RIDLEY SCOTT'S ALL-NEW "FINAL CUT" VERSION OF THE FILM - Restored and remastered with added & extended scenes, added lines, new and cleaner special effects and all new 5.1 Dolby Digital Audio.
Commentary by Ridley Scott
Commentary by executive producer/co-screenwriter Hampton Fancher and co-screenwriter David Peoples; producer Michael Deely and production executive Katherine Haber
Commentary by visual futurist Syd Mead; production designer Lawrence G. Paull, art director David L. Snyder and special photographic effects supervisors Douglas Trumbull, Richard Yuricich and David Dryer
Feature-length authoritative documentary - DANGEROUS DAYS: MAKING BLADE RUNNER
1982 THEATRICAL VERSION
1982 INTERNATIONAL VERSION
1992 DIRECTOR'S CUT
Featurette "The Electric Dreamer: Remembering Philip K. Dick"
Featurette "Sacrificial Sheep: The Novel vs. The Film"
Philip K. Dick: The Blade Runner Interviews (audio)
Do Androids Dream of Electric Sheep Cover Gallery (images)
The Art of Blade Runner (image galleries)
Featurette "Signs of the Times: Graphic Design"
Featurette "Fashion Forward: Wardrobe & Styling"
Screen Tests: Rachel & Pris
Featurette "The Light That Burns: Remembering Jordan Cronenweth"
Unit photography galleryv Deleted and alternate scenes
1982 promotional featurettes
Trailers and TV spots
Featurette "Promoting Dystopia: Rendering the Poster Art"
Marketing and merchandise gallery (images)
Featurette "Deck-A-Rep: The True Nature of Rick Deckard"
Featurette "--Nexus Generation: Fans & Filmmakers"
Commentary by Paul M. Sammon, author of Future Noir: The Making of Blade Runner
Featurette "All Our Variant Futures: From Workprint to Final Cut"
1080p high definition 2.40 aspect ratio (workprint 2.20)
The Final Cut: Dolby TrueHD English 5.1, Dolby Digital English 5.1, Dolby Digital French 5.1
Three archival versions: Dolby Digital English 5.1, English 2.0, French 2.0 (Parisian), French 2.0 (dubbed in Quebec)
Workprint: Dolby Digital English 5.1
Bonus features are in standard definition
When Ridley Scott's cut of Blade Runner
was finally released in 1993, one had to wonder why the studio hadn't done it right the first time--11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phony happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives.) The movie's spectacular futuristic vision of Los Angeles--a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"--is still its most seductive feature, an otherworldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runner
one of the few science fiction pictures to legitimately claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates.... With Sean Young, Edward James Olmos, Daryl Hannah, Rutger Hauer, and M. Emmet Walsh. --Jim Emerson
--This text refers to the