Directed by Ridley Scott / Screenplay by Hampton Fancher and David Peoples

The American science fiction author Philip K. Dick was preoccupied with deep, dark, ontological questions about what is real and what is illusory, and whether there’s even such a thing as an authentic self. Dick’s novels and short stories have been successfully adapted on many occasions, from Paul Verhoeven’s Total Recall (1990) to Steven Spielberg’s Minority Report (2002), and from John Woo’s Paycheck (2003) to Richard Linklater’s A Scanner Darkly (2006) - but the first big-screen adaptation of his work remains the best-known of them all. Based on Dick’s 1968 novel Do Androids Dream of Electric Sheep?, Ridley Scott’s Blade Runner was no more than a modest success on its original release, but is now regarded as a benchmark in science fiction cinema and a foundational work in the ‘cyberpunk’ genre. Building on the believably grimy future envisioned in his previous film, Alien, Ridley Scott creates in Blade Runner a hellish vision of Los Angeles in the year 2019, where the privileged live in high-rise blocks far above the filthy, rain-sodden conditions endured by the less fortunate at street level - harking back to Fritz Lang’s Metropolis. In this nightmarish urban dystopia, ex-cop Rick Deckard (Harrison Ford) is charged with hunting down a fugitive band of synthetic humans known as replicants, whose leader, Roy Batty, is nearing the end of his four-year lifespan. Besides its ravishing art direction, Blade Runner is best remembered for Deckard’s final confrontation with Batty, whose dying monologue - partly improvised in an inspired, career-best moment by the actor Rutger Hauer - has become one of the most quoted speeches in film history: “I’ve seen things you people wouldn’t believe… All those moments will be lost in time, like tears in the rain. Time to die.”

Framed Dimensions: 330mm x 410mm

Acrylic on 300gsm Arches oil paper
Glazed, mounted and framed

Supplied with signed letter of authenticity from Barnaby.