Dangerous Days: Making Blade Runner

"This movie, to me, embodies the elegance, the power, and the uniqueness of a film experience."

Dangerous Days is an exhaustive (almost 4 hours!) documentary about the making of Blade Runner. It's (obviously) mostly for hardcore fans, but it's quite a treat for those people who can't get enough information about that landmark sci-fi movie.

Almost everything you could possibly want to know about the film, from its conception, to casting, art, filming, set design, and its release, is covered in detail. There are tons of candid interviews with the actors, writers, Ridley Scott, financiers production designers, and many other people who were involve with the creation of the movie, as well as reactions from other directors like Guillermo del Toro about their own personal thoughts on Blade Runner. Plus, we get an entertaining view of all the backstage drama (and there was quite a lot of it) that went on during the film's production. There is also a lot of unused scenes, behind-the-scenes set footage, and designs sprinkled liberally throughout, that (as far as I know) you can't see anywhere else.  

I actually learned a lot about the filmmaking process in general, from watching this.  Despite the lengthy running time, I was interested the whole way through. This is a gold mine for people who love all things Blade Runner. I wish these kinds of thorough documentaries existed for more of my favorite movies.

I love this movie (not religiously) and the making of shows you how much went into this film. Bladerunner was the first film I saw that had real weight to it: a punch looked like a real punch, a landscape looked like a real cityscape and characters had real depth. as a kid in 1982 all I remembered was the opening scene issuing forth gasps from the audience of "Jesus Christ", I was hooked. today I still think it has many layers and still deserves its place as a masterpiece. In Dangerous Days, I love the way the cast were shell shocked by the screening of the film with some going on to ask how do they top this. The Bradbury Building is haunting to look at as it was, not now that it has been renovated. P.K.Dick at first hated it then couldn't believe how they had recreated his vision.

If any of you liked this but felt it didn't touch upon enough, here are a few pointers to Bladerunner's rich development: Moebius (who now regrets his refusal to work upon the film) wrote and illustrated "The Long Tomorrow" a very good template for Ridleys Vision of the film and a must read for fans of the film. The artwork of Syd Mead is as haunting and beautiful as the film, again a must see. The novel is different to the film but strangely compliments it and is its equal counterpart. and lastly what is odd about the scriptwriters of blade-runner is they haven't just picked upon the novel to encapsulate the theme of the film, but have encompassed most of Dicks entire works in its dark futuristic feel. I bet you didn't know that PKD wrote many books with blade-runner like cities that included ruthless detectives, flying cars or white haired black cloaked replicants or psychotic female counterparts with high intelligence. Bladerunner isn't the book that portrays the film best, there are other books by him that portray the film better. In fact his vision is so much like blade-runner that you can't imagine anything else when reading some of his other novels. I would say that there is a blade-runner signature in nearly all of his books, that would explain his surprise upon seeing a draft of the film because you can see it in his work.

hope this helps those out there who want to dig a little deeper.

The "Making Of" featurettes we see with DVDs sometimes grow into feature-length proportion. "Dangerous Days" takes its name from an early title for the "Blade Runner" movie, and it's beyond feature-length on its own.

This is a decent production, and a must-see for fans of the film. However, compared to other Making Of... featurettes, Dangerous Days is over long and might be dull for those who don't fully appreciate the source material.

To my mind, "Hearts of Darkness", the Making Of... documentary for "Apocalypse Now" is about the best Making Of... documentary there is. I would also include the full-length Making Of The Abyss as must-see viewing for science-fiction film buffs. Dangerous Days falls short of these.

Both "Apocalypse Now" and "The Abyss" featured film-making that went past the edge of human physical endurance. People were risking their lives and sanity to get the films made, and it shows as superior documentary-style drama. "Dangerous Days" mostly shows film-making that goes past the edge of endurance of the film crew for director Ridley Scott, and past the patience of the producers. Yes, it's dramatic, but not nearly as much as Martin Sheen about to get eaten by a ravenous tiger (Hearts Of Darkness) or Mary Elizabeth Mastrantionio nearly drowning at the bottom of a man-made water pit (Making Of The Abyss).

I would put Dangerous Days in roughly the same category as the Making Of... featurettes you get with the Star Wars DVDs, except that it is very long.

