1 00:00:28,528 --> 00:00:32,531 I think the character is a modern knight in armor. 2 00:00:32,532 --> 00:00:35,934 We were so on target. The movie is so precise. 3 00:00:35,935 --> 00:00:38,370 The Verhoeven mantra on RoboCop was blood. 4 00:00:38,371 --> 00:00:40,339 I want more fucking blood. 5 00:00:40,340 --> 00:00:42,041 I never met anybody 6 00:00:42,042 --> 00:00:44,276 that had a good time making RoboCop. 7 00:00:44,277 --> 00:00:46,612 The '80s in America were a tipping point. 8 00:00:46,613 --> 00:00:49,882 It had this prescient dark side. 9 00:00:49,883 --> 00:00:51,817 That's the lightning in the bottle. 10 00:00:51,818 --> 00:00:55,721 It's a character that's a wonderful, unique hero. 11 00:00:55,722 --> 00:00:58,724 One of the really iconic movies around. 12 00:00:58,725 --> 00:01:01,827 It lives because of its theme. 13 00:01:01,828 --> 00:01:06,298 And the theme is executed right down the line. 14 00:01:06,299 --> 00:01:10,502 There's a sincere purity about his goals, 15 00:01:10,503 --> 00:01:12,338 and yet he promises action. 16 00:03:13,493 --> 00:03:15,994 I'd been thinking about, sort of, action movies 17 00:03:15,995 --> 00:03:19,531 and strangely business in 1980. 18 00:03:19,532 --> 00:03:21,133 And in particular, I was thinking 19 00:03:21,134 --> 00:03:22,801 about how could I do a movie where there was business 20 00:03:22,802 --> 00:03:23,870 and action together. 21 00:03:25,371 --> 00:03:27,940 I'm Ed Neumeier, and I'm the co-screenwriter 22 00:03:27,941 --> 00:03:29,542 and co-producer of RoboCop. 23 00:03:30,543 --> 00:03:32,477 I was very interested in science fiction, 24 00:03:32,478 --> 00:03:35,714 and I was working as a reader at Warner Brothers. 25 00:03:35,715 --> 00:03:37,849 It was then called TBS. It was shared. 26 00:03:37,850 --> 00:03:39,218 Both Columbia Pictures and Warner Brothers 27 00:03:39,219 --> 00:03:40,719 were on it a lot. 28 00:03:40,720 --> 00:03:42,889 And that's where Blade Runner was shot. 29 00:03:44,023 --> 00:03:47,459 In 1981, when I was on the set of Blade Runner, 30 00:03:47,460 --> 00:03:48,660 I wasn't really working on the movie, 31 00:03:48,661 --> 00:03:50,529 but I was kind of pretending to. 32 00:03:50,530 --> 00:03:51,563 I remember asking someone on the set, 33 00:03:51,564 --> 00:03:52,898 "So, what's this movie about?" 34 00:03:52,899 --> 00:03:54,166 And they said, "Oh, it's about a robot." 35 00:03:54,167 --> 00:03:55,367 And I went, "Oh, cool, a robot." 36 00:03:55,368 --> 00:03:57,469 Because I always had liked robots. 37 00:03:57,470 --> 00:03:59,338 And then they pointed at Sean Young, 38 00:03:59,339 --> 00:04:00,872 and they said, "That's the robot." 39 00:04:00,873 --> 00:04:03,875 And I went, "Oh, no, that can't be the robot. 40 00:04:03,876 --> 00:04:05,411 I know what a robot looks like." 41 00:04:06,312 --> 00:04:07,412 And on the set of Blade Runner, 42 00:04:07,413 --> 00:04:09,514 I had the idea for RoboCop. 43 00:04:09,515 --> 00:04:11,049 And later that night, 44 00:04:11,050 --> 00:04:13,418 I saw that blue car which they call a spinner. 45 00:04:13,419 --> 00:04:15,087 And there was something to a young man 46 00:04:15,088 --> 00:04:17,089 that was very seductive about that. 47 00:04:17,090 --> 00:04:18,724 The name RoboCop came to my mind, 48 00:04:18,725 --> 00:04:22,160 and kind of an image of the character. 49 00:04:22,161 --> 00:04:25,063 And I give a lot of credit to Ridley Scott's art direction, 50 00:04:25,064 --> 00:04:27,766 to really creating a mood where suddenly, 51 00:04:27,767 --> 00:04:30,603 you have this idea about something else. 52 00:04:31,437 --> 00:04:33,505 And then it took about four years 53 00:04:33,506 --> 00:04:37,609 of thinking about this plot, and story, and the character 54 00:04:37,610 --> 00:04:39,578 until it really germinated into an idea 55 00:04:39,579 --> 00:04:41,580 I started writing down. 56 00:04:41,581 --> 00:04:43,115 But eventually, I got a better job, 57 00:04:43,116 --> 00:04:45,851 and I became an executive, a junior executive at Universal. 58 00:04:45,852 --> 00:04:48,620 I was reading a lot of comic books for a studio. 59 00:04:48,621 --> 00:04:50,222 They came to me one day, and said, 60 00:04:50,223 --> 00:04:51,623 "Ed, read these comic books." 61 00:04:51,624 --> 00:04:54,860 These, sort of, modern, neurotic superhero. 62 00:04:54,861 --> 00:04:57,696 Iron Man, Machine Man, because the superhero 63 00:04:57,697 --> 00:04:59,531 had, sort of, trouble being a superhero. 64 00:04:59,532 --> 00:05:01,099 Even though he had all these powers, 65 00:05:01,100 --> 00:05:02,801 there was, like, something going on inside. 66 00:05:02,802 --> 00:05:04,936 So, he was, sort of, like a superhero with a headache. 67 00:05:04,937 --> 00:05:06,438 You know, I kind of showed up suddenly, 68 00:05:06,439 --> 00:05:08,440 and I'm wearing a suit, and I'm a little nervous 69 00:05:08,441 --> 00:05:10,042 about, "Why am I here?" 70 00:05:10,043 --> 00:05:11,610 Because I didn't really feel like an executive type, 71 00:05:11,611 --> 00:05:12,578 but it was a good job. 72 00:05:12,578 --> 00:05:13,446 Yes, sir. 73 00:05:13,447 --> 00:05:14,746 You can, sort of, see 74 00:05:14,747 --> 00:05:16,648 in the executive scenes in RoboCop 75 00:05:16,649 --> 00:05:18,583 that there is that young character 76 00:05:18,584 --> 00:05:20,619 who eventually gets shot, you know? 77 00:05:20,620 --> 00:05:22,454 I kind of saw myself as Kinney. 78 00:05:22,455 --> 00:05:24,323 Too bad about Kenny, huh? 79 00:05:24,324 --> 00:05:25,590 That's life in a big city. 80 00:05:25,591 --> 00:05:26,958 It was while I was there 81 00:05:26,959 --> 00:05:28,460 that I was really doing a lot of the plotting, 82 00:05:28,461 --> 00:05:31,563 and that's where I met Michael Miner. 83 00:05:31,564 --> 00:05:33,965 My name is Michael Miner, and I co-wrote RoboCop. 84 00:05:33,966 --> 00:05:35,567 Miner was older than me, 85 00:05:35,568 --> 00:05:37,769 but he was then a young filmmaker from UCLA, 86 00:05:37,770 --> 00:05:39,004 where I had also gone. 87 00:05:39,005 --> 00:05:41,473 Ed viewed a package of short films 88 00:05:41,474 --> 00:05:44,076 that a bunch of UCLA filmmakers made, 89 00:05:44,077 --> 00:05:45,944 and mine was one of them. 90 00:05:45,945 --> 00:05:49,081 I started shooting music videos as a director camera operator. 91 00:05:49,082 --> 00:05:51,583 Did about ten of them. They were heavy metal videos. 92 00:05:51,584 --> 00:05:55,987 I made experimental films in the vein of Nicolas Rogue 93 00:05:55,988 --> 00:05:58,357 and the French New Wave, 94 00:05:58,358 --> 00:06:00,659 but was also heavily influenced by Philip K. Dick 95 00:06:00,660 --> 00:06:02,861 and Jorge Luis Borges. 96 00:06:02,862 --> 00:06:05,298 They were my, you would say, literary mentors. 97 00:06:06,799 --> 00:06:08,633 The type of science fiction I was interested in 98 00:06:08,634 --> 00:06:10,369 had a social aspect. 99 00:06:10,370 --> 00:06:13,538 What it means to be human, what is reality, 100 00:06:13,539 --> 00:06:16,942 whether reality as we see it is questionable, 101 00:06:16,943 --> 00:06:19,211 all of those things. 102 00:06:19,212 --> 00:06:21,213 I started developing an idea called Supercop, 103 00:06:21,214 --> 00:06:25,550 which was about an appliance that a human wears 104 00:06:25,551 --> 00:06:27,619 that accelerates all of that person's 105 00:06:27,620 --> 00:06:29,121 physical attributes. 106 00:06:29,122 --> 00:06:31,056 And the crux of the drama was that it starts 107 00:06:31,057 --> 00:06:34,626 affecting the psychology of the cops in psychotic ways. 108 00:06:34,627 --> 00:06:36,361 He came to see me looking for a job, 109 00:06:36,362 --> 00:06:37,662 but instead, I said, 110 00:06:37,663 --> 00:06:39,143 "Hey, let's do a movie about a robot." 111 00:06:41,067 --> 00:06:42,801 We had lunch, and we found out, 112 00:06:42,802 --> 00:06:45,303 "Wow, we were thinking in these similar, sort of, vein 113 00:06:45,304 --> 00:06:48,039 of what is the future of law enforcement. 114 00:06:48,040 --> 00:06:50,308 And it was pretty much a, I won't say 115 00:06:50,309 --> 00:06:52,677 love at first sight, but we really hit it off. 116 00:06:52,678 --> 00:06:54,246 And one thing led to another. 117 00:06:54,247 --> 00:06:58,083 And we started writing a script on nights and weekends 118 00:06:58,084 --> 00:07:00,085 called RoboCop. 119 00:07:00,086 --> 00:07:01,853 Ed and I do very different things, 120 00:07:01,854 --> 00:07:04,055 which is kind of what you want in a partnership. 121 00:07:04,056 --> 00:07:07,025 I am full of frothy amount of ideas, 122 00:07:07,026 --> 00:07:09,227 where Ed is more of a solid backstop, 123 00:07:09,228 --> 00:07:11,396 and he's a no BS kind of guy. 124 00:07:11,397 --> 00:07:15,033 So, part of our process was myself pitching things, 125 00:07:15,034 --> 00:07:17,035 nine of which were pretty bad, 126 00:07:17,036 --> 00:07:18,737 but the tenth one, when it landed, 127 00:07:18,738 --> 00:07:21,273 it was usually, you know, something that Ed recognized 128 00:07:21,274 --> 00:07:23,842 as a solid, dramatic piece. 129 00:07:23,843 --> 00:07:26,545 And that was part of the glue of our partnership. 130 00:07:26,546 --> 00:07:28,380 I actually told them 131 00:07:28,381 --> 00:07:30,182 that somebody in my family had died, 132 00:07:30,183 --> 00:07:33,385 so I could leave for two weeks and go write the first act, 133 00:07:33,386 --> 00:07:36,121 which I did in San Anselmo, the town where I grew up. 134 00:07:36,122 --> 00:07:38,423 And the funny part of it was that they sent me flowers, 135 00:07:38,424 --> 00:07:39,692 which I felt very bad about. 136 00:07:42,628 --> 00:07:46,097 Ed had a very solid first act, including the torture murder. 137 00:07:46,098 --> 00:07:48,266 I came along and filled in a lot of blanks 138 00:07:48,267 --> 00:07:50,635 about the corporate conspiracy, 139 00:07:50,636 --> 00:07:53,538 how the criminals, Clarence and Dick Jones, 140 00:07:53,539 --> 00:07:57,409 linked up, had a kind of cabal to manipulate Delta City. 141 00:07:57,410 --> 00:07:59,377 At times, it was very difficult, 142 00:07:59,378 --> 00:08:02,814 because we were both in the room pacing, typing. 143 00:08:02,815 --> 00:08:06,318 We would be late at night, tugging over specific lines, 144 00:08:06,319 --> 00:08:07,586 specific jokes. 145 00:08:07,587 --> 00:08:09,454 It was very hard. 146 00:08:09,455 --> 00:08:11,556 But then there were other times when something came out, like, 147 00:08:11,557 --> 00:08:13,425 "He's old, we're young, that's life." 148 00:08:13,426 --> 00:08:16,928 I just blurted that out one day, and it just landed. 149 00:08:16,929 --> 00:08:19,998 We struggled together to figure this thing out. 150 00:08:19,999 --> 00:08:22,133 The great thing about the first drafts 151 00:08:22,134 --> 00:08:23,935 of RoboCop was they were funny, 152 00:08:23,936 --> 00:08:25,470 they were insightful, 153 00:08:25,471 --> 00:08:29,074 they were critiquing social mores of the time, 154 00:08:29,075 --> 00:08:30,675 particularly the Reagan era. 155 00:08:30,676 --> 00:08:31,943 If you know anything 156 00:08:31,944 --> 00:08:34,312 about the '80s and Ronald Reagan, 157 00:08:34,313 --> 00:08:35,981 everything was privatized. 158 00:08:35,982 --> 00:08:38,583 The climate was ripe, I think. The country was ready. 159 00:08:38,584 --> 00:08:40,619 They were tired of this BS, right? 160 00:08:40,620 --> 00:08:44,623 And so, they were ready for this satire about Maricona. 161 00:08:44,624 --> 00:08:47,526 I later offered Universal the script, 162 00:08:47,527 --> 00:08:49,461 and they said, "You've made a mistake. 163 00:08:49,462 --> 00:08:51,696 And the mistake you've made is that the robot 164 00:08:51,697 --> 00:08:53,098 should not look like a robot. 165 00:08:53,099 --> 00:08:54,533 It should look like a man on the outside. 166 00:08:54,534 --> 00:08:56,134 That's the way you do it," they said. 167 00:08:56,135 --> 00:08:57,769 'Cause they'd dumped The Six Million Dollar Man, 168 00:08:57,770 --> 00:08:59,838 and that's what they thought it should be. 169 00:08:59,839 --> 00:09:03,508 But luckily, they didn't buy it. 170 00:09:03,509 --> 00:09:06,478 Terminator was about to come out. 171 00:09:06,479 --> 00:09:09,281 And we consciously stayed away from it as long as we could. 172 00:09:09,282 --> 00:09:12,118 There was an industry screening that we finally went to. 173 00:09:14,020 --> 00:09:16,788 We saw it halfway through the writing of the script. 174 00:09:16,789 --> 00:09:18,523 There was a particular guy I was romancing, 175 00:09:18,524 --> 00:09:20,859 who I was trying to get to buy RoboCop. 176 00:09:20,860 --> 00:09:22,794 This guy named Stan Lee, 177 00:09:22,795 --> 00:09:24,696 who was then working for Marvel Pictures. 178 00:09:24,697 --> 00:09:27,399 And Marvel was not such a big going concern 179 00:09:27,400 --> 00:09:28,800 at that moment, and they liked it, 180 00:09:28,801 --> 00:09:30,836 but they didn't make an offer for it. 181 00:09:31,470 --> 00:09:33,338 We took Stan Lee during that time 182 00:09:33,339 --> 00:09:34,739 to Paramount Pictures 183 00:09:34,740 --> 00:09:36,541 to see an early screening of Terminator. 