Check the Gate - Blade Runner

All of these moments will be lost in time like tears in rain. Unless you have a podcast. Then you get to keep them forever and comment on them relentlessly. Blade Runner is the seminal work of Ridley Scott. As if Alien wasn't enough to transform the landscape of science fiction and horror, he comes back to create a futuristic landscape that is emulated by nearly every director make distopynia future films. This movie has been a great love of ours and it is an absolute pleasure to have watched it for this episode in 35mm at the historic Hollwood Theatre in Portland, Oregon. 

Martin and Gretchen talk movies and more at Check the Gate

Episode Transcript

Speaker 1 (00:00):
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I think it's all this struggle of what is life
and existence? What does it mean to uh? How a

(01:04):
human father or a human or a parental to create?

Speaker 2 (01:08):
Does being born make you alive? Or does being created
make you alive or is it both? You know that?
I think that is the the the theories that we
explore with this movie. I mean, we're such touching barely
on this film, like, but yeah, I feel like these
are the themes of the story.

Speaker 1 (01:37):
Well, hey, Gretchen, Hi, we are back with another episode.
It is the check the Gate podcast where Gretchen and
I watch a movie and then we get to talking
about it and we never know where the conversation is
going to lead us to. And this episode pick I
am overly joyed to talk about this movie. It is
the nineteen eighty two uh Sign. It's fiction classic, probably

(02:02):
one of the pinnacle science fiction films of all of filmmaking.
This is Ridley Scott's Blade Runner.

Speaker 2 (02:11):
Would you say this was like his magnum opis of films?

Speaker 1 (02:16):
I think.

Speaker 3 (02:19):
So.

Speaker 1 (02:19):
And very specifically, why you watched the two thousand and
seven recut that he did. This one's called the final cut.

Speaker 2 (02:27):
Which I think he's like, that was it, I'm done.

Speaker 1 (02:29):
That was it Because he had done a director's cut
prior that, he had diddled with some things, and then
this one, Yeah, this one was his final cut. Is
this his magnum opis? I would say, this is probably
definitely like one of the two or three best films.
He's really I'm very hit and miss on Ridley Scott.

(02:52):
When he hits, he hits it out of the park.
He has made three absolutely magnificent film that will stand
the test of time for as long as I exist,
that have made indelible marks on cinema. Absolutely, And aside

(03:12):
from that, he's made a couple of other good films
and then some not so good films. Yeah, but he's
been prolific in his filmmaking and he has his vision
and he does what he's going to do, and I
can and I can salute him for that. This is
this is is this his opus? Boy? I don't know.

Speaker 2 (03:30):
It's really really amazing. I mean, yeah, this is another
director that we've This is another director we're doing that
is like spectacularly prolific as far as filmmaking and again
makes beautiful, small or giant universes of films.

Speaker 1 (03:53):
Yeah. And it's so this was a very opportunistic film
when it came to our timing on all of this
because in Portland where we are, we have the Hollywood
Theater and the Hollywood Theaters having their Summer of celluloid.
They're running all of these thirty five millimeter films. There's
been a whole massive string of them. There's some of
the their regulars that they have. But and I've been

(04:14):
watching a ton of films there, and one of those
happened to be Blade Runner. The final cut in thirty
five millimeters.

Speaker 2 (04:20):
Yeah.

Speaker 1 (04:21):
Yeah, And it's not a cleaned up like four K
restoration where they got rid of the film grain and
then put it back on to film. It is a
thirty five millimeter print.

Speaker 2 (04:32):
I didn't see that one. I saw the restoration final
cut version that was on the like on Apple Plus
that you could purchase.

Speaker 1 (04:42):
Yeah, yeah, yeah. Did it have a lot of the
kind of film grain and little glitchy stuff that carried over? No,
it was.

Speaker 2 (04:48):
Was so spectacularly beautiful that it looked like I was
looking at a window. Oh wow, it was gorgeous, But
it left like the lens flares and those kinds of things. Sure,
but definitely was look like I was literally looking through
the window.

Speaker 1 (05:02):
Nice. Well, this so I got to see it again
on a thirty five millimeter print on the big screen
with the big sad the way it's meant to be
and it's yeah, and it has the film Green in
it and has the little film artifacting in it, but
it's still so beautiful. It's such a gorgeous film. There's
so much to unpack with this film. Let's get started

(05:23):
on this because there's just there's just so much. I mean,
I don't even know where to begin. I'm gonna let
you begin because I can just go on and on
about this.

Speaker 2 (05:31):
So how I kind of came about this as I'm
a big Philip K. Dick fan. I read the book
to Android's Room of Electric Sheep when I was pretty young. Honestly,
I got into science fiction, that kind of science fiction.
I would say that I hate to oppress that I
must i'm a science fiction fan, because honestly I'm not.

(05:52):
But I have specific writers that I really love, like
William Gibson and Philip K. Dick, Isaac Asthmov so more
sciencey versus the like fantastical stuff like people get into
with like dragons and crap like that. That's just not
my thing. But this. When I was a little kid,

(06:16):
I didn't really relate to other people very well, and
so I always felt like I was I think I
literally remember telling somebody in elementary school that I was
a replicant, and they were like, what the hell is that?
But I mean, I was so sure that I was

(06:38):
such a weirdo, and I still am that I was
a replicant, that I couldn't possibly be like going to
school with these idiots, and that I was the weird
I was artificial. What does that say about me? But
that being said, do androids dream of electric sheep? This? Well,

(06:58):
this movie is such a depart from that book, but
very much. But premise wise, there's a few characters and
the idea of artificial humans and artificial animals that look
very that look real. Is I guess what we're still
drawing from for this.

Speaker 1 (07:18):
Yeah, I have a paperback I don't know what printing
it is, but it is a paperback printing that is
prior to the film that I got.

Speaker 2 (07:30):
Owhere in my novelization of it. I love a good
novelization of a film.

Speaker 1 (07:36):
It's no collect those Oh I apologize, No, it's not
a novelisation of film. It is do Androids stream of it?
That's what I was making.

Speaker 2 (07:44):
It's taking about nineteen sixty eight.

Speaker 1 (07:46):
Yeah, I have and I have a paperback edition that
I got somewhere. Like I said, I don't know the
printing date on it. It's somewhere in the late seventies
to early eighties. But it's one that doesn't say soon
to be a major motion picture, same the film. Yeah,
so it's it's one of my coveted book treasures. I

(08:07):
actually have. I have a book of the Wills star Wars,
The Adventures of Luke Skywalker, and it was written as
a book, well it was written as a book for
Star Wars, but it's not the film that we see
on the screen. It's the short story novelization that was

(08:27):
written while the film was in production, that was pulled
from the script, and it has the original artwork on
it that hasn't that doesn't look anything like any of
the article. Yeah, so I have, like the Book of
Star Wars when it was the Book of the Wills
the Adventures of Luke Skywalker, you know, Star Wars, And

(08:47):
so this sits on the shelf next to that do
Android's Dream of Electric Sheep and does not say it
is about to be made into a film. So, but
it's been a very long time since I've read it,
and I admit I am I have more of an
attachment to the film because I had I watched the
film before I found the book. I found the book

(09:08):
in a used bookstore, got it, read it, have continued
to be a fan of the of the films, you know,
the versions of theatrical and then the director's cut. But I
definitely find if I remember correctly, the struggle of Decord
is a lot more just depressing. He's really a depressed.

