

3153
02:51:51,909 --> 02:51:54,707
this particular sequence
was almost going to make it onto the screen.

3154
02:51:54,909 --> 02:51:58,345
It was supposed to be dancing
of the snake with Zhora

3155
02:51:58,549 --> 02:52:00,505
at the Taffey Lewis bar.

3156
02:52:00,749 --> 02:52:03,138
Ladies and gentlemen

3157
02:52:03,349 --> 02:52:08,628
Taffey Lewis presents
Miss Salome and the snake.

3158
02:52:08,829 --> 02:52:12,868
Watch her take
fun with the snake.

3159
02:52:13,069 --> 02:52:15,788
I wanted to use dough
to model and make a pile of mud.

3160
02:52:15,989 --> 02:52:21,017
it was going to be more exotic.
A plasticine dancer.

3161
02:52:21,229 --> 02:52:26,622
A dancer in a pile of mud.
At first it's a snake

3162
02:52:26,829 --> 02:52:29,184
then she transforms
as a woman. . .

3163
02:52:29,389 --> 02:52:30,344
MAKEUP TEST

3164
02:52:30,549 --> 02:52:34,019
. . .then a woman and a snake,
it was very elaborate.

3165
02:52:34,229 --> 02:52:37,027
That was all. It was utopia.

3166
02:52:37,229 --> 02:52:40,187
I would never have made it, I thought
that it would just be cool to do it.

3167
02:52:40,389 --> 02:52:45,179
We had created this sublime dance
which we had choreographed

3168
02:52:45,389 --> 02:52:48,506
and we had everything prepared
for the snake

3169
02:52:48,749 --> 02:52:51,946
but it's a shame
that we were ever able to do it.

3170
02:52:52,189 --> 02:52:56,979
I had to intervene
between Harrison Ford

3171
02:52:57,189 --> 02:52:59,942
and this guy off camera
to explain what was happening.

3172
02:53:00,149 --> 02:53:02,868
It was in a way
the simplest escape.

3173
02:53:03,389 --> 02:53:05,744
But it shows that we couldn't
have an entire sequence

3174
02:53:05,989 --> 02:53:08,457
the film could not move forward.
The story must continue.

3175
02:53:08,669 --> 02:53:11,342
So it was a good decision,
not to bother

3176
02:53:11,549 --> 02:53:15,906
because the goal was
that Harrison finds Zhora.

3177
02:53:17,749 --> 02:53:21,424
A long film is exhausting
for everyone.

3178
02:53:21,629 --> 02:53:25,144
Once patience evaporates,
people become abrupt.

3179
02:53:25,389 --> 02:53:30,543
The gap between the way of
work of Ridley and the others

3180
02:53:30,789 --> 02:53:33,781
who worked, for some,
years in the studios. . .

3181
02:53:33,989 --> 02:53:35,217
PRODUCER

3182
02:53:35,429 --> 02:53:37,021
. . .became apparent.

3183
02:53:37,229 --> 02:53:39,026
The team we had worked very quickly.

3184
02:53:39,949 --> 02:53:42,144
It was a whole team
and professional.

3185
02:53:42,389 --> 02:53:46,621
Props makers, dressers,
makeup artists, hair stylists were great.

3186
02:53:46,829 --> 02:53:47,784
MAKEUP ARTIST

3187
02:53:47,989 --> 02:53:51,345
I worked with these people
on other projects.

3188
02:53:51,549 --> 02:53:55,906
Ridley was not well liked
of the American team

3189
02:53:56,109 --> 02:53:58,339
because he thought that
it was not a good team

3190
02:53:58,549 --> 02:54:00,938
and that posed a rhythm problem.

3191
02:54:01,189 --> 02:54:07,378
But everyone
worked hard.

3192
02:54:07,589 --> 02:54:10,581
We exploded and someone was giving
these t-shirts for free

3193
02:54:10,789 --> 02:54:15,704
with statements
quite rebellious and revolutionary

3194
02:54:15,909 --> 02:54:17,422
addressed to Ridley.

3195
02:54:17,749 --> 02:54:19,467
And it happened

3196
02:54:19,669 --> 02:54:23,742
because someone had
stolen from his trailer

3197
02:54:23,989 --> 02:54:26,549
an article from an English newspaper
in which he was asked

3198
02:54:26,789 --> 02:54:28,780
if he preferred to work
in England or America.

3199
02:54:28,989 --> 02:54:31,025
For an English newspaper,
you say England.

3200
02:54:31,229 --> 02:54:35,825
I am known in England.
Teams are more reliable in saying:

3201
02:54:36,029 --> 02:54:39,988
''I'm ready when you are. ''
That's it.

3202
02:54:40,189 --> 02:54:43,340
It really pissed off the team.

3203
02:54:43,549 --> 02:54:44,504
''YES GOVERNOR''
MY BUTT!

3204
02:54:44,749 --> 02:54:47,138
- I fought the t-shirt war.
- Katie Haber came to tell me:

3205
02:54:47,389 --> 02:54:49,857
''They made these t-shirts
and they will wear them tomorrow. ''

3206
02:54:50,069 --> 02:54:52,139
I said: ''what are you talking about?'' She
said to me: ''the article you wrote. ''

3207
02:54:52,389 --> 02:54:53,504
I replied:
''what article did I make?''

3208
02:54:53,709 --> 02:54:56,701
Someone got the item
from England, had photocopied it

3209
02:54:56,909 --> 02:54:58,740
and had placed the copies
on a tea server.

3210
02:54:58,949 --> 02:55:01,338
Michael and I told Ridley:
''what can we do to

3211
02:55:01,549 --> 02:55:04,985
calm things down? We can't do
a movie when everyone hates you. ''

3212
02:55:05,189 --> 02:55:06,144
PRODUCTION MANAGER

3213
02:55:06,389 --> 02:55:09,461
Deeley thought of the phrase
''Xenophobia sucks! ''

3214
02:55:09,669 --> 02:55:10,624
XENOPHOBIA SCARES!

3215
02:55:10,829 --> 02:55:13,184
He said: ''Xenophobia means
fear of the stranger.

3216
02:55:13,389 --> 02:55:16,586
What's happening is these people
don't understand you or you

3217
02:55:16,789 --> 02:55:20,065
nor your way of working. So we have
marked on the t-shirt something

3218
02:55:20,269 --> 02:55:24,740
so that people come to us
ask what that meant

3219
02:55:24,949 --> 02:55:27,304
to calm things down.

3220
02:55:27,509 --> 02:55:31,138
And I had this hat made
of all those scrambled eggs

3221
02:55:31,349 --> 02:55:34,307
which looked like the hat
of a naval commander.

3222
02:55:34,509 --> 02:55:36,579
You know these hats
ridiculous things they wear.

3223
02:55:36,789 --> 02:55:39,019
On it was written ''gov''.

3224
02:55:39,629 --> 02:55:44,339
The next day I put on the t-shirt
with ''Xenophobia sucks! ''

3225
02:55:44,549 --> 02:55:47,985
and ''gov'' on my hat
and I walked onto the set.

3226
02:55:48,189 --> 02:55:50,498
I purchased and paid for the t-shirt.

3227
02:55:50,709 --> 02:55:53,064
I put mine
and I left the dressing room

3228
02:55:53,269 --> 02:55:56,147
and who is the first
to see me? Ridley.

3229
02:55:57,149 --> 02:55:59,982
He wore this t-shirt,
''Xenophobia sucks! ''

3230
02:56:00,189 --> 02:56:02,578
it was equality.

3231
02:56:02,789 --> 02:56:04,780
But it relaxed
a little atmosphere.

3232
02:56:04,989 --> 02:56:05,944
''YES GOVERNOR''
MY BUTT!

3233
02:56:06,189 --> 02:56:08,498
I said, “Hello Harrison.
This is what we're going to do. ''

3234
02:56:08,749 --> 02:56:10,501
And all these people

3235
02:56:10,709 --> 02:56:14,065
with their t-shirt
which I completely ignored.

3236
02:56:14,269 --> 02:56:15,907
I didn't say anything.

3237
02:56:16,109 --> 02:56:19,340
They ignored me. We continued
with the first scene

3238
02:56:19,549 --> 02:56:21,665
and we all wore
this ridiculous material.

3239
02:56:21,869 --> 02:56:24,144
Mid-morning, these t-shirts
began to disappear.