The pieces I found the most interesting were the features with Hampton Fancher and David Peoples, who were rival writers for the Blade Runner script, and the special visual effects segment which shows some of the thought process behind the particular model-making and lighting events in Blade Runner, without being all George-Lucasey in terms of the granularity of explanatory detail. Alternate screen tests also make for interesting viewing.

Dangerous Days was the working title for the film Blade Runner.

Clocking in at 3 and-a-half hours in length this making of feature on Blade Runner is way longer than the movie itself. It is a comprehensive look at a film that failed upon its release but has become a cult hit and a film way ahead of its time.

My interest in this documentary was only aroused when I heard Harrison Ford took part in this. For years Ford would not talk about Blade Runner leading to speculation that he wanted to distance himself from the film or he did not enjoy making it or its fraught difficulties on set was just too much for him.

His participation in this making of film and express words that he did the voice-over very much under protest because he backed Scott's cut of the film but was under contract and therefore obliged to do it pretty much dismisses those accusations that he was embarrassed with the failure of Blade Runner.

The film has it all from the script writing phase to getting a shooting script ready to the tensions on set, getting the special effects to be outstanding to the post production editing that led to the conflict with the director's vision of the film, the box office failure and then its re-discovery as a classic.

This is aimed at fans of the film but it should be a must see for anyone who is interested in how films are made.

(reviewed as part of the Blu-Ray 2-disk set with Blade Runner - The Final Cut)

The tortured tale of finding the most 'authentic' version of this '80s classic seems almost like a mirror of the story itself. Clones upon clones. Even the 'Director's Cut', it seems, was not the last word. Thankfully, Blade Runner – The Final Cut, has more than just resounding conviction. The director's imprimatur does appear in both in his introduction and the three-and-a-half hour documentary made by a third party. But, more importantly, it is a cogently convincing balancing act which encapsulates the best nuances of its themes – state control, the meaning of identity, and the essence of humanity itself.

Digitally restored and re-mastered, the set incorporates new footage and special effects, re-mastered sound, an introduction by Ridley Scott (who says he's finally happy with this version – phew!), three filmmaker commentaries including Scott's, and the 'definitive' documentary that includes outtakes, deleted scenes, new interviews, screen-tests and an intelligent examination of the movie's creation and controversial legacy.

DVD 'commentaries' have cynically been described as entertainingly endless rambling. This set is no exception, and the trivia they include often duplicates the professionally produced study in the accompanying documentary. Choice of style, if you like.

The documentary is well above standard offerings of its kind. In analysing the film from many angles (including pre-production, art department, casting and scripting, controversies over the story and versions, and its chequered history) it lets you realise the enormity of the task in creating an iconic futuristic urban film-noir world in the days before CGI. Another interesting irony for a movie that champions reality over the human/replicant abyss. Years later of course, the interest in the 'real' is being revived, from Tarantino's 'reality stunts' in Deathproof, to Carlos Reygadas' preference for authenticity over CGI in Silent Light.

Major disagreements on set are not skimmed over – even one where the crew take to wearing rebellious t-shirts in defiance of Ridley Scott's bossiness, and the measures he takes to handle the situation. Profound gulfs separating approaches of various scriptwriters are discussed in a mature and enlightening fashion. Perhaps enough time has passed to put passions into perspective. David Peoples and Hampton Fancher explain their writing methods and we can appreciate how the practicality of the former, balanced the zealous vision of the latter. The documentary allows a viewer not involved with the industry to appreciate the complexity of talents in various roles.

Purists may say that a film such as Blade Runner should only be appreciated on the big screen. I am firmly in that camp with most films made for cinematic release. But several things argue for the purchase of this set.

Firstly, if you can watch it on Blu-Ray and on a suitably large wide screen, the amount of visual and aural detail will blow you away. If you are new to Blu-Ray, you could do much worse than make this your virgin purchase. Secondly, Blu-Ray can handle a vast amount of data – even more than HD. You get enough quality viewing on this set to hold your attention for several evenings. Thirdly, you can assuage your cinephile conscience by noting that the film's cult following and place in history was largely assured through small screen viewing. Tip: switch the English subtitles on as you listen to the commentaries. And even the subtitles are well done, intelligently placed, moving to the top of the screen when they might otherwise obscure an important detail.

But if your curiosity needs to review the now 'retired' versions, there's also a 5-disk (collectors')Final Cut. Just don't make any illegal copies or we'll have to come after you . . .