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| Blade Runner | |
|---|---|
| 基本资料 | |
| 导演 | 雷利·史考特 |
| 监制 | Michael Deeley[註 1] |
| 剧本 | |
| 原著 | 銀翼殺手 (小說) 菲利普·狄克作品 |
| 主演 | |
| 配乐 | 范吉利斯 |
| 摄影 | Jordan Cronenweth |
| 剪辑 |
|
| 制片商 |
|
| 片长 | 117 minutes[2] |
| 产地 | United States[3][4] Hong Kong[5] |
| 语言 | English |
| 上映及发行 | |
| 上映日期 |
|
| 发行商 | 华纳兄弟影业 (worldwide) Shaw Brothers (Hong Kong) |
| 预算 | $30 million[6] |
| 票房 | $41.6 million[7] |
Blade Runner is a 1982 科幻电影 directed by 雷利·史考特, and written by 汉普顿·芬奇 and David Peoples.[8][9] Starring 哈里森·福特, 魯格·豪爾, 辛·楊, and 爱德华·詹姆斯·奥莫斯, it is an adaptation of 菲利普·狄克's 1968 novel 銀翼殺手 (小說) The film is set in a 反乌托邦n future Los Angeles of 2019, in which 人形機器人 known as replicants are 生物工程学 by the powerful Tyrell Corporation to work on 太空移民. When a fugitive group of advanced replicants led by Roy Batty (Hauer) escapes back to Earth, burnt-out cop 瑞克·戴克 (Ford) reluctantly agrees to hunt them down.
Blade Runner initially underperformed in North American theaters and polarized critics; some praised its thematic complexity and visuals, while others critiqued its slow pacing and lack of action. The film's soundtrack, composed by 范吉利斯, was nominated in 1982 for a BAFTA and a Golden Globe as best original 電影配樂. Blade Runner later became a 邪典电影, and has since come to be regarded as one of the greatest science fiction films. Hailed for its production design depicting a 高科技 but decaying future, the film is often regarded as both a leading example of 新黑色 cinema as well as a foundational work of the 赛博朋克 genre. It has influenced many science fiction films, 銀翼殺手系列s, 日本动画, and television series. It also brought the work of Dick to Hollywood's attention and led to several film adaptations of his works. In 1993, it was selected for preservation in the 國家影片登記表 by the 國會圖書館 (美國).
Seven different versions of Blade Runner exist as a result of controversial changes requested by studio executives. A 导演剪辑版 was released in 1992 after a strong response to test screenings of a workprint. This, in conjunction with the film's popularity as a video rental, made it one of the earliest movies to be released on DVD. In 2007, 华纳兄弟 released The Final Cut, a 25th-anniversary digitally remastered version; this is the only version over which Scott retained artistic control. The film is the first of 銀翼殺手系列. A sequel, titled 銀翼殺手2049, was released in 2017 alongside a trilogy of short films covering the thirty-year span between the two films' settings. The anime series, 銀翼殺手：黑蓮花, was released in 2021.
劇情
[编辑]2019年11月的美國洛杉磯，退休警察瑞克·戴克被官员蓋夫截住，蓋夫带他去见老长官布萊恩。身为一名前「银翼杀手」，戴克過往的工作是追捕被称为「人造人」的生化机器人，并令他们「退役」（「杀死」的委婉说法）。布萊恩告訴戴克近來几位「連鎖六型」（Nexus-6）人造人非法来到地球，他们仅有四年寿命，可能来地球寻求延长生命的方法。
戴克與布萊恩查看另一名在職的「银翼杀手」霍登進行人性测驗（Voight-Kampff test）的錄影，這是一种透过对问题的同理心反应来从人类中区分出人造人。试验对象李昂在霍登问及他母亲的事之后，開槍將他打成重傷。布莱恩委託戴克將李昂和其他三位人造人：羅伊·貝提、左拉和普莉絲給「退役」，戴克在布莱恩的間接威脅下不情愿地接受了。
戴克首先前往泰瑞公司（Tyrell Corporation）確認人性測驗是否對連鎖六型有效。艾爾頓·泰瑞博士卻突兀的讓他的助理瑞秋接受測驗，測試結果讓戴克得知瑞秋是名自认为人类的先進型號人造人试验品。她被植入假記憶，這些「記憶」則為她提供了能讓情感沉積的溫床。因此，区分她是否为人造人的测试需要扩展加长。
与此同時，人造人正試圖接觸泰瑞博士，從而得到延长生命的方法。罗伊和李昂去了老周的眼睛制造实验室，向他逼供如何才能見到泰瑞博士。老周为了保命透露了J·F·賽巴斯汀的身分，后者是一名和泰瑞博士私交甚篤的基因设计师。瑞秋拜訪了戴克的住處，向他展示了一张自己童年时的家庭照片来證明她是人類。但戴克解释她的记忆是被植入的，她扔下照片流着泪离开。
戴克在搜查李昂的酒店房间时，发现了一张左拉的照片和人造蛇鳞片。他追查这个线索，找到了左拉和蛇一起表演的脱衣舞俱乐部。随后戴克在人群蜂拥的街道上枪击將她「退役」。紧接着布萊恩出現，他告訴戴克需將瑞秋加入退役名单，因为她从泰瑞公司失蹤了。戴克在人群中看到瑞秋，但被突然出现的李昂攻击，两人扭打在一起。瑞秋用戴克被李昂打掉的手枪擊斃李昂救了他，他們一起回到戴克的公寓，接着他們共度了亲密的一刻。
普莉丝跟罗伊找上了賽巴斯汀，賽巴斯汀同情他们的困境，帶羅伊通過泰瑞博士阁楼的安保措施。在泰瑞博士的臥房裡，羅伊提出延長生命的要求，並請求眼前這個如上帝一般的人造人創造者的寬恕。在兩個請求都落空之後，羅伊殺了泰瑞博士與賽巴斯汀。
獲知上開兇案的戴克进入賽巴斯汀的住所調查，受到普莉絲伏擊，但仍设法將她擊斃。此时羅伊回來了，戲謔似地在房子內追杀戴克並折斷了他的兩根手指，最后两人来到屋顶。戴克試圖跳到另一个屋顶上以求逃脱，但結果只能勉强吊掛在一條屋樑上。羅伊輕鬆地跳到同个屋顶上，在戴克的手鬆脫的瞬間救了他。在生命时限接近尽头时，羅伊開始了关于他即将消逝的记忆的独白，戴克静静地看着他在自己面前死去。不久蓋夫到達，向戴克喊道：「她（意指瑞秋）活不久真是太可惜了！可是誰又能長命百歲？」。
警覺到的戴克趕回到住處，发现瑞秋在他的床上安穩地睡觉。他們離開時，戴克发现了蓋夫留下的锡箔獨角獸摺紙，他回想起之前蓋夫所說的那句話，帶著瑞秋走進電梯（首映版本中，最后的场景則是戴克和瑞秋离开公寓面对不可知的未来，在一片宁静的田园风光中驾车驶过）。
演員
[编辑]
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- 哈里遜·福特飾演瑞克·戴克
- 西恩·楊飾演瑞秋（Rachael）：泰瑞的女助手，被植入泰瑞侄女记忆的人造人。
- 爱德华·詹姆斯·奥莫斯飾演蓋夫（Gaff）
- 麥克·艾密特·沃許飾演哈利·布萊恩（Bryant）：警察隊長。
- 威廉·桑德森飾演J·F·賽巴斯汀（J.F. Sebastian）：同情人造人的天才，把他们视为同伴[10]。因為患有类似早衰症的基因疾病「麥修撒拉症候群」，因此和人造人一样寿命很短[11]。
- 喬·特科爾飾演艾爾頓·泰瑞博士（Dr. Eldon Tyrell）：企业大亨，建立了基於人造人奴隸的商业帝国。
- 吳漢章飾演漢尼拔·周（Hannibal Chew）：亞裔老人，人造人眼睛的製作者。
- 摩根·保爾飾演戴夫·賀登（Dave Holden）：在戴克接手前负责追捕六位人造人的银翼杀手，在开场中遭李昂枪击成重傷。
- 凱文·湯普森（Kevin Thompson）飾演貝爾（Bear）：賽巴斯汀製作的機器人。
- 約翰·愛德華·艾倫（John Edward Allen）飾演凱薩（Kaiser）：賽巴斯汀製作的機器人。
- 海伊·派克飾演泰菲·路易斯（Taffey Lewis）：低級酒吧的老闆，買下人造蛇的有錢人。
- 班·艾斯塔飾演阿布都·班·哈山（Abdul Ben Hassan）：人造蛇製作師。
- 岡崎巖（Iwao Okazaki / Robert Okazaki）飾演壽司攤老闆
六位逃脫的人造人在片中出現四位[註 2]，分別是：
- 魯格·豪爾飾演羅伊·貝提（Roy Batty）：戰鬥型人造人，暴力但有思想[13][14]。
- 黛瑞·漢娜飾演普莉絲·史崔登（Pris）：取悅型人造人。
- 喬安娜·卡西迪飾演左拉·莎樂美（Zhora Salome）：受過殺人訓練的女性人造人。
- 布瑞恩·詹姆斯飾演李昂·柯瓦斯基（Leon Kowalski）：壯碩的人造人，心理能力較弱[15]，在電影开场处枪击了一位银翼杀手後逃逸。
來源：[16]
發展
[编辑]籌備
[编辑]美國作家菲利普·狄克的小说《仿生人会梦见电子羊吗？》在1968年出版，沒多久就引起了改编的兴趣。1969年，导演马丁·斯科塞斯與編劇Jay Cocks曾有意想把該小說搬上大银幕，但从未买下过電影改編權[17]。制片人赫伯·杰夫的公司[註 3]于1974年早期获得改编权，但狄克不满意杰夫之子罗伯特·杰夫写的剧本，狄克在日後受訪時表示：“杰夫的剧本真是太糟糕了……罗伯特飞到圣安娜来和我讨论这个项目。他下飞机后我说的第一句话是：‘我是应该在机场就揍你一顿，还是回到我的公寓后再揍你？’[註 4][19]由於改編計畫缺乏進展，杰夫的公司於1977年將改編權脫手[19]。
1975年，編劇漢普敦·芬奇打算製作一部電影，在好友詹姆斯·麥克斯威爾的推薦下讀了《仿生人会梦见电子羊吗？》[20][21]。芬奇並不喜歡該小說，但認為將之搬上大銀幕將有利可圖[22][23]。芬奇在該年與迪克會面，但沒有進展[24]。1977年，芬奇的友人布萊恩·凱利以2000美元向迪克買下《仿生人会梦见电子羊吗？》的改編權[25]，並打算與製片人麥可·迪利[26]合作製片。迪利認為該小說拍不成電影[26]，芬奇便開始幫凱利編寫劇本大綱給迪利過目[27]，引起了迪利的興趣[28][29]，於是芬奇用1978年一整年寫出了劇本初稿[30]。之後芬奇持續修改劇本，迪利則四處推介劇本以求資金挹注[31]。
與此同時，迪利等人開始物色導演。雷利·史考特是迪利的第一人選，史考特當時正在籌備製作期漫長的《沙丘魔堡》[32][33]，在1979年4月[34]收下了劇本但婉拒邀請[35]。1980年[來源請求]，史考特的兄長法蘭克（Frank）逝世[36][37]，史考特希望盡快投入電影製作來分散悲傷，於是他退出《沙丘魔堡》[32]，于1980年2月21日簽約執導《銀翼殺手》[38]。在史考特正式加入前，導演人選還包含阿德里安·莱恩、迈克尔·艾普特與Bruce Beresford[39]，而Katherine Haber[39]與罗伯特·马利根[40]一度成為改編企畫的導演。马利根於1979年8月17日加入[41]，但他的理念與芬奇等人不合，後於1979年12月3日退出[42]。
