All language subtitles for Icons.Unearthed.S12E02.On.A.Knifes.Edge.1080p.AMZN.WEB-DL.DDP2.0.H.264-Kitsune_track3_[eng]

After his
first line on camera...

Room 607.

...to
his first features.

Come on and ride with me.

Worship the man.

I thought he was so sexy,
and he was so handsome.

Like a god.

Han Solo.

She may not look like much--

Harrison Ford
was now a star.

It was "Star Wars."

It was "The Empire
Strikes Back,"

and it was "Raiders
of Lost Ark."

Those three just were

launching him in a big way.

But complacency can
land an actor in the scrap heap.

A breakaway from Lucasfilm

was now essential.

I didn't want to do the same
thing over and over again.

So Harrison Ford

walked into a bar.

You got the wrong guy, pal.

He wasn't as nice as
he could have been to me.

And a nightmare.

Harrison had to perform
on an empty stage.

The book, that
wasn't. The book that was.

I'm a writer and I don't
like people rewriting me.

The movie
that was eventually...

They were running out of
money from the very beginning.

...a budget disaster.

There was a lot of animosity
that was building up.

And a director
who clashed with everyone.

He and Harrison seemed to
have a lot of angry exchanges.

Harrison came and he said,

"Why are you making her
do this so many times?"

Causing
turmoil on set.

We did go through
a lot of crew.

They fired
everybody except me.

And F bombs.

What the
is he doing?

And suddenly, "Blade
Runner" was in deep trouble.

How did a
catastrophic production...

She was crazy.

...turn into a
cult classic with a sequel,

three shorts, an anime,
and countless fans?

Names, now.

When it came out,
it sort of bombed.

At the screening, I felt like
I was giving birth in public.

What the is
happening to my movie?

Like many
great films,

Harrison Ford's first real
venture outside Lucasfilm

began with words on a page.

Intriguingly, not the
words in this book,

the words in this one.

Science fiction
author Philip K. Dick's

"Do Androids Dream
of Electric Sheep?"

It came out in '68.

Famed visionary
author behind books

that would go on to
be adapted into films

like "Total Recall,"
"Minority Report"

and "A Scanner Darkly."

How did I get here?

22
dystopian chapters

of an android infested,
but sheepless future

at a time when
science fiction cinema

had open minds.

Open the pod bay doors, Hal.

Although
not the pod bay doors.

I'm afraid
I can't do that.

Herb Jaffe wanted
to option the book,

but immediately turned it into
a shoot-him-up with robots

and Phil hated it.

And
the project stalled.

CBS was going to do it
as a made for TV movie.

Even Martin Scorsese and
Jay Cocks tried to option it.

Actor turned
writer Hampton Fancher

came into a large sum of money.

Someone gave me $10,000

and I knew it was the only
time I'd ever have $10,000

in my life.

I decided that I
should option a book.

I called a friend of mine.

That friend
was actress Barbara Hershey.

- Come on in.
- Who starred

in '70's hits

like, "The Baby Maker."

...who said, "You could try

"'Do Androids Dream
of Electric Sheep?'

"By Philip K. Dick."

Well, there you are.

Surely Hampton
would be on the same page

as the eccentric Philip K. Dick.

I don't think he liked me.

I think he thought I was
some producer type guy

from Hollywood come
to get his wares

and take him away
for my own use.

Leaving
empty handed,

Hampton quickly
got in touch with

"Flipper" star Brian Kelly.

Hi, Flipper.

Brian Kelly was a
best friend of mine, an actor.

Brian
moved into producing

and after teaming
up with Hampton,

managed to talk
Philip K. Dick over the line.

He succeeded.

He came to me and said,
"That novel, I optioned it."

I said, "For how much?"

He said $2,000 or
whatever it was.

A laughable sum,

but it got the ball rolling.

Although Hampton wasn't
keen to write the treatment

for "Electric Sheep."

That's not my cup of tea.

I said, "I don't do that."

He let himself be convinced.

Finally, I said,
"If you pay my rent

"for three months, I'll try."

It was a good
try because Brian Kelly

sent it straight to a very
big name in Hollywood.

Michael Deeley, who
was a friend of his,

the producer who had just
won the Academy Award

for "Deer Hunter."

And Michael said, "Maybe
there's something here."

He immediately loved it

and decided he was
gonna produce that.

He called me up and he
said, "We are doing a movie."

