All language subtitles for RoboDoc The Creation of RoboCop s01e01.eng
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1
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I think the character
is a modern knight in armor.
2
00:00:32,532 --> 00:00:35,935
We were so on target.
The movie is so precise.
3
00:00:35,935 --> 00:00:38,371
The Verhoeven mantra
on RoboCop was blood.
4
00:00:38,371 --> 00:00:40,340
I want more fucking blood.
5
00:00:40,340 --> 00:00:42,042
I never met anybody
6
00:00:42,042 --> 00:00:44,277
that had a good time
making RoboCop.
7
00:00:44,277 --> 00:00:46,613
The '80s in America
were a tipping point.
8
00:00:46,613 --> 00:00:49,883
It had this prescient
dark side.
9
00:00:49,883 --> 00:00:51,818
That's the lightning
in the bottle.
10
00:00:51,818 --> 00:00:55,722
It's a character
that's a wonderful, unique hero.
11
00:00:55,722 --> 00:00:58,725
One of the really
iconic movies around.
12
00:00:58,725 --> 00:01:01,828
It lives
because of its theme.
13
00:01:01,828 --> 00:01:06,299
And the theme is executed
right down the line.
14
00:01:06,299 --> 00:01:10,503
There's a sincere purity
about his goals,
15
00:01:10,503 --> 00:01:12,338
and yet he promises action.
16
00:03:13,493 --> 00:03:15,995
I'd been thinking
about, sort of, action movies
17
00:03:15,995 --> 00:03:19,532
and strangely business in 1980.
18
00:03:19,532 --> 00:03:21,134
And in particular,
I was thinking
19
00:03:21,134 --> 00:03:22,802
about how could I do a movie
where there was business
20
00:03:22,802 --> 00:03:23,870
and action together.
21
00:03:25,371 --> 00:03:27,941
I'm Ed Neumeier,
and I'm the co-screenwriter
22
00:03:27,941 --> 00:03:29,542
and co-producer of RoboCop.
23
00:03:30,543 --> 00:03:32,478
I was very interested
in science fiction,
24
00:03:32,478 --> 00:03:35,715
and I was working as a reader
at Warner Brothers.
25
00:03:35,715 --> 00:03:37,850
It was then called TBS.
It was shared.
26
00:03:37,850 --> 00:03:39,219
Both Columbia Pictures
and Warner Brothers
27
00:03:39,219 --> 00:03:40,720
were on it a lot.
28
00:03:40,720 --> 00:03:42,889
And that's where Blade Runner
was shot.
29
00:03:44,023 --> 00:03:47,460
In 1981, when I was on the set
of Blade Runner,
30
00:03:47,460 --> 00:03:48,661
I wasn't really working
on the movie,
31
00:03:48,661 --> 00:03:50,530
but I was kind of pretending to.
32
00:03:50,530 --> 00:03:51,564
I remember asking someone
on the set,
33
00:03:51,564 --> 00:03:52,899
"So, what's this movie about?"
34
00:03:52,899 --> 00:03:54,167
And they said,
"Oh, it's about a robot."
35
00:03:54,167 --> 00:03:55,368
And I went,
"Oh, cool, a robot."
36
00:03:55,368 --> 00:03:57,470
Because I always had liked
robots.
37
00:03:57,470 --> 00:03:59,339
And then they pointed
at Sean Young,
38
00:03:59,339 --> 00:04:00,873
and they said,
"That's the robot."
39
00:04:00,873 --> 00:04:03,876
And I went, "Oh, no,
that can't be the robot.
40
00:04:03,876 --> 00:04:05,411
I know what a robot looks like."
41
00:04:06,312 --> 00:04:07,413
And on the set
of Blade Runner,
42
00:04:07,413 --> 00:04:09,515
I had the idea for RoboCop.
43
00:04:09,515 --> 00:04:11,050
And later that night,
44
00:04:11,050 --> 00:04:13,419
I saw that blue car
which they call a spinner.
45
00:04:13,419 --> 00:04:15,088
And there was something
to a young man
46
00:04:15,088 --> 00:04:17,090
that was very seductive
about that.
47
00:04:17,090 --> 00:04:18,725
The name RoboCop
came to my mind,
48
00:04:18,725 --> 00:04:22,161
and kind of an image
of the character.
49
00:04:22,161 --> 00:04:25,064
And I give a lot of credit
to Ridley Scott's art direction,
50
00:04:25,064 --> 00:04:27,767
to really creating a mood
where suddenly,
51
00:04:27,767 --> 00:04:30,603
you have this idea
about something else.
52
00:04:31,437 --> 00:04:33,506
And then it took
about four years
53
00:04:33,506 --> 00:04:37,610
of thinking about this plot,
and story, and the character
54
00:04:37,610 --> 00:04:39,579
until it really germinated
into an idea
55
00:04:39,579 --> 00:04:41,581
I started writing down.
56
00:04:41,581 --> 00:04:43,116
But eventually,
I got a better job,
57
00:04:43,116 --> 00:04:45,852
and I became an executive,
a junior executive at Universal.
58
00:04:45,852 --> 00:04:48,621
I was reading a lot
of comic books for a studio.
59
00:04:48,621 --> 00:04:50,223
They came to me one day,
and said,
60
00:04:50,223 --> 00:04:51,624
"Ed, read these comic books."
61
00:04:51,624 --> 00:04:54,861
These, sort of, modern,
neurotic superhero.
62
00:04:54,861 --> 00:04:57,697
Iron Man, Machine Man ,
because the superhero
63
00:04:57,697 --> 00:04:59,532
had, sort of, trouble
being a superhero.
64
00:04:59,532 --> 00:05:01,100
Even though
he had all these powers,
65
00:05:01,100 --> 00:05:02,802
there was, like,
something going on inside.
66
00:05:02,802 --> 00:05:04,937
So, he was, sort of, like
a superhero with a headache.
67
00:05:04,937 --> 00:05:06,439
You know,
I kind of showed up suddenly,
68
00:05:06,439 --> 00:05:08,441
and I'm wearing a suit,
and I'm a little nervous
69
00:05:08,441 --> 00:05:10,043
about, "Why am I here?"
70
00:05:10,043 --> 00:05:11,611
Because I didn't really feel
like an executive type,
71
00:05:11,611 --> 00:05:12,578
but it was a good job.
72
00:05:12,578 --> 00:05:13,446
Yes, sir.
73
00:05:13,446 --> 00:05:14,747
You can, sort of, see
74
00:05:14,747 --> 00:05:16,649
in the executive scenes
in RoboCop
75
00:05:16,649 --> 00:05:18,584
that there is that young
character
76
00:05:18,584 --> 00:05:20,620
who eventually gets shot,
you know?
77
00:05:20,620 --> 00:05:22,455
I kind of saw myself as Kinney.
78
00:05:22,455 --> 00:05:24,324
Too bad about Kenny, huh?
79
00:05:24,324 --> 00:05:25,591
That's life in a big city.
80
00:05:25,591 --> 00:05:26,959
It was while I was there
81
00:05:26,959 --> 00:05:28,461
that I was really doing
a lot of the plotting,
82
00:05:28,461 --> 00:05:31,564
and that's where I met
Michael Miner.
83
00:05:31,564 --> 00:05:33,966
My name is Michael Miner,
and I co-wrote RoboCop.
84
00:05:33,966 --> 00:05:35,568
Miner was older than me,
85
00:05:35,568 --> 00:05:37,770
but he was then a young
filmmaker from UCLA,
86
00:05:37,770 --> 00:05:39,005
where I had also gone.
87
00:05:39,005 --> 00:05:41,474
Ed viewed a package
of short films
88
00:05:41,474 --> 00:05:44,077
that a bunch
of UCLA filmmakers made,
89
00:05:44,077 --> 00:05:45,945
and mine was one of them.
90
00:05:45,945 --> 00:05:49,082
I started shooting music videos
as a director camera operator.
91
00:05:49,082 --> 00:05:51,584
Did about ten of them.
They were heavy metal videos.
92
00:05:51,584 --> 00:05:55,988
I made experimental films
in the vein of Nicolas Rogue
93
00:05:55,988 --> 00:05:58,358
and the French New Wave,
94
00:05:58,358 --> 00:06:00,660
but was also heavily influenced
by Philip K. Dick
95
00:06:00,660 --> 00:06:02,862
and Jorge Luis Borges.
96
00:06:02,862 --> 00:06:05,298
They were my, you would say,
literary mentors.
97
00:06:06,799 --> 00:06:08,634
The type of science fiction
I was interested in
98
00:06:08,634 --> 00:06:10,370
had a social aspect.
99
00:06:10,370 --> 00:06:13,539
What it means to be human,
what is reality,
100
00:06:13,539 --> 00:06:16,943
whether reality as we see it
is questionable,
101
00:06:16,943 --> 00:06:19,212
all of those things.
102
00:06:19,212 --> 00:06:21,214
I started developing an idea
called Supercop,
103
00:06:21,214 --> 00:06:25,551
which was about an appliance
that a human wears
104
00:06:25,551 --> 00:06:27,620
that accelerates
all of that person's
105
00:06:27,620 --> 00:06:29,122
physical attributes.
106
00:06:29,122 --> 00:06:31,057
And the crux of the drama
was that it starts
107
00:06:31,057 --> 00:06:34,627
affecting the psychology
of the cops in psychotic ways.
108
00:06:34,627 --> 00:06:36,362
He came to see me
looking for a job,
109
00:06:36,362 --> 00:06:37,663
but instead, I said,
110
00:06:37,663 --> 00:06:38,965
"Hey, let's do a movie
about a robot."
111
00:06:41,067 --> 00:06:42,802
We had lunch, and we found out,
112
00:06:42,802 --> 00:06:45,304
"Wow, we were thinking
in these similar, sort of, vein
113
00:06:45,304 --> 00:06:48,040
of what is the future
of law enforcement.
114
00:06:48,040 --> 00:06:50,309
And it was pretty much
a, I won't say
115
00:06:50,309 --> 00:06:52,678
love at first sight,
but we really hit it off.
116
00:06:52,678 --> 00:06:54,247
And one thing led to another.
117
00:06:54,247 --> 00:06:58,084
And we started writing a script
on nights and weekends
118
00:06:58,084 --> 00:07:00,086
called RoboCop.
119
00:07:00,086 --> 00:07:01,854
Ed and I do
very different things,
120
00:07:01,854 --> 00:07:04,056
which is kind of what you want
in a partnership.
121
00:07:04,056 --> 00:07:07,026
I am full of frothy
amount of ideas,
122
00:07:07,026 --> 00:07:09,228
where Ed is more
of a solid backstop,
123
00:07:09,228 --> 00:07:11,397
and he's a no BS kind of guy.
124
00:07:11,397 --> 00:07:15,034
So, part of our process
was myself pitching things,
125
00:07:15,034 --> 00:07:17,036
nine of which were pretty bad,
126
00:07:17,036 --> 00:07:18,738
but the tenth one,
when it landed,
127
00:07:18,738 --> 00:07:21,274
it was usually, you know,
something that Ed recognized
128
00:07:21,274 --> 00:07:23,843
as a solid, dramatic piece.
129
00:07:23,843 --> 00:07:26,546
And that was part of the glue
of our partnership.
130
00:07:26,546 --> 00:07:28,381
I actually told them
131
00:07:28,381 --> 00:07:30,183
that somebody in my family
had died,
132
00:07:30,183 --> 00:07:33,386
so I could leave for two weeks
and go write the first act,
133
00:07:33,386 --> 00:07:36,122
which I did in San Anselmo,
the town where I grew up.
134
00:07:36,122 --> 00:07:38,424
And the funny part of it
was that they sent me flowers,
135
00:07:38,424 --> 00:07:39,692
which I felt very bad about.
136
00:07:42,628 --> 00:07:46,098
Ed had a very solid first act,
including the torture murder.
137
00:07:46,098 --> 00:07:48,267
I came along and filled in
a lot of blanks
138
00:07:48,267 --> 00:07:50,636
about the corporate conspiracy,
139
00:07:50,636 --> 00:07:53,539
how the criminals,
Clarence and Dick Jones,
140
00:07:53,539 --> 00:07:57,410
linked up, had a kind of cabal
to manipulate Delta City.
141
00:07:57,410 --> 00:07:59,378
At times, it was very difficult,
142
00:07:59,378 --> 00:08:02,815
because we were both
in the room pacing, typing.
143
00:08:02,815 --> 00:08:06,319
We would be late at night,
tugging over specific lines,
144
00:08:06,319 --> 00:08:07,587
specific jokes.
145
00:08:07,587 --> 00:08:09,455
It was very hard.
146
00:08:09,455 --> 00:08:11,557
But then there were other times
when something came out, like,
147
00:08:11,557 --> 00:08:13,426
"He's old, we're young,
that's life."
148
00:08:13,426 --> 00:08:16,929
I just blurted that out one day,
and it just landed.
149
00:08:16,929 --> 00:08:19,999
We struggled together
to figure this thing out.
150
00:08:19,999 --> 00:08:22,134
The great thing
about the first drafts
151
00:08:22,134 --> 00:08:23,936
of RoboCop was
they were funny,
152
00:08:23,936 --> 00:08:25,471
they were insightful,
153
00:08:25,471 --> 00:08:29,075
they were critiquing
social mores of the time,
154
00:08:29,075 --> 00:08:30,676
particularly the Reagan era.
155
00:08:30,676 --> 00:08:31,944
If you know anything
156
00:08:31,944 --> 00:08:34,313
about the '80s
and Ronald Reagan,
157
00:08:34,313 --> 00:08:35,982
everything was privatized.
158
00:08:35,982 --> 00:08:38,584
The climate was ripe, I think.
The country was ready.
159
00:08:38,584 --> 00:08:40,620
They were tired of this BS,
right?
160
00:08:40,620 --> 00:08:44,624
And so, they were ready
for this satire about Maricona.
161
00:08:44,624 --> 00:08:47,527
I later offered Universal
the script,
162
00:08:47,527 --> 00:08:49,462
and they said,
"You've made a mistake.
163
00:08:49,462 --> 00:08:51,697
And the mistake you've made
is that the robot
164
00:08:51,697 --> 00:08:53,099
should not look like a robot.
165
00:08:53,099 --> 00:08:54,534
It should look like a man
on the outside.
166
00:08:54,534 --> 00:08:56,135
That's the way you do it,"
they said.
167
00:08:56,135 --> 00:08:57,770
'Cause they'd dumped
The Six Million Dollar Man,
168
00:08:57,770 --> 00:08:59,839
and that's what they thought
it should be.
169
00:08:59,839 --> 00:09:03,509
But luckily, they didn't buy it.
170
00:09:03,509 --> 00:09:06,479
Terminator
was about to come out.
171
00:09:06,479 --> 00:09:09,282
And we consciously stayed away
from it as long as we could.
172
00:09:09,282 --> 00:09:12,118
There was an industry screening
that we finally went to.
173
00:09:14,020 --> 00:09:16,789
We saw it halfway through
the writing of the script.
174
00:09:16,789 --> 00:09:18,524
There was a particular guy
I was romancing,
175
00:09:18,524 --> 00:09:20,860
who I was trying
to get to buy RoboCop.
176
00:09:20,860 --> 00:09:22,795
This guy named Stan Lee,
177
00:09:22,795 --> 00:09:24,697
who was then working
for Marvel Pictures.
178
00:09:24,697 --> 00:09:27,400
And Marvel was not such
a big going concern
179
00:09:27,400 --> 00:09:28,801
at that moment,
and they liked it,
180
00:09:28,801 --> 00:09:30,836
but they didn't make an offer
for it.
181
00:09:31,470 --> 00:09:33,339
We took Stan Lee
during that time
182
00:09:33,339 --> 00:09:34,740
to Paramount Pictures
183
00:09:34,740 --> 00:09:36,542
to see an early screening
of Terminator.
184
00:09:36,542 --> 00:09:39,745
And when we left the theater,
Stan Lee turned to us, and said,
185
00:09:39,745 --> 00:09:42,248
"Well, boys,
you're never gonna beat that!"
186
00:09:42,248 --> 00:09:44,250
And I was like, "Oh, shit."
