1
00:00:03,040 --> 00:00:08,800
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:12,840 --> 00:00:15,840
Speaker 2: Hey you welcome to Weird House Cinema. This is Rob

3
00:00:15,920 --> 00:00:18,240
Speaker 2: Lamb and this is Joe McCormick.

4
00:00:18,320 --> 00:00:20,560
Speaker 3: And today we are going to be featuring a movie

5
00:00:20,600 --> 00:00:23,239
Speaker 3: that I feel like is kind of a foundational text

6
00:00:23,360 --> 00:00:27,600
Speaker 3: for my adult appreciation of cinema. It is the nineteen

7
00:00:27,680 --> 00:00:34,280
Speaker 3: eighty seven sci fi action satire RoboCop, directed by Paul Verhoven. Rob.

8
00:00:34,360 --> 00:00:37,839
Speaker 3: I'm so excited we're talking about RoboCop today. Did you

9
00:00:38,159 --> 00:00:40,360
Speaker 3: come up? I think I know you. You came up

10
00:00:40,400 --> 00:00:43,239
Speaker 3: with this topic because you recently visited some of the

11
00:00:43,280 --> 00:00:45,640
Speaker 3: original locations featured in the movie.

12
00:00:46,080 --> 00:00:49,360
Speaker 2: Yeah. I was on a family trip to Dallas over

13
00:00:49,720 --> 00:00:53,000
Speaker 2: Thanksgiving break. We'd never been before. We went there primarily

14
00:00:53,040 --> 00:00:54,800
Speaker 2: to go to Mao Wolf and then to check out

15
00:00:55,200 --> 00:00:58,560
Speaker 2: various things in the city, museums and you know, restaurants

16
00:00:58,560 --> 00:01:01,360
Speaker 2: and whatnot. And I I had honestly kind of forgotten

17
00:01:01,360 --> 00:01:04,600
Speaker 2: about the RoboCop connection until we were there driving around,

18
00:01:05,040 --> 00:01:07,920
Speaker 2: and then I look out the window and I see

19
00:01:08,120 --> 00:01:11,880
Speaker 2: the Dallas City Hall, and then I remember, this is

20
00:01:11,920 --> 00:01:15,319
Speaker 2: the RoboCop building. This is OCP headquarters, or at least

21
00:01:15,400 --> 00:01:17,720
Speaker 2: the lower portion of it. They did a matte painting

22
00:01:17,800 --> 00:01:20,640
Speaker 2: on top of that to make it into this enormous

23
00:01:20,720 --> 00:01:25,280
Speaker 2: skyscraper that reaches up to the heavens. Yeah, and then

24
00:01:25,440 --> 00:01:29,520
Speaker 2: was just generally impressed by the architecture in Dallas. And

25
00:01:29,560 --> 00:01:31,880
Speaker 2: then once I got back, you know, we started looking

26
00:01:31,920 --> 00:01:34,600
Speaker 2: at RoboCop again, I was reminded, like, just how present

27
00:01:34,840 --> 00:01:38,720
Speaker 2: Dallas is in the background standing in for futuristic Detroit.

28
00:01:39,160 --> 00:01:42,039
Speaker 3: Right, So RoboCop is not actually set in Dallas. It's

29
00:01:42,080 --> 00:01:45,160
Speaker 3: set in near future Detroit at the time the movie

30
00:01:45,280 --> 00:01:49,240
Speaker 3: was made. But some of the architectural landmarks in Dallas

31
00:01:49,280 --> 00:01:52,560
Speaker 3: really communicate the feeling that they were going for in

32
00:01:52,880 --> 00:01:54,000
Speaker 3: the world of RoboCop.

33
00:01:54,520 --> 00:01:57,240
Speaker 2: Yeah, and it's unmistakable even if you're not from Dallas.

34
00:01:57,400 --> 00:02:00,160
Speaker 2: Like there's a car chase earlier in the early the

35
00:02:00,200 --> 00:02:03,280
Speaker 2: film where you see Reunion Tower in the background, which

36
00:02:03,360 --> 00:02:09,760
Speaker 2: is very identifiable structure. It's this concrete pillar, you know,

37
00:02:09,880 --> 00:02:12,480
Speaker 2: jutting up into the sky and there's a sphere up there.