Big
Money followed Lee

with Filmways
investing $13 million.

And then big names
like Robert Mulligan

who directed "To
Kill a Mockingbird,"

who wasn't quite
dystopian enough.

That's when Michael Deeley
wanted to hire Ridley Scott.

If anyone could
bust out dystopian moves,

it was Ridley.

Ridley had ceased his
involvement with "Dune"

after losing his big
brother Frank to cancer.

"Alien" producer and fellow
Englishman Ivor Powell saw a way

for his old friend
to process the grief.

Ivor brings "Blade
Runner" to him

and Ridley goes,
"Hmm, I will do this."

And immediately starts to darken

what is already a
very dark story.

If
only Harrison knew

what was around the corner,
he might have stayed

chilling out in the Hoth system

because Hampton and Ridley
were now butting heads

over a script with the working
title of "Dangerous Days."

Ridley wanted changes
and Hampton liked

what he'd already written.

They should be
paying attention to me,

about what I want.

I wasn't getting my way.

So I got frustrated and I said,

"So what the is
happening to my movie?"

He said, "That's called
writing a script, Hampton.

"This is called making a movie."

Being the one
who optioned "Electric Sheep,"

Hampton was the
executive producer.

If he couldn't be fired,
he could be undermined

by an unknown writer
brought in by Ridley Scott

behind his back.

Michael sent this
script over to me.

This was Hampton's draft
and it was so god damn good

it broke my heart.

And I said, "It's terrific,

"I wouldn't touch a thing in it.

"I wouldn't know what
to do to improve it."

But
David became intrigued

with the script's
theme of genetics

and started modifications.

- Hello.
- - After finding someone

genetically similar,
he unwittingly created

a brand new word.

I called my daughter Risa,

who was doing chemistry
at UCLA at the time.

And I said, "What is all
this stuff about genes

"and what they do and stuff?"

And in the course of the
conversation she mentioned

that the genes replicate.

Out of that conversation
came the word "replicant."

Earning
David and his daughter

their place in movie history.

But who came up with the
film's eventual title?

"Blade Runner"
the book was written

by a science fiction writer.

With no
connection to "Electric Sheep"

or Hampton's screenplay.

The plot is about doctors
smuggling in medical equipment,

including scalpels.

Hence the
term "Blade Runner."

The novel was adapted into
a film treatment by one

William S. Burroughs, then
published as a paperback.

It was Ridley who said to me,

"What the hell
does this guy do?

"We gotta have a name for that."

He's a blade runner.

That's somebody who runs
along the knife edge of danger.

I need the old Blade
Runner. I need your magic.

Michael said, "He's
a Blade Runner.

"Why not call it
'Blade Runner?'"

And we all just went pow.

To avoid
being accused of theft,

Michael Deeley bought the rights
for the "Blade Runner" title.

Now all they needed
was a Blade Runner.

I'd written it
with Robert Mitchum

who I was thinking
of for the protagonist.

Would you like me to
tell you the little story

of right hand, left hand?

But the studio
needed someone more bankable.

Hey, I'm walking here.

Dustin Hoffman was approached
and was interested.

Dustin may have been
interested,

but nobody else was.

Why Dustin Hoffman?

I'd be doing
both of you a favor.

Brilliant actor,
but he was not right

for Michael Deeley's vision.

Once again, Barbara
Hershey played matchmaker,

bringing the big guns
to "Blade Runner."

Barbara was friends
with Spielberg

and he was telling her
how great Harrison was.

You could see that
there's no problem

with the financing or anything

if he's gonna be a huge star.

Not wanting to
take Spielberg's word for it,

they flew to London to meet
their prospective leading man.

Ridley always
said "Blade Runner"

was the film noir set
40 years in the future,

and you'll have the trench coat,

you'll have the
snapper and fedora

and all that kind of stuff.

Harrison shows up in the
meeting in the Indy costume

with the fedora on.

And Ridley's going, oh, sh--.

Says, "I lost my fedora."

And Ridley said, "That's it.

"I have my Deckard."

And
Deckard, well Harrison,

had his first leading
role in something

a little less cartoony.

What was it about "Blade Runner"
that got Harrison hooked?

He was intrigued
by "Blade Runner"

because it was different enough
from the previous films, but

it was still something
the audiences seemed

to be really excited about,

was science fiction
in the future.

He said, "I really thought
the Deckard character
was interesting."

