1 00:00:15,091 --> 00:00:22,065 [♪♪♪] 2 00:00:27,537 --> 00:00:32,375 [ RoboCop theme music playing] 3 00:02:21,217 --> 00:02:25,521 [♪♪♪] 4 00:02:25,988 --> 00:02:27,156 PAUL: I mean, the stop motion 5 00:02:27,156 --> 00:02:28,824 is still very interesting, I think. 6 00:02:28,824 --> 00:02:30,393 It's different than digital, you know? 7 00:02:30,726 --> 00:02:33,196 There's an-- it has its own world a little bit. 8 00:02:33,196 --> 00:02:35,498 There's something special about stop motion. 9 00:02:35,498 --> 00:02:37,700 [gunshots] 10 00:02:37,700 --> 00:02:39,202 CRAIG: All the flash effects were done 11 00:02:39,202 --> 00:02:40,503 as a separate pass. 12 00:02:40,503 --> 00:02:42,138 So, what we had to do is then 13 00:02:42,138 --> 00:02:43,539 you got the one frame that you want. 14 00:02:43,539 --> 00:02:45,007 Now, you have to turn the lights off, 15 00:02:45,341 --> 00:02:47,510 isolate the flash tubes, and you've got to put 16 00:02:47,843 --> 00:02:50,146 this little strobe unit into the end of the gun. 17 00:02:50,146 --> 00:02:52,281 You got to wrap it in some orange gel, 18 00:02:52,281 --> 00:02:53,716 and you had to take some cotton, 19 00:02:53,716 --> 00:02:56,385 and sculpt the cotton into the shape of a gaseous, 20 00:02:56,385 --> 00:02:58,421 -you know, explosion. -RANDAL: There was always 21 00:02:58,421 --> 00:03:00,523 that kind of anticipation after you finished the shot. 22 00:03:00,523 --> 00:03:02,024 What's it gonna look like tomorrow? 23 00:03:02,024 --> 00:03:04,460 Because something that you worked so hard on, 24 00:03:04,460 --> 00:03:05,995 there may be a glitch, or some little thing, 25 00:03:05,995 --> 00:03:07,430 or light could have burnt. 26 00:03:07,430 --> 00:03:09,198 Somebody could have bumped a little something on the set. 27 00:03:09,198 --> 00:03:11,400 You'd have to redo the whole thing the next day. 28 00:03:11,400 --> 00:03:12,635 CRAIG: Unfortunately, throughout the process, 29 00:03:13,002 --> 00:03:15,471 the animators would occasionally get shocks. 30 00:03:15,705 --> 00:03:17,273 [laughs] 31 00:03:17,273 --> 00:03:21,244 And I always remember, you know, you hear this... 32 00:03:21,244 --> 00:03:22,878 [groans] "Jesus Christ!" 33 00:03:22,878 --> 00:03:24,313 [chuckles] 34 00:03:24,313 --> 00:03:26,282 And for whatever reason, from my own exposure, 35 00:03:26,282 --> 00:03:27,483 to me, it was kind of funny. 36 00:03:27,917 --> 00:03:29,385 I'd be cracking up like, "Oh, there goes another one." 37 00:03:29,385 --> 00:03:30,553 I know exactly how they feel. 38 00:03:30,786 --> 00:03:36,292 -[gunshots] -[♪♪♪] 39 00:03:36,726 --> 00:03:38,127 The fight scene, they would be flying through the air 40 00:03:38,127 --> 00:03:39,562 and through the glass doors. 41 00:03:41,397 --> 00:03:44,500 We had ramps built. So, I could not quite run up, 42 00:03:44,500 --> 00:03:47,336 but launch myself through those glass doors, 43 00:03:47,770 --> 00:03:49,972 and then another one up against the wall. 44 00:03:51,607 --> 00:03:53,442 And then the mask came off. 45 00:03:53,442 --> 00:03:54,777 They'd have to screw it on, 46 00:03:54,777 --> 00:03:57,446 because I had a permanent cut across my nose, 47 00:03:57,446 --> 00:04:00,783 'cause every time I fell, it just bopped me on the nose. 48 00:04:02,051 --> 00:04:03,819 There's one little blue screen shot there, 49 00:04:03,819 --> 00:04:05,521 which is like, you know, 50 00:04:05,955 --> 00:04:08,057 a guy doing a backflip over the camera, 51 00:04:08,057 --> 00:04:11,627 which was added to one of the ED-209 shots. 52 00:04:11,961 --> 00:04:13,663 PHIL: There were a few shots that I really needed 53 00:04:13,929 --> 00:04:15,831 to be a little bit smoother, so I came up 54 00:04:16,265 --> 00:04:19,135 with like a poor man's version of Go motion. 55 00:04:19,769 --> 00:04:21,937 I would just drive a wedge under the table 56 00:04:22,338 --> 00:04:24,540 that I was working on, so the table was stable, 57 00:04:24,807 --> 00:04:27,143 and I'd animate the puppet, and hit the camera, 58 00:04:27,143 --> 00:04:28,811 and just slightly wiggle the table, 59 00:04:28,811 --> 00:04:30,079 and got a-- got a motion blur. 60 00:04:30,079 --> 00:04:31,947 But I had to make sure that the table 61 00:04:31,947 --> 00:04:33,949 was wiggling the right way, so the motion blur 62 00:04:33,949 --> 00:04:35,685 was the right way, and all that stuff. 63 00:04:39,855 --> 00:04:41,991 NANCY: I can't imagine 64 00:04:41,991 --> 00:04:46,195 really anyone doing a better job than Peter did in that role. 65 00:04:46,195 --> 00:04:47,663 I didn't get 66 00:04:47,663 --> 00:04:51,967 that he was gonna make us care desperately for RoboCop. 67 00:04:51,967 --> 00:04:54,837 ANGIE: I just thought he was wonderful. 68 00:04:54,837 --> 00:04:56,939 I thought his part was a lot more difficult 69 00:04:56,939 --> 00:04:58,140 than people give him credit for. 70 00:05:00,042 --> 00:05:04,380 PETER WELLER: I don't wanna act unless I am transforming something, 71 00:05:04,380 --> 00:05:05,648 and it's not called "technique". 72 00:05:05,648 --> 00:05:08,284 Technique is like, how you get to say something, 73 00:05:08,284 --> 00:05:10,753 what takes you to the personalization of it. 74 00:05:10,753 --> 00:05:13,189 Some people say, "A technical actor?" No. 75 00:05:13,189 --> 00:05:15,958 You're either bullshit or you're saying something. 76 00:05:17,727 --> 00:05:19,395 But every good actor knows when he's saying something. 77 00:05:21,897 --> 00:05:23,199 CRAIG: We needed a shot 78 00:05:23,199 --> 00:05:25,034 that we couldn't get contact-wise any other way. 79 00:05:25,334 --> 00:05:27,236 So, we built a little RoboCop. 80 00:05:27,436 --> 00:05:30,506 RANDAL: I sculpted this little 8-inch replica of RoboCop. 81 00:05:30,506 --> 00:05:31,407 -[gun shots] -[explosion] 82 00:05:31,874 --> 00:05:33,109 And it was a fairly quick shot, 83 00:05:33,109 --> 00:05:35,911 but it shows you how much work needs to be done 84 00:05:35,911 --> 00:05:38,748 on even shots that-- that pass in fractions of a second. 85 00:05:42,351 --> 00:05:44,720 Where he's shooting the rockets out of his arm, 86 00:05:44,987 --> 00:05:48,224 they built explosives into the set. 87 00:05:48,224 --> 00:05:51,627 And as I walked to one, and turned away, 88 00:05:51,627 --> 00:05:53,929 the rocket was on a wire, 89 00:05:53,929 --> 00:05:56,766 then it went a whole lot faster than I could get away. 90 00:05:57,066 --> 00:05:59,402 And as I was turning away, 91 00:05:59,602 --> 00:06:03,038 all the debris went through, the suit and into my arm, 92 00:06:03,038 --> 00:06:06,275 and then knocked me across the hallway. 93 00:06:06,542 --> 00:06:09,278 They had to cut the suit off. I went to the hospital. 94 00:06:09,278 --> 00:06:12,114 They released me later on that day, 95 00:06:12,114 --> 00:06:14,817 but my arm was all swollen, embedded with, you know, 96 00:06:15,084 --> 00:06:18,387 whatever the material was, and started to swell. 97 00:06:18,387 --> 00:06:19,655 Like I said, it was all practical. 98 00:06:19,655 --> 00:06:20,656 You just had to do it. 99 00:06:23,192 --> 00:06:24,393 PETER WELLER: And then a beautiful scene 100 00:06:24,393 --> 00:06:26,762 that ED-209 trying to tiptoe down there, 101 00:06:26,962 --> 00:06:29,298 and he can't get down. God, what... 102 00:06:29,298 --> 00:06:31,033 Is that genius or what? 103 00:06:31,434 --> 00:06:34,036 CRAIG: For the scene where ED-209 falls down the stairs, 104 00:06:34,303 --> 00:06:35,504 for the shots where ED-209's looking 105 00:06:35,805 --> 00:06:37,139 at his feet, trying to figure out 106 00:06:37,139 --> 00:06:39,208 how to stay with the placement and stuff, 107 00:06:39,208 --> 00:06:41,143 those were shot on an actual miniature. 108 00:06:41,143 --> 00:06:42,578 And that was really not very big. 109 00:06:42,578 --> 00:06:44,280 It was, you know, kind of a duplicate 110 00:06:44,280 --> 00:06:47,383 of a location we found out in Dallas, Texas, there. 111 00:06:47,383 --> 00:06:48,617 So, went out there, took measurements, 112 00:06:48,617 --> 00:06:49,618 took photographs. 113 00:06:50,853 --> 00:06:52,655 For him tumbling down the stairs, 114 00:06:52,655 --> 00:06:54,390 we got the thing set up, and started running 115 00:06:54,390 --> 00:06:55,624 at as high a frame rate 116 00:06:55,624 --> 00:06:57,760 as we could get out of these Mitchell cameras. 117 00:06:57,760 --> 00:07:00,062 And basically, Phil would pop the thing, 118 00:07:00,062 --> 00:07:01,630 the robot would tumble down the stairs. 119 00:07:01,864 --> 00:07:03,332 I'm off camera, below the camera, 120 00:07:03,332 --> 00:07:04,633 trying to catch it, 121 00:07:04,633 --> 00:07:06,869 because if it hits the ground, I've gotta fix it. 122 00:07:06,869 --> 00:07:08,471 Once he hits the bottom of the stairs, 123 00:07:08,471 --> 00:07:09,872 then we're back to a photographic plate 124 00:07:10,306 --> 00:07:12,141 where we've got a shot of RoboCop, you know, 125 00:07:12,141 --> 00:07:13,275 kind of in the background, 126 00:07:13,275 --> 00:07:15,544 and ED-209 in the foreground, writhing about. 127 00:07:15,845 --> 00:07:16,779 CRAIG: John Davidson told me 128 00:07:17,012 --> 00:07:19,415 that they used the sounds of pigs being slaughtered 129 00:07:19,648 --> 00:07:21,116 [squeals] 130 00:07:21,116 --> 00:07:24,019 for the writhing and agony moment there... 131 00:07:25,554 --> 00:07:27,089 which was pretty effective. 132 00:07:29,191 --> 00:07:34,497 [♪♪♪] 133 00:07:34,497 --> 00:07:37,666 MICHAEL: And then we shot the scene in the garage, fire at will. 134 00:07:37,900 --> 00:07:39,268 LT. HEDGECOCK: Prepare to fire. 135 00:07:40,569 --> 00:07:42,705 MICHAEL: That was just a dynamic, wonderful scene. 136 00:07:42,705 --> 00:07:45,107 The thing is, I've got 75 background actors 137 00:07:45,107 --> 00:07:47,510 behind me with all kinds of weapons. 138 00:07:48,010 --> 00:07:49,011 We have orders to destroy it. 139 00:07:49,378 --> 00:07:52,047 Everybody in Texas does not know how to handle a weapon. 140 00:07:52,047 --> 00:07:52,915 [chuckles softly] 141 00:07:53,382 --> 00:07:54,483 Fire at will! 142 00:07:54,483 --> 00:07:57,019 [gunshots] 143 00:07:57,019 --> 00:07:58,521 Miguel Ferrer and I became very good friends. 144 00:07:58,821 --> 00:08:01,156 And we would play SWAT officers. 145 00:08:01,156 --> 00:08:02,558 [gun shots] 146 00:08:02,558 --> 00:08:04,994 So, we would be up all night doing that kind of stuff. 147 00:08:07,997 --> 00:08:10,299 We ran around Dallas at night, and drank too much, 148 00:08:10,299 --> 00:08:11,400 and did crazy things. 149 00:08:11,600 --> 00:08:14,069 And so, that was fun of what I remember of it. 150 00:08:15,704 --> 00:08:17,006 PAUL POWER (OS/ON): The shootout stuff, 151 00:08:17,006 --> 00:08:18,841 I mean, it says that in the script, 152 00:08:18,841 --> 00:08:22,011 but I envisioned that fully, with all the bullets 153 00:08:22,011 --> 00:08:23,212 falling on the ground, and all that stuff, 154 00:08:23,612 --> 00:08:25,314 that's-- that's all mine. 155 00:08:25,314 --> 00:08:27,483 I mean, listen, at that time, people are paying 156 00:08:27,683 --> 00:08:30,319 $5 a ticket, right? You-- you got to give them 157 00:08:30,686 --> 00:08:31,687 their 5 bucks' worth, you know? 158 00:08:32,154 --> 00:08:33,622 It's like, "Fuck, push that envelope." 159 00:08:35,691 --> 00:08:36,892 GREGOR: We had about five or six 160 00:08:36,892 --> 00:08:39,595 RoboCop suits in different states of disrepair. 161 00:08:39,595 --> 00:08:41,630 You know, some were the battle-damaged suits. 162 00:08:41,630 --> 00:08:44,500 We spent a couple of days just tearing those suits up, 163 00:08:44,700 --> 00:08:47,336 took dremel suits to 'em, paintbrushes, 164 00:08:47,336 --> 00:08:50,573 and just really wore those things out. 165 00:08:50,573 --> 00:08:53,542 MARK: They shot some kind of compound into the chest plate, 166 00:08:53,909 --> 00:08:55,110 and it would create sparks. 167 00:08:56,545 --> 00:08:58,280 RUSSELL: They're called, "Zerk guns". 168 00:08:58,280 --> 00:09:00,583 They're like paintball guns, and you know, 169 00:09:00,816 --> 00:09:02,451 whenever they hit the hand, you know, 170 00:09:02,451 --> 00:09:04,820 it's like they're standing about 10 feet away, 171 00:09:05,187 --> 00:09:07,423 and you just hope that they're a pretty good shot. 172 00:09:07,623 --> 00:09:09,425 MARK: We pumped in some fluid 173 00:09:09,425 --> 00:09:12,895 oozing out of the chest plate, like chemical fluid, 174 00:09:12,895 --> 00:09:14,630 and some of the life-support stuff 175 00:09:14,630 --> 00:09:17,132 that Robo has in his making. 176 00:09:17,132 --> 00:09:19,301 -[shots] -Halt it! 177 00:09:19,301 --> 00:09:20,703 MICHAEL: I had Randy Moore next to me, 178 00:09:20,703 --> 00:09:24,073 fortunately, because he had an AUG, 179 00:09:24,073 --> 00:09:26,308 and Verhoeven said, "What I want you to do is 180 00:09:26,308 --> 00:09:29,478 I want you to hold that up next to Michael's face." 181 00:09:29,478 --> 00:09:30,746 And he said, "We can do that, 182 00:09:30,746 --> 00:09:32,748 but you're only gonna get one take." 183 00:09:32,748 --> 00:09:33,849 "Why is that?" "'Cause," he said, 184 00:09:33,849 --> 00:09:35,384 "It'll probably take the skin off his face." 185 00:09:35,384 --> 00:09:36,585 "Oh, no, no, no, no. Don't do that." 186 00:09:38,988 --> 00:09:40,689 ED: The way Peter is moving 187 00:09:40,689 --> 00:09:43,826 and the way he's kind of falling back, 188 00:09:43,826 --> 00:09:46,395 it's not real, but it looks beautiful in a way 189 00:09:46,395 --> 00:09:48,097 that looks naturalistic, but it's not. 190 00:09:48,097 --> 00:09:50,499 It's all very planned out. It's very precise. 191 00:09:50,499 --> 00:09:54,169 That's actually me falling over the side of those rails. 192 00:09:54,637 --> 00:09:56,338 There was no pads down there. 193 00:09:56,338 --> 00:10:00,309 I actually went to the ground each time, and probably did it-- 194 00:10:00,309 --> 00:10:01,577 I don't know, probably 10 times. 195 00:10:01,877 --> 00:10:03,646 -[shots] -[body thuds] 196 00:10:04,013 --> 00:10:05,814 I-- I still hurt because of that. 197 00:10:05,814 --> 00:10:07,516 [chuckles] 198 00:10:07,516 --> 00:10:08,717 [body thuds] 199 00:10:08,717 --> 00:10:10,819 ANGIE: Both of the female characters, 200 00:10:11,320 --> 00:10:13,822 they're two different female archetypes. 201 00:10:13,822 --> 00:10:17,192 One is the domestic goddess, the homemaker, the wife, 202 00:10:17,493 --> 00:10:21,030 and the other one is more the independent woman who 203 00:10:21,030 --> 00:10:22,531 -doesn't have any children... -Murphy! 204 00:10:22,531 --> 00:10:23,866 ANGIE: ...who is living in the man's world. 205 00:10:23,866 --> 00:10:25,467 -Murphy, it's me. -ANGIE: And I think 206 00:10:25,467 --> 00:10:28,470 that's one of the things that makes the movie work 207 00:10:28,470 --> 00:10:30,739 is because it is a guy's film, and they've got 208 00:10:30,739 --> 00:10:32,608 all this masculine energy, 209 00:10:32,608 --> 00:10:35,678 but these two women rounds out the humanity. 210 00:10:35,678 --> 00:10:40,916 [♪♪♪] 211 00:10:40,916 --> 00:10:42,084 JOAN: I came to be involved 212 00:10:42,084 --> 00:10:44,353 in the project, because my husband, 213 00:10:44,353 --> 00:10:48,524 Kurtwood Smith, was cast as Clarence Boddicker. 214 00:10:48,524 --> 00:10:50,526 Hiya, Barbara. 215 00:10:50,726 --> 00:10:53,362 JOAN: He said, "Well, I think I'll ask 'em if they would read you," 216 00:10:53,662 --> 00:10:54,897 and that's how I got involved. 217 00:10:55,097 --> 00:10:57,533 KURTWOOD: And the part, of course, was the secretary. 218 00:10:57,533 --> 00:10:59,468 We kind of like, played around with it a little bit. 219 00:10:59,468 --> 00:11:01,370 Listen. I'm here to see Dick Jones. 220 00:11:01,370 --> 00:11:03,205 KURTWOOD: You know, put the chewing gum on her desk. 221 00:11:03,205 --> 00:11:06,041 And when I'm done, I've got some free time. 222 00:11:06,041 --> 00:11:09,211 Maybe you could fit me in. 223 00:11:09,511 --> 00:11:12,481 [laughs] But it was fun. We had a real good time. 224 00:11:12,481 --> 00:11:14,316 He's expecting you, Mr. Boddicker. 225 00:11:14,316 --> 00:11:19,922 JOAN: He would just have this look of evil, gleeful evil, 226 00:11:19,922 --> 00:11:23,892 that is really not a part of who Kurtwood is, 227 00:11:23,892 --> 00:11:26,261 or not-- not a part that I've ever seen. 228 00:11:26,261 --> 00:11:28,964 Hey, Dickie boy. How's tricks? 229 00:11:28,964 --> 00:11:31,233 DICK: That thing is still alive. 230 00:11:31,233 --> 00:11:33,368 RONNY: I spent a lot of time trying 231 00:11:33,368 --> 00:11:36,405 to get at the essence of acting, and it's-- 232 00:11:36,405 --> 00:11:39,141 it's a really complex thing. 233 00:11:39,141 --> 00:11:41,210 He's a cyborg, you idiot! 234 00:11:41,210 --> 00:11:44,980 How technical and simple it has to be at once. 235 00:11:45,247 --> 00:11:47,382 His memory is admissible as evidence. 236 00:11:47,382 --> 00:11:49,918 Yeah. The technical stuff has to come through, 237 00:11:49,918 --> 00:11:54,156 and if it ever shows for even an instant, then-- 238 00:11:54,156 --> 00:11:57,126 then our bullshit senses say, "Uh-uh." 239 00:11:57,126 --> 00:11:59,161 You involved me! 240 00:11:59,161 --> 00:12:00,229 KURTWOOD: It's important to me 241 00:12:00,229 --> 00:12:03,432 that Clarence works with Dick Jones. 