Future Noir: The Making of Blade Runner (Paperback)

~ (Author) "A vast industrial wasteland fills the frame..." (more)
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Product Description

The 1992 release of the "Director's Cut" only confirmed what the international film cognoscenti have know all along: Ridley Scott's Blade Runner, based on Philip K. Dick's brilliant and troubling SF novel Do Androids Dream ofElectric Sheep, still rules as the most visually dense, thematically challenging, and influential SF film ever made.

Future Noir is the story of that triumph.

The making of Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry.

A fascinating look at the ever-shifting interface between commerce and the art that is modern Hollywood, Future Noir is the intense, intimate, anything-but-glamerous inside account of how the work of SF's most uncompromising author was transformed into a critical sensation, a commercial success, and a cult classic.

About the Author

Paul M. Sammon's distinctive career can best be described by the film industry expression "hyphenate."

As a writer, Sammon has published numerous articles, short stories and books. His many film journalism pieces have seen print in The American Cinematographer, Cahiers du Cinema, The Los Angeles Times, Omni, Cinefex, and Cinefantastique. Sammon's fiction has appeared in Peter Straub's Ghosts (1995), and he recently edited both the 1994 "dead Elvis" anthology The King Is Dead plus the "no limits" anthologies Splatterpunks: Extreme Horror and Splatterpunks II: Over the Edge (1995).

But Paul M. Sammon does not only write about movies--he works in them as well. He first entered the industry as a publicist in the late 1970s, before moving on as a second-unit director, special effects coordinator, still photographer, electronic press kit producer, and Vice President of Special Promotions. Some of the scores of motion pictures on which Sammon has labored include RoboCop, Platoon, Blue Velvet, Conan the Barbarian, and The Silence of the Lambs.

By the late 1980s, Sammon was working in Japanese television, where he coproduced popular entertainment programs like Hello! Movies for the TV Asahi network. By the 1990s, Sammon had served as Computer Graphics Supervisor for RoboCop 2; he recently was Digital and Optical Effects Supervisor for 1995's XTRO: Watch the Skies.

Despite this background, however, Sammon still likes nothing better than sitting down with a good movie. And Blade Runner remains one of his favorite films.

Product Details

• Paperback: 464 pages
• Publisher: Harper Paperbacks; First edition (May 1, 1996)
• Language: English
• ISBN-10: 0061053147
• ISBN-13: 978-0061053146
• Product Dimensions: 9 x 6.1 x 1.3 inches
• Shipping Weight: 12.8 ounces (View shipping rates and policies)
• Average Customer Review: 4.4 out of 5 stars  See all reviews (34 customer reviews)
• Amazon.com Sales Rank: #206,021 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

50 of 52 people found the following review helpful:

4.0 out of 5 stars Minute Production Details, No Proof of the Films Influence, October 25, 2002

By	Sir Charles Panther "Life is hard. It's hard... (Alexandria, Virginny, USandA) - See all my reviews (TOP 1000 REVIEWER)

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This is a fantastic book and reference tool, and a must-have for any hard-core Blade Runner (BR) fanatic. It's packed with names, places, dates, fascinating factoids throughout, a trivia cornucopia. But, you've gotta be a serious BR fan to stick with author Paul Sammon all the way through this densely detailed, thorough, and clearly personally meaningful work. The book does have one major flaw: Sammon's failure to prove his subtitle promise that Blade Runner is the most influential sci-fi film of all time.

The book reads easily and well, Sammon's style informal. He writes as one BR fan to another, a great approach. The production details are thorough, insightful, and wonderful to read, 441 pages in 18 chapters, with nine appendices containing interviews, production details, the cast list, etc. Sammon is a total BR devotee, I compliment and commend him on his achievement and the recognition of those who worked so hard to make BR.

There is vast information throughout from all members of the cast and crew, all of them supportive of Sammon's effort to tell their story. There is surprisingly liberal information from the movie's principals, Ridley Scott, Harrison Ford, Sean Young, Michael Deeley, Syd Mead, Hampton Fancher and David Peoples. One disappointment is the absence of direct input and comment from the soundtrack maestro, Vangelis. Sammon nevertheless gives him thorough justice.

Wonderful esoteric tidbits abound through the book, such as the revelation that the original lead was not Harrison Ford, but Dustin Hoffman. Edward James Olmos provides great background on his preparation for his role as Gaff and his detailed construction of his Cityspeak dialog (most of it sadly unused). We learn of fantastic special effects scenes never realized, and that in the background in one of the aerial city shots is a painted Millennium Falcon model. We learn that the process of creating this movie was a years-long, highly personal effort, first by Hampton Fancher to secure rights and create a screenplay, then later by Ridley Scott and other members of the team who continued to craft the film even after they were fired by the production company. It is a story of dedication to craft and art from a group of artists looking to raise diverse artistic, social, moral, and ethical issues with this genre-transcending film. I often was reminded of Hearts of Darkness, the story of Francis Ford Coppola's unending dedication to and struggles making Apocalypse Now.

Highlighted superbly in the book is the true key to BR's success, Ridley Scott's intense attention to detail, his relentless questioning of the larger context and physical placement of the story. For example, Scott insisted on instructions painted on the futuristic parking meters in the street scenes. Absolutely illegible in the finished film, this sort of detail nonetheless set a compelling, even subconscious tone for the set and those who worked within it.