為了準備拍片資金，迪利先後與环球影业和CBS影業接洽，並與後者建立合作[43]。然而史考特對本片的構想讓預算大漲至1100萬美元，CBS影業因而在1980年2月退出[43]。1980年4月9日[38]，迪利從电影之路公司取得1300萬美元的投資，該公司當時的老闆Raphael Etkes是迪利的好友[44]。电影之路公司的加入使《銀翼殺手》亮起綠燈，拍攝定於1981年1月12日開始，1981年圣诞节檔期上映[45]。在前期制作阶段，劇組投入了約250万美元[38]用於設計、搭景和勘景，迪利等人發現原定預算並不夠用[46]，整部片的製作費用可能高達1500萬，甚至2000萬美元[45]。與此同時，电影之路公司陷入財務危機，劇組嘗試爭取米高梅和聯美等片商的贊助，並因沒有薪水可領而瀕臨解散[47]。1980年12月，电影之路公司在本片开拍前幾週时宣布撤资[48]，迪利在十天内從一椿三方交易中獲得了至少2150萬美元的資金，使本片最終得以製作完成。該三方分別是賴德电影公司的Alan Ladd Jr.、香港電影製片邵逸夫爵士與串联制片公司[49]。华纳兄弟透過賴德电影公司投資700萬至750萬美元，藉此取得本片在美國的院線發行權[50][51]，邵逸夫付了750萬美元取得海外發行權[50]，串联制片公司則用700萬美元拿下電視播出和家用媒體的版權[52]。
編劇1
[编辑]
芬奇的劇本初稿將原著的故事背景旧金山改成洛杉矶，並在劇本中加入他當時逐漸重視的環保議題與生态学[53]。芬奇的劇本是一部低預算的作品，場景集中在室內[54][55]，對外頭的世界少有描寫[56]。當時的結局是瑞秋於戴克的公寓跳樓自殺，戴克因此陷入瘋狂，隻身步行深入沙漠企圖送掉性命。戴克倒下後看到一隻烏龜，烏龜經歷一番掙扎後成功翻身，深有感觸的戴克於是起身掉頭。[53]
1980年4月，芬奇開始與導演史考特合作改寫劇本，為時八個月[57]。在許多新點子之中，史考特敦促芬奇多加描寫「窗外的世界」，並推薦漫畫雜誌《Heavy Metal (magazine)》，讓芬奇以裏頭的作品為靈感來源[56]。修改後的劇本標記為1980年7月24日，該劇本與最終成片已有許多相似處，但在配角描寫和結局上仍有不同[58]。在該劇本的結局中，戴克開車載著瑞秋到郊外讓她看生平第一場雪，然後將她射殺[12]。戴克的畫外音說道，身為人類意味著做選擇，而瑞秋做出了死亡的選擇[12]。該劇本還包含第六位人造人瑪莉（Mary），原定由Stacey Nelkin飾演[12]，但因預算刪減而刪除[12][59]。
芬奇的初稿沿用了原著小說的書名[60]，第二稿則題為「Android」[31]。後來芬奇從圖畫書《Mechanismo》得到靈感，因此希望將電影取那名字[61]，但未能取得該名稱的使用權[31]。迪利選擇以「Dangerous Days」當作片名，認為較符合劇本的浪漫氣息[33]。芬奇在1980年7月為瑞克·戴克想出了新的職稱：「Blade Runner」，取自威廉·柏洛茲的中篇小說《Blade Runner (a movie)》[56][註 5]。史考特也喜欢这个名稱，他與芬奇認為這甚至可以當作新片名，便让迪利取得了该标题的使用权[62][63]。
芬奇與史考特後來逐漸產生意見分歧[64]，根據迪利的說法，芬奇將本片視為浪漫風格的道德劇，史考特則想拍出一部偵探驚悚片[65]。史考特與迪利於1980年11月另找大衛·畢波斯来改写剧本[66]，芬奇于1980年12月21日离开了企劃团队，尽管他后来又回来参与了一些改写[67]。新的劇本共159頁[68]，日期註記為1980年12月15日[69]，畢波斯以「Replicant」（源於Replicate）一詞取代原本對人造人的稱呼「Android」[70]，並追隨史考特的想法，在劇本中加入了偵探辦案的要素，線索「蛇的鱗片」亦是由畢波斯安插[69]。畢波斯的劇本開場描寫了羅伊·貝提等人從外世界逃亡的過程，這個橋段後來因為預算問題而刪除[69]；結局則是戴克選擇不殺身為人造人的瑞秋，為此還殺了蓋夫，因而即將面臨警方圍剿[68]。
迪克頗為介意無人告知他本片的製作事宜，这进一步加深了他对好莱坞的不信任感[71]。1981年2月，他在洛杉磯刊物《电视选择指南》（Select TV Guide）上撰文批评芬奇剧本的早期版本，之後剧组将畢波斯改写的劇本寄給了他[72]。狄克对改写后的剧本感到满意[73]，並在訪談中表示说：“我读完剧本后，拿出小说翻了一遍。两者互为对方增色，先看小说的人会享受电影，而先看电影的人也会从小说中获得乐趣。”[註 6][74]这部电影在片末字幕中註記將此片献给狄克[75]。
選角1
[编辑]對於主人翁戴克的选角，编剧漢普敦·芬奇最初把勞勃·米契预想成戴克，在创作戴克的台詞时也想著米契[76][77]。导演雷利·史考特中意德斯汀·荷夫曼[78]，雙方自1980年8月7日正式展開合作[76]，但數月後因想法不合而分道揚鑣[79][80]。1980年10月，哈里遜·福特簽約擔任戴克的演員，獲選原因包含他在《星球大战》系列中的出色表现[81]、他自己对《银翼杀手》故事的兴趣[82]，以及斯蒂芬·斯皮尔伯格对他在新片《奪寶奇兵》的表现大加称赞[83][81]。在《星球大战》和《法櫃奇兵》的成功后，福特也正寻找一个有深度的角色[84]。迪利與史考特認為，戴克這個角色結合了冷硬派公事公辦作風（類似Sam Spade和菲力普·馬羅）以及逐漸萌生的感性（同情追捕對象），如此耐人尋味的角色可以讓福特大展身手[85]。福特則稱，戴克不喜歡殺戮這點與他的職責產生衝突，因此是個有意思的角色[86]。與根据1981年的记录，有很多演员一度被列為人選，包含金·哈克曼、肖恩·康纳利、杰克·尼科尔森、保羅·紐曼、克林特·伊斯特伍德、湯米·李·瓊斯、彼得·福克、艾尔·帕西诺、尼克·诺尔蒂和畢·雷諾斯等人[87][88]。
戴克的演員確定後，劇組開始為其他角色進行選角[89]。人造人领袖罗伊·貝提的演員並不難決定，史考特仅凭借自己看过魯格·豪爾在《Soldier of Orange》[90]中的表现，没有和他见面就录用了他[91]。原著作者菲利普·狄克认为豪尔的詮釋是“完美的貝提——冷血、一副雅利安人樣、毫無瑕疵”[73]。在豪尔参与的众多电影中，《银翼杀手》是他的最爱。在2001年的一次在线聊天中，他说：“《银翼杀手》不需要任何解釋，它就是這樣，一切都是最棒的，從來沒有一部像這樣的作品。能参与一部改变世界思想的真正傑作真是太棒了。”[註 7][92]Hauer rewrote his character's "雨中泪水独白" speech himself and presented the words to Scott on set prior to filming.[來源請求]
在舉辦瑞秋的試鏡時，摩根·保罗負責假裝成哈里遜與候選女演員对戏[註 8]，最後獲選的是西恩·楊[94]楊的特質讓史考特聯想到费雯·丽[95]，並且符合名氣較小[96]且氣質脫俗[97]的條件，雖然選角導演Mike Fenton覺得妮娜·艾索羅德更適合，史考特還是選了楊[98]。黛瑞·漢娜飾演人造人普莉斯，她從《诺斯费拉图：夜晚的幽灵》裡的克勞斯·金斯基身上獲得角色造型的靈感[99]。史黛西·尼尔金[100]與Monique van de Ven[101]等女演員也有參與普莉斯的試鏡。爱德华·詹姆斯·奥莫斯饰演蓋夫，他利用自己的種族背景，和深入的个人研究，创造出蓋夫在片中所使用的虛構语言「城市混合语」[102]。在麵攤和戴克碰面的场景中，他说的话部分为匈牙利语，意思是：“胡说！不可能。你是银翼……银翼杀手。[102]”威廉·桑德森飾演幫助人造人的J·F·賽巴斯汀，乔·潘托里亚诺曾被考虑过出演该角色[103]。
製作
[编辑]設計
[编辑]
在本片的籌備初期，導演史考特對本片的美術設計與視覺風格有極大的影響。對史考特來說，本片的情調和觀感源於愛德華·霍普的畫作《夜遊者》[104]。片中呈現了洛杉磯在2019年的未來樣貌，史考特賦予這座城市擁擠破敗、空中交通混亂的印象[105]。在這背後，史考特從法国科幻漫畫杂志《重金属》刊登的作品中汲取靈感，主要是漫画家莫比斯的作品[106]。史考特也參考了曾居住过的东北部英格兰的工业化景象[107]，以及“香港在天气很糟糕时的城市景观”[108]。在城市的畫面安排上，特效主管大卫·卓萊爾（David Dryer）參考了弗里茨·朗的默片《大都會》[109]。1980年4月，史考特聘請席德·米德擔任本片的概念设计师，原因是對米德的畫集《Sentinel》感到驚艷[110]。一開始米德的工作僅是設計飛行車輛「回旋车」（Spinner），後來他開始與史考特合作建構片中的未來城市[111]。米德也將史考特對Voight-Kampff machine的構想化為草圖[112]。美術團隊的其他班底包含美術指導勞倫斯·G·普爾與藝術總監大衛·史奈德，兩人將史考特和米德的概念草图转为實際布景[113]。
回旋车的設計是可以當成陆地交通工具驾驶，也可以垂直升空、盘旋和巡航[114]。米德将其描述为“重航空器”（aerodyne）——通过使空气向下运动来获得升力。米德的概念设计图由汽车定制师吉恩·温菲尔德转化为25辆真实大小的车[115]；其中至少有兩輛是地面行駛載具，其餘則是重量很輕的Mockup，用於吊著拍攝和當作街道鏡頭的裝飾。[116]在美国华盛顿州西雅图的科幻博物馆和名人堂中，有一辆回旋车作为常设展览[117]。有兩輛最終留在奧蘭多的華特迪士尼世界度假區，後來遭到銷毀，其他一些則變成私人收藏[116]。至於Voight-Kampff machine則是銀翼殺手用來辨識人造人的機器，檢測受試者對同理心相關問題的生理反應[118]。
拍攝
[编辑]
雖然原定於1981年3月1日開拍[119]，本片的主体拍摄於1981年4月23日才正式開始，第一場戲是戴克在麵攤的橋段[120]。主要在華納兄弟製片廠的布景拍攝[105]。劇組考慮過在纽约、亚特兰大或伦敦等城市的街道上拍片，但實地取景較難控制環境，而且耗資較鉅[121]。本片所用的攝影棚是「紐約街道」（New York Street），該大型城市布景始建於1929年，曾用於拍攝《梟巢喋血戰》等片[119]。在米德的規劃下，劇組將該布景翻新成2019年的紐約市樣貌，並稱新布景為「雷利城」（Ridleyville）[122]。本片原定於1981年7月1日完成拍攝[119]，但最終在1981年7月9日才殺青。
劇組聘請了至少300名臨時演員[119]。
劇組在洛杉磯出外景數次[105]。
造雨
夜景
霧氣
特效與後製
[编辑]本片的特效廣泛被視為該類型電影的最佳[123][124]，將當時有的非數位技術發揮到極致。本片的特效師用來製作和設計視覺觀感的創新技術，常使他們受到稱讚[125]。除了接景和模型以外, 多重曝光也是採用的技術之一。某些橋段採取的作法是，布景先打光並拍攝，將膠捲倒帶，用不同的打光重新錄影一遍。在某些案例中，這個做法一共重複了16次。拍片時，攝影機的移動經常是由電腦操控[123]。許多特效使用了在《第三類接觸》製作期間已發展出來的技術[126]
原著作者菲利普·狄克在去世前曾受邀来到剧组观看了一段20分钟的特效试验片段，高兴地向史考特表示影片中构建的世界正符合他的想象[73]，他说：“我在KNBC的新闻节目里看到了道格拉斯·特兰布为《银翼杀手》制作的一个特效片段。我一下子就认出来了。这是我內在所想的世界。他们完美地捕捉到它的样子。”[74]
配樂
[编辑]《银翼杀手》的電影配樂由范吉利斯譜寫，黑暗的旋律結合了古典編曲和未來風格的合成器音樂，反映史考特所構想的黑色复古未来。范吉利斯當時剛以《烈火戰車》榮獲奥斯卡金像奖[127]，他以合成器來為《银翼杀手》編寫和演奏配樂[128]。他也運用了好幾個chimes和合作對象迪米斯·卢索斯的聲樂[129]。另一個令人印象深刻的配樂是次中音薩克斯風獨奏"Love Theme"，由演出過多張范吉利斯專輯的英國演奏家Dick Morrissey演出。導演史考特也在本片中使用范吉利斯專輯《See You Later》中的歌曲"Memories of Green"，之後又在電影《Someone to Watch Over Me》中使用該曲的管弦樂版本[130]。
除了范吉利斯的曲子和環境音樂外，本片的声景也出現了日本樂團「Ensemble Nipponia」的一首作品"Ogi no Mato"，或稱"The Folding Fan as a Target"（在 Nonesuch Records發行的Traditional Vocal and Instrumental Music），和豎琴演奏家Gail Laughton專輯"Harps of the Ancient Temples"（Laurel Records發行）的一首作品。[131]
電影的官方原聲帶時隔十年多後才問世，儘管配樂本身備受好評、電影的片尾字幕也預告稱原聲帶將由宝丽多唱片發行。1992年，New American Orchestra錄製了電影配樂的管弦樂改編版，和原版幾無相似之處。1989年，部分曲目收錄在合集Vangelis: Themes，之後一直到1992年Director's Cut發行後，本片的配樂才終於有整體上的商業發行[129]
由於原聲帶發延遲日久及複製品的質與量堪憂，這些年來有許多私制唱片被製作出來。1982年，一支私製錄音帶在科幻大會上出現，並因為官方品久未發行而大為流行，1993年"Off World Music, Ltd"製作了一張私製CD，內容比范吉利斯1994年的官方CD還要更詳盡齊全[129]。2007年，一個三合一的CD套裝問世，收錄了與《銀翼殺手》相關的范吉利斯配樂作品。該套裝題為Blade Runner Trilogy，第一碟收錄與1994年版相同的曲目，第二碟收錄先前並未收錄的電影曲目，第三碟只收錄范吉利斯創作的全新配樂，這些配樂啟發自或繼承《银翼杀手》的精神。[132]
