Average customer rating:
- Just as fun reading as it is to watch the movie
- thought provoking but less than great prose
- Things Pretending to be People
- Read all Dick's writing as a body of work
- Much different than the movie.
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Blade Runner(TM) (Do Androids Dream of Electric Sheep?)
Philip K. Dick
Manufacturer: Del Rey
ProductGroup: Book
Binding: Mass Market Paperback
 Dick, Philip K.
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Do Androids Dream of Electric Sheep?
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ASIN: 0345350472
Release Date: 1987-07-12 |
Amazon.com
Do Androids Dream of Electric Sheep? is a book that most people think they remember and almost always get more or less wrong. Ridley Scott's film Blade Runner took a lot from it, and threw a lot away. Wonderful in itself, the film is a flash thriller, whereas Dick's novel is a sober meditation. As we all know, bounty hunter Rick Deckard is stalking a group of androids who have returned from space with short life spans and murder on their minds--where Scott's Deckard was Harrison Ford, Dick's is a financially strapped municipal employee with bills to pay and a depressed wife. In a world where most animals have died, and pet keeping is a social duty, he can only afford a robot imitation, unless he gets a big financial break.
The genetically warped "chickenhead" John Isidore has visions of a tomb-world where entropy has finally won. And everyone plugs in to the spiritual agony of Mercer, whose sufferings for the sins of humanity are broadcast several times a day. Prefiguring the religious obsessions of Dick's last novels, this book asks dark questions about identity and altruism. After all, is it right to kill the killers just because Mercer says so? --Roz Kaveney, Amazon.co.uk
Book Description
It was January 2021, and Rick Deckard had a license to kill.
Somewhere among the hordes of humans out there, lurked several rogue androids. Deckard's assignmet--find them and then..."retire" them. Trouble was, the androids all looked exactly like humans, and they didn't want to be found!
Customer Reviews:
Just as fun reading as it is to watch the movie.......2007-06-30
When I saw Blade Runner for the first time I realized that I had just seen something that was original, smart and that related to me in many, many ways.
I found out that it was loosely based on the book, "Do Androids Dream of Electric Sheep?" and decided that if the movie is as good as it is and it's a condensed version of the story in the book, than the book should be just as good, if not better.
I ordered it from Amazon and started reading. I was only a few pages in when I realized just how "loosely" the movie was based on the book. The book was an entirely different experience.
This book is filled with compelling drama, deception, sci-fi, and 1940's crime-noir style storytelling (complete with the classic femme-fatal) and it does not dissapoint.
Sure, you already paid to see the movie, and you might be thinking, "Why would I pay to read the same story?" You aren't. You will be pleased with this book emensely - it's a completely different story.
thought provoking but less than great prose.......2007-06-18
Androids takes place in a not-so-distant future where a world war has spread a cloud of radioactive dust across the globe, many forms of animal species are extinct, many of the survivors have emigrated to colonies on Mars and the remaining humans are encouraged to emigrate, except for those who have been tested and classified as "specials" meaning the ones with diminished mental abilities because they have been affected severely from radiation. Emigrants are given androids, very sophisticated robots, as slaves. As the technology gets better, newly manufactured androids become more and more human-like, both in appearance and behavior, to the point that they are very hard to distinguish. Discontented androids sometimes kill their masters and find ways to smuggle themselves to earth, in hopes for a better life. In the post-world war earth, life is regarded so precious that owning and caring for an animal is both considered a highly moral life and a status symbol. Because real animals are so rare, many people have fake, very sophisticated and real-like electronic animals that they care for and hide from their neighbors the fact that their animal is fake. On the one hand there are bounty hunters who catch and kill androids, human robots which dreamt of a better life, evidently with some feelings. And on the other hand there is the value which people place upon animal robots. On the one hand there are intelligent, sophisticated androids like the one who made a successful carrier on earth as an opera singer; on the other hand there are hunters who emotionlessly kill her without regard to her artistic talent, or there are simple-minded specials. Throughout the plot, readers are given a lot to think about questions like what is life, what is empathy, where do you draw a line between the value of real and artificial life? It is a philosophical novel and the author puts all these questions before us with brilliant comparisons between characters. The only negative feeling that one might get is the unusual, somewhat simple prose style but overall, a very good, thought provoking novel.
Things Pretending to be People.......2007-03-24
This anti-robot novel is oft misunderstood by those who come to it with expectations formed by the pro-robot movie. The novel is essentially a paranoid fantasy about machines which pretend to be people. The pretense is so horrifyingly effective that a bounty hunter engaged in the entirely necessary task of rooting out and destroying these monsters finds that his own humanity has become imperiled.
