1 00:00:15,725 --> 00:00:24,600 [♪♪♪♪♪] 2 00:00:28,571 --> 00:00:32,575 ED: I think the character is a modern knight in armor. 3 00:00:32,575 --> 00:00:35,978 VERHOEVEN: We were so on target. The movie is so precise. 4 00:00:35,978 --> 00:00:38,414 RANDY: The Verhoeven mantra on RoboCop was blood. 5 00:00:38,414 --> 00:00:40,383 I want more fucking blood. 6 00:00:40,383 --> 00:00:42,085 MAN 1: I never met anybody 7 00:00:42,085 --> 00:00:44,320 that had a good time making RoboCop. 8 00:00:44,320 --> 00:00:46,656 MICHAEL: The '80s in America were a tipping point. 9 00:00:46,656 --> 00:00:49,926 PETER: It had this prescient dark side. 10 00:00:49,926 --> 00:00:51,861 That's the lightning in the bottle. 11 00:00:51,861 --> 00:00:55,765 NANCY: It's a character that's a wonderful, unique hero. 12 00:00:55,765 --> 00:00:58,768 RONNY: One of the really iconic movies around. 13 00:00:58,768 --> 00:01:01,871 MAN 2: It lives because of its theme. 14 00:01:01,871 --> 00:01:06,342 And the theme is executed right down the line. 15 00:01:06,342 --> 00:01:10,546 ED: There's a sincere purity about his goals, 16 00:01:10,546 --> 00:01:12,381 and yet he promises action. 17 00:01:13,516 --> 00:01:18,387 [♪♪♪♪♪] 18 00:03:13,536 --> 00:03:16,038 ED: I'd been thinking about, sort of, action movies 19 00:03:16,038 --> 00:03:19,575 and strangely business in 1980. 20 00:03:19,575 --> 00:03:21,177 And in particular, I was thinking 21 00:03:21,177 --> 00:03:22,845 about how could I do a movie where there was business 22 00:03:22,845 --> 00:03:23,913 and action together. 23 00:03:25,414 --> 00:03:27,984 I'm Ed Neumeier, and I'm the co-screenwriter 24 00:03:27,984 --> 00:03:29,585 and co-producer of RoboCop. 25 00:03:30,586 --> 00:03:32,521 I was very interested in science fiction, 26 00:03:32,521 --> 00:03:35,758 and I was working as a reader at Warner Brothers. 27 00:03:35,758 --> 00:03:37,893 It was then called TBS. It was shared. 28 00:03:37,893 --> 00:03:39,262 Both Columbia Pictures and Warner Brothers 29 00:03:39,262 --> 00:03:40,763 were on it a lot. 30 00:03:40,763 --> 00:03:42,932 And that's where Blade Runner was shot. 31 00:03:44,066 --> 00:03:47,503 In 1981, when I was on the set of Blade Runner, 32 00:03:47,503 --> 00:03:48,704 I wasn't really working on the movie, 33 00:03:48,704 --> 00:03:50,573 but I was kind of pretending to. 34 00:03:50,573 --> 00:03:51,607 I remember asking someone on the set, 35 00:03:51,607 --> 00:03:52,942 "So, what's this movie about?" 36 00:03:52,942 --> 00:03:54,210 And they said, "Oh, it's about a robot." 37 00:03:54,210 --> 00:03:55,411 And I went, "Oh, cool, a robot." 38 00:03:55,411 --> 00:03:57,513 Because I always had liked robots. 39 00:03:57,513 --> 00:03:59,382 And then they pointed at Sean Young, 40 00:03:59,382 --> 00:04:00,916 and they said, "That's the robot." 41 00:04:00,916 --> 00:04:03,919 And I went, "Oh, no, that can't be the robot. 42 00:04:03,919 --> 00:04:05,454 I know what a robot looks like." 43 00:04:06,355 --> 00:04:07,456 And on the set of Blade Runner, 44 00:04:07,456 --> 00:04:09,558 I had the idea for RoboCop. 45 00:04:09,558 --> 00:04:11,093 And later that night, 46 00:04:11,093 --> 00:04:13,462 I saw that blue car which they call a spinner. 47 00:04:13,462 --> 00:04:15,131 And there was something to a young man 48 00:04:15,131 --> 00:04:17,133 that was very seductive about that. 49 00:04:17,133 --> 00:04:18,768 The name RoboCop came to my mind, 50 00:04:18,768 --> 00:04:22,204 and kind of an image of the character. 51 00:04:22,204 --> 00:04:25,107 And I give a lot of credit to Ridley Scott's art direction, 52 00:04:25,107 --> 00:04:27,810 to really creating a mood where suddenly, 53 00:04:27,810 --> 00:04:30,646 you have this idea about something else. 54 00:04:31,480 --> 00:04:33,549 And then it took about four years 55 00:04:33,549 --> 00:04:37,653 of thinking about this plot, and story, and the character 56 00:04:37,653 --> 00:04:39,622 until it really germinated into an idea 57 00:04:39,622 --> 00:04:41,624 I started writing down. 58 00:04:41,624 --> 00:04:43,159 But eventually, I got a better job, 59 00:04:43,159 --> 00:04:45,895 and I became an executive, a junior executive at Universal. 60 00:04:45,895 --> 00:04:48,664 I was reading a lot of comic books for a studio. 61 00:04:48,664 --> 00:04:50,266 They came to me one day, and said, 62 00:04:50,266 --> 00:04:51,667 "Ed, read these comic books." 63 00:04:51,667 --> 00:04:54,904 These, sort of, modern, neurotic superhero. 64 00:04:54,904 --> 00:04:57,740 Iron Man, Machine Man , because the superhero 65 00:04:57,740 --> 00:04:59,575 had, sort of, trouble being a superhero. 66 00:04:59,575 --> 00:05:01,143 Even though he had all these powers, 67 00:05:01,143 --> 00:05:02,845 there was, like, something going on inside. 68 00:05:02,845 --> 00:05:04,980 So, he was, sort of, like a superhero with a headache. 69 00:05:04,980 --> 00:05:06,482 You know, I kind of showed up suddenly, 70 00:05:06,482 --> 00:05:08,484 and I'm wearing a suit, and I'm a little nervous 71 00:05:08,484 --> 00:05:10,086 about, "Why am I here?" 72 00:05:10,086 --> 00:05:11,654 Because I didn't really feel like an executive type, 73 00:05:11,654 --> 00:05:12,621 but it was a good job. 74 00:05:12,621 --> 00:05:13,489 Yes, sir. 75 00:05:13,489 --> 00:05:14,790 You can, sort of, see 76 00:05:14,790 --> 00:05:16,692 in the executive scenes in RoboCop 77 00:05:16,692 --> 00:05:18,627 that there is that young character 78 00:05:18,627 --> 00:05:20,663 who eventually gets shot, you know? 79 00:05:20,663 --> 00:05:22,498 I kind of saw myself as Kinney. 80 00:05:22,498 --> 00:05:24,367 Too bad about Kenny, huh? 81 00:05:24,367 --> 00:05:25,634 That's life in a big city. 82 00:05:25,634 --> 00:05:27,002 It was while I was there 83 00:05:27,002 --> 00:05:28,504 that I was really doing a lot of the plotting, 84 00:05:28,504 --> 00:05:31,607 and that's where I met Michael Miner. 85 00:05:31,607 --> 00:05:34,009 My name is Michael Miner, and I co-wrote RoboCop. 86 00:05:34,009 --> 00:05:35,611 ED: Miner was older than me, 87 00:05:35,611 --> 00:05:37,813 but he was then a young filmmaker from UCLA, 88 00:05:37,813 --> 00:05:39,048 where I had also gone. 89 00:05:39,048 --> 00:05:41,517 Ed viewed a package of short films 90 00:05:41,517 --> 00:05:44,120 that a bunch of UCLA filmmakers made, 91 00:05:44,120 --> 00:05:45,988 and mine was one of them. 92 00:05:45,988 --> 00:05:49,125 I started shooting music videos as a director camera operator. 93 00:05:49,125 --> 00:05:51,627 Did about ten of them. They were heavy metal videos. 94 00:05:51,627 --> 00:05:56,031 I made experimental films in the vein of Nicolas Rogue 95 00:05:56,031 --> 00:05:58,401 and the French New Wave, 96 00:05:58,401 --> 00:06:00,703 but was also heavily influenced by Philip K. Dick 97 00:06:00,703 --> 00:06:02,905 and Jorge Luis Borges. 98 00:06:02,905 --> 00:06:05,341 They were my, you would say, literary mentors. 99 00:06:06,842 --> 00:06:08,677 The type of science fiction I was interested in 100 00:06:08,677 --> 00:06:10,413 had a social aspect. 101 00:06:10,413 --> 00:06:13,582 What it means to be human, what is reality, 102 00:06:13,582 --> 00:06:16,986 whether reality as we see it is questionable, 103 00:06:16,986 --> 00:06:19,255 all of those things. 104 00:06:19,255 --> 00:06:21,257 I started developing an idea called Supercop , 105 00:06:21,257 --> 00:06:25,594 which was about an appliance that a human wears 106 00:06:25,594 --> 00:06:27,663 that accelerates all of that person's 107 00:06:27,663 --> 00:06:29,165 physical attributes. 108 00:06:29,165 --> 00:06:31,100 And the crux of the drama was that it starts 109 00:06:31,100 --> 00:06:34,670 affecting the psychology of the cops in psychotic ways. 110 00:06:34,670 --> 00:06:36,405 He came to see me looking for a job, 111 00:06:36,405 --> 00:06:37,706 but instead, I said, 112 00:06:37,706 --> 00:06:39,008 "Hey, let's do a movie about a robot." 113 00:06:41,110 --> 00:06:42,845 We had lunch, and we found out, 114 00:06:42,845 --> 00:06:45,347 "Wow, we were thinking in these similar, sort of, vein 115 00:06:45,347 --> 00:06:48,083 of what is the future of law enforcement. 116 00:06:48,083 --> 00:06:50,352 And it was pretty much a, I won't say 117 00:06:50,352 --> 00:06:52,721 love at first sight, but we really hit it off. 118 00:06:52,721 --> 00:06:54,290 And one thing led to another. 119 00:06:54,290 --> 00:06:58,127 And we started writing a script on nights and weekends 120 00:06:58,127 --> 00:07:00,129 called RoboCop. 121 00:07:00,129 --> 00:07:01,897 MICHAEL: Ed and I do very different things, 122 00:07:01,897 --> 00:07:04,099 which is kind of what you want in a partnership. 123 00:07:04,099 --> 00:07:07,069 I am full of frothy amount of ideas, 124 00:07:07,069 --> 00:07:09,271 where Ed is more of a solid backstop, 125 00:07:09,271 --> 00:07:11,440 and he's a no BS kind of guy. 126 00:07:11,440 --> 00:07:15,077 So, part of our process was myself pitching things, 127 00:07:15,077 --> 00:07:17,079 nine of which were pretty bad, 128 00:07:17,079 --> 00:07:18,781 but the tenth one, when it landed, 129 00:07:18,781 --> 00:07:21,317 it was usually, you know, something that Ed recognized 130 00:07:21,317 --> 00:07:23,886 as a solid, dramatic piece. 131 00:07:23,886 --> 00:07:26,589 And that was part of the glue of our partnership. 132 00:07:26,589 --> 00:07:28,424 I actually told them 133 00:07:28,424 --> 00:07:30,226 that somebody in my family had died, 134 00:07:30,226 --> 00:07:33,429 so I could leave for two weeks and go write the first act, 135 00:07:33,429 --> 00:07:36,165 which I did in San Anselmo, the town where I grew up. 136 00:07:36,165 --> 00:07:38,467 And the funny part of it was that they sent me flowers, 137 00:07:38,467 --> 00:07:39,735 which I felt very bad about. 138 00:07:42,671 --> 00:07:46,141 MICHAEL: Ed had a very solid first act, including the torture murder. 139 00:07:46,141 --> 00:07:48,310 I came along and filled in a lot of blanks 140 00:07:48,310 --> 00:07:50,679 about the corporate conspiracy, 141 00:07:50,679 --> 00:07:53,582 how the criminals, Clarence and Dick Jones, 142 00:07:53,582 --> 00:07:57,453 linked up, had a kind of cabal to manipulate Delta City. 143 00:07:57,453 --> 00:07:59,421 At times, it was very difficult, 144 00:07:59,421 --> 00:08:02,858 because we were both in the room pacing, typing. 145 00:08:02,858 --> 00:08:06,362 We would be late at night, tugging over specific lines, 146 00:08:06,362 --> 00:08:07,630 specific jokes. 147 00:08:07,630 --> 00:08:09,498 It was very hard. 148 00:08:09,498 --> 00:08:11,600 But then there were other times when something came out, like, 149 00:08:11,600 --> 00:08:13,469 "He's old, we're young, that's life." 150 00:08:13,469 --> 00:08:16,972 I just blurted that out one day, and it just landed. 151 00:08:16,972 --> 00:08:20,042 We struggled together to figure this thing out. 152 00:08:20,042 --> 00:08:22,177 The great thing about the first drafts 153 00:08:22,177 --> 00:08:23,979 of RoboCop was they were funny, 154 00:08:23,979 --> 00:08:25,514 they were insightful, 155 00:08:25,514 --> 00:08:29,118 they were critiquing social mores of the time, 156 00:08:29,118 --> 00:08:30,719 particularly the Reagan era. 157 00:08:30,719 --> 00:08:31,987 MICHAEL: If you know anything 158 00:08:31,987 --> 00:08:34,356 about the '80s and Ronald Reagan, 159 00:08:34,356 --> 00:08:36,025 everything was privatized. 160 00:08:36,025 --> 00:08:38,627 The climate was ripe, I think. The country was ready. 161 00:08:38,627 --> 00:08:40,663 They were tired of this BS, right? 162 00:08:40,663 --> 00:08:44,667 And so, they were ready for this satire about Maricona. 163 00:08:44,667 --> 00:08:47,570 ED: I later offered Universal the script, 164 00:08:47,570 --> 00:08:49,505 and they said, "You've made a mistake. 165 00:08:49,505 --> 00:08:51,740 And the mistake you've made is that the robot 166 00:08:51,740 --> 00:08:53,142 should not look like a robot. 167 00:08:53,142 --> 00:08:54,577 It should look like a man on the outside. 168 00:08:54,577 --> 00:08:56,178 That's the way you do it," they said. 169 00:08:56,178 --> 00:08:57,813 'Cause they'd dumped The Six Million Dollar Man, 170 00:08:57,813 --> 00:08:59,882 and that's what they thought it should be. 171 00:08:59,882 --> 00:09:03,552 But luckily, they didn't buy it. 172 00:09:03,552 --> 00:09:06,522 MICHAEL: Terminator was about to come out. 173 00:09:06,522 --> 00:09:09,325 And we consciously stayed away from it as long as we could. 174 00:09:09,325 --> 00:09:12,161 There was an industry screening that we finally went to. 175 00:09:14,063 --> 00:09:16,832 ED: We saw it halfway through the writing of the script. 176 00:09:16,832 --> 00:09:18,567 There was a particular guy I was romancing, 177 00:09:18,567 --> 00:09:20,903 who I was trying to get to buy RoboCop. 178 00:09:20,903 --> 00:09:22,838 This guy named Stan Lee, 179 00:09:22,838 --> 00:09:24,740 who was then working for Marvel Pictures. 180 00:09:24,740 --> 00:09:27,443 And Marvel was not such a big going concern 181 00:09:27,443 --> 00:09:28,844 at that moment, and they liked it, 182 00:09:28,844 --> 00:09:30,879 but they didn't make an offer for it. 183 00:09:31,513 --> 00:09:33,382 We took Stan Lee during that time 184 00:09:33,382 --> 00:09:34,783 to Paramount Pictures 185 00:09:34,783 --> 00:09:36,585 to see an early screening of Terminator. 186 00:09:36,585 --> 00:09:39,788 And when we left the theater, Stan Lee turned to us, and said, 187 00:09:39,788 --> 00:09:42,291 "Well, boys, you're never gonna beat that!" 188 00:09:42,291 --> 00:09:44,293 And I was like, "Oh, shit." 189 00:09:46,028 --> 00:09:48,364 And so, we went back to work, and we finished the script. 