DEADLINE: They didn’t ask you back for the Alien sequel, which James Cameron directed. It’s very different, more of a roller-coaster ride.
SCOTT: Well, Jim is about that, the way he designs, his whole process is The Ride. As I learned somebody else was doing this, I actually had been trying to develop something. When Jim called me up and said, listen … he was very nice but he said, this is tough, your beast is so unique. It’s hard to make him as frightening again, now familiar ground. So he said, I’m going in a more action, army kind of way. I said, okay. And that’s the first time I actually thought, welcome to Hollywood.
DEADLINE: What was it like to learn about a sequel to your movie when your replacement calls you?
SCOTT: Jim and I talk often. We’re not exactly friends, but we do talk and he’s a great guy.
DEADLINE: How did you feel after you hung up that time?
SCOTT: I was pissed. I wouldn’t tell that to Jim, but I think I was hurt. I knew I’d done something very special, a one-off really. I was hurt, deeply hurt, actually because at that moment, I think I was damaged goods because I was trying to recover from Blade Runner. Which I thought I really got something pretty special, and then the previews were a disaster. And [my cut of] the film lay on a shelf for almost, I think 10 to 12 years after that until it was discovered by accident at a Santa Monica Film Festival. Somebody said, let’s dig out the old print and run it for fun. And they called Warners. And with the greatest respect to Warners, they’d lost the f*cking negative, which is like, what? And somebody panicked and went into a drawer, yanked up the first can that had Blade Runner on it, never checked it, sent it to Santa Monica.
They ran it. It was a cutting copy with partly Jerry Goldsmith on it, and partly my great musician on it. And it was a copy where we were getting reached to the end of the short strokes and trying to cut and recut to, as it were, save the movie. And this version had no voice-over and had what I call the film noir ending, which is Deckard stares at the origami in his hand, which is a unicorn, nods his head as if to agree and he goes off with his gal. So that got rediscovered. It came right out like a cannon shot, and went everywhere. And of course I know it. I knew it then that it was a very special form of science fiction. It hadn’t really been done like that ever and became a kind of copycat benchmark for most of the TV shows and science fictions. I mean, I got the social order of dystopian society really well, and I think that had never been done before. Now it’s copied again and again.
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