38
00:02:13,120 --> 00:02:15,919
Speaker 2: It's not a perfect sphere, but you know, observation and

39
00:02:16,240 --> 00:02:19,200
Speaker 2: restaurant deck and my family actually went up there. But

40
00:02:20,000 --> 00:02:22,040
Speaker 2: it's pretty fun, has pretty cool history, Like a lot

41
00:02:22,040 --> 00:02:25,120
Speaker 2: of these buildings, but yeah, it's there in the background.

42
00:02:25,200 --> 00:02:27,680
Speaker 2: Anybody who knows anything about Dallas, or even seen the

43
00:02:27,760 --> 00:02:31,040
Speaker 2: opening to the TV series Dallas, would have been able

44
00:02:31,080 --> 00:02:32,920
Speaker 2: to recognize that this is not Detroit.

45
00:02:32,960 --> 00:02:33,560
Speaker 3: This is Dallas.

46
00:02:33,600 --> 00:02:36,360
Speaker 2: But you know, nice stand in lots of neat, futuristic

47
00:02:36,440 --> 00:02:37,320
Speaker 2: looking architecture.

48
00:02:37,840 --> 00:02:39,840
Speaker 3: So when did you first see RoboCop?

49
00:02:41,120 --> 00:02:43,640
Speaker 2: I saw it, like I think a lot of people

50
00:02:43,720 --> 00:02:47,280
Speaker 2: of my generation saw it way too young. I think

51
00:02:47,560 --> 00:02:50,160
Speaker 2: it was playing at a friend's house or kind of

52
00:02:50,160 --> 00:02:53,639
Speaker 2: like friends of the family at their house, and I

53
00:02:53,760 --> 00:02:55,560
Speaker 2: ended up watching part of it. And you know, there's

54
00:02:55,560 --> 00:02:59,400
Speaker 2: plenty there to bring in a young mind, to captivate

55
00:02:59,440 --> 00:03:02,320
Speaker 2: a young mind, you know, robot fighting, crime, firing, all

56
00:03:02,320 --> 00:03:06,160
Speaker 2: sorts of crazy guns. But then you know, it's kind

57
00:03:06,200 --> 00:03:10,240
Speaker 2: of a notoriously violent film. It's got some really grotesque

58
00:03:10,320 --> 00:03:14,280
Speaker 2: moments in it, which we'll discuss. It was not appropriate

59
00:03:15,480 --> 00:03:18,600
Speaker 2: viewing at this at whatever age I was, but you know,

60
00:03:18,720 --> 00:03:21,400
Speaker 2: I still loved it, grew to love it, and I

61
00:03:21,400 --> 00:03:24,360
Speaker 2: think a lot of people have this experience. Someone I

62
00:03:24,440 --> 00:03:28,359
Speaker 2: was talking to in the last couple of years said

63
00:03:28,360 --> 00:03:30,560
Speaker 2: that their mom had rented this for them at the

64
00:03:30,639 --> 00:03:32,720
Speaker 2: store when they were young. They were just like, oh,

65
00:03:32,760 --> 00:03:35,040
Speaker 2: they need a film RoboCop. This looks fun. They didn't

66
00:03:35,080 --> 00:03:36,880
Speaker 2: like look at it closely enough to realize it was

67
00:03:36,960 --> 00:03:41,480
Speaker 2: rated R. And then you know, the violence just washes

68
00:03:41,560 --> 00:03:41,960
Speaker 2: over them.

69
00:03:42,400 --> 00:03:44,520
Speaker 3: And probably a lot of the commentary sort of went

70
00:03:44,560 --> 00:03:46,160
Speaker 3: over their heads at that age too.

71
00:03:46,280 --> 00:03:48,680
Speaker 2: Oh yeah, yeah. All that ends up sticking with you

72
00:03:48,720 --> 00:03:50,640
Speaker 2: probably is like the cool robot stuff, and there is

73
00:03:50,680 --> 00:03:53,520
Speaker 2: some really cool robot stuff in this film, the violence

74
00:03:53,560 --> 00:03:55,320
Speaker 2: and probably the profanity.

