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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?
Roy Batty (portrayed by Rutger Hauer) during the scene in the Final Cut of Blade Runner "Tears in rain" is a 42-word monologue, consisting of the last words of character Roy Batty (portrayed by Rutger Hauer) in the 1982 Ridley Scott film Blade Runner. Written by David Peoples and altered by Hauer, [1] [2] [3] the monologue is frequently quoted. [4]
The Star Wars opening crawl is a signature device of the opening sequences of every numbered film of the Star Wars series, an American epic space opera franchise created by George Lucas. Within a black sky background featuring a smattering of stars, the crawl is preceded both by the opening static blue text, "A long time ago in a galaxy far ...
The opening text crawl of Star Wars is in the same style as the text openings of each chapter of the Flash Gordon Conquers The Universe serial. [citation needed] [From the 1940 series, not 1936, and the opening crawl is from the movie Les Disparus de Saint-Agil]. DC Comics and Jack Kirby.
"More Human than Human" is a song by the American heavy metal band White Zombie from their album Astro-Creep: 2000 (1995). It was released as the first official single from the album and is also included on Rob Zombie's Past, Present & Future, the greatest hits album The Best of Rob Zombie, and a remix is included on Supersexy Swingin' Sounds and Revolutions.
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Seven different versions of Ridley Scott's 1982 science fiction film Blade Runner have been shown, either to test audiences or theatrically. The best known versions are the Workprint, the US Theatrical Cut, the International Cut, the Director's Cut, [1] and the Final Cut. These five versions are included in both the 2007 five-disc Ultimate ...
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 ...