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1
00:00:28,581 --> 00:00:32,585
I think the character
is a modern knight in armor.
2
00:00:32,585 --> 00:00:35,988
We were so on target.
The movie is so precise.
3
00:00:35,988 --> 00:00:38,424
The Verhoeven mantra
on RoboCop was blood.
4
00:00:38,424 --> 00:00:40,393
I want more fucking blood.
5
00:00:40,393 --> 00:00:42,095
I never met anybody
6
00:00:42,095 --> 00:00:44,330
that had a good time
making RoboCop.
7
00:00:44,330 --> 00:00:46,666
The '80s in America
were a tipping point.
8
00:00:46,666 --> 00:00:49,936
It had this prescient
dark side.
9
00:00:49,936 --> 00:00:51,871
That's the lightning
in the bottle.
10
00:00:51,871 --> 00:00:55,775
It's a character
that's a wonderful, unique hero.
11
00:00:55,775 --> 00:00:58,778
One of the really
iconic movies around.
12
00:00:58,778 --> 00:01:01,881
It lives
because of its theme.
13
00:01:01,881 --> 00:01:06,352
And the theme is executed
right down the line.
14
00:01:06,352 --> 00:01:10,556
There's a sincere purity
about his goals,
15
00:01:10,556 --> 00:01:12,391
and yet he promises action.
16
00:03:13,546 --> 00:03:16,048
I'd been thinking
about, sort of, action movies
17
00:03:16,048 --> 00:03:19,585
and strangely business in 1980.
18
00:03:19,585 --> 00:03:21,187
And in particular,
I was thinking
19
00:03:21,187 --> 00:03:22,855
about how could I do a movie
where there was business
20
00:03:22,855 --> 00:03:23,923
and action together.
21
00:03:25,424 --> 00:03:27,994
I'm Ed Neumeier,
and I'm the co-screenwriter
22
00:03:27,994 --> 00:03:29,595
and co-producer of RoboCop.
23
00:03:30,596 --> 00:03:32,531
I was very interested
in science fiction,
24
00:03:32,531 --> 00:03:35,768
and I was working as a reader
at Warner Brothers.
25
00:03:35,768 --> 00:03:37,903
It was then called TBS.
It was shared.
26
00:03:37,903 --> 00:03:39,272
Both Columbia Pictures
and Warner Brothers
27
00:03:39,272 --> 00:03:40,773
were on it a lot.
28
00:03:40,773 --> 00:03:42,942
And that's where Blade Runner
was shot.
29
00:03:44,076 --> 00:03:47,513
In 1981, when I was on the set
of Blade Runner,
30
00:03:47,513 --> 00:03:48,714
I wasn't really working
on the movie,
31
00:03:48,714 --> 00:03:50,583
but I was kind of pretending to.
32
00:03:50,583 --> 00:03:51,617
I remember asking someone
on the set,
33
00:03:51,617 --> 00:03:52,952
"So, what's this movie about?"
34
00:03:52,952 --> 00:03:54,220
And they said,
"Oh, it's about a robot."
35
00:03:54,220 --> 00:03:55,421
And I went,
"Oh, cool, a robot."
36
00:03:55,421 --> 00:03:57,523
Because I always had liked
robots.
37
00:03:57,523 --> 00:03:59,392
And then they pointed
at Sean Young,
38
00:03:59,392 --> 00:04:00,926
and they said,
"That's the robot."
39
00:04:00,926 --> 00:04:03,929
And I went, "Oh, no,
that can't be the robot.
40
00:04:03,929 --> 00:04:05,464
I know what a robot looks like."
41
00:04:06,365 --> 00:04:07,466
And on the set
of Blade Runner,
42
00:04:07,466 --> 00:04:09,568
I had the idea for RoboCop.
43
00:04:09,568 --> 00:04:11,103
And later that night,
44
00:04:11,103 --> 00:04:13,472
I saw that blue car
which they call a spinner.
45
00:04:13,472 --> 00:04:15,141
And there was something
to a young man
46
00:04:15,141 --> 00:04:17,143
that was very seductive
about that.
47
00:04:17,143 --> 00:04:18,778
The name RoboCop
came to my mind,
48
00:04:18,778 --> 00:04:22,215
and kind of an image
of the character.
49
00:04:22,215 --> 00:04:25,118
And I give a lot of credit
to Ridley Scott's art direction,
50
00:04:25,118 --> 00:04:27,821
to really creating a mood
where suddenly,
51
00:04:27,821 --> 00:04:30,657
you have this idea
about something else.
52
00:04:31,491 --> 00:04:33,560
And then it took
about four years
53
00:04:33,560 --> 00:04:37,664
of thinking about this plot,
and story, and the character
54
00:04:37,664 --> 00:04:39,633
until it really germinated
into an idea
55
00:04:39,633 --> 00:04:41,635
I started writing down.
56
00:04:41,635 --> 00:04:43,170
But eventually,
I got a better job,
57
00:04:43,170 --> 00:04:45,906
and I became an executive,
a junior executive at Universal.
58
00:04:45,906 --> 00:04:48,675
I was reading a lot
of comic books for a studio.
59
00:04:48,675 --> 00:04:50,277
They came to me one day,
and said,
60
00:04:50,277 --> 00:04:51,678
"Ed, read these comic books."
61
00:04:51,678 --> 00:04:54,915
These, sort of, modern,
neurotic superhero.
62
00:04:54,915 --> 00:04:57,751
Iron Man, Machine Man ,
because the superhero
63
00:04:57,751 --> 00:04:59,586
had, sort of, trouble
being a superhero.
64
00:04:59,586 --> 00:05:01,154
Even though
he had all these powers,
65
00:05:01,154 --> 00:05:02,856
there was, like,
something going on inside.
66
00:05:02,856 --> 00:05:04,991
So, he was, sort of, like
a superhero with a headache.
67
00:05:04,991 --> 00:05:06,493
You know,
I kind of showed up suddenly,
68
00:05:06,493 --> 00:05:08,495
and I'm wearing a suit,
and I'm a little nervous
69
00:05:08,495 --> 00:05:10,097
about, "Why am I here?"
70
00:05:10,097 --> 00:05:11,665
Because I didn't really feel
like an executive type,
71
00:05:11,665 --> 00:05:12,632
but it was a good job.
72
00:05:12,632 --> 00:05:13,500
Yes, sir.
73
00:05:13,500 --> 00:05:14,801
You can, sort of, see
74
00:05:14,801 --> 00:05:16,703
in the executive scenes
in RoboCop
75
00:05:16,703 --> 00:05:18,638
that there is that young
character
76
00:05:18,638 --> 00:05:20,674
who eventually gets shot,
you know?
77
00:05:20,674 --> 00:05:22,509
I kind of saw myself as Kinney.
78
00:05:22,509 --> 00:05:24,378
Too bad about Kenny, huh?
79
00:05:24,378 --> 00:05:25,645
That's life in a big city.
80
00:05:25,645 --> 00:05:27,013
It was while I was there
81
00:05:27,013 --> 00:05:28,515
that I was really doing
a lot of the plotting,
82
00:05:28,515 --> 00:05:31,618
and that's where I met
Michael Miner.
83
00:05:31,618 --> 00:05:34,020
My name is Michael Miner,
and I co-wrote RoboCop.
84
00:05:34,020 --> 00:05:35,622
Miner was older than me,
85
00:05:35,622 --> 00:05:37,824
but he was then a young
filmmaker from UCLA,
86
00:05:37,824 --> 00:05:39,059
where I had also gone.
87
00:05:39,059 --> 00:05:41,528
Ed viewed a package
of short films
88
00:05:41,528 --> 00:05:44,131
that a bunch
of UCLA filmmakers made,
89
00:05:44,131 --> 00:05:45,999
and mine was one of them.
90
00:05:45,999 --> 00:05:49,136
I started shooting music videos
as a director camera operator.
91
00:05:49,136 --> 00:05:51,638
Did about ten of them.
They were heavy metal videos.
92
00:05:51,638 --> 00:05:56,042
I made experimental films
in the vein of Nicolas Rogue
93
00:05:56,042 --> 00:05:58,412
and the French New Wave,
94
00:05:58,412 --> 00:06:00,714
but was also heavily influenced
by Philip K. Dick
95
00:06:00,714 --> 00:06:02,916
and Jorge Luis Borges.
96
00:06:02,916 --> 00:06:05,352
They were my, you would say,
literary mentors.
97
00:06:06,853 --> 00:06:08,688
The type of science fiction
I was interested in
98
00:06:08,688 --> 00:06:10,424
had a social aspect.
99
00:06:10,424 --> 00:06:13,593
What it means to be human,
what is reality,
100
00:06:13,593 --> 00:06:16,997
whether reality as we see it
is questionable,
101
00:06:16,997 --> 00:06:19,266
all of those things.
102
00:06:19,266 --> 00:06:21,268
I started developing an idea
called Supercop,
103
00:06:21,268 --> 00:06:25,605
which was about an appliance
that a human wears
104
00:06:25,605 --> 00:06:27,674
that accelerates
all of that person's
105
00:06:27,674 --> 00:06:29,176
physical attributes.
106
00:06:29,176 --> 00:06:31,111
And the crux of the drama
was that it starts
107
00:06:31,111 --> 00:06:34,681
affecting the psychology
of the cops in psychotic ways.
108
00:06:34,681 --> 00:06:36,416
He came to see me
looking for a job,
109
00:06:36,416 --> 00:06:37,717
but instead, I said,
110
00:06:37,717 --> 00:06:39,019
"Hey, let's do a movie
about a robot."
111
00:06:41,121 --> 00:06:42,856
We had lunch, and we found out,
112
00:06:42,856 --> 00:06:45,358
"Wow, we were thinking
in these similar, sort of, vein
113
00:06:45,358 --> 00:06:48,094
of what is the future
of law enforcement.
114
00:06:48,094 --> 00:06:50,363
And it was pretty much
a, I won't say
115
00:06:50,363 --> 00:06:52,732
love at first sight,
but we really hit it off.
116
00:06:52,732 --> 00:06:54,301
And one thing led to another.
117
00:06:54,301 --> 00:06:58,138
And we started writing a script
on nights and weekends
118
00:06:58,138 --> 00:07:00,140
called RoboCop.
119
00:07:00,140 --> 00:07:01,908
Ed and I do
very different things,
120
00:07:01,908 --> 00:07:04,110
which is kind of what you want
in a partnership.
121
00:07:04,110 --> 00:07:07,080
I am full of frothy
amount of ideas,
122
00:07:07,080 --> 00:07:09,282
where Ed is more
of a solid backstop,
123
00:07:09,282 --> 00:07:11,451
and he's a no BS kind of guy.
124
00:07:11,451 --> 00:07:15,088
So, part of our process
was myself pitching things,
125
00:07:15,088 --> 00:07:17,090
nine of which were pretty bad,
126
00:07:17,090 --> 00:07:18,792
but the tenth one,
when it landed,
127
00:07:18,792 --> 00:07:21,328
it was usually, you know,
something that Ed recognized
128
00:07:21,328 --> 00:07:23,897
as a solid, dramatic piece.
129
00:07:23,897 --> 00:07:26,600
And that was part of the glue
of our partnership.
130
00:07:26,600 --> 00:07:28,435
I actually told them
131
00:07:28,435 --> 00:07:30,237
that somebody in my family
had died,
132
00:07:30,237 --> 00:07:33,440
so I could leave for two weeks
and go write the first act,
133
00:07:33,440 --> 00:07:36,176
which I did in San Anselmo,
the town where I grew up.
134
00:07:36,176 --> 00:07:38,478
And the funny part of it
was that they sent me flowers,
135
00:07:38,478 --> 00:07:39,746
which I felt very bad about.
136
00:07:42,682 --> 00:07:46,152
Ed had a very solid first act,
including the torture murder.
137
00:07:46,152 --> 00:07:48,321
I came along and filled in
a lot of blanks
138
00:07:48,321 --> 00:07:50,690
about the corporate conspiracy,
139
00:07:50,690 --> 00:07:53,593
how the criminals,
Clarence and Dick Jones,
140
00:07:53,593 --> 00:07:57,464
linked up, had a kind of cabal
to manipulate Delta City.
141
00:07:57,464 --> 00:07:59,432
At times, it was very difficult,
142
00:07:59,432 --> 00:08:02,869
because we were both
in the room pacing, typing.
143
00:08:02,869 --> 00:08:06,373
We would be late at night,
tugging over specific lines,
144
00:08:06,373 --> 00:08:07,641
specific jokes.
145
00:08:07,641 --> 00:08:09,509
It was very hard.
146
00:08:09,509 --> 00:08:11,611
But then there were other times
when something came out, like,
147
00:08:11,611 --> 00:08:13,480
"He's old, we're young,
that's life."
148
00:08:13,480 --> 00:08:16,983
I just blurted that out one day,
and it just landed.
149
00:08:16,983 --> 00:08:20,053
We struggled together
to figure this thing out.
150
00:08:20,053 --> 00:08:22,188
The great thing
about the first drafts
151
00:08:22,188 --> 00:08:23,990
of RoboCop was
they were funny,
152
00:08:23,990 --> 00:08:25,525
they were insightful,
153
00:08:25,525 --> 00:08:29,129
they were critiquing
social mores of the time,
154
00:08:29,129 --> 00:08:30,730
particularly the Reagan era.
155
00:08:30,730 --> 00:08:31,998
If you know anything
156
00:08:31,998 --> 00:08:34,367
about the '80s
and Ronald Reagan,
157
00:08:34,367 --> 00:08:36,036
everything was privatized.
158
00:08:36,036 --> 00:08:38,638
The climate was ripe, I think.
The country was ready.
159
00:08:38,638 --> 00:08:40,674
They were tired of this BS,
right?
160
00:08:40,674 --> 00:08:44,678
And so, they were ready
for this satire about Maricona.
161
00:08:44,678 --> 00:08:47,581
I later offered Universal
the script,
162
00:08:47,581 --> 00:08:49,516
and they said,
"You've made a mistake.
163
00:08:49,516 --> 00:08:51,751
And the mistake you've made
is that the robot
164
00:08:51,751 --> 00:08:53,153
should not look like a robot.
165
00:08:53,153 --> 00:08:54,588
It should look like a man
on the outside.
166
00:08:54,588 --> 00:08:56,189
That's the way you do it,"
they said.
167
00:08:56,189 --> 00:08:57,824
'Cause they'd dumped
The Six Million Dollar Man,
168
00:08:57,824 --> 00:08:59,893
and that's what they thought
it should be.
169
00:08:59,893 --> 00:09:03,563
But luckily, they didn't buy it.
170
00:09:03,563 --> 00:09:06,533
Terminator
was about to come out.
171
00:09:06,533 --> 00:09:09,336
And we consciously stayed away
from it as long as we could.
172
00:09:09,336 --> 00:09:12,172
There was an industry screening
that we finally went to.
173
00:09:14,074 --> 00:09:16,843
We saw it halfway through
the writing of the script.
174
00:09:16,843 --> 00:09:18,578
There was a particular guy
I was romancing,
175
00:09:18,578 --> 00:09:20,914
who I was trying
to get to buy RoboCop.
176
00:09:20,914 --> 00:09:22,849
This guy named Stan Lee,
177
00:09:22,849 --> 00:09:24,751
who was then working
for Marvel Pictures.
178
00:09:24,751 --> 00:09:27,454
And Marvel was not such
a big going concern
179
00:09:27,454 --> 00:09:28,855
at that moment,
and they liked it,
180
00:09:28,855 --> 00:09:30,890
but they didn't make an offer
for it.
181
00:09:31,524 --> 00:09:33,393
We took Stan Lee
during that time
182
00:09:33,393 --> 00:09:34,794
to Paramount Pictures
183
00:09:34,794 --> 00:09:36,596
to see an early screening
of Terminator.
184
00:09:36,596 --> 00:09:39,799
And when we left the theater,
Stan Lee turned to us, and said,
185
00:09:39,799 --> 00:09:42,302
"Well, boys,
you're never gonna beat that!"
186
00:09:42,302 --> 00:09:44,304
And I was like, "Oh, shit."