75
00:03:55,640 --> 00:03:57,360
Speaker 3: So I did a little digging to figure out when

76
00:03:57,400 --> 00:03:59,400
Speaker 3: I first saw RoboCop, and I was able to peg

77
00:03:59,440 --> 00:04:03,240
Speaker 3: it to to a year based on a rather a

78
00:04:03,280 --> 00:04:09,600
Speaker 3: greasy marker, so I knew that. And this is also

79
00:04:09,640 --> 00:04:12,280
Speaker 3: a very RoboCop sounding reason to be able to know

80
00:04:12,320 --> 00:04:14,400
Speaker 3: when I saw this. So I first saw it right

81
00:04:14,440 --> 00:04:18,600
Speaker 3: around the debut of the Windy's menu item The Baconator,

82
00:04:18,800 --> 00:04:21,640
Speaker 3: which would place this event in the year two thousand

83
00:04:21,640 --> 00:04:24,200
Speaker 3: and seven, so you know, it was two thousand and seven.

84
00:04:24,240 --> 00:04:25,839
Speaker 3: I was I don't know how old I was. I

85
00:04:25,920 --> 00:04:28,400
Speaker 3: was like twenty or so. I was hanging out with

86
00:04:28,440 --> 00:04:31,479
Speaker 3: some friends and somehow it came up in conversation that

87
00:04:31,640 --> 00:04:34,120
Speaker 3: first of all, I had never seen RoboCop, and second

88
00:04:34,240 --> 00:04:36,840
Speaker 3: I had not yet had one of the new Baconators,

89
00:04:37,279 --> 00:04:39,279
Speaker 3: and they were like, Okay, we've got to fix both.

90
00:04:39,400 --> 00:04:41,599
Speaker 3: So we went to Windy's and then we watched this

91
00:04:41,720 --> 00:04:46,280
Speaker 3: movie and sorry to the Windy's fans out there, the Baconator,

92
00:04:46,320 --> 00:04:48,440
Speaker 3: at least this one at this time, was not good.

93
00:04:48,880 --> 00:04:50,640
Speaker 3: And I'm not trying to be a food snob. I

94
00:04:50,720 --> 00:04:53,480
Speaker 3: totally admit I can enjoy a greasy fast food sandwich.

95
00:04:53,800 --> 00:04:56,520
Speaker 3: But whatever I got that day was just not right.

96
00:04:56,600 --> 00:04:59,320
Speaker 3: It seemed like it had about eight slices of American

97
00:04:59,400 --> 00:05:02,680
Speaker 3: cheese and like thirty strips of bacon on it. Just

98
00:05:02,800 --> 00:05:06,000
Speaker 3: too much, too much bacon and cheese. Maybe those things

99
00:05:06,040 --> 00:05:08,960
Speaker 3: are different now, I don't know. But on the other hand,

100
00:05:09,200 --> 00:05:13,800
Speaker 3: RoboCop was amazing, and this memory I think sticks with

101
00:05:13,839 --> 00:05:16,680
Speaker 3: me because the bacon eat or I had that day

102
00:05:17,360 --> 00:05:20,480
Speaker 3: came to seem like something that you would see an

103
00:05:20,560 --> 00:05:25,080
Speaker 3: advertisement for in RoboCop. It's like an in universe RoboCop

104
00:05:25,120 --> 00:05:28,960
Speaker 3: food item. It's something Emial would be eating while he's

105
00:05:29,000 --> 00:05:30,840
Speaker 3: like pointing a gun at you and asking if you

106
00:05:31,200 --> 00:05:32,560
Speaker 3: think you're smarter than a bullet.

107
00:05:34,240 --> 00:05:38,440
Speaker 2: Yeah. Yeah, It's kind of the six thousand Sux of Burgers.

108
00:05:38,440 --> 00:05:41,320
Speaker 3: It sounds like it'll be hilarious if a Wendy's ad

109
00:05:41,400 --> 00:05:45,680
Speaker 3: runs on this episode, by the way, So I was

110
00:05:45,800 --> 00:05:50,320
Speaker 3: struck by how different this movie was than I had

111
00:05:50,360 --> 00:05:54,640
Speaker 3: always assumed because I'd never seen RoboCop, but I was

112
00:05:54,680 --> 00:05:57,400
Speaker 3: aware of it as one of these eighties action movies,

113
00:05:58,000 --> 00:06:00,920
Speaker 3: and I received it the way it had been I think,

114
00:06:01,040 --> 00:06:06,640
Speaker 3: generally culturally metabolized, which was totally missing the point of it,

115
00:06:06,839 --> 00:06:10,400
Speaker 3: shelving it alongside these other gory, r rated eighties action movies,

116
00:06:10,400 --> 00:06:14,719
Speaker 3: maybe on the level of Commando starring Arnold Schwarzenegger. That's

117
00:06:14,800 --> 00:06:17,160
Speaker 3: how I thought of what RoboCop was, and.