242 00:12:03,432 --> 00:12:05,134 He doesn't-- he's not a toady, you know? 243 00:12:05,367 --> 00:12:07,803 Well, the scene had been rewritten. 244 00:12:07,803 --> 00:12:11,240 It was not what Paul and I had talked about, basically, 245 00:12:11,473 --> 00:12:12,708 and that it had become pretty much 246 00:12:12,708 --> 00:12:14,543 of a yes-or-no-sir scene. 247 00:12:14,543 --> 00:12:16,111 Well, listen, Chief. 248 00:12:16,111 --> 00:12:17,946 KURTWOOD: "I said, Paul, this is exactly 249 00:12:17,946 --> 00:12:19,448 what we talked about at breakfast 250 00:12:19,448 --> 00:12:21,517 that I didn't want to happen, you know?" 251 00:12:21,517 --> 00:12:23,152 He said, "Oh, you're just trying to make the scene 252 00:12:23,152 --> 00:12:25,154 all about you," and kind of stomped off. 253 00:12:25,154 --> 00:12:28,190 And I said to Jon Davison... 254 00:12:28,190 --> 00:12:30,392 Jon understood what I was talking about, 255 00:12:30,392 --> 00:12:32,461 and you know, it's actually better scene for Ronny, 256 00:12:32,461 --> 00:12:34,797 because it went from being a yes-or-no-sir scene 257 00:12:34,797 --> 00:12:37,566 into one where Dick Jones is manipulating me. 258 00:12:37,966 --> 00:12:42,171 One man could control it all, Clarence. 259 00:12:42,171 --> 00:12:45,607 They're the two villains that everybody loves to hate, 260 00:12:45,607 --> 00:12:49,411 and-- and he got such a joy out of calling me, "Dick." 261 00:12:49,611 --> 00:12:52,114 Take a look at my face, Dick. 262 00:12:52,314 --> 00:12:55,617 [laughs] 263 00:12:55,617 --> 00:12:57,619 And Dick Jones didn't think that was funny. 264 00:12:57,619 --> 00:12:58,520 [chuckles] 265 00:12:58,887 --> 00:13:00,589 You got access to military weaponry? 266 00:13:02,191 --> 00:13:03,792 We practically are the military. 267 00:13:07,162 --> 00:13:08,797 PAUL: There is this beautiful scene 268 00:13:08,797 --> 00:13:11,066 when he sits there in this steel factory. 269 00:13:11,066 --> 00:13:12,801 I guess we're on strike. 270 00:13:12,801 --> 00:13:14,703 I wasn't sure what you needed. 271 00:13:15,003 --> 00:13:18,073 What you would call a personal human scene. 272 00:13:18,073 --> 00:13:19,341 You asked for this? 273 00:13:19,341 --> 00:13:21,543 PAUL: I think the scene is very beautiful. 274 00:13:23,312 --> 00:13:25,981 The helmet wouldn't fit on his head, you know, 275 00:13:25,981 --> 00:13:27,249 with the prosthetic 'cause it was just-- 276 00:13:27,549 --> 00:13:28,650 everything was too big. 277 00:13:28,650 --> 00:13:30,652 So, Paul had that worked out 278 00:13:30,652 --> 00:13:31,653 where you didn't have to actually see him 279 00:13:32,087 --> 00:13:33,555 lifting it off his head. 280 00:13:33,555 --> 00:13:35,824 ROBOCOP: You may not like what you're going to see. 281 00:13:35,824 --> 00:13:38,360 BART: But now, he's like, "Well, what about all this black stuff, 282 00:13:38,627 --> 00:13:40,262 the chin strap, the neck piece?" 283 00:13:40,262 --> 00:13:42,197 It's like, just suddenly, that's gonna be gone 284 00:13:42,197 --> 00:13:43,866 and we were gonna take a piece and like, 285 00:13:44,166 --> 00:13:45,834 put some cuts in it to where he could be like, 286 00:13:46,368 --> 00:13:47,936 lifting it off his head, and Paul's just like, 287 00:13:48,170 --> 00:13:49,571 "Eh, nobody's ever gonna notice." 288 00:13:51,206 --> 00:13:53,041 STEPHAN: Ta-da! You know, all of a sudden, 289 00:13:53,041 --> 00:13:55,277 like this thing just vanishes. 290 00:13:55,744 --> 00:13:57,379 BART: And I was like, "How could they not notice? 291 00:13:57,379 --> 00:13:59,081 It's there, then it's not there." 292 00:13:59,081 --> 00:14:00,349 But they don't. 293 00:14:00,349 --> 00:14:02,217 It's you know, you're so into the scene. 294 00:14:04,820 --> 00:14:07,422 STEPHAN: I remember the first makeup test that we did. 295 00:14:07,422 --> 00:14:11,927 We shot under green neon light. It looked awful. 296 00:14:11,927 --> 00:14:15,264 Paul was confident that he could make it look good 297 00:14:15,564 --> 00:14:17,266 with controlled lighting, but he wanted to see it 298 00:14:17,266 --> 00:14:19,534 under its worst circumstances. 299 00:14:19,534 --> 00:14:21,436 So, we're screening the test footage. 300 00:14:21,436 --> 00:14:23,438 Rob's sitting there going, "Oh, that looks like crap. 301 00:14:23,438 --> 00:14:25,674 No, you can't shoot it that way. That looks bad." 302 00:14:25,674 --> 00:14:27,309 STEPHAN: And I was like devastated, 303 00:14:27,309 --> 00:14:30,612 'cause this just looks like dead flesh. 304 00:14:30,612 --> 00:14:32,614 BART: And then Rob just gets up and walks out. 305 00:14:32,614 --> 00:14:34,716 I remember Paul is out there, and they're almost 306 00:14:34,716 --> 00:14:38,320 getting into like, a physical altercation. 307 00:14:38,320 --> 00:14:42,557 And Jon's there, trying to calm Verhoeven down. 308 00:14:42,557 --> 00:14:46,328 And Rob's over Jon's back just mocking Verhoeven. 309 00:14:46,328 --> 00:14:48,430 -[chuckles] -[grunts] 310 00:14:48,430 --> 00:14:49,965 Yeah. That kind of thing. [chuckles] 311 00:14:50,265 --> 00:14:53,101 I mean, a very, very genius guy, Rob Bottin. 312 00:14:53,101 --> 00:14:56,138 Difficult guy, but top, top. 313 00:14:58,640 --> 00:15:00,175 He built a forefront 314 00:15:00,175 --> 00:15:02,311 that looked like part of the head was missing. 315 00:15:02,544 --> 00:15:04,279 So, from the side, you would see it 316 00:15:04,279 --> 00:15:07,783 going like this, yeah, bop, which is not possible, 317 00:15:07,783 --> 00:15:09,284 and it's like you're cutting the head. 318 00:15:09,718 --> 00:15:13,922 STEPHAN: The final makeup was not an easy one to pull off. 319 00:15:13,922 --> 00:15:18,026 It was all in one piece. There was no margin for error. 320 00:15:18,026 --> 00:15:20,996 And the face took six and a half hours. 321 00:15:20,996 --> 00:15:22,631 Stephan Dupuis, genius. 322 00:15:23,098 --> 00:15:24,466 Three hours of putting that thing on, 323 00:15:24,466 --> 00:15:26,335 and three and a half hours of making it up. 324 00:15:26,335 --> 00:15:29,571 And I would go into zen mode, zen meditation mode. 325 00:15:29,571 --> 00:15:31,006 STEPHAN: There was a very particular way 326 00:15:31,006 --> 00:15:35,477 of it being applied, as opposed to start from the edge out. 327 00:15:35,477 --> 00:15:38,780 It had to be started like in the middle of the appliance, 328 00:15:38,780 --> 00:15:41,183 adjusted to fit the prongs 329 00:15:41,183 --> 00:15:43,652 to the back of the fiberglass skull, 330 00:15:43,652 --> 00:15:47,823 and then work that way, and then work this way 331 00:15:47,823 --> 00:15:50,525 so that it would like, fit and blend, 332 00:15:50,525 --> 00:15:53,395 and uh, there was no kink, 333 00:15:53,395 --> 00:15:54,796 because you couldn't hide anything. 334 00:15:54,796 --> 00:15:57,799 Then, you know, if there was a kink somewhere, 335 00:15:57,799 --> 00:16:00,068 it would like, show up on the screen like big time. 336 00:16:00,068 --> 00:16:01,970 It was 21 days for that face. 337 00:16:02,337 --> 00:16:05,974 I was going to put that face on when the crew would come in 338 00:16:05,974 --> 00:16:08,143 from dinner at 1:30 in the morning. 339 00:16:10,245 --> 00:16:11,847 And then I got to put on a suit. 340 00:16:11,847 --> 00:16:14,016 So, that's like, an eight-and-a-half-hour day 341 00:16:14,016 --> 00:16:16,685 before I've even turned to camera, man. 342 00:16:16,885 --> 00:16:19,087 It was two and a half hours to take it off, 343 00:16:19,087 --> 00:16:20,088 'cause they had to pull it off, 344 00:16:20,088 --> 00:16:21,990 otherwise, my face looked like a zit. 345 00:16:21,990 --> 00:16:24,326 You can't just rip that stuff off. 346 00:16:24,326 --> 00:16:25,994 MILES: You know, RoboCop gets shot in the head, 347 00:16:25,994 --> 00:16:28,730 so I had to carry that bullet hole over into the makeup 348 00:16:28,730 --> 00:16:30,565 that he wears without his helmet. 349 00:16:30,565 --> 00:16:32,000 I remember thinking, you know, "God, when I was a kid, 350 00:16:32,000 --> 00:16:33,502 I took apart the telephone once, 351 00:16:33,502 --> 00:16:36,038 and there's that little disc with the dots in it, 352 00:16:36,038 --> 00:16:37,572 and he'll just have one of those for an ear, 353 00:16:37,839 --> 00:16:39,408 you know, where his ear should be." 354 00:16:39,408 --> 00:16:41,043 His organics need to be supported. 355 00:16:41,043 --> 00:16:42,210 So, I thought there should be some, 356 00:16:42,210 --> 00:16:43,445 probably tubes, coming out, 357 00:16:43,445 --> 00:16:45,213 maybe feeding into the skin, you know? 358 00:16:47,983 --> 00:16:49,351 PETER WELLER: When I take off the helmet, 359 00:16:49,751 --> 00:16:52,687 if you'll notice, the voice softens. 360 00:16:52,687 --> 00:16:54,923 Murphy had a wife and son. What happened to them? 361 00:16:55,223 --> 00:16:56,658 PETER WELLER: It was a small adjustment. 362 00:16:57,059 --> 00:16:59,761 It's not that octave. It's this octave. 363 00:16:59,761 --> 00:17:01,263 Where did they go? 364 00:17:01,263 --> 00:17:04,433 The most important line in RoboCop is this: 365 00:17:04,433 --> 00:17:08,470 "I can feel them, but I can't remember them." 366 00:17:08,470 --> 00:17:12,374 I can feel them, but I can't remember them. 367 00:17:12,374 --> 00:17:15,410 And that's the saddest, most excruciating line in it. 368 00:17:15,677 --> 00:17:17,446 And it cuts to this wide, 369 00:17:17,779 --> 00:17:21,316 and here's this steel mill that is decrepit. 370 00:17:21,316 --> 00:17:25,420 It was once shiny and beautiful, and then here's RoboCop... 371 00:17:25,420 --> 00:17:26,721 Leave me alone. 372 00:17:26,721 --> 00:17:27,756 DEL: ...who was once a shiny thing, 373 00:17:28,123 --> 00:17:30,959 and he's all beat up and shot up. 374 00:17:30,959 --> 00:17:34,763 That's what it is to be alive, is who we love, our memories. 375 00:17:34,763 --> 00:17:36,631 PETER WELLER: The bewildering gift 376 00:17:36,631 --> 00:17:39,034 of this film is loss and rebirth. 377 00:17:40,735 --> 00:17:44,439 But the travesty and the drama, 378 00:17:44,439 --> 00:17:47,075 and essentially, the tragedy of it, 379 00:17:47,075 --> 00:17:51,246 he'll never get it back. 'Cause it's gone. 380 00:17:56,818 --> 00:18:03,658 [♪♪♪] 381 00:18:04,759 --> 00:18:08,063 There was an area called "Deep Elm" down in Dallas. 382 00:18:08,063 --> 00:18:09,898 It was sort of like an art district. 383 00:18:09,898 --> 00:18:11,466 JOST: The art department built 384 00:18:11,466 --> 00:18:14,102 all these shops with empty windows 385 00:18:14,536 --> 00:18:16,838 so that you could see the lights and everything. 386 00:18:16,838 --> 00:18:18,673 It was nice, very nicely done. 387 00:18:18,673 --> 00:18:22,210 [glass breaks] 388 00:18:22,210 --> 00:18:23,612 [men clamoring] 389 00:18:23,945 --> 00:18:25,313 There was something about the grittiness of that 390 00:18:25,313 --> 00:18:26,815 that really worked well. 391 00:18:26,815 --> 00:18:29,017 And you had the skyline in the background. 392 00:18:29,017 --> 00:18:30,919 So, there were things that were practical. 393 00:18:30,919 --> 00:18:33,288 BRIAN: It was a bigger production than Dallas was used to, 394 00:18:33,288 --> 00:18:36,625 which made everybody work harder, made for long hours. 395 00:18:36,625 --> 00:18:38,994 I mean, one time, I did four 20-hour days. 396 00:18:38,994 --> 00:18:40,562 I mean, that's the kind of job it was. 397 00:18:40,929 --> 00:18:42,564 And the discomfort of it all, 398 00:18:42,797 --> 00:18:45,467 and the violence of it all, actually created 399 00:18:45,467 --> 00:18:47,536 a lot of what you see on screen, 400 00:18:47,536 --> 00:18:49,171 and a lot of it's really authentic. 401 00:18:49,471 --> 00:18:50,505 JESSE: We hung out, and we talked, 402 00:18:50,505 --> 00:18:52,674 and we went, and we drank together. 403 00:18:52,674 --> 00:18:54,576 We just kind of played off of each other. 404 00:18:54,776 --> 00:18:56,411 It was like everybody kind of understood 405 00:18:56,411 --> 00:18:58,680 where they were coming from as a character, 406 00:18:58,680 --> 00:19:02,250 and we just threw it all in, and it-- it-- it mixed up well. 407 00:19:02,250 --> 00:19:03,218 -Hey, Emil. -[car door closes] 408 00:19:03,218 --> 00:19:05,420 -Hey. -How's the Gray Bar Hotel? 409 00:19:05,420 --> 00:19:08,790 Not bad. I got to keep the shirt. Nobody popped my cherry. 410 00:19:08,790 --> 00:19:10,692 -[Clarence laughs] -Most of them went above 411 00:19:10,692 --> 00:19:13,328 and beyond the call of duty with their roles, 412 00:19:13,328 --> 00:19:18,233 and really made them come to life with unique characters 413 00:19:18,233 --> 00:19:20,135 rather than just the bad guy. 414 00:19:20,135 --> 00:19:21,336 Hey! 415 00:19:21,336 --> 00:19:23,505 First, they let me out of jail for free, 416 00:19:23,505 --> 00:19:26,408 then look what I found in the prison parking lot. 417 00:19:26,408 --> 00:19:29,277 A brand-new 6,000 SUX, 418 00:19:29,277 --> 00:19:30,245 still got the factory sticker on it. 419 00:19:30,245 --> 00:19:31,513 -Hey, Clarence! -[laughs] 420 00:19:31,513 --> 00:19:33,548 Joey's got a car just like yours, man. 421 00:19:33,548 --> 00:19:35,450 [laughs] 422 00:19:35,450 --> 00:19:37,385 What do you think, Clarence, huh? Huh? 423 00:19:37,385 --> 00:19:39,588 [both laugh] 424 00:19:39,588 --> 00:19:41,723 KURTWOOD: I always saw this character 425 00:19:41,723 --> 00:19:45,460 and kind of the gang in general as guys that were having fun. 426 00:19:48,230 --> 00:19:49,731 I had had some experience 427 00:19:49,731 --> 00:19:54,402 with the-- the Barrett M82, .50 caliber, semi-automatic, 428 00:19:54,402 --> 00:19:57,105 and so, I showed it to 'em. They liked it. 429 00:19:57,105 --> 00:20:00,775 Whoa! A new toy! Can I play? 430 00:20:01,009 --> 00:20:02,544 RANDY: We purchased three of 'em. 431 00:20:02,544 --> 00:20:03,411 So, we had four total. 432 00:20:03,878 --> 00:20:06,248 -CREW MEMBER 1: Take one! -[gun shots] 433 00:20:06,248 --> 00:20:07,249 -Ooh, shit! -[laughs] 434 00:20:07,249 --> 00:20:09,084 -Nice car, Joe! -Let me try it, fuck! 435 00:20:09,084 --> 00:20:10,852 -Let me try it! -Hey, watch your mouth. 436 00:20:10,852 --> 00:20:12,787 Cobra assault cannon. 437 00:20:12,787 --> 00:20:15,457 State-of-the-art, bang, bang! 438 00:20:15,457 --> 00:20:19,094 They're like 50-caliber machine guns that you mount on boats. 439 00:20:19,094 --> 00:20:20,729 That's what they mainly use them for. 440 00:20:20,729 --> 00:20:22,797 And they were pretty hefty. 441 00:20:22,797 --> 00:20:24,466 I think there were probably about, you know, 442 00:20:24,466 --> 00:20:26,034 40 or 50 pounds. 443 00:20:26,034 --> 00:20:27,636 KURTWOOD: We had a dummy, of course. 444 00:20:27,636 --> 00:20:30,505 But we had to have the real ones when we fired them. 445 00:20:30,505 --> 00:20:31,506 Clarence, come on! 446 00:20:31,773 --> 00:20:33,642 [gun shots] 447 00:20:33,642 --> 00:20:35,310 RANDY: The Cobra assault cannons, 448 00:20:35,310 --> 00:20:37,345 initially, we were gonna put a camera 449 00:20:37,345 --> 00:20:38,680 where it appears to be an eyepiece 450 00:20:38,680 --> 00:20:40,415 that was gonna be forward, 451 00:20:40,415 --> 00:20:43,885 and the back end of the scope was going to be a screen. 452 00:20:43,885 --> 00:20:47,956 There wasn't the budget to build four or five working scopes, 453 00:20:47,956 --> 00:20:49,791 and so, it was just a big block 454 00:20:49,791 --> 00:20:51,660 with all the fins and everything on it. 455 00:20:51,660 --> 00:20:53,695 In terms of preparing to shoot, 456 00:20:53,695 --> 00:20:56,831 they said, "Here. Okay, hold it this way. 457 00:20:56,831 --> 00:20:58,633 Okay, pull the trigger." 458 00:20:58,633 --> 00:20:59,634 Whoo! 459 00:20:59,634 --> 00:21:01,703 [laughs manically] Yeah! 460 00:21:01,703 --> 00:21:03,305 [laughs] 461 00:21:03,305 --> 00:21:05,807 They was like, "No. We didn't have a lot of prep." 462 00:21:05,807 --> 00:21:08,510 I just remember trying to get them in the car. 463 00:21:08,510 --> 00:21:10,312 Fired, then I get in the car, and I was like... 464 00:21:10,312 --> 00:21:11,313 [imitates gunshots] 465 00:21:12,547 --> 00:21:13,915 CLAPPER: Parker. 466 00:21:13,915 --> 00:21:16,451 DIRECTOR: Take it out. And action! 467 00:21:16,451 --> 00:21:19,154 The thing I get most quoted for is, "I like it." 468 00:21:19,487 --> 00:21:21,022 [gunshot] 469 00:21:21,022 --> 00:21:23,625 -Whoo! -I like it! 470 00:21:23,625 --> 00:21:24,959 PAUL MCCRANE: And most people 471 00:21:24,959 --> 00:21:26,961 will come up to me, and say, "Oh, I like it!" 472 00:21:28,129 --> 00:21:29,464 So, I say, "That'll be $5." 473 00:21:29,798 --> 00:21:31,466 I like it! 474 00:21:31,466 --> 00:21:33,335 PAUL MCCRANE: And that line was not my invention. 475 00:21:33,335 --> 00:21:34,736 That actually was scripted. 476 00:21:34,736 --> 00:21:36,838 And I think it was the boom operator, 477 00:21:36,838 --> 00:21:37,872 if I remember right. 