Future Noir The Making Of Blade Runner – Paul M Sammon

At this point in his pursuit, Batty’s hand suddenly begins to cramp up, indicating his built-in demise is only a short time away. In order to revitalize himself, the replicant pulls an old nail from a rotting piece of wood and jams it through his clenching hand. The actual shots of the nail piercing Batty’s palm and reemerging from the back of his hand (a special courtesy of a Michael Westmore- built prosthetic) were seen for many years on American tapes and laser discs utilizing the so-called “International Cut.”

However, the Director’s Cut of Blade Runner drops these shots altogether. Having now “nailed” an extra packet of energy, Batty completely butts his head through a tiled bathroom wall in order to both frighten and taunt the detective. Staging the head butt took, as Lawrence Pauli explains, “First building a section of the bathroom wall and then fin¬ ishing it with real tiling. The interior of that wall was another story. All of the studding and lathing was balsa wood. We aged and stained that, and then squeegeed in a brittle, foamlike material on the wall’s outer surfaces.

The tile was applied over this with a substance named emastic, and when Rutger banged his head through the other side, all the materials within the wall just flew all over the place. It was a very convincing illusion.” Rutger Hauer: “I had a long talk about Batty’s superhuman powers with Ridley, because I felt we had to be really delicate in showing how strong this guy really was.

Because if he was superhuman, there’d be no comparison to a human’s weakness. “So I had a big problem with sticking my head through the wall at Harrison; I felt we went over the top there. But it looks great and it does seem to work. It’s a fun moment. But there was a certain amount of freedom we took. I never wanted Batty to be Superman. He couldn’t fly, he had to take the elevator. ” Taking advantage of Batty’s momentary power failure, Deckard whacks Batty across the face with a (rubber) pipe.

Ford next kicks out the slats from a boarded-up window and finds himself teetering on a Bradbury ledge, with a matte painting showing the street far below.

[;/ f f ij mm »7 #/*/*/■ t Digitized by the Internet Archive in 2019 https://archive.org/details/futurenoirmakinOOsamm “When it came to Hollywood, I had an automatic flinch reaction.” —Philip K. Dick “Sometimes the design is the statement.” —Ridley Scott <» FUTURE NOIR: THE MAKING OF BLADE RUNNER Paul M. Sammon HarperPrism An Imprint o/HarperPaperbacks If you purchased this book without a cover, you should be aware that this book is stolen property. It was reported as “unsold and destroyed” to the publisher and neither the author nor the publisher has received any payment for their “stripped book.”

HarperPaperbacks A Division ofHarperCoW’msPublishers 10 East 53rd Street, New York, N.Y. 10022 Copyright © 1996 by Paul M. Sammon All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. For information address HarperCollinsP^Z?/z5/?ers, 10 East 53rd Street, New York, N.Y. 10022. HarperPaperbacks may be purchased for educational, business, or sales promotional use.

For information, please write: Special Markets Department, HarperCollinsPublishers, 10 East 53rd Street, New York, N.Y. 10022. First printing: July 1996 Cover art credits and copyright information for interior art appear on page 436. Designed by Lili Schwartz Printed in the United States of America Library of Congress Cataloging-in-Publication Data Sammon, Paul M. Future noir: the making of Blade runner/Paul M. Sammon. p. cm. ISBN 0-06-105314-7 (trade paperback) 1. Blade runner (Motion picture) I.

Title. PS1997. B569S26 1996 791.43’72-dc20 96-14196 CIP HarperPrism is an imprint of HarperPaperbacks. HarperPaperbacks, HarperPrism, and colophon are trademarks of HarperCollinsP^/is^ers. 99 ❖ 10 9 8 7 6 This Labor of Love Is For RIDLEY SCOTT, HAMPTON FANCHER, and PHILIP K. DICK CONTENTS Acknowledgments xi Introduction: One Man’s Obsession xiv I. THE FILM / Blade Runner / II. THE BOOK 8 The Author: Philip K. Dick 9 Do Androids Dream of Electric Sheep / 6 III.

DEVELOPMENT 21 “Do I Love Hollywood? No. ” 21 The First Option Attempts 22 Enter Hampton Fancher 24 Brian Kelly Carries the Ball 29 Treatments and Pitches 30 The Producer: Michael Deeley 32 IV.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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