190 00:09:48,364 --> 00:09:50,232 And in some ways, Terminator didn't hurt us, 191 00:09:50,232 --> 00:09:51,934 it helped us. 192 00:09:51,934 --> 00:09:53,736 Because for Orion, Terminator was this, sort of, 193 00:09:53,736 --> 00:09:55,137 down-and-dirty movie 194 00:09:55,137 --> 00:09:56,905 that they weren't even very happy about, 195 00:09:56,905 --> 00:09:58,741 and then it made a lot of money. 196 00:09:58,741 --> 00:10:01,043 And suddenly, they were like, "Oh. Well, that's not so bad." 197 00:10:01,043 --> 00:10:02,811 I have no doubt whatsoever 198 00:10:02,811 --> 00:10:05,714 that the reason why RoboCop was green-lighted at Orion 199 00:10:05,714 --> 00:10:07,950 was because Terminator had done so well. 200 00:10:07,950 --> 00:10:09,318 Later, Jim Cameron, 201 00:10:09,318 --> 00:10:10,753 I think, thought we had copied him, 202 00:10:10,753 --> 00:10:12,388 but it wasn't true, 203 00:10:12,388 --> 00:10:14,056 because I had never read the Terminator script, 204 00:10:14,056 --> 00:10:16,392 and we were-- you know, had plotted it completely 205 00:10:16,392 --> 00:10:17,393 and were halfway done. 206 00:10:19,428 --> 00:10:23,098 MICHAEL: The original spec was finished in December of 1984. 207 00:10:25,668 --> 00:10:28,637 Unlike Columbia and Fox, who both passed, 208 00:10:28,637 --> 00:10:31,340 Orion didn't have an apparatus to develop screenplays. 209 00:10:31,340 --> 00:10:33,742 Orion essentially rose from the ashes 210 00:10:33,742 --> 00:10:36,011 of United Artists, which was burnt to the ground 211 00:10:36,011 --> 00:10:38,180 by Michael Cimino in Heaven's Gate. 212 00:10:38,180 --> 00:10:40,449 And so, people like Mike Medavoy, 213 00:10:40,449 --> 00:10:43,018 a couple of other people, formed Orion Pictures. 214 00:10:43,018 --> 00:10:46,088 Orion were known for being a studio 215 00:10:46,088 --> 00:10:48,590 that you went to if you had a special project 216 00:10:48,590 --> 00:10:51,126 or if you wanted to get something done your way. 217 00:10:51,126 --> 00:10:52,294 You were left alone. 218 00:10:52,294 --> 00:10:54,630 A producer-driven company. 219 00:10:56,932 --> 00:10:59,635 John Davison producing a movie makes you believe in God. 220 00:10:59,635 --> 00:11:02,171 JOHN: John Davison, executive producer. 221 00:11:02,171 --> 00:11:04,540 Because there was nobody more perfect 222 00:11:04,540 --> 00:11:06,175 to produce this movie, and I did not know it. 223 00:11:06,175 --> 00:11:08,277 However, I did know of John Davison 224 00:11:08,277 --> 00:11:09,611 before I met him. 225 00:11:09,611 --> 00:11:11,046 I knew a bunch of the Corman people, 226 00:11:11,046 --> 00:11:13,182 and he was already respected in that crowd. 227 00:11:13,182 --> 00:11:15,384 I got a job for New World Pictures, 228 00:11:15,384 --> 00:11:17,786 was later in charge of production for him, 229 00:11:17,786 --> 00:11:21,457 and started producing pictures for Roger Corman. 230 00:11:21,457 --> 00:11:23,459 ED: So, the way we got it to him was, 231 00:11:23,459 --> 00:11:25,527 a friend of mine was friends with a director 232 00:11:25,527 --> 00:11:26,795 named Jonathan Kaplan. 233 00:11:26,795 --> 00:11:28,297 And Jonathan read it. 234 00:11:28,297 --> 00:11:29,698 And Jonathan said, "You know, this is perfect 235 00:11:29,698 --> 00:11:31,467 for John Davison." 236 00:11:31,467 --> 00:11:34,403 And Jonathan sent it to me, said, "This thing isn't for me, 237 00:11:34,403 --> 00:11:36,872 but, you know, maybe you'd be interested." 238 00:11:36,872 --> 00:11:39,208 So, I read it, and I was. 239 00:11:39,208 --> 00:11:41,710 ED: Jon Davison, I remember, called me, and he said... 240 00:11:41,710 --> 00:11:43,345 JON OVER TELEPHONE: It sounds good. 241 00:11:43,345 --> 00:11:45,080 Listen, let's make sure that the gang members 242 00:11:45,080 --> 00:11:46,815 don't sound like they're all Black, 243 00:11:46,815 --> 00:11:48,684 because I don't wanna make a racist movie. 244 00:11:48,684 --> 00:11:50,652 And so I inserted a line 245 00:11:50,652 --> 00:11:53,188 saying that there were several different colors. 246 00:11:53,188 --> 00:11:55,824 We had a meeting with Orion, and suddenly, 247 00:11:55,824 --> 00:11:57,659 they seemed to be serious about making the movie. 248 00:11:57,659 --> 00:11:59,061 Well, I wanna make a picture 249 00:11:59,061 --> 00:12:01,396 that I wouldn't mind watching, you know? 250 00:12:01,396 --> 00:12:04,233 And I thought all along, "We're gonna change the title. 251 00:12:04,233 --> 00:12:05,868 We're gonna change the title." 252 00:12:05,868 --> 00:12:07,402 "So, what are you working on?" someone says to you. 253 00:12:07,402 --> 00:12:10,572 And it was very hard to say, RoboCop. 254 00:12:10,572 --> 00:12:13,408 'Cause it sounds cheap and cheesy. 255 00:12:13,408 --> 00:12:15,344 A lot of directors wouldn't even look at it, 256 00:12:15,344 --> 00:12:17,045 because they thought it was gonna really look bad 257 00:12:17,045 --> 00:12:18,280 on their résumé. 258 00:12:18,280 --> 00:12:19,615 When they got the script in the mail, 259 00:12:19,615 --> 00:12:21,049 and they opened it up, it was RoboCop, 260 00:12:21,049 --> 00:12:22,751 and they, you know, throw it in the corner. 261 00:12:25,087 --> 00:12:26,522 ED: We couldn't get a director. 262 00:12:26,522 --> 00:12:28,056 We had bad directors that we didn't want. 263 00:12:28,056 --> 00:12:29,958 And then when we go, "Well, maybe that one," 264 00:12:29,958 --> 00:12:31,360 and then they go, "No, I can't do it. 265 00:12:31,360 --> 00:12:32,761 I gotta do something else." 266 00:12:32,761 --> 00:12:34,363 And so, we were always, almost being shut down, 267 00:12:34,363 --> 00:12:35,898 because we just couldn't get a director. 268 00:12:36,298 --> 00:12:37,800 I've always been of the opinion 269 00:12:37,800 --> 00:12:41,937 that European and African-American directors 270 00:12:41,937 --> 00:12:44,439 can criticize America better 271 00:12:44,439 --> 00:12:46,408 than their American counterparts. 272 00:12:46,408 --> 00:12:48,944 Orion had a relationship with Paul Verhoeven, 273 00:12:48,944 --> 00:12:50,913 because they had just made his movie, Flesh and Blood. 274 00:12:50,913 --> 00:12:52,414 So, I actually said, 275 00:12:52,414 --> 00:12:54,082 "You should check out this guy, Paul Verhoeven," 276 00:12:54,082 --> 00:12:55,984 because I was a big fan of Soldier Orange. 277 00:12:55,984 --> 00:12:57,719 There's one scene where he has somebody 278 00:12:57,719 --> 00:13:00,389 throw a grenade into an outhouse and kill somebody. 279 00:13:00,389 --> 00:13:01,824 Very scatological. 280 00:13:01,824 --> 00:13:04,393 His violence is very up front and open. 281 00:13:04,393 --> 00:13:06,962 The Europeans realized that a punch is a punch, 282 00:13:06,962 --> 00:13:08,230 and a bullet is a bullet. 283 00:13:09,765 --> 00:13:11,133 I'm Paul Verhoeven, 284 00:13:11,133 --> 00:13:14,069 and I'm the director of RoboCop. 285 00:13:14,069 --> 00:13:19,508 My career started somewhere in the late '60s, I would say, 286 00:13:19,508 --> 00:13:23,912 but I made my first real movies in early '70s, 287 00:13:23,912 --> 00:13:25,647 which was all in Holland. 288 00:13:25,647 --> 00:13:27,683 I got into military service, 289 00:13:27,683 --> 00:13:29,484 which was necessary at that time. 290 00:13:29,484 --> 00:13:31,486 You were forced, you were drafted. 291 00:13:31,486 --> 00:13:33,755 And I got myself in the film department. 292 00:13:33,755 --> 00:13:35,591 So, I made a documentary, 293 00:13:35,591 --> 00:13:38,327 Propaganda of the Dutch Marines. 294 00:13:38,327 --> 00:13:39,761 And it was very successful, 295 00:13:39,761 --> 00:13:42,097 and that basically brought me to television. 296 00:13:42,097 --> 00:13:45,868 Then I got basically in contact with a German-Dutch producer, 297 00:13:45,868 --> 00:13:48,503 Rob Hauer, and then we made a lot of movies. 298 00:13:48,503 --> 00:13:50,105 But the committees at that time 299 00:13:50,105 --> 00:13:51,707 were getting more and more left-winged, 300 00:13:51,707 --> 00:13:53,876 that I would say fascist left-wing, 301 00:13:53,876 --> 00:13:56,445 meant no art, no social contacts, 302 00:13:56,445 --> 00:13:57,946 no this, no that. 303 00:13:57,946 --> 00:14:00,849 And they started to refuse to give me money. 304 00:14:00,849 --> 00:14:03,151 I had some contact with American studios. 305 00:14:03,151 --> 00:14:07,055 I had even met Jon Davidson in one of my trips to Hollywood 306 00:14:07,055 --> 00:14:10,325 when I saw things were going bad in Holland. 307 00:14:10,325 --> 00:14:12,060 I prepared a little bit, 308 00:14:12,060 --> 00:14:14,062 but I didn't have the guts to do it. 309 00:14:16,565 --> 00:14:18,834 When the RoboCop script came in, 310 00:14:18,834 --> 00:14:21,837 my wife, Martine, said to me, 311 00:14:21,837 --> 00:14:24,506 "This is the possibility to go to the United States." 312 00:14:24,506 --> 00:14:26,208 And I didn't like that at all. 313 00:14:26,208 --> 00:14:28,310 In fact, I read 20, 30 pages, 314 00:14:28,310 --> 00:14:30,379 and saw it as absolutely ridiculous. 315 00:14:30,379 --> 00:14:31,647 He had done what many people do. 316 00:14:31,647 --> 00:14:33,348 "Oh, my God! 317 00:14:33,348 --> 00:14:35,317 It's called RoboCop," and throw it over his shoulder. 318 00:14:35,317 --> 00:14:39,021 I mean, even the title, RoboCop, was so far away 319 00:14:39,021 --> 00:14:41,356 from all the movies I had made, you know? 320 00:14:41,356 --> 00:14:44,092 I worked in a very realistic style. 321 00:14:44,092 --> 00:14:46,028 Basically, all the movies I did in Holland 322 00:14:46,028 --> 00:14:47,562 were mostly realistic. 323 00:14:47,562 --> 00:14:50,432 They were based often on biographies. 324 00:14:50,432 --> 00:14:53,835 And so, I felt that this was out of my range. 325 00:14:53,835 --> 00:14:58,607 And I thought, reading it, that it was silly. 326 00:14:58,607 --> 00:15:01,576 VERHOEVEN: We were on holidays in the Côte d'Azur. 327 00:15:01,576 --> 00:15:03,779 I was going for a swim, a long swim. 328 00:15:03,779 --> 00:15:06,214 And then my wife took the script, 329 00:15:06,214 --> 00:15:08,684 and then Martine read it, too. 330 00:15:08,684 --> 00:15:10,886 And then she said, "You know, I think you make a mistake." 331 00:15:10,886 --> 00:15:12,521 I think she read the scene 332 00:15:12,521 --> 00:15:14,589 where Murphy gets his hand blown off, 333 00:15:14,589 --> 00:15:16,425 and said, "You know, I think you'd like this," 334 00:15:16,425 --> 00:15:18,360 knowing her husband as she did. 335 00:15:18,360 --> 00:15:20,629 VERHOEVEN: Finally, I started to look at it with a dictionary 336 00:15:20,629 --> 00:15:22,030 because there were so many English words 337 00:15:22,030 --> 00:15:23,398 that I didn't know. 338 00:15:23,398 --> 00:15:25,901 And then it took perhaps a couple of weeks 339 00:15:25,901 --> 00:15:27,970 for me to think, "Martine is right. 340 00:15:27,970 --> 00:15:31,106 I can make it to something that interests me." 341 00:15:32,541 --> 00:15:36,578 And that was really based on very specific elements 342 00:15:36,578 --> 00:15:40,315 of the script with nearly biblical perspectives 343 00:15:40,315 --> 00:15:42,484 that I saw in the movie finally. 344 00:15:43,819 --> 00:15:46,888 Paul has a lifelong obsessional fascination 345 00:15:46,888 --> 00:15:48,724 with the historical Jesus, 346 00:15:48,724 --> 00:15:51,626 and he saw Robo as a Christian parable. 347 00:15:51,626 --> 00:15:53,128 The scene that decided me 348 00:15:53,128 --> 00:15:55,630 to really say, "Yes" to the movie 349 00:15:55,630 --> 00:15:58,233 was when Murphy comes to his house. 350 00:15:58,233 --> 00:16:01,470 For me, that was like lost paradise, 351 00:16:01,470 --> 00:16:03,271 kicked out of the Garden of Eden. 352 00:16:03,271 --> 00:16:04,973 And basically, we have this longing 353 00:16:04,973 --> 00:16:06,742 for getting back there. 354 00:16:06,742 --> 00:16:11,980 I started then to see in RoboCop kind of a Jesus. 355 00:16:11,980 --> 00:16:14,483 It was raised four or five different levels 356 00:16:14,483 --> 00:16:15,917 as soon as Paul came in 357 00:16:15,917 --> 00:16:18,286 with his sophistication, with his technique, 358 00:16:18,286 --> 00:16:20,655 his visceral way of telling a story. 359 00:16:20,655 --> 00:16:21,990 And then I think, "Okay. 360 00:16:21,990 --> 00:16:23,458 And then I'll do all the action, 361 00:16:23,458 --> 00:16:25,093 and the bang, bang, and the shoot, shoot. 362 00:16:25,093 --> 00:16:26,495 I'll take that, yeah." 363 00:16:26,495 --> 00:16:27,996 "That has to be done, too." 364 00:16:27,996 --> 00:16:30,298 Because English was his second language, 365 00:16:30,298 --> 00:16:32,768 he asked Ed and I, "What does this joke mean? 366 00:16:32,768 --> 00:16:34,636 What is this here?" 367 00:16:34,636 --> 00:16:36,938 ED: At the initial meeting, he said, "Why is this funny?" 368 00:16:36,938 --> 00:16:38,673 I think he didn't think it should be funny, 369 00:16:38,673 --> 00:16:40,442 and that he was uncomfortable with it. 370 00:16:40,442 --> 00:16:43,045 And I gave him a bunch of Judge Dredd comics, 371 00:16:43,045 --> 00:16:44,780 and I gave him some other comics 372 00:16:44,780 --> 00:16:46,048 of that period. 373 00:16:46,048 --> 00:16:47,616 And I said, "You should read this, 374 00:16:47,616 --> 00:16:49,151 'cause this is the spirit it's coming out of." 375 00:16:49,151 --> 00:16:50,685 There's a whole new thing happening in comics, 376 00:16:50,685 --> 00:16:52,454 and they're adult. 