118
00:06:17,120 --> 00:06:19,839
Speaker 2: I think it can leave that kind of impression in

119
00:06:19,960 --> 00:06:23,839
Speaker 2: memory if you're far removed from especially in early viewing

120
00:06:23,880 --> 00:06:26,400
Speaker 2: of the film. I mean, the violence is so violent

121
00:06:26,880 --> 00:06:30,040
Speaker 2: that it kind of sticks with you and you might

122
00:06:30,040 --> 00:06:31,560
Speaker 2: forget some of the other stuff. Like I was talking

123
00:06:31,600 --> 00:06:33,080
Speaker 2: to my wife about this when I was about to

124
00:06:33,160 --> 00:06:36,839
Speaker 2: rewatch it. She was very, very supporting of me watching RoboCop,

125
00:06:36,839 --> 00:06:38,400
Speaker 2: but did not want to watch it, and I had

126
00:06:38,400 --> 00:06:40,359
Speaker 2: to remind her say, oh no, there's a lot of

127
00:06:40,360 --> 00:06:43,640
Speaker 2: satire in it. There's more to it than just the violence.

128
00:06:43,640 --> 00:06:46,200
Speaker 2: Though the violence is there and it's sticking with you

129
00:06:46,240 --> 00:06:46,800
Speaker 2: for a reason.

130
00:06:47,160 --> 00:06:48,960
Speaker 3: Yeah, I agree, And at the risk of sounding like

131
00:06:49,000 --> 00:06:53,239
Speaker 3: a sucker, I think RoboCop has a quite genuine soul

132
00:06:53,480 --> 00:06:56,880
Speaker 3: and humanity to it, and amid everything else it is,

133
00:06:56,920 --> 00:07:00,600
Speaker 3: it is a hyper violent action movie, that's true. It

134
00:07:00,720 --> 00:07:04,080
Speaker 3: is a hair raising depiction of a world in the

135
00:07:04,160 --> 00:07:08,560
Speaker 3: hands of a moral egomaniacs. It is also a sort

136
00:07:08,600 --> 00:07:13,320
Speaker 3: of light light sci fi speculation about cybernetics. It is

137
00:07:13,440 --> 00:07:17,880
Speaker 3: definitely a hilarious fun house mirror to American culture. Amid

138
00:07:17,920 --> 00:07:21,440
Speaker 3: all those things, it's about the struggle to keep hold

139
00:07:21,640 --> 00:07:25,280
Speaker 3: of one's own humanity in a situation where there is

140
00:07:25,480 --> 00:07:29,920
Speaker 3: enormous pressure from every direction trying to transform you into

141
00:07:29,960 --> 00:07:34,920
Speaker 3: a soulless machine. So a lot of retrospective appreciation of

142
00:07:35,040 --> 00:07:40,160
Speaker 3: RoboCop mentions the satirical aspects of it. So I think

143
00:07:40,160 --> 00:07:44,040
Speaker 3: you absolutely could look at RoboCop as a satirical vision

144
00:07:44,360 --> 00:07:47,720
Speaker 3: of a dystopian near future from the time that it

145
00:07:47,800 --> 00:07:49,760
Speaker 3: was made, which you know, so the mid to late

146
00:07:49,840 --> 00:07:53,920
Speaker 3: nineteen eighties. And I think one of the main political

147
00:07:54,040 --> 00:07:56,400
Speaker 3: thrusts of the commentary in the movie is if you

148
00:07:56,440 --> 00:07:58,760
Speaker 3: ever heard people say I wish the country could be

149
00:07:58,840 --> 00:08:02,680
Speaker 3: run like a business. The situational premise of RoboCop is

150
00:08:02,720 --> 00:08:04,680
Speaker 3: to say, Okay, let's see what that would be like.

151
00:08:05,600 --> 00:08:10,200
Speaker 3: So it depicts a kind of privatization nightmare where everything

152
00:08:10,720 --> 00:08:13,240
Speaker 3: that used to be thought of as a public interest

153
00:08:13,320 --> 00:08:16,720
Speaker 3: in a public good is sold off to corporations to

154
00:08:16,760 --> 00:08:19,600
Speaker 3: be run for profit. And though that seems to be

155
00:08:19,640 --> 00:08:22,600
Speaker 3: happening in pretty much all domains in the world of

156
00:08:22,640 --> 00:08:27,200
Speaker 3: the film, RoboCop especially focuses on the police department in

157
00:08:27,240 --> 00:08:30,080
Speaker 3: the city of Detroit, which has been bought out by

158
00:08:30,120 --> 00:08:35,320
Speaker 3: a corporation called Omni Consumer Products or OCP, and OCP

159
00:08:35,440 --> 00:08:38,160
Speaker 3: seems to be using it primarily in a couple of ways.

