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使用者:EzrealChen/備用沙盒16

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維基百科，自由的百科全書
Blade Runner
基本資料
導演雷利·史考特
監製Michael Deeley（英語：Michael Deeley）[註 1]
劇本
原著銀翼殺手 (小說)
菲利普·狄克作品
主演
配樂范吉利斯
攝影Jordan Cronenweth（英語：Jordan Cronenweth）
剪輯
製片商
片長117 minutes[2]
產地United States[3][4]
Hong Kong[5]
語言English
上映及發行
上映日期
  • 1982年6月25日 (1982-06-25)（United States）
  • 1982年12月22日 (1982-12-22)（Hong Kong）
發行商華納兄弟影業 (worldwide)
Shaw Brothers (Hong Kong)
預算$30 million[6]
票房$41.6 million[7]

Blade Runner is a 1982 科幻電影 directed by 雷利·史考特, and written by 漢普頓·芬奇 and David Peoples（英語：David Peoples）.[8][9] Starring 哈里森·福特, 魯格·豪爾, 辛·楊, and 愛德華·詹姆斯·奧莫斯, 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 反烏托邦n future Los Angeles of 2019, in which 人形機器人 known as replicants are 生物工程學 by the powerful Tyrell Corporation to work on 太空移民. When a fugitive group of advanced replicants led by Roy Batty（英語：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（英語：Blade Runner (soundtrack)）, composed by 范吉利斯, was nominated in 1982 for a BAFTA（英語：36th British Academy Film Awards） and a Golden Globe（英語：40th Golden Globe Awards） as best original 電影配樂. Blade Runner later became a 邪典電影, and has since come to be regarded as one of the greatest science fiction films（英語：List of films considered the best）. 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 賽博朋克 genre. It has influenced many science fiction films, 銀翼殺手系列s, 日本動畫, and television series. It also brought the work of Dick to Hollywood's attention and led to several film adaptations of his works（英語：List of adaptations of works by Philip K. Dick）. 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（英語：versions of Blade Runner） exist as a result of controversial changes requested by studio executives. A 導演剪輯版 was released in 1992 after a strong response to test screenings of a workprint（英語：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, 華納兄弟 released The Final Cut（英語：Versions of Blade Runner）, 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

[編輯]
註：存在幾個不同版本的《銀翼殺手》（英語：Versions of Blade Runner）。

2019年11月的美國洛杉磯，退休警察瑞克·戴克被官員蓋夫截住，蓋夫帶他去見老長官布萊恩。身為一名前「銀翼殺手」，戴克過往的工作是追捕被稱為「人造人」的生化機器人，並令他們「退役」（「殺死」的委婉說法）。布萊恩告訴戴克近來幾位「連鎖六型」（Nexus-6）人造人非法來到地球，他們僅有四年壽命，可能來地球尋求延長生命的方法。

戴克與布萊恩查看另一名在職的「銀翼殺手」霍登進行人性測驗（Voight-Kampff test）的錄影，這是一種透過對問題的同理心反應來從人類中區分出人造人。試驗對象李昂在霍登問及他母親的事之後，開槍將他打成重傷。布萊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」，戴克在布萊恩的間接威脅下不情願地接受了。

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認為人類的先進型號人造人試驗品。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，區分她是否為人造人的測試需要擴展加長。

與此同時，人造人正試圖接觸泰瑞博士，從而得到延長生命的方法。羅伊和李昂去了老周的眼睛製造實驗室，向他逼供如何才能見到泰瑞博士。老周為了保命透露了J·F·賽巴斯汀的身分，後者是一名和泰瑞博士私交甚篤的基因設計師。瑞秋拜訪了戴克的住處，向他展示了一張自己童年時的家庭照片來證明她是人類。但戴克解釋她的記憶是被植入的，她扔下照片流着淚離開。

戴克在搜查李昂的酒店房間時，發現了一張左拉的照片和人造蛇鱗片。他追查這個線索，找到了左拉和蛇一起表演的脫衣舞俱樂部。隨後戴克在人群蜂擁的街道上槍擊將她「退役」。緊接着布萊恩出現，他告訴戴克需將瑞秋加入退役名單，因為她從泰瑞公司失蹤了。戴克在人群中看到瑞秋，但被突然出現的李昂攻擊，兩人扭打在一起。瑞秋用戴克被李昂打掉的手槍擊斃李昂救了他，他們一起回到戴克的公寓，接着他們共度了親密的一刻。