上映
[编辑]票房
[编辑]在美國，《银翼杀手》於1982年6月25日在1290家影院上映。此日期是由製片小艾伦·拉德选中，由於他之前的高票房作品（《星際大戰四部曲：曙光乍現》與《異形》）在接近的日期上映（1977年與1979年的5月25日），使這天成為他的「幸運日」[133]。然而首周票房令人失望，僅有615萬美元[134]，雖然以某些原因來看這個表現算良好[135]。造成票房不如預期的重要因素是本片與其他科幻片《突變第三型》、《星艦迷航記II：星戰大怒吼》和《E.T. 外星人》几乎同期上映，尤其是占据当年夏季票房的大片《E.T. 外星人》对其影响很大[136]。
版本
[编辑]Several versions of Blade Runner have been shown. The original workprint version (1982, 113 minutes) was shown for audience test previews in Denver and Dallas in March 1982. Negative responses to the previews led to the modifications resulting in the U.S. theatrical version.[137][138] The workprint was shown as a director's cut without Scott's approval at the Los Angeles Fairfax Theater in May 1990, at an AMPAS showing in April 1991, and in September and October 1991 at the Los Angeles NuArt Theater and the San Francisco Castro Theatre.[139] Positive responses pushed the studio to approve work on an official director's cut.[140] A San Diego Sneak Preview was shown only once, in May 1982, and was almost identical to the U.S. theatrical version but contained three extra scenes not shown in any other version, including the 2007 Final Cut.[141]
Two versions were shown in the film's 1982 theatrical release: the U.S. theatrical version (117 minutes),[2] known as the original version or Domestic Cut (released on Betamax, CED Videodisc and 家用录像系统 in 1983, and on 鐳射影碟 in 1987), and the International Cut (117 minutes), also known as the "Criterion Edition" or "uncut version", which included more violent action scenes than the U.S. version. Although initially unavailable in the U.S. and distributed in Europe and Asia via theatrical and local Warner Home Video releases, the International Cut was later released on VHS and 标准收藏 Laserdisc in North America, and re-released in 1992 as a "10th Anniversary Edition".[142]
Ridley Scott's Director's Cut (1992, 116 minutes)[143] had significant changes from the theatrical version including the removal of Deckard's voice-over, the re-insertion of the unicorn sequence, and the removal of the studio-imposed happy ending. Scott provided extensive notes and consultation to Warner Bros. through film preservationist Michael Arick, who was put in charge of creating the Director's Cut.[144]
Scott's definitive The Final Cut (2007, 117 minutes)[145] was released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and 藍光光碟 in December 2007.[146] This is the only version over which Scott had complete artistic and editorial control.[144]
迴響
[编辑]影評
[编辑]On 爛番茄, the film holds an 89% approval rating based on 126 reviews, with an average rating of 8.50/10. The website's critics consensus reads, "Misunderstood when it first hit theaters, the influence of Ridley Scott's mysterious, neo-noir Blade Runner has deepened with time. A visually remarkable, achingly human sci-fi masterpiece."[147] Metacritic, which uses a weighted average, assigned the film a score of 84 out of 100 based on 15 critics, indicating "universal acclaim".[148]
Initial reactions among film critics were mixed. Some wrote that the plot took a back seat to the film's special effects and did not fit the studio's marketing as an action and adventure film. Others acclaimed its complexity and predicted it would stand the test of time.[149] Negative criticism in the United States cited its slow pace.[150] Sheila Benson from the 洛杉磯時報 called it "Blade Crawler", and Pat Berman in The State and Columbia Record described it as "science fiction pornography".[151] Pauline Kael praised Blade Runner as worthy of a place in film history for its distinctive sci-fi vision, yet criticized the film's lack of development in "human terms".[152] Ares magazine said, "Misunderstood by audiences and critics alike, it is by far the best science fiction film of the year."[153]
文化現象
[编辑]Academics began analyzing the film almost as soon as it was released. One of the first books on the film was Paul M. Sammon's Future Noir: The Making of Blade Runner (1996),[154] which dissects all the details concerning the film making. He was followed by Scott Bukatman's Blade Runner[155] and other books and academic articles.[156] In Postmodern Metanarratives: Blade Runner and Literature in the Age of Image, Décio Torres Cruz analyzes the philosophical and psychological issues and the literary influences in Blade Runner. He examines the film's cyberpunk and dystopic elements by establishing a link between the Biblical, classical and modern traditions and the postmodern aspects in the film's collage of several literary texts.[157]
The boom in home video formats helped establish a growing cult around the film,[125] which scholars have dissected for its dystopic aspects, questions regarding "authentic" humanity, 生態女性主義 aspects[158] and use of conventions from multiple genres.[159] Popular culture began to reassess its impact as a classic several years after it was released.[160][161][162] 罗杰·埃伯特 praised the visuals of both the original and the Director's Cut and recommended it for that reason; however, he found the human story clichéd and a little thin.[13] He later added The Final Cut to his "Great Movies" list.[163] Critic Chris Rodley and Janet Maslin theorized that Blade Runner changed cinematic and cultural discourse through its image repertoire and subsequent influence on films.[164] In 2012, 時代雜誌 film critic Richard Corliss surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective.[165] 丹尼斯·维勒弗, who directed the sequel, 銀翼殺手2049, cites the film as a huge influence for him and many others.[162]