Originally entitled "DO ANDROIDS DREAM OF ELECTRIC SHEEP," this novel was re-titled "BLADE RUNNER" to tie it to the Ridley Scott film loosely based on it. It remains available under either title (and with separate entries on AMAZON), but it is the same book. The film studio wanted to market a "novelization" of the film, but PKD adamantly refused to authorize this, forcing them to instead market his original novel under the film's title. Good move, Phil!
This decision, however, has led to confusion and/or disappointment when readers approach the novel with expectations formed by the film. Many reviewers here (whether they like the book, the film, or both) have commented on how different they are. Few seem to realize, however, the extent that they are in direct and fundamental conflict. Some praise the book for tearing down the distinction between man and machine or promoting other nihilistic views and pro-robot messages that the author would have found abhorent. Others pan it for lack of focus in failing to promote the film's pro-robot agenda as effectively as the film did.
That conflict may be summarized as follows: The book is anti-robot and pro-human, and seeks to uphold the distinction between robot and human, and between illusion and reality, in the face of a most-insidious challenge. The film was pro-robot and anti-human, promoting the idea that a compelling illusion is equivalent to reality, and that its ruthless robots were, if anything, better than humans.
The book glorifies the common man for his basic decency -- specifically his capacity for basic empathy and compassion -- and deplores the robots for their complete lack of these qualities. In the book, even a "chickenhead" (a mentally retarded human mutant) is infinitely more valuable than the smartest robot. The film on the other hand, glorifies the robot as a sort of superman ("more human than human") -- stronger, faster, more beautiful, more intelligent, -- who seem poised to inherit the future on a dying Earth. The film even seems to admire the robots for their ruthlessness.
The book makes Deckard (the protagonist) human, and loyal to humans. The film has Deckard switch sides and join the robots. Indeed, in the film (not the book) Deckard may himself be a robot (the latter is never made explicit, but director has made clear it is what he intended). This means that, in the FILM, there are virtually no sympathetic human characters -- those characters who suggest that a man is worth more than a computer program are portrayed as bigots.
In PKD's view, the androids are unquestionably monsters who must be destroyed. The irony, and the central problem posed in the novel, is that their ability to SEEM human (which,, in the NOVEL, is never more than meticulously-programmed fakery), means that those who must destroy robots risk damage to their own humanity in the process. Thus, the author approves of Deckard's wife, whose sympathy for the "poor andys" is evidence of her humanity, while still approving of Deckard's assignment.
In the novel, the robots' increased ability to fool the VK test is merely an advance in programmed mimicry of human test responses. The film, on the other hand, treats the improved performance on the VK test as evidence that the robots are truly "human". But the film's robots do not demonstrate compassion in any meaningful way. The agenda of the film is NOT so mcuh to show that robots are as compassionate as humans, but rather to show that humans are as ruthless as robots (as evidenced, mainly, by their willingness to kill robots). This agenda is eerily similar to that of the TV androids near the end of the novel, who set out to expose human empathy as a myth.
In the novel, the title question must be answered in the negative. Androids DON'T care about other creatures. It is humans who have the capacity care about other creatures -- ironically, even about androids -- even electric sheep.
So many, even among the author's admirers, have missed the novel's true focus that it may be best to defend my interpretation with a quote from the author himself, made shortly before his death (quoted in the book "Future Noir"):
"To me, the replicants are deplorable. They are cruel, they are cold,
they are heartless. They have no empathy, which is how the
Voight-Kampff test catches them out, and don't care about what happens
to other creatures. They are essentially less-than-human entities.
"Ridley, on the other hand, said he regarded them as supermen who
couldn't fly. He said they were smarter, stronger, and had faster
reflexes than humans. 'Golly!' That's all I could think of to reply
to that one. I mean, Ridley's attitude was quite a divergence from my
original point of view, since the theme of my book is that Deckard is
dehumanized through tracking down the androids. When I mentioned
this, Ridley said that he considered it an intellectual idea, and that
he was not interested in making an esoteric film."
Read all Dick's writing as a body of work.......2007-03-09
Philip K. Dick's work has to be taken as a body. All of it encompasses what I call his "ironic paranoia." "Do Androids Dream of Electric Sheep" fits right into this.