Particularly entertaining is Chapter 8, the scene by scene account of the shoot, with comment from the actors, producers, specialists, crew, and Scott. Also very useful for the true BR fanatic are the appendices listing all of the various BR versions, their formats, availability, and catalog information. Sammon does the same for the various soundtracks and musical compositions heard throughout the film, even the music and lyrics from the advertisements sported on the ad-blimps. Especially enjoyable is Appendix C's detailed list of "blunders," a compendium of the film's both obvious and subtle continuity errors, dubbing flaws, and inserted footage.

There are dozens of illustrations throughout the book, and Sammon gives due credit to BR's still photographer for the hundreds of stills that BR fans know and collect. The main problem is that the ONLY color photos in the entire book are on the front and back covers. The B/W photos in the book are small, grainy, poorly reproduced, and do not reflect Sammon's praise. These sorry photos do not allow the reader, who hasn't seen many of these never-before-published stills and production drawings, to revel in the details.

Sammon is overly obsessed with cataloging ALL of the different versions of the film, and detailing the most minute differences. We have chapter after repetitive chapter discussing the differences between the Workprint, the pre-release revisions, the theatrical release, the various video, broadcast, and satellite releases, as well as the competing director's cuts. The fascinating core tale of the political, economic, and artistic fights over all of these versions of the film is lost as Sammon loses track and focuses too closely on the details of the different versions, obsessing to the point of irrelevance on miniscule details. For the BR fanatic this is invaluable, but for most readers this makes the narrative tedious and repetitive, given this technical information is available in Appendix B.

Sammon's promised discussion of BR's influence on sci-fi film is absent. His subtitle, "The Fascinating Story Behind the...Most Influential SF Film Ever Made" promises a discussion of BR's influence on filmdom. His discussion is poorly introduced, disorganized, and sorrowfully weak on supporting facts and testimonials, leading ultimately to the conclusion that BR simply is NOT the most influential sci-fi film of all time. In fact, the paltry six-page discussion of BR's influence is one of the most shallow, most poorly researched and organized parts of the entire book. Nowhere in the book does he cite any filmmaker, actor, editor, producer, or special effects artist describing BR as an influence. Sammon's strength and enthusiasm clearly lie in the film's production details.

This book is an invaluable acquisition for any die-hard BR fan, and a great memoir for any student of filmmaking. It's not for the casual BR or film fan; it's a cult book, just as Blade Runner is a cult film. Disappointingly, Sammon fails to deliver a crucial element of his work, a thorough and convincing discussion of BR's influence on cinema and its place in greater filmdom.

12 of 12 people found the following review helpful:

5.0 out of 5 stars A fascinating look into the making of a scifi classic, December 29, 1998

By	Levi Wallach (Vienna, VA USA) - See all my reviews (REAL NAME)

For those interested in science fiction, movie making, special effects, and even hollywood gossip, this book contains pleanty to satisfy. If you are a big fan of Philip K. Dick and his works, especially Do Androids Dream of Electric Sheep and the movie version Blade Runner, it is of particular interest. This book gets into the minute details of how Blade Runner was conceptualized as a movie, how it was developed, and how eventually it was filmed. Some of the details get a bit overwhelming at some points, like when Sammon talks about the special effects for almost every scene in the movie, but he appropriately forwarns the reader that there will be fairly technical material and to skip it if this is not up your alley. There are lots of interesting accounts from the actors themselves. Sammon did a lot of reporting during the actual filming, but this book over 10 years afterwards, so there are many interviews with the actors with the hindsight and perspective that comes from this amount of time. All in all, an extremely interesting read!

9 of 9 people found the following review helpful:

5.0 out of 5 stars Drink some for me, huh pal?, January 14, 2002

By	Asterion (Saskatchewan, Canada) - See all my reviews

'Future Noir', also known affectionately as 'The Bible' among Blade Runner fans is a very thorough examination all aspects of this groundbreaking film.

Written by Paul M. Sammon, the book takes us through the making of the film, the initial screenings and subsequent release, interviews with the cast and crew, the special effects, mistakes and problems with the film, the question of "Is Deckard a replicant?" and much, much more. This book is very much a reference book so it can be read in almost any order and referred to when you have questions that need answering.

The book provides some very interesting little insights into the film. One example, revealed during an interview with M. Emmet Walsh, is that Ridley Scott said that Walsh's character, Harry Bryant, had a stomach problem. This is the reason why he pours two shots for Deckard in his office and none for himself. He likes to see other people drinking since he can not.

The book is quite long and goes into a lot of detail, particularly in the section dealing with special effects. If you're not interested in such things it can be skipped over, however I am happy that it was included. It is better to have too much information than not enough. One thing that bothers me a bit is the fact that shortly before the book was to be published the publisher cut almost 300 pages of material from the book. This left Sammon scrambling to figure out what to cut and where to put important information from those deleted chapters in the book. There is talk of republishing the book in an expanded, more heavily illustrated version in 2002, to coincide with the 20th anniversary of Blade Runner's original release, but whether this will happen is not yet clear. A deleted chapter from the book about the BR crew has been made available online on the website 2019: Off World. Do a search on Yahoo! for 'Blade Runner' and you'll find it.

The book also contains appendices outlining the many versions of the film, the soundtracks and many other useful tidbits of information.

To sum up, this is a great book. It is a must for die-hard BR fans and for anyone who is interested in delving a little deeper into the mythology of Blade Runner.