187
00:09:45,985 --> 00:09:48,321
And so, we went back to work,
and we finished the script.
188
00:09:48,321 --> 00:09:50,189
And in some ways,
Terminator didn't hurt us,
189
00:09:50,189 --> 00:09:51,891
it helped us.
190
00:09:51,891 --> 00:09:53,693
Because for Orion,
Terminator was this, sort of,
191
00:09:53,693 --> 00:09:55,094
down-and-dirty movie
192
00:09:55,094 --> 00:09:56,862
that they weren't even
very happy about,
193
00:09:56,862 --> 00:09:58,698
and then it made a lot of money.
194
00:09:58,698 --> 00:10:01,000
And suddenly, they were like,
"Oh. Well, that's not so bad."
195
00:10:01,000 --> 00:10:02,768
I have no doubt whatsoever
196
00:10:02,768 --> 00:10:05,671
that the reason why RoboCop
was green-lighted at Orion
197
00:10:05,671 --> 00:10:07,907
was because Terminator
had done so well.
198
00:10:07,907 --> 00:10:09,275
Later, Jim Cameron,
199
00:10:09,275 --> 00:10:10,710
I think, thought
we had copied him,
200
00:10:10,710 --> 00:10:12,345
but it wasn't true,
201
00:10:12,345 --> 00:10:14,013
because I had never read
the Terminator script,
202
00:10:14,013 --> 00:10:16,349
and we were-- you know,
had plotted it completely
203
00:10:16,349 --> 00:10:17,350
and were halfway done.
204
00:10:19,385 --> 00:10:23,055
The original spec was finished
in December of 1984.
205
00:10:25,625 --> 00:10:28,594
Unlike Columbia and Fox,
who both passed,
206
00:10:28,594 --> 00:10:31,297
Orion didn't have an apparatus
to develop screenplays.
207
00:10:31,297 --> 00:10:33,699
Orion essentially rose
from the ashes
208
00:10:33,699 --> 00:10:35,968
of United Artists,
which was burnt to the ground
209
00:10:35,968 --> 00:10:38,137
by Michael Cimino
in Heaven's Gate.
210
00:10:38,137 --> 00:10:40,406
And so, people
like Mike Medavoy,
211
00:10:40,406 --> 00:10:42,975
a couple of other people,
formed Orion Pictures.
212
00:10:42,975 --> 00:10:46,045
Orion were known
for being a studio
213
00:10:46,045 --> 00:10:48,547
that you went to
if you had a special project
214
00:10:48,547 --> 00:10:51,083
or if you wanted
to get something done your way.
215
00:10:51,083 --> 00:10:52,251
You were left alone.
216
00:10:52,251 --> 00:10:54,587
A producer-driven company.
217
00:10:56,889 --> 00:10:59,592
John Davison producing a movie
makes you believe in God.
218
00:10:59,592 --> 00:11:02,128
John Davison,
executive producer.
219
00:11:02,128 --> 00:11:04,497
Because there was nobody
more perfect
220
00:11:04,497 --> 00:11:06,132
to produce this movie,
and I did not know it.
221
00:11:06,132 --> 00:11:08,234
However, I did know
of John Davison
222
00:11:08,234 --> 00:11:09,568
before I met him.
223
00:11:09,568 --> 00:11:11,003
I knew a bunch
of the Corman people,
224
00:11:11,003 --> 00:11:13,139
and he was already respected
in that crowd.
225
00:11:13,139 --> 00:11:15,341
I got a job
for New World Pictures,
226
00:11:15,341 --> 00:11:17,743
was later in charge
of production for him,
227
00:11:17,743 --> 00:11:21,414
and started producing pictures
for Roger Corman.
228
00:11:21,414 --> 00:11:23,416
So, the way
we got it to him was,
229
00:11:23,416 --> 00:11:25,484
a friend of mine was friends
with a director
230
00:11:25,484 --> 00:11:26,752
named Jonathan Kaplan.
231
00:11:26,752 --> 00:11:28,254
And Jonathan read it.
232
00:11:28,254 --> 00:11:29,655
And Jonathan said,
"You know, this is perfect
233
00:11:29,655 --> 00:11:31,424
for John Davison."
234
00:11:31,424 --> 00:11:34,360
And Jonathan sent it to me,
said, "This thing isn't for me,
235
00:11:34,360 --> 00:11:36,829
but, you know,
maybe you'd be interested."
236
00:11:36,829 --> 00:11:39,165
So, I read it, and I was.
237
00:11:39,165 --> 00:11:41,667
Jon Davison, I remember,
called me, and he said...
238
00:11:41,667 --> 00:11:43,302
It sounds good.
239
00:11:43,302 --> 00:11:45,037
Listen, let's make sure
that the gang members
240
00:11:45,037 --> 00:11:46,772
don't sound
like they're all Black,
241
00:11:46,772 --> 00:11:48,641
because I don't wanna make
a racist movie.
242
00:11:48,641 --> 00:11:50,609
And so I inserted a line
243
00:11:50,609 --> 00:11:53,145
saying that there were several
different colors.
244
00:11:53,145 --> 00:11:55,781
We had a meeting with Orion,
and suddenly,
245
00:11:55,781 --> 00:11:57,616
they seemed to be serious
about making the movie.
246
00:11:57,616 --> 00:11:59,018
Well, I wanna make a picture
247
00:11:59,018 --> 00:12:01,353
that I wouldn't mind watching,
you know?
248
00:12:01,353 --> 00:12:04,190
And I thought all along,
"We're gonna change the title.
249
00:12:04,190 --> 00:12:05,825
We're gonna change the title."
250
00:12:05,825 --> 00:12:07,359
"So, what are you working on?"
someone says to you.
251
00:12:07,359 --> 00:12:10,529
And it was very hard to say,
RoboCop.
252
00:12:10,529 --> 00:12:13,365
'Cause it sounds cheap
and cheesy.
253
00:12:13,365 --> 00:12:15,301
A lot of directors
wouldn't even look at it,
254
00:12:15,301 --> 00:12:17,002
because they thought
it was gonna really look bad
255
00:12:17,002 --> 00:12:18,237
on their résumé.
256
00:12:18,237 --> 00:12:19,572
When they got the script
in the mail,
257
00:12:19,572 --> 00:12:21,006
and they opened it up,
it was RoboCop,
258
00:12:21,006 --> 00:12:22,708
and they, you know,
throw it in the corner.
259
00:12:25,044 --> 00:12:26,479
We couldn't get a director.
260
00:12:26,479 --> 00:12:28,013
We had bad directors
that we didn't want.
261
00:12:28,013 --> 00:12:29,915
And then when we go,
"Well, maybe that one,"
262
00:12:29,915 --> 00:12:31,317
and then they go,
"No, I can't do it.
263
00:12:31,317 --> 00:12:32,718
I gotta do something else."
264
00:12:32,718 --> 00:12:34,320
And so, we were always,
almost being shut down,
265
00:12:34,320 --> 00:12:35,855
because we just couldn't get
a director.
266
00:12:36,255 --> 00:12:37,757
I've always been of the opinion
267
00:12:37,757 --> 00:12:41,894
that European
and African-American directors
268
00:12:41,894 --> 00:12:44,396
can criticize America better
269
00:12:44,396 --> 00:12:46,365
than their American
counterparts.
270
00:12:46,365 --> 00:12:48,901
Orion had a relationship
with Paul Verhoeven,
271
00:12:48,901 --> 00:12:50,870
because they had just made
his movie, Flesh and Blood.
272
00:12:50,870 --> 00:12:52,371
So, I actually said,
273
00:12:52,371 --> 00:12:54,039
"You should check out this guy,
Paul Verhoeven,"
274
00:12:54,039 --> 00:12:55,941
because I was a big fan
of Soldier Orange.
275
00:12:55,941 --> 00:12:57,676
There's one scene
where he has somebody
276
00:12:57,676 --> 00:13:00,346
throw a grenade into an outhouse
and kill somebody.
277
00:13:00,346 --> 00:13:01,781
Very scatological.
278
00:13:01,781 --> 00:13:04,350
His violence is very up front
and open.
279
00:13:04,350 --> 00:13:06,919
The Europeans realized
that a punch is a punch,
280
00:13:06,919 --> 00:13:08,187
and a bullet is a bullet.
281
00:13:09,722 --> 00:13:11,090
I'm Paul Verhoeven,
282
00:13:11,090 --> 00:13:14,026
and I'm the director
of RoboCop.
283
00:13:14,026 --> 00:13:19,465
My career started somewhere
in the late '60s, I would say,
284
00:13:19,465 --> 00:13:23,869
but I made my first
real movies in early '70s,
285
00:13:23,869 --> 00:13:25,604
which was all in Holland.
286
00:13:25,604 --> 00:13:27,640
I got into military service,
287
00:13:27,640 --> 00:13:29,441
which was necessary
at that time.
288
00:13:29,441 --> 00:13:31,443
You were forced,
you were drafted.
289
00:13:31,443 --> 00:13:33,712
And I got myself
in the film department.
290
00:13:33,712 --> 00:13:35,548
So, I made a documentary,
291
00:13:35,548 --> 00:13:38,284
Propaganda
of the Dutch Marines.
292
00:13:38,284 --> 00:13:39,718
And it was very successful,
293
00:13:39,718 --> 00:13:42,054
and that basically brought me
to television.
294
00:13:42,054 --> 00:13:45,825
Then I got basically in contact
with a German-Dutch producer,
295
00:13:45,825 --> 00:13:48,460
Rob Hauer, and then we made
a lot of movies.
296
00:13:48,460 --> 00:13:50,062
But the committees at that time
297
00:13:50,062 --> 00:13:51,664
were getting
more and more left-winged,
298
00:13:51,664 --> 00:13:53,833
that I would say
fascist left-wing,
299
00:13:53,833 --> 00:13:56,402
meant no art,
no social contacts,
300
00:13:56,402 --> 00:13:57,903
no this, no that.
301
00:13:57,903 --> 00:14:00,806
And they started to refuse
to give me money.
302
00:14:00,806 --> 00:14:03,108
I had some contact
with American studios.
303
00:14:03,108 --> 00:14:07,012
I had even met Jon Davison
in one of my trips to Hollywood
304
00:14:07,012 --> 00:14:10,282
when I saw things
were going bad in Holland.
305
00:14:10,282 --> 00:14:12,017
I prepared a little bit,
306
00:14:12,017 --> 00:14:14,019
but I didn't have the guts
to do it.
307
00:14:16,522 --> 00:14:18,791
When the RoboCop script
came in,
308
00:14:18,791 --> 00:14:21,794
my wife, Martine, said to me,
309
00:14:21,794 --> 00:14:24,463
"This is the possibility
to go to the United States."
310
00:14:24,463 --> 00:14:26,165
And I didn't like that at all.
311
00:14:26,165 --> 00:14:28,267
In fact, I read 20, 30 pages,
312
00:14:28,267 --> 00:14:30,336
and saw it
as absolutely ridiculous.
313
00:14:30,336 --> 00:14:31,604
He had done
what many people do.
314
00:14:31,604 --> 00:14:33,305
"Oh, my God!
315
00:14:33,305 --> 00:14:35,274
It's called RoboCop,"
and throw it over his shoulder.
316
00:14:35,274 --> 00:14:38,978
I mean, even the title,
RoboCop, was so far away
317
00:14:38,978 --> 00:14:41,313
from all the movies
I had made, you know?
318
00:14:41,313 --> 00:14:44,049
I worked
in a very realistic style.
319
00:14:44,049 --> 00:14:45,985
Basically, all the movies
I did in Holland
320
00:14:45,985 --> 00:14:47,519
were mostly realistic.
321
00:14:47,519 --> 00:14:50,389
They were based
often on biographies.
322
00:14:50,389 --> 00:14:53,792
And so, I felt
that this was out of my range.
323
00:14:53,792 --> 00:14:58,564
And I thought,
reading it, that it was silly.
324
00:14:58,564 --> 00:15:01,533
We were on holidays
in the Cote d'Azur.
325
00:15:01,533 --> 00:15:03,736
I was going for a swim,
a long swim.
326
00:15:03,736 --> 00:15:06,171
And then my wife
took the script,
327
00:15:06,171 --> 00:15:08,641
and then Martine read it, too.
328
00:15:08,641 --> 00:15:10,843
And then she said, "You know,
I think you make a mistake."
329
00:15:10,843 --> 00:15:12,478
I think she read the scene
330
00:15:12,478 --> 00:15:14,546
where Murphy
gets his hand blown off,
331
00:15:14,546 --> 00:15:16,382
and said, "You know,
I think you'd like this,"
332
00:15:16,382 --> 00:15:18,317
knowing her husband as she did.
333
00:15:18,317 --> 00:15:20,586
Finally, I started to look at it
with a dictionary
334
00:15:20,586 --> 00:15:21,987
because there were so many
English words
335
00:15:21,987 --> 00:15:23,355
that I didn't know.
336
00:15:23,355 --> 00:15:25,858
And then it took perhaps
a couple of weeks
337
00:15:25,858 --> 00:15:27,927
for me to think,
"Martine is right.
338
00:15:27,927 --> 00:15:31,063
I can make it to something
that interests me."
339
00:15:32,498 --> 00:15:36,535
And that was really based
on very specific elements
340
00:15:36,535 --> 00:15:40,272
of the script with nearly
biblical perspectives
341
00:15:40,272 --> 00:15:42,441
that I saw in the movie finally.
342
00:15:43,776 --> 00:15:46,845
Paul has a lifelong
obsessional fascination
343
00:15:46,845 --> 00:15:48,681
with the historical Jesus,
344
00:15:48,681 --> 00:15:51,583
and he saw Robo
as a Christian parable.
345
00:15:51,583 --> 00:15:53,085
The scene that decided me
346
00:15:53,085 --> 00:15:55,587
to really say, "Yes"
to the movie
347
00:15:55,587 --> 00:15:58,190
was when Murphy
comes to his house.
348
00:15:58,190 --> 00:16:01,427
For me,
that was like lost paradise,
349
00:16:01,427 --> 00:16:03,228
kicked out
of the Garden of Eden.
350
00:16:03,228 --> 00:16:04,930
And basically,
we have this longing
351
00:16:04,930 --> 00:16:06,699
for getting back there.
352
00:16:06,699 --> 00:16:11,937
I started then to see in RoboCop
kind of a Jesus.
353
00:16:11,937 --> 00:16:14,440
It was raised four or five
different levels
354
00:16:14,440 --> 00:16:15,874
as soon as Paul came in
355
00:16:15,874 --> 00:16:18,243
with his sophistication,
with his technique,
356
00:16:18,243 --> 00:16:20,612
his visceral way
of telling a story.
357
00:16:20,612 --> 00:16:21,947
And then I think, "Okay.
358
00:16:21,947 --> 00:16:23,415
And then I'll do all the action,
359
00:16:23,415 --> 00:16:25,050
and the bang, bang,
and the shoot, shoot.
360
00:16:25,050 --> 00:16:26,452
I'll take that, yeah."
361
00:16:26,452 --> 00:16:27,953
"That has to be done, too."
362
00:16:27,953 --> 00:16:30,255
Because English
was his second language,
363
00:16:30,255 --> 00:16:32,725
he asked Ed and I,
"What does this joke mean?
364
00:16:32,725 --> 00:16:34,593
What is this here?"
365
00:16:34,593 --> 00:16:36,895
At the initial meeting,
he said, "Why is this funny?"
366
00:16:36,895 --> 00:16:38,630
I think he didn't think
it should be funny,
367
00:16:38,630 --> 00:16:40,399
and that he was uncomfortable
with it.
368
00:16:40,399 --> 00:16:43,002
And I gave him a bunch
of Judge Dredd comics,
369
00:16:43,002 --> 00:16:44,737
and I gave him
some other comics
370
00:16:44,737 --> 00:16:46,005
of that period.
371
00:16:46,005 --> 00:16:47,573
And I said,
"You should read this,
372
00:16:47,573 --> 00:16:49,108
'cause this is the spirit
it's coming out of."
