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[♪♪♪♪♪]

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[♪♪♪♪♪]

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[♪♪♪♪♪]

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[♪♪♪♪♪]

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[♪♪♪♪♪]

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[♪♪♪♪♪]

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[♪♪♪♪♪]

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CALVIN:
Everyone came out like,
"This is really good."

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My name is Calvin Jung.

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I played Steve Minh in RoboCop .

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JESSE:
It just kinda struck me
as being kinda funny.

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[laughs]

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Jesse Goins, I played Joe Cox.

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[chuckles]

15
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[cheers]

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I like it!

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PAUL MCCRANE:
We had a lot of laughs.

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We joked around a lot.

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EMIL:
Think you can outsmart a bullet?

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I'm Paul McCrane
and I played Emil.

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Why don't you let us
take over from here, Emil?

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RAY:
I'm Ray Wise.

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I play Leon Nash,
number two bad guy on RoboCop .

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Yeah.

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The original RoboCop .

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Well, give the man a hand.

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KURTWOOD:
Kurtwood Smith.

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Yeah!

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I'm the man in Old Detroit.

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And I played Clarence Boddicker.

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CLARENCE:
Cops don't like me,
so I don't like cops.

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When I heard the title,

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I thought this is gonna be
terrible, horrible, ridiculous.

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And I read the script,

35
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and I thought
it was really cool.

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I had played a number of sort
of very sensitive

37
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or fragile characters
in my young career.

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Hey, could--
could you sign my head?

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Yeah, sure.

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And I, around that time,
told my reps

41
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that I wanted to go up
for bad guys.

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And they thought
I was out of my mind.

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[laughs]

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PAUL MCCRANE:
And so, I just sort of
started refusing auditions

45
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for the type of parts
that I'd been doing,

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just '‘cause I wanted to
branch out,

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do something different.

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You're in the wrong business.

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PAUL MCCRANE:
This is one of the things
that they were able to get me

50
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in the room on.

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JESSE:
I'd been in LA
for about seven years

52
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and done some work.

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[groans]

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What was cool
about the audition was

55
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Paul was great, and he said,
"You know, just--

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Just give me what you got.

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Just give me what you got",
you know?

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And so-- so we did.

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CALVIN:
I was brought in to audition.

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I met Paul Verhoeven,

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and then as I got up
and I was leaving,

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the casting lady ran out,
she says, "Calvin, he loved you,

63
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but he thinks
you're too pretty."

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Ancient Chinese secrets.

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I was like, "What the fuck?
Too pretty?"

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I said, "No one's ever said
I was too pretty."

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Unless you want
your fuckin' head blown off.

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She says, "I'm pullin' for you."

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And then um, I think a day
later I got the call.

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My agent, we got--
I got the gig.

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How did I get involved?
Well, let's see.

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Uh, how many years ago
has it been?

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You try to interfere with
another one of my properties,

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and they won't be able
to put you guys back together

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with Krazy Glue.

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RAY:
I went in and I read,
originally for Murphy.

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Double wages for the lead men.

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I was all set to play Murphy.

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I wanted to play Murphy.

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Nice shootin', son.
What's your name?

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Murphy.

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RAY:
But, I got the dregs.

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I got the part of Leon Nash,

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which turned out to be
not such a dreg after all.

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[chuckles]

86
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I was still kickin' around uh,
playin' uh, mostly bad guys

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on television.

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He's calling up information
on the A-team.

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KURTWOOD:
Bad cops, or bad administrators.

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I'm Clarence.

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KURTWOOD:
Had a really nice role finally
in a feature

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called "Flashpoint".

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Think about it, whiz kid.

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KURTWOOD:
Turned out that one
of the producers of RoboCop ,

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Arne Schmidt, had been
the first AD on that film.

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Arne uh, was the one
who would actually say,

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"Yeah, see this guy."

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Well, you heard the man,
hotshot.

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KURTWOOD:
They asked me to audition
for two roles.

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Clarence, and Dick Jones.

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Based on things
I'd done in the past,

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I assumed they were more serious
about the Dick Jones role.

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I work for Dick Jones!
Dick Jones!

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KURTWOOD:
But Clarence, of course,
was the more fun part.

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So, I was really excited
when I was Clarence.

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CALVIN:
We're all
theater-trained actors.

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Theater-trained actors
understand

108
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what ensemble work is,

109
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whereas people
who wanna be movie stars,

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they really don't get that.

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So, that was really easy
for all of us.

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Because Jon Davison
wanted to make sure

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we were kinda multicultural,
the gang became, you know,

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every color under the rainbow.

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I think the diversity
of our cast,

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that transcends into the acting,

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leaves a memory for people.

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Erica Phillips, she was the uh,
costume designer,

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and she wanted to know
what I wanted to do,

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and it ended up that she and I
just went shopping.

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RAY:
I think she took into account
the way I looked.

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I kinda had
kinda the widow's peak look,

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and the hawk nose,
and um, aquiline, I like to say.

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And uh, she saw that look,

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and she felt that
I would look the best in black.

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KURTWOOD:
I had a very clear idea
in my mind about

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what they were like.

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That they did have
a kind of military look to them,

129
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but with a scarf, you know?

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JESSE:
We added things to it, you
know, like the sneakers,

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you know, rather than boots.

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So, we all had some input.

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The sort of weird beard thing
that I did was uh--

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I'll take credit for it,
that was mine.

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I knew I wanted to do something
a little odd hairwise.

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So, I walked onto the set
with it

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and showed it to Paul,
and he said, "Yeah, I like that,

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so keep it", so I did.

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CALVIN:
My ex-wife, when we were dating,

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she says,
"You weren't in RoboCop!"

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I go, "Yeah, I was the guy
with the bandan--"

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"No, that was a Mexican guy!"

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I go, "No, it's me."

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This is the all,
the all-seeing eye.

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Leon's glass eye.

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My medallion that I wore
all through the movie.

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So, quite a bit of action.
A little shrapnel.

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But as you can see,
still looks pretty good.

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Shit!

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[Jesse chuckling]

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JESSE:
I loved it.

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We were in the truck
and Kurtwood looks at the money,

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he says, "You burned
the motherfuckin' money!"

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You burned the fuckin' money!

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I had to blow the door!
What do you want?

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It's as good as marked,
you asshole!

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You stupid, stupid...

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Now, that's not the way

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that a normal military leader
might behave

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in that kind of a situation.

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And that's '‘cause he's k--
kind of loaded all the time,

162
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you know?

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Clarence, he's the kind of guy
who could run Old Detroit,

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but could never run Detroit.

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He didn't go that far.

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But within his world,
he was the man.

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Clarence Boddicker,
unofficial crime boss

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of Old Detroit,

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now sought in connection
with the deaths

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of 31 police officers.

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Today, he's at large.

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KURTWOOD:
So, we were all on location,
in downtown Dallas,

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and in the van
when we were first shooting it--

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We got a cop on our tail!

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KURTWOOD:
I wanted to play it
kinda full go,

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including kicking the back
of Paul McCrane's seat.

177
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...and do it! Just do it!

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[laughs]

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Paul didn't particularly enjoy
that part.

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Oh, for God's sake.

181
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We were like little kids
playin' in the sandbox.

182
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Yeah!

183
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I did some things in RoboCop
that now that I think about it

184
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uh, it was crazy.

185
00:09:01,050 --> 00:09:01,817
Why did I ever do them?

186
00:09:03,085 --> 00:09:04,753
[yells]

187
00:09:04,753 --> 00:09:06,155
RAY:
Hangin' out of the back
of the van,

188
00:09:06,155 --> 00:09:08,357
with no really safety lines
on us.

189
00:09:08,357 --> 00:09:10,492
You know, if I had slipped
and fallen out of the back,

190
00:09:10,492 --> 00:09:12,828
I would've been run over
by the police car.

191
00:09:12,828 --> 00:09:16,565
Ed and I worked on scenes
pretty much on the set.

192
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You know, he was always looking
for kind of hipper ways

193
00:09:19,702 --> 00:09:21,236
to say things.

194
00:09:21,236 --> 00:09:23,105
When it came time
to throw the guy out...

195
00:09:23,105 --> 00:09:25,374
Leon, pick him up.

196
00:09:25,374 --> 00:09:28,077
...I thought, "I just
throw the guy out, you know?

197
00:09:28,077 --> 00:09:30,179
I should say something to him,
you know?"

198
00:09:30,179 --> 00:09:31,447
This guy burned the money.

199
00:09:31,447 --> 00:09:35,351
This guy
screwed this whole thing up.

200
00:09:35,351 --> 00:09:38,520
And so,
I wanna say something nasty.

201
00:09:38,520 --> 00:09:40,089
I thought, "Well, you know,
I'm gonna throw him out.

202
00:09:40,089 --> 00:09:41,023
let's see if he flies."

203
00:09:41,023 --> 00:09:42,524
Can you fly, Bobby?

204
00:09:42,524 --> 00:09:43,392
Clarence, no!

205
00:09:44,026 --> 00:09:46,562
Can you fly, Bobby?

206
00:09:46,562 --> 00:09:48,230
[yells]

207
00:09:50,899 --> 00:09:52,701
RUSSELL:
The part wherever
they throw the guy

208
00:09:52,701 --> 00:09:55,371
out of the back of the truck
on to the car,

209
00:09:55,371 --> 00:09:56,772
and the car spins around,

210
00:09:56,772 --> 00:09:58,707
whenever they threw him
out of the car,

211
00:09:58,707 --> 00:10:00,409
that was in Dallas.

212
00:10:00,409 --> 00:10:03,946
When he landed on the car,
that was me here in LA.

213
00:10:03,946 --> 00:10:05,447
If you look real close,

214
00:10:05,447 --> 00:10:06,548
you can see that it's me
on the hood of the car,

215
00:10:06,548 --> 00:10:07,549
spinnin' around.

216
00:10:18,093 --> 00:10:19,828
I certainly know

217
00:10:19,828 --> 00:10:22,131
from my father being
a police officer

218
00:10:22,131 --> 00:10:25,768
that your partner is someone
that you're as close to

219
00:10:25,768 --> 00:10:26,935
as your wife.

220
00:10:28,270 --> 00:10:29,071
Well, you call it.

221
00:10:30,773 --> 00:10:32,074
Let's do it.

222
00:10:32,074 --> 00:10:33,642
It's a very intimate
relationship.

223
00:10:33,642 --> 00:10:35,010
There's a really strong bond,

224
00:10:35,010 --> 00:10:36,679
you rely on one another
for your life.

225
00:10:38,580 --> 00:10:41,583
RAY:
It was an old steel mill
in uh, Monessen, Pennsylvania.

226
00:10:41,583 --> 00:10:44,653
This was out of work already
since years.

227
00:10:44,653 --> 00:10:46,989
But you had the feeling,
the workers,

228
00:10:46,989 --> 00:10:49,024
they'd just left
yesterday night.

229
00:10:50,192 --> 00:10:51,660
JESSE:
Pittsburgh's my home town.

230
00:10:51,660 --> 00:10:53,595
So, my parents
could see me work.

231
00:10:53,595 --> 00:10:55,464
They came out to the set,
and they watched me.

232
00:10:55,464 --> 00:10:56,198
Of course, they--

233
00:10:56,598 --> 00:10:59,468
JESSE:
My mom got to see me
do the pissing scene.

234
00:10:59,468 --> 00:11:01,203
So, I'm like,
"Oh, this is great."

235
00:11:01,203 --> 00:11:04,973
My mom was right over there.
And this is really artistic.

236
00:11:04,973 --> 00:11:06,675
"Yeah, I'm makin' money, mom.

237
00:11:06,675 --> 00:11:08,143
This is
what I went to college for."

238
00:11:08,677 --> 00:11:12,815
Mind if I zip this up?

239
00:11:12,815 --> 00:11:15,617
I love the bad boys.
I love them!

240
00:11:15,617 --> 00:11:18,954
You know, they were
collectively, I'll just say,

241
00:11:18,954 --> 00:11:22,057
the nicest, really sweet,
wonderful guys.

242
00:11:22,057 --> 00:11:23,392
Didn't drink, didn't smoke.

243
00:11:23,392 --> 00:11:24,793
No.

244
00:11:24,793 --> 00:11:26,195
You know,
those things will kill you.

245
00:11:26,195 --> 00:11:28,197
And to see them be so mean,
and rotten,

246
00:11:28,197 --> 00:11:29,732
and horrible on the movie,

247
00:11:29,732 --> 00:11:31,066
it just kinda tells you
how good they all are.

248
00:11:31,867 --> 00:11:32,968
[laughs]

249
00:11:34,269 --> 00:11:36,972
KURTWOOD:
We would steal the golf carts
from the ADs, you know,

250
00:11:36,972 --> 00:11:39,241
because they had to drive around
those things all the time,

251
00:11:39,241 --> 00:11:40,542
come and get us.

252
00:11:40,542 --> 00:11:42,144
Then we would
have our own little races around

253
00:11:42,144 --> 00:11:43,645
and stuff.

254
00:11:43,645 --> 00:11:45,047
It was-- we had--
we had a lot of fun there.

255
00:11:45,047 --> 00:11:46,348
I liked all the guys
that I was working with.

256
00:11:46,348 --> 00:11:48,550
[laugh together]

257
00:11:48,550 --> 00:11:50,552
PAUL MCCRANE:
You know, I think Peter
attacks things with a gusto

258
00:11:50,552 --> 00:11:52,988
and with an intensity.

259
00:11:52,988 --> 00:11:54,890
And that was impressive
to watch.

260
00:11:54,890 --> 00:11:56,925
MURPHY:
Go ahead and do it.

261
00:11:56,925 --> 00:12:00,262
PETER WELLER:
Murphy thinks, he believes,
he's a faith holder.

262
00:12:00,262 --> 00:12:01,930
He's like a positivist,
you know?

263
00:12:01,930 --> 00:12:04,666
He's like the guy you want
as the cop.

264
00:12:05,901 --> 00:12:07,836
Dead or alive,
you're coming with me.

265
00:12:11,173 --> 00:12:15,077
JON:
The experience creating it
was just, I think,

266
00:12:15,077 --> 00:12:18,847
a really grueling experience
for everybody.

267
00:12:18,847 --> 00:12:21,550
I mean, I don't think anybody
would tell you

268
00:12:21,550 --> 00:12:23,352
they had a good time
on that picture.

269
00:12:24,019 --> 00:12:26,221
And if they did,
they weren't there.

270
00:12:29,858 --> 00:12:33,362
Every Sunday, Bill Bernstein
from Orion Pictures

271
00:12:33,362 --> 00:12:37,633
would fly down and say,
"You've gotta stop the bleeding.

272
00:12:37,633 --> 00:12:39,368
You're spending too much money.

273
00:12:39,368 --> 00:12:42,371
You just gotta
stop the bleeding", you know?

274
00:12:42,371 --> 00:12:44,873
So, finally,
I just stopped the bleeding.

275
00:12:44,873 --> 00:12:46,875
I shut down the picture,

276
00:12:46,875 --> 00:12:49,778
without shooting
the most crucial scene

277
00:12:49,778 --> 00:12:52,447
in the picture,
the death of Murphy,

278
00:12:52,447 --> 00:12:54,249
and we all went back
to Los Angeles,

279
00:12:54,249 --> 00:12:56,552
'‘cause I knew that eventually
they were gonna have to

280
00:12:56,552 --> 00:13:00,055
give me the money
to shoot the death of Murphy.

281
00:13:00,055 --> 00:13:01,590
MURPHY:
Lewis, I got a situation here,
girl.

282
00:13:03,392 --> 00:13:06,962
We shot that scene
of uh, the destruction of Murphy

283
00:13:06,962 --> 00:13:09,631
in a warehouse,
in Long Beach California.

284
00:13:09,631 --> 00:13:12,100
Put your hands on your head.
Lewis?

285
00:13:12,100 --> 00:13:14,469
I remember we were all there
with our guns,

286
00:13:14,469 --> 00:13:17,406
and I had my favorite
sawed-off shot gun.

287
00:13:18,307 --> 00:13:20,342
Why don't you let us
take over from here, Emil?

288
00:13:25,480 --> 00:13:26,915
The torture murder uh,

289
00:13:26,915 --> 00:13:28,984
we spent a long time
choreographing that.

290
00:13:30,986 --> 00:13:32,454
Your ass is mine.

291
00:13:32,454 --> 00:13:34,256
CLARENCE:
No.

292
00:13:34,256 --> 00:13:35,324
MICHAEL:
Paul executed
what we had on the page.

293
00:13:35,324 --> 00:13:36,959
Not yet, it ain't.

294
00:13:36,959 --> 00:13:39,294
PAUL VERHOEVEN:
Murphy gets killed
after 50 minutes

295
00:13:39,294 --> 00:13:40,629
or something like that.

296
00:13:40,629 --> 00:13:43,699
I thought that this--
this execution of Murphy

297
00:13:43,699 --> 00:13:46,802
had to be extremely powerful,

298
00:13:46,802 --> 00:13:49,504
So that people would
never forget Murphy, you know?

299
00:13:49,504 --> 00:13:51,940
Because you have seen him
only 50 minutes,

300
00:13:51,940 --> 00:13:53,508
and then basically
he wears a mask, you know?

301
00:13:53,508 --> 00:13:56,712
So, that's difficult
for an audience.

302
00:13:59,882 --> 00:14:01,550
PETER WELLER:
So, you've got a guy.

303
00:14:01,550 --> 00:14:04,186
And the guy is a good cop,
and Mr. Nice Guy,

304
00:14:04,186 --> 00:14:07,289
and signs into the new precinct.

305
00:14:07,289 --> 00:14:09,458
Murphy, transferring in
from Metro South.

306
00:14:09,458 --> 00:14:11,894
And immediately gets wind
of the politics

307
00:14:11,894 --> 00:14:13,462
that are coming down, you know,

308
00:14:13,462 --> 00:14:15,964
or the privatization
of the police force.

309
00:14:15,964 --> 00:14:18,066
He came from a part of Detroit,
you know?

310
00:14:18,066 --> 00:14:19,635
That didn't have a lot
of action

311
00:14:19,635 --> 00:14:21,870
and he was thrown
into Old Detroit purposely,

312
00:14:21,870 --> 00:14:23,138
you know?

313
00:14:23,138 --> 00:14:25,073
We work for a living down here,
Murphy.

