Ridley Scott


Director, Producer
Ridley Scott

About

Also Known As
Sir Ridley Scott
Birth Place
South Shields, England, GB
Born
November 30, 1937

Biography

One of the more respected and prolific filmmakers in modern cinema, director-producer Ridley Scott amassed a portfolio containing some of the most critically and commercially successful movies of all time. Emerging from the world of television commercial production, Scott was nearly 40 years old by the time he helmed his first feature "The Duellists" (1977). Its lackluster reception left...

Photos & Videos

Thelma & Louise - Movie Poster
Alien - Lobby Card Set

Family & Companions

Donna Scott
Wife
Divorced.

Notes

Scott chairs a production company with his brother Tony called Scott Free.

Scott's commercial work has been recognized at Cannes, Venice and by the New York Art Directors' Club.

Biography

One of the more respected and prolific filmmakers in modern cinema, director-producer Ridley Scott amassed a portfolio containing some of the most critically and commercially successful movies of all time. Emerging from the world of television commercial production, Scott was nearly 40 years old by the time he helmed his first feature "The Duellists" (1977). Its lackluster reception left audiences ill-prepared for the massive impact that came next with the classic science-fiction/horror film "Alien" (1979). Although a commercial disaster at the time, "Blade Runner" (1982) would later be regarded as one of the most influential sci-fi movies ever made, while Scott's on-set behavior during production earned him a lasting reputation as an exceptionally stubborn and difficult director. The years that followed were marked by the ebb and flow of disappointment and triumph, as illustrated by efforts like "Legend" (1985), "Thelma & Louise" (1991), "White Squall" (1996) and "Gladiator" (2000). Remarkably, Scott moved into the next millennium with an even steadier output of work that included such highlights as "Black Hawk Down" (2001), "Kingdom of Heaven" (2005), "American Gangster" (2007), the "Alien" prequel-of-sorts "Prometheus" (2012) and the Academy Award-nominated science fiction comedy-thriller "The Martian" (2015). Having settled into a more efficient and actor-friendly style of filmmaking during the second half of his career, Scott enjoyed the luxury of tackling themes of personal interest on film projects endowed with budgets less-proven directors could only dream of.

Born on Nov. 30, 1937 in South Shields, Northumberland, England, Scott showed aptitude for art and drawing early on, becoming obsessed with it by the time he was 11 or 12 years of age. His mother, Jean, who loved movies, exposed her son to the joys of cinema. Since the family moved around often, thanks to his father's service in the military, Scott attended some 10 odd schools by the time he was ready for university. When he reached 19 years old, however, Scott wanted to follow his father's footsteps and enter the military. But his dad, who served as a brigadier for the British Army during World War II, convinced Scott to go to art school instead. Scott attended West Hartlepool College of Art to study graphic design, then did likewise at the Royal College of Art. After leaving school, he worked at the British Broadcasting Company as a set designer. But what Scott really wanted to do was direct, so he cajoled the station to allow him to attend a director's course, opening the door for him to fulfill his true ambitions.

Scott was given the opportunity to direct a few episodes of television, including the long-running crime drama "Z Cars" (BBC, 1962-1978), but blew an interview for a job with BBC2 when he admitted to knowing nothing about Shakespeare. Then again, Scott was frustrated with earning a measly £75 per week anyway, so he left the BBC altogether and enter the advertising world, which he later dubbed his "film school." Scott quickly made a name for himself at a time when most commercial directors looked down on making advertisements. But Scott took it seriously, churning out hundreds of spots that were visually stunning and later imitated by other commercial directors; his ads for Hovis bread were long remembered in the U.K. for being some of the best ever made. In 1967, Scott formed his own company, Ridley Scott Associates, which remained a major force in the advertising world well after he started directing features, which he finally did when he was 39 years old. By that time, he was quite well off financially. The pull to make movies, however - something Scott had felt since he was eight years old - proved too hard to resist any longer.

In the mid-1970s, Scott began working with producer David Puttnam on several story ideas, in order to develop something for him to direct as his first feature. They eventually came up with "The Duellists" (1977), a glossy historical drama adapted from a Joseph Conrad story about two officers in Napoleon's army (Keith Carradine and Harvey Keitel) who spend their off-hours challenging each other to bloody duels that result in 16 years of perpetual draws. Though well received at the 1977 Cannes Film Festival, "The Duellists" was released in only seven theaters in the United States.

Determined not to be resigned making art house films, Scott became interested in directing science fiction, thanks in part to the success of "Star Wars" (1977). He was offered the job of directing "Alien" (1979) - perhaps the most imitated and influential sci-fi horror film ever made - which focused on a crew aboard a spaceship which is hunted by an alien predator after it attaches itself to one of their own when they respond to a distress signal on an mysterious vessel. Though shot low budget, Scott nonetheless managed to create a visually satisfying film that drew mainstream audiences in with tension-filled scenes inside dank crawlspaces and with the iconic violence of an alien creature popping out of a crew member's chest. Scott deftly kept the alien hidden - really an actor in a rubber suit due to budget restrictions - which sustained a sense of impending doom throughout the entire film. Also notable was Scott's use of a female hero in the form of Ellen Ripley (Sigourney Weaver), the ship's warrant officer, who winds up the only surviving member of the crew after she dispatches of the creature. Unheard of in cinema at the time, Scott's unconventional action heroine was groundbreaking and helped launch Weaver's career. Though "Alien" spawned three official sequels, video games and two crossover movies years later, Scott played no part in the successful franchise, beyond inspiring the consequent filmmakers.