187
00:09:46,039 --> 00:09:48,375
And so, we went back to work,
and we finished the script.
188
00:09:48,375 --> 00:09:50,243
And in some ways,
Terminator didn't hurt us,
189
00:09:50,243 --> 00:09:51,945
it helped us.
190
00:09:51,945 --> 00:09:53,747
Because for Orion,
Terminator was this, sort of,
191
00:09:53,747 --> 00:09:55,148
down-and-dirty movie
192
00:09:55,148 --> 00:09:56,916
that they weren't even
very happy about,
193
00:09:56,916 --> 00:09:58,752
and then it made a lot of money.
194
00:09:58,752 --> 00:10:01,054
And suddenly, they were like,
"Oh. Well, that's not so bad."
195
00:10:01,054 --> 00:10:02,822
I have no doubt whatsoever
196
00:10:02,822 --> 00:10:05,725
that the reason why RoboCop
was green-lighted at Orion
197
00:10:05,725 --> 00:10:07,961
was because Terminator
had done so well.
198
00:10:07,961 --> 00:10:09,329
Later, Jim Cameron,
199
00:10:09,329 --> 00:10:10,764
I think, thought
we had copied him,
200
00:10:10,764 --> 00:10:12,399
but it wasn't true,
201
00:10:12,399 --> 00:10:14,067
because I had never read
the Terminator script,
202
00:10:14,067 --> 00:10:16,403
and we were-- you know,
had plotted it completely
203
00:10:16,403 --> 00:10:17,404
and were halfway done.
204
00:10:19,439 --> 00:10:23,109
The original spec was finished
in December of 1984.
205
00:10:25,679 --> 00:10:28,648
Unlike Columbia and Fox,
who both passed,
206
00:10:28,648 --> 00:10:31,351
Orion didn't have an apparatus
to develop screenplays.
207
00:10:31,351 --> 00:10:33,753
Orion essentially rose
from the ashes
208
00:10:33,753 --> 00:10:36,022
of United Artists,
which was burnt to the ground
209
00:10:36,022 --> 00:10:38,191
by Michael Cimino
in Heaven's Gate.
210
00:10:38,191 --> 00:10:40,460
And so, people
like Mike Medavoy,
211
00:10:40,460 --> 00:10:43,029
a couple of other people,
formed Orion Pictures.
212
00:10:43,029 --> 00:10:46,099
Orion were known
for being a studio
213
00:10:46,099 --> 00:10:48,601
that you went to
if you had a special project
214
00:10:48,601 --> 00:10:51,137
or if you wanted
to get something done your way.
215
00:10:51,137 --> 00:10:52,305
You were left alone.
216
00:10:52,305 --> 00:10:54,641
A producer-driven company.
217
00:10:56,943 --> 00:10:59,646
John Davison producing a movie
makes you believe in God.
218
00:10:59,646 --> 00:11:02,182
John Davison,
executive producer.
219
00:11:02,182 --> 00:11:04,551
Because there was nobody
more perfect
220
00:11:04,551 --> 00:11:06,186
to produce this movie,
and I did not know it.
221
00:11:06,186 --> 00:11:08,288
However, I did know
of John Davison
222
00:11:08,288 --> 00:11:09,622
before I met him.
223
00:11:09,622 --> 00:11:11,057
I knew a bunch
of the Corman people,
224
00:11:11,057 --> 00:11:13,193
and he was already respected
in that crowd.
225
00:11:13,193 --> 00:11:15,395
I got a job
for New World Pictures,
226
00:11:15,395 --> 00:11:17,797
was later in charge
of production for him,
227
00:11:17,797 --> 00:11:21,468
and started producing pictures
for Roger Corman.
228
00:11:21,468 --> 00:11:23,470
So, the way
we got it to him was,
229
00:11:23,470 --> 00:11:25,538
a friend of mine was friends
with a director
230
00:11:25,538 --> 00:11:26,806
named Jonathan Kaplan.
231
00:11:26,806 --> 00:11:28,308
And Jonathan read it.
232
00:11:28,308 --> 00:11:29,709
And Jonathan said,
"You know, this is perfect
233
00:11:29,709 --> 00:11:31,478
for John Davison."
234
00:11:31,478 --> 00:11:34,414
And Jonathan sent it to me,
said, "This thing isn't for me,
235
00:11:34,414 --> 00:11:36,883
but, you know,
maybe you'd be interested."
236
00:11:36,883 --> 00:11:39,219
So, I read it, and I was.
237
00:11:39,219 --> 00:11:41,721
Jon Davison, I remember,
called me, and he said...
238
00:11:41,721 --> 00:11:43,356
It sounds good.
239
00:11:43,356 --> 00:11:45,091
Listen, let's make sure
that the gang members
240
00:11:45,091 --> 00:11:46,826
don't sound
like they're all Black,
241
00:11:46,826 --> 00:11:48,695
because I don't wanna make
a racist movie.
242
00:11:48,695 --> 00:11:50,663
And so I inserted a line
243
00:11:50,663 --> 00:11:53,199
saying that there were several
different colors.
244
00:11:53,199 --> 00:11:55,835
We had a meeting with Orion,
and suddenly,
245
00:11:55,835 --> 00:11:57,670
they seemed to be serious
about making the movie.
246
00:11:57,670 --> 00:11:59,072
Well, I wanna make a picture
247
00:11:59,072 --> 00:12:01,407
that I wouldn't mind watching,
you know?
248
00:12:01,407 --> 00:12:04,244
And I thought all along,
"We're gonna change the title.
249
00:12:04,244 --> 00:12:05,879
We're gonna change the title."
250
00:12:05,879 --> 00:12:07,413
"So, what are you working on?"
someone says to you.
251
00:12:07,413 --> 00:12:10,583
And it was very hard to say,
RoboCop.
252
00:12:10,583 --> 00:12:13,419
'Cause it sounds cheap
and cheesy.
253
00:12:13,419 --> 00:12:15,355
A lot of directors
wouldn't even look at it,
254
00:12:15,355 --> 00:12:17,056
because they thought
it was gonna really look bad
255
00:12:17,056 --> 00:12:18,291
on their résumé.
256
00:12:18,291 --> 00:12:19,626
When they got the script
in the mail,
257
00:12:19,626 --> 00:12:21,060
and they opened it up,
it was RoboCop,
258
00:12:21,060 --> 00:12:22,762
and they, you know,
throw it in the corner.
259
00:12:25,098 --> 00:12:26,533
We couldn't get a director.
260
00:12:26,533 --> 00:12:28,067
We had bad directors
that we didn't want.
261
00:12:28,067 --> 00:12:29,969
And then when we go,
"Well, maybe that one,"
262
00:12:29,969 --> 00:12:31,371
and then they go,
"No, I can't do it.
263
00:12:31,371 --> 00:12:32,772
I gotta do something else."
264
00:12:32,772 --> 00:12:34,374
And so, we were always,
almost being shut down,
265
00:12:34,374 --> 00:12:35,909
because we just couldn't get
a director.
266
00:12:36,309 --> 00:12:37,811
I've always been of the opinion
267
00:12:37,811 --> 00:12:41,948
that European
and African-American directors
268
00:12:41,948 --> 00:12:44,450
can criticize America better
269
00:12:44,450 --> 00:12:46,419
than their American
counterparts.
270
00:12:46,419 --> 00:12:48,955
Orion had a relationship
with Paul Verhoeven,
271
00:12:48,955 --> 00:12:50,924
because they had just made
his movie, Flesh and Blood.
272
00:12:50,924 --> 00:12:52,425
So, I actually said,
273
00:12:52,425 --> 00:12:54,093
"You should check out this guy,
Paul Verhoeven,"
274
00:12:54,093 --> 00:12:55,995
because I was a big fan
of Soldier Orange.
275
00:12:55,995 --> 00:12:57,730
There's one scene
where he has somebody
276
00:12:57,730 --> 00:13:00,400
throw a grenade into an outhouse
and kill somebody.
277
00:13:00,400 --> 00:13:01,835
Very scatological.
278
00:13:01,835 --> 00:13:04,404
His violence is very up front
and open.
279
00:13:04,404 --> 00:13:06,974
The Europeans realized
that a punch is a punch,
280
00:13:06,974 --> 00:13:08,242
and a bullet is a bullet.
281
00:13:09,777 --> 00:13:11,145
I'm Paul Verhoeven,
282
00:13:11,145 --> 00:13:14,081
and I'm the director
of RoboCop.
283
00:13:14,081 --> 00:13:19,520
My career started somewhere
in the late '60s, I would say,
284
00:13:19,520 --> 00:13:23,924
but I made my first
real movies in early '70s,
285
00:13:23,924 --> 00:13:25,659
which was all in Holland.
286
00:13:25,659 --> 00:13:27,695
I got into military service,
287
00:13:27,695 --> 00:13:29,496
which was necessary
at that time.
288
00:13:29,496 --> 00:13:31,498
You were forced,
you were drafted.
289
00:13:31,498 --> 00:13:33,767
And I got myself
in the film department.
290
00:13:33,767 --> 00:13:35,603
So, I made a documentary,
291
00:13:35,603 --> 00:13:38,339
Propaganda
of the Dutch Marines.
292
00:13:38,339 --> 00:13:39,773
And it was very successful,
293
00:13:39,773 --> 00:13:42,109
and that basically brought me
to television.
294
00:13:42,109 --> 00:13:45,880
Then I got basically in contact
with a German-Dutch producer,
295
00:13:45,880 --> 00:13:48,515
Rob Hauer, and then we made
a lot of movies.
296
00:13:48,515 --> 00:13:50,117
But the committees at that time
297
00:13:50,117 --> 00:13:51,719
were getting
more and more left-winged,
298
00:13:51,719 --> 00:13:53,888
that I would say
fascist left-wing,
299
00:13:53,888 --> 00:13:56,457
meant no art,
no social contacts,
300
00:13:56,457 --> 00:13:57,958
no this, no that.
301
00:13:57,958 --> 00:14:00,861
And they started to refuse
to give me money.
302
00:14:00,861 --> 00:14:03,163
I had some contact
with American studios.
303
00:14:03,163 --> 00:14:07,067
I had even met Jon Davison
in one of my trips to Hollywood
304
00:14:07,067 --> 00:14:10,337
when I saw things
were going bad in Holland.
305
00:14:10,337 --> 00:14:12,072
I prepared a little bit,
306
00:14:12,072 --> 00:14:14,074
but I didn't have the guts
to do it.
307
00:14:16,577 --> 00:14:18,846
When the RoboCop script
came in,
308
00:14:18,846 --> 00:14:21,849
my wife, Martine, said to me,
309
00:14:21,849 --> 00:14:24,518
"This is the possibility
to go to the United States."
310
00:14:24,518 --> 00:14:26,220
And I didn't like that at all.
311
00:14:26,220 --> 00:14:28,322
In fact, I read 20, 30 pages,
312
00:14:28,322 --> 00:14:30,391
and saw it
as absolutely ridiculous.
313
00:14:30,391 --> 00:14:31,659
He had done
what many people do.
314
00:14:31,659 --> 00:14:33,360
"Oh, my God!
315
00:14:33,360 --> 00:14:35,329
It's called RoboCop,"
and throw it over his shoulder.
316
00:14:35,329 --> 00:14:39,033
I mean, even the title,
RoboCop, was so far away
317
00:14:39,033 --> 00:14:41,368
from all the movies
I had made, you know?
318
00:14:41,368 --> 00:14:44,104
I worked
in a very realistic style.
319
00:14:44,104 --> 00:14:46,040
Basically, all the movies
I did in Holland
320
00:14:46,040 --> 00:14:47,574
were mostly realistic.
321
00:14:47,574 --> 00:14:50,444
They were based
often on biographies.
322
00:14:50,444 --> 00:14:53,847
And so, I felt
that this was out of my range.
323
00:14:53,847 --> 00:14:58,619
And I thought,
reading it, that it was silly.
324
00:14:58,619 --> 00:15:01,588
We were on holidays
in the Cote d'Azur.
325
00:15:01,588 --> 00:15:03,791
I was going for a swim,
a long swim.
326
00:15:03,791 --> 00:15:06,226
And then my wife
took the script,
327
00:15:06,226 --> 00:15:08,696
and then Martine read it, too.
328
00:15:08,696 --> 00:15:10,898
And then she said, "You know,
I think you make a mistake."
329
00:15:10,898 --> 00:15:12,533
I think she read the scene
330
00:15:12,533 --> 00:15:14,601
where Murphy
gets his hand blown off,
331
00:15:14,601 --> 00:15:16,437
and said, "You know,
I think you'd like this,"
332
00:15:16,437 --> 00:15:18,372
knowing her husband as she did.
333
00:15:18,372 --> 00:15:20,641
Finally, I started to look at it
with a dictionary
334
00:15:20,641 --> 00:15:22,042
because there were so many
English words
335
00:15:22,042 --> 00:15:23,410
that I didn't know.
336
00:15:23,410 --> 00:15:25,913
And then it took perhaps
a couple of weeks
337
00:15:25,913 --> 00:15:27,982
for me to think,
"Martine is right.
338
00:15:27,982 --> 00:15:31,118
I can make it to something
that interests me."
339
00:15:32,553 --> 00:15:36,590
And that was really based
on very specific elements
340
00:15:36,590 --> 00:15:40,327
of the script with nearly
biblical perspectives
341
00:15:40,327 --> 00:15:42,496
that I saw in the movie finally.
342
00:15:43,831 --> 00:15:46,900
Paul has a lifelong
obsessional fascination
343
00:15:46,900 --> 00:15:48,736
with the historical Jesus,
344
00:15:48,736 --> 00:15:51,638
and he saw Robo
as a Christian parable.
345
00:15:51,638 --> 00:15:53,140
The scene that decided me
346
00:15:53,140 --> 00:15:55,642
to really say, "Yes"
to the movie
347
00:15:55,642 --> 00:15:58,245
was when Murphy
comes to his house.
348
00:15:58,245 --> 00:16:01,482
For me,
that was like lost paradise,
349
00:16:01,482 --> 00:16:03,283
kicked out
of the Garden of Eden.
350
00:16:03,283 --> 00:16:04,985
And basically,
we have this longing
351
00:16:04,985 --> 00:16:06,754
for getting back there.
352
00:16:06,754 --> 00:16:11,992
I started then to see in RoboCop
kind of a Jesus.
353
00:16:11,992 --> 00:16:14,495
It was raised four or five
different levels
354
00:16:14,495 --> 00:16:15,929
as soon as Paul came in
355
00:16:15,929 --> 00:16:18,298
with his sophistication,
with his technique,
356
00:16:18,298 --> 00:16:20,667
his visceral way
of telling a story.
357
00:16:20,667 --> 00:16:22,002
And then I think, "Okay.
358
00:16:22,002 --> 00:16:23,470
And then I'll do all the action,
359
00:16:23,470 --> 00:16:25,105
and the bang, bang,
and the shoot, shoot.
360
00:16:25,105 --> 00:16:26,507
I'll take that, yeah."
361
00:16:26,507 --> 00:16:28,008
"That has to be done, too."
362
00:16:28,008 --> 00:16:30,310
Because English
was his second language,
363
00:16:30,310 --> 00:16:32,780
he asked Ed and I,
"What does this joke mean?
364
00:16:32,780 --> 00:16:34,648
What is this here?"
365
00:16:34,648 --> 00:16:36,950
At the initial meeting,
he said, "Why is this funny?"
366
00:16:36,950 --> 00:16:38,685
I think he didn't think
it should be funny,
367
00:16:38,685 --> 00:16:40,454
and that he was uncomfortable
with it.
368
00:16:40,454 --> 00:16:43,057
And I gave him a bunch
of Judge Dredd comics,
369
00:16:43,057 --> 00:16:44,792
and I gave him
some other comics
370
00:16:44,792 --> 00:16:46,060
of that period.
371
00:16:46,060 --> 00:16:47,628
And I said,
"You should read this,
372
00:16:47,628 --> 00:16:49,163
'cause this is the spirit
it's coming out of."
