Archive for the ‘Spier-Man’ Category
We start with video games and a very strong Dr. Who game rumor. Then we’ll tell you a bit about Marvel’s plans for “Season One” comics, and then dig into the big movies left in 2011!
Plus we’ve just watched Blade Runner: The Final Cut and the panel is ready to give you our complete thoughts and review!
- Golden Eye Reloaded – Getting offical 360 and PS3 Ports Screens
- Oli Smith joines up with gaming company, new Dr. Who game in the works?
- Developer Panel Asks Whether AAA Games Are Too Long?
- Marvel Launching “Season One” Graphic Novels
First look at Marvel ‘Season One
- Newsarama.com : Marvel SEASON ONE Graphic Novels Introduce Readers to Icons
- The Dark Knight Rises Teaser Trailer
- The Amazing Spider-Man Trailer [HD]
- The Avengers Trailer Leaked and It’s Rad
MOVING PICTURE HAPPY FUN MUTUAL TIME:
Blade Runner loosely based on the novel : Do Androids Dream of Electric Sheep?
+ A science fiction novel by American writer Philip K. Dick first published in 1968. The main plot follows Rick Deckard, a bounty hunter of androids, while the secondary plot follows John Isidore, a man of sub-normal intelligence who befriends some of the androids.
* The novel is set in a post-apocalyptic near future, where the Earth and its populations have been damaged greatly by Nuclear War during World War Terminus. Most types of animals are endangered or extinct due to extreme radiation poisoning from the war. To own an animal is a sign of status, but what is emphasized more is the empathic emotions humans experience towards an animal.
From the Wikipedia Article
The Final Cut contains the following differences (in order of appearance) from the 1992 Director’s Cut:
- The fireballs in the opening refinery shot are correctly synchronized with the associated light play on the smokestacks. Some of these had been off-sync in earlier versions.
- The close-up of an eye overlooking the Hades landscape is no longer the static image seen in previous versions. The eye’s pupil now reacts to the fireball and the eyelids move realistically. Also, the reflection of the cityscape below appears to move ever so slightly.
- The shot of Deckard waiting to eat at the White Dragon has been shortened, its editing reminiscent of the workprint version of the shot. This was done due to the removal of the voiceover.
- The cables lifting Gaff’s police spinner are no longer plainly visible. Cables were also removed from another shot of a spinner late in the film, just before Deckard enters Sebastian’s apartment building.
- In addition to English the voices on police radio during Gaff’s and Deckard’s flight to the police headquarters can be heard speaking German, Japanese and Swedish.
- A repeated visual effects shot showing the city outside Gaff’s Spinner has been adjusted very slightly: The once-obvious radar dish has been removed in the second use of the shot.
- As Deckard enters Bryant’s office, Bryant’s statement “I’ve got four skinjobs walking the streets” is no longer obviously a spliced-in re-recording.
- Bryant’s line “One of them got fried running through an electrical field” is changed to “Two of them…” to remove the numerical inconsistency later on.
- Bryant adds a new line about Leon being able to “lift 400 pound atomic loads all day and night.” This is from the workprint.
- A new cityscape horizon has been added to the shot of Gaff’s Spinner coming in for a landing at the Tyrell Corporation.
- Additional Spinner air traffic has been added in the distance outside the large window of Tyrell’s conference room.
- When Gaff and Deckard first appear at Leon’s apartment, the landlord now says “Kowalski,” another small bit originally from the workprint.
- A background behind Batty when he is first introduced speaking to Leon has been changed and the thumb on his shoulder has been removed. As the shot was taken from a later scene, this has now been corrected to appear as if Batty is actually in the phone booth as Leon finds him.
- The matte painting establishing the cityscape down the street from the Bradbury Building has been adjusted for improved realism, including fixing the perspective of the Pan-Am logo on one animated billboard.
- The original full-length version of the unicorn dream has been restored. This is a much different version than the one that appeared in the Director’s Cut, and has never been in any version seen by the public prior to this one. Deckard is shown to be awake; previously he was asleep or nearly asleep.
- The Unicorn’s horn has been digitally stabilized to minimize the unrealistic wobble of the horn appliance seen previously.
- The sequence at the fish booth now shows Deckard leaving.
- Deckard’s conversation with the snake merchant Abdul Ben Hassan has been altered so that the dialogue is no longer out of sync; Ford’s son, Ben, lip-synched the spoken dialog and his mouth was digitally placed over his father’s.
- A shot of the busy crowds in the streets was restored. Immediately after that, a shot of two strippers wearing hockey goalie masks was restored. Finally, there’s a shot of Deckard talking to another police officer just prior to Deckard entering the Snake Pit. These three shots had previously appeared in slightly different form in the workprint version.
- During Deckard’s pursuit of Zhora, Joanna Cassidy’s face has been digitally superimposed over that of the stunt double, Lee Pulford. This scene was re-filmed specifically for the Final Cut. Although great effort had been undertaken to replace the stunt double face with Cassidy’s, the tan-colored protective suit Pulford wore to protect against glass cuts is still visible.
- A scar on Deckard’s face after his “retirement” of Zhora has been removed. Originally, the scene in which Deckard meets Bryant after retiring Zhora was to take place after his encounter with Leon, explaining the scar. This was done prior to the removal of the “sixth replicant,” creating a continuity error. Due to the re-ordering, the scar was always present before Deckard had actually received it.
- When Batty confronts Tyrell, he says, “I want more life, father”; this is from the workprint version, an alternate take intended for—but never used—in television broadcasts of the film, as opposed to the original line, “I want more life, fucker.” The line also has a noticeably deeper tonal quality than the previous versions.
- After killing Tyrell, Batty says “I’m sorry Sebastian. Come. Come.” In the original he merely approached the frightened Sebastian. This is also from the workprint.
- As Deckard moves through Sebastian’s apartment, the once-obvious shadows of the camera crew have been digitally removed from the back wall.
- The fight between Pris and Deckard is partly altered in the Final Cut; some small part fell away. The inserted part is from the international release from 1982.
- After Deckard has shot Pris the first time, a second shot is inserted prior to the second one from the DC (which is now the third); all three shots were also originally part of the international release from 1982.
- When Batty puts the nail into his hand after Batty and Deckard had fought in the bathroom, he pushes it through and the nail is coming out of his hand on the top.
- As Deckard climbs up the roof, Batty was digitally placed into the open window, because he was missing there between two scenes.
- Deckard does not wander around the roof as long as in the DC.
- As Deckard flees Batty, the matte painting with a TDK neon sign has been cleaned-up a bit to look more realistic, and the TDK sign itself has been added to a subsequent shot for better continuity.
- All the violent scenes in the International Cut that were deleted in the U.S. theatrical release and in the Director’s Cut—including Tyrell’s death, the confrontation between Deckard and Pris, and the nail through Batty’s bleeding hand—are restored to the Final Cut.
- After Batty releases the dove, it now flies up into a dark rainy sky instead of a clear blue sky. Also, the original building (the undressed side of a soundstage) has been replaced with a more appropriate retrofit apartment building. The background has also been enhanced with a cluster of circa 2019 buildings more in keeping with the film’s dark futuristic setting.