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Blade Runner

Comparison:

  • Workprint
  • Director's Cut
Release: Jun 07, 2013 - Author: Eiskaltes Grab - Translator: DaxRider123 - external link: IMDB
This is a comparison between the Workprint and the Director's Cut. Both versions are included in the BBFC 15 - 5-Disc-Complete Edition released by Warner.

The differences:

1 additional logo in the Director's Cut (DC) = 10 sec
Different opening = 1 minute and 41 seconds +DC
Different end credits = 2 minutes and 55 seconds +DC
4 additional scenes in the DC = 26.5 seconds
17 additional scenes in the Workprint = 1 minute and 34 seconds
16 alternate scenes = 3 minutes und 7.5 seconds +DC
7 alternate scenes = No difference in time
4 voice over comments in the Workprint = No difference in time

When talking about a confusing amount of different versions of movies, there's no way around Ridley Scotts Sci-Fi classic Blade Runner. There exist 5 official different versions. The original version, which is also called the workprint version, was shown theatrically to a test audience in 1982. The response by the audience was not too good, which was why the producers decided to recut the movie and then showed it to another test audience. This time, the criticism was much better. However, some were bothered by the violence, so they decided to leave that out for the nationwide release of the movie. The violence was cut out and the second official version was ready which was then shown in theatres all over the USA in 1982. For the international release the creators decided to release the complete version of the flick which then also included all the violence that was cut out of the US version. However, this version was not only intended for the international market but was also released on VHS and laserdisc in the USA - with more copies than the US Theatrical Version. In 1989, movie restaurateur Michael Arick found one of the workprint versions by accident. Without the knowledge of Ridley Scott, Arick showed this version on several festivals between 1990 and 1991, as well as a few theatres. Because of an unexpected interest of the audience, Warner Brothers asked for a Director's Cut version because they hoped for further commercial success. They talked to Ridley Scott and soon Michael Arick went to work to create/rush out the Director's Cut (which was by no means flawless) which was released theatrically in 1992. Ridley Scott named several reasons to why this is not his final version, however, it came a little closer to his original intentions when making the movie. Actually, the alterations are not that noticeable. All voice over comments were taken out and the ending was cut out, which is why it is shorter than the US Theatrical Version that it was based on. This is also why all the violence is absent from the Director's Cut, too. There is only one short sequence in the Director's Cut that was not included in the US Theatrical Version. In 2007 - the movie's 25th anniversary - they released the final version which was called "Final Cut" and actually is the version which Ridley Scott desired for years. Besides a few new and extended scenes, there is also new music and better special effects as well as a surperior sound quality.

Cuts that are shorter than 3 frames were ignored for this report.
0 min
The Warner Bros. logo is missing in the Workprint.
10 sec

0 min
The opening credits are different for both versions. Additionally, they are shorter in the Workprint. Also, there's a short introduction about replicants in both versions.
Workprint: 47 sec
Director's Cut: 148 sec

WorkprintDirector's Cut



2 min
Director's Cut: there's a close-up shot of an eye in which you see the reflection of flames.
1.5 sec



2 min
In the Workprint they put a radio message over the following scene: Spinner niner-niner 2 Red, Tyrell Approach Control! Radar contact: Two-zero miles west! Spec landing pad Red 2...spec to Green sector automated approach
No difference in time.



2 min
Workprint: Bird's eye perspective of the city.
3 sec



2 min
Director's Cut: Again there's a close-up shot of the eye as well as an exterior shot of the building and of a man who is standing with his back to the camera.
10 sec



2 min
Workprint: The camera moves to the man from above while he puffs his cigarette.
Director's Cut: Here you see him standing with his back to the camera. Then the camera moves from outside towards the window of the building.
Workprint: 6 sec
Director's Cut: 10,5 sec

WorkprintDirector's Cut



5 min
Workprint: The guy who was shot by Leon is shown longer. Smoke comes out of the bullet wound in his back.
4 sec