373
00:16:49,163 --> 00:16:50,697
There's a whole new thing
happening in comics,
374
00:16:50,697 --> 00:16:52,466
and they're adult.
375
00:16:52,466 --> 00:16:54,701
He'd read the comic books,
and he went, "Ah. Oh, I see."
376
00:16:54,701 --> 00:16:56,203
And he was very cool
with that form.
377
00:16:56,203 --> 00:16:57,571
And he understood
378
00:16:57,571 --> 00:16:59,540
that we were doing something
different.
379
00:16:59,540 --> 00:17:02,076
And Paul, to his credit,
380
00:17:02,076 --> 00:17:04,078
uh, was very loyal
to the script.
381
00:17:05,913 --> 00:17:07,481
Jon Davison called
382
00:17:07,481 --> 00:17:09,183
all these special effects
people, and said...
383
00:17:09,183 --> 00:17:10,818
"You wanna work on our movie?
384
00:17:10,818 --> 00:17:12,486
We don't have any money,
and I can't pay you."
385
00:17:14,054 --> 00:17:16,323
Oh, my God. I can hire him.
We can do this.
386
00:17:16,323 --> 00:17:18,759
I can get this guy,
you know, we got Phil.
387
00:17:20,360 --> 00:17:23,697
I had known Jon Davison
for a number of years.
388
00:17:23,697 --> 00:17:26,700
And we worked
on Joe Dante's second film,
389
00:17:26,700 --> 00:17:28,235
Piranha, together.
390
00:17:29,703 --> 00:17:33,006
Jon was always a big fan
of stop-motion animation.
391
00:17:33,006 --> 00:17:35,609
He had been looking
for projects for us
392
00:17:35,609 --> 00:17:37,377
to work on over the years,
393
00:17:37,377 --> 00:17:39,513
and RoboCop was one
of the first ones that came up.
394
00:17:41,048 --> 00:17:43,083
I worked with Rob Bottin
on Piranha
395
00:17:43,083 --> 00:17:45,519
when he was about 19 years old.
396
00:17:45,519 --> 00:17:49,389
So, I thought, "Well, Rob
would be a real interesting guy
397
00:17:49,389 --> 00:17:50,791
to approach."
398
00:17:50,791 --> 00:17:53,193
Because he's an incredibly
talented guy.
399
00:17:53,193 --> 00:17:54,761
I mean, he's an artist.
400
00:17:54,761 --> 00:17:56,697
Jon Davison knew all those guys.
401
00:17:56,697 --> 00:17:58,298
And that's what's amazing.
402
00:17:58,298 --> 00:18:01,535
He knew Pete Kuran.
He knew Rocco Gioffre.
403
00:18:01,535 --> 00:18:03,537
He knew the entire team.
404
00:18:03,537 --> 00:18:05,205
Look at the effects credits
on that.
405
00:18:05,205 --> 00:18:09,042
They're pretty good.
406
00:18:09,042 --> 00:18:10,410
I think we ultimately start
407
00:18:10,410 --> 00:18:12,379
to talk
about who could be in it,
408
00:18:12,379 --> 00:18:14,381
and, you know, our movie
was looked at, like,
409
00:18:14,381 --> 00:18:16,483
"Well, you're not gonna get
an A-lister to be in this."
410
00:18:16,483 --> 00:18:17,918
I mean, I came
to the United States,
411
00:18:17,918 --> 00:18:20,120
and I didn't know anybody.
412
00:18:20,120 --> 00:18:22,789
I knew some actors, of course,
basically, from American movies,
413
00:18:22,789 --> 00:18:24,391
but I didn't know them.
414
00:18:24,391 --> 00:18:26,593
We would certainly
not be working on that level.
415
00:18:26,593 --> 00:18:29,563
It had to be all the people
that we could afford,
416
00:18:29,563 --> 00:18:31,165
but all people
that we could afford,
417
00:18:31,165 --> 00:18:32,566
I wouldn't know
in the first place.
418
00:18:33,567 --> 00:18:36,436
They came in, ten minutes,
they did a part of the scene,
419
00:18:36,436 --> 00:18:38,138
"Thank you very much.
Yes or no?"
420
00:18:39,473 --> 00:18:41,808
Orion had just released
Terminator.
421
00:18:41,808 --> 00:18:43,810
And so, they kept pushing,
you know,
422
00:18:43,810 --> 00:18:45,746
Arnold Schwarzenegger
as RoboCop.
423
00:18:45,746 --> 00:18:47,014
But then, of course,
424
00:18:47,014 --> 00:18:48,949
when we were talking
to Rob Bottin,
425
00:18:48,949 --> 00:18:51,752
who built the costume, he said,
"You know, what are you asking?
426
00:18:51,752 --> 00:18:53,954
Basically, Arnold
is already like this,
427
00:18:53,954 --> 00:18:55,522
and I have added the costume,
428
00:18:55,522 --> 00:18:56,990
and it will be like that,
you know?
429
00:18:56,990 --> 00:18:58,158
And it won't look good."
430
00:18:59,860 --> 00:19:02,629
We auditioned and taped
a lot of people.
431
00:19:02,629 --> 00:19:06,300
We knew we wanted,
you know, a slim, sleek robot.
432
00:19:06,300 --> 00:19:07,834
The suit bulks you up.
433
00:19:07,834 --> 00:19:10,804
So, we needed somebody
who was actually thinner
434
00:19:10,804 --> 00:19:13,140
than the final shape
we wanted to achieve.
435
00:19:14,942 --> 00:19:16,476
You know, we went through
this whole long process,
436
00:19:16,476 --> 00:19:18,111
and we looked at certain people.
437
00:19:18,111 --> 00:19:20,480
We looked for a second
at Keith Carradine,
438
00:19:20,480 --> 00:19:23,450
but Paul thought
that he was a little too folksy.
439
00:19:23,450 --> 00:19:26,053
And one of the people
that flew down on their own dime
440
00:19:26,053 --> 00:19:27,821
was Peter Fonda.
441
00:19:27,821 --> 00:19:30,991
But we thought
he might be just a little soft.
442
00:19:30,991 --> 00:19:33,126
David Carradine came in
for RoboCop.
443
00:19:33,126 --> 00:19:35,062
He was really funny.
He's like, "Yeah.
444
00:19:35,062 --> 00:19:36,196
Come on, guys.
Let's just do it."
445
00:19:36,196 --> 00:19:37,798
We saw everybody.
446
00:19:37,798 --> 00:19:40,000
And Rutger Hauer,
who Paul had worked with
447
00:19:40,000 --> 00:19:41,468
on Flesh and Blood,
448
00:19:41,468 --> 00:19:42,703
and either they'd had enough
of each other
449
00:19:42,703 --> 00:19:44,137
or they were scheduling
differences,
450
00:19:44,137 --> 00:19:46,340
but Rutger
was never really considered.
451
00:19:46,340 --> 00:19:49,142
Basically, the next choice
was Michael Aronside,
452
00:19:49,142 --> 00:19:52,246
because we had all seen him
in this television series, V.
453
00:19:52,246 --> 00:19:53,880
But when we were talking
to Michael,
454
00:19:53,880 --> 00:19:57,351
he had such other ideas
at that time.
455
00:19:57,351 --> 00:20:00,187
I won't say that they would want
to rewrite the whole script,
456
00:20:00,187 --> 00:20:01,221
but nearly.
457
00:20:01,221 --> 00:20:02,823
And I remember wishing,
458
00:20:02,823 --> 00:20:04,591
"I wish that an actor
would really take this on
459
00:20:04,591 --> 00:20:07,261
as a challenge
and not get all wigged out
460
00:20:07,261 --> 00:20:08,695
that, you know,
you're not gonna see his eyes
461
00:20:08,695 --> 00:20:10,397
all this time.
462
00:20:10,397 --> 00:20:11,665
Everybody was always like,
"Oh, he's got to see his eyes."
463
00:20:11,665 --> 00:20:13,267
Even my writing partner
would go,
464
00:20:13,267 --> 00:20:14,701
"Well, can't he just lift up
his helmet sometimes?"
465
00:20:14,701 --> 00:20:16,903
And I said, "No, he can't!
He can't do it.
466
00:20:16,903 --> 00:20:18,205
Not until the helmet comes off."
467
00:20:18,205 --> 00:20:19,606
That was, like, a big fight.
So...
468
00:20:19,606 --> 00:20:21,575
When you pick the actor,
look at his jawline.
469
00:20:23,110 --> 00:20:24,711
And we looked.
We did, you know?
470
00:20:24,711 --> 00:20:26,847
We were looking at the jawline
all the time.
471
00:20:26,847 --> 00:20:28,849
Because that's all you will see,
isn't it?
472
00:20:28,849 --> 00:20:31,852
You don't see his eyes anymore.
You see only the jawline.
473
00:20:33,353 --> 00:20:35,088
Orion made a movie
called Buckaroo Banzai
474
00:20:35,088 --> 00:20:36,757
with Peter Weller in it.
475
00:20:36,757 --> 00:20:38,425
No matter where you go...
476
00:20:40,594 --> 00:20:42,362
...there you are.
477
00:20:42,362 --> 00:20:44,231
And they were suddenly
interested in him
478
00:20:44,231 --> 00:20:45,432
because that movie
had done pretty well
479
00:20:45,432 --> 00:20:48,435
in certain territories.
480
00:20:48,435 --> 00:20:50,637
So, he came in
right at the end,
481
00:20:50,637 --> 00:20:52,272
and he wouldn't read on camera,
482
00:20:52,272 --> 00:20:53,640
and he wouldn't read
in front of everybody.
483
00:20:53,640 --> 00:20:56,310
So, he read with me
in front of Paul.
484
00:20:56,310 --> 00:20:58,979
And there was a very tense
reading between Peter and I.
485
00:20:58,979 --> 00:21:00,480
I was, like, scared
to read with him,
486
00:21:00,480 --> 00:21:02,316
and... and should have been.
487
00:21:03,483 --> 00:21:05,552
All right, are you ready?
488
00:21:05,552 --> 00:21:06,620
Are you rolling?
489
00:21:10,123 --> 00:21:11,391
Test, test, test.
490
00:21:13,393 --> 00:21:15,395
Dead or alive,
you are coming with me.
491
00:21:20,834 --> 00:21:24,905
My career was essentially
one of a jazz musician.
492
00:21:24,905 --> 00:21:26,673
I wanted to be Miles Davis.
493
00:21:26,673 --> 00:21:28,408
I went to North Texas State.
494
00:21:28,408 --> 00:21:30,444
I ended my music career
by going,
495
00:21:30,444 --> 00:21:31,611
"I don't wanna get yelled at.
496
00:21:31,611 --> 00:21:32,779
I'm not going to be Miles
Davis.
497
00:21:32,779 --> 00:21:34,414
I'm not that great. I'm good.
498
00:21:34,414 --> 00:21:35,649
I can make some money,
499
00:21:35,649 --> 00:21:37,150
but I don't wanna sit
at a bandstand
500
00:21:37,150 --> 00:21:38,418
the rest of my life."
501
00:21:38,418 --> 00:21:41,254
So, I moved into acting
and English
502
00:21:41,254 --> 00:21:43,990
just to get out of school
and stay out of Vietnam.
503
00:21:43,990 --> 00:21:45,459
I worked in the theater
right away,
504
00:21:45,459 --> 00:21:46,960
and I loved the theater,
505
00:21:46,960 --> 00:21:49,363
and I became a member
of the actor's studio.
506
00:21:49,363 --> 00:21:51,966
I get to do this amazing Western
with Richard Lester.
507
00:21:51,966 --> 00:21:53,768
Try to remember my face.
508
00:21:53,768 --> 00:21:55,036
And then I meet Sidney Lemaitre
509
00:21:55,036 --> 00:21:56,337
for Just Tell Me
What You Want.
510
00:21:56,337 --> 00:21:58,539
And then I get to do
Shoot the Moon
511
00:21:58,539 --> 00:22:00,108
with Alan Parker,
512
00:22:00,108 --> 00:22:03,478
one of the great feminist movies
ever, ever, ever.
513
00:22:03,478 --> 00:22:05,446
It's incredible.
514
00:22:05,446 --> 00:22:08,182
And then George Cosmatos
offers me An Unknown Origin.
515
00:22:08,182 --> 00:22:10,151
I do Firstborn
with Michael Aptek,
516
00:22:10,151 --> 00:22:11,519
the great Michael Aptek.
517
00:22:11,519 --> 00:22:14,021
And it goes
into Buckaroo Banzai.
518
00:22:14,021 --> 00:22:15,390
Evil!
519
00:22:15,390 --> 00:22:17,325
You are a step up
on the eighth dimension!
520
00:22:17,325 --> 00:22:18,526
Get 'em!
521
00:22:18,526 --> 00:22:19,794
Phenomenal experience.
522
00:22:23,231 --> 00:22:25,533
I meet Paul,
and Paul's like this.
523
00:22:25,533 --> 00:22:26,868
You know,
Paul's not like a laid-back,
524
00:22:26,868 --> 00:22:28,569
"Hey, how are you doing" guy.
525
00:22:28,569 --> 00:22:30,872
I'm in his office, and he says,
"Why don't you audition?"
526
00:22:30,872 --> 00:22:32,874
I said,
"I'm not going to audition.
527
00:22:32,874 --> 00:22:35,543
I do not get hired like that."
528
00:22:35,543 --> 00:22:37,245
I said,
"Do you get a vibe out of me?
529
00:22:37,245 --> 00:22:39,714
'Cause I get a vibe out of you,
and I know your movies."
530
00:22:39,714 --> 00:22:41,416
At some point in time, he says,
"Well, you're an athlete."
531
00:22:41,416 --> 00:22:43,851
I said,
"Yeah, I'm a marathon runner,
532
00:22:43,851 --> 00:22:44,986
you know, and a ballet dancer.
533
00:22:44,986 --> 00:22:48,022
Mediocre, but I can move."
534
00:22:48,022 --> 00:22:49,557
It's really interesting.
535
00:22:49,557 --> 00:22:51,092
And he says, "Well, can you move
around this room?"
536
00:22:51,092 --> 00:22:52,860
I said, "Yeah, I've taken
a little bit of mime."
537
00:22:52,860 --> 00:22:54,762
So, I move around the room.
I do some moves for him, right?
538
00:22:54,762 --> 00:22:56,931
The fact that Peter
took it all seriously
539
00:22:56,931 --> 00:23:00,034
and didn't mind all that stuff
impressed me even then.
540
00:23:00,034 --> 00:23:01,936
And he's a strong guy,
541
00:23:01,936 --> 00:23:03,838
and he can be a tough character
to deal with.
542
00:23:03,838 --> 00:23:05,173
But without that commitment,
543
00:23:05,173 --> 00:23:07,108
there wouldn't be a RoboCop
either.
544
00:23:07,108 --> 00:23:09,877
And that day
is when RoboCop offer came in.
545
00:23:13,181 --> 00:23:17,852
Originally, Stephanie Zimbalist
was playing Lewis.
546
00:23:17,852 --> 00:23:19,554
I'll do it for you.
547
00:23:19,554 --> 00:23:21,856
And she was a lovely
and talented actress.
548
00:23:21,856 --> 00:23:25,693
But she had a hold on her
for another year of a show
549
00:23:25,693 --> 00:23:27,195
she was doing called
Remington Steele.
550
00:23:27,195 --> 00:23:28,729
And she was suddenly
unavailable to us.
551
00:23:28,729 --> 00:23:30,264
And at the last second,
it was a little bit,
552
00:23:30,264 --> 00:23:31,966
"Oh, my God.
What are we going to do?"
553
00:23:31,966 --> 00:23:34,268
We were not trying to cast
a, you know, like,
554
00:23:34,268 --> 00:23:35,770
"It's the robot
and the sexy girl,"
555
00:23:35,770 --> 00:23:37,738
which is what the cliché
would be.
556
00:23:37,738 --> 00:23:40,041
And the part
isn't really the sexy girl part.
557
00:23:40,041 --> 00:23:43,044
It's the professional woman
police officer part.
558
00:23:43,044 --> 00:23:44,879
We saw everybody in town
who didn't have a career yet,
559
00:23:44,879 --> 00:23:46,647
and that was interesting.