The problems with Dick's films are two. They are either (1) too philosophical or (2) action films. Or they are both. What they have not been is ironical. And without irony, you haven't got Dick.
"Minority Report," "Blade Runner," and even "Screamers" were enjoyable films. But they all lacked Dick's wit. Only "Total Recall" came close, with its unexpected twists feeding on paranoia, though the overall result was more burlesque than satire.
Stick with "Androids" and the other novels and short stories, especially the earlier ones (through 1965). Taken as a body of work, they are monumental.
Much different than the movie. .......2007-01-05
Phil's story has a very differnt tone, a married cop, machines with slightly different motives, and much more back story on earth and what is motivating folks. I think in making the movie it was best to cut out the marriage as well as the backstory on why people all crave to have their very own animal such as sheep, horse, goats, cats and yes even electric sheep.
Nevertheless I loved this book for all its differences.
Book 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 of Electric 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.
Customer Reviews:
Tabloid Trash.......2006-05-28
At best, this book should be looked at if you're interested in the facts behind the production of the film and you're able to look past Sammon's masturbative narrative.
While the book is informative on what happened and the difficulties behind the making of the film, the author's writing ability is about the same as someone standing next to you with a bullhorn. Self-aware and bordering on narcistsic, Sammon's dirt-basic writing ability has a constant feel of "Hey! I was here to see all this!" attitude that really undermines his attempt at objective writing.
Frustrating and amatuerish, "Future Noir: The Making of Blade Runner" is an unworthy footnote and a worthwhile coffee coaster.
Interesting but lacking in proof.......2005-07-05
The book provides a fascinating look into the trials and tribulations that was the making of Blade Runner. The movie is easily Scott's best, and his relentless pushing of the cast and crew is a testament to his determination and vision. Future Noir gives an in depth view of all the turmoil; the "various cuts debacle", the studio interference, the collaboration, and the omnipresent friction.
It is worth the read but the writer's prejudices are just that. This is not the most influential scifi made. It was a quiet, intellectual scifi and I'm not sure it's influence can ever be quantified. But I enjoyed it-actually it is my favorite scifi behind The Phantom Menace(that's a joke people)-and I enjoyed this book.
Minute Production Details, No Proof of the Filmýs Influence.......2002-10-26
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 the documentary Hearts of Darkness, the story of Francis Ford Coppola's unending dedication to and struggles with the making of 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 also 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 shallowest, most poorly researched and organized parts of the entire book. Sammon's strength and enthusiasm clearly lie in the film's production details. Nowhere in the book does he cite any filmmaker, actor, editor, producer, or special effects artist describing BR as an influence.
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.
Blade Runner Bible.......2002-10-04
The book is written by Paul M. Sammon in 1996, about 15 years since the original release and 4 years after the Director's Cut re-release. As he explains in the opening chapter of the book, Sammon worked for a science fiction magazine called Cinefantastique, and what began as a double-issue special on the making of the highly-anticipated film Blade Runner eventually evolved into what Sammon calls an "exhaustive archaeology" of information regarding the film.
The novel is simply an overwhelming wealth of information on all things Blade Runner; chapters focus on every minute detail such as the evolution of the story as it passed through the hands of Phillip K. Dick's novel, Hampton Fancher's screenplay, then into the hands of David Peoples and Ridley Scott. Chapter VIII is such a delight, as it meticulously works through each scene in the film, stopping along the way to add tidbits of info such as exclusive interviews with the actors. Sammon apparently also had the luxury of roaming the set of Blade Runner, and he reveals things such as the futuristic magazine covers he would see on the magazine racks and many other incredibly obscure decorations the design team threw in that are virtually impossible to see when you watch the film.
Like the other reviewers, I agree that Sammon is not perhaps the most skilled writer, and the prose of the book is very choppy and (especially in Chapter I) pretty corny. What troubles me most, though, is that Sammon has a particularly annoying habit of throwing out names without properly introducing them and explaining their role in the Blade Runner universe. Mercifully, there is a cast and crew listing printed as an appendix, which is a great help. This, and some of the other errors in the book seem quite obvious, and it leaves one wondering who was in charge of the editing.
Anyhow, the book allows great insight into the workings of the film, all gathered from what must be piles and piles of notes and cassette-recorded dialogue Sammon collected over the years to produce a rather well-organized book for fans of the film to read. I have seen the film countless times, and the new perspectives and ideas gained from this book keep the film fresh and wondrous as the years go by.
Absolutely fascinating.......2002-07-20
There can be no better introduction to Blade Runner.
