1 00:00:27,470 --> 00:00:32,475 [♪♪♪] 2 00:00:39,816 --> 00:00:42,819 [RoboCop theme playing] 3 00:00:42,819 --> 00:00:47,824 [♪♪♪] 4 00:02:21,884 --> 00:02:22,952 [tires screeching] 5 00:02:22,952 --> 00:02:25,188 [police siren] 6 00:02:26,489 --> 00:02:28,958 MICHAEL: A lot of my friends were police officers. 7 00:02:28,958 --> 00:02:30,927 In fact, in '77, 8 00:02:30,927 --> 00:02:33,329 I went through SWAT survival with the LAPD. 9 00:02:33,329 --> 00:02:35,164 I don't care. Get those men by the stairs. 10 00:02:35,164 --> 00:02:36,265 Now. Hit it. 11 00:02:36,265 --> 00:02:38,100 [police siren in back] 12 00:02:38,100 --> 00:02:40,536 And so I wanted this role, 13 00:02:40,536 --> 00:02:43,005 because all my friends would love it. 14 00:02:43,005 --> 00:02:44,607 [indistinct radio chatter] 15 00:02:44,607 --> 00:02:45,808 MICHAEL: There were two roles. 16 00:02:45,808 --> 00:02:48,611 Ah, the SWAT Commander and SWAT Captain at the time. 17 00:02:48,611 --> 00:02:51,948 I got the SWAT Captain. SWAT Captain worked three days. 18 00:02:51,948 --> 00:02:54,016 The SWAT Commander had two weeks. 19 00:02:54,016 --> 00:02:56,652 I called and I said, "Can I come in a day early?" 20 00:02:56,652 --> 00:02:57,887 VOICE: We're not gonna pay for your hotel room 21 00:02:57,887 --> 00:03:00,022 at the Hyatt Regency in Dallas, Texas. 22 00:03:00,022 --> 00:03:01,157 MICHAEL: What's your rate? 23 00:03:01,157 --> 00:03:02,458 VOICE: $35 a night. 24 00:03:02,458 --> 00:03:04,327 I'm coming in two nights early. 25 00:03:04,327 --> 00:03:06,729 I came in two nights early and Miguel Ferrer, 26 00:03:06,729 --> 00:03:08,030 he was a young kid, 27 00:03:08,030 --> 00:03:09,999 hanging out at Dean Martin's house, 28 00:03:09,999 --> 00:03:12,001 when I did security for Dean Martin. 29 00:03:12,001 --> 00:03:12,702 And I saw him. 30 00:03:12,702 --> 00:03:13,703 He says, "Oh Michael, 31 00:03:13,703 --> 00:03:15,404 I'm having drinks with Ed Neumeier tonight. 32 00:03:15,404 --> 00:03:16,706 Why don't you come by?" 33 00:03:16,706 --> 00:03:18,007 And I met them. 34 00:03:18,007 --> 00:03:19,075 We had drinks together, 35 00:03:19,075 --> 00:03:20,576 and Ed's looking at me, and he says, 36 00:03:20,576 --> 00:03:23,079 "You know, Verhoeven loved you for both roles. 37 00:03:23,079 --> 00:03:24,580 Let me talk to him." 38 00:03:24,580 --> 00:03:25,848 The next day, 39 00:03:25,848 --> 00:03:29,085 they paid the other actor for two or three weeks' work. 40 00:03:29,085 --> 00:03:30,586 Told him to stay home, 41 00:03:30,586 --> 00:03:32,989 and I got the role of Lieutenant Hedgecock, 42 00:03:32,989 --> 00:03:36,325 which was a combination of the-- the two roles. 43 00:03:36,325 --> 00:03:38,828 I always tell young actors, "Always go in early." 44 00:03:38,828 --> 00:03:41,430 [indistinct radio chatter] 45 00:03:41,430 --> 00:03:43,332 MARK: That scene was shot outside the exterior 46 00:03:43,332 --> 00:03:44,734 of the old Dallas courthouse. 47 00:03:44,734 --> 00:03:46,702 REPORTER 1: Former city councilman Ron Miller, 48 00:03:46,702 --> 00:03:48,204 entered City Hall with a gun. 49 00:03:48,204 --> 00:03:50,673 He's now on the second floor holding Mayor Gibson 50 00:03:50,673 --> 00:03:52,541 and his staff hostage. 51 00:03:52,541 --> 00:03:53,876 MARK: My role, back then, 52 00:03:53,876 --> 00:03:55,878 was originally written as off-screen. 53 00:03:55,878 --> 00:03:57,079 But then they realized that 54 00:03:57,079 --> 00:03:59,582 it's gonna be too interesting not to show it, so... 55 00:03:59,582 --> 00:04:01,717 We cut and did an interior shot. 56 00:04:01,717 --> 00:04:04,287 So, that's where the role expanded. 57 00:04:04,287 --> 00:04:06,055 REPORTER 1: Lieutenant, what's next? 58 00:04:06,055 --> 00:04:08,557 We wait, Terrorism is a very tricky business. 59 00:04:08,557 --> 00:04:10,760 MICHAEL: It's one of those scenes where there is a crowd scene, 60 00:04:10,760 --> 00:04:11,794 and there's this, and there's that. 61 00:04:11,794 --> 00:04:13,963 And Robo comes up. 62 00:04:13,963 --> 00:04:16,866 He was in full regalia and it was like, 63 00:04:16,866 --> 00:04:19,869 my first interaction with Peter. 64 00:04:19,869 --> 00:04:21,637 To see him move like that, it was like, 65 00:04:21,637 --> 00:04:23,806 I was looking at the real RoboCop. 66 00:04:23,806 --> 00:04:25,408 Where the hell do you think you're going? 67 00:04:25,408 --> 00:04:27,043 ROBOCOP: Keep him talking. 68 00:04:27,043 --> 00:04:28,244 MICHAEL: Just the way he moved, 69 00:04:28,244 --> 00:04:30,613 it was like, "Oh, look at that." 70 00:04:33,716 --> 00:04:35,318 MARK: Paul is very giving with his actors. 71 00:04:35,318 --> 00:04:37,253 He said to me, "Alright, these are your prisoners. 72 00:04:37,253 --> 00:04:38,421 What do you want to do with them?" 73 00:04:38,421 --> 00:04:39,822 I said, "I want 'em kneeling down here 74 00:04:39,822 --> 00:04:40,823 with their legs crossed behind 75 00:04:40,823 --> 00:04:42,391 and their hands behind their head." 76 00:04:42,391 --> 00:04:44,126 He goes, "Yeah, yeah, yeah, yeah, yeah." 77 00:04:44,126 --> 00:04:45,161 And one of 'em will be dead. 78 00:04:45,161 --> 00:04:46,429 And you need to put a guy on the ground 79 00:04:46,429 --> 00:04:47,830 that he's already killed. 80 00:04:47,830 --> 00:04:49,298 And then he got a squirt bottle of blood. 81 00:04:49,298 --> 00:04:51,767 He was painting it like Jackson Pollock. 82 00:04:51,767 --> 00:04:53,402 But the guy had to lay there all day long. 83 00:04:53,402 --> 00:04:54,970 [chuckles] 84 00:04:54,970 --> 00:04:57,440 TERESA: As a joke, they go, "Do you wanna be an extra?" 85 00:04:57,440 --> 00:04:59,075 And I said, "Sure." 86 00:04:59,075 --> 00:05:01,143 And so, they put me in makeup. 87 00:05:01,143 --> 00:05:02,144 And put me in wardrobe. 88 00:05:02,144 --> 00:05:03,979 I didn't know what I was gonna do. 89 00:05:03,979 --> 00:05:07,316 And I end up being the Mayor's assistant. 90 00:05:08,984 --> 00:05:11,454 And for the nine years I worked with Paul, 91 00:05:11,454 --> 00:05:14,690 he kept throwing me little bones in his movies, 92 00:05:14,690 --> 00:05:16,025 which was fun. 93 00:05:16,025 --> 00:05:17,593 In terms of my character, 94 00:05:17,593 --> 00:05:19,495 there was no ad-libbing whatsoever. 95 00:05:19,495 --> 00:05:20,863 All those lines were written. 96 00:05:24,700 --> 00:05:26,669 The fact that they turned out funny, 97 00:05:26,669 --> 00:05:28,537 I think it's a tribute to the writers. 98 00:05:28,537 --> 00:05:30,673 The line was first, "Don't fuck with me." 99 00:05:30,673 --> 00:05:32,508 MILLER: First, don't fuck with me! 100 00:05:32,508 --> 00:05:33,809 I'm a desperate man. 101 00:05:33,809 --> 00:05:35,611 Second, I want some fresh coffee. 102 00:05:35,611 --> 00:05:37,012 And third, I want a recount. 103 00:05:37,012 --> 00:05:38,881 MARK: And no matter how the vote turns out, 104 00:05:38,881 --> 00:05:40,282 I want my old job back. 105 00:05:40,282 --> 00:05:42,284 He's making all those demands in that office. 106 00:05:42,284 --> 00:05:44,053 And I want this and I want that. 107 00:05:44,053 --> 00:05:45,521 And I want whatever, you know. 108 00:05:48,791 --> 00:05:50,793 How about an SUX 6000? 109 00:05:50,793 --> 00:05:53,729 LT. HEDGECOCK: How about the uh, 6000 SUX? 110 00:05:57,566 --> 00:05:58,501 MILLER: Yeah! 111 00:05:58,501 --> 00:05:59,568 Okay, sure! 112 00:05:59,568 --> 00:06:00,970 MARK: With reclining leather seats, 113 00:06:00,970 --> 00:06:02,705 those get really shitty gas mileage. 114 00:06:02,705 --> 00:06:04,173 MILLER: What about cruise control? 115 00:06:04,173 --> 00:06:05,741 Does it come with cruise control? 116 00:06:05,741 --> 00:06:08,177 As I read that, I just cracked up. 117 00:06:08,177 --> 00:06:10,646 I kept saying it, "This guy is... 118 00:06:10,646 --> 00:06:11,981 This guy is wigged out." 119 00:06:11,981 --> 00:06:13,849 That just... 120 00:06:13,849 --> 00:06:15,651 That scene just rang to me, 121 00:06:15,651 --> 00:06:18,921 of the lunacy of uh, American politics. 122 00:06:23,826 --> 00:06:25,361 MARK: He was characterized as being 123 00:06:25,361 --> 00:06:26,762 the guy who had the mayor held hostage 124 00:06:26,762 --> 00:06:28,330 and had been there for three days. 125 00:06:28,330 --> 00:06:30,099 Lieutenant, don't jerk me off! 126 00:06:30,099 --> 00:06:32,067 MARK: I had eaten all the candy out of all the machines 127 00:06:32,067 --> 00:06:33,602 in the office, theoretically. 128 00:06:33,602 --> 00:06:35,337 And had a sugar buzz going. 129 00:06:35,337 --> 00:06:36,539 So, I was really hyper. 130 00:06:36,539 --> 00:06:37,840 You wanna see? 131 00:06:39,742 --> 00:06:42,611 PETER: At the same time that we were doing RoboCop, 132 00:06:42,611 --> 00:06:45,514 I think Joel Hynek was working on Predator. 133 00:06:45,514 --> 00:06:46,749 [heart beat] 134 00:06:46,749 --> 00:06:49,351 PETER: Predator had actual real thermal vision in it. 135 00:06:49,351 --> 00:06:50,619 And honestly, 136 00:06:50,619 --> 00:06:52,621 I didn't even know that there was such a thing, you know. 137 00:06:52,621 --> 00:06:53,956 If I'd known that, 138 00:06:53,956 --> 00:06:56,425 they were actually doing real thermal vision, 139 00:06:56,425 --> 00:06:58,227 I might have gone down that avenue. 140 00:06:58,227 --> 00:06:59,295 But as it is, 141 00:06:59,295 --> 00:07:03,199 I just got these leotards and spray-painted them 142 00:07:03,199 --> 00:07:05,935 with spray paint to look like a thermal effect, 143 00:07:05,935 --> 00:07:08,270 and then had people dress up in those, 144 00:07:08,270 --> 00:07:09,738 shot them against black, 145 00:07:09,738 --> 00:07:12,608 and then composited that into some overlays 146 00:07:12,608 --> 00:07:13,576 of the mayor's office. 147 00:07:13,576 --> 00:07:15,611 The wall and stuff like that. 148 00:07:15,611 --> 00:07:17,613 Get up, Your Honor. Get up! Get up! 149 00:07:17,613 --> 00:07:18,914 Your public wants to see you. 150 00:07:18,914 --> 00:07:21,984 MARK: Pulling up to the window by his tie was my idea. 151 00:07:21,984 --> 00:07:23,752 The Las Colinas was a studio out 152 00:07:23,752 --> 00:07:25,254 between Dallas and Fort Worth, 153 00:07:25,254 --> 00:07:26,555 where they shot the interiors. 154 00:07:26,555 --> 00:07:29,158 MILLER: Nobody ever takes me seriously. 155 00:07:29,158 --> 00:07:30,993 Well, get serious now! 156 00:07:30,993 --> 00:07:33,295 And kiss the mayor's ass goodbye. 157 00:07:33,295 --> 00:07:36,232 MARK: I had to go through the wall four times. 158 00:07:36,232 --> 00:07:39,401 Two from the front side and two from the back side. 159 00:07:39,401 --> 00:07:40,970 And I was pretty beat up at the time. 160 00:07:40,970 --> 00:07:42,404 And the crew kept saying, "Don't do anymore. 161 00:07:42,404 --> 00:07:44,240 Don't do anymore. They're killing ya." 162 00:07:46,842 --> 00:07:49,144 [screams] 163 00:07:49,144 --> 00:07:51,680 MARK: Paul had 'em score the wall, so I can get through it. 164 00:07:51,680 --> 00:07:53,849 And then RoboCop punches through on both sides. 165 00:07:54,917 --> 00:07:56,852 They see me go through, fire the machine gun. 166 00:07:56,852 --> 00:07:58,254 It was a mini Uzi. 167 00:07:58,254 --> 00:08:00,756 Holding the thing all day long, scene after scene. 168 00:08:00,756 --> 00:08:02,758 Got to be a bit heavy. 169 00:08:02,758 --> 00:08:05,361 Then they stood me up and punched me out the window. 170 00:08:06,362 --> 00:08:09,331 [screams] 171 00:08:09,331 --> 00:08:10,599 [chuckles] 172 00:08:11,934 --> 00:08:13,769 MARK: There was another external shot to the building 173 00:08:13,769 --> 00:08:16,705 where I was walking down the stairs with an assistant 174 00:08:16,705 --> 00:08:18,841 who had a box full of the contents of my desk 175 00:08:18,841 --> 00:08:21,143 since I had been voted out of office. 176 00:08:21,143 --> 00:08:22,711 And they didn't use that, 177 00:08:22,711 --> 00:08:25,281 because they cut to the news thing instead, 178 00:08:25,281 --> 00:08:26,882 which worked better I think. 179 00:08:26,882 --> 00:08:29,285 RoboCop, who is he? What is he? 180 00:08:29,285 --> 00:08:30,819 Where did he come from? 181 00:08:30,819 --> 00:08:32,721 He is OCP's newest soldier 182 00:08:32,721 --> 00:08:35,391 in their revolutionary crime management program. 183 00:08:35,391 --> 00:08:38,227 MICHAEL MINER: Mixing the politics, and action, and satire, 184 00:08:38,227 --> 00:08:41,630 I think we in some ways got there first. 185 00:08:41,630 --> 00:08:43,866 More fighting in the Mexican crisis today. 186 00:08:43,866 --> 00:08:46,135 The guiding principles were that Detroit was sort 187 00:08:46,135 --> 00:08:48,804 of a western town that needed to be cleaned up. 188 00:08:48,804 --> 00:08:50,372 There was a larger world, 189 00:08:50,372 --> 00:08:53,809 but the border stopped at the edge of Delta City, 190 00:08:53,809 --> 00:08:55,744 and the larger world was only the media breaks. 191 00:08:55,744 --> 00:08:58,414 So, we never had to deal with a larger context 192 00:08:58,414 --> 00:08:59,548 than the western town. 193 00:08:59,548 --> 00:09:01,417 Excuse me, Robo, any special message... 194 00:09:01,417 --> 00:09:03,352 MICHAEL MINER: And the sheriff character, RoboCop, 195 00:09:03,352 --> 00:09:05,321 whose task it was to clean it up. 196 00:09:05,321 --> 00:09:07,056 ROBOCOP: Stay out of trouble. 197 00:09:07,056 --> 00:09:09,024 LEEZA: They were the glue that got you 198 00:09:09,024 --> 00:09:11,393 to the plot points so brilliantly. 199 00:09:11,393 --> 00:09:12,328 You're on your own. 200 00:09:12,328 --> 00:09:13,195 LEEZA: They were funny. 201 00:09:13,195 --> 00:09:14,063 It's a lot of jungle. 202 00:09:14,063 --> 00:09:15,898 [chuckles] 203 00:09:15,898 --> 00:09:19,835 They were really well crafted kind of in your face, 204 00:09:19,835 --> 00:09:25,341 progressively liberal insights into um, you know these kind of 205 00:09:25,341 --> 00:09:29,011 really pretty heavy handed statements on where we were. 206 00:09:29,011 --> 00:09:31,347 Reporting a city wide strike by police. 