377 00:16:52,454 --> 00:16:54,689 He'd read the comic books, and he went, "Ah. Oh, I see." 378 00:16:54,689 --> 00:16:56,191 And he was very cool with that form. 379 00:16:56,191 --> 00:16:57,559 And he understood 380 00:16:57,559 --> 00:16:59,528 that we were doing something different. 381 00:16:59,528 --> 00:17:02,064 And Paul, to his credit, 382 00:17:02,064 --> 00:17:04,066 uh, was very loyal to the script. 383 00:17:05,901 --> 00:17:07,469 Jon Davison called 384 00:17:07,469 --> 00:17:09,171 all these special effects people, and said... 385 00:17:09,171 --> 00:17:10,806 JON OVER TELEPHONE: "You wanna work on our movie? 386 00:17:10,806 --> 00:17:12,474 We don't have any money, and I can't pay you." 387 00:17:12,474 --> 00:17:14,042 [laughs] 388 00:17:14,042 --> 00:17:16,311 Oh, my God. I can hire him. We can do this. 389 00:17:16,311 --> 00:17:18,747 I can get this guy, you know, we got Phil. 390 00:17:20,348 --> 00:17:23,685 PHIL: I had known Jon Davison for a number of years. 391 00:17:23,685 --> 00:17:26,688 And we worked on Joe Dante's second film, 392 00:17:26,688 --> 00:17:28,223 Piranha, together. 393 00:17:29,691 --> 00:17:32,994 Jon was always a big fan of stop-motion animation. 394 00:17:32,994 --> 00:17:35,597 He had been looking for projects for us 395 00:17:35,597 --> 00:17:37,365 to work on over the years, 396 00:17:37,365 --> 00:17:39,501 and RoboCop was one of the first ones that came up. 397 00:17:41,036 --> 00:17:43,071 I worked with Rob Bottin on Piranha 398 00:17:43,071 --> 00:17:45,507 when he was about 19 years old. 399 00:17:45,507 --> 00:17:49,377 So, I thought, "Well, Rob would be a real interesting guy 400 00:17:49,377 --> 00:17:50,779 to approach." 401 00:17:50,779 --> 00:17:53,181 Because he's an incredibly talented guy. 402 00:17:53,181 --> 00:17:54,749 I mean, he's an artist. 403 00:17:54,749 --> 00:17:56,685 Jon Davison knew all those guys. 404 00:17:56,685 --> 00:17:58,286 And that's what's amazing. 405 00:17:58,286 --> 00:18:01,523 He knew Pete Kuran. He knew Rocco Gioffre. 406 00:18:01,523 --> 00:18:03,525 He knew the entire team. 407 00:18:03,525 --> 00:18:05,193 Look at the effects credits on that. 408 00:18:05,193 --> 00:18:09,030 They're pretty good. 409 00:18:09,030 --> 00:18:10,398 ED: I think we ultimately start 410 00:18:10,398 --> 00:18:12,367 to talk about who could be in it, 411 00:18:12,367 --> 00:18:14,369 and, you know, our movie was looked at, like, 412 00:18:14,369 --> 00:18:16,471 "Well, you're not gonna get an A-lister to be in this." 413 00:18:16,471 --> 00:18:17,906 VERHOEVEN: I mean, I came to the United States, 414 00:18:17,906 --> 00:18:20,108 and I didn't know anybody. 415 00:18:20,108 --> 00:18:22,777 I knew some actors, of course, basically, from American movies, 416 00:18:22,777 --> 00:18:24,379 but I didn't know them. 417 00:18:24,379 --> 00:18:26,581 We would certainly not be working on that level. 418 00:18:26,581 --> 00:18:29,551 It had to be all the people that we could afford, 419 00:18:29,551 --> 00:18:31,153 but all people that we could afford, 420 00:18:31,153 --> 00:18:32,554 I wouldn't know in the first place. 421 00:18:33,555 --> 00:18:36,424 They came in, ten minutes, they did a part of the scene, 422 00:18:36,424 --> 00:18:38,126 "Thank you very much. Yes or no?" 423 00:18:39,461 --> 00:18:41,796 JON: Orion had just released Terminator. 424 00:18:41,796 --> 00:18:43,798 And so, they kept pushing, you know, 425 00:18:43,798 --> 00:18:45,734 Arnold Schwarzenegger as RoboCop. 426 00:18:45,734 --> 00:18:47,002 But then, of course, 427 00:18:47,002 --> 00:18:48,937 when we were talking to Rob Bottin, 428 00:18:48,937 --> 00:18:51,740 who built the costume, he said, "You know, what are you asking? 429 00:18:51,740 --> 00:18:53,942 Basically, Arnold is already like this, 430 00:18:53,942 --> 00:18:55,510 and I have added the costume, 431 00:18:55,510 --> 00:18:56,978 and it will be like that, you know? 432 00:18:56,978 --> 00:18:58,146 And it won't look good." 433 00:18:59,848 --> 00:19:02,617 JON: We auditioned and taped a lot of people. 434 00:19:02,617 --> 00:19:06,288 We knew we wanted, you know, a slim, sleek robot. 435 00:19:06,288 --> 00:19:07,822 The suit bulks you up. 436 00:19:07,822 --> 00:19:10,792 So, we needed somebody who was actually thinner 437 00:19:10,792 --> 00:19:13,128 than the final shape we wanted to achieve. 438 00:19:14,930 --> 00:19:16,464 ED: You know, we went through this whole long process, 439 00:19:16,464 --> 00:19:18,099 and we looked at certain people. 440 00:19:18,099 --> 00:19:20,468 We looked for a second at Keith Carradine, 441 00:19:20,468 --> 00:19:23,438 but Paul thought that he was a little too folksy. 442 00:19:23,438 --> 00:19:26,041 JON: And one of the people that flew down on their own dime 443 00:19:26,041 --> 00:19:27,809 was Peter Fonda. 444 00:19:27,809 --> 00:19:30,979 But we thought he might be just a little soft. 445 00:19:30,979 --> 00:19:33,114 ED: David Carradine came in for RoboCop. 446 00:19:33,114 --> 00:19:35,050 He was really funny. He's like, "Yeah. 447 00:19:35,050 --> 00:19:36,184 Come on, guys. Let's just do it." 448 00:19:36,184 --> 00:19:37,786 We saw everybody. 449 00:19:37,786 --> 00:19:39,988 And Rutger Hauer, who Paul had worked with 450 00:19:39,988 --> 00:19:41,456 on Flesh and Blood, 451 00:19:41,456 --> 00:19:42,691 and either they'd had enough of each other 452 00:19:42,691 --> 00:19:44,125 or they were scheduling differences, 453 00:19:44,125 --> 00:19:46,328 but Rutger was never really considered. 454 00:19:46,328 --> 00:19:49,130 Basically, the next choice was Michael Aronside, 455 00:19:49,130 --> 00:19:52,234 because we had all seen him in this television series, V. 456 00:19:52,234 --> 00:19:53,868 But when we were talking to Michael, 457 00:19:53,868 --> 00:19:57,339 he had such other ideas at that time. 458 00:19:57,339 --> 00:20:00,175 I won't say that they would want to rewrite the whole script, 459 00:20:00,175 --> 00:20:01,209 but nearly. 460 00:20:01,209 --> 00:20:02,811 And I remember wishing, 461 00:20:02,811 --> 00:20:04,579 "I wish that an actor would really take this on 462 00:20:04,579 --> 00:20:07,249 as a challenge and not get all wigged out 463 00:20:07,249 --> 00:20:08,683 that, you know, you're not gonna see his eyes 464 00:20:08,683 --> 00:20:10,385 all this time. 465 00:20:10,385 --> 00:20:11,653 Everybody was always like, "Oh, he's got to see his eyes." 466 00:20:11,653 --> 00:20:13,255 Even my writing partner would go, 467 00:20:13,255 --> 00:20:14,689 "Well, can't he just lift up his helmet sometimes?" 468 00:20:14,689 --> 00:20:16,891 And I said, "No, he can't! He can't do it. 469 00:20:16,891 --> 00:20:18,193 Not until the helmet comes off." 470 00:20:18,193 --> 00:20:19,594 That was, like, a big fight. So... 471 00:20:19,594 --> 00:20:21,563 When you pick the actor, look at his jawline. 472 00:20:21,563 --> 00:20:23,098 [laughs] 473 00:20:23,098 --> 00:20:24,699 And we looked. We did, you know? 474 00:20:24,699 --> 00:20:26,835 We were looking at the jawline all the time. 475 00:20:26,835 --> 00:20:28,837 Because that's all you will see, isn't it? 476 00:20:28,837 --> 00:20:31,840 You don't see his eyes anymore. You see only the jawline. 477 00:20:33,341 --> 00:20:35,076 ED: Orion made a movie called Buckaroo Banzai 478 00:20:35,076 --> 00:20:36,745 with Peter Weller in it. 479 00:20:36,745 --> 00:20:38,413 No matter where you go... 480 00:20:40,582 --> 00:20:42,350 ...there you are. 481 00:20:42,350 --> 00:20:44,219 ED: And they were suddenly interested in him 482 00:20:44,219 --> 00:20:45,420 because that movie had done pretty well 483 00:20:45,420 --> 00:20:48,423 in certain territories. 484 00:20:48,423 --> 00:20:50,625 So, he came in right at the end, 485 00:20:50,625 --> 00:20:52,260 and he wouldn't read on camera, 486 00:20:52,260 --> 00:20:53,628 and he wouldn't read in front of everybody. 487 00:20:53,628 --> 00:20:56,298 So, he read with me in front of Paul. 488 00:20:56,298 --> 00:20:58,967 And there was a very tense reading between Peter and I. 489 00:20:58,967 --> 00:21:00,468 I was, like, scared to read with him, 490 00:21:00,468 --> 00:21:02,304 and... and should have been. 491 00:21:03,471 --> 00:21:05,540 PETER: All right, are you ready? 492 00:21:05,540 --> 00:21:06,608 Are you rolling? 493 00:21:10,111 --> 00:21:11,379 Test, test, test. 494 00:21:13,381 --> 00:21:15,383 Dead or alive, you are coming with me. 495 00:21:20,822 --> 00:21:24,893 My career was essentially one of a jazz musician. 496 00:21:24,893 --> 00:21:26,661 I wanted to be Miles Davis. 497 00:21:26,661 --> 00:21:28,396 I went to North Texas State. 498 00:21:28,396 --> 00:21:30,432 I ended my music career by going, 499 00:21:30,432 --> 00:21:31,599 "I don't wanna get yelled at. 500 00:21:31,599 --> 00:21:32,767 I'm not going to be Miles Davis. 501 00:21:32,767 --> 00:21:34,402 I'm not that great. I'm good. 502 00:21:34,402 --> 00:21:35,637 I can make some money, 503 00:21:35,637 --> 00:21:37,138 but I don't wanna sit at a bandstand 504 00:21:37,138 --> 00:21:38,406 the rest of my life." 505 00:21:38,406 --> 00:21:41,242 So, I moved into acting and English 506 00:21:41,242 --> 00:21:43,978 just to get out of school and stay out of Vietnam. 507 00:21:43,978 --> 00:21:45,447 I worked in the theater right away, 508 00:21:45,447 --> 00:21:46,948 and I loved the theater, 509 00:21:46,948 --> 00:21:49,351 and I became a member of the actor's studio. 510 00:21:49,351 --> 00:21:51,953 I get to do this amazing Western with Richard Lester. 511 00:21:51,953 --> 00:21:53,755 Try to remember my face. 512 00:21:53,755 --> 00:21:55,023 PETER: And then I meet Sidney Lemaître 513 00:21:55,023 --> 00:21:56,324 for Just Tell Me What You Want. 514 00:21:56,324 --> 00:21:58,526 And then I get to do Shoot the Moon 515 00:21:58,526 --> 00:22:00,095 with Alan Parker, 516 00:22:00,095 --> 00:22:03,465 one of the great feminist movies ever, ever, ever. 517 00:22:03,465 --> 00:22:05,433 It's incredible. 518 00:22:05,433 --> 00:22:08,169 PETER: And then George Cosmatos offers me An Unknown Origin. 519 00:22:08,169 --> 00:22:10,138 I do Firstborn with Michael Aptek, 520 00:22:10,138 --> 00:22:11,506 the great Michael Aptek. 521 00:22:11,506 --> 00:22:14,008 And it goes into Buckaroo Banzai. 522 00:22:14,008 --> 00:22:15,377 Evil! 523 00:22:15,377 --> 00:22:17,312 You are a step up on the eighth dimension! 524 00:22:17,312 --> 00:22:18,513 Get 'em! 525 00:22:18,513 --> 00:22:19,781 Phenomenal experience. 526 00:22:23,218 --> 00:22:25,520 I meet Paul, and Paul's like this. 527 00:22:25,520 --> 00:22:26,855 You know, Paul's not like a laid-back, 528 00:22:26,855 --> 00:22:28,556 "Hey, how are you doing" guy. 529 00:22:28,556 --> 00:22:30,859 I'm in his office, and he says, "Why don't you audition?" 530 00:22:30,859 --> 00:22:32,861 I said, "I'm not going to audition. 531 00:22:32,861 --> 00:22:35,530 I do not get hired like that." 532 00:22:35,530 --> 00:22:37,232 I said, "Do you get a vibe out of me? 533 00:22:37,232 --> 00:22:39,701 'Cause I get a vibe out of you, and I know your movies." 534 00:22:39,701 --> 00:22:41,403 At some point in time, he says, "Well, you're an athlete." 535 00:22:41,403 --> 00:22:43,838 I said, "Yeah, I'm a marathon runner, 536 00:22:43,838 --> 00:22:44,973 you know, and a ballet dancer. 537 00:22:44,973 --> 00:22:48,009 Mediocre, but I can move." 538 00:22:48,009 --> 00:22:49,544 It's really interesting. 539 00:22:49,544 --> 00:22:51,079 And he says, "Well, can you move around this room?" 540 00:22:51,079 --> 00:22:52,847 I said, "Yeah, I've taken a little bit of mime." 541 00:22:52,847 --> 00:22:54,749 So, I move around the room. I do some moves for him, right? 542 00:22:54,749 --> 00:22:56,918 The fact that Peter took it all seriously 543 00:22:56,918 --> 00:23:00,021 and didn't mind all that stuff impressed me even then. 544 00:23:00,021 --> 00:23:01,923 And he's a strong guy, 545 00:23:01,923 --> 00:23:03,825 and he can be a tough character to deal with. 546 00:23:03,825 --> 00:23:05,160 But without that commitment, 547 00:23:05,160 --> 00:23:07,095 there wouldn't be a RoboCop either. 548 00:23:07,095 --> 00:23:09,864 And that day is when RoboCop offer came in. 549 00:23:13,168 --> 00:23:17,839 Originally, Stephanie Zimbalist was playing Lewis. 550 00:23:17,839 --> 00:23:19,541 I'll do it for you. 551 00:23:19,541 --> 00:23:21,843 ED: And she was a lovely and talented actress. 552 00:23:21,843 --> 00:23:25,680 But she had a hold on her for another year of a show 553 00:23:25,680 --> 00:23:27,182 she was doing called Remington Steele. 554 00:23:27,182 --> 00:23:28,716 And she was suddenly unavailable to us. 555 00:23:28,716 --> 00:23:30,251 And at the last second, it was a little bit, 556 00:23:30,251 --> 00:23:31,953 "Oh, my God. What are we going to do?" 557 00:23:31,953 --> 00:23:34,255 We were not trying to cast a, you know, like, 558 00:23:34,255 --> 00:23:35,757 "It's the robot and the sexy girl," 559 00:23:35,757 --> 00:23:37,725 which is what the cliché would be. 560 00:23:37,725 --> 00:23:40,028 And the part isn't really the sexy girl part. 561 00:23:40,028 --> 00:23:43,031 It's the professional woman police officer part. 562 00:23:43,031 --> 00:23:44,866 We saw everybody in town who didn't have a career yet, 563 00:23:44,866 --> 00:23:46,634 and that was interesting. 564 00:23:46,634 --> 00:23:47,869 So, I wasn't used to actually seeing people 565 00:23:47,869 --> 00:23:49,237 I'd have seen in movies. 566 00:23:49,237 --> 00:23:50,572 It was very rare for someone to come in 567 00:23:50,572 --> 00:23:52,540 who was an actual movie star. 568 00:23:52,540 --> 00:23:55,810 I've seen these big movie stars like Barbra Streisand, you know? 569 00:23:55,810 --> 00:23:58,279 ED: And I remember meeting Nancy, and she came in with her agent. 