There is a wealth of material here available nowhere else - from interviews with Philip K Dick to anecdotes about the shooting of the film.
My favourite chapters were the ones dealing with the writing of the screenplay; and the one dealing with the rediscovery and release of the Workprint, and the subsequent Director's Cut. You cannot find this information anywhere else.
Mr Sammon's writing is somewhat overenthusiastic, reading like a fan's website. But the sheer quanitity and interesting nasture of the material makes up for this.
Book Description
This book of essays looks at the multitude of texts and influences which converge in Ridley Scott’s film Blade Runner, especially the film’s relationship to its source novel, Philip K. Dick’s Do Androids Dream of Electric Sheep? Essays consider political, moral and technological issues raised by the film, as well as literary, filmic, technical and aesthetic questions. Contributors discuss the film’s psychological and mythic patterns, importance political issues and the roots of the film in Paradise Lost, Frankenstein, detective fiction, and previous science fiction cinema.
Customer Reviews:
Essays that , like, prove it's amazing and stuff.......2005-05-26
For the ignorant fools who didn't know what they were watching the first 168 times around, this book has essays with subtexts and subconcious imagary that will blow your mind.
A box office failure shined to gold by looking-back critics and an army of fans, Blade Runner is now the requisite sci-fi inspiration film. It's still a stylish but bleak, cold film and has rightfully earned its supercult status. A lot of people responded to it in their own way.
The book has plenty of food for thought, but it gets to be much after a while. Authors compare the various themes in Blade Runner and use this as a springboard for ruminations on Frankenstein, feminism, film noir, you name it, Blade Runner has it. Slave narrative, horror film, it's in there. And there's room for an updated version as plenty of published material has appeared since this book did in the early 90s. Recommended for the obsessed Blade Runner fan--and there is no other kind.
Fascinating and Exhaustive.......2001-08-30
I thought my 10 year career as Blade Runner appreciator would have overturned all the 'stones' of interest - and yet this book yields countless articles many of which containing subtleties and revelations totally new to me. Of course, if you're not a major blade runner fan you'll want to become one first.
Oxygen for any Blade Runner fan.......2001-08-21
A must have for any die hard BR fan. Well crafted essays and opinions covering every angle a fan could ever hope for. Reads similar to a textbook. If only Scott could release a DVD version of BR this detailed.
A difintive analysis of 'Blade Runner'........2001-06-18
This book is a must-have for Blade Runner fans. Wonderfully written essays. Desser's article comparing the film to John Milton's poem/novel Paradise Lost and Frankenstein is a writing at its mind-bending best.
One of the finest books about this amazing film.......2000-07-17
If you are looking for info about the making of BLADE RUNNER you'd best look elsewhere, but if like me you want to read intelligent analysis of this amazing film then this book is one of the finest you'll find. The range of the essays is wide, looking at every facet of the film; the script, music, symbolism and much more. I've read many books on the subject of BLADE RUNNER and this one was one of the most enlightening and informative. There is more to BLADE RUNNER than you might think - and this book will show you in considerable detail. Highly recommended for fans of the film.
Book Description
In Ecology without Nature, Timothy Morton argues that the chief stumbling block to environmental thinking is the image of nature itself. Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all.
Ecology without Nature investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from The Lord of the Rings to electronic life forms, Ecology without Nature widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."
Average customer rating:
- The Best Strategy Guide Ever Written
- SpaceMonkey
- The Book gives a great in-depth details of the game.
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Official Blade Runner Strategy Guide (Official Strategy Guides)
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Manufacturer: BRADY GAMES
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Binding: Paperback
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Blade Runner
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Blade Runner (Five-Disc Ultimate Collector's Edition)
ASIN: 1566867282 |
Book Description
- Official Guide to Blade Runner provides gamers with walkthroughs for each mission, maps of the most important areas of the game, lists of useful items and where to find them, and complete puzzle solutions
- With this practical guide in hand, players can track down and destroy the renegade replicants threatening Earth
- Blade Runner is Westwood/Virgin's biggest release of the year and they expect lifetime sales to be well over 500,000 units
- The game release will be supported by a national advertising campaign in major game industry magazines
- The gameplay graphics in Blade Runner are as good as the cinematic introductions of most games
Customer Reviews:
The Best Strategy Guide Ever Written.......2000-03-23
This book is the most fun strategy guide I've ever read. Of course the game is really cool too, but the guide reads like a story and is written in the voice of the main character. It really pulls you into the game's story and was way fun to read. More clue books should be written like this!
