The final cut of Blade Runner has been a hot topic of discussion amongst the audience for several years. Today, we have the opportunity to discuss the cryptic questions raised, with Ridley Scott’s assistant. Interviewer: How does the final cut contrast with the original theatrical r? What was the motive behind the changes? Assistant: You see — we wanted the audience to think as an afterthought whether Deckard is a replicant. But Scott, really loved ‘Deckard’s a replicant!’ idea, so he made Deckard possess glowing eyes in the final cut, much like the replicants’, which completely gave it away. What’s more is that the unicorn origami in this scene symbolises what’s not real, but still exists – basically Rachael. Unicorn origami (left) and Deckard’s …show more content…
This implies a symbolic short-sightedness as these humans focus too much on the small details of artificial life, that they are unaware of the great life issues which occupy the replicants; existence, ethics (Roy says, “I have done questionable things”), mortality (trying to extend their lifespan), freedom (Roy says to Deckard, “That’s what it is to be a slave”). For this reason, the audience can relate with the replicants and may as well find it hard to visualise them as villains. Besides, religion is a very common aspect, so we used it to our advantage. This can be seen through Tyrell’s creation of ‘more human than human’, his mass vestment, the use of candles in his room, called father by Roy and he even lives in large pyramids (home to Ancient Egypt Gods); contrasts Tyrell with a God-like figure, showing his stature above all. Additionally, Roy’s altered dialogue, “Fiery the angels fell...” from William Blake’s America, A Prophecy which includes “Fiery the angels rose...” portrays Roy as Lucifer. Plus, we also devised some stigmata by transforming Roy from a devil type character into a Christ-like figure by saving Deckard’s life; representing salvation. Noteworthy, Roy played by Rutger Hauer carried a dove in this scene to represent his soul ascending into the heaven on his death in the form of a dove, which corresponds with Tyrell’s Prodigal Son metaphor. By and large, religious allegory was used to characterise