The OV features a “voiceover” narration by Harrison Ford, and has an extra scene at the end – a “happy ending” scene of sorts – in which you see Deckard drive off with Rachael in (strangely) unspoiled nature under a bright, sunny sky (clip from “The Shining”); both are looking happy…
Also, there is no unicorn footage in the OV. (Original footage WAS filmed, but it was cut at the insistence of the producers, who voted it “too arty”…)
In the DC, the voiceover is gone, and so is the “happy ending”, leaving the film ending like the Workprint did, with Deckard and Rachael stepping into the elevator, effectively making the film more open-ended. The DC also features the unicorn “dream” sequence. Finally, some new background “noises” were added to compensate for any voids created by omitting the VO.
There are at least seven differences between the BRDC and the Domestic Cut / International Cut:
1. Deckard’s narration has been completely eliminated.
2. Some added dialogue from the blimp was inserted to fill the hole created by Deckard’s missing voiceover, originally heard in the Domestic/International/San Diego Cuts while Deckard was waiting for a place at the Noodle Bar (“They don’t advertise for killers in a newspaper…”). This added BRDC blimp line consists of a female voice saying “This announcement has been brought to you by the Shimago-Dominguez Corporation. Helping America into the New World.”
3. A twelve-second-long unicorn shot was reintroduced as Deckard plays his piano. This was also not in the Workprint, but was originally shot for Blade Runner and is not from Legend.
4. The music track during the unicorn scene was also changed. Originally, in the International/Domestic/San Diego Cuts, the beautiful saxophone solo from Vangelis’ “Love Theme” was heard as Deckard plinks on his piano. But for the BRDC, a new twelve-second music cue by Vangelis (which had been composed back in 1982 and was retrieved by Arick and Scott especially for inclusion in the BRDC) is heard instead. This takes the form of an atonal chorus wailing over the shot of the unicorn running through the woods and concludes with the sound of an electronically generated “hunting horn” that’s heard as the unicorn shot dissolves back into the image of Deckard at the piano.
5. The Director’s Cut features no happy ending or “Ride into The Sunset.” Instead, the BRDC ends with the elevator doors closing on Deckard and Rachael, as did the Workprint.
6. The extra violence seen on some videocassette and laserdisc copies of the International Cut was not included in the BRDC.
7. A newly remixed digital soundtrack was created for the BRDC.
Posted in: 1. About the Film