BLADE RUNNER - Commentary by Ridley Scott

 

Fascinating director's commentary by Ridley Scott. Video cued to start at a point where Scott talks about the conceptual background for the film. The subsequent ~15m are really great, including dreams of unicorns, memories of green, origami, Deckard as replicant.

He also mentions that he envisioned Alien and Blade Runner taking place in the same universe.

... a special feature on the Prometheus Blu-ray release makes the film even more interesting by tying it into the Blade Runner universe. Included as an entry in the journal of Peter Weyland (Guy Pearce), who in the film was obsessed with creating artificial life, is the following gem: 

A mentor and long-departed competitor once told me that it was time to put away childish things and abandon my “toys.” He encouraged me to come work for him and together we would take over the world and become the new Gods. That’s how he ran his corporation, like a God on top of a pyramid overlooking a city of angels. Of course, he chose to replicate the power of creation in an unoriginal way, by simply copying God. And look how that turned out for the poor bastard. Literally blew up in the old man’s face. I always suggested he stick with simple robotics instead of those genetic abominations he enslaved and sold off-world, although his idea to implant them with false memories was, well… “amusing,” is how I would put it politely.

Bonus: at 1h18m in the video, Tyrell cryogenically preserved at the heart of his great pyramid!

Blade Runner November 2019

Blade Runner (1982) was set in November 2019.

Yes, progress has been a bit slow.

Blade Runner got one thing very right -- the two most important technologies of this century are AI and Genetic Engineering.

Where is the AI in Blade Runner, you ask? Not evident until Blade Runner 2049? Alien and Blade Runner take place in the same universe. A universe which contains the AI David as well as the engineered Replicants:

... a special feature on the Prometheus Blu-ray release makes the film even more interesting by tying it into the Blade Runner universe. Included as an entry in the journal of Peter Weyland (Guy Pearce), who in the film was obsessed with creating artificial life, is the following gem:

A mentor and long-departed competitor once told me that it was time to put away childish things and abandon my “toys.” He encouraged me to come work for him and together we would take over the world and become the new Gods. That’s how he ran his corporation, like a God on top of a pyramid overlooking a city of angels. Of course, he chose to replicate the power of creation in an unoriginal way, by simply copying God. And look how that turned out for the poor bastard. Literally blew up in the old man’s face. I always suggested he stick with simple robotics instead of those genetic abominations he enslaved and sold off-world, although his idea to implant them with false memories was, well… “amusing,” is how I would put it politely.

The mentor is Eldon Tyrell (Blade Runner), of course. See also here and the Tyrell-Weyland Connection.

Blade Runner 2049: Demis Hassabis (Deep Mind) interviews director Villeneuve

Hassabis refers to AI in the original Blade Runner, but it is apparent from the sequel that replicants are merely genetically engineered humans. AI appears in Blade Runner 2049 in the form of Joi. There seems to be widespread confusion, including in the movie itself, about whether to think about replicants as robots (i.e., hardware) with "artificial" brains, or simply superhumans engineered (by manipulation of DNA and memories) to serve as slaves. The latter, while potentially very alien psychologically (detectable by Voight-Kampff machine, etc.), presumably have souls like ours. (Hassabis refers to Rutger Hauer's decision to have Roy Batty release the dove when he dies as symbolic of Batty's soul escaping from his body.)

Dick himself seems a bit imprecise in his use of the term android (hardware or wet bioware?) in this context. "Electric" sheep? In a bioengineered android brain that is structurally almost identical to a normal human's?

Q&A at 27min is excellent -- concerning the dispute between Ridley Scott and Harrison Ford as to whether Deckard is a replicant, and how Villeneuve handled it, inspired by the original Dick novel.

Addendum: Blade Runner, meet Alien

The Tyrell-Weyland connection

Robots (David, of Alien Prometheus) vs Genetically Engineered Slaves (replicants) with false memories

The Making of Blade Runner: Like Tears in Rain

I always wondered how Dick's Do Androids Dream of Electric Sheep? became Ridley Scott's cyberpunk noir Blade Runner. Watch this documentary to find out!

See also Philip K. Dick's First Science Fiction Story.

AI, Westworld, and Electric Sheep

I'm holding off on this in favor of a big binge watch.