It has also been noted for its postmodernist approach and that it contributes to the historical development of modern dystopia in film.[166] Furthermore, the futuristic version of Los Angeles has been widely discussed by academics with some comparing it to Milton's descriptions of hell in 失樂園.[167] A 2019 retrospective in the 英国广播公司 argued that elements of the film's socio-political themes remained prescient in the real year of the film's setting, such as its depiction of 全球变暖.[168] From a more philosophical perspective, Alison Landsberg described Scott's direction of the film as a "prosthetic memory"—an action that has never happened and appears to be divorced from lived experience, yet it defines personhood and identity within the wider Blade Runner universe.[169]
獎項
[编辑]Blade Runner won or received nominations for the following awards:[170]
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1982 | British Society of Cinematographers | Best Cinematography | Jordan Cronenweth | 提名 |
| 洛杉磯影評人協會 | Best Cinematography | 獲獎 | ||
| 1983 | 英国电影学院奖 | Best Cinematography | 獲獎 | |
| Best Costume Design | Charles Knode and Michael Kaplan | 獲獎 | ||
| Best Editing | Terry Rawlings | 提名 | ||
| Best Film Music | 范吉利斯 | 提名 | ||
| Best Makeup and Hair | Marvin Westmore | 提名 | ||
| Best Production Design | Lawrence G. Paull | 獲獎 | ||
| Best Sound | Peter Pennell, Bud Alper, Graham V. Hartstone, and Gerry Humphreys | 提名 | ||
| Best Special Visual Effects | Douglas Trumbull, Richard Yuricich, and David Dryer | 提名 | ||
| 雨果奖 | 雨果獎最佳戲劇表現獎 | 獲獎 | ||
| 伦敦影评人协会 | Special Achievement Award | Lawrence G. Paull, Douglas Trumbull, and Syd Mead | 獲獎 | |
| 金球獎s | 金球奖最佳原创配乐奖 | Vangelis | 提名 | |
| 奥斯卡金像奖 | 奥斯卡最佳艺术指导奖 | Lawrence G. Paull, David Snyder, and Linda DeScenna | 提名[171] | |
| 奧斯卡最佳視覺效果獎 | Douglas Trumbull, Richard Yuricich, and David Dryer | 提名[172][173] | ||
| 土星獎 | Best Director | 雷利·史考特 | 提名 | |
| 土星獎最佳科幻電影 | 提名 | |||
| Best Special Effects | Douglas Trumbull and Richard Yuricich | 提名 | ||
| 土星獎最佳電影男配角 | 魯格·豪爾 | 提名 | ||
| Fantasporto | International Fantasy Film Award | Ridley Scott | 提名 | |
| 1993 | Fantasporto | International Fantasy Film Award | Best Film – Ridley Scott (Director's Cut) | 提名 |
| 1994 | 土星獎 | Best Genre Video Release | Blade Runner (Director's Cut) | 提名 |
| 2008 | Best DVD Special Edition Release | Blade Runner (5-Disc Ultimate Collector's Edition) | 獲獎 |
主題分析
[编辑]The film operates on multiple dramatic and narrative levels. It employs some of the conventions of 黑色电影, among them the character of a 致命女郎; narration by the protagonist (in the original release); 明暗对照法 cinematography; and giving the hero a questionable moral outlook – extended to include reflections upon the nature of his own humanity.[174][175] It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of 基因工程 in the context of 古希腊戏剧 and 傲慢.[176] It also draws on Biblical images, such as Noah's flood,[177] and literary sources, such as 科學怪人[178] and 威廉·布莱克.[179] Although Scott said any similarity was merely coincidental,[180] fans claimed that the chess game between Sebastian and Tyrell was based on the famous 不朽對局 of 1851.[181]
Blade Runner delves into the effects of technology on the environment and society by reaching to the past, using literature, religious symbolism, classical dramatic themes, and film noir techniques. This tension between past, present, and future is represented in the "retrofitted" future depicted in the film, one which is high-tech and gleaming in places but decayed and outdated elsewhere. In an interview with 觀察家報 in 2002, director Ridley Scott described the film as "extremely dark, both literally and metaphorically, with an oddly masochistic feel". He also said that he "liked the idea of exploring pain" in the wake of his brother's death: "When he was ill, I used to go and visit him in London, and that was really traumatic for me."[182]
A sense of foreboding and paranoia pervades the world of the film: corporate power looms large; the police seem omnipresent; vehicle and warning lights probe into buildings; and the consequences of huge biomedical power over the individual are explored – especially regarding replicants' implanted memories. The film depicts a world post ecocide, where warfare and capitalism have led to destruction of 'normal' ecological systems.[183][184] Control over the environment is exercised on a vast scale, and goes hand in hand with the absence of any natural life; for example, artificial animals stand in for their extinct predecessors.[185] This oppressive backdrop explains the frequently referenced migration of humans to "off-world" (extraterrestrial) colonies. Eyes are a recurring motif, as are manipulated images, calling into question the nature of reality and our ability to accurately perceive and remember it.[186][187]
These thematic elements provide an atmosphere of uncertainty for Blade Runner's central theme of examining humanity. In order to discover replicants, an empathy test is used, with a number of its questions focused on the treatment of animals – seemingly an essential indicator of one's "humanity". Replicants will not respond the same way humans would, showing a lack of concern. The film goes so far as to question if Deckard might be a replicant, in the process asking the audience to re-evaluate what it means to be human.[188]
The question of whether Deckard is intended to be a human or a replicant has been an ongoing controversy since the film's release.[189][190] Both Michael Deeley and Harrison Ford wanted Deckard to be human, while Hampton Fancher preferred ambiguity.[191] Ridley Scott has stated that in his vision, Deckard is a replicant.[192][193] Deckard's unicorn-dream sequence, inserted into Scott's Director's Cut and concomitant with Gaff's parting gift of an origami unicorn, is seen by many as showing that Deckard is a replicant – because Gaff could have retrieved Deckard's implanted memories.[178][194][195] The interpretation that Deckard is a replicant is challenged by others who believe the unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognize their affinity,[196] or that the absence of a decisive answer is crucial to the film's main theme.[197] The film's inherent ambiguity and uncertainty, as well as its textual richness, have permitted multiple interpretations.[198]