3240
02:56:24,349 --> 02:56:25,577
At lunch time,
they were all gone.

3241
02:56:26,149 --> 02:56:28,982
These guys were all friends.

3242
02:56:29,189 --> 02:56:31,305
I couldn't think
to a single team member

3243
02:56:31,509 --> 02:56:33,181
who wasn't doing his best.

3244
02:56:33,389 --> 02:56:37,905
But suddenly
this story spread.

3245
02:56:38,789 --> 02:56:42,338
And they decided
that they had had enough.

3246
02:56:42,549 --> 02:56:45,347
Ridley was sort of
very severe.

3247
02:56:45,549 --> 02:56:49,781
Me, being new,
I didn't pay attention to it.

3248
02:56:49,989 --> 02:56:53,948
I was just happy to have
the chance to work with him.

3249
02:56:54,149 --> 02:56:56,583
I never got involved.
I wouldn't have worn a t-shirt.

3250
02:56:56,789 --> 02:57:00,099
I would have been too ashamed because
I thought it was stupid

3251
02:57:00,309 --> 02:57:03,028
to behave this way.

3252
02:57:03,229 --> 02:57:05,379
It slowed things down
rather than anything else.

3253
02:57:05,589 --> 02:57:07,625
There are all kinds of discussions
behind the scenes

3254
02:57:07,829 --> 02:57:10,343
''Here is the foreign director.
Who does he think he is?

3255
02:57:10,549 --> 02:57:13,222
''The English are here''
and other such comments.

3256
02:57:13,549 --> 02:57:15,187
They were tired

3257
02:57:15,389 --> 02:57:19,746
we could see that they didn't feel
not appreciated at their true value.

3258
02:57:19,949 --> 02:57:21,302
I said to Ridley:

3259
02:57:21,509 --> 02:57:26,629
''Go talk to them and tell them
that they are doing an excellent job.

3260
02:57:26,829 --> 02:57:29,389
Because they are all devoted to you

3261
02:57:29,589 --> 02:57:34,299
but they are out of fear. ''

3262
02:57:34,629 --> 02:57:36,665
We knew if we had
work only

3263
02:57:36,869 --> 02:57:39,747
if we received a sheet
caller ID with our name still on it.

3264
02:57:39,989 --> 02:57:40,944
CALL SHEET

3265
02:57:41,149 --> 02:57:43,140
Because people were disappearing
all the time.

3266
02:57:43,549 --> 02:57:46,222
On the door to the equipment room,
there was a list of people

3267
02:57:46,429 --> 02:57:48,499
who had had enough
and who had resigned.

3268
02:57:48,709 --> 02:57:51,064
We kept a list of everyone
who resigned.

3269
02:57:51,269 --> 02:57:54,181
It's sometimes hard on set
and you can spend long hours there.

3270
02:57:54,429 --> 02:57:57,421
And I remember passing
quite a few long hours.

3271
02:57:57,629 --> 02:57:58,857
So what?

3272
02:58:00,229 --> 02:58:02,823
I'm sorry but sometimes
our job is backbreaking.

3273
02:58:03,549 --> 02:58:08,543
I don't think we're here to
complain like:

3274
02:58:08,789 --> 02:58:12,099
''it destroyed my life,
it was so exhausting. ''

3275
02:58:12,309 --> 02:58:16,587
Filming was difficult.
We were doing something very special.

3276
02:58:16,789 --> 02:58:20,668
For most of the team,
it was just a job.

3277
02:58:20,869 --> 02:58:23,508
For some it was something
special.

3278
02:58:23,749 --> 02:58:25,182
DECOR

3279
02:58:25,389 --> 02:58:28,062
It was a magical moment.

3280
02:58:28,269 --> 02:58:31,102
There were tensions
from time to time

3281
02:58:31,309 --> 02:58:33,140
and there were times
where there was none.

3282
02:58:33,389 --> 02:58:37,064
I think the great films
ambitious

3283
02:58:38,829 --> 02:58:41,502
involve tensions.

3284
02:58:44,109 --> 02:58:46,669
In the end, we shot this sequence
at Warner Bros.

3285
02:58:46,869 --> 02:58:49,337
with a jump from a building
to another

3286
02:58:49,549 --> 02:58:51,346
in a building
that could be moved

3287
02:58:51,549 --> 02:58:53,221
and position in the manner
that we wanted.

3288
02:58:53,429 --> 02:58:55,943
I measured the distance
of the building

3289
02:58:56,149 --> 02:58:59,824
and I jumped several times
and it was fine.

3290
02:59:00,389 --> 02:59:03,779
I put a rope on the other side
that I had hidden in the building

3291
02:59:03,989 --> 02:59:07,345
we couldn't see where
I grabbed it and held on to it.

3292
02:59:07,549 --> 02:59:09,904
Then everything was ready.
Again it was night

3293
02:59:10,109 --> 02:59:13,943
there was smoke,
it was raining, it was a mess.

3294
02:59:14,149 --> 02:59:16,140
He was coming at me with this watering can.

3295
02:59:16,389 --> 02:59:19,381
They kept spraying me
to make it look like it was wet.

3296
02:59:19,589 --> 02:59:21,625
The water was absorbed
and it didn't look wet.

3297
02:59:21,829 --> 02:59:23,501
The guy came back
to spray me again.

3298
02:59:23,749 --> 02:59:25,228
Ridley said:
''He has to look wet. ''

3299
02:59:25,429 --> 02:59:29,308
I said:
''that's enough. This thing weighs 20 kilos. ''

3300
02:59:29,509 --> 02:59:31,943
It weighed me down.

3301
02:59:32,189 --> 02:59:37,183
The moment to jump has arrived.
I ran and jumped.

3302
02:59:37,389 --> 02:59:40,859
Barely halfway through, I already had
realized that I wasn't going to succeed.

3303
02:59:41,069 --> 02:59:43,378
The best I had to do

3304
02:59:43,589 --> 02:59:45,978
was to open my arms and
to hang on to one of these rafters.

3305
02:59:46,189 --> 02:59:48,384
Under my arm. And I was able to stay
on the building.

3306
02:59:48,589 --> 02:59:51,945
They loved it and wanted
that I redo it 2 or 3 more times.

3307
02:59:52,189 --> 02:59:53,941
Each time, it was necessary
that I hang my arm.

3308
02:59:54,189 --> 02:59:57,499
I had a big bruise under my arm,
but the jump was made.

3309
03:00:02,109 --> 03:00:04,259
Thanks to that, I had good relationships
with the stuntmen.

3310
03:00:04,469 --> 03:00:07,461
I ride a horse, I do
fencing, martial arts

3311
03:00:07,669 --> 03:00:08,704
and that sort of thing.

3312
03:00:09,269 --> 03:00:12,705
I always watched how they
were preparing, what they were doing.

3313
03:00:12,909 --> 03:00:15,821
it was maybe 9 meters
from top to bottom.

3314
03:00:16,029 --> 03:00:19,499
We had an airbag down there just in case. . .

3315
03:00:19,709 --> 03:00:23,782
If I remember correctly,
the guy who overtook Rutger

3316
03:00:23,989 --> 03:00:25,547
had not succeeded in his first jump.

3317
03:00:25,749 --> 03:00:27,944
He bumped, bounced
then fell on the airbag.

3318
03:00:28,189 --> 03:00:31,499
Another stuntman has arrived
and it was the same thing.

3319
03:00:31,709 --> 03:00:34,746
It's 5 a.m.
We don't have an hour.

3320
03:00:35,149 --> 03:00:38,300
I said to Ridley:
''Ridley, if you put the building''

3321
03:00:38,509 --> 03:00:39,908
The building was on wheels.

3322
03:00:40,109 --> 03:00:42,907
''If you give me
protection for my feet

3323
03:00:43,109 --> 03:00:45,907
I swear it's not a problem
for me. I can do it. ''

3324
03:00:46,429 --> 03:00:50,900
he was desperate
and he said: ''Here we go. ''

3325
03:00:51,109 --> 03:00:54,101
We did a take and I jumped.

3326
03:00:56,829 --> 03:00:59,297
Rutger took a big leap.

3327
03:00:59,509 --> 03:01:00,498
He did. . .

3328
03:01:00,709 --> 03:01:02,745
With a dove in his hand.

3329
03:01:02,989 --> 03:01:05,947
And he said to me: ''I thought about
a symbol of peace. Are you okay?''

