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Blade Runner is a 1982 science fiction film directed by Ridley Scott from a screenplay by Hampton Fancher and David Peoples. [7] [8] Starring Harrison Ford, Rutger Hauer, Sean Young, and Edward James Olmos, it is an adaptation of Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep?
Rick Deckard is a fictional character and the protagonist of Philip K. Dick's 1968 novel Do Androids Dream of Electric Sheep?. Harrison Ford portrayed the character in the 1982 film adaptation, Blade Runner, and reprised his role in the 2017 sequel, Blade Runner 2049. James Purefoy voiced the character in the 2014 BBC Radio 4 adaptation. [1]
Rick Deckard is a "blade runner", a special agent in the Los Angeles police department employed to hunt down and "retire" replicants. His ID number is B-263-54, which is stated twice in both the 1992 Director's Cut and the 25th-anniversary Final Cut of the film.
Despite all the dazzling, rain-and-neon-drenched sets and a Vangelis score that's pure synthesized gold, Blade Runner is very much a film of faces—searching, unsure eyes looking at wide, fixed ...
The novel was set several months after the events of Blade Runner, following Deckard living in an isolated shack outside of Los Angeles, with Rachael with him in a Tyrell transport container, intended to slow down the replicant aging process. Deckard is called in by the human template of Rachael, Sarah Tyrell, to hunt down a missing replicant ...
A new audiobook version was released in 2007 by Random House Audio to coincide with the release of Blade Runner: The Final Cut. This version, read by Scott Brick, is unabridged and runs approximately 9.5 hours over eight CDs. This version is a tie-in, using the Blade Runner: The Final Cut film poster and Blade Runner title. [6]
B. File:Blade Runner 1982 cover.jpg; File:Blade Runner 2049 poster.png; File:Blade Runner Deckard Eye Glow.jpg; File:Blade Runner eye.png; File:Blade Runner spinner ...
Despite the initial appearance and marketing of an action film, Blade Runner operates on an unusually rich number of dramatic levels. As with much of the cyberpunk genre, it owes a large debt to film noir, containing and exploring such conventions as the femme fatale, a Chandleresque first-person narration in the Theatrical Version, the questionable moral outlook of the hero—extended here to ...
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