Since "Alien" firmly established Scott's directing career, it was up to his next film, "Blade Runner" (1982), to validate it. While no one knew it at the time, it would go on to cement his legend. Ironically, the film that would become one of the most revered science fiction movies ever made, was poorly reviewed and a box office flop at the time of its release. The shoot itself was horrifying to many involved, especially the film's star, Harrison Ford, who maintained throughout his career that "Blade Runner" was the worst movie experience of his life. On screen, Ford played Rick Deckard, a down-and-out ex-detective brought out of retirement to hunt down and kill a group of human androids, or replicants, who have escaped a mining company and taken refuge in the dystopian world of Los Angeles, circa 2019. As he discovers disturbing secrets about Tyrell Corporation, the company that manufactures the replicants, Deckard finds himself falling in love with an android (Sean Young), but is unaware of her true nature. Behind the scenes, Scott caused considerable friction from day one, upsetting the production design crew with demands of drastically changing established sets, thanks to his commercial background.

What Scott ultimately did, however, was establish a distinct and timeless look that transcended technological impairments of the early-1980s, creating a stunning visual film that stood its ground even decades later. But the finished product - which many later hailed as being ahead of its time - paled in comparison to the nightmarish treatment Scott inflicted upon much of his crew. He also battled Warner Bros. over test screenings, which forced Scott to make changes he knew were wrong, but nonetheless accepted because of studio pressure. He first added an extensive voiceover to help people identify better with Ford's character and follow the plot more easily. Scott was then forced to change his enigmatic ending to something more positive and happy - namely Deckard and Rachel riding off into the sunset happily ever after. Though Scott immediately regretted the changes he was forced to make, he failed to put up much of a fight at the time. His only solace came much later in 1992 when he rereleased a director's cut that eliminated Ford's voiceover and replaced the Hollywood ending with the more obscure, thematic one that hinted that Deckard may indeed be a replicant himself.

Despite his creative triumph, Scott was under the gun to produce a hit after "Blade Runner" flopped. Unfortunately, his next effort, "Legend" (1985), was not the film to resurrect his stature. A glossy and beautiful fairy tale set in a mystical forest inhabited by magical unicorns, "Legend" suffered from an inept good vs. evil story, a wimpy male lead in the form of Tom Cruise, and a malevolent studio that cut a whopping 30 minutes from the final product, creating an incoherent movie that looked great, but failed to satisfy moviegoers. Scott went on to direct "Someone To Watch Over Me" (1987), a rather standard romantic thriller about a cop (Tom Berenger) who falls in love with a murder witness (Mimi Rogers) he is guarding against the mob. After that came and went without much consequence, Scott directed Michael Douglas and Andy Garcia in "Black Rain" (1989), a crime thriller about two New York City cops who struggle to find a killer whom they lost while escorting him back to Japan. Though not considered a critical hit by any stretch, "Black Rain" did well enough at the box office for Scott to avoid a deadly third flop in a row.

Returning to a convention that worked well for him in the past, Scott used the female hero - in this case two female anti-heroes - in "Thelma and Louise" (1991), a landmark film remembered more for two strong leads and feminist themes, than for who directed it. In this seminal revisionist action thriller, Susan Sarandon and Geena Davis starred as two small town gals who go on the run after killing a rapist, only to meet their fate on their own terms; not on those of the sympathetic police officer (Harvey Keitel) giving chase. "Thelma and Louise" was especially noted for its unconventional ending, where the two women drive off the edge of the Grand Canyon rather than get caught. Unlike his experience on "Blade Runner," however, Scott fought to retain his downer of an ending, but did make the compromise of freezing the car mid-air rather than show it crash into the depths below as shot. Meanwhile, Scott earned a nomination for Outstanding Directorial Achievement from the Directors Guild of America, and another for Best Director at the Academy Awards; his first bona fide award recognition.

Unfortunately for Scott, he followed a rousing success with yet another abysmal failure, this time directing "1492: The Conquest of Paradise" (1992), a lavish but ultimately doomed retelling of the famed discovery of America by Christopher Columbus (Gerard Depardieu). Scott again displayed considerable visual flair, though he allowed himself to divert his focus to tangential storylines, while making the historic events rather dull and lifeless. Around 1994, he formed the production company Scott Free with his younger brother, director Tony Scott, best known for the monster hit "Top Gun" (1986). One of their first producing projects was Scott's next directing effort, "White Squall" (1996), a high-seas adventure about a group of young men struggling to survive after their boat capsizes. Once again, Scott's choice of material, which was mediocre at best, was questioned, while the film itself faired poorly at the box office. In another ill decision that would have sunk the careers of lesser talents, Scott helmed the unfortunate "G.I. Jane" (1997), a flawed look at a woman (Demi Moore) struggling to prove herself worthy of becoming a Navy SEAL. Though Moore's performance was compelling - amplified by the shaving of her head and extensive muscle-building - "G.I. Jane" fell far short of the greatness Scott had hoped to achieve.