570 00:23:58,279 --> 00:23:59,447 May we come in? 571 00:23:59,447 --> 00:24:00,715 And I was like, "Oh, wow. 572 00:24:00,715 --> 00:24:02,450 She's Nancy Allen." 573 00:24:02,450 --> 00:24:04,252 Thanks. 574 00:24:04,252 --> 00:24:05,787 I wasn't looking, 575 00:24:05,787 --> 00:24:09,324 but I was so thrilled to have somebody 576 00:24:09,324 --> 00:24:11,259 send me something that I did not have to put on 577 00:24:11,259 --> 00:24:13,795 black lingerie one more time. 578 00:24:13,795 --> 00:24:15,597 And not that I don't like black lingerie, 579 00:24:15,597 --> 00:24:16,898 but I thought, 580 00:24:16,898 --> 00:24:18,967 "There's more to me than that, really?" 581 00:24:18,967 --> 00:24:23,238 Uh, and to the opportunity to play a woman of strength. 582 00:24:23,238 --> 00:24:25,907 Now, I've always tried to add something strong 583 00:24:25,907 --> 00:24:28,843 to my characters, but sometimes, you're limited. 584 00:24:30,345 --> 00:24:33,114 PETER: I knew Nancy Allen's work. I was a fan. 585 00:24:33,114 --> 00:24:36,084 And you meet Nancy Allen, and she is so charming. 586 00:24:36,084 --> 00:24:37,619 And then you find out that Nancy Allen's born 587 00:24:37,619 --> 00:24:39,420 on your birthday. 588 00:24:39,420 --> 00:24:42,156 Hey. Now, she's quite younger and better-looking than me, 589 00:24:42,156 --> 00:24:43,925 but she was born on June 24th. 590 00:24:43,925 --> 00:24:45,426 With this, it felt, 591 00:24:45,426 --> 00:24:47,462 yeah, she's a really heroic, strong woman. 592 00:24:47,462 --> 00:24:48,763 I identified with her 593 00:24:48,763 --> 00:24:49,931 'cause I'm very, very independent. 594 00:24:50,632 --> 00:24:53,468 I think actors wanna play against type. 595 00:24:53,468 --> 00:24:55,103 And so, I think 596 00:24:55,103 --> 00:24:57,839 when Ronny Cox gets offered a bad guy 597 00:24:57,839 --> 00:24:59,707 and has to go for an audition, 598 00:24:59,707 --> 00:25:01,976 he might put a little more work into it. 599 00:25:01,976 --> 00:25:04,379 I find that very easy to believe. 600 00:25:04,379 --> 00:25:07,215 I had the reputation of being a good actor, 601 00:25:07,215 --> 00:25:10,718 but that I played soft roles. 602 00:25:10,718 --> 00:25:14,689 And it used to piss me off to no end, 603 00:25:14,689 --> 00:25:16,791 because I've been an athlete my whole life, 604 00:25:16,791 --> 00:25:18,192 and I can do things 605 00:25:18,192 --> 00:25:20,194 that nine-tenths of the guys couldn't do. 606 00:25:20,194 --> 00:25:22,363 And what is wrong with winning? 607 00:25:22,363 --> 00:25:24,566 With showing you're the best at what you do? 608 00:25:24,566 --> 00:25:28,169 RONNY: But I got known as this soft, sensitive actor. 609 00:25:29,904 --> 00:25:31,573 So, my agents, they were looking at me, 610 00:25:31,573 --> 00:25:33,741 and said, "Ronny, here's a chance 611 00:25:33,741 --> 00:25:36,911 for you to play Dick Jones in RoboCop. 612 00:25:38,379 --> 00:25:40,748 He's sort of worse than anybody." 613 00:25:40,748 --> 00:25:43,151 I originally did the budget for RoboCop. 614 00:25:43,151 --> 00:25:46,020 And it came in about 12 million dollars. 615 00:25:46,020 --> 00:25:48,156 And I gave the budget to Orion, and they said, 616 00:25:48,156 --> 00:25:49,757 "Well, we're only gonna make this 617 00:25:49,757 --> 00:25:51,826 if it's 10 million dollars." 618 00:25:51,826 --> 00:25:54,495 So, of course, when the studio does that, you go away, 619 00:25:54,495 --> 00:25:57,899 you come back with a budget for 99.95. 620 00:25:57,899 --> 00:26:01,202 When Paul Verhoeven sat down with the producer, Jon Davison, 621 00:26:01,202 --> 00:26:03,571 and said, "What do you think this movie should look like?" 622 00:26:03,571 --> 00:26:05,340 Paul said, "Well, it should look like Blade Runner, of course." 623 00:26:05,340 --> 00:26:06,741 I was so impressed 624 00:26:06,741 --> 00:26:10,011 by the production design of Blade Runner 625 00:26:10,011 --> 00:26:11,779 that I thought, "Okay. 626 00:26:11,779 --> 00:26:14,415 We'll do it differently, but we have to do it that way." 627 00:26:14,415 --> 00:26:16,017 Jon Davison said, 628 00:26:16,017 --> 00:26:17,919 "Well, you can either have the robot character, 629 00:26:17,919 --> 00:26:19,520 RoboCop, or you can have the look 630 00:26:19,520 --> 00:26:21,189 of Blade Runner. So, which do you want?" 631 00:26:21,189 --> 00:26:24,459 Of course, the costume was in the center of the frame 632 00:26:24,459 --> 00:26:26,094 throughout the whole movie. 633 00:26:26,094 --> 00:26:28,663 So, it was, let's say, not a very difficult choice. 634 00:26:32,467 --> 00:26:36,471 We spent at least a year and a million dollars 635 00:26:36,471 --> 00:26:38,773 working with Rob on this suit. 636 00:26:39,874 --> 00:26:41,576 MILES: It's Rob's design. 637 00:26:41,576 --> 00:26:43,745 You know, Rob is a great, sort of, inspiring art director. 638 00:26:43,745 --> 00:26:45,146 It's really his vision, you know? 639 00:26:45,146 --> 00:26:48,249 He was a perfectionist and a workaholic. 640 00:26:48,249 --> 00:26:51,919 And so, you wanted to please him and do your best work for him. 641 00:26:53,755 --> 00:26:57,158 We took a lot of stylistic cues from cars from the '50s. 642 00:26:57,158 --> 00:26:59,661 We looked a lot at previous robots from films, 643 00:26:59,661 --> 00:27:01,929 realizing that nobody had come even close to doing 644 00:27:01,929 --> 00:27:03,731 what we had to do. 645 00:27:03,731 --> 00:27:06,467 JON: Well, Maria's pretty sexy, you know, in Metropolis. 646 00:27:06,467 --> 00:27:08,236 Gorgeous design, beautiful craftsmanship, 647 00:27:08,236 --> 00:27:10,271 but she can barely move. You've seen that thing. 648 00:27:10,271 --> 00:27:14,676 Of course, Gort is sleek. Tobar's pretty clunky. 649 00:27:14,676 --> 00:27:16,911 We didn't wanna go that route, you know? 650 00:27:16,911 --> 00:27:19,981 And Robby, we love, but you know, he's passé. 651 00:27:19,981 --> 00:27:21,816 That is correct, sir. 652 00:27:21,816 --> 00:27:23,785 MILES: C-3PO was probably the most sophisticated thing 653 00:27:23,785 --> 00:27:25,286 that had been done to date, 654 00:27:25,286 --> 00:27:26,854 but, you know, he can barely, sort of, move. 655 00:27:26,854 --> 00:27:28,823 He can walk, but he's kind of like this. 656 00:27:28,823 --> 00:27:31,192 And RoboCop had to be basically in action here. 657 00:27:31,192 --> 00:27:32,527 He had to punch. He had to do everything. 658 00:27:35,830 --> 00:27:37,432 ED: Rob brought me outside 659 00:27:37,432 --> 00:27:39,133 to look at the body cast of Peter Weller, 660 00:27:39,133 --> 00:27:41,269 and there was a challenge there. 661 00:27:41,269 --> 00:27:44,205 Peter Weller was not that tall. His hips were a little wide, 662 00:27:44,205 --> 00:27:46,007 and his shoulders kind of narrow. 663 00:27:46,007 --> 00:27:47,508 So, with those three things going on, 664 00:27:47,508 --> 00:27:49,177 we had a real challenge 665 00:27:49,177 --> 00:27:50,812 to try to give him a, sort of, heroic shape. 666 00:27:50,812 --> 00:27:52,213 Every couple of weeks, 667 00:27:52,213 --> 00:27:55,550 Paul, Ed, and I would go over to Rob's shop, 668 00:27:55,550 --> 00:27:57,785 and he would present various maquettes. 669 00:27:59,020 --> 00:28:00,455 POWER: They actually made Judge Dredd, 670 00:28:00,455 --> 00:28:02,623 and said, "Well, this is RoboCop." 671 00:28:02,623 --> 00:28:04,826 And I said to Jon Davison, "Are you fucking kidding? 672 00:28:04,826 --> 00:28:06,728 You can't do this." 673 00:28:06,728 --> 00:28:08,162 And I'd never heard of Judge Dredd. 674 00:28:08,162 --> 00:28:09,497 I'd never heard of Judge Dredd 675 00:28:09,497 --> 00:28:11,032 here in America, believe it or not. 676 00:28:11,032 --> 00:28:12,500 Although I learned about it later, 677 00:28:12,500 --> 00:28:14,736 and I definitely see the lineage, you know, 678 00:28:14,736 --> 00:28:16,404 of Robo coming from there. 679 00:28:16,404 --> 00:28:18,740 There was no Judge Dredd reference material. 680 00:28:18,740 --> 00:28:21,743 He was never mentioned in Rob's shop. 681 00:28:21,743 --> 00:28:23,745 Verhoeven and company were coming in, 682 00:28:23,745 --> 00:28:25,413 and they were art directing the hell out of the suit, 683 00:28:25,413 --> 00:28:28,049 and making very arbitrary comments. 684 00:28:28,049 --> 00:28:29,984 We started to basically say, 685 00:28:29,984 --> 00:28:32,320 "Well, it has to be very broad shoulders 686 00:28:32,320 --> 00:28:34,822 like a rugby or whatever, very broad shoulders," 687 00:28:34,822 --> 00:28:35,923 and this, and that. 688 00:28:35,923 --> 00:28:37,892 Rob had to do everything in clay 689 00:28:37,892 --> 00:28:40,061 over, and over, and over, and over again. 690 00:28:40,061 --> 00:28:43,231 Occasionally, somebody would fashion a penis, 691 00:28:43,231 --> 00:28:45,166 and stick it on the thing and... 692 00:28:45,166 --> 00:28:46,934 [laughs] 693 00:28:46,934 --> 00:28:48,736 Sounds like it may have been Verhoeven. 694 00:28:48,736 --> 00:28:50,605 Rob Bottin got so angry 695 00:28:50,605 --> 00:28:53,174 that he basically gave his little knife, 696 00:28:53,174 --> 00:28:55,109 he throwed his knife to me, and said, 697 00:28:55,109 --> 00:28:56,744 "You cut it! You cut it now!" 698 00:28:56,744 --> 00:28:59,514 And I stupid enough started also to do that. 699 00:28:59,514 --> 00:29:03,918 I mean, how bad I behaved, and we nearly destroyed this 700 00:29:03,918 --> 00:29:07,588 by our, let's say, stupid thinking. 701 00:29:10,758 --> 00:29:15,863 JON: We knew that what we wanted was something sleek and sexy. 702 00:29:15,863 --> 00:29:18,533 MILES: I had a book by an illustrator named Soriyama. 703 00:29:18,533 --> 00:29:20,368 He was an illustrator that was kind of popular then. 704 00:29:20,368 --> 00:29:23,538 He had done a lot of, sort of, sexy chrome girls, 705 00:29:23,538 --> 00:29:25,239 and he had a book out called Sexy Robot. 706 00:29:25,239 --> 00:29:26,641 And I had this book. 707 00:29:26,641 --> 00:29:27,608 It was full of his beautiful illustrations. 708 00:29:27,608 --> 00:29:29,210 So, I brought that in, 709 00:29:29,210 --> 00:29:32,113 and Rob picked it up one day, and said, "This is it. 710 00:29:32,113 --> 00:29:33,381 Take this aesthetic, 711 00:29:33,381 --> 00:29:34,916 and we'll graft it onto his body, 712 00:29:34,916 --> 00:29:36,450 and see what that does." 713 00:29:36,450 --> 00:29:39,754 That Japanese airbrush, girly stuff, that, 714 00:29:39,754 --> 00:29:42,723 and having the robot from Fritz Lang's Metropolis, 715 00:29:42,723 --> 00:29:45,159 and you put them together, and you got Robo. 716 00:29:49,430 --> 00:29:51,632 MILES: The simple slit for an eye, 717 00:29:51,632 --> 00:29:54,902 the big shoulders coming up over the torso. 718 00:29:54,902 --> 00:29:56,604 I thought, "Well, shouldn't he just 719 00:29:56,604 --> 00:29:59,740 have an OCP badge sculpted or molded right onto his chest?" 720 00:29:59,740 --> 00:30:02,009 And Rob for some reason felt like it shouldn't be there. 721 00:30:02,009 --> 00:30:03,611 So, he said, 722 00:30:03,611 --> 00:30:05,179 "Why don't you come up with something else?" 723 00:30:05,179 --> 00:30:07,081 So, I thought, "Well, that little grill on his chest 724 00:30:07,081 --> 00:30:08,983 is a speaker for his voice when he needs to project it." 725 00:30:09,684 --> 00:30:12,086 ROBOCOP: Let the woman go. You are under arrest. 726 00:30:12,086 --> 00:30:13,454 MILES: I covered him with these very fine little, 727 00:30:13,454 --> 00:30:15,823 sort of, pen-striped seams. 728 00:30:15,823 --> 00:30:17,859 That big piston coming out of his calves 729 00:30:17,859 --> 00:30:20,528 that sort of acts as an Achilles tendon. 730 00:30:20,528 --> 00:30:22,430 These are all things so that when he rotates around 731 00:30:22,430 --> 00:30:23,831 on the screen, 732 00:30:23,831 --> 00:30:25,333 he always strikes a powerful silhouette. 733 00:30:27,134 --> 00:30:29,036 Rob had a great design sense. 734 00:30:29,036 --> 00:30:31,806 He was always pushing for memorable elements. 735 00:30:31,806 --> 00:30:33,774 He wanted to create a character 736 00:30:33,774 --> 00:30:35,176 that would last in people's psyches. 737 00:30:37,278 --> 00:30:40,181 Peter said he wanted to hire a movement coach. 738 00:30:40,181 --> 00:30:42,717 MONI: I was called by Peter Weller. 739 00:30:42,717 --> 00:30:45,553 And he asked me whether he could meet with me. 740 00:30:45,553 --> 00:30:48,623 I said, "Why don't you come to the theater sometimes 741 00:30:48,623 --> 00:30:50,324 and we'll play together? 742 00:30:50,324 --> 00:30:54,161 We'll see if we can manage to make something interesting." 743 00:30:54,161 --> 00:30:56,163 Moni Akin is a genius mime. 744 00:30:56,163 --> 00:30:57,565 He's a pantomime, 745 00:30:57,565 --> 00:30:59,000 but he's moved mime into the field of dance, 746 00:30:59,000 --> 00:31:00,234 and he's head of the movement department 747 00:31:00,234 --> 00:31:01,669 at Juilliard. 748 00:31:01,669 --> 00:31:02,703 And he said, "Why don't we do something, 749 00:31:02,703 --> 00:31:04,538 like, more dance-like, right? 750 00:31:04,538 --> 00:31:07,808 And it was almost like kung fu. 751 00:31:07,808 --> 00:31:12,346 It was like almost aikido. A facile type of character. 752 00:31:12,346 --> 00:31:15,850 A cop who has got fantastic energy, and facility, 753 00:31:15,850 --> 00:31:17,151 and physique. 754 00:31:17,151 --> 00:31:19,053 MONI: We worked with hockey gear. 755 00:31:19,053 --> 00:31:22,323 And we did things very swift, very fast. 756 00:31:22,323 --> 00:31:25,559 Running, and jumping, and shooting, and falling, 757 00:31:25,559 --> 00:31:28,562 and all kind of acrobatic things. 