560
00:23:46,647 --> 00:23:47,882
So, I wasn't used to actually
seeing people
561
00:23:47,882 --> 00:23:49,250
I'd have seen in movies.
562
00:23:49,250 --> 00:23:50,585
It was very rare for someone
to come in
563
00:23:50,585 --> 00:23:52,553
who was an actual movie star.
564
00:23:52,553 --> 00:23:55,823
I've seen these big movie stars
like Barbra Streisand, you know?
565
00:23:55,823 --> 00:23:58,292
And I remember meeting Nancy,
and she came in with her agent.
566
00:23:58,292 --> 00:23:59,460
May we come in?
567
00:23:59,460 --> 00:24:00,728
And I was like, "Oh, wow.
568
00:24:00,728 --> 00:24:02,463
She's Nancy Allen."
569
00:24:02,463 --> 00:24:04,265
Thanks.
570
00:24:04,265 --> 00:24:05,800
I wasn't looking,
571
00:24:05,800 --> 00:24:09,337
but I was so thrilled
to have somebody
572
00:24:09,337 --> 00:24:11,272
send me something
that I did not have to put on
573
00:24:11,272 --> 00:24:13,808
black lingerie one more time.
574
00:24:13,808 --> 00:24:15,610
And not that I don't like
black lingerie,
575
00:24:15,610 --> 00:24:16,911
but I thought,
576
00:24:16,911 --> 00:24:18,980
"There's more to me than that,
really?"
577
00:24:18,980 --> 00:24:23,251
Uh, and to the opportunity
to play a woman of strength.
578
00:24:23,251 --> 00:24:25,920
Now, I've always tried to add
something strong
579
00:24:25,920 --> 00:24:28,856
to my characters,
but sometimes, you're limited.
580
00:24:30,358 --> 00:24:33,127
I knew Nancy Allen's work.
I was a fan.
581
00:24:33,127 --> 00:24:36,097
And you meet Nancy Allen,
and she is so charming.
582
00:24:36,097 --> 00:24:37,632
And then you find out
that Nancy Allen's born
583
00:24:37,632 --> 00:24:39,433
on your birthday.
584
00:24:39,433 --> 00:24:42,169
Hey. Now, she's quite younger
and better-looking than me,
585
00:24:42,169 --> 00:24:43,938
but she was born on June 24th.
586
00:24:43,938 --> 00:24:45,439
With this, it felt,
587
00:24:45,439 --> 00:24:47,475
yeah, she's a really heroic,
strong woman.
588
00:24:47,475 --> 00:24:48,776
I identified with her
589
00:24:48,776 --> 00:24:49,944
'cause I'm very,
very independent.
590
00:24:50,645 --> 00:24:53,481
I think actors wanna play
against type.
591
00:24:53,481 --> 00:24:55,116
And so, I think
592
00:24:55,116 --> 00:24:57,852
when Ronny Cox gets offered
a bad guy
593
00:24:57,852 --> 00:24:59,720
and has to go for an audition,
594
00:24:59,720 --> 00:25:01,989
he might put a little more work
into it.
595
00:25:01,989 --> 00:25:04,392
I find that very easy
to believe.
596
00:25:04,392 --> 00:25:07,228
I had the reputation
of being a good actor,
597
00:25:07,228 --> 00:25:10,731
but that I played soft roles.
598
00:25:10,731 --> 00:25:14,702
And it used to piss me off
to no end,
599
00:25:14,702 --> 00:25:16,804
because I've been an athlete
my whole life,
600
00:25:16,804 --> 00:25:18,205
and I can do things
601
00:25:18,205 --> 00:25:20,207
that nine-tenths of the guys
couldn't do.
602
00:25:20,207 --> 00:25:22,376
And what is wrong with winning?
603
00:25:22,376 --> 00:25:24,579
With showing you're the best
at what you do?
604
00:25:24,579 --> 00:25:28,182
But I got known as this soft,
sensitive actor.
605
00:25:29,917 --> 00:25:31,586
So, my agents,
they were looking at me,
606
00:25:31,586 --> 00:25:33,754
and said,
"Ronny, here's a chance
607
00:25:33,754 --> 00:25:36,924
for you to play Dick Jones
in RoboCop.
608
00:25:38,392 --> 00:25:40,761
He's sort of worse
than anybody."
609
00:25:40,761 --> 00:25:43,164
I originally did the budget
for RoboCop.
610
00:25:43,164 --> 00:25:46,033
And it came in
about 12 million dollars.
611
00:25:46,033 --> 00:25:48,169
And I gave the budget to Orion,
and they said,
612
00:25:48,169 --> 00:25:49,770
"Well, we're only
gonna make this
613
00:25:49,770 --> 00:25:51,839
if it's 10 million dollars."
614
00:25:51,839 --> 00:25:54,508
So, of course, when the studio
does that, you go away,
615
00:25:54,508 --> 00:25:57,912
you come back with a budget
for 99.95.
616
00:25:57,912 --> 00:26:01,215
When Paul Verhoeven sat down
with the producer, Jon Davison,
617
00:26:01,215 --> 00:26:03,584
and said, "What do you think
this movie should look like?"
618
00:26:03,584 --> 00:26:05,353
Paul said, "Well, it should look
like Blade Runner, of course."
619
00:26:05,353 --> 00:26:06,754
I was so impressed
620
00:26:06,754 --> 00:26:10,024
by the production design
of Blade Runner
621
00:26:10,024 --> 00:26:11,792
that I thought, "Okay.
622
00:26:11,792 --> 00:26:14,428
We'll do it differently,
but we have to do it that way."
623
00:26:14,428 --> 00:26:16,030
Jon Davison said,
624
00:26:16,030 --> 00:26:17,932
"Well, you can either
have the robot character,
625
00:26:17,932 --> 00:26:19,533
RoboCop,
or you can have the look
626
00:26:19,533 --> 00:26:21,202
of Blade Runner.
So, which do you want?"
627
00:26:21,202 --> 00:26:24,472
Of course, the costume
was in the center of the frame
628
00:26:24,472 --> 00:26:26,107
throughout the whole movie.
629
00:26:26,107 --> 00:26:28,676
So, it was, let's say,
not a very difficult choice.
630
00:26:32,480 --> 00:26:36,484
We spent at least a year
and a million dollars
631
00:26:36,484 --> 00:26:38,786
working with Rob on this suit.
632
00:26:39,887 --> 00:26:41,589
It's Rob's design.
633
00:26:41,589 --> 00:26:43,758
You know, Rob is a great,
sort of, inspiring art director.
634
00:26:43,758 --> 00:26:45,159
It's really his vision,
you know?
635
00:26:45,159 --> 00:26:48,262
He was a perfectionist
and a workaholic.
636
00:26:48,262 --> 00:26:51,932
And so, you wanted to please him
and do your best work for him.
637
00:26:53,768 --> 00:26:57,171
We took a lot of stylistic cues
from cars from the '50s.
638
00:26:57,171 --> 00:26:59,674
We looked a lot
at previous robots from films,
639
00:26:59,674 --> 00:27:01,942
realizing that nobody had come
even close to doing
640
00:27:01,942 --> 00:27:03,744
what we had to do.
641
00:27:03,744 --> 00:27:06,480
Well, Maria's pretty sexy,
you know, in Metropolis.
642
00:27:06,480 --> 00:27:08,249
Gorgeous design,
beautiful craftsmanship,
643
00:27:08,249 --> 00:27:10,284
but she can barely move.
You've seen that thing.
644
00:27:10,284 --> 00:27:14,689
Of course, Gort is sleek.
Tobar's pretty clunky.
645
00:27:14,689 --> 00:27:16,924
We didn't wanna go that route,
you know?
646
00:27:16,924 --> 00:27:19,994
And Robby, we love,
but you know, he's passé.
647
00:27:19,994 --> 00:27:21,829
That is correct, sir.
648
00:27:21,829 --> 00:27:23,798
C-3PO was probably
the most sophisticated thing
649
00:27:23,798 --> 00:27:25,299
that had been done to date,
650
00:27:25,299 --> 00:27:26,867
but, you know,
he can barely, sort of, move.
651
00:27:26,867 --> 00:27:28,836
He can walk,
but he's kind of like this.
652
00:27:28,836 --> 00:27:31,205
And RoboCop had to be basically
in action here.
653
00:27:31,205 --> 00:27:32,540
He had to punch.
He had to do everything.
654
00:27:35,843 --> 00:27:37,445
Rob brought me outside
655
00:27:37,445 --> 00:27:39,146
to look at the body cast
of Peter Weller,
656
00:27:39,146 --> 00:27:41,282
and there was a challenge there.
657
00:27:41,282 --> 00:27:44,218
Peter Weller was not that tall.
His hips were a little wide,
658
00:27:44,218 --> 00:27:46,020
and his shoulders
kind of narrow.
659
00:27:46,020 --> 00:27:47,521
So, with those three things
going on,
660
00:27:47,521 --> 00:27:49,190
we had a real challenge
661
00:27:49,190 --> 00:27:50,825
to try to give him
a, sort of, heroic shape.
662
00:27:50,825 --> 00:27:52,226
Every couple of weeks,
663
00:27:52,226 --> 00:27:55,563
Paul, Ed, and I
would go over to Rob's shop,
664
00:27:55,563 --> 00:27:57,798
and he would present
various maquettes.
665
00:27:59,033 --> 00:28:00,468
They actually made Judge Dredd,
666
00:28:00,468 --> 00:28:02,636
and said,
"Well, this is RoboCop."
667
00:28:02,636 --> 00:28:04,839
And I said to Jon Davison,
"Are you fucking kidding?
668
00:28:04,839 --> 00:28:06,741
You can't do this."
669
00:28:06,741 --> 00:28:08,175
And I'd never heard
of Judge Dredd.
670
00:28:08,175 --> 00:28:09,510
I'd never heard of Judge Dredd
671
00:28:09,510 --> 00:28:11,045
here in America,
believe it or not.
672
00:28:11,045 --> 00:28:12,513
Although I learned about it
later,
673
00:28:12,513 --> 00:28:14,749
and I definitely see
the lineage, you know,
674
00:28:14,749 --> 00:28:16,417
of Robo coming from there.
675
00:28:16,417 --> 00:28:18,753
There was no Judge Dredd
reference material.
676
00:28:18,753 --> 00:28:21,756
He was never mentioned
in Rob's shop.
677
00:28:21,756 --> 00:28:23,758
Verhoeven and company
were coming in,
678
00:28:23,758 --> 00:28:25,426
and they were art directing
the hell out of the suit,
679
00:28:25,426 --> 00:28:28,062
and making
very arbitrary comments.
680
00:28:28,062 --> 00:28:29,997
We started to basically say,
681
00:28:29,997 --> 00:28:32,333
"Well, it has to be
very broad shoulders
682
00:28:32,333 --> 00:28:34,835
like a rugby or whatever,
very broad shoulders,"
683
00:28:34,835 --> 00:28:35,936
and this, and that.
684
00:28:35,936 --> 00:28:37,905
Rob had to do everything in clay
685
00:28:37,905 --> 00:28:40,074
over, and over, and over,
and over again.
686
00:28:40,074 --> 00:28:43,244
Occasionally, somebody
would fashion a penis,
687
00:28:43,244 --> 00:28:45,179
and stick it on the thing and...
688
00:28:46,947 --> 00:28:48,749
Sounds like it may have been
Verhoeven.
689
00:28:48,749 --> 00:28:50,618
Rob Bottin got so angry
690
00:28:50,618 --> 00:28:53,187
that he basically
gave his little knife,
691
00:28:53,187 --> 00:28:55,122
he throwed his knife to me,
and said,
692
00:28:55,122 --> 00:28:56,757
"You cut it! You cut it now!"
693
00:28:56,757 --> 00:28:59,527
And I stupid enough
started also to do that.
694
00:28:59,527 --> 00:29:03,931
I mean, how bad I behaved,
and we nearly destroyed this
695
00:29:03,931 --> 00:29:07,601
by our, let's say,
stupid thinking.
696
00:29:10,771 --> 00:29:15,876
We knew that what we wanted
was something sleek and sexy.
697
00:29:15,876 --> 00:29:18,546
I had a book by an illustrator
named Soriyama.
698
00:29:18,546 --> 00:29:20,381
He was an illustrator
that was kind of popular then.
699
00:29:20,381 --> 00:29:23,551
He had done a lot of, sort of,
sexy chrome girls,
700
00:29:23,551 --> 00:29:25,252
and he had a book out
called Sexy Robot.
701
00:29:25,252 --> 00:29:26,654
And I had this book.
702
00:29:26,654 --> 00:29:27,621
It was full
of his beautiful illustrations.
703
00:29:27,621 --> 00:29:29,223
So, I brought that in,
704
00:29:29,223 --> 00:29:32,126
and Rob picked it up one day,
and said, "This is it.
705
00:29:32,126 --> 00:29:33,394
Take this aesthetic,
706
00:29:33,394 --> 00:29:34,929
and we'll graft it
onto his body,
707
00:29:34,929 --> 00:29:36,463
and see what that does."
708
00:29:36,463 --> 00:29:39,767
That Japanese airbrush,
girly stuff, that,
709
00:29:39,767 --> 00:29:42,736
and having the robot
from Fritz Lang's Metropolis,
710
00:29:42,736 --> 00:29:45,172
and you put them together,
and you got Robo.
711
00:29:49,443 --> 00:29:51,645
The simple slit for an eye,
712
00:29:51,645 --> 00:29:54,915
the big shoulders coming up
over the torso.
713
00:29:54,915 --> 00:29:56,617
I thought,
"Well, shouldn't he just
714
00:29:56,617 --> 00:29:59,753
have an OCP badge sculpted
or molded right onto his chest?"
715
00:29:59,753 --> 00:30:02,022
And Rob for some reason felt
like it shouldn't be there.
716
00:30:02,022 --> 00:30:03,624
So, he said,
717
00:30:03,624 --> 00:30:05,192
"Why don't you come up
with something else?"
718
00:30:05,192 --> 00:30:07,094
So, I thought, "Well, that
little grill on his chest
719
00:30:07,094 --> 00:30:08,996
is a speaker for his voice
when he needs to project it."
720
00:30:09,697 --> 00:30:12,099
Let the woman go.
You are under arrest.
721
00:30:12,099 --> 00:30:13,467
I covered him
with these very fine little,
722
00:30:13,467 --> 00:30:15,836
sort of, pen-striped seams.
723
00:30:15,836 --> 00:30:17,872
That big piston coming out
of his calves
724
00:30:17,872 --> 00:30:20,541
that sort of acts
as an Achilles tendon.
725
00:30:20,541 --> 00:30:22,443
These are all things
so that when he rotates around
726
00:30:22,443 --> 00:30:23,844
on the screen,
727
00:30:23,844 --> 00:30:25,346
he always strikes
a powerful silhouette.
728
00:30:27,147 --> 00:30:29,049
Rob had a great design sense.
729
00:30:29,049 --> 00:30:31,819
He was always pushing
for memorable elements.
730
00:30:31,819 --> 00:30:33,787
He wanted to create a character
731
00:30:33,787 --> 00:30:35,190
that would last
in people's psyches.
732
00:30:37,292 --> 00:30:40,195
Peter said he wanted to hire
a movement coach.
733
00:30:40,195 --> 00:30:42,731
I was called by Peter Weller.
734
00:30:42,731 --> 00:30:45,567
And he asked me
whether he could meet with me.
735
00:30:45,567 --> 00:30:48,637
I said, "Why don't you come
to the theater sometimes
736
00:30:48,637 --> 00:30:50,338
and we'll play together?
737
00:30:50,338 --> 00:30:54,175
We'll see if we can manage
to make something interesting."
738
00:30:54,175 --> 00:30:56,177
Moni Akin is a genius mime.
739
00:30:56,177 --> 00:30:57,579
He's a pantomime,
740
00:30:57,579 --> 00:30:59,014
but he's moved mime
into the field of dance,
741
00:30:59,014 --> 00:31:00,248
and he's head
of the movement department
742
00:31:00,248 --> 00:31:01,683
at Juilliard.