Greatness was, however, just narrowly missed with Scott's next film, "Gladiator" (2000), a triumphant return to the fabled sword-and-sandal epics of Hollywood yore. Under the benign leadership of Marcus Aurelius (Richard Harris), a fearsome, but respected Roman general, Maximus (Russell Crowe), has been privately declared the emperor's successor. But when the emperor's power-hungry son, Commodus (Joaquin Ph nix), hears about the betrayal, he kills his father, orders Maximus killed and grabs hold of the reigns of power. Maximus is captured and forced into slavery, where he trains as a gladiator and struggles to rise to the top of his game in order to confront Commodus on his own terms. Hailed by many critics as exceptional, "Gladiator" became a rare hit for Scott, who suffered for almost a decade without a financially successful film. It marked for the flailing director a sort of rebirth; one that suddenly sparked a flurry of new big budget projects that were previously unattainable, as well as a cordial working relationship with Russell Crowe - a rarity for both the typically difficult Scott and the typically difficult Crowe. Meanwhile, "Gladiator" earned 12 Academy Award nominations, including one for Best Director, and eventually took home five Oscars, including Best Picture.

Hot off the success of "Gladiator," Scott fell into directing "Hannibal" (2001), the long-awaited sequel to "The Silence of the Lambs" (1991). After director Jonathan Demme backed out of the project, Scott stepped in to pick up the slack on this continuing tale of Dr. Hannibal Lector (Anthony Hopkins), 10 years after his escape from federal custody. But Mason Verger (Gary Oldman), one of his past victims who managed to survive, uses Lector's old nemesis, Clarice Starling (a recast Julianne Moore), to lure the distinguished serial killer into a trap in order to exact revenge. Scott's mildly entertaining take failed miserably to live up to the tension and suspense of the original, making "Hannibal" pale by comparison. But that did not stop the movie from giving Scott his second huge hit in a row. Feeling himself on a roll, he directed the stunning "Black Hawk Down" (2002), a griping take on the true story of a Black Hawk helicopter getting shot down while on an exercise in Somalia during the United States' ill-fated humanitarian mission in 1993. Scott's talent for stark, stylistic visuals was on full display, giving the audience a feeling of actually being inside the maelstrom that claimed the lives of 18 soldiers and over 500 Somalis. Scott was honored with his third nomination for Best Director at the Academy Awards.

With three successive hits, Scott was certainly on top of his game. But it was just a matter of time before he hit another bump, which materialized as "Matchstick Men" (2003), a quirky crime comedy about a neurotic con artist (an over-the-top Nicolas Cage) who gets consumed by fear and panic when his partner (Sam Rockwell) wants to pull a big job. Despite the appeal of a unique twist on an old genre film, Scott failed to take what might have been an amusing romp, to the level of true inspiration. In a rare sojourn into television, Scott and brother Tony - under the auspices of Scott Free - served as executive producers of "Numb3rs" (CBS, 2005-2010), a popular procedural about a talented FBI agent (Rob Morrow) who reluctantly uses his genius mathematician brother (David Krumholtz) to help the bureau solve cases, despite their strained relationship. Back behind the director's chair, Scott directed "Kingdom of Heaven" (2005), a historical epic set during the 2nd and 3rd Crusades of the 12th century. Despite the occasional lapse in story logic, "Kingdom of Heaven," nonetheless, put on a fine display, with stunning battle sequences, while striking the right balance between grandeur and genuine character moments. The costly film, however, was struck down at the box office, amounting to financial disaster and pain for all involved, much like the Crusades themselves.

Having found a leading actor of high caliber with which to collaborate, it was surprising that Scott asked Crowe to make "A Good Year" (2006) for their sophomore effort together. A rather ordinary romantic comedy about a failing London banker (Crowe) who finds love with a beautiful Californian woman (Marion Cotilliard) after he inherits a winery, "A Good Year" caused many Scott fans to scratch their heads. Despite Crowe's star power, the film came and went without much fanfare, fizzling quickly at the box office. Scott returned to prime form on his third collaboration with Crowe, "American Gangster" (2007), a true-life telling of 1970s Harlem drug lord Frank Lucas (Denzel Washington), who gets nailed by Detective Richie Roberts, an honest cop (Crowe) trying to root out crooks on both sides of the law. "American Gangster" spent years in development, with Antoine Fuqua previously attached to direct. After Fuqua's prompt exit following "creative differences," Universal Pictures went through Brian De Palma and Terry George before settling on Scott to direct. As usual, Scott gave the film his trademark flourishing visual style, which worked well for the 1970s setting, and eventually earned himself a third Oscar nomination for Best Director.

Scott re-teamed with Crowe for the espionage thriller "Body of Lies" (2008), co-starring Leonardo DiCaprio in the role of a CIA operative used as a pawn by his supervisor (Crowe) in a high stakes game between Western and Arab intelligence agencies. Under the Scott Free banner, he executive-produced the medieval miniseries "The Pillars of the Earth" (Starz, 2010), based on the novel by Ken Follett, in addition to similar duties on the well-regarded drama series "The Good Wife" (CBS, 2009-16), starring Julianna Margulies. It was once more into the breach with Crowe in the title role of the legendary hero "Robin Hood" (2010), for a visually spectacular epic that, nonetheless, drew the ire of many critics for its historical inaccuracies and the narrative liberties taken with such an iconic tale. In 2011, Scott began production on the highly-anticipated "Prometheus" (2012). A science-fiction thriller initially intended as a prequel to "Alien," the director later insisted that while it shared a certain amount of that seminal film's creative DNA, "Prometheus" would very much be its own movie, tackling "unique, large and provocative" new ideas. Following the global commercial success of "Prometheus," Scott was struck by tragic news when brother, Tony, apparently committed suicide on Aug. 19, 2012 by leaping to his death from a suspension bridge in San Pedro, CA. Tony's actions were allegedly motivated by a diagnosis of inoperable brain cancer. Scott remained quiet in the ensuing days following the news, with no immediate word on how his brother's death would affect their joint production company.

