Even though there is some tension, the emotions between them are very different, just like the lighting. .
Scott scores more points for direction and innovation with some of the cuts between scenes. When Gaff brings Deckard into see Bryant, the scene directly switches from the roof to the lobby of the police station. But, once there, it descends along the back wall from the ceiling through the roof of Bryant's office and to about the height of Deckard's head once seated opposite Bryant. Not many directors would bother with a transition this complex for a single scene. But, Scott's interesting choices don't stop with camera work.
The structure of the film, though linear, offers a challenge as well. After repeated viewings and analysis, it becomes difficult to find a true climax of the film. One might say it climaxes when Deckard and Rachel become entangled as Deckard forces their romance. One could also say it happens when Deckard kills Zora, thus beginning his fight with Roy and the other replicants. One could also say it doesn't happen until almost the very end, when Deckard and Roy finally do battle. Like so many things in the film, it is left ambiguous for the viewer to mull over.
When trying to analyze what theme or themes are present in the movie, assumptions the movie operates under or social statements the film might be making, this ambiguity becomes central. The value of animal life is denoted many times. When Deckard asks if the owl is expensive Rachel replies "of course." Likewise Zara says "You think I"d be working here if I could afford a real snake?" But these are all in monetary terms and the director clearly questions consumerist society. Simply look at the ridiculous prominence of brand names and advertisement for everything from Coke to "off-world" colony living to strange pills who's geisha spokesmodel gladly ingests them on hundred-foot screens. .
But, if you look at the all of the deaths in the film (except for Roy's), they are horribly grisly.