743
00:31:01,683 --> 00:31:02,717
And he said,
"Why don't we do something,
744
00:31:02,717 --> 00:31:04,552
like, more dance-like, right?
745
00:31:04,552 --> 00:31:07,822
And it was almost
like kung fu.
746
00:31:07,822 --> 00:31:12,360
It was like almost aikido.
A facile type of character.
747
00:31:12,360 --> 00:31:15,864
A cop who has got fantastic
energy, and facility,
748
00:31:15,864 --> 00:31:17,165
and physique.
749
00:31:17,165 --> 00:31:19,067
We worked with hockey gear.
750
00:31:19,067 --> 00:31:22,337
And we did things very swift,
very fast.
751
00:31:22,337 --> 00:31:25,573
Running, and jumping,
and shooting, and falling,
752
00:31:25,573 --> 00:31:28,576
and all kind
of acrobatic things.
753
00:31:28,576 --> 00:31:31,413
And he felt pretty secure
at the time,
754
00:31:31,413 --> 00:31:33,581
and he went to film it.
755
00:31:33,581 --> 00:31:35,884
The suit arrived, I would say,
756
00:31:35,884 --> 00:31:39,054
at least two weeks late,
after it was promised.
757
00:31:39,054 --> 00:31:42,057
So, we couldn't shoot anything
that we'd planned with Robo.
758
00:31:42,057 --> 00:31:44,726
We were doing a screen test
with him that first day,
759
00:31:44,726 --> 00:31:46,227
and he was trying the suit on.
760
00:31:46,227 --> 00:31:50,365
When I first put it on,
uh, it took a long time.
761
00:31:50,365 --> 00:31:51,232
Twelve hours.
762
00:31:51,232 --> 00:31:52,033
Eleven hours.
763
00:31:52,033 --> 00:31:53,902
Ten hours.
764
00:31:53,902 --> 00:31:55,403
It took ten hours
to get into it the first time.
765
00:31:55,403 --> 00:31:57,238
Ten hours.
766
00:31:57,238 --> 00:31:59,407
Peter Weller was brought
to the set.
767
00:31:59,407 --> 00:32:02,444
Basically, a makeup room,
at three o'clock in the morning.
768
00:32:02,444 --> 00:32:04,045
And at three o'clock
in the afternoon,
769
00:32:04,045 --> 00:32:05,647
it still didn't fit.
770
00:32:05,647 --> 00:32:08,216
And he was not happy.
You know, he was not happy.
771
00:32:08,216 --> 00:32:11,219
The fucking suit doesn't work!
772
00:32:11,219 --> 00:32:13,888
Peter tried on the suit
and freaked out.
773
00:32:13,888 --> 00:32:15,790
Fuck it, you know?
This is what happened.
774
00:32:15,790 --> 00:32:18,493
He was fucked
from what he wanted to do.
775
00:32:18,493 --> 00:32:20,228
Peter Weller
couldn't walk in it.
776
00:32:20,228 --> 00:32:21,796
I'm bummed,
777
00:32:21,796 --> 00:32:24,966
'cause I can't do what Moni
has been six months
778
00:32:24,966 --> 00:32:26,601
teaching me to do.
779
00:32:26,601 --> 00:32:28,737
He had to study for weeks
and weeks, Peter Weller,
780
00:32:28,737 --> 00:32:30,772
with all these things
around him,
781
00:32:30,772 --> 00:32:32,774
thinking that basically,
now, that it's the costume,
782
00:32:32,774 --> 00:32:34,075
he could do the same.
783
00:32:34,075 --> 00:32:35,410
He couldn't do any of it.
Nothing.
784
00:32:36,978 --> 00:32:38,346
I remember sitting there
785
00:32:38,346 --> 00:32:39,981
thinking,
"Either we're gonna be here
786
00:32:39,981 --> 00:32:43,451
for the next six months,
or they're gonna shut us down.
787
00:32:43,451 --> 00:32:46,321
And I just had this kinda like
sinking thing.
788
00:32:46,321 --> 00:32:47,689
He felt cheated, you know?
789
00:32:47,689 --> 00:32:50,125
He felt that he was basically
betrayed
790
00:32:50,125 --> 00:32:52,293
in his preparation for the part.
791
00:32:52,293 --> 00:32:53,628
Everyone hated everybody.
792
00:32:53,628 --> 00:32:55,030
Everyone was fighting.
793
00:32:55,030 --> 00:32:57,432
And it was really annoying,
this thing.
794
00:32:59,167 --> 00:33:01,136
Paul threw a shit fit.
795
00:33:01,136 --> 00:33:03,705
Rob threw another shit fit.
Ed tried to get into the mix.
796
00:33:03,705 --> 00:33:06,007
I got into Ed's face
about getting into it.
797
00:33:06,007 --> 00:33:07,375
I look back now,
and I kind of cringe,
798
00:33:07,375 --> 00:33:09,010
like the things I did and said.
799
00:33:09,010 --> 00:33:11,146
But anyway, uh,
that's how that went.
800
00:33:12,113 --> 00:33:13,882
And then I said,
801
00:33:13,882 --> 00:33:16,818
"This is not gonna work for me,"
and everybody just went home.
802
00:33:16,818 --> 00:33:19,554
And I'm bummed that Verhoeven
now doesn't like me,
803
00:33:19,554 --> 00:33:20,855
or I don't like him either.
804
00:33:20,855 --> 00:33:23,124
We were basically looking,
805
00:33:23,124 --> 00:33:26,361
do we have to do other things,
another actor, what, what, what?
806
00:33:26,361 --> 00:33:27,862
And then I get this call
807
00:33:27,862 --> 00:33:29,998
on the dead of night
from Medavoy.
808
00:33:29,998 --> 00:33:31,332
He says, you know,
809
00:33:31,332 --> 00:33:32,834
"Paul's thinking
about cutting you loose
810
00:33:32,834 --> 00:33:34,736
'cause he's had a bad time
on his last film,
811
00:33:34,736 --> 00:33:36,037
and he just doesn't wanna go
812
00:33:36,037 --> 00:33:37,505
through the movie star problem
again."
813
00:33:37,505 --> 00:33:38,973
Then Medavoy came there.
814
00:33:38,973 --> 00:33:41,576
He was the head of Orion,
seeing basically
815
00:33:41,576 --> 00:33:45,080
what was happening, said,
"Okay, you stop.
816
00:33:45,080 --> 00:33:47,082
You're going to figure it out
together."
817
00:33:47,082 --> 00:33:49,484
So, they shut down production
for a few days.
818
00:33:49,484 --> 00:33:51,086
What they're gonna do
is they're gonna do tests.
819
00:33:51,086 --> 00:33:53,054
They're gonna print them
in 24 hours.
820
00:33:53,054 --> 00:33:55,323
They're gonna look at the tests,
Mike Medavoy and Bob Bernstein
821
00:33:55,323 --> 00:33:56,925
are gonna get on the phone,
and say
822
00:33:56,925 --> 00:33:58,593
whether this movie
is gonna be made or not.
823
00:33:58,593 --> 00:34:02,997
It was really a crisis
of the highest level, in fact.
824
00:34:04,532 --> 00:34:06,101
They flew in Moni.
825
00:34:06,101 --> 00:34:09,104
Everybody was depressed.
826
00:34:09,104 --> 00:34:12,507
Paul Verhoeven,
I saw him all brooding,
827
00:34:12,507 --> 00:34:14,409
coming towards me,
and he tells me,
828
00:34:14,409 --> 00:34:17,045
"Moni, it's not working."
829
00:34:17,045 --> 00:34:19,347
Moni says, "I need 30 minutes."
830
00:34:19,347 --> 00:34:20,849
And then they put the suit
on me.
831
00:34:20,849 --> 00:34:22,750
And he says, "Cut the elbows
out of the--
832
00:34:22,750 --> 00:34:25,787
cut the feet off the thing,
the knees and so forth,
833
00:34:25,787 --> 00:34:28,056
so that the joints,
the shoulders, everything,
834
00:34:28,056 --> 00:34:30,091
so that all the joints can move.
835
00:34:30,091 --> 00:34:35,797
Because of the awesomeness
and the size of this costume,
836
00:34:35,797 --> 00:34:39,567
the thought process
of this creature
837
00:34:39,567 --> 00:34:41,569
was much slower.
838
00:34:41,569 --> 00:34:47,108
He says, "Think of yourself
as a captured animal.
839
00:34:47,108 --> 00:34:51,779
Huge movements!
Huge, with staccato."
840
00:34:51,779 --> 00:34:55,216
And then turn the head,
and, like, I said,
841
00:34:55,216 --> 00:35:00,722
"This feels so phony.
This feels like bad opera."
842
00:35:00,722 --> 00:35:02,590
And he goes, "I know.
Keep doing it."
843
00:35:02,590 --> 00:35:04,592
He said, "Then I'm gonna show
you a film."
844
00:35:04,592 --> 00:35:06,895
And then Nikolay Cherkasov
came to mind,
845
00:35:06,895 --> 00:35:09,497
because he played
Ivan the Terrible,
846
00:35:09,497 --> 00:35:13,168
and he was tremendously
stylized.
847
00:35:13,168 --> 00:35:16,938
Everything is this long move
848
00:35:16,938 --> 00:35:18,573
with a staccato
at the end of it,
849
00:35:18,573 --> 00:35:21,242
and it's a head turn,
like that, right?
850
00:35:21,242 --> 00:35:23,244
And it's phenomenal.
851
00:35:23,244 --> 00:35:24,479
And he turns,
852
00:35:24,479 --> 00:35:26,414
and he will look back
at the camera,
853
00:35:26,414 --> 00:35:28,516
and do these things, you know,
that are very robotic.
854
00:35:28,516 --> 00:35:30,318
It's a phenomenal performance.
855
00:35:30,318 --> 00:35:31,786
You never get tired of it,
and I watched it twice,
856
00:35:31,786 --> 00:35:33,188
and I watched it the next day.
857
00:35:33,188 --> 00:35:34,822
it just struck me
858
00:35:34,822 --> 00:35:39,460
that instead of having the brain
in the head,
859
00:35:39,460 --> 00:35:42,830
we had to transfer the brain
to the chest,
860
00:35:42,830 --> 00:35:44,766
which means the chest
861
00:35:44,766 --> 00:35:47,769
will be the first thing
to react,
862
00:35:47,769 --> 00:35:50,705
and then the neck,
and then the head.
863
00:35:50,705 --> 00:35:54,642
We ended in staccato
almost every slow motion
864
00:35:54,642 --> 00:36:01,683
to define the process of thought
that goes on in the slow motion,
865
00:36:01,683 --> 00:36:04,152
and then getting it.
866
00:36:04,152 --> 00:36:05,954
And I said, "I get it, man.
867
00:36:05,954 --> 00:36:08,056
That is RoboCop."
868
00:36:08,056 --> 00:36:10,792
Peter basically adapted.
869
00:36:10,792 --> 00:36:13,294
You know, and I go up to Paul,
I said-- apologized to him,
870
00:36:13,294 --> 00:36:15,730
"Whatever it is, you know,
I'll do what you want."
871
00:36:15,730 --> 00:36:17,632
And we sat together, and say,
872
00:36:17,632 --> 00:36:20,368
"Okay, let's basically
shake hands and all,"
873
00:36:20,368 --> 00:36:22,503
and say, "Okay, we try again."
874
00:36:22,503 --> 00:36:23,905
So, we shot.
875
00:36:23,905 --> 00:36:26,507
And in the evening,
we saw the Russians.
876
00:36:26,507 --> 00:36:27,742
Whoa.
877
00:36:27,742 --> 00:36:29,377
And everybody jumped,
and applauded,
878
00:36:29,377 --> 00:36:31,746
and said, "We got it."
879
00:36:31,746 --> 00:36:33,881
And they wouldn't let me
come back to New York.
880
00:36:38,319 --> 00:36:42,190
They picked Detroit
because Detroit is the emblem
881
00:36:42,190 --> 00:36:45,593
of urban America
and controversy.
882
00:36:45,593 --> 00:36:47,528
You know,
if they'd have set it in LA,
883
00:36:47,528 --> 00:36:49,230
it wouldn't have gotten a buzz.
884
00:36:49,230 --> 00:36:52,000
Paul really didn't wanna
shoot it in Los Angeles.
885
00:36:52,000 --> 00:36:53,768
He just didn't think
it would be special.
886
00:36:53,768 --> 00:36:55,236
There were too many movies
shot here.
887
00:36:55,236 --> 00:36:56,337
He didn't wanted to do
something different.
888
00:36:56,337 --> 00:36:58,039
He really didn't wanna be here.
889
00:36:58,039 --> 00:37:02,610
The studio also didn't wanna pay
the IAEA union residuals.
890
00:37:02,610 --> 00:37:04,545
And in order to avoid that,
891
00:37:04,545 --> 00:37:08,116
they were happy to get it
out of town somewhere.
892
00:37:08,116 --> 00:37:11,386
My job is to go around
with the location person,
893
00:37:11,386 --> 00:37:12,954
sift through a lot of stuff,
894
00:37:12,954 --> 00:37:15,790
hopefully, find a bunch
of interesting images,
895
00:37:15,790 --> 00:37:17,959
and then let the director
sift those,
896
00:37:17,959 --> 00:37:19,761
and we'd start looking
at locations.
897
00:37:19,761 --> 00:37:21,029
We looked in Detroit.
898
00:37:22,397 --> 00:37:23,865
You know, we went to Detroit.
899
00:37:23,865 --> 00:37:25,233
But the problem is,
900
00:37:25,233 --> 00:37:26,901
it didn't look like Detroit,
you know?
901
00:37:26,901 --> 00:37:29,871
It had the good rundown bits,
902
00:37:29,871 --> 00:37:32,607
but it didn't have
the futuristic stuff.
903
00:37:32,607 --> 00:37:35,043
So, Verhoeven and I
went to Dallas.
904
00:37:41,282 --> 00:37:43,051
Dallas at that time
was interesting
905
00:37:43,051 --> 00:37:47,322
because it was a film market
that was trying to develop.
906
00:37:47,322 --> 00:37:50,391
Dallas had just gone through
this huge building period.
907
00:37:50,391 --> 00:37:52,794
So, you had all these really
fantastic buildings,
908
00:37:52,794 --> 00:37:55,396
a really futuristic-type
landscape.
909
00:37:55,396 --> 00:37:59,634
What sold Paul on Dallas
is, it was a skyscraper,
910
00:37:59,634 --> 00:38:02,970
completely outlined
in green neon.
911
00:38:02,970 --> 00:38:04,272
And he thought,
"Boy, that's great.
912
00:38:04,272 --> 00:38:05,640
That's the future."
913
00:38:05,640 --> 00:38:08,476
And when we got there to shoot,
it had broken,
914
00:38:08,476 --> 00:38:09,911
and the light was off.
915
00:38:09,911 --> 00:38:11,479
We looked all over Dallas,
916
00:38:11,479 --> 00:38:13,748
looking at old police stations,
and looking at this,
917
00:38:13,748 --> 00:38:16,150
and we finally narrowed it down
to what we needed.
918
00:38:16,150 --> 00:38:19,787
I think I had about four,
500,000 dollars for the sets.
919
00:38:19,787 --> 00:38:21,189
We needed that kind of money
920
00:38:21,189 --> 00:38:23,424
because Paul
was blowing things up
921
00:38:23,424 --> 00:38:25,526
wherever we went.
922
00:38:27,128 --> 00:38:29,330
It was like we were building
sets for Paul to show up
923
00:38:29,330 --> 00:38:30,331
and blow them up.
924
00:38:30,331 --> 00:38:31,199
Take one!
925
00:38:33,701 --> 00:38:35,136
And we discovered
926
00:38:35,136 --> 00:38:37,839
that we could create
a corporation in Texas,
927
00:38:37,839 --> 00:38:40,842
hire people
on the Texas IA contract.
928
00:38:40,842 --> 00:38:44,112
Their contract
didn't stipulate residuals.
929
00:38:44,112 --> 00:38:46,381
So, we set it up that way.