207 00:09:31,347 --> 00:09:33,349 This is a movie being made. 208 00:09:33,349 --> 00:09:35,584 And written during Reagan. 209 00:09:35,584 --> 00:09:37,953 It's Reaganomics, and it is trickled down. 210 00:09:37,953 --> 00:09:40,389 And it is like you have to 211 00:09:40,389 --> 00:09:43,525 take government out of it and put business in it. 212 00:09:43,525 --> 00:09:46,562 I say good business is where you find it. 213 00:09:46,562 --> 00:09:48,297 And you got the old man saying that. 214 00:09:48,297 --> 00:09:49,732 We're taking it over. 215 00:09:49,732 --> 00:09:52,635 Old Detroit has a cancer. 216 00:09:52,635 --> 00:09:54,136 The cancer is crime. 217 00:09:54,136 --> 00:09:55,604 We're gonna make this Detroit. 218 00:09:55,604 --> 00:09:57,539 This is the new Detroit. 219 00:09:57,539 --> 00:09:58,574 OLD MAN: Delta City. 220 00:09:58,574 --> 00:09:59,742 PETER This is our town. 221 00:09:59,742 --> 00:10:02,378 This riffraff is done. Right? 222 00:10:02,378 --> 00:10:04,279 Except they're controlling the riffraff, too. 223 00:10:04,279 --> 00:10:08,984 This constant battle between uh, the rulers and the 99%, 224 00:10:08,984 --> 00:10:10,653 was something I think we understood, 225 00:10:10,653 --> 00:10:12,454 along with the police officer's strike. 226 00:10:12,454 --> 00:10:14,289 Labor versus management. 227 00:10:14,289 --> 00:10:15,958 They got job security. 228 00:10:15,958 --> 00:10:17,726 They're not supposed to strike. 229 00:10:17,726 --> 00:10:19,995 Historians now say that the 80s in America 230 00:10:19,995 --> 00:10:21,330 were a tipping point. 231 00:10:21,330 --> 00:10:23,065 The economy in America was booming, 232 00:10:23,065 --> 00:10:25,401 but it was booming under false pretenses. 233 00:10:25,401 --> 00:10:27,469 Our productivity is up. 234 00:10:27,469 --> 00:10:30,773 So, is our manufacturing product up. 235 00:10:30,773 --> 00:10:33,108 PAUL M.: People were going into debt massively. 236 00:10:33,108 --> 00:10:34,943 So, is the United States. 237 00:10:34,943 --> 00:10:38,247 As I say, I don't think anyone should panic. 238 00:10:38,247 --> 00:10:40,315 PAUL M: And it all started to go downhill after that. 239 00:10:40,315 --> 00:10:42,518 And RoboCop's right in the middle of that. 240 00:10:42,518 --> 00:10:44,319 MICHAEL MINER: I always characterized RoboCop 241 00:10:44,319 --> 00:10:46,488 as comic relief for a cynical decade. 242 00:10:46,488 --> 00:10:48,757 Because we'd had eight years of Ronald Reagan 243 00:10:48,757 --> 00:10:50,693 and obviously we killed him in Santa Barbara 244 00:10:50,693 --> 00:10:51,927 at his retirement home. 245 00:10:51,927 --> 00:10:53,429 REPORTER 3: Two former United States Presidents 246 00:10:53,429 --> 00:10:55,631 who had retired in the Santa Barbara area. 247 00:10:55,631 --> 00:10:56,765 MICHAEL MINER: No one said, 248 00:10:56,765 --> 00:10:59,601 "Ooh, that's too over the edge or over the top. 249 00:10:59,601 --> 00:11:01,770 Or too critical of the system. 250 00:11:01,770 --> 00:11:03,338 So, thank God we were at Orion. 251 00:11:03,338 --> 00:11:05,974 You know, and Mike Medavoy was kind of a gun slayer. 252 00:11:05,974 --> 00:11:07,142 He was a risk taker. 253 00:11:07,142 --> 00:11:08,110 You can't stand the heat. 254 00:11:08,110 --> 00:11:09,378 You better stay out of the kitchen. 255 00:11:09,378 --> 00:11:13,182 The video world was a completely separate world. 256 00:11:13,182 --> 00:11:15,317 And if you watch the commercials, 257 00:11:15,317 --> 00:11:17,119 we shot with a Betacam. 258 00:11:17,119 --> 00:11:19,388 PAUL: The urban politics that are in the movie 259 00:11:19,388 --> 00:11:21,356 had this kind of Reaganomics, I think. 260 00:11:21,356 --> 00:11:24,226 I couldn't identify with the people 261 00:11:24,226 --> 00:11:25,527 very much at all. 262 00:11:25,527 --> 00:11:26,628 I mean, the Americans. 263 00:11:26,628 --> 00:11:28,063 You picked the heart. 264 00:11:28,063 --> 00:11:30,966 PAUL: I was more amazed and-- and-- and I'd say, 265 00:11:30,966 --> 00:11:33,469 the film is expressing my amazement. 266 00:11:33,469 --> 00:11:35,571 I remember Verhoeven being there and-- 267 00:11:35,571 --> 00:11:38,474 and directing the sequences, and he didn't really care, 268 00:11:38,474 --> 00:11:41,009 if he's embarrassing you in front of everybody or not. 269 00:11:41,009 --> 00:11:43,579 And remember, we care. 270 00:11:43,579 --> 00:11:44,580 Paul told me, he says, 271 00:11:44,580 --> 00:11:46,348 "I'm not here making a science-fiction movie. 272 00:11:46,348 --> 00:11:48,517 I'm making a movie about America today." 273 00:11:48,517 --> 00:11:50,319 PAUL: In principle, it's a dystopia. 274 00:11:50,319 --> 00:11:51,487 Yes, of course. 275 00:11:51,487 --> 00:11:54,823 But in the movie, it's-- it's presented as a utopia. 276 00:11:54,823 --> 00:11:56,558 He's got his finger on the pulse. 277 00:11:56,558 --> 00:11:57,760 GAME NARRATOR: Red Alert! 278 00:11:57,760 --> 00:11:59,027 Red Alert! 279 00:11:59,027 --> 00:12:00,062 Red Alert! 280 00:12:00,062 --> 00:12:02,030 You crossed my line of death. 281 00:12:02,030 --> 00:12:03,165 [mimics explosion] 282 00:12:03,165 --> 00:12:05,267 You haven't dismantled your MX stockpile. 283 00:12:05,267 --> 00:12:07,536 Pakistan is threatening my border! 284 00:12:07,536 --> 00:12:11,740 LEEZA: The spoofy commercials they were kind of the insight 285 00:12:11,740 --> 00:12:15,577 into the thematic structure of the movie really. 286 00:12:15,577 --> 00:12:18,514 That's it, buster. No more military aid. 287 00:12:18,514 --> 00:12:20,215 You can see the jokes and say, 288 00:12:20,215 --> 00:12:22,751 "Gosh, that kind of strikes close to home." 289 00:12:22,751 --> 00:12:23,752 Nukem. 290 00:12:23,752 --> 00:12:25,854 [explosion] 291 00:12:25,854 --> 00:12:27,022 AD NARRATOR: Nukem. 292 00:12:27,022 --> 00:12:28,891 Get them before they get you. 293 00:12:28,891 --> 00:12:31,126 ROCCO: And some of the commercials and the jokes that are there 294 00:12:31,126 --> 00:12:32,728 are very much a sign of the times. 295 00:12:32,728 --> 00:12:35,464 Um, it's got a tremendous wit. 296 00:12:35,464 --> 00:12:36,465 [boing] 297 00:12:39,101 --> 00:12:41,103 STEPHEN: We got this call to do this car commercial, 298 00:12:41,103 --> 00:12:42,471 and they wanted a sexy commercial. 299 00:12:42,471 --> 00:12:43,772 So, we said, "Okay, we'll come up with something." 300 00:12:43,772 --> 00:12:45,274 They wanted a dinosaur in it. 301 00:12:45,274 --> 00:12:48,377 EDWARD: And the reference they gave us was Beast From 20,000 Fathoms. 302 00:12:48,377 --> 00:12:50,979 STEPHEN: Yeah, Ray Harryhausen's '50s movie. 303 00:12:50,979 --> 00:12:51,914 EDWARD: When you cut to it, 304 00:12:51,914 --> 00:12:53,982 it was a monster burst into the frame. 305 00:12:53,982 --> 00:12:55,484 People running and screaming. 306 00:12:55,484 --> 00:12:58,120 [♪♪♪] 307 00:12:58,120 --> 00:13:00,055 STEPHEN: I sculpted the dinosaur figure 308 00:13:00,055 --> 00:13:03,125 and we made a cast foam rubber animation puppet, 309 00:13:03,125 --> 00:13:04,660 with a ball and socket armature. 310 00:13:04,660 --> 00:13:07,162 The extras running away from the dinosaur. 311 00:13:07,162 --> 00:13:07,996 That's all us. 312 00:13:07,996 --> 00:13:09,231 [screaming] 313 00:13:10,299 --> 00:13:12,301 STEPHEN: They were gonna cut it out of the movie. 314 00:13:12,301 --> 00:13:15,671 The editor did not know where to put the clip. 315 00:13:15,671 --> 00:13:17,406 If I didn't think that something was gonna be, 316 00:13:17,406 --> 00:13:19,641 not gonna be-- I wouldn't even cut it. 317 00:13:19,641 --> 00:13:20,976 And Jon Davison said, 318 00:13:20,976 --> 00:13:23,512 "Well, just cut it in anywhere. Just cut it in the movie." 319 00:13:23,512 --> 00:13:26,415 He says, "Please, please cut it, Frank." 320 00:13:26,415 --> 00:13:28,016 I said, "Okay, I'll cut it. 321 00:13:28,016 --> 00:13:29,318 I'll put it in." 322 00:13:29,318 --> 00:13:30,319 AD NARRATOR: It's back. 323 00:13:31,320 --> 00:13:32,354 Big is back. 324 00:13:32,354 --> 00:13:33,922 Because bigger is better. 325 00:13:33,922 --> 00:13:37,693 6,000 SUX, an American tradition. 326 00:13:37,693 --> 00:13:38,961 [chuckles] 327 00:13:38,961 --> 00:13:41,196 And the audience absolutely loved it. 328 00:13:41,196 --> 00:13:43,265 And he was-- you know, I said, "You're right, Jon. 329 00:13:43,265 --> 00:13:44,933 I would have a big mistake." 330 00:13:44,933 --> 00:13:46,969 [♪♪♪] 331 00:13:46,969 --> 00:13:49,271 MICHAEL MINER: When you think about the structure of the first act 332 00:13:49,271 --> 00:13:52,174 in which the police officer is tortured, murdered. 333 00:13:52,174 --> 00:13:54,776 Rebuilt as a robotic police officer. 334 00:13:54,776 --> 00:13:57,045 He solves three stupendous crimes. 335 00:13:57,045 --> 00:13:58,280 [screams] 336 00:13:58,280 --> 00:13:59,882 MICHAEL MINER: And when that first media break hits, 337 00:13:59,882 --> 00:14:01,984 the audience is delirious. 338 00:14:01,984 --> 00:14:03,785 They are absolutely out of their minds, 339 00:14:03,785 --> 00:14:06,855 because you've given them the birth of a hero. 340 00:14:06,855 --> 00:14:08,991 [RoboCop theme playing] 341 00:14:08,991 --> 00:14:10,225 There's a new guy in town. 342 00:14:10,225 --> 00:14:11,693 His name's RoboCop. 343 00:14:11,693 --> 00:14:12,728 And then, 344 00:14:12,728 --> 00:14:15,831 this media farce about strange advertising, 345 00:14:15,831 --> 00:14:16,832 news breaks, 346 00:14:16,832 --> 00:14:19,501 you kind of let the audience laugh at you. 347 00:14:19,501 --> 00:14:20,836 -It's for you. -Go Robo! 348 00:14:20,836 --> 00:14:22,137 So, I think there's something rhythmic 349 00:14:22,137 --> 00:14:23,872 about that a lot like music. 350 00:14:23,872 --> 00:14:26,008 That you let the audience... 351 00:14:26,008 --> 00:14:27,142 [mimics exhaling] 352 00:14:27,142 --> 00:14:30,145 Exhale into a new kind of form, 353 00:14:30,145 --> 00:14:32,547 and then you start the story again. 354 00:14:32,547 --> 00:14:35,083 Hey, hey, hey, Bobby Boy, Vice President. 355 00:14:35,083 --> 00:14:36,351 Congratulations. 356 00:14:36,351 --> 00:14:37,586 The studio was pretty freaked out 357 00:14:37,586 --> 00:14:39,721 about how much the movie was costing. 358 00:14:39,721 --> 00:14:41,657 And they weren't seeing-- they saw dailies. 359 00:14:41,657 --> 00:14:43,892 But they weren't really seeing the movie. 360 00:14:43,892 --> 00:14:45,160 Welcome to the club, Bob. 361 00:14:45,160 --> 00:14:47,896 RONNY: They were contemplating pulling the plug, 362 00:14:47,896 --> 00:14:52,034 and the story I heard was, they said cut together ah, 363 00:14:52,034 --> 00:14:55,871 a really good scene for us to show to investors. 364 00:14:55,871 --> 00:14:58,206 And they cut together the bathroom scene. 365 00:14:58,206 --> 00:15:00,409 Let me in on the bottom line, pal. 366 00:15:00,409 --> 00:15:02,778 I hear Jones was plenty pissed. 367 00:15:02,778 --> 00:15:05,347 So, they asked me if I could get a set done for them. 368 00:15:05,347 --> 00:15:07,616 Something that they could shoot in a key scene, 369 00:15:07,616 --> 00:15:09,618 showing the dynamics of the characters. 370 00:15:09,618 --> 00:15:10,953 Let's face it, he's lost his teeth. 371 00:15:10,953 --> 00:15:12,020 The guy's a pussy. 372 00:15:12,020 --> 00:15:13,355 WILLIAM: We started building this set, 373 00:15:13,355 --> 00:15:16,425 which was pretty complicated, structurally interesting set. 374 00:15:16,425 --> 00:15:17,960 And we built, and built, and built. 375 00:15:17,960 --> 00:15:19,461 And we didn't stop for, 376 00:15:19,461 --> 00:15:22,764 I think it was 36 hours, we built straight. 377 00:15:22,764 --> 00:15:24,466 He's old, we're young. 378 00:15:24,466 --> 00:15:25,701 And that's life. 379 00:15:25,701 --> 00:15:26,902 WILLIAM: We got it done. 380 00:15:26,902 --> 00:15:28,971 Paint was still drying in places. 381 00:15:28,971 --> 00:15:30,272 But they walked and they had to shoot, 382 00:15:30,272 --> 00:15:31,139 and they shot it. 383 00:15:31,139 --> 00:15:32,441 It's in the picture. 384 00:15:33,875 --> 00:15:35,143 RONNY: Miguel and I, 385 00:15:35,143 --> 00:15:38,447 the first time we really met was in that bathroom scene. 386 00:15:38,447 --> 00:15:40,148 JONES: You've insulted me, 387 00:15:40,148 --> 00:15:41,550 and you've insulted this company 388 00:15:41,550 --> 00:15:43,418 with that bastard creation of yours. 389 00:15:43,418 --> 00:15:48,223 When we first got there, Miguel was adamant. 390 00:15:48,223 --> 00:15:52,227 I mean adamant about me not grabbing his hair. 391 00:15:52,227 --> 00:15:53,295 'Cause he thought 392 00:15:53,295 --> 00:15:56,465 that was sort of invading his space as an actor. 393 00:15:56,465 --> 00:15:58,433 And he didn't wanna have to deal with that. 394 00:15:58,433 --> 00:16:00,168 JONES: Pretty simple math, huh pal? 395 00:16:00,168 --> 00:16:01,670 And he said, "Well, I don't know what I'm gonna do." 396 00:16:01,670 --> 00:16:02,904 I said, "Okay. 397 00:16:02,904 --> 00:16:05,273 You react the way you react and we'll go from that. 398 00:16:05,273 --> 00:16:07,175 We'll see what happens from that." 399 00:16:07,175 --> 00:16:12,681 You just fucked with wrong guy. 400 00:16:12,681 --> 00:16:14,649 Are you out of your fucking mind? 401 00:16:14,649 --> 00:16:17,019 RONNY: See, in a way, for Dick Jones not to do that 402 00:16:17,019 --> 00:16:20,455 would be anathema to who he was. 403 00:16:20,455 --> 00:16:21,923 See, that's the other thing. 404 00:16:21,923 --> 00:16:23,959 And I understand Miguel's point of view. 405 00:16:23,959 --> 00:16:28,263 Miguel's point of view is, "I gotta protect my character." 406 00:16:28,263 --> 00:16:29,798 Absolutely. 407 00:16:29,798 --> 00:16:32,534 But I have to protect my character, too. 408 00:16:32,534 --> 00:16:35,037 You better pray. 409 00:16:35,037 --> 00:16:38,273 That that unholy monster of yours doesn't screw up. 410 00:16:39,174 --> 00:16:40,342 And it worked. 