184 00:09:36,542 --> 00:09:39,744 And when we left the theater, Stan Lee turned to us, and said, 185 00:09:39,745 --> 00:09:42,247 "Well, boys, you're never gonna beat that!" 186 00:09:42,248 --> 00:09:44,250 And I was like, "Oh, shit." 187 00:09:45,985 --> 00:09:48,320 And so, we went back to work, and we finished the script. 188 00:09:48,321 --> 00:09:50,188 And in some ways, Terminator didn't hurt us, 189 00:09:50,189 --> 00:09:51,890 it helped us. 190 00:09:51,891 --> 00:09:53,692 Because for Orion, Terminator was this, sort of, 191 00:09:53,693 --> 00:09:55,093 down-and-dirty movie 192 00:09:55,094 --> 00:09:56,861 that they weren't even very happy about, 193 00:09:56,862 --> 00:09:58,697 and then it made a lot of money. 194 00:09:58,698 --> 00:10:00,999 And suddenly, they were like, "Oh. Well, that's not so bad." 195 00:10:01,000 --> 00:10:02,767 I have no doubt whatsoever 196 00:10:02,768 --> 00:10:05,670 that the reason why RoboCop was green-lighted at Orion 197 00:10:05,671 --> 00:10:07,906 was because Terminator had done so well. 198 00:10:07,907 --> 00:10:09,274 Later, Jim Cameron, 199 00:10:09,275 --> 00:10:10,709 I think, thought we had copied him, 200 00:10:10,710 --> 00:10:12,344 but it wasn't true, 201 00:10:12,345 --> 00:10:14,012 because I had never read the Terminator script, 202 00:10:14,013 --> 00:10:16,348 and we were... you know, had plotted it completely 203 00:10:16,349 --> 00:10:17,350 and were halfway done. 204 00:10:19,385 --> 00:10:23,055 The original spec was finished in December of 1984. 205 00:10:25,625 --> 00:10:28,593 Unlike Columbia and Fox, who both passed, 206 00:10:28,594 --> 00:10:31,296 Orion didn't have an apparatus to develop screenplays. 207 00:10:31,297 --> 00:10:33,698 Orion essentially rose from the ashes 208 00:10:33,699 --> 00:10:35,967 of United Artists, which was burnt to the ground 209 00:10:35,968 --> 00:10:38,136 by Michael Cimino in Heaven's Gate. 210 00:10:38,137 --> 00:10:40,405 And so, people like Mike Medavoy, 211 00:10:40,406 --> 00:10:42,974 a couple of other people, formed Orion Pictures. 212 00:10:42,975 --> 00:10:46,044 Orion were known for being a studio 213 00:10:46,045 --> 00:10:48,546 that you went to if you had a special project 214 00:10:48,547 --> 00:10:51,082 or if you wanted to get something done your way. 215 00:10:51,083 --> 00:10:52,250 You were left alone. 216 00:10:52,251 --> 00:10:54,587 A producer-driven company. 217 00:10:56,889 --> 00:10:59,591 John Davison producing a movie makes you believe in God. 218 00:10:59,592 --> 00:11:02,127 John Davison, executive producer. 219 00:11:02,128 --> 00:11:04,496 Because there was nobody more perfect 220 00:11:04,497 --> 00:11:06,131 to produce this movie, and I did not know it. 221 00:11:06,132 --> 00:11:08,233 However, I did know of John Davison 222 00:11:08,234 --> 00:11:09,567 before I met him. 223 00:11:09,568 --> 00:11:11,002 I knew a bunch of the Corman people, 224 00:11:11,003 --> 00:11:13,138 and he was already respected in that crowd. 225 00:11:13,139 --> 00:11:15,340 I got a job for New World Pictures, 226 00:11:15,341 --> 00:11:17,742 was later in charge of production for him, 227 00:11:17,743 --> 00:11:21,413 and started producing pictures for Roger Corman. 228 00:11:21,414 --> 00:11:23,415 So, the way we got it to him was, 229 00:11:23,416 --> 00:11:25,483 a friend of mine was friends with a director 230 00:11:25,484 --> 00:11:26,751 named Jonathan Kaplan. 231 00:11:26,752 --> 00:11:28,253 And Jonathan read it. 232 00:11:28,254 --> 00:11:29,654 And Jonathan said, "You know, this is perfect 233 00:11:29,655 --> 00:11:31,423 for John Davison." 234 00:11:31,424 --> 00:11:34,359 And Jonathan sent it to me, said, "This thing isn't for me, 235 00:11:34,360 --> 00:11:36,828 but, you know, maybe you'd be interested." 236 00:11:36,829 --> 00:11:39,164 So, I read it, and I was. 237 00:11:39,165 --> 00:11:41,666 Jon Davison, I remember, called me, and he said... 238 00:11:41,667 --> 00:11:43,301 It sounds good. 239 00:11:43,302 --> 00:11:45,036 Listen, let's make sure that the gang members 240 00:11:45,037 --> 00:11:46,771 don't sound like they're all Black, 241 00:11:46,772 --> 00:11:48,640 because I don't wanna make a racist movie. 242 00:11:48,641 --> 00:11:50,608 And so I inserted a line 243 00:11:50,609 --> 00:11:53,144 saying that there were several different colors. 244 00:11:53,145 --> 00:11:55,780 We had a meeting with Orion, and suddenly, 245 00:11:55,781 --> 00:11:57,615 they seemed to be serious about making the movie. 246 00:11:57,616 --> 00:11:59,017 Well, I wanna make a picture 247 00:11:59,018 --> 00:12:01,352 that I wouldn't mind watching, you know? 248 00:12:01,353 --> 00:12:04,189 And I thought all along, "We're gonna change the title. 249 00:12:04,190 --> 00:12:05,824 We're gonna change the title." 250 00:12:05,825 --> 00:12:07,358 "So, what are you working on?" someone says to you. 251 00:12:07,359 --> 00:12:10,528 And it was very hard to say, RoboCop. 252 00:12:10,529 --> 00:12:13,364 'Cause it sounds cheap and cheesy. 253 00:12:13,365 --> 00:12:15,300 A lot of directors wouldn't even look at it, 254 00:12:15,301 --> 00:12:17,001 because they thought it was gonna really look bad 255 00:12:17,002 --> 00:12:18,236 on their résumé. 256 00:12:18,237 --> 00:12:19,571 When they got the script in the mail, 257 00:12:19,572 --> 00:12:21,005 and they opened it up, it was RoboCop, 258 00:12:21,006 --> 00:12:22,708 and they, you know, throw it in the corner. 259 00:12:25,044 --> 00:12:26,478 We couldn't get a director. 260 00:12:26,479 --> 00:12:28,012 We had bad directors that we didn't want. 261 00:12:28,013 --> 00:12:29,914 And then when we go, "Well, maybe that one," 262 00:12:29,915 --> 00:12:31,316 and then they go, "No, I can't do it. 263 00:12:31,317 --> 00:12:32,717 I gotta do something else." 264 00:12:32,718 --> 00:12:34,319 And so, we were always, almost being shut down, 265 00:12:34,320 --> 00:12:35,880 because we just couldn't get a director. 266 00:12:36,255 --> 00:12:37,756 I've always been of the opinion 267 00:12:37,757 --> 00:12:41,893 that European and African-American directors 268 00:12:41,894 --> 00:12:44,395 can criticize America better 269 00:12:44,396 --> 00:12:46,364 than their American counterparts. 270 00:12:46,365 --> 00:12:48,900 Orion had a relationship with Paul Verhoeven, 271 00:12:48,901 --> 00:12:50,869 because they had just made his movie, Flesh and Blood. 272 00:12:50,870 --> 00:12:52,370 So, I actually said, 273 00:12:52,371 --> 00:12:54,038 "You should check out this guy, Paul Verhoeven," 274 00:12:54,039 --> 00:12:55,940 because I was a big fan of Soldier Orange. 275 00:12:55,941 --> 00:12:57,675 There's one scene where he has somebody 276 00:12:57,676 --> 00:13:00,345 throw a grenade into an outhouse and kill somebody. 277 00:13:00,346 --> 00:13:01,780 Very scatological. 278 00:13:01,781 --> 00:13:04,349 His violence is very up front and open. 279 00:13:04,350 --> 00:13:06,918 The Europeans realized that a punch is a punch, 280 00:13:06,919 --> 00:13:08,187 and a bullet is a bullet. 281 00:13:09,722 --> 00:13:11,089 I'm Paul Verhoeven, 282 00:13:11,090 --> 00:13:14,025 and I'm the director of RoboCop. 283 00:13:14,026 --> 00:13:19,464 My career started somewhere in the late '60s, I would say, 284 00:13:19,465 --> 00:13:23,868 but I made my first real movies in early '70s, 285 00:13:23,869 --> 00:13:25,603 which was all in Holland. 286 00:13:25,604 --> 00:13:27,639 I got into military service, 287 00:13:27,640 --> 00:13:29,440 which was necessary at that time. 288 00:13:29,441 --> 00:13:31,442 You were forced, you were drafted. 289 00:13:31,443 --> 00:13:33,711 And I got myself in the film department. 290 00:13:33,712 --> 00:13:35,547 So, I made a documentary, 291 00:13:35,548 --> 00:13:38,283 Propaganda of the Dutch Marines. 292 00:13:38,284 --> 00:13:39,717 And it was very successful, 293 00:13:39,718 --> 00:13:42,053 and that basically brought me to television. 294 00:13:42,054 --> 00:13:45,824 Then I got basically in contact with a German-Dutch producer, 295 00:13:45,825 --> 00:13:48,459 Rob Hauer, and then we made a lot of movies. 296 00:13:48,460 --> 00:13:50,061 But the committees at that time 297 00:13:50,062 --> 00:13:51,663 were getting more and more left-winged, 298 00:13:51,664 --> 00:13:53,832 that I would say fascist left-wing, 299 00:13:53,833 --> 00:13:56,401 meant no art, no social contacts, 300 00:13:56,402 --> 00:13:57,902 no this, no that. 301 00:13:57,903 --> 00:14:00,805 And they started to refuse to give me money. 302 00:14:00,806 --> 00:14:03,107 I had some contact with American studios. 303 00:14:03,108 --> 00:14:07,011 I had even met Jon Davison in one of my trips to Hollywood 304 00:14:07,012 --> 00:14:10,281 when I saw things were going bad in Holland. 305 00:14:10,282 --> 00:14:12,016 I prepared a little bit, 306 00:14:12,017 --> 00:14:14,019 but I didn't have the guts to do it. 307 00:14:16,522 --> 00:14:18,790 When the RoboCop script came in, 308 00:14:18,791 --> 00:14:21,793 my wife, Martine, said to me, 309 00:14:21,794 --> 00:14:24,462 "This is the possibility to go to the United States." 310 00:14:24,463 --> 00:14:26,164 And I didn't like that at all. 311 00:14:26,165 --> 00:14:28,266 In fact, I read 20, 30 pages, 312 00:14:28,267 --> 00:14:30,335 and saw it as absolutely ridiculous. 313 00:14:30,336 --> 00:14:31,603 He had done what many people do. 314 00:14:31,604 --> 00:14:33,304 "Oh, my God! 315 00:14:33,305 --> 00:14:35,273 It's called RoboCop," and throw it over his shoulder. 316 00:14:35,274 --> 00:14:38,977 I mean, even the title, RoboCop, was so far away 317 00:14:38,978 --> 00:14:41,312 from all the movies I had made, you know? 318 00:14:41,313 --> 00:14:44,048 I worked in a very realistic style. 319 00:14:44,049 --> 00:14:45,984 Basically, all the movies I did in Holland 320 00:14:45,985 --> 00:14:47,518 were mostly realistic. 321 00:14:47,519 --> 00:14:50,388 They were based often on biographies. 322 00:14:50,389 --> 00:14:53,791 And so, I felt that this was out of my range. 323 00:14:53,792 --> 00:14:58,563 And I thought, reading it, that it was silly. 324 00:14:58,564 --> 00:15:01,532 We were on holidays in the Cote d'Azur. 325 00:15:01,533 --> 00:15:03,735 I was going for a swim, a long swim. 326 00:15:03,736 --> 00:15:06,170 And then my wife took the script, 327 00:15:06,171 --> 00:15:08,640 and then Martine read it, too. 328 00:15:08,641 --> 00:15:10,842 And then she said, "You know, I think you make a mistake." 329 00:15:10,843 --> 00:15:12,477 I think she read the scene 330 00:15:12,478 --> 00:15:14,545 where Murphy gets his hand blown off, 331 00:15:14,546 --> 00:15:16,381 and said, "You know, I think you'd like this," 332 00:15:16,382 --> 00:15:18,316 knowing her husband as she did. 333 00:15:18,317 --> 00:15:20,585 Finally, I started to look at it with a dictionary 334 00:15:20,586 --> 00:15:21,986 because there were so many English words 335 00:15:21,987 --> 00:15:23,354 that I didn't know. 336 00:15:23,355 --> 00:15:25,857 And then it took perhaps a couple of weeks 337 00:15:25,858 --> 00:15:27,926 for me to think, "Martine is right. 338 00:15:27,927 --> 00:15:31,063 I can make it to something that interests me." 339 00:15:32,498 --> 00:15:36,534 And that was really based on very specific elements 340 00:15:36,535 --> 00:15:40,271 of the script with nearly biblical perspectives 341 00:15:40,272 --> 00:15:42,441 that I saw in the movie finally. 342 00:15:43,776 --> 00:15:46,844 Paul has a lifelong obsessional fascination 343 00:15:46,845 --> 00:15:48,680 with the historical Jesus, 344 00:15:48,681 --> 00:15:51,582 and he saw Robo as a Christian parable. 345 00:15:51,583 --> 00:15:53,084 The scene that decided me 346 00:15:53,085 --> 00:15:55,586 to really say, "Yes" to the movie 347 00:15:55,587 --> 00:15:58,189 was when Murphy comes to his house. 348 00:15:58,190 --> 00:16:01,426 For me, that was like lost paradise, 349 00:16:01,427 --> 00:16:03,227 kicked out of the Garden of Eden. 350 00:16:03,228 --> 00:16:04,929 And basically, we have this longing 351 00:16:04,930 --> 00:16:06,698 for getting back there. 352 00:16:06,699 --> 00:16:11,936 I started then to see in RoboCop kind of a Jesus. 353 00:16:11,937 --> 00:16:14,439 It was raised four or five different levels 354 00:16:14,440 --> 00:16:15,873 as soon as Paul came in 355 00:16:15,874 --> 00:16:18,242 with his sophistication, with his technique, 356 00:16:18,243 --> 00:16:20,611 his visceral way of telling a story. 357 00:16:20,612 --> 00:16:21,946 And then I think, "Okay. 358 00:16:21,947 --> 00:16:23,414 And then I'll do all the action, 359 00:16:23,415 --> 00:16:25,049 and the bang, bang, and the shoot, shoot. 360 00:16:25,050 --> 00:16:26,451 I'll take that, yeah." 361 00:16:26,452 --> 00:16:27,952 "That has to be done, too." 362 00:16:27,953 --> 00:16:30,254 Because English was his second language, 363 00:16:30,255 --> 00:16:32,724 he asked Ed and I, "What does this joke mean? 364 00:16:32,725 --> 00:16:34,592 What is this here?" 365 00:16:34,593 --> 00:16:36,894 At the initial meeting, he said, "Why is this funny?" 