930
00:38:46,381 --> 00:38:48,816
The name of the corporation
was Tobor,
931
00:38:48,816 --> 00:38:50,952
robot spelled backwards.
932
00:38:50,952 --> 00:38:54,622
They were shooting in Dallas
from August to October in 1986,
933
00:38:54,622 --> 00:38:57,125
which are the hottest,
most humid parts
934
00:38:57,125 --> 00:38:58,493
of the United States.
935
00:38:58,493 --> 00:38:59,727
It was hot during the day.
936
00:38:59,727 --> 00:39:01,329
And at night, it just got dark.
937
00:39:01,329 --> 00:39:02,797
It was still hot.
It didn't get cooler at night.
938
00:39:02,797 --> 00:39:06,134
It was just dark.
939
00:39:06,134 --> 00:39:09,337
I had an enormous impact
on RoboCop
940
00:39:09,337 --> 00:39:12,907
because I was the guy
that capitalized the C,
941
00:39:14,575 --> 00:39:17,745
because it was too hard to read
with a lowercase C.
942
00:39:19,147 --> 00:39:22,017
I was highly amazed by the news
943
00:39:22,017 --> 00:39:23,986
and television in general,
you know?
944
00:39:23,986 --> 00:39:26,255
It was very un-European,
945
00:39:26,255 --> 00:39:28,757
with two people talking
and laughing,
946
00:39:28,757 --> 00:39:31,660
and basically, I mean,
in Holland and in France,
947
00:39:31,660 --> 00:39:34,029
or the BBC, I think,
that there was a guy
948
00:39:34,029 --> 00:39:36,331
who sits there
and tells the news, you know?
949
00:39:36,331 --> 00:39:38,066
But then in the United States,
it was already
950
00:39:38,066 --> 00:39:39,768
very over the top, I would say.
951
00:39:39,768 --> 00:39:41,370
This is Media Break.
952
00:39:41,370 --> 00:39:43,839
You give us three minutes,
we'll give you the world.
953
00:39:45,007 --> 00:39:46,375
Good morning.
954
00:39:46,375 --> 00:39:47,176
I'm Casey Wong
with Jesse Perkins.
955
00:39:48,510 --> 00:39:50,913
No one had ever heard
of anything like this,
956
00:39:50,913 --> 00:39:54,116
deliver bad news with a smile.
957
00:39:54,116 --> 00:39:55,884
You bet.
958
00:39:55,884 --> 00:39:58,854
Next time you see a cop, smile.
Thanks for watching.
959
00:39:58,854 --> 00:40:01,924
It was very much like it is,
960
00:40:01,924 --> 00:40:04,927
where you would go
from impending doom
961
00:40:04,927 --> 00:40:08,430
to a beauty pageant, all in...
like that,
962
00:40:08,430 --> 00:40:10,899
with the same kind of delivery.
963
00:40:10,899 --> 00:40:13,802
Three dead police officers,
one critically injured.
964
00:40:13,802 --> 00:40:16,805
My amazement
about American television,
965
00:40:16,805 --> 00:40:19,107
you see very well
in the movie, of course,
966
00:40:19,107 --> 00:40:22,144
and I pushed it very hard
in a hyperbolic way.
967
00:40:22,144 --> 00:40:24,780
So, it became kind of light,
and funny, and strange.
968
00:40:29,551 --> 00:40:32,421
I remember when we scouted
the police station location,
969
00:40:32,421 --> 00:40:36,625
we were in this big, sort of,
abandoned factory facility,
970
00:40:36,625 --> 00:40:38,427
and there were tiles,
and lockers,
971
00:40:38,427 --> 00:40:39,628
and all sorts of things.
972
00:40:39,628 --> 00:40:41,129
Is there any word
on Fredrickson?
973
00:40:41,129 --> 00:40:44,466
We're doing this long,
very balletic dolly shot,
974
00:40:44,466 --> 00:40:47,236
which starts on me
coming down a hall.
975
00:40:47,236 --> 00:40:50,806
It's a continuous shot.
It never stops moving.
976
00:40:50,806 --> 00:40:53,775
And you get little tidbits
of lines from different people.
977
00:40:53,775 --> 00:40:55,310
Beats me, man.
978
00:40:55,310 --> 00:40:56,645
I think OCP's moving
a lot of new guys up here.
979
00:40:56,645 --> 00:40:58,280
It was dressed in a way
980
00:40:58,280 --> 00:41:00,282
that you could go
to the other room,
981
00:41:00,282 --> 00:41:02,451
come back, and turn around,
982
00:41:02,451 --> 00:41:04,152
and end up
in the locker room again.
983
00:41:04,152 --> 00:41:05,988
There was no cut necessary.
984
00:41:05,988 --> 00:41:07,322
It's all one shot
985
00:41:07,322 --> 00:41:09,124
with what they called
the JostiCam.
986
00:41:09,124 --> 00:41:11,093
JostiCam? Yeah. Okay.
987
00:41:12,461 --> 00:41:13,862
And it was Jost Vacano's
988
00:41:13,862 --> 00:41:15,597
version
of his own Steadicam
989
00:41:15,597 --> 00:41:17,299
that he had invented
for Das Boot.
990
00:41:19,768 --> 00:41:21,303
Jost, man.
991
00:41:21,303 --> 00:41:22,771
Jost is running those shots
up and down here,
992
00:41:22,771 --> 00:41:25,307
his own gyro,
Aeroflex thing that he invented.
993
00:41:25,307 --> 00:41:27,209
It was like a Steadicam,
but everybody goes,
994
00:41:27,209 --> 00:41:28,877
"What's Jost's invention?
A Steadicam?"
995
00:41:28,877 --> 00:41:31,313
No, it's not a Steadicam.
It's a gyro camera.
996
00:41:31,313 --> 00:41:32,948
My approach was,
997
00:41:32,948 --> 00:41:35,651
I would like to shoot this film
very realistic,
998
00:41:35,651 --> 00:41:38,554
a little bit documentary-like,
with a handheld camera
999
00:41:38,554 --> 00:41:41,123
and with very much available
light,
1000
00:41:41,123 --> 00:41:44,960
no real film lighting,
what you would normally expect.
1001
00:41:44,960 --> 00:41:47,195
They came up with banks
of lights
1002
00:41:47,195 --> 00:41:48,964
that were fluorescents.
1003
00:41:48,964 --> 00:41:51,400
Not very lovely on the face,
but it really did the trick,
1004
00:41:51,400 --> 00:41:53,468
and created a good mood
in the film.
1005
00:41:53,468 --> 00:41:55,804
My feeling
is that the handheld camera,
1006
00:41:55,804 --> 00:41:58,507
if it's not distracting,
if it's reduced,
1007
00:41:58,507 --> 00:42:01,376
it's an underlay
of human movement.
1008
00:42:01,376 --> 00:42:04,746
This is catching the audience
much better emotionally.
1009
00:42:04,746 --> 00:42:08,216
There was one shot
that we did in RoboCop
1010
00:42:08,216 --> 00:42:10,752
in the boardroom
where he takes us
1011
00:42:10,752 --> 00:42:13,989
off the elevator,
we go into the boardroom.
1012
00:42:13,989 --> 00:42:15,924
Don't mess with Jones, man.
He'll make sushi out of you.
1013
00:42:15,924 --> 00:42:17,993
It's one beautiful shot.
1014
00:42:17,993 --> 00:42:20,228
And there's dialogue going on,
and exposition.
1015
00:42:20,228 --> 00:42:21,563
We'll turn things around.
1016
00:42:21,563 --> 00:42:22,764
But it's all that kinetic
movement.
1017
00:42:22,764 --> 00:42:24,199
So, you don't really realize
1018
00:42:24,199 --> 00:42:26,068
you're getting pages
of exposition there.
1019
00:42:26,068 --> 00:42:28,604
I just love the way
that Paul directs.
1020
00:42:28,604 --> 00:42:30,339
Delta City.
1021
00:42:30,339 --> 00:42:33,075
Jost, he could go anywhere,
do anything,
1022
00:42:33,075 --> 00:42:36,044
follow you doing anything,
and it was a little bit noisy.
1023
00:42:36,044 --> 00:42:40,449
As a sound guy, imagine having
what sounds like a 737
1024
00:42:40,449 --> 00:42:42,284
taking off right next to you.
1025
00:42:44,219 --> 00:42:45,721
It sounded
like a sewing machine.
1026
00:42:47,255 --> 00:42:48,757
So, they had to get rid
of a lot of that in post.
1027
00:42:51,360 --> 00:42:53,729
Paul had a hard time visualizing
1028
00:42:53,729 --> 00:42:56,198
what a police station
would look like in America.
1029
00:42:56,198 --> 00:42:57,566
Attempted murder?
1030
00:42:57,566 --> 00:42:59,201
Well, it's not like he killed
someone!
1031
00:42:59,201 --> 00:43:00,569
We wanted a contrast,
1032
00:43:00,569 --> 00:43:03,205
so we made
an older police station,
1033
00:43:03,205 --> 00:43:06,608
you know, and Paul liked it.
We sold him on the idea.
1034
00:43:06,608 --> 00:43:10,045
And I had a photo shoot done
with all these, like, bad guys,
1035
00:43:10,045 --> 00:43:11,913
and their henchmen,
and everything, you know?
1036
00:43:11,913 --> 00:43:15,150
We would work all night
trying to make it better,
1037
00:43:15,150 --> 00:43:16,752
and also not spend
any more money.
1038
00:43:16,752 --> 00:43:18,153
That was my whole thing.
1039
00:43:18,153 --> 00:43:19,121
It's like, "I'm not gonna spend
any more money,
1040
00:43:19,121 --> 00:43:20,822
but I'll make it better."
1041
00:43:20,822 --> 00:43:23,091
We virtually dressed at it,
like, 5:00 in the morning,
1042
00:43:23,091 --> 00:43:25,060
and they walked in
and started shooting the movie.
1043
00:43:25,060 --> 00:43:26,428
Listen, pal!
1044
00:43:26,428 --> 00:43:29,264
Your client's a scumbag,
you're a scumbag,
1045
00:43:29,264 --> 00:43:31,466
and scumbags see the judge
on Monday morning!
1046
00:43:31,466 --> 00:43:34,636
Robert DoQui was just, like,
this walking encyclopedia.
1047
00:43:34,636 --> 00:43:37,105
He was just so full
of knowledge, you know?
1048
00:43:37,105 --> 00:43:38,774
I loved Robert DoQui.
1049
00:43:38,774 --> 00:43:41,977
And we had a great
working relationship together.
1050
00:43:41,977 --> 00:43:44,279
He introduced himself.
And I knew who he was.
1051
00:43:44,279 --> 00:43:46,915
I mean, I was trying to be cool.
But I mean, Robert DoQui,
1052
00:43:46,915 --> 00:43:49,785
he did a lot of great body
of work.
1053
00:43:49,785 --> 00:43:51,353
But in my mind, I'm thinking,
1054
00:43:51,353 --> 00:43:53,422
"This is the guy that plays
Florence's boyfriend
1055
00:43:53,422 --> 00:43:55,624
on The Jeffersons, " you know,
and he was in Coffy,
1056
00:43:55,624 --> 00:43:58,160
and all these Black exploitation
films from the '70s.
1057
00:43:58,160 --> 00:43:59,361
What the hell's going on
around here?
1058
00:43:59,361 --> 00:44:01,129
So, he had great chops.
1059
00:44:01,129 --> 00:44:02,464
I mean, he had done
all kinds of episodic television
1060
00:44:02,464 --> 00:44:03,265
and all kinds of cool stuff.
1061
00:44:03,265 --> 00:44:04,933
Now, look.
1062
00:44:04,933 --> 00:44:05,967
Why don't you run in the other
room and get yourself
1063
00:44:05,967 --> 00:44:07,269
a cup of coffee?
1064
00:44:07,269 --> 00:44:08,870
Not now, E.J.
Get a cup of coffee.
1065
00:44:08,870 --> 00:44:10,138
Oh, Searg.
1066
00:44:10,138 --> 00:44:11,707
It could have been
a thankless role.
1067
00:44:11,707 --> 00:44:13,375
But because of who he was,
1068
00:44:13,375 --> 00:44:15,777
it becomes a very memorable part
of the film.
1069
00:44:16,445 --> 00:44:17,713
Now, get out
of my police station
1070
00:44:17,713 --> 00:44:19,481
and take Laughing Boy with you!
1071
00:44:21,550 --> 00:44:23,685
I remember talking
to Ed Neumeier
1072
00:44:23,685 --> 00:44:25,454
about the cops' names,
which, you know,
1073
00:44:25,454 --> 00:44:27,222
they're all names
of mass murderers.
1074
00:44:30,859 --> 00:44:32,694
Like Carol Chessman,
who was the last man
1075
00:44:32,694 --> 00:44:36,131
killed in the gas chamber
in California.
1076
00:44:36,131 --> 00:44:38,233
Charlie Starkweather.
1077
00:44:38,233 --> 00:44:41,236
And then there was a character
named Manson.
1078
00:44:41,236 --> 00:44:42,738
I figured out rather quickly,
1079
00:44:42,738 --> 00:44:44,005
you know,
that they were all named
1080
00:44:44,005 --> 00:44:45,407
after serial killers,
1081
00:44:45,407 --> 00:44:47,542
which later on,
the writer said to us, you know,
1082
00:44:47,542 --> 00:44:49,644
I said, "Yes,
I was aware of that, yeah."
1083
00:44:49,644 --> 00:44:51,813
When I looked up
who I was named after,
1084
00:44:51,813 --> 00:44:52,848
I was like, "Whoa!"
1085
00:44:55,350 --> 00:44:57,052
This was Ed's idea,
and it worked, you know?
1086
00:44:57,052 --> 00:44:58,553
I remember talking to him
about it,
1087
00:44:58,553 --> 00:44:59,921
and saying, you know,
"Why are these names?"
1088
00:44:59,921 --> 00:45:01,523
And he said, "Oh,
it's just, you know,
1089
00:45:01,523 --> 00:45:03,091
we wanted to have some fun
with this whole thing.
1090
00:45:03,091 --> 00:45:05,360
So, we named all the cops
after mass murderers."
1091
00:45:05,360 --> 00:45:06,228
Welcome to hell!
1092
00:45:07,596 --> 00:45:08,730
I thought that was kind of cool
actually.
1093
00:45:10,932 --> 00:45:12,367
"Well, I'll tell you
what we should do.
1094
00:45:12,367 --> 00:45:13,902
We should strike. Fuck em!"
1095
00:45:16,071 --> 00:45:19,608
Jonathan Kaplan, the director,
was attached early on.
1096
00:45:19,608 --> 00:45:21,743
And Jonathan Kaplan's
favorite phrase
1097
00:45:21,743 --> 00:45:23,345
when they talk about,
1098
00:45:23,345 --> 00:45:24,679
"Well, the studio's gonna say
this, so the money..."
1099
00:45:24,679 --> 00:45:25,881
is "Fuck 'em!"
1100
00:45:25,881 --> 00:45:28,183
So, as an homage to him,
1101
00:45:28,183 --> 00:45:30,352
Ed Neumeier created
a character, Kaplan,
1102
00:45:30,352 --> 00:45:32,187
that would say, "Fuck 'em!"
1103
00:45:32,187 --> 00:45:34,222
We should strike. Fuck 'em!
1104
00:45:34,222 --> 00:45:35,857
When you look at those scenes,
1105
00:45:35,857 --> 00:45:38,627
those people are sweaty,
and grimy, and disgusting
1106
00:45:38,627 --> 00:45:41,396
because we were sweaty,
and grimy, and disgusting
1107
00:45:41,396 --> 00:45:43,298
when we were making the movie.
1108
00:45:43,298 --> 00:45:46,234
You had the men and the women
sharing the locker room.
1109
00:45:46,234 --> 00:45:48,637
It just seemed to be
that you had to be just
1110
00:45:48,637 --> 00:45:50,539
a self-survivor
and take care of yourself.
1111
00:45:50,539 --> 00:45:53,575
You know, it was not an era
where you depended on men.
1112
00:45:53,575 --> 00:45:55,043
There are actually
1113
00:45:55,043 --> 00:45:56,745
a few classic sound effects
in RoboCop.