Returning to work, Scott dedicated the offbeat crime thriller "The Counselor" (2013) to his late brother; the film was penned by novelist Cormac McCarthy. Going in an entirely different direction, Scott next helmed "Exodus: Gods and Monsters" (2014), a straightforward Biblical epic enlivened by state of the art CGI work. This was followed by "The Martian" (2015), a comic-tinged science fiction action film based on the bestseller by Andy Weir.By Shawn Dwyer

Filmography

 

Director (Feature Film)

All the Money in the World (2017)
Director
Alien: Covenant (2017)
Director
The Martian (2015)
Director
Exodus: Gods and Kings (2014)
Director
The Counselor (2013)
Director
Prometheus (2012)
Director
Robin Hood (2010)
Director
Body of Lies (2008)
Director
American Gangster (2007)
Director
A Good Year (2006)
Director
Kingdom of Heaven (2005)
Director
All the Invisible Children (2005)
Director
Matchstick Men (2003)
Director
Black Hawk Down (2002)
Director
Hannibal (2001)
Director
Gladiator (2000)
Director
G.I. Jane (1997)
Director
White Squall (1996)
Director
1492: The Conquest of Paradise (1992)
Director
Thelma & Louise (1991)
Director
Black Rain (1989)
Director
Someone to Watch Over Me (1987)
Director
Legend (1986)
Director
Blade Runner (1982)
Director
Blade Runner: The Final Cut (1982)
Director
Alien (1979)
Director

Cast (Feature Film)

The Real Robin Hood (2010)

Producer (Feature Film)

American Woman (2019)
Producer
The Aftermath (2019)
Executive Producer
Zoe (2018)
Executive Producer
Lords of Chaos (2018)
Producer
The Newness (2017)
Producer
Blade Runner 2049 (2017)
Executive Producer
The Newness (2017)
Executive Producer
Felt (2017)
Producer
Murder on the Orient Express (2017)
Producer
All the Money in the World (2017)
Producer
Phoenix Forgotten (2017)
Producer
Alien: Covenant (2017)
Producer
Equals (2016)
Producer
Morgan (2016)
Producer
Equals (2016)
Executive Producer
The Martian (2015)
Producer
Concussion (2015)
Producer
Child 44 (2015)
Producer
Before I Go To Sleep (2014)
Producer
Before I Go To Sleep (2014)
Executive Producer
Reykjavik (2014)
Producer
Exodus: Gods and Kings (2014)
Producer
Out of the Furnace (2013)
Producer
Stoker (2013)
Producer
The East (2013)
Producer
The Counselor (2013)
Producer
Welcome to the Punch (2013)
Executive Producer
Prometheus (2012)
Producer
Life in a Day (2011)
Executive Producer
Welcome to the Rileys (2010)
Producer
The A-Team (2010)
Executive Producer
Cyrus (2010)
Executive Producer
Cracks (2010)
Executive Producer
Robin Hood (2010)
Producer
Tell Tale (2009)
Producer
Body of Lies (2008)
Producer
The Assassination of Jesse James by the Coward Robert Ford (2007)
Producer
American Gangster (2007)
Producer
A Good Year (2006)
Producer
In Her Shoes (2005)
Producer
Kingdom of Heaven (2005)
Producer
Matchstick Men (2003)
Producer
Black Hawk Down (2002)
Producer
The Last Debate (2002)
Executive Producer
The Lonely War (2002)
Executive Producer
The Gathering Storm (2002)
Executive Producer
Hannibal (2001)
Producer
Where the Money Is (2000)
Producer
RKO 281 (1999)
Executive Producer
Clay Pigeons (1998)
Producer
G.I. Jane (1997)
Producer
White Squall (1996)
Executive Producer
The Browning Version (1994)
Producer
Monkey Trouble (1994)
Executive Producer
1492: The Conquest of Paradise (1992)
Producer
Thelma & Louise (1991)
Producer
Someone to Watch Over Me (1987)
Executive Producer

Special Thanks (Feature Film)

The Minus Man (1999)
Special Thanks To

Misc. Crew (Feature Film)

Terror in the Aisles (1984)
Other

Cast (Special)

3rd Annual DVD Exclusive Awards (2003)
Murder By Numbers (2002)
Jeff Bridges: Building Bridges (2002)
AFI's 100 Years... 100 Thrills (2001)
AFI Awards 2001 (2001)
Performer
20th Century Fox: The Blockbuster Years (2000)
Hometown Heroes (1998)
Interviewee
The Hunger: An MTV Sneak Preview (1997)
Interviewee
Star Wars: The Magic and the Mystery (1997)
Columbus: The World's First Astronaut (1992)

Producer (Special)

Churchill At War (2009)
Executive Producer

Director (Short)