普莉絲跟羅伊找上了賽巴斯汀，賽巴斯汀同情他們的困境，帶羅伊通過泰瑞博士閣樓的安保措施。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進入賽巴斯汀的住所調查，受到普莉絲伏擊，但仍設法將她擊斃。此時羅伊回來了，戲謔似地在房子內追殺戴克並折斷了他的兩根手指，最後兩人來到屋頂。戴克試圖跳到另一個屋頂上以求逃脫，但結果只能勉強吊掛在一條屋樑上。羅伊輕鬆地跳到同個屋頂上，在戴克的手鬆脫的瞬間救了他。在生命時限接近盡頭時，羅伊開始了關於他即將消逝的記憶的獨白，戴克靜靜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，發現瑞秋在他的床上安穩地睡覺。他們離開時，戴克發現了蓋夫留下的錫箔獨角獸摺紙，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，最後的場景則是戴克和瑞秋離開公寓面對不可知的未來，在一片寧靜的田園風光中駕車駛過）。

演員

[編輯]
由左至右：哈里遜·福特、魯格·豪爾、西恩·楊、黛瑞·漢娜。
  • 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，被植入泰瑞侄女記憶的人造人。
  • 愛德華·詹姆斯·奧莫斯飾演蓋夫（Gaff）
  • 麥克·艾密特·沃許（英語：M. Emmet Walsh）飾演哈利·布萊恩（Bryant）：警察隊長。
  • 威廉·桑德森（英語：William Sanderson）飾演J·F·賽巴斯汀（J.F. Sebastian）：同情人造人的天才，把他們視為同伴[10]。因為患有類似早衰症的基因疾病「麥修撒拉症候群」，因此和人造人一樣壽命很短[11]。
  • 喬·特科爾飾演艾爾頓·泰瑞博士（Dr. Eldon Tyrell）：企業大亨，建立了基於人造人奴隸的商業帝國。
  • 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（英語：Morgan Paull）飾演戴夫·賀登（Dave Holden）：在戴克接手前負責追捕六位人造人的銀翼殺手，在開場中遭李昂槍擊成重傷。
  • 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（英語：Hy Pyke）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（英語：Ben Astar）飾演阿布都·班·哈山（Abdul Ben Hassan）：人造蛇製作師。
  • 岡崎巖（日語：ロバート・オカザキ）（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]，在電影開場處槍擊了一位銀翼殺手後逃逸。

來源：[16]

發展

[編輯]

籌備

[編輯]

美國作家菲利普·狄克的小說《仿生人會夢見電子羊嗎？》在1968年出版，沒多久就引起了改編的興趣。1969年，導演馬丁·斯科塞斯與編劇Jay Cocks（英語：Jay Cocks）曾有意想把該小說搬上大銀幕，但從未買下過電影改編權（英語：Film rights）[17]。製片人赫伯·傑夫（英語：Herb Jaffe）的公司[註 3]於1974年早期獲得改編權，但狄克不滿意傑夫之子羅伯特·傑夫（英語：Robert Jaffe (producer)）寫的劇本，狄克在日後受訪時表示：「傑夫的劇本真是太糟糕了……羅伯特飛到聖安娜來和我討論這個項目。他下飛機後我說的第一句話是：『我是應該在機場就揍你一頓，還是回到我的公寓後再揍你？』[註 4][19]由於改編計畫缺乏進展，傑夫的公司於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（英語：James Maxwell (actor)）的推薦下讀了《仿生人會夢見電子羊嗎？》[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（英語：Brian Kelly (actor)）以2000美元向迪克買下《仿生人會夢見電子羊嗎？》的改編權[25]，並打算與製片人麥可·迪利（英語：Michael Deeley）[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（英語：Pitch (filmmaking)）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]，於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·萊恩、邁克爾·艾普特與Bruce Beresford（英語：Bruce Beresford）[39]，而Katherine Haber[39]與羅伯特·馬利根[40]一度成為改編企畫的導演。馬利根於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，迪利先後與環球影業和CBS影業（英語：CBS Films）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]，迪利從電影之路公司（英語：Filmways）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]。電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年聖誕節檔期上映[45]。在前期製作階段，劇組投入了約250萬美元[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，電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，電影之路公司在本片開拍前幾週時宣布撤資[48]，迪利在十天內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。該三方分別是賴德電影公司（英語：The Ladd Company）的Alan Ladd Jr.（英語：Alan Ladd Jr.）、香港電影製片邵逸夫爵士與串聯製片公司（英語：Tandem Productions）[49]。華納兄弟透過賴德電影公司投資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]，串聯製片公司則用700萬美元拿下電視播出和家用媒體的版權[52]。