411 00:16:40,342 --> 00:16:43,979 Once they saw a cut sequence, they-- they got it. 412 00:16:45,680 --> 00:16:50,519 [♪♪♪] 413 00:16:50,519 --> 00:16:53,388 PETER: Initially, I'm twirling a gun, and Nancy Allen 414 00:16:53,388 --> 00:16:54,189 will remember me. 415 00:16:54,189 --> 00:16:55,390 She says, "Murphy, is that you?" 416 00:16:55,390 --> 00:16:57,659 And then something else happens with Paul McCrane, 417 00:16:57,659 --> 00:16:58,493 and then... 418 00:16:58,493 --> 00:16:59,961 Then I started having dreams. 419 00:17:00,962 --> 00:17:02,564 Verhoeven reversed this! 420 00:17:02,564 --> 00:17:03,865 Verhoeven said, "No!" 421 00:17:03,865 --> 00:17:05,300 The dreams, first! 422 00:17:05,300 --> 00:17:08,336 [gunshots] 423 00:17:10,138 --> 00:17:12,707 PETER: Verhoeven's sitting in a suite with me saying, 424 00:17:12,707 --> 00:17:15,977 "Look, you have these dreams first. 425 00:17:15,977 --> 00:17:17,846 Because this is not amnesia. 426 00:17:17,846 --> 00:17:21,249 This is your soul waking up. 427 00:17:22,250 --> 00:17:24,052 It is the one thing, 428 00:17:24,052 --> 00:17:26,988 that in the name of progress and science, 429 00:17:26,988 --> 00:17:28,723 they can't take it away from you. 430 00:17:28,723 --> 00:17:31,093 They've taken away your identity. 431 00:17:31,093 --> 00:17:34,162 They've taken away your life, your physical life. 432 00:17:34,162 --> 00:17:37,766 But they can't take away his soul." 433 00:17:37,766 --> 00:17:39,768 And that wakes up on it's own. 434 00:17:41,169 --> 00:17:43,538 And then it's like, "Get-- let me 435 00:17:43,538 --> 00:17:45,607 the fuck out!" 436 00:17:47,375 --> 00:17:49,077 Then all of a sudden, he becomes a beast. 437 00:17:49,077 --> 00:17:51,913 Hey look, bucket boy's online. 438 00:17:51,913 --> 00:17:54,583 And his soul trying to define itself. 439 00:17:56,251 --> 00:17:57,752 [gunshot] 440 00:17:59,087 --> 00:18:01,189 PETER: What in God's name would this movie have been 441 00:18:01,189 --> 00:18:02,624 without Verhoeven? 442 00:18:02,624 --> 00:18:04,759 I did not understand the profound depth of this. 443 00:18:04,759 --> 00:18:06,561 And nobody could have this movie but Verhoeven. 444 00:18:06,561 --> 00:18:07,762 Let's get this loud and clear. 445 00:18:07,762 --> 00:18:10,298 If you hadn't given that to an American action director, 446 00:18:10,298 --> 00:18:12,367 no matter how talented they are, 447 00:18:12,367 --> 00:18:14,970 they'd never dug what Paul dug out of that thing. 448 00:18:15,971 --> 00:18:17,439 PAUL: It has some other level, 449 00:18:17,439 --> 00:18:20,375 telling you something about possibility of the human soul 450 00:18:20,375 --> 00:18:22,110 to survive everything. 451 00:18:22,110 --> 00:18:23,245 So, it's on two levels. 452 00:18:23,245 --> 00:18:25,614 I think it's an action picture, and it's a-- 453 00:18:25,614 --> 00:18:27,048 it's a picture about human soul. 454 00:18:29,451 --> 00:18:32,053 PETER: That is the crux. 455 00:18:32,053 --> 00:18:33,989 And then I'm off, walking down the hall. 456 00:18:33,989 --> 00:18:35,657 And that was a blast. 457 00:18:35,657 --> 00:18:36,992 TYLER: What the hell is going on? 458 00:18:36,992 --> 00:18:38,560 I don't know. He just left. 459 00:18:38,560 --> 00:18:39,961 TYLER: Just left? 460 00:18:39,961 --> 00:18:43,498 'Cause all of a sudden, the guy wants to know, 461 00:18:43,498 --> 00:18:46,434 not the robot anymore, but the guy. 462 00:18:46,434 --> 00:18:49,437 I haven't really had a chance to introduce myself. 463 00:18:49,437 --> 00:18:50,839 I'm Anne Lewis. 464 00:18:52,807 --> 00:18:53,842 Do you have a name? 465 00:18:55,243 --> 00:18:56,912 People say, "Well, how did you relate to him?" 466 00:18:56,912 --> 00:19:00,949 Well, what was great was that with that tiny little strip, 467 00:19:00,949 --> 00:19:03,685 you could just see an eyelash move. 468 00:19:03,685 --> 00:19:06,121 How can I help you, Officer Lewis? 469 00:19:06,121 --> 00:19:07,989 NANCY: But it really gave me something to work with. 470 00:19:07,989 --> 00:19:09,424 To constantly be looking, 471 00:19:09,424 --> 00:19:11,593 trying to find his eyes for a minute. 472 00:19:11,593 --> 00:19:13,762 And Peter's such a wonderful actor. 473 00:19:13,762 --> 00:19:15,330 I mean, there was just-- 474 00:19:15,330 --> 00:19:16,498 you know sometimes I look at him. 475 00:19:16,498 --> 00:19:19,301 "Is there anyone-- is there anyone there?" 476 00:19:19,301 --> 00:19:23,872 So, I think because of how good he is at his job, 477 00:19:23,872 --> 00:19:26,608 it made it really easy for me. 478 00:19:26,608 --> 00:19:27,976 PETER: She was fun, you know. 479 00:19:27,976 --> 00:19:30,779 She was just so giving to it, man. 480 00:19:30,779 --> 00:19:32,480 "Murphy, it's you. Murphy, it's you." 481 00:19:32,480 --> 00:19:34,316 Can't ever get over that. It's heartbreaking. 482 00:19:35,951 --> 00:19:38,486 Murphy, it's you. 483 00:19:40,722 --> 00:19:42,490 PETER: Ah, what a sad movie. 484 00:19:42,490 --> 00:19:44,326 You know, RoboCop is essentially, 485 00:19:44,326 --> 00:19:46,328 extraordinarily sad. 486 00:19:46,328 --> 00:19:48,530 You really don't remember me, do you? 487 00:19:48,530 --> 00:19:50,398 Excuse me? 488 00:19:50,398 --> 00:19:52,334 I have to go. 489 00:19:52,334 --> 00:19:54,069 PETER: "Somewhere there's a crime happening", 490 00:19:54,069 --> 00:19:56,071 is a line that I think Paul wanted to cut, 491 00:19:56,071 --> 00:19:58,340 or somebody wanted to cut, but I wanted to say it. 492 00:19:59,341 --> 00:20:01,409 ROBOCOP: Somewhere there is a crime happening. 493 00:20:02,410 --> 00:20:05,647 Which is like the existential, RoboCop man, you know. 494 00:20:05,647 --> 00:20:07,048 That's my mission, man. 495 00:20:07,048 --> 00:20:08,583 That's my raison d'etre, 496 00:20:08,583 --> 00:20:10,085 that somewhere there is crime happening. 497 00:20:11,586 --> 00:20:14,089 SAGE: It was set up from the beginning to pick him 498 00:20:14,089 --> 00:20:15,824 to be the fall guy for this. 499 00:20:15,824 --> 00:20:18,693 And there wasn't any sense of ever having 500 00:20:18,693 --> 00:20:20,428 to put the genie back in the bottle. 501 00:20:20,428 --> 00:20:22,264 What did you talk to him about? 502 00:20:22,264 --> 00:20:24,432 -What did you say? -Nothing. 503 00:20:24,432 --> 00:20:29,504 It was just this greedy, selfish myopic sensibility 504 00:20:29,504 --> 00:20:33,742 of everybody wanting their moment. 505 00:20:33,742 --> 00:20:36,278 He doesn't have a name. He's got a program. 506 00:20:36,278 --> 00:20:37,345 He's product. 507 00:20:37,345 --> 00:20:38,713 SAGE: It's an interesting study 508 00:20:38,713 --> 00:20:41,616 in the realities of a lot of human nature. 509 00:20:43,018 --> 00:20:45,186 [bike whirs] 510 00:20:47,188 --> 00:20:49,024 ARNE: It was an abandoned gas station, 511 00:20:49,024 --> 00:20:50,592 and when we first applied for a permit, 512 00:20:50,592 --> 00:20:52,594 they said, "No, absolutely not." 513 00:20:52,594 --> 00:20:55,230 Meanwhile, the mayor had said, "Come to Dallas. 514 00:20:55,230 --> 00:20:56,398 You gotta come here. 515 00:20:56,398 --> 00:20:58,133 It'd be great", you know, so we got on the phone. 516 00:20:58,133 --> 00:20:59,868 We working it out with our people. 517 00:20:59,868 --> 00:21:02,370 And talked them into letting us do it. 518 00:21:02,370 --> 00:21:05,040 Give me all your money bookworm or I'll blow your brains out. 519 00:21:05,040 --> 00:21:07,742 PAUL MCCRANE: It's not often that you have someone who really loves 520 00:21:07,742 --> 00:21:10,779 and knows how to talk to actors and encourages performances. 521 00:21:10,779 --> 00:21:11,946 And in the way that Paul did. 522 00:21:11,946 --> 00:21:12,714 And he really did. 523 00:21:12,714 --> 00:21:14,149 Don't do nothing stupid, man. 524 00:21:15,884 --> 00:21:19,821 PAUL MCCRANE: So, my experience on that scene was that he was encouraging you 525 00:21:19,821 --> 00:21:21,890 to have fun and try things, and we did. 526 00:21:21,890 --> 00:21:23,658 And some of them worked and some of 'em didn't. 527 00:21:23,658 --> 00:21:24,926 And he was fine with both. 528 00:21:24,926 --> 00:21:27,262 Hey man, what you reading in there? 529 00:21:29,664 --> 00:21:31,666 "You a college boy or something?" 530 00:21:31,666 --> 00:21:34,602 You a college boy or something, huh? 531 00:21:35,970 --> 00:21:38,273 PETER: Robo shows up, expressionless, 532 00:21:38,273 --> 00:21:40,942 you know almost lifeless, machine-like. 533 00:21:40,942 --> 00:21:42,110 Drop it. 534 00:21:42,110 --> 00:21:44,612 PETER: You have to choose the places we're in. 535 00:21:44,612 --> 00:21:47,582 Slowly but surely, humanity seeps out. 536 00:21:47,582 --> 00:21:50,819 ROBOCOP: Dead or alive, you're coming with me. 537 00:21:50,819 --> 00:21:53,188 And then it's born out in a physical reality 538 00:21:53,188 --> 00:21:54,489 with Paul McCrane saying, 539 00:21:54,489 --> 00:21:56,091 I know you. 540 00:21:56,091 --> 00:21:59,461 And he really woke up to what the definition 541 00:21:59,461 --> 00:22:02,931 of this film was as I was doing the part, man. 542 00:22:02,931 --> 00:22:05,100 You're dead. 543 00:22:05,100 --> 00:22:06,368 We killed you! 544 00:22:06,368 --> 00:22:07,602 JOST: We killed you, 545 00:22:07,602 --> 00:22:11,272 and he himself had the feeling there was something. 546 00:22:11,272 --> 00:22:12,774 There is past in my life, 547 00:22:12,774 --> 00:22:15,143 which I don't know exactly anymore. 548 00:22:15,143 --> 00:22:20,115 But the audience get a feeling that inside of this machine, 549 00:22:20,115 --> 00:22:21,883 there is still Murphy. 550 00:22:24,285 --> 00:22:27,188 PAUL MCCRANE: Paul had a desire to do exaggerated explosions. 551 00:22:27,188 --> 00:22:29,657 Really, really hyper-violent kind of things. 552 00:22:32,460 --> 00:22:34,863 I know some of the special effects folks. 553 00:22:34,863 --> 00:22:36,398 They had a little issue with Paul. 554 00:22:36,398 --> 00:22:38,900 PAUL MCCRANE: My sense was that Verhoeven was frustrated 555 00:22:38,900 --> 00:22:41,469 at some of the level of special effects. 556 00:22:41,469 --> 00:22:43,238 JESSE D: We'd be setting up for something, 557 00:22:43,238 --> 00:22:44,339 and he would say, 558 00:22:44,339 --> 00:22:46,207 "You know, that's really kinda over the top." 559 00:22:46,207 --> 00:22:47,842 Where he'd say, "Of course, you can't do it. 560 00:22:47,842 --> 00:22:50,078 Of course, you can't. Of course, you can't. 561 00:22:50,078 --> 00:22:52,680 Of course, you can't do it. Of course, we understand." 562 00:22:52,680 --> 00:22:55,517 Then the crew responding with "Okay. 563 00:22:55,517 --> 00:22:57,519 Sure, we'll fo-- we'll work that out." 564 00:22:59,421 --> 00:23:03,725 JON: Steve Lim and Paul Verhoeven did not get along at all. 565 00:23:03,725 --> 00:23:06,060 They were just at each other's throats. 566 00:23:06,060 --> 00:23:08,163 In fact, Paul just stopped talking to him, 567 00:23:08,163 --> 00:23:09,864 just to ignore him after a while. 568 00:23:09,864 --> 00:23:13,101 He would bait the-- the US crew 569 00:23:13,101 --> 00:23:15,270 and was smart enough to really know how 570 00:23:15,270 --> 00:23:17,038 to get under people's skin. 571 00:23:17,038 --> 00:23:18,339 RAY: Paul would always say, 572 00:23:18,339 --> 00:23:20,375 "Anyway, we have fucked, I suppose." 573 00:23:20,375 --> 00:23:21,409 [chuckles] 574 00:23:21,409 --> 00:23:23,178 You know, he'd say that fairly often, 575 00:23:23,178 --> 00:23:24,279 and you know, anything went wrong. 576 00:23:24,279 --> 00:23:25,780 "We're fucked. We're fucked", you know. 577 00:23:25,780 --> 00:23:27,582 "You guys are fooked. 578 00:23:27,582 --> 00:23:29,851 You guys are so bad, you can't do this, 579 00:23:29,851 --> 00:23:32,287 you know, and it's like, "Well, fuck you Paul. 580 00:23:32,287 --> 00:23:34,456 How many special effects shows have you done?" 581 00:23:34,456 --> 00:23:36,558 There were times when we got into it. 582 00:23:36,558 --> 00:23:39,561 JON: See, every call sheet has a cartoon on it, 583 00:23:39,561 --> 00:23:43,298 that was drawn by Steve Lim. the assistant director. 584 00:23:43,298 --> 00:23:45,733 STEPHEN LIM: He was rubbing us the wrong way, 585 00:23:45,733 --> 00:23:48,203 and that's part of the reason why I did the cartoons. 586 00:23:48,203 --> 00:23:50,605 And it kind of got popular with the crew, 587 00:23:50,605 --> 00:23:51,973 and it helped me, 588 00:23:51,973 --> 00:23:55,410 and it helped us vent this sort of unusual project. 589 00:23:55,410 --> 00:23:58,780 Paul pushed the envelope so much especially in terms 590 00:23:58,780 --> 00:24:01,549 of effects and safety. 591 00:24:01,549 --> 00:24:04,786 It was much more visceral than a lot of movies had been. 592 00:24:04,786 --> 00:24:07,555 For me, it's more important to have a great image 593 00:24:07,555 --> 00:24:10,492 than to be in a really safe position. 594 00:24:10,492 --> 00:24:11,826 Yeah, that's-- Yeah, you know. 595 00:24:11,826 --> 00:24:13,161 Paul wanted the set to be... 596 00:24:13,161 --> 00:24:14,262 Boom. 597 00:24:14,262 --> 00:24:15,263 Huge. 598 00:24:15,263 --> 00:24:16,931 [flames conflagrating] 599 00:24:16,931 --> 00:24:20,835 I didn't have a clue how big that was going to be. 600 00:24:20,835 --> 00:24:21,603 PAUL: Action! 601 00:24:21,603 --> 00:24:23,471 [explosion] 602 00:24:23,471 --> 00:24:24,672 RUSSELL: They built the suit. 603 00:24:24,672 --> 00:24:27,775 I think it's made out of some kind of non-flammable. 604 00:24:27,775 --> 00:24:29,978 It wasn't the same suit as the regular one. 605 00:24:29,978 --> 00:24:32,347 And it weighed about twice as much. 606 00:24:32,347 --> 00:24:35,850 So, I had a internal air system designed, 607 00:24:35,850 --> 00:24:37,151 so I could breathe. 608 00:24:37,151 --> 00:24:39,587 And so I had about five minutes of air, 609 00:24:39,587 --> 00:24:42,023 and they designed a mask for me. 610 00:24:42,023 --> 00:24:45,527 Every step I took, they had propane cannons. 