THE PERVERSION OF ORDER

Two years after the release of the film, Ridley Scott contacted Stanley Kubrick so that he could use exterior sequences similar to The Shining for a studio-friendly version of Scott�s �Blade Runner�. Instead of providing names and numbers of suitable companies, Kubrick sent 30,000 feet of outtakes from the opening sequence over to Scott from which he could choose some suitable shots.

Even from the first shot, Kubrick reverses and rearranges the natural order. The camera that is tracking and following the car, isn�t just recording the events, but also demonstrates that it is a character in the play - by sweeping up behind the vehicle and then swooping up over and beyond it as if it were a bird. This inventive use of the camera is also dominant throughout the rest of the film. The camera is always in motion, always observing events, but rarely as a passive observer, more of a presence that follows and stalks the characters, and often representing the Overlook itself as it watches and manipulates events around it.