Speaker 2 (09:32):
Yeah, he's not like a case Harrison Ford makes him
into a or Redley Scott makes him into a more
of a of a detective noir kind of story. The
book definitely doesn't have that kind of tone. It kind
of sits on my shelf with I have a collection
of Philip K. Diock books that I'm like, I love

(09:55):
his more esoteric bizarre stuff like when he started seeing
like laser b giving him information kind of era of
like love kay Dick, Like it's what is it like
the three stigmatas of Elder or Palmer, Eldrich uh the
or Elder Palmer. I can't remember anyways that one or
Valous like those kinds of his, Those stories are more

(10:19):
his more his interpretations of humanity, and I think that's
kind of what we've seen the beginnings of this is
that this is a story about what makes us human?
What is it defining characteristic of humanity? What are what
are humans versus an artificial person? And now we have

(10:42):
that question again now that we have the the advent
of AI, like this is only like the beginning m hm.

Speaker 1 (10:51):
And even with our drone technology, I mean, our flying
drones have become one thing which are just completely off
the hook. But this desire to have walking uh four
legged and two legged androids drones of of stuff. Now now,
I mean we literally have people now in parades who
are out there walking with their like canine drone unit

(11:14):
that's made to be like an infiltration machine. Like we're like,
we're making two O nine's for whatever reason.

Speaker 2 (11:21):
Well, and we're making what are they like, what is
that the dog from Doctor Who Canine? We're making those?
I mean where there it's this is the steps the
beginnings of this. This is the what is it? The
the sky nets, the the.

Speaker 3 (11:40):
The I AM robot you know becomes self aware, right,
I mean it's not they're no longer cautionary tales documentary.

Speaker 1 (11:51):
Yeah, yeah, it's crazy. Well, in a lot of ways,
this film is like becoming very actualized in our world.
Though we're not getting dark and rainy, we're getting hot
and scorched right the.

Speaker 2 (12:06):
Other way more Danny Boyle Sunshine versus this. It's Yeah,
this movie had such an impact on me as a kid,
but I don't think I understood obviously, I didn't understand
the film itself, like what it meant. But I think
for me, my takeaway was that I was like, I'm

(12:27):
clearly a replicant. I'm not a person. Yeah, And because
I just felt so fish out of water with my
peers just being like a performing kid and things like that.
So I think that probably was a good interpretation for
my child brain that was like, I'm a replicant, not

(12:47):
like everybody else.

Speaker 1 (12:50):
Yeah, I get that. I really wanted to be a Jedi.

Speaker 2 (12:53):
Oh yeah, I love that. You're like I want to
be a Jedi, and I'm all like, I'm just a
fake person.

Speaker 1 (12:59):
Yeah. So I wanted to be anything other than what
my peers were, and I guess in the same vein
my whole my whole idea was that I was hoping
that there was a greater adventure that awaited me somewhere
else that I'm not this little farm boy from this
place in town that the universe has bigger plans for

(13:20):
me and I'm going to have a hero's journey, like
I desperately wanted to believe that because I was.

Speaker 2 (13:27):
Growing in a little arid farm in town like Tatine. Yeah,
good on me knowing that, because I honestly star Trek,
Star Wars is.

Speaker 1 (13:41):
Star Wars stuff my nerd that's not getting cut out.
So let's go back to Blade Runner.

Speaker 2 (13:49):
Wow. Yeah fired, Oh no, probably just cringed internally somewhere like.

Speaker 1 (13:58):
Wow, I love it. I absolutely love wow. Yeah. So
Blade Runner, this film, there's so much to talk about here,
but we're going to keep it to our usual hour
and a little bit over kind of discussion. But I
mean literally, this is one of those films that I
could do a dissertation on right, and it's it's amazing

(14:19):
to see the influence that this film has still has
today in people's idea of post apocalyptic worlds. It's and megacity.

Speaker 2 (14:30):
It is also the advent of cyberpunk.

Speaker 1 (14:33):
Oh yeah, yeah, yeah, very much. So.

Speaker 2 (14:35):
I was lucky enough that last year when I was
in LA I got to go to the Academy Film
Museum they were running an exhibit just Happenstance on Cyberpunk,
and in that they showed parts of Blade Runner. There
was the matte paintings, the the the imagery from the

(14:58):
film that showcase and show shown examples of like stage
art like interpretations and storyboard art and work like that.
And they had that and like a Kira Cronenberg's existence,
they had gosh, they had Mobius's art for Tron Like

(15:21):
I didn't realize that.

Speaker 1 (15:24):
I know, I know, because was doing that art work
that was supposed to be for Dune with but with.

Speaker 2 (15:35):
You. Yeah, no, he had drawn some storyboard artwork for
kron It was. It was the coolest exhibit. I was like,
how did I manage to this? Because this is like
my this is my bag. I was totally stoked for that.
I couldn't believe how beautiful they I didn't realize that
a lot of the matte paintings that were done for

(15:57):
this film were done on black and that they were
lit up from behind. There was like they had done
small like monofilament lighting or not monofilama, but like small
lighting this monofilament around at that time.

Speaker 1 (16:09):
I don't know monofilame it would have been on use it.

Speaker 2 (16:12):
They had lit up like the way those like when
you see those scenes where they were looking at the
back of the cars and there's all the lins flair
and whatnot. Those map paintings are like done with like
lights in the painting that they physically put in the
painting and lit up that lit up b different eras
look like to look like city lights. Yeah, it was incredible.

(16:35):
It was incredible.

Speaker 1 (16:36):
This this film. So I guess for the people that
don't know, I'll lay the premise down on this whole
thing and then we'll just dig into whatever we want
to into. But if just in case anyone hasn't seen
this film before, you can get an idea. Go watch
this film if you can. But here is basically here's
going to be the premise of what we have is

(16:56):
that we're in a post apocalyptic world. It's twenty nineteen,
great to watch in twenty twenty five, but it is
the off world is a part of that, and we
live in an existence where corporation, the Tyrrel corporation, has
created slave work, which are people that are they're not people.