1114
00:45:57,546 --> 00:46:00,148
There's a face impact
that is known in the trade
1115
00:46:00,148 --> 00:46:01,583
as the John Wayne chin slap.
1116
00:46:04,452 --> 00:46:06,154
And it's the great,
cracky face punch
1117
00:46:06,154 --> 00:46:07,289
when Lewis
takes out her suspect.
1118
00:46:13,628 --> 00:46:15,997
In the script,
it said she takes off her helmet
1119
00:46:15,997 --> 00:46:17,232
and her hair cascades down.
1120
00:46:18,800 --> 00:46:20,635
You know, I thought,
"Well, I can do that," you know?
1121
00:46:20,635 --> 00:46:25,140
After meeting with Paul,
he wanted her hair to be short.
1122
00:46:25,140 --> 00:46:28,476
So, I had my hair cut,
and they looked at it,
1123
00:46:28,476 --> 00:46:31,112
and they said,
"Hmm, a little bit more."
1124
00:46:31,112 --> 00:46:33,415
So, we cut it again,
and then we cut it again.
1125
00:46:33,415 --> 00:46:34,749
I went through the process
1126
00:46:34,749 --> 00:46:36,318
of, like,
eight different haircuts.
1127
00:46:36,318 --> 00:46:37,619
So, I ended up
with really nothing.
1128
00:46:37,619 --> 00:46:38,353
It was really awful.
1129
00:46:39,754 --> 00:46:42,424
She's introduced
as a male character almost.
1130
00:46:43,325 --> 00:46:44,359
Lewis!
1131
00:46:44,359 --> 00:46:45,627
Come here when you're finished
1132
00:46:45,627 --> 00:46:46,761
fucking around
with your suspect!
1133
00:46:46,761 --> 00:46:48,797
Get on your feet!
1134
00:46:48,797 --> 00:46:50,432
She was made to look
more butch or not more butch.
1135
00:46:50,432 --> 00:46:52,033
And in the end,
it's sort of a compromise.
1136
00:46:52,033 --> 00:46:53,935
She looks very feminine.
She's attractive.
1137
00:46:53,935 --> 00:46:56,504
Murphy, meet Lewis.
Show him the neighborhood.
1138
00:46:56,504 --> 00:46:57,873
Glad to know you, Murphy.
1139
00:46:57,873 --> 00:46:59,608
You know,
when she takes out the guys,
1140
00:46:59,608 --> 00:47:02,944
and all the karate and so forth,
and I said, "Pretty neat."
1141
00:47:02,944 --> 00:47:04,179
Pretty neat.
1142
00:47:04,179 --> 00:47:05,947
I just found her entertaining.
1143
00:47:05,947 --> 00:47:08,049
I have my own process
1144
00:47:08,049 --> 00:47:10,285
in terms of how I prepare
a role,
1145
00:47:10,285 --> 00:47:13,021
and I like to write a biography
of the character,
1146
00:47:13,021 --> 00:47:14,789
what you don't know.
1147
00:47:14,789 --> 00:47:19,227
I had her fatherless,
that her father had died.
1148
00:47:19,227 --> 00:47:22,130
So, she became even
more independent and strong.
1149
00:47:22,130 --> 00:47:24,332
And a younger brother
rather than an older brother.
1150
00:47:24,332 --> 00:47:25,800
So, she really took that role
1151
00:47:25,800 --> 00:47:27,302
of being the strength
of the family.
1152
00:47:28,670 --> 00:47:30,205
I better drive
until you know your way around.
1153
00:47:30,205 --> 00:47:37,012
And Nancy's like a dream,
and sweet, and fun.
1154
00:47:37,012 --> 00:47:38,914
And don't laugh,
1155
00:47:38,914 --> 00:47:40,982
but I actually put on a pair
of men's underpants.
1156
00:47:42,517 --> 00:47:45,887
Just to see, like,
"Ooh! What does that feel like?"
1157
00:47:45,887 --> 00:47:47,522
I know it's bizarre,
but, you know,
1158
00:47:47,522 --> 00:47:49,524
you've got to try
these things to see what works.
1159
00:47:49,524 --> 00:47:52,494
And, you know, my father
was a New York City cop.
1160
00:47:52,494 --> 00:47:55,697
So, I did have an understanding
of who these people are
1161
00:47:55,697 --> 00:47:56,831
and why they do what they do.
1162
00:47:57,532 --> 00:47:58,867
I usually drive
1163
00:47:58,867 --> 00:48:00,435
when I'm breaking in
on a new partner.
1164
00:48:00,435 --> 00:48:04,273
Lewis was a little skeptical,
like the sergeant was,
1165
00:48:04,273 --> 00:48:06,876
about, "Oh, who's this guy
from this really, you know,
1166
00:48:06,876 --> 00:48:08,744
la-la-la area
1167
00:48:08,744 --> 00:48:10,112
where he didn't really
have to work
1168
00:48:10,112 --> 00:48:11,948
for a living,
as the sergeant said.
1169
00:48:11,948 --> 00:48:13,783
We work for a living down here,
Murphy.
1170
00:48:13,783 --> 00:48:16,452
But quickly, she finds
that he's a strong guy.
1171
00:48:16,452 --> 00:48:18,354
Pretty fancy moves, Murphy.
1172
00:48:19,889 --> 00:48:22,625
I did have some modicum
of police training.
1173
00:48:22,625 --> 00:48:24,226
But I grew up with guns.
I grew up with hunting.
1174
00:48:24,226 --> 00:48:25,761
I grew up with handguns.
1175
00:48:25,761 --> 00:48:27,296
And I grew up with fast drawing.
1176
00:48:28,764 --> 00:48:30,366
And I have Colts and all that.
1177
00:48:30,366 --> 00:48:33,035
And I can do that stuff.
I did it in RoboCop.
1178
00:48:33,035 --> 00:48:34,236
Flipping a gun,
doing all that stuff.
1179
00:48:34,236 --> 00:48:35,905
Uh, yeah.
1180
00:48:35,905 --> 00:48:38,107
Well, my son Jimmy watches
this cop show T.J. Lazer.
1181
00:48:38,107 --> 00:48:39,408
And this laser guy does this
every time
1182
00:48:39,408 --> 00:48:40,776
he takes down a bad guy.
1183
00:48:43,045 --> 00:48:44,213
Can you do that, Dad?
1184
00:48:48,751 --> 00:48:51,253
T.J. Lazer was the very first
thing we shot.
1185
00:48:51,253 --> 00:48:54,957
I rented some 16mm equipment
from the UCLA Tech Office,
1186
00:48:54,957 --> 00:48:58,928
and we went out to a vacant lot,
and Ed organized the jumpsuit.
1187
00:49:00,096 --> 00:49:01,797
I was a cinematographer.
1188
00:49:01,797 --> 00:49:04,800
So, the way it's set up,
those shots were easy for me.
1189
00:49:04,800 --> 00:49:06,335
That was definitely a fun spoof.
1190
00:49:08,404 --> 00:49:12,274
Obviously, inspired
by those terrible TV shows
1191
00:49:12,274 --> 00:49:14,343
of the '70s, right?
1192
00:49:14,343 --> 00:49:15,144
T.J. Hooker.
1193
00:49:17,146 --> 00:49:18,681
Yeah.
1194
00:49:18,681 --> 00:49:21,417
Well, role models
can be very important to a boy.
1195
00:49:21,417 --> 00:49:22,952
He had a sense of humor,
1196
00:49:22,952 --> 00:49:24,487
as did she, and they kind of
had a little play
1197
00:49:24,487 --> 00:49:26,522
together for that moment.
1198
00:49:26,522 --> 00:49:27,590
All units, all units,
sector nine.
1199
00:49:27,590 --> 00:49:28,991
Why don't you drive?
1200
00:49:28,991 --> 00:49:30,926
And they bonded very quickly.
1201
00:49:30,926 --> 00:49:33,262
Nancy is my buddy.
1202
00:49:33,262 --> 00:49:35,598
Nancy's like, "Hey,
1203
00:49:35,598 --> 00:49:37,366
let's go eat Mexican food
in Fort Worth."
1204
00:49:37,366 --> 00:49:40,603
"Yeah!" So, there's a bond.
1205
00:49:40,603 --> 00:49:42,138
And plus,
which, when you're acting
1206
00:49:42,138 --> 00:49:43,706
with her, she's a dreamboat.
1207
00:49:54,150 --> 00:49:56,952
In playing characters
like Dick Jones,
1208
00:49:56,952 --> 00:50:00,056
I look for everything good
about him.
1209
00:50:00,056 --> 00:50:01,557
As you know,
1210
00:50:01,557 --> 00:50:02,625
we've entered into a contract
with the city
1211
00:50:02,625 --> 00:50:04,493
to run local law enforcement.
1212
00:50:04,493 --> 00:50:06,395
Because guys like Dick Jones.
1213
00:50:06,395 --> 00:50:09,865
Guys like that.
They don't think they're bad.
1214
00:50:09,865 --> 00:50:11,700
They just think
if everybody knew
1215
00:50:11,700 --> 00:50:14,804
what the hell they were doing,
they'd see things as they do.
1216
00:50:16,038 --> 00:50:18,140
We need something more.
1217
00:50:18,140 --> 00:50:21,644
We need a 24-hour-a-day
police officer.
1218
00:50:21,644 --> 00:50:24,880
A cop who doesn't need to eat
or sleep.
1219
00:50:24,880 --> 00:50:28,484
A cop with superior firepower
and the reflexes to use them.
1220
00:50:30,319 --> 00:50:32,888
Fellow executives,
it gives me great pleasure
1221
00:50:32,888 --> 00:50:35,658
to introduce you to the future
of law enforcement...
1222
00:50:37,493 --> 00:50:39,395
ED-209.
1223
00:50:47,770 --> 00:50:50,439
We weren't involved
with the design of ED-209.
1224
00:50:50,439 --> 00:50:52,908
I mean,
we just told Phil Tippett,
1225
00:50:52,908 --> 00:50:55,211
you know,
"Here's the script to ED-209."
1226
00:51:08,858 --> 00:51:10,426
We go to machine shops,
1227
00:51:10,426 --> 00:51:13,963
and, you know, robotic shops,
and shot a lot of footage.
1228
00:51:13,963 --> 00:51:16,365
Reference footage
of how robotic things
1229
00:51:16,365 --> 00:51:18,701
and machines attack,
and decay, and move,
1230
00:51:18,701 --> 00:51:21,303
and come to stops and starts,
which is very different
1231
00:51:21,303 --> 00:51:22,872
than an organic thing,
you know?
1232
00:51:22,872 --> 00:51:23,906
'Cause an organic thing
will go like...
1233
00:51:25,374 --> 00:51:27,309
And a, you know, robotic thing
will go like...
1234
00:51:30,880 --> 00:51:33,149
Ed Neumeier had pictures
1235
00:51:33,149 --> 00:51:36,986
that he'd taken
off of some Japanese manga
1236
00:51:36,986 --> 00:51:39,421
that had a giant robot
that had, like,
1237
00:51:39,421 --> 00:51:42,124
his arms terminated into guns.
1238
00:51:42,124 --> 00:51:44,460
So, Ed knew he wanted
something like that.
1239
00:51:45,828 --> 00:51:47,163
ED-209 is Phil.
1240
00:51:47,163 --> 00:51:48,330
I mean, it's just,
as you get to know
1241
00:51:48,330 --> 00:51:50,166
Phil's work, it's just Phil.
1242
00:51:50,166 --> 00:51:53,169
No one could do that
the way Phil can do it.
1243
00:51:53,169 --> 00:51:55,004
It was a very exciting group
of people.
1244
00:51:55,004 --> 00:51:56,572
And, uh, they just came in,
1245
00:51:56,572 --> 00:51:59,742
and they did solid,
sincere work, you know?
1246
00:52:01,777 --> 00:52:05,147
I happened to meet this kid
at a barbecue
1247
00:52:05,147 --> 00:52:07,149
that some of the costume guys
were doing
1248
00:52:07,149 --> 00:52:11,153
on Return of the Jedi,
and his work was really great.
1249
00:52:11,153 --> 00:52:13,255
I mean, he couldn't have been
more than 18 or 19 at the time.
1250
00:52:13,255 --> 00:52:14,657
It was Craig Hayes.
1251
00:52:14,657 --> 00:52:16,325
It was sort of like working
in a garage
1252
00:52:16,325 --> 00:52:17,826
with your buddies, you know?
1253
00:52:17,826 --> 00:52:20,529
Everybody, all ten of us,
you know,
1254
00:52:20,529 --> 00:52:23,299
were there to just really
do this one kind of task,
1255
00:52:23,299 --> 00:52:25,100
and everybody
was really into it.
1256
00:52:25,100 --> 00:52:28,170
The whole idea behind ED-209
was that it was styled.
1257
00:52:28,170 --> 00:52:30,206
The enforcement droid,
Series 209,
1258
00:52:30,206 --> 00:52:32,675
is a self-sufficient
law enforcement robot.
1259
00:52:32,675 --> 00:52:35,211
209 is currently programmed
for urban pacification,
1260
00:52:35,211 --> 00:52:36,712
but that is only the beginning.
1261
00:52:36,712 --> 00:52:38,214
It was styled like a piece
1262
00:52:38,214 --> 00:52:42,518
of, you know,
American automotive hardware.
1263
00:52:42,518 --> 00:52:45,988
We can expect 209 to become
the hot military product
1264
00:52:45,988 --> 00:52:47,189
for the next decade.
1265
00:52:48,824 --> 00:52:51,227
Obviously, we've gotta reference
military technology,
1266
00:52:51,227 --> 00:52:53,028
tanks, helicopters
in particular,
1267
00:52:53,028 --> 00:52:55,798
because they're some
of the more, sort of, advanced,
1268
00:52:55,798 --> 00:52:58,968
kind of interesting shapes,
and forms, and stuff.
1269
00:52:58,968 --> 00:53:00,970
This thing needed
to have a character, you know?
1270
00:53:00,970 --> 00:53:02,705
So, it couldn't be just simply
a machine.
1271
00:53:02,705 --> 00:53:05,040
So, mix that with some organic,
1272
00:53:05,040 --> 00:53:08,310
the organic nature
of a killer whale.
1273
00:53:08,310 --> 00:53:11,213
The idea of giving it a face
without having a face
1274
00:53:11,213 --> 00:53:14,183
was really kind of, you know,
an important part to it.
1275
00:53:14,183 --> 00:53:15,751
Very early on, you know,
1276
00:53:15,751 --> 00:53:18,587
Craig was doing the designs,
and he looked too happy.
1277
00:53:18,587 --> 00:53:21,590
So, he was joking around
and making him look mean.
1278
00:53:24,260 --> 00:53:25,928
Stop motion is basically,
1279
00:53:25,928 --> 00:53:27,763
you're moving everything
frame by frame.
1280
00:53:27,763 --> 00:53:29,598
There's an articulate skeleton
or armature
1281
00:53:29,598 --> 00:53:31,433
inside of the puppet,
which allows the joints
1282
00:53:31,433 --> 00:53:33,902
to be tensioned
or adjusted just right.
1283
00:53:33,902 --> 00:53:36,205
We worked at 24 frames
per second, right?
1284
00:53:36,205 --> 00:53:39,074
So, that means for every second
of screen time,
1285
00:53:39,074 --> 00:53:41,277
there's 24 increments in there.
1286
00:53:43,178 --> 00:53:45,581
This puppet is an avatar
for you.
1287
00:53:45,581 --> 00:53:47,283
So, you're acting
through this puppet.
1288
00:53:47,283 --> 00:53:50,185
So, you better know
every square millimeter
1289
00:53:50,185 --> 00:53:51,587
of that puppet.
1290
00:53:51,587 --> 00:53:54,189
You're imbuing
an inanimate object
1291
00:53:54,189 --> 00:53:55,591
with a personality,
1292
00:53:55,591 --> 00:53:57,793
and you're giving it
that personality.
1293
00:53:57,793 --> 00:54:00,796
So, it's a very special
relationship
1294
00:54:00,796 --> 00:54:03,065
between animator and model.
