Blade Runner

Man has made his match... now it's his problem.

Release Date 1982-06-25
Runtime 118 minutes
Status Released
Watch

Overview

In the smog-choked dystopian Los Angeles of 2019, blade runner Rick Deckard is called out of retirement to terminate a quartet of replicants who have escaped to Earth seeking their creator for a way to extend their short life spans.

Budget $28,000,000
Revenue $41,722,424
Vote Average 7.941/10
Vote Count 14290
Popularity 9.6181
Original Language en

Backdrop

Available Languages

English US
Title:
"Man has made his match... now it's his problem."
Deutsch DE
Title: Der Blade Runner
"Die Menschen schufen sich ihr Ebenbild, ohne zu ahnen, was sie damit heraufbeschwören..."
Italiano IT
Title: Blade Runner
"Anno 2019. L'uomo ha costruito il proprio simile. La più grande invenzione è diventata la più grande minaccia. La polizia impiega reparti speciali chiamati Blade Runner."
Pусский RU
Title: Бегущий по лезвию
"«Человек нашёл себе достойную замену... теперь это его проблема»"
Français FR
Title:
"L’homme en a fait son égal… maintenant c’est son problème."
Türkçe TR
Title: Bıçak Sırtı
"İnsan seçimini yaptı... Artık bu onun sorunu."