373
00:16:49,108 --> 00:16:50,642
There's a whole new thing
happening in comics,
374
00:16:50,642 --> 00:16:52,411
and they're adult.
375
00:16:52,411 --> 00:16:54,646
He'd read the comic books,
and he went, "Ah. Oh, I see."
376
00:16:54,646 --> 00:16:56,148
And he was very cool
with that form.
377
00:16:56,148 --> 00:16:57,516
And he understood
378
00:16:57,516 --> 00:16:59,485
that we were doing something
different.
379
00:16:59,485 --> 00:17:02,021
And Paul, to his credit,
380
00:17:02,021 --> 00:17:04,023
uh, was very loyal
to the script.
381
00:17:05,858 --> 00:17:07,426
Jon Davison called
382
00:17:07,426 --> 00:17:09,128
all these special effects
people, and said...
383
00:17:09,128 --> 00:17:10,763
"You wanna work on our movie?
384
00:17:10,763 --> 00:17:12,431
We don't have any money,
and I can't pay you."
385
00:17:13,999 --> 00:17:16,268
Oh, my God. I can hire him.
We can do this.
386
00:17:16,268 --> 00:17:18,704
I can get this guy,
you know, we got Phil.
387
00:17:20,305 --> 00:17:23,642
I had known Jon Davison
for a number of years.
388
00:17:23,642 --> 00:17:26,645
And we worked
on Joe Dante's second film,
389
00:17:26,645 --> 00:17:28,180
Piranha, together.
390
00:17:29,648 --> 00:17:32,951
Jon was always a big fan
of stop-motion animation.
391
00:17:32,951 --> 00:17:35,554
He had been looking
for projects for us
392
00:17:35,554 --> 00:17:37,322
to work on over the years,
393
00:17:37,322 --> 00:17:39,458
and RoboCop was one
of the first ones that came up.
394
00:17:40,993 --> 00:17:43,028
I worked with Rob Bottin
on Piranha
395
00:17:43,028 --> 00:17:45,464
when he was about 19 years old.
396
00:17:45,464 --> 00:17:49,334
So, I thought, "Well, Rob
would be a real interesting guy
397
00:17:49,334 --> 00:17:50,736
to approach."
398
00:17:50,736 --> 00:17:53,138
Because he's an incredibly
talented guy.
399
00:17:53,138 --> 00:17:54,706
I mean, he's an artist.
400
00:17:54,706 --> 00:17:56,642
Jon Davison knew all those guys.
401
00:17:56,642 --> 00:17:58,243
And that's what's amazing.
402
00:17:58,243 --> 00:18:01,480
He knew Pete Kuran.
He knew Rocco Gioffre.
403
00:18:01,480 --> 00:18:03,482
He knew the entire team.
404
00:18:03,482 --> 00:18:05,150
Look at the effects credits
on that.
405
00:18:05,150 --> 00:18:08,987
They're pretty good.
406
00:18:08,987 --> 00:18:10,355
I think we ultimately start
407
00:18:10,355 --> 00:18:12,324
to talk
about who could be in it,
408
00:18:12,324 --> 00:18:14,326
and, you know, our movie
was looked at, like,
409
00:18:14,326 --> 00:18:16,428
"Well, you're not gonna get
an A-lister to be in this."
410
00:18:16,428 --> 00:18:17,863
I mean, I came
to the United States,
411
00:18:17,863 --> 00:18:20,065
and I didn't know anybody.
412
00:18:20,065 --> 00:18:22,734
I knew some actors, of course,
basically, from American movies,
413
00:18:22,734 --> 00:18:24,336
but I didn't know them.
414
00:18:24,336 --> 00:18:26,538
We would certainly
not be working on that level.
415
00:18:26,538 --> 00:18:29,508
It had to be all the people
that we could afford,
416
00:18:29,508 --> 00:18:31,110
but all people
that we could afford,
417
00:18:31,110 --> 00:18:32,511
I wouldn't know
in the first place.
418
00:18:33,512 --> 00:18:36,381
They came in, ten minutes,
they did a part of the scene,
419
00:18:36,381 --> 00:18:38,083
"Thank you very much.
Yes or no?"
420
00:18:39,418 --> 00:18:41,753
Orion had just released
Terminator.
421
00:18:41,753 --> 00:18:43,755
And so, they kept pushing,
you know,
422
00:18:43,755 --> 00:18:45,691
Arnold Schwarzenegger
as RoboCop.
423
00:18:45,691 --> 00:18:46,959
But then, of course,
424
00:18:46,959 --> 00:18:48,894
when we were talking
to Rob Bottin,
425
00:18:48,894 --> 00:18:51,697
who built the costume, he said,
"You know, what are you asking?
426
00:18:51,697 --> 00:18:53,899
Basically, Arnold
is already like this,
427
00:18:53,899 --> 00:18:55,467
and I have added the costume,
428
00:18:55,467 --> 00:18:56,935
and it will be like that,
you know?
429
00:18:56,935 --> 00:18:58,103
And it won't look good."
430
00:18:59,805 --> 00:19:02,574
We auditioned and taped
a lot of people.
431
00:19:02,574 --> 00:19:06,245
We knew we wanted,
you know, a slim, sleek robot.
432
00:19:06,245 --> 00:19:07,779
The suit bulks you up.
433
00:19:07,779 --> 00:19:10,749
So, we needed somebody
who was actually thinner
434
00:19:10,749 --> 00:19:13,085
than the final shape
we wanted to achieve.
435
00:19:14,887 --> 00:19:16,421
You know, we went through
this whole long process,
436
00:19:16,421 --> 00:19:18,056
and we looked at certain people.
437
00:19:18,056 --> 00:19:20,425
We looked for a second
at Keith Carradine,
438
00:19:20,425 --> 00:19:23,395
but Paul thought
that he was a little too folksy.
439
00:19:23,395 --> 00:19:25,998
And one of the people
that flew down on their own dime
440
00:19:25,998 --> 00:19:27,766
was Peter Fonda.
441
00:19:27,766 --> 00:19:30,936
But we thought
he might be just a little soft.
442
00:19:30,936 --> 00:19:33,071
David Carradine came in
for RoboCop.
443
00:19:33,071 --> 00:19:35,007
He was really funny.
He's like, "Yeah.
444
00:19:35,007 --> 00:19:36,141
Come on, guys.
Let's just do it."
445
00:19:36,141 --> 00:19:37,743
We saw everybody.
446
00:19:37,743 --> 00:19:39,945
And Rutger Hauer,
who Paul had worked with
447
00:19:39,945 --> 00:19:41,413
on Flesh and Blood,
448
00:19:41,413 --> 00:19:42,648
and either they'd had enough
of each other
449
00:19:42,648 --> 00:19:44,082
or they were scheduling
differences,
450
00:19:44,082 --> 00:19:46,285
but Rutger
was never really considered.
451
00:19:46,285 --> 00:19:49,087
Basically, the next choice
was Michael Aronside,
452
00:19:49,087 --> 00:19:52,191
because we had all seen him
in this television series, V.
453
00:19:52,191 --> 00:19:53,825
But when we were talking
to Michael,
454
00:19:53,825 --> 00:19:57,296
he had such other ideas
at that time.
455
00:19:57,296 --> 00:20:00,132
I won't say that they would want
to rewrite the whole script,
456
00:20:00,132 --> 00:20:01,166
but nearly.
457
00:20:01,166 --> 00:20:02,768
And I remember wishing,
458
00:20:02,768 --> 00:20:04,536
"I wish that an actor
would really take this on
459
00:20:04,536 --> 00:20:07,206
as a challenge
and not get all wigged out
460
00:20:07,206 --> 00:20:08,640
that, you know,
you're not gonna see his eyes
461
00:20:08,640 --> 00:20:10,342
all this time.
462
00:20:10,342 --> 00:20:11,610
Everybody was always like,
"Oh, he's got to see his eyes."
463
00:20:11,610 --> 00:20:13,212
Even my writing partner
would go,
464
00:20:13,212 --> 00:20:14,646
"Well, can't he just lift up
his helmet sometimes?"
465
00:20:14,646 --> 00:20:16,848
And I said, "No, he can't!
He can't do it.
466
00:20:16,848 --> 00:20:18,150
Not until the helmet comes off."
467
00:20:18,150 --> 00:20:19,551
That was, like, a big fight.
So...
468
00:20:19,551 --> 00:20:21,520
When you pick the actor,
look at his jawline.
469
00:20:23,055 --> 00:20:24,656
And we looked.
We did, you know?
470
00:20:24,656 --> 00:20:26,792
We were looking at the jawline
all the time.
471
00:20:26,792 --> 00:20:28,794
Because that's all you will see,
isn't it?
472
00:20:28,794 --> 00:20:31,797
You don't see his eyes anymore.
You see only the jawline.
473
00:20:33,298 --> 00:20:35,033
Orion made a movie
called Buckaroo Banzai
474
00:20:35,033 --> 00:20:36,702
with Peter Weller in it.
475
00:20:36,702 --> 00:20:38,370
No matter where you go...
476
00:20:40,539 --> 00:20:42,307
...there you are.
477
00:20:42,307 --> 00:20:44,176
And they were suddenly
interested in him
478
00:20:44,176 --> 00:20:45,377
because that movie
had done pretty well
479
00:20:45,377 --> 00:20:48,380
in certain territories.
480
00:20:48,380 --> 00:20:50,582
So, he came in
right at the end,
481
00:20:50,582 --> 00:20:52,217
and he wouldn't read on camera,
482
00:20:52,217 --> 00:20:53,585
and he wouldn't read
in front of everybody.
483
00:20:53,585 --> 00:20:56,255
So, he read with me
in front of Paul.
484
00:20:56,255 --> 00:20:58,924
And there was a very tense
reading between Peter and I.
485
00:20:58,924 --> 00:21:00,425
I was, like, scared
to read with him,
486
00:21:00,425 --> 00:21:02,261
and... and should have been.
487
00:21:03,428 --> 00:21:05,497
All right, are you ready?
488
00:21:05,497 --> 00:21:06,565
Are you rolling?
489
00:21:10,068 --> 00:21:11,336
Test, test, test.
490
00:21:13,338 --> 00:21:15,340
Dead or alive,
you are coming with me.
491
00:21:20,779 --> 00:21:24,850
My career was essentially
one of a jazz musician.
492
00:21:24,850 --> 00:21:26,618
I wanted to be Miles Davis.
493
00:21:26,618 --> 00:21:28,353
I went to North Texas State.
494
00:21:28,353 --> 00:21:30,389
I ended my music career
by going,
495
00:21:30,389 --> 00:21:31,556
"I don't wanna get yelled at.
496
00:21:31,556 --> 00:21:32,724
I'm not going to be Miles
Davis.
497
00:21:32,724 --> 00:21:34,359
I'm not that great. I'm good.
498
00:21:34,359 --> 00:21:35,594
I can make some money,
499
00:21:35,594 --> 00:21:37,095
but I don't wanna sit
at a bandstand
500
00:21:37,095 --> 00:21:38,363
the rest of my life."
501
00:21:38,363 --> 00:21:41,199
So, I moved into acting
and English
502
00:21:41,199 --> 00:21:43,935
just to get out of school
and stay out of Vietnam.
503
00:21:43,935 --> 00:21:45,404
I worked in the theater
right away,
504
00:21:45,404 --> 00:21:46,905
and I loved the theater,
505
00:21:46,905 --> 00:21:49,308
and I became a member
of the actor's studio.
506
00:21:49,308 --> 00:21:51,910
I get to do this amazing Western
with Richard Lester.
507
00:21:51,910 --> 00:21:53,712
Try to remember my face.
508
00:21:53,712 --> 00:21:54,980
And then I meet Sidney Lemaitre
509
00:21:54,980 --> 00:21:56,281
for Just Tell Me
What You Want.
510
00:21:56,281 --> 00:21:58,483
And then I get to do
Shoot the Moon
511
00:21:58,483 --> 00:22:00,052
with Alan Parker,
512
00:22:00,052 --> 00:22:03,422
one of the great feminist movies
ever, ever, ever.
513
00:22:03,422 --> 00:22:05,390
It's incredible.
514
00:22:05,390 --> 00:22:08,126
And then George Cosmatos
offers me An Unknown Origin.
515
00:22:08,126 --> 00:22:10,095
I do Firstborn
with Michael Aptek,
516
00:22:10,095 --> 00:22:11,463
the great Michael Aptek.
517
00:22:11,463 --> 00:22:13,965
And it goes
into Buckaroo Banzai.
518
00:22:13,965 --> 00:22:15,334
Evil!
519
00:22:15,334 --> 00:22:17,269
You are a step up
on the eighth dimension!
520
00:22:17,269 --> 00:22:18,470
Get 'em!
521
00:22:18,470 --> 00:22:19,738
Phenomenal experience.
522
00:22:23,175 --> 00:22:25,477
I meet Paul,
and Paul's like this.
523
00:22:25,477 --> 00:22:26,812
You know,
Paul's not like a laid-back,
524
00:22:26,812 --> 00:22:28,513
"Hey, how are you doing" guy.
525
00:22:28,513 --> 00:22:30,816
I'm in his office, and he says,
"Why don't you audition?"
526
00:22:30,816 --> 00:22:32,818
I said,
"I'm not going to audition.
527
00:22:32,818 --> 00:22:35,487
I do not get hired like that."
528
00:22:35,487 --> 00:22:37,189
I said,
"Do you get a vibe out of me?
529
00:22:37,189 --> 00:22:39,658
'Cause I get a vibe out of you,
and I know your movies."
530
00:22:39,658 --> 00:22:41,360
At some point in time, he says,
"Well, you're an athlete."
531
00:22:41,360 --> 00:22:43,795
I said,
"Yeah, I'm a marathon runner,
532
00:22:43,795 --> 00:22:44,930
you know, and a ballet dancer.
533
00:22:44,930 --> 00:22:47,966
Mediocre, but I can move."
534
00:22:47,966 --> 00:22:49,501
It's really interesting.
535
00:22:49,501 --> 00:22:51,036
And he says, "Well, can you move
around this room?"
536
00:22:51,036 --> 00:22:52,804
I said, "Yeah, I've taken
a little bit of mime."
537
00:22:52,804 --> 00:22:54,706
So, I move around the room.
I do some moves for him, right?
538
00:22:54,706 --> 00:22:56,875
The fact that Peter
took it all seriously
539
00:22:56,875 --> 00:22:59,978
and didn't mind all that stuff
impressed me even then.
540
00:22:59,978 --> 00:23:01,880
And he's a strong guy,
541
00:23:01,880 --> 00:23:03,782
and he can be a tough character
to deal with.
542
00:23:03,782 --> 00:23:05,117
But without that commitment,
543
00:23:05,117 --> 00:23:07,052
there wouldn't be a RoboCop
either.
544
00:23:07,052 --> 00:23:09,821
And that day
is when RoboCop offer came in.
545
00:23:13,125 --> 00:23:17,796
Originally, Stephanie Zimbalist
was playing Lewis.
546
00:23:17,796 --> 00:23:19,498
I'll do it for you.
547
00:23:19,498 --> 00:23:21,800
And she was a lovely
and talented actress.
548
00:23:21,800 --> 00:23:25,637
But she had a hold on her
for another year of a show
549
00:23:25,637 --> 00:23:27,139
she was doing called
Remington Steele.
550
00:23:27,139 --> 00:23:28,673
And she was suddenly
unavailable to us.
551
00:23:28,673 --> 00:23:30,208
And at the last second,
it was a little bit,
552
00:23:30,208 --> 00:23:31,910
"Oh, my God.
What are we going to do?"
553
00:23:31,910 --> 00:23:34,212
We were not trying to cast
a, you know, like,
554
00:23:34,212 --> 00:23:35,714
"It's the robot
and the sexy girl,"
555
00:23:35,714 --> 00:23:37,682
which is what the cliché
would be.
556
00:23:37,682 --> 00:23:39,985
And the part
isn't really the sexy girl part.
557
00:23:39,985 --> 00:23:42,988
It's the professional woman
police officer part.
558
00:23:42,988 --> 00:23:44,823
We saw everybody in town
who didn't have a career yet,
559
00:23:44,823 --> 00:23:46,591
and that was interesting.