314
00:14:25,073 --> 00:14:26,909
Get your armor and suit up.

315
00:14:26,909 --> 00:14:28,377
PETER WELLER:
He was set up by OCP
to go into a place

316
00:14:28,377 --> 00:14:30,579
that had a lot of action
and a lot of violence.

317
00:14:30,579 --> 00:14:32,547
And subsequently,
that's why OCP chose him

318
00:14:32,547 --> 00:14:35,250
to be this guinea pig
for RoboCop .

319
00:14:35,250 --> 00:14:37,219
BOB:
We've restructured
the police department

320
00:14:37,219 --> 00:14:39,655
and placed prime candidates
according to risk factor.

321
00:14:39,655 --> 00:14:41,223
PETER WELLER:
And he's an innocent.

322
00:14:41,223 --> 00:14:43,392
But nope,
the bigger plan has got him.

323
00:14:47,429 --> 00:14:50,499
VOICEOVER ON TV:
With 12 years on the force,
and 21 commendations,

324
00:14:50,499 --> 00:14:52,100
Murphy was a good cop.

325
00:14:52,100 --> 00:14:55,370
And in 1991,
a good cop doesn't die.

326
00:14:58,373 --> 00:15:00,375
PETER WELLER:
I maintain you have to have
the cruelty,

327
00:15:00,375 --> 00:15:03,078
and the brutality of that--
that scene of Murphy,

328
00:15:03,078 --> 00:15:04,947
in order to,
later on in the film,

329
00:15:04,947 --> 00:15:09,184
endow Robo with his um,
redemption.

330
00:15:09,184 --> 00:15:11,286
You can't have it
unless you really, really

331
00:15:11,286 --> 00:15:14,356
have been upset
by what's happened to Murphy.

332
00:15:14,356 --> 00:15:15,090
[groans]

333
00:15:15,090 --> 00:15:17,192
[laugh together]

334
00:15:17,192 --> 00:15:18,694
PETER WELLER:
And not just violently so,
but emotionally so.

335
00:15:18,694 --> 00:15:20,095
Where's your partner?
Where's your partner?

336
00:15:20,095 --> 00:15:22,364
Well, guys,
the other one was upstairs.

337
00:15:22,364 --> 00:15:24,299
I was really tryin' to--
tryin' to figure out

338
00:15:24,299 --> 00:15:26,368
what I could do
that would be different.

339
00:15:26,368 --> 00:15:28,704
Jesse came up
with that laugh he uses.

340
00:15:28,704 --> 00:15:32,874
She was sweet. Mm, mm, mm.

341
00:15:32,874 --> 00:15:33,742
I took her out.

342
00:15:33,742 --> 00:15:36,445
[laughs]

343
00:15:36,445 --> 00:15:37,980
JESSE:
And the laugh just came.

344
00:15:37,980 --> 00:15:40,716
I said, "This guy
is a real sadistic bastard.

345
00:15:40,716 --> 00:15:42,751
He's a real sadistic,
but he enjoys it.

346
00:15:42,751 --> 00:15:45,587
[laugh together]

347
00:15:46,755 --> 00:15:48,557
So, why make him all dark
and sadistic,

348
00:15:48,557 --> 00:15:49,891
just make him, you know?

349
00:15:49,891 --> 00:15:52,060
[laughs]

350
00:15:52,060 --> 00:15:53,895
In your face kinda sadistic.

351
00:15:53,895 --> 00:15:55,497
They'll laugh at you,
like he's a joker.

352
00:15:55,497 --> 00:15:57,499
[laughs]

353
00:15:57,499 --> 00:15:58,500
Wooh!

354
00:15:58,500 --> 00:15:59,935
[chuckles]

355
00:15:59,935 --> 00:16:01,103
You know,
I thought that was great,

356
00:16:01,103 --> 00:16:02,604
you know?

357
00:16:02,604 --> 00:16:04,006
And-- and then as actors,
ensemble, you're like,

358
00:16:04,006 --> 00:16:05,807
"Shit, man!
Wish I'd thought of that."

359
00:16:05,807 --> 00:16:07,275
CAMERA OPERATOR 1:
Mark.

360
00:16:07,275 --> 00:16:07,976
PAUL VERHOEVEN:
Action.

361
00:16:07,976 --> 00:16:10,012
[laughs]

362
00:16:10,012 --> 00:16:12,280
Boy, I'll bet
that really pisses you off.

363
00:16:12,280 --> 00:16:13,682
[laugh together]

364
00:16:13,682 --> 00:16:15,017
KURTWOOD:
So, I had breakfast with Paul

365
00:16:15,017 --> 00:16:16,018
and we talked
about the movie a lot.

366
00:16:16,018 --> 00:16:17,686
We talked about Clarence um,

367
00:16:17,686 --> 00:16:19,421
and I told him what I wanted
to do with it,

368
00:16:19,421 --> 00:16:21,323
and it really seemed
that we were on the same page.

369
00:16:22,090 --> 00:16:26,028
You probably don't think
I'm a very nice guy, do you?

370
00:16:26,028 --> 00:16:27,362
Buddy, I think you're slime.

371
00:16:27,362 --> 00:16:28,697
[laugh together]

372
00:16:30,132 --> 00:16:33,035
KURTWOOD:
Clarence was not as funny
in the original script

373
00:16:33,035 --> 00:16:35,537
and that was something
that I wanted to add.

374
00:16:35,537 --> 00:16:38,640
If we can give this character
a dark sense of humor,

375
00:16:38,640 --> 00:16:40,609
it can work
in a variety of ways.

376
00:16:40,609 --> 00:16:45,180
One is funny,
and two is that when, you know,

377
00:16:45,180 --> 00:16:50,552
something chilling about
really sadistic sort of people

378
00:16:50,552 --> 00:16:53,455
and the kind of sense of humor
that they might have.

379
00:16:53,455 --> 00:16:56,058
You see, I got this problem.

380
00:16:56,058 --> 00:17:01,363
Cops don't like me,
so I don't much like cops.

381
00:17:01,363 --> 00:17:03,298
I loved Clarence's thing
with the little gun.

382
00:17:03,298 --> 00:17:04,132
I don't--

383
00:17:04,132 --> 00:17:06,902
[mimicking whirring]

384
00:17:06,902 --> 00:17:09,538
[laugh together]

385
00:17:09,538 --> 00:17:12,407
[mimicking whirring]

386
00:17:13,909 --> 00:17:14,810
We're like, dude.

387
00:17:14,810 --> 00:17:16,678
[laughs]

388
00:17:16,678 --> 00:17:18,013
That's great!

389
00:17:18,013 --> 00:17:18,747
[mimics whirring]

390
00:17:18,747 --> 00:17:21,183
[mimics gunshot]

391
00:17:21,183 --> 00:17:24,052
[laugh together]

392
00:17:26,888 --> 00:17:27,722
PAUL VERHOEVEN:
Action.

393
00:17:34,196 --> 00:17:35,363
FRANK:
A violent film like that.

394
00:17:39,267 --> 00:17:41,002
A guy blows off a guy's hand
and he goes...

395
00:17:41,002 --> 00:17:42,671
Well, give the man a hand!

396
00:17:42,671 --> 00:17:43,605
Give him a hand.

397
00:17:43,605 --> 00:17:44,940
[laugh together]

398
00:17:44,940 --> 00:17:46,241
He's all yours.

399
00:17:46,241 --> 00:17:48,777
I think
it's vintage Paul Verhoeven.

400
00:17:48,777 --> 00:17:50,045
PAUL VERHOEVEN:
Go forward up.

401
00:17:50,045 --> 00:17:51,012
JOE:
Alright, alright, look out.

402
00:17:51,012 --> 00:17:52,247
[Joe laughing]

403
00:17:52,247 --> 00:17:53,348
PAUL VERHOEVEN:
[indistinct speech]

404
00:17:53,348 --> 00:17:54,249
[grunts]

405
00:17:54,249 --> 00:17:55,684
PAUL VERHOEVEN:
Cut.

406
00:17:55,684 --> 00:17:58,787
Paul grew up in World War II,
you know,

407
00:17:58,787 --> 00:18:01,289
where he saw real violence
every day.

408
00:18:03,725 --> 00:18:06,561
During World War II,
when he was living in Hague,

409
00:18:06,561 --> 00:18:10,031
there were bomb runs
by British bombers all the time.

410
00:18:10,031 --> 00:18:12,200
This was when the Nazis
were occupying Hague.

411
00:18:12,200 --> 00:18:14,069
So, he grew up
under a fascist rule.

412
00:18:14,069 --> 00:18:16,571
And he's a young boy,
he remembers this quite vividly.

413
00:18:16,571 --> 00:18:19,608
And he told me about one day
his dad taking him to school,

414
00:18:19,608 --> 00:18:20,942
and the night before,

415
00:18:20,942 --> 00:18:22,577
a British bomber
had been shot down,

416
00:18:22,577 --> 00:18:23,812
and there were body parts

417
00:18:23,812 --> 00:18:25,814
all lying in the street
everywhere,

418
00:18:25,814 --> 00:18:29,284
and German soldiers were
going around with steel pales,

419
00:18:29,284 --> 00:18:31,153
and just
throwing body parts out.

420
00:18:31,153 --> 00:18:33,088
And Paul's father said,
"Don't look."

421
00:18:33,088 --> 00:18:37,058
And Paul, being six, seven,
had no sense of perspective.

422
00:18:37,058 --> 00:18:38,960
He was taking cues
from the adults.

423
00:18:38,960 --> 00:18:40,395
But the people around him
were acting

424
00:18:40,395 --> 00:18:42,264
like they were
just cleaning the streets up.

425
00:18:42,264 --> 00:18:43,565
And Paul said to me,

426
00:18:43,565 --> 00:18:44,966
"The thought
went through my mind,

427
00:18:44,966 --> 00:18:46,301
'‘Oh,
that's what people look like!

428
00:18:46,301 --> 00:18:47,736
Oh, look at that.

429
00:18:47,736 --> 00:18:48,937
That's what
a severed hand looks like.'"

430
00:18:48,937 --> 00:18:50,672
So, it was
this certain detachment,

431
00:18:50,672 --> 00:18:53,308
because there was no emotional
connection, right?

432
00:18:53,308 --> 00:18:54,342
'‘Cause you're too young.

433
00:18:55,410 --> 00:18:58,146
I think
that it shaped his worldview.

434
00:18:58,146 --> 00:19:00,115
I shot the-- the--
the killing of Murphy

435
00:19:00,115 --> 00:19:02,250
in the mi-- most gruesome way.

436
00:19:02,250 --> 00:19:04,352
JOE:
...man. Pretty boy!
Hey, come on here.

437
00:19:04,352 --> 00:19:06,755
[laugh together]

438
00:19:06,755 --> 00:19:08,290
[Joe yells]

439
00:19:08,290 --> 00:19:10,158
And-- and for me,
that was really the crucifixion.

440
00:19:10,158 --> 00:19:13,094
[yells]

441
00:19:17,832 --> 00:19:20,168
PAUL MCCRANE:
I think Paul was tryin'
to make a point with it

442
00:19:20,168 --> 00:19:22,304
about violence
becoming entertainment.

443
00:19:22,304 --> 00:19:26,308
It wasn't just meant to be
a splasher, slasher movie

444
00:19:26,308 --> 00:19:27,676
in any sense.

445
00:19:27,676 --> 00:19:28,877
I think
he exaggerated the violence

446
00:19:28,877 --> 00:19:31,179
in order to make a point
about violence,

447
00:19:31,179 --> 00:19:33,481
and our being endured to
violence

448
00:19:33,481 --> 00:19:35,283
in popular entertainment.

449
00:19:35,283 --> 00:19:37,385
Bein' part of a gang,
and bein' a bad ass,

450
00:19:37,385 --> 00:19:39,187
I mean, you know, h-- h--
how many kids wanna play that?

451
00:19:39,187 --> 00:19:40,522
It's pretty easy.

452
00:19:40,522 --> 00:19:43,191
We were enjoying
blowin' at just,

453
00:19:43,191 --> 00:19:45,160
"Bam, bam, bam, bam, bam."

454
00:19:45,160 --> 00:19:45,994
It was great.

455
00:19:45,994 --> 00:19:48,630
[indistinct speech]

456
00:19:48,630 --> 00:19:50,999
[screams]

457
00:19:50,999 --> 00:19:53,068
When I ran out of-- out of ammo,
I'm like, "Oh, shit,

458
00:19:53,068 --> 00:19:54,069
I'm out of ammo!"

459
00:19:54,069 --> 00:19:56,204
Oh, shit, I'm out of ammo!

460
00:19:56,204 --> 00:19:57,739
That's not in the script.

461
00:19:57,739 --> 00:19:59,474
Hey, Clarence, he's still alive.

462
00:19:59,474 --> 00:20:01,743
[groans]

463
00:20:01,743 --> 00:20:03,411
You know,
we had to keep doing it,

464
00:20:03,411 --> 00:20:05,247
and there was just
blood all over the place

465
00:20:05,247 --> 00:20:07,048
all the time.

466
00:20:07,048 --> 00:20:08,483
PAUL VERHOEVEN:
Yeah, what's that?
[indistinct speech]

467
00:20:08,483 --> 00:20:09,551
-CREWMEMBER 1: Yeah.
-CREWMEMBER 2: Yeah.

468
00:20:09,551 --> 00:20:10,385
PAUL VERHOEVEN:
Okay, fight!

469
00:20:10,385 --> 00:20:11,886
[yells]

470
00:20:16,157 --> 00:20:18,493
After a while, it just was
kind of sickening, you know?

471
00:20:18,493 --> 00:20:21,363
[groans]

472
00:20:22,330 --> 00:20:23,365
CAMERA OPERATOR 2:
Cut!

473
00:20:23,365 --> 00:20:25,367
That wasn't so hard to shoot.

474
00:20:25,367 --> 00:20:26,568
I have to tell you,

475
00:20:26,568 --> 00:20:28,336
I've been shot
with squibs before.

476
00:20:28,336 --> 00:20:29,170
Blood!

477
00:20:29,170 --> 00:20:32,073
[screams]

478
00:20:34,876 --> 00:20:36,878
Now, there's no squibs anymore,
thank God,

479
00:20:36,878 --> 00:20:38,613
'‘cause they're just a pain.

480
00:20:38,613 --> 00:20:40,715
They're a pain to put on,
they're also really dangerous.

481
00:20:40,715 --> 00:20:43,918
I've had my eye burned,
my cheeks burned, back burned,

482
00:20:43,918 --> 00:20:44,886
everything burned, man.

483
00:20:44,886 --> 00:20:46,187
They go sideways.

484
00:20:46,187 --> 00:20:47,889
Real violence,
the minute I see it,

485
00:20:47,889 --> 00:20:49,357
I'm horrified.

486
00:20:49,357 --> 00:20:52,027
Screen violence, I really like,
and I--

487
00:20:52,027 --> 00:20:54,062
And it's not real violence.
It's beautiful.

488
00:20:54,062 --> 00:20:54,863
ASSISTANT DIRECTOR:
And action!

489
00:20:54,863 --> 00:20:56,197
[screams]

490
00:20:56,197 --> 00:20:57,632
ED:
And so,
one of the things that happened,

491
00:20:57,632 --> 00:21:00,035
that was interesting,
was that I met Paul.

492
00:21:00,035 --> 00:21:01,603
And Paul and I we're like,
you know,

493
00:21:01,603 --> 00:21:02,937
it's like you meet that girl

494
00:21:02,937 --> 00:21:04,072
who likes
the same ice cream you do.

495
00:21:04,072 --> 00:21:05,440
[laughs]

496
00:21:05,440 --> 00:21:06,875
That was just like, "Oh!"

497
00:21:06,875 --> 00:21:08,076
And we would say things
like that,

498
00:21:08,076 --> 00:21:09,444
"Well, I think violence
is beautiful."

499
00:21:09,444 --> 00:21:10,712
And he would go,
"Yeah, it is, it is.

500
00:21:10,712 --> 00:21:11,946
Yeah."

501
00:21:11,946 --> 00:21:13,448
The hardest thing
was the prosthetic

502
00:21:13,448 --> 00:21:14,749
of the arm going off.

503
00:21:14,749 --> 00:21:15,617
ASSISTANT DIRECTOR:
Three!

504
00:21:18,053 --> 00:21:20,722
[screams]

505
00:21:20,722 --> 00:21:24,326
RAY:
There was a certain amount
of um, uncomfortability.

506
00:21:24,326 --> 00:21:26,561
But then after a while
it got to be so ridiculous

507
00:21:26,561 --> 00:21:28,797
with all the-- all the--
all the shooting

508
00:21:28,797 --> 00:21:30,498
that it did become humorous
to us.

509
00:21:30,498 --> 00:21:32,634
Oh, shit, I'm out of ammo!

510
00:21:32,634 --> 00:21:33,902
-Nice shot.
-[laugh together]

511
00:21:33,902 --> 00:21:34,736
[overlapping speech]

512
00:21:34,736 --> 00:21:35,737
He wouldn't die!

513
00:21:35,737 --> 00:21:37,238
[laugh together]

514
00:21:37,238 --> 00:21:39,908
And so, the laughs
were more real, I suppose.

515
00:21:39,908 --> 00:21:42,110
Uh, the dialogue is fantastic,
I think.

516
00:21:42,110 --> 00:21:44,446
"Does it hurt? Does it hurt?"

517
00:21:44,446 --> 00:21:45,914
[laughs]

518
00:21:45,914 --> 00:21:47,682
Does it hurt? Does it hurt?

519
00:21:47,682 --> 00:21:49,284
[laugh together]

520
00:21:49,284 --> 00:21:50,485
JESSE:
All of that was improvised,
you know?

521
00:21:50,485 --> 00:21:52,120
"Good night, sweet prince."

522
00:21:52,120 --> 00:21:53,621
JOE:
Good night, sweet prince.

523
00:21:53,621 --> 00:21:55,623
[Joe laughing]

524
00:21:55,623 --> 00:21:56,991
JESSE:
That's all improvised.

525
00:21:59,361 --> 00:22:01,463
The puppet,
that was a very big deal.

526
00:22:01,463 --> 00:22:02,497
That was another one.