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Cast

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Reviews

tmdb39513728
10.0/10
**Planet Noir** I declare _Blade Runner_ the best sci-fi movie of all time. Arguments? No? Okay. So long. Please upvote the guest book on your way out. WAIT! There's more. At the risk of whistling conspiracies and setting off inappropriate vibrations in your slacks, you see, this Ridley K. Dick concoction is going on right now. While we're all transfixed by the endlessly goofy droppings from the web, forever staring down and swiping things on our smarty-pants phones, retweeting selfies of infinitely mirrored selfies; proliferating at light speed, every aspect of humanity is being replicated, perfected, mechanized, optimized, upgraded, fortified, robofied, Googlized, quantumized, DNA'd and NSA'd and will soon converge to fall upon and supplant us, and Harrison Ford, despite looking trim for his years, will be too old to stop it! And the irony to end all ironies is that we, as the irresponsibly arrogant, over-infested and narcissistic caretakers and consumers, and the colossal defecators of this broken-down, flea-bag of a planet, are entirely fundamentally responsible. No, the irony of all ironies is that a world exclusively dominated by self-correcting technocratic cyborgs with zettabytes of artificial intelligence will be a vast improvement. The androids are saving the planet! AHHH, run for your life! Blade Runner is both an expired cautionary tale and emerging utopian fantasy. Oh, you knew this already? Very well. Carry on. Enjoy your self-driving cars and virtual nature tours.
John Chard
10.0/10
Retirement - Replicants - Resplendent. Blade Runner is one of those glorious films that has gained in popularity the older it has gotten. Ridley Scott's follow up to the critical and commercial darling that was Alien, was by and large considered a flop and damned for not being a science fiction action blockbuster. There was of course some fans who recognised its many many strengths during the initial weeks of its 1982 release, but many who now claim to have loved it back then are surely looking sheepishly in the mirror these days, for the hard-core minority of 82 fans remember it very differently. Remember the spider that lived outside your window? Orange body, green legs. Watched her build a web all summer, then one day there's a big egg in it. The egg hatched... Anyway, that's by the by, the point being that a film can sometimes be ahead of its time, misunderstood or miss-marketed, Scott's masterpiece is one such case. Story, adapted in fashion from Philip K. Dick's story, Do Androids Dream of Electric Sheep? Is pretty simple. It's a dystopian Los Angeles, 2019, and there are four genetically engineered Replicants - human in appearance - in the city, which is illegal. They were designed to work on off-world colonies, any Replicant who defies the rules will be retired by special police assassins known as Blade Runners, and Blade Runner Rick Deckard (Harrison Ford) is on this case. A case that will prove to have many layers... A new life awaits you in the Off-world colonies! A chance to begin again in a golden land of opportunity and adventure! Ridley Scott gets to have all his cakes to eat here, managing to blend intriguing science fiction with film noir. That the visuals are outstanding is a given, even the film's most hardest critics grudgingly acknowledge this to be an eye popping piece of visual class - the mention of eyes is on purpose since it's forms a key narrative thread. That it is awash with eye orgasms has led to critics calling a charge of beauty over substance, but the deep themes at work here tickle the brain and gnaw away at the senses. Quite an experience to live in fear, isn't it? That's what it is to be a slave. Mood is set at perpetually bleak, a classic film noir trait, and paced accordingly. Scott isn't here to perk anyone up, he's here to ask questions whilst filtering his main characters through a prism of techno decay, of humanity questioned to the max, for a film so stunning in visuals, it's surprisingly nightmarish at its core. The emotional spine is ever present, troubled when violence shows its hand, but it's there posing an intriguing question as the Replicants kill because they want to live. And this as our antagonist, Deckard (Ford a brilliantly miserable Marlowe clone), starts to fall for Rachael (a sensually effective femme fatale portrayal), one of his retirement targets. Tears in the Rain. As Rutger Hauer (never better) saunters more prominently into the story as head Replicant Roy Batty, the pic evolves still more. Haunting lyricism starts pulsing away in conjunction with Vangelis' rib shaking techno score, while Jordan Cronenweth's cinematography brings Scott's masterful visions to life, key characters one and all. Visuals, aural splendour and dark thematics - so just what does it mean to be human? - Indeed, curl as one in a magnificent cinematic achievement. A number of cuts of the film are out there, and all of them have fans, but Scott's Final Cut is the one where he had total artistic control, and the scrub up job across the board is quite literally breath taking. 10/10
jocosta3
6.0/10
The movie's story didn't do much for me, however I did find parts of it confusing. After watching it I found out that I watched the "Final Cut" which has a completely different ending and different implications from the theatrical release. I didn't understand those implications...I needed to look up the ending online. Whether that's because the movie is confusing or I'm dumb, I can't say. But my friend I watched it with didn't understand it either. After looking up the end's meaning, I did find it a bit more satisfying. But the main reason this movie is worth watching is the visuals. Not sure I'd watch it again any time soon though.
Gimly
8.0/10
Some people will say this classic sci-fi "has nothing to offer other than overrated cult-status". To that, I would respond, "it has Rutger Hauer on a rooftop, and that's enough for me". _Final rating:★★★★ - Very strong appeal. A personal favourite._ (3.5 for the Theatrical Cut, 4.0 for the Final Cut)
tmdb40011370
8.0/10
I have only viewed the Final Cut, and judging by reviews elsewhere this is possibly the most complete and satisfying version of them all. I cannot truthfully say I am in awe with this film as I found it quite plodding at times. But having said that the visionary aspects, the bleak surrounds, and the air of hopelessness that permeates throughout most of the film is exceptionally well done. I would hazard a guess it wasn't a big success at the box office back in 82/83 chiefly because of the likes of ET, and Raiders of the Lost Ark, Return of the Jedi and quite a few other adventure/SF films of the time pushing this film into a dark corner. Another reason could be because it was too slow for those brought up on Star Wars; or just too unengaging for those looking at it from a murder-mystery perspective (I recall reading that the original version had Ford do a Marlowesque voice over). An impressive film for all that, with some delightful special effects, and a decent performance from Ford. But of course for me the true delight was Roy's "Time to Die" speech at the end. If there was an Oscar for best speech in a film, he would have won it with ease!
CinemaSerf
7.0/10