366 00:16:36,895 --> 00:16:38,629 I think he didn't think it should be funny, 367 00:16:38,630 --> 00:16:40,398 and that he was uncomfortable with it. 368 00:16:40,399 --> 00:16:43,001 And I gave him a bunch of Judge Dredd comics, 369 00:16:43,002 --> 00:16:44,736 and I gave him some other comics 370 00:16:44,737 --> 00:16:46,004 of that period. 371 00:16:46,005 --> 00:16:47,572 And I said, "You should read this, 372 00:16:47,573 --> 00:16:49,107 'cause this is the spirit it's coming out of." 373 00:16:49,108 --> 00:16:50,641 There's a whole new thing happening in comics, 374 00:16:50,642 --> 00:16:52,410 and they're adult. 375 00:16:52,411 --> 00:16:54,645 He'd read the comic books, and he went, "Ah. Oh, I see." 376 00:16:54,646 --> 00:16:56,147 And he was very cool with that form. 377 00:16:56,148 --> 00:16:57,515 And he understood 378 00:16:57,516 --> 00:16:59,484 that we were doing something different. 379 00:16:59,485 --> 00:17:02,020 And Paul, to his credit, 380 00:17:02,021 --> 00:17:04,023 uh, was very loyal to the script. 381 00:17:05,858 --> 00:17:07,425 Jon Davison called 382 00:17:07,426 --> 00:17:09,127 all these special effects people, and said... 383 00:17:09,128 --> 00:17:10,762 "You wanna work on our movie? 384 00:17:10,763 --> 00:17:12,563 We don't have any money, and I can't pay you." 385 00:17:13,999 --> 00:17:16,267 Oh, my God. I can hire him. We can do this. 386 00:17:16,268 --> 00:17:18,704 I can get this guy, you know, we got Phil. 387 00:17:20,305 --> 00:17:23,641 I had known Jon Davison for a number of years. 388 00:17:23,642 --> 00:17:26,644 And we worked on Joe Dante's second film, 389 00:17:26,645 --> 00:17:28,180 Piranha, together. 390 00:17:29,648 --> 00:17:32,950 Jon was always a big fan of stop-motion animation. 391 00:17:32,951 --> 00:17:35,553 He had been looking for projects for us 392 00:17:35,554 --> 00:17:37,321 to work on over the years, 393 00:17:37,322 --> 00:17:39,458 and RoboCop was one of the first ones that came up. 394 00:17:40,993 --> 00:17:43,027 I worked with Rob Bottin on Piranha 395 00:17:43,028 --> 00:17:45,463 when he was about 19 years old. 396 00:17:45,464 --> 00:17:49,333 So, I thought, "Well, Rob would be a real interesting guy 397 00:17:49,334 --> 00:17:50,735 to approach." 398 00:17:50,736 --> 00:17:53,137 Because he's an incredibly talented guy. 399 00:17:53,138 --> 00:17:54,705 I mean, he's an artist. 400 00:17:54,706 --> 00:17:56,641 Jon Davison knew all those guys. 401 00:17:56,642 --> 00:17:58,242 And that's what's amazing. 402 00:17:58,243 --> 00:18:01,479 He knew Pete Kuran. He knew Rocco Gioffre. 403 00:18:01,480 --> 00:18:03,481 He knew the entire team. 404 00:18:03,482 --> 00:18:05,149 Look at the effects credits on that. 405 00:18:05,150 --> 00:18:08,986 They're pretty good. 406 00:18:08,987 --> 00:18:10,354 I think we ultimately start 407 00:18:10,355 --> 00:18:12,323 to talk about who could be in it, 408 00:18:12,324 --> 00:18:14,325 and, you know, our movie was looked at, like, 409 00:18:14,326 --> 00:18:16,427 "Well, you're not gonna get an A-lister to be in this." 410 00:18:16,428 --> 00:18:17,862 I mean, I came to the United States, 411 00:18:17,863 --> 00:18:20,064 and I didn't know anybody. 412 00:18:20,065 --> 00:18:22,733 I knew some actors, of course, basically, from American movies, 413 00:18:22,734 --> 00:18:24,335 but I didn't know them. 414 00:18:24,336 --> 00:18:26,537 We would certainly not be working on that level. 415 00:18:26,538 --> 00:18:29,507 It had to be all the people that we could afford, 416 00:18:29,508 --> 00:18:31,109 but all people that we could afford, 417 00:18:31,110 --> 00:18:32,511 I wouldn't know in the first place. 418 00:18:33,512 --> 00:18:36,380 They came in, ten minutes, they did a part of the scene, 419 00:18:36,381 --> 00:18:38,083 "Thank you very much. Yes or no?" 420 00:18:39,418 --> 00:18:41,752 Orion had just released Terminator. 421 00:18:41,753 --> 00:18:43,754 And so, they kept pushing, you know, 422 00:18:43,755 --> 00:18:45,690 Arnold Schwarzenegger as RoboCop. 423 00:18:45,691 --> 00:18:46,958 But then, of course, 424 00:18:46,959 --> 00:18:48,893 when we were talking to Rob Bottin, 425 00:18:48,894 --> 00:18:51,696 who built the costume, he said, "You know, what are you asking? 426 00:18:51,697 --> 00:18:53,898 Basically, Arnold is already like this, 427 00:18:53,899 --> 00:18:55,466 and I have added the costume, 428 00:18:55,467 --> 00:18:56,934 and it will be like that, you know? 429 00:18:56,935 --> 00:18:58,103 And it won't look good." 430 00:18:59,805 --> 00:19:02,573 We auditioned and taped a lot of people. 431 00:19:02,574 --> 00:19:06,244 We knew we wanted, you know, a slim, sleek robot. 432 00:19:06,245 --> 00:19:07,778 The suit bulks you up. 433 00:19:07,779 --> 00:19:10,748 So, we needed somebody who was actually thinner 434 00:19:10,749 --> 00:19:13,085 than the final shape we wanted to achieve. 435 00:19:14,887 --> 00:19:16,420 You know, we went through this whole long process, 436 00:19:16,421 --> 00:19:18,055 and we looked at certain people. 437 00:19:18,056 --> 00:19:20,424 We looked for a second at Keith Carradine, 438 00:19:20,425 --> 00:19:23,394 but Paul thought that he was a little too folksy. 439 00:19:23,395 --> 00:19:25,997 And one of the people that flew down on their own dime 440 00:19:25,998 --> 00:19:27,765 was Peter Fonda. 441 00:19:27,766 --> 00:19:30,935 But we thought he might be just a little soft. 442 00:19:30,936 --> 00:19:33,070 David Carradine came in for RoboCop. 443 00:19:33,071 --> 00:19:35,006 He was really funny. He's like, "Yeah. 444 00:19:35,007 --> 00:19:36,140 Come on, guys. Let's just do it." 445 00:19:36,141 --> 00:19:37,742 We saw everybody. 446 00:19:37,743 --> 00:19:39,944 And Rutger Hauer, who Paul had worked with 447 00:19:39,945 --> 00:19:41,412 on Flesh and Blood, 448 00:19:41,413 --> 00:19:42,647 and either they'd had enough of each other 449 00:19:42,648 --> 00:19:44,081 or they were scheduling differences, 450 00:19:44,082 --> 00:19:46,284 but Rutger was never really considered. 451 00:19:46,285 --> 00:19:49,086 Basically, the next choice was Michael Aronside, 452 00:19:49,087 --> 00:19:52,190 because we had all seen him in this television series, V. 453 00:19:52,191 --> 00:19:53,824 But when we were talking to Michael, 454 00:19:53,825 --> 00:19:57,295 he had such other ideas at that time. 455 00:19:57,296 --> 00:20:00,131 I won't say that they would want to rewrite the whole script, 456 00:20:00,132 --> 00:20:01,165 but nearly. 457 00:20:01,166 --> 00:20:02,767 And I remember wishing, 458 00:20:02,768 --> 00:20:04,535 "I wish that an actor would really take this on 459 00:20:04,536 --> 00:20:07,205 as a challenge and not get all wigged out 460 00:20:07,206 --> 00:20:08,639 that, you know, you're not gonna see his eyes 461 00:20:08,640 --> 00:20:10,341 all this time. 462 00:20:10,342 --> 00:20:11,609 Everybody was always like, "Oh, he's got to see his eyes." 463 00:20:11,610 --> 00:20:13,211 Even my writing partner would go, 464 00:20:13,212 --> 00:20:14,645 "Well, can't he just lift up his helmet sometimes?" 465 00:20:14,646 --> 00:20:16,847 And I said, "No, he can't! He can't do it. 466 00:20:16,848 --> 00:20:18,149 Not until the helmet comes off." 467 00:20:18,150 --> 00:20:19,550 That was, like, a big fight. So... 468 00:20:19,551 --> 00:20:21,520 When you pick the actor, look at his jawline. 469 00:20:23,055 --> 00:20:24,655 And we looked. We did, you know? 470 00:20:24,656 --> 00:20:26,791 We were looking at the jawline all the time. 471 00:20:26,792 --> 00:20:28,793 Because that's all you will see, isn't it? 472 00:20:28,794 --> 00:20:31,797 You don't see his eyes anymore. You see only the jawline. 473 00:20:33,298 --> 00:20:35,032 Orion made a movie called Buckaroo Banzai 474 00:20:35,033 --> 00:20:36,701 with Peter Weller in it. 475 00:20:36,702 --> 00:20:38,370 No matter where you go... 476 00:20:40,539 --> 00:20:42,306 there you are. 477 00:20:42,307 --> 00:20:44,175 And they were suddenly interested in him 478 00:20:44,176 --> 00:20:45,376 because that movie had done pretty well 479 00:20:45,377 --> 00:20:48,379 in certain territories. 480 00:20:48,380 --> 00:20:50,581 So, he came in right at the end, 481 00:20:50,582 --> 00:20:52,216 and he wouldn't read on camera, 482 00:20:52,217 --> 00:20:53,584 and he wouldn't read in front of everybody. 483 00:20:53,585 --> 00:20:56,254 So, he read with me in front of Paul. 484 00:20:56,255 --> 00:20:58,923 And there was a very tense reading between Peter and I. 485 00:20:58,924 --> 00:21:00,424 I was, like, scared to read with him, 486 00:21:00,425 --> 00:21:02,261 and... and should have been. 487 00:21:03,428 --> 00:21:05,496 All right, are you ready? 488 00:21:05,497 --> 00:21:06,565 Are you rolling? 489 00:21:10,068 --> 00:21:11,336 Test, test, test. 490 00:21:13,338 --> 00:21:15,340 Dead or alive, you are coming with me. 491 00:21:20,779 --> 00:21:24,849 My career was essentially one of a jazz musician. 492 00:21:24,850 --> 00:21:26,617 I wanted to be Miles Davis. 493 00:21:26,618 --> 00:21:28,352 I went to North Texas State. 494 00:21:28,353 --> 00:21:30,388 I ended my music career by going, 495 00:21:30,389 --> 00:21:31,555 "I don't wanna get yelled at. 496 00:21:31,556 --> 00:21:32,723 I'm not going to be Miles Davis. 497 00:21:32,724 --> 00:21:34,358 I'm not that great. I'm good. 498 00:21:34,359 --> 00:21:35,593 I can make some money, 499 00:21:35,594 --> 00:21:37,094 but I don't wanna sit at a bandstand 500 00:21:37,095 --> 00:21:38,362 the rest of my life." 501 00:21:38,363 --> 00:21:41,198 So, I moved into acting and English 502 00:21:41,199 --> 00:21:43,934 just to get out of school and stay out of Vietnam. 503 00:21:43,935 --> 00:21:45,403 I worked in the theater right away, 504 00:21:45,404 --> 00:21:46,904 and I loved the theater, 505 00:21:46,905 --> 00:21:49,307 and I became a member of the actor's studio. 506 00:21:49,308 --> 00:21:51,909 I get to do this amazing Western with Richard Lester. 507 00:21:51,910 --> 00:21:53,711 Try to remember my face. 508 00:21:53,712 --> 00:21:54,979 And then I meet Sidney Lemaitre 509 00:21:54,980 --> 00:21:56,280 for Just Tell Me What You Want. 510 00:21:56,281 --> 00:21:58,482 And then I get to do Shoot the Moon 511 00:21:58,483 --> 00:22:00,051 with Alan Parker, 512 00:22:00,052 --> 00:22:03,421 one of the great feminist movies ever, ever, ever. 513 00:22:03,422 --> 00:22:05,389 It's incredible. 514 00:22:05,390 --> 00:22:08,125 And then George Cosmatos offers me An Unknown Origin. 515 00:22:08,126 --> 00:22:10,094 I do Firstborn with Michael Aptek, 516 00:22:10,095 --> 00:22:11,462 the great Michael Aptek. 517 00:22:11,463 --> 00:22:13,964 And it goes into Buckaroo Banzai. 518 00:22:13,965 --> 00:22:15,333 Evil! 519 00:22:15,334 --> 00:22:17,268 You are a step up on the eighth dimension! 520 00:22:17,269 --> 00:22:18,469 Get 'em! 521 00:22:18,470 --> 00:22:19,738 Phenomenal experience. 522 00:22:23,175 --> 00:22:25,476 I meet Paul, and Paul's like this. 523 00:22:25,477 --> 00:22:26,811 You know, Paul's not like a laid-back, 524 00:22:26,812 --> 00:22:28,512 "Hey, how are you doing" guy. 525 00:22:28,513 --> 00:22:30,815 I'm in his office, and he says, "Why don't you audition?" 526 00:22:30,816 --> 00:22:32,817 I said, "I'm not going to audition. 527 00:22:32,818 --> 00:22:35,486 I do not get hired like that." 528 00:22:35,487 --> 00:22:37,188 I said, "Do you get a vibe out of me? 529 00:22:37,189 --> 00:22:39,657 'Cause I get a vibe out of you, and I know your movies." 530 00:22:39,658 --> 00:22:41,359 At some point in time, he says, "Well, you're an athlete." 531 00:22:41,360 --> 00:22:43,794 I said, "Yeah, I'm a marathon runner, 532 00:22:43,795 --> 00:22:44,929 you know, and a ballet dancer. 533 00:22:44,930 --> 00:22:47,965 Mediocre, but I can move." 534 00:22:47,966 --> 00:22:49,500 It's really interesting. 535 00:22:49,501 --> 00:22:51,035 And he says, "Well, can you move around this room?" 536 00:22:51,036 --> 00:22:52,803 I said, "Yeah, I've taken a little bit of mime." 537 00:22:52,804 --> 00:22:54,705 So, I move around the room. I do some moves for him, right? 538 00:22:54,706 --> 00:22:56,874 The fact that Peter took it all seriously 539 00:22:56,875 --> 00:22:59,977 and didn't mind all that stuff impressed me even then. 540 00:22:59,978 --> 00:23:01,879 And he's a strong guy, 541 00:23:01,880 --> 00:23:03,781 and he can be a tough character to deal with. 542 00:23:03,782 --> 00:23:05,116 But without that commitment, 543 00:23:05,117 --> 00:23:07,051 there wouldn't be a RoboCop either. 544 00:23:07,052 --> 00:23:09,821 And that day is when RoboCop offer came in. 545 00:23:13,125 --> 00:23:17,795 Originally, Stephanie Zimbalist was playing Lewis. 546 00:23:17,796 --> 00:23:19,497 I'll do it for you. 547 00:23:19,498 --> 00:23:21,799 And she was a lovely and talented actress. 548 00:23:21,800 --> 00:23:25,636 But she had a hold on her for another year of a show 549 00:23:25,637 --> 00:23:27,138 she was doing called Remington Steele. 