後世影響
[编辑]文化影響
[编辑]
While not initially a success with North American audiences, Blade Runner was popular internationally and garnered a 邪典追捧.[199] The film's dark style and futuristic designs have served as a benchmark and its influence can be seen in many subsequent science fiction films, 电子游戏s, 日本动画, and television programs.[174] For example, Ronald D. Moore and David Eick, the producers of the re-imagining of 太空堡垒卡拉狄加, have both cited Blade Runner as one of the major influences for the show.[200]
The film was selected for preservation in the United States 國家影片登記表 in 1993 and is frequently taught in university courses.[201][202][203] In 2007, it was named the second-most visually influential film of all time by the Visual Effects Society.[204] The film has also been the subject of parody, such as the comics Blade Bummer by Crazy comics,[205] Bad Rubber by Steve Gallacci,[206] and the 红矮星号 2009 three-part miniseries "Back to Earth".[207][208] The anime series PSYCHO-PASS by Production I.G was also highly influenced by the movie.[209]
Blade Runner continues to reflect modern trends and concerns, and an increasing number of critics consider it one of the greatest science fiction films of all time.[210] It was voted the best science fiction film ever made in a 2004 poll of 60 eminent world scientists.[211] Blade Runner is also cited as an important influence to both the style and story of the 攻殼機動隊 franchise, which itself has been highly influential to the future-noir genre.[212][213] Blade Runner has been very influential to the 赛博朋克 movement.[214][215][216][217] It also influenced the 賽博朋克衍生體裁 生物朋克, which revolves around 生物技术 and 基因工程.[218][219]
The dialogue and music in Blade Runner has been 取樣 (音樂) in music more than any other film of the 20th century.[220] The 2009 album I, Human by Singaporean band Deus Ex Machina makes numerous references to the genetic engineering and cloning themes from the film, and even features a track titled "Replicant".[221]
Blade Runner is cited as a major influence on 華倫·埃文·史佩特,[222] designer of the video game 杀出重围, which displays evidence of the film's influence in both its visual rendering and plot. Indeed, the film's look – and in particular its overall darkness, preponderance of neon lights and opaque visuals – are easier to 渲染 than complicated backdrops, making it a popular reference point for video game designers.[223][224] It has influenced 冒险游戏s such as the 2012 graphical 文字冒险游戏 Cypher,[225] Rise of the Dragon,[226][227] Snatcher,[227][228] the Tex Murphy series,[229] 鋼鐵天空下,[230] Flashback: The Quest for Identity,[227] 吹泡糖危机 (and their 吹泡糖危机),[231][232] the 角色扮演游戏 暗影狂奔,[227] the 第一人称射击游戏 Perfect Dark,[233] the 射击游戏 Skyhammer,[234][235] and the Syndicate series of video games.[236][237]
The logos of 雅達利, 贝尔系统, 可口可乐, Cuisinart, 泛美航空, and RCA, all market leaders at the time, were prominently displayed as 置入性行銷 in the film, and all experienced setbacks after the film's release,[238][239] leading to suggestions of a Blade Runner curse.[240] 可口可乐 and Cuisinart recovered, and 青岛啤酒 was also featured in the film and was more successful after the film than before.[238]
The design of 特斯拉 (公司) Tesla Cybertruck was inspired by the film.[241] Prior to its release 埃隆·马斯克 promised that it would "look like something out of Blade Runner".[242] Besides referring to the truck as the "Blade Runner Truck", Musk chose to debut the truck in order to coincide with the film's setting of November 2019.[243] The film's art designer 席德·米德 praised the truck and said he was "flattered" by the homage to Blade Runner.[242]
媒體認可
[编辑]| Year | Presenter | Title | Rank | Refs |
|---|---|---|---|---|
| 2001 | The Village Voice | 100 Best Films of the 20th Century | 94 | [244] |
| 2002 | 在线影评人协会 (OFCS) | Top 100 Sci-fi Films of the Past 100 Years | 2 | [245] |
| 视与听 | 视与听 | 45 | [246] | |
| 50 Klassiker, Film | 不適用 | [247] | ||
| 2003 | 1001 Movies You Must See Before You Die | [248] | ||
| 娱乐周刊 | The Top 50 Cult Movies | 9 | [249] | |
| 2004 | 衛報, scientists | Top 10 Sci-fi Films of All Time | 1 | [250][251][252] |
| 2005 | Total Film's editors | 100 Greatest Movies of All Time | 47 | [253] |
| 時代雜誌's critics | "All-Time 100" Movies | 不適用 | [254][255][256] | |
| 2008 | 新科學人 | All-time favorite science fiction film (readers and staff) | 1 | [257][258] |
| 帝國雜誌 | The 500 Greatest Movies of All Time | 20 | [259] | |
| 2010 | Total Film | 100 Greatest Movies of All Time | 不適用 | [260] |
| 2012 | Sight & Sound | Sight & Sound 2012 critics top 250 films | 69 | [261] |
| Sight & Sound | Sight & Sound 2012 directors top 100 films | 67 | [262] | |
| 2017 | Empire | The 100 Greatest Movies Of All Time | 13 | [263] |
| 2022 | IGN | Top 25 Sci-Fi Movies of All Time | 2 | [264] |
| 2022 | Sight & Sound | Sight & Sound 2022 critics top 100 films | 54 | [265] |
American Film Institute recognition
[编辑]- AFI百年百大驚悚電影 – No. 74
- AFI百年百大电影 (2007年版) – No. 97
- AFI十大類型十大佳片 – No. 6 Science Fiction Film
衍生產品