This time, it is Ridley Scott's turn to offer us his prognostication of a future wherein corporate America has, ostensibly benignly, introduced the ultimate in labour saving devices - androids called "replicants" - which have a look and feel of people about them. These "Nexus" creations can turn their hands to just about anything, but when the latest off-world models rebel, all of their cousins become outlawed and it falls to the "Blade Runners" to track them down and destroy them. "Deckard" (Harrison Ford) is one such operator who is called back out of his retirement to identify four of these highly adaptable and intelligent robots and this perilous task takes him to the heart of their manufacturer run by the fiendishly clever but unscrupulous "Tyrell" (Joe Turkel), and into a web of duplicity surrounding their controlling protocols and maybe even a fifth, almost impossible to recognise "replicant", whom - unlike it's contemporaries - has no idea that it isn't human. Ford is on cracking form here, as is Rutger Hauer - the android leader "Batty" and the dark, frequently rainy imagery contributes wonderfully to this seedily presented story of greed and manipulation set amongst a grittily dank and hostile environment that offers little, visually anyway, by way of hope or relief. It has a film-noir look and feel to it, and Scott keeps it moving well, keeps the dialogue sparse - though impactful, and the whole thing develops cinematographically some of the pretty profound questions brought up in the original Philip Dick novel about just what constitutes humanity. Just shy of two hours - it flies by, especially on a big screen where the visuals and audio still work wonders.
Filipe Manuel Neto
10.0/10
**A magnificent work, if we consider the time when it was released and the technical resources that existed.** Honestly, I didn't expect much from this movie. It was a film that was not successful in theaters and that only took off when it went to VHS, acquiring admirers since then and becoming one of the most respected films of all time. Set in a profoundly dystopian Los Angeles, it raises many philosophical and sociological questions around human nature, the course of humanity, our relationship with technology and our morality in general. Watching this film in 2022 was funny because the action of the film, released in 1982, takes place in the year 2019. That is, it was set in a future that, now, is past for me and never materialized (and I'm glad). The film's plot is not easy: humanity colonized other planets while destroying Earth, and created very realistic human androids while destroying itself. However, the androids, called replicants, got out of control, and are now hunted and killed, or used for the most vile purposes. The metaphors are clear, there is a lot of philosophical material, and it leaves us thinking for a long time. Ridley Scott gives us, with this film, one of his masterpieces. The film is magnificent in every way, and it is worth giving it the time it needs to surprise us. It creates a neo-noir plot where nobody is innocent or angelic, and where danger is everywhere. The lighting, the shutters on the windows, the indispensable “femme fatale”, all the classic components of noir are here, in a frankly colorful film with sets and landscapes that combine the most grandiose futurism with the decadence and dirt of the world we destroy. The dialogues are memorable and full of deeply symbolic moments. The characters are rich, dense and complex, and it's extraordinary to think that we still don't really understand, after several decades, whether the main character is human or not. In fact, it seems that time has not passed for this film: if we think that it is from the early 80s, it is incredible that it is so visually powerful and that it has such good cinematography. It looks like a movie made ten years ago. The sets and costumes couldn't be better, and the special effects are stunning. The soundtrack, composed by Vangelis, is smooth and hypnotic. Adding to all this, we have Harrison Ford, in one of the most underrated works of his career. He does a really good job, and he deserved more recognition for that. Sean Young also deserves a round of applause for the way he brought his character to life, a replicant who really thinks she's human. There are other very good actors, and we can highlight Rutger Hauer in particular, but they do not match this duo of artists.
tensharpe
8.0/10
Experienced on the big screen in the Everyman Cinema was just about the best way to loose myself in this spectacular SCI FI  masterpiece. Without Doubt “Blade Runner” has been extremely influential since its original release over 40 years ago and it’s technical wonder and effects are still as inspiring today. Doug Trumble’s effects, Larry Paull’s production design and the downtown L.A. location shots all work so well in creating a retro- fitted future. Obviously a different cut to the original release , “Blade Runner: The Final cut “ removes the voiceover and original ending so criticised by audiences and critics during its theatrical run in 1982. This newer ( 2007 ) ending elevates the movie to something more spectacular and wonderful. A group of rebel replicants , feared dangerous to humans,  have escaped and landed on earth. Earth is a cyber, neon, futuristic , overpopulated, uncaring environment, with a population that has little time for anything other than existence.  Unlike these humans of the future, the replicants show far more empathy and humanity towards each other.  It is in the the dying moments of a replicant that we come to learn of the true nature of the rebel groups attempt to escape to earth. It is simply a quest that most humans try and attain, the desire to extend life. The beauty and wonder experienced by replicant leader Roy Batty ( Rutger Hauer ) in his short existence is sympathetically relayed as he saves his would be assassin. The power of “ Blade Runner : The final cut’”  is highlighted during the end scenes  when Roy reflects his existence. As he “dies”  it is clear he is gazing into a future already lost to the past.
ohitsjudd
10.0/10
"Blade Runner," Ridley Scott's iconic 1982 sci-fi masterpiece, is a film that transcends time with its **thematic depth** and **stunning visual design**. Having immersed myself in all the various cuts of the movie, I can confidently say that each version provides a unique experience worth exploring. From the original U.S. Theatrical Cut with its voice-over narration to the more enigmatic Director's Cut, each rendition adds different textures to the story of Rick Deckard, a Blade Runner tracking down synthetic beings known as replicants. But it is **the Final Cut**, hailed by many, that stands as the **most cohesive and definitive vision of the film**. Scott's meticulous craftsmanship reaches its peak here, harmonizing all the elements that make "Blade Runner" an enduring classic. Visually, "Blade Runner" is a triumph. Yes, by today's standards, some shots—such as those flying over the dystopian cityscape—may seem dated. But what remains impressive is the film's ability to create a **believable and immersive world without relying on CGI**. Utilizing miniatures, matte paintings, and carefully designed sets, the film's visual aesthetics hold up remarkably well, echoing a time when practical effects were the vanguard of filmmaking. Whether you're a newcomer to the world of "Blade Runner" or revisiting it, there's value in exploring each cut of the film. Yet, if you were to choose one version to encapsulate the entire essence of this groundbreaking work, the Final Cut would be the ideal choice. Its blend of story, character depth, and visual artistry illustrates why "Blade Runner" continues to be a beacon of cinematic excellence."
portman123
10.0/10
Visually stunning and completely immersive. Great performances by Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, Edward James Olmos etc. Ridley Scott does some impressive visuals, camera work, lighting etc. Love the completely immersive dark, gritty, rainy dystopia portrayed. I love that the camera sometimes lingers on details or zooms out to show you more of the world. Fantastic atmosphere. Excellent unique soundtrack by Vangelis. I felt a great range of emotions watching this movie including melancholy, sentimental, in awe, in wonder etc. Roy Batty stands out to me as a wonderfully complex, strange, interesting, confused, troubled character. Total pleasure to watch. So is Deckard, Rachel, Pris, Sebastian etc.