I thought it was someone
who was possibly alcoholic,

burned out, completely
lost touch with the society

around him and then
more than anything else,

someone who had to
manufacture the emotions

and the relationship
with an artificial human.

Harrison Ford
was now fully invested

in "Blade Runner."

I'm Deckard, Blade Runner.

As was
Filmways until they weren't.

Now at the same time they
were doing "Blade Runner,"

they were doing a movie
with John Travolta

called "Blow Out."

Filmways was putting all
their eggs in that basket.

Boom, it bombs.

And then Filmways is
really starting to totter.

Not for the first time art was imitating life.
What's the line?

Somebody who runs along
the knife edge of danger.

To become
a prophecy of doom.

And suddenly "Blade
Runner" was in deep trouble.

In late
December of 1980,

Harrison Ford was
preparing his role

for director Ridley
Scott to roll cameras.

At the same time, "Blade
Runner's" financier Filmways

was releasing a
John Travolta movie

they'd bet the house on.

Boom, it bombs and the
writing was on the wall.

We were in pre-production

and Filmways went bankrupt.

So they were
scurrying around to try

to get somebody else to fund it.

They were
already building sets.

They were doing
some script rewrites.

But those
constant rewrites,

courtesy of Ridley
Scott were putting off

prospective new investors
who needed to see

a definitive master script.

Ridley and Michael
pasted together a script

from both Hampton's and my work.

And somehow using that script,

they were able to get
the film refinanced.

Michael, in his amazing way,
put together the financing

in a matter of days.

In 10
days, Michael Deeley

secured 21.5 million
in a three way deal

with three new investor
groups, including--

Alan Ladd,
Jr. of the Ladd Company.

Ladd
invested 7.5 million.

And so did another investor.

Sir Run Run Shaw, the
famous Chinese producer

and entrepreneur. Then they
go to Tandem Productions.

That group had done "All In
The Family," "Sanford and Son."

Tandem
would match the 7.5

put up by the Ladd company.

But Tandem's Jerry Perenchio
and Bud Yorkin's investment

had a major string attached.

They would be bond guarantors

in case the movie
went over budget.

Completion bond guarantors
are essentially insurers

who say, okay, we'll put
in this amount of money.

But the deal is that if you
go over a certain percentage

or a certain amount of time,
you've defaulted on our loan

and then we take
control of the property.

Genius.

Well, evil genius.

Does the word
asshole come into mind?

Come back to that.

Because now with coffers
refilled, it was all systems go,

including more script updates

from an unorthodox Ridley Scott.

And I'd run over
where he was on the set

and give him the pages
and he'd be dismissive.

He was no longer
interested in the pages

because he'd had
another idea since then.

There
wasn't time for David

and Ridley's rewrites to be
approved by Hampton Fancher,

who now had the
nickname Happen Faster.

He would find out about
them at a very awkward time.

It was Christmas and I was
invited over to Ivor's house

and then Ivor laid a script
in front of my empty plate

and I said, "What the
is this?"

And he said, "That's
the new script."

And I said, "Who wrote this?"

He said, "A good writer."

Sorry.

And I said, " you

"and everybody
else in the world."

But even
with the writer locked in...

you.

...make
that two writers,

there was still a matter of
locking in the rest of the cast.

I introduced Ridley
to Rutger Hauer

by showing him
three of his films.

Rutger Hauer
had recently starred opposite

Stallone and Billy Dee
Williams in "Nighthawks."

Ridley cast him sight unseen.

That was irrational of you.

Rutger is extremely large.

Gosh, he's a very wide man.

With a huge butt.

It just made
his character so imposing.

Yet they
were still on the lookout

for a female lead.

Maybe Hampton's friend Barbara.

I did write that character
with Barbara in mind.

Barbara Hershey.

She was too old for
the part, but not much.

It's terrible how women get
categorized, but there you go.

Could TV actress
Nina Axelrod

create the subtle mystery
Ridley Scott wanted?

You know, Mr. Deckard,
there's two reasons

a man rejects help.

It
was a no for Nina.

How was Ridley going
to find his Rachel?

She was a general
casting call.

I got the call, I got
really kind of depressed

because I was a little scared

'cause when things become real
you gotta actually show up

and you gotta do a good job.

And I was pretty
inexperienced at that time.

Other
actors like Daryl Hannah

came fully formed
with physical ability.

She really owned it.

Meanwhile,
actress Joanna Cassidy

would use the family
pet to her advantage.