[编辑]Before filming began, Cinefantastique magazine commissioned Paul M. Sammon to write a special issue about Blade Runner's production which became the book Future Noir: The Making of Blade Runner.[266] The book chronicles Blade Runner's evolution, focusing on film-set politics, especially the British director's experiences with his first American film crew; of which producer Alan Ladd, Jr. has said, "Harrison wouldn't speak to Ridley and Ridley wouldn't speak to Harrison. By the end of the shoot Ford was 'ready to kill Ridley', said one colleague. He really would have taken him on if he hadn't been talked out of it."[267] Future Noir has short cast biographies and quotations about their experiences as well as photographs of the film's production and preliminary sketches. A second edition of Future Noir was published in 2007, and additional materials not in either print edition have been published online.[268]
菲利普·狄克 refused a $400,000 offer to write a Blade Runner novelization, saying: "[I was] told the cheapo novelization would have to appeal to the twelve-year-old audience" and it "would have probably been disastrous to me artistically". He added, "That insistence on my part of bringing out the original novel and not doing the novelization – they were just furious. They finally recognized that there was a legitimate reason for reissuing the novel, even though it cost them money. It was a victory not just of contractual obligations but of theoretical principles."[74][269] 銀翼殺手 (小說) was eventually reprinted as a 商業搭配, with the film poster as a cover and the original title in parentheses below the Blade Runner title.[270] Additionally, a novelization of the movie entitled Blade Runner: A Story of the Future by Les Martin was released in 1982.[271] Archie Goodwin scripted the comic book adaptation, A Marvel Comics Super Special: Blade Runner, published in September 1982, which was illustrated by Al Williamson, Carlos Garzon, Dan Green, and Ralph Reese, and lettered by Ed King.[272]
Blue Dolphin Enterprises published the film's screenplay combined with selected production storyboards as The Illustrated Blade Runner (June 1982);[273] a book of original production artwork by Syd Mead, Mentor Huebner, Charles Knode, Michael Kaplan, and Ridley Scott as Blade Runner Sketchbook (1982);[274] and The Blade Runner Portfolio (1982), a collection of twelve photographic prints, similar to the artist portfolios released by their Schanes & Schanes imprint.[275]
There are two 电子游戏s based on the film, both titled Blade Runner: one from 1985, a 橫向捲軸遊戲 for 康懋達64, Sinclair ZX Spectrum, and Amstrad CPC by CRL Group PLC, which is marked as "a video game interpretation of the film score by Vangelis" rather than of the film itself (due to licensing issues); and 银翼杀手 (游戏), a point-and-click adventure for PC by 西木工作室. The 1997 game has a non-linear plot based in the Blade Runner world, 非玩家角色s that each ran in their own independent 人工智能, and an unusual pseudo-3D engine (which eschewed polygonal solids in favor of 體素 elements) that did not require the use of a 3D accelerator card to play the game.[276] Eldon Tyrell, Gaff, Leon, Rachael, Chew, J. F. Sebastian and Howie Lee appear, and their voice files are recorded by the original actors, with the exception of Gaff, who is replaced by Javier Grajeda (as 银翼杀手 (游戏)) and Howie Lee, who is replaced by Toru Nagai.[277] The player assumes the role of McCoy, another replicant-hunter working at the same time as Deckard.[223][224]
The television film (and later series) Total Recall 2070 was initially planned as a spin-off of the film 全面回忆 (based on Philip K. Dick's short story "We Can Remember It for You Wholesale"), but was produced as a hybrid of Total Recall and Blade Runner.[278] Many similarities between Total Recall 2070 and Blade Runner were noted, as well as apparent influences on the show from 艾萨克·阿西莫夫's 鋼穴 and the TV series Holmes & Yoyo.[279]
紀錄片
[编辑]The film has been the subject of several documentaries.
- Blade Runner: Convention Reel (1982, 13 minutes)
- Co-directed by Muffet Kaufman and Jeffrey B. Walker, shot and screened in 16 mm, featured no narrator, was filmed in 1981 while Blade Runner was still in production and featured short "behind-the-scenes" segments showing sets being built and sequences being shot, as well as interviews with 雷利·史考特, 席德·米德 and Douglas Trumbull. Appears on the Blade Runner Ultimate Collector's Edition.[280]
- On the Edge of Blade Runner (2000, 55 minutes)
- Directed by Andrew Abbott and hosted/written by Mark Kermode. Interviews with production staff, including Scott, give details of the creative process and the turmoil during preproduction. Insights into Philip K. Dick and the origins of Do Androids Dream of Electric Sheep? are provided by Paul M. Sammon and Hampton Fancher.[281]
- Future Shocks (2003, 27 minutes)
- Directed by TVOntario.[282] It includes interviews with executive producer Bud Yorkin, 席德·米德, and the cast, and commentary by science fiction author 罗伯特·J·索耶 and from film critics.
- Dangerous Days: Making Blade Runner (2007, 213 minutes)
- Directed and produced by Charles de Lauzirika for The Final Cut version of the film. Its source material comprises more than 80 interviews, including extensive conversations with Ford, Young, and Scott.[283] The documentary is presented in eight chapters, with each of the first seven covering a portion of the filmmaking process. The final chapter examines Blade Runner's controversial legacy.[284]
- All Our Variant Futures: From Workprint to Final Cut (2007, 29 minutes)
- Produced by Paul Prischman, appears on the Blade Runner Ultimate Collector's Edition and provides an overview of the film's multiple versions and their origins, as well as detailing the seven-year-long restoration, enhancement and remastering process behind The Final Cut.[146]
- Blade Runner Phenomenon (2021, 53 minutes)
- Directed by Boris Hars-Tschachotin and made by the France and Germany European public service channel ARTE, this documentary informs viewers using behind-the-scenes material from various sets, photos, original locations in Los Angeles, and interviews with those involved in the production.