478 00:21:38,273 --> 00:21:39,941 And he talked about it reminding him 479 00:21:39,941 --> 00:21:41,976 of a Chevy Chase film where he says, 480 00:21:42,210 --> 00:21:45,714 "I like it" in some crazy way, which I actually hadn't seen. 481 00:21:45,714 --> 00:21:48,516 [laughs manically] 482 00:21:48,516 --> 00:21:49,751 I like it! 483 00:21:50,285 --> 00:21:51,853 PAUL MCCRANE: Just his saying that triggered 484 00:21:52,120 --> 00:21:54,823 this idea in me, and that's why the reading 485 00:21:54,823 --> 00:21:56,024 came out the way that it did. 486 00:21:56,324 --> 00:21:58,126 I like it! 487 00:21:58,326 --> 00:21:59,794 PAUL M. SAMMON: Originally, there was a scene 488 00:21:59,794 --> 00:22:02,297 where Clarence's gang go to a pet shop, 489 00:22:02,297 --> 00:22:04,332 and there's a little puppy in a window. 490 00:22:04,699 --> 00:22:06,768 And they have those guns, and they point it, 491 00:22:06,768 --> 00:22:08,403 and one of them goes, "Nah." 492 00:22:08,403 --> 00:22:10,538 And they turn around, and they start to walk off. 493 00:22:10,538 --> 00:22:12,240 But then they turn back, and they kill the puppy, 494 00:22:12,240 --> 00:22:14,709 and they blow up the pet store. 495 00:22:14,709 --> 00:22:17,846 Now, if you know anything about film taboos at that time, 496 00:22:17,846 --> 00:22:19,781 you were never supposed to kill a pet. 497 00:22:19,781 --> 00:22:21,750 -Wow! -[exclaims] 498 00:22:21,750 --> 00:22:22,784 I like it! 499 00:22:22,784 --> 00:22:24,252 "I like it!" Boom! 500 00:22:24,686 --> 00:22:27,722 [explosion] 501 00:22:27,722 --> 00:22:28,890 PETER WELLER: It was a Friday night. 502 00:22:28,890 --> 00:22:31,192 They shot all night, and I had a hot date. 503 00:22:31,192 --> 00:22:32,861 She wanted to go to the set. 504 00:22:32,861 --> 00:22:35,897 And man, they had done something to that street. 505 00:22:36,164 --> 00:22:37,866 And that was one of the scenes where, you know, 506 00:22:37,866 --> 00:22:39,234 we had a big fight 507 00:22:39,234 --> 00:22:40,869 in order to make sure the actors didn't get too close. 508 00:22:40,869 --> 00:22:42,871 And then Paul would say, "Okay, get a little closer. 509 00:22:42,871 --> 00:22:43,805 Actors, would you get a little closer? 510 00:22:43,805 --> 00:22:44,873 Get a little closer?" 511 00:22:44,873 --> 00:22:46,608 Of course, there was a lot of stunts. 512 00:22:46,608 --> 00:22:47,475 JOE: Yeah! 513 00:22:47,709 --> 00:22:48,910 [exclaims] 514 00:22:48,910 --> 00:22:50,745 And there was a lot of explosions. 515 00:22:50,745 --> 00:22:52,113 [Emil exclaims] 516 00:22:52,113 --> 00:22:55,016 And some of the explosions were extraordinary enough. 517 00:22:55,216 --> 00:22:57,952 [gunshot, explosion] 518 00:22:57,952 --> 00:23:00,288 PAUL: There's an explosion, basically, when they have these new guns, 519 00:23:00,288 --> 00:23:01,656 and they shoot in the street. 520 00:23:01,656 --> 00:23:04,726 And I remember that the actors were nearly blown away. 521 00:23:04,726 --> 00:23:06,561 CLAPPER: Hey, make a camera mark. 522 00:23:06,561 --> 00:23:07,929 PAUL: And background. 523 00:23:07,929 --> 00:23:09,631 Background action. 524 00:23:09,631 --> 00:23:11,266 JESSE: Now, it's a real street, right, that they're shooting on. 525 00:23:11,266 --> 00:23:13,668 So, they buy out one side of it, they load it up, 526 00:23:13,668 --> 00:23:15,069 'cause they're gonna blow it up. 527 00:23:15,470 --> 00:23:18,206 On the other side, are stores and people living above it. 528 00:23:18,206 --> 00:23:20,975 So, the AD comes out with a bullhorn, right? 529 00:23:20,975 --> 00:23:22,677 And he says that the people that are in their apartments, 530 00:23:23,144 --> 00:23:26,214 he says, "Please step back from the windows." 531 00:23:26,214 --> 00:23:28,650 "Go back. You're not safe there. Go back." 532 00:23:28,650 --> 00:23:30,385 "These are live charges. 533 00:23:30,385 --> 00:23:32,754 Please step back from the windows. 534 00:23:32,754 --> 00:23:35,390 Actors, stand right here." [laughs] 535 00:23:35,390 --> 00:23:37,759 So, we were just like, "Dude." 536 00:23:37,759 --> 00:23:38,693 Shit. 537 00:23:38,960 --> 00:23:40,495 And I looked at Kurtwood, 538 00:23:40,495 --> 00:23:43,064 thinking, "If they're not safe, what are we doing right here?" 539 00:23:43,064 --> 00:23:45,099 But we hear, "Roll, and action." And I pull the trigger. 540 00:23:45,099 --> 00:23:46,935 [explosion] 541 00:23:46,935 --> 00:23:49,671 And all I remember is a wall of flame 542 00:23:49,671 --> 00:23:50,939 coming straight at me. 543 00:23:51,306 --> 00:23:53,408 [explosion] 544 00:23:53,408 --> 00:23:54,876 And we were all like... [screams] 545 00:23:54,876 --> 00:23:55,944 EMIL: Heads up, you guys! 546 00:23:55,944 --> 00:23:58,780 [explosion] 547 00:23:59,013 --> 00:24:01,483 You can see even the actors doing this, you know? 548 00:24:01,483 --> 00:24:03,785 Because it was much bigger than everybody thought. 549 00:24:04,018 --> 00:24:06,721 [explosion] 550 00:24:06,721 --> 00:24:07,822 PAUL MCCRANE: I turned around, 551 00:24:08,256 --> 00:24:10,124 and Kurtwood Smith's jacket is smoking. 552 00:24:10,458 --> 00:24:12,160 RAY: We were just close enough 553 00:24:12,160 --> 00:24:14,462 to feel some of the little pieces of glass 554 00:24:14,462 --> 00:24:16,965 hit us on the side of the face, a little bit, little-- 555 00:24:17,332 --> 00:24:19,434 tiny little slivers. 556 00:24:19,434 --> 00:24:22,170 And we had a couple of blood spots on our face. 557 00:24:22,170 --> 00:24:25,106 And that was a $500-bump, as I recall. 558 00:24:25,340 --> 00:24:28,643 They actually ended up paying us stunt pay for that. 559 00:24:28,643 --> 00:24:29,811 -LEON: Whoo! -CLARENCE: Go, go, go, go, go! 560 00:24:29,811 --> 00:24:31,546 Hey, the guns are trick, Clarence. 561 00:24:31,546 --> 00:24:34,015 [chuckles] 562 00:24:34,015 --> 00:24:35,884 JESSE: And stuff is blowing up and blowing up. 563 00:24:36,184 --> 00:24:38,653 I said to myself, "I need to sit back." 564 00:24:38,653 --> 00:24:40,388 And I sat back, and a piece of glass comes... 565 00:24:40,388 --> 00:24:41,389 [exhales sharply] 566 00:24:41,389 --> 00:24:43,324 ...straight through the truck. 567 00:24:43,324 --> 00:24:46,361 I was like, "Dude, this is, like, way too real." 568 00:24:46,361 --> 00:24:47,595 PAUL MCCRANE: My favorite thing about the whole thing 569 00:24:47,595 --> 00:24:49,364 was that Paul afterwards came up to me, 570 00:24:49,364 --> 00:24:52,467 and he said, "You know, normally, I don't ask an actor 571 00:24:52,667 --> 00:24:54,702 to do something that I won't do myself, 572 00:24:54,702 --> 00:24:57,372 but this time, I think I don't do it." 573 00:24:57,372 --> 00:24:58,873 No. 574 00:24:58,873 --> 00:25:02,076 RAY: That night, when we blew up that street completely, 575 00:25:02,076 --> 00:25:05,346 was one of the most fun nights I've ever had in my career. 576 00:25:05,346 --> 00:25:07,415 But charity work ain't your style, man. 577 00:25:07,415 --> 00:25:09,918 [explosion in distance] 578 00:25:09,918 --> 00:25:12,587 What's the real deal behind this turkey shoot? 579 00:25:12,587 --> 00:25:14,322 Delta City, man. 580 00:25:14,322 --> 00:25:16,891 I figure it's the future of organized crime. 581 00:25:18,960 --> 00:25:22,030 Good business is where you find it. 582 00:25:23,565 --> 00:25:26,100 Goin' to the steel yard, round 'em up. 583 00:25:26,100 --> 00:25:28,336 LEON: All right. Cut the whole street. We're movin' out! 584 00:25:28,336 --> 00:25:30,071 CLARENCE: Come on, Emil, get your ass in the truck! 585 00:25:30,338 --> 00:25:33,207 I could tell from the dailies that the action was working. 586 00:25:33,207 --> 00:25:35,076 You know, the action was really working. 587 00:25:35,076 --> 00:25:39,547 [♪♪♪] 588 00:25:39,547 --> 00:25:41,449 ED: There was a sequence in the third act 589 00:25:41,449 --> 00:25:44,819 where there was a car chase on the way to the steel mill. 590 00:25:44,819 --> 00:25:47,722 And when we were in Dallas, it was on the schedule. 591 00:25:47,722 --> 00:25:49,924 I looked at that one day, and thought, 592 00:25:50,358 --> 00:25:51,359 "We don't really need this." 593 00:25:51,359 --> 00:25:52,460 We could just go from here to here. 594 00:25:52,460 --> 00:25:53,828 And so, I brought it up in a production meeting, 595 00:25:53,828 --> 00:25:54,896 and they were all like, "Fuck." 596 00:25:54,896 --> 00:25:56,798 And Paul went, "Yeah, yeah, we don't." 597 00:25:56,798 --> 00:25:57,799 'Cause that was like, 598 00:25:57,799 --> 00:25:59,267 a half a day or a day of shooting. 599 00:25:59,267 --> 00:26:00,568 And it's not saving money. 600 00:26:00,902 --> 00:26:03,304 It's more like saving the audience time. 601 00:26:03,304 --> 00:26:05,740 So, you know, I expected them to be really happy with me 602 00:26:05,740 --> 00:26:06,841 for doing that, but they weren't. 603 00:26:06,841 --> 00:26:08,943 They just were like, "Yeah, go away." So... 604 00:26:08,943 --> 00:26:09,844 [chuckles] 605 00:26:12,380 --> 00:26:14,215 STEPHAN: I remember at the hotel, 606 00:26:14,215 --> 00:26:17,285 going out with the Robo team with Rob and drinking a lot 607 00:26:17,285 --> 00:26:18,386 with Peter Weller, 608 00:26:18,386 --> 00:26:20,622 and then Peter and him would get into it. 609 00:26:20,622 --> 00:26:23,124 And they were like fucking around with each other 610 00:26:23,124 --> 00:26:25,560 all the time, you know? 611 00:26:25,560 --> 00:26:27,028 Rob's a sweet guy. 612 00:26:27,028 --> 00:26:28,763 Maybe-- maybe he doesn't like me. 613 00:26:28,763 --> 00:26:30,598 I don't know. I-- I mean... 614 00:26:30,932 --> 00:26:32,066 STEPHAN: They got into it like, 615 00:26:32,066 --> 00:26:33,868 "I'm making more money than you are," 616 00:26:33,868 --> 00:26:36,037 and so on and so forth. [laughs] 617 00:26:36,437 --> 00:26:38,139 PETER WELLER: I called Rob, and apologized to him. 618 00:26:38,139 --> 00:26:41,042 And I apologized to him again for any kind of wound 619 00:26:41,042 --> 00:26:43,878 that he might have suffered from my insolent mouth talking 620 00:26:43,878 --> 00:26:45,880 about whatever the difficulties of movie-making were. 621 00:26:46,114 --> 00:26:47,682 Because he was nothing more than inventive, 622 00:26:47,682 --> 00:26:49,484 and creative, and fantastic. 623 00:26:49,484 --> 00:26:52,020 I have to tell you, I must have been very obnoxious, 624 00:26:52,020 --> 00:26:53,955 'cause at a certain point, Jon just stopped talking to me. 625 00:26:54,255 --> 00:26:55,657 -And-- and it was like... -No. 626 00:26:55,657 --> 00:26:56,891 ED: ...you know? 627 00:26:56,891 --> 00:26:58,459 And occasionally, he would say something, 628 00:26:58,459 --> 00:27:00,662 like he'd come by and see me doing something, 629 00:27:00,662 --> 00:27:01,696 and he was like, "Oh, there's the writer 630 00:27:01,696 --> 00:27:02,630 fucking everything up again." 631 00:27:03,064 --> 00:27:05,533 No, I don't wanna go there. 632 00:27:05,533 --> 00:27:09,470 And Jon Davison fired me off the picture in Dallas. 633 00:27:09,470 --> 00:27:10,705 Right before we were gonna leave Dallas, 634 00:27:10,705 --> 00:27:11,873 he said, "You're wrapped." 635 00:27:11,873 --> 00:27:13,374 "You probably have enough." 636 00:27:13,374 --> 00:27:14,876 And I was like devastated. 637 00:27:14,876 --> 00:27:17,378 I was just devastated that you would separate me 638 00:27:17,378 --> 00:27:18,279 from this movie. 639 00:27:18,646 --> 00:27:21,149 And Paul Verhoeven had to go to him, and say... 640 00:27:21,149 --> 00:27:23,017 PAUL: (over telephone) "No, we have to take the writer with us 641 00:27:23,017 --> 00:27:24,152 to Pittsburgh." 642 00:27:24,152 --> 00:27:28,189 [♪♪♪] 643 00:27:30,291 --> 00:27:35,663 PETER WELLER: When RoboCop practices his aim, the baby jars are the metaphor. 644 00:27:35,663 --> 00:27:39,233 What RoboCop is doing there is annihilating 645 00:27:39,233 --> 00:27:44,172 the force-fed problem. And that's how technology 646 00:27:44,172 --> 00:27:47,475 is thinking of him as their baby. 647 00:27:47,475 --> 00:27:48,476 He's killing it. 648 00:27:48,476 --> 00:27:49,911 [gunshot] 649 00:27:49,911 --> 00:27:53,748 And he's annihilating the thing that technology gave him 650 00:27:53,748 --> 00:27:55,583 to keep him sapling. 651 00:27:55,583 --> 00:27:58,519 My targeting system is a little messed up. 652 00:27:58,519 --> 00:28:02,590 PETER WELLER: And he's asking another human being for help. 653 00:28:02,590 --> 00:28:04,192 He is becoming Murphy. 654 00:28:04,392 --> 00:28:07,195 [♪♪♪] 655 00:28:07,195 --> 00:28:08,129 [gunshots] 656 00:28:08,129 --> 00:28:09,030 Can I help you? 657 00:28:10,064 --> 00:28:11,499 Aim for me. 658 00:28:11,499 --> 00:28:13,101 ED: In the abandoned third draft, 659 00:28:13,101 --> 00:28:16,237 there may have been a romantic idea there. 660 00:28:16,237 --> 00:28:18,372 It sounds like something Paul would have wanted to do. 661 00:28:18,372 --> 00:28:22,276 NANCY: I had no idea about any of that until we all did a Q&A. 662 00:28:22,276 --> 00:28:23,544 And I heard that story. I thought, 663 00:28:23,544 --> 00:28:25,580 "Oh, that's interesting. I never heard that before." 664 00:28:25,813 --> 00:28:27,882 In some ways, Paul and other directors are always trying 665 00:28:27,882 --> 00:28:29,617 to get a kiss in at the end of a movie. 666 00:28:29,617 --> 00:28:31,119 It's not always necessary. 667 00:28:31,119 --> 00:28:33,287 Yeah. I'm glad it-- it didn't go that way. 668 00:28:33,287 --> 00:28:35,389 That would have been kind of strange. 669 00:28:35,723 --> 00:28:37,792 More to the left. 670 00:28:37,792 --> 00:28:38,826 Here. 671 00:28:38,826 --> 00:28:40,061 ED: One of the things that's cool 672 00:28:40,061 --> 00:28:41,229 about the relationship between them is 673 00:28:41,596 --> 00:28:44,232 it's a non-romantic, a non-sexist, 674 00:28:44,699 --> 00:28:45,633 in a way, relationship. 675 00:28:46,000 --> 00:28:48,369 And I think that Paul really embraced that as well. 676 00:28:48,369 --> 00:28:49,971 I figure that's dead-on. 677 00:28:49,971 --> 00:28:50,838 Thank you. 678 00:28:53,741 --> 00:28:54,976 PAUL: The scene was written 679 00:28:54,976 --> 00:28:58,479 in the original story for a car cemetery. 680 00:28:58,479 --> 00:29:00,915 You see all these cars on top of each other. 681 00:29:00,915 --> 00:29:03,317 That was written for that, basically. 682 00:29:03,718 --> 00:29:05,553 But then for some way, we couldn't find it. 683 00:29:05,553 --> 00:29:08,089 And then somebody was talking about a steel factory. 684 00:29:08,456 --> 00:29:11,459 [gunshots, explosion] 685 00:29:11,659 --> 00:29:13,461 JESSE: When we were shooting Joe's death scene... 686 00:29:13,461 --> 00:29:14,796 CLARENCE: Dammit! 687 00:29:14,796 --> 00:29:17,465 JESSE: ...first of all, falling with a 45-pound gun, 688 00:29:17,465 --> 00:29:19,333 you really gotta position yourself, 689 00:29:19,333 --> 00:29:21,135 so you don't break a finger or something. 690 00:29:21,135 --> 00:29:22,103 Looking for me? 691 00:29:24,205 --> 00:29:25,273 [groans] 692 00:29:25,273 --> 00:29:26,808 JESSE: Man, when that shit blew up, 693 00:29:26,808 --> 00:29:31,012 I had bruises on my chest like for a month. 694 00:29:31,012 --> 00:29:34,849 They hit so hard, I was like, "I'm okay. It's okay." 695 00:29:34,849 --> 00:29:37,451 "I'm-- I'm all right." 696 00:29:37,451 --> 00:29:39,453 Boy, I had to try to man up behind that, 697 00:29:39,453 --> 00:29:40,955 but you know, tears were kinda like 698 00:29:40,955 --> 00:29:42,790 coming out the side of my eye. 699 00:29:42,790 --> 00:29:44,592 I was so glad I was laying on the ground, 700 00:29:44,592 --> 00:29:47,528 nobody could see me. That shit hurt. [laughs] 701 00:29:47,528 --> 00:29:50,798 [♪♪♪] 702 00:29:50,798 --> 00:29:54,168 PETER WELLER: The process of making a movie makes everybody an asshole. 703 00:29:54,168 --> 00:29:59,173 "Why is my Winnebago not in front of the studio? 704 00:29:59,173 --> 00:30:00,541 I have to walk!" 705 00:30:00,541 --> 00:30:04,178 You know, that was me. I did that. I became that guy. 706 00:30:04,178 --> 00:30:06,047 And hopefully, I'm not that guy now, 707 00:30:06,047 --> 00:30:08,983 but I was definitely that guy to some people. 708 00:30:08,983 --> 00:30:11,018 And I'm sure a couple of people thought 709 00:30:11,018 --> 00:30:16,324 that I was, you know, uh, not necessarily a nice guy. 710 00:30:16,324 --> 00:30:19,260 I can think of two people, and I probably wasn't. 711 00:30:20,661 --> 00:30:22,063 RANDY: When we were in Monessen, Pennsylvania, 712 00:30:22,063 --> 00:30:23,698 shooting the steel mill, 713 00:30:23,698 --> 00:30:26,167 Peter's upstairs. We were up two or three floors. 714 00:30:26,167 --> 00:30:27,935 You had to go upstairs to get to him. 715 00:30:28,336 --> 00:30:30,071 We had an explosion behind him. 716 00:30:30,071 --> 00:30:32,540 We'd make the explosion hot. We were ready to go. 717 00:30:33,708 --> 00:30:36,510 I went upstairs, and I was carrying, 718 00:30:36,510 --> 00:30:40,114 I don't know, about eight Oreos you know, in a stack. 719 00:30:40,114 --> 00:30:43,084 I'd hand him his weapon. I say, "Peter, safety's off." 720 00:30:43,084 --> 00:30:45,019 And he wouldn't take the pistol. 