Seven versions of the film Blade Runner exist, but the Director's Cut, The Final Cut and International Cut are the most widely known and seen:
- The U.S. Theatrical Cut (also known as Original Version), released in the U.S. in June 1982.
- The International Cut (also known as Criterion Edition), which included more graphic violence than the U.S. theatrical release was released theatrically outside the U.S. and was the version released on VHS and Laserdisc, most notably as part of The Criterion Collection.
- The workprint discovered in 1989, shown only as an audience test preview and occasionally at film festivals; this was distributed in 1991, as a Director's Cut without Scott's approval.
- The Ridley Scott-approved 1992 Director's Cut; prompted by the unauthorized 1991 release and was for a time the only available version on DVD.
- Ridley Scott's (2001-2007) Final Cut, was briefly released theatrically and onto various home media formats by Warner Home Video in late 2007.
Workprint[edit | edit source]
The version dubbed the "workprint version" is the oldest-existing cut of Blade Runner. This is an incomplete version of the film, as it had not yet been color-corrected or sound mixed and it lacked several parts of Vangelis' score. Ridley Scott stated that the workprint was "Something that was pretty rough, but close enough to what I was after to let a preview audience see." Thus, the cut was shown to preview audiences in Denver, Colorado and Dallas, Texas in March 1982.
This version was rediscovered in 1989 by Michael Arick, who initially believed it to be the international cut. It was screened the following year at the Los Angeles Fairfax Theater as part of a 70mm spring festival. During this screening is when it was discovered to actually be a surviving copy of the workprint. Because the workprint was closer to Ridley Scott's vision for the film than the theatrical cuts, Arick became interested in producing a reconstruction of the film, an effort that ultimately resulted in the 1992 Director's Cut.
Theatrical Versions[edit | edit source]
The 1982 American and international theatrical versions released by the studio included a "happy ending" (using stock footage from Stanley Kubrick's The Shining) and a voice-over added at the request of studio executives during post-production after test audience members indicated difficulty understanding the film. Although several different versions of the script had included a narration of some sort, both Ridley Scott and Harrison Ford disliked the studio voice-over and resisted having it added to the film. It has been suggested that Ford intentionally performed the voice-over poorly in the hope it wouldn't be used, but recent interviews contradict this.
In an interview with Playboy magazine in 2002, Ford was asked (about the voice-over) if he "deliberately read it badly, hoping they'd drop it?". He replied "No. I delivered it to the best of my ability given that I had no input. I never thought they'd use it. But I didn't try and sandbag it. It was simply bad narration." He added, "I was compelled by my contract to do the narration. When I first agreed to do the film, I told Ridley there was too much information given to the audience in narration." Ford had suggested to Ridley Scott that they "take it out and put it into scenes and let the audience acquire this information in a narrative fashion, without being told it." Scott thought this a good idea. "When we got done, the studio said nobody will understand this fucking movie. We have to create a narrative. They had already thrown Ridley off the movie - they were over budget. So I was compelled by my contract to record this narration." Ford is also quoted (in 1999 about the voice-over) saying: "I had no chance to participate in it, so I simply read it. I was very, very unhappy with their choices and with the quality of the material. I contested it mightily at the time. It was not an organic part of the film.'"
The International Cut[edit | edit source]
The International Cut, or Unrated Version, is largely identical to the theatrical release but with extra violence added in three scenes:
- When Batty confronts Tyrell in his bedroom, in addition to crushing Tyrell's face with his hands, Batty pokes out Tyrell's eyes with his thumbs, releasing a huge amount of blood.
- When Pris has somersaulted onto Deckard's back, rather than hitting him three times and then dropping him (as she does in the R-rated versions), she hits him twice, then inserts her fingers into his nostrils and releases her legs, holding him up by his nostrils for a few seconds before dropping him to the floor. The shot of him falling to the floor is identical in all versions. Deckard also shoots Pris an extra time, and the scenes of her thrashing randomly on the floor after having been shot are slightly extended.
- When Batty is being hunted by Deckard at the end of the film, he pushes a nail through his own hand, which again bleeds profusely.
This is the version of the film widely available on Home Video throughout the 1980s and the cut of the film that was distributed on a widescreen LaserDisc by Criterion with supplementary material.
Director's Cut[edit | edit source]
In 1990, Warner Bros. briefly allowed theatrical screenings of a 70 mm copy of the workprint version of the film, advertising it as a Director's Cut. However, Ridley Scott publicly disowned the workprint version of the film as his definitive Director's Cut, citing that it was roughly edited and lacked the score composed for the film by Vangelis. In response to Scott's dissatisfaction (and in part because of the film's resurgent cult popularity by the early 90s) Warner Bros. decided to assemble a definitive Director's Cut of the film with direction from Scott to be released in 1992.