Famous Quotes

"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."

Famous Conversations

BATTY: One man. He must be good.

MARY: Then go get him.

BATTY: That wouldn't be very sporting.

BATTY: What's the point?

MARY: Not to be trapped.

BATTY: You underestimate the trap, Mary.

MARY: Let's go while there is still time.

BATTY: Where?

MARY: Anywhere.

BATTY: I'm sure glad you found us, Sebastian. What do you think, Mary?

MARY: I don't think there is another human being in this whole world who would have helped us.

BATTY: Pris?

BATTY: He knows what he's doing.

MARY: If he won't cooperate?

BATTY: Mr. Sebastian is a host who wants to be appreciated. We'll appreciate him and he'll cooperate.

BATTY: We're not used to the big city. Where we come from it's not so easy to get lost.

MARY: You certainly have a nice place here.

BATTY: Well stocked.

BATTY: Can't thank you enough, Mr. Sebastian. If you hadn't come along...

MARY: We were worried to death. It's awfully kind of you.

BATTY: I've done some questionable things.

TYRELL: Also extraordinary things.

BATTY: Nothing the God of biomechanics wouldn't let you in heaven for.

TYRELL: Also you're too valuable to experiment with.

BATTY: I am?

BATTY: Then a repressor protein that blocks the operating cells.

TYRELL: Wouldn't obstruct replication, but it does give rise to an error in replication, so that the newly formed DNA strand carries a mutation and you're got a virus again... but all this is academic -- you are made as good as we could make you.

BATTY: But not to last.

TYRELL: Put it this way. Rolls Royces are made to last -- as least they were. But I'm afraid you're a Ferrari. A high strung racing car -- built to win, not to last.

TYRELL: The facts of life. I'll be blunt. To make an alteration in the evolvement of an organic life system, at least by men, makers or not, it fatal. A coding sequence can't be revised once it's established.

BATTY: Why?

TYRELL: Because by the second day of incubation any cells that have undergone reversion mutation give rise to revertant colonies -- like rats leaving a sinking ship. The ship sinks.

BATTY: What about E.M.S. recombination?

TYRELL: We've already tried it -- ethyl methane sulfonate is an alkylating agent and a potent mutagen -- it creates a virus so lethal the subject was destroyed before we left the table.

BATTY: I want more life, fucker.

TYRELL: Come here.

TYRELL: I'm surprised you didn't come to me sooner.

BATTY: It's not an easy thing to meet your maker.

TYRELL: And what can he do for you?

BATTY: Can the maker repair what he makes?

TYRELL: Would you like to be modified?

BATTY: Had in mind something a little more radical.

TYRELL: What's the problem?

BATTY: Death.

TYRELL: I'm afraid that's a little out of my...

BATTY: Yeah. It might be better if we talk in private, Sebastian. Why don't you go home.

TYRELL: Here's your check, my boy. Thank you.

BATTY: The name is Batty. Roy Batty.

TYRELL: Oh?

BATTY: Where are you going, Sebastian?

SEBASTIAN: Just thought I'd...

BATTY: No, you stay here with us. Out last night together.

BATTY: You're our best and only friend.

SEBASTIAN: Thank you.

SEBASTIAN: He's not really my friend. I just do a job for him now and then.

BATTY: Tyrell could help us, Sebastian.

SEBASTIAN: He could?

BATTY: His company made us.

SEBASTIAN: I'd be happy to mention it to him.

BATTY: Be better if I could talk to him in person. But he's not an easy man to get to.

SEBASTIAN: No.

BATTY: When do you deliver your project?

SEBASTIAN: This afternoon.

BATTY: What about your friend, the man who owns this building?

SEBASTIAN: Dr. Tyrell?

BATTY: We have a lot in common.

SEBASTIAN: You mean that you can't come here and I can't go there?

BATTY: Not only that, but we have smiliar problems. Accelerated decrepitude. But we don't want to die quite yet.

SEBASTIAN: Of course not.

BATTY: You could help us.

SEBASTIAN: I don't know much about biomechanics, Roy. I wish I did, but you're out of my league.

BATTY: If we don't find help soon, Pris hasn't got long to live.

SEBASTIAN: Show me something?

BATTY: Like what?

SEBASTIAN: Like...

SEBASTIAN: What generation are you?

BATTY: Nexus - 6.

BATTY: What, Sebastian?

SEBASTIAN: You're androids.

BATTY: Why are you staring at us?

SEBASTIAN: You're just all so... so different.

SEBASTIAN: How about breakfast, I was just going to make some.

BATTY: If it wouldn't be too much of a bother... a little bite to eat would be...

SEBASTIAN: Oh, no bother, I'd be glad to.

BATTY: Well, actually

BATTY: I like a man who stays put. An admirable thing to be able to sustain yourself in these times. You live here all by yourself, do you?

SEBASTIAN: Well, no, not really. There's Mr. Deetchum, he's the watchman, he lives on the first floor.

PRIS: I want to do it.

BATTY: Okay, but don't kill him. Save a little for everybody. A masterpiece.

PRIS: I think, therefore I am.

BATTY: Very good, Pris. Now show him why.

PRIS: Then we're stupid and we'll die.

BATTY: Not if everybody is doing their job here at home. How are things at home?

PRIS: This is my Uncle Roy, Sebastian.

BATTY: Hello, glad to meet you.

BATTY: What's going on down there?

PRIS: He's not ready yet.

BATTY: When?

PRIS: Tomorrow, he says.

BRYANT: If you don't, we will. It has to be total, Deckard. That's an order from as high as it comes. Got it?

DECKARD: Yeah. I got it.

BRYANT: Go.

BRYANT: Take a number. Canapt 1700, tenth floor, Villa Vita District, Olympia South.

DECKARD: Got it.

BRYANT: Okay, here it is. Eldon Tyrell, his family and half his staff were just massacred. The cat is about to get out of the bag. Pressure is definitely on. The Nexus program is terminated. When you finish there, locate Nexus designated Rachael and retire.

DECKARD: Yeah.

BRYANT: This is Bryant. Are you alone?

DECKARD: Yeah.

BRYANT: She's not with you?

DECKARD: Who.

BRYANT: Look, go home. Get some rest. Take an aspirin.

DECKARD: Yeah.