560
00:23:46,591 --> 00:23:47,826
So, I wasn't used to actually
seeing people
561
00:23:47,826 --> 00:23:49,194
I'd have seen in movies.
562
00:23:49,194 --> 00:23:50,529
It was very rare for someone
to come in
563
00:23:50,529 --> 00:23:52,497
who was an actual movie star.
564
00:23:52,497 --> 00:23:55,767
I've seen these big movie stars
like Barbra Streisand, you know?
565
00:23:55,767 --> 00:23:58,236
And I remember meeting Nancy,
and she came in with her agent.
566
00:23:58,236 --> 00:23:59,404
May we come in?
567
00:23:59,404 --> 00:24:00,672
And I was like, "Oh, wow.
568
00:24:00,672 --> 00:24:02,407
She's Nancy Allen."
569
00:24:02,407 --> 00:24:04,209
Thanks.
570
00:24:04,209 --> 00:24:05,744
I wasn't looking,
571
00:24:05,744 --> 00:24:09,281
but I was so thrilled
to have somebody
572
00:24:09,281 --> 00:24:11,216
send me something
that I did not have to put on
573
00:24:11,216 --> 00:24:13,752
black lingerie one more time.
574
00:24:13,752 --> 00:24:15,554
And not that I don't like
black lingerie,
575
00:24:15,554 --> 00:24:16,855
but I thought,
576
00:24:16,855 --> 00:24:18,924
"There's more to me than that,
really?"
577
00:24:18,924 --> 00:24:23,195
Uh, and to the opportunity
to play a woman of strength.
578
00:24:23,195 --> 00:24:25,864
Now, I've always tried to add
something strong
579
00:24:25,864 --> 00:24:28,800
to my characters,
but sometimes, you're limited.
580
00:24:30,302 --> 00:24:33,071
I knew Nancy Allen's work.
I was a fan.
581
00:24:33,071 --> 00:24:36,041
And you meet Nancy Allen,
and she is so charming.
582
00:24:36,041 --> 00:24:37,576
And then you find out
that Nancy Allen's born
583
00:24:37,576 --> 00:24:39,377
on your birthday.
584
00:24:39,377 --> 00:24:42,113
Hey. Now, she's quite younger
and better-looking than me,
585
00:24:42,113 --> 00:24:43,882
but she was born on June 24th.
586
00:24:43,882 --> 00:24:45,383
With this, it felt,
587
00:24:45,383 --> 00:24:47,419
yeah, she's a really heroic,
strong woman.
588
00:24:47,419 --> 00:24:48,720
I identified with her
589
00:24:48,720 --> 00:24:49,888
'cause I'm very,
very independent.
590
00:24:50,589 --> 00:24:53,425
I think actors wanna play
against type.
591
00:24:53,425 --> 00:24:55,060
And so, I think
592
00:24:55,060 --> 00:24:57,796
when Ronny Cox gets offered
a bad guy
593
00:24:57,796 --> 00:24:59,664
and has to go for an audition,
594
00:24:59,664 --> 00:25:01,933
he might put a little more work
into it.
595
00:25:01,933 --> 00:25:04,336
I find that very easy
to believe.
596
00:25:04,336 --> 00:25:07,172
I had the reputation
of being a good actor,
597
00:25:07,172 --> 00:25:10,675
but that I played soft roles.
598
00:25:10,675 --> 00:25:14,646
And it used to piss me off
to no end,
599
00:25:14,646 --> 00:25:16,748
because I've been an athlete
my whole life,
600
00:25:16,748 --> 00:25:18,149
and I can do things
601
00:25:18,149 --> 00:25:20,151
that nine-tenths of the guys
couldn't do.
602
00:25:20,151 --> 00:25:22,320
And what is wrong with winning?
603
00:25:22,320 --> 00:25:24,523
With showing you're the best
at what you do?
604
00:25:24,523 --> 00:25:28,126
But I got known as this soft,
sensitive actor.
605
00:25:29,861 --> 00:25:31,530
So, my agents,
they were looking at me,
606
00:25:31,530 --> 00:25:33,698
and said,
"Ronny, here's a chance
607
00:25:33,698 --> 00:25:36,868
for you to play Dick Jones
in RoboCop.
608
00:25:38,336 --> 00:25:40,705
He's sort of worse
than anybody."
609
00:25:40,705 --> 00:25:43,108
I originally did the budget
for RoboCop.
610
00:25:43,108 --> 00:25:45,977
And it came in
about 12 million dollars.
611
00:25:45,977 --> 00:25:48,113
And I gave the budget to Orion,
and they said,
612
00:25:48,113 --> 00:25:49,714
"Well, we're only
gonna make this
613
00:25:49,714 --> 00:25:51,783
if it's 10 million dollars."
614
00:25:51,783 --> 00:25:54,452
So, of course, when the studio
does that, you go away,
615
00:25:54,452 --> 00:25:57,856
you come back with a budget
for 99.95.
616
00:25:57,856 --> 00:26:01,159
When Paul Verhoeven sat down
with the producer, Jon Davison,
617
00:26:01,159 --> 00:26:03,528
and said, "What do you think
this movie should look like?"
618
00:26:03,528 --> 00:26:05,297
Paul said, "Well, it should look
like Blade Runner, of course."
619
00:26:05,297 --> 00:26:06,698
I was so impressed
620
00:26:06,698 --> 00:26:09,968
by the production design
of Blade Runner
621
00:26:09,968 --> 00:26:11,736
that I thought, "Okay.
622
00:26:11,736 --> 00:26:14,372
We'll do it differently,
but we have to do it that way."
623
00:26:14,372 --> 00:26:15,974
Jon Davison said,
624
00:26:15,974 --> 00:26:17,876
"Well, you can either
have the robot character,
625
00:26:17,876 --> 00:26:19,477
RoboCop,
or you can have the look
626
00:26:19,477 --> 00:26:21,146
of Blade Runner.
So, which do you want?"
627
00:26:21,146 --> 00:26:24,416
Of course, the costume
was in the center of the frame
628
00:26:24,416 --> 00:26:26,051
throughout the whole movie.
629
00:26:26,051 --> 00:26:28,620
So, it was, let's say,
not a very difficult choice.
630
00:26:32,424 --> 00:26:36,428
We spent at least a year
and a million dollars
631
00:26:36,428 --> 00:26:38,730
working with Rob on this suit.
632
00:26:39,831 --> 00:26:41,533
It's Rob's design.
633
00:26:41,533 --> 00:26:43,702
You know, Rob is a great,
sort of, inspiring art director.
634
00:26:43,702 --> 00:26:45,103
It's really his vision,
you know?
635
00:26:45,103 --> 00:26:48,206
He was a perfectionist
and a workaholic.
636
00:26:48,206 --> 00:26:51,876
And so, you wanted to please him
and do your best work for him.
637
00:26:53,712 --> 00:26:57,115
We took a lot of stylistic cues
from cars from the '50s.
638
00:26:57,115 --> 00:26:59,618
We looked a lot
at previous robots from films,
639
00:26:59,618 --> 00:27:01,886
realizing that nobody had come
even close to doing
640
00:27:01,886 --> 00:27:03,688
what we had to do.
641
00:27:03,688 --> 00:27:06,424
Well, Maria's pretty sexy,
you know, in Metropolis.
642
00:27:06,424 --> 00:27:08,193
Gorgeous design,
beautiful craftsmanship,
643
00:27:08,193 --> 00:27:10,228
but she can barely move.
You've seen that thing.
644
00:27:10,228 --> 00:27:14,633
Of course, Gort is sleek.
Tobar's pretty clunky.
645
00:27:14,633 --> 00:27:16,868
We didn't wanna go that route,
you know?
646
00:27:16,868 --> 00:27:19,938
And Robby, we love,
but you know, he's passé.
647
00:27:19,938 --> 00:27:21,773
That is correct, sir.
648
00:27:21,773 --> 00:27:23,742
C-3PO was probably
the most sophisticated thing
649
00:27:23,742 --> 00:27:25,243
that had been done to date,
650
00:27:25,243 --> 00:27:26,811
but, you know,
he can barely, sort of, move.
651
00:27:26,811 --> 00:27:28,780
He can walk,
but he's kind of like this.
652
00:27:28,780 --> 00:27:31,149
And RoboCop had to be basically
in action here.
653
00:27:31,149 --> 00:27:32,484
He had to punch.
He had to do everything.
654
00:27:35,787 --> 00:27:37,389
Rob brought me outside
655
00:27:37,389 --> 00:27:39,090
to look at the body cast
of Peter Weller,
656
00:27:39,090 --> 00:27:41,226
and there was a challenge there.
657
00:27:41,226 --> 00:27:44,162
Peter Weller was not that tall.
His hips were a little wide,
658
00:27:44,162 --> 00:27:45,964
and his shoulders
kind of narrow.
659
00:27:45,964 --> 00:27:47,465
So, with those three things
going on,
660
00:27:47,465 --> 00:27:49,134
we had a real challenge
661
00:27:49,134 --> 00:27:50,769
to try to give him
a, sort of, heroic shape.
662
00:27:50,769 --> 00:27:52,170
Every couple of weeks,
663
00:27:52,170 --> 00:27:55,507
Paul, Ed, and I
would go over to Rob's shop,
664
00:27:55,507 --> 00:27:57,742
and he would present
various maquettes.
665
00:27:58,977 --> 00:28:00,412
They actually made Judge Dredd,
666
00:28:00,412 --> 00:28:02,580
and said,
"Well, this is RoboCop."
667
00:28:02,580 --> 00:28:04,783
And I said to Jon Davison,
"Are you fucking kidding?
668
00:28:04,783 --> 00:28:06,685
You can't do this."
669
00:28:06,685 --> 00:28:08,119
And I'd never heard
of Judge Dredd.
670
00:28:08,119 --> 00:28:09,454
I'd never heard of Judge Dredd
671
00:28:09,454 --> 00:28:10,989
here in America,
believe it or not.
672
00:28:10,989 --> 00:28:12,457
Although I learned about it
later,
673
00:28:12,457 --> 00:28:14,693
and I definitely see
the lineage, you know,
674
00:28:14,693 --> 00:28:16,361
of Robo coming from there.
675
00:28:16,361 --> 00:28:18,697
There was no Judge Dredd
reference material.
676
00:28:18,697 --> 00:28:21,700
He was never mentioned
in Rob's shop.
677
00:28:21,700 --> 00:28:23,702
Verhoeven and company
were coming in,
678
00:28:23,702 --> 00:28:25,370
and they were art directing
the hell out of the suit,
679
00:28:25,370 --> 00:28:28,006
and making
very arbitrary comments.
680
00:28:28,006 --> 00:28:29,941
We started to basically say,
681
00:28:29,941 --> 00:28:32,277
"Well, it has to be
very broad shoulders
682
00:28:32,277 --> 00:28:34,779
like a rugby or whatever,
very broad shoulders,"
683
00:28:34,779 --> 00:28:35,880
and this, and that.
684
00:28:35,880 --> 00:28:37,849
Rob had to do everything in clay
685
00:28:37,849 --> 00:28:40,018
over, and over, and over,
and over again.
686
00:28:40,018 --> 00:28:43,188
Occasionally, somebody
would fashion a penis,
687
00:28:43,188 --> 00:28:45,123
and stick it on the thing and...
688
00:28:46,891 --> 00:28:48,693
Sounds like it may have been
Verhoeven.
689
00:28:48,693 --> 00:28:50,562
Rob Bottin got so angry
690
00:28:50,562 --> 00:28:53,131
that he basically
gave his little knife,
691
00:28:53,131 --> 00:28:55,066
he throwed his knife to me,
and said,
692
00:28:55,066 --> 00:28:56,701
"You cut it! You cut it now!"
693
00:28:56,701 --> 00:28:59,471
And I stupid enough
started also to do that.
694
00:28:59,471 --> 00:29:03,875
I mean, how bad I behaved,
and we nearly destroyed this
695
00:29:03,875 --> 00:29:07,545
by our, let's say,
stupid thinking.
696
00:29:10,715 --> 00:29:15,820
We knew that what we wanted
was something sleek and sexy.
697
00:29:15,820 --> 00:29:18,490
I had a book by an illustrator
named Soriyama.
698
00:29:18,490 --> 00:29:20,325
He was an illustrator
that was kind of popular then.
699
00:29:20,325 --> 00:29:23,495
He had done a lot of, sort of,
sexy chrome girls,
700
00:29:23,495 --> 00:29:25,196
and he had a book out
called Sexy Robot.
701
00:29:25,196 --> 00:29:26,598
And I had this book.
702
00:29:26,598 --> 00:29:27,565
It was full
of his beautiful illustrations.
703
00:29:27,565 --> 00:29:29,167
So, I brought that in,
704
00:29:29,167 --> 00:29:32,070
and Rob picked it up one day,
and said, "This is it.
705
00:29:32,070 --> 00:29:33,338
Take this aesthetic,
706
00:29:33,338 --> 00:29:34,873
and we'll graft it
onto his body,
707
00:29:34,873 --> 00:29:36,407
and see what that does."
708
00:29:36,407 --> 00:29:39,711
That Japanese airbrush,
girly stuff, that,
709
00:29:39,711 --> 00:29:42,680
and having the robot
from Fritz Lang's Metropolis,
710
00:29:42,680 --> 00:29:45,116
and you put them together,
and you got Robo.
711
00:29:49,387 --> 00:29:51,589
The simple slit for an eye,
712
00:29:51,589 --> 00:29:54,859
the big shoulders coming up
over the torso.
713
00:29:54,859 --> 00:29:56,561
I thought,
"Well, shouldn't he just
714
00:29:56,561 --> 00:29:59,697
have an OCP badge sculpted
or molded right onto his chest?"
715
00:29:59,697 --> 00:30:01,966
And Rob for some reason felt
like it shouldn't be there.
716
00:30:01,966 --> 00:30:03,568
So, he said,
717
00:30:03,568 --> 00:30:05,136
"Why don't you come up
with something else?"
718
00:30:05,136 --> 00:30:07,038
So, I thought, "Well, that
little grill on his chest
719
00:30:07,038 --> 00:30:08,940
is a speaker for his voice
when he needs to project it."
720
00:30:09,641 --> 00:30:12,043
Let the woman go.
You are under arrest.
721
00:30:12,043 --> 00:30:13,411
I covered him
with these very fine little,
722
00:30:13,411 --> 00:30:15,780
sort of, pen-striped seams.
723
00:30:15,780 --> 00:30:17,816
That big piston coming out
of his calves
724
00:30:17,816 --> 00:30:20,485
that sort of acts
as an Achilles tendon.
725
00:30:20,485 --> 00:30:22,387
These are all things
so that when he rotates around
726
00:30:22,387 --> 00:30:23,788
on the screen,
727
00:30:23,788 --> 00:30:25,290
he always strikes
a powerful silhouette.
728
00:30:27,091 --> 00:30:28,993
Rob had a great design sense.
729
00:30:28,993 --> 00:30:31,763
He was always pushing
for memorable elements.
730
00:30:31,763 --> 00:30:33,731
He wanted to create a character
731
00:30:33,731 --> 00:30:35,133
that would last
in people's psyches.
732
00:30:37,235 --> 00:30:40,138
Peter said he wanted to hire
a movement coach.
733
00:30:40,138 --> 00:30:42,674
I was called by Peter Weller.
734
00:30:42,674 --> 00:30:45,510
And he asked me
whether he could meet with me.
735
00:30:45,510 --> 00:30:48,580
I said, "Why don't you come
to the theater sometimes
736
00:30:48,580 --> 00:30:50,281
and we'll play together?
737
00:30:50,281 --> 00:30:54,118
We'll see if we can manage
to make something interesting."
738
00:30:54,118 --> 00:30:56,120
Moni Akin is a genius mime.
739
00:30:56,120 --> 00:30:57,522
He's a pantomime,
740
00:30:57,522 --> 00:30:58,957
but he's moved mime
into the field of dance,
741
00:30:58,957 --> 00:31:00,191
and he's head
of the movement department
742
00:31:00,191 --> 00:31:01,626
at Juilliard.
