There also exists the San Diego Sneak Preview Cut, which was only shown once at a preview screening and the US Broadcast Cut, which was edited for television broadcast. In the 2007 documentary Dangerous Days: The Making of Blade Runner, there is a reference to director Ridley Scott presenting an eighth version, a nearly four-hour-long "early cut", that was shown only to studio personnel. The following is a timeline of these various versions.
The workprint version (1982, 113 minutes) was shown to test audiences in Denver and Dallas in March 1982. It was also seen in 1990 and 1991 in Los Angeles and San Francisco as an Original Director's Cut without the approval of director Ridley Scott. Negative responses to the test previews led to the modifications resulting in the US theatrical version,[2] while positive response to the showings in 1990 and 1991 pushed the studio to approve work on an official director's cut.[3] This version was re-released as part of the five-disc Ultimate Edition in 2007 with a new transfer of the last known print in existence, with the picture and sound quality restored as much as possible. However, the result was still rough.
Full Version Final Cut Of Director
Although several different versions of the script had included a narration of some sort to clarify the narrative, Harrison Ford and Ridley Scott had decided to add filmed scenes to provide the information. But financiers rewrote and reinserted narration during post-production after test audience members indicated difficulty understanding the film. Scott did not have final cut privilege for the version released to cinemas.[6] Ford said in 1999, "I contested it mightily at the time. It was not an organic part of the film."[7] It has been suggested that Ford intentionally performed the voice-over badly, in the hope it would not be used.[1] But in a 2002 interview with Playboy, he said, "I delivered it to the best of my ability, given that I had no input. I never thought they'd use it. But I didn't try and sandbag it. It was simply bad narration."[8]
Ridley Scott publicly disowned this workprint version of the film as a "director's cut," citing that it was roughly edited and lacked a key scene, and the climax did not feature the score composed for the film by Vangelis. (It featured a temporary track using Jerry Goldsmith's score from Planet of the Apes.) In response to Scott's dissatisfaction, Warner Bros. pulled theatrical screenings of the workprint in some cities, though it played at the NuArt Theater in Los Angeles and the Castro Theatre in San Francisco beginning in late 1991.[15]
Scott found time in mid-2000 to help put together a final and definitive version of the film with restoration producer Charles de Lauzirika, which was only partially completed in mid-2001 before legal and financial issues forced a halt to the work.[21]
The Final Cut contains the original full-length version of the unicorn dream, which had never been in any version, and has been restored. Additionally, all of the additional violence and alternative edits from the international cut have been inserted.
Final cut privilege (also known as final cutting authority) is the right or entitlement of an individual to determine the final version of a motion picture for distribution and exhibition.[1] The final cut on a film can be held by film studios, studio executives, executive producers, film producers, directors, screenwriters, and sometimes actors. The authority can also be shared between any of the above parties.[2][3]
Studios are typically reluctant to give final-cut rights to an individual who is not financially vested in the project and therefore often hold on to this authority or grant it to studio executives.[4] In some instances, a studio may have a subsidiary that is a production company which retains final cut. Studio executives such as Kevin Feige for Marvel Studios and Kathleen Kennedy for Lucasfilm will often have final cut authority.[5] The actor Matt Damon, who was a producer on the 2016 film Manchester by the Sea, had final cut authority instead of the film's director, Kenneth Lonergan.[6] Actors can also negotiate for final cut authority. The actor Kevin Costner had final cut on the 1999 film For Love of the Game due to the worldwide success of Dances with Wolves. Costner and the director Sam Raimi had creative disputes over the finished product. Although Universal Pictures sided with Raimi's changes, Costner's changes were made because he contractually held the authority.[7]
Directors will seek final cut authority for creative reasons; however, the right is usually only granted to established directors who have been determined by their record to be bankable, such as Steven Spielberg, James Cameron, Peter Jackson, Quentin Tarantino, The Wachowskis, or the Coen brothers. This authority is not absolute. If a director goes over budget, exceeds runtime, misses the production schedule, or otherwise does not stick to the agreed upon terms, he or she can lose final cut.[2] Should the director no longer be an employee, the authority vested in the director is passed to a pre-determined individual that was approved by the director and the studio prior to production. Although all parties are obligated to meaningfully consult with each other on all aspects of the film, when it gets down to final cut, it can cause conflict, which usually occurs between the director and the studio.[1]
Independent directors and those working outside of the major US film studios have other metrics to determine if final cut authority is granted to the director. For instance in France, directors whose reputations are built on artistic merit, as opposed to bankability, frequently have final cut privilege for their films. In the United States there are directors that are considered acclaimed, but not necessarily bankable directors, such as Woody Allen, David Lynch, Alexander Payne, and Terrence Malick, who enjoy final cut privilege.[8][9][10]
When a film is released with a final cut made by someone other than the director, sometimes producers will subsequently release a director's cut of the film, which is a version of the film as the director would have cut it or more closely follows their vision of the project. A promise of a release of a director's cut can sometimes entice a director to join a project or help smooth over creative differences. These versions of a film can act as an additional marketing tool for film distribution, and often the term director's cut is used only for marketing purposes and has nothing to do with what the director actually wanted. Director's cuts are usually released via digital distribution, such as on DVDs or through streaming services.
