After changing the face of science fiction cinema forever with Alien and Blade Runner, director Ridley Scott turned his visionary eye to the fantasy genre, teaming with writer William Hjortsberg (Angel Heart) to create a breathtaking cinematic fairytale with one of the screen’s most astonishingly rendered depictions of Evil.

In an idyllic, sun-dappled forest, the pure-hearted Jack (Tom Cruise) takes his true love Princess Lili (Mia Sara) to see a pair of unicorns frolicking at the forest’s edge. Little do they know, however, that the Lord of Darkness (Tim Curry, in a remarkable make-up designed by The Thing’s Rob Bottin) has dispatched his minions to capture the unicorns and sever their horns so that he may plunge the world into everlasting night. After Lili and the unicorns are taken prisoner, Jack must team with a group of forest creatures and descend into Darkness’ subterranean lair to face off against the devilish creature before it is too late.

Despite a troubled production in which the elaborate full-size forest set was accidentally incinerated and a lengthy post-production that resulted in multiple versions of the film (with competing music scores by Jerry Goldsmith and Tangerine Dream), Legend has since been restored to Scott’s original cut and embraced by generations of film fans eager to see a master director’s unique vision of a world beyond our imagination.

+Commentary with director Ridley Scott

2.71GB | 1h 53m | 1024×436 | mkv

https://nitro.download/view/8CA797CABB1FAED/Legend.1985.Director’s.Cut.BDRIP.576p.x264.AC3.KJNU.mkv

Language:English
Subtitles:None

The post Ridley Scott – Legend [Director’s Cut] (1985) first appeared on Cinema of the World.

SYNOPSIS:
Los Angeles, year 2019. Cynical ex-cop Deckard (Harrison Ford) is a retired assassin of rogue androids (called “replicants”). His former boss, Bryant (M. Emmet Walsh), presses him into service: he is to kill a group of physically superior replicants that are on the loose after escaping from an “off-world” colony. Deckard visits the Tyrell Corporation, where he encounters mogul Eldon Tyrell (Joseph Turkel) and his assistant, Rachael (Sean Young). Tyrell informs Deckard that Rachael is a new breed of replicant–implanted with memories, she believes herself to be human. Bent on speaking to Tyrell in order to find out what their “termination dates” are, two of the replicants–Roy Batty (Rutger Hauer) and Pris (Daryl Hannah)–insinuate themselves into the home of geneticist J.F. Sebastian (William Sanderson), who created the replicant design for Tyrell. In the meantime, two more of the replicants have been disposed of and Deckard has become romantically obsessed with Rachael.
©DBSYNOPSIS: From dvdbeaver: Los Angeles, year 2019. Cynical ex-cop Deckard (Harrison Ford) is a retired assassin of rogue androids (called “replicants”). His former boss, Bryant (M. Emmet Walsh), presses him into service: he is to kill a group of physically superior replicants that are on the loose after escaping from an “off-world” colony. Deckard visits the Tyrell Corporation, where he encounters mogul Eldon Tyrell (Joseph Turkel) and his assistant, Rachael (Sean Young). Tyrell informs Deckard that Rachael is a new breed of replicant–implanted with memories, she believes herself to be human. Bent on speaking to Tyrell in order to find out what their “termination dates” are, two of the replicants–Roy Batty (Rutger Hauer) and Pris (Daryl Hannah)–insinuate themselves into the home of geneticist J.F. Sebastian (William Sanderson), who created the replicant design for Tyrell. In the meantime, two more of the replicants have been disposed of and Deckard has become romantically obsessed with Rachael.
©DVDBeaver

2.29GB | 1 h 57 min | 1024×432 | mkv

https://nitroflare.com/view/618270A7BAF9EEC/Blade_Runner_-_Final_Cut.mkv

Language(s):English, German, Cantonese, Japanese, Hungarian
Subtitles:English, French, Spanish, Chinese, Japanese, Korean, and Portuguese

The post Ridley Scott – Blade Runner [The Final Cut] (2007) first appeared on Cinema of the World.

Ridley Scott: A Critical Filmography
by William B. Parrill
Paperback: 189 pages
Publisher: McFarland & Company (July 15, 2011)
Language: English
ISBN-10: 0786458666
ISBN-13: 978-0786458660