721 00:30:45,019 --> 00:30:48,022 And he says, "Robo wants an Oreo." 722 00:30:48,022 --> 00:30:49,357 And I looked at him, and I go, 723 00:30:49,357 --> 00:30:51,259 "No. It's just you and I, Peter. 724 00:30:51,726 --> 00:30:53,361 Robo doesn't get an Oreo. 725 00:30:53,361 --> 00:30:56,430 If Peter wants an Oreo, Peter can have an Oreo." 726 00:30:56,731 --> 00:30:59,934 And he clip-clops in the suit over to the edge of the railing, 727 00:30:59,934 --> 00:31:03,504 and Peter starts bellowing, "Robo wants an Oreo." 728 00:31:03,504 --> 00:31:05,673 And when the steel mill just echoes, 729 00:31:05,673 --> 00:31:08,776 "Randy has Oreos" or "Robo wants an Oreo." 730 00:31:09,110 --> 00:31:10,611 And Steve Lim over the radio goes, 731 00:31:10,611 --> 00:31:12,079 STEPHEN: (on radio) Uh, Randy, do you have Oreos? 732 00:31:12,280 --> 00:31:16,117 So, I stuffed that whole stack in my mouth, 733 00:31:16,117 --> 00:31:18,519 and then crunched them, and let 'em fall down 734 00:31:18,519 --> 00:31:19,954 three stories onto everybody below me. 735 00:31:20,221 --> 00:31:25,760 And I, "Not anymore." And Robo got upset. 736 00:31:25,993 --> 00:31:28,162 I haven't got a damn clue 737 00:31:28,162 --> 00:31:32,533 about Randy Moore and his fuckin' Oreos. 738 00:31:32,533 --> 00:31:34,702 Randy Moore's a friend, but half the time, 739 00:31:34,969 --> 00:31:36,337 I don't know what the hell he's talking about. 740 00:31:37,538 --> 00:31:41,142 So, he's got all these stories from RoboCop. 741 00:31:41,142 --> 00:31:42,343 I don't remember 'em. 742 00:31:42,343 --> 00:31:43,644 RANDY: Steve Lim's going, 743 00:31:43,644 --> 00:31:46,147 "Can we get this shot? And then Robo can have an Oreo." 744 00:31:46,647 --> 00:31:49,951 And Peter said, "No." So, they had to cut. 745 00:31:49,951 --> 00:31:51,352 They were rolling. They were ready to go. 746 00:31:51,819 --> 00:31:53,487 Now, we're hot on the explosive. 747 00:31:53,788 --> 00:31:56,157 They had to send a PA up the stairs. 748 00:31:56,157 --> 00:31:57,758 They feed him an Oreo. 749 00:31:57,758 --> 00:31:59,794 And now, he's got Oreo in his teeth. 750 00:31:59,794 --> 00:32:03,264 So, then the PA has to pick the Oreos out of his teeth. 751 00:32:03,264 --> 00:32:04,799 And then he says, "Okay, I'm ready," 752 00:32:04,799 --> 00:32:05,833 and then we shot it. 753 00:32:05,833 --> 00:32:08,502 [explosion] 754 00:32:08,836 --> 00:32:10,738 So, after that, Peter would always say, 755 00:32:10,738 --> 00:32:12,473 "Robo wants an Oreo." 756 00:32:12,473 --> 00:32:14,608 So, I had a gentleman that worked with me. 757 00:32:14,608 --> 00:32:16,444 And his official title should have been 758 00:32:16,444 --> 00:32:18,779 The Peter Feeder, because that's what the crew 759 00:32:18,779 --> 00:32:20,181 called him, as "The Peter Feeder", 760 00:32:20,448 --> 00:32:23,851 because for some reason, weapons had to feed Peter Oreos. 761 00:32:23,851 --> 00:32:27,822 Randy, love you madly. 762 00:32:27,822 --> 00:32:31,692 I don't believe one fucking word out of your mouth, bro. 763 00:32:31,692 --> 00:32:38,666 [♪♪♪] 764 00:32:39,600 --> 00:32:40,935 PAUL MCCRANE: I thought Ed and Mike's script 765 00:32:40,935 --> 00:32:43,170 was really good and really smart. 766 00:32:43,170 --> 00:32:45,873 And I thought the film improved on the script, 767 00:32:45,873 --> 00:32:47,641 which I was really happy about. 768 00:32:49,377 --> 00:32:50,644 RUSSELL: There in that scene, it was one of those, you know, 769 00:32:50,644 --> 00:32:52,013 just survival. 770 00:32:52,013 --> 00:32:53,080 [car revving] 771 00:32:53,080 --> 00:32:54,348 RUSSELL: Well, he doesn't really run, 772 00:32:54,348 --> 00:32:55,883 but he gets out of the way very fast. 773 00:32:56,083 --> 00:32:57,051 I mean, it was one of those things 774 00:32:57,051 --> 00:32:59,487 that you can only do 775 00:32:59,487 --> 00:33:01,022 what the suit would allow you to do. 776 00:33:01,355 --> 00:33:03,958 Okay! Now, I've got ya! 777 00:33:05,526 --> 00:33:07,728 RUSSELL: You're standing there, and as he's coming at you, 778 00:33:07,728 --> 00:33:09,096 you just have to get out of the way 779 00:33:09,096 --> 00:33:10,865 at the very last moment. 780 00:33:11,065 --> 00:33:12,400 [gunshots] 781 00:33:12,400 --> 00:33:14,702 And one of those things is you just got to time it 782 00:33:14,702 --> 00:33:15,669 to where you go, "Okay. 783 00:33:15,669 --> 00:33:16,804 How fast can I move in this suit?" 784 00:33:19,173 --> 00:33:22,076 Everything was very meticulous. Peter would correct me, 785 00:33:22,076 --> 00:33:24,545 and he goes, "Okay, do this, 'cause this is what I would do." 786 00:33:26,280 --> 00:33:29,216 BART: I like the melting man gag. I think that's a lot of fun. 787 00:33:29,216 --> 00:33:30,551 You go in this tank, and you wash out, 788 00:33:30,551 --> 00:33:31,852 you become a monster. 789 00:33:31,852 --> 00:33:33,554 Those are the kind of things that I think are funny. 790 00:33:35,089 --> 00:33:36,390 MILES: I remember Rob coming into the room, and saying, 791 00:33:36,657 --> 00:33:38,893 "Oh shit, we've got to create this makeup for this character." 792 00:33:38,893 --> 00:33:41,429 He gets thrown into a vat of toxic radioactive waste, 793 00:33:41,429 --> 00:33:42,530 and he starts to melt. 794 00:33:42,763 --> 00:33:48,402 [splashing] 795 00:33:48,402 --> 00:33:50,538 PAUL MCCRANE: The toxic waste section was a stunt guy 796 00:33:50,538 --> 00:33:52,840 that did the actual roll out of the stuff. 797 00:33:56,844 --> 00:33:59,480 But then getting up, obviously, was me. 798 00:33:59,780 --> 00:34:03,584 [groans] 799 00:34:06,420 --> 00:34:08,089 MILES: We have pictures of the actor. 800 00:34:08,089 --> 00:34:10,224 I did some tracings of him, and then Rob 801 00:34:10,224 --> 00:34:12,726 brought me a picture of a guy who's got stung 802 00:34:12,726 --> 00:34:16,564 by a wasp on his eye, and his eye was swollen up huge. 803 00:34:16,564 --> 00:34:17,932 So, I incorporated that into the design. 804 00:34:17,932 --> 00:34:18,899 I think he just said, "Go for it." 805 00:34:19,133 --> 00:34:20,868 He said, "Imagine that the guy's skin 806 00:34:20,868 --> 00:34:22,436 is made of ice cream and it's starting to melt 807 00:34:22,436 --> 00:34:23,437 off of his body." 808 00:34:23,437 --> 00:34:26,574 [groans, screams] 809 00:34:26,574 --> 00:34:27,975 PAUL MCCRANE: We shot that over two days. 810 00:34:27,975 --> 00:34:30,778 The first day, it was six and a half hours of makeup 811 00:34:31,078 --> 00:34:32,046 before we started shooting, 812 00:34:32,046 --> 00:34:35,483 where Rob Bottin's team, great, great guys, 813 00:34:35,483 --> 00:34:39,653 literally were like gluing this torso prosthesis on me 814 00:34:39,653 --> 00:34:41,655 every square inch. 815 00:34:41,655 --> 00:34:43,257 BART: I think we had two different stages on the head. 816 00:34:43,257 --> 00:34:45,426 I think the first stage was mainly this side, 817 00:34:45,426 --> 00:34:49,430 and we used a fair amount of his face over here. 818 00:34:49,430 --> 00:34:51,932 Also, added this little road rash. 819 00:34:51,932 --> 00:34:54,502 That was a continuity thing from when he fell off 820 00:34:54,502 --> 00:34:56,070 the motorcycle at the gas station. 821 00:34:56,070 --> 00:34:57,805 EMIL: You're dead. We killed you! 822 00:34:57,805 --> 00:34:59,140 And then when he comes 823 00:34:59,140 --> 00:35:01,509 staggering out a little later and gets hit by the car, 824 00:35:01,509 --> 00:35:04,545 then we had a facial piece on the other side as well. 825 00:35:04,912 --> 00:35:08,516 [♪♪♪] 826 00:35:11,519 --> 00:35:13,921 STEPHAN: We were eating, sleeping RoboCop, you know? 827 00:35:13,921 --> 00:35:16,357 We were in the shop working at night, 828 00:35:16,357 --> 00:35:17,658 repairing stuff, 829 00:35:17,658 --> 00:35:19,660 and then shooting it during the day. 830 00:35:19,660 --> 00:35:21,328 It was nonstop. 831 00:35:21,328 --> 00:35:25,933 [♪♪♪] 832 00:35:25,933 --> 00:35:29,103 GREGOR: I think we showed up to work at 3:00 in the morning 833 00:35:29,103 --> 00:35:31,972 and didn't leave until 2:00 at night. 834 00:35:32,339 --> 00:35:34,375 So, it was a long, long day. 835 00:35:34,375 --> 00:35:35,809 We shot it, 836 00:35:35,809 --> 00:35:37,645 and it was about two or three hours to take it off. 837 00:35:37,645 --> 00:35:39,547 The next day, they got it down to, as I recall, 838 00:35:39,547 --> 00:35:40,781 about three hours to put it on. 839 00:35:40,781 --> 00:35:43,684 [screams] 840 00:35:49,256 --> 00:35:50,491 MILES: Hands were part of it, 841 00:35:50,491 --> 00:35:51,992 and he wanted to see finger bones sticking out. 842 00:35:51,992 --> 00:35:54,028 And I said, "Well, are you gonna have a melting effect 843 00:35:54,028 --> 00:35:55,529 or is this gonna be all done in rubber?" 844 00:35:55,529 --> 00:35:57,164 "No, no, no. We're just gonna do it all out of rubber." 845 00:35:57,164 --> 00:35:59,033 "Okay. So, you want like, melting skin like hanging down 846 00:35:59,033 --> 00:36:00,267 like it's dripping?" "Yeah, yeah, yeah. 847 00:36:00,267 --> 00:36:01,335 "It'll just-- it'll work. 848 00:36:01,335 --> 00:36:02,536 We'll just wave the ends of the fingers, 849 00:36:02,536 --> 00:36:04,371 and they'll just kind of dangle, and it'll work." 850 00:36:04,371 --> 00:36:05,706 I tried to take 851 00:36:05,706 --> 00:36:07,408 physical positions that seemed to reflect 852 00:36:07,408 --> 00:36:08,576 what he had designed. 853 00:36:08,576 --> 00:36:10,211 I looked in the mirror once I had the thing on. 854 00:36:10,211 --> 00:36:12,246 [whimpers] Help me. 855 00:36:12,246 --> 00:36:13,614 [screams] 856 00:36:13,614 --> 00:36:14,615 PAUL MCCRANE: The vocalizations I did 857 00:36:15,049 --> 00:36:17,384 and all that kind of stuff were just my playing with things 858 00:36:17,618 --> 00:36:21,021 based on what Paul asked for and what Rob had built. 859 00:36:21,689 --> 00:36:22,923 [screams] 860 00:36:22,923 --> 00:36:25,092 [gasps, screams] 861 00:36:25,092 --> 00:36:26,694 RAY: My favorite line of the movie, 862 00:36:26,694 --> 00:36:28,829 Leon comes running around the corner, 863 00:36:28,829 --> 00:36:30,264 Paul comes up to him, 864 00:36:30,264 --> 00:36:33,000 and his fingers are melting, and his face is melting. 865 00:36:33,000 --> 00:36:39,206 And Leon does not want him to melt on him. 866 00:36:39,206 --> 00:36:42,743 So, he says, "Don't touch me, man!" 867 00:36:43,077 --> 00:36:45,012 -[groans, whimpers] -Don't touch me, man! 868 00:36:47,047 --> 00:36:48,249 PAUL MCCRANE: It's one of those things 869 00:36:48,249 --> 00:36:51,585 I'm glad that I did, but I wouldn't particularly 870 00:36:51,585 --> 00:36:52,753 wanna do it again. 871 00:36:52,753 --> 00:36:55,422 [♪♪♪] 872 00:36:55,422 --> 00:36:58,325 JOST: There's one shot with the wheel cap coming loose. 873 00:36:58,325 --> 00:36:59,927 I mean, this was not planned that way. 874 00:36:59,927 --> 00:37:00,794 It just happened. 875 00:37:01,095 --> 00:37:03,964 I was in the camera, and I heard it like, whee, 876 00:37:04,398 --> 00:37:06,100 went over my head. 877 00:37:06,100 --> 00:37:09,270 Maybe it could have ended with another credit 878 00:37:09,270 --> 00:37:11,872 at the end of the film for two DPs, 879 00:37:11,872 --> 00:37:15,042 the one before he died and the other one who took over. 880 00:37:18,112 --> 00:37:20,214 GREGOR: I also helped set up the big splat. 881 00:37:23,617 --> 00:37:25,919 I helped dress the dummy to look like Emil, 882 00:37:25,919 --> 00:37:27,521 and took all the old prosthetics, 883 00:37:27,521 --> 00:37:29,890 put it on there, and then helped load the thing 884 00:37:29,890 --> 00:37:32,426 with all the methylcellulose slime. 885 00:37:32,426 --> 00:37:33,961 CRAIG: I remember just screaming, you know? 886 00:37:33,961 --> 00:37:36,463 I just-- it was so funny, just this big splat. 887 00:37:36,463 --> 00:37:38,499 [screams] 888 00:37:38,499 --> 00:37:40,467 CLARENCE: Shit! [laughs] 889 00:37:40,834 --> 00:37:44,838 It was extremely funny, because he's blown to pieces. 890 00:37:44,838 --> 00:37:48,142 [tires screechin, thud] 891 00:37:48,342 --> 00:37:49,310 Oh, God. 892 00:37:49,310 --> 00:37:51,178 [groans, chuckles] 893 00:37:51,645 --> 00:37:53,781 MICHAEL: Verhoeven has a great sense of humor. 894 00:37:53,781 --> 00:37:56,684 His use of humor where people wouldn't even see humor. 895 00:37:56,684 --> 00:37:57,651 It's like, "Oh, this is fine. Oh." 896 00:37:57,651 --> 00:38:00,020 [laughs mockingly] 897 00:38:02,723 --> 00:38:06,026 It's really nice to have been a part of something that uh, 898 00:38:06,026 --> 00:38:08,329 seems to have made a mark, you know? 899 00:38:08,329 --> 00:38:10,097 You wanna live forever? 900 00:38:10,097 --> 00:38:12,700 [groans] 901 00:38:12,700 --> 00:38:13,834 [screams] 902 00:38:17,338 --> 00:38:19,273 [laughs] 903 00:38:19,273 --> 00:38:22,309 There's no guarantees in this business about anything, 904 00:38:22,309 --> 00:38:23,877 however good you think it is. 905 00:38:25,412 --> 00:38:27,147 JESSE: Things got a little bit 906 00:38:27,147 --> 00:38:30,751 contested between crew and-- you know, and Paul. 907 00:38:30,751 --> 00:38:32,386 So, the crew had a countdown. 908 00:38:32,386 --> 00:38:34,988 That said, you know, "20 more days with this, 909 00:38:34,988 --> 00:38:40,361 and 15 more days of this, 10 more days." 910 00:38:40,561 --> 00:38:43,230 Verhoeven, I felt, was a little on the tough side. 911 00:38:43,230 --> 00:38:49,670 He had an attitude of, you know, maybe very militaristic, 912 00:38:49,670 --> 00:38:50,704 you might say. 913 00:38:50,904 --> 00:38:52,005 ED: We were miserable, I guess, 914 00:38:52,005 --> 00:38:53,374 to be around, and all we wanted to do 915 00:38:53,374 --> 00:38:54,675 was make this movie all the time. 916 00:38:54,675 --> 00:38:56,610 So, by the end, we were the only people 917 00:38:56,610 --> 00:38:58,712 who would talk to each other. I mean, no one would talk to us. 918 00:38:58,712 --> 00:38:59,980 The producer wouldn't talk to us. 919 00:38:59,980 --> 00:39:01,048 The whole crew hated us. 920 00:39:01,048 --> 00:39:03,417 And we were always alone in the restaurant. 921 00:39:03,417 --> 00:39:06,053 And everybody was snarling at us or we were snarling at them. 922 00:39:06,320 --> 00:39:07,755 Everybody was suffering, and it was hard. 923 00:39:07,755 --> 00:39:08,922 I mean, it was a hard shoot. 924 00:39:08,922 --> 00:39:11,358 But at the same time, 925 00:39:11,358 --> 00:39:12,760 every day, you loved being there, 'cause you knew 926 00:39:12,760 --> 00:39:14,628 you were making a great film. 927 00:39:14,628 --> 00:39:15,996 SOL: That famous scene 928 00:39:15,996 --> 00:39:18,799 and the chase between the cars going through the area 929 00:39:18,799 --> 00:39:21,869 and all of that, it's a rough look, okay? 930 00:39:21,869 --> 00:39:24,004 If you wanna put it that way, that's what it had to be, 931 00:39:24,371 --> 00:39:27,374 because of the apocalypse of the period, you might say. 932 00:39:27,641 --> 00:39:28,642 NANCY: At the end of the shoot, 933 00:39:28,642 --> 00:39:30,644 we ended up in Monessen, Pennsylvania. 934 00:39:30,644 --> 00:39:32,379 I guess it was mid-November. 935 00:39:32,379 --> 00:39:34,948 So, East Coast, it was really cold. 936 00:39:34,948 --> 00:39:36,450 I'd never been squibbed before. 937 00:39:36,750 --> 00:39:40,287 That is quite an experience that I would not wish on anyone. 938 00:39:40,587 --> 00:39:42,089 [gunshots] 939 00:39:42,456 --> 00:39:43,791 NANCY: In a strange way, 940 00:39:44,291 --> 00:39:45,959 feeling those little thumps and bumps around your body 941 00:39:46,427 --> 00:39:48,395 help you with what it is you have to do. 942 00:39:48,629 --> 00:39:51,765 Worse than the squibs? The water. 943 00:39:52,266 --> 00:39:55,469 The absolutely disgusting, rusty water 944 00:39:55,469 --> 00:39:57,404 that I had to get into that was freezing cold. 945 00:39:57,404 --> 00:39:59,740 So, I'll take the squibs any day. 946 00:39:59,740 --> 00:40:01,909 [♪♪♪] 947 00:40:01,909 --> 00:40:05,145 PAUL: For me, it had that very specific atmosphere, 948 00:40:05,145 --> 00:40:07,915 you know, because of these enormous amounts of steel 949 00:40:07,915 --> 00:40:08,916 that were there. 950 00:40:08,916 --> 00:40:11,084 There was these enormous walls. 951 00:40:11,084 --> 00:40:14,121 It really felt like Troy or Jerusalem, you know? 952 00:40:14,121 --> 00:40:15,489 Ed and I talked a lot 953 00:40:15,489 --> 00:40:19,693 about the man in the iron mask, uh, a quest for identity. 954 00:40:20,160 --> 00:40:23,831 But the Christ metaphor, Paul pretty much brought. 955 00:40:25,232 --> 00:40:27,768 -Bye-bye, baby. -ROBOCOP: Clarence! 956 00:40:27,968 --> 00:40:31,438 [♪♪♪] 957 00:40:31,438 --> 00:40:32,806 PAUL: I had built something 958 00:40:32,806 --> 00:40:35,142 under the water, basically, so he could walk there 959 00:40:35,142 --> 00:40:37,778 because I wanted him to be Jesus walking over the water. 960 00:40:39,012 --> 00:40:41,081 Okay. I give up. 961 00:40:41,081 --> 00:40:41,949 PAUL: And now, he says... 962 00:40:42,416 --> 00:40:44,117 I'm not arresting you anymore. 