SpaceMonkey.......1999-12-21
It's a great movie and it`s a great game, but how hard can it be to make a srategy guide? not very....
Buy the movie instead of this book, it only spoils the fun of finding things out for your self.
The Book gives a great in-depth details of the game........1999-03-20
This game is a great mysteriuos and stragic game. I had trouble on some parts and his book told me exactly what to do. The book is a great in depth book, and a "easy to read" book is always great. This book is better than other stragic books and i hope that your next stragety guide is as easy to read as this is. And if you are the makers of the game also...this is one of the best! Thank You.
Book Description
He came to mainstream prominence as a machine more human than his creators in Blade Runner, terrified us as a hitchhiker bent on his own death and the death of anyone who got in his way in The Hitcher, and unforgettably portrayed a lonely king roaming the night as a wolf and pining for the love of a hawk during the day in Ladyhawke.
Rutger Hauer has dazzled audiences for years with his creepy, inspiring, and villainous portrayals of everyone from a cold-blooded terrorist in Nighthawks to a blind martial arts master in Blind Fury, but his movie career was nothing compared to his real-life adventures of riding horses, sword fighting, and leaving home at fifteen to scrub decks on a freighter and explore the world.
From poverty to working with a traveling theater troupe to his breakout European performance in Turkish Delight and working with legendary directors such as Paul Verhoeven (RoboCop and Basic Instinct) and Ridley Scott (Alien and Gladiator), Hauer has collected All Those Moments here.
Customer Reviews:
Not A Kiss and Tell Biography.......2007-08-14
This is a biography mainly about Ruger Hauer's acting career. He writes a little about his childhood and parents but this is his chronical about the roles he played. It's an interesting story. Hauer is never critical of the actors he worked with, nor does write about scandals in the film world. He spends time discussing The Blade Runner (his favorite roll) and Lady Hawk( another great part for him). This is a story about an actor's work in films. Not every piece of his film work is covered, but enough that the reader knows that Rutger is a serious actor.
All Those Moments Will Not Be Lost.......2007-08-10
This is a wonderful and surprising book. I am in awe of the movie Blade Runner. I grew up with the L.A. skyline at my doorstep and I feel a dark connection to the film, which I saw in a huge, pre-multiplex theater with my father all those years ago. I was delighted to read about Mr. Hauer's experiences, and to learn that his contribution to Blade Runner is huge. In fact, this inside look at the actor's work and career left me feeling quite grounded. Rutger Hauer's passion and intelligence resonates clearly and I thank him for sharing his life. Please do note that he also writes at length of his involvement with the AIDS/HIV crisis in the world and the Starfish Association that he founded to try to make a difference. I recommend this to all!!
A Thoughtful Autobiography.......2007-07-23
I have been a fan of Rutger Hauer since I saw Blade Runner when it came out in 1982. His new autobiography ("All Those Moments") is a revealing portrait of the artist giving a candid look at his life and his approach to acting. The son of actors, he describes his early life growing up in Holland, his start as an actor in a small rural theater company and his start as a film actor.
He describes his major films: Blade Runner, Ladyhawke, Blind Fury, Soldier of Orange, the Hitcher and Nighthawks, and his breakthrough role in the Dutch television series Floris, in detail giving insight into how he approaches his character. He spends some time describing his craft and the difficulties of being away from home for long periods of time. Mr. Hauer has made his share of bad films but he has always struck me as such a consummate professional that his performance is always worth watching.
The book is written in a conversational style, as if Mr. Hauer was taking to you, which makes for fast reading. The book is illustrated with several black-and-white photographs of some family pictures but more of Mr. Hauer in his various roles. My only small complaint is that the book does not have a true ending. We leave off at Mr. Hauer's most recent projects - Batman Begins and The Poseidon Adventure - for a chapter on acting followed by a chapter on the Starfish Association and some entries from his diary. There is no looking ahead to what he thinks his life or career will bring. The Starfish Association is an AIDS support group to which the royalties of Mr. Hauer's book are being donated.
This is a very frank, entertaining and thought-provoking book. If you have seen any of Rutger Hauer's films his book is a must-read.
a real man.......2007-07-16
I was surprised by Hauer's book. There was no Hollywood hoop di do or affectations. Just a honest tale of his life's adventures-very down to earth, and totally interesting.
all those moments: stories of heroes, villains, replicants, and blade runners.......2007-06-08
I have loved Rutger Hauer's movies. I was hesitant to buy the book because I really couldn't imagine what he and the author would write about. It was a book you want to read to experience what it is like in another person's shoes. This one being an actor. It was very interesting, down to earth and sounded very personal from him. My husband, who is pretty critical, also really liked it. Proceeds go to fight AIDS/HIV.