611 00:24:45,527 --> 00:24:48,129 And as the propane cannons were going off, 612 00:24:48,129 --> 00:24:50,131 I just had to count my steps. 613 00:24:50,131 --> 00:24:52,700 [explosion] 614 00:24:52,700 --> 00:24:54,269 After the gas station explosion, 615 00:24:54,269 --> 00:24:56,004 they were almost ready to shut us down. 616 00:24:56,004 --> 00:24:59,607 The fire marshals, the cops, everybody. 617 00:24:59,607 --> 00:25:00,508 Fire trucks came. 618 00:25:00,508 --> 00:25:01,442 I mean, the city was like, 619 00:25:01,442 --> 00:25:02,710 "What the fuck are you guys doing?" 620 00:25:02,710 --> 00:25:03,545 "Oh, nothing. 621 00:25:03,545 --> 00:25:04,646 Just shooting a film." 622 00:25:04,646 --> 00:25:06,147 [explosion] 623 00:25:06,147 --> 00:25:09,217 JON: I was talking to them and trying to just say, 624 00:25:09,217 --> 00:25:11,352 "Wow, that was... You know, it's over. 625 00:25:11,352 --> 00:25:14,022 And everything's okay, you know. 626 00:25:14,022 --> 00:25:15,356 The fire's out." 627 00:25:15,356 --> 00:25:16,724 Out of the corner of my eye, 628 00:25:16,724 --> 00:25:20,295 I see Jost Vacano driving towards Verhoeven 629 00:25:20,295 --> 00:25:21,496 and I walk over there, 630 00:25:21,496 --> 00:25:24,198 and I hear Jost Vacano tell Paul Verhoeven 631 00:25:24,198 --> 00:25:26,401 that the explosion wasn't big enough 632 00:25:26,401 --> 00:25:28,570 to be recorded on film. 633 00:25:28,570 --> 00:25:30,538 And I wanted to kill him. 634 00:25:30,538 --> 00:25:31,472 [police sire in background] 635 00:25:31,472 --> 00:25:32,473 Oops. 636 00:25:34,509 --> 00:25:38,413 MICHAEL MINER: I had specifically tried to get a Shell gas station 637 00:25:38,413 --> 00:25:39,514 blowing up, 638 00:25:39,514 --> 00:25:42,050 popping off the S, so, we see flames and hell. 639 00:25:42,050 --> 00:25:44,252 Jon Davison cleared the name. 640 00:25:44,252 --> 00:25:45,320 They did it all. 641 00:25:45,320 --> 00:25:47,221 [explosion] 642 00:25:47,221 --> 00:25:48,489 MICHAEL MINER: The effects people rendered it perfectly, 643 00:25:48,489 --> 00:25:50,892 and then Paul didn't put it in the film. 644 00:25:50,892 --> 00:25:54,362 So, that's about the only thing I think I would have changed 645 00:25:54,362 --> 00:25:55,196 if I'd been around. 646 00:25:55,196 --> 00:25:56,497 I would have started yelling. 647 00:25:56,497 --> 00:25:57,899 Maybe I would have been fired. 648 00:25:57,899 --> 00:26:00,234 [gunshots] 649 00:26:00,234 --> 00:26:01,603 MARK G: The motorcycle gag. 650 00:26:01,603 --> 00:26:04,939 I shot close-ups of the thug on his motorcycle, 651 00:26:04,939 --> 00:26:06,541 looking back at the fire, 652 00:26:06,541 --> 00:26:09,010 which was simulated by using a fire bar. 653 00:26:09,010 --> 00:26:10,411 They were shooting out flames. 654 00:26:10,411 --> 00:26:12,580 [gun shots, tires screeching] 655 00:26:12,580 --> 00:26:14,949 PAUL MCCRANE: When I go sort of flying off that bike, 656 00:26:14,949 --> 00:26:16,117 that's a stunt guy. 657 00:26:16,117 --> 00:26:17,518 I remember those stunt guys very well. 658 00:26:17,518 --> 00:26:18,586 They were-- they were great. 659 00:26:18,586 --> 00:26:21,689 And uh, really, really brave. 660 00:26:21,689 --> 00:26:22,690 [tires screeching] 661 00:26:22,690 --> 00:26:26,027 [screams, grunts] 662 00:26:26,027 --> 00:26:28,396 JON: Part of it was him going up to it 663 00:26:28,396 --> 00:26:31,265 and then the other part of is they headed on a track. 664 00:26:31,265 --> 00:26:33,635 And they pulled it into the car. 665 00:26:36,437 --> 00:26:39,307 MARK G: We had a dummy in the actual impact shot. 666 00:26:39,307 --> 00:26:42,043 Because that was pretty dangerous. 667 00:26:42,043 --> 00:26:43,878 One of the things that sets RoboCop apart 668 00:26:43,878 --> 00:26:45,279 from a lot of pictures, 669 00:26:45,279 --> 00:26:47,882 is that you have great empathy for the lead character. 670 00:26:47,882 --> 00:26:49,917 Who are you? 671 00:26:49,917 --> 00:26:52,253 PETER: So, Murphy is the ultimate victim. 672 00:26:52,253 --> 00:26:54,122 Who are you? 673 00:26:54,122 --> 00:26:54,789 [groans] 674 00:26:54,789 --> 00:26:55,957 And it's not, 675 00:26:55,957 --> 00:26:57,091 let's just say existentially, there's no victims. 676 00:26:57,091 --> 00:26:58,326 There's only volunteers. 677 00:26:58,326 --> 00:26:59,394 [groans] 678 00:26:59,394 --> 00:27:02,263 PETER: He begins to have a taste of uh, 679 00:27:02,263 --> 00:27:06,167 what was once his humanity and it confuses him. 680 00:27:06,167 --> 00:27:07,735 And curiously enough, 681 00:27:07,735 --> 00:27:10,905 he starts off on a road of not only vengeance, 682 00:27:10,905 --> 00:27:15,443 but a road on rediscovering what it was to be human. 683 00:27:15,443 --> 00:27:17,311 To me, I become an audience member. 684 00:27:17,311 --> 00:27:18,980 I stop being a member of the crew. 685 00:27:18,980 --> 00:27:23,351 I was so invigorated and exhilarated, 686 00:27:23,351 --> 00:27:25,086 because the rhythms of it, 687 00:27:25,086 --> 00:27:27,321 the intelligence that was in that movie 688 00:27:27,321 --> 00:27:29,857 ANNE: Murphy, it's you. 689 00:27:29,857 --> 00:27:31,959 Murphy, it's you. 690 00:27:31,959 --> 00:27:36,664 PETER: In the name of getting that bad guy off the street. 691 00:27:36,664 --> 00:27:38,032 We're gonna take an innocent dude 692 00:27:38,032 --> 00:27:39,834 and turn him into a robot. 693 00:27:39,834 --> 00:27:40,968 Yeah. 694 00:27:40,968 --> 00:27:43,504 Think of that. It's like uh, frightening. 695 00:27:43,504 --> 00:27:46,441 [♪♪♪] 696 00:27:46,441 --> 00:27:47,709 [monitor beeping 697 00:27:47,709 --> 00:27:53,514 [♪♪♪] 698 00:27:53,514 --> 00:27:55,883 Somebody came up with a storyboard. 699 00:27:55,883 --> 00:27:59,353 [♪♪♪] 700 00:27:59,353 --> 00:28:02,990 PETER: There was a scene where RoboCop is at his own grave. 701 00:28:02,990 --> 00:28:05,059 ED: It was an idea that we'd all talked about, 702 00:28:05,059 --> 00:28:07,328 because it's an iconic idea. 703 00:28:07,328 --> 00:28:10,898 You know, "Oh my God. A man seeing his own grave." 704 00:28:10,898 --> 00:28:12,900 And the idea of a robot looking at a grave. 705 00:28:12,900 --> 00:28:14,035 It's at mercy. 706 00:28:15,503 --> 00:28:18,139 PETER: And perhaps, I argued to keep that scene, 707 00:28:18,139 --> 00:28:19,907 and Ed did, too. 708 00:28:19,907 --> 00:28:22,343 ED: And I kept trying to get it in the movie. 709 00:28:22,343 --> 00:28:25,346 PETER: But I can understand why Paul wouldn't want it there. 710 00:28:25,346 --> 00:28:28,916 Because Paul is the metaphysicist, you see. 711 00:28:28,916 --> 00:28:30,685 And you don't want the physical evidence 712 00:28:30,685 --> 00:28:33,654 of the guy that preceded RoboCop. 713 00:28:33,654 --> 00:28:36,090 Right? The physical evidence is gone. 714 00:28:36,090 --> 00:28:37,492 That's the whole thing. 715 00:28:37,492 --> 00:28:39,761 So, I get it why Paul didn't want a grave. 716 00:28:39,761 --> 00:28:41,996 ED: And it just never fell in any place. 717 00:28:41,996 --> 00:28:44,532 It didn't seem to be part of RoboCop's journey. 718 00:28:44,532 --> 00:28:46,868 The house ended up being what you needed 719 00:28:46,868 --> 00:28:48,503 and it was complex enough. 720 00:28:48,503 --> 00:28:52,273 [♪♪♪] 721 00:28:52,273 --> 00:28:56,344 FRANK: I felt that the flashback scene when he goes to the house. 722 00:28:56,344 --> 00:28:58,045 That was probably the most important scene 723 00:28:58,045 --> 00:28:59,547 in that movie. 724 00:28:59,547 --> 00:29:03,217 Because what it does is humanize this robot. 725 00:29:03,217 --> 00:29:04,685 PETER: It is the movie. 726 00:29:04,685 --> 00:29:07,755 It certainly is the movie, is going home. 727 00:29:07,755 --> 00:29:11,359 [♪♪♪] 728 00:29:11,359 --> 00:29:14,395 ANGIE: My scenes were at a home here in Dallas. 729 00:29:15,396 --> 00:29:16,130 I read it 730 00:29:16,564 --> 00:29:18,599 and the whole premise seemed really interesting to me. 731 00:29:18,599 --> 00:29:20,234 And I thought, 732 00:29:20,234 --> 00:29:22,436 "Gosh, am I the only nice person in this film?" 733 00:29:22,436 --> 00:29:23,304 [chuckles] 734 00:29:23,304 --> 00:29:25,406 Besides Alex Murphy. 735 00:29:25,406 --> 00:29:26,974 [door opens] 736 00:29:26,974 --> 00:29:28,209 MAN ON SCREEN: Welcome, shopper. 737 00:29:28,209 --> 00:29:30,545 Let's take a stroll through your new home. 738 00:29:30,545 --> 00:29:36,117 I felt that RoboCop should reflect some vulnerability, 739 00:29:36,117 --> 00:29:39,120 so that the audience can identify with him. 740 00:29:40,888 --> 00:29:42,490 Can you do that, dad? 741 00:29:42,490 --> 00:29:44,959 TYREES: There was so much pathos in the character, RoboCop 742 00:29:44,959 --> 00:29:48,329 and you really felt for this-- this man. 743 00:29:48,329 --> 00:29:50,131 I mean, really you felt for him. 744 00:29:50,131 --> 00:29:52,300 What would it be like to be trapped 745 00:29:52,300 --> 00:29:54,802 in that body, that machine? 746 00:29:54,802 --> 00:29:58,005 PAUL: Seeing the beautiful life that he had before 747 00:29:58,005 --> 00:30:01,742 with his lovely wife, with his lovely child. 748 00:30:01,742 --> 00:30:03,477 And it's all gone. 749 00:30:03,477 --> 00:30:05,746 PETER: You are RoboCop going through that house, 750 00:30:05,746 --> 00:30:11,986 going, "If I cannot remember the Halloween, 751 00:30:11,986 --> 00:30:15,122 when he was 10, what is it really worth?" 752 00:30:16,190 --> 00:30:18,759 And that's the tragedy of it. 753 00:30:18,759 --> 00:30:22,129 ANGIE: I hadn't met Peter yet when I did my scene. 754 00:30:22,129 --> 00:30:24,665 I met him afterwards. 755 00:30:24,665 --> 00:30:26,601 I mean, for years people have said, 756 00:30:26,601 --> 00:30:28,936 "Oh, you know your part made me cry. 757 00:30:28,936 --> 00:30:30,838 And it really touched me." 758 00:30:30,838 --> 00:30:33,207 I really have to tell you something. 759 00:30:33,207 --> 00:30:35,343 I really have to tell you something. 760 00:30:37,044 --> 00:30:38,713 I love you. 761 00:30:38,713 --> 00:30:39,513 [chuckles] 762 00:30:39,513 --> 00:30:41,182 Everything was to my face, 763 00:30:41,182 --> 00:30:42,783 and I'm talking to the camera. 764 00:30:42,783 --> 00:30:45,286 When he puts the camera on my face, 765 00:30:45,286 --> 00:30:50,057 I mean the lens was on my face, before they cut. 766 00:30:50,057 --> 00:30:51,859 DEL: When I first saw, it brought to my eyes, 767 00:30:51,859 --> 00:30:54,362 'cause all of a sudden she fades and then they do the wide shot. 768 00:30:54,362 --> 00:30:57,031 And he's blown in this deserted, 769 00:30:57,031 --> 00:30:58,566 sterilized home. 770 00:30:58,566 --> 00:31:02,470 MONI: The feeling process was very important 771 00:31:02,470 --> 00:31:05,907 and we tried to instill it within the rhythm 772 00:31:05,907 --> 00:31:07,375 of each movement. 773 00:31:07,375 --> 00:31:11,812 If he was sad, it was slower and softer. 774 00:31:11,812 --> 00:31:14,348 If he was angry, it would have been 775 00:31:14,348 --> 00:31:17,385 a little bit faster and more powerful. 776 00:31:17,385 --> 00:31:20,922 So, we tried to build the emotional content 777 00:31:20,922 --> 00:31:23,691 into the rhythm of the gesture. 778 00:31:23,691 --> 00:31:25,326 MAN ON SCREEN: Why not make me an offer? 779 00:31:25,326 --> 00:31:26,327 I... 780 00:31:26,327 --> 00:31:27,728 The TV monitor was set up 781 00:31:27,728 --> 00:31:29,997 and they actually had a push ramp 782 00:31:29,997 --> 00:31:33,567 with a section of Robo's hand and forearm. 783 00:31:33,567 --> 00:31:36,404 They, out of camera, actually had a steel bar 784 00:31:36,404 --> 00:31:38,539 and they just rammed it into the TV set. 785 00:31:38,539 --> 00:31:39,273 PAUL: Go! 786 00:31:39,273 --> 00:31:42,043 [explosion] 787 00:31:42,043 --> 00:31:46,747 [♪♪♪] 788 00:31:46,747 --> 00:31:49,383 YOLONDA: I remember the night they shot at the Starck Club. 789 00:31:52,453 --> 00:31:54,789 We were encouraged to go on set and look. 790 00:31:54,789 --> 00:31:56,424 'Cause I mean, you know we were starting to figure, 791 00:31:56,424 --> 00:31:57,858 this was gonna be a big deal. 792 00:31:59,593 --> 00:32:01,128 JOST: It was a real disco. 793 00:32:01,128 --> 00:32:04,365 Even the lights were a little bit extended by us, 794 00:32:04,365 --> 00:32:07,768 but it mainly, it was all of the same situation. 795 00:32:09,370 --> 00:32:12,273 RAY: Um, very hot dark, steamy night club. 796 00:32:12,273 --> 00:32:13,941 Before I started to do the scene, 797 00:32:13,941 --> 00:32:16,711 I didn't realize there were any bare breasts in the scene. 798 00:32:16,711 --> 00:32:17,878 But there were. 799 00:32:19,146 --> 00:32:21,415 Which made it infinitely more interesting to me, 800 00:32:21,415 --> 00:32:23,651 as I was doing it. 801 00:32:23,651 --> 00:32:25,419 The playback was the same music. 802 00:32:25,419 --> 00:32:29,957 [♪♪♪] 803 00:32:29,957 --> 00:32:32,626 ♪ Show yourself to her ♪ 804 00:32:32,626 --> 00:32:34,929 Peter was having trouble seeing going down the stairs, 805 00:32:34,929 --> 00:32:35,997 'cause they were fairly steep. 806 00:32:35,997 --> 00:32:39,567 And that visor on the helmet was like sunglass. 807 00:32:39,567 --> 00:32:40,935 So, it was a real problem. 808 00:32:40,935 --> 00:32:41,969 He was concerned about, 809 00:32:41,969 --> 00:32:44,572 like taking a tumble down these stairs. 810 00:32:44,572 --> 00:32:46,841 YOLONDA: I remember Paul being very hands on. 811 00:32:48,142 --> 00:32:50,745 He put himself in the nightclub scene, 812 00:32:50,745 --> 00:32:51,779 when he's like, "Aaah". 813 00:32:51,779 --> 00:32:53,948 You remember that in the movie, yeah? 814 00:32:53,948 --> 00:32:56,017 RAY: And then Robo coming up behind me, 815 00:32:56,017 --> 00:32:58,252 and then you know, doing the crazy dance. 816 00:32:58,252 --> 00:33:00,855 Where is Clarence Boddicker? 817 00:33:00,855 --> 00:33:02,523 [screams] 818 00:33:02,523 --> 00:33:04,191 And my little nervous giggles. 