550 00:23:27,139 --> 00:23:28,672 And she was suddenly unavailable to us. 551 00:23:28,673 --> 00:23:30,207 And at the last second, it was a little bit, 552 00:23:30,208 --> 00:23:31,909 "Oh, my God. What are we going to do?" 553 00:23:31,910 --> 00:23:34,211 We were not trying to cast a, you know, like, 554 00:23:34,212 --> 00:23:35,713 "It's the robot and the sexy girl," 555 00:23:35,714 --> 00:23:37,681 which is what the cliché would be. 556 00:23:37,682 --> 00:23:39,984 And the part isn't really the sexy girl part. 557 00:23:39,985 --> 00:23:42,987 It's the professional woman police officer part. 558 00:23:42,988 --> 00:23:44,822 We saw everybody in town who didn't have a career yet, 559 00:23:44,823 --> 00:23:46,590 and that was interesting. 560 00:23:46,591 --> 00:23:47,825 So, I wasn't used to actually seeing people 561 00:23:47,826 --> 00:23:49,193 I'd have seen in movies. 562 00:23:49,194 --> 00:23:50,528 It was very rare for someone to come in 563 00:23:50,529 --> 00:23:52,496 who was an actual movie star. 564 00:23:52,497 --> 00:23:55,766 I've seen these big movie stars like Barbra Streisand, you know? 565 00:23:55,767 --> 00:23:58,235 And I remember meeting Nancy, and she came in with her agent. 566 00:23:58,236 --> 00:23:59,403 May we come in? 567 00:23:59,404 --> 00:24:00,671 And I was like, "Oh, wow. 568 00:24:00,672 --> 00:24:02,406 She's Nancy Allen." 569 00:24:02,407 --> 00:24:04,208 Thanks. 570 00:24:04,209 --> 00:24:05,743 I wasn't looking, 571 00:24:05,744 --> 00:24:09,280 but I was so thrilled to have somebody 572 00:24:09,281 --> 00:24:11,215 send me something that I did not have to put on 573 00:24:11,216 --> 00:24:13,751 black lingerie one more time. 574 00:24:13,752 --> 00:24:15,553 And not that I don't like black lingerie, 575 00:24:15,554 --> 00:24:16,854 but I thought, 576 00:24:16,855 --> 00:24:18,923 "There's more to me than that, really?" 577 00:24:18,924 --> 00:24:23,194 Uh, and to the opportunity to play a woman of strength. 578 00:24:23,195 --> 00:24:25,863 Now, I've always tried to add something strong 579 00:24:25,864 --> 00:24:28,800 to my characters, but sometimes, you're limited. 580 00:24:30,302 --> 00:24:33,070 I knew Nancy Allen's work. I was a fan. 581 00:24:33,071 --> 00:24:36,040 And you meet Nancy Allen, and she is so charming. 582 00:24:36,041 --> 00:24:37,575 And then you find out that Nancy Allen's born 583 00:24:37,576 --> 00:24:39,376 on your birthday. 584 00:24:39,377 --> 00:24:42,112 Hey. Now, she's quite younger and better-looking than me, 585 00:24:42,113 --> 00:24:43,881 but she was born on June 24th. 586 00:24:43,882 --> 00:24:45,382 With this, it felt, 587 00:24:45,383 --> 00:24:47,418 yeah, she's a really heroic, strong woman. 588 00:24:47,419 --> 00:24:48,719 I identified with her 589 00:24:48,720 --> 00:24:50,040 'cause I'm very, very independent. 590 00:24:50,589 --> 00:24:53,424 I think actors wanna play against type. 591 00:24:53,425 --> 00:24:55,059 And so, I think 592 00:24:55,060 --> 00:24:57,795 when Ronny Cox gets offered a bad guy 593 00:24:57,796 --> 00:24:59,663 and has to go for an audition, 594 00:24:59,664 --> 00:25:01,932 he might put a little more work into it. 595 00:25:01,933 --> 00:25:04,335 I find that very easy to believe. 596 00:25:04,336 --> 00:25:07,171 I had the reputation of being a good actor, 597 00:25:07,172 --> 00:25:10,674 but that I played soft roles. 598 00:25:10,675 --> 00:25:14,645 And it used to piss me off to no end, 599 00:25:14,646 --> 00:25:16,747 because I've been an athlete my whole life, 600 00:25:16,748 --> 00:25:18,148 and I can do things 601 00:25:18,149 --> 00:25:20,150 that nine-tenths of the guys couldn't do. 602 00:25:20,151 --> 00:25:22,319 And what is wrong with winning? 603 00:25:22,320 --> 00:25:24,522 With showing you're the best at what you do? 604 00:25:24,523 --> 00:25:28,126 But I got known as this soft, sensitive actor. 605 00:25:29,861 --> 00:25:31,529 So, my agents, they were looking at me, 606 00:25:31,530 --> 00:25:33,697 and said, "Ronny, here's a chance 607 00:25:33,698 --> 00:25:36,868 for you to play Dick Jones in RoboCop. 608 00:25:38,336 --> 00:25:40,704 He's sort of worse than anybody." 609 00:25:40,705 --> 00:25:43,107 I originally did the budget for RoboCop. 610 00:25:43,108 --> 00:25:45,976 And it came in about 12 million dollars. 611 00:25:45,977 --> 00:25:48,112 And I gave the budget to Orion, and they said, 612 00:25:48,113 --> 00:25:49,713 "Well, we're only gonna make this 613 00:25:49,714 --> 00:25:51,782 if it's 10 million dollars." 614 00:25:51,783 --> 00:25:54,451 So, of course, when the studio does that, you go away, 615 00:25:54,452 --> 00:25:57,855 you come back with a budget for 99.95. 616 00:25:57,856 --> 00:26:01,158 When Paul Verhoeven sat down with the producer, Jon Davison, 617 00:26:01,159 --> 00:26:03,527 and said, "What do you think this movie should look like?" 618 00:26:03,528 --> 00:26:05,296 Paul said, "Well, it should look like Blade Runner, of course." 619 00:26:05,297 --> 00:26:06,697 I was so impressed 620 00:26:06,698 --> 00:26:09,967 by the production design of Blade Runner 621 00:26:09,968 --> 00:26:11,735 that I thought, "Okay. 622 00:26:11,736 --> 00:26:14,371 We'll do it differently, but we have to do it that way." 623 00:26:14,372 --> 00:26:15,973 Jon Davison said, 624 00:26:15,974 --> 00:26:17,875 "Well, you can either have the robot character, 625 00:26:17,876 --> 00:26:19,476 RoboCop, or you can have the look 626 00:26:19,477 --> 00:26:21,145 of Blade Runner. So, which do you want?" 627 00:26:21,146 --> 00:26:24,415 Of course, the costume was in the center of the frame 628 00:26:24,416 --> 00:26:26,050 throughout the whole movie. 629 00:26:26,051 --> 00:26:28,620 So, it was, let's say, not a very difficult choice. 630 00:26:32,424 --> 00:26:36,427 We spent at least a year and a million dollars 631 00:26:36,428 --> 00:26:38,730 working with Rob on this suit. 632 00:26:39,831 --> 00:26:41,532 It's Rob's design. 633 00:26:41,533 --> 00:26:43,701 You know, Rob is a great, sort of, inspiring art director. 634 00:26:43,702 --> 00:26:45,102 It's really his vision, you know? 635 00:26:45,103 --> 00:26:48,205 He was a perfectionist and a workaholic. 636 00:26:48,206 --> 00:26:51,876 And so, you wanted to please him and do your best work for him. 637 00:26:53,712 --> 00:26:57,114 We took a lot of stylistic cues from cars from the '50s. 638 00:26:57,115 --> 00:26:59,617 We looked a lot at previous robots from films, 639 00:26:59,618 --> 00:27:01,885 realizing that nobody had come even close to doing 640 00:27:01,886 --> 00:27:03,687 what we had to do. 641 00:27:03,688 --> 00:27:06,423 Well, Maria's pretty sexy, you know, in Metropolis. 642 00:27:06,424 --> 00:27:08,192 Gorgeous design, beautiful craftsmanship, 643 00:27:08,193 --> 00:27:10,227 but she can barely move. You've seen that thing. 644 00:27:10,228 --> 00:27:14,632 Of course, Gort is sleek. Tobar's pretty clunky. 645 00:27:14,633 --> 00:27:16,867 We didn't wanna go that route, you know? 646 00:27:16,868 --> 00:27:19,937 And Robby, we love, but you know, he's passé. 647 00:27:19,938 --> 00:27:21,772 That is correct, sir. 648 00:27:21,773 --> 00:27:23,741 C-3PO was probably the most sophisticated thing 649 00:27:23,742 --> 00:27:25,242 that had been done to date, 650 00:27:25,243 --> 00:27:26,810 but, you know, he can barely, sort of, move. 651 00:27:26,811 --> 00:27:28,779 He can walk, but he's kind of like this. 652 00:27:28,780 --> 00:27:31,148 And RoboCop had to be basically in action here. 653 00:27:31,149 --> 00:27:32,749 He had to punch. He had to do everything. 654 00:27:35,787 --> 00:27:37,388 Rob brought me outside 655 00:27:37,389 --> 00:27:39,089 to look at the body cast of Peter Weller, 656 00:27:39,090 --> 00:27:41,225 and there was a challenge there. 657 00:27:41,226 --> 00:27:44,161 Peter Weller was not that tall. His hips were a little wide, 658 00:27:44,162 --> 00:27:45,963 and his shoulders kind of narrow. 659 00:27:45,964 --> 00:27:47,464 So, with those three things going on, 660 00:27:47,465 --> 00:27:49,133 we had a real challenge 661 00:27:49,134 --> 00:27:50,768 to try to give him a, sort of, heroic shape. 662 00:27:50,769 --> 00:27:52,169 Every couple of weeks, 663 00:27:52,170 --> 00:27:55,506 Paul, Ed, and I would go over to Rob's shop, 664 00:27:55,507 --> 00:27:57,742 and he would present various maquettes. 665 00:27:58,977 --> 00:28:00,411 They actually made Judge Dredd, 666 00:28:00,412 --> 00:28:02,579 and said, "Well, this is RoboCop." 667 00:28:02,580 --> 00:28:04,782 And I said to Jon Davison, "Are you fucking kidding? 668 00:28:04,783 --> 00:28:06,684 You can't do this." 669 00:28:06,685 --> 00:28:08,118 And I'd never heard of Judge Dredd. 670 00:28:08,119 --> 00:28:09,453 I'd never heard of Judge Dredd 671 00:28:09,454 --> 00:28:10,988 here in America, believe it or not. 672 00:28:10,989 --> 00:28:12,456 Although I learned about it later, 673 00:28:12,457 --> 00:28:14,692 and I definitely see the lineage, you know, 674 00:28:14,693 --> 00:28:16,360 of Robo coming from there. 675 00:28:16,361 --> 00:28:18,696 There was no Judge Dredd reference material. 676 00:28:18,697 --> 00:28:21,699 He was never mentioned in Rob's shop. 677 00:28:21,700 --> 00:28:23,701 Verhoeven and company were coming in, 678 00:28:23,702 --> 00:28:25,369 and they were art directing the hell out of the suit, 679 00:28:25,370 --> 00:28:28,005 and making very arbitrary comments. 680 00:28:28,006 --> 00:28:29,940 We started to basically say, 681 00:28:29,941 --> 00:28:32,276 "Well, it has to be very broad shoulders 682 00:28:32,277 --> 00:28:34,778 like a rugby or whatever, very broad shoulders," 683 00:28:34,779 --> 00:28:35,879 and this, and that. 684 00:28:35,880 --> 00:28:37,848 Rob had to do everything in clay 685 00:28:37,849 --> 00:28:40,017 over, and over, and over, and over again. 686 00:28:40,018 --> 00:28:43,187 Occasionally, somebody would fashion a penis, 687 00:28:43,188 --> 00:28:45,123 and stick it on the thing and... 688 00:28:46,891 --> 00:28:48,692 Sounds like it may have been Verhoeven. 689 00:28:48,693 --> 00:28:50,561 Rob Bottin got so angry 690 00:28:50,562 --> 00:28:53,130 that he basically gave his little knife, 691 00:28:53,131 --> 00:28:55,065 he throwed his knife to me, and said, 692 00:28:55,066 --> 00:28:56,700 "You cut it! You cut it now!" 693 00:28:56,701 --> 00:28:59,470 And I stupid enough started also to do that. 694 00:28:59,471 --> 00:29:03,874 I mean, how bad I behaved, and we nearly destroyed this 695 00:29:03,875 --> 00:29:07,545 by our, let's say, stupid thinking. 696 00:29:10,715 --> 00:29:15,819 We knew that what we wanted was something sleek and sexy. 697 00:29:15,820 --> 00:29:18,489 I had a book by an illustrator named Soriyama. 698 00:29:18,490 --> 00:29:20,324 He was an illustrator that was kind of popular then. 699 00:29:20,325 --> 00:29:23,494 He had done a lot of, sort of, sexy chrome girls, 700 00:29:23,495 --> 00:29:25,195 and he had a book out called Sexy Robot. 701 00:29:25,196 --> 00:29:26,597 And I had this book. 702 00:29:26,598 --> 00:29:27,565 It was full of his beautiful illustrations. 703 00:29:27,566 --> 00:29:29,166 So, I brought that in, 704 00:29:29,167 --> 00:29:32,069 and Rob picked it up one day, and said, "This is it. 705 00:29:32,070 --> 00:29:33,337 Take this aesthetic, 706 00:29:33,338 --> 00:29:34,872 and we'll graft it onto his body, 707 00:29:34,873 --> 00:29:36,406 and see what that does." 708 00:29:36,407 --> 00:29:39,710 That Japanese airbrush, girly stuff, that, 709 00:29:39,711 --> 00:29:42,679 and having the robot from Fritz Lang's Metropolis, 710 00:29:42,680 --> 00:29:45,116 and you put them together, and you got Robo. 711 00:29:49,387 --> 00:29:51,588 The simple slit for an eye, 712 00:29:51,589 --> 00:29:54,858 the big shoulders coming up over the torso. 713 00:29:54,859 --> 00:29:56,560 I thought, "Well, shouldn't he just 714 00:29:56,561 --> 00:29:59,696 have an OCP badge sculpted or molded right onto his chest?" 715 00:29:59,697 --> 00:30:01,965 And Rob for some reason felt like it shouldn't be there. 716 00:30:01,966 --> 00:30:03,567 So, he said, 717 00:30:03,568 --> 00:30:05,135 "Why don't you come up with something else?" 718 00:30:05,136 --> 00:30:07,037 So, I thought, "Well, that little grill on his chest 719 00:30:07,038 --> 00:30:09,238 is a speaker for his voice when he needs to project it." 720 00:30:09,641 --> 00:30:12,042 Let the woman go. You are under arrest. 721 00:30:12,043 --> 00:30:13,410 I covered him with these very fine little, 722 00:30:13,411 --> 00:30:15,779 sort of, pen-striped seams. 723 00:30:15,780 --> 00:30:17,815 That big piston coming out of his calves 724 00:30:17,816 --> 00:30:20,484 that sort of acts as an Achilles tendon. 725 00:30:20,485 --> 00:30:22,386 These are all things so that when he rotates around 726 00:30:22,387 --> 00:30:23,787 on the screen, 727 00:30:23,788 --> 00:30:25,348 he always strikes a powerful silhouette. 728 00:30:27,091 --> 00:30:28,992 Rob had a great design sense. 729 00:30:28,993 --> 00:30:31,762 He was always pushing for memorable elements. 730 00:30:31,763 --> 00:30:33,730 He wanted to create a character 731 00:30:33,731 --> 00:30:35,133 that would last in people's psyches. 732 00:30:37,235 --> 00:30:40,137 Peter said he wanted to hire a movement coach. 733 00:30:40,138 --> 00:30:42,673 I was called by Peter Weller. 734 00:30:42,674 --> 00:30:45,509 And he asked me whether he could meet with me. 735 00:30:45,510 --> 00:30:48,579 I said, "Why don't you come to the theater sometimes 736 00:30:48,580 --> 00:30:50,280 and we'll play together? 