How do you mean exploited?

That was her snake.

- Oh, yeah?
- Yeah.

Yeah, that's her pet snake.

Appropriately
named Darling.

I think I'm the
only actress in town

that has a snake.

Talk about
beauty and the beast.

And he is very good too.

He's very talented.

Adding
another dimension

to the "Blade Runner"
world was Eddie Olmos

and his made up language
of Cityspeak.

A mishmash of
Japanese, Spanish, German,

what have you.

There was Cityspeak
in the script

before Edward Olmos came along.

He is the one who
finished it off

and made it work the way it did

With the
ensemble complete,

Sean Young was invited into
Harrison's personal trailer

where she immediately
felt uncomfortable.

I went to meet him.

I'm Rachel.

Deckard.

He had a present
from Steven Spielberg,

which was a long

pole that had
a drip on it

like when you go
into the hospital.

He said, "Well,
Steven gave it to me

"for my drug problem."

Quite an
eyeopener for a 19-year-old,

2000 miles from home in
Louisville, Kentucky.

I mean, I think it was
a joke, although in 1980,

it's probably not
that much of a joke.

But he wasn't as nice as
he could have been to me.

And he wasn't interested
in babysitting.

And I might have
required or desired

a little bit of hand-holding.

But he was not gonna
have any of that.

Sean was in
for more than a hand-holding.

When she was asked to go
and pick up her director

from his house to deliver
them both to a Filmex event.

Knock on Ridley's door,
lets me in.

Have some champagne.

And then he kinda grabs my ass.

I'm like

I said, "Oh my God,
would you stop it?"

In 1981,
during the production

of "Blade Runner," a young
Sean Young found herself alone

with Director Ridley Scott.

Ridley
kinda grabs my ass

and I'm pissed.

After
Sean's rejection,

Ridley went in
another direction.

You know, he gets
together with Joanna

and I'm thinking,

Big relief. And good for her.

If she loves him, likes him,
whatever, it's good for her.

I'm happy.

She'd escaped
being alone with Ridley,

only to face a different
kind of loneliness.

He put her way
on the other side

of the lot, away from everyone
else, in a tiny little cubicle.

The reasoning he gave to
people was that he wanted me

to be like an Android
and a replicant

and not have much experience.

But if that were really
true, then my performance

wouldn't have been led into
such a human direction, right?

Those aren't your memories.
They're somebody else's.

Keeping Sean
cooped up wasn't going to work.

She soon started
making her own friends.

There were people
on "Blade Runner"

who loved Sean.
Charles Knode, for example,

the costume designer.
They were great friends.

He was one of my main
sources of laughter

through that show because
it was kind of a lonely show

for me so he used
to make me laugh.

Charles would come over

and he would show
me Harrison's coat.

And there were
these little vials,

empty vials
of what had coke in them.

I'm presuming.

I think Harry has probably
cleaned up his act

a lot since then.

But
the fun atmosphere

of the costume department
wouldn't be replicated

in the art department.

That was Ridley's domain.

It was challenging
for a lot of the crew

because he had such a vision.

Ridley's a little bit
of a, what's the word?

An artist.

He's a designer.

Um...

What would be the
nice way to put it?

After the first day,
everyone was afraid.

What's he not gonna like?

Ridley's a little
bit of a perfectionist.

Those
famously elaborate sets

where Harrison Ford and the
cast would work their magic

were being created by
Neo Futurist, Syd Mead

and art director Larry Paull,
who enlisted David Snyder.

Larry brought me into
his office and said,

"Ridley, this is David Snyder.

"He's gonna be
the art director."

And he smiled and stood
up and shook my hand

and he said, "Too
bad for you, mate."

The prop department was
spending $5,000 in cash

every day because Ridley had
to approve every coffee cup,

every pen, every glass.

And all this
with an already tight budget.

I don't know if
he can ever get everything

he wants 'cause
he's so brilliant.

The people that really got
his aesthetic and got him,

there was never a problem.

But if you didn't get
his brain, forget it.

Not seeing what
Ridley saw was a problem.

But when it came to the
camera, Ridley couldn't see

what the DP saw and that would
be an even bigger problem.

Up until this point,
Ridley on all the films

that he directed in the
UK was also the cameraman.

Here in Hollywood, the unions
do not allow the director

to operate the camera.

So Ridley was in a very
difficult situation

of not being able to direct
through the eye of the camera.