3330
03:01:06,149 --> 03:01:09,459
And I say, “Yeah. Continue,
the light turns blue. ''

3331
03:01:10,109 --> 03:01:12,498
Why wouldn't I keep it
dove with me and when I die

3332
03:01:12,709 --> 03:01:15,507
I would hold her
until the last moment.

3333
03:01:15,749 --> 03:01:19,185
And when I die, I release her
and that's it.

3334
03:01:19,629 --> 03:01:21,665
End of story. Then the dove
can replace me.

3335
03:01:21,869 --> 03:01:26,147
He said: ''Interesting.
But let's look at it in two ways. ''

3336
03:01:26,389 --> 03:01:30,587
There was visual death.

3337
03:01:30,789 --> 03:01:33,826
There was a page
of opera speeches

3338
03:01:34,029 --> 03:01:37,465
which would have been bad
in any script.

3339
03:01:37,669 --> 03:01:42,789
It was high-tech talk
which had nothing to do with

3340
03:01:42,989 --> 03:01:44,900
what was done in the film.

3341
03:01:45,109 --> 03:01:48,226
I changed it.

3342
03:01:48,429 --> 03:01:51,148
I did this at night. I didn't know
not if Ridley would agree.

3343
03:01:56,829 --> 03:01:58,308
Sex.

3344
03:01:58,509 --> 03:01:59,703
Love.

3345
03:01:59,909 --> 03:02:01,501
Simple things.

3346
03:02:01,749 --> 03:02:05,298
But there is no way to satisfy them.

3347
03:02:05,789 --> 03:02:08,861
Feeling homesick
with no place to go.

3348
03:02:09,429 --> 03:02:12,023
Lots of little errors.

3349
03:02:12,589 --> 03:02:15,501
Like any actor who knows that
the scene of his death approaches

3350
03:02:15,709 --> 03:02:16,858
it's in a way
his quintessential moment.

3351
03:02:17,069 --> 03:02:19,458
They started to be
stubborn about

3352
03:02:19,669 --> 03:02:21,227
what they wanted to film.

3353
03:02:21,429 --> 03:02:22,384
And I think he had

3354
03:02:22,589 --> 03:02:25,308
demanded a lot from Ridley.

3355
03:02:25,509 --> 03:02:30,537
I invented two lines
who were less down to earth

3356
03:02:30,789 --> 03:02:34,623
and which were a little poetic.

3357
03:02:34,829 --> 03:02:38,617
Then around 4 a.m.,
I thought of a reply.

3358
03:02:38,829 --> 03:02:41,423
''Time will erase these moments
like the rain will wash away the tears. ''

3359
03:02:42,429 --> 03:02:46,502
I brought this on set
and they really liked it.

3360
03:02:48,309 --> 03:02:52,188
Rutger is big and brave

3361
03:02:52,389 --> 03:02:55,506
and an interesting actor.

3362
03:02:55,709 --> 03:02:58,587
I liked it a lot
work with him.

3363
03:02:58,789 --> 03:03:01,781
The scenes we did together

3364
03:03:01,989 --> 03:03:08,337
are among my moments
most satisfactory professionals.

3365
03:03:08,549 --> 03:03:14,226
I think both characters
depend on each other

3366
03:03:14,429 --> 03:03:16,420
in a dramatic sense.

3367
03:03:17,189 --> 03:03:19,578
So I was grateful
to have been able to take advantage of

3368
03:03:19,789 --> 03:03:24,909
his skills, his strength
and his concentration.

3369
03:03:26,749 --> 03:03:30,788
Roy Batty realizes that
its lifespan is coming to an end

3370
03:03:30,989 --> 03:03:33,549
and he dies with this magnificent
dove on his knees

3371
03:03:33,829 --> 03:03:36,821
and the dove flies away.

3372
03:03:37,029 --> 03:03:40,066
So far in the film,
we had

3373
03:03:40,269 --> 03:03:44,148
a dark metropolis,
rainy and sad.

3374
03:03:44,389 --> 03:03:46,061
And suddenly we make a scene

3375
03:03:46,269 --> 03:03:49,864
where we see a dove
which flies towards a clear blue sky.

3376
03:03:50,069 --> 03:03:51,297
It was a scene in broad daylight

3377
03:03:51,509 --> 03:03:54,660
and there were some clouds
vapors and stuff like that.

3378
03:03:54,869 --> 03:03:56,905
People had noticed
immediately

3379
03:03:57,109 --> 03:03:58,622
even when the movie came out.

3380
03:03:58,829 --> 03:04:02,663
It was a problem that had
arose during filming.

3381
03:04:02,869 --> 03:04:06,066
The dove they had
was wet

3382
03:04:06,269 --> 03:04:07,702
because of the constant rain.

3383
03:04:07,909 --> 03:04:12,903
When he released her she was so
so wet that she couldn't fly.

3384
03:04:13,109 --> 03:04:15,942
Instead of flying to the sky

3385
03:04:16,189 --> 03:04:19,499
the dove just jumped
from his knees

3386
03:04:19,749 --> 03:04:22,741
and waddled onto the roof,
out of our field of vision.

3387
03:04:22,989 --> 03:04:25,457
So they couldn't use it.

3388
03:04:25,989 --> 03:04:27,741
The last two days
were a nightmare

3389
03:04:27,949 --> 03:04:31,339
because we only had two days
and that they cut off our food.

3390
03:04:31,549 --> 03:04:33,267
And we couldn't film
more than that.

3391
03:04:33,469 --> 03:04:35,425
And we still had
lots to do.

3392
03:04:35,629 --> 03:04:39,827
The last day of filming
lasted 27 or 28 hours.

3393
03:04:40,029 --> 03:04:41,178
LIGHTING MANAGER

3394
03:04:41,549 --> 03:04:44,507
We had to go to work around 5 p.m.

3395
03:04:44,749 --> 03:04:46,148
Four or five hours
in the afternoon.

3396
03:04:46,349 --> 03:04:49,500
We shot all night
and everyone thought of course

3397
03:04:49,749 --> 03:04:53,025
that we would finish at daybreak
because we couldn't film anymore.

3398
03:04:53,229 --> 03:04:57,268
We were dead.

3399
03:04:57,469 --> 03:04:58,982
Swimming with
sharks around us.

3400
03:04:59,189 --> 03:05:02,499
And I knew that in that moment,
it would be April, May, June

3401
03:05:02,709 --> 03:05:08,022
and the day dawned at 5 a.m.,
4:45 a.m. So the sky would be blue.

3402
03:05:08,229 --> 03:05:10,868
We have magnificent light
because it's blue. It's dawn.

3403
03:05:11,069 --> 03:05:15,665
When the sun rose,
the suits were on the side

3404
03:05:15,869 --> 03:05:18,064
there were four guys
in costumes.

3405
03:05:18,269 --> 03:05:20,658
The sun has risen
and they were all smiling.

3406
03:05:20,869 --> 03:05:23,099
''It's great, we'll be able to
unplug the appliance. ''

3407
03:05:23,309 --> 03:05:24,583
And Ridley said:

3408
03:05:24,789 --> 03:05:28,225
''I'm not finished. ''The scene
of death was incomplete.

3409
03:05:28,429 --> 03:05:30,989
Michael Deeley came to see me
and said to me:

3410
03:05:31,189 --> 03:05:34,101
''Look, we have to continue. ''

3411
03:05:34,309 --> 03:05:39,542
We decided to take
chainsaws

3412
03:05:39,789 --> 03:05:45,466
and cut the board and
put on trucks

3413
03:05:45,669 --> 03:05:50,697
and move this part
with the roof on the plateau.

3414
03:05:50,909 --> 03:05:52,308
I've read reports about this

3415
03:05:52,509 --> 03:05:54,818
they rolled
the Bradbury Plateau.

3416
03:05:55,029 --> 03:05:59,307
I wish it was true.
It wouldn't have been so hard.

3417
03:06:01,349 --> 03:06:02,623
Everyone was exhausted.

3418
03:06:02,829 --> 03:06:08,938
And we hadn't gotten rid of
rain, mud and smoke.

3419
03:06:09,189 --> 03:06:14,138
And when we're done
the last scene. . .

3420
03:06:14,349 --> 03:06:17,864
From head to toe,
it was “we’re getting out of here. ''

3421
03:06:18,069 --> 03:06:20,139
And everyone left.