737 00:30:50,281 --> 00:30:54,117 We'll see if we can manage to make something interesting." 738 00:30:54,118 --> 00:30:56,119 Moni Akin is a genius mime. 739 00:30:56,120 --> 00:30:57,521 He's a pantomime, 740 00:30:57,522 --> 00:30:58,956 but he's moved mime into the field of dance, 741 00:30:58,957 --> 00:31:00,190 and he's head of the movement department 742 00:31:00,191 --> 00:31:01,625 at Juilliard. 743 00:31:01,626 --> 00:31:02,659 And he said, "Why don't we do something, 744 00:31:02,660 --> 00:31:04,494 like, more dance-like, right? 745 00:31:04,495 --> 00:31:07,764 And it was almost like kung fu. 746 00:31:07,765 --> 00:31:12,302 It was like almost aikido. A facile type of character. 747 00:31:12,303 --> 00:31:15,806 A cop who has got fantastic energy, and facility, 748 00:31:15,807 --> 00:31:17,107 and physique. 749 00:31:17,108 --> 00:31:19,009 We worked with hockey gear. 750 00:31:19,010 --> 00:31:22,279 And we did things very swift, very fast. 751 00:31:22,280 --> 00:31:25,515 Running, and jumping, and shooting, and falling, 752 00:31:25,516 --> 00:31:28,518 and all kind of acrobatic things. 753 00:31:28,519 --> 00:31:31,355 And he felt pretty secure at the time, 754 00:31:31,356 --> 00:31:33,523 and he went to film it. 755 00:31:33,524 --> 00:31:35,826 The suit arrived, I would say, 756 00:31:35,827 --> 00:31:38,996 at least two weeks late, after it was promised. 757 00:31:38,997 --> 00:31:41,999 So, we couldn't shoot anything that we'd planned with Robo. 758 00:31:42,000 --> 00:31:44,668 We were doing a screen test with him that first day, 759 00:31:44,669 --> 00:31:46,169 and he was trying the suit on. 760 00:31:46,170 --> 00:31:50,307 When I first put it on, uh, it took a long time. 761 00:31:50,308 --> 00:31:51,175 Twelve hours. 762 00:31:51,175 --> 00:31:51,976 Eleven hours. 763 00:31:51,977 --> 00:31:53,844 Ten hours. 764 00:31:53,845 --> 00:31:55,345 It took ten hours to get into it the first time. 765 00:31:55,346 --> 00:31:57,180 Ten hours. 766 00:31:57,181 --> 00:31:59,349 Peter Weller was brought to the set. 767 00:31:59,350 --> 00:32:02,386 Basically, a makeup room, at three o'clock in the morning. 768 00:32:02,387 --> 00:32:03,987 And at three o'clock in the afternoon, 769 00:32:03,988 --> 00:32:05,589 it still didn't fit. 770 00:32:05,590 --> 00:32:08,158 And he was not happy. You know, he was not happy. 771 00:32:08,159 --> 00:32:11,161 The fucking suit doesn't work! 772 00:32:11,162 --> 00:32:13,830 Peter tried on the suit and freaked out. 773 00:32:13,831 --> 00:32:15,732 Fuck it, you know? This is what happened. 774 00:32:15,733 --> 00:32:18,435 He was fucked from what he wanted to do. 775 00:32:18,436 --> 00:32:20,170 Peter Weller couldn't walk in it. 776 00:32:20,171 --> 00:32:21,738 I'm bummed, 777 00:32:21,739 --> 00:32:24,908 'cause I can't do what Moni has been six months 778 00:32:24,909 --> 00:32:26,543 teaching me to do. 779 00:32:26,544 --> 00:32:28,679 He had to study for weeks and weeks, Peter Weller, 780 00:32:28,680 --> 00:32:30,714 with all these things around him, 781 00:32:30,715 --> 00:32:32,716 thinking that basically, now, that it's the costume, 782 00:32:32,717 --> 00:32:34,017 he could do the same. 783 00:32:34,018 --> 00:32:35,353 He couldn't do any of it. Nothing. 784 00:32:36,921 --> 00:32:38,288 I remember sitting there 785 00:32:38,289 --> 00:32:39,923 thinking, "Either we're gonna be here 786 00:32:39,924 --> 00:32:43,393 for the next six months, or they're gonna shut us down. 787 00:32:43,394 --> 00:32:46,263 And I just had this kinda like sinking thing. 788 00:32:46,264 --> 00:32:47,631 He felt cheated, you know? 789 00:32:47,632 --> 00:32:50,067 He felt that he was basically betrayed 790 00:32:50,068 --> 00:32:52,235 in his preparation for the part. 791 00:32:52,236 --> 00:32:53,570 Everyone hated everybody. 792 00:32:53,571 --> 00:32:54,972 Everyone was fighting. 793 00:32:54,973 --> 00:32:57,375 And it was really annoying, this thing. 794 00:32:59,110 --> 00:33:01,078 Paul threw a shit fit. 795 00:33:01,079 --> 00:33:03,647 Rob threw another shit fit. Ed tried to get into the mix. 796 00:33:03,648 --> 00:33:05,949 I got into Ed's face about getting into it. 797 00:33:05,950 --> 00:33:07,317 I look back now, and I kind of cringe, 798 00:33:07,318 --> 00:33:08,952 like the things I did and said. 799 00:33:08,953 --> 00:33:11,089 But anyway, uh, that's how that went. 800 00:33:12,056 --> 00:33:13,824 And then I said, 801 00:33:13,825 --> 00:33:16,760 "This is not gonna work for me," and everybody just went home. 802 00:33:16,761 --> 00:33:19,496 And I'm bummed that Verhoeven now doesn't like me, 803 00:33:19,497 --> 00:33:20,797 or I don't like him either. 804 00:33:20,798 --> 00:33:23,066 We were basically looking, 805 00:33:23,067 --> 00:33:26,303 do we have to do other things, another actor, what, what, what? 806 00:33:26,304 --> 00:33:27,804 And then I get this call 807 00:33:27,805 --> 00:33:29,940 on the dead of night from Medavoy. 808 00:33:29,941 --> 00:33:31,274 He says, you know, 809 00:33:31,275 --> 00:33:32,776 "Paul's thinking about cutting you loose 810 00:33:32,777 --> 00:33:34,678 'cause he's had a bad time on his last film, 811 00:33:34,679 --> 00:33:35,979 and he just doesn't wanna go 812 00:33:35,980 --> 00:33:37,447 through the movie star problem again." 813 00:33:37,448 --> 00:33:38,915 Then Medavoy came there. 814 00:33:38,916 --> 00:33:41,518 He was the head of Orion, seeing basically 815 00:33:41,519 --> 00:33:45,022 what was happening, said, "Okay, you stop. 816 00:33:45,023 --> 00:33:47,024 You're going to figure it out together." 817 00:33:47,025 --> 00:33:49,426 So, they shut down production for a few days. 818 00:33:49,427 --> 00:33:51,028 What they're gonna do is they're gonna do tests. 819 00:33:51,029 --> 00:33:52,996 They're gonna print them in 24 hours. 820 00:33:52,997 --> 00:33:55,265 They're gonna look at the tests, Mike Medavoy and Bob Bernstein 821 00:33:55,266 --> 00:33:56,867 are gonna get on the phone, and say 822 00:33:56,868 --> 00:33:58,535 whether this movie is gonna be made or not. 823 00:33:58,536 --> 00:34:02,940 It was really a crisis of the highest level, in fact. 824 00:34:04,475 --> 00:34:06,043 They flew in Moni. 825 00:34:06,044 --> 00:34:09,046 Everybody was depressed. 826 00:34:09,047 --> 00:34:12,449 Paul Verhoeven, I saw him all brooding, 827 00:34:12,450 --> 00:34:14,351 coming towards me, and he tells me, 828 00:34:14,352 --> 00:34:16,987 "Moni, it's not working." 829 00:34:16,988 --> 00:34:19,289 Moni says, "I need 30 minutes." 830 00:34:19,290 --> 00:34:20,791 And then they put the suit on me. 831 00:34:20,792 --> 00:34:22,692 And he says, "Cut the elbows out of the... 832 00:34:22,693 --> 00:34:25,729 Cut the feet off the thing, the knees and so forth, 833 00:34:25,730 --> 00:34:27,998 so that the joints, the shoulders, everything, 834 00:34:27,999 --> 00:34:30,033 so that all the joints can move. 835 00:34:30,034 --> 00:34:35,739 Because of the awesomeness and the size of this costume, 836 00:34:35,740 --> 00:34:39,509 the thought process of this creature 837 00:34:39,510 --> 00:34:41,511 was much slower. 838 00:34:41,512 --> 00:34:47,050 He says, "Think of yourself as a captured animal. 839 00:34:47,051 --> 00:34:51,721 Huge movements! Huge, with staccato." 840 00:34:51,722 --> 00:34:55,158 And then turn the head, and, like, I said, 841 00:34:55,159 --> 00:35:00,664 "This feels so phony. This feels like bad opera." 842 00:35:00,665 --> 00:35:02,532 And he goes, "I know. Keep doing it." 843 00:35:02,533 --> 00:35:04,534 He said, "Then I'm gonna show you a film." 844 00:35:04,535 --> 00:35:06,837 And then Nikolay Cherkasov came to mind, 845 00:35:06,838 --> 00:35:09,439 because he played Ivan the Terrible, 846 00:35:09,440 --> 00:35:13,110 and he was tremendously stylized. 847 00:35:13,111 --> 00:35:16,880 Everything is this long move 848 00:35:16,881 --> 00:35:18,515 with a staccato at the end of it, 849 00:35:18,516 --> 00:35:21,184 and it's a head turn, like that, right? 850 00:35:21,185 --> 00:35:23,186 And it's phenomenal. 851 00:35:23,187 --> 00:35:24,421 And he turns, 852 00:35:24,422 --> 00:35:26,356 and he will look back at the camera, 853 00:35:26,357 --> 00:35:28,458 and do these things, you know, that are very robotic. 854 00:35:28,459 --> 00:35:30,260 It's a phenomenal performance. 855 00:35:30,261 --> 00:35:31,728 You never get tired of it, and I watched it twice, 856 00:35:31,729 --> 00:35:33,130 and I watched it the next day. 857 00:35:33,131 --> 00:35:34,764 It just struck me 858 00:35:34,765 --> 00:35:39,402 that instead of having the brain in the head, 859 00:35:39,403 --> 00:35:42,772 we had to transfer the brain to the chest, 860 00:35:42,773 --> 00:35:44,708 which means the chest 861 00:35:44,709 --> 00:35:47,711 will be the first thing to react, 862 00:35:47,712 --> 00:35:50,647 and then the neck, and then the head. 863 00:35:50,648 --> 00:35:54,584 We ended in staccato almost every slow motion 864 00:35:54,585 --> 00:36:01,625 to define the process of thought that goes on in the slow motion, 865 00:36:01,626 --> 00:36:04,094 and then getting it. 866 00:36:04,095 --> 00:36:05,896 And I said, "I get it, man. 867 00:36:05,897 --> 00:36:07,998 That is RoboCop." 868 00:36:07,999 --> 00:36:10,734 Peter basically adapted. 869 00:36:10,735 --> 00:36:13,236 You know, and I go up to Paul, I said... apologized to him, 870 00:36:13,237 --> 00:36:15,672 "Whatever it is, you know, I'll do what you want." 871 00:36:15,673 --> 00:36:17,574 And we sat together, and say, 872 00:36:17,575 --> 00:36:20,310 "Okay, let's basically shake hands and all," 873 00:36:20,311 --> 00:36:22,445 and say, "Okay, we try again." 874 00:36:22,446 --> 00:36:23,847 So, we shot. 875 00:36:23,848 --> 00:36:26,449 And in the evening, we saw the Russians. 876 00:36:26,450 --> 00:36:27,684 Whoa. 877 00:36:27,685 --> 00:36:29,319 And everybody jumped, and applauded, 878 00:36:29,320 --> 00:36:31,688 and said, "We got it." 879 00:36:31,689 --> 00:36:33,824 And they wouldn't let me come back to New York. 880 00:36:38,262 --> 00:36:42,132 They picked Detroit because Detroit is the emblem 881 00:36:42,133 --> 00:36:45,535 of urban America and controversy. 882 00:36:45,536 --> 00:36:47,470 You know, if they'd have set it in LA, 883 00:36:47,471 --> 00:36:49,172 it wouldn't have gotten a buzz. 884 00:36:49,173 --> 00:36:51,942 Paul really didn't wanna shoot it in Los Angeles. 885 00:36:51,943 --> 00:36:53,710 He just didn't think it would be special. 886 00:36:53,711 --> 00:36:55,178 There were too many movies shot here. 887 00:36:55,179 --> 00:36:56,279 He didn't wanted to do something different. 888 00:36:56,280 --> 00:36:57,981 He really didn't wanna be here. 889 00:36:57,982 --> 00:37:02,552 The studio also didn't wanna pay the IAEA union residuals. 890 00:37:02,553 --> 00:37:04,487 And in order to avoid that, 891 00:37:04,488 --> 00:37:08,058 they were happy to get it out of town somewhere. 892 00:37:08,059 --> 00:37:11,328 My job is to go around with the location person, 893 00:37:11,329 --> 00:37:12,896 sift through a lot of stuff, 894 00:37:12,897 --> 00:37:15,732 hopefully, find a bunch of interesting images, 895 00:37:15,733 --> 00:37:17,901 and then let the director sift those, 896 00:37:17,902 --> 00:37:19,703 and we'd start looking at locations. 897 00:37:19,704 --> 00:37:20,972 We looked in Detroit. 898 00:37:22,340 --> 00:37:23,807 You know, we went to Detroit. 899 00:37:23,808 --> 00:37:25,175 But the problem is, 900 00:37:25,176 --> 00:37:26,843 it didn't look like Detroit, you know? 901 00:37:26,844 --> 00:37:29,813 It had the good rundown bits, 902 00:37:29,814 --> 00:37:32,549 but it didn't have the futuristic stuff. 903 00:37:32,550 --> 00:37:34,986 So, Verhoeven and I went to Dallas. 904 00:37:41,225 --> 00:37:42,993 Dallas at that time was interesting 905 00:37:42,994 --> 00:37:47,264 because it was a film market that was trying to develop. 906 00:37:47,265 --> 00:37:50,333 Dallas had just gone through this huge building period. 907 00:37:50,334 --> 00:37:52,736 So, you had all these really fantastic buildings, 908 00:37:52,737 --> 00:37:55,338 a really futuristic-type landscape. 909 00:37:55,339 --> 00:37:59,576 What sold Paul on Dallas is, it was a skyscraper, 910 00:37:59,577 --> 00:38:02,912 completely outlined in green neon. 911 00:38:02,913 --> 00:38:04,214 And he thought, "Boy, that's great. 912 00:38:04,215 --> 00:38:05,582 That's the future." 913 00:38:05,583 --> 00:38:08,418 And when we got there to shoot, it had broken, 914 00:38:08,419 --> 00:38:09,853 and the light was off. 915 00:38:09,854 --> 00:38:11,421 We looked all over Dallas, 916 00:38:11,422 --> 00:38:13,690 looking at old police stations, and looking at this, 917 00:38:13,691 --> 00:38:16,092 and we finally narrowed it down to what we needed. 