527
00:22:02,497 --> 00:22:04,432
"Oh, by the way, we need a set

528
00:22:04,432 --> 00:22:07,135
that's got
about four feet underneath it,

529
00:22:07,135 --> 00:22:09,604
so we can get our puppeteers
in there

530
00:22:09,604 --> 00:22:11,940
to operate this puppet
of Peter Weller."

531
00:22:11,940 --> 00:22:14,109
Rob Bottin had built this

532
00:22:14,109 --> 00:22:16,778
incredibly lifelike version
of Peter Weller.

533
00:22:16,778 --> 00:22:19,347
ARNE:
It was shocking
how detailed it was.

534
00:22:19,347 --> 00:22:21,983
You could see like every pore
in his skin.

535
00:22:21,983 --> 00:22:23,551
Rob was there for that

536
00:22:23,551 --> 00:22:26,554
and Rob was directing
the sequence, practically,

537
00:22:26,554 --> 00:22:28,623
because it has to be
shot this way

538
00:22:28,623 --> 00:22:31,726
with the gun that's connected
to the fake head.

539
00:22:33,361 --> 00:22:35,130
It's got
like an eccentric motor,

540
00:22:35,130 --> 00:22:37,365
like a car polisher in it,
so the thing is shaking,

541
00:22:37,365 --> 00:22:39,000
and it's-- it's just incredible.

542
00:22:39,701 --> 00:22:41,136
Okay, fun's over.

543
00:22:41,136 --> 00:22:42,003
[groans]

544
00:22:42,003 --> 00:22:43,071
[laugh together]

545
00:22:43,071 --> 00:22:46,040
[yells]

546
00:22:47,008 --> 00:22:48,209
CLARENCE:
Okay, let's get out of here.

547
00:22:49,043 --> 00:22:50,912
On one take, I said,
"Hey, Jesse, you know what?

548
00:22:50,912 --> 00:22:52,180
You know, fuck it.
Let's moonwalk out."

549
00:22:55,316 --> 00:22:56,651
And then you see
we did a little moonwalk

550
00:22:56,651 --> 00:22:57,519
as were leaving, right?

551
00:22:57,519 --> 00:22:58,987
[chuckles]

552
00:22:58,987 --> 00:23:01,256
And then there's
that pile of coke, right?

553
00:23:01,256 --> 00:23:02,524
So, we moonwalked out,
I saw the coke.

554
00:23:02,524 --> 00:23:03,892
Boom!

555
00:23:03,892 --> 00:23:05,226
I popped my head in the coke,
came up,

556
00:23:05,226 --> 00:23:06,161
you have all this coke
on your face.

557
00:23:06,161 --> 00:23:07,729
Jesse would do that.

558
00:23:07,729 --> 00:23:09,497
And we moonwalked out,
and then we came up, we said,

559
00:23:09,497 --> 00:23:11,065
"Paul?"

560
00:23:11,065 --> 00:23:12,233
He was like, "Oh, no,
that's okay! That's okay!"

561
00:23:12,233 --> 00:23:13,902
He didn't care what you did.

562
00:23:16,838 --> 00:23:21,075
You know, obviously
it was devastating for Anne

563
00:23:21,075 --> 00:23:23,511
to not get there
when she knew

564
00:23:23,511 --> 00:23:25,046
and she could hear
that something was happening,

565
00:23:25,046 --> 00:23:26,548
she couldn't get through,

566
00:23:26,548 --> 00:23:28,016
and say,
"This is very traumatic."

567
00:23:29,217 --> 00:23:30,885
Murphy.

568
00:23:34,756 --> 00:23:35,957
Just thought,
"Hey, this is great."

569
00:23:35,957 --> 00:23:37,258
You know,
we're kind of goin' over

570
00:23:37,258 --> 00:23:39,127
to type with these guys,
these killers.

571
00:23:39,127 --> 00:23:41,396
They shot that guy,
what, 500 times?

572
00:23:41,396 --> 00:23:43,298
That there was anything left
to put together is--

573
00:23:43,298 --> 00:23:44,799
is a miracle.

574
00:23:44,799 --> 00:23:47,135
It's so crazy bloody
and seeming.

575
00:23:47,135 --> 00:23:48,870
It wasn't violent,
but it was real bloody.

576
00:23:48,870 --> 00:23:50,705
And I thought, "Oh,
we're really in for it now,

577
00:23:50,705 --> 00:23:51,606
you know, with this."

578
00:23:53,274 --> 00:23:55,210
NURSE:
Got a pressure of 60 palp.

579
00:23:55,210 --> 00:23:56,778
EMERGENCY DOCTOR:
Alright,
we have to intubate this guy.

580
00:23:56,778 --> 00:23:57,879
NURSE:
His pressure's dropping.

581
00:23:57,879 --> 00:23:59,781
EMERGENCY DOCTOR:
Okay.

582
00:23:59,781 --> 00:24:00,782
PETER WELLER:
He's a good guy,
he's a happy guy,

583
00:24:00,782 --> 00:24:02,383
he's an upbeat guy, man.

584
00:24:02,383 --> 00:24:03,952
He ain't no downbeat,
cynical policeman.

585
00:24:03,952 --> 00:24:05,153
Let's prep him
for a central line.

586
00:24:07,121 --> 00:24:08,790
PETER WELLER:
He's got a family,
he's got a life.

587
00:24:11,459 --> 00:24:12,927
When I look at the movie,

588
00:24:12,927 --> 00:24:15,663
I think that's
what gives him his humanity.

589
00:24:15,663 --> 00:24:18,266
Is that he had this wife,
and this child,

590
00:24:18,266 --> 00:24:20,568
and a woman who loved him,

591
00:24:20,568 --> 00:24:22,971
and she doesn't know
what happens to him.

592
00:24:22,971 --> 00:24:25,073
She thinks he's murdered,

593
00:24:25,073 --> 00:24:27,509
and he's killed
in the line of duty.

594
00:24:28,409 --> 00:24:29,811
PETER WELLER:
He's a public servant,
that's what he is,

595
00:24:29,811 --> 00:24:31,279
that's what he wants to do.

596
00:24:31,279 --> 00:24:33,581
And he likes doing his job.
Bang!

597
00:24:33,581 --> 00:24:35,350
He gets thrown
into this den of vipers,

598
00:24:35,350 --> 00:24:36,918
and uh, it's over for him.

599
00:24:41,656 --> 00:24:43,424
EMERGENCY DOCTOR:
Alright,
I think that's all we can do.

600
00:24:43,424 --> 00:24:44,092
Let's call it.

601
00:24:44,859 --> 00:24:46,694
DEL:
I think
it's one of the most brave

602
00:24:46,694 --> 00:24:50,365
and amazing uses of black screen
in the history of movie making.

603
00:24:50,365 --> 00:24:53,334
Most filmmakers will
never let the screen go black

604
00:24:53,334 --> 00:24:56,604
for eight seconds,
because that's deadly.

605
00:24:56,604 --> 00:24:58,973
But he was makin' the point of
he's dead.

606
00:25:02,944 --> 00:25:04,646
He dies,

607
00:25:04,646 --> 00:25:06,881
and then slowly basically
he comes back to life again.

608
00:25:06,881 --> 00:25:08,383
It's a certain kind of life.

609
00:25:09,684 --> 00:25:12,887
This different idea of shooting
from this point of view,

610
00:25:12,887 --> 00:25:14,956
which is now used
in video games,

611
00:25:14,956 --> 00:25:17,025
and every--
you see it all the time now,

612
00:25:17,025 --> 00:25:18,893
but then it was very unusual.

613
00:25:18,893 --> 00:25:20,461
Can he understand
what I'm saying?

614
00:25:20,461 --> 00:25:23,197
The executive saying
he signed a release form,

615
00:25:23,197 --> 00:25:24,666
we can pretty much
do anything we want.

616
00:25:24,666 --> 00:25:26,401
He's legally dead.

617
00:25:26,401 --> 00:25:28,236
We can do pretty much
what we want to.

618
00:25:28,236 --> 00:25:29,537
MICHAEL:
And then his partner saying...

619
00:25:29,537 --> 00:25:31,039
ROOSEVELT:
Doesn't matter.

620
00:25:31,039 --> 00:25:32,640
We're gonna blank his memory
anyway.

621
00:25:32,640 --> 00:25:34,175
There's a lot to do
with ownership of the self,

622
00:25:34,175 --> 00:25:37,478
obviously, and an audience
is justifiably outraged

623
00:25:37,478 --> 00:25:40,248
when they hear someone else
say, "Give him the amnesia."

624
00:25:40,248 --> 00:25:41,916
Not only has he been
brutally killed,

625
00:25:41,916 --> 00:25:44,052
but now
he's a corporate product.

626
00:25:44,052 --> 00:25:45,920
And he's owned by somebody.

627
00:25:45,920 --> 00:25:49,490
MICHAEL:
That was a very barbed criticism
of capitalism

628
00:25:49,490 --> 00:25:50,892
and what ownership is.

629
00:25:50,892 --> 00:25:52,927
Shut him down.
Prep him for surgery.

630
00:25:52,927 --> 00:25:54,562
SAGE:
I had all my own wardrobe.

631
00:25:54,562 --> 00:25:58,499
The glasses were mine,
and it was my idea

632
00:25:58,499 --> 00:26:00,568
that Paul was
not very happy with

633
00:26:00,568 --> 00:26:01,936
in the beginning.

634
00:26:01,936 --> 00:26:05,006
He said something to me
about being attractive

635
00:26:05,006 --> 00:26:07,542
and he didn't understand
why I wanted to wear them,

636
00:26:07,542 --> 00:26:13,047
and to me, it was her being
able to put a barrier to say,

637
00:26:13,047 --> 00:26:14,782
you know, "Take me seriously",

638
00:26:14,782 --> 00:26:17,118
because she was working
with all these men.

639
00:26:17,118 --> 00:26:18,720
And the one time

640
00:26:18,720 --> 00:26:20,688
she allowed herself
to be vulnerable, you know,

641
00:26:20,688 --> 00:26:22,090
were those moments
when she took them off.

642
00:26:22,690 --> 00:26:24,359
Happy New Year.

643
00:26:24,359 --> 00:26:26,060
Somebody asked me once,

644
00:26:26,060 --> 00:26:28,196
"You know, you fell over
and they got that on camera",

645
00:26:28,196 --> 00:26:30,198
and it's like,
"No, that's called acting."

646
00:26:30,198 --> 00:26:31,265
[cheers]

647
00:26:31,265 --> 00:26:31,966
Oh!

648
00:26:33,468 --> 00:26:37,639
SAGE:
Certainly, Miguel was, I'd say,
my favorite person on the set.

649
00:26:37,639 --> 00:26:39,073
MIGUEL:
Well, I played Bob Morton,

650
00:26:39,073 --> 00:26:41,409
who is a-- a sort of up
and coming executive

651
00:26:41,409 --> 00:26:43,211
with this company OCP.

652
00:26:43,211 --> 00:26:44,612
The company itself
is kind of scary.

653
00:26:44,612 --> 00:26:46,214
It's like, "We are Beatrice",
you know?

654
00:26:46,214 --> 00:26:48,349
We own the police,
we own the hospital, it's great.

655
00:26:48,349 --> 00:26:51,619
FELTON:
The new mega corporation.

656
00:26:51,619 --> 00:26:55,990
And now, they've figured a way
to go into law enforcement.

657
00:26:55,990 --> 00:26:59,260
We'll come up
with the best cop they ever saw.

658
00:26:59,961 --> 00:27:02,330
You're gonna be
a bad motherfucker.

659
00:27:02,330 --> 00:27:02,964
[chuckles]

660
00:27:07,468 --> 00:27:11,272
Rob Bottin had several
specific suggestions for Paul

661
00:27:11,272 --> 00:27:12,073
directorially.

662
00:27:13,307 --> 00:27:15,243
BOB:
We get the best of both worlds.

663
00:27:15,243 --> 00:27:20,448
You know that if you introduce
that thing wrong,

664
00:27:20,448 --> 00:27:21,849
and you get a laugh,

665
00:27:21,849 --> 00:27:23,685
you're dead
for the rest of the picture.

666
00:27:23,685 --> 00:27:26,020
BOB:
The fastest reflexes
modern technology has to offer,

667
00:27:26,020 --> 00:27:28,256
onboard
computer-assisted memory,

668
00:27:28,256 --> 00:27:31,459
and a lifetime of on-the-street
law enforcement programming.

669
00:27:31,459 --> 00:27:34,962
Rob suggested that Paul,
as he introduced RoboCop ,

670
00:27:34,962 --> 00:27:36,330
conceal him.

671
00:27:36,330 --> 00:27:38,666
It is my great pleasure

672
00:27:38,666 --> 00:27:42,603
to present to you, RoboCop .

673
00:27:44,138 --> 00:27:46,374
MICHAEL:
And it's a beautiful
directorial suggestion.

674
00:27:46,374 --> 00:27:48,943
Come on, come on, come on.

675
00:27:48,943 --> 00:27:50,378
That's for you.

676
00:27:50,378 --> 00:27:51,679
MICHAEL:
The first time we see RoboCop

677
00:27:51,679 --> 00:27:52,947
is when the plastic
is pulled off

678
00:27:52,947 --> 00:27:54,182
and there he is
on the video screen.

679
00:27:56,851 --> 00:27:58,619
Then we see him
behind frosted glass

680
00:27:58,619 --> 00:28:00,054
as he's walking
into the police department.

681
00:28:02,790 --> 00:28:05,126
And we just see a turn
as he goes through a door.

682
00:28:05,126 --> 00:28:06,627
It felt like something special
was happening.

683
00:28:06,627 --> 00:28:08,196
What is this shit?

684
00:28:10,131 --> 00:28:12,500
Then there is wire mesh
in front of him

685
00:28:12,500 --> 00:28:14,502
when we see him in his chair.

686
00:28:14,502 --> 00:28:16,671
When you're at rest,
you will sit in the chair.

687
00:28:16,671 --> 00:28:18,372
Yes, I understand.

688
00:28:18,372 --> 00:28:21,375
Rob Bottin,
in collaboration with Paul,

689
00:28:21,375 --> 00:28:22,744
choreographed that,

690
00:28:22,744 --> 00:28:25,046
so that we slowly
introduce the illusion.

691
00:28:25,046 --> 00:28:26,881
And by the time
we actually see him,

692
00:28:26,881 --> 00:28:28,750
he's in the chair
surrounded by metal,

693
00:28:28,750 --> 00:28:30,718
And they're really selling
this thing really well.

694
00:28:30,718 --> 00:28:32,053
That, to me, was brilliant.

695
00:28:34,422 --> 00:28:36,557
The footstep test for RoboCop ,

696
00:28:36,557 --> 00:28:40,695
we did
104 individual footstep tests.

697
00:28:43,331 --> 00:28:45,500
Because Paul wanted Robo
to be massive.

698
00:28:47,702 --> 00:28:52,173
This is the sound effects prop
for RoboCop 's foot.

699
00:28:52,173 --> 00:28:54,008
It's a truck timing chain.

700
00:28:54,008 --> 00:28:55,777
It's--
it's pulled out of a truck.

701
00:28:55,777 --> 00:28:58,412
It's an old truck timing chain
with uh, with handles on it.

702
00:29:06,053 --> 00:29:09,223
STEPHEN HUNTER:
We hand cut these
sort of cartoony,

703
00:29:09,223 --> 00:29:10,792
low-frequency whoops.

704
00:29:12,894 --> 00:29:15,429
Every time Rob walks,
he's got a larger than life,

705
00:29:15,429 --> 00:29:17,064
cartoon element to him.

706
00:29:20,868 --> 00:29:22,103
We could perform it

707
00:29:22,103 --> 00:29:23,604
on all the surfaces
Robo walked on.

708
00:29:27,308 --> 00:29:29,443
STEPHEN HUNTER:
We could perform it
dramatically

709
00:29:29,443 --> 00:29:32,146
if he had to scuffle,
if he had to go fast.

710
00:29:32,146 --> 00:29:34,982
And because Robo
was a heroic character,

711
00:29:34,982 --> 00:29:38,419
without being spurs
or roundels, like a Western,

712
00:29:38,419 --> 00:29:40,121
it had that flavor.

713
00:29:46,561 --> 00:29:48,830
Peter Weller
had these jackets made for us.

714
00:29:48,830 --> 00:29:50,932
Um, he also gave us all
nifty nicknames.

715
00:29:50,932 --> 00:29:52,433
Mine was "Sci-fi",

716
00:29:52,433 --> 00:29:54,602
which was probably
the least derogatory of--

717
00:29:54,602 --> 00:29:55,603
Of everyone elses.

718
00:29:55,603 --> 00:29:56,637
What were the nicknames?

719
00:29:56,637 --> 00:29:58,472
I made nicknames for them.

720
00:29:58,472 --> 00:30:01,275
Mine was
"His Royal Swami Blondness."

721
00:30:01,275 --> 00:30:03,711
It was like "Doc"
from like the Seven Dwarves.

722
00:30:03,711 --> 00:30:05,479
Yeah, I remember
calling Stephan "Doc".

723
00:30:05,479 --> 00:30:06,914
[laughs]

724
00:30:06,914 --> 00:30:08,482
PETER WELLER:
Stephan is a genius.

725
00:30:08,482 --> 00:30:10,051
He's a Dick Smith protégé.

726
00:30:10,051 --> 00:30:12,987
Todd Trotter, my assistant,
was a great guy.

727
00:30:12,987 --> 00:30:15,990
Todd and Gregor were like nerds.

728
00:30:15,990 --> 00:30:17,925
Bart is one of the greats.

729
00:30:17,925 --> 00:30:20,862
Dennis was like
just working constantly.

730
00:30:20,862 --> 00:30:22,763
And Dennis here
is like the chief mechanic,

731
00:30:22,763 --> 00:30:24,765
he does all the--
supervises all the repairs,

732
00:30:24,765 --> 00:30:26,467
because there are
people working on this suit

733
00:30:26,467 --> 00:30:27,535
round the clock.

734
00:30:27,535 --> 00:30:29,437
Beautiful, beautiful guys, man.

735
00:30:29,437 --> 00:30:31,505
Guys were fantastic.

736
00:30:34,475 --> 00:30:36,310
GREGOR:
To say
it was a monumental effort

737
00:30:36,310 --> 00:30:38,212
to keep that suit running
is an understatement.

738
00:30:38,980 --> 00:30:44,118
It was a 24-hour a day process
to keep the few suits we had

739
00:30:44,118 --> 00:30:46,053
screen ready.