3422
03:06:20,349 --> 03:06:21,862
For the first time
for weeks

3423
03:06:22,069 --> 03:06:27,063
my dog and I came home
at home in broad daylight

3424
03:06:27,909 --> 03:06:30,139
telling yourself that the nightmare
was finished.

3425
03:06:30,389 --> 03:06:36,862
We didn't know what awaited us
the next day in our mail.

3426
03:06:37,269 --> 03:06:39,703
There was a press release
lawyers

3427
03:06:39,909 --> 03:06:43,743
representing Perenchio and Yorkin

3428
03:06:43,949 --> 03:06:46,747
who invoked their right because we
was 10% over budget

3429
03:06:46,989 --> 03:06:48,866
and who sent us back from the film.

3430
03:06:49,389 --> 03:06:51,584
Actually, it was funny, I didn't know
not why they did that.

3431
03:06:51,789 --> 03:06:54,383
They had the right to do so but I think
that they had done it out of irritation.

3432
03:06:54,589 --> 03:06:56,181
I think Perenchio was
so angry at us

3433
03:06:56,389 --> 03:06:58,823
because he had to pay
of its performance guarantee.

3434
03:06:59,029 --> 03:07:01,065
What he was paid for
a million and a half.

3435
03:07:01,269 --> 03:07:03,658
He wanted to punish us.

3436
03:07:03,869 --> 03:07:06,542
We went over budget.

3437
03:07:06,789 --> 03:07:09,508
We went over budget by quite a bit,
it goes without saying.

3438
03:07:09,749 --> 03:07:13,742
This is something that happens often
for films in particular.

3439
03:07:13,949 --> 03:07:17,578
And especially for a film too
difficult to do than this one.

3440
03:07:17,789 --> 03:07:22,579
The special effects were expensive.

3441
03:07:22,789 --> 03:07:28,978
And Ridley did 30 takes
of everything.

3442
03:07:29,189 --> 03:07:31,862
When they wanted to remove it
of the film, I said:

3443
03:07:32,069 --> 03:07:33,787
''Wait. It's impossible.

3444
03:07:33,989 --> 03:07:38,938
He has to finish this movie because we
bought a film by Ridley Scott.

3445
03:07:39,189 --> 03:07:42,465
We will persevere
and reduce the budget as best as possible. ''

3446
03:07:42,669 --> 03:07:44,580
We had a meeting to
special effects shots

3447
03:07:44,789 --> 03:07:46,780
do we need
of this one and that one?

3448
03:07:46,989 --> 03:07:50,743
Ridley didn't get
everything he wanted.

3449
03:07:50,949 --> 03:07:54,783
Honestly, we had the right
to edit the film.

3450
03:07:55,349 --> 03:07:58,864
And there were things
that I wanted to remove.

3451
03:07:59,069 --> 03:08:01,139
Not just me, but
other people were involved.

3452
03:08:01,389 --> 03:08:04,028
And the film took
time at that time.

3453
03:08:04,509 --> 03:08:06,943
It had become very difficult
for us because

3454
03:08:07,189 --> 03:08:09,544
I remember that Jerry Perenchio
came to tell us:

3455
03:08:09,789 --> 03:08:13,065
''We can do what we want
with the film. ''

3456
03:08:13,269 --> 03:08:16,944
I said, "It's not going to be
very easy, everything was divided. . .

3457
03:08:17,189 --> 03:08:18,383
EDITOR

3458
03:08:18,589 --> 03:08:20,739
. . .because I work
with the sound team.

3459
03:08:20,989 --> 03:08:25,141
We were trying to do
with the situation

3460
03:08:25,389 --> 03:08:28,108
because I knew Ridley would come back.

3461
03:08:28,309 --> 03:08:33,144
You don't fire a director unless
that he did a terrible thing.

3462
03:08:33,349 --> 03:08:36,261
It didn't have the slightest effect.
The work continued.

3463
03:08:36,469 --> 03:08:40,144
Ridley directed the film until the end
and no one left.

3464
03:08:40,349 --> 03:08:42,146
There are a lot of excuses to be made.

3465
03:08:42,389 --> 03:08:44,823
And after a while,
we realize

3466
03:08:45,029 --> 03:08:49,545
that we do something
so different and so special

3467
03:08:50,309 --> 03:08:51,867
so unique.

3468
03:08:52,069 --> 03:08:55,027
Sir, you have the job
of a man.

3469
03:08:56,509 --> 03:08:59,262
But are you sure
to be a man?

3470
03:09:01,269 --> 03:09:03,339
I think everyone
who worked on this film

3471
03:09:03,549 --> 03:09:05,505
when they realize
what has been accomplished

3472
03:09:05,709 --> 03:09:07,506
are really proud
for having participated in it.

3473
03:09:07,709 --> 03:09:10,348
SPECIAL EFFECTS MANAGER

3474
03:09:10,549 --> 03:09:14,542
All the clashes, up to the point
to make the situation better

3475
03:09:14,749 --> 03:09:17,547
were not
to satisfy his ego.

3476
03:09:17,749 --> 03:09:20,547
Ridley doesn't do that. He doesn't rule
not his accounts directly.

3477
03:09:20,789 --> 03:09:25,021
He wonders what will be
best thing to put on screen?

3478
03:09:25,869 --> 03:09:27,985
We went over budget

3479
03:09:28,789 --> 03:09:32,065
but at least we can say
that the money was, is on the screen.

3480
03:09:32,989 --> 03:09:34,581
Without a doubt.

3481
03:09:34,789 --> 03:09:38,338
It wasn't poorly organized.

3482
03:09:38,549 --> 03:09:41,188
It's on the screen.

3483
03:10:09,636 --> 03:10:13,993
The film tackled a difficult theme
speaking of Replicants,

3484
03:10:14,196 --> 03:10:15,788
of some kind of robots.

3485
03:10:15,996 --> 03:10:19,227
Look at everything that happened
between the film and today.

3486
03:10:19,436 --> 03:10:20,710
L.A. is growing. . .

3487
03:10:20,916 --> 03:10:22,508
When I walk down the street. . .

3488
03:10:22,716 --> 03:10:23,944
REVIEW, LOS ANGELES TIMES

3489
03:10:24,156 --> 03:10:26,112
. . . I see it looks similar
to Blade Runner.

3490
03:10:26,316 --> 03:10:28,272
It was an analysis of the future.

3491
03:10:28,476 --> 03:10:30,467
At the time,
I don't think people. . .

3492
03:10:30,676 --> 03:10:31,904
CHIEF FITTER

3493
03:10:32,116 --> 03:10:35,108
. . . wanted to see the future
as it is shown in the movie.

3494
03:10:35,316 --> 03:10:37,625
The intelligence with which
he made this movie

3495
03:10:37,836 --> 03:10:39,986
and the universe he created mask. . .

3496
03:10:40,236 --> 03:10:42,067
DIRECTOR - THE ESCAPES

3497
03:10:42,276 --> 03:10:44,187
. . . a truly fascinating story.

3498
03:10:44,436 --> 03:10:49,271
What people said about the film
was very different.

3499
03:10:49,516 --> 03:10:51,666
Some thought
that it was a great film,

3500
03:10:51,876 --> 03:10:54,151
others said:
''What is that?''

3501
03:10:54,356 --> 03:10:55,755
It's one of the movies. . .

3502
03:10:55,956 --> 03:10:57,514
DIRECTOR - PAN'S LABYRINTH

3503
03:10:57,716 --> 03:10:58,785
. . . who changed my life.

3504
03:10:59,036 --> 03:11:02,392
I saw it
and I was no longer the same person.

3505
03:11:03,036 --> 03:11:05,266
I had the impression
to be in these cars.

3506
03:11:05,476 --> 03:11:06,704
DIRECTOR - TORQUE

3507
03:11:06,916 --> 03:11:08,554
I was sucked into this universe.

3508
03:11:10,316 --> 03:11:11,590
We did the editing

3509
03:11:11,796 --> 03:11:14,754
and we showed the film
in one of the MGM theaters.

3510
03:11:14,956 --> 03:11:17,470
There were only five or six people

3511
03:11:17,676 --> 03:11:21,589
because we were very involved
in this movie.

3512
03:11:21,836 --> 03:11:23,986
It was our baby.