Boy and Bicycle (1965)
Director

Cast (Short)

One of the Missing (1971)

Cinematography (Short)

Boy and Bicycle (1965)
Cinematographer

Writer (Short)

Boy and Bicycle (1965)
Writer

Producer (Short)

Boy and Bicycle (1965)
Producer

Producer (TV Mini-Series)

The Andromeda Strain (2008)
Executive Producer
The Company (TNT) (2007)
Executive Producer

Articles

Blade Runner: The Final Cut (1982/2007)


At one time, it would have been highly unusual for a film to be released in one version then re-released in an alternative edit. Preview audiences frequently saw an early cut of a film and offered feedback that went into preparing the final version, but once it went into general release, that was it. The idea of a director’s cut, even for some of the most powerful and independent directors, was rather unthinkable (an exception being Chaplin’s 1942 self-release of a new version of The Gold Rush, 1925). Movies were often trimmed to please censorship boards and assure distribution in cities, states and countries with even more restrictive notions of acceptability than the Hayes Office. But the Hollywood system had little place for an alternative edition designed to showcase an artistic vision that contrasted with a studio’s official version.

Things noticeably changed around the 1970s. Some sources point to the box office success of the 1974 re-release of The Wild Bunch (1969), with its restoration of ten minutes originally cut to assure an R rating, as the beginning of the trend. Since then, particularly with the rise of home video in the 1980s, we’ve seen multiple versions of work by George Lucas, Peter Bogdanovich, Steven Spielberg and James Cameron, among others. Classic films got the re-do treatment as well; Orson Welles’ Touch of Evil (1958) was re-edited in 1976 and again in 1998. Now, TCM is partnering with filmmaker Joshua Greenberg to hunt for the lost footage of Welles’ studio-butchered masterpiece The Magnificent Ambersons (1942).

Which brings us to one of the most relentlessly reworked films of recent years, Ridley Scott’s Blade Runner (1982). Most people today know the story of this atmospheric sci-fi thriller about the hunt for rogue replicants (humanoids manufactured essentially for slave labor in off-world colonies) causing mayhem in 2019 Los Angeles in their quest for freedom and longer lives. Discussing in detail the differences in various versions of the film would likely require spoilers. In an effort to minimize that here, readers are advised to go online for the explicit changes, deletions and additions made over the years. There is no dearth of information out there regarding the numerous cuts.

A workprint version shown to test audiences early in 1982 was badly received, so a “happy ending” and voiceover narration (by the lead character, Deckard, a replicant hunter or “blade runner”) was added for the U.S. theatrical release that June. Scott had no control over this, and Harrison Ford, who plays Deckard, strongly objected being called back by the film’s backers to record the narration. Responding to rumors that he had deliberately botched the reading to keep it from being used, Ford told Playboy in 2002: “I delivered it to the best of my ability, given that I had no input. I never thought they'd use it. But I didn't try and sandbag it. It was simply bad narration." This version got mixed reviews from critics (“muddled yet mesmerizing” – The New York Times) and fared poorly at the box office.

An unrated international cut was released abroad later that summer with three violent action scenes missing from the U.S. release. This version was released on home video (VHS and laserdisc) in 1992 as the 10th Anniversary Edition.

In 1989 and 1990, film preservationists discovered a 70mm print of Blade Runner in post-production vaults. On hearing about this, a theater in Los Angeles got permission from Warner Bros. to screen it as the Director’s Cut. This “new” edition, however, turned out to be nothing more than the original 1982 workprint. When Scott publicly disowned it, Warners pulled the print from distribution and assembled a new cut with notes and direction from Scott and gave it a 1992 theatrical release. This version removed Deckard’s voiceover and the ending imposed by the studio for the 1982 release and added a dream sequence of a unicorn and some other small bits to flesh out certain sequences.

Critics and audiences took more warmly to this version but many reviews, while praising the overall style and neo-noir feel and singling out Douglas Trumbull’s virtuoso special effects work, still found the human dimension of the story to be lacking. Likewise, Scott was still not pleased that it reflected his truest vision. Because he was working on two other films while the restoration work was being done, he felt he had not devoted enough attention to this so-called Director’s Cut.

Now we come at last to the Final Cut, the most acclaimed and critically satisfying version to date and the one being screened on TCM beginning in 2021. This is the cut that was firmly and completely under Ridley Scott’s control in 2000.

After several years of legal wrangling with Warner Bros., the film was released in 2007. Although he decided not to replace Trumbull’s work with CGI effects (a practice widely slammed when Lucas did it to his original Star Wars trilogy), Scott did allow for digital enhancement that brightened the overall look, revealing details that had originally been hidden or at best murky. Some sequences, such as the unicorn dream, were extended and clarified, the more violent moments from the international version were included, mistakes and discontinuities were corrected. This version also retains a more downbeat and ambiguous ending.

Many critics completely revised their initially tepid reaction to the film in 1982, calling it “stunning,” “an overwhelming experience,” and “one of the most extraordinary worlds ever created on film.”

Neither Scott nor anyone else involved in this long saga has expressed a need or desire to revisit the film again. But the story was fleshed out further to largely positive response in the sequel Blade Runner 2049 (2017), directed by Denis Villeneuve (Arrival, 2016; Dune, 2021) from a script co-written by Hampton Fancher, one of the writers on the original film.