740
00:30:46,053 --> 00:30:47,555
PETER WELLER:
You got a Formula 1 team
around you,

741
00:30:47,555 --> 00:30:49,190
changin' out arms,
and all the stuff.

742
00:30:49,190 --> 00:30:52,460
And it took 45 minutes
to warm up, stretching.

743
00:30:52,460 --> 00:30:54,562
Then workin' the inner suit,
doin' all of the stuff.

744
00:30:54,562 --> 00:30:56,864
Pop! Yeah?
So, don't go neatly.#*

745
00:30:56,864 --> 00:30:59,533
Your-- uh, your steps were
not completely coordinated here.

746
00:30:59,533 --> 00:31:02,136
He greased the machine, Bottin,

747
00:31:02,136 --> 00:31:05,673
and he got it down
to like a 90-minute put-on,

748
00:31:05,673 --> 00:31:07,675
which is the best we could do
without really messing it up.

749
00:31:09,343 --> 00:31:11,679
GREGOR:
The main under suit
was made out of foam latex

750
00:31:11,679 --> 00:31:13,414
and it was molded to his body.

751
00:31:13,414 --> 00:31:15,049
BART:
We had a bald cap,

752
00:31:15,049 --> 00:31:16,984
and then there was
a black foam neck piece,

753
00:31:16,984 --> 00:31:18,886
and the foam jaw piece.

754
00:31:18,886 --> 00:31:20,488
The helmet was fiber glass.

755
00:31:20,488 --> 00:31:22,523
Everything else
was a flexible urethane.

756
00:31:22,523 --> 00:31:24,725
GREGOR:
Urethanes just
don't take paint very well.

757
00:31:24,725 --> 00:31:26,661
So, it would blister and peel,

758
00:31:26,661 --> 00:31:29,931
and so the suit was repaired
almost every day.

759
00:31:29,931 --> 00:31:32,833
And by repaired
I mean repainted from scratch.

760
00:31:32,833 --> 00:31:35,670
STEPHAN:
The paint job
was like different coats

761
00:31:35,670 --> 00:31:39,874
of blues, yellows, purple,
silver, and so on.

762
00:31:39,874 --> 00:31:42,677
So, it kind of changed color
when he was walking around

763
00:31:42,677 --> 00:31:44,779
in different sort of lighting,
which was really cool.

764
00:31:46,714 --> 00:31:48,049
BART:
The chest
was a front and back piece

765
00:31:48,049 --> 00:31:49,383
that screwed on.

766
00:31:49,383 --> 00:31:50,952
And then there were
the little rings

767
00:31:50,952 --> 00:31:53,187
on the shoulders,
we just Super Glued those on.

768
00:31:53,187 --> 00:31:55,923
The arms were one piece
that slid up

769
00:31:55,923 --> 00:31:59,226
and had Velcro on the shoulders
that anchored those to the suit.

770
00:32:00,294 --> 00:32:02,263
The black gloves
were foam latex.

771
00:32:02,263 --> 00:32:05,566
RoboCop couldn't be dressed
without the power of K-Y jelly.

772
00:32:05,566 --> 00:32:07,034
To get his gloves on,

773
00:32:07,034 --> 00:32:08,903
there was quite a few gallons
of K-Y jelly

774
00:32:08,903 --> 00:32:10,137
that were used to do that.

775
00:32:10,137 --> 00:32:11,639
BART:
Those little details,

776
00:32:11,639 --> 00:32:13,207
there's like a pivot point
on the hip

777
00:32:13,207 --> 00:32:15,242
that's like right
at the pivot point.

778
00:32:15,242 --> 00:32:18,479
So, it looks like the leg
is swingin' from that point.

779
00:32:18,479 --> 00:32:19,880
MILES:
I remember Rob
was really frustrated

780
00:32:19,880 --> 00:32:21,148
that Verhoeven said,

781
00:32:21,148 --> 00:32:22,550
"There's something wrong
with the butt.

782
00:32:22,550 --> 00:32:24,118
I don't like it.
It looks like a butterfly.

783
00:32:24,118 --> 00:32:26,120
It must be changed.
We can't have a butterfly."

784
00:32:26,120 --> 00:32:28,756
And the-- the Robo butt
was a big point of contention,

785
00:32:28,756 --> 00:32:30,224
for some reason.

786
00:32:30,224 --> 00:32:31,525
And you don't see it very often
in the movie.

787
00:32:33,828 --> 00:32:35,563
I can't imagine the film
bein' a success

788
00:32:35,563 --> 00:32:37,431
without Robo team's
make-up work,

789
00:32:37,431 --> 00:32:40,468
because it really is just a guy
in a plastic suit.

790
00:32:42,269 --> 00:32:43,804
PETER WELLER:
There's one line I didn't like.

791
00:32:43,804 --> 00:32:45,673
ROBOCOP:
What are your prime directives?

792
00:32:45,673 --> 00:32:47,341
PETER WELLER:
I didn't like
"Serve the public trust."

793
00:32:47,341 --> 00:32:49,310
It just
seemed lightweight to me,

794
00:32:49,310 --> 00:32:51,645
and Paul convinced me
to say it anyway.

795
00:32:51,645 --> 00:32:53,581
And uh, I like it now.
I'm glad I said it.

796
00:32:53,581 --> 00:32:55,516
Serve the public trust.

797
00:32:55,516 --> 00:32:57,284
Because finally,
what is a policemen

798
00:32:57,284 --> 00:32:58,619
except serving the public trust.

799
00:32:59,286 --> 00:33:01,355
Once this physique,

800
00:33:01,355 --> 00:33:07,628
and the physicality of the robot
became organic to me,

801
00:33:07,628 --> 00:33:09,697
it became apparent

802
00:33:09,697 --> 00:33:14,802
that I had to lower the octave
of the voice.

803
00:33:14,802 --> 00:33:16,504
Protect the innocent.

804
00:33:16,504 --> 00:33:17,705
You have to go, "Bravo--"

805
00:33:17,705 --> 00:33:20,775
[vocalizes]

806
00:33:20,775 --> 00:33:22,176
You gotta relax it.

807
00:33:22,176 --> 00:33:24,145
So, you're drinkin' hot tea
during the day.

808
00:33:24,145 --> 00:33:27,314
Not talkin' to people helps.
Relax the vocal cords.

809
00:33:27,314 --> 00:33:31,519
And the diction
has to be human but robotic.

810
00:33:31,952 --> 00:33:33,521
Uphold the law.

811
00:33:33,521 --> 00:33:37,158
When I'm doing this voice,
it's down here.

812
00:33:37,158 --> 00:33:38,392
Stay out of trouble.

813
00:33:39,160 --> 00:33:41,295
Stay out of trouble.

814
00:33:41,295 --> 00:33:43,330
And yeah, they tweaked it
in post a little bit.

815
00:33:45,399 --> 00:33:47,968
STEVE LEE:
They did a little bit
of processing on Robo's voice.

816
00:33:47,968 --> 00:33:50,704
Serve the public trust.
Protect the innocent.

817
00:33:50,704 --> 00:33:52,139
Uphold the law.

818
00:33:52,139 --> 00:33:53,974
That was actually done
on the dub stage,

819
00:33:53,974 --> 00:33:56,210
so that they could control
the amount of it

820
00:33:56,210 --> 00:33:58,512
depending on where he was
in the film.

821
00:33:58,512 --> 00:34:01,682
ROBOCOP:
Come quietly
or there will be trouble.

822
00:34:03,551 --> 00:34:07,521
Come quietly
or there will be trouble.

823
00:34:07,521 --> 00:34:10,024
STEPHEN HUNTER:
And Robo himself
had voice processing

824
00:34:10,024 --> 00:34:12,259
that was put through
some guitar stomp boxes.

825
00:34:12,259 --> 00:34:13,694
ROBOCOP:
You are under arrest.

826
00:34:13,694 --> 00:34:15,329
And by the way,

827
00:34:15,329 --> 00:34:19,100
Peter's voice was just perfect
for this character.

828
00:34:19,900 --> 00:34:21,435
ROBOCOP:
Keep him talking.

829
00:34:22,436 --> 00:34:25,573
And then, of course,
there was Paul Verhoeven,

830
00:34:25,573 --> 00:34:27,374
the crazy Dutchman.

831
00:34:31,178 --> 00:34:32,279
This movie
without Paul Verhoeven

832
00:34:32,279 --> 00:34:33,280
is impossible.

833
00:34:33,280 --> 00:34:34,748
The energy and the passion.

834
00:34:34,748 --> 00:34:36,550
Verhoeven was the man.

835
00:34:36,550 --> 00:34:38,119
PAUL VERHOEVEN:
Thank you very much.
Thank you.

836
00:34:38,119 --> 00:34:39,753
And he was the man
we tried to please.

837
00:34:39,753 --> 00:34:42,056
[yells]

838
00:34:42,056 --> 00:34:43,724
Action.

839
00:34:43,724 --> 00:34:44,758
NANCY:
The drive of the movie
comes from Paul.

840
00:34:44,758 --> 00:34:46,961
Hello. Hi. Hey. Come on, guys.

841
00:34:46,961 --> 00:34:48,929
ED:
It's impossible
to imagine it without him.

842
00:34:51,732 --> 00:34:52,533
PAUL VERHOEVEN:
Pack up!

843
00:34:54,535 --> 00:34:57,404
NANCY:
He infused the set every day.

844
00:34:57,404 --> 00:34:58,639
There's nothing there.

845
00:34:58,639 --> 00:35:00,141
Just give me
a little more there.

846
00:35:00,141 --> 00:35:01,475
And he'd just walk on the set,
and he'd say,

847
00:35:01,475 --> 00:35:03,110
"Why are we not shooting?"
you know?

848
00:35:03,110 --> 00:35:04,778
And that's right there,
you're ready to go, you know?

849
00:35:04,778 --> 00:35:07,214
And uh, he'd act out
all the roles.

850
00:35:07,214 --> 00:35:08,983
Pop, pop.

851
00:35:08,983 --> 00:35:10,117
And everything coming over
here,#*

852
00:35:10,117 --> 00:35:11,152
and then he was here #* "Phew!"

853
00:35:11,152 --> 00:35:12,820
You're thrown from the window.

854
00:35:12,820 --> 00:35:14,121
And when you're thrown
from the window, #* "Boom!"

855
00:35:14,121 --> 00:35:14,822
you're thrown
from the other window.

856
00:35:14,822 --> 00:35:15,856
So many gun.

857
00:35:15,856 --> 00:35:16,657
He's like,
"Bam, bam, bam, bam, bam!"

858
00:35:16,657 --> 00:35:18,225
[yells]

859
00:35:18,225 --> 00:35:20,461
"And so, give me that."
And we're like, "Okay."

860
00:35:20,461 --> 00:35:21,962
[laughs]

861
00:35:21,962 --> 00:35:24,765
The Verhoeven mantra
on RoboCop was blood,

862
00:35:24,765 --> 00:35:26,300
I want more fucking blood.

863
00:35:26,300 --> 00:35:28,235
Bloody, extremely bloody.

864
00:35:28,235 --> 00:35:29,737
And he would scream that
every day.

865
00:35:29,737 --> 00:35:31,071
One thing he'd like to say,

866
00:35:31,071 --> 00:35:33,807
I want sprouting blood!
Sprouting blood!

867
00:35:33,807 --> 00:35:35,276
Arms blowing off!"

868
00:35:35,276 --> 00:35:36,177
[mimics explosions]

869
00:35:36,177 --> 00:35:37,178
[mimics gunfire]

870
00:35:37,178 --> 00:35:37,912
And we have [mimics gunfire]

871
00:35:37,912 --> 00:35:39,780
[mimics gunfire]

872
00:35:39,780 --> 00:35:41,849
JOST:
What he always say,
"Yeah, I mean, what is life?

873
00:35:41,849 --> 00:35:44,485
Life is about sex,
and about violence,

874
00:35:44,485 --> 00:35:46,453
about fighting,
and about blood."

875
00:35:46,453 --> 00:35:47,988
I love this.

876
00:35:47,988 --> 00:35:49,423
He just clearly really loved
what he was doin'.

877
00:35:49,423 --> 00:35:50,858
he was wildly enthusiastic.

878
00:35:50,858 --> 00:35:53,127
He's such a highly
intelligent guy.

879
00:35:53,127 --> 00:35:54,461
And he loved actors.

880
00:35:54,461 --> 00:35:55,763
PAUL VERHOEVEN:
Go!

881
00:35:55,763 --> 00:35:57,631
I think my influence
and the style

882
00:35:57,631 --> 00:35:59,967
has much more to do with the way
I work with the actors,

883
00:35:59,967 --> 00:36:02,970
which is I spend, I think,
much more time with the actors

884
00:36:02,970 --> 00:36:05,272
than you would normally do
for an action picture.

885
00:36:05,272 --> 00:36:09,176
Paul made us
really care desperately

886
00:36:09,176 --> 00:36:10,177
about those characters.

887
00:36:12,846 --> 00:36:15,649
JON:
I mean I never saw a director
worked as hard as Paul.

888
00:36:15,649 --> 00:36:18,652
But he was difficult.

889
00:36:18,652 --> 00:36:20,654
Paul was a very volatile guy.

890
00:36:20,654 --> 00:36:22,122
Paul was rather a mad man.

891
00:36:22,122 --> 00:36:23,657
Yeah, he could be a monster.

892
00:36:23,657 --> 00:36:24,959
He had attitude.

893
00:36:24,959 --> 00:36:27,328
You could tell
he was a-- a sexual man.

894
00:36:27,328 --> 00:36:29,530
Full of energy, you know? Crazy.

895
00:36:29,530 --> 00:36:31,165
Yeah, he was kinda manic.

896
00:36:31,165 --> 00:36:32,800
Genius, brilliant director.

897
00:36:32,800 --> 00:36:34,068
I thought
he was a little maniacal,

898
00:36:34,068 --> 00:36:35,336
but I thought he was a genius.

899
00:36:35,336 --> 00:36:36,837
And he was
a challenging director

900
00:36:36,837 --> 00:36:37,905
to work with.

901
00:36:37,905 --> 00:36:38,906
There was no question about it.

902
00:36:39,974 --> 00:36:41,875
JON:
Paul Verhoeven
could be terrifying.

903
00:36:41,875 --> 00:36:43,577
I mean, he's a brilliant guy

904
00:36:43,577 --> 00:36:45,646
and a great cat to have dinner
with, and so forth,

905
00:36:45,646 --> 00:36:47,147
but he's another human bein'
on a set.

906
00:36:47,147 --> 00:36:48,582
CREW MEMBER 3:
Dan, we're comin' up next.

907
00:36:48,582 --> 00:36:49,883
PAUL VERHOEVEN:
Come on, come on!

908
00:36:49,883 --> 00:36:52,219
I don't think
he trusted initially

909
00:36:52,219 --> 00:36:53,921
the American crew.

910
00:36:53,921 --> 00:36:56,323
I think there was some friction,
because the American crew

911
00:36:56,323 --> 00:36:58,192
had this sense of
"We're Hollywood and you're not,

912
00:36:58,192 --> 00:36:59,693
and we're gonna show you
how to make a movie",

913
00:36:59,693 --> 00:37:01,028
which was pretty funny,

914
00:37:01,028 --> 00:37:02,229
'‘cause he like
kicked their asses.

915
00:37:02,229 --> 00:37:03,364
PAUL VERHOEVEN:
Okay, do it again!

916
00:37:03,364 --> 00:37:05,032
Do it again. Do it again!

917
00:37:05,032 --> 00:37:06,734
Shooting with the crew
is always the same.

918
00:37:06,734 --> 00:37:09,236
I feel of that--
if that's a Dutch crew

919
00:37:09,236 --> 00:37:11,772
or an American crew, I think,

920
00:37:11,772 --> 00:37:14,041
filming all over the world
is the same.

921
00:37:14,041 --> 00:37:16,577
So, there is nothing specific
to discuss basically

922
00:37:16,577 --> 00:37:18,212
than normal filmmaking.

923
00:37:18,212 --> 00:37:24,118
He treated people pretty poorly
in many instances.

924
00:37:24,118 --> 00:37:26,020
I've seen him go off on crews
in ways

925
00:37:26,020 --> 00:37:29,056
that you just
would not want to be around

926
00:37:29,056 --> 00:37:30,090
when that's happening.

927
00:37:30,090 --> 00:37:31,592
Paul would get in their faces

928
00:37:31,592 --> 00:37:35,062
and just frickin' scream
at them.

929
00:37:35,062 --> 00:37:38,732
"I want more! It's not enough!
You're fucking up my movie!"

930
00:37:38,732 --> 00:37:40,234
"What? Why?

931
00:37:40,234 --> 00:37:42,036
You're conspiring
to ruin my movie!"

932
00:37:42,036 --> 00:37:44,271
I mean,
he was just so crazy about it.

933
00:37:44,271 --> 00:37:46,607
He would blow up
and go running off.

934
00:37:46,607 --> 00:37:49,043
Yelling and screaming,
"Y'all! Boom, boom!"

935
00:37:49,043 --> 00:37:49,910
[indistinct speech]

936
00:37:49,910 --> 00:37:51,312
"This is crap!

937
00:37:51,312 --> 00:37:53,280
You Americans
don't know how to do it!"

938
00:37:53,280 --> 00:37:54,748
PAUL VERHOEVEN:
Wow!

939
00:37:54,748 --> 00:37:56,617
The tensions were very high
at that time,

940
00:37:56,617 --> 00:37:58,786
because everybody
had his own problem,

941
00:37:58,786 --> 00:38:00,788
annoying things happened,
and this and that.

942
00:38:00,788 --> 00:38:04,391
It was always about things
not being ready,

943
00:38:04,391 --> 00:38:06,460
things that
he had been promised.

944
00:38:06,460 --> 00:38:08,395
I'll say this,
it was always because

945
00:38:08,395 --> 00:38:10,464
he was tryin'
to push the envelope

946
00:38:10,464 --> 00:38:13,000
not to get a nicer trailer
for himself,

947
00:38:13,000 --> 00:38:14,935
not to have
a fancier hotel room,

948
00:38:14,935 --> 00:38:16,804
it was always about the movie.

949
00:38:16,804 --> 00:38:20,741
JON:
He just was fighting everybody
for the best.