819 00:33:04,191 --> 00:33:06,327 [giggles] 820 00:33:06,327 --> 00:33:08,262 Leon's not too smart up here. 821 00:33:08,262 --> 00:33:11,932 You know, kicking Robo into a steel groin. 822 00:33:11,932 --> 00:33:13,768 [screams] 823 00:33:13,768 --> 00:33:15,102 RAY: Not too smart. 824 00:33:15,102 --> 00:33:17,038 And then he grabbed me by the hair. 825 00:33:17,038 --> 00:33:18,005 ROBOCOP: Let's talk. 826 00:33:18,005 --> 00:33:20,775 He just barely held on to my hair. 827 00:33:20,775 --> 00:33:24,712 I clamped on to his wrist and held on for dear life. 828 00:33:24,712 --> 00:33:27,048 And then all he did was just pull me. 829 00:33:27,048 --> 00:33:28,682 [indistinct speech] 830 00:33:28,682 --> 00:33:30,151 Same as a good baseball player. 831 00:33:30,151 --> 00:33:31,318 It's all in the wrist. 832 00:33:34,188 --> 00:33:35,022 CREW MEMBER 1: Take. 833 00:33:35,022 --> 00:33:36,223 MIGUEL: Go back that, backwards. 834 00:33:36,223 --> 00:33:37,825 -DIANE: Are you okay? -CREW MEMBER 1: 257 take Six. 835 00:33:37,825 --> 00:33:39,026 -MIGUEL: Unbelievable. -DIANE: One more time. 836 00:33:39,026 --> 00:33:40,361 -MIGUEL: Yes. -CREW MEMBER 2: Marker. 837 00:33:40,361 --> 00:33:42,129 -CHANDRA: You think? -BOB: Oh, this is good blow. 838 00:33:42,129 --> 00:33:42,863 [indistinct speech] 839 00:33:42,863 --> 00:33:43,731 [Tawney chuckling] 840 00:33:43,731 --> 00:33:45,132 BOB: You guys are unbelievable. 841 00:33:45,132 --> 00:33:47,134 Paul Verhoeven has like an energy 842 00:33:47,134 --> 00:33:48,035 and a magic to him. 843 00:33:48,035 --> 00:33:49,170 And you could tell this was a scene 844 00:33:49,170 --> 00:33:50,371 that he really liked. 845 00:33:50,371 --> 00:33:51,372 PAUL: And action! 846 00:33:51,372 --> 00:33:52,573 BOB: Gonna love this. Come on. Ready? 847 00:33:52,573 --> 00:33:53,541 -Here we go. -CHANDRA: Okay. 848 00:33:53,541 --> 00:33:54,542 -BOB: One more time. Go. -CHANDRA: Go. 849 00:33:54,542 --> 00:33:55,509 BOB: Ah. 850 00:33:55,509 --> 00:33:57,344 [sniffing] 851 00:33:57,344 --> 00:33:59,547 There's just something about the way it sells. 852 00:33:59,547 --> 00:34:01,048 DIANE: Back then, there was place on Sunset 853 00:34:01,048 --> 00:34:02,516 where they sold all leather dresses, 854 00:34:02,516 --> 00:34:03,684 so the customer met me there, 855 00:34:03,684 --> 00:34:05,186 and I got this green leather dress, 856 00:34:05,186 --> 00:34:07,021 and I thought it was the coolest thing on earth, 857 00:34:07,021 --> 00:34:08,389 until I got to Texas, 858 00:34:08,389 --> 00:34:10,558 and it felt like I was in a green cow. 859 00:34:10,558 --> 00:34:12,927 Don't wear leather in Dallas, Texas. 860 00:34:12,927 --> 00:34:14,328 It was so hot. 861 00:34:14,328 --> 00:34:16,530 It turns me on. 862 00:34:16,530 --> 00:34:19,500 ADRIANNE: It was a beautiful, very modern house in Dallas. 863 00:34:19,500 --> 00:34:21,235 So, they flew us there. 864 00:34:21,235 --> 00:34:23,404 And so when I got there on set, 865 00:34:23,404 --> 00:34:28,409 I saw these piles of powder on the coffee table in lines 866 00:34:28,409 --> 00:34:31,112 and straws, and I panicked. 867 00:34:31,112 --> 00:34:32,113 [chuckles] 868 00:34:32,113 --> 00:34:33,914 It looked just like cocaine. 869 00:34:33,914 --> 00:34:37,885 Everybody asks me, "Was it cocaine?" 870 00:34:37,885 --> 00:34:39,120 It wasn't in the budget. 871 00:34:39,120 --> 00:34:40,788 I mean... [chuckles] 872 00:34:40,788 --> 00:34:42,756 TAWNEY: Bob, come on. 873 00:34:42,756 --> 00:34:44,525 Save some for me. 874 00:34:44,525 --> 00:34:46,360 And you know, in each take, 875 00:34:46,360 --> 00:34:49,930 I snorted a whole line of powdered sugar. 876 00:34:49,930 --> 00:34:52,700 Sometimes, I could just think of something. 877 00:34:52,700 --> 00:34:56,103 And it could just get me so horny. 878 00:34:56,103 --> 00:34:57,304 ADRIANNE: Miguel Ferrer, 879 00:34:57,304 --> 00:34:59,773 he came up to me very seriously, 880 00:34:59,773 --> 00:35:01,108 and he was a little nervous. 881 00:35:01,108 --> 00:35:02,143 And he said, 882 00:35:02,143 --> 00:35:05,479 "I would like to apologize in advance, 883 00:35:05,479 --> 00:35:07,615 in case I get aroused. 884 00:35:07,615 --> 00:35:11,118 And in case I don't." 885 00:35:11,118 --> 00:35:13,053 And I thought, it was just, 886 00:35:13,053 --> 00:35:16,123 "What an incredible human being." 887 00:35:16,123 --> 00:35:16,991 Yeah, well uh, 888 00:35:16,991 --> 00:35:19,660 a mind is a terrible thing to waste. 889 00:35:19,660 --> 00:35:20,995 DIANE: You know, I still don't know 890 00:35:20,995 --> 00:35:22,663 if she was a hooker or a model. 891 00:35:22,663 --> 00:35:25,566 I mean, he refers to her, Bobby calls her "a model". 892 00:35:25,566 --> 00:35:26,634 Eh, was she really? 893 00:35:26,634 --> 00:35:28,435 [chuckles] 894 00:35:28,435 --> 00:35:30,905 BOB: Yeah, I get bored so easily. 895 00:35:30,905 --> 00:35:32,473 Yeah. 896 00:35:32,473 --> 00:35:34,942 You need lots of stimulation, Bobby. 897 00:35:36,644 --> 00:35:38,412 DIANE: I'm thinking they were more like call girls, 898 00:35:38,412 --> 00:35:40,915 but I think, every guy likes to think it was a model, 899 00:35:40,915 --> 00:35:41,682 but you know. 900 00:35:41,682 --> 00:35:43,517 Yes, I do. [chuckles] 901 00:35:43,517 --> 00:35:45,920 -Don't move. -I won't. 902 00:35:45,920 --> 00:35:49,823 ADRIANNE: Peter Weller came on set and he was watching us shoot. 903 00:35:49,823 --> 00:35:51,192 He took his script 904 00:35:51,192 --> 00:35:53,260 and he wrote something down and he gave it 905 00:35:53,260 --> 00:35:56,764 to one of the crew members and told them to give it to me. 906 00:35:56,764 --> 00:35:57,798 He wrote, 907 00:35:57,798 --> 00:36:00,668 "I think you're beautiful, so there!" 908 00:36:00,668 --> 00:36:02,303 Exclamation point. 909 00:36:02,303 --> 00:36:04,004 I thought, "How sweet". 910 00:36:05,372 --> 00:36:06,774 Peter was a pussy hound. 911 00:36:06,774 --> 00:36:07,541 Okay. 912 00:36:07,541 --> 00:36:08,609 Chicks would come by, 913 00:36:08,609 --> 00:36:10,177 he'd go banging 'em in the trailer. 914 00:36:10,177 --> 00:36:11,712 It's not as easy as it looks. 915 00:36:12,947 --> 00:36:16,784 The ADs, the makeup ladies, you hear the-- 916 00:36:16,784 --> 00:36:18,652 you hear this pump. [chuckles] 917 00:36:18,652 --> 00:36:19,853 They go, "That's Peter, he's 918 00:36:19,853 --> 00:36:21,155 you know, banging someone", blah, blah, blah. 919 00:36:21,155 --> 00:36:21,889 Okay. 920 00:36:21,889 --> 00:36:24,692 Look, a movie set is a city. 921 00:36:24,692 --> 00:36:26,060 And if you're on location, 922 00:36:27,628 --> 00:36:29,697 I mean forget LA, everybody goes home. 923 00:36:29,697 --> 00:36:30,864 But you know, that's cool. 924 00:36:30,864 --> 00:36:32,366 You know, you're a star, you get a lot of free pussy. 925 00:36:32,366 --> 00:36:33,300 What the hell, you know? 926 00:36:33,300 --> 00:36:36,904 And I'm a single guy and um... 927 00:36:36,904 --> 00:36:39,340 you start up a thing, but it ain't your leading lady. 928 00:36:39,340 --> 00:36:41,242 Four couples on this film, 929 00:36:41,242 --> 00:36:43,811 ended up meeting each other and getting married. 930 00:36:43,811 --> 00:36:45,246 And I happen to be one of them. 931 00:36:46,847 --> 00:36:48,749 JESSE D: The camera person and his assistant, 932 00:36:48,749 --> 00:36:50,084 they-- they got along well. 933 00:36:50,084 --> 00:36:51,385 Let me just put it that way. 934 00:36:51,385 --> 00:36:52,152 [chuckles] 935 00:36:52,152 --> 00:36:53,354 Yeah, man. 936 00:36:53,354 --> 00:36:55,155 Certainly some noise being made. 937 00:36:55,155 --> 00:36:56,890 [chuckles] 938 00:36:56,890 --> 00:36:59,226 At certain times, you know, so it's like, "Where are they? 939 00:36:59,226 --> 00:37:00,494 They are okay. Alright. 940 00:37:00,494 --> 00:37:01,562 Get 'em out here!" 941 00:37:01,562 --> 00:37:03,364 That's right, man. 942 00:37:03,364 --> 00:37:05,899 Shit happens on a movie set. 943 00:37:05,899 --> 00:37:09,036 I'll buy that for a dollar. [laughs] 944 00:37:09,036 --> 00:37:12,606 Paul was actually a little upset that I was dating his assistant. 945 00:37:12,606 --> 00:37:14,908 And he didn't feel he could trust her because, 946 00:37:14,908 --> 00:37:16,710 "Oh my God, you're with a producer. 947 00:37:16,710 --> 00:37:18,178 One of the production people now. 948 00:37:18,178 --> 00:37:19,246 How can I trust you?" 949 00:37:19,246 --> 00:37:21,115 And he got over that. Yeah. 950 00:37:21,115 --> 00:37:23,284 Best thing that ever happened to me is working that movie, 951 00:37:23,284 --> 00:37:26,086 because that movie gave me my family. 952 00:37:28,255 --> 00:37:29,256 Paul comes up to me. 953 00:37:29,256 --> 00:37:31,292 He goes, "Diane, I want to talk to you." 954 00:37:31,292 --> 00:37:32,059 I said, "What?" 955 00:37:32,059 --> 00:37:32,926 He goes, 956 00:37:33,260 --> 00:37:35,763 "I think it'd be good if maybe you and the other actress 957 00:37:35,763 --> 00:37:37,131 start kissing." 958 00:37:37,131 --> 00:37:39,199 I said, "I'm thinking no." 959 00:37:39,199 --> 00:37:40,734 And he goes, "What do you mean no?" 960 00:37:40,734 --> 00:37:42,770 I said, "Honey, my mom's gonna see this. 961 00:37:42,770 --> 00:37:44,738 I've already had coke snorted off my boobs. 962 00:37:44,738 --> 00:37:48,242 We're good." [chuckles] 963 00:37:48,242 --> 00:37:49,443 CHANDRA: What do you think? 964 00:37:49,443 --> 00:37:51,211 He's adorable, isn't he? 965 00:37:51,211 --> 00:37:54,114 TAWNEY: He's cute. [chuckles] 966 00:37:54,114 --> 00:37:55,115 KURTWOOD: One of the girl says, 967 00:37:55,115 --> 00:37:56,417 "Uh, excuse me, Paul, 968 00:37:56,417 --> 00:37:58,919 I have a line and should I say that here 969 00:37:58,919 --> 00:37:59,820 before I go to the door. 970 00:37:59,820 --> 00:38:01,055 Should I go to the door?" 971 00:38:01,055 --> 00:38:02,656 And so Paul goes, 972 00:38:02,656 --> 00:38:04,458 "Hmm, yeah. 973 00:38:04,458 --> 00:38:05,959 Well, let me see. 974 00:38:05,959 --> 00:38:09,129 Ah, Jost, the bitch, 975 00:38:09,129 --> 00:38:13,233 should she say her line after she crosses to the door, 976 00:38:13,233 --> 00:38:16,937 or should she say it before she crosses to the door?" 977 00:38:16,937 --> 00:38:18,138 Jost says, 978 00:38:18,138 --> 00:38:22,576 "Yeah, the bitch should say her line at the door. 979 00:38:22,576 --> 00:38:24,244 It would be easier for us." 980 00:38:24,244 --> 00:38:25,446 Yeah, okay so, 981 00:38:25,446 --> 00:38:28,515 He says, "Bitches leave, then bitches, 982 00:38:28,515 --> 00:38:29,917 you all go over there." 983 00:38:29,917 --> 00:38:33,921 And-- and Miguel and I are like looking at each other. 984 00:38:33,921 --> 00:38:34,988 Ah. 985 00:38:34,988 --> 00:38:36,256 DIANE: I don't think he knew that bitches 986 00:38:36,256 --> 00:38:38,859 wasn't the sweetest name in the world be calling us. 987 00:38:38,859 --> 00:38:40,127 But he said it so nicely. 988 00:38:40,127 --> 00:38:41,128 It didn't bother me. 989 00:38:41,128 --> 00:38:42,529 And he kept going, "Bitches, come here. 990 00:38:42,529 --> 00:38:43,430 Bitches, come here." 991 00:38:43,430 --> 00:38:44,865 I said, "Okay honey, I'm coming." 992 00:38:44,865 --> 00:38:46,700 [chuckles] 993 00:38:46,700 --> 00:38:48,702 BOB: How you doing? [grunting] 994 00:38:50,471 --> 00:38:52,673 Bitches, leave. 995 00:38:52,673 --> 00:38:53,707 "Bitches, leave." 996 00:38:54,708 --> 00:38:56,777 One of-- One of the great lines in the film. 997 00:38:56,777 --> 00:38:58,145 "Bitches, leave." 998 00:38:58,145 --> 00:39:00,180 And we're like, "Oh, okay." 999 00:39:00,180 --> 00:39:02,149 [chuckles] 1000 00:39:02,149 --> 00:39:04,451 "Gee Bobby, bye. 1001 00:39:04,451 --> 00:39:05,853 You're gonna call me?" 1002 00:39:06,854 --> 00:39:08,222 I loved the fact that, 1003 00:39:08,222 --> 00:39:09,890 she wasn't even all that concerned 1004 00:39:09,890 --> 00:39:12,459 that there's a guy with a gun ready to kill her date. 1005 00:39:12,459 --> 00:39:14,461 It's like, "Yeah, this happens all the time." 1006 00:39:14,461 --> 00:39:18,565 Yeah, it was fun to watch the level of humor 1007 00:39:18,565 --> 00:39:21,735 laced in with a level of terror that was going on. 1008 00:39:21,735 --> 00:39:23,137 What the fuck are you doing? 1009 00:39:23,137 --> 00:39:25,139 He knew he was gonna get killed. 1010 00:39:25,139 --> 00:39:26,340 BOB: Do you know who I am? 1011 00:39:27,908 --> 00:39:29,743 If you think you're gonna get away with this, you got-- 1012 00:39:29,743 --> 00:39:31,845 [yells] 1013 00:39:31,845 --> 00:39:34,648 RANDY: The leg shot was the first time on a movie 1014 00:39:34,648 --> 00:39:38,752 that anybody had shot point blank into anybody. 1015 00:39:38,752 --> 00:39:41,021 So, we made some very light blanks 1016 00:39:41,021 --> 00:39:44,057 and I was very thankful that Miguel trusted me enough 1017 00:39:44,057 --> 00:39:46,994 to-- to let us shoot him in the leg. 1018 00:39:46,994 --> 00:39:48,429 Goddamit! 1019 00:39:48,429 --> 00:39:50,931 [shouts] 1020 00:39:50,931 --> 00:39:52,332 Stop! 1021 00:39:52,332 --> 00:39:53,500 I'll give you anything you want. 1022 00:39:53,500 --> 00:39:55,736 Just please, please don't kill me, alright. 1023 00:39:55,736 --> 00:39:58,172 PETER: What's interesting about RoboCop is that 1024 00:39:58,172 --> 00:40:00,374 it forecasts so many things as well. 1025 00:40:00,374 --> 00:40:04,244 KURTWOOD: I actually used the first DVD in a movie as far as I know, 1026 00:40:04,244 --> 00:40:05,279 you know. 1027 00:40:05,279 --> 00:40:07,848 And of course, there were no DVDs in 1986. 1028 00:40:07,848 --> 00:40:09,917 Hello, buddy boy. 1029 00:40:09,917 --> 00:40:12,252 Dick Jones here. 1030 00:40:12,252 --> 00:40:14,855 I guess you're on your knees about now. 1031 00:40:14,855 --> 00:40:16,523 Begging for your life. 1032 00:40:16,523 --> 00:40:18,058 The good guys gets three colors. 