918 00:38:16,093 --> 00:38:19,729 I think I had about four, 500,000 dollars for the sets. 919 00:38:19,730 --> 00:38:21,131 We needed that kind of money 920 00:38:21,132 --> 00:38:23,366 because Paul was blowing things up 921 00:38:23,367 --> 00:38:25,469 wherever we went. 922 00:38:27,071 --> 00:38:29,272 It was like we were building sets for Paul to show up 923 00:38:29,273 --> 00:38:30,273 and blow them up. 924 00:38:30,274 --> 00:38:31,274 Take one! 925 00:38:33,644 --> 00:38:35,078 And we discovered 926 00:38:35,079 --> 00:38:37,781 that we could create a corporation in Texas, 927 00:38:37,782 --> 00:38:40,784 hire people on the Texas IA contract. 928 00:38:40,785 --> 00:38:44,054 Their contract didn't stipulate residuals. 929 00:38:44,055 --> 00:38:46,323 So, we set it up that way. 930 00:38:46,324 --> 00:38:48,758 The name of the corporation was Tobor, 931 00:38:48,759 --> 00:38:50,894 robot spelled backwards. 932 00:38:50,895 --> 00:38:54,564 They were shooting in Dallas from August to October in 1986, 933 00:38:54,565 --> 00:38:57,067 which are the hottest, most humid parts 934 00:38:57,068 --> 00:38:58,435 of the United States. 935 00:38:58,436 --> 00:38:59,669 It was hot during the day. 936 00:38:59,670 --> 00:39:01,271 And at night, it just got dark. 937 00:39:01,272 --> 00:39:02,739 It was still hot. It didn't get cooler at night. 938 00:39:02,740 --> 00:39:06,076 It was just dark. 939 00:39:06,077 --> 00:39:09,279 I had an enormous impact on RoboCop 940 00:39:09,280 --> 00:39:12,850 because I was the guy that capitalized the C, 941 00:39:14,518 --> 00:39:17,688 because it was too hard to read with a lowercase C. 942 00:39:19,090 --> 00:39:21,958 I was highly amazed by the news 943 00:39:21,959 --> 00:39:23,927 and television in general, you know? 944 00:39:23,928 --> 00:39:26,196 It was very un-European, 945 00:39:26,197 --> 00:39:28,698 with two people talking and laughing, 946 00:39:28,699 --> 00:39:31,601 and basically, I mean, in Holland and in France, 947 00:39:31,602 --> 00:39:33,970 or the BBC, I think, that there was a guy 948 00:39:33,971 --> 00:39:36,272 who sits there and tells the news, you know? 949 00:39:36,273 --> 00:39:38,007 But then in the United States, it was already 950 00:39:38,008 --> 00:39:39,709 very over the top, I would say. 951 00:39:39,710 --> 00:39:41,311 This is Media Break. 952 00:39:41,312 --> 00:39:43,781 You give us three minutes, we'll give you the world. 953 00:39:44,949 --> 00:39:46,316 Good morning. 954 00:39:46,317 --> 00:39:47,637 I'm Casey Wong with Jesse Perkins. 955 00:39:48,452 --> 00:39:50,854 No one had ever heard of anything like this, 956 00:39:50,855 --> 00:39:54,057 deliver bad news with a smile. 957 00:39:54,058 --> 00:39:55,825 You bet. 958 00:39:55,826 --> 00:39:58,795 Next time you see a cop, smile. Thanks for watching. 959 00:39:58,796 --> 00:40:01,865 It was very much like it is, 960 00:40:01,866 --> 00:40:04,868 where you would go from impending doom 961 00:40:04,869 --> 00:40:08,371 to a beauty pageant, all in... like that, 962 00:40:08,372 --> 00:40:10,840 with the same kind of delivery. 963 00:40:10,841 --> 00:40:13,743 Three dead police officers, one critically injured. 964 00:40:13,744 --> 00:40:16,746 My amazement about American television, 965 00:40:16,747 --> 00:40:19,048 you see very well in the movie, of course, 966 00:40:19,049 --> 00:40:22,085 and I pushed it very hard in a hyperbolic way. 967 00:40:22,086 --> 00:40:24,722 So, it became kind of light, and funny, and strange. 968 00:40:29,493 --> 00:40:32,362 I remember when we scouted the police station location, 969 00:40:32,363 --> 00:40:36,566 we were in this big, sort of, abandoned factory facility, 970 00:40:36,567 --> 00:40:38,368 and there were tiles, and lockers, 971 00:40:38,369 --> 00:40:39,569 and all sorts of things. 972 00:40:39,570 --> 00:40:41,070 Is there any word on Fredrickson? 973 00:40:41,071 --> 00:40:44,407 We're doing this long, very balletic dolly shot, 974 00:40:44,408 --> 00:40:47,177 which starts on me coming down a hall. 975 00:40:47,178 --> 00:40:50,747 It's a continuous shot. It never stops moving. 976 00:40:50,748 --> 00:40:53,716 And you get little tidbits of lines from different people. 977 00:40:53,717 --> 00:40:55,251 Beats me, man. 978 00:40:55,252 --> 00:40:56,586 I think OCP's moving a lot of new guys up here. 979 00:40:56,587 --> 00:40:58,221 It was dressed in a way 980 00:40:58,222 --> 00:41:00,223 that you could go to the other room, 981 00:41:00,224 --> 00:41:02,392 come back, and turn around, 982 00:41:02,393 --> 00:41:04,093 and end up in the locker room again. 983 00:41:04,094 --> 00:41:05,929 There was no cut necessary. 984 00:41:05,930 --> 00:41:07,263 It's all one shot 985 00:41:07,264 --> 00:41:09,065 with what they called the JostiCam. 986 00:41:09,066 --> 00:41:11,035 JostiCam? Yeah. Okay. 987 00:41:12,403 --> 00:41:13,803 And it was Jost Vacano's 988 00:41:13,804 --> 00:41:15,538 version of his own Steadicam 989 00:41:15,539 --> 00:41:17,241 that he had invented for Das Boot. 990 00:41:19,710 --> 00:41:21,244 Jost, man. 991 00:41:21,245 --> 00:41:22,712 Jost is running those shots up and down here, 992 00:41:22,713 --> 00:41:25,248 his own gyro, Aeroflex thing that he invented. 993 00:41:25,249 --> 00:41:27,150 It was like a Steadicam, but everybody goes, 994 00:41:27,151 --> 00:41:28,818 "What's Jost's invention? A Steadicam?" 995 00:41:28,819 --> 00:41:31,254 No, it's not a Steadicam. It's a gyro camera. 996 00:41:31,255 --> 00:41:32,889 My approach was, 997 00:41:32,890 --> 00:41:35,592 I would like to shoot this film very realistic, 998 00:41:35,593 --> 00:41:38,495 a little bit documentary-like, with a handheld camera 999 00:41:38,496 --> 00:41:41,064 and with very much available light, 1000 00:41:41,065 --> 00:41:44,901 no real film lighting, what you would normally expect. 1001 00:41:44,902 --> 00:41:47,136 They came up with banks of lights 1002 00:41:47,137 --> 00:41:48,905 that were fluorescents. 1003 00:41:48,906 --> 00:41:51,341 Not very lovely on the face, but it really did the trick, 1004 00:41:51,342 --> 00:41:53,409 and created a good mood in the film. 1005 00:41:53,410 --> 00:41:55,745 My feeling is that the handheld camera, 1006 00:41:55,746 --> 00:41:58,448 if it's not distracting, if it's reduced, 1007 00:41:58,449 --> 00:42:01,317 it's an underlay of human movement. 1008 00:42:01,318 --> 00:42:04,687 This is catching the audience much better emotionally. 1009 00:42:04,688 --> 00:42:08,157 There was one shot that we did in RoboCop 1010 00:42:08,158 --> 00:42:10,693 in the boardroom where he takes us 1011 00:42:10,694 --> 00:42:13,930 off the elevator, we go into the boardroom. 1012 00:42:13,931 --> 00:42:15,865 Don't mess with Jones, man. He'll make sushi out of you. 1013 00:42:15,866 --> 00:42:17,934 It's one beautiful shot. 1014 00:42:17,935 --> 00:42:20,169 And there's dialogue going on, and exposition. 1015 00:42:20,170 --> 00:42:21,504 We'll turn things around. 1016 00:42:21,505 --> 00:42:22,705 But it's all that kinetic movement. 1017 00:42:22,706 --> 00:42:24,140 So, you don't really realize 1018 00:42:24,141 --> 00:42:26,009 you're getting pages of exposition there. 1019 00:42:26,010 --> 00:42:28,545 I just love the way that Paul directs. 1020 00:42:28,546 --> 00:42:30,280 Delta City. 1021 00:42:30,281 --> 00:42:33,016 Jost, he could go anywhere, do anything, 1022 00:42:33,017 --> 00:42:35,985 follow you doing anything, and it was a little bit noisy. 1023 00:42:35,986 --> 00:42:40,390 As a sound guy, imagine having what sounds like a 737 1024 00:42:40,391 --> 00:42:42,226 taking off right next to you. 1025 00:42:44,161 --> 00:42:45,663 It sounded like a sewing machine. 1026 00:42:47,197 --> 00:42:49,117 So, they had to get rid of a lot of that in post. 1027 00:42:51,302 --> 00:42:53,670 Paul had a hard time visualizing 1028 00:42:53,671 --> 00:42:56,139 what a police station would look like in America. 1029 00:42:56,140 --> 00:42:57,507 Attempted murder? 1030 00:42:57,508 --> 00:42:59,142 Well, it's not like he killed someone! 1031 00:42:59,143 --> 00:43:00,510 We wanted a contrast, 1032 00:43:00,511 --> 00:43:03,146 so we made an older police station, 1033 00:43:03,147 --> 00:43:06,549 you know, and Paul liked it. We sold him on the idea. 1034 00:43:06,550 --> 00:43:09,986 And I had a photo shoot done with all these, like, bad guys, 1035 00:43:09,987 --> 00:43:11,854 and their henchmen, and everything, you know? 1036 00:43:11,855 --> 00:43:15,091 We would work all night trying to make it better, 1037 00:43:15,092 --> 00:43:16,693 and also not spend any more money. 1038 00:43:16,694 --> 00:43:18,094 That was my whole thing. 1039 00:43:18,095 --> 00:43:19,063 It's like, "I'm not gonna spend any more money, 1040 00:43:19,064 --> 00:43:20,763 but I'll make it better." 1041 00:43:20,764 --> 00:43:23,032 We virtually dressed at it, like, 5:00 in the morning, 1042 00:43:23,033 --> 00:43:25,001 and they walked in and started shooting the movie. 1043 00:43:25,002 --> 00:43:26,369 Listen, pal! 1044 00:43:26,370 --> 00:43:29,205 Your client's a scumbag, you're a scumbag, 1045 00:43:29,206 --> 00:43:31,407 and scumbags see the judge on Monday morning! 1046 00:43:31,408 --> 00:43:34,577 Robert DoQui was just, like, this walking encyclopedia. 1047 00:43:34,578 --> 00:43:37,046 He was just so full of knowledge, you know? 1048 00:43:37,047 --> 00:43:38,715 I loved Robert DoQui. 1049 00:43:38,716 --> 00:43:41,918 And we had a great working relationship together. 1050 00:43:41,919 --> 00:43:44,220 He introduced himself. And I knew who he was. 1051 00:43:44,221 --> 00:43:46,856 I mean, I was trying to be cool. But I mean, Robert DoQui, 1052 00:43:46,857 --> 00:43:49,726 he did a lot of great body of work. 1053 00:43:49,727 --> 00:43:51,294 But in my mind, I'm thinking, 1054 00:43:51,295 --> 00:43:53,363 "This is the guy that plays Florence's boyfriend 1055 00:43:53,364 --> 00:43:55,565 on The Jeffersons, " you know, and he was in Coffy, 1056 00:43:55,566 --> 00:43:58,101 and all these Black exploitation films from the '70s. 1057 00:43:58,102 --> 00:43:59,302 What the hell's going on around here? 1058 00:43:59,303 --> 00:44:01,070 So, he had great chops. 1059 00:44:01,071 --> 00:44:02,405 I mean, he had done all kinds of episodic television 1060 00:44:02,406 --> 00:44:03,207 and all kinds of cool stuff. 1061 00:44:03,208 --> 00:44:04,874 Now, look. 1062 00:44:04,875 --> 00:44:05,908 Why don't you run in the other room and get yourself 1063 00:44:05,909 --> 00:44:07,210 a cup of coffee? 1064 00:44:07,211 --> 00:44:08,811 Not now, E.J. Get a cup of coffee. 1065 00:44:08,812 --> 00:44:10,079 Oh, Searg. 1066 00:44:10,080 --> 00:44:11,648 It could have been a thankless role. 1067 00:44:11,649 --> 00:44:13,316 But because of who he was, 1068 00:44:13,317 --> 00:44:15,719 it becomes a very memorable part of the film. 1069 00:44:16,387 --> 00:44:17,654 Now, get out of my police station 1070 00:44:17,655 --> 00:44:19,423 and take Laughing Boy with you! 1071 00:44:21,492 --> 00:44:23,626 I remember talking to Ed Neumeier 1072 00:44:23,627 --> 00:44:25,395 about the cops' names, which, you know, 1073 00:44:25,396 --> 00:44:27,164 they're all names of mass murderers. 1074 00:44:30,801 --> 00:44:32,635 Like Carol Chessman, who was the last man 1075 00:44:32,636 --> 00:44:36,072 killed in the gas chamber in California. 1076 00:44:36,073 --> 00:44:38,174 Charlie Starkweather. 1077 00:44:38,175 --> 00:44:41,177 And then there was a character named Manson. 1078 00:44:41,178 --> 00:44:42,679 I figured out rather quickly, 1079 00:44:42,680 --> 00:44:43,946 you know, that they were all named 1080 00:44:43,947 --> 00:44:45,348 after serial killers, 1081 00:44:45,349 --> 00:44:47,483 which later on, the writer said to us, you know, 1082 00:44:47,484 --> 00:44:49,585 I said, "Yes, I was aware of that, yeah." 1083 00:44:49,586 --> 00:44:51,754 When I looked up who I was named after, 1084 00:44:51,755 --> 00:44:52,790 I was like, "Whoa!" 1085 00:44:55,292 --> 00:44:56,993 This was Ed's idea, and it worked, you know? 1086 00:44:56,994 --> 00:44:58,494 I remember talking to him about it, 1087 00:44:58,495 --> 00:44:59,862 and saying, you know, "Why are these names?" 1088 00:44:59,863 --> 00:45:01,464 And he said, "Oh, it's just, you know, 1089 00:45:01,465 --> 00:45:03,032 we wanted to have some fun with this whole thing. 1090 00:45:03,033 --> 00:45:05,301 So, we named all the cops after mass murderers." 1091 00:45:05,302 --> 00:45:06,302 Welcome to hell! 1092 00:45:07,538 --> 00:45:09,138 I thought that was kind of cool actually. 1093 00:45:10,874 --> 00:45:12,308 "Well, I'll tell you what we should do. 1094 00:45:12,309 --> 00:45:13,844 We should strike. Fuck em!" 1095 00:45:16,013 --> 00:45:19,549 Jonathan Kaplan, the director, was attached early on. 1096 00:45:19,550 --> 00:45:21,684 And Jonathan Kaplan's favorite phrase 1097 00:45:21,685 --> 00:45:23,286 when they talk about, 1098 00:45:23,287 --> 00:45:24,620 "Well, the studio's gonna say this, so the money..." 1099 00:45:24,621 --> 00:45:25,822 is "Fuck 'em!" 1100 00:45:25,823 --> 00:45:28,124 So, as an homage to him, 1101 00:45:28,125 --> 00:45:30,293 Ed Neumeier created a character, Kaplan, 1102 00:45:30,294 --> 00:45:32,128 that would say, "Fuck 'em!" 1103 00:45:32,129 --> 00:45:34,163 We should strike. Fuck 'em! 1104 00:45:34,164 --> 00:45:35,798 When you look at those scenes, 1105 00:45:35,799 --> 00:45:38,568 those people are sweaty, and grimy, and disgusting 1106 00:45:38,569 --> 00:45:41,337 because we were sweaty, and grimy, and disgusting 1107 00:45:41,338 --> 00:45:43,239 when we were making the movie. 