950
00:38:20,741 --> 00:38:21,975
It's only intuition.

951
00:38:21,975 --> 00:38:24,278
I really go on intuition,

952
00:38:24,278 --> 00:38:29,083
and I've learned that
in 90% of the cases I'm right.

953
00:38:29,083 --> 00:38:30,517
And in 10% I'm wrong.

954
00:38:30,517 --> 00:38:33,020
And that's basically--
is enough.

955
00:38:35,022 --> 00:38:38,125
The thing with Paul is
that Paul's nuts.

956
00:38:38,125 --> 00:38:41,161
But he's inspiring, man!

957
00:38:41,161 --> 00:38:44,665
You know, you feel like
you're in the deck

958
00:38:44,665 --> 00:38:46,633
with Neil Armstrong, bro.

959
00:38:46,633 --> 00:38:48,702
That's what you feel like
working with Paul.

960
00:38:48,702 --> 00:38:53,941
He's a quick, and inventive,
and unsettled guy.

961
00:38:53,941 --> 00:38:57,511
And that took getting used to,
but once I got used to that,

962
00:38:57,511 --> 00:38:59,146
which really
didn't take a large adjustment,

963
00:38:59,146 --> 00:39:03,450
because I'm sort of unsettled
and-- and uh, restless.

964
00:39:03,450 --> 00:39:05,452
One I got used to that,
we got used to each other

965
00:39:05,452 --> 00:39:07,354
that that's where
we're gonna begin,

966
00:39:07,354 --> 00:39:08,355
then it was phenomenal.

967
00:39:16,196 --> 00:39:17,798
KEVIN KUTCHAVER:
The Robo vision stuff.

968
00:39:17,798 --> 00:39:19,867
I had a guy once ask me
what computer I was using

969
00:39:19,867 --> 00:39:22,403
back then in '87,

970
00:39:22,403 --> 00:39:24,805
and I said,
"I think I had a calculator,

971
00:39:24,805 --> 00:39:26,807
so I could do my invoicing."

972
00:39:26,807 --> 00:39:29,576
Remember that back then,
this wasn't done on a computer.

973
00:39:29,576 --> 00:39:32,146
This was all done
photographically and--

974
00:39:32,146 --> 00:39:33,013
And optically.

975
00:39:35,149 --> 00:39:37,851
One of the things
that was a little tough

976
00:39:37,851 --> 00:39:39,319
was to try to come up with

977
00:39:39,319 --> 00:39:41,188
what they wanted Robo vision
to look like.

978
00:39:42,489 --> 00:39:44,425
Let me see.

979
00:39:44,425 --> 00:39:45,893
PETER KURAN:
What I came up with
was kind of a video line.

980
00:39:45,893 --> 00:39:47,428
It-- it was an actual video,

981
00:39:47,428 --> 00:39:49,062
it wasn't
photographed off a video,

982
00:39:49,062 --> 00:39:54,168
it was actual optical printing
with two sets of lines.

983
00:39:54,168 --> 00:39:57,538
One set of lines
to lay in the first image

984
00:39:57,538 --> 00:39:58,605
every other line,

985
00:39:58,605 --> 00:39:59,940
and then the next set of lines,

986
00:39:59,940 --> 00:40:01,775
and I kind of shifted it
a little bit,

987
00:40:01,775 --> 00:40:05,112
so it looked like it had
kind of a jagged uh, appearance.

988
00:40:07,047 --> 00:40:10,250
It was a very technical process
in those scenes,

989
00:40:10,250 --> 00:40:13,620
because there was
gonna be a grid, you know?

990
00:40:13,620 --> 00:40:14,588
"Give me a grid."

991
00:40:14,588 --> 00:40:16,023
Give me a grid.

992
00:40:16,023 --> 00:40:17,224
-BILL: Got it.
-TECHNICIAN 2: It's there.

993
00:40:17,224 --> 00:40:18,225
-Target.
-TECHNICIAN 1: Check.

994
00:40:18,225 --> 00:40:19,693
And coordinating everything

995
00:40:19,693 --> 00:40:22,463
with what was gonna be
on the screen later,

996
00:40:22,463 --> 00:40:23,964
making sure
that we were all looking

997
00:40:23,964 --> 00:40:26,233
in a particular direction
at the same time,

998
00:40:26,233 --> 00:40:28,535
and it was a monumental task.

999
00:40:28,535 --> 00:40:29,736
Now, follow.

1000
00:40:29,736 --> 00:40:31,572
It was basically
followin' the pen.

1001
00:40:33,874 --> 00:40:35,375
KEVIN KUTCHAVER:
It was like all hands on deck,

1002
00:40:35,375 --> 00:40:37,811
because the stuff was really,
really tedious.

1003
00:40:37,811 --> 00:40:39,446
Things like the targeting,
as an example,

1004
00:40:39,446 --> 00:40:40,814
would be uh, hand-drawn art.

1005
00:40:40,814 --> 00:40:43,050
We would actually,
on a clear cell,

1006
00:40:43,050 --> 00:40:47,120
paint the cross and the box
on separate layers.

1007
00:40:47,120 --> 00:40:50,157
We would then
paint black outside of them,

1008
00:40:50,157 --> 00:40:52,759
cover them with Exeter paper
and black tape.

1009
00:40:52,759 --> 00:40:55,162
That-- that's really,
at that time, all we had.

1010
00:40:55,162 --> 00:40:56,263
It--
it seems like it was ridiculous

1011
00:40:56,263 --> 00:40:57,130
now to talk about it.

1012
00:40:57,130 --> 00:40:58,298
What, are you kidding?

1013
00:40:58,298 --> 00:40:59,566
This was in the '‘80s, right?

1014
00:40:59,566 --> 00:41:01,068
Yes.

1015
00:41:01,068 --> 00:41:02,836
KEVIN KUTCHAVER:
We project the work print down,

1016
00:41:02,836 --> 00:41:05,138
line the art work up,
plot it out,

1017
00:41:05,138 --> 00:41:06,440
and then bottom light the art.

1018
00:41:06,440 --> 00:41:08,742
I did
a lot of optical printer testing

1019
00:41:08,742 --> 00:41:11,645
of different types of effects
to show to Paul

1020
00:41:11,645 --> 00:41:13,580
and get an idea of what it was
that he liked.

1021
00:41:15,516 --> 00:41:18,785
You'd have the crosshairs,
animating.

1022
00:41:18,785 --> 00:41:21,455
Then you'd have another element
of the box,

1023
00:41:21,455 --> 00:41:24,124
and either we could basically
do a second exposure

1024
00:41:24,124 --> 00:41:26,760
where we'd have the box
animate on and off,

1025
00:41:26,760 --> 00:41:28,495
or Pete could do that
in the optical printer.

1026
00:41:28,495 --> 00:41:29,763
It really all depended on
what the shot was at the time.

1027
00:41:32,533 --> 00:41:34,501
Pete could then go
into the printer, and color,

1028
00:41:34,501 --> 00:41:36,637
and add a diffusion
to give it a glow,

1029
00:41:36,637 --> 00:41:38,805
and do these multiple passes
and stuff to give it a--

1030
00:41:38,805 --> 00:41:40,707
a kind of stylized look,
so it wasn't just so raw.

1031
00:41:42,342 --> 00:41:43,844
To make it look

1032
00:41:43,844 --> 00:41:45,812
like it was some form
of digital technology,

1033
00:41:45,812 --> 00:41:48,849
without actually using
any digital material or effects.

1034
00:41:52,319 --> 00:41:56,323
All the visuals on Robo's POV
came from sounds

1035
00:41:56,323 --> 00:41:57,891
that John Pospisil had made...

1036
00:42:00,627 --> 00:42:03,230
...From an ARP 2600,

1037
00:42:03,230 --> 00:42:05,465
which were beeps, and dips,
and zips.

1038
00:42:05,465 --> 00:42:08,869
You could control these
early analog synthesizers

1039
00:42:08,869 --> 00:42:10,137
to make
any kinda sound you wanted,

1040
00:42:10,137 --> 00:42:11,672
but it took
a very long time to do.

1041
00:42:14,441 --> 00:42:17,477
KEVIN KUTCHAVER:
Most of the text came
from like Kodalith on high icon,

1042
00:42:17,477 --> 00:42:19,079
high contrast film,

1043
00:42:19,079 --> 00:42:21,882
which gave you a stark
contrasty black-and-white image.

1044
00:42:21,882 --> 00:42:24,217
There were pages of font
that you could buy,

1045
00:42:24,217 --> 00:42:25,552
that you could basically
paste up

1046
00:42:25,552 --> 00:42:27,688
like in the old publishing days.

1047
00:42:27,688 --> 00:42:30,157
Pete was really kind of
the master of designing stuff

1048
00:42:30,157 --> 00:42:31,358
on the optical printer.

1049
00:42:31,358 --> 00:42:34,528
Voice stress analyzer 1, 2...

1050
00:42:34,528 --> 00:42:35,562
[vocalizes]

1051
00:42:35,562 --> 00:42:37,397
The voice analyzer,

1052
00:42:37,397 --> 00:42:40,167
that I actually photographed off
of like an oscilloscope

1053
00:42:40,167 --> 00:42:42,536
and then composited
that into the shot.

1054
00:42:42,536 --> 00:42:44,004
I had to envision

1055
00:42:44,004 --> 00:42:46,540
what the visual effects team
was gonna do.

1056
00:42:46,540 --> 00:42:50,877
So, I would get a s-- uh,
a sketch that I could see,

1057
00:42:50,877 --> 00:42:54,047
but it was very difficult
for me to actually, you know,

1058
00:42:54,047 --> 00:42:55,682
do the timing,

1059
00:42:55,682 --> 00:42:58,685
except from the way
the people read it.

1060
00:42:58,685 --> 00:43:01,355
You can sort of imagine it
when it's written,

1061
00:43:01,355 --> 00:43:03,357
but how well it was done...

1062
00:43:03,357 --> 00:43:04,791
[vocalizes]

1063
00:43:04,791 --> 00:43:06,393
SAGE:
...that was really incredible.

1064
00:43:06,393 --> 00:43:07,961
Give me a full frame.

1065
00:43:07,961 --> 00:43:09,529
Say there was probably
somewhere in the neighborhood

1066
00:43:09,529 --> 00:43:11,865
of 120 shots like that.

1067
00:43:11,865 --> 00:43:12,532
Oh!

1068
00:43:12,532 --> 00:43:13,900
[kisses]

1069
00:43:13,900 --> 00:43:15,202
I fuckin' love that guy!

1070
00:43:21,308 --> 00:43:23,577
Verhoeven came to me one day
and he said,

1071
00:43:23,577 --> 00:43:26,380
"I need you to take Nancy Allen
and teach her how to shoot,

1072
00:43:26,380 --> 00:43:28,048
'‘cause she doesn't know
how to shoot.

1073
00:43:28,048 --> 00:43:30,617
And I want you to reach her
to run like a man."

1074
00:43:30,617 --> 00:43:32,419
And she goes, "Oh, Verhoeven ."

1075
00:43:34,554 --> 00:43:36,056
It was very different
than anything

1076
00:43:36,056 --> 00:43:37,424
that I had done before.

1077
00:43:38,191 --> 00:43:41,495
For me, what was great about it
is that I had so many women,

1078
00:43:41,495 --> 00:43:43,797
young women,
sometimes little girls,

1079
00:43:43,797 --> 00:43:46,633
write to me
about that character,

1080
00:43:46,633 --> 00:43:48,502
and how it made them feel,

1081
00:43:48,502 --> 00:43:50,103
like they could be
really important,

1082
00:43:50,103 --> 00:43:51,805
and do something
really important in their life.

1083
00:43:51,805 --> 00:43:53,173
"Wow!

1084
00:43:53,173 --> 00:43:55,242
Yeah, a woman can be
that tough, too."

1085
00:43:57,577 --> 00:43:59,413
You know,
they put us behind glass,

1086
00:43:59,413 --> 00:44:01,448
so that they could dolly across
in front of us

1087
00:44:01,448 --> 00:44:03,417
with all of us firing.

1088
00:44:03,417 --> 00:44:04,484
YOLONDA:
They're all comin' down on it
like a dolly, like--

1089
00:44:04,484 --> 00:44:05,952
[mimics dolly moving]

1090
00:44:05,952 --> 00:44:07,754
I mean everybody
shootin' over their heads

1091
00:44:07,754 --> 00:44:09,122
and stuff, and I was like "Lord,
I don't wanna shoot anybody."

1092
00:44:09,122 --> 00:44:10,090
[laughs]

1093
00:44:10,090 --> 00:44:12,125
They were blanks obviously,

1094
00:44:12,125 --> 00:44:14,428
but I just remember
it being very loud and all that.

1095
00:44:14,428 --> 00:44:17,531
The noise and everything
in reality was really--

1096
00:44:17,531 --> 00:44:18,932
It was deafening.

1097
00:44:20,667 --> 00:44:23,270
The Robo gun presented
a very interesting challenge,

1098
00:44:23,270 --> 00:44:24,871
because it had to be
this huge gun

1099
00:44:24,871 --> 00:44:26,973
that's bigger
than all the others.

1100
00:44:26,973 --> 00:44:28,942
The scene in the shooting range,
where you see it back there,

1101
00:44:28,942 --> 00:44:30,510
it had to stand out.

1102
00:44:30,510 --> 00:44:32,179
It had to be a reason
for all those others guys

1103
00:44:32,179 --> 00:44:33,547
to stop shooting and look.

1104
00:44:41,822 --> 00:44:43,123
The actual firing,

1105
00:44:43,123 --> 00:44:44,491
they sweetened
the hell out of that

1106
00:44:44,491 --> 00:44:45,525
with so many other guns.

1107
00:44:48,428 --> 00:44:51,398
STEVE LEE:
And John Pospisil,
he was our mad genius.

1108
00:44:51,398 --> 00:44:53,033
He made
all kinds of synth sweeteners.

1109
00:44:56,002 --> 00:44:57,037
And just made it huge.

1110
00:45:00,040 --> 00:45:01,808
[yells]

1111
00:45:01,808 --> 00:45:04,077
JOHN:
To see that--
that freakin' creation and--

1112
00:45:04,077 --> 00:45:06,713
And those cannons
that he pulled out of his thing

1113
00:45:06,713 --> 00:45:09,082
and started blastin' away with,
it was uh, it was--

1114
00:45:09,082 --> 00:45:11,485
It was kind of great.
It was kinda-- it was very cool.

1115
00:45:11,485 --> 00:45:15,388
And I remember the entrance of--
of RoboCop into that scene,

1116
00:45:15,388 --> 00:45:17,257
and how-- how exciting it was.

1117
00:45:19,259 --> 00:45:22,696
To see that character
in that full regalia,

1118
00:45:22,696 --> 00:45:25,198
with a gun,
was just frightening.

1119
00:45:26,566 --> 00:45:28,268
OFFICER RAMIREZ:
Hey, hang on, it's Super Cop.

1120
00:45:28,268 --> 00:45:30,403
Hey, Lewis, it's Super Cop.

1121
00:45:30,403 --> 00:45:32,172
Look at that fuckin' gun.

1122
00:45:32,172 --> 00:45:34,407
[laughs]

1123
00:45:35,108 --> 00:45:36,576
That fuckin' gun.

1124
00:45:36,576 --> 00:45:38,211
TYREES:
That was so cool,

1125
00:45:38,211 --> 00:45:39,112
'‘cause I got to say "fuckin'"
on film.

1126
00:45:39,112 --> 00:45:39,813
I thought it was great.

1127
00:45:39,813 --> 00:45:40,514
[Tyrees laughs]

1128
00:45:43,750 --> 00:45:45,285
At first, I was very interested

1129
00:45:45,285 --> 00:45:47,554
in the Israeli Desert Eagle
as RoboCop's gun,

1130
00:45:47,554 --> 00:45:49,089
'‘cause that was a new gun.

1131
00:45:49,089 --> 00:45:51,191
But when we saw it
with the costume,

1132
00:45:51,191 --> 00:45:52,793
it was like a-- a tiny toy.

1133
00:45:56,129 --> 00:45:57,764
RANDY:
And they said my big problem is

1134
00:45:57,764 --> 00:46:00,066
the finger doesn't fit
in any triggers.

1135
00:46:00,066 --> 00:46:03,236
And I said, "Well, you know,
I have a gun in my car."

1136
00:46:03,236 --> 00:46:06,606
My car gun that I show--
being from Texas, you know,

1137
00:46:06,606 --> 00:46:07,474
we all have car guns.

1138
00:46:08,441 --> 00:46:10,911
I had a Beretta 93R
in my vehicle,

1139
00:46:10,911 --> 00:46:13,113
and I showed 'em
the extended trigger guard.

1140
00:46:13,113 --> 00:46:16,650
It allowed the RoboCop finger
to go in with the glove on.

1141
00:46:17,284 --> 00:46:19,786
At that point,
we sat down with the 93R,

1142
00:46:19,786 --> 00:46:22,589
and then Paul Verhoeven
and I drew

1143
00:46:22,589 --> 00:46:24,591
what he wanted to see.

1144
00:46:24,591 --> 00:46:26,760
ED:
And we sat down one afternoon
and we designed that gun.

1145
00:46:26,760 --> 00:46:29,329
And it was one of the most
creative moments of my life.

1146
00:46:29,329 --> 00:46:30,797
CLARENCE:
Gonna need some major firepower.

1147
00:46:37,437 --> 00:46:41,842
RANDY:
They wanted sides.
I did the vent rib on the top.

1148
00:46:41,842 --> 00:46:44,978
We were adding texture,
so that's why it's thin.

1149
00:46:47,414 --> 00:46:49,282
The object is
to make it visually interesting

1150
00:46:49,282 --> 00:46:50,450
and to make it also function.

1151
00:46:52,752 --> 00:46:54,588
They were gonna do
a lot of lower shots,

1152
00:46:54,588 --> 00:46:56,256
lookin' up, under the gun,
and everything.

1153
00:46:56,256 --> 00:46:57,691
And I said,
"Well, if we do that,

1154
00:46:57,691 --> 00:46:59,693
we need to
put the flame out the side."

1155
00:47:01,294 --> 00:47:04,297
The three ports in the front
are to give us the bowtie flame.

1156
00:47:07,100 --> 00:47:09,636
PETER WELLER:
So, this is the gun.

1157
00:47:09,636 --> 00:47:13,173
And the first time I fired,
it was on that firing range.