1033 00:40:18,058 --> 00:40:19,259 Red, white, and blue. 1034 00:40:19,259 --> 00:40:21,462 You know what he's gonna do. 1035 00:40:21,462 --> 00:40:23,096 We could have been friends. 1036 00:40:23,096 --> 00:40:27,201 The bad guy, he gets the whole palette. 1037 00:40:27,201 --> 00:40:30,204 JONES: Every game has a winner and a loser. 1038 00:40:30,204 --> 00:40:32,306 Way more fun. 1039 00:40:32,306 --> 00:40:35,476 KURTWOOD: The Bob Morton scene, where I kill Bob... 1040 00:40:35,476 --> 00:40:36,977 [chuckles] 1041 00:40:36,977 --> 00:40:38,745 After I pulled the uh, 1042 00:40:38,745 --> 00:40:41,081 I pulled the pin with my tongue. 1043 00:40:41,081 --> 00:40:43,083 ED: You know the key to the gang is really Clarence Boddicker. 1044 00:40:43,083 --> 00:40:46,153 And Clarence Boddicker is a-- for me, was this, 1045 00:40:46,153 --> 00:40:47,955 always this guy who wore glasses, 1046 00:40:47,955 --> 00:40:49,756 who was kind of a little hum. 1047 00:40:49,756 --> 00:40:51,258 He's probably on the spectrum, but he's... 1048 00:40:51,258 --> 00:40:54,661 He's always humming a tune and he was really ruthless. 1049 00:40:54,661 --> 00:40:56,563 He looks like an accountant in many ways. 1050 00:40:56,563 --> 00:40:58,565 I don't have time for this bullshit. 1051 00:40:58,565 --> 00:40:59,967 But then when you hear him speak, 1052 00:40:59,967 --> 00:41:01,802 it's like, "This motherfucker can be evil." 1053 00:41:01,802 --> 00:41:02,936 Bye-bye, baby. 1054 00:41:02,936 --> 00:41:05,272 ED: He was based on Carlos the Jackal, 1055 00:41:05,272 --> 00:41:07,741 who was then a terrorist, who would throw hand grenades 1056 00:41:07,741 --> 00:41:09,243 and shoot people with shotguns. 1057 00:41:09,243 --> 00:41:10,811 And so, I said, 1058 00:41:10,811 --> 00:41:13,480 "This is shotguns and hand grenades." 1059 00:41:13,480 --> 00:41:15,682 KURTWOOD: It was the idea of Heinrich Himmler. 1060 00:41:15,682 --> 00:41:18,151 I didn't know at that time that he thought I was a Nazi. 1061 00:41:18,151 --> 00:41:19,453 [chuckles] 1062 00:41:19,453 --> 00:41:22,422 KURTWOOD: No. You know, Clarence is having a great time. 1063 00:41:22,422 --> 00:41:25,859 I'm cashing you out, Bob. 1064 00:41:25,859 --> 00:41:28,095 It's so much fun playing that character, 1065 00:41:28,095 --> 00:41:29,196 I can't tell you. 1066 00:41:29,196 --> 00:41:30,497 [groans] 1067 00:41:30,497 --> 00:41:31,832 It's dead serious. 1068 00:41:31,832 --> 00:41:35,869 [explosion] 1069 00:41:35,869 --> 00:41:37,271 [machine whirs] 1070 00:41:37,271 --> 00:41:38,605 ROBERT: Paul, he said to me, 1071 00:41:38,605 --> 00:41:40,841 "The bad guys have this cocaine machine. 1072 00:41:40,841 --> 00:41:42,109 We have 'em in Holland. 1073 00:41:42,109 --> 00:41:44,845 I see 'em all the time", and I go, 1074 00:41:44,845 --> 00:41:48,515 "Uh, yeah." [chuckles] 1075 00:41:48,515 --> 00:41:50,984 I'm looking all over and I found this place 1076 00:41:50,984 --> 00:41:52,953 and it filled perfume bottles. 1077 00:41:52,953 --> 00:41:54,788 I showed it to Paul and Paul said, 1078 00:41:54,788 --> 00:41:57,024 "That's the machine, that's it." 1079 00:41:57,024 --> 00:41:58,825 He said, "You found it." I said, "Yeah." 1080 00:41:58,825 --> 00:42:00,894 CHARLES: We had to create all of the metal work, 1081 00:42:00,894 --> 00:42:02,195 the grid work, 1082 00:42:02,195 --> 00:42:04,731 the different platforms that people were shooting from. 1083 00:42:06,166 --> 00:42:08,869 The scene between me and Kurtwood Smith, 1084 00:42:08,869 --> 00:42:09,803 you know. 1085 00:42:09,803 --> 00:42:12,873 Um, so much of it was improvised. 1086 00:42:12,873 --> 00:42:16,043 Maybe I'm just not making myself clear. 1087 00:42:16,043 --> 00:42:19,346 LEE: One, Kurt would put his fingers in the wine 1088 00:42:19,346 --> 00:42:20,414 and snorted it. 1089 00:42:20,414 --> 00:42:23,050 My impulse was to take it and throw it at him. 1090 00:42:23,050 --> 00:42:25,152 But I couldn't-- wouldn't do that, 1091 00:42:25,152 --> 00:42:28,155 because it just would have slowed everything down. 1092 00:42:28,155 --> 00:42:30,490 So, Calvin came up to me and said, 1093 00:42:30,490 --> 00:42:32,426 "Why don't you drink it?" 1094 00:42:32,426 --> 00:42:34,061 It was like, "Who's the baddest?" 1095 00:42:34,061 --> 00:42:35,662 It was a cockfight. 1096 00:42:35,662 --> 00:42:36,763 It was like, 1097 00:42:36,763 --> 00:42:38,098 "Well, I'm gonna do this with your fucking wine. 1098 00:42:38,098 --> 00:42:39,533 I'm gonna taint it." 1099 00:42:39,533 --> 00:42:41,401 Sort of, "Fuck you, you ain't that bad. 1100 00:42:41,401 --> 00:42:42,603 I'm gonna drink it. 1101 00:42:42,603 --> 00:42:43,503 Now what?" 1102 00:42:43,503 --> 00:42:45,072 I got the muscle to shove enough 1103 00:42:45,072 --> 00:42:48,875 of this factory so far up your stupid whopped ass. 1104 00:42:48,875 --> 00:42:51,411 That you'll shit snow for a year. 1105 00:42:51,411 --> 00:42:53,380 "Frankie, blow this cocksucker's head off." 1106 00:42:53,380 --> 00:42:56,183 Frankie, blow this cocksucker's head off. 1107 00:42:56,183 --> 00:42:58,385 I pull out the gun, and he says... 1108 00:42:58,385 --> 00:43:01,588 Ooh, guns, guns, guns. 1109 00:43:01,588 --> 00:43:03,190 KURTWOOD: The guns, guns, guns line, 1110 00:43:03,190 --> 00:43:07,394 that was to show how cool Clarence could be, 1111 00:43:07,394 --> 00:43:09,529 and that he didn't care. 1112 00:43:09,529 --> 00:43:12,199 You can't scare Clarence. 1113 00:43:12,199 --> 00:43:14,468 That was where that came from. 1114 00:43:14,468 --> 00:43:16,236 Tigers are playing. 1115 00:43:16,236 --> 00:43:17,304 Tonight. 1116 00:43:18,905 --> 00:43:20,407 I never miss a game. 1117 00:43:20,407 --> 00:43:23,744 And so I go, and I cock it, 1118 00:43:23,744 --> 00:43:26,780 and it created a moment, and I'd loved that. 1119 00:43:26,780 --> 00:43:28,482 During the rehearsal, 1120 00:43:28,482 --> 00:43:31,551 I went, "Just kidding." 1121 00:43:31,551 --> 00:43:32,786 And they left that in. 1122 00:43:32,786 --> 00:43:34,488 [chuckles] 1123 00:43:34,488 --> 00:43:35,622 Just kidding. 1124 00:43:35,622 --> 00:43:37,591 There are lots of moments where we got 1125 00:43:37,591 --> 00:43:40,160 to create stuff like that all through the whole film. 1126 00:43:40,160 --> 00:43:42,896 [loud bang on the door] 1127 00:43:42,896 --> 00:43:44,765 ARNE: RoboCop is supposed to kick down the door 1128 00:43:44,765 --> 00:43:47,067 and so I grabbed like, all of the effects guys, 1129 00:43:47,067 --> 00:43:48,101 and I said, 1130 00:43:48,101 --> 00:43:49,803 "Bang on this door as hard as you can, 1131 00:43:49,803 --> 00:43:50,904 before it pops open." 1132 00:43:50,904 --> 00:43:51,838 And so, of course 1133 00:43:51,838 --> 00:43:54,441 like seven effects guys behind the door. 1134 00:43:56,743 --> 00:43:58,812 LEE: RoboCop breaking the door down. 1135 00:43:58,812 --> 00:43:59,746 "Put your guns down, 1136 00:43:59,746 --> 00:44:01,448 or there's going to be trouble." 1137 00:44:01,448 --> 00:44:05,452 ROBOCOP: Come quietly or there will be trouble. 1138 00:44:05,452 --> 00:44:06,586 LEE: Which I think, 1139 00:44:06,586 --> 00:44:08,989 was a wonderfully funny line, you know. 1140 00:44:08,989 --> 00:44:14,094 Because by this time, the audience has seen so much. 1141 00:44:14,094 --> 00:44:15,829 The idea that lower your guns 1142 00:44:15,829 --> 00:44:17,164 or there's going to be trouble, 1143 00:44:17,164 --> 00:44:18,799 I found it funny as hell. 1144 00:44:18,799 --> 00:44:22,636 I was the first guy to do a single-arm shotgun cock. 1145 00:44:22,636 --> 00:44:23,837 They went, "Okay." 1146 00:44:23,837 --> 00:44:26,540 So, I used to practice this on the side all the time. 1147 00:44:26,540 --> 00:44:27,674 Ah, fuck you. 1148 00:44:27,674 --> 00:44:29,176 "Fuck you." 1149 00:44:29,176 --> 00:44:35,015 [gunhots] 1150 00:44:35,015 --> 00:44:36,183 ED: To one of the, 1151 00:44:36,183 --> 00:44:37,684 sort of European touches to an American action movie 1152 00:44:37,684 --> 00:44:39,886 is when Robo pulls his gun, 1153 00:44:39,886 --> 00:44:42,022 he's really taking a fencing pose. 1154 00:44:42,022 --> 00:44:43,824 [gunshots] 1155 00:44:43,824 --> 00:44:45,692 ED: He's got his back arm up, 1156 00:44:45,692 --> 00:44:47,794 which is something that you do in fencing. 1157 00:44:47,794 --> 00:44:50,330 Robo is firing like that. 1158 00:44:50,330 --> 00:44:52,132 ED: And it's a very elegant look. 1159 00:44:52,132 --> 00:44:53,166 That's Paul, you know. 1160 00:44:53,166 --> 00:44:55,202 His earliest work was on Dutch television, 1161 00:44:55,202 --> 00:44:56,403 with Rutger Hauer, 1162 00:44:56,403 --> 00:44:58,872 doing a kind of like a knights in shining armor 1163 00:44:58,872 --> 00:44:59,806 and swords stuff. 1164 00:44:59,806 --> 00:45:01,341 So, he had that in his background. 1165 00:45:01,341 --> 00:45:02,342 PAUL: Action! 1166 00:45:02,342 --> 00:45:05,378 [gunshots] 1167 00:45:05,378 --> 00:45:06,480 RANDY: Part of that scene was 1168 00:45:06,480 --> 00:45:08,548 hiding full auto weapons all around 1169 00:45:08,548 --> 00:45:10,016 and then they all pull 'em out. 1170 00:45:10,016 --> 00:45:11,051 And start the gunfire. 1171 00:45:11,051 --> 00:45:13,687 Action. There'll be everybody shooting, yeah. 1172 00:45:13,687 --> 00:45:15,021 RANDY: And so Verhoeven says to me, 1173 00:45:15,021 --> 00:45:17,924 "I'm gonna push this AK down in the baking soda 1174 00:45:17,924 --> 00:45:19,893 that we're using as cocaine." 1175 00:45:19,893 --> 00:45:22,095 I said, "No, you don't need that inside the gun. 1176 00:45:22,095 --> 00:45:23,029 It'll mess it up. 1177 00:45:23,029 --> 00:45:24,498 You're not gonna do it." 1178 00:45:24,498 --> 00:45:25,832 And so, like a little kid, 1179 00:45:25,832 --> 00:45:28,902 he'd take a scoop and he'd try and cover the gun up with it. 1180 00:45:28,902 --> 00:45:30,203 And of course it didn't work. 1181 00:45:30,203 --> 00:45:31,238 And then you had to take it out, 1182 00:45:31,238 --> 00:45:32,439 clean it, and everything. 1183 00:45:32,439 --> 00:45:35,342 He'd tell me, "You're fucking me." 1184 00:45:35,342 --> 00:45:36,343 And I'd go, "Well, 1185 00:45:36,343 --> 00:45:38,111 if you'd keep the coke out of the guns, 1186 00:45:38,111 --> 00:45:39,713 you won't fuck yourself." 1187 00:45:39,713 --> 00:45:41,548 He'd-- he'd go along and he'd go, 1188 00:45:41,548 --> 00:45:42,516 "You know, 1189 00:45:42,516 --> 00:45:45,118 if you're gonna fuck me, then tell me." 1190 00:45:45,118 --> 00:45:48,021 And so day 2, I walked up 1191 00:45:48,021 --> 00:45:49,856 and put my arm on his back and I said, 1192 00:45:49,856 --> 00:45:52,859 "Paul, sooner or later today, I'm gonna fuck you. 1193 00:45:52,859 --> 00:45:54,761 I'm gonna fuck you in the middle of a take. 1194 00:45:54,761 --> 00:45:56,296 I'ma fuck you real hard. 1195 00:45:56,296 --> 00:45:57,397 Have a good day." 1196 00:45:57,397 --> 00:45:58,398 And I'd walk on. 1197 00:45:58,398 --> 00:45:59,866 And he turned to everybody and goes, 1198 00:45:59,866 --> 00:46:02,702 "At least when he fucks me, he tells me 1199 00:46:02,702 --> 00:46:03,937 he's gonna fuck me. 1200 00:46:03,937 --> 00:46:05,906 The rest of you just fuck me." 1201 00:46:05,906 --> 00:46:06,907 [chuckles] 1202 00:46:06,907 --> 00:46:10,143 [gunshots] 1203 00:46:10,143 --> 00:46:14,648 There is something about firing a 9 mm fully automatic, 1204 00:46:14,648 --> 00:46:16,082 if you grew up with guns, 1205 00:46:16,082 --> 00:46:17,584 and you understand that they kill people, 1206 00:46:17,584 --> 00:46:20,220 but you're living the fantasy of a film, 1207 00:46:20,220 --> 00:46:23,590 then you better put some macho into it. 1208 00:46:23,590 --> 00:46:26,059 Because it's not for the faint of heart. 1209 00:46:26,059 --> 00:46:27,127 [gunshots] 1210 00:46:27,127 --> 00:46:30,096 It is truly about vendetta. 1211 00:46:30,096 --> 00:46:31,398 KURTWOOD: I counted it once. 1212 00:46:31,398 --> 00:46:34,134 I think they're like 17 guys that get killed in that scene. 1213 00:46:34,134 --> 00:46:37,237 So, that was take after take and gunshot after gunshot. 1214 00:46:37,237 --> 00:46:38,305 You know, you... 1215 00:46:38,305 --> 00:46:40,307 Bam, bam, bam, wham, bam and it'd go on all over. 1216 00:46:40,307 --> 00:46:41,474 [gunshots] 1217 00:46:41,474 --> 00:46:43,844 KURTWOOD: And if you forgot to put your earplugs in, 1218 00:46:43,844 --> 00:46:45,779 it was just deafening. 1219 00:46:46,947 --> 00:46:49,783 PETER: They put the earphones on me and I'm in a helmet. 1220 00:46:49,783 --> 00:46:52,485 And I'd listen to walkman all the time, 1221 00:46:52,485 --> 00:46:55,488 and I was listening to Peter Gabriel's Red Rain, 1222 00:46:55,488 --> 00:46:59,025 and I got to help design all that choreography 1223 00:46:59,025 --> 00:47:00,527 of how I wanted to shoot. 1224 00:47:00,527 --> 00:47:02,929 [gunshots] 1225 00:47:02,929 --> 00:47:04,264 PETER: Two guys up here, 1226 00:47:04,264 --> 00:47:06,499 and then there's the guy up there, 1227 00:47:06,499 --> 00:47:07,801 and this guy behind me. 1228 00:47:07,801 --> 00:47:12,339 So, if I fire, boom! 1229 00:47:12,339 --> 00:47:13,540 Boom! Boom! 1230 00:47:13,540 --> 00:47:15,809 Then I got to kill this guy. 1231 00:47:15,809 --> 00:47:17,444 [gunshots] 1232 00:47:17,444 --> 00:47:19,512 Right, It's just so much fun doing it, man. 1233 00:47:19,512 --> 00:47:21,948 [gunshots] 1234 00:47:21,948 --> 00:47:23,316 RUSSELL: In the cocaine factory, 1235 00:47:23,316 --> 00:47:25,619 I play one of the bad guys in there. 1236 00:47:25,619 --> 00:47:28,455 So, if you see, I actually shoot myself. 1237 00:47:28,455 --> 00:47:29,522 [gunshots] 1238 00:47:29,522 --> 00:47:30,857 [screams] 1239 00:47:30,857 --> 00:47:32,792 ALLAN: I asked him if I could do it instead of just shooting 1240 00:47:32,792 --> 00:47:34,160 and hitting the ground. 1241 00:47:34,160 --> 00:47:38,198 Could I shoot and be shooting while I'm getting shot? 1242 00:47:38,198 --> 00:47:40,634 And just start reeling everybody. 