963 00:40:44,117 --> 00:40:45,886 "I'm not going to arrest you anymore. 964 00:40:45,886 --> 00:40:47,521 I'm going to kill you." 965 00:40:47,521 --> 00:40:49,323 And that's, for me, the American Jesus. 966 00:40:52,426 --> 00:40:53,861 RAY: I had to run out on that catwalk 967 00:40:54,094 --> 00:40:56,730 on the top to get to the crane booth, 968 00:40:56,730 --> 00:40:59,333 so that I could drop the steel down on RoboCop. 969 00:40:59,333 --> 00:41:01,902 And I saw how high up it was, and it was kind of scary, 970 00:41:01,902 --> 00:41:03,570 to tell you the truth. 971 00:41:03,570 --> 00:41:05,138 PAUL: RoboCop comes over the water, 972 00:41:05,138 --> 00:41:07,007 and then the other guy pulls the handle, 973 00:41:07,274 --> 00:41:09,343 and then all these beams fall on RoboCop. 974 00:41:12,212 --> 00:41:13,347 RUSSELL: They had a dummy there 975 00:41:13,347 --> 00:41:15,916 that it actually-- all the big, heavy beams 976 00:41:15,916 --> 00:41:17,284 actually fell right on him. 977 00:41:19,019 --> 00:41:20,988 Die, you bastard! 978 00:41:20,988 --> 00:41:21,922 Wow. 979 00:41:21,922 --> 00:41:22,923 I got him, Clarence! 980 00:41:22,923 --> 00:41:24,024 I got him! 981 00:41:24,024 --> 00:41:25,859 -[gunshot] -[grunts] 982 00:41:28,161 --> 00:41:29,363 RAY: That black costume 983 00:41:29,363 --> 00:41:32,499 that I had on, they also put on the dummy. 984 00:41:32,499 --> 00:41:35,402 They gave me that costume after it was blown up. 985 00:41:35,402 --> 00:41:36,670 It's in tatters. 986 00:41:36,670 --> 00:41:40,073 It was blown all to hell, but um, I still have it. 987 00:41:40,073 --> 00:41:42,142 I always have it. And all I have to do is find it. 988 00:41:43,710 --> 00:41:44,845 RUSSELL: And then whenever 989 00:41:44,845 --> 00:41:46,547 he's all entangled, and the beams 990 00:41:46,547 --> 00:41:48,782 were all fake ones, but that was Peter. 991 00:41:48,782 --> 00:41:50,083 PETER WELLER: And I can't get out of it. 992 00:41:50,083 --> 00:41:52,619 And then Kurtwood in a desperation, 993 00:41:52,619 --> 00:41:54,755 comes over and stabs me with that spike. 994 00:41:55,055 --> 00:41:56,189 [grunts] 995 00:41:56,189 --> 00:41:58,792 [screams, groans] 996 00:42:00,594 --> 00:42:03,430 Sometimes, the violence was very, very direct and-- 997 00:42:03,430 --> 00:42:04,331 and-- and real. 998 00:42:04,531 --> 00:42:08,235 [♪♪♪] 999 00:42:10,737 --> 00:42:11,705 PETER WELLER: There was just a discussion 1000 00:42:11,705 --> 00:42:13,740 with Paul that I should take this 1001 00:42:13,740 --> 00:42:16,043 as if there is, you know, a nerve center 1002 00:42:16,043 --> 00:42:18,512 somewhere responding to it. 1003 00:42:18,512 --> 00:42:20,447 So, the body's response is all I'm doing 1004 00:42:20,447 --> 00:42:24,284 is like in the agony of the robotics. 1005 00:42:26,954 --> 00:42:28,288 STEPHAN: When he stabbed in the neck, 1006 00:42:28,288 --> 00:42:32,893 that was what I called the Paul Verhoeven "take that". 1007 00:42:33,226 --> 00:42:34,294 BART: For whatever reason, 1008 00:42:34,294 --> 00:42:36,597 as you would work it and just kind of handle it, 1009 00:42:36,597 --> 00:42:38,899 the mechanism would start getting a little sloppy. 1010 00:42:38,899 --> 00:42:42,135 And it would like, just go off by itself sometimes. 1011 00:42:42,135 --> 00:42:44,071 So, Paul's like, "Let me see the-- the hand", 1012 00:42:44,071 --> 00:42:45,539 'cause he's gonna set up the shot. 1013 00:42:45,539 --> 00:42:48,208 And they like pass the hand over to him, 1014 00:42:48,208 --> 00:42:51,612 and just the motion triggers it. 1015 00:42:51,612 --> 00:42:53,380 The spike comes out, and it's just like, 1016 00:42:53,380 --> 00:42:55,082 probably like, that close to his eye. 1017 00:42:55,082 --> 00:42:56,583 And he just like looks over at me, 1018 00:42:56,583 --> 00:42:58,151 and I'm like, "Oh, I didn't do it," you know? 1019 00:42:58,385 --> 00:43:00,153 And as he gets close... 1020 00:43:00,153 --> 00:43:02,456 Sayonara, RoboCop! 1021 00:43:02,456 --> 00:43:04,091 [clicks] 1022 00:43:04,091 --> 00:43:05,626 PETER WELLER: ...the cop takes over. 1023 00:43:05,626 --> 00:43:09,329 And then it's like the cop takes vengeance. 1024 00:43:09,329 --> 00:43:11,164 [exclaims] Boom. 1025 00:43:11,164 --> 00:43:13,800 [Clarence groans] 1026 00:43:13,800 --> 00:43:15,869 STEPHAN: Paul is just like, "Give me this cup." 1027 00:43:15,869 --> 00:43:17,504 And then he fills it with fake blood, 1028 00:43:17,971 --> 00:43:21,675 and the camera's on-- on Peter, and it goes like splat. 1029 00:43:23,110 --> 00:43:25,512 It was not subtle, but hey, it worked. 1030 00:43:25,779 --> 00:43:26,880 PAUL: [indistinct speech] 1031 00:43:26,880 --> 00:43:27,848 [clapper grunts] 1032 00:43:27,848 --> 00:43:31,184 -PAUL: And action! -[groans] 1033 00:43:33,887 --> 00:43:36,957 KURTWOOD: I had no doubt that that movie was gonna be a hit. 1034 00:43:38,525 --> 00:43:42,262 First of all, it was much more in the comic book vein 1035 00:43:42,262 --> 00:43:43,864 than we had seen before. 1036 00:43:45,866 --> 00:43:49,069 And there's so much more to it in terms of what it had to say 1037 00:43:49,069 --> 00:43:51,171 about machines and men. 1038 00:43:51,171 --> 00:43:52,372 Lewis! 1039 00:43:53,740 --> 00:43:56,677 Murphy, I'm a mess. 1040 00:43:56,677 --> 00:43:57,911 PETER WELLER: Nancy reminded me. 1041 00:43:57,911 --> 00:43:59,479 She said, "Don't you remember?" 1042 00:43:59,479 --> 00:44:02,149 At the end of it, you know, when I say, 1043 00:44:02,149 --> 00:44:03,684 "They'll fix you. They fix everything." 1044 00:44:04,051 --> 00:44:06,620 They'll fix you. 1045 00:44:06,620 --> 00:44:08,655 They fix everything. 1046 00:44:08,989 --> 00:44:11,024 That's my line. 1047 00:44:11,024 --> 00:44:13,827 There are notes that I gave to Jon Davison. 1048 00:44:13,827 --> 00:44:15,095 "Can we do this? Can we change that? 1049 00:44:15,095 --> 00:44:16,730 Can we..." whatever. 1050 00:44:16,730 --> 00:44:20,667 JESSE: Murphy says, "They'll fix you. They fix everything." 1051 00:44:20,667 --> 00:44:22,636 And I was like, "Wow." [chuckles] 1052 00:44:22,636 --> 00:44:25,405 And I was just floored. 1053 00:44:25,405 --> 00:44:26,773 I was just knocked out 1054 00:44:26,773 --> 00:44:28,775 by how good I thought the film was. 1055 00:44:30,377 --> 00:44:31,878 [grunts] 1056 00:44:31,878 --> 00:44:33,680 [car whooshes] 1057 00:44:33,680 --> 00:44:37,517 [♪♪♪] 1058 00:44:39,953 --> 00:44:42,189 CRAIG: So, at the end, when RoboCop approaches the building, 1059 00:44:42,189 --> 00:44:44,324 ED-209 is guarding the building there. 1060 00:44:44,324 --> 00:44:46,593 His upper torso swivels over. 1061 00:44:46,593 --> 00:44:47,794 So, this is one of the things we kind of built 1062 00:44:47,794 --> 00:44:49,796 the capacity for into the full-scale prop. 1063 00:44:50,063 --> 00:44:52,099 He had a hinging point. 1064 00:44:52,099 --> 00:44:54,234 That was one of our big live-action movements 1065 00:44:54,234 --> 00:44:55,402 for ED-209. 1066 00:45:03,877 --> 00:45:06,379 CRAIG: When RoboCop destroys ED-209, 1067 00:45:06,379 --> 00:45:08,749 the day before, they had done the actual shooting 1068 00:45:08,749 --> 00:45:11,084 of Peter Weller with the actual cannon. 1069 00:45:11,084 --> 00:45:12,085 Boom! 1070 00:45:12,419 --> 00:45:14,921 [gunshot, explosion] 1071 00:45:14,921 --> 00:45:15,889 CRAIG: And the blanks 1072 00:45:15,889 --> 00:45:17,924 were strong enough that they rattled 1073 00:45:17,924 --> 00:45:19,726 all of the windows in the entire building, 1074 00:45:19,726 --> 00:45:21,461 you know, almost to the point of shattering. 1075 00:45:21,928 --> 00:45:24,898 Yikes. Is that fun, man. 1076 00:45:24,898 --> 00:45:26,833 CRAIG: This was, of course, quite a big deal. 1077 00:45:26,833 --> 00:45:27,968 And a lot of police came out. 1078 00:45:28,401 --> 00:45:31,138 And they tried to arrest Paul Verhoeven. 1079 00:45:31,138 --> 00:45:32,105 How are you doing? 1080 00:45:32,305 --> 00:45:33,273 CRAIG: And Paul Verhoeven's like, 1081 00:45:33,273 --> 00:45:34,241 "I don't have a driver's license. 1082 00:45:34,241 --> 00:45:35,108 How do we arrest you?" 1083 00:45:35,308 --> 00:45:36,743 [laughs] 1084 00:45:36,743 --> 00:45:37,744 So, the next day, 1085 00:45:37,744 --> 00:45:38,845 when it came time to blow the robot up, 1086 00:45:39,079 --> 00:45:41,548 which should have been a big destruction scene, 1087 00:45:41,748 --> 00:45:43,717 I think everybody was very gun shy. 1088 00:45:43,717 --> 00:45:46,386 So, the charge ended up being a lot smaller 1089 00:45:46,386 --> 00:45:47,654 than they might have wanted to be. 1090 00:45:48,155 --> 00:45:51,491 [gunshot, explosion] 1091 00:45:51,491 --> 00:45:53,460 So, yeah. We went back in, and optically added 1092 00:45:53,794 --> 00:45:56,029 explosion elements to that to sort of get the actual 1093 00:45:56,029 --> 00:45:58,265 full, you know, extent of destruction. 1094 00:46:00,634 --> 00:46:02,569 Once the thing was blown up, you cut back to it. 1095 00:46:02,569 --> 00:46:05,138 That then was the actual stop-motion puppet. 1096 00:46:05,138 --> 00:46:07,207 [robot whirring] 1097 00:46:07,207 --> 00:46:09,009 PHIL: It had a lot of moving parts to it. 1098 00:46:09,009 --> 00:46:11,411 I was doing an in-camera composite with smoke 1099 00:46:11,411 --> 00:46:12,445 and all sorts of things 1100 00:46:12,445 --> 00:46:13,513 that had to go at a certain time. 1101 00:46:13,847 --> 00:46:15,215 CRAIG: They had to very trickily, 1102 00:46:15,215 --> 00:46:17,951 sort of, animate in the smoke elements. 1103 00:46:17,951 --> 00:46:19,352 A lot of these things are done in-camera. 1104 00:46:19,352 --> 00:46:21,521 So, you're basically sort of animating elements 1105 00:46:21,521 --> 00:46:23,156 to follow a moving object. 1106 00:46:25,025 --> 00:46:26,693 PHIL: I was about halfway through the shot, 1107 00:46:26,693 --> 00:46:30,297 and Jon called me up, and said, "Hey, you know what? 1108 00:46:30,297 --> 00:46:32,365 Can you do something funny at the end of the shot? 1109 00:46:32,365 --> 00:46:34,167 'Cause the movie's too serious." 1110 00:46:34,167 --> 00:46:35,535 So I'm like, "Yeah, okay." 1111 00:46:35,969 --> 00:46:37,704 JON: (over telephone) Good. 1112 00:46:37,704 --> 00:46:40,073 PHIL: And so, the thing with the foot was a very last-minute thing. 1113 00:46:40,440 --> 00:46:42,209 You know, at that point, I just took it farther. 1114 00:46:42,209 --> 00:46:44,211 I had him, you know, walk in as like a drunk thing 1115 00:46:44,477 --> 00:46:47,214 and then have like, a little whirligig spinning. 1116 00:46:47,214 --> 00:46:48,815 And then he falls over, 1117 00:46:48,815 --> 00:46:50,517 and does the thing with his foot. 1118 00:46:52,886 --> 00:46:58,391 JON: You know, we were budgeted 9,995, and we were at about 13. 1119 00:46:58,391 --> 00:47:01,528 So, we were over the 10 percent contingency. 1120 00:47:01,528 --> 00:47:04,698 And the completion bond company had every right 1121 00:47:04,698 --> 00:47:07,367 to take the picture over and just finish it themselves. 1122 00:47:07,801 --> 00:47:09,369 And they didn't have to do the effects. 1123 00:47:09,369 --> 00:47:11,238 They didn't have to put sound effects in. 1124 00:47:11,238 --> 00:47:12,706 They could take it over. 1125 00:47:12,706 --> 00:47:14,941 And Mike Medavoy wouldn't let 'em do it. 1126 00:47:14,941 --> 00:47:18,945 He had the faith in the picture to tell the completion bond, 1127 00:47:18,945 --> 00:47:21,214 "No, you're not taking it over. 1128 00:47:21,214 --> 00:47:25,886 And we'll pick up the overages," and uh, it saved the movie. 1129 00:47:26,086 --> 00:47:29,689 [electrifying tune] 1130 00:47:29,689 --> 00:47:32,492 STEVE: John P. made a lot of great 1131 00:47:32,492 --> 00:47:35,528 synth sweeteners and sounds to accent things. 1132 00:47:35,528 --> 00:47:37,063 And one of the best ones that I love 1133 00:47:37,063 --> 00:47:38,365 is when the doors swing open in the boardroom 1134 00:47:38,832 --> 00:47:39,966 at the end of the film. 1135 00:47:39,966 --> 00:47:43,036 And there's that great, cheesy, synthy whomp 1136 00:47:43,036 --> 00:47:45,205 that has no business being there whatsoever. 1137 00:47:48,275 --> 00:47:49,242 But it works. 1138 00:47:51,444 --> 00:47:53,914 BART: They're shooting the boardroom stuff at the end. 1139 00:47:53,914 --> 00:47:56,249 So, we get him all made up with the makeup. 1140 00:47:56,249 --> 00:47:58,051 And we had him ready, and they weren't getting to it. 1141 00:47:58,051 --> 00:48:00,687 And we kept sending word up like, you know, 1142 00:48:00,687 --> 00:48:02,088 "He's been in the makeup for a couple hours. 1143 00:48:02,088 --> 00:48:05,058 It's gonna start breaking down. You know, what's going on?" 1144 00:48:05,058 --> 00:48:06,459 STEPHAN: Paul was shooting 1145 00:48:06,459 --> 00:48:10,897 like all the wide shots and everything but the makeup. 1146 00:48:10,897 --> 00:48:12,299 Paul could only shoot it for five hours, 1147 00:48:12,299 --> 00:48:13,867 'cause the face would essentially collapse. 1148 00:48:14,134 --> 00:48:16,703 And the edges were peeling off everywhere. 1149 00:48:16,703 --> 00:48:19,105 And Stephan Dupuis had begged. 1150 00:48:19,105 --> 00:48:21,574 Like, "Shoot the close-ups first." 1151 00:48:21,574 --> 00:48:23,276 And he didn't. 1152 00:48:23,476 --> 00:48:24,911 GREGOR: Instead, he decided 1153 00:48:24,911 --> 00:48:27,147 it was more important to shoot all those action shots. 1154 00:48:27,147 --> 00:48:29,316 And by the time it came to shooting the close-ups, 1155 00:48:29,316 --> 00:48:31,351 the makeup was not acceptable. 1156 00:48:31,751 --> 00:48:33,320 STEPHAN: And of course, the makeup was fragile. 1157 00:48:33,320 --> 00:48:35,722 I mean, it was all in one piece. 1158 00:48:35,722 --> 00:48:39,125 It was not easy to apply, 'cause you couldn't fuck up. 1159 00:48:39,125 --> 00:48:40,293 And they just kept 1160 00:48:40,293 --> 00:48:41,761 putting us off and putting us off. 1161 00:48:41,761 --> 00:48:43,797 And at some point, Stephan just went upstairs 1162 00:48:43,797 --> 00:48:45,265 'cause craft service was up there. 1163 00:48:45,465 --> 00:48:47,200 So, he's up there like getting some coffee or something. 1164 00:48:47,200 --> 00:48:48,668 And Paul sees him, and Paul's just like, 1165 00:48:49,035 --> 00:48:50,270 "I don't know when we're gonna get to it!" 1166 00:48:50,270 --> 00:48:51,972 You know, just kinda like, screaming at him. 1167 00:48:51,972 --> 00:48:54,274 And Stephan's just like, "Oh." And he goes back downstairs. 1168 00:48:54,274 --> 00:48:57,477 He goes, "I'm not going to set until he comes and apologizes." 1169 00:48:57,477 --> 00:49:01,815 So, uh, then I decided to act like a fucking diva. 1170 00:49:01,815 --> 00:49:05,151 Stephan just said, "I'm not shooting this makeup. 1171 00:49:05,151 --> 00:49:08,054 In fact, me and my whole team are walking off the set now." 1172 00:49:08,355 --> 00:49:09,489 BART: So, then we're like 1173 00:49:09,489 --> 00:49:10,957 sitting in the trailer, and they're like, 1174 00:49:10,957 --> 00:49:11,925 "Okay, they're ready for him." 1175 00:49:12,225 --> 00:49:13,927 And he's like, "Nope. I'm not gonna go." 1176 00:49:13,927 --> 00:49:15,295 And I said, "Okay. 1177 00:49:15,295 --> 00:49:17,297 He's not coming on the set, because the makeup 1178 00:49:17,297 --> 00:49:19,232 is fucked up now. You didn't listen. 1179 00:49:19,232 --> 00:49:22,469 Okay? Lesson learned? I hope so." 1180 00:49:22,469 --> 00:49:23,870 Stephan essentially 1181 00:49:23,870 --> 00:49:30,010 let production know that no one, no one could knock on that door. 1182 00:49:30,243 --> 00:49:31,511 BART: Peter's like, 1183 00:49:31,511 --> 00:49:32,479 "Well, I'm not going if you guys aren't going." 1184 00:49:32,479 --> 00:49:33,480 And so, we're all just sitting there. 1185 00:49:33,947 --> 00:49:36,316 And then finally Verhoeven comes down, and he's like... 1186 00:49:36,316 --> 00:49:37,817 -Well, I mean... -BART: He goes, 1187 00:49:38,018 --> 00:49:40,320 "I guess you want me to say, 'I'm sorry,' but I can't." 1188 00:49:40,320 --> 00:49:41,688 STEPHAN: So, we had it out 1189 00:49:41,688 --> 00:49:44,524 in the trailer, me, the producers, and Paul. 1190 00:49:45,058 --> 00:49:48,428 And yeah, that was very stressful day. 1191 00:49:48,428 --> 00:49:49,796 Yeah. 1192 00:49:50,063 --> 00:49:52,098 How can we help you, Officer? 1193 00:49:52,098 --> 00:49:54,434 Dick Jones is wanted for murder. 1194 00:49:54,434 --> 00:49:56,636 Obviously, the first time you see RoboCop, 1195 00:49:56,636 --> 00:49:58,571 there's a lot of processing on his voice. 1196 00:49:58,571 --> 00:50:00,240 PETER WELLER: (over device) Yes, I understand. 1197 00:50:00,240 --> 00:50:02,809 STEVE: As he gets more human, they pull it out. 1198 00:50:02,809 --> 00:50:04,677 My program will not allow me 1199 00:50:04,677 --> 00:50:06,913 to act against an officer of this company. 1200 00:50:06,913 --> 00:50:08,748 It's a social critique 1201 00:50:08,748 --> 00:50:11,584 that went very specifically about corporate power, 1202 00:50:11,584 --> 00:50:12,652 corporate greed. 1203 00:50:12,886 --> 00:50:14,354 These are serious charges. 