743
00:31:01,626 --> 00:31:02,660
And he said,
"Why don't we do something,
744
00:31:02,660 --> 00:31:04,495
like, more dance-like, right?
745
00:31:04,495 --> 00:31:07,765
And it was almost
like kung fu.
746
00:31:07,765 --> 00:31:12,303
It was like almost aikido.
A facile type of character.
747
00:31:12,303 --> 00:31:15,807
A cop who has got fantastic
energy, and facility,
748
00:31:15,807 --> 00:31:17,108
and physique.
749
00:31:17,108 --> 00:31:19,010
We worked with hockey gear.
750
00:31:19,010 --> 00:31:22,280
And we did things very swift,
very fast.
751
00:31:22,280 --> 00:31:25,516
Running, and jumping,
and shooting, and falling,
752
00:31:25,516 --> 00:31:28,519
and all kind
of acrobatic things.
753
00:31:28,519 --> 00:31:31,356
And he felt pretty secure
at the time,
754
00:31:31,356 --> 00:31:33,524
and he went to film it.
755
00:31:33,524 --> 00:31:35,827
The suit arrived, I would say,
756
00:31:35,827 --> 00:31:38,997
at least two weeks late,
after it was promised.
757
00:31:38,997 --> 00:31:42,000
So, we couldn't shoot anything
that we'd planned with Robo.
758
00:31:42,000 --> 00:31:44,669
We were doing a screen test
with him that first day,
759
00:31:44,669 --> 00:31:46,170
and he was trying the suit on.
760
00:31:46,170 --> 00:31:50,308
When I first put it on,
uh, it took a long time.
761
00:31:50,308 --> 00:31:51,175
Twelve hours.
762
00:31:51,175 --> 00:31:51,976
Eleven hours.
763
00:31:51,976 --> 00:31:53,845
Ten hours.
764
00:31:53,845 --> 00:31:55,346
It took ten hours
to get into it the first time.
765
00:31:55,346 --> 00:31:57,181
Ten hours.
766
00:31:57,181 --> 00:31:59,350
Peter Weller was brought
to the set.
767
00:31:59,350 --> 00:32:02,387
Basically, a makeup room,
at three o'clock in the morning.
768
00:32:02,387 --> 00:32:03,988
And at three o'clock
in the afternoon,
769
00:32:03,988 --> 00:32:05,590
it still didn't fit.
770
00:32:05,590 --> 00:32:08,159
And he was not happy.
You know, he was not happy.
771
00:32:08,159 --> 00:32:11,162
The fucking suit doesn't work!
772
00:32:11,162 --> 00:32:13,831
Peter tried on the suit
and freaked out.
773
00:32:13,831 --> 00:32:15,733
Fuck it, you know?
This is what happened.
774
00:32:15,733 --> 00:32:18,436
He was fucked
from what he wanted to do.
775
00:32:18,436 --> 00:32:20,171
Peter Weller
couldn't walk in it.
776
00:32:20,171 --> 00:32:21,739
I'm bummed,
777
00:32:21,739 --> 00:32:24,909
'cause I can't do what Moni
has been six months
778
00:32:24,909 --> 00:32:26,544
teaching me to do.
779
00:32:26,544 --> 00:32:28,680
He had to study for weeks
and weeks, Peter Weller,
780
00:32:28,680 --> 00:32:30,715
with all these things
around him,
781
00:32:30,715 --> 00:32:32,717
thinking that basically,
now, that it's the costume,
782
00:32:32,717 --> 00:32:34,018
he could do the same.
783
00:32:34,018 --> 00:32:35,353
He couldn't do any of it.
Nothing.
784
00:32:36,921 --> 00:32:38,289
I remember sitting there
785
00:32:38,289 --> 00:32:39,924
thinking,
"Either we're gonna be here
786
00:32:39,924 --> 00:32:43,394
for the next six months,
or they're gonna shut us down.
787
00:32:43,394 --> 00:32:46,264
And I just had this kinda like
sinking thing.
788
00:32:46,264 --> 00:32:47,632
He felt cheated, you know?
789
00:32:47,632 --> 00:32:50,068
He felt that he was basically
betrayed
790
00:32:50,068 --> 00:32:52,236
in his preparation for the part.
791
00:32:52,236 --> 00:32:53,571
Everyone hated everybody.
792
00:32:53,571 --> 00:32:54,973
Everyone was fighting.
793
00:32:54,973 --> 00:32:57,375
And it was really annoying,
this thing.
794
00:32:59,110 --> 00:33:01,079
Paul threw a shit fit.
795
00:33:01,079 --> 00:33:03,648
Rob threw another shit fit.
Ed tried to get into the mix.
796
00:33:03,648 --> 00:33:05,950
I got into Ed's face
about getting into it.
797
00:33:05,950 --> 00:33:07,318
I look back now,
and I kind of cringe,
798
00:33:07,318 --> 00:33:08,953
like the things I did and said.
799
00:33:08,953 --> 00:33:11,089
But anyway, uh,
that's how that went.
800
00:33:12,056 --> 00:33:13,825
And then I said,
801
00:33:13,825 --> 00:33:16,761
"This is not gonna work for me,"
and everybody just went home.
802
00:33:16,761 --> 00:33:19,497
And I'm bummed that Verhoeven
now doesn't like me,
803
00:33:19,497 --> 00:33:20,798
or I don't like him either.
804
00:33:20,798 --> 00:33:23,067
We were basically looking,
805
00:33:23,067 --> 00:33:26,304
do we have to do other things,
another actor, what, what, what?
806
00:33:26,304 --> 00:33:27,805
And then I get this call
807
00:33:27,805 --> 00:33:29,941
on the dead of night
from Medavoy.
808
00:33:29,941 --> 00:33:31,275
He says, you know,
809
00:33:31,275 --> 00:33:32,777
"Paul's thinking
about cutting you loose
810
00:33:32,777 --> 00:33:34,679
'cause he's had a bad time
on his last film,
811
00:33:34,679 --> 00:33:35,980
and he just doesn't wanna go
812
00:33:35,980 --> 00:33:37,448
through the movie star problem
again."
813
00:33:37,448 --> 00:33:38,916
Then Medavoy came there.
814
00:33:38,916 --> 00:33:41,519
He was the head of Orion,
seeing basically
815
00:33:41,519 --> 00:33:45,023
what was happening, said,
"Okay, you stop.
816
00:33:45,023 --> 00:33:47,025
You're going to figure it out
together."
817
00:33:47,025 --> 00:33:49,427
So, they shut down production
for a few days.
818
00:33:49,427 --> 00:33:51,029
What they're gonna do
is they're gonna do tests.
819
00:33:51,029 --> 00:33:52,997
They're gonna print them
in 24 hours.
820
00:33:52,997 --> 00:33:55,266
They're gonna look at the tests,
Mike Medavoy and Bob Bernstein
821
00:33:55,266 --> 00:33:56,868
are gonna get on the phone,
and say
822
00:33:56,868 --> 00:33:58,536
whether this movie
is gonna be made or not.
823
00:33:58,536 --> 00:34:02,940
It was really a crisis
of the highest level, in fact.
824
00:34:04,475 --> 00:34:06,044
They flew in Moni.
825
00:34:06,044 --> 00:34:09,047
Everybody was depressed.
826
00:34:09,047 --> 00:34:12,450
Paul Verhoeven,
I saw him all brooding,
827
00:34:12,450 --> 00:34:14,352
coming towards me,
and he tells me,
828
00:34:14,352 --> 00:34:16,988
"Moni, it's not working."
829
00:34:16,988 --> 00:34:19,290
Moni says, "I need 30 minutes."
830
00:34:19,290 --> 00:34:20,792
And then they put the suit
on me.
831
00:34:20,792 --> 00:34:22,693
And he says, "Cut the elbows
out of the--
832
00:34:22,693 --> 00:34:25,730
cut the feet off the thing,
the knees and so forth,
833
00:34:25,730 --> 00:34:27,999
so that the joints,
the shoulders, everything,
834
00:34:27,999 --> 00:34:30,034
so that all the joints can move.
835
00:34:30,034 --> 00:34:35,740
Because of the awesomeness
and the size of this costume,
836
00:34:35,740 --> 00:34:39,510
the thought process
of this creature
837
00:34:39,510 --> 00:34:41,512
was much slower.
838
00:34:41,512 --> 00:34:47,051
He says, "Think of yourself
as a captured animal.
839
00:34:47,051 --> 00:34:51,722
Huge movements!
Huge, with staccato."
840
00:34:51,722 --> 00:34:55,159
And then turn the head,
and, like, I said,
841
00:34:55,159 --> 00:35:00,665
"This feels so phony.
This feels like bad opera."
842
00:35:00,665 --> 00:35:02,533
And he goes, "I know.
Keep doing it."
843
00:35:02,533 --> 00:35:04,535
He said, "Then I'm gonna show
you a film."
844
00:35:04,535 --> 00:35:06,838
And then Nikolay Cherkasov
came to mind,
845
00:35:06,838 --> 00:35:09,440
because he played
Ivan the Terrible,
846
00:35:09,440 --> 00:35:13,111
and he was tremendously
stylized.
847
00:35:13,111 --> 00:35:16,881
Everything is this long move
848
00:35:16,881 --> 00:35:18,516
with a staccato
at the end of it,
849
00:35:18,516 --> 00:35:21,185
and it's a head turn,
like that, right?
850
00:35:21,185 --> 00:35:23,187
And it's phenomenal.
851
00:35:23,187 --> 00:35:24,422
And he turns,
852
00:35:24,422 --> 00:35:26,357
and he will look back
at the camera,
853
00:35:26,357 --> 00:35:28,459
and do these things, you know,
that are very robotic.
854
00:35:28,459 --> 00:35:30,261
It's a phenomenal performance.
855
00:35:30,261 --> 00:35:31,729
You never get tired of it,
and I watched it twice,
856
00:35:31,729 --> 00:35:33,131
and I watched it the next day.
857
00:35:33,131 --> 00:35:34,765
it just struck me
858
00:35:34,765 --> 00:35:39,403
that instead of having the brain
in the head,
859
00:35:39,403 --> 00:35:42,773
we had to transfer the brain
to the chest,
860
00:35:42,773 --> 00:35:44,709
which means the chest
861
00:35:44,709 --> 00:35:47,712
will be the first thing
to react,
862
00:35:47,712 --> 00:35:50,648
and then the neck,
and then the head.
863
00:35:50,648 --> 00:35:54,585
We ended in staccato
almost every slow motion
864
00:35:54,585 --> 00:36:01,626
to define the process of thought
that goes on in the slow motion,
865
00:36:01,626 --> 00:36:04,095
and then getting it.
866
00:36:04,095 --> 00:36:05,897
And I said, "I get it, man.
867
00:36:05,897 --> 00:36:07,999
That is RoboCop."
868
00:36:07,999 --> 00:36:10,735
Peter basically adapted.
869
00:36:10,735 --> 00:36:13,237
You know, and I go up to Paul,
I said-- apologized to him,
870
00:36:13,237 --> 00:36:15,673
"Whatever it is, you know,
I'll do what you want."
871
00:36:15,673 --> 00:36:17,575
And we sat together, and say,
872
00:36:17,575 --> 00:36:20,311
"Okay, let's basically
shake hands and all,"
873
00:36:20,311 --> 00:36:22,446
and say, "Okay, we try again."
874
00:36:22,446 --> 00:36:23,848
So, we shot.
875
00:36:23,848 --> 00:36:26,450
And in the evening,
we saw the Russians.
876
00:36:26,450 --> 00:36:27,685
Whoa.
877
00:36:27,685 --> 00:36:29,320
And everybody jumped,
and applauded,
878
00:36:29,320 --> 00:36:31,689
and said, "We got it."
879
00:36:31,689 --> 00:36:33,824
And they wouldn't let me
come back to New York.
880
00:36:38,262 --> 00:36:42,133
They picked Detroit
because Detroit is the emblem
881
00:36:42,133 --> 00:36:45,536
of urban America
and controversy.
882
00:36:45,536 --> 00:36:47,471
You know,
if they'd have set it in LA,
883
00:36:47,471 --> 00:36:49,173
it wouldn't have gotten a buzz.
884
00:36:49,173 --> 00:36:51,943
Paul really didn't wanna
shoot it in Los Angeles.
885
00:36:51,943 --> 00:36:53,711
He just didn't think
it would be special.
886
00:36:53,711 --> 00:36:55,179
There were too many movies
shot here.
887
00:36:55,179 --> 00:36:56,280
He didn't wanted to do
something different.
888
00:36:56,280 --> 00:36:57,982
He really didn't wanna be here.
889
00:36:57,982 --> 00:37:02,553
The studio also didn't wanna pay
the IAEA union residuals.
890
00:37:02,553 --> 00:37:04,488
And in order to avoid that,
891
00:37:04,488 --> 00:37:08,059
they were happy to get it
out of town somewhere.
892
00:37:08,059 --> 00:37:11,329
My job is to go around
with the location person,
893
00:37:11,329 --> 00:37:12,897
sift through a lot of stuff,
894
00:37:12,897 --> 00:37:15,733
hopefully, find a bunch
of interesting images,
895
00:37:15,733 --> 00:37:17,902
and then let the director
sift those,
896
00:37:17,902 --> 00:37:19,704
and we'd start looking
at locations.
897
00:37:19,704 --> 00:37:20,972
We looked in Detroit.
898
00:37:22,340 --> 00:37:23,808
You know, we went to Detroit.
899
00:37:23,808 --> 00:37:25,176
But the problem is,
900
00:37:25,176 --> 00:37:26,844
it didn't look like Detroit,
you know?
901
00:37:26,844 --> 00:37:29,814
It had the good rundown bits,
902
00:37:29,814 --> 00:37:32,550
but it didn't have
the futuristic stuff.
903
00:37:32,550 --> 00:37:34,986
So, Verhoeven and I
went to Dallas.
904
00:37:41,225 --> 00:37:42,994
Dallas at that time
was interesting
905
00:37:42,994 --> 00:37:47,265
because it was a film market
that was trying to develop.
906
00:37:47,265 --> 00:37:50,334
Dallas had just gone through
this huge building period.
907
00:37:50,334 --> 00:37:52,737
So, you had all these really
fantastic buildings,
908
00:37:52,737 --> 00:37:55,339
a really futuristic-type
landscape.
909
00:37:55,339 --> 00:37:59,577
What sold Paul on Dallas
is, it was a skyscraper,
910
00:37:59,577 --> 00:38:02,913
completely outlined
in green neon.
911
00:38:02,913 --> 00:38:04,215
And he thought,
"Boy, that's great.
912
00:38:04,215 --> 00:38:05,583
That's the future."
913
00:38:05,583 --> 00:38:08,419
And when we got there to shoot,
it had broken,
914
00:38:08,419 --> 00:38:09,854
and the light was off.
915
00:38:09,854 --> 00:38:11,422
We looked all over Dallas,
916
00:38:11,422 --> 00:38:13,691
looking at old police stations,
and looking at this,
917
00:38:13,691 --> 00:38:16,093
and we finally narrowed it down
to what we needed.
918
00:38:16,093 --> 00:38:19,730
I think I had about four,
500,000 dollars for the sets.
919
00:38:19,730 --> 00:38:21,132
We needed that kind of money
920
00:38:21,132 --> 00:38:23,367
because Paul
was blowing things up
921
00:38:23,367 --> 00:38:25,469
wherever we went.
922
00:38:27,071 --> 00:38:29,273
It was like we were building
sets for Paul to show up
923
00:38:29,273 --> 00:38:30,274
and blow them up.
924
00:38:30,274 --> 00:38:31,142
Take one!
925
00:38:33,644 --> 00:38:35,079
And we discovered
926
00:38:35,079 --> 00:38:37,782
that we could create
a corporation in Texas,
927
00:38:37,782 --> 00:38:40,785
hire people
on the Texas IA contract.
928
00:38:40,785 --> 00:38:44,055
Their contract
didn't stipulate residuals.
929
00:38:44,055 --> 00:38:46,324
So, we set it up that way.