3513
03:11:24,196 --> 03:11:27,108
When the lights came back on,
I said:

3514
03:11:27,316 --> 03:11:31,434
''This film is going to be a hit,

3515
03:11:31,636 --> 03:11:33,354
in the $100 million range. ''

3516
03:11:33,556 --> 03:11:37,595
At the time, it was a lot of money.

3517
03:11:37,836 --> 03:11:40,191
''It's going to be terrible. ''

3518
03:11:41,236 --> 03:11:44,785
It was the first, in Hollywood,
on Sunset Boulevard.

3519
03:11:45,036 --> 03:11:49,427
I watched the audience's reactions.

3520
03:11:49,636 --> 03:11:53,834
It was either. . . either. . .

3521
03:11:54,036 --> 03:11:55,788
There were no half measures.

3522
03:11:59,036 --> 03:12:01,072
From the first seconds of the film. . .

3523
03:12:01,276 --> 03:12:02,709
EXECUTIVE PRODUCER - SCREENPLAY

3524
03:12:02,956 --> 03:12:04,025
. . . I said: “What?”

3525
03:12:04,236 --> 03:12:07,114
At the end of the film, I was. . . .

3526
03:12:07,316 --> 03:12:10,149
Relieved is not the word,
but rather enchanted.

3527
03:12:10,356 --> 03:12:12,426
There was a huge crowd.

3528
03:12:12,636 --> 03:12:14,752
It's Hollywood.
There was everyone there.

3529
03:12:14,956 --> 03:12:16,389
Everyone loved it.

3530
03:12:16,636 --> 03:12:20,754
I remember that people
was so amazed

3531
03:12:20,956 --> 03:12:26,588
by the beauty of the film,
that there was a great silence.

3532
03:12:26,836 --> 03:12:30,226
When you see a movie this good,
there is nothing to say.

3533
03:12:30,436 --> 03:12:32,631
it was a very extreme experience.

3534
03:12:32,836 --> 03:12:37,114
I had the impression
to give birth in public.

3535
03:12:37,316 --> 03:12:39,876
I was very disappointed
that the film was not. . .

3536
03:12:40,076 --> 03:12:41,475
PRODUCTION DIRECTOR

3537
03:12:41,676 --> 03:12:45,191
. . . critically acclaimed,
from the start.

3538
03:12:45,436 --> 03:12:46,949
I was very impatient.

3539
03:12:47,156 --> 03:12:49,829
When I arrived
in Westwood that morning,

3540
03:12:50,036 --> 03:12:52,755
people had queued
all night.

3541
03:12:52,956 --> 03:12:56,665
They had slept on the sidewalk.

3542
03:12:56,996 --> 03:13:00,591
I was disappointed by the reviews.

3543
03:13:01,996 --> 03:13:04,112
It was totally different.

3544
03:13:04,316 --> 03:13:08,229
Initially, the public does not know
whether to go or not

3545
03:13:08,436 --> 03:13:09,664
and, then, he decides

3546
03:13:09,876 --> 03:13:12,948
according to reviews
and what others think.

3547
03:13:13,156 --> 03:13:16,148
The first was on a Friday evening.
There was a crowd.

3548
03:13:16,356 --> 03:13:18,790
Word of mouth
sold out that weekend.

3549
03:13:19,036 --> 03:13:21,914
There were fewer and fewer people
Saturday and Sunday.

3550
03:13:22,116 --> 03:13:26,587
And the studios make their numbers
on the first weekend.

3551
03:13:26,796 --> 03:13:30,550
They called Bud and he said to me:

3552
03:13:30,756 --> 03:13:33,589
''Missed. What a disappointment. ''

3553
03:13:34,316 --> 03:13:35,590
DAUGHTER OF PHILIP K. DICK

3554
03:13:35,796 --> 03:13:36,990
I went to the cinema.

3555
03:13:37,236 --> 03:13:41,195
There must have been three people
in the room.

3556
03:13:41,636 --> 03:13:43,194
I had already read the reviews

3557
03:13:43,396 --> 03:13:45,068
and heard people's reaction,

3558
03:13:45,276 --> 03:13:48,074
not really positive to tell the truth.

3559
03:13:48,276 --> 03:13:50,836
''Blade Runner is a success
on a visual level

3560
03:13:51,036 --> 03:13:53,186
but not story-wise. ''
ROGER EBERT

3561
03:13:53,396 --> 03:13:57,435
I was very disappointed by the fact
that people didn't like.

3562
03:14:00,516 --> 03:14:04,634
In London, during the premiere,
there was this criticism.

3563
03:14:04,836 --> 03:14:08,909
She was very famous in the industry.

3564
03:14:09,116 --> 03:14:12,950
She said: ''When I saw the film,
I didn't understand the message.

3565
03:14:13,156 --> 03:14:19,186
It was just trash, rain
and people all over the street. ''

3566
03:14:19,396 --> 03:14:22,786
Then I walked in
Leicester Square, in Blade Runner.

3567
03:14:22,996 --> 03:14:25,749
And I understood. That was it. ''

3568
03:14:26,556 --> 03:14:29,787
It was great.

3569
03:14:30,356 --> 03:14:35,555
I liked everything except the last scene:
departure into the setting sun.

3570
03:14:35,756 --> 03:14:37,075
I didn't believe it.

3571
03:14:37,276 --> 03:14:40,348
it gave the impression
to come from another film.

3572
03:14:40,556 --> 03:14:43,548
I went there one afternoon,
on a weekday.

3573
03:14:43,756 --> 03:14:45,109
VISUAL EFFECTS SUPERVISOR

3574
03:14:45,316 --> 03:14:48,388
There were four people in the room.
It broke my heart.

3575
03:14:48,596 --> 03:14:51,747
I watched this perfect movie
and I said to myself:

3576
03:14:51,956 --> 03:14:54,675
''Someday someone will notice. ''

3577
03:14:54,876 --> 03:14:58,471
When I saw Blade Runner
for the first time,

3578
03:14:58,676 --> 03:15:03,067
I was very affected by his austerity.

3579
03:15:03,276 --> 03:15:04,834
I didn't really like it.

3580
03:15:05,036 --> 03:15:06,708
VISUAL EFFECTS SUPERVISOR

3581
03:15:06,916 --> 03:15:09,635
From a visual point of view,

3582
03:15:09,836 --> 03:15:12,828
it's an extraordinary film.

3583
03:15:13,356 --> 03:15:19,033
For me it was more
a director's artistic vision

3584
03:15:19,236 --> 03:15:23,514
that the emotional experience
which I expected.

3585
03:15:23,716 --> 03:15:27,265
Because as an actress,
I felt all these things.

3586
03:15:27,476 --> 03:15:32,186
I was expecting an emotional reaction
very strong.

3587
03:15:32,396 --> 03:15:35,274
I was actually sitting there
and I looked.

3588
03:15:35,476 --> 03:15:38,513
I was overwhelmed by the visual aspect
and the atmosphere of the film.

3589
03:15:38,716 --> 03:15:41,833
The film does not provide
emotional satisfaction. . .

3590
03:15:42,036 --> 03:15:43,264
ASSOCIATED PRODUCER

3591
03:15:43,476 --> 03:15:44,795
. . . total, in my opinion.

3592
03:15:44,996 --> 03:15:47,988
Because emotional logic

3593
03:15:48,236 --> 03:15:50,272
and narrative logic

3594
03:15:50,476 --> 03:15:53,752
don't seem as real
that they should be.

3595
03:15:53,956 --> 03:15:56,754
In a sense, we did

3596
03:15:56,956 --> 03:16:01,586
a visually stunning film,
as you would expect from Rid,

3597
03:16:01,836 --> 03:16:03,713
but it is also an artistic film.

3598
03:16:03,916 --> 03:16:08,068
It can be described as the first
artistic science fiction film.

3599
03:16:08,276 --> 03:16:10,312
It's a futuristic film
and science fiction.

3600
03:16:10,516 --> 03:16:12,234
The mixture is a success.

3601
03:16:12,436 --> 03:16:15,269
The execution is impeccable,
and it's one of the. . .

3602
03:16:15,476 --> 03:16:17,273
Today we can say

3603
03:16:17,476 --> 03:16:19,228
that he is a visionary director.

3604
03:16:19,436 --> 03:16:21,996
You see the future

3605
03:16:22,236 --> 03:16:25,069
like never before
it has not been shown before.

3606
03:16:25,276 --> 03:16:26,789
A completely realistic future.