編劇1

[編輯]
編劇漢普敦·芬奇（攝於2017年）

芬奇的劇本初稿將原著的故事背景舊金山改成洛杉磯，並在劇本中加入他當時逐漸重視的環保議題與生態學[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)（英語：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（英語：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)（英語：Blade Runner (a movie)）》[56][註 5]。史考特也喜歡這個名稱，他與芬奇認為這甚至可以當作新片名，便讓迪利取得了該標題的使用權[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（英語：Morality play），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（英語：David Peoples）來改寫劇本[66]，芬奇於1980年12月21日離開了企劃團隊，儘管他後來又回來參與了一些改寫[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，這進一步加深了他對好萊塢的不信任感[71]。1981年2月，他在洛杉磯刊物《電視選擇指南》（Select TV Guide）上撰文批評芬奇劇本的早期版本，之後劇組將畢波斯改寫的劇本寄給了他[72]。狄克對改寫後的劇本感到滿意[73]，並在訪談中表示說：「我讀完劇本後，拿出小說翻了一遍。兩者互為對方增色，先看小說的人會享受電影，而先看電影的人也會從小說中獲得樂趣。」[註 6][74]這部電影在片末字幕中註記將此片獻給狄克[75]。

選角1

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對於主人翁戴克的選角，編劇漢普敦·芬奇最初把勞勃·米契預想成戴克，在創作戴克的台詞時也想著米契[76][77]。導演雷利·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《星球大戰》系列中的出色表現[81]、他自己對《銀翼殺手》故事的興趣[82]，以及斯蒂芬·斯皮爾伯格對他在新片《奪寶奇兵》的表現大加稱讚[83][81]。在《星球大戰》和《法櫃奇兵》的成功後，福特也正尋找一個有深度的角色[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（英語：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]。與根據1981年的記錄，有很多演員一度被列為人選，包含金·哈克曼、肖恩·康納利、傑克·尼科爾森、保羅·紐曼、克林特·伊斯特伍德、湯米·李·瓊斯、彼得·福克、艾爾·帕西諾、尼克·諾爾蒂和畢·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]。人造人領袖羅伊·貝提的演員並不難決定，史考特僅憑藉自己看過魯格·豪爾在《Soldier of Orange（英語：Soldier of Orange）》[90]中的表現，沒有和他見面就錄用了他[91]。原著作者菲利普·狄克認為豪爾的詮釋是「完美的貝提——冷血、一副雅利安人樣、毫無瑕疵」[73]。在豪爾參與的眾多電影中，《銀翼殺手》是他的最愛。在2001年的一次在線聊天中，他說：「《銀翼殺手》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。能參與一部改變世界思想的真正傑作真是太棒了。」[註 7][92]Hauer rewrote his character's "雨中淚水獨白" 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·保羅（英語：Morgan Paull）負責假裝成哈里遜與候選女演員對戲[註 8]，最後獲選的是西恩·楊[94]楊的特質讓史考特聯想到費雯·麗[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（英語：Mike Fenton）覺得妮娜·艾索羅德（英語：Nina Axelrod）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《諾斯費拉圖：夜晚的幽靈》裡的克勞斯·金斯基身上獲得角色造型的靈感[99]。史黛西·尼爾金（英語：Stacey Nelkin）[100]與Monique van de Ven（英語：Monique van de Ven）[101]等女演員也有參與普莉斯的試鏡。愛德華·詹姆斯·奧莫斯飾演蓋夫，他利用自己的種族背景，和深入的個人研究，創造出蓋夫在片中所使用的虛構語言「城市混合語」[102]。在麵攤和戴克碰面的場景中，他說的話部分為匈牙利語，意思是：「胡說！不可能。你是銀翼……銀翼殺手。[102]」威廉·桑德森（英語：William Sanderson）飾演幫助人造人的J·F·賽巴斯汀，喬·潘托里亞諾（英語：Joe Pantoliano）曾被考慮過出演該角色[103]。


