And there's the rub! In this context the five box four version (plus Workprint) Blade Runner is a peerless example of a work of 25 years of tinkering which has however really paid off. If nothing else the new color timing and printing seem to massively enrich the movie with an entirely deeper palette of secondary color -BUT it is at least accompanied by the 82 and 92 versions, all three of which are pretty similar in terms of pared down primaries and grayness. And one simply can't argue about the added refinements to the image and soundtrack. The contrast of the versions is fascinating. And while I've never had much time for Ridley per se, this is one movie which must be the happiest "accident" of inspired collaboration - Cronenweth, the Prod designers (and the whole era of early Metal design from which the conceptual architecture sprung) Vangelis' very early, groundbreaking synths, and the earliest (to my knowledge) film adaptation of Philip Dick, via - as it turns out - William S Burroughs for the title!Gregory wrote:Then again many major artists seem to think of their works as in-progress until they die, and nothing any of us can say or do will change this. I don't have a problem with such tinkering in theory (it's up for debate how often this kind of thing yields worthwhile results) as long as the version with which the artist was originally satisfied remains equally available.
Blade Runner seems to be a high level pop icon par excellence which was destined for this process of multiple refinements. Although I cannot imagine it ever looking and sounding any better.
As for Storaro, what if anything has Berto had to say about the whole shebang? On AR grounds alone I dont have a gripe with Emperor (considering I now realize we originally saw it anyway in 2.2) but that color! Look again at 1900 or Apoc or Tucker or Sheltering Sky - agree with schreck, the guy seems to have lost his marbles.