DECKARD: I didn't like her.

BRYANT: You didn't like her!?

DECKARD: She was gonna get away.

BRYANT: Then let her get away. I thought you were a pro -- you're supposed to be a fuckin' tracker!

DECKARD: Yeah.

BRYANT: Bryant here. Regarding the rundown you requested on job applicants, Esper's concluded that the only irregular category that Tyrell's got is the entertainment section. You better get on it.

DECKARD: I was just about to have my dinner.

BRYANT: If you hurry you'll get back before it gets cold. I got a spinner on your roof in five minutes. Good luck.

BRYANT: The Tyrell Corporation has a demo model. Check it out on the Voight-Kampff. There's a chance the Nexus-6 is beyond out ability to detect. If that's the case, everybody's up shit creek.

DECKARD: What was the cover on the one that got Holden?

BRYANT: Industrial refuse.

DECKARD: Garbage man?

DECKARD: You got a machine on it yet?

BRYANT: We're using Esper -- a 231 -- that picked up Holden's alarm. Its guess is that all five are in the city.

DECKARD: Where do we start?

DECKARD: Six, huh?

BRYANT: Five. Three nights ago one of them managed to break into the Tyrell Corporation. Killed two guards and got as far as the Genetic Sector before he got fried going through an electro- field.

DECKARD: What was he after?

BRYANT: There wasn't much left of him, so we can't be sure. But bio- chemical data and morphology records of the Nexus-6 were reported missing. Going on the possibility they might try to infiltrate we send Holden in to run Voight-Kampff tests on the new employees. Guess he found himself one.

CHEW: Well, when do you get paid?

SEBASTIAN: Soon as I finish the job.

CHEW: When might that be?

SEBASTIAN: Day after tomorrow.

CHEW: Oh! Day after tomorrow.

SEBASTIAN: It's gotta be right for my customer.

CHEW: Your customer, eh?

DECKARD: Okay, gimme a run-down on the three females.

ESPER: Nexus designated Mary: incept November 1 2017, domestic conditioning non competitive, trained for day care position.

DECKARD: Next.

ESPER: Nexus designated Pris: incept data December 13 2017, competitive, programmed to provide pleasure for long term spacers.

DECKARD: Number three.

ESPER: Nexus designated Zhora: incept June 13th 2017, athletic conditioning, highly competitive, special abilities in the entertainment field.

ESPER: Four years. Which would make her termination date...

DECKARD: Never mind. Do they have that knowledge?

ESPER: Longevity is classified. No.

DECKARD: Yes?

ESPER: Do you have something against science?

DECKARD: Not if it works.

ESPER: And what in your estimation works?

DECKARD: The umbrella.

ESPER: Here's something you might find interesting. They have been built to emulate the human in every way except in its emotional spectrum. However, after a period of time it is only logical that such a 'mechanism' would create its own emotional responses, hate, love, fear, anger, envy.

DECKARD: I know all that.

ESPER: What about a summary then.

DECKARD: I think we're through for the night.

DECKARD: You equipped for random questions?

ESPER: Why, yes, of course.

DECKARD: You start.

ESPER: The five in question are third generation Nexus Sixes, constructed of skin-flesh culture, selected enogenic transfer conversion capable of self-perpetuating thought, para-physical abilities and developed for emigration program. Are you with me?

DECKARD: How do I stop one?

ESPER: Unlike a five, they can sustain massive traumas to several parts of the body without debilitating another. Sever a leg and it will perform quicker on the remaining leg than the fastest man can run,

DECKARD: Okay, but...

ESPER: I'm coming to that. Vulnerable zone is the base of the skull, the occipital bone. A direct hit is a positive retirement.

DECKARD: Machines can be helpful sometimes, but they can also be a pain in the ass. Ask for a trace on a forger and you might wind up at a steel- mill. I don't mind a bum-steer once in a while -- it's their personalities that usually get me. Somebody once said that man makes machines in his own image. If that's true, whoever made Esper should have been shot.

ESPER: This is Esper and I'm ready. Go ahead please.

LEON: My birthday is April 10, 2015. How long do I live?

DECKARD: Four years.

LEON: How old am I?

DECKARD: I don't know.

LEON: I like you.

DECKARD: I like you too.

LEON: One more, eh?

DECKARD: I gotta piss.

LEON: You like to kiss her goodbye.

DECKARD: No thanks.

LEON: Prosit.

DECKARD: Prosit.

DECKARD: How long you had these guys?

LEON: Two months. But this one is not guy. It is girl. His girl.

DECKARD: Those cockroaches?

LEON: Ya.

LEON: You want to see my friends?

DECKARD: Sorry, don't have the time.

LEON: No problem.

LEON: Prosit.

DECKARD: Prosit.

LEON: I think I have no money.

DECKARD: It's okay. Forget it.

LEON: But I would like to buy you drink.

DECKARD: I'll but you one. What'll you have?

LEON: Vodka!

DECKARD: Shot of vodka, please.

LEON: Thank you very much.

DECKARD: My pleasure.

HOLDEN: Love is just another name for sex. Love is sexy and sex is lovely -- I don't care what you call it, an android can't have it.

DECKARD: These aren't just...