CONTENTS:
Preface 1
Introduction 3

1. Boy and Bicycle (1962): Playing Hooky 25
2. Adam Adamant Lives! (1966): The League of Uncharitable Ladies 28
3. The Duellists (1977): En Garde! 30
4. Alien (1979): Ripley on Call 36
5. Blade Runner (1982): At the Thanhauser Gate 43
6. Legend (1985): I Only Wanted to Touch One. Where’s the Harm in That? 58
7. Someone to Watch Over Me (1987): Is It Love, Mike? 63
8. Black Rain (1989): One Big Gray Area 68
9. Thelma & Louise (1991): On the Road: One Insult Too Far 74
10. 1492: Conquest of Paradise (1992): I Think We Have Returned to Eden 85
11. White Squall (1996): A Meterological Phenomenon of the Imagination 91
12. G. I. Jane (1997): Wild Thing 94
13. Gladiator (2000): There Was Once a Dream That Was Rome 100
14. Black Hawk Down (2001): Bird Down in the City 108
15. Hannibal (2001): Hannibal the Cannibal 116
16. Matchstick Men (2003): Mean Street Men in Bright Colors 125
17. All the Invisible Children (2005): “Jonathan”: The Rediscovery of Life Through Childhood 129
18. Kingdom of Heaven (2005): Jerusalem: The Center of the World for Forgiveness 131
19. A Good Year (2006): Postcards from Provence 138
20. American Gangster (2007): Cops Kill Cops They Can’t Trust 142
21. Body of Lies (2008): Closing Time 150
22. Robin Hood (2010): The Outlaw Returns to History 154

Filmography 161
Bibliography 165
Index 173

Ridley Scott, the director of such seminal films as Blade Runner, Alien and Thelma & Louise, is one of the most important directors of the last fifty years. Unlike many directors, Scott has been remarkably transparent about his craft, offering the audience glimpses into his creative process. This book explores Scott’s oeuvre in depth, devoting a chapter to his 22 primary works, from his first effort, Boy and Bicycle (1962), through Robin Hood (2010). Topics discussed include the critical reception of the films, and the ways in which Scott’s works function as cinematic mediators of issues such as religion, women’s rights and history.

https://nitroflare.com/view/9404CA866F1566E/William_B._Parrill_Ridley_Scott_A_Critical_Filmography__2011.pdf

The post William B. Parrill – Ridley Scott: A Critical Filmography (2011) first appeared on Cinema of the World.

Quote:
Boy and Bicycle is the first film made by Ridley Scott. The black and white short was made on 16mm film while Scott was a photography student at the Royal College of Art in London in 1962.

Although a very early work – Scott would not direct his first feature for another 15 years – the film is significant in that it features a number of visual elements that would be become motiffs of Scotts work. The film features the cooling towers of the Imperial Chemical Industries works at Billingham, foreshadowing images in Alien, Blade Runner and Black Rain. The central element of the Boy and the Bicycle is re-used in Scott’s advert for Hovis of the early 1970s. The film features Scott’s younger brother Tony Scott as the boy.

Scott secured finance from the British Film Institute to complete the editing and sound in 1965 including a track by John Barry called “Onward Christian Spacemen” which originally appeared as the “b” side of the theme to the television series “The Human Jungle” .
Scott wanted to use the existing recording by Barry, but the composer was so impressed by the young film maker he agreed to produce a new recording for the film at limited cost.

379MB | 26:43.080 | 704×512 | avi

https://nitro.download/view/EB54E73DB3AAA14/Ridley_Scott_-_Boy_and_Bicycle_(1965).avi
http://nitroflare.com/view/A67A1832AA6CFDC/Ridley_Scott_-_Boy_and_Bicycle_%281965%29.French.srt

Language(s):English
Subtitles:French

The post Ridley Scott – Boy and Bicycle (1965) first appeared on Cinema of the World.

Broadcast:
BBC1 on 13th October 1992

Summary:

Documentary profile of film director Ridley Scott. The programme traces Scott’s career from West Hartlepool Art School to the Royal College of Art to the BBC, where he worked as a designer and later director on programmes such as SOFTLY SOFTLY and ADAM ADAMANT LIVES! (extract shown). He then moved into advertising, his most celebrated work being the Hovis advertisements – works of his shown include films for Bird’s Eye Fish Fingers “Stowaway” (1969), Hovis “Bike Ride” and Apple Computers “1984” (1983). His brother Tony Scott also talks about his work in commercials, and how he took over the direction of the Hovis adverts when Ridley moved into features. After such work and the BFI-produced BOY AND BICYCLE (1965) made with his brother Tony (extracts shown), he then moved into feature film direction: extracts shown from THE DUELLISTS (1977), ALIEN (1979), BLADE RUNNER (1982), SOMEONE TO WATCH OVER ME (1987), BLACK RAIN (1989), THELMA & LOUISE (1991) and his most recent film, shown in production, 1492: CONQUEST OF PARADISE (1992). Ridley Scott’s direction of the film LEGEND (1985) is not considered in the programme. Various interviewees comment on his working methods, his flashes of temper, and his mastery of screen visuals. The contributors to the programme include Susan Sarandon, Sigourney Weaver, Michael Douglas, David Puttnam, Gerard Depardieu, Iain Smith, Stephen Crowther (a teacher from West Hartlepool Art School), Tony Scott, ad executive Barry Day, Keith Carradine, sons Jake and Luke Scott, H.R. Giger, Mimi Rogers, Andy Garcia, Callie Khouri, Geena Davis and BBC set designer Jeffrey Kirkland.

https://nitro.download/view/55EA7A76E36AB38/Omnibus_Ridley_Scott.avi

Language(s):English
Subtitles:None

The post Nadia Haggar – Omnibus: Eye of the Storm: Profile of Ridley Scott (1993) first appeared on Cinema of the World.