(17:17):
They've created these units that are replicants. They've figured out
how to bioengineer. Basically slave labor, and it's these they're aware,
they can think, they can take orders. They're not like
metal machines. They are living, organic pieces of equipment that
have very short life spans on them four years for

(17:39):
this particular style, the Nexus six version that they have.
But there's a variety. There's all sorts of different kinds.
There's been some problems. They've forced them to only be
off world now, but you can get some on world.
And with this world, a lot of things are synthetic,
like the animals are all synthetic. People can't own real animals.
There are very few of them and they're very expensive.
So synthetic snakes since that synthetic synthetic fish. So it's

(18:03):
a very synthetic fake world and Earth is kind of
the throwback place now. They don't really ever talk about
what's offworld, but they're always talking about the opportunities of
the off world colonies. So that is something that permeates
this whole film is always the marketing and advertising of

(18:24):
leaving this Earth going somewhere else, to the opportunities to
the off world. But we are with our person Deckard,
who is part of the Police Department who is in
a special unit of the Blade Runners, and their job
is to retire replicants that are on world and are
out of control. So if and that's how our setup

(18:47):
is with this, is that we have six of them
that had escaped. Two of them ended up getting fried
as part of one of the jobs when they get
on to Earth. They're all trying to but we essentially
are coming in with four replicants that have gotten back
to Earth and there and they were we had, yeah,
we had one that was a heavy equipment operator. It

(19:09):
could lift six hundred pounds, but then we had two
of them that were military units that were made for
like kick murder squad and assassin attack units. And then
we have a pleasure model. And so we don't really
know a whole lot about them quite yet what the
deal is is, but we know that they have escaped
and now they're back on Earth and we have to

(19:31):
join our character Deckard as he goes and tries to
figure out who they are, where they are, what they want,
and then ultimately retire them to take them out of commission.
And that's that's our premise. Oh man, now we get
to talk about everything else.

Speaker 2 (19:46):
Gosh, I love the universe that this is in. I
this film is so lush in a different way, not
in a like a warm velvet painting kind of way,
but more like in a like overly saturated, claustrophobic, but

(20:06):
also vast in its own way, like where it's overcrowded.
The world is overpopulated, and all of the signs and
the corporation signage and the neon and the hologram projections
and those things are just so amazing. And the languages

(20:27):
that people speak are such a melting pot of language.
And I think that when we were such we were
so young when this film was made as a as
a world, like as a people, because there was still
that idea of the melting pot to be a thing
that we would maybe were like this pre Esperanto, I

(20:49):
feel like, but yeah, this was like the idea that
we were going to be America is going to be
a melting pot of languages and things like that, We're
all going to speak multiple things, and we don't. Really
we didn't mild but unfortunately, but yeah, I think this
is what this universe was kind of that that Reaganistic hope,

(21:10):
because this is what eighty five eighty two is.

Speaker 1 (21:13):
A theatrical release came out. Yeah, yeah, this so this
this is magical filmmaking time. And if we were to
go back to you know, we had our era of
filmmaking where there was a lot of Harry Housen and
stop motion animation. People were building big sets, but you
also had your like your Spartacus sets and just these

(21:36):
big because you had no choice the world of matte
paintings and having to do any type of an optical
illusion that way with how you set up your camera.

Speaker 2 (21:46):
But we're just when it was techniques were important for
cinematographers to know and directors to know. I feel like
we've I don't want to be along racking mad day,
but I feel like we've gotten away from that. Like
it's not worse. Starting to have a revitalization of that,
like with like Edgar and his DP is phenomenal, but

(22:06):
like it's we got away from this as films and
they don't make them like that, you.

Speaker 1 (22:13):
Sou it's true for most people. Well, if we look
at the Marvel cinematic way of making a film, most
of that film is made before a director comes in
and directs the actors in their acting moments. They've already
created a lot of the special effects that are going
in there, and the animating of all of the digital

(22:35):
versions of the characters, the action sequences, the blowing up,
like a lot of that stuff is made, it's pre visualized,
and they're already working that out. And a script a
lot of times is being written in service of them
doing these things with an idea that they're like, this
thing fits into this slot right here. We need to
have this story arc for these characters that leads to

(22:56):
this next film that leads to this other film that
leads to this big thing than we transition into the
next phase.

Speaker 2 (23:02):
Right.

Speaker 1 (23:02):
So a director, depending on the director in the film,
they don't have a lot of control over what goes on.
They come in and they are working with the actors
on the acting scenes that are the fill ins for
the stuff that was made.

Speaker 2 (23:17):
Yeah. I think an interview recently with like Gwyneth Paltrow
of all people, and she was like doing an interview
talking about her roles, her role as Pepper Potts, and
then they were saying, well, you were in this film,
and she goes, I was, She goes, I just go
in and they tell me what to do and then
I act that scene and then whatever Marvel movie that

(23:41):
goes into and you're like, WHOA, yeah, that's how that
goes that. I mean to me, that's good for the
I mean, the actress has to be at least be
skillful because they're able to interpret whatever like they're thrown
at them but not knowing like the storyline that they're
part of.

Speaker 1 (24:01):
But it's a it's a yeah, it's a hamburger grinder. Yeah.
With that is Elizabeth Olsen has a really good one.
I'm going we're gonna kind of harp on Marvel here
as far as like a filmmaking style to like reinforce
where we were with The Blade Runner. Always the Blade
Runner part because Elizabeth Olson talks about her time of
working with doing WandaVision, which was this great series that

(24:21):
they had. It was the first one that came out
on Disney when Marvel was acquired. But then they went
on to do the film Doctor Strange in the Multiverse
of Madness, and when they were making that, there were
times where Elizabeth Olsen had to go, wait a minute,
my character is doing this and this is in the story.
Did you guys not actually watch the series or did
anybody not talk to you about what's going on over here?

(24:42):
And they're like, no, we don't know anything about that
because they're making the film while WandaVision is like finishing
up and getting ready to come out or is just releasing,
and there's stuff in there where characters don't make sense.
They're doing different things. Stuff is like you know what
they're being motivated by, and she's just like, okay, whatever,
But that's not and of course a lot of the fans.
But so it's a process of how the filmmaking is

(25:06):
and that getting us back to this world of Jaws
back in the day, Star Wars back in the day,
and Blade Runner, Alien and Blade Runner, any of that
stuff because there were director visions for the directors that
got to have. They got to have their visions and
they got to have their budgets, and it is a

(25:26):
they are actualizing this vision. Blade Runner is so magnificent
because it's starting to take that technology that was being
pushed in Star Wars and Empire Strikes Back with ships
and flight and camera movement and how the camera is
able to move having multiple exposures. We're not shooting digitally,
yet we're still shooting on film. So when we have miniatures,

(25:49):
when we have Matt paintings, when we have physical and
we're moving all of these things and shooting them in
such a way that we create these composited shots, physically
composited shots over time that make these magnificently dense, rich,
organic environments. And I say organic in that they feel lived.

(26:14):
That's what I mean by lush and this activity exactly.

Speaker 2 (26:17):
It feels real and oh gosh, I hate the word handable,
but it is.

Speaker 1 (26:23):
It's practical.