1243 00:47:40,634 --> 00:47:41,668 And they'd loved it. 1244 00:47:41,668 --> 00:47:44,004 So, I did that and it turned out really cool. 1245 00:47:44,004 --> 00:47:45,472 [gunshots] 1246 00:47:45,472 --> 00:47:47,741 ALLAN: They put a vest on him, put a harness on him, 1247 00:47:47,741 --> 00:47:48,909 and they hooked him up. 1248 00:47:48,909 --> 00:47:50,977 -And they just pulled him out. -PAUL: Okay, ready? 1249 00:47:50,977 --> 00:47:51,978 Action! 1250 00:47:51,978 --> 00:47:54,547 [gunshots] 1251 00:47:54,547 --> 00:47:56,416 ALLAN: And it has a great effect. 1252 00:47:56,416 --> 00:47:58,818 [robotic music] 1253 00:47:58,818 --> 00:48:00,587 ED: Another great hero of post production 1254 00:48:00,587 --> 00:48:02,722 that must be mentioned is Frank Urioste. 1255 00:48:02,722 --> 00:48:06,826 Frank was this incredible editor that it was seamless. 1256 00:48:06,826 --> 00:48:08,495 [gunshots] 1257 00:48:08,495 --> 00:48:10,030 FRANK: Paul Verhoeven, he said to me, 1258 00:48:10,030 --> 00:48:11,665 "You know why you're so good, Frank? 1259 00:48:11,665 --> 00:48:13,266 Because you did so much shit." 1260 00:48:13,266 --> 00:48:14,000 [chuckles] 1261 00:48:14,000 --> 00:48:14,935 And I said, 1262 00:48:14,935 --> 00:48:16,903 "Well, thank you very much, Paul." 1263 00:48:16,903 --> 00:48:18,171 So, meaning that in, 1264 00:48:18,171 --> 00:48:20,507 that I did films that didn't have very good material. 1265 00:48:20,507 --> 00:48:21,908 Yeah, we made it work. 1266 00:48:21,908 --> 00:48:24,411 So, when I got good material, it just flew together. 1267 00:48:24,411 --> 00:48:25,545 [gunshots] 1268 00:48:25,545 --> 00:48:26,613 [grunts] 1269 00:48:26,613 --> 00:48:27,681 RON: He would cut on a Moviola 1270 00:48:27,681 --> 00:48:30,417 which was still old school in those days. 1271 00:48:30,417 --> 00:48:32,786 As most people were now cutting on a-- on a cam, 1272 00:48:32,786 --> 00:48:34,020 which was a flatbed. 1273 00:48:34,020 --> 00:48:36,790 TERESSA: We turned hotel rooms into editing suites. 1274 00:48:36,790 --> 00:48:39,693 We moved all the furniture out of the rooms 1275 00:48:39,693 --> 00:48:41,394 at the Hyatt Regency. 1276 00:48:41,394 --> 00:48:42,595 This was when it was filmed, 1277 00:48:42,595 --> 00:48:45,065 so we put the coding machine in the bathroom. 1278 00:48:45,065 --> 00:48:47,801 And the cam in one of the editing rooms. 1279 00:48:47,801 --> 00:48:49,970 And Danny and I's benches, 1280 00:48:49,970 --> 00:48:53,239 and all the trim bins were in the other room. 1281 00:48:53,239 --> 00:48:55,709 Frank, he was one of those old school editors 1282 00:48:55,709 --> 00:48:58,545 that would know, in his mind where to go out, 1283 00:48:58,545 --> 00:49:00,413 figure out where the in would be, 1284 00:49:00,413 --> 00:49:02,248 mark it, splice it. 1285 00:49:02,248 --> 00:49:05,151 We'd throw it up and watch it and there it was. 1286 00:49:05,151 --> 00:49:06,553 [robot whirs] 1287 00:49:06,553 --> 00:49:09,422 FRANK: It's knowing when to cut and not cutting, 1288 00:49:09,422 --> 00:49:12,325 it's just a feeling you have, something you can't teach. 1289 00:49:12,325 --> 00:49:15,261 I'd seen the movie 40 times with different music on it. 1290 00:49:15,261 --> 00:49:16,930 Mostly Jamie Horner's Aliens score. 1291 00:49:16,930 --> 00:49:19,099 [gunshots] 1292 00:49:26,272 --> 00:49:29,109 PAUL: The whole film was soundtracked by James Horner. 1293 00:49:29,109 --> 00:49:32,612 I had to ask James Horner for Flesh and Blood. 1294 00:49:32,612 --> 00:49:34,781 And I hated the movie, and he walked out, and said, 1295 00:49:34,781 --> 00:49:36,750 "I want nothing-- I want nothing to-- 1296 00:49:36,750 --> 00:49:37,951 nothing to do with it." 1297 00:49:37,951 --> 00:49:41,521 And so, I was not so inclined to go to James Horner, 1298 00:49:41,521 --> 00:49:43,123 in fact at that time. 1299 00:49:43,123 --> 00:49:46,426 [♪♪♪] 1300 00:49:46,426 --> 00:49:50,096 JON: Paul worked incredibly closely with Basil Poledouris 1301 00:49:50,096 --> 00:49:50,964 on this score. 1302 00:49:50,964 --> 00:49:53,199 I came to Basil 1303 00:49:53,199 --> 00:49:55,535 because of uh, of Conan. 1304 00:49:55,535 --> 00:49:59,105 [♪♪♪] 1305 00:49:59,105 --> 00:50:01,508 PAUL: Basil did the music of-- of Flesh and Blood, 1306 00:50:01,508 --> 00:50:03,209 which is 1985. 1307 00:50:03,209 --> 00:50:04,778 So, it was a natural choice. 1308 00:50:04,778 --> 00:50:07,614 In fact, in this case to come back to Basil. 1309 00:50:08,615 --> 00:50:10,383 JON: You know, he'd spend the days in the cutting room, 1310 00:50:10,383 --> 00:50:11,985 with Frank Urioste. 1311 00:50:11,985 --> 00:50:14,721 And at night, he'd be a at Poledouris' house. 1312 00:50:14,721 --> 00:50:18,691 And they worked on this music tirelessly. 1313 00:50:18,691 --> 00:50:20,727 BASIL: Composers once in a while, 1314 00:50:20,727 --> 00:50:23,663 have the fortune to collide with a picture, 1315 00:50:23,663 --> 00:50:26,566 you know that somehow speaks to something 1316 00:50:26,566 --> 00:50:28,068 beyond their intellect. 1317 00:50:28,068 --> 00:50:31,871 And I mean I think as-- as a musical dramatist, 1318 00:50:31,871 --> 00:50:34,707 there's something that goes beyond our normal understanding 1319 00:50:34,707 --> 00:50:35,842 of what a film is. 1320 00:50:37,210 --> 00:50:38,978 PAUL: He would play piano all the time. 1321 00:50:38,978 --> 00:50:40,814 And we would project video 1322 00:50:40,814 --> 00:50:42,982 and then he would play and play, and then we would say, 1323 00:50:42,982 --> 00:50:44,584 "Try that. Or can you do this? 1324 00:50:44,584 --> 00:50:46,186 And we want to see if you use this here 1325 00:50:46,186 --> 00:50:47,387 or that there." 1326 00:50:48,488 --> 00:50:51,191 And basically it was something very loose. 1327 00:50:51,191 --> 00:50:52,826 And then we started writing it, 1328 00:50:52,826 --> 00:50:55,195 and basically we went to London and recorded it. 1329 00:50:55,195 --> 00:50:57,397 Depending upon the strength with the director 1330 00:50:57,397 --> 00:50:58,998 and the imagination of the composer 1331 00:50:58,998 --> 00:51:00,433 and the director together, 1332 00:51:00,433 --> 00:51:03,103 you could do some outrageously interesting things. 1333 00:51:03,103 --> 00:51:07,107 [Playing The Anvil Chorus] 1334 00:51:07,107 --> 00:51:11,377 [♪♪♪] 1335 00:51:11,377 --> 00:51:12,745 ED: The Robo theme, 1336 00:51:12,745 --> 00:51:15,882 which I call The Anvil Chorus, was great. 1337 00:51:15,882 --> 00:51:18,918 And Basil is a phenomenal talent obviously. 1338 00:51:18,918 --> 00:51:22,188 [♪♪♪] 1339 00:51:22,188 --> 00:51:24,791 BASIL: There are no expectations in science fiction. 1340 00:51:24,791 --> 00:51:26,960 I've always liked large orchestras and-- 1341 00:51:26,960 --> 00:51:28,628 and choir. 1342 00:51:31,564 --> 00:51:35,135 MARK G: The music emphasizes the plight of RoboCop. 1343 00:51:35,135 --> 00:51:37,437 But there's a sadness to this. 1344 00:51:37,437 --> 00:51:39,372 There's a wistfulness about this. 1345 00:51:39,372 --> 00:51:43,776 [♪♪♪] 1346 00:51:43,776 --> 00:51:46,479 BASIL: Sometimes I'll spend 16-20 hours a day 1347 00:51:46,479 --> 00:51:47,780 to write five measures. 1348 00:51:47,780 --> 00:51:49,716 Because unless it feels like 1349 00:51:49,716 --> 00:51:52,218 it has something to do with me and the movie. 1350 00:51:52,218 --> 00:51:54,254 'Cause that's truly the blueprint for the way 1351 00:51:54,254 --> 00:51:56,456 the cue's going to go. 1352 00:51:56,456 --> 00:51:58,791 The dialogue, you have to play softly. 1353 00:51:58,791 --> 00:52:01,261 Murphy, it's you. 1354 00:52:01,261 --> 00:52:05,598 [♪♪♪] 1355 00:52:05,598 --> 00:52:06,633 Explosion. 1356 00:52:06,633 --> 00:52:08,401 You'd have to play loud or not at all. 1357 00:52:08,401 --> 00:52:13,573 [♪♪♪] 1358 00:52:13,573 --> 00:52:17,076 [explosion] 1359 00:52:17,076 --> 00:52:19,779 [♪♪♪] 1360 00:52:19,779 --> 00:52:22,782 The pace is dictated by the pace of the editing. 1361 00:52:25,485 --> 00:52:27,187 The director must play counter to that, 1362 00:52:27,187 --> 00:52:29,255 and the pace would need to be fast or slow. 1363 00:52:31,024 --> 00:52:32,825 There's just a feeling when I'm writing it, 1364 00:52:32,825 --> 00:52:35,128 that there's a-- there's a reality to it. 1365 00:52:35,128 --> 00:52:36,763 There's a truth to it. 1366 00:52:40,033 --> 00:52:43,436 The music of a movie has the possibility 1367 00:52:43,436 --> 00:52:46,206 to elevate a movie as a whole. 1368 00:52:46,206 --> 00:52:50,210 [♪♪♪] 1369 00:52:52,011 --> 00:52:54,113 Music never sounds as good as it does 1370 00:52:54,113 --> 00:52:55,481 on a really good movie. 1371 00:52:55,481 --> 00:52:57,350 You know, a really well acted, directed, 1372 00:52:57,350 --> 00:52:58,451 and written picture. 1373 00:52:58,451 --> 00:52:59,619 Music sounds great. 1374 00:52:59,619 --> 00:53:03,156 The whole movie is put on another level basically, 1375 00:53:03,156 --> 00:53:04,457 because of the music. 1376 00:53:04,457 --> 00:53:06,526 [chorus playing] 1377 00:53:06,526 --> 00:53:08,828 JESSE D: It's got that big heroic feel. 1378 00:53:08,828 --> 00:53:11,231 It's got that tang, tang. 1379 00:53:12,298 --> 00:53:16,302 That metallic sound, to me, I got the feeling of a robot. 1380 00:53:17,670 --> 00:53:19,806 It's got synthesized music. 1381 00:53:22,642 --> 00:53:24,811 It's got those strings in it. 1382 00:53:26,879 --> 00:53:29,182 So, it's got several different textures. 1383 00:53:29,182 --> 00:53:32,185 It's a really good, iconic sound. 1384 00:53:32,185 --> 00:53:34,187 You know it's RoboCop when you hear it. 1385 00:53:34,187 --> 00:53:36,756 [RoboCop theme playing] 1386 00:53:36,756 --> 00:53:40,260 BASIL: I tried to absorb myself totally in the picture. 1387 00:53:40,260 --> 00:53:41,995 And stay-- and stay in that world, 1388 00:53:41,995 --> 00:53:44,030 particularly, if it's a little sci-fi thing. 1389 00:53:47,066 --> 00:53:50,436 I don't become those characters, but I certainly think like them. 1390 00:53:50,436 --> 00:53:54,707 Really does create the subtext to enhance the visuals. 1391 00:53:54,707 --> 00:53:58,711 [♪♪♪] 1392 00:54:01,414 --> 00:54:03,182 PAUL: That's what the composer can do for me, 1393 00:54:03,182 --> 00:54:04,917 and I always feel that, 1394 00:54:04,917 --> 00:54:07,887 without that, the film's incomplete, yeah. 1395 00:54:07,887 --> 00:54:09,522 I'm a big fan of film music. 1396 00:54:09,522 --> 00:54:12,025 In fact though, I'm a big fan of music, you know? 1397 00:54:12,025 --> 00:54:13,059 [indistinct speech] 1398 00:54:13,059 --> 00:54:14,694 PAUL: Yeah, jump us into the same moment, 1399 00:54:14,694 --> 00:54:16,229 but we can intercut it, yeah. 1400 00:54:16,229 --> 00:54:18,264 NANCY: We were shooting in Dallas, Texas. 1401 00:54:18,264 --> 00:54:19,465 It was hot. 1402 00:54:19,465 --> 00:54:22,635 Really, really hot and humid. And it was just hideous. 1403 00:54:22,635 --> 00:54:25,471 PETER: It was 128 degrees inside the thing. 1404 00:54:25,471 --> 00:54:26,873 It was a 105 degrees outside. 1405 00:54:26,873 --> 00:54:27,940 And that's saying Dallas, Texas, 1406 00:54:27,940 --> 00:54:30,610 it was about 128 degrees inside it. 1407 00:54:30,610 --> 00:54:33,579 I would lose about 3 pounds of water weight a day. 1408 00:54:33,579 --> 00:54:34,647 He lost water weight. 1409 00:54:34,647 --> 00:54:36,616 He lost skin, you know. 1410 00:54:36,616 --> 00:54:38,384 Because he'd get these rashes underneath. 1411 00:54:38,384 --> 00:54:42,088 PETER: The demand that I put on myself, I was running 6 miles a day. 1412 00:54:42,088 --> 00:54:45,792 And training for a New York marathon. 1413 00:54:45,792 --> 00:54:47,293 PAUL: And action! 1414 00:54:47,293 --> 00:54:48,328 KURTWOOD: My stunt guy, 1415 00:54:48,328 --> 00:54:50,496 he had to jump onto the roof of this thing. 1416 00:54:52,231 --> 00:54:53,166 And then later on, 1417 00:54:53,166 --> 00:54:56,235 had to get thrown through these windows. 1418 00:54:56,235 --> 00:54:57,170 MICHAEL: That one scene 1419 00:54:57,170 --> 00:54:58,805 where Boddicker is thrown the glass... 1420 00:54:58,805 --> 00:55:00,239 ROBOCOP: You are under arrest. 1421 00:55:00,239 --> 00:55:02,775 When they showed it to police, the police loved it. 1422 00:55:02,775 --> 00:55:04,510 And it was one of the favorite scenes 1423 00:55:04,510 --> 00:55:05,678 of a lot of my friends. 1424 00:55:05,678 --> 00:55:07,613 ROBOCOP: You have the right to remain silent. 1425 00:55:07,613 --> 00:55:08,681 [spits] 1426 00:55:08,681 --> 00:55:09,949 Fuck you! 1427 00:55:09,949 --> 00:55:11,351 MICHAEL: Because a lot of them would have liked 1428 00:55:11,351 --> 00:55:14,354 to read the beginning of your rights. 1429 00:55:14,354 --> 00:55:15,922 And then throw you through a window. 1430 00:55:15,922 --> 00:55:17,824 [scream] 1431 00:55:17,824 --> 00:55:19,459 [chuckles] 1432 00:55:19,459 --> 00:55:21,127 It's an iconic moment for 1433 00:55:21,127 --> 00:55:23,129 I'm sure many officers around the country, 1434 00:55:23,129 --> 00:55:24,263 at least in the old age. 1435 00:55:24,263 --> 00:55:25,832 ROBOCOP: You have the right to an attorney. 1436 00:55:25,832 --> 00:55:27,433 What is this shit? 1437 00:55:28,801 --> 00:55:29,869 KURTWOOD: My stunt guy, 1438 00:55:29,869 --> 00:55:33,606 they would like spring him through the air. 1439 00:55:34,707 --> 00:55:36,642 And they would blow that safety glass. 1440 00:55:36,642 --> 00:55:38,277 [glass blowing] 1441 00:55:38,277 --> 00:55:40,113 KURTWOOD: There was one window that fortunately 1442 00:55:40,113 --> 00:55:42,682 they blew it too early, rather than too late. 1443 00:55:42,682 --> 00:55:43,649 PAUL: Thank you. 1444 00:55:43,649 --> 00:55:44,784 KURTWOOD'S STUNTMAN: You're welcome. 1445 00:55:44,784 --> 00:55:45,551 Just a little bit blood, that's natural I suppose. 1446 00:55:45,551 --> 00:55:47,887 Or is it just fake blood? 1447 00:55:47,887 --> 00:55:49,389 And one person got injured. 