758 00:31:28,562 --> 00:31:31,399 And he felt pretty secure at the time, 759 00:31:31,399 --> 00:31:33,567 and he went to film it. 760 00:31:33,567 --> 00:31:35,870 JON: The suit arrived, I would say, 761 00:31:35,870 --> 00:31:39,040 at least two weeks late, after it was promised. 762 00:31:39,040 --> 00:31:42,043 So, we couldn't shoot anything that we'd planned with Robo. 763 00:31:42,043 --> 00:31:44,712 We were doing a screen test with him that first day, 764 00:31:44,712 --> 00:31:46,213 and he was trying the suit on. 765 00:31:46,213 --> 00:31:50,351 When I first put it on, uh, it took a long time. 766 00:31:50,351 --> 00:31:51,218 Twelve hours. 767 00:31:51,218 --> 00:31:52,019 Eleven hours. 768 00:31:52,019 --> 00:31:53,888 Ten hours. 769 00:31:53,888 --> 00:31:55,389 PETER: It took ten hours to get into it the first time. 770 00:31:55,389 --> 00:31:57,224 Ten hours. 771 00:31:57,224 --> 00:31:59,393 Peter Weller was brought to the set. 772 00:31:59,393 --> 00:32:02,430 Basically, a makeup room, at three o'clock in the morning. 773 00:32:02,430 --> 00:32:04,031 And at three o'clock in the afternoon, 774 00:32:04,031 --> 00:32:05,633 it still didn't fit. 775 00:32:05,633 --> 00:32:08,202 And he was not happy. You know, he was not happy. 776 00:32:08,202 --> 00:32:11,205 PETER: The fucking suit doesn't work! 777 00:32:11,205 --> 00:32:13,874 CHARLES: Peter tried on the suit and freaked out. 778 00:32:13,874 --> 00:32:15,776 Fuck it, you know? This is what happened. 779 00:32:15,776 --> 00:32:18,479 He was fucked from what he wanted to do. 780 00:32:18,479 --> 00:32:20,214 Peter Weller couldn't walk in it. 781 00:32:20,214 --> 00:32:21,782 I'm bummed, 782 00:32:21,782 --> 00:32:24,952 'cause I can't do what Moni has been six months 783 00:32:24,952 --> 00:32:26,587 teaching me to do. 784 00:32:26,587 --> 00:32:28,723 He had to study for weeks and weeks, Peter Weller, 785 00:32:28,723 --> 00:32:30,758 with all these things around him, 786 00:32:30,758 --> 00:32:32,760 thinking that basically, now, that it's the costume, 787 00:32:32,760 --> 00:32:34,061 he could do the same. 788 00:32:34,061 --> 00:32:35,396 He couldn't do any of it. Nothing. 789 00:32:36,964 --> 00:32:38,332 I remember sitting there 790 00:32:38,332 --> 00:32:39,967 thinking, "Either we're gonna be here 791 00:32:39,967 --> 00:32:43,437 for the next six months, or they're gonna shut us down. 792 00:32:43,437 --> 00:32:46,307 And I just had this kinda like sinking thing. 793 00:32:46,307 --> 00:32:47,675 VERHOEVEN: He felt cheated, you know? 794 00:32:47,675 --> 00:32:50,111 He felt that he was basically betrayed 795 00:32:50,111 --> 00:32:52,279 in his preparation for the part. 796 00:32:52,279 --> 00:32:53,614 Everyone hated everybody. 797 00:32:53,614 --> 00:32:55,016 Everyone was fighting. 798 00:32:55,016 --> 00:32:57,418 And it was really annoying, this thing. 799 00:32:59,153 --> 00:33:01,122 JON: Paul threw a shit fit. 800 00:33:01,122 --> 00:33:03,691 Rob threw another shit fit. Ed tried to get into the mix. 801 00:33:03,691 --> 00:33:05,993 I got into Ed's face about getting into it. 802 00:33:05,993 --> 00:33:07,361 I look back now, and I kind of cringe, 803 00:33:07,361 --> 00:33:08,996 like the things I did and said. 804 00:33:08,996 --> 00:33:11,132 But anyway, uh, that's how that went. 805 00:33:11,132 --> 00:33:12,099 [chuckles] 806 00:33:12,099 --> 00:33:13,868 PETER: And then I said, 807 00:33:13,868 --> 00:33:16,804 "This is not gonna work for me," and everybody just went home. 808 00:33:16,804 --> 00:33:19,540 And I'm bummed that Verhoeven now doesn't like me, 809 00:33:19,540 --> 00:33:20,841 or I don't like him either. 810 00:33:20,841 --> 00:33:23,110 We were basically looking, 811 00:33:23,110 --> 00:33:26,347 do we have to do other things, another actor, what, what, what? 812 00:33:26,347 --> 00:33:27,848 PETER: And then I get this call 813 00:33:27,848 --> 00:33:29,984 on the dead of night from Medavoy. 814 00:33:29,984 --> 00:33:31,318 He says, you know, 815 00:33:31,318 --> 00:33:32,820 "Paul's thinking about cutting you loose 816 00:33:32,820 --> 00:33:34,722 'cause he's had a bad time on his last film, 817 00:33:34,722 --> 00:33:36,023 and he just doesn't wanna go 818 00:33:36,023 --> 00:33:37,491 through the movie star problem again." 819 00:33:37,491 --> 00:33:38,959 Then Medavoy came there. 820 00:33:38,959 --> 00:33:41,562 He was the head of Orion, seeing basically 821 00:33:41,562 --> 00:33:45,066 what was happening, said, "Okay, you stop. 822 00:33:45,066 --> 00:33:47,068 You're going to figure it out together." 823 00:33:47,068 --> 00:33:49,470 So, they shut down production for a few days. 824 00:33:49,470 --> 00:33:51,072 ED: What they're gonna do is they're gonna do tests. 825 00:33:51,072 --> 00:33:53,040 They're gonna print them in 24 hours. 826 00:33:53,040 --> 00:33:55,309 They're gonna look at the tests, Mike Medavoy and Bob Bernstein 827 00:33:55,309 --> 00:33:56,911 are gonna get on the phone, and say 828 00:33:56,911 --> 00:33:58,579 whether this movie is gonna be made or not. 829 00:33:58,579 --> 00:34:02,983 It was really a crisis of the highest level, in fact. 830 00:34:04,518 --> 00:34:06,087 PAUL: They flew in Moni. 831 00:34:06,087 --> 00:34:09,090 MONI: Everybody was depressed. 832 00:34:09,090 --> 00:34:12,493 Paul Verhoeven, I saw him all brooding, 833 00:34:12,493 --> 00:34:14,395 coming towards me, and he tells me, 834 00:34:14,395 --> 00:34:17,031 "Moni, it's not working." 835 00:34:17,031 --> 00:34:19,333 Moni says, "I need 30 minutes." 836 00:34:19,333 --> 00:34:20,835 And then they put the suit on me. 837 00:34:20,835 --> 00:34:22,736 And he says, "Cut the elbows out of the-- 838 00:34:22,736 --> 00:34:25,773 cut the feet off the thing, the knees and so forth, 839 00:34:25,773 --> 00:34:28,042 so that the joints, the shoulders, everything, 840 00:34:28,042 --> 00:34:30,077 so that all the joints can move. 841 00:34:30,077 --> 00:34:35,783 Because of the awesomeness and the size of this costume, 842 00:34:35,783 --> 00:34:39,553 the thought process of this creature 843 00:34:39,553 --> 00:34:41,555 was much slower. 844 00:34:41,555 --> 00:34:47,094 He says, "Think of yourself as a captured animal. 845 00:34:47,094 --> 00:34:51,765 Huge movements! Huge, with staccato." 846 00:34:51,765 --> 00:34:55,202 And then turn the head, and, like, I said, 847 00:34:55,202 --> 00:35:00,708 "This feels so phony. This feels like bad opera." 848 00:35:00,708 --> 00:35:02,576 And he goes, "I know. Keep doing it." 849 00:35:02,576 --> 00:35:04,578 He said, "Then I'm gonna show you a film." 850 00:35:04,578 --> 00:35:06,881 MONI: And then Nikolay Cherkasov came to mind, 851 00:35:06,881 --> 00:35:09,483 because he played Ivan the Terrible, 852 00:35:09,483 --> 00:35:13,154 and he was tremendously stylized. 853 00:35:13,154 --> 00:35:16,924 Everything is this long move 854 00:35:16,924 --> 00:35:18,559 with a staccato at the end of it, 855 00:35:18,559 --> 00:35:21,228 and it's a head turn, like that, right? 856 00:35:21,228 --> 00:35:23,230 And it's phenomenal. 857 00:35:23,230 --> 00:35:24,465 And he turns, 858 00:35:24,465 --> 00:35:26,400 and he will look back at the camera, 859 00:35:26,400 --> 00:35:28,502 and do these things, you know, that are very robotic. 860 00:35:28,502 --> 00:35:30,304 PETER: It's a phenomenal performance. 861 00:35:30,304 --> 00:35:31,772 You never get tired of it, and I watched it twice, 862 00:35:31,772 --> 00:35:33,174 and I watched it the next day. 863 00:35:33,174 --> 00:35:34,808 it just struck me 864 00:35:34,808 --> 00:35:39,446 that instead of having the brain in the head, 865 00:35:39,446 --> 00:35:42,816 we had to transfer the brain to the chest, 866 00:35:42,816 --> 00:35:44,752 which means the chest 867 00:35:44,752 --> 00:35:47,755 will be the first thing to react, 868 00:35:47,755 --> 00:35:50,691 and then the neck, and then the head. 869 00:35:50,691 --> 00:35:54,628 We ended in staccato almost every slow motion 870 00:35:54,628 --> 00:36:01,669 to define the process of thought that goes on in the slow motion, 871 00:36:01,669 --> 00:36:04,138 and then getting it. 872 00:36:04,138 --> 00:36:05,940 PETER: And I said, "I get it, man. 873 00:36:05,940 --> 00:36:08,042 That is RoboCop." 874 00:36:08,042 --> 00:36:10,778 VERHOEVEN: Peter basically adapted. 875 00:36:10,778 --> 00:36:13,280 You know, and I go up to Paul, I said-- apologized to him, 876 00:36:13,280 --> 00:36:15,716 "Whatever it is, you know, I'll do what you want." 877 00:36:15,716 --> 00:36:17,618 And we sat together, and say, 878 00:36:17,618 --> 00:36:20,354 "Okay, let's basically shake hands and all," 879 00:36:20,354 --> 00:36:22,489 and say, "Okay, we try again." 880 00:36:22,489 --> 00:36:23,891 MONI: So, we shot. 881 00:36:23,891 --> 00:36:26,493 And in the evening, we saw the Russians. 882 00:36:26,493 --> 00:36:27,728 Whoa. 883 00:36:27,728 --> 00:36:29,363 And everybody jumped, and applauded, 884 00:36:29,363 --> 00:36:31,732 and said, "We got it." 885 00:36:31,732 --> 00:36:33,867 And they wouldn't let me come back to New York. 886 00:36:38,305 --> 00:36:42,176 JON: They picked Detroit because Detroit is the emblem 887 00:36:42,176 --> 00:36:45,579 of urban America and controversy. 888 00:36:45,579 --> 00:36:47,514 You know, if they'd have set it in LA, 889 00:36:47,514 --> 00:36:49,216 it wouldn't have gotten a buzz. 890 00:36:49,216 --> 00:36:51,986 ARNE: Paul really didn't wanna shoot it in Los Angeles. 891 00:36:51,986 --> 00:36:53,754 He just didn't think it would be special. 892 00:36:53,754 --> 00:36:55,222 There were too many movies shot here. 893 00:36:55,222 --> 00:36:56,323 He didn't wanted to do something different. 894 00:36:56,323 --> 00:36:58,025 He really didn't wanna be here. 895 00:36:58,025 --> 00:37:02,596 The studio also didn't wanna pay the IAEA union residuals. 896 00:37:02,596 --> 00:37:04,531 And in order to avoid that, 897 00:37:04,531 --> 00:37:08,102 they were happy to get it out of town somewhere. 898 00:37:08,102 --> 00:37:11,372 My job is to go around with the location person, 899 00:37:11,372 --> 00:37:12,940 sift through a lot of stuff, 900 00:37:12,940 --> 00:37:15,776 hopefully, find a bunch of interesting images, 901 00:37:15,776 --> 00:37:17,945 and then let the director sift those, 902 00:37:17,945 --> 00:37:19,747 and we'd start looking at locations. 903 00:37:19,747 --> 00:37:21,015 We looked in Detroit. 904 00:37:22,383 --> 00:37:23,851 JON: You know, we went to Detroit. 905 00:37:23,851 --> 00:37:25,219 But the problem is, 906 00:37:25,219 --> 00:37:26,887 it didn't look like Detroit, you know? 907 00:37:26,887 --> 00:37:29,857 It had the good rundown bits, 908 00:37:29,857 --> 00:37:32,593 but it didn't have the futuristic stuff. 909 00:37:32,593 --> 00:37:35,029 So, Verhoeven and I went to Dallas. 910 00:37:41,268 --> 00:37:43,037 Dallas at that time was interesting 911 00:37:43,037 --> 00:37:47,308 because it was a film market that was trying to develop. 912 00:37:47,308 --> 00:37:50,377 Dallas had just gone through this huge building period. 913 00:37:50,377 --> 00:37:52,780 So, you had all these really fantastic buildings, 914 00:37:52,780 --> 00:37:55,382 a really futuristic-type landscape. 915 00:37:55,382 --> 00:37:59,620 What sold Paul on Dallas is, it was a skyscraper, 916 00:37:59,620 --> 00:38:02,956 completely outlined in green neon. 917 00:38:02,956 --> 00:38:04,258 And he thought, "Boy, that's great. 918 00:38:04,258 --> 00:38:05,626 That's the future." 919 00:38:05,626 --> 00:38:08,462 And when we got there to shoot, it had broken, 920 00:38:08,462 --> 00:38:09,897 and the light was off. 921 00:38:09,897 --> 00:38:11,465 WILLIAM: We looked all over Dallas, 922 00:38:11,465 --> 00:38:13,734 looking at old police stations, and looking at this, 923 00:38:13,734 --> 00:38:16,136 and we finally narrowed it down to what we needed. 924 00:38:16,136 --> 00:38:19,773 I think I had about four, 500,000 dollars for the sets. 925 00:38:19,773 --> 00:38:21,175 We needed that kind of money 926 00:38:21,175 --> 00:38:23,410 because Paul was blowing things up 927 00:38:23,410 --> 00:38:25,512 wherever we went. 928 00:38:25,512 --> 00:38:27,114 [laughs] 929 00:38:27,114 --> 00:38:29,316 It was like we were building sets for Paul to show up 930 00:38:29,316 --> 00:38:30,317 and blow them up. 931 00:38:30,317 --> 00:38:31,185 MAN 3: Take one! 932 00:38:33,687 --> 00:38:35,122 ARNE: And we discovered 933 00:38:35,122 --> 00:38:37,825 that we could create a corporation in Texas, 934 00:38:37,825 --> 00:38:40,828 hire people on the Texas IA contract. 935 00:38:40,828 --> 00:38:44,098 Their contract didn't stipulate residuals. 936 00:38:44,098 --> 00:38:46,367 So, we set it up that way. 937 00:38:46,367 --> 00:38:48,802 The name of the corporation was Tobor, 938 00:38:48,802 --> 00:38:50,938 robot spelled backwards. 939 00:38:50,938 --> 00:38:54,608 They were shooting in Dallas from August to October in 1986, 940 00:38:54,608 --> 00:38:57,111 which are the hottest, most humid parts 941 00:38:57,111 --> 00:38:58,479 of the United States. 942 00:38:58,479 --> 00:38:59,713 CHARLES: It was hot during the day. 943 00:38:59,713 --> 00:39:01,315 And at night, it just got dark. 944 00:39:01,315 --> 00:39:02,783 It was still hot. It didn't get cooler at night. 