Speaker 2 (26:24):
It feels like a world that we're not far from. Yeah,
I mean even though it was nineteen Yeah, but it
feels like it feels like a place where we should
arrive in. Yes, I mean it's so much more removed
from like Alien, because we're gonna have to tie those

(26:44):
in later with twenty forty nine Blade Runner. But Alien
has feels off world. Yeah, but yet we're in the
same universe.

Speaker 1 (26:57):
Right, No, it's not the same universe.

Speaker 2 (26:59):
Oh I thought Whalen could whale and Utani was in
twenty forty nine's Blade Runner.

Speaker 1 (27:03):
That was No, their crossovers are in Like there's the
attempt in Predator and Alien to cross over the Whale
and Utani.

Speaker 2 (27:10):
I thought Whale New was Corporation was what was.

Speaker 1 (27:14):
In Tyrrell Corporation is in Blade Runner.

Speaker 2 (27:17):
Okay, okay, yeah, all right.

Speaker 1 (27:21):
Yeah, they're not quite crossed over that much. Okay, but
you can see those similar because he's got you know,
we've got in Alien we have the android that is
in there that ends up malfunctioning the synthetic person that
we have in Alien and Aliens later when we get
into Prometheus Alien Covenant, we've got you know, Michael that

(27:42):
is in there, Michael Fassbender who is playing all of that.
So there is this Ridley Scott likes his synthetic human
contingent storyline. Well, I think it's all this struggle of
what is life and existence? What does it mean to
uh father or a human or a parental to create?

Speaker 2 (28:06):
Does being born make you alive or does being created
make you alive? Or is it both? You know that?
I think those are the the the theories that we're
explore with this movie. I mean, we're such touching barely
on this film, like, but yeah, I feel like these
are the themes of the story.

Speaker 1 (28:27):
Yes, and the and the difference between the synthetic humans
of the Alien universes that those are synthetic humans. They're
they look like people, but most people are usually like
pointed out exactly that is this one. They are this unit.
They acknowledge themselves as they are this unit. They know
those things. So that's not really necessarily trying to slide

(28:50):
one over on anyone. Whereas the replicants, those are an
extension of the storytelling process. And here of what is life?
What is existence?

Speaker 2 (29:02):
Gosh, and there are just so many of there's so
many characters in this that feel like they should be alive.
I mean, yeah, Sean Jung's character is stunning.

Speaker 1 (29:14):
Yes, I love.

Speaker 2 (29:16):
There's an effect that they do. I think is it
a contact lens that they're wearing that creates like a
backshine in their eyes.

Speaker 1 (29:24):
So let's talk about that.

Speaker 2 (29:25):
Yeah, that is done. So I think that I would
know and having this book here, but unfortunately I did
get a chance to finish this book before we decided
to do this movie, do this podcast.

Speaker 1 (29:36):
So in animals that are more nocturnal in nature, they
have what's called a tapitum lucidum, okay, and you can
see that effect in their eyes. It is a light
gathering adaptation or evolutionary piece of their eye that they
have a lot of times. You can see it in
dogs and cats, various other animals, deer in headlights. You

(29:57):
can see the lights in there. That is a tapitum
lucidum that is added after the fact. That is not
a theatrical cut yep, the original theatrical release that is
not there. So when we first join, well, we see
our first replicant when we have the Voight comp tesk

(30:19):
that is being put on Leon and we see moments
of Leon and you can see that tapanum lucidum. And
then the next time is when we're in the Tyrell
Corporation with deckerd he gets to meet Rachel, but right
before he meets Rachel, he's looking at the owl and
the owl has the tapitum lucidum.

Speaker 2 (30:36):
Which makes sense.

Speaker 1 (30:37):
Yeah, And so I've never heard of an explanation in
all of that. My idea is that because these are
synthetically genetically created beings trying to be optimal, they've probably
pulled in some type of genetic modifications from other places
to add to people like the strength, the agility, the whatever.

(31:01):
So increased vision in night would probably be something that
would be pulled from another. When we see Chu being
chew is is the person that's in the cryo lab
working on the eyes.

Speaker 2 (31:13):
We see the barcode right, and they're.

Speaker 1 (31:16):
Doing genetic modification on those eyes and they're doing them.
That's how I take it is that they have added
these genetic markers or these genetic pieces from others into
human replicated eyes to make them better. So we see
it in Rachel and then eventually we see it in
Zora when she is performing, and we see her when

(31:38):
she is with Deckard. We see it with Chris when
we first see her. It takes a little while with Roy.
I notice when we're seeing Roy he's usually turned away
at an angle for a good pace.

Speaker 2 (31:49):
Well, he's a military bot, so he's yes, his specialty
is to be accept your fuge and whatnot.

Speaker 1 (31:56):
Right, But we do end up seeing them, but it's
it's after all while we finally get these more frontal
shots when he becomes more forward confrontational with his final
time with Deckard, and then we get to see that
tap It and Lucidam show up and it's like, oh,
here we go. So it's a it's a great touch

(32:16):
and it's and I loved seeing that in there, having
not seen the final cut before and being able to go, ah,
look at that.

Speaker 2 (32:25):
That's something that was So it's been so long since
I've seen the original the directors, whatever the case may be,
that I didn't realize that's new. Yeah, so that's one
of the things that is in the final cut that's
not in the other one.

Speaker 1 (32:39):
It's not in the theatrical. Really interesting that might be
that there was the director's cut that was done in
like the late nineties, like somewhere around like ninety seven, well,
two thousand and sevens when the final cut comes out, Oh,
there was like a director's cut that was somewhere around
like ninety six. I want to say, is where the
first time that there was a director's cut that had

(33:01):
some additional scenes and whatnot in it. I don't remember
if I saw that version or not. I may have
seen that one, but I never I don't remember noting
the tapatam lucidum in that. But that adds the scenes
of the unicorns in there, that gets rid of the voiceover.
That's the dramatic change between the.

Speaker 2 (33:20):
Theatrical narration is gone.

Speaker 1 (33:22):
Yeah, I want to talk about that.

Speaker 2 (33:24):
Well, no, but I don't really remember. I mean I
remember thinking I was like, is something missing, and I
now having pointing that out, I was like, wait, you're right.
Is a narration. There are a few things like that,
and then the ending is different the addition of more

(33:45):
Origami animals, which I wonder the sembilance like for like
because I know, like cranes mean hope, and I'm uncertain
what the other aspects mean.

Speaker 1 (33:59):
So he has a couple love him in there, if
you remember, he's got I.

Speaker 2 (34:02):
Love that character. By the way, the way they have
him dressed. Yeah, he's from Bostar Galactica.

Speaker 1 (34:08):
James. He was on the reimagining of.

Speaker 2 (34:12):
That was awesome.

Speaker 1 (34:13):
Yeah, he's a phenomenal actor. It's just stand yes, I
think it was standing delivery.

