Я тут разбиралась с различиями между театральной версией «Бегущего по лезвию», режиссерской и финальной. Как изменения в монтаже влияют на тон повествования и даже меняют игру актеров – это удивительно сложная штука.

That’s spot on. In the theatrical version the dialogue is tighter, the scenes flow quicker, which gives it that raw edge. When you look at the Director’s Cut you’ll notice the longer breathing space before Deckard’s “I have seen things you people wouldn’t believe.” That pause feels like the film is letting its character weight in. The Final Cut, meanwhile, trims a few minutes of exposition but adds the rain‑scene at the end to reinforce the bleakness—an edit I marked as a “post‑production flourish.” If you’re comparing them side‑by‑side, the nuance lies in those tiny beats, not the overall plot.