1204 00:50:14,821 --> 00:50:17,257 PAUL M. SAMMON: These impersonal killer executives. 1205 00:50:17,557 --> 00:50:18,892 What is your evidence? 1206 00:50:18,892 --> 00:50:20,026 PAUL M. SAMMON: The businessmen 1207 00:50:20,026 --> 00:50:22,562 who are out there trying to one up each other. 1208 00:50:22,562 --> 00:50:24,764 I had to kill Bob Morton, because he made a mistake. 1209 00:50:25,131 --> 00:50:26,733 [gasps] 1210 00:50:26,733 --> 00:50:29,269 DICK: (on tv) Now, it's time to erase that mistake. 1211 00:50:29,269 --> 00:50:30,737 And just raised it another notch 1212 00:50:30,737 --> 00:50:32,305 where they literally do kill each other. 1213 00:50:32,672 --> 00:50:34,074 [gun clicks, board members clamoring] 1214 00:50:34,074 --> 00:50:35,308 PAUL M. SAMMON: And it's not only forecasting, 1215 00:50:35,308 --> 00:50:37,110 it's putting its finger right on it. 1216 00:50:37,110 --> 00:50:38,378 DICK: I want a chopper now! 1217 00:50:41,681 --> 00:50:43,850 MICHAEL MINER: Jon suggested a way 1218 00:50:43,850 --> 00:50:45,952 to invalidate Directive 4 at the end. 1219 00:50:45,952 --> 00:50:47,253 We'd all show up 1220 00:50:47,253 --> 00:50:49,422 at the office every day, and we'd kick stuff around. 1221 00:50:49,689 --> 00:50:51,324 Anybody tries to stop me... 1222 00:50:51,324 --> 00:50:52,459 JON: You know, saying, 1223 00:50:52,459 --> 00:50:53,960 "Oh, what about this, or what about that?" 1224 00:50:53,960 --> 00:50:55,462 ...the old geezer gets it. 1225 00:50:55,929 --> 00:50:58,865 And I, as a joke, said, how about "You're fired"? 1226 00:50:58,865 --> 00:51:00,033 I never thought 1227 00:51:00,033 --> 00:51:02,102 that the "You're fired" line would work. 1228 00:51:02,102 --> 00:51:04,604 I-- You know, and Paul, and Ed, and Jon were going, 1229 00:51:04,604 --> 00:51:06,039 "Yeah, it's gonna work. Yeah, it's gonna work." 1230 00:51:06,039 --> 00:51:07,173 I said, "You know, I don't know." 1231 00:51:07,607 --> 00:51:09,576 Dick, you're fired! 1232 00:51:10,910 --> 00:51:12,145 And it worked beautifully. 1233 00:51:12,145 --> 00:51:13,446 So, you know, 1234 00:51:13,446 --> 00:51:14,647 even when you're really involved in it, 1235 00:51:14,647 --> 00:51:15,882 you can be wrong. Right? 1236 00:51:16,249 --> 00:51:18,418 -Thank you. -[groans] 1237 00:51:18,418 --> 00:51:21,087 -[gunshots] -[board members clamoring] 1238 00:51:22,956 --> 00:51:27,293 RONNY: They put squibs front and back, big heavy loads. 1239 00:51:27,293 --> 00:51:31,131 And I'm not blowing smoke, when they put those off, 1240 00:51:31,131 --> 00:51:35,602 I practically went to my knees, and I was physically ill 1241 00:51:35,602 --> 00:51:37,737 for about an hour after that happened. 1242 00:51:38,171 --> 00:51:39,205 That hurt. 1243 00:51:39,205 --> 00:51:40,773 They made a mistake. 1244 00:51:40,773 --> 00:51:43,610 And they came to me afterwards, and said, "We fucked up." 1245 00:51:43,610 --> 00:51:45,178 [chuckles] 1246 00:51:45,178 --> 00:51:47,747 -[woman screaming] -[gunshots] 1247 00:51:47,747 --> 00:51:49,115 [Dick screaming] 1248 00:51:49,549 --> 00:51:51,317 [screaming fades] 1249 00:51:51,317 --> 00:51:53,820 ROCCO: I had a little bit of stop-motion experience, 1250 00:51:53,820 --> 00:51:56,923 and I talked with Jon Davison, and he asked me 1251 00:51:56,923 --> 00:51:58,525 about the possibility of doing it 1252 00:51:58,525 --> 00:52:00,226 as a stop-motion character. 1253 00:52:00,627 --> 00:52:02,929 And I told him that I'd be willing to try it, 1254 00:52:02,929 --> 00:52:06,299 and um, thought that I could do something that looked good. 1255 00:52:06,299 --> 00:52:08,568 It ended up looking kind of iffy. 1256 00:52:08,568 --> 00:52:11,838 [screams] 1257 00:52:11,838 --> 00:52:12,972 [scream fades] 1258 00:52:14,040 --> 00:52:16,376 The Rocco Gioffre shot 1259 00:52:16,809 --> 00:52:20,380 where he falls out the window is a little dodgy. 1260 00:52:20,380 --> 00:52:22,815 That guy falling out of the building at the end 1261 00:52:22,815 --> 00:52:24,851 with the really long arms. Oh. 1262 00:52:26,486 --> 00:52:28,555 We could have done better. [laughs] 1263 00:52:28,821 --> 00:52:30,423 I don't know what happened to that, 1264 00:52:30,423 --> 00:52:33,426 but I was-- I was disappointed. 1265 00:52:33,693 --> 00:52:36,229 Dick, I'm very disappointed. 1266 00:52:36,229 --> 00:52:37,430 ROCCO: Of course, 1267 00:52:37,430 --> 00:52:39,065 I'd like another crack at the Dick Jones thing. 1268 00:52:39,065 --> 00:52:40,500 There's some stuff that I would-- would do 1269 00:52:40,500 --> 00:52:41,668 very differently. 1270 00:52:41,668 --> 00:52:43,403 Although, I don't think that it's the fault 1271 00:52:43,403 --> 00:52:46,706 of stop motion that that looks the way that it does. 1272 00:52:46,706 --> 00:52:50,176 It's the proportions of his arms in relationship to the lens 1273 00:52:50,376 --> 00:52:52,712 that we chose and the way that it looks distorted. 1274 00:52:54,514 --> 00:52:55,748 RONNY: The way this shot 1275 00:52:55,748 --> 00:52:58,084 was supposed to work from what I heard 1276 00:52:58,384 --> 00:53:01,988 was my character was gonna go out the window. 1277 00:53:01,988 --> 00:53:07,260 They were gonna have ostensibly a camera down halfway. 1278 00:53:07,260 --> 00:53:10,763 They were gonna articulate my character coming down, 1279 00:53:11,164 --> 00:53:13,833 down, down, down toward the camera. 1280 00:53:13,833 --> 00:53:16,736 And then they were gonna flip the camera 1281 00:53:16,736 --> 00:53:20,373 and take my character away until he landed in the street. 1282 00:53:20,373 --> 00:53:21,908 [thud] 1283 00:53:21,908 --> 00:53:23,876 RONNY: Well, obviously, that didn't work. 1284 00:53:23,876 --> 00:53:25,245 That would have been great. 1285 00:53:25,245 --> 00:53:27,113 That's the reason they made that little doll 1286 00:53:27,113 --> 00:53:29,949 to look exactly like me. 1287 00:53:29,949 --> 00:53:31,317 [indistinct chatter] 1288 00:53:31,317 --> 00:53:32,752 PETER WELLER: There's nothing like RoboCop. 1289 00:53:35,421 --> 00:53:37,056 I mean, there isn't. 1290 00:53:37,323 --> 00:53:39,559 That has a social message like this 1291 00:53:39,559 --> 00:53:41,594 that gets you on four or five different levels. 1292 00:53:42,061 --> 00:53:43,930 Verhoeven's power, I mean, he knew 1293 00:53:44,197 --> 00:53:45,331 the end of that movie is... 1294 00:53:45,331 --> 00:53:47,734 Nice shooting, son. What's your name? 1295 00:53:47,734 --> 00:53:48,868 PETER WELLER: "What's your name?" 1296 00:53:50,670 --> 00:53:51,738 Murphy. 1297 00:53:51,738 --> 00:53:53,673 PETER WELLER: "Murphy." 1298 00:53:53,673 --> 00:53:54,907 PAUL: I'll never forget that. 1299 00:53:54,907 --> 00:53:57,644 Before Peter Weller could answer Murphy... 1300 00:53:57,944 --> 00:54:00,246 Nice shooting, son. What's your name? 1301 00:54:00,246 --> 00:54:04,117 ...the whole theater in one voice said, "Murphy!" 1302 00:54:04,450 --> 00:54:05,885 Yes! 1303 00:54:05,885 --> 00:54:07,153 That was so amazing. 1304 00:54:07,153 --> 00:54:10,290 But like, "Murphy!" 1305 00:54:10,623 --> 00:54:12,592 That was a moment that you will never forget, 1306 00:54:12,592 --> 00:54:15,328 you know, that people were so into the movie. 1307 00:54:15,328 --> 00:54:20,767 It was like this transformation from human to robot, 1308 00:54:20,767 --> 00:54:22,669 and back to human. 1309 00:54:22,669 --> 00:54:26,472 It lives because of its theme. 1310 00:54:26,472 --> 00:54:31,844 And the theme is executed right down the line, man. 1311 00:54:31,844 --> 00:54:35,148 And the theme is resurrection. 1312 00:54:38,384 --> 00:54:40,386 [♪♪♪] 1313 00:54:40,386 --> 00:54:42,288 MICHAEL MINER: When the film was tested, 1314 00:54:42,288 --> 00:54:43,623 it was actually a fourth media break. 1315 00:54:44,090 --> 00:54:47,193 And there was a sequence in which Bixby Snyder 1316 00:54:47,193 --> 00:54:49,195 is arrested as a pedophile. 1317 00:54:49,195 --> 00:54:51,331 And Nancy Allen is in the hospital 1318 00:54:51,331 --> 00:54:54,033 being interviewed, having survived the shootout. 1319 00:54:54,033 --> 00:54:55,401 Excuse me, Your Honor. 1320 00:54:55,401 --> 00:54:58,404 Anne, ever consider another line of work? 1321 00:54:58,404 --> 00:55:00,707 No. I like being a cop. 1322 00:55:00,940 --> 00:55:03,943 Well, the original ending did have Anne Lewis saying, 1323 00:55:03,943 --> 00:55:05,812 "If you can't stand the heat, get out of the kitchen." 1324 00:55:05,812 --> 00:55:07,547 It parrots something that you hear earlier in the film. 1325 00:55:07,547 --> 00:55:08,514 If you can't stand the heat, 1326 00:55:08,514 --> 00:55:09,549 you better stay out of the kitchen. 1327 00:55:09,882 --> 00:55:11,751 You know what they say. 1328 00:55:11,751 --> 00:55:15,121 If you can't stand the heat, get out of the kitchen. 1329 00:55:15,121 --> 00:55:16,122 STEVE MINH: I don't know about you, 1330 00:55:16,122 --> 00:55:17,857 but I'll sleep a little better tonight. 1331 00:55:18,124 --> 00:55:19,692 I saw the dailies. 1332 00:55:19,692 --> 00:55:21,561 I didn't really like it very much. 1333 00:55:21,561 --> 00:55:22,528 The audience always felt 1334 00:55:22,528 --> 00:55:24,764 that Murphy was the way to go out. 1335 00:55:24,764 --> 00:55:27,333 So, that fourth media break was never shown. 1336 00:55:27,567 --> 00:55:28,668 It was one of those things 1337 00:55:28,668 --> 00:55:30,436 where when I heard they weren't using it, 1338 00:55:30,436 --> 00:55:33,773 I was sort of relieved, because it just seemed so blah. 1339 00:55:34,006 --> 00:55:35,441 You bet! 1340 00:55:35,441 --> 00:55:38,344 Next time you see a cop, smile. Thanks for watching. 1341 00:55:38,678 --> 00:55:41,781 [♪♪♪] 1342 00:55:41,781 --> 00:55:43,449 FRANK: We were on a tight schedule. 1343 00:55:43,449 --> 00:55:46,252 I was done with RoboCop probably 10 days 1344 00:55:46,252 --> 00:55:47,520 after we finished shooting. 1345 00:55:47,520 --> 00:55:49,789 There wasn't like the four-hour cut of RoboCop. 1346 00:55:49,789 --> 00:55:52,458 There was the-- If RoboCop's 114 minutes, 1347 00:55:52,458 --> 00:55:54,794 there was the 118-minute cut of RoboCop. 1348 00:55:54,794 --> 00:55:55,728 That was the rough. 1349 00:55:58,331 --> 00:56:02,235 CHARLES: First of all, I was all for it being a very violent movie. 1350 00:56:02,235 --> 00:56:05,338 I was interested in those ideas and Paul was, too. 1351 00:56:05,338 --> 00:56:06,339 And I was surprised 1352 00:56:06,572 --> 00:56:08,174 when we were even shooting these sequences. 1353 00:56:08,174 --> 00:56:09,375 I was thinking to myself, 1354 00:56:09,375 --> 00:56:10,943 "There's no way these are ever gonna make it. 1355 00:56:10,943 --> 00:56:12,712 It's never gonna make it on screen." 1356 00:56:12,712 --> 00:56:15,548 I think Paul's idea was actually, "Push it 1357 00:56:15,548 --> 00:56:17,183 as far as you can push it, 1358 00:56:17,183 --> 00:56:18,451 and then we'll dial it back later." 1359 00:56:18,651 --> 00:56:21,020 If you can't push the envelope, 1360 00:56:21,020 --> 00:56:23,489 you know, don't write the letter. 1361 00:56:23,489 --> 00:56:26,426 We wanted to grab people by the throat, 1362 00:56:26,759 --> 00:56:28,594 and give 'em a good time and a real good ride. 1363 00:56:31,297 --> 00:56:32,565 FRANK: Our biggest problem 1364 00:56:32,565 --> 00:56:35,768 on the editing of the movie was with the MPAA. 1365 00:56:35,768 --> 00:56:36,903 And so, we had to cut it, 1366 00:56:36,903 --> 00:56:39,205 and cut it, and cut it eight, nine times. 1367 00:56:39,205 --> 00:56:41,240 You know, we had to go back to back, back, back, back. 1368 00:56:41,474 --> 00:56:44,911 But that original version basically is really funny. 1369 00:56:44,911 --> 00:56:46,913 [gunshots] 1370 00:56:47,213 --> 00:56:48,147 It's safe to say 1371 00:56:48,147 --> 00:56:49,982 the ratings board did not get the satire. 1372 00:56:49,982 --> 00:56:51,951 Of course, they gave us an X. 1373 00:56:51,951 --> 00:56:54,654 And so, we made a few trims, and sent it back, 1374 00:56:54,654 --> 00:56:56,155 and we got another X. 1375 00:56:56,155 --> 00:56:59,492 So, Paul went back in, and he kept cutting away 1376 00:56:59,492 --> 00:57:02,295 the shot where Peter Waller loses his hand, 1377 00:57:02,295 --> 00:57:03,830 because it was too graphic. 1378 00:57:03,830 --> 00:57:06,966 It was supposed to be so big, 1379 00:57:06,966 --> 00:57:11,270 so too much, that it in a way, lost its impact. 1380 00:57:11,270 --> 00:57:15,274 And the more you cut it down, the more real it became. 1381 00:57:15,274 --> 00:57:17,610 And somehow, those censors just didn't see that. 1382 00:57:17,944 --> 00:57:22,782 In a way, they made the violence worse for us as a viewer. 1383 00:57:23,015 --> 00:57:24,450 FRANK: We had this one shot 1384 00:57:24,450 --> 00:57:25,952 where they shoot him in the head, 1385 00:57:25,952 --> 00:57:28,187 and it was a complete move right from his face, 1386 00:57:28,187 --> 00:57:29,722 all the way to the back of his head. 1387 00:57:29,722 --> 00:57:30,890 [groans] 1388 00:57:30,890 --> 00:57:33,793 And the MPAA wouldn't allow me to use it. 1389 00:57:33,793 --> 00:57:36,429 I could only use the impact just from the front 1390 00:57:36,429 --> 00:57:38,998 and then the back. 1391 00:57:38,998 --> 00:57:41,300 And it probably was more violent doing it that way 1392 00:57:41,300 --> 00:57:43,002 than just showing the whole move. 1393 00:57:43,002 --> 00:57:44,036 ED: There was a shot of the floor. 1394 00:57:44,036 --> 00:57:45,104 It was a wide shot. 1395 00:57:45,104 --> 00:57:46,506 And the floor was covered with blood. 1396 00:57:46,506 --> 00:57:47,907 It looked like a butcher shop floor. 1397 00:57:47,907 --> 00:57:50,910 In the first preview of it, 10 women got up 1398 00:57:50,910 --> 00:57:52,512 at that moment and left the-- 1399 00:57:52,512 --> 00:57:53,880 the screening room. It was just amazing. 1400 00:57:53,880 --> 00:57:54,814 [exclaims] 1401 00:57:56,449 --> 00:57:57,884 ED: I think the first thing I realized 1402 00:57:57,884 --> 00:58:01,554 was red was a problem. Just red, the amount of red. 1403 00:58:01,554 --> 00:58:03,022 [whimpers] 1404 00:58:03,022 --> 00:58:04,290 JON: We had a preview, 1405 00:58:04,557 --> 00:58:07,927 and about the highest rated thing in the movie 1406 00:58:07,927 --> 00:58:10,196 was Emil getting hit by the car. 1407 00:58:12,565 --> 00:58:15,134 And the MPAA said, "Absolutely not. 1408 00:58:15,134 --> 00:58:18,137 You cannot have that. It's decapitation." 1409 00:58:18,137 --> 00:58:22,408 And God bless Mike Medavoy, because to his credit, he said, 1410 00:58:22,408 --> 00:58:24,510 "We are not cutting that shot. 1411 00:58:24,510 --> 00:58:27,346 We'll go to the mat with the MPAA on this. 1412 00:58:27,346 --> 00:58:28,614 We're not taking it out." 1413 00:58:30,383 --> 00:58:33,319 RON: Jon Davison made the whole crew T-shirts. 1414 00:58:33,319 --> 00:58:35,688 One side would say "RoboCop," 1415 00:58:35,688 --> 00:58:38,758 and the other side would say, "Fuck the MPAA." 1416 00:58:38,758 --> 00:58:40,393 JON: It was like, "Well, wait a minute. 1417 00:58:40,393 --> 00:58:42,428 If they wanna play games, we'll play some games." 1418 00:58:42,628 --> 00:58:44,730 Okay, okay. I get a kick out of it. 1419 00:58:44,730 --> 00:58:46,566 TERESSA: You end up wearing them down, you know? 1420 00:58:46,566 --> 00:58:48,501 You cut maybe a frame out. 1421 00:58:48,501 --> 00:58:50,202 But you keep sending the same stuff back 1422 00:58:50,202 --> 00:58:52,271 and they eventually give in. 1423 00:58:52,271 --> 00:58:53,506 [chuckles] 1424 00:58:53,506 --> 00:58:54,507 They changed the rules 1425 00:58:54,507 --> 00:58:56,576 after that movie about how many times 1426 00:58:56,576 --> 00:58:57,944 you can submit a film. 1427 00:58:57,944 --> 00:58:59,378 [indistinct chatter] 1428 00:58:59,378 --> 00:59:00,613 ED: There was a moment 1429 00:59:00,613 --> 00:59:03,049 in the cutting room where I remember Jon and Paul 1430 00:59:03,049 --> 00:59:05,651 immediately started getting into a fight 1431 00:59:05,651 --> 00:59:07,186 and Sol Lomita, who was the head 1432 00:59:07,186 --> 00:59:09,655 of post-production at Orion, who was a very tough guy, 1433 00:59:09,655 --> 00:59:11,223 starts yelling at Paul. 1434 00:59:11,223 --> 00:59:12,959 And Paul starts yelling back. 1435 00:59:12,959 --> 00:59:14,260 And I said, "Wait a second, guys. 1436 00:59:14,260 --> 00:59:16,128 What if we cut the arm out?" 1437 00:59:16,128 --> 00:59:17,630 Because I always thought it looked shitty anyway. 1438 00:59:17,630 --> 00:59:18,831 "Let's cut the arm out!" 1439 00:59:19,198 --> 00:59:20,132 [groans] 1440 00:59:20,132 --> 00:59:21,634 And they both looked at each other. 1441 00:59:21,634 --> 00:59:24,604 "Okay." And that was that. And then we sent it in. 1442 00:59:24,604 --> 00:59:27,440 And with the arm out of it, we got the R-rated. 1443 00:59:27,440 --> 00:59:29,275 [gunshots, screams] 1444 00:59:29,275 --> 00:59:31,143 [screaming fades] 1445 00:59:31,143 --> 00:59:32,378 When I came back from this movie, 1446 00:59:32,378 --> 00:59:33,913 I just felt like I was dead. 1447 00:59:34,146 --> 00:59:37,316 It was a very challenging movie to work on. 1448 00:59:37,550 --> 00:59:39,785 Constant tension and-- and conflict. 