Book Description
World War Terminus had left the Earth devastated. Through its ruins, bounty hunter Rick Deckard stalked, in search of the renegade replicants who were his prey. When he wasn't `retiring' them with his laser weapon, he dreamed of owning a live animal -- the ultimate status symbol in a world all but bereft of animal life. Then Rick got his chance: the assignment to kill six Nexus-6 targets, for a huge reward. But in Deckard's world things were never that simple, and his assignment quickly turned into a nightmare kaleidoscope of subterfuge and deceit -- and the threat of death for the hunter rather than the hunted...
Customer Reviews:
What exactly makes the difference between man and machine?.......2007-09-15
In this second piece found in the omnibus "Counterfeit Unrealities (contains Ubik, A Scanner Darkly, Do Androids Dream of Electric Sheep [aka Blade Runner], The Three Stigmata of Palmer Eldritch)," we find ourselves working between two intertwining plot lines. One is based around Rick Deckard, a bounty hunter who "retires" escaped androids - who have killed their owners off-world in the colonies and then come to Earth to live and try to blend in. The latest model - the Nexus-6 - can only be told from humans through use of a sophisticated psychological testing mechanism that measures empathy levels; empathy being the one thing that androids quite simply lack. The other plot line revolves around J. R. Isadore, a "chickenhead" (that is to say, a man who has mutated enough that he is starting to lose his cognitive abilities, but not so much that he cannot still manage to take care of himself and serve the public in some small way). He works for the Van Ness Pet Hospital, which serves people who own electric animals. However, his day gets off to an uneven start when first he discovers another tenant in his previously empty building, and then he is given a real cat - which subsequently dies on the way in to the hospital before he even realizes it is actually alive.
Similar in theme to the previous Philip Dick novel I reviewed, this book explores the differences between reality and fantasy by probing the differences between man and machine, as shown by the differences between human and android (sometimes that line is very blurred), electric animal and real animal, and so forth. Always in the background is the constant back and forth of Mercerism vs. Buster Friendly, who always gently (and sometimes not so gently) accuses Mercer as a fraud and fake.
Please note, those who have seen "Blade Runner"; it has been years since I have seen the movie, but from what I recall - the movie is only VERY LOOSELY based upon this novel.
Nonetheless, I did find the story enjoyable; dense and difficult at times, but the interchange and interplays are always deft and intriguing. This classic bit of surreal sci-fi is not to be missed.
Classic Dick.......2007-09-10
(This review is based on the novel as it is printed in the Library of America edition.)
Famed for being the basis of the cult movie "Blade Runner", this novel is, in my opinion, not as good a book as the movie is as a movie. There are big differences between the two, as far as the plot is concerned, and the mood, and quite frankly, I prefer that of the movie. But to the novel itself.
If you are familiar with Dick's style, you will not be in foreign territories here. All the features that define Dick's prose are there. Interestingly enough, and as for his other novels that I read, I never find myself bored, and it's always a pleasure to read Dick's work; and that, despite the shortcomings.
If you've never heard of "Blade Runner" or this novel, then here is a short sum up of the basics: it's set in the future, where humans colonise the universe, and have reached the level of technology enabling us to create androids, a sort of organic machines resembling humans. Those androids are illegal on earth and whenever some of them flee to this planet, bounty hunters are after them. The main Character of the book, Rick Deckard (named after René Descartes, the French thinker famous for his "cogito ergo sum", or "I think therefore I am") is one of those bounty hunters. As usual, Dick creates a very interesting dystopian world, the kind that you can't get enough information.
The story is a lot more complicated than that, and for those who know "Blade Runner", there are many things that you never heard of in the movie. Mercerism, to name but one. The fact that Deckard is a married man, and not much like the Deckard of the movie.
What I disliked about the novel was similar that what I dislike in every Dick novel I know of. For one, this novel has one of the worst titles in existence that I had the displeasure to lay eyes on. "Do Androids Dream of Electric Sheep?", I cannot think this is anything close to a good title. Dick is quite bad when it comes to naming things. One reflex he has that I cannot stand is that he somehow feels obliged to give ridiculous names to either people or companies, and it just makes the whole thing sound grotesque. In "The Three Stigmata of Palmer Eldritch", one big company was called "Perky Pat Layouts"; in this novel, a TV host is named "Buster Friendly", and I won't list the others. Or just this one more: "andy". That is the word by which Dick has his novel call the androids. In plural form, this becomes "andys". Not very thrilling.