3607
03:16:26,996 --> 03:16:30,272
It wasn't a different movie
just to be different.

3608
03:16:30,476 --> 03:16:32,432
It seems that someone understood.

3609
03:16:32,636 --> 03:16:34,706
We looked into the future
and we said:

3610
03:16:34,916 --> 03:16:37,953
''It will surely be like that. ''

3611
03:16:38,876 --> 03:16:42,107
TRAILER

3612
03:16:47,636 --> 03:16:49,866
The Empire Strikes Back and Indiana Jones

3613
03:16:50,076 --> 03:16:52,192
were big marketing stunts,

3614
03:16:52,396 --> 03:16:53,749
especially with the fans.

3615
03:16:53,956 --> 03:16:55,355
MARKETING CONSULTANT

3616
03:16:55,556 --> 03:16:58,116
We were totally disappointed
during the premiere.

3617
03:16:58,316 --> 03:17:00,352
Then Bob said to me:

3618
03:17:00,556 --> 03:17:03,468
'Imagine what it could have been

3619
03:17:03,676 --> 03:17:05,234
if we hadn't done all that?''

3620
03:17:05,436 --> 03:17:11,705
Everyone was waiting for a sequel
to Indiana Jones or Star Wars.

3621
03:17:11,916 --> 03:17:15,352
Advertising of the film on television

3622
03:17:15,556 --> 03:17:21,506
only showed cars flying over
a futuristic city

3623
03:17:21,716 --> 03:17:23,627
and a fight scene.

3624
03:17:23,836 --> 03:17:25,428
ILLUSTRATOR

3625
03:17:25,636 --> 03:17:31,586
This does not prepare
to the traumatic aspect of the film.

3626
03:17:31,836 --> 03:17:35,954
This film marks you.

3627
03:17:36,156 --> 03:17:38,306
When people see ships,
they. . .

3628
03:17:38,516 --> 03:17:41,269
A science fiction film,
even though I only made one.

3629
03:17:41,476 --> 03:17:42,386
DIRECTOR

3630
03:17:42,596 --> 03:17:45,394
The public expected
to violence and horror.

3631
03:17:45,596 --> 03:17:49,669
That summer,
there were two films that suffered

3632
03:17:49,876 --> 03:17:51,594
of the release of E.T. :

3633
03:17:51,836 --> 03:17:54,304
Blade Runner and The Thing.

3634
03:17:54,516 --> 03:17:57,872
Two very dark films are released

3635
03:17:58,076 --> 03:18:01,466
at the time of the success of E.T.

3636
03:18:02,636 --> 03:18:05,196
The big hit of 1982 was E.T.

3637
03:18:05,396 --> 03:18:07,990
It goes without saying
that it was a brilliant film,

3638
03:18:08,236 --> 03:18:13,390
but it was a consolation prize.
it always will be.

3639
03:18:13,636 --> 03:18:17,231
This is one of the best examples
in the genre.

3640
03:18:17,436 --> 03:18:20,985
I don't want to overwhelm this film.
He is magnificent.

3641
03:18:21,236 --> 03:18:24,751
But everyone needed
of his consolation prize,

3642
03:18:24,956 --> 03:18:27,390
so we didn't give
his chance at Blade Runner

3643
03:18:27,596 --> 03:18:30,235
or the remake of The Thing,
by John Carpenter.

3644
03:18:30,436 --> 03:18:32,074
People from the specialized press,

3645
03:18:32,276 --> 03:18:34,312
Author
Future Noir: The Making of Blade Runner

3646
03:18:34,516 --> 03:18:36,825
. . . like Variety or others,

3647
03:18:37,036 --> 03:18:40,187
had already announced, around the winter of 1981,

3648
03:18:40,396 --> 03:18:44,184
this kind of failure for the summer of 1982,

3649
03:18:44,396 --> 03:18:48,184
saying that there was so much
of films that were released at the same time

3650
03:18:48,436 --> 03:18:50,427
that this kind of film wouldn't work.

3651
03:18:50,636 --> 03:18:53,070
Star Trek II: The Wrath of Khan
Poltergeist,

3652
03:18:53,276 --> 03:18:55,870
E.T., The Thing by John Carpenter,

3653
03:18:56,076 --> 03:18:57,907
Conan the Barbarian, Mad Max 2,

3654
03:18:58,116 --> 03:19:01,791
Tron. There was even Rocky 3,
Fast Times at Ridgemont High

3655
03:19:02,036 --> 03:19:03,389
and La Feline.

3656
03:19:03,596 --> 03:19:05,154
RESTORATION PRODUCER

3657
03:19:05,356 --> 03:19:07,074
Among all this, there is Blade Runner.

3658
03:19:07,276 --> 03:19:10,825
It was the early 1980s.
The 1970s were over.

3659
03:19:11,036 --> 03:19:13,596
There were a lot of depressive films
at that time.

3660
03:19:13,796 --> 03:19:18,028
People wanted a bit of utopia,

3661
03:19:18,236 --> 03:19:19,828
happy films.

3662
03:19:20,036 --> 03:19:21,594
People wanted to see. . .

3663
03:19:21,796 --> 03:19:24,674
Reagan promised a better future,

3664
03:19:24,876 --> 03:19:26,229
a stronger America,

3665
03:19:26,436 --> 03:19:27,915
a more dynamic economy.

3666
03:19:28,116 --> 03:19:33,634
Ridley has arrived
with an incredible vision of the future,

3667
03:19:33,836 --> 03:19:35,235
an absolute non-utopia.

3668
03:19:35,436 --> 03:19:39,270
The reasons for this failure are clear.

3669
03:19:39,476 --> 03:19:40,704
At that time,

3670
03:19:40,916 --> 03:19:44,352
science fiction fans
were served with Star Wars. . .

3671
03:19:44,556 --> 03:19:45,750
SON OF RIDLEY SCOTT

3672
03:19:45,956 --> 03:19:48,868
. . . which is more of a film
classic sci-fi

3673
03:19:49,076 --> 03:19:53,069
with laser rays,
robots and monsters.

3674
03:19:53,276 --> 03:19:57,986
Then comes this Nietzschean vision,

3675
03:19:58,196 --> 03:20:02,428
this non-utopian and existentialist film.

3676
03:20:02,636 --> 03:20:04,513
Before, there was The Crystal Age,

3677
03:20:04,996 --> 03:20:07,146
with Michael York, all in white. . .

3678
03:20:07,356 --> 03:20:08,505
PRODUCER

3679
03:20:08,716 --> 03:20:10,707
. . . a ridiculous hat and chased

3680
03:20:10,916 --> 03:20:14,909
in white corridors
because it is the future.

3681
03:20:15,116 --> 03:20:21,191
That's not what we did.
We made a film foreign to the others.

3682
03:20:24,436 --> 03:20:27,712
It's a dirty world,
with dirty characters.

3683
03:20:27,916 --> 03:20:31,704
There is a romantic side
in all this humidity,

3684
03:20:31,916 --> 03:20:37,036
this dirt, these sidewalks
and this desolation.

3685
03:20:37,236 --> 03:20:42,026
The underground aspect of the film

3686
03:20:42,236 --> 03:20:45,387
gave it a special status.

3687
03:20:45,596 --> 03:20:47,473
On Thursday evening,
in the Lower East Side. . .

3688
03:20:47,676 --> 03:20:49,029
It was in 1983.

3689
03:20:49,236 --> 03:20:50,464
In the Lower East Side,

3690
03:20:50,676 --> 03:20:53,429
there were projections
from Blade Runner at midnight.

3691
03:20:53,636 --> 03:20:54,989
ASSISTANT ART DIRECTOR

3692
03:20:55,196 --> 03:20:58,984
I understood that it would become
a monument. History did the rest.

3693
03:20:59,196 --> 03:21:00,709
The film remained popular

3694
03:21:00,916 --> 03:21:02,793
not by mainstream success,

3695
03:21:02,996 --> 03:21:05,305
but by success with
of a group of people.

3696
03:21:05,516 --> 03:21:06,995
There is a fan club for the film,

3697
03:21:07,236 --> 03:21:10,114
a Star Wars fan club,
from Star Trek and other films.

3698
03:21:10,356 --> 03:21:12,472
Upon their exit,
not all of them were successful,

3699
03:21:12,676 --> 03:21:16,032
but fans never forget.
Word of mouth works.

3700
03:21:16,236 --> 03:21:17,749
They talk about it constantly.