6 min
The shot of Deckard who looks at the billboard and then back to his newspaper is different in both versions.
Workprint: 2 sec
Director's Cut: 13 sec

WorkprintDirector's Cut



6 min
The scene where the owner of the diner gives Deckard his dinner, followed by two guys talking to him is different in both versions.
Workprint: 22 sec
Director's Cut: 21 sec

WorkprintDirector's Cut



9 min
Deckard sits in front of Bryant's desk and they talk. Then Bryant pours a drink in a glass for Deckard. This scene is different in both versions.
Workprint: 14 sec
Director's Cut: 32 sec

WorkprintDirector's Cut



9 min
A different shot of Bryant while he talks to Deckard. In the Director's Cut he adds: I need the old Blade Runner! I need your magic!
Workprint: 4 sec
Director's Cut: 8.5 sec

WorkprintDirector's Cut



10 min
Workprint: The end of the shot of the origami figure was shortend and so was the beginning of the shot of Deckard at the door.
0.5 sec

12 min
Director's Cut: Additional shot of Bryant and Deckard.
4 sec



12 min
In the Director's Cut, the camera fades from Bryant to Deckard, while in the Workprint you constantly see Bryant.
No difference in time.

WorkprintDirector's Cut



12 min
Different shots of Deckard.
No difference in time.

WorkprintDirector's Cut



13 min
During this scene, the Workprint included a radio message: Police niner-niner 5, Tyrell Approach Control! The wind's 0-9-0 at six and altimeter two-niner-niner...
No difference in time.



13 min
And another radio message: Spinner niner-niner 2 Red, Tyrell Approach Control! Radar contact: Two-zero miles west! Spec landing pad Red 2, spec to green sector automated approach! Pad 2! The wind's 0-9-0 at six! Spinner 2, Tyrell Approach Control! Spec landing Yellow!
No difference in time.



26 min
Workprint: Batty: Now... where would we find this... J.F. Sebastian?
Director's Cut: The shot of Chew is a little longer.
Workprint: 2 sec
Director's Cut: 14 sec

WorkprintDirector's Cut



38 min
Director's Cut: While Deckard is thoughtfully sitting at the piano and presses some of the piano keys, the Director's Cut fades out and shows a unicorn running through the forest. When it is running, the Director's Cut cuts back to Deckard at the piano.
11 sec



43 min
Workprint: Deckard walks along the crowded alley a little longer. The camera pans upwards to a billboard.
16 sec



44 min
Workprint: The conversation between Deckard and the snake breeder is a little longer. Then follow shots of a crowd walking through the streets and two women wearing a mask dance behind a glass wall. Then the movie cuts to Deckard who talks to a police officer.
28 sec



45 min
Workprint: Longer shot of Tuffy.
0.5 sec

49 min
During this scene, both versions use alternate footage.
Workprint: 7.5 sec
Director's Cut: 10 sec

WorkprintDirector's Cut



50 min
Workprint: After Zhora ran out of the room you see Deckard fight for air. He loosens his collar which Zhora tightened beforehand. Then he looks up.
2.5 sec



58 min
After leon was shot by Rachael, the former in the Director's Cut falls to the ground and pulls Deckard down with him. Rachael slowly approaches the two of them with her gun equipped. This was not included in the Workprint and instead you see Rachael standing there while holding her weapon.
Workprint: 2 sec
Director's Cut: 10.5 sec

WorkprintDirector's Cut



63 min
When Rachael sits at the piano and does her hair, both versions show different takes of this scene.
Workprint: 18 sec
Director's Cut: 42.5 sec

WorkprintDirector's Cut



79 min
Workprint: Batty pushes his thumbs into Dr. Tyrell's Augen. Blood runs down his hands. Then follows a cut to Sebastian who watches the murder. After that you see Batty with a stressed facial expression. Off-screen he continues to push his thumbs in the eyes.
5 sec



80 min
Workprint: Batty pulls his thumbs back out of Tyrell's bloody eye-sockets.
Director's Cut: Here you see a shot of an owl, a shot of Batty, and one of Sebastian.
Workprint: 1.5 sec
Director's Cut: 8 sec

WorkprintDirector's Cut



80 min
Workprint: A shot of an owl.
Director's Cut: A shot of Sebastian.
No difference in time.