Blade Runner: The Final Cut (1982/2007)

Blade Runner: The Final Cut (1982/2007)

At one time, it would have been highly unusual for a film to be released in one version then re-released in an alternative edit. Preview audiences frequently saw an early cut of a film and offered feedback that went into preparing the final version, but once it went into general release, that was it. The idea of a director’s cut, even for some of the most powerful and independent directors, was rather unthinkable (an exception being Chaplin’s 1942 self-release of a new version of The Gold Rush, 1925). Movies were often trimmed to please censorship boards and assure distribution in cities, states and countries with even more restrictive notions of acceptability than the Hayes Office. But the Hollywood system had little place for an alternative edition designed to showcase an artistic vision that contrasted with a studio’s official version.Things noticeably changed around the 1970s. Some sources point to the box office success of the 1974 re-release of The Wild Bunch (1969), with its restoration of ten minutes originally cut to assure an R rating, as the beginning of the trend. Since then, particularly with the rise of home video in the 1980s, we’ve seen multiple versions of work by George Lucas, Peter Bogdanovich, Steven Spielberg and James Cameron, among others. Classic films got the re-do treatment as well; Orson Welles’ Touch of Evil (1958) was re-edited in 1976 and again in 1998. Now, TCM is partnering with filmmaker Joshua Greenberg to hunt for the lost footage of Welles’ studio-butchered masterpiece The Magnificent Ambersons (1942).Which brings us to one of the most relentlessly reworked films of recent years, Ridley Scott’s Blade Runner (1982). Most people today know the story of this atmospheric sci-fi thriller about the hunt for rogue replicants (humanoids manufactured essentially for slave labor in off-world colonies) causing mayhem in 2019 Los Angeles in their quest for freedom and longer lives. Discussing in detail the differences in various versions of the film would likely require spoilers. In an effort to minimize that here, readers are advised to go online for the explicit changes, deletions and additions made over the years. There is no dearth of information out there regarding the numerous cuts.A workprint version shown to test audiences early in 1982 was badly received, so a “happy ending” and voiceover narration (by the lead character, Deckard, a replicant hunter or “blade runner”) was added for the U.S. theatrical release that June. Scott had no control over this, and Harrison Ford, who plays Deckard, strongly objected being called back by the film’s backers to record the narration. Responding to rumors that he had deliberately botched the reading to keep it from being used, Ford told Playboy in 2002: “I delivered it to the best of my ability, given that I had no input. I never thought they'd use it. But I didn't try and sandbag it. It was simply bad narration." This version got mixed reviews from critics (“muddled yet mesmerizing” – The New York Times) and fared poorly at the box office.An unrated international cut was released abroad later that summer with three violent action scenes missing from the U.S. release. This version was released on home video (VHS and laserdisc) in 1992 as the 10th Anniversary Edition.In 1989 and 1990, film preservationists discovered a 70mm print of Blade Runner in post-production vaults. On hearing about this, a theater in Los Angeles got permission from Warner Bros. to screen it as the Director’s Cut. This “new” edition, however, turned out to be nothing more than the original 1982 workprint. When Scott publicly disowned it, Warners pulled the print from distribution and assembled a new cut with notes and direction from Scott and gave it a 1992 theatrical release. This version removed Deckard’s voiceover and the ending imposed by the studio for the 1982 release and added a dream sequence of a unicorn and some other small bits to flesh out certain sequences.Critics and audiences took more warmly to this version but many reviews, while praising the overall style and neo-noir feel and singling out Douglas Trumbull’s virtuoso special effects work, still found the human dimension of the story to be lacking. Likewise, Scott was still not pleased that it reflected his truest vision. Because he was working on two other films while the restoration work was being done, he felt he had not devoted enough attention to this so-called Director’s Cut.Now we come at last to the Final Cut, the most acclaimed and critically satisfying version to date and the one being screened on TCM beginning in 2021. This is the cut that was firmly and completely under Ridley Scott’s control in 2000.After several years of legal wrangling with Warner Bros., the film was released in 2007. Although he decided not to replace Trumbull’s work with CGI effects (a practice widely slammed when Lucas did it to his original Star Wars trilogy), Scott did allow for digital enhancement that brightened the overall look, revealing details that had originally been hidden or at best murky. Some sequences, such as the unicorn dream, were extended and clarified, the more violent moments from the international version were included, mistakes and discontinuities were corrected. This version also retains a more downbeat and ambiguous ending.Many critics completely revised their initially tepid reaction to the film in 1982, calling it “stunning,” “an overwhelming experience,” and “one of the most extraordinary worlds ever created on film.”Neither Scott nor anyone else involved in this long saga has expressed a need or desire to revisit the film again. But the story was fleshed out further to largely positive response in the sequel Blade Runner 2049 (2017), directed by Denis Villeneuve (Arrival, 2016; Dune, 2021) from a script co-written by Hampton Fancher, one of the writers on the original film.

