Some time later, the print was rediscovered by two film collectors at the same vault while searching for footage from The Alamo. When the Cineplex Odeon Fairfax Theater in Los Angeles learned of this discovery, the theater management got permission from Warner Bros. to screen the print for a film festival set for May 1990. Until the screening, no one had been aware that this print was the workprint version. Owing to this surprise, Warner Bros. booked more screenings of the now-advertised "Director's Cut" of Blade Runner in 15 US cities. Ridley Scott publicly disowned this workprint version of the film as a "director's cut," citing that it was roughly edited and lacked a key scene, and the climax did not feature the score composed for the film by Vangelis. (It featured a temporary track using Jerry Goldsmith's score from Planet of the Apes.) In response to Scott's dissatisfaction, Warner Bros. pulled theatrical screenings of the workprint in some cities, though it played at the NuArt Theater in Los Angeles and the Castro Theatre in San Francisco beginning in late 1991. In response to the sold-out screenings of the workprint (and to screenings of the theatrical cut in Houston and Washington, D.C.) and to the film's resurgent cult popularity in the early '90s, Warner Bros. decided to assemble a definitive director's cut of the film—with direction from Scott—for an official theatrical re-release in 1992. In addition to fleshing out several scenes, three major changes were made to the original theatrical cut: The removal of Deckard's thirteen explanatory voice-overs. The insertion of a dream sequence of a unicorn running through a forest at about the 42-minute mark. The removal of the studio-imposed "happy ending", including some associated visuals which had originally run under the film's end-credits. In this version the film ends when the elevator doors close as Deckard and Rachael leave. In 2000, Harrison Ford gave his view on the director's cut of the film, where he said that, although he thought it was "spectacular", it did not "move him at all". He gave a brief reason: "They haven't put anything in, so it's still an exercise in design." In 2021, Ridley Scott said on Marc Maron's podcast that the main incentive to alter the film was an idea for the sequel, which would reframe protagonist Rick Deckard as a replicant capable of reproducing. The Final Cut (2007) Ridley Scott's