But on
day one of shooting,

it didn't take a lens for
Ridley to notice a flaw.

The first day of
shooting finally arrived.

The floors were
polished like glass

and the columns were there.

When he came in and he said,

"I think the columns
would look better"

"if we turned them upside down."

In the interviews, Ridley has
said they should have known

because that was the
way it was drawn.

Well, I disagree.

The very first thing I
had to do on "Blade Runner" was

walk onto the set and
say, "Do you like our owl?"

Do you like our owl?

Harrison
was ambivalent.

- It's artificial?
- But Ridley wasn't.

Sean had to do a few
takes to master that word.

Yeah, 26 times.
Ridley didn't like

that I was going "owl."

Do you like our owl?

Sean faced another challenge.

Walking properly.

Her walk had to be perfect.

I kept looking down
to know where to stop.

They kept telling
me, don't look down.

I think by day three,
we had only captured

half of the first day's
scheduled work.

Ridley had no compassion

about what he was
putting them through.

And a lot of people
were very offended

by Ridley's language
and treatment of them.

And there was a
great deal of animosity

in the crew against Ridley.

And he had first class people.

And the head
of the class was Harrison.

He and Harrison seemed
to have a lot of conflicts,

a lot of angry exchanges.

An actor
who wanted to be more

than just an actor.

Ridley, I heard him say it
multiple times to Harrison,

"Mate, I hired you because
you're good at what you do.

"Just go do it." And
then he'd walk away.

Harrison's not like that.
He's a collaborator.

He wanted to talk
about the character.

And on
one major plot point,

the star almost imploded.

There was tension,
no doubt about Deckard

being a replicant.

And Harrison violently
pushed back against it.

He sensed that he was
being angled as a replicant.

He fought
tooth and nail.

And the
unforgiving atmosphere

only dragged spirits lower.

50 night shoots really
had a toll on everyone.

Anytime you have to work
in wet with sprayers on top

of you, is gonna be
not that much fun.

Smoke all the time,
everywhere, everywhere.

Smoke the stage,
smoke the stage.

It was very thick, very harsh.

The icy
conditions on set

and glacial pace of shooting

was leading to a famously
chilly interaction.

I didn't love that day.

I remember being pushed.

I think Ridley went
over to Harrison

and said, "Push her
against the wall."

It was a realization
that he liked her,

loved her at that point.

And it was--

And I remember Harrison kind
of with my hair.

It wasn't meant
to be that forceful.

I remember being
in tears afterwards.

I remember that.

But Harrison knew

just how he'd diffuse
the situation.

He turned around
and he mooned me.

He mooned me.

I have no idea why he
did that. I really don't.

I couldn't tell you.

I just thought it was like

he was trying to distract me

from crying or I
really don't know.

Or maybe he felt bad that
I was crying. I'm not sure.

I was glad the day was over,

I gotta say I was definitely
glad the day was over.

But would
an impromptu budget update

with Tandem's Bud Yorkin
and Jerry Perenchio...

The most money
oriented of money man.

...be the final straw

for an exasperated Ridley Scott?

Ridley was unable to
structure any sentence

without an F in it.

He hated every American.

A lot of the problem was
because it was an American crew

and they didn't know
what they were doing.

He was beet red.

He was just furious.

By May of 1981,

an unhappy crew
on "Blade Runner"

is calling it "Blood Runner."

It was unpleasant.

There was a lot of animosity
that was building up.

Thanks
to increasing demands

from an unimpressed director.

I think a lot of the crew felt

that Ridley would lose
his temper unjustifiably

and that he was wasting time.

He would get there and all of
a sudden sit around for five

or six or seven hours.

You stepped on
that set visually,

you went, "Holy mother of God."

Atmospherically,
you stepped on it

and went, "Holy shit."

But when
production moved to Los Angeles,

the cast and crew would
be pushed even further.

And Daryl Hannah wasn't exempt.

My first meeting with her
is covering her with garbage.

She got up and ran and
when she hit the taxi,

her hand went through and
she actually cut herself.

Hey!

'Cause it wasn't
breakaway glass

because it wasn't expected.

I think she was in a phase
of drug use at the time.

I'm lost.

That was draining her.

And then the sitting around

and not doing anything

for long periods of time.

She did a lot of acting out.

She danced around the set,

talked like a child,
just like she was crazy.

It wasn't just
the cast feeling the pressure,

because when filming
moved back to LA

at the famous Bradbury Building,

We got to the
Bradbury Building.

