As my days are spent making up at 5am and working, then returning at 8pm I need to just give you a text message size response, prepare.
“Why is Roy clutching onto Sebastion’s jacket while going down in the elevator?" I’ll just give you my take on it.
In earlier drafts Roy killed his maker knowing this was just a “fake” father/replicant. Then, he would press sebastion to take him up to the “Real Father/Maker. This man was in the Pyramid’s penthouse. The went up together and Roy discovers the covered up secret. The real maker, lying frozen in a man size block of ice, has been dead almost four years.
In the first it was decided to cut this scene.
At the same time I was shooting the kill that first week.
Roy’s reason for grabbing Sebastian’s jacket was that first of all , I personally was deeply sad that it was deleted as I felt Roy was a soldier and not a killer of the innocent nexus six of kin. Second of all I felt that Roy was sad by having to execute his pal. All this while he also senses that his batteries are getting weaker and weaker. He clings on to the jacket like he will cling onto the dove.
This is not toy time anymore. In his last dance and chase he is clinging to life.
So when shooting this scene going down and the elevator stops for security reasons, he is completely
lost and back to the child program, full of loneliness and angst.
I asked widely what kind of voice he would have for
the elevator. I don’t remember if he had an answer but I felt I could improvise a little before retuning to behaving with logic and get the passkey out of Seabstion’s (how smart) to enter it before going down again.
So Roy’s squeezes the jacket. As if there was a heart or blood in it. He hears a woman’s voice. He instantly is a child and completely confused, thinking and hoping this is “MOM”. If there ever was one. Tyrell Memory Fucked. Like Rachel and the other Pal Leon Kowalski and his polaroid memory.