Blade Runner is one of my all time favourite films and one that holds an incredibly special place in my heart. My love for the film is so great that my son is named after director Ridley Scott and I have seen the film countless times in its various iterations. So the opportunity to see it again in a different way was one I could not miss. 

Blade Runner Live features The Avex Ensemble orchestra playing the classic Vangelis score from the movie in sync with the 2007 “The Final Cut” version of the 1982 film. 

I have never watched a film with an orchestra before so I thought I would describe my experience before sharing my reviews of both Blade Runner and Blade Runner 2049 (yes I was inspired to rewatch this afterwards) further down this article. 

Firstly let’s discuss the set up and presentation of the film. 

My viewing was at The Brighton Centre which I have only ever seen live bands play at before. It is a medium size arena for gigs that features multiple balconies. For this event they had curtained off the west/east balconies meaning everyone was facing the screen. I was sat in the balcony as I suspected this would offer a better view than the stalls which could not offer stadium style seating as they could only place chairs out on the floor for attendees. They had set up a cinema screen behind the stage which I would describe as small for the size of the arena. It was not so small that I struggled to see any of the feature but it is a far cry from seeing a film in IMAX or even at your local multiplex. The orchestra are sat in front of the screen on the stage which matches the size of the screen. I suspect the point is that the screen itself does not dwarf the musicians in front of it. 

The film was screened with subtitles and featured an intermission at the one-hour mark. Again I suspect this was to complement the orchestral performance. By having subtitles the film volumes do not overshadow the orchestra and still ensure audience members know what is happening. Whilst the intermission gives the orchestra a rest and allows the venue to make more money on refreshments. 

The orchestral performance of the score was superb. I love the score and the particular highlights for me were “Rachel’s Song” which features a female vocalist and “Love Theme from Blade Runner” which features a saxophone solo. Of course watching the “Tears in Rain” speech with an orchestra was special as well. 

But overall I found the experience incredibly odd for a few reasons. 

Firstly, you are compromising on both art forms. The film is not being shown in a state of the art format. An IMAX screen with a first rate sound system would be infinitely better. Whilst the orchestra do not hold your view because you are watching the film. 

Secondly, there is an inherent awkwardness when the orchestra is sat doing nothing whilst the “normal” parts of the film are playing out and they are doing nothing. 

And finally, regardless of the format a two-hour movie does not need an intermission that breaks your immersion. 

I do wonder if a grander venue such as the Albert Hall may have given it a greater veneer but ultimately I think my preference would be to watch an orchestra perform a film score or to watch the film at a purpose built venue. 

So with that said, if you want to read my reviews of these films I will put them below my one picture of the event. This of course was prior to it starting as no one should have their phone out in a cinema! 

My Blade Runner review can be found in my Ridley Scott Retrospective which I wrote in 2017. If you want to read my thoughts on all of his films click here – Ridley Scott Retrospective

Otherwise here is the extracted review: 

Scott’s best film and one of my all time favourite films ever is essentially a sci-fi detective noir story with a meditation on what it is to be human. Harrison Ford is Rick Deckard, a retired Blade Runner, a policeman who tracks down replicants and retires (assassinates) them. Brought back into the fold following the escape of four replicants and assigned to track them down he encounters a replicant working at the Tyrell Corporation called Rachael (Sean Young) who makes him question everything.

The eyes are considered the window to the soul and the film opens on an eye with the 2019 L.A. skyline reflected in it and lit up by fire in the night sky. Moving through to an office we see a Blade Runner performing the Voight-Kampff test on Leon (Brion James). A replicant lie detector that focuses on the eye and how it contracts when asked questions designed to provoke an emotional response. Throughout the film there are references to what make us human and how are emotions are formed. With the ultimate question posed being whether Deckard himself is human.

Stylistically the film is beautiful to watch and the practical special effects, lighting and sets are astonishing. Still holding up 35 years later. The score by Vangelis is haunting and manages to make the hair on the back of my neck stand up in places. The film also features what I would consider to be career best performances from Sean Young as Rachael and Rutger Hauer as Roy Batty, the leader of the escaped replicants. His “tears in the rain” speech one of the all time great moments in cinema history.

Perhaps one of the things Blade Runner is most famous for though is how many versions of the film there are. I own a collectors edition box set which has allowed me to watch 5 versions; U.S and International Theatrical versions released in 1982, the Director’s Cut released in 1992, the work print of the film never released and the Final Cut released in 2007. The key differences are that the theatrical versions have narration from Ford and a happy ending, with the International version featuring some additional footage. The Director’s Cut introduces a unicorn dream and the original ending that open out the question of Deckard’s nature. Whilst the Final Cut is a remastered amalgamation of the Director’s Cut and International Theatrical Cut Scenes.

All of these versions are worthwhile to see, but if you are short on time you should watch The Final Cut and then if you are interested one of the Theatrical versions. This is because the former is Scott’s approved vision and the Theatrical cuts contain the incredibly interesting voiceover and happy ending. Ford, rumoured to be unhappy about having to record a voiceover gives a dour reading of his narration and the footage from the happy ending is reportedly out takes of the opening scene of The Shining.

My Blade Runner 2049 review which I wrote on its release in 2017 can be found here – Blade Runner 2049

To save you a click though, here it is…

Police Officer KD6-3.7 (Ryan Gosling) is a Blade Runner tasked with ‘retiring’ rogue replicants – artificial humans tasked with menial or dangerous jobs. His latest case leads him on a path to a secret that might change the face of the Earth.

Set 30 years after the events of the original film, this manages to be many things and frankly I could not have left the cinema happier. The film succeeds in being a stand alone film and a sequel that deepens the world. It also succeeds in being outstanding science fiction, discussing the same themes of the original and adding more. What does it mean to be human? How will our relationships with AI develop? If an AI can think for itself does it have a soul?

The most impressive aspect of Blade Runner 2049 for me is that it feels as though it has been made for those people in love with the original, which I absolutely am one of. It is slow and methodical. The camera lingers and there are silent pauses to drink in the atmosphere. This is not the action movie the trailers sell to you. At 2 hours 43 minutes long the action is spaced out and short and sharp. The films focus is Gosling’s K, and he does a terrific job of playing low key, his performance very reminiscent of that in Drive.

In fact it is hard to find fault, it looks spectacular, the music alludes to Vangelis whilst adding its own take, acting and casting are all round superb with Harrison Ford proving again that revisiting an old character can draw out one of his best performances and Ana de Armas providing a career launching turn as Joi.

Original director Ridley Scott is now on Executive Producer duties only, handing the reigns to Denis Villeneuve, a man who is currently on a hot streak with his English language features including Arrival, Sicario and Prisoners. Writing roles do have one constant with Hampton Fancher returning to co write with Logan scribe Michael Green. The combination of a returning writer with an affinity for the subject and a director who just finished one of the best science fiction films in recent times appears to have hit gold. And with famed cinematographer Roger Deakins on board, it is perhaps the most beautiful gold you will see on the big screen this year, or at all.

For me, best film of the year candidate and one I will be watching again very soon.

I did of course later name it my film of the year here – 2017 – Year in Review

I hope my love for the Blade Runner films is conveyed in even the smallest manner here. I think they are utterly sublime.