We had made a deal
to rent the sets

from "Hello, Dolly!"

We'll pretend we're rich

that way we won't have
to spend anything.

The art department
had to make a quick pivot

when Fox backed out of a deal.

"You can't have the sets."

So what am I gonna do now?

In
the nick of time,

a search of Warner's
backlot found a substitute.

The interior of
Sebastian's apartment

was built from the
sets of "My Fair Lady."

And it was here

where the fun began for
Ridley Scott's set decorators.

Well, I had a bunch of
animatronics in there.

Home again,
home again, diggity dig.

Little things that
moved and flute players.

And then Ridley wanted
more things to move.

So he would set up a shot

and then he would say,
"I need more motion."

Some of the grips would run in,
spin them, run outta camera.

And then he'd say, "Okay, roll."

Ridley
chose this moment to go

and say this to a visiting
British journalist.

He much preferred working
with an English crew

and he could talk to
them in shorthand.

"Yes, governor, we
know what you want."

And they called him "governor."

T-shirts were printed that
said "Yes, gov, my ass,"

which I refused to wear.

With a potential
transatlantic mutiny looming.

It felt to me like there
was the American faction

and the British faction.

With tensions
running high on the set,

the ticking clock on
the Los Angeles shoot

threatened to send
the budget spiraling

even further out of control.

You have this many
days and that's it.

The exterior

of the Bradbury Building
would now have to be built

on a stage.

Everything from the
Bradbury Building, railings,

wrought iron, all
had to be reproduced.

When he goes through
the ceiling of that,

that cut is
where he's on top of my roof.

You can't cut holes in
the roofs of locations.

The
beauty of a stage

is a controlled environment.

Unless there's pigeons.

Pigeons kept flying away.

So they got some boards

and nailed them over
the broken windows.

But the pigeons were
still getting out.

We took a cutting torch

and we cut out a section
of the property fence.

The next day we had
to take the fence

before anyone got
there and take it back.

And we had to weld
it back in place.

But surely
all this manual labor

and ingenuity would lead
to a big budget savings.

We went over by
about seven weeks.

Is that so bad?

Must be expensive.

Very.

That
overage was about to come

to Tandem's attention.

Endless arguments over how
the money was being spent

and what they were
getting for the money.

Bud Yorkin was a very
bottom line kind of mentality.

Jerry Perenchio was a
billionaire entrepreneur.

In the TV
world, Tandem was used

to profitable productions
like "All In The Family."

How much money is that?

To go from that to a dark
artfully created world,

it was probably just too
much for them to take.

They probably short-circuited
when they saw all this stuff.

Tandem stepped in.

Must-have scenes would
be has-been scenes,

like the one Joanna
Phillips was looking forward

to performing with
her pet snake.

Darling, the snake
was going to meet me

and I would begin the dance.

Legend has it,

the scene was cut.

It wasn't cut.

It never got shot.

They were running out of money.

I didn't come on until
the end of the movie.

It's just unfortunate.

What would
end up getting shot

was Joanna's character, Zhora

with a strangely
accented Harrison.

Excuse me, Ms. Salome, can
I talk to you for a minute?

Harrison's silly-- that
voice that he--

I'm from the confidential
committee on moral abuses.

I think I went to Ridley

and I said, "What the
is he doing?"

Well, you'd be surprised
what a guy would go through

to get a glimpse of
a beautiful body.

Do I seduce this guy?

Or he is such a nerd, I don't
want anything to do with him.

Are you for real?

The awkward reaction
was as real as Joanna's distress

before her character's
final, glorious death.

Joanna Cassidy runs through
the shopping mall storefront.

I must have slid
on all these rubber mats

before I got to the glass.

I was doing it so many
times and Harrison came on

and he said, "Why are
you making her do this

"so many times?"

But
the tension on set

was only on track
to get higher.

There was a Director's
Guild strike looming.

Michael Deeley decided that
we would shoot two weeks

in one week, around the clock.

As "Blade Runner's"
production neared completion,

the threat of a strike
drove its director

to push the crew even harder.

Ridley said that he
would continue working.

His thought was that everybody
would continue working.

That created more
animosity with the crew.

- Harrison...
- Hiya, Deck.

...said there was no way

if they went on strike that he
was crossing the picket line.

No choice, huh?

No choice, pal.

Guarantors,
Tandem, came forth with a swift

and decisive response.