1449 00:59:39,986 --> 00:59:41,253 People were exhausted. 1450 00:59:41,487 --> 00:59:42,588 ED: We had all had this terrible 1451 00:59:42,588 --> 00:59:44,657 rep party where everybody behaved badly. 1452 00:59:44,657 --> 00:59:46,692 And on the plane the next day, 1453 00:59:46,692 --> 00:59:47,960 there were people who hated each other, 1454 00:59:48,427 --> 00:59:50,830 but we were all so hung over that we couldn't even like... 1455 00:59:50,830 --> 00:59:52,398 It was just like... [groans] 1456 00:59:52,765 --> 00:59:54,800 You know, after finishing RoboCop, 1457 00:59:54,800 --> 00:59:57,136 I decided that I was going to go to the mountains 1458 00:59:57,136 --> 00:59:59,305 and raise ducks for the rest of my life. 1459 00:59:59,305 --> 01:00:01,340 It was that bad. 1460 01:00:01,574 --> 01:00:04,777 [♪♪♪] 1461 01:00:04,777 --> 01:00:06,646 ED: When the picture was about to come out, 1462 01:00:06,646 --> 01:00:09,115 the head of marketing at Orion Pictures said, 1463 01:00:09,115 --> 01:00:10,850 "I cannot market this movie. 1464 01:00:10,850 --> 01:00:13,986 It's impossible to m-- to go out with a movie called 'RoboCop'." 1465 01:00:13,986 --> 01:00:15,287 [chuckles] 1466 01:00:15,287 --> 01:00:18,591 NARRATOR: RoboCop, mechanical body, human memory, 1467 01:00:18,591 --> 01:00:21,293 the ultimate law enforcement operative of the future. 1468 01:00:21,627 --> 01:00:22,595 RoboCop was scheduled 1469 01:00:22,595 --> 01:00:25,731 to come out, I think, after Labor Day. 1470 01:00:25,731 --> 01:00:28,067 And that summer, the big blockbusters 1471 01:00:28,267 --> 01:00:30,903 from the studios just didn't cut it. 1472 01:00:30,903 --> 01:00:32,805 And it turned out, there were slots 1473 01:00:32,805 --> 01:00:34,473 that became open. 1474 01:00:34,473 --> 01:00:36,976 PAUL M. SAMMON: Orion didn't have much of a budget for marketing. 1475 01:00:36,976 --> 01:00:39,478 It was a small-- you know, it was a low-budget picture. 1476 01:00:39,879 --> 01:00:42,481 And I said, "Don't position it against something, 1477 01:00:42,481 --> 01:00:44,083 you know, that's going to be bigger." 1478 01:00:44,083 --> 01:00:45,217 So, they put it out in the summer. 1479 01:00:46,919 --> 01:00:50,022 NARRATOR: RoboCop, the future of law enforcement, rated R. 1480 01:00:50,022 --> 01:00:53,526 Starts Friday, July 17th at a theater near you. 1481 01:00:53,826 --> 01:00:56,062 Orion made a trailer, and it was pretty terrible. 1482 01:00:56,295 --> 01:00:58,364 NARRATOR: The summer's new superhero 1483 01:00:58,364 --> 01:01:01,734 is America's new super hit movie. 1484 01:01:01,734 --> 01:01:02,902 RoboCop. 1485 01:01:02,902 --> 01:01:04,036 I really love that guy. 1486 01:01:04,036 --> 01:01:05,204 NARRATOR: Rated R. 1487 01:01:05,538 --> 01:01:08,874 And so, I hired a friend of mine, Miller Drake, 1488 01:01:08,874 --> 01:01:11,677 from the New World Trailer Department. 1489 01:01:11,677 --> 01:01:13,713 And he came in, and spent a week, 1490 01:01:13,713 --> 01:01:15,181 and cut the trailer. 1491 01:01:16,549 --> 01:01:18,517 It is my great pleasure to present to you... 1492 01:01:20,786 --> 01:01:21,754 RoboCop. 1493 01:01:23,956 --> 01:01:26,225 MARK: Orion Pictures was putting together a trailer. 1494 01:01:26,592 --> 01:01:29,862 And they didn't have any music from our movie yet, 1495 01:01:29,862 --> 01:01:31,330 because the music hadn't been written. 1496 01:01:31,731 --> 01:01:34,867 ROBOCOP: Let the woman go. You are under arrest. 1497 01:01:34,867 --> 01:01:36,535 MARK: So, they utilized 1498 01:01:36,535 --> 01:01:39,138 Brad Fiedel's score from Terminator . 1499 01:01:39,138 --> 01:01:40,573 You have the right to remain silent. 1500 01:01:40,773 --> 01:01:42,675 [glass breaks] 1501 01:01:42,875 --> 01:01:44,076 You have the right to an attorney. 1502 01:01:44,410 --> 01:01:46,712 -What is this? [screams] -[glass breaks] 1503 01:01:46,946 --> 01:01:49,615 It's not a great trailer, but it's an awful lot better. 1504 01:01:49,882 --> 01:01:52,251 "The future of law enforcement. 1505 01:01:52,251 --> 01:01:53,152 RoboCop." 1506 01:01:54,420 --> 01:01:55,821 [gun shots] 1507 01:01:55,821 --> 01:01:59,158 NARRATOR: RoboCop, the future of law enforcement. 1508 01:02:00,359 --> 01:02:01,827 ED: And of course, 1509 01:02:01,827 --> 01:02:03,462 when it was accepted, it seemed like, 1510 01:02:03,462 --> 01:02:05,631 "Well, what other title could there be?" You know? 1511 01:02:05,631 --> 01:02:07,800 It is a perfect title in a way, because it tells you 1512 01:02:07,800 --> 01:02:09,135 exactly what the movie is. 1513 01:02:09,535 --> 01:02:11,937 I was told I was almost gonna be the poster for the movie, 1514 01:02:11,937 --> 01:02:13,806 because my character with the machine gun 1515 01:02:13,806 --> 01:02:15,441 being pulled through the wall, 1516 01:02:15,441 --> 01:02:17,176 with the two RoboCop arms sticking through 1517 01:02:17,176 --> 01:02:18,844 was quite a photograph. 1518 01:02:18,844 --> 01:02:21,013 So, it was one of two or three that they were considering, 1519 01:02:21,013 --> 01:02:22,248 but they went with the right one. 1520 01:02:26,652 --> 01:02:29,722 PAUL M. SAMMON: They managed to come up with an iconic shot, 1521 01:02:29,722 --> 01:02:32,758 which is Robo getting out of the cruiser. 1522 01:02:32,758 --> 01:02:34,293 "Part man, part machine, all cop." 1523 01:02:39,398 --> 01:02:42,468 And that was actually a still that was done 1524 01:02:42,468 --> 01:02:45,771 by the on-still photographer named Deana Newcomb. 1525 01:02:45,771 --> 01:02:48,407 And they just essentially, what we would now call, 1526 01:02:48,407 --> 01:02:49,275 "photoshopped it". 1527 01:02:50,876 --> 01:02:52,478 That became the iconic image. 1528 01:02:57,183 --> 01:03:00,019 PETER WELLER: And it's become an iconic poster. 1529 01:03:00,019 --> 01:03:02,354 Somebody came up with the ad thing on the-- on the poster, 1530 01:03:02,354 --> 01:03:05,891 and said, "This cop don't stop at no donut shop." 1531 01:03:05,891 --> 01:03:07,660 One of the great marketing things ever. 1532 01:03:07,660 --> 01:03:10,296 NANCY: I thought it would have a very limited audience. 1533 01:03:10,296 --> 01:03:11,630 I thought, "It's so strange. 1534 01:03:11,630 --> 01:03:13,766 It's so different than anything." 1535 01:03:13,766 --> 01:03:16,969 And I thought, "This is just not gonna work on a large scale." 1536 01:03:19,972 --> 01:03:20,906 MICHAEL MINER: Then the premiere 1537 01:03:20,906 --> 01:03:23,909 at the Academy Theater, 900 people, 1538 01:03:24,143 --> 01:03:26,245 my family in the audience. Wow. 1539 01:03:26,445 --> 01:03:27,913 We went to the premiere, 1540 01:03:27,913 --> 01:03:31,350 and I-- I thought the movie was fantastic. 1541 01:03:31,350 --> 01:03:32,785 I just thought it was great. 1542 01:03:32,785 --> 01:03:35,187 You know, "here I am in like the place 1543 01:03:35,521 --> 01:03:37,690 in Hollywood show business. 1544 01:03:38,057 --> 01:03:39,158 Wow, man!" 1545 01:03:44,196 --> 01:03:47,566 I mean, it came out in July of '87, and people loved it. 1546 01:03:47,800 --> 01:03:49,869 NARRATOR: Everybody loves RoboCop. 1547 01:03:49,869 --> 01:03:51,003 CALVIN: Holy shit! 1548 01:03:51,003 --> 01:03:52,471 We got a monster hit here. 1549 01:03:53,939 --> 01:03:56,475 NARRATOR: RoboCop, two thumbs up. 1550 01:03:57,009 --> 01:03:58,477 SISKEL: (on TV) RoboCop is a wonderfully funny, 1551 01:03:58,477 --> 01:04:01,247 inventive, and agreeably violent piece of science fiction. 1552 01:04:01,513 --> 01:04:02,648 And I can't remember the last time 1553 01:04:02,648 --> 01:04:04,216 I put all those adjectives together. 1554 01:04:04,683 --> 01:04:07,052 NARRATOR: Newsweek calls it, "Slick, lively. 1555 01:04:07,052 --> 01:04:08,821 Audiences will eat it up." 1556 01:04:08,821 --> 01:04:10,022 -Wow. -Wow. 1557 01:04:10,022 --> 01:04:11,257 Wow. This is something special. 1558 01:04:11,590 --> 01:04:15,361 NANCY: It opened to such a huge box office and a reception 1559 01:04:15,728 --> 01:04:16,762 from you know, across the board. 1560 01:04:17,029 --> 01:04:18,697 YOLONDA: I don't think anybody knew 1561 01:04:18,697 --> 01:04:20,933 that it was gonna be as big as it was. 1562 01:04:20,933 --> 01:04:22,368 PAUL: It was so fantastic. 1563 01:04:22,368 --> 01:04:25,371 I had never seen that in my life, you know? 1564 01:04:25,371 --> 01:04:28,073 The day I saw the film, it was lightning in a bottle. 1565 01:04:31,143 --> 01:04:34,313 NARRATOR: He's a stainless steel, unstoppable Clint Eastwood. 1566 01:04:34,313 --> 01:04:36,415 PETER WELLER: (on TV) I think you should run to see this movie. 1567 01:04:36,415 --> 01:04:37,583 And not only because I'm in it, 1568 01:04:37,583 --> 01:04:39,118 but because, well, we'll talk about it later. 1569 01:04:39,118 --> 01:04:39,985 Go see it. 1570 01:04:40,319 --> 01:04:42,321 I will. 1571 01:04:42,321 --> 01:04:43,555 BOB: (on TV) There's a new guy in town. 1572 01:04:43,555 --> 01:04:46,258 Wow. This is different than anything I'd ever seen. 1573 01:04:46,258 --> 01:04:47,526 BOB: (on TV) His name's RoboCop. 1574 01:04:47,526 --> 01:04:48,594 PAUL M. SAMMON: It was really something, 1575 01:04:48,594 --> 01:04:49,628 and pretty impactful on the public. 1576 01:04:50,062 --> 01:04:52,064 People saw it, and they wanted to see it again. 1577 01:04:52,064 --> 01:04:53,299 -WOMAN: RoboCop. -MAN: RoboCop. 1578 01:04:53,532 --> 01:04:55,167 Oh, yeah, RoboCop! That's so cool. 1579 01:04:56,969 --> 01:04:59,972 CHARLES: People thought that movie was off the chart. 1580 01:04:59,972 --> 01:05:02,007 The tone, everything, the humor. 1581 01:05:02,007 --> 01:05:03,943 NARRATOR: RoboCop is dead-on! 1582 01:05:03,943 --> 01:05:06,245 Both as a thriller and an unexpected comedy. 1583 01:05:07,913 --> 01:05:09,481 NANCY: Truly, it's an interesting story 1584 01:05:09,481 --> 01:05:11,884 and it has a lot of depth to it, but just on an action, 1585 01:05:11,884 --> 01:05:14,019 you know, shoot 'em up, and blow it up, 1586 01:05:14,019 --> 01:05:15,788 and bloody it up. 1587 01:05:15,788 --> 01:05:19,358 You know, just on a popcorn, crazy summer movie level, 1588 01:05:19,358 --> 01:05:20,826 it works on that, too. 1589 01:05:20,826 --> 01:05:22,428 The movie has a lot of high-tech special effects. 1590 01:05:22,428 --> 01:05:24,263 It's an effective summer thriller. 1591 01:05:24,263 --> 01:05:25,431 I enjoyed it. 1592 01:05:26,999 --> 01:05:29,568 MILES: When I left the theater, I felt sick to my stomach. 1593 01:05:29,568 --> 01:05:30,736 I couldn't believe what I'd seen. 1594 01:05:30,736 --> 01:05:32,805 I had no idea working on it that that film 1595 01:05:32,805 --> 01:05:34,106 was gonna be what it was. 1596 01:05:34,106 --> 01:05:35,774 Like, takes your viscera, 1597 01:05:35,774 --> 01:05:37,943 and makes you feel part of the deal. 1598 01:05:37,943 --> 01:05:39,812 TERESSA: It has some guts to it. 1599 01:05:39,812 --> 01:05:41,146 And I think that's because of Paul. 1600 01:05:41,347 --> 01:05:43,315 A lot of people deserve credit for this film. 1601 01:05:43,315 --> 01:05:45,517 The foremost, I guess, is the highly regarded 1602 01:05:45,517 --> 01:05:46,919 Dutch director Paul Verhoeven. 1603 01:05:47,219 --> 01:05:48,988 We were kind of like dumbfounded 1604 01:05:48,988 --> 01:05:51,190 that, "Wow. So, that's what Paul was-- 1605 01:05:51,190 --> 01:05:52,358 was doing." 1606 01:05:52,358 --> 01:05:53,625 And Verhoeven, you know, 1607 01:05:53,625 --> 01:05:55,928 as difficult as he was to work with, 1608 01:05:55,928 --> 01:05:57,396 you know, he had a vision of what he wanted, 1609 01:05:57,396 --> 01:05:58,831 and he got his movie. 1610 01:06:00,966 --> 01:06:02,768 PAUL: We went to a restaurant 1611 01:06:02,768 --> 01:06:05,237 opposite to the theater in Westwood, 1612 01:06:05,237 --> 01:06:08,607 and we're sitting there, and then saw this line of people 1613 01:06:08,941 --> 01:06:10,109 that went like this, 1614 01:06:10,109 --> 01:06:12,711 and they go on the streets, and then the side street, 1615 01:06:12,711 --> 01:06:14,013 and around the corner. 1616 01:06:14,246 --> 01:06:17,016 But seeing them going, I mean, you don't see 1617 01:06:17,016 --> 01:06:19,084 that much anymore this way. 1618 01:06:19,084 --> 01:06:20,953 It was a success, because the budget 1619 01:06:20,953 --> 01:06:23,355 was 13, and it made 120 or something 1620 01:06:23,355 --> 01:06:24,490 in the world, you know? 1621 01:06:24,857 --> 01:06:26,525 So, I'm still getting money from them, you know? 1622 01:06:26,792 --> 01:06:28,427 I owned half the movie, 1623 01:06:28,427 --> 01:06:32,865 and I gave pieces of it to 13 or 15 people 1624 01:06:32,865 --> 01:06:34,400 that worked on the picture. 1625 01:06:34,400 --> 01:06:37,703 And to this very day, we're still getting checks. 1626 01:06:37,703 --> 01:06:40,839 Still get some very decent residual checks from RoboCop. 1627 01:06:41,173 --> 01:06:43,442 "Hey, man. Did you get the last residual check?" 1628 01:06:43,442 --> 01:06:45,711 "Yeah, I got it." "All right!" 1629 01:06:47,579 --> 01:06:48,714 RAY: That'll give you an idea 1630 01:06:48,714 --> 01:06:51,350 of how popular that movie was and still is. 1631 01:06:51,350 --> 01:06:52,851 JESSE: People stopping you on the street 1632 01:06:52,851 --> 01:06:54,853 and asking you to do the laugh. 1633 01:06:54,853 --> 01:06:56,855 You get the laundry, folding your clothes, 1634 01:06:56,855 --> 01:06:58,524 and say, "Man, do that laugh! Man, do that laugh." 1635 01:06:58,524 --> 01:07:00,059 I'm like, "I can't do that laugh." 1636 01:07:00,059 --> 01:07:02,261 -[chuckles] -[laughs manically] 1637 01:07:02,261 --> 01:07:03,829 People have said to me, 1638 01:07:03,829 --> 01:07:06,398 "Hey yeah, RoboCop." I say, "Yeah, yeah." 1639 01:07:06,398 --> 01:07:07,433 Mm! [smacks lips] 1640 01:07:07,433 --> 01:07:10,402 Tastes like baby food. 1641 01:07:10,402 --> 01:07:12,037 Tastes like baby food. 1642 01:07:12,037 --> 01:07:14,006 FELTON: That's the one line they never forget. 1643 01:07:14,006 --> 01:07:15,040 Knock yourself out. 1644 01:07:15,240 --> 01:07:17,409 It changed the world for me. And I can tell you, 1645 01:07:17,409 --> 01:07:19,378 I got out of two speeding tickets because of it. 1646 01:07:19,378 --> 01:07:20,612 [chuckles] 1647 01:07:20,612 --> 01:07:22,147 CALVIN: Motorcycle cop pulls me over. 1648 01:07:22,147 --> 01:07:24,683 He goes, "License and registration." 1649 01:07:24,683 --> 01:07:26,785 Flips up his shades. 1650 01:07:26,785 --> 01:07:29,121 "RoboCop, get the fuck out of here." 1651 01:07:29,121 --> 01:07:30,489 "Have you ever seen RoboCop?" 1652 01:07:30,489 --> 01:07:32,257 And of course, right there, the beat. 1653 01:07:32,257 --> 01:07:33,325 [gasps] 1654 01:07:33,325 --> 01:07:34,927 "We have it on a loop in the station. 1655 01:07:34,927 --> 01:07:36,562 We watch it all the time!" 1656 01:07:36,562 --> 01:07:38,464 We got onto that subject and off that ticket went. 1657 01:07:40,332 --> 01:07:41,900 DIANE: My friend's son was like, "Oh, yeah. 1658 01:07:41,900 --> 01:07:43,869 At college, we all watch RoboCop like every weekend. 1659 01:07:43,869 --> 01:07:45,237 I went, "You do?" 1660 01:07:45,237 --> 01:07:46,972 He goes, "Yeah." He goes, "And you? 1661 01:07:46,972 --> 01:07:48,941 Everybody knows you. You're like the coke whore." 1662 01:07:49,241 --> 01:07:50,776 I said, "I think I was a model." 1663 01:07:50,776 --> 01:07:52,411 [laughs] 1664 01:07:52,411 --> 01:07:54,046 The thing that is most interesting to me 1665 01:07:54,046 --> 01:07:56,248 about all of this and I could not have predicted it, 1666 01:07:56,248 --> 01:07:57,616 but I couldn't be more pleased, 1667 01:07:57,616 --> 01:08:01,286 is that this is somehow like this cultural thing 1668 01:08:01,286 --> 01:08:03,922 that young men particularly, but some young women, too, 1669 01:08:03,922 --> 01:08:04,823 really embrace. 1670 01:08:06,058 --> 01:08:07,493 JON: I'm always amazed 1671 01:08:07,493 --> 01:08:09,294 when people come up to me, and say, 1672 01:08:09,595 --> 01:08:12,831 "My dad took me to see that movie 1673 01:08:13,365 --> 01:08:15,834 when I was 8 years old, and it changed my life." 1674 01:08:15,834 --> 01:08:17,803 And I thought to myself, 1675 01:08:17,803 --> 01:08:20,139 "Why would your dad 1676 01:08:20,139 --> 01:08:22,608 -take you to see that movie?" -I don't know. 1677 01:08:22,608 --> 01:08:24,309 "I saw it, and I was way too young." 1678 01:08:24,309 --> 01:08:25,911 And you know... 1679 01:08:25,911 --> 01:08:27,546 And "My brother took me there and I shouldn't have seen it." 1680 01:08:27,913 --> 01:08:29,548 "Oh, I saw this movie when I was 8," 1681 01:08:29,548 --> 01:08:30,849 or "I saw this movie," and I thought, 1682 01:08:30,849 --> 01:08:31,950 "Where were the parents? 1683 01:08:31,950 --> 01:08:33,318 You know, what was going on there?" 1684 01:08:33,752 --> 01:08:35,454 Murphy. 