製作

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設計

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愛德華·霍普的畫作《夜遊者》

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，史考特從法國科幻漫畫雜誌《重金屬》刊登的作品中汲取靈感，主要是漫畫家莫比斯的作品[106]。史考特也參考了曾居住過的東北部英格蘭的工業化景象[107]，以及「香港在天氣很糟糕時的城市景觀」[108]。在城市的畫面安排上，特效主管大衛·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設計師，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「迴旋車（英語：Spinner (Blade Runner)）」（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（西班牙語：Test Voight-Kampff）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（英語：Lawrence G. Paull）與藝術總監大衛·史奈德（英語：David Snyder），兩人將史考特和米德的概念草圖轉為實際布景[113]。

迴旋車的設計是可以當成陸地交通工具駕駛，也可以垂直升空、盤旋和巡航[114]。米德將其描述為「重航空器」（aerodyne）——通過使空氣向下運動來獲得升力。米德的概念設計圖由汽車定製師吉恩·溫菲爾德（英語：Gene Winfield）轉化為25輛真實大小的車[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]在美國華盛頓州西雅圖的科幻博物館和名人堂中，有一輛迴旋車作為常設展覽[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

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Map of Ridleyville
Map of Ridleyville, exterior sets for Blade Runner located on the New York Street of the Warner Bros. Studios lot (伯班克 (加利福尼亞州))

雖然原定於1981年3月1日開拍[119]，本片的主體拍攝於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（英語：Warner Bros. Studios, Burbank）的布景拍攝[105]。劇組考慮過在紐約、亞特蘭大或倫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（英語：Retrofitting）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

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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來到劇組觀看了一段20分鐘的特效試驗片段，高興地向史考特表示影片中構建的世界正符合他的想象[73]，他說：「我在KNBC（英語：KNBC）的新聞節目裡看到了道格拉斯·特蘭布（英語：Douglas Trumbull）為《銀翼殺手》製作的一個特效片段。我一下子就認出來了。這是我內在所想的世界。他們完美地捕捉到它的樣子。」[74]


配樂

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主條目：Blade Runner (soundtrack)

《銀翼殺手》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復古未來。范吉利斯當時剛以《烈火戰車》榮獲奧斯卡金像獎[127]，他以合成器來為《銀翼殺手》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·盧索斯的聲樂[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（英語：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（英語：See You Later）》中的歌曲"Memories of Green"，之後又在電影《Someone to Watch Over Me（英語：Someone to Watch Over Me (film)）》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，本片的聲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寶麗多唱片發行。1992年，New American Orchestra（英語：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《銀翼殺手》的精神。[132]

上映

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票房

[編輯]

在美國，《銀翼殺手》於1982年6月25日在1290家影院上映。此日期是由製片小艾倫·拉德（英語：Alan Ladd Jr.）選中，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》幾乎同期上映，尤其是占據當年夏季票房的大片《E.T. 外星人》對其影響很大[136]。

版本

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主條目：銀翼殺手版本（英語：Versions of Blade Runner）

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（英語：CED Videodisc） and 家用錄像系統 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 標準收藏 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

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影評

[編輯]

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（英語：Sheila Benson） from the 洛杉磯時報 called it "Blade Crawler", and Pat Berman in The State（英語：The State (newspaper)） and Columbia Record（英語：Columbia Record） described it as "science fiction pornography".[151] Pauline Kael（英語：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（英語：Ares (magazine)） 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

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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（英語：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] 羅傑·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（英語：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（英語：Richard Corliss） surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective.[165] 丹尼斯·維勒弗, 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 英國廣播公司 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 全球變暖.[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

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Blade Runner won or received nominations for the following awards:[170]