945 00:39:02,783 --> 00:39:06,120 It was just dark. 946 00:39:06,120 --> 00:39:09,323 I had an enormous impact on RoboCop 947 00:39:09,323 --> 00:39:12,893 because I was the guy that capitalized the C, 948 00:39:14,561 --> 00:39:17,731 because it was too hard to read with a lowercase C. 949 00:39:17,731 --> 00:39:19,133 [laughs] 950 00:39:19,133 --> 00:39:22,002 VERHOEVEN: I was highly amazed by the news 951 00:39:22,002 --> 00:39:23,971 and television in general, you know? 952 00:39:23,971 --> 00:39:26,240 It was very un-European, 953 00:39:26,240 --> 00:39:28,742 with two people talking and laughing, 954 00:39:28,742 --> 00:39:31,645 and basically, I mean, in Holland and in France, 955 00:39:31,645 --> 00:39:34,014 or the BBC, I think, that there was a guy 956 00:39:34,014 --> 00:39:36,316 who sits there and tells the news, you know? 957 00:39:36,316 --> 00:39:38,051 But then in the United States, it was already 958 00:39:38,051 --> 00:39:39,753 very over the top, I would say. 959 00:39:39,753 --> 00:39:41,355 NEWSCASTER: This is Media Break. 960 00:39:41,355 --> 00:39:43,824 You give us three minutes, we'll give you the world. 961 00:39:44,992 --> 00:39:46,360 CASEY: Good morning. 962 00:39:46,360 --> 00:39:47,161 I'm Casey Wong with Jesse Perkins. 963 00:39:48,495 --> 00:39:50,898 No one had ever heard of anything like this, 964 00:39:50,898 --> 00:39:54,101 deliver bad news with a smile. 965 00:39:54,101 --> 00:39:55,869 JESSE: You bet. 966 00:39:55,869 --> 00:39:58,839 Next time you see a cop, smile. Thanks for watching. 967 00:39:58,839 --> 00:40:01,909 It was very much like it is, 968 00:40:01,909 --> 00:40:04,912 where you would go from impending doom 969 00:40:04,912 --> 00:40:08,415 to a beauty pageant, all in... like that, 970 00:40:08,415 --> 00:40:10,884 with the same kind of delivery. 971 00:40:10,884 --> 00:40:13,787 Three dead police officers, one critically injured. 972 00:40:13,787 --> 00:40:16,790 My amazement about American television, 973 00:40:16,790 --> 00:40:19,092 you see very well in the movie, of course, 974 00:40:19,092 --> 00:40:22,129 and I pushed it very hard in a hyperbolic way. 975 00:40:22,129 --> 00:40:24,765 So, it became kind of light, and funny, and strange. 976 00:40:29,536 --> 00:40:32,406 I remember when we scouted the police station location, 977 00:40:32,406 --> 00:40:36,610 we were in this big, sort of, abandoned factory facility, 978 00:40:36,610 --> 00:40:38,412 and there were tiles, and lockers, 979 00:40:38,412 --> 00:40:39,613 and all sorts of things. 980 00:40:39,613 --> 00:40:41,114 Is there any word on Fredrickson? 981 00:40:41,114 --> 00:40:44,451 We're doing this long, very balletic dolly shot, 982 00:40:44,451 --> 00:40:47,221 which starts on me coming down a hall. 983 00:40:47,221 --> 00:40:50,791 It's a continuous shot. It never stops moving. 984 00:40:50,791 --> 00:40:53,760 And you get little tidbits of lines from different people. 985 00:40:53,760 --> 00:40:55,295 Beats me, man. 986 00:40:55,295 --> 00:40:56,630 I think OCP's moving a lot of new guys up here. 987 00:40:56,630 --> 00:40:58,265 It was dressed in a way 988 00:40:58,265 --> 00:41:00,267 that you could go to the other room, 989 00:41:00,267 --> 00:41:02,436 come back, and turn around, 990 00:41:02,436 --> 00:41:04,137 and end up in the locker room again. 991 00:41:04,137 --> 00:41:05,973 There was no cut necessary. 992 00:41:05,973 --> 00:41:07,307 It's all one shot 993 00:41:07,307 --> 00:41:09,109 with what they called the JostiCam. 994 00:41:09,109 --> 00:41:11,078 JostiCam? Yeah. Okay. 995 00:41:11,078 --> 00:41:12,446 [chuckles] 996 00:41:12,446 --> 00:41:13,847 PAUL: And it was Jost Vacano's 997 00:41:13,847 --> 00:41:15,582 version of his own Steadicam 998 00:41:15,582 --> 00:41:17,284 that he had invented for Das Boot. 999 00:41:17,284 --> 00:41:19,753 [men clamoring] 1000 00:41:19,753 --> 00:41:21,288 PAUL: Jost, man. 1001 00:41:21,288 --> 00:41:22,756 Jost is running those shots up and down here, 1002 00:41:22,756 --> 00:41:25,292 his own gyro, Aeroflex thing that he invented. 1003 00:41:25,292 --> 00:41:27,194 It was like a Steadicam, but everybody goes, 1004 00:41:27,194 --> 00:41:28,862 "What's Jost's invention? A Steadicam?" 1005 00:41:28,862 --> 00:41:31,298 No, it's not a Steadicam. It's a gyro camera. 1006 00:41:31,298 --> 00:41:32,933 My approach was, 1007 00:41:32,933 --> 00:41:35,636 I would like to shoot this film very realistic, 1008 00:41:35,636 --> 00:41:38,539 a little bit documentary-like, with a handheld camera 1009 00:41:38,539 --> 00:41:41,108 and with very much available light, 1010 00:41:41,108 --> 00:41:44,945 no real film lighting, what you would normally expect. 1011 00:41:44,945 --> 00:41:47,180 They came up with banks of lights 1012 00:41:47,180 --> 00:41:48,949 that were fluorescents. 1013 00:41:48,949 --> 00:41:51,385 Not very lovely on the face, but it really did the trick, 1014 00:41:51,385 --> 00:41:53,453 and created a good mood in the film. 1015 00:41:53,453 --> 00:41:55,789 My feeling is that the handheld camera, 1016 00:41:55,789 --> 00:41:58,492 if it's not distracting, if it's reduced, 1017 00:41:58,492 --> 00:42:01,361 it's an underlay of human movement. 1018 00:42:01,361 --> 00:42:04,731 This is catching the audience much better emotionally. 1019 00:42:04,731 --> 00:42:08,201 There was one shot that we did in RoboCop 1020 00:42:08,201 --> 00:42:10,737 in the boardroom where he takes us 1021 00:42:10,737 --> 00:42:13,974 off the elevator, we go into the boardroom. 1022 00:42:13,974 --> 00:42:15,909 Don't mess with Jones, man. He'll make sushi out of you. 1023 00:42:15,909 --> 00:42:17,978 FELTON: It's one beautiful shot. 1024 00:42:17,978 --> 00:42:20,213 PAUL: And there's dialogue going on, and exposition. 1025 00:42:20,213 --> 00:42:21,548 We'll turn things around. 1026 00:42:21,548 --> 00:42:22,749 But it's all that kinetic movement. 1027 00:42:22,749 --> 00:42:24,184 So, you don't really realize 1028 00:42:24,184 --> 00:42:26,053 you're getting pages of exposition there. 1029 00:42:26,053 --> 00:42:28,589 I just love the way that Paul directs. 1030 00:42:28,589 --> 00:42:30,324 MAN IN MOVIE: Delta City. 1031 00:42:30,324 --> 00:42:33,060 Jost, he could go anywhere, do anything, 1032 00:42:33,060 --> 00:42:36,029 follow you doing anything, and it was a little bit noisy. 1033 00:42:36,029 --> 00:42:40,434 As a sound guy, imagine having what sounds like a 737 1034 00:42:40,434 --> 00:42:42,269 taking off right next to you. 1035 00:42:44,204 --> 00:42:45,706 It sounded like a sewing machine. 1036 00:42:45,706 --> 00:42:47,240 [imitates sewing machine rumbling] 1037 00:42:47,240 --> 00:42:48,742 So, they had to get rid of a lot of that in post. 1038 00:42:51,345 --> 00:42:53,714 ROBERT: Paul had a hard time visualizing 1039 00:42:53,714 --> 00:42:56,183 what a police station would look like in America. 1040 00:42:56,183 --> 00:42:57,551 Attempted murder? 1041 00:42:57,551 --> 00:42:59,186 Well, it's not like he killed someone! 1042 00:42:59,186 --> 00:43:00,554 We wanted a contrast, 1043 00:43:00,554 --> 00:43:03,190 so we made an older police station, 1044 00:43:03,190 --> 00:43:06,593 you know, and Paul liked it. We sold him on the idea. 1045 00:43:06,593 --> 00:43:10,030 And I had a photo shoot done with all these, like, bad guys, 1046 00:43:10,030 --> 00:43:11,898 and their henchmen, and everything, you know? 1047 00:43:11,898 --> 00:43:15,135 ED: We would work all night trying to make it better, 1048 00:43:15,135 --> 00:43:16,737 and also not spend any more money. 1049 00:43:16,737 --> 00:43:18,138 That was my whole thing. 1050 00:43:18,138 --> 00:43:19,106 It's like, "I'm not gonna spend any more money, 1051 00:43:19,106 --> 00:43:20,807 but I'll make it better." 1052 00:43:20,807 --> 00:43:23,076 We virtually dressed at it, like, 5:00 in the morning, 1053 00:43:23,076 --> 00:43:25,045 and they walked in and started shooting the movie. 1054 00:43:25,045 --> 00:43:26,413 Listen, pal! 1055 00:43:26,413 --> 00:43:29,249 Your client's a scumbag, you're a scumbag, 1056 00:43:29,249 --> 00:43:31,451 and scumbags see the judge on Monday morning! 1057 00:43:31,451 --> 00:43:34,621 Robert DoQui was just, like, this walking encyclopedia. 1058 00:43:34,621 --> 00:43:37,090 He was just so full of knowledge, you know? 1059 00:43:37,090 --> 00:43:38,759 I loved Robert DoQui. 1060 00:43:38,759 --> 00:43:41,962 And we had a great working relationship together. 1061 00:43:41,962 --> 00:43:44,264 YOLONDA: He introduced himself. And I knew who he was. 1062 00:43:44,264 --> 00:43:46,900 I mean, I was trying to be cool. But I mean, Robert DoQui, 1063 00:43:46,900 --> 00:43:49,770 he did a lot of great body of work. 1064 00:43:49,770 --> 00:43:51,338 But in my mind, I'm thinking, 1065 00:43:51,338 --> 00:43:53,407 "This is the guy that plays Florence's boyfriend 1066 00:43:53,407 --> 00:43:55,609 on The Jeffersons, " you know, and he was in Coffy, 1067 00:43:55,609 --> 00:43:58,145 and all these Black exploitation films from the '70s. 1068 00:43:58,145 --> 00:43:59,346 What the hell's going on around here? 1069 00:43:59,346 --> 00:44:01,114 YOLONDA: So, he had great chops. 1070 00:44:01,114 --> 00:44:02,449 I mean, he had done all kinds of episodic television 1071 00:44:02,449 --> 00:44:03,250 and all kinds of cool stuff. 1072 00:44:03,250 --> 00:44:04,918 Now, look. 1073 00:44:04,918 --> 00:44:05,952 Why don't you run in the other room and get yourself 1074 00:44:05,952 --> 00:44:07,254 a cup of coffee? 1075 00:44:07,254 --> 00:44:08,855 Not now, E.J. Get a cup of coffee. 1076 00:44:08,855 --> 00:44:10,123 Oh, Searg. 1077 00:44:10,123 --> 00:44:11,692 It could have been a thankless role. 1078 00:44:11,692 --> 00:44:13,360 But because of who he was, 1079 00:44:13,360 --> 00:44:15,762 it becomes a very memorable part of the film. 1080 00:44:16,430 --> 00:44:17,698 Now, get out of my police station 1081 00:44:17,698 --> 00:44:19,466 and take Laughing Boy with you! 1082 00:44:21,535 --> 00:44:23,670 I remember talking to Ed Neumeier 1083 00:44:23,670 --> 00:44:25,439 about the cops' names, which, you know, 1084 00:44:25,439 --> 00:44:27,207 they're all names of mass murderers. 1085 00:44:30,844 --> 00:44:32,679 Like Carol Chessman, who was the last man 1086 00:44:32,679 --> 00:44:36,116 killed in the gas chamber in California. 1087 00:44:36,116 --> 00:44:38,218 Charlie Starkweather. 1088 00:44:38,218 --> 00:44:41,221 And then there was a character named Manson. 1089 00:44:41,221 --> 00:44:42,723 I figured out rather quickly, 1090 00:44:42,723 --> 00:44:43,990 you know, that they were all named 1091 00:44:43,990 --> 00:44:45,392 after serial killers, 1092 00:44:45,392 --> 00:44:47,527 which later on, the writer said to us, you know, 1093 00:44:47,527 --> 00:44:49,629 I said, "Yes, I was aware of that, yeah." 1094 00:44:49,629 --> 00:44:51,798 When I looked up who I was named after, 1095 00:44:51,798 --> 00:44:52,833 I was like, "Whoa!" 1096 00:44:52,833 --> 00:44:53,834 [chuckles] 1097 00:44:55,335 --> 00:44:57,037 YOLONDA: This was Ed's idea, and it worked, you know? 1098 00:44:57,037 --> 00:44:58,538 MICHAEL: I remember talking to him about it, 1099 00:44:58,538 --> 00:44:59,906 and saying, you know, "Why are these names?" 1100 00:44:59,906 --> 00:45:01,508 And he said, "Oh, it's just, you know, 1101 00:45:01,508 --> 00:45:03,076 we wanted to have some fun with this whole thing. 1102 00:45:03,076 --> 00:45:05,345 So, we named all the cops after mass murderers." 1103 00:45:05,345 --> 00:45:06,213 MANSON: Welcome to hell! 1104 00:45:06,213 --> 00:45:07,581 [laughs] 1105 00:45:07,581 --> 00:45:08,715 I thought that was kind of cool actually. 1106 00:45:08,715 --> 00:45:09,649 [laughs] 1107 00:45:10,917 --> 00:45:12,352 "Well, I'll tell you what we should do. 1108 00:45:12,352 --> 00:45:13,887 We should strike. Fuck em!" 1109 00:45:16,056 --> 00:45:19,593 Jonathan Kaplan, the director, was attached early on. 1110 00:45:19,593 --> 00:45:21,728 And Jonathan Kaplan's favorite phrase 1111 00:45:21,728 --> 00:45:23,330 when they talk about, 1112 00:45:23,330 --> 00:45:24,664 "Well, the studio's gonna say this, so the money..." 1113 00:45:24,664 --> 00:45:25,866 is "Fuck 'em!" 1114 00:45:25,866 --> 00:45:28,168 So, as an homage to him, 1115 00:45:28,168 --> 00:45:30,337 Ed Neumeier created a character, Kaplan, 1116 00:45:30,337 --> 00:45:32,172 that would say, "Fuck 'em!" 1117 00:45:32,172 --> 00:45:34,207 We should strike. Fuck 'em! 1118 00:45:34,207 --> 00:45:35,842 When you look at those scenes, 1119 00:45:35,842 --> 00:45:38,612 those people are sweaty, and grimy, and disgusting 1120 00:45:38,612 --> 00:45:41,381 because we were sweaty, and grimy, and disgusting 1121 00:45:41,381 --> 00:45:43,283 when we were making the movie. 1122 00:45:43,283 --> 00:45:46,219 NANCY: You had the men and the women sharing the locker room. 1123 00:45:46,219 --> 00:45:48,622 It just seemed to be that you had to be just 1124 00:45:48,622 --> 00:45:50,524 a self-survivor and take care of yourself. 1125 00:45:50,524 --> 00:45:53,560 You know, it was not an era where you depended on men. 1126 00:45:53,560 --> 00:45:55,028 There are actually 1127 00:45:55,028 --> 00:45:56,730 a few classic sound effects in RoboCop. 1128 00:45:57,531 --> 00:46:00,133 STEVE: There's a face impact that is known in the trade 1129 00:46:00,133 --> 00:46:01,568 as the John Wayne chin slap. 1130 00:46:01,568 --> 00:46:02,569 [indistinct chatter] 1131 00:46:02,569 --> 00:46:03,303 -[grunts] -[groans] 1132 00:46:03,303 --> 00:46:04,437 [grunts] 1133 00:46:04,437 --> 00:46:06,139 And it's the great, cracky face punch 1134 00:46:06,139 --> 00:46:07,274 when Lewis takes out her suspect. 