1108 00:45:43,240 --> 00:45:46,175 You had the men and the women sharing the locker room. 1109 00:45:46,176 --> 00:45:48,578 It just seemed to be that you had to be just 1110 00:45:48,579 --> 00:45:50,480 a self-survivor and take care of yourself. 1111 00:45:50,481 --> 00:45:53,516 You know, it was not an era where you depended on men. 1112 00:45:53,517 --> 00:45:54,984 There are actually 1113 00:45:54,985 --> 00:45:56,687 a few classic sound effects in RoboCop. 1114 00:45:57,488 --> 00:46:00,089 There's a face impact that is known in the trade 1115 00:46:00,090 --> 00:46:01,525 as the John Wayne chin slap. 1116 00:46:04,394 --> 00:46:06,095 And it's the great, cracky face punch 1117 00:46:06,096 --> 00:46:07,376 when Lewis takes out her suspect. 1118 00:46:13,570 --> 00:46:15,938 In the script, it said she takes off her helmet 1119 00:46:15,939 --> 00:46:17,174 and her hair cascades down. 1120 00:46:18,742 --> 00:46:20,576 You know, I thought, "Well, I can do that," you know? 1121 00:46:20,577 --> 00:46:25,081 After meeting with Paul, he wanted her hair to be short. 1122 00:46:25,082 --> 00:46:28,417 So, I had my hair cut, and they looked at it, 1123 00:46:28,418 --> 00:46:31,053 and they said, "Hmm, a little bit more." 1124 00:46:31,054 --> 00:46:33,356 So, we cut it again, and then we cut it again. 1125 00:46:33,357 --> 00:46:34,690 I went through the process 1126 00:46:34,691 --> 00:46:36,259 of, like, eight different haircuts. 1127 00:46:36,260 --> 00:46:37,560 So, I ended up with really nothing. 1128 00:46:37,561 --> 00:46:38,561 It was really awful. 1129 00:46:39,696 --> 00:46:42,366 She's introduced as a male character almost. 1130 00:46:43,267 --> 00:46:44,300 Lewis! 1131 00:46:44,301 --> 00:46:45,568 Come here when you're finished 1132 00:46:45,569 --> 00:46:46,702 fucking around with your suspect! 1133 00:46:46,703 --> 00:46:48,738 Get on your feet! 1134 00:46:48,739 --> 00:46:50,373 She was made to look more butch or not more butch. 1135 00:46:50,374 --> 00:46:51,974 And in the end, it's sort of a compromise. 1136 00:46:51,975 --> 00:46:53,876 She looks very feminine. She's attractive. 1137 00:46:53,877 --> 00:46:56,445 Murphy, meet Lewis. Show him the neighborhood. 1138 00:46:56,446 --> 00:46:57,814 Glad to know you, Murphy. 1139 00:46:57,815 --> 00:46:59,549 You know, when she takes out the guys, 1140 00:46:59,550 --> 00:47:02,885 and all the karate and so forth, and I said, "Pretty neat." 1141 00:47:02,886 --> 00:47:04,120 Pretty neat. 1142 00:47:04,121 --> 00:47:05,888 I just found her entertaining. 1143 00:47:05,889 --> 00:47:07,990 I have my own process 1144 00:47:07,991 --> 00:47:10,226 in terms of how I prepare a role, 1145 00:47:10,227 --> 00:47:12,962 and I like to write a biography of the character, 1146 00:47:12,963 --> 00:47:14,730 what you don't know. 1147 00:47:14,731 --> 00:47:19,168 I had her fatherless, that her father had died. 1148 00:47:19,169 --> 00:47:22,071 So, she became even more independent and strong. 1149 00:47:22,072 --> 00:47:24,273 And a younger brother rather than an older brother. 1150 00:47:24,274 --> 00:47:25,741 So, she really took that role 1151 00:47:25,742 --> 00:47:27,244 of being the strength of the family. 1152 00:47:28,612 --> 00:47:30,146 I better drive until you know your way around. 1153 00:47:30,147 --> 00:47:36,953 And Nancy's like a dream, and sweet, and fun. 1154 00:47:36,954 --> 00:47:38,855 And don't laugh, 1155 00:47:38,856 --> 00:47:40,924 but I actually put on a pair of men's underpants. 1156 00:47:42,459 --> 00:47:45,828 Just to see, like, "Ooh! What does that feel like?" 1157 00:47:45,829 --> 00:47:47,463 I know it's bizarre, but, you know, 1158 00:47:47,464 --> 00:47:49,465 you've got to try these things to see what works. 1159 00:47:49,466 --> 00:47:52,435 And, you know, my father was a New York City cop. 1160 00:47:52,436 --> 00:47:55,638 So, I did have an understanding of who these people are 1161 00:47:55,639 --> 00:47:56,799 and why they do what they do. 1162 00:47:57,474 --> 00:47:58,808 I usually drive 1163 00:47:58,809 --> 00:48:00,376 when I'm breaking in on a new partner. 1164 00:48:00,377 --> 00:48:04,213 Lewis was a little skeptical, like the sergeant was, 1165 00:48:04,214 --> 00:48:06,816 about, "Oh, who's this guy from this really, you know, 1166 00:48:06,817 --> 00:48:08,684 la-la-la area 1167 00:48:08,685 --> 00:48:10,052 where he didn't really have to work 1168 00:48:10,053 --> 00:48:11,888 for a living, as the sergeant said. 1169 00:48:11,889 --> 00:48:13,723 We work for a living down here, Murphy. 1170 00:48:13,724 --> 00:48:16,392 But quickly, she finds that he's a strong guy. 1171 00:48:16,393 --> 00:48:18,295 Pretty fancy moves, Murphy. 1172 00:48:19,830 --> 00:48:22,565 I did have some modicum of police training. 1173 00:48:22,566 --> 00:48:24,166 But I grew up with guns. I grew up with hunting. 1174 00:48:24,167 --> 00:48:25,701 I grew up with handguns. 1175 00:48:25,702 --> 00:48:27,237 And I grew up with fast drawing. 1176 00:48:28,705 --> 00:48:30,306 And I have Colts and all that. 1177 00:48:30,307 --> 00:48:32,975 And I can do that stuff. I did it in RoboCop. 1178 00:48:32,976 --> 00:48:34,176 Flipping a gun, doing all that stuff. 1179 00:48:34,177 --> 00:48:35,845 Uh, yeah. 1180 00:48:35,846 --> 00:48:38,047 Well, my son Jimmy watches this cop show T.J. Lazer. 1181 00:48:38,048 --> 00:48:39,348 And this laser guy does this every time 1182 00:48:39,349 --> 00:48:40,717 he takes down a bad guy. 1183 00:48:42,986 --> 00:48:44,154 Can you do that, Dad? 1184 00:48:48,692 --> 00:48:51,193 T.J. Lazer was the very first thing we shot. 1185 00:48:51,194 --> 00:48:54,897 I rented some 16mm equipment from the UCLA Tech Office, 1186 00:48:54,898 --> 00:48:58,869 and we went out to a vacant lot, and Ed organized the jumpsuit. 1187 00:49:00,037 --> 00:49:01,737 I was a cinematographer. 1188 00:49:01,738 --> 00:49:04,740 So, the way it's set up, those shots were easy for me. 1189 00:49:04,741 --> 00:49:06,276 That was definitely a fun spoof. 1190 00:49:08,345 --> 00:49:12,214 Obviously, inspired by those terrible TV shows 1191 00:49:12,215 --> 00:49:14,283 of the '70s, right? 1192 00:49:14,284 --> 00:49:15,284 T.J. Hooker. 1193 00:49:17,087 --> 00:49:18,621 Yeah. 1194 00:49:18,622 --> 00:49:21,357 Well, role models can be very important to a boy. 1195 00:49:21,358 --> 00:49:22,892 He had a sense of humor, 1196 00:49:22,893 --> 00:49:24,427 as did she, and they kind of had a little play 1197 00:49:24,428 --> 00:49:26,462 together for that moment. 1198 00:49:26,463 --> 00:49:27,530 All units, all units, sector nine. 1199 00:49:27,531 --> 00:49:28,931 Why don't you drive? 1200 00:49:28,932 --> 00:49:30,866 And they bonded very quickly. 1201 00:49:30,867 --> 00:49:33,202 Nancy is my buddy. 1202 00:49:33,203 --> 00:49:35,538 Nancy's like, "Hey, 1203 00:49:35,539 --> 00:49:37,306 let's go eat Mexican food in Fort Worth." 1204 00:49:37,307 --> 00:49:40,543 "Yeah!" So, there's a bond. 1205 00:49:40,544 --> 00:49:42,078 And plus, which, when you're acting 1206 00:49:42,079 --> 00:49:43,647 with her, she's a dreamboat. 1207 00:49:54,091 --> 00:49:56,892 In playing characters like Dick Jones, 1208 00:49:56,893 --> 00:49:59,996 I look for everything good about him. 1209 00:49:59,997 --> 00:50:01,497 As you know, 1210 00:50:01,498 --> 00:50:02,565 we've entered into a contract with the city 1211 00:50:02,566 --> 00:50:04,433 to run local law enforcement. 1212 00:50:04,434 --> 00:50:06,335 Because guys like Dick Jones. 1213 00:50:06,336 --> 00:50:09,805 Guys like that. They don't think they're bad. 1214 00:50:09,806 --> 00:50:11,640 They just think if everybody knew 1215 00:50:11,641 --> 00:50:14,745 what the hell they were doing, they'd see things as they do. 1216 00:50:15,979 --> 00:50:18,080 We need something more. 1217 00:50:18,081 --> 00:50:21,584 We need a 24-hour-a-day police officer. 1218 00:50:21,585 --> 00:50:24,820 A cop who doesn't need to eat or sleep. 1219 00:50:24,821 --> 00:50:28,425 A cop with superior firepower and the reflexes to use them. 1220 00:50:30,260 --> 00:50:32,828 Fellow executives, it gives me great pleasure 1221 00:50:32,829 --> 00:50:35,599 to introduce you to the future of law enforcement... 1222 00:50:37,434 --> 00:50:39,336 ED-209. 1223 00:50:47,711 --> 00:50:50,379 We weren't involved with the design of ED-209. 1224 00:50:50,380 --> 00:50:52,848 I mean, we just told Phil Tippett, 1225 00:50:52,849 --> 00:50:55,152 you know, "Here's the script to ED-209." 1226 00:51:08,799 --> 00:51:10,366 We go to machine shops, 1227 00:51:10,367 --> 00:51:13,903 and, you know, robotic shops, and shot a lot of footage. 1228 00:51:13,904 --> 00:51:16,305 Reference footage of how robotic things 1229 00:51:16,306 --> 00:51:18,641 and machines attack, and decay, and move, 1230 00:51:18,642 --> 00:51:21,243 and come to stops and starts, which is very different 1231 00:51:21,244 --> 00:51:22,812 than an organic thing, you know? 1232 00:51:22,813 --> 00:51:24,333 'Cause an organic thing will go like... 1233 00:51:25,315 --> 00:51:27,250 And a, you know, robotic thing will go like... 1234 00:51:30,821 --> 00:51:33,089 Ed Neumeier had pictures 1235 00:51:33,090 --> 00:51:36,926 that he'd taken off of some Japanese manga 1236 00:51:36,927 --> 00:51:39,361 that had a giant robot that had, like, 1237 00:51:39,362 --> 00:51:42,064 his arms terminated into guns. 1238 00:51:42,065 --> 00:51:44,401 So, Ed knew he wanted something like that. 1239 00:51:45,769 --> 00:51:47,103 ED-209 is Phil. 1240 00:51:47,104 --> 00:51:48,270 I mean, it's just, as you get to know 1241 00:51:48,271 --> 00:51:50,106 Phil's work, it's just Phil. 1242 00:51:50,107 --> 00:51:53,109 No one could do that the way Phil can do it. 1243 00:51:53,110 --> 00:51:54,944 It was a very exciting group of people. 1244 00:51:54,945 --> 00:51:56,512 And, uh, they just came in, 1245 00:51:56,513 --> 00:51:59,683 and they did solid, sincere work, you know? 1246 00:52:01,718 --> 00:52:05,087 I happened to meet this kid at a barbecue 1247 00:52:05,088 --> 00:52:07,089 that some of the costume guys were doing 1248 00:52:07,090 --> 00:52:11,093 on Return of the Jedi, and his work was really great. 1249 00:52:11,094 --> 00:52:13,195 I mean, he couldn't have been more than 18 or 19 at the time. 1250 00:52:13,196 --> 00:52:14,597 It was Craig Hayes. 1251 00:52:14,598 --> 00:52:16,265 It was sort of like working in a garage 1252 00:52:16,266 --> 00:52:17,766 with your buddies, you know? 1253 00:52:17,767 --> 00:52:20,469 Everybody, all ten of us, you know, 1254 00:52:20,470 --> 00:52:23,239 were there to just really do this one kind of task, 1255 00:52:23,240 --> 00:52:25,040 and everybody was really into it. 1256 00:52:25,041 --> 00:52:28,110 The whole idea behind ED-209 was that it was styled. 1257 00:52:28,111 --> 00:52:30,146 The enforcement droid, Series 209, 1258 00:52:30,147 --> 00:52:32,615 is a self-sufficient law enforcement robot. 1259 00:52:32,616 --> 00:52:35,151 209 is currently programmed for urban pacification, 1260 00:52:35,152 --> 00:52:36,652 but that is only the beginning. 1261 00:52:36,653 --> 00:52:38,154 It was styled like a piece 1262 00:52:38,155 --> 00:52:42,458 of, you know, American automotive hardware. 1263 00:52:42,459 --> 00:52:45,928 We can expect 209 to become the hot military product 1264 00:52:45,929 --> 00:52:47,130 for the next decade. 1265 00:52:48,765 --> 00:52:51,167 Obviously, we've gotta reference military technology, 1266 00:52:51,168 --> 00:52:52,968 tanks, helicopters in particular, 1267 00:52:52,969 --> 00:52:55,738 because they're some of the more, sort of, advanced, 1268 00:52:55,739 --> 00:52:58,908 kind of interesting shapes, and forms, and stuff. 1269 00:52:58,909 --> 00:53:00,910 This thing needed to have a character, you know? 1270 00:53:00,911 --> 00:53:02,645 So, it couldn't be just simply a machine. 1271 00:53:02,646 --> 00:53:04,980 So, mix that with some organic, 1272 00:53:04,981 --> 00:53:08,250 the organic nature of a killer whale. 1273 00:53:08,251 --> 00:53:11,153 The idea of giving it a face without having a face 1274 00:53:11,154 --> 00:53:14,123 was really kind of, you know, an important part to it. 1275 00:53:14,124 --> 00:53:15,691 Very early on, you know, 1276 00:53:15,692 --> 00:53:18,527 Craig was doing the designs, and he looked too happy. 1277 00:53:18,528 --> 00:53:21,531 So, he was joking around and making him look mean. 1278 00:53:24,201 --> 00:53:25,868 Stop motion is basically, 1279 00:53:25,869 --> 00:53:27,703 you're moving everything frame by frame. 1280 00:53:27,704 --> 00:53:29,538 There's an articulate skeleton or armature 1281 00:53:29,539 --> 00:53:31,373 inside of the puppet, which allows the joints 1282 00:53:31,374 --> 00:53:33,842 to be tensioned or adjusted just right. 1283 00:53:33,843 --> 00:53:36,145 We worked at 24 frames per second, right? 1284 00:53:36,146 --> 00:53:39,014 So, that means for every second of screen time, 1285 00:53:39,015 --> 00:53:41,218 there's 24 increments in there. 1286 00:53:43,119 --> 00:53:45,521 This puppet is an avatar for you. 1287 00:53:45,522 --> 00:53:47,223 So, you're acting through this puppet. 