On Fri, 22 Feb 2008 22:31:02 +0100, Gnomus <gnomus@[EMAIL PROTECTED]
> wrote:
> In article <op.t6xwpozclt81g8@[EMAIL PROTECTED]
>, Martin Schemitsch
> <team8martinland@[EMAIL PROTECTED]
> wrote:
>
>> On Mon, 18 Feb 2008 06:49:02 +0100, Gnomus <gnomus@[EMAIL PROTECTED]
>
>> wrote:
>>
>> > In article <e8mdnV5oZpV4SyXanZ2dnUVZ_oaonZ2d@[EMAIL PROTECTED]
>, Alric
>> > Knebel <alric@[EMAIL PROTECTED]
> wrote:
>>
>> > The other thing, if I remember correctly, is the number of "skinjobs"
>> > on the loose is actually consistent and correct. So they went from
>> > having it right to screwing it all up.
>> >
>> >> And about that workprint, today was the first time I'd seen it.
>> >> Interesting. Not really a noticeable difference, except for the >>
>> music and the ending.
>> >
>> > There are actually a lot of little details that differ from the other
>> > versions, like when Deckard is looking at Leon's photos in the Esper
>> > and sees Roy, he says "Hello, Roy." I didn't register them all the
>> > first time I saw it.
>>
>> One thing Paul M. Sammon didn't mention, which I found very obvious
>> when I
>> finally saw (and heard) the work print for the first time:
>>
>> During the whole length of the s**** pit scene, there's ***ual panting
>> (presumably from the stage?) "hot" (both meanings!) on the soundtrack.
>> ;)
>>
>> Have a better one,
>> Martin
> Yeah, I didn't notice that (or at least I don't recall noticing it)
> while seeing it at the NuArt.
Cool, you WERE THERE? Lucky you! 8-D
> But it struck me this time. It's
> strange!
You know: The work print is something you have to watch over and over to
appreciate the subtle differences. Sounds familiar? ;-)
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