3701
03:21:17,996 --> 03:21:20,988
They know the true value
cinema,

3702
03:21:21,236 --> 03:21:23,147
of this kind of films and cultures.

3703
03:21:23,356 --> 03:21:25,631
It's a good thing that these films

3704
03:21:25,836 --> 03:21:27,315
don't disappear

3705
03:21:27,516 --> 03:21:29,552
and that, thanks to the DVD,
we can keep them.

3706
03:21:29,756 --> 03:21:31,348
VISUAL EFFECTS SUPERVISOR -
E.T.

3707
03:21:31,556 --> 03:21:36,584
We're sitting there,
25 years after its release.

3708
03:21:36,796 --> 03:21:38,070
And it continues

3709
03:21:38,276 --> 03:21:41,188
with all the fan sites,
people all over the world

3710
03:21:41,396 --> 03:21:44,433
who are still wondering:
''Is Harrison Ford a Replicant?''

3711
03:21:44,636 --> 03:21:48,151
All this promotion

3712
03:21:48,356 --> 03:21:52,986
is created by fans only.
And that can't be bought.

3713
03:21:55,236 --> 03:21:58,592
GEORGE MICHAEL ''FREEEK! ''
DIRECTOR: JOSEPH KAHN

3714
03:22:01,076 --> 03:22:04,591
After Blade Runner, there were plenty
clips with the Bradbury Building,

3715
03:22:04,796 --> 03:22:07,833
rain and everything else.

3716
03:22:18,396 --> 03:22:21,229
These groups increasingly used

3717
03:22:21,836 --> 03:22:25,226
these dark nights, with this rain
and all that steam.

3718
03:22:25,436 --> 03:22:28,667
And I said to myself:
''It's from Blade Runner. ''

3719
03:22:28,876 --> 03:22:32,073
I then realized
of its impact.

3720
03:22:32,276 --> 03:22:34,392
His universe had a huge influence

3721
03:22:34,636 --> 03:22:37,196
about movies
and science fiction in general.

3722
03:22:37,716 --> 03:22:41,072
It is certain
that the dark side of the film

3723
03:22:41,276 --> 03:22:44,871
played a role
in the emergence of cyberpunk.

3724
03:22:48,316 --> 03:22:51,069
It gave birth
to a genre of science fiction

3725
03:22:51,556 --> 03:22:56,232
where the future is no longer immaculate,
like in Star Trek.

3726
03:22:56,436 --> 03:23:00,395
We begin to see
the misfortunes of society.

3727
03:23:00,636 --> 03:23:03,355
If you want to become
an aesthetic director,

3728
03:23:03,556 --> 03:23:06,787
to really get there,

3729
03:23:07,036 --> 03:23:08,788
you need to study Blade Runner.

3730
03:23:09,036 --> 03:23:12,153
I started studying the film
at the age of 15 or 16,

3731
03:23:12,356 --> 03:23:15,189
watching the tape
on my old VCR.

3732
03:23:15,436 --> 03:23:18,508
I analyzed it from top to bottom

3733
03:23:18,716 --> 03:23:22,391
to try to understand his choices
in terms of light, framing,

3734
03:23:22,596 --> 03:23:25,986
of darkness,

3735
03:23:26,196 --> 03:23:28,835
contrast, silhouette,
and everything else.

3736
03:23:29,036 --> 03:23:33,393
Blade Runner is a reference for
films from the last 30 years.

3737
03:23:33,636 --> 03:23:36,104
When speaking with the authors,

3738
03:23:36,316 --> 03:23:38,591
with producers
or with the studios. . .

3739
03:23:38,836 --> 03:23:40,713
EXECUTIVE PRODUCER -
BATTLESTAR GALACTICA

3740
03:23:40,916 --> 03:23:44,226
. . . we often talk about Blade Runner
and his vision of the future.

3741
03:23:44,436 --> 03:23:46,996
this allows us to define
a certain iconography:

3742
03:23:47,196 --> 03:23:51,428
rain,
the feeling of permanent darkness,

3743
03:23:51,636 --> 03:23:57,188
the non-utopian future,
the aesthetics of this universe.

3744
03:23:57,436 --> 03:24:01,145
This Los Angeles is very influenced

3745
03:24:01,356 --> 03:24:04,587
by an Asian aesthetic,
to the point that there are giant panels

3746
03:24:04,796 --> 03:24:08,755
with a woman made up like a geisha
who speaks to you.

3747
03:24:08,956 --> 03:24:13,427
This urban landscape is now part
conversations

3748
03:24:13,636 --> 03:24:15,194
of the world of cinema.

3749
03:24:15,436 --> 03:24:19,395
Of all the monuments
science fiction,

3750
03:24:19,596 --> 03:24:22,906
the one who hits hard
by laying the foundations. . .

3751
03:24:23,116 --> 03:24:24,549
DIRECTOR - PHOTO OBSESSION

3752
03:24:24,756 --> 03:24:27,634
. . . It’s Blade Runner.

3753
03:24:29,516 --> 03:24:34,544
Scenes of overpopulation
are rich and varied,

3754
03:24:34,756 --> 03:24:37,270
extremely detailed,

3755
03:24:37,476 --> 03:24:39,546
just like the covers
magazines,

3756
03:24:39,756 --> 03:24:42,350
the appearance of punks,
Hare Krishnas

3757
03:24:42,556 --> 03:24:45,468
and cell sellers.

3758
03:24:45,676 --> 03:24:48,110
It's not fair
a style of character.

3759
03:24:48,316 --> 03:24:51,752
It's not just characters
à la Moebius,

3760
03:24:51,996 --> 03:24:53,634
in the foreground or background.

3761
03:24:53,836 --> 03:24:57,829
There is also
punks from Piccadilly Circus.

3762
03:24:58,316 --> 03:25:01,831
This company is made up
of different layers.

3763
03:25:02,036 --> 03:25:04,391
And you can still see it.

3764
03:25:04,596 --> 03:25:09,386
Large billboards
like in Kyoto or Tokyo.

3765
03:25:09,596 --> 03:25:11,427
We managed to create a visual

3766
03:25:11,636 --> 03:25:15,424
based on different cities around the world:

3767
03:25:15,636 --> 03:25:17,274
CHIEF DECORATOR

3768
03:25:17,476 --> 03:25:20,513
. . . Tokyo, Kyoto, Beijing or Hong Kong.

3769
03:25:20,716 --> 03:25:25,870
The last time I was
in Hong Kong, I went to Kowloon.

3770
03:25:26,436 --> 03:25:29,314
I walked the streets of the city.

3771
03:25:29,516 --> 03:25:32,189
It feels like
in a Blade Runner landscape.

3772
03:25:33,396 --> 03:25:38,595
The idea of artificial life
is very relevant today

3773
03:25:38,796 --> 03:25:41,993
and becomes more and more likely

3774
03:25:42,196 --> 03:25:45,950
with the appearance
cutting-edge super-technologies,

3775
03:25:46,156 --> 03:25:48,670
where computers beat
men in chess.

3776
03:25:48,876 --> 03:25:52,551
The idea of a Replicant
is more conceivable today.

3777
03:25:53,476 --> 03:25:55,706
The irony is that,

3778
03:25:55,996 --> 03:25:58,749
one of the central themes of the film

3779
03:25:58,996 --> 03:26:02,306
is the oppressive presence
of corporate culture.

3780
03:26:02,876 --> 03:26:05,231
We find
this oppressive presence

3781
03:26:05,436 --> 03:26:10,749
in a lot of bad movies.

3782
03:26:10,996 --> 03:26:14,625
This is why Blade Runner
is still so alive.

3783
03:26:16,436 --> 03:26:18,586
A little time has passed

3784
03:26:18,796 --> 03:26:22,835
between its cinema release and its release
on cassette or its television broadcast.

3785
03:26:23,516 --> 03:26:25,746
1980 was the advent
of the video cassette.

3786
03:26:25,996 --> 03:26:29,227
It's a technology
which changed everything.

3787
03:26:29,436 --> 03:26:32,269
The public realized

3788
03:26:32,476 --> 03:26:35,274
that he could watch the film on his TV,
pause,

3789
03:26:35,476 --> 03:26:37,512
stop it or go back.

3790
03:26:37,716 --> 03:26:39,672
They could manipulate the film,

3791
03:26:39,876 --> 03:26:43,312
just like Deckard
manipulates Roy Batty's photo.

