Director's cut.

No voice over, right?

I actually think it's better with the voice over.

Does it make you less of a person? Does everything you've done since inception count enough to make you real?

See, that's what Roy's little soliloquy says to me. It's kind of summing up those very questions.

I also rather prefer the notion that Deckard was human, as that means that Roy's last act was to save a human life, to see if that would finally make him real. It also sets up the essential existential exploration of the film - that Roy's artificial humanity is more alive than Deckard's rote existance.

ita, I was referring to proffering a hoax. Peter Jackson duped all of NZ with a brilliant documentary about Colin McKenzie, NZ's native son and the first film maker. McKenzie shot scenes of the first air flight--by Kiwi's long before the Wright brothers were even out of short pants. He made a classic, epic film called Salome that was nearly lost to the ages. He also captured some of the most effecting footage of WWI before being killed (on camera), trying to save a wounded soldier. The stuff of legend. In Forgotten Silver, Sam Neill and Leonard Maltin rhapsodize about McKenzie's genius. TVNZ played the doc over two nights and the country went wild for the heroic native son they never knew.

The reason they never knew him is that he never existed.

Once the truth was out, Jackson got death threats. It was pretty hairy for a bit, but obviously, all is now forgiven.

The concept and the film itself are pure gold.

I highly recommend it.

Serial:

Brazil, too, is about Jonathan Pryce's character's quest to find some kind of meanful life in the remote, inhuman mechanism wrought by humanity.

I actually think it's better with the voice over.

So does Deb. I'd like to see it with, sometime.

I also rather prefer the notion that Deckard was human, as that means that Roy's last act was to save a human life, to see if that would finally make him real.

See, any meaning Roy was supposed to have for me was overshadowed by the fact that he was acting batfuck crazy at the end.

See, any meaning Roy was supposed to have for me was overshadowed by the fact that he was acting batfuck crazy at the end.

I always interpreted that as an indictment that to be alive is to be batfuck crazy.

I always interpreted that as an indictment that to be alive is to be batfuck crazy.

So Ridley Scott is the Joker. Check.

Speaking of Rutger Hauer, I watched Ladyhawke again tonight.

Note to Richard Donner: Try to restrain yourself from using contemporary music in a medieval film. Especially if it involves Graham Parsons. The Moog synthesizer kinda harshes the Dark Ages vibe. de de deet deet BLAM de de deet...BLAM.

Other than that, I love the film with a warm glowyness.

'I speak to the Lord all the time and, forgive me, but he never mentioned you."

Ever read "Do Androids Dream of Electric Sheep?"

Talk about batfuck.

I liked the movie, much, much better. Not really sure how Blade Runner came out of it, to be honest. A coupla character names and a few situations, but other than that? Not much resemblance.

Heh, I'm rather fond of the book, too. But as Beej points out - the two are veeeery different. They have somewhat similar themes, which are explored in very different manners.

I think I have an allergy to the dispeptic dystopia view of the future. Where everyone is crabby and THEY are keeping us down, yo.

The allergy, no doubt, stems from the dismal truth that then really is now.

S'all I'm sayin'.

And the emotion control thing? So Harrison Bergeron. Or Equalibrium.

Atchoo!