HOLDEN: I know what they are, Deck -- Look, maybe they can pretend to feel, but far as the raw, hot emotions of the old heart -- no way.

DECKARD: What's that?

HOLDEN: I'm taking a piss.

HOLDEN: Don't make me laugh. It makes me pee.

DECKARD: Sorry.

HOLDEN: Hey, it's okay. I like to pee. So how are you doing?

DECKARD: I'm doing okay.

HOLDEN: From what I hear you're doing great. Bryant tells me you're going like a god damn one-man army. Making a lot of money, huh?

DECKARD: Yeah. But that's what I wanted to talk to you about.

HOLDEN: Money?

DECKARD: No. I got a problem.

HOLDEN: Let's hear it.

DECKARD: I think I'm starting to empathize with these Nexus-sixes.

HOLDEN: I'm great. I mean, I know I'm not really great, but I feel just great. How you like my new suit?

DECKARD: Well, you don't have to worry about getting it wrinkled.

WHEELER: My job is here.

DECKARD: Me too.

DECKARD: Why didn't you go?

WHEELER: Too old.

DECKARD: But if you could?

WHEELER: But you haven't put in for emigration.

DECKARD: Nope.

WHEELER: You're going to be over the limit.

DECKARD: Listen, I could make you a long list of complaints about this fucken city but I still rather be here than up there.

WHEELER: What if you change your mind?

DECKARD: They'll change the limit before I change my mind.

WHEELER: You sure?

DECKARD: Never been more sure of anything in my life.

WHEELER: During the road test...

DECKARD: Yeah?

WHEELER: Your mind kept wandering. That bothered me.

DECKARD: Huh huh.

WHEELER: Considering the nature of your work, that could be unhealthy.

DECKARD: True.

WHEELER: Nerves of steel.

DECKARD: No rust?

WHEELER: I didn't say that. Your motivity rate checked out a little slower than last time.

DECKARD: Meaning?

WHEELER: Meaning you don't run as fast as you used to.

DECKARD: Book the good ones for where?

TAFFEY: Lots of places. The tours, the clubs, the Silicone shows, private parties.

DECKARD: What shows?

TAFFEY: Silicone Valley. Lots of these science guys never leave that place. We book two shows a month in there. Those big time techs and bio- guys might be real high zoners up here, but when it comes to the arts, they like it loud and lewd.

TAFFEY: This one looks familiar, but I don't know. Naw. There's one came in today looks a little like this one but...

DECKARD: What did she want?

TAFFEY: Who?

DECKARD: The girl that doesn't look like that girl.

TAFFEY: Nothing. She wanted to know about suck night.

DECKARD: What night?

TAFFEY: I didn't know if I wanted to handle her -- I already got a snake act. But my partner goes down there to the Opera House on suck night to book the good ones.

DECKARD: What's suck night?

TAFFEY: That's what we call in the trade, audition free-for- alls and most of it sucks. Bit I don't think that's her.

DECKARD: You talking about the Opera House on the Main?

TAFFEY: You see I lost my contacts a couple of days ago around here somewhere and my sight is a little... What am I supposed to be looking for?

DECKARD: Do you recognize any of them?

DECKARD: I'd like you to take a look at these pictures.

TAFFEY: Of course.

DECKARD: Taffey Lewis?

TAFFEY: Yes?

DECKARD: Can I come in?

DECKARD: Me.

SALOME: And who do I go to about you?

DECKARD: You'd be surprised what a guy'll go through to get a glimpse of a beautiful body.

SALOME: I bet I would.

DECKARD: Little dirty holes the bastards drill in the wall so they can watch a lady undress.

SALOME: Jeezus!

DECKARD: Sorry.

SALOME: Hey! Do your job but don't wreck mine, huh?

SALOME: The best.

DECKARD: Does it eat?

SALOME: Come on.

DECKARD: It that mother real?

SALOME: Of course he's not real. You think I'd be working here if I could afford a real snake?

DECKARD: It's a good job.

SALOME: You mean the snake.

SALOME: How do you mean 'exploited'?

DECKARD: Like to get this position. Did you or were you asked to do anything lewd or unsavory or otherwise repulsive to your person?

SALOME: Are you for real?

DECKARD: Oh, yeah. You'd be surprised what goes on around here. I'd like to check the dressing room if I could.

SALOME: What the fuck for?

DECKARD: For holes.

DECKARD: There's been reports of management sexually abusing the artists in this place.

SALOME: I don't know nothing about it.

DECKARD: You haven't felt yourself to be exploited by the management in any way?

SALOME: Yeah?

DECKARD: I'm with the American Federation of Variety Artists...

RACHAEL: You know what I think?

DECKARD: What?

RACHAEL: That some of the folks around here are more programmed then me.

DECKARD: Don't leave here. Don't open the door, don't answer the phone.

RACHAEL: What difference will it make?

DECKARD: Just wait here.

RACHAEL: Why do you call it retire, why don't you call it murder?

DECKARD: Because it's not.

RACHAEL: Don't you think anything that can suffer deserves to be considered?

DECKARD: Andies only simulate suffering -- if they're programmed for it.

RACHAEL: Do you think I simulated what happened between us?

DECKARD: No, I don't.

RACHAEL: Have you ever known anybody a long time?

DECKARD: You mean a woman?