Life Events

1962

Directed his first short film "Boy and Bicycle" (released 1965), shot during attendance at Royal College of Art; starred brother Tony and their father

1963

Joined BBC television as a production designer; later promoted to director

1965

Directed episodes of popular crime docudrama series "Z Cars" (BBC)

1968

With brother Tony, co-founded Ridley Scott Associates, a commercial production house; served as managing director

1977

Made feature directorial debut, with period drama "The Duellists"

1979

Directed the stylish and thrilling sci-fi actioner "Alien"

1982

Helmed the sci-fi sleeper hit "Blade Runner"; film was a box-office bomb upon release, but gained a cult following in subsequent decades

1985

Stumbled with the fantasy "Legend," starring Tom Cruise; film was critical and box-office disappointment

1987

Executive produced "Someone to Watch Over Me," a rather conventional but visually stylish romantic thriller; also directed

1989

Helmed the intriguing thriller "Black Rain" about two NYC cops who must escort members of the Yakuza back to Japan

1991

Produced and directed the acclaimed and controversial "Thelma & Louise"

1992

Helmed "1492: The Conquest of Paradise," starring Gerard Depardieu as Christopher Columbus

1994

Served as producer only in "Monkey Trouble" and the remake of "The Browning Version," helmed by Mike Figgis

1995

Formed (with brother Tony) the film and television production company Scott Free Productions in Los Angeles, CA

1995

With brother Tony, purchased London's Shepperton Studios from Panavision subsidiary Lee International

1996

Executive produced and directed "White Squall," a fact-based tale of a prep school aboard a brigantine

1997

Directed Demi Moore in "G.I. Jane"

1998

Co-produced "Clay Pigeons," helmed by David Dobkin

1999

Served as excutive producer of the acclaimed HBO original movie "RKO 281," about the making of 1941 classic "Citizen Kane"

2000

Produced "Where the Money Is," a modest caper film enlivened by the casting of Paul Newman and Linda Fiorentino

2000

Directed the box-office smash "Gladiator," a drama set in ancient Rome starring Russell Crowe; film received 12 Oscar nominations, including one for Best Director

2001

Helmed "Hannibal," the long-awaited sequel to "The Silence of the Lambs"

2001

Directed the fact-based drama "Black Hawk Down" about the 1993 U.S. raid on Somalia

2003

Directed Nicolas Cage and Sam Rockwell in "Matchstick Men"

2005

Directed Orlando Bloom in "Kingdom of Heaven," about the 12th Century Crusades

2006

Once again directed actor Russell Crowe in the romantic drama "A Good Year"

2007

Helmed "American Gangster," starring Denzel Washington and Crowe; film based on "The Return of Superfly," a <i>New York</i> magazine story by Mark Jacobson about the rise and fall of the 1970s heroin kingpin Frank Lucas

2007

Released "Blade Runner: The Final Cut" to theaters, cementing its legacy as perhaps the greatest sci-fi film of all time

2008

Once again teamed with Crowe for the film adaptation of "Body of Lies"

2010

Co-produced with brother Tony, the film adaptation of the 1980s TV cult classic "The A-Team"

2010

Helmed an adaptation of "Robin Hood," starring Crowe as the legendary outlaw and Cate Blanchett as Lady Marian

2010

Executive produced the Starz miniseries "The Pillars of the Earth"

2012

Returned to sci-fi roots as director and producer of "Prometheus," starring Noomi Rapace, Charlize Theron, and Michael Fassbender

2013

Directed offbeat rime thriller "The Counselor"

2014

Directed biblical epic "Exodus: Gods and Monsters"

2015

Executive produced Amazon TV series "The Man in the High Castle," based on the novel by Philip K. Dick

2015

Directed science fiction drama "The Martian"

2016

Received a Best Picture Oscar nod for producing "The Martian"

2017

Directed historical drama "All the Money in the World"

2017

Directed "Alien" franchise prequel (and "Prometheus" sequel" "Alien: Covenant"

2017

Executive produced "Blade Runner 2049," the sequel to his cult hit "Blade Runner"

Photo Collections

Thelma & Louise - Movie Poster
Here is the American one-sheet movie poster for Thelma & Louise (1991), starring Susan Sarandon and Geena Davis. One-sheets measured 27x41 inches, and were the poster style most commonly used in theaters.
Alien - Lobby Card Set
Here is a set of Lobby Cards from Fox's Alien (1979), directed by Ridley Scott. Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.