1158
00:47:13,173 --> 00:47:16,009
And it was loud.
It was really, really loud.

1159
00:47:18,612 --> 00:47:21,014
RANDY:
The gun is capable
of firing three shot,

1160
00:47:21,014 --> 00:47:22,549
seven shot, or full auto,

1161
00:47:22,549 --> 00:47:24,017
depending
on the counting mechanism

1162
00:47:24,017 --> 00:47:25,719
in the side that we put in.

1163
00:47:25,719 --> 00:47:28,488
The standard gun fires
three-shot bursts only,

1164
00:47:28,488 --> 00:47:29,489
or semi-auto.

1165
00:47:30,957 --> 00:47:34,527
Semi-automatic, you gotta go,
pull the trigger every time.

1166
00:47:34,527 --> 00:47:36,763
The bullet expands the shell.

1167
00:47:39,032 --> 00:47:41,167
On the set,
you knew that was a cool gun.

1168
00:47:41,167 --> 00:47:42,936
And I think it's one
of the coolest guns there is.

1169
00:47:45,505 --> 00:47:48,475
PAUL VERHOEVEN:
My directing was
more movement directing.

1170
00:47:48,475 --> 00:47:51,211
It was not about
character acting, you know?

1171
00:47:51,211 --> 00:47:52,579
I mean, the character was like,
"Bang!"

1172
00:47:52,579 --> 00:47:53,380
[chuckles]

1173
00:47:55,582 --> 00:47:57,817
MARK GOLDBLATT:
The reason that they needed
a second unit director

1174
00:47:57,817 --> 00:48:00,320
was because Paul
was on a very tight schedule.

1175
00:48:00,320 --> 00:48:03,356
So, he had to keep moving,
and moving, and moving.

1176
00:48:03,356 --> 00:48:04,758
And then
in some of the sequences,

1177
00:48:04,758 --> 00:48:06,993
he couldn't get all the coverage
that he wanted.

1178
00:48:06,993 --> 00:48:10,530
So, I shot close-ups
of the targets getting shot,

1179
00:48:10,530 --> 00:48:13,400
and different characters
reacting to RoboCop.

1180
00:48:14,834 --> 00:48:16,503
PETER WELLER:
And when you fire blanks,

1181
00:48:16,503 --> 00:48:19,105
the blank will kill you
if you're close to it.

1182
00:48:19,105 --> 00:48:22,342
Full loads
are the capacity of powder

1183
00:48:22,342 --> 00:48:24,377
in a nine-mil shell

1184
00:48:24,377 --> 00:48:25,879
that's gonna fire a bullet,
right?

1185
00:48:25,879 --> 00:48:27,447
A projectile.

1186
00:48:27,447 --> 00:48:29,683
You gotta put something in there
for that compression

1187
00:48:29,683 --> 00:48:30,350
to shoot out.

1188
00:48:32,452 --> 00:48:34,187
RANDY:
Those blanks, as far as I know,

1189
00:48:34,187 --> 00:48:37,123
are the most powerful blanks
ever been used in a movie.

1190
00:48:37,123 --> 00:48:41,161
And you pull the trigger,
and hold it down.

1191
00:48:44,297 --> 00:48:45,932
It's gonna freak you out, man.

1192
00:48:49,803 --> 00:48:51,938
PETER WELLER:
And I was like
fire one-handed, man.

1193
00:48:51,938 --> 00:48:54,274
I never liked
doin' the police stuff, man.

1194
00:48:54,274 --> 00:48:55,909
I like holdin' it here.

1195
00:48:58,778 --> 00:48:59,980
This guy's really good.

1196
00:48:59,980 --> 00:49:01,881
He's not a guy, he's a machine.

1197
00:49:01,881 --> 00:49:03,116
OFFICER MANSON:
What are they gonna do?
Replace us?

1198
00:49:04,718 --> 00:49:06,920
NANCY:
When he does
the spinning of the gun,

1199
00:49:06,920 --> 00:49:10,890
and she remembers and recognizes
that that's probably him.

1200
00:49:10,890 --> 00:49:12,993
That's someone
who really pays attention.

1201
00:49:12,993 --> 00:49:14,661
This is
what it says a lot about her.

1202
00:49:14,661 --> 00:49:17,263
She really pays attention.
She doesn't miss anything.

1203
00:49:17,263 --> 00:49:18,565
'‘Cause that could be something

1204
00:49:18,565 --> 00:49:20,000
that you could forget
in a second.

1205
00:49:20,000 --> 00:49:22,402
But she's very sharp
in that way.

1206
00:49:24,771 --> 00:49:27,941
RANDY:
Robo team made a leg
that sits vertically,

1207
00:49:27,941 --> 00:49:30,076
and it's just to the hip.

1208
00:49:30,076 --> 00:49:33,246
One guys opens the doors
with cable operation.

1209
00:49:33,246 --> 00:49:35,915
Another guy
makes the holster go out.

1210
00:49:35,915 --> 00:49:38,818
Weapon goes in, holster goes in,
doors close.

1211
00:49:44,024 --> 00:49:46,493
One of the many surprises
about seeing the movie

1212
00:49:46,493 --> 00:49:48,495
was just the-- the--
you had no idea

1213
00:49:48,495 --> 00:49:49,963
what the sound effects
were gonna be.

1214
00:49:49,963 --> 00:49:53,033
Well, back in the days
before there was paper

1215
00:49:53,033 --> 00:49:56,002
and people used cuneiform
on clay tablets,

1216
00:49:56,002 --> 00:49:57,837
there were things called "VCRs".

1217
00:50:01,474 --> 00:50:03,877
So, Robo mostly was a Betamax.

1218
00:50:06,880 --> 00:50:10,050
And a VHS, VCR.
Loading movement.

1219
00:50:12,485 --> 00:50:15,221
And we cut them so
that they matched action.

1220
00:50:18,625 --> 00:50:22,028
And when sounds match action,
they tell the truth.

1221
00:50:24,230 --> 00:50:27,133
STEPHEN HUNTER:
The lead editor on Robo
was Dave Whitaker.

1222
00:50:27,133 --> 00:50:29,235
And he even wrote this--
this document.

1223
00:50:29,235 --> 00:50:31,404
It was like a 12-page document
"How to cut Robo"

1224
00:50:31,404 --> 00:50:33,339
that had all the numbers
of the library

1225
00:50:33,339 --> 00:50:35,408
and all the different servos.

1226
00:50:35,408 --> 00:50:36,976
Little diagrams on, you know,

1227
00:50:36,976 --> 00:50:39,646
the sound of this,
and the sound of this.

1228
00:50:39,646 --> 00:50:40,346
And all the little--

1229
00:50:40,346 --> 00:50:41,414
[whizzes]

1230
00:50:41,414 --> 00:50:43,383
Stuff that they put in post.

1231
00:50:44,717 --> 00:50:47,821
For the whole movie,
every little detail just

1232
00:50:47,821 --> 00:50:48,922
really helped
to bring him alive.

1233
00:50:53,059 --> 00:50:55,261
STEVE LEE:
John P is the mystery man.

1234
00:50:55,261 --> 00:50:57,230
You'd ask him to make something
and he'd come back

1235
00:50:57,230 --> 00:50:58,531
with something
a couple days later

1236
00:50:58,531 --> 00:50:59,899
that was just
absolutely perfect.

1237
00:50:59,899 --> 00:51:01,067
You dropped it into picture
and--

1238
00:51:03,503 --> 00:51:05,238
"Oh, yeah, that's--
that's exactly it."

1239
00:51:07,740 --> 00:51:11,611
He made a lot of sort of cheesy,
synthy sweeteners and--

1240
00:51:11,611 --> 00:51:12,579
And things to accent stuff.

1241
00:51:16,716 --> 00:51:18,685
This is before the digital age,

1242
00:51:18,685 --> 00:51:20,420
and it was all cut
on magnetic film.

1243
00:51:21,121 --> 00:51:22,755
STEVE LEE:
So, you have
hundreds of these reels,

1244
00:51:22,755 --> 00:51:25,792
sitting in a hallway,
waiting to be dubbed.

1245
00:51:25,792 --> 00:51:28,928
And it was a glorious sight
seeing all these dubbers

1246
00:51:28,928 --> 00:51:32,532
with all these reels of sound
going back and forth in sync

1247
00:51:32,532 --> 00:51:34,400
while they dubbed the movie
in the theater.

1248
00:51:34,400 --> 00:51:36,269
It's really a monumental job.

1249
00:51:36,269 --> 00:51:39,272
Even though the number crunchers
were tryin' to you know,

1250
00:51:39,272 --> 00:51:42,475
"No, we're not spending
another dime on this thing",

1251
00:51:42,475 --> 00:51:46,579
Sol Lomita got us
another $200,000 or $300,000,

1252
00:51:46,579 --> 00:51:48,381
for the sound effects,

1253
00:51:48,381 --> 00:51:51,151
and it won the Academy Award
for sound effects.

1254
00:51:52,452 --> 00:51:54,154
STEPHEN HUNTER:
Just being there,

1255
00:51:54,154 --> 00:51:58,992
I felt as if I was walking
four feet above the ground.

1256
00:51:58,992 --> 00:52:01,794
And then, when I got home
from the Oscars,

1257
00:52:01,794 --> 00:52:04,931
Peter Weller had sent me
two dozen yellow roses

1258
00:52:04,931 --> 00:52:05,999
to say "Congratulations."

1259
00:52:10,503 --> 00:52:13,173
Peter is
not only a wonderful actor,

1260
00:52:13,173 --> 00:52:15,942
but he's probably one of
the most disciplined people

1261
00:52:15,942 --> 00:52:17,777
I've ever met in my life.

1262
00:52:17,777 --> 00:52:21,981
I had to get into that animal.

1263
00:52:21,981 --> 00:52:24,417
And that's a method deal, man.

1264
00:52:24,417 --> 00:52:26,286
I just couldn't
walk out in that thing and go,

1265
00:52:26,286 --> 00:52:27,787
"Hey, yeah, I'm Peter."

1266
00:52:27,787 --> 00:52:31,324
So, I talked to no one
except the Robo team.

1267
00:52:31,324 --> 00:52:33,126
I listened to no one
except Paul.

1268
00:52:33,126 --> 00:52:34,661
That's the guy who'd come up.

1269
00:52:34,661 --> 00:52:37,330
But everybody else was out.

1270
00:52:37,330 --> 00:52:40,466
When he stepped on the set,
he was that guy.

1271
00:52:41,501 --> 00:52:44,671
The first day on the set,
he announced to everyone,

1272
00:52:44,671 --> 00:52:45,939
"Call me '‘Robo'."

1273
00:52:45,939 --> 00:52:47,507
Robo, excuse me! Robo!

1274
00:52:47,974 --> 00:52:50,877
KURTWOOD:
When I first got there, I said,
"What's this Peter Weller like?"

1275
00:52:50,877 --> 00:52:52,545
And they said,
"Well, I don't know.

1276
00:52:52,545 --> 00:52:55,348
YOU KNOW, I guess he only wants
to be called '‘Robo'

1277
00:52:55,348 --> 00:52:56,649
or '‘Murphy'."

1278
00:52:57,850 --> 00:52:58,618
I was like, "What?"

1279
00:52:58,618 --> 00:52:59,285
[chuckles]

1280
00:52:59,852 --> 00:53:00,486
ROBOCOP:
Clarence!

1281
00:53:01,321 --> 00:53:03,289
Once I was in there,
they called me "Robo",

1282
00:53:03,289 --> 00:53:06,125
and you know,
I don't give a fuck about--

1283
00:53:06,125 --> 00:53:07,493
You know,
certain people would come up,

1284
00:53:07,493 --> 00:53:08,695
"Do people call--
really call you "Robo"?

1285
00:53:08,695 --> 00:53:12,031
You go do that
in 105 degree heat.

1286
00:53:12,031 --> 00:53:16,302
You prep that for six months,
and put on that suit.

1287
00:53:16,302 --> 00:53:20,006
Once I get suit on, tough shit.
That's who I am.

1288
00:53:20,006 --> 00:53:21,541
Paul Verhoeven called me "Robo".

1289
00:53:21,541 --> 00:53:23,843
One last rehearsal, please,
for Robo.

1290
00:53:24,210 --> 00:53:26,312
When Peter told me that

1291
00:53:26,312 --> 00:53:28,548
when he's in the police suit,
I'm Murphy,

1292
00:53:28,548 --> 00:53:30,083
and when I'm
in the RoboCop suit,

1293
00:53:30,083 --> 00:53:31,517
I'm RoboCop ,

1294
00:53:31,517 --> 00:53:34,487
I just looked at him and,
"Sure."

1295
00:53:34,487 --> 00:53:37,824
And that--
and that irritated him to death.

1296
00:53:37,824 --> 00:53:38,691
[chuckles]

1297
00:53:38,691 --> 00:53:40,326
Don't you have a name?

1298
00:53:40,326 --> 00:53:43,696
So, I just decided
that I wouldn't talk to him,

1299
00:53:43,696 --> 00:53:46,599
because uh, I wasn't gonna try
to befriendly with some guy

1300
00:53:46,599 --> 00:53:49,369
and be calling him "Robo".

1301
00:53:49,369 --> 00:53:53,539
I clashed, at one point,
with almost everybody

1302
00:53:53,539 --> 00:53:54,741
on that movie.

1303
00:53:54,741 --> 00:53:57,010
Clash, but it was a quick clash.

1304
00:53:57,010 --> 00:54:00,179
He was always telling jokes
and stories,

1305
00:54:00,179 --> 00:54:01,414
and playing his trumpet,

1306
00:54:01,414 --> 00:54:02,515
which sometimes
got on people's nerves.

1307
00:54:04,350 --> 00:54:07,120
He uh, plays a man jazz trumpet,
studying Kendo.

1308
00:54:07,120 --> 00:54:09,188
Chases female cyborgs, you know,
things like that.

1309
00:54:09,188 --> 00:54:10,290
[chuckle together]

1310
00:54:11,357 --> 00:54:12,458
Is he on this floor?

1311
00:54:12,458 --> 00:54:14,294
[chuckle together]

1312
00:54:14,294 --> 00:54:16,362
No. He-- he's great,
he's terrific.

1313
00:54:16,362 --> 00:54:18,731
Fun at parties, hell of a guy.
Really.

1314
00:54:18,731 --> 00:54:19,532
Wouldn't you say?

1315
00:54:21,634 --> 00:54:23,736
The working relationship
was always good,

1316
00:54:23,736 --> 00:54:25,805
because I think, you know,
misery loves company.

1317
00:54:25,805 --> 00:54:28,141
We both were
in the same situation

1318
00:54:28,141 --> 00:54:29,709
all day long.

1319
00:54:29,709 --> 00:54:31,978
Both of us just, you know,
sittin' there and goin',

1320
00:54:31,978 --> 00:54:33,613
"God, is this hot?",
and he said, "Yeah."

1321
00:54:33,613 --> 00:54:34,981
"Is this miserable?"
"Yeah."

1322
00:54:35,915 --> 00:54:38,718
PETER WELLER:
And there were
some difficult times,

1323
00:54:38,718 --> 00:54:39,919
really difficult times.

1324
00:54:40,820 --> 00:54:45,558
PETER WELLER:
RoboCop was a-- was an obsessive
discipline for me.

1325
00:54:45,558 --> 00:54:49,095
I am the future
of law enforcement.

1326
00:54:49,095 --> 00:54:50,163
That says it all, doesn't it?

1327
00:54:50,163 --> 00:54:52,165
Thank you, Robo.
That's good job.

1328
00:54:52,165 --> 00:54:53,599
Thank you.

1329
00:54:55,001 --> 00:54:56,769
What did I tell ya?
Be lookin' for him.

1330
00:55:01,941 --> 00:55:04,310
The first day that we were
shooting with the suit,

1331
00:55:04,310 --> 00:55:06,779
we scheduled a very late day.

1332
00:55:06,779 --> 00:55:08,147
-BOB: Reed! SGT.
-REED: Yeah.

1333
00:55:08,147 --> 00:55:09,115
BOB:
He needs a car.

1334
00:55:09,115 --> 00:55:10,583
And the shot was,

1335
00:55:10,583 --> 00:55:12,585
Peter walks through
the police station

1336
00:55:12,585 --> 00:55:14,320
and catches the car keys.

1337
00:55:14,320 --> 00:55:16,122
He's wearing
his kinda rubber gloves

1338
00:55:16,122 --> 00:55:17,523
and he-- you know,

1339
00:55:17,523 --> 00:55:18,858
he wasn't really supposed to
look at it.

1340
00:55:18,858 --> 00:55:20,760
He was supposed to
just catch it.

1341
00:55:20,760 --> 00:55:22,862
And the car keys
would bounce at him.

1342
00:55:23,996 --> 00:55:24,931
No.

1343
00:55:24,931 --> 00:55:25,765
PAUL VERHOEVEN:
Cut.

1344
00:55:25,765 --> 00:55:27,600
We must've shot that

1345
00:55:27,600 --> 00:55:31,337
from 9:00 at night
to 1:00 in the morning,

1346
00:55:31,337 --> 00:55:32,939
tryin' to catch the car keys.

1347
00:55:33,873 --> 00:55:34,807
Thank you.

1348
00:55:36,109 --> 00:55:38,277
Sure, anytime.

1349
00:55:38,277 --> 00:55:40,313
It was that kinda show.

1350
00:55:40,313 --> 00:55:41,381
Go get '‘em, boy.

1351
00:55:49,122 --> 00:55:50,323
When I'm driving,

1352
00:55:50,323 --> 00:55:51,891
the Robo team
would take the legs off,

1353
00:55:51,891 --> 00:55:54,994
so I could like uh,
sit in the car and drive it.

1354
00:55:54,994 --> 00:55:57,363
And yeah, it was me driving
most of the time,

1355
00:55:57,363 --> 00:55:59,565
with Jost
shooting this wonderful stuff,

1356
00:55:59,565 --> 00:56:01,067
and Paul's in the backseat
saying,

1357
00:56:01,067 --> 00:56:02,835
"Let's drive up here,
let's drive up there."

1358
00:56:02,835 --> 00:56:05,638
You know that we spent months,
and months, and months

1359
00:56:05,638 --> 00:56:08,174
creating a new police car.