RACHAEL: Uh-huh.

DECKARD: What's a long time?

RACHAEL: Ten years.

DECKARD: Nope. Nobody could stand me that long.

RACHAEL: You're sick, Deckard.

DECKARD: I never felt better.

RACHAEL: This feels stupid.

DECKARD: Good for a smart girl to feel stupid. Part of your education.

RACHAEL: But if I don't plug it in how can I...

DECKARD: Never mind the plug, just go through the motions.

RACHAEL: But then how can you...

DECKARD: I don't like the noise. Just practice. Practice makes perfect.

RACHAEL: They could clean around the arrangement.

DECKARD: I don't like people snooping around my stuff.

RACHAEL: When was the last time you cleaned this place?

DECKARD: Hmmm?

RACHAEL: Have you ever cleaned your apartment?

DECKARD: Don't be fooled by appearances.

RACHAEL: It appears to be dirty -- why don't you get somebody?

RACHAEL: Nobody is freer than when he dreams. I read that.

DECKARD: It wasn't very good last night, was it?

RACHAEL: I don't know, I have nothing to compare it to. I guess I thought there was something more to it.

DECKARD: What?

RACHAEL: I don't know... I think I missed something.

DECKARD: Like?

RACHAEL: I'm not sure. Is there a secret?

RACHAEL: Did you cry when your father died?

DECKARD: Yeah.

RACHAEL: That's another thing I can't do.

RACHAEL: Do you dream?

DECKARD: Yeah. Sometimes.

RACHAEL: I wish I could.

RACHAEL: What do people do in the afternoon?

DECKARD: If they are smart, they take naps.

RACHAEL: How come you're not on the job?

DECKARD: I am. Part of my job is to sit on a couch and try and figure things out.

RACHAEL: How are you doing?

DECKARD: Not too good.

RACHAEL: Who is this?

DECKARD: Me and my dad.

RACHAEL: Where is he?

DECKARD: Dead.

RACHAEL: Oh.

RACHAEL: I told you I'd come back.

DECKARD: You did?

RACHAEL: You didn't hear me. You were sleeping.

DECKARD: You ever take a bath with a man before?

RACHAEL: There's a lot I haven't done with a man before.

DECKARD: Don't just stand there looking at me. It's not polite.

RACHAEL: What do you want me to do?

DECKARD: Sit.

RACHAEL: They probably want to find out when they were made.

DECKARD: Right.

DECKARD: I can imagine.

RACHAEL: Can you? I couldn't.

RACHAEL: Do I make you nervous?

DECKARD: Yeah.

RACHAEL: I'm sorry.

RACHAEL: You use your equipment, don't you?

DECKARD: So?

RACHAEL: So, I'm a piece of equipment. Use me.

RACHAEL: There's two reasons a man rejects help. Either because he's so good at what he does he doesn't think he needs it, or he's so insecure he can't admit it.

DECKARD: Sounds like I'm an ass-hole either way, but the answer is still no.

RACHAEL: Two of us might be more effective than one.

DECKARD: I work alone.

DECKARD: Is there anything else?

RACHAEL: I know you think it complicates your work, but I'm here to help.

DECKARD: I've already got more help than I need.

RACHAEL: I think you need more help than you've got.

DECKARD: Last question. You're watching an old movie. It shows a banquet in progress, the guests are enjoying raw oysters.

RACHAEL: Ugh.

DECKARD: You become pregnant by a man who runs off with your best friend, and you decide to get an abortion.

RACHAEL: I'd never get an abortion.

DECKARD: Why not?

RACHAEL: That would be murder, Mr. Deckard.

DECKARD: In your opinion.

RACHAEL: It would be my child.

DECKARD: Sounds like you speaks from experience.

DECKARD: In a magazine you come across a full-page photo of a nude girl.

RACHAEL: Is this testing whether I'm an android or a lesbian?

DECKARD: You show the picture to your husband. He likes it and hangs it on the wall. The girl is lying on a bearskin rug.

RACHAEL: I'd take him to the doctor.

DECKARD: You're watching T.V. and suddenly you notice a wasp crawling on your wrist.

RACHAEL: I'd kill it.

RACHAEL: I wouldn't accept it. Also, I'd report the person who gave it to me to the police.

DECKARD: You have a little boy. He shows you his butterfly collection, plus the killing jar.

RACHAEL: Are you apprehensive?

DECKARD: Why should I be?

RACHAEL: For the responsibility of your power. Being a police bureaucrat, you've got more than your share.

DECKARD: It's artificial?

RACHAEL: Of course not.

RACHAEL: It seems your department doesn't believe out new unit is to the public benefit.

DECKARD: A humanoid robot is like any other machine, it can be a benefit or a hazard. If it's a benefit, it's not our problem.

RACHAEL: But because your department can't do an adequate job in detecting the miniscule number at large, it's a problem. Correct, Mr. Deckard?

DECKARD: Bad?

GAFF: Severed spine. You'd better get in here. Bryant's waiting for you.

DECKARD: I'll see you in a minute.

GAFF: Where the hell you been?

DECKARD: You know where I been. I been on vacation.

GAFF: Next time you go on vacation, do me a favor, let us know where it is.

DECKARD: What's up?