Speaker 2 (34:20):
Yeah, the teacher.

Speaker 1 (34:23):
Yeah, okay, he's Yeah, he's a fantastic, fantastic actor who
is just his his range and his performances are just magnificent. Yeah.
So as this, so he's the detective inspector who is
kind of overseeing Deckard.

Speaker 2 (34:40):
Yeah. I like his character. It's interesting, like he's a
I like the way they have him dressed for one,
because I'm just like, that's the first thing I'm going
to notice is the fashion of this is.

Speaker 1 (34:52):
Chef well, and we have because we're missing the voiceover
in this. We missed the fact that it is explained
to us that he is speaking a mish mash of Spanish, Chinese,
and English that are all jammed together.

Speaker 2 (35:09):
That's like that whole Esperanto like vision that we had
for the future, right of America.

Speaker 1 (35:16):
Yeah, the world, and so that's removed where we're meant
to just understand that that's a part of the world.
It's in there and we and other characters are doing
it throughout. But yeah, so he makes if you remember,
there's a moment where he makes a little character that's
a little man with an erection. That's right, Yeah.

Speaker 2 (35:35):
That we never saw that before. I was like, what
what is that?

Speaker 1 (35:38):
That was in there before?

Speaker 2 (35:40):
I don't remember that.

Speaker 1 (35:41):
Yeah, I believe that's in the theatrical cut. Okay, But
there are more. There's more unicorns in here.

Speaker 2 (35:47):
Unicorns are important.

Speaker 1 (35:48):
We have the crane, which you noted in there, so yeah,
there's a there's but there are more unicorns in there,
plus the unicorn dream that he has that's added that
was not a part of the theatrical cut. He has
the dream of the unicorns.

Speaker 2 (36:05):
What do you think that means? I?

Speaker 1 (36:08):
You know, I believe the film that really Scott knows
after this is Legend with Tom Cruise, that is all
about the unicorns.

Speaker 2 (36:15):
I love that movie.

Speaker 1 (36:16):
I love that one too, and I'm happy to do
that one as a discussion sometime as well. I know
that that is a very flawed film, but I love it.
I know, I kinda I don't care either.

Speaker 3 (36:29):
And that.

Speaker 1 (36:31):
There's a director's cut and a theatrical cut for that one. Yeah, Oh,
you only have the director's cut that that removes the
Tangerine dream music.

Speaker 2 (36:40):
Yeah, interesting, which I love the Tangerine Dream stuff. I have.
I have a copy of it on on Blu Ray.
That's the two characters. But then I also have the
theatrical version I've saved from where I purchased on Apple Plus,
so I have a digital version.

Speaker 1 (36:58):
Yeah, so I have both. The Blu Ray release I
have is is both. I have the theatrical and the
director's cut on that one, and it's in a big.

Speaker 2 (37:08):
Fold I think I have. I may not realize it's
both editions because I think they came with a download.
And that's why I ended up down.

Speaker 1 (37:15):
Oh gotcha. Yeah, yeah, I have that one because while
I enjoyed watching his director's cut version, and there are
a few more scenes in that one as well, that
movie will always be the Tangerine Dream soundtrack. I can't
divorce myself from it.

Speaker 2 (37:31):
No, it's so beautiful it is.

Speaker 1 (37:33):
And the orchestrational. Like I own the soundtrack, the Tangerine
Dream soundtrack, I literally own. I bought that back in
the day, and I think I had it on cassette,
but then I bought it again on CDs so that
I could rip the CD and keep a digital copy
of it. So like that Tangerine Dream soundtrack is the

(37:53):
movie to me, so like I've got well we're in
the Ridley then, And you know he is that way,
He's been a prolific director that's done in all sorts.

Speaker 2 (38:05):
He does that with intention is to add kind of
these like themes that he likes to place over and
over again. It's like, sure that that is that what
I'm hearing.

Speaker 1 (38:15):
Absolutely, So I don't know. I will tell you there is.
I got enough going on in my life and I'm
trying to make my films that I don't necessarily do
a lot of research into directors. I don't know if
Ridley Scott has a past with his father that he
is trying to unravel, but I think I can look
at Alien and Blade Runner and not so much aspects

(38:40):
of legend, but then coming back to Prometheus, where it's
just like I think he's trying to like reconcile some
stuff with his existence and you know, maybe his father
and creation. I don't know, but I see themes like
this where I'm and people joke about it sometimes that

(39:02):
you know, a lot of our job and what we're
doing therapy, and I think very much so that he
is he is dealing with He is dealing with things
in his life, and this is how he is going
through therapy.

Speaker 2 (39:17):
That makes sense.

Speaker 1 (39:18):
Yeah, I mean maybe he just loves unicorns. I'm good.

Speaker 2 (39:20):
Maybe he loves unicorns. Yeah that's okay.

Speaker 1 (39:22):
Maybe he's the unicorn.

Speaker 2 (39:25):
Maybe, or maybe humanity is a unicorn. Yeah, yeah, it's
I just this film has has so many, like I
hate to say, layers to it, but it is beyond
it being a science fiction It's what I think. There's

(39:45):
it's beyond being a science fiction film. It's also like
a crime drama and also a drama and a noir
story of like finding out who done it? It's who
done it?

Speaker 1 (39:59):
Yeah, yeah, this film really defined noir for me. There
there was a whole existence of film noir prior to this,
obviously that this draws from. But again because of you know,
I was eleven in eighty two, so I'm young and
not necessarily understanding film at eleven years old. I don't

(40:19):
come from a film background or a film appreciation family background,
people that like break down and talk about or discuss
film or really like even an artistic family. So for
so I'm I'm you know, I am my own unicorn
in my family. So to be eleven, and I don't
think I saw this film when I was eleven. I

(40:39):
didn't see this in the theater in eighty two. I
probably saw this somewhere like around like eighty eight or
eighty nine on HS.

Speaker 2 (40:47):
I was saying, I saw it on HBO. I have
to be back in the day.

Speaker 1 (40:51):
Yeah, so you know, and I know that by then
I had watched The Maltese Falcon and I had seen
other films, but understanding genre and understanding any type of
cop procedural or anything like this to me, like when
I saw this film. This was a science fiction movie first.

Speaker 2 (41:15):
That's what I saw it as first. I mean, I
it took me into adulthood before I realized the elements
of it. Not to mention the fact that I realized
that it was from a Philip K. Dick book, and
I think i'd read the book before. No, that's not right.
I mean I read the book when I was pretty young.
I'm a big, big reader. But I think because I

(41:35):
was eight or so when I had seen this film
and not really understood what was going on. My dad's
love language to me was taking me to watch movies,
and there was like second run theaters. We would see
a lot of films in We had a few like
Tennessee and stuff that we would go see like the

(41:56):
second run of films like Weekend They're gonna Blade Runner
or whatever. And so I was probably like eleven or twelve,
but it was like well passed. It's like it was
already on like on VHS and already on already on
the uh uh on like Showtime and HBO and whatnot. Yeah.