930
00:38:46,324 --> 00:38:48,759
The name of the corporation
was Tobor,
931
00:38:48,759 --> 00:38:50,895
robot spelled backwards.
932
00:38:50,895 --> 00:38:54,565
They were shooting in Dallas
from August to October in 1986,
933
00:38:54,565 --> 00:38:57,068
which are the hottest,
most humid parts
934
00:38:57,068 --> 00:38:58,436
of the United States.
935
00:38:58,436 --> 00:38:59,670
It was hot during the day.
936
00:38:59,670 --> 00:39:01,272
And at night, it just got dark.
937
00:39:01,272 --> 00:39:02,740
It was still hot.
It didn't get cooler at night.
938
00:39:02,740 --> 00:39:06,077
It was just dark.
939
00:39:06,077 --> 00:39:09,280
I had an enormous impact
on RoboCop
940
00:39:09,280 --> 00:39:12,850
because I was the guy
that capitalized the C,
941
00:39:14,518 --> 00:39:17,688
because it was too hard to read
with a lowercase C.
942
00:39:19,090 --> 00:39:21,959
I was highly amazed by the news
943
00:39:21,959 --> 00:39:23,928
and television in general,
you know?
944
00:39:23,928 --> 00:39:26,197
It was very un-European,
945
00:39:26,197 --> 00:39:28,699
with two people talking
and laughing,
946
00:39:28,699 --> 00:39:31,602
and basically, I mean,
in Holland and in France,
947
00:39:31,602 --> 00:39:33,971
or the BBC, I think,
that there was a guy
948
00:39:33,971 --> 00:39:36,273
who sits there
and tells the news, you know?
949
00:39:36,273 --> 00:39:38,008
But then in the United States,
it was already
950
00:39:38,008 --> 00:39:39,710
very over the top, I would say.
951
00:39:39,710 --> 00:39:41,312
This is Media Break.
952
00:39:41,312 --> 00:39:43,781
You give us three minutes,
we'll give you the world.
953
00:39:44,949 --> 00:39:46,317
Good morning.
954
00:39:46,317 --> 00:39:47,118
I'm Casey Wong
with Jesse Perkins.
955
00:39:48,452 --> 00:39:50,855
No one had ever heard
of anything like this,
956
00:39:50,855 --> 00:39:54,058
deliver bad news with a smile.
957
00:39:54,058 --> 00:39:55,826
You bet.
958
00:39:55,826 --> 00:39:58,796
Next time you see a cop, smile.
Thanks for watching.
959
00:39:58,796 --> 00:40:01,866
It was very much like it is,
960
00:40:01,866 --> 00:40:04,869
where you would go
from impending doom
961
00:40:04,869 --> 00:40:08,372
to a beauty pageant, all in...
like that,
962
00:40:08,372 --> 00:40:10,841
with the same kind of delivery.
963
00:40:10,841 --> 00:40:13,744
Three dead police officers,
one critically injured.
964
00:40:13,744 --> 00:40:16,747
My amazement
about American television,
965
00:40:16,747 --> 00:40:19,049
you see very well
in the movie, of course,
966
00:40:19,049 --> 00:40:22,086
and I pushed it very hard
in a hyperbolic way.
967
00:40:22,086 --> 00:40:24,722
So, it became kind of light,
and funny, and strange.
968
00:40:29,493 --> 00:40:32,363
I remember when we scouted
the police station location,
969
00:40:32,363 --> 00:40:36,567
we were in this big, sort of,
abandoned factory facility,
970
00:40:36,567 --> 00:40:38,369
and there were tiles,
and lockers,
971
00:40:38,369 --> 00:40:39,570
and all sorts of things.
972
00:40:39,570 --> 00:40:41,071
Is there any word
on Fredrickson?
973
00:40:41,071 --> 00:40:44,408
We're doing this long,
very balletic dolly shot,
974
00:40:44,408 --> 00:40:47,178
which starts on me
coming down a hall.
975
00:40:47,178 --> 00:40:50,748
It's a continuous shot.
It never stops moving.
976
00:40:50,748 --> 00:40:53,717
And you get little tidbits
of lines from different people.
977
00:40:53,717 --> 00:40:55,252
Beats me, man.
978
00:40:55,252 --> 00:40:56,587
I think OCP's moving
a lot of new guys up here.
979
00:40:56,587 --> 00:40:58,222
It was dressed in a way
980
00:40:58,222 --> 00:41:00,224
that you could go
to the other room,
981
00:41:00,224 --> 00:41:02,393
come back, and turn around,
982
00:41:02,393 --> 00:41:04,094
and end up
in the locker room again.
983
00:41:04,094 --> 00:41:05,930
There was no cut necessary.
984
00:41:05,930 --> 00:41:07,264
It's all one shot
985
00:41:07,264 --> 00:41:09,066
with what they called
the JostiCam.
986
00:41:09,066 --> 00:41:11,035
JostiCam? Yeah. Okay.
987
00:41:12,403 --> 00:41:13,804
And it was Jost Vacano's
988
00:41:13,804 --> 00:41:15,539
version
of his own Steadicam
989
00:41:15,539 --> 00:41:17,241
that he had invented
for Das Boot.
990
00:41:19,710 --> 00:41:21,245
Jost, man.
991
00:41:21,245 --> 00:41:22,713
Jost is running those shots
up and down here,
992
00:41:22,713 --> 00:41:25,249
his own gyro,
Aeroflex thing that he invented.
993
00:41:25,249 --> 00:41:27,151
It was like a Steadicam,
but everybody goes,
994
00:41:27,151 --> 00:41:28,819
"What's Jost's invention?
A Steadicam?"
995
00:41:28,819 --> 00:41:31,255
No, it's not a Steadicam.
It's a gyro camera.
996
00:41:31,255 --> 00:41:32,890
My approach was,
997
00:41:32,890 --> 00:41:35,593
I would like to shoot this film
very realistic,
998
00:41:35,593 --> 00:41:38,496
a little bit documentary-like,
with a handheld camera
999
00:41:38,496 --> 00:41:41,065
and with very much available
light,
1000
00:41:41,065 --> 00:41:44,902
no real film lighting,
what you would normally expect.
1001
00:41:44,902 --> 00:41:47,137
They came up with banks
of lights
1002
00:41:47,137 --> 00:41:48,906
that were fluorescents.
1003
00:41:48,906 --> 00:41:51,342
Not very lovely on the face,
but it really did the trick,
1004
00:41:51,342 --> 00:41:53,410
and created a good mood
in the film.
1005
00:41:53,410 --> 00:41:55,746
My feeling
is that the handheld camera,
1006
00:41:55,746 --> 00:41:58,449
if it's not distracting,
if it's reduced,
1007
00:41:58,449 --> 00:42:01,318
it's an underlay
of human movement.
1008
00:42:01,318 --> 00:42:04,688
This is catching the audience
much better emotionally.
1009
00:42:04,688 --> 00:42:08,158
There was one shot
that we did in RoboCop
1010
00:42:08,158 --> 00:42:10,694
in the boardroom
where he takes us
1011
00:42:10,694 --> 00:42:13,931
off the elevator,
we go into the boardroom.
1012
00:42:13,931 --> 00:42:15,866
Don't mess with Jones, man.
He'll make sushi out of you.
1013
00:42:15,866 --> 00:42:17,935
It's one beautiful shot.
1014
00:42:17,935 --> 00:42:20,170
And there's dialogue going on,
and exposition.
1015
00:42:20,170 --> 00:42:21,505
We'll turn things around.
1016
00:42:21,505 --> 00:42:22,706
But it's all that kinetic
movement.
1017
00:42:22,706 --> 00:42:24,141
So, you don't really realize
1018
00:42:24,141 --> 00:42:26,010
you're getting pages
of exposition there.
1019
00:42:26,010 --> 00:42:28,546
I just love the way
that Paul directs.
1020
00:42:28,546 --> 00:42:30,281
Delta City.
1021
00:42:30,281 --> 00:42:33,017
Jost, he could go anywhere,
do anything,
1022
00:42:33,017 --> 00:42:35,986
follow you doing anything,
and it was a little bit noisy.
1023
00:42:35,986 --> 00:42:40,391
As a sound guy, imagine having
what sounds like a 737
1024
00:42:40,391 --> 00:42:42,226
taking off right next to you.
1025
00:42:44,161 --> 00:42:45,663
It sounded
like a sewing machine.
1026
00:42:47,197 --> 00:42:48,699
So, they had to get rid
of a lot of that in post.
1027
00:42:51,302 --> 00:42:53,671
Paul had a hard time visualizing
1028
00:42:53,671 --> 00:42:56,140
what a police station
would look like in America.
1029
00:42:56,140 --> 00:42:57,508
Attempted murder?
1030
00:42:57,508 --> 00:42:59,143
Well, it's not like he killed
someone!
1031
00:42:59,143 --> 00:43:00,511
We wanted a contrast,
1032
00:43:00,511 --> 00:43:03,147
so we made
an older police station,
1033
00:43:03,147 --> 00:43:06,550
you know, and Paul liked it.
We sold him on the idea.
1034
00:43:06,550 --> 00:43:09,987
And I had a photo shoot done
with all these, like, bad guys,
1035
00:43:09,987 --> 00:43:11,855
and their henchmen,
and everything, you know?
1036
00:43:11,855 --> 00:43:15,092
We would work all night
trying to make it better,
1037
00:43:15,092 --> 00:43:16,694
and also not spend
any more money.
1038
00:43:16,694 --> 00:43:18,095
That was my whole thing.
1039
00:43:18,095 --> 00:43:19,063
It's like, "I'm not gonna spend
any more money,
1040
00:43:19,063 --> 00:43:20,764
but I'll make it better."
1041
00:43:20,764 --> 00:43:23,033
We virtually dressed at it,
like, 5:00 in the morning,
1042
00:43:23,033 --> 00:43:25,002
and they walked in
and started shooting the movie.
1043
00:43:25,002 --> 00:43:26,370
Listen, pal!
1044
00:43:26,370 --> 00:43:29,206
Your client's a scumbag,
you're a scumbag,
1045
00:43:29,206 --> 00:43:31,408
and scumbags see the judge
on Monday morning!
1046
00:43:31,408 --> 00:43:34,578
Robert DoQui was just, like,
this walking encyclopedia.
1047
00:43:34,578 --> 00:43:37,047
He was just so full
of knowledge, you know?
1048
00:43:37,047 --> 00:43:38,716
I loved Robert DoQui.
1049
00:43:38,716 --> 00:43:41,919
And we had a great
working relationship together.
1050
00:43:41,919 --> 00:43:44,221
He introduced himself.
And I knew who he was.
1051
00:43:44,221 --> 00:43:46,857
I mean, I was trying to be cool.
But I mean, Robert DoQui,
1052
00:43:46,857 --> 00:43:49,727
he did a lot of great body
of work.
1053
00:43:49,727 --> 00:43:51,295
But in my mind, I'm thinking,
1054
00:43:51,295 --> 00:43:53,364
"This is the guy that plays
Florence's boyfriend
1055
00:43:53,364 --> 00:43:55,566
on The Jeffersons, " you know,
and he was in Coffy,
1056
00:43:55,566 --> 00:43:58,102
and all these Black exploitation
films from the '70s.
1057
00:43:58,102 --> 00:43:59,303
What the hell's going on
around here?
1058
00:43:59,303 --> 00:44:01,071
So, he had great chops.
1059
00:44:01,071 --> 00:44:02,406
I mean, he had done
all kinds of episodic television
1060
00:44:02,406 --> 00:44:03,207
and all kinds of cool stuff.
1061
00:44:03,207 --> 00:44:04,875
Now, look.
1062
00:44:04,875 --> 00:44:05,909
Why don't you run in the other
room and get yourself
1063
00:44:05,909 --> 00:44:07,211
a cup of coffee?
1064
00:44:07,211 --> 00:44:08,812
Not now, E.J.
Get a cup of coffee.
1065
00:44:08,812 --> 00:44:10,080
Oh, Searg.
1066
00:44:10,080 --> 00:44:11,649
It could have been
a thankless role.
1067
00:44:11,649 --> 00:44:13,317
But because of who he was,
1068
00:44:13,317 --> 00:44:15,719
it becomes a very memorable part
of the film.
1069
00:44:16,387 --> 00:44:17,655
Now, get out
of my police station
1070
00:44:17,655 --> 00:44:19,423
and take Laughing Boy with you!
1071
00:44:21,492 --> 00:44:23,627
I remember talking
to Ed Neumeier
1072
00:44:23,627 --> 00:44:25,396
about the cops' names,
which, you know,
1073
00:44:25,396 --> 00:44:27,164
they're all names
of mass murderers.
1074
00:44:30,801 --> 00:44:32,636
Like Carol Chessman,
who was the last man
1075
00:44:32,636 --> 00:44:36,073
killed in the gas chamber
in California.
1076
00:44:36,073 --> 00:44:38,175
Charlie Starkweather.
1077
00:44:38,175 --> 00:44:41,178
And then there was a character
named Manson.
1078
00:44:41,178 --> 00:44:42,680
I figured out rather quickly,
1079
00:44:42,680 --> 00:44:43,947
you know,
that they were all named
1080
00:44:43,947 --> 00:44:45,349
after serial killers,
1081
00:44:45,349 --> 00:44:47,484
which later on,
the writer said to us, you know,
1082
00:44:47,484 --> 00:44:49,586
I said, "Yes,
I was aware of that, yeah."
1083
00:44:49,586 --> 00:44:51,755
When I looked up
who I was named after,
1084
00:44:51,755 --> 00:44:52,790
I was like, "Whoa!"
1085
00:44:55,292 --> 00:44:56,994
This was Ed's idea,
and it worked, you know?
1086
00:44:56,994 --> 00:44:58,495
I remember talking to him
about it,
1087
00:44:58,495 --> 00:44:59,863
and saying, you know,
"Why are these names?"
1088
00:44:59,863 --> 00:45:01,465
And he said, "Oh,
it's just, you know,
1089
00:45:01,465 --> 00:45:03,033
we wanted to have some fun
with this whole thing.
1090
00:45:03,033 --> 00:45:05,302
So, we named all the cops
after mass murderers."
1091
00:45:05,302 --> 00:45:06,170
Welcome to hell!
1092
00:45:07,538 --> 00:45:08,672
I thought that was kind of cool
actually.
1093
00:45:10,874 --> 00:45:12,309
"Well, I'll tell you
what we should do.
1094
00:45:12,309 --> 00:45:13,844
We should strike. Fuck em!"
1095
00:45:16,013 --> 00:45:19,550
Jonathan Kaplan, the director,
was attached early on.
1096
00:45:19,550 --> 00:45:21,685
And Jonathan Kaplan's
favorite phrase
1097
00:45:21,685 --> 00:45:23,287
when they talk about,
1098
00:45:23,287 --> 00:45:24,621
"Well, the studio's gonna say
this, so the money..."
1099
00:45:24,621 --> 00:45:25,823
is "Fuck 'em!"
1100
00:45:25,823 --> 00:45:28,125
So, as an homage to him,
1101
00:45:28,125 --> 00:45:30,294
Ed Neumeier created
a character, Kaplan,
1102
00:45:30,294 --> 00:45:32,129
that would say, "Fuck 'em!"
1103
00:45:32,129 --> 00:45:34,164
We should strike. Fuck 'em!
1104
00:45:34,164 --> 00:45:35,799
When you look at those scenes,
1105
00:45:35,799 --> 00:45:38,569
those people are sweaty,
and grimy, and disgusting
1106
00:45:38,569 --> 00:45:41,338
because we were sweaty,
and grimy, and disgusting
1107
00:45:41,338 --> 00:45:43,240
when we were making the movie.
1108
00:45:43,240 --> 00:45:46,176
You had the men and the women
sharing the locker room.
1109
00:45:46,176 --> 00:45:48,579
It just seemed to be
that you had to be just
1110
00:45:48,579 --> 00:45:50,481
a self-survivor
and take care of yourself.
1111
00:45:50,481 --> 00:45:53,517
You know, it was not an era
where you depended on men.