1135 00:46:07,274 --> 00:46:08,108 [indistinct chatter] 1136 00:46:08,108 --> 00:46:08,909 [groans] 1137 00:46:08,909 --> 00:46:09,576 [grunts] 1138 00:46:13,613 --> 00:46:15,982 In the script, it said she takes off her helmet 1139 00:46:15,982 --> 00:46:17,217 and her hair cascades down. 1140 00:46:17,217 --> 00:46:18,785 [chuckles] 1141 00:46:18,785 --> 00:46:20,620 You know, I thought, "Well, I can do that," you know? 1142 00:46:20,620 --> 00:46:25,125 After meeting with Paul, he wanted her hair to be short. 1143 00:46:25,125 --> 00:46:28,461 So, I had my hair cut, and they looked at it, 1144 00:46:28,461 --> 00:46:31,097 and they said, "Hmm, a little bit more." 1145 00:46:31,097 --> 00:46:33,400 So, we cut it again, and then we cut it again. 1146 00:46:33,400 --> 00:46:34,734 I went through the process 1147 00:46:34,734 --> 00:46:36,303 of, like, eight different haircuts. 1148 00:46:36,303 --> 00:46:37,604 So, I ended up with really nothing. 1149 00:46:37,604 --> 00:46:38,338 It was really awful. 1150 00:46:38,338 --> 00:46:39,739 [chuckles] 1151 00:46:39,739 --> 00:46:42,409 She's introduced as a male character almost. 1152 00:46:42,409 --> 00:46:43,310 [indistinct chatter] 1153 00:46:43,310 --> 00:46:44,344 REED: Lewis! 1154 00:46:44,344 --> 00:46:45,612 Come here when you're finished 1155 00:46:45,612 --> 00:46:46,746 fucking around with your suspect! 1156 00:46:46,746 --> 00:46:48,782 COP: Get on your feet! 1157 00:46:48,782 --> 00:46:50,417 ED: She was made to look more butch or not more butch. 1158 00:46:50,417 --> 00:46:52,018 And in the end, it's sort of a compromise. 1159 00:46:52,018 --> 00:46:53,920 She looks very feminine. She's attractive. 1160 00:46:53,920 --> 00:46:56,489 Murphy, meet Lewis. Show him the neighborhood. 1161 00:46:56,489 --> 00:46:57,858 Glad to know you, Murphy. 1162 00:46:57,858 --> 00:46:59,593 You know, when she takes out the guys, 1163 00:46:59,593 --> 00:47:02,929 and all the karate and so forth, and I said, "Pretty neat." 1164 00:47:02,929 --> 00:47:04,164 Pretty neat. 1165 00:47:04,164 --> 00:47:05,932 PETER: I just found her entertaining. 1166 00:47:05,932 --> 00:47:08,034 I have my own process 1167 00:47:08,034 --> 00:47:10,270 in terms of how I prepare a role, 1168 00:47:10,270 --> 00:47:13,006 and I like to write a biography of the character, 1169 00:47:13,006 --> 00:47:14,774 what you don't know. 1170 00:47:14,774 --> 00:47:19,212 I had her fatherless, that her father had died. 1171 00:47:19,212 --> 00:47:22,115 So, she became even more independent and strong. 1172 00:47:22,115 --> 00:47:24,317 And a younger brother rather than an older brother. 1173 00:47:24,317 --> 00:47:25,785 So, she really took that role 1174 00:47:25,785 --> 00:47:27,287 of being the strength of the family. 1175 00:47:27,287 --> 00:47:28,655 [indistinct chatter] 1176 00:47:28,655 --> 00:47:30,190 I better drive until you know your way around. 1177 00:47:30,190 --> 00:47:36,997 And Nancy's like a dream, and sweet, and fun. 1178 00:47:36,997 --> 00:47:38,899 And don't laugh, 1179 00:47:38,899 --> 00:47:40,967 but I actually put on a pair of men's underpants. 1180 00:47:40,967 --> 00:47:42,502 [chuckles] 1181 00:47:42,502 --> 00:47:45,872 Just to see, like, "Ooh! What does that feel like?" 1182 00:47:45,872 --> 00:47:47,507 I know it's bizarre, but, you know, 1183 00:47:47,507 --> 00:47:49,509 you've got to try these things to see what works. 1184 00:47:49,509 --> 00:47:52,479 And, you know, my father was a New York City cop. 1185 00:47:52,479 --> 00:47:55,682 So, I did have an understanding of who these people are 1186 00:47:55,682 --> 00:47:56,816 and why they do what they do. 1187 00:47:56,816 --> 00:47:57,517 [indistinct chatter] 1188 00:47:57,517 --> 00:47:58,852 I usually drive 1189 00:47:58,852 --> 00:48:00,420 when I'm breaking in on a new partner. 1190 00:48:00,420 --> 00:48:04,257 Lewis was a little skeptical, like the sergeant was, 1191 00:48:04,257 --> 00:48:06,860 about, "Oh, who's this guy from this really, you know, 1192 00:48:06,860 --> 00:48:08,728 la-la-la area 1193 00:48:08,728 --> 00:48:10,096 where he didn't really have to work 1194 00:48:10,096 --> 00:48:11,932 for a living, as the sergeant said. 1195 00:48:11,932 --> 00:48:13,767 We work for a living down here, Murphy. 1196 00:48:13,767 --> 00:48:16,436 NANCY: But quickly, she finds that he's a strong guy. 1197 00:48:16,436 --> 00:48:18,338 Pretty fancy moves, Murphy. 1198 00:48:19,873 --> 00:48:22,609 PETER: I did have some modicum of police training. 1199 00:48:22,609 --> 00:48:24,210 But I grew up with guns. I grew up with hunting. 1200 00:48:24,210 --> 00:48:25,745 I grew up with handguns. 1201 00:48:25,745 --> 00:48:27,280 And I grew up with fast drawing. 1202 00:48:27,280 --> 00:48:28,748 [officer speaking indistinctly over radio] 1203 00:48:28,748 --> 00:48:30,350 PETER: And I have Colts and all that. 1204 00:48:30,350 --> 00:48:33,019 And I can do that stuff. I did it in RoboCop. 1205 00:48:33,019 --> 00:48:34,220 Flipping a gun, doing all that stuff. 1206 00:48:34,220 --> 00:48:35,889 Uh, yeah. 1207 00:48:35,889 --> 00:48:38,091 Well, my son Jimmy watches this cop show T.J. Lazer. 1208 00:48:38,091 --> 00:48:39,392 And this laser guy does this every time 1209 00:48:39,392 --> 00:48:40,760 he takes down a bad guy. 1210 00:48:43,029 --> 00:48:44,197 Can you do that, Dad? 1211 00:48:48,735 --> 00:48:51,237 MICHAEL: T.J. Lazer was the very first thing we shot. 1212 00:48:51,237 --> 00:48:54,941 I rented some 16mm equipment from the UCLA Tech Office, 1213 00:48:54,941 --> 00:48:58,912 and we went out to a vacant lot, and Ed organized the jumpsuit. 1214 00:49:00,080 --> 00:49:01,781 I was a cinematographer. 1215 00:49:01,781 --> 00:49:04,784 So, the way it's set up, those shots were easy for me. 1216 00:49:04,784 --> 00:49:06,319 That was definitely a fun spoof. 1217 00:49:08,388 --> 00:49:12,258 MICHAEL: Obviously, inspired by those terrible TV shows 1218 00:49:12,258 --> 00:49:14,327 of the '70s, right? 1219 00:49:14,327 --> 00:49:15,128 T.J. Hooker. 1220 00:49:16,396 --> 00:49:17,130 [indistinct chatter] 1221 00:49:17,130 --> 00:49:18,665 Yeah. 1222 00:49:18,665 --> 00:49:21,401 Well, role models can be very important to a boy. 1223 00:49:21,401 --> 00:49:22,936 He had a sense of humor, 1224 00:49:22,936 --> 00:49:24,471 as did she, and they kind of had a little play 1225 00:49:24,471 --> 00:49:26,506 together for that moment. 1226 00:49:26,506 --> 00:49:27,574 OFFICER OVER RADIO: All units, all units, sector nine. 1227 00:49:27,574 --> 00:49:28,975 Why don't you drive? 1228 00:49:28,975 --> 00:49:30,910 NANCY: And they bonded very quickly. 1229 00:49:30,910 --> 00:49:33,246 Nancy is my buddy. 1230 00:49:33,246 --> 00:49:35,582 Nancy's like, "Hey, 1231 00:49:35,582 --> 00:49:37,350 let's go eat Mexican food in Fort Worth." 1232 00:49:37,350 --> 00:49:40,587 "Yeah!" So, there's a bond. 1233 00:49:40,587 --> 00:49:42,122 And plus, which, when you're acting 1234 00:49:42,122 --> 00:49:43,690 with her, she's a dreamboat. 1235 00:49:54,134 --> 00:49:56,936 RONNY: In playing characters like Dick Jones, 1236 00:49:56,936 --> 00:50:00,040 I look for everything good about him. 1237 00:50:00,040 --> 00:50:01,541 As you know, 1238 00:50:01,541 --> 00:50:02,609 we've entered into a contract with the city 1239 00:50:02,609 --> 00:50:04,477 to run local law enforcement. 1240 00:50:04,477 --> 00:50:06,379 Because guys like Dick Jones. 1241 00:50:06,379 --> 00:50:09,849 Guys like that. They don't think they're bad. 1242 00:50:09,849 --> 00:50:11,684 They just think if everybody knew 1243 00:50:11,684 --> 00:50:14,788 what the hell they were doing, they'd see things as they do. 1244 00:50:16,022 --> 00:50:18,124 We need something more. 1245 00:50:18,124 --> 00:50:21,628 We need a 24-hour-a-day police officer. 1246 00:50:21,628 --> 00:50:24,864 A cop who doesn't need to eat or sleep. 1247 00:50:24,864 --> 00:50:28,468 A cop with superior firepower and the reflexes to use them. 1248 00:50:30,303 --> 00:50:32,872 Fellow executives, it gives me great pleasure 1249 00:50:32,872 --> 00:50:35,642 to introduce you to the future of law enforcement... 1250 00:50:37,477 --> 00:50:39,379 ED-209. 1251 00:50:47,754 --> 00:50:50,423 We weren't involved with the design of ED-209. 1252 00:50:50,423 --> 00:50:52,892 I mean, we just told Phil Tippett, 1253 00:50:52,892 --> 00:50:55,195 you know, "Here's the script to ED-209." 1254 00:50:55,695 --> 00:51:04,571 [♪♪♪♪♪♪] 1255 00:51:08,842 --> 00:51:10,410 We go to machine shops, 1256 00:51:10,410 --> 00:51:13,947 and, you know, robotic shops, and shot a lot of footage. 1257 00:51:13,947 --> 00:51:16,349 Reference footage of how robotic things 1258 00:51:16,349 --> 00:51:18,685 and machines attack, and decay, and move, 1259 00:51:18,685 --> 00:51:21,287 and come to stops and starts, which is very different 1260 00:51:21,287 --> 00:51:22,856 than an organic thing, you know? 1261 00:51:22,856 --> 00:51:23,890 'Cause an organic thing will go like... 1262 00:51:23,890 --> 00:51:25,358 [imitates whirring] 1263 00:51:25,358 --> 00:51:27,293 And a, you know, robotic thing will go like... 1264 00:51:27,293 --> 00:51:28,228 [grunts] 1265 00:51:30,864 --> 00:51:33,133 Ed Neumeier had pictures 1266 00:51:33,133 --> 00:51:36,970 that he'd taken off of some Japanese manga 1267 00:51:36,970 --> 00:51:39,405 that had a giant robot that had, like, 1268 00:51:39,405 --> 00:51:42,108 his arms terminated into guns. 1269 00:51:42,108 --> 00:51:44,444 So, Ed knew he wanted something like that. 1270 00:51:45,812 --> 00:51:47,147 ED-209 is Phil. 1271 00:51:47,147 --> 00:51:48,314 I mean, it's just, as you get to know 1272 00:51:48,314 --> 00:51:50,150 Phil's work, it's just Phil. 1273 00:51:50,150 --> 00:51:53,153 No one could do that the way Phil can do it. 1274 00:51:53,153 --> 00:51:54,988 It was a very exciting group of people. 1275 00:51:54,988 --> 00:51:56,556 And, uh, they just came in, 1276 00:51:56,556 --> 00:51:59,726 and they did solid, sincere work, you know? 1277 00:52:01,761 --> 00:52:05,131 I happened to meet this kid at a barbecue 1278 00:52:05,131 --> 00:52:07,133 that some of the costume guys were doing 1279 00:52:07,133 --> 00:52:11,137 on Return of the Jedi, and his work was really great. 1280 00:52:11,137 --> 00:52:13,239 I mean, he couldn't have been more than 18 or 19 at the time. 1281 00:52:13,239 --> 00:52:14,641 It was Craig Hayes. 1282 00:52:14,641 --> 00:52:16,309 It was sort of like working in a garage 1283 00:52:16,309 --> 00:52:17,810 with your buddies, you know? 1284 00:52:17,810 --> 00:52:20,513 Everybody, all ten of us, you know, 1285 00:52:20,513 --> 00:52:23,283 were there to just really do this one kind of task, 1286 00:52:23,283 --> 00:52:25,084 and everybody was really into it. 1287 00:52:25,084 --> 00:52:28,154 The whole idea behind ED-209 was that it was styled. 1288 00:52:28,154 --> 00:52:30,190 DICK: The enforcement droid, Sirius 209, 1289 00:52:30,190 --> 00:52:32,659 is a self-sufficient law enforcement robot. 1290 00:52:32,659 --> 00:52:35,195 209 is currently programmed for urban pacification, 1291 00:52:35,195 --> 00:52:36,696 but that is only the beginning. 1292 00:52:36,696 --> 00:52:38,198 It was styled like a piece 1293 00:52:38,198 --> 00:52:42,502 of, you know, American automotive hardware. 1294 00:52:42,502 --> 00:52:45,972 DICK: We can expect 209 to become the hot military product 1295 00:52:45,972 --> 00:52:47,173 for the next decade. 1296 00:52:48,808 --> 00:52:51,211 Obviously, we've gotta reference military technology, 1297 00:52:51,211 --> 00:52:53,012 tanks, helicopters in particular, 1298 00:52:53,012 --> 00:52:55,782 because they're some of the more, sort of, advanced, 1299 00:52:55,782 --> 00:52:58,952 kind of interesting shapes, and forms, and stuff. 1300 00:52:58,952 --> 00:53:00,954 This thing needed to have a character, you know? 1301 00:53:00,954 --> 00:53:02,689 So, it couldn't be just simply a machine. 1302 00:53:02,689 --> 00:53:05,024 So, mix that with some organic, 1303 00:53:05,024 --> 00:53:08,294 the organic nature of a killer whale. 1304 00:53:08,294 --> 00:53:11,197 The idea of giving it a face without having a face 1305 00:53:11,197 --> 00:53:14,167 was really kind of, you know, an important part to it. 1306 00:53:14,167 --> 00:53:15,735 PHIL: Very early on, you know, 1307 00:53:15,735 --> 00:53:18,571 Craig was doing the designs, and he looked too happy. 1308 00:53:18,571 --> 00:53:21,574 So, he was joking around and making him look mean. 1309 00:53:24,244 --> 00:53:25,912 CRAIG: Stop motion is basically, 1310 00:53:25,912 --> 00:53:27,747 you're moving everything frame by frame. 1311 00:53:27,747 --> 00:53:29,582 There's an articulate skeleton or armature 1312 00:53:29,582 --> 00:53:31,417 inside of the puppet, which allows the joints 1313 00:53:31,417 --> 00:53:33,886 to be tensioned or adjusted just right. 1314 00:53:33,886 --> 00:53:36,189 We worked at 24 frames per second, right? 1315 00:53:36,189 --> 00:53:39,058 So, that means for every second of screen time, 1316 00:53:39,058 --> 00:53:41,261 there's 24 increments in there. 1317 00:53:43,162 --> 00:53:45,565 RANDAL: This puppet is an avatar for you. 1318 00:53:45,565 --> 00:53:47,267 So, you're acting through this puppet. 1319 00:53:47,267 --> 00:53:50,169 So, you better know every square millimeter 1320 00:53:50,169 --> 00:53:51,571 of that puppet. 1321 00:53:51,571 --> 00:53:54,173 You're imbuing an inanimate object 1322 00:53:54,173 --> 00:53:55,575 with a personality, 1323 00:53:55,575 --> 00:53:57,777 and you're giving it that personality. 1324 00:53:57,777 --> 00:54:00,780 So, it's a very special relationship 1325 00:54:00,780 --> 00:54:03,049 between animator and model. 1326 00:54:05,251 --> 00:54:08,121 The movement of ED-209 1327 00:54:08,121 --> 00:54:10,590 mostly came from an older printing press, 1328 00:54:10,590 --> 00:54:12,058 which is cast iron. 1329 00:54:12,058 --> 00:54:14,727 And so, we added that to the leg movement. 