Speaker 1 (42:23):
Yeah, yeah, So I was I was this is a
film when I was saying that, you know, this is
probably like my first film where I'm recognizing noir because
this is a film that was defining who I was
and what I watched.

Speaker 2 (42:38):
Mm hmmmmm, that's cool.

Speaker 1 (42:40):
And without having somebody who talked that language, I didn't
always have the words or the understanding for what I
was seeing. Yeah, so this became the definitive noir for me.
And you know, like those scenes with Bryant when they're
in the police station, the first one where you know,
when they go to review the voiitcomp footage the first

(43:01):
guy our opening scene and he's kind of telling Deckert,
you're not cop, you're little people. And so you have
to take this assignment. And it's dark and there's fans
going and there's like big heavy light that's coming through
the window with the Venetian blinds and rain. Yeah, and
then you know he's smoking a cigarette, but we never

(43:22):
actually seem smoking the cigarette. There's just a smoldering cigarette
in the ashtray that's always adding atmosphere in the room.
The whole time. They're both having a snort a whiskey
while they're going through all of this stuff, or bourbon,
you know, something like that, and and so like this
was just it was so this like Literally this is
a demarcation line for me in life where I'm like,

(43:44):
that's film noir, yeah, with science fiction elements, with you know,
in a science fiction world.

Speaker 2 (43:50):
So I don't really know what the budget for this
film is.

Speaker 1 (43:53):
Yeah, so the budget for this was twenty eight million,
and I don't know what it is done.

Speaker 2 (43:57):
Dropping a bucket, like in comparison to things the days.

Speaker 1 (44:00):
It is, well in eighty two, I mean in nineteen
eighty two, I guess if you were to maybe add
three quarters of that back on there to a just
for inflation, this would have been like a forty forty
five million dollar budget. So to do a forty five
million dollar budget that's science fiction that has this much
going on in layers, that is pretty cheap. It's in

(44:20):
two thousand and five dollars. True, It's that's pretty great.

Speaker 2 (44:25):
Not to mention casting of this is incredible. I mean
we have Rutger Howard, we have Daryl Hannah, Sean Young,
all these people were really big stars. I mean Harrison Ford.

Speaker 1 (44:36):
They weren't at that time, but they were like I mean,
was it we were on the they were on the cusp,
like Harrison Ford had. This is a time of he
had Raiders, he had Star Wars as it's like the big.

Speaker 2 (44:49):
Star he's and Rutger Howard was a big star at
this right they were.

Speaker 1 (44:54):
I think they were just starting to be recognized. I
think obviously Harrison Ford, yes, because he had that stuff.
But I mean it's interesting Harrison Ford was becoming a
star because of this, but which I agree. I have
read some places where Harrison Ford was really the nineties
in the early two thousands. Was Harrison Ford. That's when

(45:15):
he became the action hero well, because he becomes he
signs on and does the Tom Clancy films, and he
does Patriot Games, in Clear and Present Danger, he does
Air Force One, Fugitive No but he but he becomes
this kind of.

Speaker 2 (45:35):
Solid He's like the Reacher action hero.

Speaker 1 (45:38):
Of the nineties. And it was these films that really
built the stable foundation for him to be able to
be that bankable, solid character in what would otherwise just
be kind of knockoff action films. I think almost anybody else.
You could have put anybody else in the Fugitive, And
if you hadn't had Harrison Ford and Tommy Lee Jones,
you wouldn't have had a solid film. No, you would

(46:00):
have had something else that would have been passable, probably cheaper,
but it would have been passable film. So and you know,
there were many attempts to be able to have the
Tom Clancy books come to life, and it took like
three other iterations before they ever hit it solid compared
to what they had actually tried. The Hunt for Red

(46:21):
October was with Alec.

Speaker 2 (46:23):
Baldwin and Sean Connory.

Speaker 1 (46:26):
And Sean Connery, and Alec Baldwin wanted too much money
to come back, so they cast Harrison Ford in Patriot Games,
which blew up, and then he got Clear and Present
Danger and did that film. But then he was such
a big thing, that a big name that I don't
believe they carried that on. They tried to reset that

(46:47):
world and do it with Ben Affleck.

Speaker 2 (46:52):
Okay, is that what those come from? Is that's why
those ben Affleck films exist? Okay, of that stuff, Like
I'm like this was my era of like Jean Claude
van Dam and like, well, I was into those kinds
of action films.

Speaker 1 (47:08):
Well, and Ben Affleck tried to do a Philip K.
Dick story as well, because they did paycheck.

Speaker 2 (47:13):
Then that was that wasn't a very good that wasn't
a very good interpretation. It was not a good like yeah,
because even like, gosh, existence is a Philip K. Dick story,
isn't it existence?

Speaker 1 (47:26):
Really? That Cronenberg did I think so I did not.

Speaker 2 (47:31):
Might have been based off of I don't know. Many
phil K. Dick's stuff is so like esoteric and like
it goes in such like different directions. Like he has
some stuff that's like very like science and like astronauts
and things like that, and then he has these like
very like nogg and scratching like deep dives into the

(47:52):
psyche of of our existence kind of stories. Yeah.

Speaker 1 (47:57):
Yeah, he dealt with mental health issues, didn't he.

Speaker 2 (48:00):
He saw laser He had laser beams from aliens that
were talking to him. That made him that gave him
a a clairvoyance of things interesting. Yeah. Yeah, it was
towards the end of his life. But yeah, that was
his like his interpretation of that.

Speaker 1 (48:20):
Yeah, but it made him a writer that has garnered
attention for decades and fans that have been committed.

Speaker 2 (48:28):
To and there are all varieties of fans kind of
like with like this how this universe is? It is
like there's you know, there's the science fiction nerds, and
then there's the action nerds, and then there's actual like
film nerds who look at it like us, who are like, oh,
but what about this scene, and then about this part
of the art, like the soundtrack or speaking of which soundtrack,

(48:48):
Oh wow, those there are this haunting every time we
cut to that Geisha hologram poster board or whatever, not
poster board but billboard, billboard, that the sound that is
happening is there's a chanting that is very indicative of

(49:12):
like a Shinto like chant. I don't know, I'm sure
it wasn't. I know that it was a what was
an that was meant to be happening, But it's just
it feels so uh like ethereal, and like.

Speaker 1 (49:32):
It's a disembodied voice and is really trying to get
you to go because that's.

Speaker 2 (49:37):
Part the one that's going home.