They hired film-restorationist Michael Arick, who had rediscovered the workprint of Blade Runner and who was already doing consultation work for them, to head the project with Scott. He started by spending several months in London with Les Healey, who had been the assistant editor on Blade Runner, attempting to compile a list of the changes that Scott wanted made to the film. He also received a number of suggestions/directions directly from the director himself. Three major changes were made to the film which most would agree significantly changed the feel of the film: the removal of Deckard's explanatory voice-over, the re-insertion of a dream sequence of a unicorn running through a forest, and the removal of the studio-imposed "happy ending", including some associated visuals which had originally run under the film's end-credits. The original sequence of Deckard's unicorn dream wasn't found in a print of sufficient quality; the original scene shows Deckard intercut with the running unicorn. Arick was thus forced to use a different print that shows only the unicorn running without any intercutting to Deckard. As mentioned above, the removal of the "happy ending" and the re-insertion of the unicorn scene suggests a completely different ending where Gaff's origami unicorn would mean that Deckard's dreams are also known, and therefore he too would be a replicant of the same generation as Rachael. That would also explain the need for the unicorn scene.
Scott has since complained that time and money constraints, along with his obligation to Thelma & Louise, kept him from retooling the film in a completely satisfactory manner. While he is happier than before with the 1992 release of the film, he has never felt entirely comfortable with it as his definitive Director's Cut.
In 2000, Harrison Ford gave his view on The Director's Cut of the film saying, although he thought it “spectacular” it didn't “move him at all”. He gave a brief reason: "They haven't put anything in, so it's still an exercise in design."
Originally released as a single-disc DVD in 1997, the Director's Cut was one of the first DVDs on the market. However, it is of low quality compared to DVDs of today (and even DVDs of the time) due to it being produced in the early days of the format and using a cropped LaserDisc master. It was re-released for a limited time with a new video transfer in 2006 in the months leading up to the release of The Final Cut.
The Final Cut[edit | edit source]
Partly as the result of those complaints, Scott was invited back in mid-2000 to help put together a final and definitive version of the film, which was completed in mid-2001. During the process, a new digital print of the film was created from the original negatives, special effects were updated and cleaned, and the sound was remastered in 5.1 Dolby Digital surround sound. Unlike the rushed 1992 Director's Cut, Scott personally oversaw the new cut as it was being made. The Special Edition DVD was slated for a Christmas time 2001 release, and was originally rumored to be a three-disc set including the full international theatrical cut, an early workprint with additional scenes, and the newly enhanced version in addition to deleted scenes, extensive cast and crew interviews, and the documentary "On the Edge of Blade Runner". But Warner Bros. indefinitely delayed the "Special Edition" release after legal disputes began with the film's financiers (specifically Jerry Perenchio), who were ceded ownership of the film when the shooting ran over budget from $21.5 to $28 million.
After years of legal disputes, Warner Bros. announced in 2006 that it had finally secured full distribution rights to the film. They planned for three stages of releases for the film. First, a digitally remastered single-disc limited re-release of the 1992 Director's Cut was released on September 5, 2006 in the United States and on October 9, 2006 in Ireland and the UK. Second, Ridley Scott's new "Final Cut" and was given limited release theatrically on October 5, 2007. It later expanded to other markets.
The release of the Final Cut occurred on December 18, 2007 and was made available on DVD, and the then-new Blu-Ray and HD-DVD formats. Releases included:
- Two-Disc Special Edition - including The Final Cut version plus a bonus disc with the lengthy documentary Dangerous Days: Making Blade Runner.
- Four-Disc Collector's Edition - including the same content as the Two-Disc edition in the same formats, this version also included The Theatrical Cut, The International Cut and the 1992 Director's Cut and a disc of bonus features.
- Five-Disc Ultimate Collector's Edition - packaged in a small briefcase resembling a Voight-Kampff machine, this edition included the same content as the Four-Disc edition but also included several pieces of collectible memorabilia as well as the Workprint Edition of the film on a fifth disc.
- The Final Cut - This release, as the name would suggest, includes only The Final Cut and omits Disc 2 with the Dangerous Days documentary from the Two-Disc Special Edition. Steelbooks of this Blu-ray were also produced in limited quantities.