Certain AI-related themes have been treated again and again in movies ranging from Blade Runner to the recent Ex Machina (see also this episode of Black Mirror, with Jon Hamm). These artistic explorations help ordinary people think through questions like:

What rights should be accorded to all sentient beings?
Can you trust your memories?
Are you an artificial being created by someone else? (What does "artificial" mean here?)

See also Are you a game character, or a player character? and Don't worry, smart machines will take us with them.

Happy Birthday Roy Batty (Blade Runner)

Gizmodo: According to Ridley Scott’s 34-year-old (!!!) scifi classic Blade Runner, January 8th, 2016, is the day the replicant designated N6MAA10816 was first incepted. But you may know him better as Roy Batty, the philosophical, sociopathic antagonist played by Rutger Hauer in the film.

I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears...in...rain. Time to die.

Vangelis and Tangerine Dream

Eighties forever! :-)

Skin jobs

45 minutes of deleted and alternate scenes. Lots of voice over from Harrison Ford with background information on the Blade Runner universe -- replicants, Tyrell Corporation, genetic designers, etc.





This is part of a long documentary on the making of Blade Runner.

I found the videos via this blog. The author shares some of my taste in movies -- he's also a fan of Whit Stillman (Metropolitan)!

Android Dreams

These videos will be very interesting to Blade Runner fans. In the first, Dick talks about

"... the problem of differentiating an authentic human being from the reflex-machine which I call an android... The word android is a metaphor for someone who is physiologically human but psychologically ... non-human. I got interested in this when I was doing research for Man in the High Castle [excellent alternative history novel in which the Japanese and Germans won WWII] and I was studying the Nazi mentality. I discovered that although these people were highly intelligent they were definitely deficient in some kind of ... appropriate affect or appropriate emotions."

Hence the "affect Turing test" used on androids in Blade Runner / Do Androids Dream of Electric Sheep.





A lovely Sean Young, at the beginning of her movie career, talks about the challenges of playing an android.




The love scene between Rachael and Deckard, uncut.




Rutger Hauer: "Harrison is the villain." I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched C beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time like tears in rain.

Prometheus

I'm really looking forward to this prequel (sort of) to Alien. It promises to reveal the secret of the space jockey :-)

You'll also notice some Blade Runner influences -- Ridley Scott directed Alien, Blade Runner and now Prometheus.


Trailer:




Teasers:

What is reality? Philip K. Dick

I found this via longform.org. Much more here. Was Dick schizo?

Has anyone read The Grasshopper Lies Heavy? :-)

The God In the Trash: The Fantastic Life and Oracular Work of Philip K. Dick.

Alexander Star The New Republic Dec 6 1993

Dick grew up with his mother on the fringes of Berkeley's fledgling bohemia. A troubled student, he was often "hypochondriacal about his mental condition," as one of his wives later put it. And like many troubled boys of the time, he became a voracious reader of the science fiction pulp magazines that were then at their peak. In Confessions of a Crap Artist, a novel written in 1959, he wryly portrayed himself as an awkward kid spouting oddball ideas from Popular Mechanics and adventure stores: "Even to look at me you'd recognize that my main energies are in the mind."

... Throughout his career Dick longed for a wider audience, and sought to escape the science fiction ghetto. He envied writers such as Ursula Le Guin, who acquired a serious reputation and was even published in The New Yorker. His readers, he complained, were "trolls and wackos." In the '50s and early '60s, he wrote a series of non-science fiction novels, all of which were rejected by publishers at the time. These books were mainly somber tales of thwarted love in northern California, peopled with cranky record salesmen and bitter couples and narrated in a glumly painstaking fashion. On the whole, their vision of domestic life is an unhappy one. In Confessions of a Crap Artist, an accumulation of errant jealousies and petty insults leads to illness and insanity. The novel ridicules the newly formed UFO cults of Marin County, though years later Dick reflected that the cults "didn't seem as crazy to me now ..."

Rebuffed by "mainstream" publishers, Dick abandoned his realist writings in 1963. By then he had discovered a different way out of the Ace formula: he would transform the genre of science fiction from within. Concerned with psychic dislocation, and its moral and philosophical consequences, he began to ignore the expectations of his editors. In particular, he disregarded the most honored conventions of "hard s.f.," that science fiction should be rigorously "extrapolative" of hard science, and that it should be "prophetic" of plausible futures.