160
00:08:38,200 --> 00:08:39,880
Speaker 3: You get the sense they're looking at it as a

161
00:08:39,920 --> 00:08:42,640
Speaker 3: cost cutting center, so maybe they're taking the money for

162
00:08:42,679 --> 00:08:44,920
Speaker 3: the contract and then just cutting costs down to the

163
00:08:44,960 --> 00:08:47,520
Speaker 3: bone without regard for how this affects people, and then

164
00:08:47,600 --> 00:08:50,840
Speaker 3: keeping the difference. But they're also using it as a

165
00:08:50,960 --> 00:08:54,960
Speaker 3: playground to test out prototypes of new hardware that is

166
00:08:55,000 --> 00:08:58,839
Speaker 3: eventually destined for military use and thus big Pentagon contracts,

167
00:08:59,520 --> 00:09:04,400
Speaker 3: and the lot of RoboCop essentially arises as a conflict

168
00:09:04,720 --> 00:09:08,760
Speaker 3: between two rival OCP executives. You got Dick Jones and

169
00:09:08,840 --> 00:09:13,520
Speaker 3: Bob Morton who are squabbling to get their respective lethal

170
00:09:13,640 --> 00:09:17,440
Speaker 3: robot projects online at the police department so they can

171
00:09:17,480 --> 00:09:21,600
Speaker 3: eventually step them up, scale them up, and secure defense dollars.

172
00:09:22,120 --> 00:09:25,120
Speaker 3: So the things that are happening in the movie are

173
00:09:25,160 --> 00:09:28,199
Speaker 3: happening because of what's going on at the corporate board level.

174
00:09:28,240 --> 00:09:31,760
Speaker 3: These characters squabbling to get their own projects online and

175
00:09:31,800 --> 00:09:34,680
Speaker 3: make bank off of that. And meanwhile, the main good

176
00:09:34,800 --> 00:09:38,560
Speaker 3: characters are essentially just street level cops who are unknown

177
00:09:38,600 --> 00:09:42,320
Speaker 3: and unimportant to these power players, but whose fates are

178
00:09:42,360 --> 00:09:43,760
Speaker 3: controlled thereby.

179
00:09:44,920 --> 00:09:47,120
Speaker 2: Yeah. Yeah, I mean, they're just struggling trying to do

180
00:09:47,160 --> 00:09:52,240
Speaker 2: their job. Also, you know, there's talk of unionization. There

181
00:09:52,280 --> 00:09:55,680
Speaker 2: are all these other additional elements that are in play

182
00:09:56,360 --> 00:09:59,280
Speaker 2: kind of at the street level, but OCP is not

183
00:09:59,320 --> 00:10:02,960
Speaker 2: at street level. They're they're halfway to Heaven in their

184
00:10:03,160 --> 00:10:07,760
Speaker 2: enormous skyscraper, and and that's where that's where a lot

185
00:10:07,760 --> 00:10:09,439
Speaker 2: of the plotting and a lot of and ultimately a

186
00:10:09,480 --> 00:10:10,600
Speaker 2: lot of the action goes down.

187
00:10:10,920 --> 00:10:13,240
Speaker 3: That's right. So I thought RoboCop was great when I

188
00:10:13,280 --> 00:10:15,719
Speaker 3: first watched it. I've seen it several times over the

189
00:10:15,800 --> 00:10:18,840
Speaker 3: year since then. I've long had an appreciation of it,

190
00:10:19,200 --> 00:10:21,480
Speaker 3: but most recently, when I watched it just this week,

191
00:10:21,559 --> 00:10:24,240
Speaker 3: I sort of think it's better than ever. And one

192
00:10:24,280 --> 00:10:27,800
Speaker 3: thing that struck me on the most recent viewing is

193
00:10:27,840 --> 00:10:30,800
Speaker 3: that in a way, I think the sort of police

194
00:10:30,840 --> 00:10:35,160
Speaker 3: and criminal justice themes are less essential to the spirit