1112
00:45:53,517 --> 00:45:54,985
There are actually
1113
00:45:54,985 --> 00:45:56,687
a few classic sound effects
in RoboCop.
1114
00:45:57,488 --> 00:46:00,090
There's a face impact
that is known in the trade
1115
00:46:00,090 --> 00:46:01,525
as the John Wayne chin slap.
1116
00:46:04,394 --> 00:46:06,096
And it's the great,
cracky face punch
1117
00:46:06,096 --> 00:46:07,231
when Lewis
takes out her suspect.
1118
00:46:13,570 --> 00:46:15,939
In the script,
it said she takes off her helmet
1119
00:46:15,939 --> 00:46:17,174
and her hair cascades down.
1120
00:46:18,742 --> 00:46:20,577
You know, I thought,
"Well, I can do that," you know?
1121
00:46:20,577 --> 00:46:25,082
After meeting with Paul,
he wanted her hair to be short.
1122
00:46:25,082 --> 00:46:28,418
So, I had my hair cut,
and they looked at it,
1123
00:46:28,418 --> 00:46:31,054
and they said,
"Hmm, a little bit more."
1124
00:46:31,054 --> 00:46:33,357
So, we cut it again,
and then we cut it again.
1125
00:46:33,357 --> 00:46:34,691
I went through the process
1126
00:46:34,691 --> 00:46:36,260
of, like,
eight different haircuts.
1127
00:46:36,260 --> 00:46:37,561
So, I ended up
with really nothing.
1128
00:46:37,561 --> 00:46:38,295
It was really awful.
1129
00:46:39,696 --> 00:46:42,366
She's introduced
as a male character almost.
1130
00:46:43,267 --> 00:46:44,301
Lewis!
1131
00:46:44,301 --> 00:46:45,569
Come here when you're finished
1132
00:46:45,569 --> 00:46:46,703
fucking around
with your suspect!
1133
00:46:46,703 --> 00:46:48,739
Get on your feet!
1134
00:46:48,739 --> 00:46:50,374
She was made to look
more butch or not more butch.
1135
00:46:50,374 --> 00:46:51,975
And in the end,
it's sort of a compromise.
1136
00:46:51,975 --> 00:46:53,877
She looks very feminine.
She's attractive.
1137
00:46:53,877 --> 00:46:56,446
Murphy, meet Lewis.
Show him the neighborhood.
1138
00:46:56,446 --> 00:46:57,815
Glad to know you, Murphy.
1139
00:46:57,815 --> 00:46:59,550
You know,
when she takes out the guys,
1140
00:46:59,550 --> 00:47:02,886
and all the karate and so forth,
and I said, "Pretty neat."
1141
00:47:02,886 --> 00:47:04,121
Pretty neat.
1142
00:47:04,121 --> 00:47:05,889
I just found her entertaining.
1143
00:47:05,889 --> 00:47:07,991
I have my own process
1144
00:47:07,991 --> 00:47:10,227
in terms of how I prepare
a role,
1145
00:47:10,227 --> 00:47:12,963
and I like to write a biography
of the character,
1146
00:47:12,963 --> 00:47:14,731
what you don't know.
1147
00:47:14,731 --> 00:47:19,169
I had her fatherless,
that her father had died.
1148
00:47:19,169 --> 00:47:22,072
So, she became even
more independent and strong.
1149
00:47:22,072 --> 00:47:24,274
And a younger brother
rather than an older brother.
1150
00:47:24,274 --> 00:47:25,742
So, she really took that role
1151
00:47:25,742 --> 00:47:27,244
of being the strength
of the family.
1152
00:47:28,612 --> 00:47:30,147
I better drive
until you know your way around.
1153
00:47:30,147 --> 00:47:36,954
And Nancy's like a dream,
and sweet, and fun.
1154
00:47:36,954 --> 00:47:38,856
And don't laugh,
1155
00:47:38,856 --> 00:47:40,924
but I actually put on a pair
of men's underpants.
1156
00:47:42,459 --> 00:47:45,829
Just to see, like,
"Ooh! What does that feel like?"
1157
00:47:45,829 --> 00:47:47,464
I know it's bizarre,
but, you know,
1158
00:47:47,464 --> 00:47:49,466
you've got to try
these things to see what works.
1159
00:47:49,466 --> 00:47:52,436
And, you know, my father
was a New York City cop.
1160
00:47:52,436 --> 00:47:55,639
So, I did have an understanding
of who these people are
1161
00:47:55,639 --> 00:47:56,773
and why they do what they do.
1162
00:47:57,474 --> 00:47:58,809
I usually drive
1163
00:47:58,809 --> 00:48:00,377
when I'm breaking in
on a new partner.
1164
00:48:00,377 --> 00:48:04,214
Lewis was a little skeptical,
like the sergeant was,
1165
00:48:04,214 --> 00:48:06,817
about, "Oh, who's this guy
from this really, you know,
1166
00:48:06,817 --> 00:48:08,685
la-la-la area
1167
00:48:08,685 --> 00:48:10,053
where he didn't really
have to work
1168
00:48:10,053 --> 00:48:11,889
for a living,
as the sergeant said.
1169
00:48:11,889 --> 00:48:13,724
We work for a living down here,
Murphy.
1170
00:48:13,724 --> 00:48:16,393
But quickly, she finds
that he's a strong guy.
1171
00:48:16,393 --> 00:48:18,295
Pretty fancy moves, Murphy.
1172
00:48:19,830 --> 00:48:22,566
I did have some modicum
of police training.
1173
00:48:22,566 --> 00:48:24,167
But I grew up with guns.
I grew up with hunting.
1174
00:48:24,167 --> 00:48:25,702
I grew up with handguns.
1175
00:48:25,702 --> 00:48:27,237
And I grew up with fast drawing.
1176
00:48:28,705 --> 00:48:30,307
And I have Colts and all that.
1177
00:48:30,307 --> 00:48:32,976
And I can do that stuff.
I did it in RoboCop.
1178
00:48:32,976 --> 00:48:34,177
Flipping a gun,
doing all that stuff.
1179
00:48:34,177 --> 00:48:35,846
Uh, yeah.
1180
00:48:35,846 --> 00:48:38,048
Well, my son Jimmy watches
this cop show T.J. Lazer.
1181
00:48:38,048 --> 00:48:39,349
And this laser guy does this
every time
1182
00:48:39,349 --> 00:48:40,717
he takes down a bad guy.
1183
00:48:42,986 --> 00:48:44,154
Can you do that, Dad?
1184
00:48:48,692 --> 00:48:51,194
T.J. Lazer was the very first
thing we shot.
1185
00:48:51,194 --> 00:48:54,898
I rented some 16mm equipment
from the UCLA Tech Office,
1186
00:48:54,898 --> 00:48:58,869
and we went out to a vacant lot,
and Ed organized the jumpsuit.
1187
00:49:00,037 --> 00:49:01,738
I was a cinematographer.
1188
00:49:01,738 --> 00:49:04,741
So, the way it's set up,
those shots were easy for me.
1189
00:49:04,741 --> 00:49:06,276
That was definitely a fun spoof.
1190
00:49:08,345 --> 00:49:12,215
Obviously, inspired
by those terrible TV shows
1191
00:49:12,215 --> 00:49:14,284
of the '70s, right?
1192
00:49:14,284 --> 00:49:15,085
T.J. Hooker.
1193
00:49:17,087 --> 00:49:18,622
Yeah.
1194
00:49:18,622 --> 00:49:21,358
Well, role models
can be very important to a boy.
1195
00:49:21,358 --> 00:49:22,893
He had a sense of humor,
1196
00:49:22,893 --> 00:49:24,428
as did she, and they kind of
had a little play
1197
00:49:24,428 --> 00:49:26,463
together for that moment.
1198
00:49:26,463 --> 00:49:27,531
All units, all units,
sector nine.
1199
00:49:27,531 --> 00:49:28,932
Why don't you drive?
1200
00:49:28,932 --> 00:49:30,867
And they bonded very quickly.
1201
00:49:30,867 --> 00:49:33,203
Nancy is my buddy.
1202
00:49:33,203 --> 00:49:35,539
Nancy's like, "Hey,
1203
00:49:35,539 --> 00:49:37,307
let's go eat Mexican food
in Fort Worth."
1204
00:49:37,307 --> 00:49:40,544
"Yeah!" So, there's a bond.
1205
00:49:40,544 --> 00:49:42,079
And plus,
which, when you're acting
1206
00:49:42,079 --> 00:49:43,647
with her, she's a dreamboat.
1207
00:49:54,091 --> 00:49:56,893
In playing characters
like Dick Jones,
1208
00:49:56,893 --> 00:49:59,997
I look for everything good
about him.
1209
00:49:59,997 --> 00:50:01,498
As you know,
1210
00:50:01,498 --> 00:50:02,566
we've entered into a contract
with the city
1211
00:50:02,566 --> 00:50:04,434
to run local law enforcement.
1212
00:50:04,434 --> 00:50:06,336
Because guys like Dick Jones.
1213
00:50:06,336 --> 00:50:09,806
Guys like that.
They don't think they're bad.
1214
00:50:09,806 --> 00:50:11,641
They just think
if everybody knew
1215
00:50:11,641 --> 00:50:14,745
what the hell they were doing,
they'd see things as they do.
1216
00:50:15,979 --> 00:50:18,081
We need something more.
1217
00:50:18,081 --> 00:50:21,585
We need a 24-hour-a-day
police officer.
1218
00:50:21,585 --> 00:50:24,821
A cop who doesn't need to eat
or sleep.
1219
00:50:24,821 --> 00:50:28,425
A cop with superior firepower
and the reflexes to use them.
1220
00:50:30,260 --> 00:50:32,829
Fellow executives,
it gives me great pleasure
1221
00:50:32,829 --> 00:50:35,599
to introduce you to the future
of law enforcement...
1222
00:50:37,434 --> 00:50:39,336
ED-209.
1223
00:50:47,711 --> 00:50:50,380
We weren't involved
with the design of ED-209.
1224
00:50:50,380 --> 00:50:52,849
I mean,
we just told Phil Tippett,
1225
00:50:52,849 --> 00:50:55,152
you know,
"Here's the script to ED-209."
1226
00:51:08,799 --> 00:51:10,367
We go to machine shops,
1227
00:51:10,367 --> 00:51:13,904
and, you know, robotic shops,
and shot a lot of footage.
1228
00:51:13,904 --> 00:51:16,306
Reference footage
of how robotic things
1229
00:51:16,306 --> 00:51:18,642
and machines attack,
and decay, and move,
1230
00:51:18,642 --> 00:51:21,244
and come to stops and starts,
which is very different
1231
00:51:21,244 --> 00:51:22,813
than an organic thing,
you know?
1232
00:51:22,813 --> 00:51:23,847
'Cause an organic thing
will go like...
1233
00:51:25,315 --> 00:51:27,250
And a, you know, robotic thing
will go like...
1234
00:51:30,821 --> 00:51:33,090
Ed Neumeier had pictures
1235
00:51:33,090 --> 00:51:36,927
that he'd taken
off of some Japanese manga
1236
00:51:36,927 --> 00:51:39,362
that had a giant robot
that had, like,
1237
00:51:39,362 --> 00:51:42,065
his arms terminated into guns.
1238
00:51:42,065 --> 00:51:44,401
So, Ed knew he wanted
something like that.
1239
00:51:45,769 --> 00:51:47,104
ED-209 is Phil.
1240
00:51:47,104 --> 00:51:48,271
I mean, it's just,
as you get to know
1241
00:51:48,271 --> 00:51:50,107
Phil's work, it's just Phil.
1242
00:51:50,107 --> 00:51:53,110
No one could do that
the way Phil can do it.
1243
00:51:53,110 --> 00:51:54,945
It was a very exciting group
of people.
1244
00:51:54,945 --> 00:51:56,513
And, uh, they just came in,
1245
00:51:56,513 --> 00:51:59,683
and they did solid,
sincere work, you know?
1246
00:52:01,718 --> 00:52:05,088
I happened to meet this kid
at a barbecue
1247
00:52:05,088 --> 00:52:07,090
that some of the costume guys
were doing
1248
00:52:07,090 --> 00:52:11,094
on Return of the Jedi,
and his work was really great.
1249
00:52:11,094 --> 00:52:13,196
I mean, he couldn't have been
more than 18 or 19 at the time.
1250
00:52:13,196 --> 00:52:14,598
It was Craig Hayes.
1251
00:52:14,598 --> 00:52:16,266
It was sort of like working
in a garage
1252
00:52:16,266 --> 00:52:17,767
with your buddies, you know?
1253
00:52:17,767 --> 00:52:20,470
Everybody, all ten of us,
you know,
1254
00:52:20,470 --> 00:52:23,240
were there to just really
do this one kind of task,
1255
00:52:23,240 --> 00:52:25,041
and everybody
was really into it.
1256
00:52:25,041 --> 00:52:28,111
The whole idea behind ED-209
was that it was styled.
1257
00:52:28,111 --> 00:52:30,147
The enforcement droid,
Series 209,
1258
00:52:30,147 --> 00:52:32,616
is a self-sufficient
law enforcement robot.
1259
00:52:32,616 --> 00:52:35,152
209 is currently programmed
for urban pacification,
1260
00:52:35,152 --> 00:52:36,653
but that is only the beginning.
1261
00:52:36,653 --> 00:52:38,155
It was styled like a piece
1262
00:52:38,155 --> 00:52:42,459
of, you know,
American automotive hardware.
1263
00:52:42,459 --> 00:52:45,929
We can expect 209 to become
the hot military product
1264
00:52:45,929 --> 00:52:47,130
for the next decade.
1265
00:52:48,765 --> 00:52:51,168
Obviously, we've gotta reference
military technology,
1266
00:52:51,168 --> 00:52:52,969
tanks, helicopters
in particular,
1267
00:52:52,969 --> 00:52:55,739
because they're some
of the more, sort of, advanced,
1268
00:52:55,739 --> 00:52:58,909
kind of interesting shapes,
and forms, and stuff.
1269
00:52:58,909 --> 00:53:00,911
This thing needed
to have a character, you know?
1270
00:53:00,911 --> 00:53:02,646
So, it couldn't be just simply
a machine.
1271
00:53:02,646 --> 00:53:04,981
So, mix that with some organic,
1272
00:53:04,981 --> 00:53:08,251
the organic nature
of a killer whale.
1273
00:53:08,251 --> 00:53:11,154
The idea of giving it a face
without having a face
1274
00:53:11,154 --> 00:53:14,124
was really kind of, you know,
an important part to it.
1275
00:53:14,124 --> 00:53:15,692
Very early on, you know,
1276
00:53:15,692 --> 00:53:18,528
Craig was doing the designs,
and he looked too happy.
1277
00:53:18,528 --> 00:53:21,531
So, he was joking around
and making him look mean.
1278
00:53:24,201 --> 00:53:25,869
Stop motion is basically,
1279
00:53:25,869 --> 00:53:27,704
you're moving everything
frame by frame.
1280
00:53:27,704 --> 00:53:29,539
There's an articulate skeleton
or armature
1281
00:53:29,539 --> 00:53:31,374
inside of the puppet,
which allows the joints
1282
00:53:31,374 --> 00:53:33,843
to be tensioned
or adjusted just right.
1283
00:53:33,843 --> 00:53:36,146
We worked at 24 frames
per second, right?
1284
00:53:36,146 --> 00:53:39,015
So, that means for every second
of screen time,
1285
00:53:39,015 --> 00:53:41,218
there's 24 increments in there.
1286
00:53:43,119 --> 00:53:45,522
This puppet is an avatar
for you.
1287
00:53:45,522 --> 00:53:47,224
So, you're acting
through this puppet.
1288
00:53:47,224 --> 00:53:50,126
So, you better know
every square millimeter
1289
00:53:50,126 --> 00:53:51,528
of that puppet.
1290
00:53:51,528 --> 00:53:54,130
You're imbuing
an inanimate object
1291
00:53:54,130 --> 00:53:55,532
with a personality,
1292
00:53:55,532 --> 00:53:57,734
and you're giving it
that personality.
1293
00:53:57,734 --> 00:54:00,737
So, it's a very special
relationship
1294
00:54:00,737 --> 00:54:03,006
between animator and model.