- 30th Anniversary Edition - Packaged in a "collector's boxset" and exclusive to Blu-ray with a spinner replica and a 72-page exclusive booklet (also includes a fourth disc; a DVD of The Final Cut, along with Ultraviolet and Digital copies). A 3-disc Digibook edition was also released—the 3 discs being identical to the ones released in the 4-disc version, minus the Ultraviolet/Digital copies disc. This version also comes with an exclusive booklet, but it's cut down to 36 pages. Both versions of this release include all bonus materials from the 2007 release, and includes a new still image gallery with over 1000 photos and combines them, Dangerous Days, The Workprint and the rest of the bonus features into one 50GB Blu-ray disc.
Differences[edit | edit source]
- Note: The San Diego sneak preview version has been omitted, as it is unclear what two scenes were added. Otherwise, it is reportedly identical to the U.S. theatrical version.
|Workprint (1982)||U.S. theatrical cut (1982)||International theatrical cut (1982)||U.S. broadcast cut (1986)*||Director's Cut (1992)||The Final Cut (2007)|
|Opening titles||Opening credits are shown for Harrison Ford and the title of the film, followed by a definition for replicant. Beyond this, there is no opening crawl.||The opening credits are more complete. An opening crawl is present, which explains replicants, their prohibition on Earth, and the Blade Runner Units that hunt them.||The opening crawl is similar to the other non-workprint versions, but with alternate text, read aloud by an uncredited narrator.||The opening credits are more complete. An opening crawl is present, which explains replicants, their prohibition on Earth, and the Blade Runner Units that hunt them.|
|Music||The score is incomplete, with several scenes featuring cues from Planet of the Apes, Freud, and Alien instead, or no music at all. Additionally, "If I Didn't Care" by The Ink Spots is heard in this cut; it is replaced in subsequent versions with an original composition, "One More Kiss, Dear."||The full score is present.||The full score is present, except a short segment replaced by the unicorn dream.|
|Shooting of Holden||The camera lingers on Holden after he is sent through the wall.||After Holden is sent through the wall, the film almost immediately cuts to the next scene.|
|Narration||Only one narration is present, unique to this version, occurring after Roy Batty's death.||All narrations are present.||All narrations are absent.|
|Number of replicants||Bryant says that two of the six replicants were killed while breaking into the Tyrell headquarters.||Bryant says that one of the six replicants was killed while breaking into the Tyrell headquarters.||Bryant says that two of the six replicants were killed while breaking into the Tyrell headquarters.|
|Unicorn dream||Absent; Deckard instead sits at his piano until picking up Leon's photo.||Present; not full-length||Present; full-length|
|AV-synchronization in Abdul Ben Hassan scene||The dialogue is different than in the other versions and lacks sync issues.||Deckard's dialogue is completely out-of-sync with his lips.||The dialogue is in sync; Ford's son, Ben Ford, was filmed reciting Deckard's lines and his mouth and chin were digitally placed over his father's.|
|Zhora's death||Lee Pulford, Joanna Cassidy's stunt double, is clearly visible in the shot of Zhora falling.||Joanna Cassidy is digitally inserted over Lee Pulford as Zhora falls.|
|"I want more life..."||Roy completes the sentence with "father."||Roy completes the sentence with "fucker."||Roy does not add any more to the sentence.||Roy completes the sentence with "fucker."||Roy completes the sentence with "father."|
|Tyrell's death||Roy gouges Tyrell's eyes out as he crushes his head. However, the shot of Roy plunging his thumb into the left eye is omitted. Afterward, Roy says to J.F., "Sorry, Sebastian. Come. Come."||Roy crushes Tyrell's head; no eye-gouging is visible.||Roy gouges both of Tyrell's eyes out as he crushes his head.||Roy crushes Tyrell's head, but the scene is shortened, with no visible eye-gouging.||Roy crushes Tyrell's head; no eye-gouging is visible.||Roy gouges both of Tyrell's eyes out as he crushes his head. Afterward, Roy says to J.F., "Sorry, Sebastian. Come. Come."|
|Pris' death||Pris is shot two times.||Pris is shot three times.||Pris does not trap Deckard between her legs, nor does she flail on the floor. She is shot twice.||Pris is shot two times.||Pris is shot three times.|
|Flight of Roy's dove||After Roy dies, the dove flies into a light sky.||The dove flies into a dark sky.|
|Ending||The film cuts to black after Deckard and Rachael board the elevator; there are no ending credits, only the words "THE END."||The "Happy Ending" – After Deckard and Rachael board the elevator, they are seen driving in the countryside. In a voiceover, Deckard reveals that Tyrell informed him that Rachael does not have a built-in lifespan.||The film cuts to black after Deckard and Rachael board the elevator.|
- * = This version is additionally edited for violence, sexual content, and strong language.