195
00:10:35,200 --> 00:10:37,840
Speaker 3: of the movie then a lot of people would think,

196
00:10:37,880 --> 00:10:40,240
Speaker 3: and certainly than I once thought so, Like the characters

197
00:10:40,280 --> 00:10:43,880
Speaker 3: are cops and some of the villains are career criminals,

198
00:10:43,960 --> 00:10:47,520
Speaker 3: but they could be in any line of work of

199
00:10:47,920 --> 00:10:51,320
Speaker 3: what used to be public service sector jobs, and the

200
00:10:51,360 --> 00:10:53,320
Speaker 3: spirit of the movie would be similar, though I guess

201
00:10:53,320 --> 00:10:55,640
Speaker 3: it would be a lot less high octane if this

202
00:10:55,800 --> 00:10:58,640
Speaker 3: was about like librarians whose branch is bought out by

203
00:10:58,640 --> 00:11:00,840
Speaker 3: OCP and they want to replace sell the books with

204
00:11:00,920 --> 00:11:04,960
Speaker 3: advertisements for the new six thousand sux. But I think

205
00:11:05,000 --> 00:11:07,240
Speaker 3: the deepest idea, like what's at the heart of this

206
00:11:07,320 --> 00:11:10,760
Speaker 3: movie is that it's about people who are doing a job,

207
00:11:10,840 --> 00:11:13,679
Speaker 3: whatever that job is, where their bosses do not see

208
00:11:13,679 --> 00:11:17,400
Speaker 3: them as human beings. They are treated like inanimate tools

209
00:11:17,559 --> 00:11:21,840
Speaker 3: or machines, just to be used to their maximum value,

210
00:11:21,920 --> 00:11:26,200
Speaker 3: exhausted and discarded. And this metaphor is literalized in the

211
00:11:26,200 --> 00:11:31,360
Speaker 3: case of RoboCop himself, and his redemption is in rediscovering

212
00:11:31,400 --> 00:11:34,400
Speaker 3: and reasserting that he is a human being, not just

213
00:11:34,440 --> 00:11:38,960
Speaker 3: a mechanism to be used for profit by somebody else. Yeah.

214
00:11:39,080 --> 00:11:41,360
Speaker 2: Yeah, his rediscovery of his humanity, that he is a

215
00:11:41,400 --> 00:11:45,040
Speaker 2: human and not a product. Yeah, I very much agree

216
00:11:45,080 --> 00:11:49,199
Speaker 2: with just the how good the movie is. Like, basically,

217
00:11:49,440 --> 00:11:53,560
Speaker 2: RoboCop shouldn't be this good as I rewatch it in

218
00:11:53,600 --> 00:11:56,520
Speaker 2: my mid forties here, you know, because it's a film

219
00:11:56,559 --> 00:11:59,800
Speaker 2: that again terrified and enthralled me when I was at

220
00:11:59,800 --> 00:12:02,960
Speaker 2: a way too early age, entertained me later on. You know,

221
00:12:03,000 --> 00:12:05,560
Speaker 2: it's a solid, you know, kind of dystopian action movie

222
00:12:05,640 --> 00:12:09,719
Speaker 2: with some laughs thrown in. But yeah, it absolutely delivers satirically,

223
00:12:10,720 --> 00:12:14,320
Speaker 2: It delivers with the action, and you know, it delivers emotionally.

224
00:12:14,440 --> 00:12:18,880
Speaker 2: Like when the film really gets into its its own

225
00:12:18,920 --> 00:12:22,880
Speaker 2: emotional depth, I felt like it those moments still hit

226
00:12:22,920 --> 00:12:25,240
Speaker 2: pretty hard, or I mean actually hit harder than they

227
00:12:25,240 --> 00:12:29,240
Speaker 2: ever had because you know, I, for instance, Murphy's son

228
00:12:29,240 --> 00:12:31,280
Speaker 2: in the film is about the age of my own son.

229
00:12:31,440 --> 00:12:34,079
Speaker 2: So it's it's you know, that resonated in a way

230
00:12:34,080 --> 00:12:35,600
Speaker 2: that it just wasn't going to resonate with me when

231
00:12:35,600 --> 00:12:38,040
Speaker 2: I was a kid, and then of course all of

232
00:12:38,080 --> 00:12:40,960
Speaker 2: this on top of the expected nostalgia rush of watching

233
00:12:40,960 --> 00:12:42,880
Speaker 2: a film like this that, for better or worse, she

234
00:12:42,920 --> 00:12:43,480
Speaker 2: grew up with.