In 1990, Warner Bros. briefly allowed theatrical screenings of a 70-mm copy of the workprint version of the film, advertising it as a Director's Cut. However, Ridley Scott publicly disowned the notion that the workprint was his definitive Director's Cut, citing that it was roughly edited and lacked the full score composed for the film by Vangelis. In response to Scott's dissatisfaction (and in part because of the film's resurgent cult popularity by the early 90s) Warner Bros. agreed with Scott to assemble a definitive Director's Cut of the film to be released in 1992.[1]
They hired Michael Arick, who had rediscovered the workprint of Blade Runner and who was already doing consultation work for them, to head the project with Scott. He started by spending several months in London with Les Healey, who had been the assistant editor on Blade Runner, attempting to compile a list of the changes that Scott wanted made to the film. He also received a number of suggestions/directions directly from the director himself. However, due to time constraints, several of these suggestions were never accomplished. Some of these have never appeared in any version of the film, such as the re-insertion of a scene where Deckard visits Holden in a hospital.[1]
Partly as the result of his reservations about the Director's Cut, Scott was invited back in mid-2000 to help put together a final and definitive version of the film, with the oversight of Charles de Lauzirika, who began working on this version. During the process, Lauzirika rediscovered the film's negatives, which had been in "junk" storage since 1988. In 2002, Lauzirika completed a Ridley Scott-approved rough cut of the new version, which he referred to as the Definitive Cut. The Definitive Cut was slated for a 2002 release to coincide with the film's twentieth anniversary, and was to be released as part of a DVD set including the full international theatrical cut, an early workprint with additional scenes, and the newly enhanced version in addition to deleted scenes, extensive cast and crew interviews, and the documentary On the Edge of Blade Runner. However, Warner Bros. indefinitely delayed the Definitive Cut and DVD release after legal disputes began with the film's financiers (specifically Jerry Perenchio), who were ceded ownership of the film when the shooting ran over budget from $21.5 to $28 million.[1]
After years of legal disputes, Warner Bros. secured full distribution rights to the film in 2005. By October 2006, Lauzirika was formally contracted to produce a Blade Runner DVD set, a feature-length documentary about the film, and a final version of the film, aptly-named The Final Cut. These were set to be released in 2007 to celebrate the film's twenty-fifth anniversary.[1]
In the years since the Final Cut's 2007 release, fans have understandably wanted to know which is the best version of Blade Runner. It's a reasonable inquiry as each edit of the movie has its ardent defenders. But for Ridley Scott completists, the differences in the Final Cut - which included restoration to sound and visuals and some digital fixes - are what make it the definitive and best version of this Philip K Dick adaptation. So what are these differences? Well, chief amongst them is the complete re-addition of its more violent moments and the full restoration of the movie's (in)famous unicorn dream sequence, which was incredibly important alongside the director's cut's removal of the studio-mandated happy ending. 2ff7e9595c
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