1448 00:55:49,389 --> 00:55:51,057 He got shot one back. 1449 00:55:51,057 --> 00:55:53,526 And he hit his wrist on the corner, 1450 00:55:53,526 --> 00:55:56,028 on the sharp corner of a tool box. 1451 00:55:56,028 --> 00:55:57,029 It's pretty severe. 1452 00:55:57,029 --> 00:55:58,364 KURTWOOD: They took him to the hospital 1453 00:55:58,364 --> 00:56:00,566 and they were fortunate that they had some microsurgeon 1454 00:56:00,566 --> 00:56:01,734 who happened to be there. 1455 00:56:01,734 --> 00:56:03,503 Otherwise, he would have lost the use of his hand. 1456 00:56:04,837 --> 00:56:07,707 Yeah, that scene was really, really hard to shoot. 1457 00:56:07,707 --> 00:56:11,978 'Cause the weather was awful, and um, it was just unpleasant. 1458 00:56:11,978 --> 00:56:13,679 I've got protection! 1459 00:56:13,679 --> 00:56:16,082 PAUL: You have the right to attorney. 1460 00:56:16,082 --> 00:56:17,483 KURTWOOD: It's important to me that 1461 00:56:17,483 --> 00:56:21,154 you only see Clarence scared with RoboCop. 1462 00:56:21,154 --> 00:56:23,089 You cocksucker! 1463 00:56:23,089 --> 00:56:25,324 I work for Dick Jones. 1464 00:56:25,324 --> 00:56:27,160 Dick Jones! 1465 00:56:27,160 --> 00:56:29,362 He's the number 2 guy in OCP. 1466 00:56:29,362 --> 00:56:32,832 And that strengthens the character of the hero. 1467 00:56:32,832 --> 00:56:35,101 OCP runs the cops! 1468 00:56:35,101 --> 00:56:38,504 KURTWOOD: That strengthens RoboCop as well, you know. 1469 00:56:38,504 --> 00:56:40,740 You're a cop. 1470 00:56:40,740 --> 00:56:42,074 KURTWOOD: And with that, 1471 00:56:42,074 --> 00:56:44,544 I thought it was a much deeper film, 1472 00:56:44,544 --> 00:56:47,346 and it made you think and it made you feel. 1473 00:56:47,346 --> 00:56:51,684 [♪♪♪] 1474 00:56:51,684 --> 00:56:53,219 Yes. 1475 00:56:53,219 --> 00:56:54,353 I am a cop. 1476 00:56:54,353 --> 00:56:57,757 [♪♪♪] 1477 00:56:57,757 --> 00:56:59,058 [door opens] 1478 00:56:59,058 --> 00:57:00,460 [indistinct chatter in background] 1479 00:57:00,460 --> 00:57:02,428 DEL: Kurtwood Smith is handcuffed, right? 1480 00:57:02,428 --> 00:57:04,864 When he brings him in and he throws him. 1481 00:57:04,864 --> 00:57:07,700 Now, when Robo throws you, you go. 1482 00:57:07,700 --> 00:57:09,969 Kurtwood knew that and so he throws him in. 1483 00:57:09,969 --> 00:57:13,039 Kurtwood throws himself so hard. 1484 00:57:13,039 --> 00:57:15,041 When he hit, he hit me and bounced off, 1485 00:57:15,041 --> 00:57:18,444 and he'd hit the desk hard. 1486 00:57:19,745 --> 00:57:22,148 And I realized he had hurt himself. 1487 00:57:22,148 --> 00:57:24,383 He cracked his ribs on the first take. 1488 00:57:24,383 --> 00:57:25,551 Cracked two ribs. 1489 00:57:25,551 --> 00:57:28,421 And we did that take about another 11 times. 1490 00:57:28,421 --> 00:57:30,623 I could see him hiding it like a football player 1491 00:57:30,623 --> 00:57:31,591 who's hiding it. 1492 00:57:31,591 --> 00:57:33,326 And he looked at me and he saw me see 1493 00:57:33,326 --> 00:57:34,393 the acknowledgment 1494 00:57:34,393 --> 00:57:35,962 and then he'd gave me that Boddicker look, 1495 00:57:35,962 --> 00:57:40,066 like, "Shut the fuck up." 1496 00:57:40,066 --> 00:57:42,268 Kurtwood was fantastic. 1497 00:57:42,268 --> 00:57:47,473 I mean, he was so vile, you just wanted just to start... 1498 00:57:47,473 --> 00:57:49,242 You know. 1499 00:57:49,242 --> 00:57:50,977 PETER: Kurtwood's as brilliant as you get. 1500 00:57:50,977 --> 00:57:54,013 He makes the thug the real bad guy. 1501 00:57:54,013 --> 00:57:57,250 The guy that knows the jungle is the real bad guy. 1502 00:57:57,250 --> 00:57:59,252 Not more Mr. Big. 1503 00:57:59,252 --> 00:58:00,853 ROBOCOP: Book him. 1504 00:58:00,853 --> 00:58:02,355 What's the charge? 1505 00:58:02,355 --> 00:58:03,623 PETER: No, it's not. 1506 00:58:03,623 --> 00:58:05,491 It's the guy who's working for him. 1507 00:58:05,491 --> 00:58:06,792 It's the gunsel. 1508 00:58:06,792 --> 00:58:08,427 ROBOCOP: He's a cop killer. 1509 00:58:08,427 --> 00:58:09,328 KURTWOOD: I'm standing there 1510 00:58:09,328 --> 00:58:10,796 and I'm surrounded by all these cops. 1511 00:58:10,796 --> 00:58:13,466 And I want to look bad, you know. 1512 00:58:13,466 --> 00:58:16,269 And so I asked if they could go and put some blood in my mouth. 1513 00:58:16,269 --> 00:58:20,139 And I asked Paul, "What if I spit on the desk?" 1514 00:58:20,139 --> 00:58:21,641 And Paul, 1515 00:58:21,641 --> 00:58:23,809 his eyes kind of lit up and he went, 1516 00:58:23,809 --> 00:58:26,178 "You want to spit some blood? 1517 00:58:26,178 --> 00:58:28,180 Yes. Mmm. 1518 00:58:28,180 --> 00:58:29,715 Yeah, let's try that." 1519 00:58:29,715 --> 00:58:30,650 [spits] 1520 00:58:30,650 --> 00:58:32,518 And he spit this blood on the-- 1521 00:58:32,518 --> 00:58:33,886 And the reaction you see from us is real, 1522 00:58:33,886 --> 00:58:35,221 because we didn't know it was coming. 1523 00:58:35,221 --> 00:58:37,490 We had no idea it was coming. 1524 00:58:37,490 --> 00:58:40,026 KURTWOOD: The AD said, "Jon would like to see you." 1525 00:58:40,026 --> 00:58:42,161 So, I went to his office. 1526 00:58:42,161 --> 00:58:43,229 "Say, Jon, what's up?" 1527 00:58:43,229 --> 00:58:46,999 He said, "Well, um, Kurtwood, um... 1528 00:58:46,999 --> 00:58:48,334 The studio, 1529 00:58:48,334 --> 00:58:51,571 they're kind of concerned about your language in the movie." 1530 00:58:51,571 --> 00:58:52,405 [chuckles] 1531 00:58:52,405 --> 00:58:53,372 I was like... 1532 00:58:53,372 --> 00:58:55,675 I was like, "Really, uh?" 1533 00:58:55,675 --> 00:58:57,510 He said, "Yeah, they keep saying, 1534 00:58:57,510 --> 00:58:58,644 can't you cut that down? 1535 00:58:58,644 --> 00:59:00,479 And I told them that that you just say 1536 00:59:00,479 --> 00:59:02,515 what you want." [chuckles] 1537 00:59:02,515 --> 00:59:03,749 Fuck you! 1538 00:59:03,749 --> 00:59:05,885 I said the word Fuck a lot of that movie. 1539 00:59:05,885 --> 00:59:07,186 Listen to me, you fuck! 1540 00:59:07,186 --> 00:59:10,756 And a lot of it, I just threw in. 1541 00:59:10,756 --> 00:59:13,326 Just give me my fucking phone call. 1542 00:59:13,326 --> 00:59:16,996 [RoboCop theme playing] 1543 00:59:16,996 --> 00:59:19,732 I see the production designers' job 1544 00:59:19,732 --> 00:59:24,770 of kind of keeping the focus and some continuity of style. 1545 00:59:24,770 --> 00:59:29,508 I personally like a very bulky, uncluttered look. 1546 00:59:31,944 --> 00:59:35,014 I call it and it's been called "The New Brutalism", 1547 00:59:35,014 --> 00:59:37,416 when people in the '70s, '80s were designing 1548 00:59:37,416 --> 00:59:40,786 those very stark, slabby concrete buildings, 1549 00:59:40,786 --> 00:59:43,556 that I find interesting structurally. 1550 00:59:43,556 --> 00:59:45,691 It's something that Paul and I liked. 1551 00:59:47,393 --> 00:59:49,595 ROCCO: A matte painting is a visual effect 1552 00:59:49,595 --> 00:59:52,965 that is a way of altering the look of a location 1553 00:59:52,965 --> 00:59:56,402 or a set by the inclusion of painted artwork. 1554 00:59:56,402 --> 00:59:57,536 When I saw the picture, 1555 00:59:57,536 --> 00:59:59,405 I just couldn't believe what his work did. 1556 00:59:59,405 --> 01:00:02,375 You know, there's shooting this wonderful elevator 1557 01:00:02,375 --> 01:00:04,310 floating up through OCP. 1558 01:00:04,310 --> 01:00:07,246 ROCCO: The interiors of the OCP were shot at a mall 1559 01:00:07,246 --> 01:00:09,382 called "the Plaza" at the Americas. 1560 01:00:09,382 --> 01:00:10,716 -Jon Davison. -Yeah? 1561 01:00:10,716 --> 01:00:12,451 Knows his movies really well. 1562 01:00:12,451 --> 01:00:14,253 He came with Roger Corman. 1563 01:00:14,253 --> 01:00:15,955 For instance, the interiors 1564 01:00:15,955 --> 01:00:18,090 of the OCP building with the elevator shots, 1565 01:00:18,090 --> 01:00:19,425 he just told me right out. 1566 01:00:19,425 --> 01:00:22,828 He says, "Can we make these reminiscent of the down angles 1567 01:00:22,828 --> 01:00:25,331 in the Krell from Forbidden Plant?" 1568 01:00:25,331 --> 01:00:28,267 I saw these still photos of the City Hall 1569 01:00:28,267 --> 01:00:30,970 that they wanted to use as the base for the skyscraper, 1570 01:00:30,970 --> 01:00:32,805 that's the OCP headquarters. 1571 01:00:32,805 --> 01:00:34,273 And so I said to them, 1572 01:00:34,273 --> 01:00:36,976 "Let's just add enough stories and extend this thing 1573 01:00:36,976 --> 01:00:39,812 so it just continues up and out of the top of frames 1574 01:00:39,812 --> 01:00:42,148 since we don't really have the budget to do 1575 01:00:42,148 --> 01:00:44,817 a bunch of tilting shots or camera move shots." 1576 01:00:44,817 --> 01:00:46,352 It was kind of a neat idea 1577 01:00:46,352 --> 01:00:48,688 to have this wedge-shaped building 1578 01:00:48,688 --> 01:00:51,457 as the base of something that just continues straight up. 1579 01:00:53,459 --> 01:00:55,928 They did have me do one very distant shot 1580 01:00:55,928 --> 01:00:59,799 of um, Delta City, that you saw the entire height, 1581 01:00:59,799 --> 01:01:02,168 when the police car is driving across the bridge. 1582 01:01:02,168 --> 01:01:05,304 [Robotic music] 1583 01:01:05,304 --> 01:01:06,539 CHARLES: Ronny Cox's character, 1584 01:01:06,539 --> 01:01:10,276 you know his office, all that, that was on a studio set. 1585 01:01:10,276 --> 01:01:12,878 JON: And the fact that always embarrassed me, 1586 01:01:12,878 --> 01:01:17,049 the handheld prop of the tracks RoboCop. 1587 01:01:17,049 --> 01:01:18,317 I didn't have any money, 1588 01:01:18,317 --> 01:01:21,620 so I made Paul do a lock-off shot. 1589 01:01:21,620 --> 01:01:25,191 Because I couldn't track the optical into it. 1590 01:01:25,191 --> 01:01:28,160 Because tracking opticals at that point in time 1591 01:01:28,160 --> 01:01:29,862 was a big deal. 1592 01:01:29,862 --> 01:01:32,031 You know, I wish we could do that over. 1593 01:01:32,031 --> 01:01:33,566 Jesus, you really screwed up. 1594 01:01:33,566 --> 01:01:36,235 I always felt there needed to be a Kryptonite. 1595 01:01:36,235 --> 01:01:39,505 And so, once we had that in the room. 1596 01:01:39,505 --> 01:01:44,410 Ed and I started working on the idea of a program that 1597 01:01:44,410 --> 01:01:48,481 wouldn't allow RoboCop to attack an executive 1598 01:01:48,481 --> 01:01:49,882 of a company that owns him. 1599 01:01:49,882 --> 01:01:51,917 You are under arrest. 1600 01:01:51,917 --> 01:01:52,985 Oh. 1601 01:01:52,985 --> 01:01:54,019 On what charge? 1602 01:01:54,019 --> 01:01:55,988 Aiding and abetting a known felon. 1603 01:01:55,988 --> 01:01:57,857 MICHAEL MINER: Directive 4 was the Kryptonite. 1604 01:01:57,857 --> 01:02:00,993 The way you could not paint yourself into a corner 1605 01:02:00,993 --> 01:02:02,595 when he confronts Dick Jones. 1606 01:02:02,595 --> 01:02:03,929 You better take me in. 1607 01:02:03,929 --> 01:02:04,864 I will. 1608 01:02:04,864 --> 01:02:07,433 Dick Jones basically castrates him. 1609 01:02:07,433 --> 01:02:11,337 [groans] 1610 01:02:11,337 --> 01:02:14,874 PETER KURAN: The only time I actually used any video material 1611 01:02:14,874 --> 01:02:18,077 was with Directive 4 in Dick Jones' office. 1612 01:02:18,077 --> 01:02:21,046 Any attempt to arrest a senior officer of OCP 1613 01:02:21,046 --> 01:02:22,948 results in shutdown. 1614 01:02:22,948 --> 01:02:25,084 KEVIN: I remember Pete taking a camera which was probably 1615 01:02:25,084 --> 01:02:27,353 his Mitchell photographing monitors. 1616 01:02:27,353 --> 01:02:28,721 As he jiggled the cables, 1617 01:02:28,721 --> 01:02:31,390 just so he could get a lot of distortion and stuff. 1618 01:02:31,390 --> 01:02:33,259 And then composited in individual frames 1619 01:02:33,259 --> 01:02:35,928 on the optical printer to give that messed up 1620 01:02:35,928 --> 01:02:37,730 that Robovision effect. 1621 01:02:37,730 --> 01:02:39,598 JONES: That you're an ordinary police officer? 1622 01:02:40,599 --> 01:02:42,568 You're our product. 1623 01:02:42,568 --> 01:02:46,539 PETER: With this idea of the hierarchy that's saying, 1624 01:02:46,539 --> 01:02:48,741 "We're gonna tell you how to serve the public trust." 1625 01:02:48,741 --> 01:02:49,809 And we can't very well 1626 01:02:49,809 --> 01:02:51,944 have our products turning against us, can we? 1627 01:02:51,944 --> 01:02:54,480 PETER: And in the name of science and progression, 1628 01:02:54,480 --> 01:02:57,883 and freedom, and capitalism, and whatever. 1629 01:02:57,883 --> 01:03:01,487 Steal everything you own, 1630 01:03:01,487 --> 01:03:03,222 which is essentially your identity. 1631 01:03:03,222 --> 01:03:04,623 Which is essentially your life. 1632 01:03:07,459 --> 01:03:10,262 RoboCop, I think from a technology standpoint, 1633 01:03:10,262 --> 01:03:12,164 you know, certainly when you lift his arms, 1634 01:03:12,164 --> 01:03:14,567 you can see his armpits, stuff, and things like that. 1635 01:03:14,567 --> 01:03:16,335 All that stuff could be repaired now 1636 01:03:16,335 --> 01:03:17,770 and would be digitally enhanced. 1637 01:03:17,770 --> 01:03:20,072 As far as the core suit goes, 1638 01:03:20,072 --> 01:03:22,942 it's still just brilliant modern design. 1639 01:03:22,942 --> 01:03:25,578 RON: We don't make movies like we used to anymore. 1640 01:03:25,578 --> 01:03:27,847 It was made physical. 1641 01:03:27,847 --> 01:03:29,248 It's a physical movie. 1642 01:03:29,248 --> 01:03:31,851 JONES: Maybe you'd like to meet a friend of mine. 1643 01:03:31,851 --> 01:03:33,652 That thing comes in. 1644 01:03:33,652 --> 01:03:38,958 [robo machine whirs] 1645 01:03:38,958 --> 01:03:41,794 "I had to kill Bob Morton, because he made a mistake. 1646 01:03:43,362 --> 01:03:45,831 And now it's time to erase that mistake." 1647 01:03:45,831 --> 01:03:46,999 [growling in back] 1648 01:03:46,999 --> 01:03:48,968 [RoboCop main theme playing] 1649 01:03:48,968 --> 01:03:57,977 [♪♪♪]