235
00:12:43,679 --> 00:12:46,360
Speaker 3: Yeah, totally. So I see all that, and at the

236
00:12:46,360 --> 00:12:49,720
Speaker 3: same time I accept RoboCop is probably not for everybody.

237
00:12:49,760 --> 00:12:54,600
Speaker 3: This is, to be clear, a hard R rated, hyper

238
00:12:54,720 --> 00:12:57,719
Speaker 3: violent film, So you've got to be in the I

239
00:12:57,720 --> 00:12:59,839
Speaker 3: don't know in the right headspace to accept it, but

240
00:13:00,559 --> 00:13:03,800
Speaker 3: if it is on a wavelength that is amenable to you,

241
00:13:04,240 --> 00:13:05,800
Speaker 3: I think it is excellent.

242
00:13:06,360 --> 00:13:09,120
Speaker 2: All right, Joe, what's your elevator pitch for RoboCop?

243
00:13:09,160 --> 00:13:13,200
Speaker 3: Then Omni Consumer Products has bought out the contract for

244
00:13:13,280 --> 00:13:16,440
Speaker 3: Old Detroit and wants to replace its human police force

245
00:13:16,840 --> 00:13:20,199
Speaker 3: with one of a selection of different gun wielding robots.

246
00:13:20,679 --> 00:13:23,400
Speaker 3: Beat Cop Alex Murphy is killed on the job, and

247
00:13:23,440 --> 00:13:27,280
Speaker 3: his body parts, including the remains of his damaged brain,

248
00:13:27,880 --> 00:13:31,600
Speaker 3: are used as scaffolding for one of these projects, a

249
00:13:31,720 --> 00:13:36,600
Speaker 3: cyborg called RoboCop. Is he simply a tool now controlled

250
00:13:36,640 --> 00:13:40,040
Speaker 3: in full by his corporate masters, or is there still

251
00:13:40,040 --> 00:13:42,320
Speaker 3: a human being inside who can act of his own

252
00:13:42,360 --> 00:13:42,880
Speaker 3: free will?

253
00:13:43,400 --> 00:13:45,720
Speaker 2: All right, let's listen to that trailerati.

254
00:13:49,160 --> 00:13:53,480
Speaker 3: Old Detroit has a cancer. Councer is crime.

255
00:13:56,760 --> 00:13:59,240
Speaker 2: We need a self sufficient law enforcement robot.

256
00:14:00,000 --> 00:14:01,880
Speaker 3: I'm will to take We can go to prototype within

257
00:14:02,000 --> 00:14:05,840
Speaker 3: ninety days. Where are you from?

258
00:14:06,400 --> 00:14:08,760
Speaker 2: Welcome to hell? Are you.

259
00:14:10,600 --> 00:14:27,120
Speaker 3: Better alive? You're coming with me? You're gonna be a

260
00:14:27,240 --> 00:14:28,080
Speaker 3: bad mothers.

261
00:14:32,120 --> 00:14:35,520
Speaker 2: This guy is really good, yes, machine Hobo Cop?

262
00:14:35,720 --> 00:14:38,560
Speaker 3: What is he? He's a cyborg? You idiot? All hero?

263
00:14:38,920 --> 00:14:44,560
Speaker 3: What are your prime directors? Are? Protect Davidson? Let the

264
00:14:44,640 --> 00:14:47,040
Speaker 3: woman go or there will be trouble.

265
00:14:48,160 --> 00:14:49,000
Speaker 2: Hold the law.

266
00:14:49,400 --> 00:14:59,880
Speaker 3: You are under arrest? What justice gets an upgrade? Look

267
00:15:00,240 --> 00:15:11,600
Speaker 3: for me, RoboCop? Thank you for your cooperation. Good night.

268
00:15:16,240 --> 00:15:17,960
Speaker 2: All right, Well, if you want to go out and

269
00:15:18,000 --> 00:15:21,000
Speaker 2: watch RoboCop before proceeding with the rest of the episode,

270
00:15:21,440 --> 00:15:24,120
Speaker 2: go for it. It's widely available as a physical or

271
00:15:24,120 --> 00:15:27,920
Speaker 2: digital release. Joe, you watched it on the older Criterion

272
00:15:27,960 --> 00:15:31,280
Speaker 2: Collection DVD, which I understand is pretty awesome. I watched

273
00:15:31,280 --> 00:15:34,480
Speaker 2: it on the Aero Blu ray which I ran from Videodrome,

274
00:15:35,000 --> 00:15:37,760
Speaker 2: which I really loved. Both are loaded with extras.

