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The Bladerunner (also published as The Blade Runner) is a 1974 science fiction novel by Alan E. Nourse, about underground medical services and smuggling.It was the source for the title, but no major plot elements, of the 1982 film Blade Runner, adapted from the novel Do Androids Dream of Electric Sheep? by Philip K. Dick, [1] though elements of the Nourse novel recur in a pair of 2002 films ...
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 co-writer David Peoples wrote the 1998 action film Soldier, which he referred to as a "sidequel" or spiritual successor to the original film; the two are set in a shared universe. [246]
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]
The "Gladiator II" director says he learned "never believe your own press" from the ordeal.
This article became the book Future Noir: The Making of Blade Runner. [128] 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 ...
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]
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Blade Runner: The Final Cut showing at Prince Charles Cinema in Leicester Square, London in 2015. Scott provides audio commentaries and interviews for all his films where possible. In the July 2006 issue of Total Film magazine, he stated: "After all the work we go through, to have it run in the cinema and then disappear forever is a great pity ...