1288 00:53:47,224 --> 00:53:50,125 So, you better know every square millimeter 1289 00:53:50,126 --> 00:53:51,527 of that puppet. 1290 00:53:51,528 --> 00:53:54,129 You're imbuing an inanimate object 1291 00:53:54,130 --> 00:53:55,531 with a personality, 1292 00:53:55,532 --> 00:53:57,733 and you're giving it that personality. 1293 00:53:57,734 --> 00:54:00,736 So, it's a very special relationship 1294 00:54:00,737 --> 00:54:03,006 between animator and model. 1295 00:54:05,208 --> 00:54:08,077 The movement of ED-209 1296 00:54:08,078 --> 00:54:10,546 mostly came from an older printing press, 1297 00:54:10,547 --> 00:54:12,014 which is cast iron. 1298 00:54:12,015 --> 00:54:14,684 And so, we added that to the leg movement. 1299 00:54:22,592 --> 00:54:25,494 There were some budgetary issues for the thing. 1300 00:54:25,495 --> 00:54:28,998 We never even got to have him move in the scene. 1301 00:54:28,999 --> 00:54:31,734 So, I proposed to Paul that we build a 1302 00:54:31,735 --> 00:54:35,604 full-size ED-209 if he bought my pitch, 1303 00:54:35,605 --> 00:54:38,574 and that would be he can't move. 1304 00:54:38,575 --> 00:54:40,075 Oh, okay. 1305 00:54:40,076 --> 00:54:42,211 But we keep him alive 1306 00:54:42,212 --> 00:54:44,847 by, like, a mechanical pedal note. 1307 00:54:44,848 --> 00:54:46,949 So, he has a voice that's running through the scene 1308 00:54:46,950 --> 00:54:48,852 that's kind of this ominous drone. 1309 00:54:51,221 --> 00:54:53,622 And, Paul in. Yeah, that would totally work. 1310 00:54:53,623 --> 00:54:55,292 Yes. 1311 00:55:03,099 --> 00:55:05,601 The thing's made of fiberglass, and vacuum-formed plastic, 1312 00:55:05,602 --> 00:55:07,569 and is, in fact, very lightweight. 1313 00:55:07,570 --> 00:55:08,971 You know, two people could break the thing down 1314 00:55:08,972 --> 00:55:10,540 and put it back together pretty easily. 1315 00:55:11,975 --> 00:55:14,910 I remember when ED-209 arrived on the set. 1316 00:55:14,911 --> 00:55:16,979 It was a giant crate. 1317 00:55:16,980 --> 00:55:18,947 And, you know, it took him all morning 1318 00:55:18,948 --> 00:55:20,582 to uncrate this thing. 1319 00:55:20,583 --> 00:55:24,053 And I go up to Paul, and he's sick as a dog. 1320 00:55:24,054 --> 00:55:26,555 I think he's got the flu. 1321 00:55:26,556 --> 00:55:28,891 And I said, "Paul, you'll be glad to know 1322 00:55:28,892 --> 00:55:31,126 ED-209 looks great." 1323 00:55:31,127 --> 00:55:34,229 And he said, "Well, I hope the next director 1324 00:55:34,230 --> 00:55:36,132 will appreciate it." 1325 00:55:41,438 --> 00:55:42,938 Dr. McNamara. 1326 00:55:42,939 --> 00:55:43,972 We'll need an arrest subject. 1327 00:55:43,973 --> 00:55:45,507 - Mr. Kinney. - Yes, sir. 1328 00:55:45,508 --> 00:55:46,309 Would you come up and give us a hand, please? 1329 00:55:46,310 --> 00:55:47,976 Yes, sir. 1330 00:55:47,977 --> 00:55:51,513 When Mr. Kinney points the gun at the boss guy, 1331 00:55:51,514 --> 00:55:53,916 I didn't really get that in the script. 1332 00:55:53,917 --> 00:55:55,150 So, when he says... 1333 00:55:55,151 --> 00:55:56,652 Use your gun in a threatening manner. 1334 00:55:56,653 --> 00:55:58,821 I... I pointed it at ED-209. 1335 00:55:58,822 --> 00:56:00,456 And Paul comes, "No, no, no, no, no! 1336 00:56:00,457 --> 00:56:01,957 You must point it at him." 1337 00:56:01,958 --> 00:56:04,126 And then sort of told him what the joke was. 1338 00:56:04,127 --> 00:56:05,627 Action. 1339 00:56:05,628 --> 00:56:07,196 Point it at ED-209. 1340 00:56:07,197 --> 00:56:08,198 Yes, sir. 1341 00:56:11,134 --> 00:56:13,870 Drop the gun! You have ten seconds to comply. 1342 00:56:15,438 --> 00:56:18,040 Paul would play ED-209 1343 00:56:18,041 --> 00:56:20,642 in all the VistaVision plates, you know? 1344 00:56:20,643 --> 00:56:21,945 You go like this, and you shoot. 1345 00:56:25,648 --> 00:56:26,950 Just screams! 1346 00:56:27,951 --> 00:56:29,551 And everybody would react to it. 1347 00:56:29,552 --> 00:56:32,388 And it was actually very effective. 1348 00:56:32,389 --> 00:56:34,189 You have five seconds to comply. 1349 00:56:34,190 --> 00:56:36,458 We needed language for ED-209 1350 00:56:36,459 --> 00:56:38,695 because he had a pre-programmed card. 1351 00:56:40,163 --> 00:56:44,134 Please put down your weapon. You have 20 seconds to comply. 1352 00:56:45,735 --> 00:56:47,836 His voice was the producer Jon Davison. 1353 00:56:47,837 --> 00:56:48,871 Uh-huh. 1354 00:56:48,872 --> 00:56:50,038 That they cheesed up a little. 1355 00:56:50,039 --> 00:56:52,408 They used a lot of deepening 1356 00:56:52,409 --> 00:56:55,512 and a lot of cheesy synthy processing on that. 1357 00:56:57,313 --> 00:56:58,380 You rolling? 1358 00:56:58,381 --> 00:57:00,516 - Yes. - Okay. 1359 00:57:00,517 --> 00:57:03,886 Please put down your weapon. You have 20 seconds to comply. 1360 00:57:03,887 --> 00:57:06,156 You now have 15 seconds to comply. 1361 00:57:07,590 --> 00:57:10,559 Your civil rights are currently in effect. 1362 00:57:10,560 --> 00:57:12,261 If you cannot afford an attorney, 1363 00:57:12,262 --> 00:57:14,930 one will be appointed for you. 1364 00:57:14,931 --> 00:57:16,432 Take the gun out of my mouth. 1365 00:57:16,433 --> 00:57:17,833 Yeah, you shot it on the board here. 1366 00:57:19,335 --> 00:57:21,337 Smoking is prohibited in the hallway. 1367 00:57:22,238 --> 00:57:23,238 Next. 1368 00:57:25,708 --> 00:57:28,844 All the growls were cats. 1369 00:57:28,845 --> 00:57:31,414 Like tigers, and leopards, and things like that. 1370 00:57:32,916 --> 00:57:36,051 My favorite is when Ed turns on Kinney that first time. 1371 00:57:36,052 --> 00:57:38,121 So, I like to call that one the whiplash puma. 1372 00:57:40,190 --> 00:57:43,092 'Cause it's this great cat attack. 1373 00:58:20,330 --> 00:58:22,898 We did our original shoot on location 1374 00:58:22,899 --> 00:58:24,666 at the Renaissance Tower. 1375 00:58:24,667 --> 00:58:26,401 And about a month and a half later, 1376 00:58:26,402 --> 00:58:29,805 I got a call from my agent that said, "They want you back." 1377 00:58:29,806 --> 00:58:31,340 They're gonna do some reshoots. 1378 00:58:31,341 --> 00:58:32,808 Paul Verhoeven was not happy 1379 00:58:32,809 --> 00:58:34,409 with the amount of blood apparently. 1380 00:58:34,410 --> 00:58:35,944 That is absolutely true. 1381 00:58:35,945 --> 00:58:38,347 And they rebuilt the entire boardroom 1382 00:58:38,348 --> 00:58:41,617 on stage one out of the studios at Las Colinas. 1383 00:58:41,618 --> 00:58:44,319 So, I had to get splattered and reloaded with squibs 1384 00:58:44,320 --> 00:58:45,621 over and over again 1385 00:58:45,622 --> 00:58:48,423 for about three 12-hour days in a row. 1386 00:58:48,424 --> 00:58:50,158 Okay, just try it again. 1387 00:58:50,159 --> 00:58:52,862 The effects guys thought this was very funny. 1388 00:58:54,297 --> 00:58:56,365 He was not happy with the effects department. 1389 00:58:56,366 --> 00:58:58,600 They told me that they were putting more squibs on my body 1390 00:58:58,601 --> 00:59:01,103 than anyone in film history at the time. 1391 00:59:01,104 --> 00:59:03,505 And Paul Verhoeven still was not happy. 1392 00:59:03,506 --> 00:59:05,307 And he kept shouting, "I need more blood! 1393 00:59:05,308 --> 00:59:06,842 There's not enough blood!" 1394 00:59:06,843 --> 00:59:09,344 The way I expressed the violence in some ways 1395 00:59:09,345 --> 00:59:11,480 was over the top. Blood. Action. 1396 00:59:11,481 --> 00:59:13,949 And so, finally, apparently, the effects guys, 1397 00:59:13,950 --> 00:59:15,350 this is what they told me, 1398 00:59:15,351 --> 00:59:17,219 they were at lunch over in the commissary 1399 00:59:17,220 --> 00:59:18,654 in between takes, 1400 00:59:18,655 --> 00:59:20,689 and they were serving spaghetti squash. 1401 00:59:20,690 --> 00:59:23,659 They slid that baggie of spaghetti squash 1402 00:59:23,660 --> 00:59:25,227 underneath the suit, and loaded it up 1403 00:59:25,228 --> 00:59:26,328 with more squibs. 1404 00:59:26,329 --> 00:59:27,363 And fire! 1405 00:59:31,167 --> 00:59:32,501 Completely over the top. 1406 00:59:32,502 --> 00:59:36,238 Blood all over the screen. 1407 00:59:36,239 --> 00:59:37,573 Fountains of blood 1408 00:59:37,574 --> 00:59:41,977 that were sprouting out of his body. 1409 00:59:41,978 --> 00:59:44,881 You know, emptying magazines on him, you know, bazookas. 1410 00:59:46,082 --> 00:59:48,050 It just really did my man in. 1411 00:59:48,051 --> 00:59:50,887 And fire the weapons at him now! 1412 00:59:53,556 --> 00:59:55,524 I guarantee you, it was very painful. 1413 00:59:55,525 --> 00:59:57,059 The squibs are like firecrackers, 1414 00:59:57,060 --> 00:59:59,828 and they have a metal backing. 1415 00:59:59,829 --> 01:00:01,597 And if they get away from your body, 1416 01:00:01,598 --> 01:00:03,398 they kick when they go off. 1417 01:00:03,399 --> 01:00:06,902 And the last squib that went off of the last day of shooting 1418 01:00:06,903 --> 01:00:08,404 hit me right in the left nut. 1419 01:00:10,006 --> 01:00:12,240 So, I'll take that. 1420 01:00:12,241 --> 01:00:13,775 So, I had to lay there. 1421 01:00:13,776 --> 01:00:17,379 And Mr. Verhoeven just let that camera roll, and roll, 1422 01:00:17,380 --> 01:00:19,381 and roll for, like, ten seconds. 1423 01:00:19,382 --> 01:00:20,450 Okay. 1424 01:00:22,085 --> 01:00:24,519 We ran up, and, "Kevin, are you okay?" 1425 01:00:24,520 --> 01:00:26,622 No, you hit me in the balls. 1426 01:00:26,623 --> 01:00:30,859 He just looked up, and went, "Fuck off. 1427 01:00:30,860 --> 01:00:32,795 Get away from me." 1428 01:00:34,297 --> 01:00:37,032 I don't believe at this point that anyone has taken 1429 01:00:37,033 --> 01:00:39,702 more hits at one time than Kevin took in that shot. 1430 01:00:41,070 --> 01:00:43,372 There was actually a wind-down 1431 01:00:43,373 --> 01:00:46,676 that was recorded by Ben Burtt for the Star Wars films. 1432 01:00:48,711 --> 01:00:51,980 It's actually a 1929 Traveler biplane. 1433 01:00:51,981 --> 01:00:54,816 It can be heard when ED-209 dies 1434 01:00:54,817 --> 01:00:56,753 after blowing away Kinney. 1435 01:01:03,493 --> 01:01:05,127 Smoke, fall down, 1436 01:01:05,128 --> 01:01:07,295 three stooges-like people looking. 1437 01:01:07,296 --> 01:01:08,930 That was, of course, horrifying. 1438 01:01:08,931 --> 01:01:12,301 But then the first line after that basically is... 1439 01:01:14,604 --> 01:01:16,104 But the guy was gone, you know? 1440 01:01:16,105 --> 01:01:18,006 There was nothing left of the guy. 1441 01:01:18,007 --> 01:01:22,310 And people scampering, running, cringing. 1442 01:01:22,311 --> 01:01:24,446 And Dan Herlihy, he never moved. 1443 01:01:24,447 --> 01:01:27,616 Dan O'Herlihy, he looked great, never moving. 1444 01:01:27,617 --> 01:01:29,017 O'Herlihy just says... 1445 01:01:29,018 --> 01:01:31,853 Dick, I'm very disappointed. 1446 01:01:31,854 --> 01:01:33,622 That's my favorite line in the movie. 1447 01:01:33,623 --> 01:01:36,359 "Dick, I'm very disappointed." 1448 01:01:37,794 --> 01:01:39,295 Puts me down, man. 1449 01:01:40,296 --> 01:01:41,430 I'm sure it's only a glitch. 1450 01:01:41,431 --> 01:01:43,098 A temporary setback. 1451 01:01:43,099 --> 01:01:44,667 You call this a glitch? 1452 01:01:46,135 --> 01:01:48,670 The corporate's rule, period. 1453 01:01:48,671 --> 01:01:50,472 Your temporary setback could cost us 1454 01:01:50,473 --> 01:01:52,674 50 million dollars in interest payments alone. 1455 01:01:52,675 --> 01:01:53,975 And it shows to what length 1456 01:01:53,976 --> 01:01:56,778 they will go to keep that position. 1457 01:01:56,779 --> 01:01:58,447 Perhaps you're aware of the RoboCop program 1458 01:01:58,448 --> 01:02:00,315 developed by myself at Security Concepts 1459 01:02:00,316 --> 01:02:02,384 as a contingency against just this sort of thing? 1460 01:02:02,385 --> 01:02:04,219 Thank you for your concern, Mr. Morton. 1461 01:02:04,220 --> 01:02:09,024 I just look for all of the ways that assured me 1462 01:02:09,025 --> 01:02:10,959 that his way was the correct way. 1463 01:02:10,960 --> 01:02:13,528 - It's something we can... - Now, wait a minute. Dick! 1464 01:02:13,529 --> 01:02:16,364 I looked at this as a cautionary tale. 1465 01:02:16,365 --> 01:02:18,366 Tell me about your plan, Mr. Morton. 1466 01:02:18,367 --> 01:02:20,836 To see that these people who'd gone for the greed 1467 01:02:20,837 --> 01:02:23,572 and how things turned out so badly for them. 1468 01:02:23,573 --> 01:02:26,208 I'm confident we can go to prototype within 90 days. 1469 01:02:26,209 --> 01:02:28,044 You know, karma, for lack of a better word. 1470 01:02:32,749 --> 01:02:36,084 ED-209 is my baby. Bullshit him. 1471 01:02:36,085 --> 01:02:37,887 ED-209 is here. 1472 01:02:48,531 --> 01:02:50,199 That wasn't on. 1473 01:02:52,368 --> 01:02:54,102 All righty. There we go. 1474 01:02:54,103 --> 01:02:56,538 We're good. All right. So, take it from the top. 1475 01:02:56,539 --> 01:02:58,373 - Start again. - Oh, my Lord. 1476 01:02:58,374 --> 01:02:59,708 - We had fun. - How time flies. 1477 01:02:59,709 --> 01:03:01,410 Holy shit. 1478 01:03:02,779 --> 01:03:03,880 I like it.