1295
00:54:05,208 --> 00:54:08,078
The movement of ED-209
1296
00:54:08,078 --> 00:54:10,547
mostly came from an older
printing press,
1297
00:54:10,547 --> 00:54:12,015
which is cast iron.
1298
00:54:12,015 --> 00:54:14,684
And so, we added that
to the leg movement.
1299
00:54:22,592 --> 00:54:25,495
There were some budgetary issues
for the thing.
1300
00:54:25,495 --> 00:54:28,999
We never even got to have him
move in the scene.
1301
00:54:28,999 --> 00:54:31,735
So, I proposed to Paul
that we build a
1302
00:54:31,735 --> 00:54:35,605
full-size ED-209
if he bought my pitch,
1303
00:54:35,605 --> 00:54:38,575
and that would be he can't move.
1304
00:54:38,575 --> 00:54:40,076
Oh, okay.
1305
00:54:40,076 --> 00:54:42,212
But we keep him alive
1306
00:54:42,212 --> 00:54:44,848
by, like,
a mechanical pedal note.
1307
00:54:44,848 --> 00:54:46,950
So, he has a voice
that's running through the scene
1308
00:54:46,950 --> 00:54:48,852
that's kind
of this ominous drone.
1309
00:54:51,221 --> 00:54:53,623
And, Paul in.
Yeah, that would totally work.
1310
00:54:53,623 --> 00:54:55,292
Yes.
1311
00:55:03,099 --> 00:55:05,602
The thing's made of fiberglass,
and vacuum-formed plastic,
1312
00:55:05,602 --> 00:55:07,570
and is, in fact,
very lightweight.
1313
00:55:07,570 --> 00:55:08,972
You know, two people
could break the thing down
1314
00:55:08,972 --> 00:55:10,540
and put it back together
pretty easily.
1315
00:55:11,975 --> 00:55:14,911
I remember
when ED-209 arrived on the set.
1316
00:55:14,911 --> 00:55:16,980
It was a giant crate.
1317
00:55:16,980 --> 00:55:18,948
And, you know,
it took him all morning
1318
00:55:18,948 --> 00:55:20,583
to uncrate this thing.
1319
00:55:20,583 --> 00:55:24,054
And I go up to Paul,
and he's sick as a dog.
1320
00:55:24,054 --> 00:55:26,556
I think he's got the flu.
1321
00:55:26,556 --> 00:55:28,892
And I said, "Paul,
you'll be glad to know
1322
00:55:28,892 --> 00:55:31,127
ED-209 looks great."
1323
00:55:31,127 --> 00:55:34,230
And he said, "Well, I hope
the next director
1324
00:55:34,230 --> 00:55:36,132
will appreciate it."
1325
00:55:41,438 --> 00:55:42,939
Dr. McNamara.
1326
00:55:42,939 --> 00:55:43,973
We'll need an arrest subject.
1327
00:55:43,973 --> 00:55:45,508
-Mr. Kinney.
-Yes, sir.
1328
00:55:45,508 --> 00:55:46,309
Would you come up
and give us a hand, please?
1329
00:55:46,309 --> 00:55:47,977
Yes, sir.
1330
00:55:47,977 --> 00:55:51,514
When Mr. Kinney points the gun
at the boss guy,
1331
00:55:51,514 --> 00:55:53,917
I didn't really get that
in the script.
1332
00:55:53,917 --> 00:55:55,151
So, when he says...
1333
00:55:55,151 --> 00:55:56,653
Use your gun
in a threatening manner.
1334
00:55:56,653 --> 00:55:58,822
I... I pointed it at ED-209.
1335
00:55:58,822 --> 00:56:00,457
And Paul comes,
"No, no, no, no, no!
1336
00:56:00,457 --> 00:56:01,958
You must point it at him."
1337
00:56:01,958 --> 00:56:04,127
And then sort of told him
what the joke was.
1338
00:56:04,127 --> 00:56:05,628
Action.
1339
00:56:05,628 --> 00:56:07,197
Point it at ED-209.
1340
00:56:07,197 --> 00:56:08,198
Yes, sir.
1341
00:56:11,134 --> 00:56:13,870
Drop the gun!
You have ten seconds to comply.
1342
00:56:15,438 --> 00:56:18,041
Paul would play ED-209
1343
00:56:18,041 --> 00:56:20,643
in all the VistaVision plates,
you know?
1344
00:56:20,643 --> 00:56:21,945
You go like this, and you shoot.
1345
00:56:25,648 --> 00:56:26,950
Just screams!
1346
00:56:27,951 --> 00:56:29,552
And everybody would react to it.
1347
00:56:29,552 --> 00:56:32,389
And it was actually
very effective.
1348
00:56:32,389 --> 00:56:34,190
You have five seconds to comply.
1349
00:56:34,190 --> 00:56:36,459
We needed language for ED-209
1350
00:56:36,459 --> 00:56:38,695
because he had
a pre-programmed card.
1351
00:56:40,163 --> 00:56:44,134
Please put down your weapon.
You have 20 seconds to comply.
1352
00:56:45,735 --> 00:56:47,837
His voice was the producer
Jon Davison.
1353
00:56:47,837 --> 00:56:48,872
Uh-huh.
1354
00:56:48,872 --> 00:56:50,039
That they cheesed up a little.
1355
00:56:50,039 --> 00:56:52,409
They used a lot of deepening
1356
00:56:52,409 --> 00:56:55,512
and a lot of cheesy synthy
processing on that.
1357
00:56:57,313 --> 00:56:58,381
You rolling?
1358
00:56:58,381 --> 00:57:00,517
-Yes.
-Okay.
1359
00:57:00,517 --> 00:57:03,887
Please put down your weapon.
You have 20 seconds to comply.
1360
00:57:03,887 --> 00:57:06,156
You now have 15 seconds
to comply.
1361
00:57:07,590 --> 00:57:10,560
Your civil rights
are currently in effect.
1362
00:57:10,560 --> 00:57:12,262
If you cannot afford
an attorney,
1363
00:57:12,262 --> 00:57:14,931
one will be appointed for you.
1364
00:57:14,931 --> 00:57:16,433
Take the gun out of my mouth.
1365
00:57:16,433 --> 00:57:17,534
Yeah, you shot it
on the board here.
1366
00:57:19,335 --> 00:57:21,337
Smoking is prohibited
in the hallway.
1367
00:57:22,238 --> 00:57:23,039
Next.
1368
00:57:25,708 --> 00:57:28,845
All the growls were cats.
1369
00:57:28,845 --> 00:57:31,414
Like tigers, and leopards,
and things like that.
1370
00:57:32,916 --> 00:57:36,052
My favorite is when Ed turns on
Kinney that first time.
1371
00:57:36,052 --> 00:57:38,121
So, I like to call that one
the whiplash puma.
1372
00:57:40,190 --> 00:57:43,092
'Cause it's this great
cat attack.
1373
00:58:20,330 --> 00:58:22,899
We did our original shoot
on location
1374
00:58:22,899 --> 00:58:24,667
at the Renaissance Tower.
1375
00:58:24,667 --> 00:58:26,402
And about a month
and a half later,
1376
00:58:26,402 --> 00:58:29,806
I got a call from my agent
that said, "They want you back."
1377
00:58:29,806 --> 00:58:31,341
They're gonna do some reshoots.
1378
00:58:31,341 --> 00:58:32,809
Paul Verhoeven was not happy
1379
00:58:32,809 --> 00:58:34,410
with the amount
of blood apparently.
1380
00:58:34,410 --> 00:58:35,945
That is absolutely true.
1381
00:58:35,945 --> 00:58:38,348
And they rebuilt
the entire boardroom
1382
00:58:38,348 --> 00:58:41,618
on stage one out of the studios
at Las Colinas.
1383
00:58:41,618 --> 00:58:44,320
So, I had to get splattered
and reloaded with squibs
1384
00:58:44,320 --> 00:58:45,622
over and over again
1385
00:58:45,622 --> 00:58:48,424
for about three
12-hour days in a row.
1386
00:58:48,424 --> 00:58:50,159
Okay, just try it again.
1387
00:58:50,159 --> 00:58:52,862
The effects guys thought
this was very funny.
1388
00:58:54,297 --> 00:58:56,366
He was not happy
with the effects department.
1389
00:58:56,366 --> 00:58:58,601
They told me that they were
putting more squibs on my body
1390
00:58:58,601 --> 00:59:01,104
than anyone in film history
at the time.
1391
00:59:01,104 --> 00:59:03,506
And Paul Verhoeven
still was not happy.
1392
00:59:03,506 --> 00:59:05,308
And he kept shouting,
"I need more blood!
1393
00:59:05,308 --> 00:59:06,843
There's not enough blood!"
1394
00:59:06,843 --> 00:59:09,345
The way I expressed
the violence in some ways
1395
00:59:09,345 --> 00:59:11,481
was over the top.
Blood. Action.
1396
00:59:11,481 --> 00:59:13,950
And so, finally, apparently,
the effects guys,
1397
00:59:13,950 --> 00:59:15,351
this is what they told me,
1398
00:59:15,351 --> 00:59:17,220
they were at lunch
over in the commissary
1399
00:59:17,220 --> 00:59:18,655
in between takes,
1400
00:59:18,655 --> 00:59:20,690
and they were serving
spaghetti squash.
1401
00:59:20,690 --> 00:59:23,660
They slid that baggie
of spaghetti squash
1402
00:59:23,660 --> 00:59:25,228
underneath the suit,
and loaded it up
1403
00:59:25,228 --> 00:59:26,329
with more squibs.
1404
00:59:26,329 --> 00:59:27,363
And fire!
1405
00:59:31,167 --> 00:59:32,502
Completely over the top.
1406
00:59:32,502 --> 00:59:36,239
Blood all over the screen.
1407
00:59:36,239 --> 00:59:37,574
Fountains of blood
1408
00:59:37,574 --> 00:59:41,978
that were sprouting
out of his body.
1409
00:59:41,978 --> 00:59:44,881
You know, emptying magazines
on him, you know, bazookas.
1410
00:59:46,082 --> 00:59:48,051
It just really did my man in.
1411
00:59:48,051 --> 00:59:50,887
And fire the weapons at him now!
1412
00:59:53,556 --> 00:59:55,525
I guarantee you,
it was very painful.
1413
00:59:55,525 --> 00:59:57,060
The squibs
are like firecrackers,
1414
00:59:57,060 --> 00:59:59,829
and they have a metal backing.
1415
00:59:59,829 --> 01:00:01,598
And if they get away
from your body,
1416
01:00:01,598 --> 01:00:03,399
they kick when they go off.
1417
01:00:03,399 --> 01:00:06,903
And the last squib that went off
of the last day of shooting
1418
01:00:06,903 --> 01:00:08,404
hit me right in the left nut.
1419
01:00:10,006 --> 01:00:12,241
So, I'll take that.
1420
01:00:12,241 --> 01:00:13,776
So, I had to lay there.
1421
01:00:13,776 --> 01:00:17,380
And Mr. Verhoeven just
let that camera roll, and roll,
1422
01:00:17,380 --> 01:00:19,382
and roll for, like, ten seconds.
1423
01:00:19,382 --> 01:00:20,450
Okay.
1424
01:00:22,085 --> 01:00:24,520
We ran up,
and, "Kevin, are you okay?"
1425
01:00:24,520 --> 01:00:26,623
No, you hit me in the balls.
1426
01:00:26,623 --> 01:00:30,860
He just looked up,
and went, "Fuck off.
1427
01:00:30,860 --> 01:00:32,795
Get away from me."
1428
01:00:34,297 --> 01:00:37,033
I don't believe at this point
that anyone has taken
1429
01:00:37,033 --> 01:00:39,702
more hits at one time
than Kevin took in that shot.
1430
01:00:41,070 --> 01:00:43,373
There was actually a wind-down
1431
01:00:43,373 --> 01:00:46,676
that was recorded by Ben Burtt
for the Star Wars films.
1432
01:00:48,711 --> 01:00:51,981
It's actually a 1929
Traveler biplane.
1433
01:00:51,981 --> 01:00:54,817
It can be heard
when ED-209 dies
1434
01:00:54,817 --> 01:00:56,753
after blowing away Kinney.
1435
01:01:03,493 --> 01:01:05,128
Smoke, fall down,
1436
01:01:05,128 --> 01:01:07,296
three stooges-like people
looking.
1437
01:01:07,296 --> 01:01:08,931
That was, of course, horrifying.
1438
01:01:08,931 --> 01:01:12,301
But then the first line
after that basically is...
1439
01:01:14,604 --> 01:01:16,105
But the guy was gone, you know?
1440
01:01:16,105 --> 01:01:18,007
There was nothing left
of the guy.
1441
01:01:18,007 --> 01:01:22,311
And people scampering,
running, cringing.
1442
01:01:22,311 --> 01:01:24,447
And Dan Herlihy, he never moved.
1443
01:01:24,447 --> 01:01:27,617
Dan O'Herlihy, he looked great,
never moving.
1444
01:01:27,617 --> 01:01:29,018
O'Herlihy just says...
1445
01:01:29,018 --> 01:01:31,854
Dick, I'm very disappointed.
1446
01:01:31,854 --> 01:01:33,623
That's my favorite line
in the movie.
1447
01:01:33,623 --> 01:01:36,359
"Dick, I'm very disappointed."
1448
01:01:37,794 --> 01:01:39,295
Puts me down, man.
1449
01:01:40,296 --> 01:01:41,431
I'm sure it's only a glitch.
1450
01:01:41,431 --> 01:01:43,099
A temporary setback.
1451
01:01:43,099 --> 01:01:44,667
You call this a glitch?
1452
01:01:46,135 --> 01:01:48,671
The corporate's rule, period.
1453
01:01:48,671 --> 01:01:50,473
Your temporary setback
could cost us
1454
01:01:50,473 --> 01:01:52,675
50 million dollars
in interest payments alone.
1455
01:01:52,675 --> 01:01:53,976
And it shows to what length
1456
01:01:53,976 --> 01:01:56,779
they will go
to keep that position.
1457
01:01:56,779 --> 01:01:58,448
Perhaps you're aware of the
RoboCop program
1458
01:01:58,448 --> 01:02:00,316
developed by myself
at Security Concepts
1459
01:02:00,316 --> 01:02:02,385
as a contingency against just
this sort of thing?
1460
01:02:02,385 --> 01:02:04,220
Thank you for your concern,
Mr. Morton.
1461
01:02:04,220 --> 01:02:09,025
I just look for all of the ways
that assured me
1462
01:02:09,025 --> 01:02:10,960
that his way
was the correct way.
1463
01:02:10,960 --> 01:02:13,529
-It's something we can--
-Now, wait a minute. Dick!
1464
01:02:13,529 --> 01:02:16,365
I looked at this
as a cautionary tale.
1465
01:02:16,365 --> 01:02:18,367
Tell me about your plan,
Mr. Morton.
1466
01:02:18,367 --> 01:02:20,837
To see that these people
who'd gone for the greed
1467
01:02:20,837 --> 01:02:23,573
and how things turned out
so badly for them.
1468
01:02:23,573 --> 01:02:26,209
I'm confident we can go
to prototype within 90 days.
1469
01:02:26,209 --> 01:02:28,044
You know, karma,
for lack of a better word.
1470
01:02:32,749 --> 01:02:36,085
ED-209 is my baby.
Bullshit him.
1471
01:02:36,085 --> 01:02:37,887
ED-209 is here.
1472
01:02:48,531 --> 01:02:50,199
That wasn't on.
1473
01:02:52,368 --> 01:02:54,103
All righty. There we go.
1474
01:02:54,103 --> 01:02:56,539
We're good. All right.
So, take it from the top.
1475
01:02:56,539 --> 01:02:58,374
-Start again.
-Oh, my Lord.
1476
01:02:58,374 --> 01:02:59,709
-We had fun.
-How time flies.
1477
01:02:59,709 --> 01:03:01,410
Holy shit.
1478
01:03:02,779 --> 01:03:03,880
I like it.
1479
01:03:03,930 --> 01:03:08,480
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