Year Award Category Nominee Result
1982 British Society of Cinematographers（英語：British Society of Cinematographers） Best Cinematography Jordan Cronenweth（英語：Jordan Cronenweth） 提名
洛杉磯影評人協會 Best Cinematography（英語：Los Angeles Film Critics Association Award for Best Cinematography） 獲獎
1983 英國電影學院獎 Best Cinematography（英語：BAFTA Award for Best Cinematography） 獲獎
Best Costume Design（英語：BAFTA Award for Best Costume Design） Charles Knode and Michael Kaplan（英語：Michael Kaplan (costume designer)） 獲獎
Best Editing（英語：BAFTA Award for Best Editing） Terry Rawlings（英語：Terry Rawlings） 提名
Best Film Music（英語：BAFTA Award for Best Film Music） 范吉利斯 提名
Best Makeup and Hair（英語：BAFTA Award for Best Makeup and Hair） Marvin Westmore（英語：Marvin Westmore） 提名
Best Production Design（英語：BAFTA Award for Best Production Design） Lawrence G. Paull（英語：Lawrence G. Paull） 獲獎
Best Sound（英語：BAFTA Award for Best Sound） Peter Pennell, Bud Alper, Graham V. Hartstone, and Gerry Humphreys 提名
Best Special Visual Effects（英語：BAFTA Award for Best Special Visual Effects） Douglas Trumbull（英語：Douglas Trumbull）, Richard Yuricich（英語：Richard Yuricich）, and David Dryer 提名
雨果獎 雨果獎最佳戲劇表現獎 獲獎
倫敦影評人協會 Special Achievement Award Lawrence G. Paull, Douglas Trumbull, and Syd Mead 獲獎
金球獎s 金球獎最佳原創配樂獎 Vangelis 提名
奧斯卡金像獎 奧斯卡最佳藝術指導獎 Lawrence G. Paull, David Snyder（英語：David Snyder）, and Linda DeScenna（英語：Linda DeScenna） 提名[171]
奧斯卡最佳視覺效果獎 Douglas Trumbull, Richard Yuricich, and David Dryer（英語：David Dryer） 提名[172][173]
土星獎 Best Director（英語：Saturn Award for Best Director） 雷利·史考特 提名
土星獎最佳科幻電影 提名
Best Special Effects（英語：Saturn Award for 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（英語：Fantasporto） International Fantasy Film Award Ridley Scott 提名
1993 Fantasporto（英語：Fantasporto） International Fantasy Film Award Best Film – Ridley Scott (Director's Cut) 提名
1994（英語：20th Saturn Awards） 土星獎 Best Genre Video Release Blade Runner (Director's Cut) 提名
2008（英語：35th Saturn Awards） Best DVD Special Edition Release（英語：Saturn Award for Best DVD or Blu-ray Special Edition Release） Blade Runner (5-Disc Ultimate Collector's Edition) 獲獎

主題分析

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主條目：Themes in Blade Runner

The film operates on multiple dramatic and narrative levels. It employs some of the conventions of 黑色電影, among them the character of a 致命女郎; narration by the protagonist (in the original release); 明暗對照法 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 古希臘戲劇 and 傲慢.[176] It also draws on Biblical images, such as Noah's flood（英語：Genesis flood narrative）,[177] and literary sources, such as 科學怪人[178] and 威廉·布萊克.[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（英語：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（英語：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

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文化影響

[編輯]
參見：Tears in rain monologue
Screenshot of a police spinner flying through a cityscape next to a large building which has a huge face projected onto it. In the distance a screen can be seen with writing and pictures on it
A police spinner flying beside enormous skyscrapers, some with electronic billboards on them. Special effects such as these were benchmarks and have been highly influential on the esthetics of subsequent sci-fi movies.
Tesla's Cybertruck was heavily inspired by Blade Runner.

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, 電子遊戲s, 日本動畫, and television programs.[174] For example, Ronald D. Moore（英語：Ronald D. Moore） and David Eick（英語：David Eick）, the producers of the re-imagining of 太空堡壘卡拉狄加, 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（英語：Crazy (magazine)） comics,[205] Bad Rubber by Steve Gallacci（英語：Steve Gallacci）,[206] and the 紅矮星號 2009 three-part miniseries "Back to Earth（英語：Red Dwarf: 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 賽博朋克 movement.[214][215][216][217] It also influenced the 賽博朋克衍生體裁 生物朋克, which revolves around 生物技術 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（英語：I, Human） by Singaporean band Deus Ex Machina（英語：Deus Ex Machina (Death Metal)） 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 殺出重圍, 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 冒險遊戲s such as the 2012 graphical 文字冒險遊戲 Cypher（英語：Cypher (video game)）,[225] Rise of the Dragon（英語：Rise of the Dragon）,[226][227] Snatcher（英語：Snatcher (video game)）,[227][228] the Tex Murphy（英語：Tex Murphy） series,[229] 鋼鐵天空下,[230] Flashback: The Quest for Identity（英語：Flashback: The Quest for Identity）,[227] 吹泡糖危機 (and their 吹泡糖危機),[231][232] the 角色扮演遊戲 暗影狂奔,[227] the 第一人稱射擊遊戲 Perfect Dark,[233] the 射擊遊戲 Skyhammer（英語：Skyhammer）,[234][235] and the Syndicate（英語：Syndicate (series)） series of video games.[236][237]