WorkprintDirector's Cut



80 min
When Sebastian runs away from Batty when he sees him, both versions use different takes.
Workprint: 6 sec
Director's Cut: 10 sec

WorkprintDirector's Cut



83 min
In the workprint you hear a radio message from Bryant: The other body identified with Tyrell is a 25-year-old male Caucasian! Name: Sebastian, J.F. Sebastian! Address: Bradbury Apartments, Ninth Sector, NF46751! I want you to go down there and...
No difference in time.



81 min
There are different shots of Deckard inside his car.
Workprint: 4 sec
Director's Cut: 14 sec

WorkprintDirector's Cut



86 min
Workprint: After Pris hit Deckard's head three times, she shoves her fingers in his nostrils and pulls his nose upwards.
8 sec



87 min
A longer shot of the corridor in the Workprint.
2.5 sec



87 min
Workprint: Longer shot of Batty and Deckard.
1 sec

89 min
Batty pulls Deckard's arm through the wall, takes his gun away and breaks him a finger. In between there are several cuts to Deckard. This scene is very different in both versions.
No difference in time.

WorkprintDirector's Cut



90 min
Deckard readjusts his finger and screams in pain. Then follows a shot of Batty who hears the screams. Again, both versions show this very differently.
Workprint: 21.5 sec
Director's Cut: 22.5 sec

WorkprintDirector's Cut



91 min
Workprint: Deckard walks to the wardrobe and opens a door. In the background Batty says that he's coming.
7.5 sec



92 min
Workprint: Deckard climbs up the wardrobe a little longer.
2.5 sec



92 min
Workprint: Again, he climbs up the wardrobe.
3 sec



93 min
Workprint: A longer shot of Deckard after Batty pulled the nail out of the board.
3 sec



93 min
Workprint: Again a longer shot of Deckard.
1.5 sec



93 min
Workprint: The shot of Deckard and Batty, whose head comes through the wall is longer. Additionally, Batty tells Deckard: You're not in pain, are you? Are you in pain?
5.5 sec



97 min
When Deckard hangs on the steel posts, the shots are a little different.
No difference in time.

WorkprintDirector's Cut



97 min
Ditto.
No difference in time.

WorkprintDirector's Cut



97 min
Ditto.
No difference in time.

WorkprintDirector's Cut



100 min
Workprint: The dove flies upwards a little longer. Then the movie cuts to Deckard and Batty on the roof. You hear a voice over comment by Deckard: I watched him die all night! It was a long, slow thing...and he fought it all the way! He never whimpered, and he never quit! He took all the time he had, as though he loved life very much! Every second of it, even the pain! Then he was dead!
Director's Cut: Here you see two shots of Deckard as well as one cut to Batty in between.
Workprint: 44 sec
Director's Cut: 51 sec

WorkprintDirector's Cut



102 min
When Deckard enters his apartment with his gun equipped and searches through it, after he realized that the door was open, both versions show different takes. He then walks towards Rachael who is lying under the blanket. This is also slightly different in both versions.
Workprint: 36 sec
Director's Cut: 82 sec

WorkprintDirector's Cut



103 min
Workprint: Deckard opens the elevator, checks it while holding his gun and then makes a hand signal that Rachael should come to him.
Director's Cut: Here he opens his apartment door, checks the hallway and walks to the elevator. Then he makes the hand signal.
Workprint: 4.5 sec
Director's Cut: 23 sec

WorkprintDirector's Cut



104 min
At the end of the moive, the Workprint shows a title screen that says "The End" followed by a black screen that is accompanied by music. The Director's Cut does not show "The End" but instead starts the end credits.
Workprint: 75 sec
Director's Cut: 250 sec
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