This came up about a month ago when someone posted a link celebrating the title cards in Blade Runner. I responded then the same way I will respond now: it’s not just the amazing visuals, it’s also the amazing auditory experience, an additional creative dimension to transport the audience into a dystopian future.
The audio consists of two parts: the wonderful minimalist score by Vangelis, and sound effects that include distant booms, twinkling computer notes, dripping rain, strange languages, the whoosh of futuristic vehicles, even small details such as the crosswalk warning. Along with the set design, photography, special effects, acting, and other visual elements, the audio effectively immerses viewers into this incredible world and story.
Keep in mind that a typical viewer entering the local cineplex in 1982 to watch Blade Runner might have just stepped out of a Chevy Nova with an 8-track cassette player loaded with Juice Newton and Kool & The Gang. The visuals, the score, the sound effects, and the story would have been completely novel, and totally mind-blowing.
I saw Blade Runner in its first theater run, and I was bored. But it stayed with me, and decided that I had to watch it again. And again and again, and I've now seen in dozens of times over the years. It is one of my favorites, for the completeness of the world, for the visuals, for the music, for the ideas, for the acting, for the little details I keep discovering.
Ridley Scott's idea of the scifi future being as gritty, ugly and dysfunctional as current times led to his creation of his two scifi masterpieces -- Blade Runner and Alien. The sequels have been disappointing, they had to be.
> The sequels have been disappointing, they had to be.
Scott never owned the rights to Blade Runner and wasn't heavily involved in 2049.
It shows. The script. The choice of actors. Clumsy scenes, like the fight scene at the casino with its stiff choreography. The pointless "virtual girlfriend" subplot. The location for the shoots (Hungary IIRC) which really limited the pool of extras - hardly a single Asian person to be seen.
Some of the people who worked on the film tried their best, including the CGI and set designers and the score (by Hans Zimmer) but I could only watch it once from beginning to end in IMAX. The second time at home I had to stop halfway through.
I had modest expectations going in (I mean, how could it possibly compare?). But it was still disappointing. I expected so much better from Denis Villeneuve. Unfortunately, he seems to have veered into big-budget pretentious scifi schlock.
I had to leave the IMAX showing of 2049, it was deafening (and I'm already hard of hearing!) Saw the whole thing in an ordinary non-IMAX theater, which was much more tolerable.
The highlight of my summer was Blade Runner Live At the Acropolis. The movie was shown in the ancient theater with a live orchestra performing Vangelis.
They may have a global tour of it in some places this fall.
Wow... The venue almost adds another layer to the movie. You're watching a 1982 vision of 2019, accompanied by live electronic-orchestral music, inside a theater built a couple thousand years ago...
Also Vangelis was pretty much inspired by Byzantine Greek Music which was inspired by Ancient Greek music which was played in the ancient theater 2 millennia ago.
And behind the screen on the horizon, framed in a stone arch, was the lights of the ongoing Elliniko megatower construction project, which already dwarfs every structure in the country. It was another layer onto what you described.
I agree. The other week I saw this at a movie theater. I was blown away by the audio experience. So much better than watching it on my subpar home audio.
It was a cool experience to watch this on the big screen.
The audio was good but after I listened to it many times, I started to dislike it. On the other hand, for instance, the Conan the barbarian main themes I can always listen to numerous times.
I think Blade Runner stands out for the visual effects though. The dystopian future cities were great. It were these effects packed into a storyline why I did not want to watch the "sequel".
I wonder if part of that is that Blade Runner doesn't optimize for the first viewing. Once you already know where the plot is going, your attention is free to wander into the production design, sound, background activity
The first theatrical release had a drab narration by Harrison Ford. At places it makes it sound like a cheap film noir detective story.
The Directors Cut is the unbutchered version.
Maybe 4D chess by Ridley Scott. Most had seen the optimized version first and was prepared for the magic which is the recut version ;-)
I have the opposite feeling with Apocalypse Now. The Redux version killed the pacing and explained too much. The added scenes are by themselves worthwhile (and explains later actions) but makes the complete movie a bit heavy handed.
By comparison Blade Runner feels more ethereal even though the both cover dark subjects of human nature.
The Director's Cut (released in 1992) drops the narration and adds the dream sequence, but despite the name is not entirely approved by Ridley Scott.
The Final Cut (released in 2007) is the only version where Ridley Scott had full final cut approval. It re-masters the audio, fixes some of the effects (replacing faces on stunt doubles, removing wires, etc), and changes a few lines (most notably "I want more life, father" instead of "fucker"). The color is also re-graded.
Some people prefer the Director's Cut over the Final Cut, especially the color grading, although I saw the Final Cut in 35mm when it was released and it looked pretty spectacular. In any event the changes in the Final Cut are nowhere near as egregious as the Star Wars special editions or the AI remasters of James Cameron's films.
> the Star Wars special editions or the AI remasters of James Cameron's films
I really wonder why some creatives are so determined to sabotage their earlier works later in life. Do they actually believe that they are making them better and are so used to being told how great they are that they can too easily dismiss anyone telling them otherwise? Or are they perhaps (consciously or subconsciously) threatened by a standard that their current self can no longer match up to?
It's sad that with the way copyright and movie distribution work that these butchered version become the only version new audiences get to see.
Yup. It's one of those weird and rare movies that grows on you the number of times you watch it. I have watched it at different ages. The later I have watched the better it seemed.
The audio consists of two parts: the wonderful minimalist score by Vangelis, and sound effects that include distant booms, twinkling computer notes, dripping rain, strange languages, the whoosh of futuristic vehicles, even small details such as the crosswalk warning. Along with the set design, photography, special effects, acting, and other visual elements, the audio effectively immerses viewers into this incredible world and story.
Keep in mind that a typical viewer entering the local cineplex in 1982 to watch Blade Runner might have just stepped out of a Chevy Nova with an 8-track cassette player loaded with Juice Newton and Kool & The Gang. The visuals, the score, the sound effects, and the story would have been completely novel, and totally mind-blowing.