續集與相關作品
[编辑]A sequel was released in 2017, titled 銀翼殺手2049, with 瑞恩·高斯林 alongside Ford in the starring roles.[285][286] It entered production in mid-2016 and is set decades after the first film.[287] Harrison Ford reprised his role as 瑞克·戴克. The film won two Academy Awards, for cinematography and visual effects.[288]
The world of Blade Runner has also come to be explored in 动画. Blade Runner 2049 was preceded by the release of three 短篇電影s that served as prequels, where the chronological first, 銀翼殺手：2022大停電, was 日本动画 (the other two, 2036：複製人時代 and 2048：無處可逃, were live action, not animated).[289]
In November 2021, a Japanese-American anime television series called 銀翼殺手：黑蓮花 was released. The series tells the story of a female replicant protagonist, rather than that of a male Blade Runner one.[290][291]
Dick's friend K. W. Jeter wrote three authorized Blade Runner novels that continue Rick Deckard's story, attempting to resolve the differences between the film and Do Androids Dream of Electric Sheep?[292] These are Blade Runner 2: The Edge of Human (1995), Blade Runner 3: Replicant Night (1996), and Blade Runner 4: Eye and Talon (2000)
Blade Runner cowriter David Peoples wrote the 1998 action film 兵人, which he referred to as a "sidequel" or 精神续作 to the original film; the two are set in a 共同世界.[293] A bonus feature on the Blu-ray for 普罗米修斯 (电影), the 2012 film by Scott set in the 異形 (電影系列) universe, states that Eldon Tyrell, CEO of the Blade Runner Tyrell Corporation, was the mentor of 盖·皮尔斯's character Peter Weyland.[294]
In late 2022, Amazon announced a Blade Runner 2049 sequel series would be produced.[295] On October 12, 2022, an apparent official approval to actually make a Blade Runner 2099 TV series was reported.[296]
備註
[编辑]- ^ 補充：
- ^ 有一位已在試圖入侵泰瑞企業時被「活活燒死」，另外一位則沒有登場[12]。
- ^ 正式名稱為「赫伯·杰夫聯合公司」（Herb Jaffe Associates）[18]。
- ^ 原文：Jaffe's screenplay was so terribly done ... Robert flew down to Santa Ana to speak with me about the project. And the first thing I said to him when he got off the plane was, 'Shall I beat you up here at the airport, or shall I beat you up back at my apartment?'
- ^ 該小說原本是一部電影的剧本小样，改編對象是艾伦·E·诺斯的小说《The Bladerunner》。[來源請求]
- ^ 原文：After I finished reading the screenplay, I got the novel out and looked through it. The two reinforce each other, so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel.
- ^ 原文：Blade Runner needs no explanation. It just [is]. All of the best. There is nothing like it. To be part of a real masterpiece which changed the world's thinking. It's awesome.
- ^ 保罗凭借在这些试镜中的表现，得到了片中開场被擊傷的那位銀翼殺手賀登一角[93]。
腳註
[编辑]- ^ 引用错误：没有为名为
credits的参考文献提供内容 - ^ 2.0 2.1 Blade Runner. 英國電影分級委員會. 1982-05-27 [2016-01-08]. （原始内容存档于2016-03-22）.
- ^ Blade Runner. AFI.com. 美国电影学会. [2015-12-03]. （原始内容存档于2015-11-06）.
- ^ Blade Runner. BFI.org. 英國電影協會. [2015-12-03]. （原始内容存档于2015-12-06）.
- ^ Blade Runner (1982). British Film Institute. [2018-04-26]. （原始内容存档于2017-02-15）.
- ^ Gray, Tim. 'Blade Runner' Turns 35: Ridley Scott's Unloved Film That Became a Classic. 綜藝 (雜誌). 2017-06-24 [2019-07-31]. （原始内容存档于2017-07-05）.
- ^ Blade Runner (1982). Box Office Mojo. [2020-05-15]. （原始内容存档于2020-05-15）.
- ^ Turan, Kenneth. From the Archives: 'Blade Runner' went from Harrison Ford's 'miserable' production to Ridley Scott's unicorn scene, ending as a cult classic. 洛杉磯時報. 1992-09-13 [2021-02-05]. （原始内容存档于2021-02-05）.
- ^ Lussier, German. The Mistake That Changed the History of Blade Runner. Gizmodo. 2021-02-04 [2021-02-05]. （原始内容存档于2021-02-05）.
- ^ Bukatman，第72頁.
- ^ Sammon 1996，第170頁.
- ^ 12.0 12.1 12.2 12.3 12.4 Sammon 1996，第55頁.
- ^ 13.0 13.1 Ebert, Roger, Blade Runner: Director's Cut, rogerebert.com, 1992-09-11 [2011-07-27], （原始内容存档于2013-03-04）
- ^ Ebiri, Bilge. Even Now, Rutger Hauer's Performance in 'Blade Runner' Is a Marvel – With his combination of menace and anguish, he created an unforgettable character that made the movie the classic it remains today.. 纽约时报. 2019-07-25 [2019-07-25]. （原始内容存档于2019-07-25）.
- ^ Sammon 1996，第107頁.
- ^ Blade Runner: The Final Cut (Ending Credits) (DVD), Warner Bros., 2007
- ^ Bukatman，第13頁; Sammon，第23頁; 1996.
- ^ L. A. Times Archives. Herb Jaffe, 70; Independent Film Producer. Los Angeles Times. 1991-12-09 [2024-09-25] （美国英语）.
- ^ 19.0 19.1 Sammon 1996，第23頁.
- ^ Screenwriting and Dealmaking 2007，第2分鐘、第3分鐘處.
- ^ Sammon 1996，第25頁.
- ^ Sammon 1996，第25–26頁.
- ^ Screenwriting and Dealmaking 2007，第2分鐘、第3分鐘處，漢普敦·芬奇的說詞.
- ^ Sammon 1996，第27–29頁.
- ^ Sammon 1996，第29–30頁.
- ^ 26.0 26.1 Sammon 1996，第30頁.
- ^ Screenwriting and Dealmaking 2007，第3分鐘、第4分鐘處，漢普敦·芬奇、麥可·迪利的說詞.
- ^ Sammon 1996，第31頁.
- ^ Screenwriting and Dealmaking 2007，第6分鐘處，麥可·迪利、漢普敦·芬奇的說詞.
- ^ Sammon 1996，第32–33頁.
- ^ 31.0 31.1 31.2 Sammon 1996，第38頁.
- ^ 32.0 32.1 Sammon 1996，第48頁.
- ^ 33.0 33.1 Screenwriting and Dealmaking 2007，第7分鐘處，麥可·迪利的說詞.
- ^ Sammon 1996，第47頁.
- ^ Screenwriting and Dealmaking 2007，第8分鐘處，雷利·史考特的說詞.
- ^ Sammon 1996，第49–63頁.
- ^ Screenwriting and Dealmaking 2007，第8分鐘、第9分鐘處，麥可·迪利、Ivor Powell（聯合製片）的說詞.
- ^ 38.0 38.1 38.2 Sammon 1996，第49頁.
- ^ 39.0 39.1 Sammon 1996，第39頁.
- ^ Sammon 1996，第39–41頁.
- ^ Sammon 1996，第40頁.
- ^ Sammon 1996，第41頁.
- ^ 43.0 43.1 Sammon 1996，第42頁.
- ^ Screenwriting and Dealmaking 2007，第10分鐘處，麥可·迪利的說詞.
- ^ 45.0 45.1 Sammon 1996，第50頁.
- ^ Screenwriting and Dealmaking 2007，第11分鐘處，麥可·迪利的說詞.
- ^ Screenwriting and Dealmaking 2007，第12分鐘處，David L. Snyder（美術指導）和Katherine Haber（執行製片）的說詞.
- ^ Sammon 1996，第65頁.
- ^ Bukatman，第18–19頁; Sammon，第66–67頁; 1996.
- ^ 50.0 50.1 Sammon 1996，第66頁.
- ^ Screenwriting and Dealmaking 2007，第12分鐘處，麥可·迪利的說詞.
- ^ Screenwriting and Dealmaking 2007，第15分鐘處，麥可·迪利的說詞.
- ^ 53.0 53.1 Sammon 1996，第37頁.
- ^ Sammon 1996，第36頁.
- ^ Screenwriting and Dealmaking 2007，第5分鐘處，漢普敦·芬奇的說詞.
- ^ 56.0 56.1 56.2 Sammon 1996，第53頁.
- ^ Sammon 1996，第52頁.
- ^ Sammon 1996，第54頁.
- ^ Assembling The Cast 2007，第16分鐘處，雷利·史考特的說詞.
- ^ Sammon 1996，第32頁.
- ^ Screenwriting and Dealmaking 2007，第7分鐘處，漢普敦·芬奇的說詞.
- ^ Sammon 1996，第53–54頁.
- ^ Riesman, Abraham. Digging Into the Odd History of Blade Runner’s Title. Vulture. 2017-10-04 [2024-09-22] （英语）.
- ^ Sammon 1996，第55–57頁.