The logos of 雅達利, 貝爾系統, 可口可樂, Cuisinart（英語：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] 可口可樂 and Cuisinart（英語：Cuisinart） recovered, and 青島啤酒 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·馬斯克 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

[編輯]
Year Presenter Title Rank Refs
2001 The Village Voice 100 Best Films of the 20th Century 94 [244]
2002 在線影評人協會 (OFCS) Top 100 Sci-fi Films of the Past 100 Years 2 [245]
視與聽 視與聽 45 [246]
50 Klassiker, Film 不適用 [247]
2003 1001 Movies You Must See Before You Die（英語：1001 Movies You Must See Before You Die） [248]
娛樂周刊 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（英語：Time's 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（英語：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

[編輯]

衍生產品

[編輯]

Before filming began, Cinefantastique（英語：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.（英語：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（英語：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（英語：Les Martin） was released in 1982.[271] Archie Goodwin（英語：Archie Goodwin (comics)） scripted the comic book adaptation, A Marvel Comics Super Special: Blade Runner（英語：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（英語：List of Pacific Comics publications） 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（英語：List of Pacific Comics publications） imprint.[275]

There are two 電子遊戲s based on the film, both titled Blade Runner: one from 1985（英語：Blade Runner (1985 video game)）, 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 銀翼殺手 (遊戲), 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 銀翼殺手 (遊戲)) 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（英語：Total Recall 2070） was initially planned as a spin-off of the film 全面回憶 (based on Philip K. Dick's short story "We Can Remember It for You Wholesale（英語：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 艾薩克·阿西莫夫's 鋼穴 and the TV series Holmes & Yoyo（英語：Holmes & Yoyo）.[279]

紀錄片

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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（英語：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（英語：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（英語：TVOntario）.[282] It includes interviews with executive producer Bud Yorkin（英語：Bud Yorkin）, 席德·米德, and the cast, and commentary by science fiction author 羅伯特·J·索耶 and from film critics.
Dangerous Days: Making Blade Runner (2007, 213 minutes)
Directed and produced by Charles de Lauzirika（英語：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

[編輯]
主條目：Blade Runner (franchise)
File:Prometheus-2012-easter-egg.jpeg
Screen capture of DVD bonus feature from Prometheus (2012), a dictated letter by Peter Weyland about Eldon Tyrell, chief executive officer of the Tyrell Corporation

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 動畫. 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 日本動畫 (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（英語：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（英語：Blade Runner 2: The Edge of Human） (1995), Blade Runner 3: Replicant Night（英語：Blade Runner 3: Replicant Night） (1996), and Blade Runner 4: Eye and Talon（英語：Blade Runner 4: Eye and Talon） (2000)

Blade Runner cowriter David Peoples（英語：David Peoples） wrote the 1998 action film 兵人, which he referred to as a "sidequel（英語：sidequel）" or 精神續作 to the original film; the two are set in a 共同世界.[293] A bonus feature on the Blu-ray for 普羅米修斯 (電影), 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 蓋·皮爾斯'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

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  1. ^ 補充：
  2. ^ 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]。
  3. ^ 正式名稱為「赫伯·傑夫聯合公司」（Herb Jaffe Associates）[18]。
  4. ^ 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?'
  5. ^ 該小說原本是一部電影的劇本小樣（英語：Film treatment），改編對象是艾倫·E·諾斯（英語：Alan E. Nourse）的小說《The Bladerunner（英語：The Bladerunner）》。[來源請求]
  6. ^ 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.
  7. ^ 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.
  8. ^ 保羅憑藉在這些試鏡中的表現，得到了片中開場被擊傷的那位銀翼殺手賀登一角[93]。

腳註

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  1. ^ 引用錯誤：沒有為名為credits的參考文獻提供內容
  2. ^ 2.0 2.1 Blade Runner. 英國電影分級委員會. 1982-05-27 [2016-01-08]. （原始內容存檔於2016-03-22）. 
  3. ^ Blade Runner. AFI.com. 美國電影學會. [2015-12-03]. （原始內容存檔於2015-11-06）. 
  4. ^ Blade Runner. BFI.org. 英國電影協會. [2015-12-03]. （原始內容存檔於2015-12-06）. 
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引用作品

[編輯]
書籍
  • Brooker, Will (編). 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 (編). 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
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 （英語）. （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

外部連結

[編輯]
取自「https://zh.wikipedia.org/w/index.php?title=User:EzrealChen/備用沙盒16&oldid=84361467」