Warning: You are not logged in. Your IP address will be publicly visible if you make any edits. If you log in or create an account, your edits will be attributed to your username, along with other benefits. Anti-spam check. Do not fill this in!==Production== [[Philip K. Dick]] died before its release, but saw a forty-minute special effects test reel, about which he was very complimentary. The screenplay, by [[Hampton Fancher]], attracted producer [[Michael Deeley]] (who secured several financing sources, later problematic when one delayed the release of the film's Special Edition) who convinced director [[Ridley Scott]] to create his first American film; Scott was unhappy with the script and had [[David Peoples]] rewrite it. The title derives from Alan E. Nourse's novel ''The Bladerunner'' (1974), whose protagonist smuggles black-market surgical instruments. William S. Burroughs' wrote ''Bladerunner, A Movie'' a cinema treatment. Aside from the title, neither Nourse's novel nor Burroughs's treatment are relevant to the film. Screenwriter Fancher happened upon a copy of ''Bladerunner, A Movie'' whilst Scott searched for a commercial title for his film; Scott liked the title, obtained rights to it, but not to the novel; (Note: some editions of Burroughs' treatment-novel use the two-word spacing: ''Blade Runner''.) ''Blade Runner'' owes much to Fritz Lang's 1927 film ''Metropolis''. Scott credits Edward Hopper's painting ''Nighthawks'' and the proto-cyberpunk short story comic "The Long Tomorrow" (by Dan O'Bannon, art by Moebius) as stylistic mood sources. Scott hired [[Syd Mead]] as conceptual artist, both were influenced by the French science fiction comic magazine ''Métal Hurlant'' (Heavy Metal), to which Moebius contributed. Moebius was offered pre-production of ''Blade Runner'', he declined, to work on René Laloux's animated film ''[es Maîtres du temps'' — a decision Moebius later regretted. [[Lawrence G. Paull]] (production designer) and [[David Snyder]] (art director) realised Scott's and Mead's sketches. [[Jim Burns]] briefly worked designing the [[Spinner]] hovercars; [[Douglas Trumbull]] and [[Richard Yuricich]] supervised the special effects for the film. [[Image:BladeRunner Spinner Billboard.jpg|thumb|right|275px|A police [[spinner]] flies alongside an advertising-laden skyscraper in LA.]] Prior to principal photography, [[Paul M. Sammon]] was commissioned by ''Cinefantastique'' magazine to do a special article on the making of ''Blade Runner''. His detailed observations and research later became the book ''[[Future Noir: The Making of Blade Runner]]'', which is also called the ''Blade Runner Bible'' by the cult following of the film. The book outlines not only the evolution of ''Blade Runner'' but the politics and difficulties on-set; particularly on Scott's expectations (coming from Britain) of his first American crew. Also, his directing style with actors created friction with the cast and likely contributed to Ford's subsequent reluctance to discuss the film. Summary: Please note that all contributions to the Off-world: The Blade Runner Wiki are considered to be released under the CC-BY-SA Cancel Editing help (opens in new window) Retrieved from "https://bladerunner.fandom.com/wiki/Blade_Runner"