The movie changed those things. "Andys" become "replicants" and "bounty hunters" become "blade runners". All for the better, if you want my opinion. I believe the plotline of the movie to be far superior to that of the novel even though they share a lot, as would be expected. My feeling on Dick is that he crams so much material in his relatively short novels that he cannot get the best of it. Mercerism, mentioned above, is a quite obscure religion that never gets fully explained in the book, and is completely absent from the movie, and one understands why all too easily.
Another thing I think Dick is short on is descriptions. For all I remember, Dick rarely, if ever, describes much; and the result of this is that one doesn't really see the world in which the characters evolve. If you expect visions similar to those in the movie, you will be disappointed. In Dick's novel, Earth is being abandoned by everyone, and it's mostly desert and gets less and less populated. Quite unlike the Earth of the movie, quite unlike the megacities people live in. I think it's an impressive feat that the people who made "Blade Runner" based it on this book. The themes are excellent, and Dick, in my opinion, doesn't reach the full extent of what he could have done. To name one example, the relation between creator and creature, à la Frankenstein, is entirely nonexistent in the novel, whereas it's central in the movie.
If you love the movie, you will only get disappointed by this book if you expect it to do the movie justice; it won't. But it's nevertheless a good read and an interesting one with regards to the "Blade Runner" universe. It won't be as good as the movie - that's hard - but it is a good read, and that is why despite all my negative comments I still gave this novel 4 stars. I would recommend to people who enjoy the movie, but I'm not sure I would have enjoyed the book the same had I not known of the movie first. Yet, there definitely are good things in the book.
One of the best sci-fi books ever...........2007-09-08
Really I don't know what I can add that hasn't already been said about this fantastic book. A must read for even non-sci-fi fans as it could be the book that converts you to the genre!
What a Vision.......2007-09-04
I noticed that many commented on the quality of Dick's writing. This may not be Shakespeare-quality prose, but what sci-fi novel is? (Dune was actually exceedingly well written, though.) Dick is so committed to his vision that he draws you in, and by the end it's hard to escape the eerie despair of life after World War Terminus. It may be clearer after a second or third read, but my only objection is the concept of Mercerism as it's developed late in the book. Its relation to the characters is not explained in-depth, and I was left wondering why it affected certain characters in certain ways. But I don't want to give too much away! This is a definite buy if you enjoy sci-fi lit of any kind.
Are Humans Better than Machines? Let's Hope So..........2007-08-09
Dick presents us with yet another bizarre vision of the future in this fast-paced adventure novel. The protagonist is a bounty hunter who tracks down renegade androids who have killed their off-planet masters and fled to Earth to lose themselves among the general human populace. Complicating his job is the inevitable fact that as technology improves, it becomes increasingly more difficult to tell the androids from real people. So the hunter has to administer very subtle tests to his subjects in order to verify their non-humanity. These tests require the co-operation of the subject, even as the androids - knowing they are about to be detected - are preparing to kill him.
The title is a riff on the reigning philosophy of the period, a faith called Mercerism, which advocates the sanctity of all life (spiders, chickens, goats, whatever) and provides a communal experience that validates human empathy. Dick postulates that no matter how closely the machine mind may approximate humanity, it can never achieve empathy with the living, and so must ultimately fail. Even if Mercerism is a sham, it is better to believe in humanity, it is better to believe that we are not alone, it is better to believe that someone will help us when we find ourselves stuck in the tomb world, than to give in to despair. The machines, which know neither despair nor empathy, have nothing to bind them together, to take them beyond the confines of their own short existences, while humanity, which has the potential for community, can see a bigger, and ultimately more lasting picture.
This is one of Dick's best novels: well-constructed around a strong central character, with a reasonable ending instead of the jaw-dropping "twist" that (while cool) sometimes mars his books. Readers new to this giant of the genre might do well to start here.
Book Description
âIf colonial America was the melting pot of modernity, it was because it was also a fabulous laboratory of images. . . . Just as much as speech and writing, the image can be a vehicle for all sorts of power and resistance.â So writes Serge Gruzinski in the introduction to Images at War, his striking reinterpretation of the Spanish colonization of Mexico. Concentrating on the political meaning of the baroque image and its function within a multicultural society, Gruzinski compares its ubiquity in Mexico to our modern fascination with images and their meaning.