1360
00:56:08,174 --> 00:56:10,476
We built the car for RoboCop ,

1361
00:56:10,476 --> 00:56:12,512
but they didn't
take into consideration

1362
00:56:12,512 --> 00:56:15,982
that when he got in the car,
he would have that suit on.

1363
00:56:15,982 --> 00:56:17,417
And he didn't fit.

1364
00:56:17,417 --> 00:56:19,185
PAUL VERHOEVEN:
Of course, it was a disaster.

1365
00:56:19,185 --> 00:56:21,487
So, we then bef--
I abandoned

1366
00:56:21,487 --> 00:56:24,857
all kind of wonderful
production design ideas.

1367
00:56:24,857 --> 00:56:26,893
I throw it all
out of the window.

1368
00:56:26,893 --> 00:56:28,895
Yeah, there is
this kind of strange person,

1369
00:56:28,895 --> 00:56:29,896
but rest is all normal.

1370
00:56:31,664 --> 00:56:33,199
Paul came up with the idea,

1371
00:56:33,199 --> 00:56:36,235
"Okay, a completely rundown
police department

1372
00:56:36,235 --> 00:56:40,072
doesn't need to have very nice,
wonderful, new, shiny cars.

1373
00:56:40,072 --> 00:56:41,774
No."

1374
00:56:41,774 --> 00:56:43,743
That car, we abandoned that
and we used a normal car.

1375
00:56:43,743 --> 00:56:45,711
The new Taurus
at that time we used.

1376
00:56:45,711 --> 00:56:46,946
♪ Taurus ♪

1377
00:56:46,946 --> 00:56:49,048
♪ Now, there is a personal car ♪

1378
00:56:49,048 --> 00:56:52,552
♪ That has exactly
what we've been looking for ♪

1379
00:56:53,152 --> 00:56:55,021
PAUL VERHOEVEN:
It was just in production.

1380
00:56:55,021 --> 00:56:57,423
Looked a little bit modern,
so we took that.

1381
00:57:01,394 --> 00:57:03,296
CRAIG:
Science fiction,
it's very easy for it

1382
00:57:03,296 --> 00:57:05,064
to become sort of enmeshed
in a world view

1383
00:57:05,064 --> 00:57:07,800
that's hyperdesigned,
hyperfocused, and stuff.

1384
00:57:07,800 --> 00:57:09,068
And what I thought
was really cool

1385
00:57:09,068 --> 00:57:10,470
about RoboCop was,

1386
00:57:10,470 --> 00:57:12,205
it really
put a lot of that stuff aside

1387
00:57:12,205 --> 00:57:13,439
and just was what it was.

1388
00:57:16,209 --> 00:57:18,611
And I thought that just worked
in service of the picture.

1389
00:57:18,611 --> 00:57:20,046
It couldn't have been better

1390
00:57:20,046 --> 00:57:21,047
that these things were
just Ford Tauruses

1391
00:57:21,047 --> 00:57:22,215
painted flat black.

1392
00:57:24,083 --> 00:57:26,953
PAUL VERHOEVEN:
I remember how important it was
for the movie

1393
00:57:26,953 --> 00:57:28,654
that we didn't have
so much money.

1394
00:57:28,654 --> 00:57:30,890
Because you come up
with solutions

1395
00:57:30,890 --> 00:57:34,494
that are extremely simple and--
and effective.

1396
00:57:34,494 --> 00:57:39,098
It was interesting to see
a gleaming, shining robot

1397
00:57:39,098 --> 00:57:43,269
against the crumbling
infrastructure of Dallas,

1398
00:57:43,269 --> 00:57:44,904
standing in for Detroit.

1399
00:57:44,904 --> 00:57:48,007
I find that a very interesting
juxtaposition of images.

1400
00:57:48,007 --> 00:57:50,910
A lot of RoboCop
has reflections,

1401
00:57:50,910 --> 00:57:52,912
and I mean that literally.

1402
00:57:52,912 --> 00:57:55,515
Uh, they polished up the suit
with oils,

1403
00:57:55,515 --> 00:57:57,950
and everything around him
is just shining.

1404
00:57:57,950 --> 00:57:59,151
And that was intentional.

1405
00:57:59,151 --> 00:58:00,953
And it was Paul's way of saying

1406
00:58:00,953 --> 00:58:05,691
that this was a very steely,
cold mechanical world.

1407
00:58:08,327 --> 00:58:10,463
GROCERY MOM:
Will there be anything else,
sir?

1408
00:58:10,463 --> 00:58:12,465
HOPHEAD:
Yeah, empty the register
and put the money in the bag.

1409
00:58:12,465 --> 00:58:13,799
We went in that liquor store

1410
00:58:13,799 --> 00:58:15,167
and it was
a practical liquor store.

1411
00:58:16,636 --> 00:58:18,538
Hophead enters

1412
00:58:18,538 --> 00:58:21,173
and in passing
this nefarious robbery,

1413
00:58:21,173 --> 00:58:24,510
he picks up a copy
of uh, a Marvel Comic.

1414
00:58:24,510 --> 00:58:26,679
Strangely,
they're all Marvel Comics.

1415
00:58:26,679 --> 00:58:28,314
There's a copy of Blade Runner,

1416
00:58:28,314 --> 00:58:30,983
which was also part
of the origins of the script,

1417
00:58:30,983 --> 00:58:34,287
because the film inspired
the idea of RoboCop.

1418
00:58:35,288 --> 00:58:37,857
And the issue he picks up
is this one,

1419
00:58:37,857 --> 00:58:40,326
which is Iron Man 142,

1420
00:58:40,326 --> 00:58:44,697
and it's where Iron Man displays
his new high-tech armor,

1421
00:58:45,965 --> 00:58:47,800
which is of course
what RoboCop does

1422
00:58:47,800 --> 00:58:49,001
in the very next scene.

1423
00:58:49,001 --> 00:58:50,536
...two.

1424
00:58:52,638 --> 00:58:54,040
Fuck me.

1425
00:58:55,408 --> 00:58:57,843
RON:
Avram Gold
was our dialogue supervisor

1426
00:58:57,843 --> 00:58:59,679
I remember him having
a problem with a scene one day,

1427
00:58:59,679 --> 00:59:02,748
and he came in to me, and said,
"Ron, there's this scene.

1428
00:59:02,748 --> 00:59:06,919
There's this guy, he goes in,
and he shoots up a liquor store,

1429
00:59:06,919 --> 00:59:10,089
and he only says two words,
and he just repeats them.

1430
00:59:10,089 --> 00:59:12,224
It's "fuck me, fuck me, fuck me,
fuck--"

1431
00:59:12,224 --> 00:59:15,161
Fuck me! Fuck me! Fuck me!

1432
00:59:15,161 --> 00:59:17,330
But you can't use that
for the TV version

1433
00:59:17,330 --> 00:59:19,365
or everything else
that he has to get ready.

1434
00:59:19,365 --> 00:59:21,000
So, he lookin' for--
"Ron, is there anything else?"

1435
00:59:21,000 --> 00:59:23,402
You know, we had to go through
da-- No!

1436
00:59:23,402 --> 00:59:24,870
I never thought of any--
you know,

1437
00:59:24,870 --> 00:59:27,573
shooting anything else for TV,

1438
00:59:27,573 --> 00:59:29,675
or just to have other words
in there.

1439
00:59:29,675 --> 00:59:31,010
So, yeah, you know,

1440
00:59:31,010 --> 00:59:32,411
they obviously
had to re-- rerecord him.

1441
00:59:34,180 --> 00:59:35,681
Why me?

1442
00:59:36,515 --> 00:59:38,584
Drop the gun.
You are under arrest.

1443
00:59:41,387 --> 00:59:42,688
Why me? Why me?

1444
00:59:42,688 --> 00:59:44,523
Why me? Why me? Why me?

1445
00:59:44,523 --> 00:59:46,092
[chuckles]

1446
00:59:46,092 --> 00:59:47,793
[laughs]

1447
00:59:49,295 --> 00:59:50,563
He's walking around there,

1448
00:59:50,563 --> 00:59:52,131
shooting at him
all over the place.

1449
00:59:52,131 --> 00:59:54,266
Like, "Pop, pop, pop!"
I mean, so on.

1450
00:59:54,266 --> 00:59:56,268
And I said to myself, "Well,

1451
00:59:56,268 --> 00:59:58,871
if he's getting shot
all over the place,

1452
00:59:58,871 --> 01:00:00,940
we should show some damage
on the armor."

1453
01:00:00,940 --> 01:00:02,642
Then Rob said, "No!

1454
01:00:02,642 --> 01:00:05,645
This is like an indestructible
sort of like new armor,

1455
01:00:05,645 --> 01:00:08,147
so it shouldn't show
too much damage.

1456
01:00:08,147 --> 01:00:09,615
I said, "Oh, okay,
I get the picture."

1457
01:00:13,152 --> 01:00:15,421
Paul wanted him
to pick up the guy

1458
01:00:15,421 --> 01:00:17,757
And throw him into this thing.

1459
01:00:17,757 --> 01:00:21,394
So, we built this big fridge
with breakaway glass,

1460
01:00:21,394 --> 01:00:23,562
candy glass,
and breakaway balsa wood.

1461
01:00:28,734 --> 01:00:32,238
It was kicks, baby. Kicks!

1462
01:00:32,238 --> 01:00:34,974
The timing of that,
"God, that's great."

1463
01:00:34,974 --> 01:00:38,077
Thank you for your cooperation.
Good Night.

1464
01:00:43,516 --> 01:00:45,685
ADAM:
I was originally cast
to be in RoboCop 1.

1465
01:00:45,685 --> 01:00:48,688
Uh, RoboCop 1 was filmed
in Dallas,

1466
01:00:48,688 --> 01:00:50,156
and I was born and raised
in Dallas,

1467
01:00:50,156 --> 01:00:52,491
that's where
I got my acting career started.

1468
01:00:52,491 --> 01:00:55,261
So, I got a small part in that.

1469
01:00:55,261 --> 01:00:58,264
So, my part was
that I'm a little tiny kid

1470
01:00:58,264 --> 01:01:00,666
and I have on like this little
army jacket kind of thing,

1471
01:01:00,666 --> 01:01:02,134
and I'm walking around,

1472
01:01:02,134 --> 01:01:03,302
and I'm looking
at the guy behind the counter

1473
01:01:03,302 --> 01:01:05,004
and looking at candy bars,

1474
01:01:05,004 --> 01:01:07,707
and so I take a candy bar,
and slide it into my jacket.

1475
01:01:07,707 --> 01:01:09,308
That's when the guy comes in

1476
01:01:09,308 --> 01:01:11,310
and starts robbing
the liquor store.

1477
01:01:11,310 --> 01:01:13,145
Give me your money. All of it!

1478
01:01:13,145 --> 01:01:16,515
And don't fuck around!
Where's the safe, old man?

1479
01:01:16,515 --> 01:01:18,451
We-- we don't have a safe.

1480
01:01:18,451 --> 01:01:20,152
Open the safe, pops,

1481
01:01:20,152 --> 01:01:23,355
or I'm gonna blow junior here
all over the candy rack.

1482
01:01:23,355 --> 01:01:25,958
GROCERY POP:
Oh, don't hurt the boy.
I'll open the safe.

1483
01:01:25,958 --> 01:01:27,893
You're stallin', old man!

1484
01:01:27,893 --> 01:01:30,663
You got the count of three
to get that safe open.

1485
01:01:30,663 --> 01:01:32,865
One, two--

1486
01:01:34,200 --> 01:01:36,135
Drop it. You're under arrest.

1487
01:01:36,135 --> 01:01:37,336
Wow!

1488
01:01:37,336 --> 01:01:38,537
HOPHEAD:
Fuck you, cop!

1489
01:01:40,339 --> 01:01:41,874
You're in a lot of trouble.

1490
01:01:42,641 --> 01:01:44,510
Oh, fuck me.

1491
01:01:44,510 --> 01:01:45,177
[yells]

1492
01:01:47,847 --> 01:01:49,682
ADAM:
I'm like standin' there,
you know,

1493
01:01:49,682 --> 01:01:51,550
lookin' in awe as a child
at RoboCop, and he says--

1494
01:01:51,550 --> 01:01:53,886
Prisoner transport
will arrive shortly.

1495
01:01:53,886 --> 01:01:55,654
Thank you for your cooperation.

1496
01:01:55,654 --> 01:01:57,690
Good night,
and have a pleasant evening.

1497
01:01:57,690 --> 01:01:59,725
ADAM:
Now, I stare at him
and watch him walk out the door,

1498
01:01:59,725 --> 01:02:01,427
and so the end of the scene
is me,

1499
01:02:01,427 --> 01:02:02,995
like taking the candy bar
out of my pocket,

1500
01:02:02,995 --> 01:02:03,863
and putting it on the counter,
and saying--

1501
01:02:03,863 --> 01:02:05,498
"How much for this?"

1502
01:02:05,498 --> 01:02:07,433
That obviously didn't appear
in the original movie,

1503
01:02:07,433 --> 01:02:10,102
because Texas child labor laws
at the time,

1504
01:02:10,102 --> 01:02:12,571
possibly even now uh,
would not let a minor

1505
01:02:12,571 --> 01:02:14,507
stay up and work past midnight,

1506
01:02:14,507 --> 01:02:16,075
and it was, you know,
a night scene,

1507
01:02:16,075 --> 01:02:17,610
and the shooting
was running long

1508
01:02:17,610 --> 01:02:20,179
based on I don't--
things I wasn't aware of,

1509
01:02:20,179 --> 01:02:22,848
so they just cut that part
out of the movie.

1510
01:02:22,848 --> 01:02:24,083
I mean I still got paid
and everything,

1511
01:02:24,083 --> 01:02:25,351
'‘cause I did show up,

1512
01:02:25,351 --> 01:02:26,919
but, you know,
it-- it was crushing.

1513
01:02:26,919 --> 01:02:28,587
It was like, "Aw,
I was really excited

1514
01:02:28,587 --> 01:02:29,455
about doin' this thing.

1515
01:02:29,455 --> 01:02:30,523
It was gonna be fun."

1516
01:02:30,523 --> 01:02:32,892
Shit! He's fucked up.

1517
01:02:32,892 --> 01:02:35,795
Bad language makes
for bad feelings.

1518
01:02:36,962 --> 01:02:38,364
ADAM:
Long story short,

1519
01:02:38,364 --> 01:02:40,533
the casting director
remembered me,

1520
01:02:40,533 --> 01:02:43,169
and so when RoboCop 2
came around, I was cast in that.

1521
01:02:43,469 --> 01:02:44,637
It's Robo!

1522
01:02:48,407 --> 01:02:50,910
[crowd cheering]

1523
01:02:50,910 --> 01:02:52,444
[laugh together]

1524
01:02:52,444 --> 01:02:54,547
I'd buy that for a dollar.

1525
01:02:54,547 --> 01:02:55,481
[laughs]

1526
01:02:59,285 --> 01:03:00,820
I think in some ways as a line

1527
01:03:00,820 --> 01:03:02,588
that captures the spirit
of RoboCop ,

1528
01:03:02,588 --> 01:03:03,989
"I'd buy that for a dollar"

1529
01:03:03,989 --> 01:03:05,825
is just kind of
an amazing little pop line.

1530
01:03:06,659 --> 01:03:08,627
The line
that almost is meaningless

1531
01:03:08,627 --> 01:03:09,995
and yet sums it all up.

1532
01:03:10,996 --> 01:03:13,132
I'll buy that for a dollar.

1533
01:03:13,132 --> 01:03:14,567
[laughs]

1534
01:03:14,567 --> 01:03:16,001
I'm S.D. Nemeth

1535
01:03:16,001 --> 01:03:18,637
and I play the part
of Bixby Snider.

1536
01:03:18,637 --> 01:03:20,272
This was one of the first,

1537
01:03:20,272 --> 01:03:23,776
if not practically the only role
I ever auditioned for

1538
01:03:23,776 --> 01:03:25,444
in which I got cast.

1539
01:03:25,444 --> 01:03:27,313
BIXBY:
It's not really
the right time right now.

1540
01:03:27,313 --> 01:03:29,849
Maybe you can
come back a little later on.

1541
01:03:29,849 --> 01:03:31,150
S.D. NEMETH:
For me, it was a gas.

1542
01:03:31,150 --> 01:03:33,819
It was
just actually playing myself.

1543
01:03:33,819 --> 01:03:37,656
I had done a character on
radio, on KROQ,

1544
01:03:37,656 --> 01:03:39,792
called The Young Marquis.

1545
01:03:39,792 --> 01:03:42,428
THE YOUNG MARQUIS:
Me your idol, The Young Marquis.

1546
01:03:42,428 --> 01:03:44,430
[young Marquis chuckling]

1547
01:03:44,430 --> 01:03:45,798
THE YOUNG MARQUIS:
Special guest tonight.

1548
01:03:45,798 --> 01:03:47,933
Wow,
we've got a whole studio full!

1549
01:03:48,334 --> 01:03:50,135
S.D. NEMETH:
Actually,
this Bixby Snider part...

1550
01:03:50,135 --> 01:03:52,104
Bixby, who is this?

1551
01:03:52,104 --> 01:03:53,539
Oh, uh...

1552
01:03:53,539 --> 01:03:54,940
S.D. NEMETH:
...was just The Young Marquis.

1553
01:03:54,940 --> 01:03:55,808
THE YOUNG MARQUIS:
You mean me!

1554
01:03:55,808 --> 01:03:58,277
[young Marquis laughing]

1555
01:03:58,277 --> 01:04:02,281
Except behind a camera
and not just a microphone.

1556
01:04:02,281 --> 01:04:04,950
Uh, well, it's a--
it's a birthday present.

1557
01:04:04,950 --> 01:04:06,518
Uh, um,
someone sent me something

1558
01:04:06,518 --> 01:04:08,787
uh, '‘cause it is my birthday.

1559
01:04:08,787 --> 01:04:11,357
Well, look at this.
I wonder who could have sent it!

1560
01:04:11,357 --> 01:04:14,059
[babbles]

1561
01:04:14,059 --> 01:04:16,829
When I found out
that Paul Verhoeven

1562
01:04:16,829 --> 01:04:19,498
was gonna be the director,
I was just tickled pink.