... Philip Dick's fictional worlds have a great many attributes, but sanity is not among them. Campbell, the monarch of postwar science fiction, refused to publish his stories because they were "too neurotic." In his preoccupation with abnormal psychology, collective delusions and implanted memories, Dick in part followed the path of irregular science fiction writers of the '50s such as A.E. van Vogt and Theodore Sturgeon. Yet he ranged further in his subversions. Dick continued to rely on the ready-made materials of science fiction, the pulp prose, the planetary conflicts, the "psionic" powers of "precogs" (who read the future) and "telepaths" (who read minds); but he employed these materials to his own extravagant ends.

... Dick's biggest literary advance came in 1962, when he published The Man in the High Castle. This study of an alternate universe in which the Axis won the Second World War was entirely devoid of the usual sci-fi devices. ("No science in it," a character observes. "Nor set in future.") Mr. Tagomi, a Japanese bureaucrat and connoisseur of American antiques, is one of Dick's most sympathetic characters. Repelled by international intrigue and devoted to the occult beauty of old bottle caps and cheap jewelry, he resists Nazi brutality with a fragile but steady will. After Bormann dies, a power struggle breaks out among the remaining Nazi leaders (Hitler has long since entered a sanitarium) and Tagomi unhappily plays one faction off against another, aware that they are all unspeakably evil. Ingeniously, the book contains its own counterfiction: in this America divided into German and Japanese zones, rumors spread of an incendiary novel speculating that the allies actually won the war. The narrative adroitly maneuvers back and forth between these two competing accounts of what is real. The Man in the High Castle was Dick's most assured and subtle work, and he hoped it would win him a wider audience. He was chagrined when reviewers treated it as just another thriller. Ironically, it was the science fiction community that celebrated the book, bestowing the Hugo Award on it in 1963.

In the early '80s Dick's hopes for renown revived, as younger writers arrived at his doorstep, royalties increased and German, French and Japanese editions of his work proliferated. Back in the early '70s he had optioned his 1968 novel Do Androids Dream of Electric Sheep? to Hollywood; by 1980 the producers of the film promised that it would be the next Star Wars. (Dick hoped that Victoria Principal would have a starring role.) In fact, Blade Runner was a commercial disappointment in its initial release. But Dick never knew of its early unsuccess. In March 1982, he died of a stroke after proudly attending an advance screening of the movie. ...

Dick explored the problem of decency in a dead world most forcefully in Do Androids Dream of Electric Sheep? Rick Deckard is a bounty-hunter, paid to track down and destroy a party of androids that has infiltrated the planet. Deckard employs an "empathy" test that records his subjects' responses to unpalatable thoughts of cruelty and death; the test can distinguish between androids and their identical-looking human counterparts. The typical Dickian twist comes when Deckard, unlike one of his partners, begins to empathize with the androids that he kills. Does this mean that he might be an android himself, or does his powerful feeling of empathy confirm precisely that he is human? Deckard investigates incidents of empathy with the care of an experienced detective, but he cannot take anything for granted. The special horror of his work is that a sudden "flattening of affect" might occur at any time, to others or to himself. The practice of empathy is fragile, uncertain and imperative. ...

This appears to be the full text of The Man in the High Castle.

Blade Runner returns

It's the 25th anniversary of Blade Runner! Interestingly, Blade Runner was a money loser; the summer of 1982 was dominated by the Spielberg blockbuster E.T.

The director's cut came out 15 years ago. This new release is a lovingly crafted digitized version with improved special effects.

Wired Q&A with director Ridley Scott. Full transcript (long, with audio). Apparently Scott never finished the Philip K. Dick novel Do Androids Dream of Electric Sheep? on which the screenplay was based.

Deckard is a replicant (Wired interview):

Scott: The whole point of Gaff was — the guy who makes origami and leaves little matchstick figures around, right? The whole point of Gaff, the whole point in that direction at the very end, if Gaff is an operator for the department, then Gaff is also probably an exterminator. Gaff, at the end, doesn't like Deckard, and we don't really know why. And if you take for granted for a moment that, let's say, Deckard is Nexus 7, he probably has an unknown life span and therefore is starting to get awfully human. Gaff, just at the very end, leaves a piece of origami, which is a piece of silver paper you might find in a cigarette packet. And it's of a unicorn, right? So, the unicorn that's used in Deckard's daydream tells me that Deckard wouldn't normally talk about such a thing to anyone. If Gaff knew about that, it's Gaff's message to say, "I've basically read your file, mate." Right? So, that file relates to Deckard's first speech to Rachael when he says, "That isn't your imagination, that's Tyrell's niece's daydreams. And he describes a little spider on a bush outside the kitchen door. Do you remember that?