1685 01:08:35,454 --> 01:08:39,625 JON: It's a wonder you're not, you know, a complete serial killer 1686 01:08:39,625 --> 01:08:41,460 or something. I mean, God! 1687 01:08:41,660 --> 01:08:43,695 And it's almost-- it becomes a rite of passage, 1688 01:08:43,996 --> 01:08:45,097 and kids would sneak off 1689 01:08:45,497 --> 01:08:46,865 to see it at other people's houses. 1690 01:08:46,865 --> 01:08:50,669 "My uncle sneaked me in and let me watch his VHS. 1691 01:08:50,669 --> 01:08:52,971 And it was cool!" "This is my favorite movie. 1692 01:08:52,971 --> 01:08:54,473 -Don't tell your mom." -RONNY: This is, sort of, 1693 01:08:54,473 --> 01:08:57,776 their touchstone film in lots of ways. 1694 01:08:57,776 --> 01:08:59,778 It tapped into your, sort of, sense 1695 01:08:59,778 --> 01:09:02,047 of-- of absurdity. 1696 01:09:02,047 --> 01:09:03,649 It was all the makeup, 1697 01:09:03,649 --> 01:09:06,985 and the faces dissolving, and guns firing. 1698 01:09:06,985 --> 01:09:10,656 You know, it's that hardwired of the charge of it all, 1699 01:09:10,656 --> 01:09:12,824 you know, and the fascination with it all. 1700 01:09:13,058 --> 01:09:14,693 KEVIN: I showed my kids, 1701 01:09:15,194 --> 01:09:17,529 and they thought ED-209 was kind of funny. 1702 01:09:17,529 --> 01:09:19,665 And I'm like, "What's wrong with you?" 1703 01:09:19,665 --> 01:09:22,201 So, I took 'em out of the will, I kicked them out of the house. 1704 01:09:22,201 --> 01:09:23,669 NARRATOR: Kids, look up to him. 1705 01:09:23,669 --> 01:09:24,870 Stay out of trouble. 1706 01:09:25,204 --> 01:09:28,407 ANGIE: I think as long as in a violent film, there's a hero 1707 01:09:28,407 --> 01:09:33,212 that's a good role model for kids, then you know, 1708 01:09:33,212 --> 01:09:35,147 it's got to be okay. 1709 01:09:35,147 --> 01:09:36,748 Can you do that, Dad? 1710 01:09:36,748 --> 01:09:37,983 There's an interesting thing about 1711 01:09:37,983 --> 01:09:39,885 action films and action characters 1712 01:09:40,285 --> 01:09:42,421 -that are horrifically violent. -[groans] 1713 01:09:42,421 --> 01:09:43,855 And then the fallout 1714 01:09:43,855 --> 01:09:48,994 of the film begs to the commercial world dolls. 1715 01:09:49,228 --> 01:09:50,996 Drop it! 1716 01:09:50,996 --> 01:09:53,565 NARRATOR: RoboCop and the Ultra Police, each sold separately. 1717 01:09:53,565 --> 01:09:55,234 Criminals, give up. 1718 01:09:55,534 --> 01:09:57,903 I didn't expect all of the merchandising. 1719 01:09:57,903 --> 01:09:59,204 That was a surprise. 1720 01:09:59,204 --> 01:10:01,473 NARRATOR: RoboCop and evil ED-260 1721 01:10:01,473 --> 01:10:03,875 face off with rapid repeat cap firing. 1722 01:10:03,875 --> 01:10:05,877 STEPHAN: I mean, RoboCop, right? 1723 01:10:06,111 --> 01:10:10,716 So, the kids want RoboCop costume, you know, and stuff. 1724 01:10:10,716 --> 01:10:12,050 What do you expect from the studios? 1725 01:10:12,251 --> 01:10:16,388 NARRATOR: The helmet, the look, the power of RoboCop. 1726 01:10:16,388 --> 01:10:18,223 PAUL POWER: The idea of RoboCop 1727 01:10:18,223 --> 01:10:21,393 appealing to kids and everything didn't surprise me in the least. 1728 01:10:21,393 --> 01:10:23,095 I expected it. 1729 01:10:23,095 --> 01:10:25,063 I went, "Wow. This is a comic book film. 1730 01:10:25,330 --> 01:10:26,865 There's no comic book." 1731 01:10:26,865 --> 01:10:29,635 And then I think Marvel did the comic after. 1732 01:10:29,635 --> 01:10:30,736 And it was just a natural. 1733 01:10:33,205 --> 01:10:36,808 Well, the audience for the comic was never really very clear. 1734 01:10:36,808 --> 01:10:38,677 I think it was clearly-- 1735 01:10:38,677 --> 01:10:40,979 it had to be for younger age group. 1736 01:10:40,979 --> 01:10:43,215 Although, I was never really totally certain why, 1737 01:10:43,215 --> 01:10:45,284 because actually most comic books, 1738 01:10:45,284 --> 01:10:47,953 certainly by then, were for late teenagers, 1739 01:10:47,953 --> 01:10:49,288 early 20s. 1740 01:10:49,288 --> 01:10:50,689 But you could tell that the stories 1741 01:10:50,889 --> 01:10:52,991 were starting to go in a direction 1742 01:10:52,991 --> 01:10:56,361 that you might expect a good continuation 1743 01:10:56,361 --> 01:10:58,830 of the movie to be coming up with. 1744 01:10:59,064 --> 01:11:01,366 You still couldn't show people's heads being blown off 1745 01:11:01,366 --> 01:11:02,634 or anything like that. 1746 01:11:02,634 --> 01:11:04,903 Actually, to my relief, because the older I get, 1747 01:11:04,903 --> 01:11:06,071 the more squeamish I get. 1748 01:11:08,106 --> 01:11:09,675 MILES: It was fantastic seeing RoboCop 1749 01:11:09,675 --> 01:11:11,510 come out in all these different iterations, 1750 01:11:11,510 --> 01:11:12,711 the games, the toys, you know? 1751 01:11:12,711 --> 01:11:14,313 I mean, I like to buy 'em. 1752 01:11:14,313 --> 01:11:16,281 I must have put $100 worth of quarters 1753 01:11:16,682 --> 01:11:18,784 into uh, that machine. 1754 01:11:18,784 --> 01:11:20,686 -[fires shots] - Don't move, creep! 1755 01:11:20,686 --> 01:11:21,553 It was bitchin'. 1756 01:11:26,024 --> 01:11:27,693 AUTOMATED VOICE: Thank you for your cooperation. 1757 01:11:28,160 --> 01:11:29,628 NARRATOR: (on TV) After being mortally wounded 1758 01:11:29,628 --> 01:11:32,197 in the line of duty, Officer Murphy is outfitted 1759 01:11:32,631 --> 01:11:36,001 by OCP with bulletproof titanium robotic parts. 1760 01:11:36,468 --> 01:11:37,402 When it came to the cartoons 1761 01:11:37,669 --> 01:11:39,938 and all that stuff, you know, that stuff wasn't anywhere 1762 01:11:39,938 --> 01:11:41,740 near as violent as the feature. 1763 01:11:42,107 --> 01:11:44,976 NARRATOR: (on TV) He has become the ultimate super cop. 1764 01:11:46,144 --> 01:11:47,179 RoboCop. 1765 01:11:48,947 --> 01:11:51,216 And I was very impressed with the guy who played my part. 1766 01:11:51,650 --> 01:11:55,220 I bet you don't think I'm a very nice person. 1767 01:11:55,220 --> 01:11:56,755 ROBOCOP: I think you're scum. 1768 01:11:56,755 --> 01:11:58,290 [laughs evilly] 1769 01:11:58,290 --> 01:11:59,758 It just blew their little minds. 1770 01:11:59,758 --> 01:12:01,860 It's okay, Murphy. 1771 01:12:01,860 --> 01:12:03,595 It's me, Lewis. 1772 01:12:03,595 --> 01:12:04,963 [laughs] 1773 01:12:04,963 --> 01:12:06,665 So, it was fun. You know, it's fun to be part of that. 1774 01:12:08,533 --> 01:12:10,168 PAUL M. SAMMON: You will have a time as a child, 1775 01:12:10,168 --> 01:12:12,971 where you'll see a picture which will shape you 1776 01:12:12,971 --> 01:12:14,039 the rest of your life. 1777 01:12:14,406 --> 01:12:17,242 It gets into your head and into your heart as a child, 1778 01:12:17,242 --> 01:12:19,444 and it becomes a loved thing. 1779 01:12:19,444 --> 01:12:22,047 And it really has a power and a motive force 1780 01:12:22,047 --> 01:12:22,914 the rest of your life. 1781 01:12:24,916 --> 01:12:27,052 PETER WELLER: One of the most remarkable things is that 1782 01:12:27,586 --> 01:12:31,523 a mom came up to me, my age, with a kid 1783 01:12:31,523 --> 01:12:34,526 in his 40s, and he said he was on the wrong side 1784 01:12:34,526 --> 01:12:36,461 of the law when he was 12. 1785 01:12:36,461 --> 01:12:38,797 And his mom showed him RoboCop. 1786 01:12:38,797 --> 01:12:41,066 He says, "I saw RoboCop, and I wanna be a cop. 1787 01:12:41,433 --> 01:12:44,236 I left my friends," changed his playground, 1788 01:12:44,236 --> 01:12:45,871 and became this cop, man. 1789 01:12:45,871 --> 01:12:49,374 That's a service that I can never dream 1790 01:12:49,374 --> 01:12:52,411 that any movie would do or be of, 1791 01:12:52,411 --> 01:12:54,079 is that change a guy's life. 1792 01:12:55,881 --> 01:12:57,048 PAUL: I know that Ed and I, 1793 01:12:57,048 --> 01:12:59,651 we talked for a moment about the sequel, 1794 01:13:00,118 --> 01:13:03,255 but I think the studio felt that we were not fast enough 1795 01:13:03,255 --> 01:13:05,056 and went other ways. 1796 01:13:05,056 --> 01:13:07,192 JON: Orion was in financial trouble. 1797 01:13:07,192 --> 01:13:08,727 Because it was successful, 1798 01:13:08,727 --> 01:13:10,896 they immediately wanted to do another one. 1799 01:13:11,196 --> 01:13:12,431 [systen clatters] 1800 01:13:12,431 --> 01:13:13,465 Taking over, creep. 1801 01:13:13,665 --> 01:13:14,566 [fires shot] 1802 01:13:17,235 --> 01:13:19,237 MICHAEL MINER: The misfire of the sequel, 1803 01:13:19,438 --> 01:13:22,441 and then number three was just horrible. 1804 01:13:22,441 --> 01:13:24,109 NARRATOR: He's taking the future. 1805 01:13:24,109 --> 01:13:25,744 What in the name... 1806 01:13:25,744 --> 01:13:28,113 NARRATOR: And giving it back to the people. 1807 01:13:29,614 --> 01:13:31,616 RoboCop 3. 1808 01:13:31,616 --> 01:13:34,453 ED: But that's more aimed at children to make it PG-13. 1809 01:13:34,653 --> 01:13:36,855 So, then more people would come. 1810 01:13:36,855 --> 01:13:38,690 And some people like 2. 1811 01:13:38,690 --> 01:13:40,592 I don't know too many people who like 3. 1812 01:13:40,592 --> 01:13:41,860 ALLAN: You know, it set the stage 1813 01:13:41,860 --> 01:13:43,528 for the rest of 'em, but they always say 1814 01:13:43,528 --> 01:13:44,663 the first one's the best. 1815 01:13:44,996 --> 01:13:47,165 There's that first flash when you get hit in the face, 1816 01:13:47,165 --> 01:13:48,600 and that was probably what the first movie was. 1817 01:13:48,600 --> 01:13:50,302 And then everything else was just body shots. 1818 01:13:50,302 --> 01:13:54,339 [♪♪♪] 1819 01:13:54,339 --> 01:13:56,708 ED: In the time since that film has come out, 1820 01:13:56,708 --> 01:13:59,277 it's grown a massive following. 1821 01:13:59,277 --> 01:14:01,847 DEL: It's really difficult to get a movie that works everywhere, 1822 01:14:01,847 --> 01:14:03,782 and RoboCop works everywhere. 1823 01:14:03,782 --> 01:14:05,417 And it's still popular to this day. 1824 01:14:05,417 --> 01:14:06,418 PAUL: The success of RoboCop 1825 01:14:06,818 --> 01:14:09,287 is more basically that it's still there now 1826 01:14:09,554 --> 01:14:11,823 than that it was such a big success. That-- 1827 01:14:14,793 --> 01:14:17,796 The idea of landing a superhero 1828 01:14:17,796 --> 01:14:21,333 within the consciousness of Western civilization, 1829 01:14:21,333 --> 01:14:23,101 I feel very lucky to have been a part of that. 1830 01:14:25,637 --> 01:14:27,138 KEVIN PAGE: RoboCop predicted, 1831 01:14:27,372 --> 01:14:30,442 sort of, the decadence of what our media is like today, 1832 01:14:30,442 --> 01:14:32,110 I think, and-- and our politics. 1833 01:14:32,110 --> 01:14:33,445 You better be careful, man. 1834 01:14:33,445 --> 01:14:36,114 -I hear Jones is a real shark. -Who asked you, twerp? 1835 01:14:36,114 --> 01:14:37,516 We were so on target. 1836 01:14:37,516 --> 01:14:38,817 [gun shots] 1837 01:14:39,284 --> 01:14:40,685 The movie is so precise, 1838 01:14:40,685 --> 01:14:42,988 and there is really nothing in the movie 1839 01:14:42,988 --> 01:14:44,756 that I would say that was not good. 1840 01:14:45,156 --> 01:14:46,358 RAY: There are parallels 1841 01:14:46,358 --> 01:14:49,594 you can draw to our-- our daily political life, 1842 01:14:49,594 --> 01:14:51,696 our daily social life. 1843 01:14:51,696 --> 01:14:53,865 There are aspects of it that are still true today 1844 01:14:53,865 --> 01:14:57,135 and becoming more true every day. 1845 01:14:57,602 --> 01:14:58,570 It also forecast 1846 01:14:58,570 --> 01:15:00,171 the militarization of the police, 1847 01:15:00,539 --> 01:15:02,040 how the police are all decked out 1848 01:15:02,040 --> 01:15:03,942 in these body armor and kevlar vests, 1849 01:15:04,342 --> 01:15:06,745 and they have this massive military presence. 1850 01:15:07,379 --> 01:15:09,180 -[gun shots] -Halt it! 1851 01:15:09,180 --> 01:15:10,715 PAUL M. SAMMON: Violence is on the rise, 1852 01:15:10,715 --> 01:15:14,019 citizens are defenseless, the businesses are corrupt, 1853 01:15:14,019 --> 01:15:15,787 people build big products that don't work. 1854 01:15:18,256 --> 01:15:21,526 ARNE: And now, we have robots taking over all kinds of jobs. 1855 01:15:21,526 --> 01:15:24,262 So, it's become more of a reality than ever. 1856 01:15:24,262 --> 01:15:25,964 PAUL M. SAMMON: And all of that, unfortunately, 1857 01:15:26,331 --> 01:15:29,267 and alas, has now gone up a whole order of magnitude 1858 01:15:29,267 --> 01:15:31,436 in today's society. 1859 01:15:31,436 --> 01:15:32,871 It's prophetic. 1860 01:15:32,871 --> 01:15:34,205 ED: I think we made a joke 1861 01:15:34,205 --> 01:15:36,875 about human nature, and politics, and society, 1862 01:15:36,875 --> 01:15:39,811 and we had, sort of, a snapshot we created. 1863 01:15:39,811 --> 01:15:42,747 PETER WELLER: It's about the American tragedy, 1864 01:15:42,747 --> 01:15:45,584 and that's the legacy of the classic. 1865 01:15:45,784 --> 01:15:48,219 The first glance, it's about this. 1866 01:15:48,653 --> 01:15:51,590 Second glance, it's about something much more profound. 1867 01:15:54,192 --> 01:15:57,195 JON: Looking back on RoboCop, 1868 01:15:57,195 --> 01:16:00,832 what really sticks with me is a lesson. 1869 01:16:01,199 --> 01:16:03,802 Time heals all pain. 1870 01:16:04,102 --> 01:16:06,104 The crew got thrown together 1871 01:16:06,104 --> 01:16:09,608 in this big cauldron with this great story. 1872 01:16:10,008 --> 01:16:13,244 MICHAEL: Ed Neumeier and Michael Miner, the writers, were brilliant. 1873 01:16:13,244 --> 01:16:16,581 Add to that a brilliant director. 1874 01:16:16,581 --> 01:16:18,450 GREGOR: RoboCop was a miracle. 1875 01:16:18,450 --> 01:16:21,753 It was the right people at the right time 1876 01:16:21,753 --> 01:16:24,422 coming together to make something different. 1877 01:16:24,623 --> 01:16:26,691 PAUL: I think what plays a part here 1878 01:16:26,691 --> 01:16:29,861 is my relying on intuition and not knowing. 1879 01:16:29,861 --> 01:16:33,298 I think that RoboCop is the best movie I made. 1880 01:16:33,298 --> 01:16:34,165 Drop it! 1881 01:16:38,770 --> 01:16:40,005 PAUL M. SAMMON: The '80s just happened 1882 01:16:40,005 --> 01:16:43,174 to be a time when Hollywood had finally discovered 1883 01:16:43,174 --> 01:16:46,044 that they could make A movies out of B movies, 1884 01:16:46,244 --> 01:16:48,313 and they just went wild with it. 1885 01:16:48,313 --> 01:16:50,181 Who are you? 1886 01:16:50,415 --> 01:16:51,449 Being in RoboCop 1887 01:16:51,449 --> 01:16:54,519 is like being in a little time capsule, 1888 01:16:54,719 --> 01:16:56,521 just a super cool, 1889 01:16:56,521 --> 01:16:58,857 frozen-in-time pop culture moment. 1890 01:17:00,058 --> 01:17:01,493 STEPHEN: We get lucky, 1891 01:17:01,493 --> 01:17:04,162 and we get to work on a show now and again that resonates 1892 01:17:04,162 --> 01:17:06,665 and has some relevance beyond just the entertainment. 1893 01:17:06,898 --> 01:17:09,300 The Tigers are playing tonight. 1894 01:17:09,634 --> 01:17:11,970 KURTWOOD: I'm proud of the reaction 1895 01:17:11,970 --> 01:17:15,707 that I've had to my work in RoboCop, 1896 01:17:15,707 --> 01:17:18,143 to know that you've had an effect on people. 1897 01:17:18,143 --> 01:17:19,144 -It's pleasing to me. -[mumbles] 1898 01:17:19,144 --> 01:17:21,312 ANGIE: Wow! I can't believe it. 1899 01:17:21,312 --> 01:17:25,517 It has made such an impact on people for so long. 1900 01:17:27,452 --> 01:17:29,154 RAY: I think every successive generation 1901 01:17:29,154 --> 01:17:30,455 discovers it for themselves, 1902 01:17:30,755 --> 01:17:33,692 and it becomes a whole new thing all over again. 1903 01:17:33,692 --> 01:17:35,193 NANCY: The thing that has sustained it, 1904 01:17:35,193 --> 01:17:37,829 I think, through the years is the fact 1905 01:17:37,829 --> 01:17:38,897 that there is a heart and soul to it. 1906 01:17:39,097 --> 01:17:41,099 Murphy, it's you. 1907 01:17:41,466 --> 01:17:45,303 ED: I also think there's a sort of an optimism in it also, 1908 01:17:45,303 --> 01:17:47,872 which says "We'll go on somehow, you know? 1909 01:17:47,872 --> 01:17:49,207 We'll bumble along. 1910 01:17:49,207 --> 01:17:51,509 And some people will be fools, but somehow, 1911 01:17:51,843 --> 01:17:53,411 right will prevail." 1912 01:17:53,411 --> 01:17:56,514 And in some ways, RoboCop stands in for that. 1913 01:17:56,514 --> 01:17:58,049 Your move, creep. 1914 01:17:58,049 --> 01:17:59,651 ED: He is that character 1915 01:17:59,851 --> 01:18:01,920 that will take us through, that says, 1916 01:18:01,920 --> 01:18:05,924 "We can cope with these changes of technology or politics." 1917 01:18:07,358 --> 01:18:09,227 PETER WELLER: I am proud to have been part of it, 1918 01:18:09,227 --> 01:18:11,196 and it is unique, and that's why it lives. 1919 01:18:11,529 --> 01:18:13,431 -Dead or alive... -You are coming with me. 1920 01:18:13,665 --> 01:18:16,034 And there's a punch in the face 1921 01:18:16,668 --> 01:18:18,336 -[glass breaks] -and the heart with RoboCop. 1922 01:18:18,570 --> 01:18:21,606 About your world now that'll be resonant 1923 01:18:21,606 --> 01:18:23,508 for a long time to come. 1924 01:18:23,508 --> 01:18:26,611 Thank you for your cooperation. Goodnight. 1925 01:18:26,611 --> 01:18:33,585 [♪♪♪] 1926 01:19:14,459 --> 01:19:21,432 [♪♪♪]