1295
00:54:05,267 --> 00:54:08,137
The movement of ED-209
1296
00:54:08,137 --> 00:54:10,606
mostly came from an older
printing press,
1297
00:54:10,606 --> 00:54:12,074
which is cast iron.
1298
00:54:12,074 --> 00:54:14,743
And so, we added that
to the leg movement.
1299
00:54:22,651 --> 00:54:25,554
There were some budgetary issues
for the thing.
1300
00:54:25,554 --> 00:54:29,058
We never even got to have him
move in the scene.
1301
00:54:29,058 --> 00:54:31,794
So, I proposed to Paul
that we build a
1302
00:54:31,794 --> 00:54:35,664
full-size ED-209
if he bought my pitch,
1303
00:54:35,664 --> 00:54:38,634
and that would be he can't move.
1304
00:54:38,634 --> 00:54:40,135
Oh, okay.
1305
00:54:40,135 --> 00:54:42,271
But we keep him alive
1306
00:54:42,271 --> 00:54:44,907
by, like,
a mechanical pedal note.
1307
00:54:44,907 --> 00:54:47,009
So, he has a voice
that's running through the scene
1308
00:54:47,009 --> 00:54:48,911
that's kind
of this ominous drone.
1309
00:54:51,280 --> 00:54:53,682
And, Paul in.
Yeah, that would totally work.
1310
00:54:53,682 --> 00:54:55,351
Yes.
1311
00:55:03,158 --> 00:55:05,661
The thing's made of fiberglass,
and vacuum-formed plastic,
1312
00:55:05,661 --> 00:55:07,629
and is, in fact,
very lightweight.
1313
00:55:07,629 --> 00:55:09,031
You know, two people
could break the thing down
1314
00:55:09,031 --> 00:55:10,599
and put it back together
pretty easily.
1315
00:55:12,034 --> 00:55:14,970
I remember
when ED-209 arrived on the set.
1316
00:55:14,970 --> 00:55:17,039
It was a giant crate.
1317
00:55:17,039 --> 00:55:19,007
And, you know,
it took him all morning
1318
00:55:19,007 --> 00:55:20,642
to uncrate this thing.
1319
00:55:20,642 --> 00:55:24,113
And I go up to Paul,
and he's sick as a dog.
1320
00:55:24,113 --> 00:55:26,615
I think he's got the flu.
1321
00:55:26,615 --> 00:55:28,951
And I said, "Paul,
you'll be glad to know
1322
00:55:28,951 --> 00:55:31,186
ED-209 looks great."
1323
00:55:31,186 --> 00:55:34,289
And he said, "Well, I hope
the next director
1324
00:55:34,289 --> 00:55:36,191
will appreciate it."
1325
00:55:41,497 --> 00:55:42,998
Dr. McNamara.
1326
00:55:42,998 --> 00:55:44,032
We'll need an arrest subject.
1327
00:55:44,032 --> 00:55:45,567
-Mr. Kinney.
-Yes, sir.
1328
00:55:45,567 --> 00:55:46,368
Would you come up
and give us a hand, please?
1329
00:55:46,368 --> 00:55:48,036
Yes, sir.
1330
00:55:48,036 --> 00:55:51,573
When Mr. Kinney points the gun
at the boss guy,
1331
00:55:51,573 --> 00:55:53,976
I didn't really get that
in the script.
1332
00:55:53,976 --> 00:55:55,210
So, when he says...
1333
00:55:55,210 --> 00:55:56,712
Use your gun
in a threatening manner.
1334
00:55:56,712 --> 00:55:58,881
I... I pointed it at ED-209.
1335
00:55:58,881 --> 00:56:00,516
And Paul comes,
"No, no, no, no, no!
1336
00:56:00,516 --> 00:56:02,017
You must point it at him."
1337
00:56:02,017 --> 00:56:04,186
And then sort of told him
what the joke was.
1338
00:56:04,186 --> 00:56:05,687
Action.
1339
00:56:05,687 --> 00:56:07,256
Point it at ED-209.
1340
00:56:07,256 --> 00:56:08,257
Yes, sir.
1341
00:56:11,193 --> 00:56:13,929
Drop the gun!
You have ten seconds to comply.
1342
00:56:15,497 --> 00:56:18,100
Paul would play ED-209
1343
00:56:18,100 --> 00:56:20,702
in all the VistaVision plates,
you know?
1344
00:56:20,702 --> 00:56:22,004
You go like this, and you shoot.
1345
00:56:25,707 --> 00:56:27,009
Just screams!
1346
00:56:28,010 --> 00:56:29,611
And everybody would react to it.
1347
00:56:29,611 --> 00:56:32,448
And it was actually
very effective.
1348
00:56:32,448 --> 00:56:34,249
You have five seconds to comply.
1349
00:56:34,249 --> 00:56:36,518
We needed language for ED-209
1350
00:56:36,518 --> 00:56:38,754
because he had
a pre-programmed card.
1351
00:56:40,222 --> 00:56:44,193
Please put down your weapon.
You have 20 seconds to comply.
1352
00:56:45,794 --> 00:56:47,896
His voice was the producer
Jon Davison.
1353
00:56:47,896 --> 00:56:48,932
Uh-huh.
1354
00:56:48,932 --> 00:56:50,099
That they cheesed up a little.
1355
00:56:50,099 --> 00:56:52,469
They used a lot of deepening
1356
00:56:52,469 --> 00:56:55,572
and a lot of cheesy synthy
processing on that.
1357
00:56:57,373 --> 00:56:58,441
You rolling?
1358
00:56:58,441 --> 00:57:00,577
-Yes.
-Okay.
1359
00:57:00,577 --> 00:57:03,947
Please put down your weapon.
You have 20 seconds to comply.
1360
00:57:03,947 --> 00:57:06,216
You now have 15 seconds
to comply.
1361
00:57:07,650 --> 00:57:10,620
Your civil rights
are currently in effect.
1362
00:57:10,620 --> 00:57:12,322
If you cannot afford
an attorney,
1363
00:57:12,322 --> 00:57:14,991
one will be appointed for you.
1364
00:57:14,991 --> 00:57:16,493
Take the gun out of my mouth.
1365
00:57:16,493 --> 00:57:17,594
Yeah, you shot it
on the board here.
1366
00:57:19,395 --> 00:57:21,397
Smoking is prohibited
in the hallway.
1367
00:57:22,298 --> 00:57:23,099
Next.
1368
00:57:25,768 --> 00:57:28,905
All the growls were cats.
1369
00:57:28,905 --> 00:57:31,474
Like tigers, and leopards,
and things like that.
1370
00:57:32,976 --> 00:57:36,112
My favorite is when Ed turns on
Kinney that first time.
1371
00:57:36,112 --> 00:57:38,181
So, I like to call that one
the whiplash puma.
1372
00:57:40,250 --> 00:57:43,152
'Cause it's this great
cat attack.
1373
00:58:20,390 --> 00:58:22,959
We did our original shoot
on location
1374
00:58:22,959 --> 00:58:24,727
at the Renaissance Tower.
1375
00:58:24,727 --> 00:58:26,462
And about a month
and a half later,
1376
00:58:26,462 --> 00:58:29,866
I got a call from my agent
that said, "They want you back."
1377
00:58:29,866 --> 00:58:31,401
They're gonna do some reshoots.
1378
00:58:31,401 --> 00:58:32,869
Paul Verhoeven was not happy
1379
00:58:32,869 --> 00:58:34,470
with the amount
of blood apparently.
1380
00:58:34,470 --> 00:58:36,005
That is absolutely true.
1381
00:58:36,005 --> 00:58:38,408
And they rebuilt
the entire boardroom
1382
00:58:38,408 --> 00:58:41,678
on stage one out of the studios
at Las Colinas.
1383
00:58:41,678 --> 00:58:44,380
So, I had to get splattered
and reloaded with squibs
1384
00:58:44,380 --> 00:58:45,682
over and over again
1385
00:58:45,682 --> 00:58:48,484
for about three
12-hour days in a row.
1386
00:58:48,484 --> 00:58:50,219
Okay, just try it again.
1387
00:58:50,219 --> 00:58:52,922
The effects guys thought
this was very funny.
1388
00:58:54,357 --> 00:58:56,426
He was not happy
with the effects department.
1389
00:58:56,426 --> 00:58:58,661
They told me that they were
putting more squibs on my body
1390
00:58:58,661 --> 00:59:01,164
than anyone in film history
at the time.
1391
00:59:01,164 --> 00:59:03,566
And Paul Verhoeven
still was not happy.
1392
00:59:03,566 --> 00:59:05,368
And he kept shouting,
"I need more blood!
1393
00:59:05,368 --> 00:59:06,903
There's not enough blood!"
1394
00:59:06,903 --> 00:59:09,405
The way I expressed
the violence in some ways
1395
00:59:09,405 --> 00:59:11,541
was over the top.
Blood. Action.
1396
00:59:11,541 --> 00:59:14,010
And so, finally, apparently,
the effects guys,
1397
00:59:14,010 --> 00:59:15,411
this is what they told me,
1398
00:59:15,411 --> 00:59:17,280
they were at lunch
over in the commissary
1399
00:59:17,280 --> 00:59:18,715
in between takes,
1400
00:59:18,715 --> 00:59:20,750
and they were serving
spaghetti squash.
1401
00:59:20,750 --> 00:59:23,720
They slid that baggie
of spaghetti squash
1402
00:59:23,720 --> 00:59:25,288
underneath the suit,
and loaded it up
1403
00:59:25,288 --> 00:59:26,389
with more squibs.
1404
00:59:26,389 --> 00:59:27,423
And fire!
1405
00:59:31,227 --> 00:59:32,562
Completely over the top.
1406
00:59:32,562 --> 00:59:36,299
Blood all over the screen.
1407
00:59:36,299 --> 00:59:37,634
Fountains of blood
1408
00:59:37,634 --> 00:59:42,038
that were sprouting
out of his body.
1409
00:59:42,038 --> 00:59:44,941
You know, emptying magazines
on him, you know, bazookas.
1410
00:59:46,142 --> 00:59:48,111
It just really did my man in.
1411
00:59:48,111 --> 00:59:50,947
And fire the weapons at him now!
1412
00:59:53,616 --> 00:59:55,585
I guarantee you,
it was very painful.
1413
00:59:55,585 --> 00:59:57,120
The squibs
are like firecrackers,
1414
00:59:57,120 --> 00:59:59,889
and they have a metal backing.
1415
00:59:59,889 --> 01:00:01,658
And if they get away
from your body,
1416
01:00:01,658 --> 01:00:03,459
they kick when they go off.
1417
01:00:03,459 --> 01:00:06,963
And the last squib that went off
of the last day of shooting
1418
01:00:06,963 --> 01:00:08,464
hit me right in the left nut.
1419
01:00:10,066 --> 01:00:12,301
So, I'll take that.
1420
01:00:12,301 --> 01:00:13,836
So, I had to lay there.
1421
01:00:13,836 --> 01:00:17,440
And Mr. Verhoeven just
let that camera roll, and roll,
1422
01:00:17,440 --> 01:00:19,442
and roll for, like, ten seconds.
1423
01:00:19,442 --> 01:00:20,510
Okay.
1424
01:00:22,145 --> 01:00:24,580
We ran up,
and, "Kevin, are you okay?"
1425
01:00:24,580 --> 01:00:26,683
No, you hit me in the balls.
1426
01:00:26,683 --> 01:00:30,920
He just looked up,
and went, "Fuck off.
1427
01:00:30,920 --> 01:00:32,855
Get away from me."
1428
01:00:34,357 --> 01:00:37,093
I don't believe at this point
that anyone has taken
1429
01:00:37,093 --> 01:00:39,762
more hits at one time
than Kevin took in that shot.
1430
01:00:41,130 --> 01:00:43,433
There was actually a wind-down
1431
01:00:43,433 --> 01:00:46,736
that was recorded by Ben Burtt
for the Star Wars films.
1432
01:00:48,771 --> 01:00:52,041
It's actually a 1929
Traveler biplane.
1433
01:00:52,041 --> 01:00:54,877
It can be heard
when ED-209 dies
1434
01:00:54,877 --> 01:00:56,813
after blowing away Kinney.
1435
01:01:03,553 --> 01:01:05,188
Smoke, fall down,
1436
01:01:05,188 --> 01:01:07,356
three stooges-like people
looking.
1437
01:01:07,356 --> 01:01:08,991
That was, of course, horrifying.
1438
01:01:08,991 --> 01:01:12,361
But then the first line
after that basically is...
1439
01:01:14,664 --> 01:01:16,165
But the guy was gone, you know?
1440
01:01:16,165 --> 01:01:18,067
There was nothing left
of the guy.
1441
01:01:18,067 --> 01:01:22,371
And people scampering,
running, cringing.
1442
01:01:22,371 --> 01:01:24,507
And Dan Herlihy, he never moved.
1443
01:01:24,507 --> 01:01:27,677
Dan O'Herlihy, he looked great,
never moving.
1444
01:01:27,677 --> 01:01:29,078
O'Herlihy just says...
1445
01:01:29,078 --> 01:01:31,914
Dick, I'm very disappointed.
1446
01:01:31,914 --> 01:01:33,683
That's my favorite line
in the movie.
1447
01:01:33,683 --> 01:01:36,419
"Dick, I'm very disappointed."
1448
01:01:37,854 --> 01:01:39,355
Puts me down, man.
1449
01:01:40,356 --> 01:01:41,491
I'm sure it's only a glitch.
1450
01:01:41,491 --> 01:01:43,159
A temporary setback.
1451
01:01:43,159 --> 01:01:44,727
You call this a glitch?
1452
01:01:46,195 --> 01:01:48,731
The corporate's rule, period.
1453
01:01:48,731 --> 01:01:50,533
Your temporary setback
could cost us
1454
01:01:50,533 --> 01:01:52,735
50 million dollars
in interest payments alone.
1455
01:01:52,735 --> 01:01:54,036
And it shows to what length
1456
01:01:54,036 --> 01:01:56,839
they will go
to keep that position.
1457
01:01:56,839 --> 01:01:58,508
Perhaps you're aware of the
RoboCop program
1458
01:01:58,508 --> 01:02:00,376
developed by myself
at Security Concepts
1459
01:02:00,376 --> 01:02:02,445
as a contingency against just
this sort of thing?
1460
01:02:02,445 --> 01:02:04,280
Thank you for your concern,
Mr. Morton.
1461
01:02:04,280 --> 01:02:09,085
I just look for all of the ways
that assured me
1462
01:02:09,085 --> 01:02:11,020
that his way
was the correct way.
1463
01:02:11,020 --> 01:02:13,589
-It's something we can--
-Now, wait a minute. Dick!
1464
01:02:13,589 --> 01:02:16,425
I looked at this
as a cautionary tale.
1465
01:02:16,425 --> 01:02:18,427
Tell me about your plan,
Mr. Morton.
1466
01:02:18,427 --> 01:02:20,897
To see that these people
who'd gone for the greed
1467
01:02:20,897 --> 01:02:23,633
and how things turned out
so badly for them.
1468
01:02:23,633 --> 01:02:26,269
I'm confident we can go
to prototype within 90 days.
1469
01:02:26,269 --> 01:02:28,104
You know, karma,
for lack of a better word.
1470
01:02:32,809 --> 01:02:36,145
ED-209 is my baby.
Bullshit him.
1471
01:02:36,145 --> 01:02:37,947
ED-209 is here.
1472
01:02:48,591 --> 01:02:50,259
That wasn't on.
1473
01:02:52,428 --> 01:02:54,163
All righty. There we go.
1474
01:02:54,163 --> 01:02:56,599
We're good. All right.
So, take it from the top.
1475
01:02:56,599 --> 01:02:58,434
-Start again.
-Oh, my Lord.
1476
01:02:58,434 --> 01:02:59,769
-We had fun.
-How time flies.
1477
01:02:59,769 --> 01:03:01,470
Holy shit.
1478
01:03:02,839 --> 01:03:03,940
I like it.
1479
01:03:03,990 --> 01:03:08,540
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