- ^ Sammon 1996，第57頁.
- ^ Sammon 1996，第57–58頁.
- ^ Sammon 1996，第63頁.
- ^ 68.0 68.1 Sammon 1996，第62頁.
- ^ 69.0 69.1 69.2 Sammon 1996，第59頁.
- ^ Sammon 1996，第61頁.
- ^ Sammon 1996，第63–64頁.
- ^ Sammon 1996，第67–69頁.
- ^ 73.0 73.1 73.2 Sammon 1996，第284頁.
- ^ 74.0 74.1 74.2 Boonstra, John, A final interview with science fiction's boldest visionary, who talks candidly about Blade Runner, inner voices and the temptations of Hollywood, Rod Serling's the Twilight Zone Magazine 2 (3), June 1982, 2 (3): 47–52 [2011-07-27], （原始内容存档于2013-05-28） –通过Philip K. Dick
- ^ Blade Runner film, dedication after credits, 1:51:30
- ^ 76.0 76.1 Sammon 1996，第83頁.
- ^ Assembling The Cast 2007，第0分鐘處，Paul M. Sammon的說詞.
- ^ Assembling The Cast 2007，第1分鐘處，雷利·史考特的說詞.
- ^ Sammon 1996，第85頁.
- ^ Assembling The Cast 2007，第2分鐘處，麥可·迪利的說詞.
- ^ 81.0 81.1 Assembling The Cast 2007，第3分鐘處，漢普敦·芬奇的說詞.
- ^ Assembling The Cast 2007，第4分鐘處，哈里遜·福特的說詞.
- ^ Sammon 1996，第85–86頁.
- ^ Ford: 'Blade Runner Was a Nightmare', Moono.com, 2007-07-05 [2011-07-27], （原始内容存档于2012-02-24）
- ^ Sammon 1996，第88–89頁.
- ^ Sammon 1996，第88頁.
- ^ Assembling The Cast 2007，第0分鐘處，畫面.
- ^ Blade Runner at 30: Celebrating Ridley Scott's Dystopian Vision. 時代雜誌. [2021-06-18]. （原始内容存档于2021-09-30）.
- ^ Sammon 1996，第89頁.
- ^ Sammon 1996，第90頁.
- ^ 引用错误：没有为名为
DangerousDays的参考文献提供内容 - ^ Hauer, Rutger. Chatroom Transcripts: Live Chat February 7, 2001. RutgerHauer.org (访谈). 2001-02-07 [2011-07-27]. （原始内容存档于2012-09-09）.[自述来源]
- ^ Assembling The Cast 2007，第17分鐘處，摩根·保罗的說詞.
- ^ Assembling The Cast 2007，第9分鐘處，摩根·保罗的說詞.
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- ^ Marshall, Colin. Hear Blade Runner, Terminator, Videodrome & Other 70s, 80s & 90s Movies as Novelized AudioBooks. Open Culture. 2015-09-14. （原始内容存档于2016-12-24）.
- ^ Marvel Super Special #22. Grand Comics Database. （原始内容存档于2014-04-06）.
- ^ Jonathan, Law (编). Cassell Companion to Cinema. London, England: Cassell. 1997: 534 [1995 [as Brewer's Cinema]]. ISBN 0-304-34938-0 –通过互联网档案馆.
- ^ Kerman (1991), p. 231
- ^ Stein, Michael (编). Blade Runner. Fantastic Films (Ad). Vol. 4 no. 5 (Chicago, IL: Fantastic Films Inc.). June 1982: 44. ISSN 0273-7043.
- ^ Bates, Jason, Westwood's Blade Runner, PC Gamer 4 (9), 1997-09-09, 4 (9) [2011-07-27], （原始内容存档于2012-11-27） –通过BladeZone
- ^ Mariman, Lukas; et al (编), The Blade Runner Game, BRMovie.com, [2010-08-10], （原始内容存档于2008-07-14）[自述来源]
- ^ Robb, Brian J., Counterfeit Worlds: Philip K. Dick on Film, Titan Books: 200–225, 2006, ISBN 978-1-84023-968-3
- ^ Platt, John, A Total Recall spin-off that's an awful lot like Blade Runner, Syfy 5 (9 [total issue #98]), 1999-03-01, 5 (9 [total issue #98]) [2011-07-27], （原始内容存档于2008-01-15）
- ^ Future Noir Revised & Updated Edition: The Making of Blade Runner
- ^ Ingels, Nicklas, On the Edge of Blade Runner, Los Angeles, 2019, [2011-07-27], （原始内容存档于2014-04-07） –通过Tyrell-Corporation.pp.se
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- ^ Fischer, Russ, Interview: Charles de Lauzirika (Blade Runner), CHUD.com, 2007-02-08 [2011-07-27], （原始内容存档于2014-02-02）
- ^ Weitz, Scott, Blade Runner – The Final Cut: 2-Disc Special Edition DVD Review, FilmEdge.net, 2007-12-16 [2011-07-27], （原始内容存档于2013-05-17）
- ^ Goldberg, Matt, Ryan Gosling Confirms He's in Blade Runner 2; Talks Shane Black's The Nice Guys, Collider, 2015-11-16 [2015-11-16], （原始内容存档于2015-11-17）
- ^ Nudd, Tim. Ryan Gosling Set to Join Harrison Ford in Blade Runner Sequel. 人物 (美國雜誌). （原始内容存档于2015-08-23）.
- ^ Foutch, Haleigh. Blade Runner 2 Officially Starts Filming This July. Collider. 2016-01-25 [2016-10-06]. （原始内容存档于2016-07-22）.
- ^ The 90th Academy Awards | 2018. Oscars.org | Academy of Motion Picture Arts and Sciences. [2020-08-14]. （原始内容存档于2018-04-17）.
- ^ Child, Ben. Blade Runner 2049: five things we learned from the shorts. The Guardian. 2017-09-29 [2022-02-01]. （原始内容存档于2022-02-01）.
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引用作品
[编辑]- 書籍
- Brooker, Will (编). The Blade Runner Experience. London: Wallflower. 2005. ISBN 978-1-904764-30-4.
- Bukatman, Scott. BFI Modern Classics: Blade Runner. London: British Film Institute. 1997. ISBN 978-0-85170-623-8.
- Eagan, Daniel (2010) America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, ISBN 0826429777, pages 775–776
- Kerman, Judith (编). Retrofitting Blade Runner: Issues in Ridley Scott's Blade Runner and Philip K. Dick's Do Android's Dream of Electric Sheep?. Bowling Green University Popular Press. 1991. ISBN 978-0-87972-510-5.
- Morgan, David. Blade Runner at 國家影片登記表
- Sammon, Paul M. Future Noir: the Making of Blade Runner. United States: HarperCollins. July 1996. ISBN 0-06-105314-7.
- 章節：Ⅲ .Development. : 21–34.
- 章節：Ⅳ. The Director and the Deal. : 35–50.
- 章節：Ⅴ. Script Wars. : 51–70.
- 章節：Ⅵ. Designing Blade Runner. : 71–81.
- 章節：Ⅶ. The Cast and Crew. : 82–95.
- 期刊
- Doll, Susan, and Greg Faller. 1986. "Blade Runner and Genre: Film Noir and Science Fiction." Literature Film Quarterly 14 (2): 89–100.
- Macarthur, David. A Vision of Blindness: Bladerunner and Moral Redemption. Film-Philosophy. 2017, 21 (3): 371–391. doi:10.3366/film.2017.0056
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- 影音（特別收錄）
說明：「第X分鐘處」指的是相關內容出現在X分鐘0秒至X分鐘59秒之間
- Crew. Dangerous Days: Making Blade Runner [危險的日子：製作《銀翼殺手》]. Warner Bros. 2007 （英语）.（備註：含8個章節，總時長213:57）
| 排序 | 章節名稱 | 時長 |
|---|---|---|
| 1 | Incept Date - 1980: Screenwriting and Dealmaking. | 30:36 |
| 2 | Blush Response: Assembling the Cast. | 22:43 |
| 3 | A Good Start: Designing the Future. | 26:34 |
| 4 | Eye of the Storm: Production Begins. | 28:46 |
| 5 | Living in Fear: Tension on the Set. | 29:23 |
| 6 | Beyond the Window: Visual Effects. | 28:47 |
| 7 | In Need of Magic: Post-Production Problems. | 23:05 |
| 8 | To Hades and Back: Release and Resurrection. | 24:09 |