Blade Runner is a big-budget mood piece, an existential tone poem abou — Blade Runner

"THE view of the future offered by Ridley Scotts muddled yet mesmerizing Blade Runner is as intricately detailed as anything a science-fiction film has yet envisioned. The year is 2019, the place Los Angeles, the landscape garish but bleak. The city is a canyon bounded by industrial towers, some of which belch fire. Advertising billboards, which are everywhere, now feature lifelike electronic people who are the size of giants. The police cruise both horizontally and vertically on their patrol routes, but there is seldom anyone to arrest, because the place is much emptier than it used to be. In an age of space travel, anyone with the wherewithal has presumably gone away. Only the dregs remain."

"The secret of "Blade Runner" is that Scotts fantastically baroque, future-shock imagery, all dark decay and techno-clutter, effectively becomes the story. As the layers of mood and detail settle in, the very process by which we watch the film — scanning those shimmering, claustrophobic frames for signs of life — turns into a running metaphor for what "Blade Runner" is about: a world in which humanity has been snuffed by "progress." This is perhaps the only science-fiction film that can be called transcendental."

"That was the main area of contention between Ridley and myself at the time. I thought the audience deserved one human being on screen that they could establish an emotional relationship with. I thought I had won Ridleys agreement to that, but in fact I think he had a little reservation about that. I think he really wanted to have it both ways."

"In 1982, the movie Blade Runner envisaged the then far-off future world of November 2019 as being filled with lifelike androids, neon-drenched cities and ubiquitous flying cars. But November 2019 has arrived, and the future looks very different from the sci-fi noir prediction."

"About ten minutes into Blade Runner, I reeled out of the theater in complete despair over its visual brilliance and its similarity to the “look” of Neuromancer, my [then] largely unwritten first novel. Not only had I been beaten to the semiotic punch, but this damned movie looked better than the images in my head! [...] It was also obvious that Scott understood the importance of information density to perceptual overload. When Blade Runner works best, it induces a lyrical sort of information sickness, that quintessentially postmodern cocktail of ecstasy and dread. It was what cyberpunk was supposed to be all about"

"I was quit when I came in here. Im twice as quit now."

"[explaining to Ernie how April apologized to him] She just showed up at the factory, took off her coat, and begged me to take her. We made love in a way that Ive only ever seen in nature films."

"All men suppose what is called Wisdom to deal with the first causes and the principles of things; so that, as has been said before, the man of experience is thought to be wiser than the possessors of any sense-perception whatever, the artist wiser than the men of experience, the masterworker than the mechanic, and the theoretical kinds of knowledge to be more of the nature of Wisdom than the productive."

"The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine."

"Going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine. The long stretches of the waterway ran on, deserted, into the gloom of overshadowed distances."

"The intimate rapport with nature is one of the most precious things in life. Nature is indeed very close to us; sometimes closer than hands and feet, of which in truth she is but the extension. The emotional appeal of nature is tremendous, sometimes almost more than one can bear."

"Are people naturally destructive, immoral, predatory and self-seeking, only to be kept in order by harsh laws and fiercely deterrent mandatory sentences? Or are men and women naturally orderly, merciful, humane and bred with a need for justice and mutual aid? Of course these qualities, or defects, are not evenly distributed, and undoubtedly there is much of each in all of us, but when it comes to the law some sort of distinction can be drawn. Are you a Shylock or a Bassanio? Shylock pinned his faith on the words in the contract, the nature of his bond and the duty of the state to uphold the letter of the law regardless of human suffering. Bassanio put another point of view. More important than the sanctity of the law was the plight of the individual parties in the particular case."