GAFF: Holden got hit.

TYRELL: And how is it one man will be able to cover so much ground?

DECKARD: Discreetly.

TYRELL: All pertinent information is being fed into your departmental computer, an Esper 231 -- I believe -- and a photo over-lay packet is being produced.

TYRELL: How many questions does it usually take, Mr. Deckard?

DECKARD: Five, maybe six.

DECKARD: She didn't know?

TYRELL: Memory implant. She was programmed. But I think she has transcended her conditioning. I think she was beginning to suspect.

TYRELL: How many questions did it take?

DECKARD: Thirteen.

TYRELL: Well?

DECKARD: If she is, the machine works.

TYRELL: The machine works. She is.

TYRELL: May I ask a personal question?

DECKARD: Go ahead.

TYRELL: Have you ever retired a human by mistake?

DECKARD: No.

TYRELL: But in your profession that is a risk.

DECKARD: Nothing is infallible, but so far the Voight-Kampff scale bas been foolproof.

TYRELL: Like you said, Mr. Deckard, a machine can be a hazard. The Voight-Kampff scale is a machine, isn't it?

DECKARD: One that relies on human interpretation. Where's the subject?

TYRELL: Sitting next to you.

TYRELL: Is this to be an empathy test?

DECKARD: Yes.

TYRELL: Capillary dilation of the so-called blush response? Plus fluctuation of the pupil, plus involuntary dilation of the iris?

DECKARD: Thanks.

TYRELL: Black?

DECKARD: Please.

VOICE: We're going to have to start the sequence again if you don't stay with me, Deckard. Concentrate.

DECKARD'S VOICE: How do you know I'm not?

VOICE: You're not responding to the stimulus. I can see right here, I'm not getting a reading.

DECKARD'S VOICE: I'm tired of this.

VOICE: Almost through.

VOICE: Let's keep our eyes on the road, Deckard.

DECKARD'S VOICE: Sorry.

LEON: Whatcha mean, I'm not helping?

HOLDEN: I mean you're not helping! Why is that, Leon?

LEON: But I understand what you mean.

HOLDEN: You reach down and flip the tortoise over on its back, Leon.

HOLDEN: What?

LEON: What desert?

HOLDEN: Doesn't make any difference what desert -- it's completely hypothetical.

LEON: But how come I'd be there?

HOLDEN: Maybe you're fed up, maybe you want to be by yourself -- who knows. So you look down and see a tortoise. It's crawling towards you...

LEON: A tortoise. What's that?

HOLDEN: Know what a turtle is?

LEON: Of course.

HOLDEN: Same thing.

LEON: I never seen a turtle.

HOLDEN: You're in a desert, walking along in the sand when all of a sudden you look down and see a...

LEON: What one?

LEON: Already had I.Q. test this year -- but I don't think I never had a...

HOLDEN: Reaction time is a factor in this, so please pay attention. Answer quickly as you can.

LEON: I kinda get nervous when I take tests.

HOLDEN: Don't move.

LEON: Sorry.

PRIS: What makes you think so?

SEBASTIAN: You're all so perfect.

PRIS: Sebastian doesn't like to go out too much.

SEBASTIAN: I keep a lot of provisions right here.

SEBASTIAN: Ah, you get hold of your friends?

PRIS: As a matter of fact I did. They've got some work to do tonight, but they're gonna come tomorrow.

SEBASTIAN: Good.

SEBASTIAN: Methuselah Syndrome.

PRIS: What's that?

SEBASTIAN: My glands. They grow old too fast.

PRIS: Is that why you're still here?

SEBASTIAN: Yes. I couldn't pass the test.

SEBASTIAN: Twenty.

PRIS: What's your problem?

PRIS: And you live in this building all by yourself?

SEBASTIAN: Yeah, I live here pretty much alone right now...

SEBASTIAN: You look... better.

PRIS: Just better.

SEBASTIAN: Beautiful.

PRIS: Thanks.

PRIS: Whatcha doin'?

SEBASTIAN: You scared me.

PRIS: I'm hungry, J.F.

SEBASTIAN: I've got stuff. If you wanna go to my place?

PRIS: I was hoping you'd say that.

PRIS: We scared each other pretty good didn't we?

SEBASTIAN: We sure did.

SEBASTIAN: Where are your folks?

PRIS: They left.

SEBASTIAN: What about friends?

PRIS: I have some, but I have to find out where they are staying.

SEBASTIAN: You want to go home?

PRIS: I don't have one.

SEBASTIAN: Oh.

SEBASTIAN: What's your name?

PRIS: Pris.

SEBASTIAN: Mine's J.F. Sebastian.

PRIS: Hi.

SEBASTIAN: How come you were in my truck?

PRIS: I was tired and didn't have any place to go.

Oscar Awards

Wins

Haven't Won A Oscar

Nominations

ART DIRECTION - 1982 Lawrence G. Paull, David L. Snyder, Linda DeScenna
VISUAL EFFECTS - 1982 Douglas Trumbull, Richard Yuricich, David Dryer

Media

Clip
Deckard vs. Roy | Full Tears in the Rain Scene
Clip
Blade Runner (1982) - Part 1, Eye on the city | Restored Edition
Behind the Scenes
Making of Blade Runner