Daily Dialogue — April 2, 2012

April 2nd, 2012 by

Batty: Quite an experience to live in fear, isn’t it? That’s what it is to be a slave.

Batty: I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die.

— Batty (Rutger Hauer), Blade Runner (1982), screenplay by Hampton Fancher and David Webb Peoples, based on a novel by Philip K. Dick

The Daily Dialogue theme for the week is facing death, suggested by @tiffanyleigh and @al_grinter. Today’s suggestion by JasperLamarCrab.

Trivia: One of David Webb Peoples’s early screenplays opened the movie on an Off-World Termination Dump, where three dead replicants were to be disposed of. Peoples reused this idea of discarding dead servants on an off-world colony dump in his screenplay for Soldier, which he considered a ‘side-quel’ to Blade Runner (1982) (i.e. an unrelated movie taking place in the same fictional universe).

Dialogue: As Jasper said in his comment, this is a twofer: “dialogue when another character is facing death, and dialogue when the speaker is facing death.”

5 thoughts on “Daily Dialogue — April 2, 2012

  1. An amazing scene. No matter how many times I watch Blade Runner it still effects me.

    I bet that if made now, with today’s strong handed development that puts a premium on explaining everything in great detail the Off-World Termination Dump would be in the picture. It sounds like a scene like that should be in a book.

    Imagine if Blade Runner were trying as hard as John Carter to explain away all the moments where the audience is supposed to meet you half-way.

    You can see this downgrade in story telling when you watch the cut that has the voice over.

    1. Scott says:

      It’s the bane of exposition. The irony is while studios tend to have a low threshold on that front, tending to think audiences need to be spoon-fed information, my sense of movie audiences today – based upon movies that succeed where exposition is minimized and dealing with college students as I do – is that they actually need less exposition, they actually like to fill in the dots with their imagination.

      But the default mode of studios is always going to be safety. And heaven forbid a movie should require a viewer to think, unless the filmmaker has a track record like the Coens, etc.

  2. Which cut/edition is this?
    I was about to make my usual comment about one of the greatest moments in cinema being ruined by that shitty pigeon shot when I see they changed the shot? W’appen?

    1. Scott says:

      Not sure what cut, Larry. It’s from MovieClips which pays rights fees to the studio for footage, so that would lead me to believe this is from what the studio now holds to be the ‘official’ cut. I’ll see what I can find out.

  3. Just this weekend, I caught a bit of an earlier scene where Leon pounds the crap out of Deckard. He also says, “Time to die,” as he is about to crush Deckard’s skull. It makes an interesting juxtaposition with Roy’s poetic end.

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