Wired: I don't remember the — oh, the spider. Yeah.

Scott: Well, the spider is an implanted piece of imagination. And therefore Deckard has imagination and even history implanted in his head. He even has memories of his mother and father in his head, maybe a brother or sister in his head. So if you want to make a Nexus that really believes they're human, then you're going to have to think about their past, and you're going to have to put that in their mind.

Wired: Why didn't the unicorn dream sequence appear in either the work print or the original release?

Scott: As I said, there was too much discussion in the room. I wanted it. They didn't want it. I said, "Well, it's a fundamental part of the story." And they said, "Well, isn't it obvious that he's a replicant here?" And I said, "No. No more obvious than he's not a replicant at the end. So, it's a matter of choice, isn't it?"

Wired: As a fan reading people's comments about this, I've come across statements of Harrison Ford saying that he was not a replicant.

Scott: I know.

Wired: And watching the director's cut, it seemed to me when Ford picks up the origami unicorn at the end of the movie —

Scott: And he nods.

Wired: The look on his face says, "Oh, so Gaff was here, and he let Rachael live." It doesn't say, "Oh my God! Am I a replicant?"

Scott: No? Yeah, but then you — OK. I don't know. Why is he nodding when he looks at this silver unicorn? It's actually echoing in his head when he has that drunken daydream at the piano, he's staring at the pictures that Roy Batty had in his drawer. And he can't fathom why Roy Batty's got all these pictures about. Why? Family, background, that's history. Roy Batty's got no history, so he's fascinated by the past. And he has no future. All those things are in there to tap into if you want it. But Deckard, I'm not going to have a balloon go up. Deckard's look on his face, look at it again now that I've told you what it was about. Deckard, again, it's like he had a suspicion that doing the job he does, reading the files he reads on other replicants, because — remember — he's, as they call them, a blade runner. He's a replicant moderator or even exterminator. And if he's done so many now — and who are the biggest hypochondriacs? Doctors. So, if he's a killer of replicants, he may have wondered at one point, can they fiddle with me? Am I human, or am I a replicant? That's in his innermost thoughts. I'm just giving the fully flushed-out possibility to justify that gleaming look at the end where he kind of glints and kind of looks angry, but it's like, to me, an affirmation. That look confirms something. And he nods, he agrees. "Ah hah, Gaff was here." And he goes for the elevator door. And he is a replicant getting into an elevator with another replicant.

Wired: And why does Harrison Ford think otherwise?

Scott: You mean that he may not be or that he is?

Wired: Well, he is on record saying that, as far as he's concerned, Deckard is not a replicant.

Scott: Yeah, but that was, like, probably 20 years ago.

Wired: OK, but —

Scott: He's given up now. He's said, "OK, mate. You win, you win. Anything, anything, just put it to rest."

Tannhauser gate

Philip K. Dick was a creative genius -- full of tremendous and deep ideas. Do Androids Dream of Electric Sheep (which became the movie Blade Runner) is a meditation on identity, free will and artificial intelligence. (The main character can't be sure whether he himself is android or human, and, ultimately, whether there is any difference. Director Ridley Scott was true to this idea, making it clear that Deckard (Harrison Ford) is, without knowing it, indeed a replicant!) The Man in the High Castle is one of the best alternate history stories I've read--it takes place in an America which has been partitioned in half at the Rockies by the victorious Japanese and Germans. Some of the characters are dimly aware that things might have been otherwise... Dick's life was almost as interesting as his fiction. A serious intellectual, he dropped out of Berkeley, struggling financially and with psychological problems his entire life. He did not live to enjoy his fame.

Dick was an unappreciated genius of his time.

From the final soliloquy of the android Baty (Rutger Hauer), after he spares Deckard's life:

I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched C beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time like tears in rain.

That quote popped into my head a few years ago while I was at dinner with some other theorists at a conference in Seoul. We were discussing my recent return from running a startup in silicon valley. Someone leaned over and asked, somewhat dubiously (suggesting that anything but theoretical physics was a waste of time), "But would you do it again?"