Although the baroque image played a decisive role in many arenas, especially that of conquest and New World colonization, its powerful resonance in the sphere of religion is a focal point of Gruzinski’s study. In his analysis of how images conveyed meaning across linguistic barriers, he uncovers recurring themes of false images, less-than-perfect replicas, the uprooting of peoples and cultural memories, and the violence of iconoclastic destruction. He shows how various ethnic groupsâIndians, blacks, Europeansâleft their distinct marks on images of colonialism and religion, coopting them into expressions of identity or instruments of rebellion. As Gruzinski’s story unfolds, he tells of Aztec idols, the cult of the Virgin of Guadalupe, conquistadors, Franciscans, and neoclassical attempts to repress the baroque. In the final chapter he discusses the political and religious implications of contemporary imageryâsuch as that in Mexican soap operasâand speculates about the future of images in Latin America.
Originally written in French, this work makes available to an English audience a seminal study of Mexico and the role of the image in the New World.
Book Description
Blade Runner has proved to be one of the most enduring and influential films of the 1980s. In his innovative reading, Scott Bukatman details the making of the film and its steadily improving fortunes after its initial release. He situates the film in terms of the debates about post modernism that have informed the large body of criticism devoted to it. Although Blade Runner explores the tensions fundamental to a postmodern era of bewildering technological change, Bukatman argues, it derives from the quintessentially twentieth-century, modernist experience of the city--the experience of a space both imprisoning and liberating.
Customer Reviews:
Cursory Overview.......2001-08-16
This is indeed an excellently written "little" book on Blade Runner. I do feel, however, that the material on the film's inception is too drawn-out and that the rather more "interesting" exposition and analysis of the film remains far too cursory. BR deals with a myriad of themes and tropes, such as the recurring EYE theme. Bukatman mentions many instances where EYES occur and mentions a possible significance, but does explore it (or many other themes) in depth, eg. its relation to SCOPOPHILIA or SPECTATORSHIP, etc. Admittedly, it is small pocket-sized book, and it is worth the money, but if you desire an in-depth analysis of the film, this is not the book to purchase IMHO.
Very interesting book.......2001-04-24
Blade Runner is my favorite movie, and this is one of the best books on a film I've ever read. The comparisons with other sci-fi films and post-modernism are very interesting. There is also a lot of information on how the film was made.
Blade Runner or comic books.......2000-02-26
Avid fans of the film will find many pleasures in this book. It looks, in depth, at the comic book roots (mobias, Heavy Metal) that Blade runner aspired from. It can, however, go on a bit too much about it. It does cover other aspects of the film, but the books highest point is the opening - which discusses vision within the film.
Tedious Film School Psycho-Babble........2000-01-16
Replicant Alert! Avoid this book if you have any affection for the movie. Except for the last couple of pages, the author has little to offer other than the usual drivel about "Post-Modernism". You will be much better off buying the Director's Cut on DVD, and watching it several times! This series of books has its exceptions, this is not one of them. Unintentionally hilarious in parts, as only the academician can be. Pretentious, ponderous cinema-scholar jargon that offers little of value or insight. Read Sammon's The Making of Blade Runner instead! (Nice cover, though...)
Book Description
In 1982, to coincide with Blade Runner's original release, Cinefex, the respected magazine devoted to movie design and special effects devoted an entire, extended issue to Ridley Scott's sci-fi masterpiece. That issue has been out of print since then, but in constant demand — copies now sell on the collector's market for over $100. Titan Books is proud to bring this classic back into print, in a remastered hardcover edition.
Described as 'the single most comprehensive examination of Blade Runner's special effects', this must-have book contains scores of images not available elsewhere, as well as authoritative text, containing in-depth, exclusive interviews with director Ridley Scott and the legendary designer Syd Mead.
Customer Reviews:
The Blade Runner Book.......2006-02-02
...is already out.
The MOVIE was based on the BOOK "Do Androids Dream of Electric Sheep?", by Philip K. Dick published in 1968. It is worth a read if you're a fan.
Poor book.......2006-01-04
Don't spend your money, it's a poor book, poor content, poor pics many in black and white, I'm still waiting for THE BOOK about Blade Runner.
A very complete "movie biography".......2005-07-22
It's all a Bladerunner fan is looking for ! Packed with data and clue photos. I love it !
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