1563
01:04:19,498 --> 01:04:21,533
[laughs]

1564
01:04:21,533 --> 01:04:23,802
S.D. NEMETH:
I had rehearsed the scene
the night before

1565
01:04:23,802 --> 01:04:25,804
with a tall blonde gal.

1566
01:04:25,804 --> 01:04:27,873
Her name was Heather.

1567
01:04:27,873 --> 01:04:30,876
Happy Birthday, babe.
She's from me!

1568
01:04:30,876 --> 01:04:31,644
Oh!

1569
01:04:31,644 --> 01:04:33,012
[laugh together]

1570
01:04:33,012 --> 01:04:34,647
S.D. NEMETH:
We got out parts down

1571
01:04:34,647 --> 01:04:37,416
and from then on
it was like the Three Stooges.

1572
01:04:37,416 --> 01:04:40,586
Well, hey,
can I have you both?

1573
01:04:40,586 --> 01:04:42,888
-Sure, why not?
-Sure, why not?

1574
01:04:42,888 --> 01:04:44,189
-We've had our shots.
-We've had our shots.

1575
01:04:44,189 --> 01:04:46,392
[laugh together]

1576
01:04:46,392 --> 01:04:48,427
I'd buy that for a dollar.

1577
01:04:48,427 --> 01:04:51,563
[laugh together]

1578
01:04:51,563 --> 01:04:53,999
I don't know that any of us
ever got that

1579
01:04:53,999 --> 01:04:57,503
that was gonna beco--
become an iconic line.

1580
01:04:57,503 --> 01:04:58,504
I'd buy that for a dollar.

1581
01:04:58,504 --> 01:05:00,005
[chuckles]

1582
01:05:00,005 --> 01:05:01,407
It was kind of almost a--
a sort of mystery

1583
01:05:01,407 --> 01:05:03,575
why-- why he was saying it.

1584
01:05:03,575 --> 01:05:06,445
I'd buy that for a dollar.

1585
01:05:06,445 --> 01:05:08,280
Corny, silly.

1586
01:05:08,280 --> 01:05:11,583
It was like-- it was like a--
a bad commercial at that time

1587
01:05:11,583 --> 01:05:15,120
that didn't necessarily appeal
to your sense of humor.

1588
01:05:15,120 --> 01:05:16,855
Oh. Oh.

1589
01:05:16,855 --> 01:05:17,890
-Bixby!
-Bixby!

1590
01:05:17,890 --> 01:05:19,358
[cheer together]

1591
01:05:19,358 --> 01:05:22,227
We had a massive food fight
as I recall.

1592
01:05:22,227 --> 01:05:24,029
Showed up on the set,

1593
01:05:24,029 --> 01:05:27,533
and I've never been plastered
with cake and frosting so much.

1594
01:05:27,533 --> 01:05:28,968
[laughs]

1595
01:05:28,968 --> 01:05:32,771
Some of it
is now a merciful blur.

1596
01:05:32,771 --> 01:05:33,706
Wow!

1597
01:05:33,706 --> 01:05:34,773
[laughs]

1598
01:05:34,773 --> 01:05:36,709
Wow! Did you see that?

1599
01:05:36,709 --> 01:05:38,077
[laughs]

1600
01:05:38,077 --> 01:05:39,778
I gotta go
get a piece of this myself!

1601
01:05:39,778 --> 01:05:42,815
It was a pleasure to work
with beautiful young girls.

1602
01:05:42,815 --> 01:05:44,383
Ooh, wow!

1603
01:05:44,383 --> 01:05:46,785
[laughs]

1604
01:05:46,785 --> 01:05:48,087
I'd buy that for a dollar.

1605
01:05:48,087 --> 01:05:49,321
[grunts]

1606
01:05:50,422 --> 01:05:53,092
And with a nice crew, loved it.
Loved it.

1607
01:05:53,092 --> 01:05:55,127
[laugh together]

1608
01:05:55,127 --> 01:05:57,596
It was a real gas,
let me tell ya.

1609
01:05:57,596 --> 01:05:59,765
BIXBY:
I'd buy that for a dollar.

1610
01:05:59,765 --> 01:06:01,133
[Bixby and women laughing]

1611
01:06:06,138 --> 01:06:07,473
DONNA:
It was an extremely long night

1612
01:06:07,473 --> 01:06:10,776
and everything just unfolded.

1613
01:06:12,311 --> 01:06:13,979
Paul Verhoeven, he said,

1614
01:06:13,979 --> 01:06:17,082
"Understand that
you're a really good girl

1615
01:06:17,082 --> 01:06:20,486
and you foolishly made
a really bad mistake

1616
01:06:20,486 --> 01:06:22,988
of walking down this ally,
you know, coming home from work.

1617
01:06:22,988 --> 01:06:24,790
And I'm like, "Okay."

1618
01:06:24,790 --> 01:06:26,959
He goes, "And then you're
gonna be attacked.

1619
01:06:26,959 --> 01:06:30,095
So, go all out like a good girl
would, you know?"

1620
01:06:30,095 --> 01:06:32,264
And I went, "Okay, so basically
that means '‘Don't be tough',

1621
01:06:32,264 --> 01:06:32,998
you know?"

1622
01:06:34,099 --> 01:06:35,334
[screams]

1623
01:06:37,436 --> 01:06:41,306
In the movie,
I played the Creep.

1624
01:06:41,774 --> 01:06:43,509
Don't touch me!
Get away! Get away!

1625
01:06:43,509 --> 01:06:45,444
We don't want your bag!

1626
01:06:45,444 --> 01:06:46,845
We want you!

1627
01:06:46,845 --> 01:06:49,181
Well, first,
we have to go back to wardrobe,

1628
01:06:49,181 --> 01:06:52,618
because I chose
these stomper boots

1629
01:06:52,618 --> 01:06:55,054
and I couldn't really move.

1630
01:06:55,054 --> 01:06:56,955
And if you can see me,
I'm kinda like--

1631
01:06:56,955 --> 01:06:58,290
you know, I'm...

1632
01:06:58,290 --> 01:07:00,492
[yell together]

1633
01:07:00,492 --> 01:07:02,394
Take it easy!

1634
01:07:02,394 --> 01:07:04,329
SCOTT:
#*Unknown actors, like we hope
to do various roles

1635
01:07:04,329 --> 01:07:07,633
and it was nice to be
in the uh, criminal element.

1636
01:07:07,633 --> 01:07:10,402
And I bleached my hair out,

1637
01:07:10,402 --> 01:07:13,806
but the humidity,
it lost its kinda cool spike.

1638
01:07:13,806 --> 01:07:15,074
At the time,
my hair looked like that.

1639
01:07:15,074 --> 01:07:16,375
[chuckles]

1640
01:07:16,375 --> 01:07:17,743
Take it easy!
We don't wanna hurt you!

1641
01:07:17,743 --> 01:07:19,178
CREEP 2:
That's too much hair!

1642
01:07:19,178 --> 01:07:22,081
I bought three wigs
in case we needed to uh,

1643
01:07:22,081 --> 01:07:23,549
you know, keep cutting,
and keep cutting.

1644
01:07:23,549 --> 01:07:24,983
We'll give her a haircut!

1645
01:07:24,983 --> 01:07:25,684
No!

1646
01:07:25,684 --> 01:07:27,086
[laughs]

1647
01:07:27,086 --> 01:07:28,253
SCOTT:
William had a knife.

1648
01:07:28,253 --> 01:07:29,855
He said,
"I'm gonna cut her,

1649
01:07:29,855 --> 01:07:31,890
I'm gonna cut her, you know?
I'm gonna cut her hair!"

1650
01:07:31,890 --> 01:07:34,359
And then Paul said, "Yeah!"
He got inspired.

1651
01:07:34,359 --> 01:07:37,229
He says, "Yeah,
now you point to her crotch

1652
01:07:37,229 --> 01:07:40,332
and you say,
"There's more hair down there."

1653
01:07:40,332 --> 01:07:44,870
And he laughed maniacally,
and I went "Oh, my God."

1654
01:07:44,870 --> 01:07:48,006
I ca-- oh, rea-- uh, really?
You-- you want me to say that?

1655
01:07:48,006 --> 01:07:48,674
Uh...

1656
01:07:48,674 --> 01:07:49,608
What?

1657
01:07:49,608 --> 01:07:51,343
There's more hair down there.

1658
01:07:51,343 --> 01:07:54,213
[both laugh]

1659
01:07:54,213 --> 01:07:56,782
SCOTT:
It was pretty bold at the time,
you know?

1660
01:07:56,782 --> 01:07:58,183
I just remember
being a little shocked

1661
01:07:58,183 --> 01:07:59,685
as an actor.

1662
01:07:59,685 --> 01:08:00,886
I was like "Whoa!
Okay, we're goin' there."

1663
01:08:01,753 --> 01:08:02,688
[laughs]

1664
01:08:02,688 --> 01:08:04,123
No!

1665
01:08:04,123 --> 01:08:06,125
PETER WELLER:
Paul is now an inspiration.

1666
01:08:06,125 --> 01:08:09,027
'‘Cause the second
that I come out of that thing,

1667
01:08:09,027 --> 01:08:12,131
Paul is in seventh gear.
No waiting, man.

1668
01:08:12,131 --> 01:08:13,799
I'm in a golf cart, a car,
or whatever, man,

1669
01:08:13,799 --> 01:08:15,100
I'm in the thing,
I got the guns,

1670
01:08:15,100 --> 01:08:16,768
I'm gonna be ready to go.

1671
01:08:16,768 --> 01:08:18,437
I mean, not a second wasted.

1672
01:08:19,238 --> 01:08:21,573
Him and Jost
have gone hit the deck.

1673
01:08:21,573 --> 01:08:25,144
RoboCop as a figure
should be bigger than life.

1674
01:08:25,144 --> 01:08:26,411
Higher than life.

1675
01:08:26,411 --> 01:08:28,147
Stronger than life.

1676
01:08:28,147 --> 01:08:30,883
That's all what the mystery
of RoboCop is about.

1677
01:08:30,883 --> 01:08:32,651
Jost was a brilliant guy.

1678
01:08:32,651 --> 01:08:35,387
I mean, he was doing stuff
so far ahead of his time.

1679
01:08:36,221 --> 01:08:37,923
The moment
where RoboCop is walking up

1680
01:08:37,923 --> 01:08:39,958
to confront the rapists,

1681
01:08:39,958 --> 01:08:43,595
you see his shadow looming,
and getting bigger and bigger.

1682
01:08:43,595 --> 01:08:45,597
Well, in reality, his shadow
would be getting smaller

1683
01:08:45,597 --> 01:08:47,266
and smaller.

1684
01:08:47,266 --> 01:08:49,568
So, what they did
was have RoboCop walk backwards

1685
01:08:49,568 --> 01:08:51,136
in that sequence.

1686
01:08:51,136 --> 01:08:53,405
Nobody thinks twice about it.

1687
01:08:53,405 --> 01:08:56,441
I worked with the camera
in a low position,

1688
01:08:56,441 --> 01:08:59,678
so he seems to be higher
than he actually is.

1689
01:08:59,678 --> 01:09:02,514
So, I enlarge him,
I stretch him a little bit.

1690
01:09:03,815 --> 01:09:07,352
I had an idea for Robo himself,

1691
01:09:07,352 --> 01:09:09,321
that Robo had to have attitude,

1692
01:09:09,321 --> 01:09:11,690
because he--
he became less talkative

1693
01:09:11,690 --> 01:09:13,859
as a character
when he became Robo.

1694
01:09:13,859 --> 01:09:16,328
So, we decided
we need attitude drones.

1695
01:09:22,501 --> 01:09:23,969
They slightly changed that

1696
01:09:23,969 --> 01:09:25,504
depending on
whether he was pissed,

1697
01:09:25,504 --> 01:09:27,272
whether he was relaxed.

1698
01:09:27,272 --> 01:09:30,309
So, it's just another subtle way
of moving the story forward.

1699
01:09:30,309 --> 01:09:32,644
Everything you're doing
in a film is telling the story,

1700
01:09:32,644 --> 01:09:34,112
and sound effects
are no exception.

1701
01:09:34,813 --> 01:09:37,349
Let the woman go.
You are under arrest.

1702
01:09:37,349 --> 01:09:38,016
Shit!

1703
01:09:40,319 --> 01:09:43,956
PETER WELLER:
Robo doesn't ever say anything
with intentionality for humor.

1704
01:09:43,956 --> 01:09:46,558
He just says things
from a position

1705
01:09:46,558 --> 01:09:48,627
of intentionality
for instruction.

1706
01:09:48,627 --> 01:09:49,628
That's it.

1707
01:09:49,628 --> 01:09:51,663
The intensity of being picked up

1708
01:09:51,663 --> 01:09:54,800
and waiting for that squib
to go off between my legs,

1709
01:09:54,800 --> 01:09:55,801
you know?

1710
01:09:55,801 --> 01:09:57,236
And I can remember very clearly,

1711
01:09:57,236 --> 01:09:59,471
he's grabbing me
as hard as he can,

1712
01:09:59,471 --> 01:10:01,506
and picking me up, and back,
and up and down,

1713
01:10:01,506 --> 01:10:03,442
and we had to make sure
we hit this certain height,

1714
01:10:03,442 --> 01:10:06,478
you know, so it looked
appropriate to the gun height.

1715
01:10:06,478 --> 01:10:07,679
He's gonna kill her!

1716
01:10:09,348 --> 01:10:11,550
The climactic moment

1717
01:10:11,550 --> 01:10:13,719
where he uh,
gets shot in the bullocks.

1718
01:10:15,821 --> 01:10:18,991
[screams]

1719
01:10:18,991 --> 01:10:21,093
JESSE:
RoboCop shoots him
in the crotch.

1720
01:10:21,093 --> 01:10:22,561
People are like, "Yeah,
mother fucker,

1721
01:10:22,561 --> 01:10:24,096
you deserved that shit",
you know?

1722
01:10:24,096 --> 01:10:25,664
[laughs]

1723
01:10:25,664 --> 01:10:27,199
Oh, my-- Oh, my God.

1724
01:10:27,199 --> 01:10:28,967
Because I can see the blood
squirting out of his--

1725
01:10:30,902 --> 01:10:31,603
[screams]

1726
01:10:32,904 --> 01:10:34,439
By the way, when I saw that
with an audience,

1727
01:10:34,439 --> 01:10:36,208
they-- the audience went crazy.

1728
01:10:37,042 --> 01:10:39,177
[laugh together]

1729
01:10:39,177 --> 01:10:41,046
[screams]

1730
01:10:41,046 --> 01:10:42,681
What they did is

1731
01:10:42,681 --> 01:10:43,782
they took one of those
very poor sponges, you know,

1732
01:10:43,782 --> 01:10:45,717
the sea sponge
type thing,

1733
01:10:45,717 --> 01:10:47,085
and they soaked it in the blood,

1734
01:10:47,085 --> 01:10:48,687
and then they shoved it
in his underwear,

1735
01:10:48,687 --> 01:10:50,689
and scored everything.

1736
01:10:50,689 --> 01:10:54,126
And I remember it going off
and dropping, and just going,

1737
01:10:54,126 --> 01:10:55,794
"Oh, my God!"
And I was so into it.

1738
01:10:55,794 --> 01:10:58,130
What you see
is very real of me backing away,

1739
01:10:58,130 --> 01:11:00,532
going like, "Oh, oh, oh",
you know?

1740
01:11:02,968 --> 01:11:04,436
PETER WELLER:
Beauty about Robo is

1741
01:11:04,436 --> 01:11:06,204
he's a straight man
to the world.

1742
01:11:06,204 --> 01:11:08,874
In other words,
Robo just says what's so.

1743
01:11:08,874 --> 01:11:10,575
"Your move, creep."

1744
01:11:10,575 --> 01:11:12,144
Your move, creep.

1745
01:11:13,211 --> 01:11:14,980
PETER WELLER:
Bang, you know?

1746
01:11:14,980 --> 01:11:16,915
No explanation, no fat on that,
no icing on the cake.

1747
01:11:16,915 --> 01:11:18,116
That's the deal.

1748
01:11:21,553 --> 01:11:25,390
PAUL VERHOEVEN:
We all know that Jesus
doesn't say much anymore

1749
01:11:25,390 --> 01:11:27,259
after His death.

1750
01:11:27,259 --> 01:11:30,495
And basically, if you look
at RoboCop his-- his-- his--

1751
01:11:30,495 --> 01:11:32,464
The monotony his--
of his voice,

1752
01:11:32,464 --> 01:11:34,833
the simplicity of the lines

1753
01:11:34,833 --> 01:11:38,437
correspond really
with somebody that is partially,

1754
01:11:38,437 --> 01:11:39,738
you could say, a zombie.

1755
01:11:39,738 --> 01:11:41,273
[screams]

1756
01:11:41,273 --> 01:11:42,808
Thank God.

1757
01:11:42,808 --> 01:11:44,276
Then the woman runs up
and throws her arms around,

1758
01:11:44,276 --> 01:11:46,678
and says "thank you",
and you get this moment

1759
01:11:46,678 --> 01:11:49,247
where she realizes
he's just a machine,

1760
01:11:49,247 --> 01:11:52,751
and he's very cold,
and she has this confusion.

1761
01:11:52,751 --> 01:11:55,020
If you watch the film again,
you'll see that moment.

1762
01:11:55,420 --> 01:11:58,023
Madam, you have suffered
an emotional shock.

1763
01:11:58,023 --> 01:12:00,525
I will notify
a rape crisis center.

1764
01:12:00,525 --> 01:12:02,094
PAUL M. SAMMON:
And you know,

1765
01:12:02,094 --> 01:12:03,929
there was no reason
to stage it like that,

1766
01:12:03,929 --> 01:12:07,466
but it's a really interesting
intimate human emotion

1767
01:12:07,466 --> 01:12:09,368
and reaction.

1768
01:12:09,368 --> 01:12:12,537
I knew no matter what happened
commercially to RoboCop ,

1769
01:12:12,537 --> 01:12:16,174
that man,
we were makin' somethin'

1770
01:12:16,174 --> 01:12:17,609
that was speaking!

1771
01:12:18,110 --> 01:12:26,985
[♪♪♪♪♪]

1772
01:12:56,648 --> 01:13:05,524
[♪♪♪♪♪]

1773
01:16:26,524 --> 01:16:35,433
[♪♪♪♪♪]

1774
01:16:56,554 --> 01:17:05,463
[♪♪♪♪♪]