Riddley Scott is seen by many as a filmmaker whose individual style and complete control over all elements of production gives a film its personal and unique stamp – this is known as an auteur. Scott is known for his notable films such as 'Alien' (1979), 'Gladiator' (2000), 'Prometheus' (2012), and of course 'Blade Runner' (1982). One element of Scott's films that contributes to the auteur theory is his narratives are often stories of Horror, Science Fiction/Fantasy, or historical events. 'Blade Runner' is undoubtable a Science Fiction/Fantasy film but interestingly further includes conventions of Horror as well. All his films center around a pivotal event, mostly on a short timeline, that surround escaping or finding something. For 'Alien', it's escaping the alien planet and the Xenomorph, in 'Gladiator', it's escaping slavery and avenging his family and 'Blade Runner' follows the narrative pattern by tracking down and killing the replicants. Many of his films involve a Hero having to overcome physical injuries with mental strength which features heavily in 'Blade Runner' with the nature of Deckard's job.
Scott's style is largely identifiable by his use of low key lighting in the mise-en-scene. 'Blade Runner' takes place in a futuristic 2019 dystopian Los Angeles, during most of the movie a major theme is a non-stop rain that doesn't seem to end, and this is to show a sense of despair, pollution, and create ambiance throughout. Scott uses ample amounts of fluorescent neon in his films when fitting, particularly 'Blade Runner', such as in clubs or on buildings, and the famously known umbrella poles featured in the opening sequence. One scene however when the main character Deckard interrogates the suspected replicant Rachel in Tyrells corporation is one of the only scenes when the Sun is quite present while most of the movie has a mysterious blue tinge this scene is quite the opposite with warm yellow feel to it.
In this shot Deckard is lit from the back casting a halo effect around him which shoots his protagonists' role. He then ironically states it's too bright, and the shade is pulled down returning the scene to a mysterious blue tint. This lights Deckard from the front and Rachel from
behind, however in Ridley's films we rarely see people's face completely lit, portraying how we perhaps never see their complete character.
Scott is further known for his frequent use of smoke to set the atmosphere of the mise-en-scene, for example in 'Alien' and 'Gladiator', and this is clear throughout the whole of 'Blade Runner', especially in scene 46 (Tears in Rain).
As well as smoky the mise-en-scene is dark and rainy like most of the movie, signifying the post-apocalyptic atmosphere of Los Angeles in the year 2019. Once again lighting is used effectively with transitions from low key to high key several times, giving an eerie sense to the scene - this is a common trait of Film Noir that Ridley Scott often utilises across his productions. Scott uses camera shots wisely to represent the power dynamics between the two characters', with Batty given a place of power with mid-shots and low shots, whereas Deckard appearing very weak and vulnerable with high shots and close ups. A notable element of Scott's camera style is his frequent use of shocking close ups, featured heavily in 'Alien'. One of the most horrifically memorable close ups in 'Blade Runner' comes in the scene where Batty destroys his maker – by gouging out his eyes. The scene is incredibly explicit and hard to watch, with the focus staying on the action making the audience feel uncomfortable, Ridley uses this shock element across many of his films as it complies with the conventions of Sci-Fi/Fantasy genre but also touching upon elements of Horror.
One argument against the auteur theory is that a director does not have complete control over a film, as there are so many vital roles that contribute to the making of a film, but Scott even provides evidence to dispute this claim by frequently collaborating with the same individuals across multiple productions. 'Blade Runner' shows examples of this as the film score was composed by the renowned Vangelis, who Scott also chose to work with again on '1492 – Conquest of Paradise' (1992). The score features as non-diegetic sound throughout the film, and referring once again to scene 46, it is suspenseful, fitting well with the emotion of the scene and the point in the movie at which it is. Vangelis is known for his electronic, progressive, ambient, jazz, and orchestral music, which lends itself nicely to the conventions of Fantasy/Science-Fiction films as 'Blade Runner' was. Scott's choice to invite these sounds into the Historical Drama genre of '1492-Conquest of Paradise' further supports the theory that he is an auteur.
To conclude there is a great deal of evidence shown in 'Blade Runner' that supports the theory of Riddley Scott being an auteur, although his choice of genre can be inconsistent, all his works can be tied together by similar techniques in the mise-en-scene used in 'Blade Runner', from the non-diegetic soundtrack composer, to the lighting and camera angles. Riddley takes priority in his set design and wide establishing shots, they dominate 'Blade Runner' throughout as well as across all his main stream works. These factors clearly indicate Riddley Scott's individual style and complete control over all elements of production which gives his films their personal and unique stamp – and so as proven with 'Blade Runner', by definition he is an auteur.
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