Bud Yorkin had indicated
that if we had to shut down,

that they would just
take what they had

and see what they could
do with making the movie,

which didn't make
Ridley happy at all.

Or
producer Michael Deeley

who knew what was
going to happen

if shooting wasn't completed.

And that's when
Michael took control

and said, "We are gonna
shoot two weeks in one week

"and we're gonna shoot
around the clock."

And that decision cost
the production $5 million.

Everyone was exhausted,
just exhausted.

And that's when the completion
bond guarantors took over.

They came on the set,
told Ridley that tomorrow

was going to be the
last day of shooting.

Whatever he didn't
get, he didn't get.

Three crews went
to work at 6:00 AM

that last day and we
worked about 36 hours.

The only way to finish
was to continue shooting

'cause once you cut the camera,

then obviously that
was gonna be it.

They weren't gonna let
you come back another day.

With Deckard's
desperate final scenes

still to capture, art
director David Snyder

started pulling
out all the stops.

Harrison and I would get
on the lift and we'd go up

and I'd say, "Okay, reach
out here as far as you can."

And he did. And I'd
take a piece of chalk

and I'd make a mark there.

I'd make another mark
all the way to the top.

One of my carpenters
cut holes in there.

And then I got black rubber
tubing like for a hose

and wrapped each hole.

So him climbing there
looks pretty damn good

and there's no evidence of that.

While Harrison
was getting a handle

on David's handles, Rutger
Hauer's stunt double

was telling David to
take a running jump.

He can't jump that
far, it's too far.

So he said, "Move the set."

So I got the teamsters
out there and forklifts

and everything and we're
moving this building.

Ridley shows up and he said,
"What are you doing?"

"The stunt guy says he
can't make the jump."

And Rutger comes over to me
and says, "What's going on?"

And he said, "I'll do it."

Harrison Ford's double,
he did the jump first

and when he jumped and
his body hit the wall,

it sounded like a giant drum.

He just made it.

Then it was time for
Rutger to make the jump.

I had to leave the
set. I was terrified.

He ran along the roof.

I couldn't believe it.

When you see that jump, it's
all him 'cause he is athletic.

Filming outside
on the Warner Bros. lot

when the sun started rising,
the men with briefcases

began arriving ready to
shut "Blade Runner" down.

We were on the roof outside,

it's starting to be daylight
and they needed night.

And the suits were all there.

Michael Deeley said to
me, "We're not finished.

"What can you do?" The
chainsaws came out.

We literally cut the set
off and put it on a tractor.

Moving the set
indoors to a sound stage.

Moved the
rooftop onto a stage.

So all of a sudden
the golf cart rolls up

and the studio guy
is yelling at me

and he said, "Da--, Da--
what are you doing?

"You can't do that."

We close the doors
and they lit it

and we shot the end of
the movie on that stage.

And I think I was there
from 5:00 or 6:00

the day before till
1:30 the next day.

I've seen things you people

wouldn't believe.

He sure had.

Nonetheless, Harrison
watched on with admiration

as Rutger began delivering
his famous final monologue.

All those moments

will be lost in time,

like tears

in rain.

Rutger wrote it and
brought it to the set

and told Ridley about it.

And Ridley said, "Action."

Much
like his co-writer,

David wasn't thrilled about
people riffing on his work.

At the time it ruffled my
feathers because I'm a writer

and I don't like
people rewriting me.

But as time went by and I
suddenly saw the wisdom of it

and realized, oh,
I was wrong there.

It's a beautiful line.

And the idea
of the dove being released?

Was Rutger's idea.

Batty holds a dove and
he dies as he lets it go

like it's his soul.

A beautiful contribution
that is now an iconic moment.

And like
a dove taking flight,

peace was about to break
out in more ways than one.

Somehow a dinner was arranged
at the Rangoon Racket Club

to meet this guy,
Hampton Fancher.

And Hampton stood up and
embraced me immediately.

And I fell in love with him.

And he was the warmest,

sweetest human being
I'd ever run into.

And he's been a good
friend of mine ever since.

New friends aside,

production had now
gone over budget

triggering Tandem's
guarantor bond agreement.

"Blade Runner" was now
legally their picture.

Bud Yorkin and Jerry
Perenchio became the producers

and fired everybody, except me.

I don't work here anymore.

Ridley and Michael
Deeley, you're fired.

You went over the budget.
So now it's our film.