Speaker 1 (49:40):
Yeah, Like it's because that is usually also then kind
of piggybacked with that whole PA message of like travel
the outer world, colony, Yes, find your life in this
other place. So it's these disembodied voices that keep trying
to courage you to do something. Because when we see

(50:02):
that character on those floating billboards, she's always taking something.
There's always some product, but I don't know what the
product is, yeah, and I don't understand the language or
what she's saying. And there's never anything. Now, sometimes there's
like another billboard in the background that says drink Coca Cola.
There's other stuff. Yeah. Yeah, but she's always there, and

(50:23):
she's not the one that's speaking. It's a disembodied voice.
That's a part of that. And there's always the big
search lights that are attached to that kind of darrigible
thing that are always like flashing down.

Speaker 2 (50:34):
So there's very terminator. Yeah.

Speaker 1 (50:37):
So there's always these these messages that are being told
to us that there is a better life for you
and it is not here.

Speaker 2 (50:45):
Yeah, there is.

Speaker 1 (50:46):
A better product for you, or a product for you
that will make your life better, it's not the one
you currently have.

Speaker 2 (50:52):
Right, there's so much into this film, gosh, like costumes,
costume choices. I talked about that earlier. With his partner.
Why is his name escaping me? The character's name, Deckard's
Garrett Decord's partner, the Edward James. That's his character's name.

Speaker 1 (51:14):
Yeah, his that's the that's the detective lieutenant. That's kind
of overseeing.

Speaker 2 (51:18):
Yeah, what's his name? The fashion in this is so spectacular,
between like the pleasure Bots, like with Daryl Hannah's characters
fashion to Rutger Howard's like a street almost like I
almost want to say it's it kind of reminds me
of there's like a Japanese street fashion back in that

(51:41):
era that was called visual k and it was very
like long coats with like sleek lines, but also Billowie aspects.
There was a lot of that. I just I kept
being like drawn into those and like forget what I'm watching.
I'm like who because I'm now that's what I'm looking at,
versus like listening to the story at times, because I'm

(52:05):
just so drawn in by the visual beauty of the
film in so many ways. That's why when I saw
this exhibit at the at the Academy Film Museum, this
was so I was so blown away by getting to
see these up close. And they even had like their
outfits were in glass cases in a later part of

(52:26):
the film, a later part of the museum. So cool. Yeah,
Daryl Hannah is a giant, by the way, but everybody's
a giant. Me I'm only five foot two.

Speaker 1 (52:36):
But she doesn't appear as a giant.

Speaker 2 (52:38):
No, they make her look diminutive in this because she's
supposed to have like this kind of baby voice and like,
but that's I mean, it's kind of a gross thing
to think about now that I say that out loud.
She's a pleasure of battle and like, so I guess
she was supposed to be baby but also sexy and
also like in charge but also.

Speaker 1 (52:59):
So she's yeah, she's she's meant to be a submissive unit. Yeah. Yeah, oh,
and yeah, the performances are so great in all of this.

Speaker 2 (53:10):
And what is the name of the guy who has
a methusalist syndrome?

Speaker 1 (53:13):
Oh, that's JF. Sebastian.

Speaker 2 (53:16):
I love JF. Sebastian's character. That was such an interesting
character too. He's like, I'm twenty five, but I'm a
methusalist syndrome.

Speaker 1 (53:22):
Yeah. Yeah, I was thinking, Wow, he's a graphic designer.
He's twenty five.

Speaker 2 (53:27):
Wow, right, because his job. But like I love the
way that because this of this era of filmmaking, how
like age makeup is done, Like they basically put like
a face mask on him that wrinkles your face, because
I am we use these now to like get like
pull out pores and whatnot and or pull out like blackheads.

(53:50):
But like this makeup was kind of treated on him
and James Hung his makeup was like this too, which
is sad because we kind of see him what he
looks like now and you're like, this isn't too far
from what he looks like when he gets old.

Speaker 1 (54:04):
It's what he looks like now at ninety five, is
what he looked like.

Speaker 3 (54:11):
Cryolab Yeah, how far to it or how fortunate foretold
it is?

Speaker 2 (54:18):
Yeah? That is those kinds of things, those kinds of
things and are what make this film so legendary. Yeah,
and make it a make it ageless. And because of
these these moments, this, this thoughtfulness of filmmaker and deep

(54:40):
and costumes, all of this is very It's such a
thoughtful film.

Speaker 1 (54:46):
Yeah, and the iconic storytelling. You know, it's I think
probably there's one scene that everybody will always draw to
when you talk about laid Rain, right.

Speaker 2 (55:00):
The tears in the rain.

Speaker 1 (55:01):
Yeah, absolutely, that moment of Roy Batty on the roof
after his and with this version we don't have that
voiceover that's kind of spoon feeding all of that bit
to us. I like that explaination. Yeah, it's it is
so much better. The first time I saw it without
the voiceover it was jarring, But watching it now again,
it was like, Nope, that was the right choice. It

(55:21):
should have never been there.

Speaker 2 (55:23):
I feel like, this is the first time I've seen
this with this interpretation. I've never seen the final cut
until we did this fit this podcast, and I was like,
what is There was moments where I was like, I'm
taken out of this and I don't really know why
because I was confused. And now I know now having
spoken to you about it, that the reason being is
because we were those elements were removed.

Speaker 1 (55:46):
Yep.

Speaker 2 (55:47):
Wow.

Speaker 1 (55:47):
Yeah, he's not explaining it to you, and I think
it makes for a better moment. So we have kind
of our final showdown one where Chris has been killed
and it's just down to Roy Batty now and he's
and he and eckerd or facing off it at JF.
Sebastian's place, and so there's this whole run through of
this kind of dilapidated old apartment complex and you know,

(56:08):
rotting ceilings and leaking water and everything in there, and
we end up on the on the roof and Roy
ends up saving Deckard's life. Deckard is trying to get
away from him. He runs across on this roof, tries
to jump across onto another building and doesn't make it,
and Roy easily jumps across over there and then kind
of looks down upon him and and he says, it's

(56:34):
quite an experience to live in fear, isn't it. That's
what it means to be a slave. And right before
decker Dyke falls, and it's it's such it's played out
so well. Like Deckard starts to slip, he's been holding
on with his hand. He like spits at Roy with
his last little breath, thinking he's about to lose his
grip and go, and he falls and Roy catches him,
pulls him up, and then they have their their moment.

(56:56):
And I like, I was saying, you know, this very
iconic moment for Rutger Hower, you know with what he
says there, You know I have seen things you people
wouldn't believe. And I believe I have heard that the
final bits of this are Rudger Howard improvising. All of

(57:22):
those moments will be lost in time, like tears and rain.
Apparently that wasn't scripted and he says, time to die.
That was Rudger Howard talking. I have purposely not looked
into this. I don't know if I want to, because
I because I want, I want, I want to believe it,
and that's that has been a thing where I've just like, Nope,

(57:44):
I'm gonna let that lord live with me. I am
happy with that because I want to believe that Rutger
Howard felt his character so much in that moment, and
that the director trusted him so much at that time
that this is what happens. This is the magic of
telling a story and it means everything.

Speaker 2 (58:04):
Dare I say, like this was the best Rutger Howard
has ever been in a film For me?