1330 00:54:14,727 --> 00:54:17,530 [imitates printing press whirring] 1331 00:54:22,635 --> 00:54:25,538 There were some budgetary issues for the thing. 1332 00:54:25,538 --> 00:54:29,042 We never even got to have him move in the scene. 1333 00:54:29,042 --> 00:54:31,778 So, I proposed to Paul that we build a 1334 00:54:31,778 --> 00:54:35,648 full-size ED-209 if he bought my pitch, 1335 00:54:35,648 --> 00:54:38,618 and that would be he can't move. 1336 00:54:38,618 --> 00:54:40,119 Oh, okay. 1337 00:54:40,119 --> 00:54:42,255 PHIL: But we keep him alive 1338 00:54:42,255 --> 00:54:44,891 by, like, a mechanical pedal note. 1339 00:54:44,891 --> 00:54:46,993 So, he has a voice that's running through the scene 1340 00:54:46,993 --> 00:54:48,895 that's kind of this ominous drone. 1341 00:54:51,264 --> 00:54:53,666 And, Paul in. Yeah, that would totally work. 1342 00:54:53,666 --> 00:54:55,335 Yes. 1343 00:55:03,142 --> 00:55:05,645 CRAIG: The thing's made of fiberglass, and vacuum-formed plastic, 1344 00:55:05,645 --> 00:55:07,613 and is, in fact, very lightweight. 1345 00:55:07,613 --> 00:55:09,015 You know, two people could break the thing down 1346 00:55:09,015 --> 00:55:10,583 and put it back together pretty easily. 1347 00:55:12,018 --> 00:55:14,954 JON: I remember when ED-209 arrived on the set. 1348 00:55:14,954 --> 00:55:17,023 It was a giant crate. 1349 00:55:17,023 --> 00:55:18,991 And, you know, it took him all morning 1350 00:55:18,991 --> 00:55:20,626 to uncrate this thing. 1351 00:55:20,626 --> 00:55:24,097 And I go up to Paul, and he's sick as a dog. 1352 00:55:24,097 --> 00:55:26,599 I think he's got the flu. 1353 00:55:26,599 --> 00:55:28,935 And I said, "Paul, you'll be glad to know 1354 00:55:28,935 --> 00:55:31,170 ED-209 looks great." 1355 00:55:31,170 --> 00:55:34,273 And he said, "Well, I hope the next director 1356 00:55:34,273 --> 00:55:36,175 will appreciate it." 1357 00:55:36,175 --> 00:55:38,277 [laughs] 1358 00:55:41,481 --> 00:55:42,982 DICK: Dr. McNamara. 1359 00:55:42,982 --> 00:55:44,016 DR. MCNAMARA: We'll need an arrest subject. 1360 00:55:44,016 --> 00:55:45,551 -Mr. Kinney. -Yes, sir. 1361 00:55:45,551 --> 00:55:46,352 Would you come up and give us a hand, please? 1362 00:55:46,352 --> 00:55:48,020 Yes, sir. 1363 00:55:48,020 --> 00:55:51,557 When Mr. Kinney points the gun at the boss guy, 1364 00:55:51,557 --> 00:55:53,960 I didn't really get that in the script. 1365 00:55:53,960 --> 00:55:55,194 So, when he says... 1366 00:55:55,194 --> 00:55:56,696 Use your gun in a threatening manner. 1367 00:55:56,696 --> 00:55:58,865 I... I pointed it at ED-209. 1368 00:55:58,865 --> 00:56:00,500 And Paul comes, "No, no, no, no, no! 1369 00:56:00,500 --> 00:56:02,001 You must point it at him." 1370 00:56:02,001 --> 00:56:04,170 And then sort of told him what the joke was. 1371 00:56:04,170 --> 00:56:05,671 MAN 4: Action. 1372 00:56:05,671 --> 00:56:07,240 Point it at ED-209. 1373 00:56:07,240 --> 00:56:08,241 Yes, sir. 1374 00:56:11,177 --> 00:56:13,913 ED-209: Drop the gun! You have ten seconds to comply. 1375 00:56:15,481 --> 00:56:18,084 Paul would play ED-209 1376 00:56:18,084 --> 00:56:20,686 in all the VistaVision plates, you know? 1377 00:56:20,686 --> 00:56:21,988 You go like this, and you shoot. 1378 00:56:21,988 --> 00:56:23,055 [imitates gunshots] 1379 00:56:23,055 --> 00:56:24,891 [imitates gunshots] 1380 00:56:24,891 --> 00:56:25,691 [screams] 1381 00:56:25,691 --> 00:56:26,993 Just screams! 1382 00:56:26,993 --> 00:56:27,994 [exclaims, chuckles] 1383 00:56:27,994 --> 00:56:29,595 And everybody would react to it. 1384 00:56:29,595 --> 00:56:32,432 And it was actually very effective. 1385 00:56:32,432 --> 00:56:34,233 ED-209: You have five seconds to comply. 1386 00:56:34,233 --> 00:56:36,502 We needed language for ED-209 1387 00:56:36,502 --> 00:56:38,738 because he had a pre-programmed card. 1388 00:56:40,206 --> 00:56:44,177 Please put down your weapon. You have 20 seconds to comply. 1389 00:56:45,778 --> 00:56:47,880 His voice was the producer Jon Davison. 1390 00:56:47,880 --> 00:56:48,915 Uh-huh. 1391 00:56:48,915 --> 00:56:50,082 That they cheesed up a little. 1392 00:56:50,082 --> 00:56:52,452 They used a lot of deepening 1393 00:56:52,452 --> 00:56:55,555 and a lot of cheesy synthy processing on that. 1394 00:56:57,356 --> 00:56:58,424 JON: You rolling? 1395 00:56:58,424 --> 00:57:00,560 -MAN 5: Yes. -JON: Okay. 1396 00:57:00,560 --> 00:57:03,930 ED-209: Please put down your weapon. You have 20 seconds to comply. 1397 00:57:03,930 --> 00:57:06,199 You now have 15 seconds to comply. 1398 00:57:07,633 --> 00:57:10,603 Your civil rights are currently in effect. 1399 00:57:10,603 --> 00:57:12,305 If you cannot afford an attorney, 1400 00:57:12,305 --> 00:57:14,974 one will be appointed for you. 1401 00:57:14,974 --> 00:57:16,476 Take the gun out of my mouth. 1402 00:57:16,476 --> 00:57:17,577 Yeah, you shot it on the board here. 1403 00:57:17,577 --> 00:57:19,378 [man laughing] 1404 00:57:19,378 --> 00:57:21,380 ED-209: Smoking is prohibited in the hallway. 1405 00:57:22,281 --> 00:57:23,082 Next. 1406 00:57:25,751 --> 00:57:28,888 STEVE: All the growls were cats. 1407 00:57:28,888 --> 00:57:31,457 Like tigers, and leopards, and things like that. 1408 00:57:32,959 --> 00:57:36,095 My favorite is when Ed turns on Kinney that first time. 1409 00:57:36,095 --> 00:57:38,164 So, I like to call that one the whiplash puma. 1410 00:57:40,233 --> 00:57:43,135 'Cause it's this great cat attack. 1411 00:57:43,135 --> 00:57:44,637 [growls] 1412 00:58:05,424 --> 00:58:06,459 [crowd clamoring] 1413 00:58:20,373 --> 00:58:22,942 KEVIN: We did our original shoot on location 1414 00:58:22,942 --> 00:58:24,710 at the Renaissance Tower. 1415 00:58:24,710 --> 00:58:26,445 And about a month and a half later, 1416 00:58:26,445 --> 00:58:29,849 I got a call from my agent that said, "They want you back." 1417 00:58:29,849 --> 00:58:31,384 They're gonna do some reshoots. 1418 00:58:31,384 --> 00:58:32,852 Paul Verhoeven was not happy 1419 00:58:32,852 --> 00:58:34,453 with the amount of blood apparently. 1420 00:58:34,453 --> 00:58:35,988 That is absolutely true. 1421 00:58:35,988 --> 00:58:38,391 KEVIN: And they rebuilt the entire boardroom 1422 00:58:38,391 --> 00:58:41,661 on stage one out of the studios at Las Colinas. 1423 00:58:41,661 --> 00:58:44,363 So, I had to get splattered and reloaded with squibs 1424 00:58:44,363 --> 00:58:45,665 over and over again 1425 00:58:45,665 --> 00:58:48,467 for about three 12-hour days in a row. 1426 00:58:48,467 --> 00:58:50,202 VERHOEVEN: Okay, just try it again. 1427 00:58:50,202 --> 00:58:52,905 KEVIN: The effects guys thought this was very funny. 1428 00:58:52,905 --> 00:58:54,340 [laughs] 1429 00:58:54,340 --> 00:58:56,409 He was not happy with the effects department. 1430 00:58:56,409 --> 00:58:58,644 KEVIN: They told me that they were putting more squibs on my body 1431 00:58:58,644 --> 00:59:01,147 than anyone in film history at the time. 1432 00:59:01,147 --> 00:59:03,549 And Paul Verhoeven still was not happy. 1433 00:59:03,549 --> 00:59:05,351 And he kept shouting, "I need more blood! 1434 00:59:05,351 --> 00:59:06,886 There's not enough blood!" 1435 00:59:06,886 --> 00:59:09,388 The way I expressed the violence in some ways 1436 00:59:09,388 --> 00:59:11,524 was over the top. Blood. Action. 1437 00:59:11,524 --> 00:59:13,993 And so, finally, apparently, the effects guys, 1438 00:59:13,993 --> 00:59:15,394 this is what they told me, 1439 00:59:15,394 --> 00:59:17,263 they were at lunch over in the commissary 1440 00:59:17,263 --> 00:59:18,698 in between takes, 1441 00:59:18,698 --> 00:59:20,733 and they were serving spaghetti squash. 1442 00:59:20,733 --> 00:59:23,703 They slid that baggie of spaghetti squash 1443 00:59:23,703 --> 00:59:25,271 underneath the suit, and loaded it up 1444 00:59:25,271 --> 00:59:26,372 with more squibs. 1445 00:59:26,372 --> 00:59:27,406 VERHOEVEN: And fire! 1446 00:59:27,406 --> 00:59:29,041 [groans] 1447 00:59:29,041 --> 00:59:29,942 [exclaims] 1448 00:59:31,210 --> 00:59:32,545 Completely over the top. 1449 00:59:32,545 --> 00:59:36,282 Blood all over the screen. 1450 00:59:36,282 --> 00:59:37,617 Fountains of blood 1451 00:59:37,617 --> 00:59:42,021 that were sprouting out of his body. 1452 00:59:42,021 --> 00:59:44,924 You know, emptying magazines on him, you know, bazookas. 1453 00:59:46,125 --> 00:59:48,094 It just really did my man in. 1454 00:59:48,094 --> 00:59:50,930 WOMAN 1: And fire the weapons at him now! 1455 00:59:53,599 --> 00:59:55,568 I guarantee you, it was very painful. 1456 00:59:55,568 --> 00:59:57,103 The squibs are like firecrackers, 1457 00:59:57,103 --> 00:59:59,872 and they have a metal backing. 1458 00:59:59,872 --> 01:00:01,641 And if they get away from your body, 1459 01:00:01,641 --> 01:00:03,442 they kick when they go off. 1460 01:00:03,442 --> 01:00:06,946 And the last squib that went off of the last day of shooting 1461 01:00:06,946 --> 01:00:08,447 hit me right in the left nut. 1462 01:00:08,447 --> 01:00:10,049 [laughs] 1463 01:00:10,049 --> 01:00:12,284 So, I'll take that. 1464 01:00:12,284 --> 01:00:13,819 So, I had to lay there. 1465 01:00:13,819 --> 01:00:17,423 And Mr. Verhoeven just let that camera roll, and roll, 1466 01:00:17,423 --> 01:00:19,425 and roll for, like, ten seconds. 1467 01:00:19,425 --> 01:00:20,493 VERHOEVEN: Okay. 1468 01:00:20,493 --> 01:00:22,128 [groans] 1469 01:00:22,128 --> 01:00:24,563 We ran up, and, "Kevin, are you okay?" 1470 01:00:24,563 --> 01:00:26,666 No, you hit me in the balls. 1471 01:00:26,666 --> 01:00:30,903 He just looked up, and went, "Fuck off. 1472 01:00:30,903 --> 01:00:32,838 Get away from me." 1473 01:00:34,340 --> 01:00:37,076 I don't believe at this point that anyone has taken 1474 01:00:37,076 --> 01:00:39,745 more hits at one time than Kevin took in that shot. 1475 01:00:41,113 --> 01:00:43,416 There was actually a wind-down 1476 01:00:43,416 --> 01:00:46,719 that was recorded by Ben Burtt for the Star Wars films. 1477 01:00:48,754 --> 01:00:52,024 It's actually a 1929 Traveler biplane. 1478 01:00:52,024 --> 01:00:54,860 It can be heard when ED-209 dies 1479 01:00:54,860 --> 01:00:56,796 after blowing away Kinney. 1480 01:01:01,100 --> 01:01:03,536 [imitates whirring, exhales sharply] 1481 01:01:03,536 --> 01:01:05,171 Smoke, fall down, 1482 01:01:05,171 --> 01:01:07,339 three stooges-like people looking. 1483 01:01:07,339 --> 01:01:08,974 That was, of course, horrifying. 1484 01:01:08,974 --> 01:01:12,344 But then the first line after that basically is... 1485 01:01:14,647 --> 01:01:16,148 But the guy was gone, you know? 1486 01:01:16,148 --> 01:01:18,050 There was nothing left of the guy. 1487 01:01:18,050 --> 01:01:22,354 And people scampering, running, cringing. 1488 01:01:22,354 --> 01:01:24,490 And Dan Herlihy, he never moved. 1489 01:01:24,490 --> 01:01:27,660 Dan O'Herlihy, he looked great, never moving. 1490 01:01:27,660 --> 01:01:29,061 O'Herlihy just says... 1491 01:01:29,061 --> 01:01:31,897 Dick, I'm very disappointed. 1492 01:01:31,897 --> 01:01:33,666 That's my favorite line in the movie. 1493 01:01:33,666 --> 01:01:36,402 "Dick, I'm very disappointed." 1494 01:01:37,837 --> 01:01:39,338 Puts me down, man. 1495 01:01:39,338 --> 01:01:40,339 [indistinct chatter] 1496 01:01:40,339 --> 01:01:41,474 I'm sure it's only a glitch. 1497 01:01:41,474 --> 01:01:43,142 A temporary setback. 1498 01:01:43,142 --> 01:01:44,710 You call this a glitch? 1499 01:01:46,178 --> 01:01:48,714 The corporate's rule, period. 1500 01:01:48,714 --> 01:01:50,516 Your temporary setback could cost us 1501 01:01:50,516 --> 01:01:52,718 50 million dollars in interest payments alone. 1502 01:01:52,718 --> 01:01:54,019 And it shows to what length 1503 01:01:54,019 --> 01:01:56,822 they will go to keep that position. 1504 01:01:56,822 --> 01:01:58,491 Perhaps you're aware of the RoboCop program 1505 01:01:58,491 --> 01:02:00,359 developed by myself at Security Concepts 1506 01:02:00,359 --> 01:02:02,428 as a contingency against just this sort of thing? 1507 01:02:02,428 --> 01:02:04,263 Thank you for your concern, Mr. Morton. 1508 01:02:04,263 --> 01:02:09,068 I just look for all of the ways that assured me 1509 01:02:09,068 --> 01:02:11,003 that his way was the correct way. 1510 01:02:11,003 --> 01:02:13,572 -It's something we can-- -Now, wait a minute. Dick! 1511 01:02:13,572 --> 01:02:16,408 I looked at this as a cautionary tale. 1512 01:02:16,408 --> 01:02:18,410 Tell me about your plan, Mr. Morton. 1513 01:02:18,410 --> 01:02:20,880 SAGE: To see that these people who'd gone for the greed 1514 01:02:20,880 --> 01:02:23,616 and how things turned out so badly for them. 1515 01:02:23,616 --> 01:02:26,252 I'm confident we can go to prototype within 90 days. 1516 01:02:26,252 --> 01:02:28,087 You know, karma, for lack of a better word. 1517 01:02:28,754 --> 01:02:29,955 [groans] 1518 01:02:32,792 --> 01:02:36,128 ED-209 is my baby. Bullshit him. 1519 01:02:36,128 --> 01:02:37,930 ED-209 is here. 1520 01:02:48,574 --> 01:02:50,242 -That wasn't on. -[laughs] 1521 01:02:50,242 --> 01:02:52,411 [laughs] 1522 01:02:52,411 --> 01:02:54,146 MAN 6: All righty. There we go. 1523 01:02:54,146 --> 01:02:56,582 We're good. All right. So, take it from the top. 1524 01:02:56,582 --> 01:02:58,417 -Start again. -Oh, my Lord. 1525 01:02:58,417 --> 01:02:59,752 -We had fun. -How time flies. 1526 01:02:59,752 --> 01:03:01,453 -[laughs] -Holy shit. 1527 01:03:01,453 --> 01:03:02,822 [laughs] 1528 01:03:02,822 --> 01:03:03,923 I like it.