Videos

Movie Clip

Thelma & Louise -- (Movie Clip) Are You Up To This? Now fugitives, Louise (Susan Sarandon) explains her plans to Thelma (Geena Davis) then phones boyfriend Jimmy (Michael Madsen), in Ridley Scott's Thelma & Louise, 1991.
Thelma & Louise -- (Movie Clip) Let's Dance! Thelma (Geena Davis) has persuaded Louise (Susan Sarandon) to stop by the "Silver Dollar," where they meet Harlan (Timothy Carhart), en route to their weekend in the mountains, in Ridley Scott's Thelma & Louise, 1991.
Thelma & Louise -- (Movie Clip) Don't Holler Like That! Introductory scenes, as waitress Thelma (Susan Sarandon) rings pal Louise (Geena Davis), dealing with her un-charming husband Darryl (Christopher McDonald), opening Ridley Scott's Thelma & Louise, 1991.
Gladiator (2000) -- (Movie Clip) Let Us Whisper Now Joining the conversation mid-stream, Roman general Maximus (Russell Crowe) in counsel with his dying emperor Marcus Aurelius (Richard Harris), an early scene from Ridley Scott's Gladiator, 2000.
Gladiator (2000) -- (Movie Clip) A Soldier's Death Roman General Maximus (Russell Crowe), having failed to swear allegiance to the dead emperor's son, is taken into the woods to be executed, not, in Ridley Scott's Gladiator, 2000.
Gladiator (2000) -- (Movie Clip) Open, Germania Opening titles with historical information to establish the fictional story, then Roman General Maximus (Russell Crowe) on the frontier, from Ridley Scott's Academy Award-winning Gladiator, 2000.
Gladiator (2000) -- (Movie Clip) You Have Missed The War Commodus (Joaquin Phoenix), son of the emperor Marcus Aurelius, rides to join his father (Richard Harris) and general Maximus (Russell Crowe) at the site of their victory over Germanic tribes, in Ridley Scott's Gladiator, 2000.
Duellists, The -- (Movie Clip) Scratched By A Woman! Surgeon Jacquin (Tom Conti) receives officer D'Hubert (Keith Carradine) and is sent to patch up the other guy, in an early scene from Ridley Scott's The Duellists, 1978, from a Joseph Conrad story.
Duellists, The -- (Movie Clip) Open, Appetite Opening credits followed by Stacy Keach reading from Joseph Conrad's original story and Harvey Keitel (as "Feraud") engaged in a sword-fight, from Ridley Scott's first feature, The Duellists, 1978.
Duellists, The -- (Movie Clip) I Have Orders D'Hubert (Keith Carradine) is an officer in Napoleon's army, sent to arrest Feraud (Harvey Keitel) at a party, for having taken part in a duel, in Ridley Scott's The Duellists, 1978.

Trailer

Family

Jean Scott
Mother
Died in 2001.
Tony Scott
Brother
Director. Born on June 21, 1944.
Jordan Scott
Daughter
Director.
Jake Scott
Son
Director. Born c. 1965.
Luke Scott
Son
Director. Born c. 1968.

Companions

Donna Scott
Wife
Divorced.

Bibliography

Notes

Scott chairs a production company with his brother Tony called Scott Free.

Scott's commercial work has been recognized at Cannes, Venice and by the New York Art Directors' Club.

Since the 1990s, Ridley Scott has enjoyed a secondary career as a producer of such efforts as the 1994 remake of "The Browning Version", "Clay Pigeons" (1998), the acclaimed HBO drama "RKO 281" (1999) and the Paul Newman vehicle "Where the Money Is" (2000).

In 2002, the Scott brothers along with Michael Grade announced plans to construct a state-of-the-art "megastudio" in Toronto. According to the announced plans, construction would begin in March 2003 with an anticipated opening in spring 2004.

"... I've never had a problem with strong females. I'm still very much involved in advertising. I've got two companies, and over the past years, the best guys got the jobs of running them--and they both happened to be female. I just seem to find females in general carry intuition that's more accurate than men's. ... I've never really had a problem dealing with and losing arguments to women. o in regards to dealing with the roles they play in my films, it's always been fun really--enjoyable." --Ridley Scott quoted in BuzzWeekly, August 22-28, 1997.

"I'm so heavily oriented visually that the way I make films is second nature to me. In preparing a film a lot of directors delegate, in terms of the visual side of things, leave it to other people, and concentrate on the actors and the script; I like to concentrate on everything. I do all my own location hunting; for "G.I. Jane" I must have seen over 30 military camps and operational bases, and I find that kind of thing absolutely invaluable. Not only do you see everything, you meet people, officers, soldiers in the ranks. It's all an educational process, and that's essential." --Ridley Scott quoted in the London Times, November 8, 1997.

"I'm only competitive with myself." --Scott quoted in the London Times, November 8, 1997.

"Most people never tell you the truth. I'll show [brother] Tony a cut of my film, even before the studio sees it. Or vice versa. And then he'll give me 30 pages of notes. But it's always good to be able to bounce things off someone." --Scott to the London Times, November 8, 1997.

On his interest in the military, Scott told Empire (December 1997): "I am interested in that arena. It's pretty sick, I suppose, because in the end they are killers. But they serve their purpose, and there are arguments for and against. But there is war. There's an argument for the presence of real power; the fact that there has been no third world war. Others will argue that that's just a matter of time. But I think not. I think there is an argument for a deterrent."

"What I do is create worlds. Whether it's historical or futuristic, creating a world is the most attractive thing to me about filmmaking because everything goes--it's a matter of drawing up your own rule book and sticking to it." --Ridley Scott to Los Angeles Times Calendar, April 23, 2000.

"Over the years, I've learned to pay attention to material to the extent that I now understand that story and characters are the most important thing in any movie. The audience must identify with someone in a film and go on a journey with them. That's called escapism. I don't care if it's the stupidest mainstream movie or a really smart movie--it's got to communicate." --Ridley Scott quoted in Los Angeles Times Calendar, April 23, 2000.

On the revised impression of "Blade Runner", now thought to be one of the 1970s most influential films, Scott told Stephen Rebello of Movieline (May 2000): "Revenge isn't really sweet when it comes too many years later. As you mature, you realize all the more that the key audience member you must make truly happy is yourself. I'm always sufficiently pragmatic now by the end of the of a film to sit back, stare at it and go, 'That works' or 'Not a bad patch-up, despite a few errors here and there.' Beyond that, you need luck in everything. Why do people got for a film in a huge way when you look at it and go, 'Well, it's OK but it doesn't warrant a giant reaction.' Certain movies just color people's imaginations and you can't predict that."