Speaker 1 (58:10):
Oh absolutely. He's done a ton of stuff like The
Hitcher Is is great fun.

Speaker 2 (58:15):
Sure, But as far as fantastic acting, yes, like one
heart all in feeling every moment of this character. This
is one of those films.

Speaker 1 (58:28):
He was an actor that was type cast, and I
think that he was happy to be an actor that
was always working and doing things. He ended up doing,
like a lot of cheesy stuff, a lot of you know,
kind of horror stuff.

Speaker 2 (58:39):
Of Puffy the Boombursler.

Speaker 1 (58:41):
Sure, he yeah, which is that's actually great. The film
is really great. That's one I haven't seen in a
long time. He's he's really great. But I think he
got type cast. But I think as a person who
wants to be able to work, and you take what
you're gonna get because you love what you do so much.

Speaker 2 (58:58):
And he's a person looking thing that he's a leading
man normally, and so for him to be like this
was a good an amazing role and he's such a
he's such an other worldly looking person. That's think that's
another reason why he gets type cast into stuff. Kind
of like I think that the like when they did
like Class of nineteen ninety nine with Stacy Keach. Yeah,

(59:19):
like I feel like that was like c C. Keach
was like, I'm gonna do like a Rutger Howard. Look
like I'm on a bleach mark. This movie is terrible, but.

Speaker 1 (59:28):
Like, yeah, well there was a bunch of actors. There
are a bunch of actors from that time that I
kind of all lumped together that I love because there's
Michael Ironside, there's Powers Booth, Uh, there's Rutger Howard, Like
there's all of these guys that were kind of acting
in these roles. They were better than the things they
were being offered, but they kind of got type cast

(59:48):
into these particular positions and they played those parts. You know. Unfortunately,
Rudger Howard is not still with us. Powers Booth passed
away a few years ago. That was one like I
took that when person and I was like, god, that
was always one of those first because Michael Ironside's still around.
I don't know that he's Yeah, we've talked about him before.
You know, there's there's several of those where they were

(01:00:11):
just they were the actors of those moments, you know.
And yeah, and there's a whole there's a whole new
crop of those people that are now getting those chances
that are going to get to, you know, write their
names in history and all of that. And so, but
those were it's different now. There's just so much more content.
I think it's and I say content because I think

(01:00:32):
there's just so much stuff made. But yeah, I mean,
you're right, that was his finest performance and it's why
this movie is what it is to so many folks.

Speaker 2 (01:00:44):
Well, and I think you should say the difference. And
I mean, obviously i've seen this movie, this movie's had
a chief it's almost twenty years old or twenty five
years or.

Speaker 1 (01:00:54):
Yeah, well it's it's forty three years old.

Speaker 2 (01:00:57):
Oh no, I mean the new cut, the.

Speaker 1 (01:01:00):
Two thousand and seven. Yeah, so yeah, it's eighteen years old.

Speaker 2 (01:01:03):
So I think it's okay to say the ending changes,
which absolutely Yeah.

Speaker 1 (01:01:09):
So in the original ending, with the theatrical version of this,
it is meant to be that Deckard leaves with Rachel
Sean Young and again with the voiceover remaining in this,
they're driving away to an unknown but a happy future.
It's like, you know, they let her live and maybe

(01:01:32):
in the end they understood that that's what you know,
that it was the one thing that we were going
to have. But what they didn't know is they never
got to see her file, that she didn't have an
expiration date. So we don't know how long we have
with each other, but no one ever does. And they're
driving away and that's kind of the voiceover on how

(01:01:52):
they leave it, as opposed to with this final cut,
they are escaping. There is the little paper unicorn that's
there that clearly Edward James old Hunting had been there
and didn't do anything. He let it go. And he
jumps into the elevator with Rachel at his apartment complex.
That door closes and the film is done, so we're

(01:02:13):
left like, we're not given the possibility of a wrapped up,
happy ending. They're on the run now and now.

Speaker 2 (01:02:20):
I like that the jarringness of yes, and that kiss
on her forehead when he comes into the room and
she's asleep and he's like Rachel, Rachel and she's We're like,
oh shit, she's dead.

Speaker 1 (01:02:34):
Yeah, yeah, yep.

Speaker 2 (01:02:36):
It was. It was great. Yeah, thanks for making me
watch the final cut. Absolutely, because when you said you
were watching it on like thirty five millionhire, I was like,
I'm jealous, but I'm not gonna be able to make
it to this showing of it, so I went ahead
and rented it or bought it. Actually I bought it
on on Apple Plus.

Speaker 1 (01:02:52):
Yeah. They had four sold out showings at the Hollywood
Theater for.

Speaker 2 (01:02:57):
People love this movie. Yeah yeah. I mean it's speaks
for it's time. It's ageless, yeah, and it's age ness.
I mean, in its agedness, it's ageless yeah yeah.

Speaker 1 (01:03:07):
And in it's technical aspects of how they filmed this
over and over again. It is absolutely it is it
is a monumental movie. Yeah, thank you for watching this
one with me, Frenchen, This is so great. Yeah. Well,
and for those of you who don't know yet, we
have ourselves on new Instagram, so please go over there

(01:03:27):
and go check that out. We have a new YouTube
channel that is exclusively just check the Gate, So please
make sure you go check those out, please share them,
follow them when you can. If you've noticed, we don't
have a Patreon page. We're not taking any money for
this and we're not making any money off of it.
We do this because we love it and because I
love hanging out with Gretchen and watching movies and talking
about them. So if you can just spread these around

(01:03:49):
so other people can see them and maybe they'll appreciate
hanging out with Gretchen as much as I do.

Speaker 2 (01:03:55):
Like and subscribe and smash buttons and.

Speaker 1 (01:03:57):
Those things, do all of that stuff.

Speaker 2 (01:03:59):
But our next film, yes, we have another film to watch.

Speaker 1 (01:04:03):
Do you know what it's going to be.

Speaker 2 (01:04:04):
I think we're going to watch Pie.

Speaker 1 (01:04:06):
I think we should watch Pie. Yeah, and that's a
great choice. It's been a while since I've seen that one.
It's going to mean something special.

Speaker 2 (01:04:14):
Yeah, it was a really it was one of those
in term, like those films that kind of define me
as a young person.

Speaker 1 (01:04:22):
Yeah, yeah, So I'm looking forward to that one, Darren
Aronofsky's very first film made for sixty thousand dollars.

Speaker 2 (01:04:30):
But it's so good, yeah, so crazy.

Speaker 1 (01:04:32):
It is excellent. Well, I'm looking forward to watching that
one with you, Gretchen, and so I will see you
on the next one. The Check the Gate podcast is
hosted by Martin Vavra and Gretchen Brooks. The show is directed, produced,
and edited by Martin Vavra. Produced by Galaxy Sailor Productions.
Twenty twenty five, he Ye