3792
03:26:43,516 --> 03:26:46,030
They understand the scope
of this technology,

3793
03:26:46,236 --> 03:26:48,227
and it starts to work.

3794
03:26:48,436 --> 03:26:52,952
It was not until 1990,
that the copy was available,

3795
03:26:53,156 --> 03:26:55,795
at the 70mm Film Festival, Fairfax.

3796
03:26:56,076 --> 03:26:59,307
People said to themselves:
''There is still a new version.

3797
03:26:59,516 --> 03:27:01,472
What are all these versions?''

3798
03:27:01,676 --> 03:27:04,395
This is where the problems started.

3799
03:27:04,636 --> 03:27:08,072
People saw
that Ridley's vision

3800
03:27:08,276 --> 03:27:11,712
had been altered

3801
03:27:11,916 --> 03:27:14,874
so that the film is
more general public.

3802
03:27:15,076 --> 03:27:17,146
RIDLEY SCOTT’S VERSION
A FUTURISTIC ADVENTURE

3803
03:27:17,356 --> 03:27:19,028
It had been shortened.

3804
03:27:19,236 --> 03:27:25,391
I appreciated it more
the unchanged version,

3805
03:27:25,636 --> 03:27:27,786
not mounted,

3806
03:27:28,036 --> 03:27:32,427
purely visual
and without the narration.

3807
03:27:32,636 --> 03:27:35,753
Now I like both versions.

3808
03:27:35,956 --> 03:27:37,992
You can choose
different emotions.

3809
03:27:38,796 --> 03:27:44,154
In the director's version,
there is a unicorn. It's a symbol.

3810
03:27:44,356 --> 03:27:46,916
It is supposed to represent
the beauty of a good being.

3811
03:27:47,116 --> 03:27:49,072
It's ambiguous.

3812
03:27:49,276 --> 03:27:51,153
My interpretation is not:

3813
03:27:51,356 --> 03:27:53,551
''this proves that Deckard
is a Replicant. ''

3814
03:27:53,756 --> 03:27:56,907
There is nothing to prove
that Deckard is a Replicant.

3815
03:27:57,116 --> 03:27:59,266
If you think that,
you are completely wrong.

3816
03:27:59,476 --> 03:28:03,389
What is interesting,
it is precisely the doubt.

3817
03:28:03,596 --> 03:28:04,915
The response is useless.

3818
03:28:05,116 --> 03:28:06,595
There was a whole process

3819
03:28:06,796 --> 03:28:10,550
before people catch on
the exceptional character of the film.

3820
03:28:10,756 --> 03:28:13,828
It takes a lot of time
before realizing this,

3821
03:28:14,036 --> 03:28:18,427
like during the first screenings.
There was a snowball effect.

3822
03:28:18,636 --> 03:28:20,513
My story is part of this effect.

3823
03:28:20,716 --> 03:28:23,594
It sparked interest.
We had books about the film,

3824
03:28:23,796 --> 03:28:25,388
which accelerated this craze.

3825
03:28:25,596 --> 03:28:28,474
As it was a good story,
people were interested in it.

3826
03:28:28,676 --> 03:28:32,066
''It looks good.
I really want to see this. ''

3827
03:28:32,276 --> 03:28:35,791
Or they saw the reruns
at the cinema, or they rented it,

3828
03:28:36,036 --> 03:28:39,426
but they plunged back
more and more in Blade Runner.

3829
03:28:39,636 --> 03:28:42,469
And from there, we fall in love.

3830
03:28:44,556 --> 03:28:47,468
This is one of the films I watched
my whole childhood. . .

3831
03:28:47,676 --> 03:28:49,029
DAUGHTER OF RIDLEY SCOTT

3832
03:28:49,236 --> 03:28:51,625
. . . and, then, into adulthood.

3833
03:28:51,836 --> 03:28:57,752
Every time you look at it,
you notice something

3834
03:28:57,996 --> 03:29:01,909
or you settle on a theme
that you haven't seen before.

3835
03:29:02,116 --> 03:29:06,109
In my opinion,
this film contains elegance,

3836
03:29:06,316 --> 03:29:08,546
the power

3837
03:29:08,756 --> 03:29:13,272
and the singularity
of a cinematic experience.

3838
03:29:13,476 --> 03:29:16,912
it doesn't come from a script

3839
03:29:17,116 --> 03:29:20,870
which was written in a certain way.

3840
03:29:21,076 --> 03:29:26,025
It is the most classic writing,
the most beautiful and purest.

3841
03:29:26,236 --> 03:29:29,785
And the realization is. . .

3842
03:29:30,036 --> 03:29:32,789
The images, the sound, the music. . .

3843
03:29:33,236 --> 03:29:36,034
That’s 80% of the layers of storytelling.

3844
03:29:36,236 --> 03:29:38,989
That's the difference.
It's pure cinema.

3845
03:29:39,876 --> 03:29:44,506
The films I worked on
which contain

3846
03:29:44,716 --> 03:29:47,556
anxiety, worry
and agitation

3847
03:29:47,556 --> 03:29:48,386
anxiety, worry
and agitation

3848
03:29:48,636 --> 03:29:53,027
seem to be the most successful.

3849
03:29:53,236 --> 03:29:58,435
With people really involved,
which are all. . .

3850
03:29:58,716 --> 03:30:01,947
Writers for whom
I have a lot of respect.

3851
03:30:02,156 --> 03:30:03,874
This is the case for Ridley.

3852
03:30:04,076 --> 03:30:07,671
For most of his films,

3853
03:30:07,876 --> 03:30:10,788
you can pay homage to him.
He's an incredible director.

3854
03:30:11,636 --> 03:30:15,595
That was a long time ago now.
Ridley deserves a standing ovation

3855
03:30:15,796 --> 03:30:19,311
from his vision of things,

3856
03:30:19,516 --> 03:30:21,552
but also those
who wrote the script.

3857
03:30:21,756 --> 03:30:24,224
Dick too, who imagined

3858
03:30:24,436 --> 03:30:28,065
this world in the future.

3859
03:30:31,036 --> 03:30:34,187
Blade Runner is a warning.

3860
03:30:34,436 --> 03:30:38,475
The film tells us:
''Look at the world we're heading towards.

3861
03:30:38,676 --> 03:30:41,748
Look what we do to others.
Don't be a Replicant.

3862
03:30:41,956 --> 03:30:45,471
Don't stupidly obey orders
by shooting women in the back.

3863
03:30:45,676 --> 03:30:51,467
Control your own emotions.
Be human. ''

3864
03:30:51,676 --> 03:30:54,031
That was exactly the message
by Philip K. Dick,

3865
03:30:54,236 --> 03:30:55,988
a rather exhilarating message,

3866
03:30:56,196 --> 03:30:59,745
especially at a time when we were putting
forward the material side of things.

3867
03:30:59,956 --> 03:31:02,595
Blade Runner speaks
on the spiritual side of things.

3868
03:31:07,236 --> 03:31:12,185
Time does a work
grandiose or classic.

3869
03:31:13,236 --> 03:31:17,912
Today,
most films are disposable.

3870
03:31:18,116 --> 03:31:20,755
There are the big hits of the summer.
I'm not going to mention them,

3871
03:31:20,956 --> 03:31:23,595
but they come out
and disappear the following week.

3872
03:31:23,796 --> 03:31:26,868
Nobody wants
keep them or review them.

3873
03:31:27,556 --> 03:31:29,990
Really well-made films,

3874
03:31:30,196 --> 03:31:32,585
the Casablancas of science fiction,

3875
03:31:32,796 --> 03:31:35,390
last longer
and are always appreciated.

3876
03:31:37,436 --> 03:31:42,556
What makes the film,
it’s the intensity of his perfectionism.

3877
03:31:42,756 --> 03:31:46,066
It's a masterpiece
of the highest level.

3878
03:31:47,796 --> 03:31:51,675
I absolutely wanted to manage beauty.

3879
03:31:51,876 --> 03:31:53,514
it had to be shot by shot.

3880
03:31:54,836 --> 03:31:58,306
I have very high expectations.

3881
03:31:58,516 --> 03:32:00,552
Your talent is useful.
I chose you

3882
03:32:00,756 --> 03:32:02,553
because you are good

3883
03:32:02,756 --> 03:32:07,830
and I'm going to push you hard.
I want the best.