And the simple
firing wouldn't keep Ridley

from staying involved.

They were absolutely enraged,

but it didn't change anything.

I mean they kept working.

But with the
new leadership in place,

it fell to Katy to bring
Tandem, Scott and Deeley

to the table.

I was able to facilitate
the completion of the film

by acting as a collaborator.

She made this thing not break

and there was a lot of
reasons for it to break.

With the budget
ballooning and leadership

in flux, one thing
remained uncertain,

what would audiences think?

I was devastated.

Post-production
duties on "Blade Runner"

would be shared by
two rival factions,

Tandem's Bud Yorkin
and Jerry Perenchio...

I think Bud Yorkin
and Jerry Perenchio

were expecting "Star Wars."

Never.

...and
producer/director team

Michael Deeley and Ridley Scott.

The notes are, this
movie's terrible, it's slow.

We need a narration,
this narration's no good.

And Ridley, who had been
resistant up to that point,

he was so worn down that he
tried to accommodate them.

...that accommodation
was executing a note

to create a happy ending.

I didn't know
how long we'd have together.

That was the last shot
I would ever have to

deal with Harrison at all.

Just before I left I was like--

May I ask you a
personal question?

Sure.

Why didn't you like me?

Or what the hell?

And he was very cryptic and
he said, "I have no regrets."

What the
does that mean?

But the bigger
question on everyone's minds was

would audiences
like "Blade Runner"

when it hit theaters
in the summer of 1982?

When it came out,
it sort of bombed.

I mean people didn't
really understand it.

At the screening I felt like
I was giving birth in public.

The summer of '82 saw
a bumper crop of blockbusters

making big profits,
but not "Blade Runner,"

a critical disappointment.

It barely generated a
profit of 32 million

from a $28 million budget.

I guess you're through, huh?

Finished.

Along came
the miracle of home video.

It started to gain traction.

But it was an
accidental screening in 1990

that would give "Blade
Runner" the kiss of life.

The 70 millimeter
film festival put it on.

And they have no idea that what
they have is the work print.

It's not this crazy
alternative version,

it's the rough cut, essentially.

That blew people's minds.

And it goes to the Nuart
over in Santa Monica.

And it sold out.

It started the ball rolling.

And
did that ball roll,

replicating itself
into four iterations.

The US theatrical cut,
which comes out in June.

Then eventually you had
the international cut,

but then because the
work print leaked out,

it caused such excitement
that Warner Bros. decided,

well, let's put out
a director's cut.

But Ridley was busy so
he gave the general note

of take out the voice-over,
take off the happy ending

and put in this unicorn
dream sequence that I wanted

to put in that suggests that
Deckard might be a replicant.

They put that out in 1992
as the director's cut.

But 10 years later we began
doing the true final definitive

director's cut of the film.

It had over
a hundred picture changes,

some subtle, some sledgehammer.

When he lets the dove go,

it cuts from rainy moody
Noir "Blade Runner" world

to bright blue sky and it
just does not make any sense.

So we thought, well
let's try to do a more

"Blade Runner"-ized
version of that angle.

The final cut's my favorite.

I mean it's Ridley's cut.

The only movie of "Blade
Runner" is the final cut.

Everything else to
me is a work print.

Despite
its now cult status,

was it all worth it?

I said if you had three words,

how would you describe your
experience on "Blade Runner?"

Harrison Ford said,
"a total bitch."

But not
bad enough for Harrison

to reprise his role 35 years
and many great movies later.

I know.

How did that movie so fraught,
that movie should have

had a nervous breakdown
every minute of its life.

But you take Harrison
out of the equation,

the painting is gone.

You take Ridley out, of
course, it's not even there.

Harrison is indivisible
with "Blade Runner."

And it wasn't
Harrison Ford, movie hero.

It was-- Rick Deckard
is a character

that's very different than
Indiana Jones or Han Solo.

It was good to prove
that he had a range

beyond those types of movies.

At age 40,
Harrison already had

an impressive back
catalog, from the 1950s

to a galaxy far, far away.

But while Ford's star
was far from top,

after venturing into the future,

his next role would pull
him back into the past.

This movie's very dark

and I've got
exhibitors are calling

saying kids are
peeing in their seats.

Harrison's
insistence on doing
his own stunts

- his own way...
- He hurt himself to the point

where he was really in pain.

...would bring him
down to earth with a bump.

The bad news is he
needs until August 8th

to get back into shape.