275
00:15:37,960 --> 00:15:40,040
Speaker 3: I think I got to upgrade my disc because my

276
00:15:40,080 --> 00:15:43,680
Speaker 3: old DVD now is playing in a rectangle inside my

277
00:15:43,760 --> 00:15:48,920
Speaker 3: TV screen. But nevertheless, Yeah, it was a great rewatch.

278
00:15:57,240 --> 00:16:00,880
Speaker 2: All right, let's get into the people involved induction, starting

279
00:16:00,920 --> 00:16:06,000
Speaker 2: at the top with the director. Paul Verhoven born nineteen

280
00:16:06,080 --> 00:16:09,880
Speaker 2: thirty eight, Dutch director, best known internationally for his string

281
00:16:09,960 --> 00:16:12,680
Speaker 2: of major Hollywood genre films of the eighties and nineties.

282
00:16:13,400 --> 00:16:17,040
Speaker 2: This is our first Behoven film. He started out in

283
00:16:17,160 --> 00:16:20,520
Speaker 2: Dutch cinema and his first full length feature was the

284
00:16:20,600 --> 00:16:24,560
Speaker 2: nineteen seventy one comedy Businesses Business, followed by seventy three's

285
00:16:24,600 --> 00:16:27,880
Speaker 2: Turkish Delight. That's his first collaboration with fellow dutchman and

286
00:16:27,920 --> 00:16:32,560
Speaker 2: Rutger Hower in his film debut. This was an erotic drama,

287
00:16:32,720 --> 00:16:35,480
Speaker 2: and the film was a critical success and received a

288
00:16:35,480 --> 00:16:39,240
Speaker 2: Best Foreign Language Film nomination at the nineteen seventy four Oscars.

289
00:16:39,560 --> 00:16:42,200
Speaker 2: He did three additional Dutch films with Hower, and a

290
00:16:42,280 --> 00:16:45,880
Speaker 2: nineteen eighty three thriller called The Fourth Man with the

291
00:16:46,000 --> 00:16:49,600
Speaker 2: Jerome Krabby, another Dutch actor of note that he had

292
00:16:49,600 --> 00:16:53,280
Speaker 2: frequently worked with, that went on to international success. After this,

293
00:16:53,400 --> 00:16:57,520
Speaker 2: he transitioned to Hollywood with the Rutger Hower filmed nineteen

294
00:16:57,560 --> 00:17:01,520
Speaker 2: eighty five medieval action adventure film Flesh and Blood or

295
00:17:01,560 --> 00:17:04,920
Speaker 2: It's actually the title often looks like flesh plus.

296
00:17:04,640 --> 00:17:06,680
Speaker 3: Blood equals what.

297
00:17:08,480 --> 00:17:13,119
Speaker 2: Cinema, I guess. And then then comes RoboCop, which was

298
00:17:13,320 --> 00:17:15,960
Speaker 2: a big enough hit, though at the time criticized for

299
00:17:16,000 --> 00:17:18,720
Speaker 2: his violence, certainly that he went on to direct Total

300
00:17:18,720 --> 00:17:22,520
Speaker 2: Recall in nineteen ninety, Basic Instinct in ninety two, Showgirls

301
00:17:22,520 --> 00:17:26,439
Speaker 2: in ninety five, Starship Troopers in ninety seven, and hollow

302
00:17:26,480 --> 00:17:31,959
Speaker 2: Man in two thousand, which was apparently an unsatisfying film

303
00:17:32,160 --> 00:17:35,760
Speaker 2: for Rehoven. It seems in interviews where he's like, well,

304
00:17:35,760 --> 00:17:38,119
Speaker 2: this was the first movie that I made that looking

305
00:17:38,160 --> 00:17:39,879
Speaker 2: at it, someone else could have made it. You know,

306
00:17:39,920 --> 00:17:42,800
Speaker 2: he didn't feel like his touch was there. So after

307
00:17:42,800 --> 00:17:44,840
Speaker 2: this he moves back to Dutch cinema with a string

308
00:17:44,880 --> 00:17:48,160
Speaker 2: of pictures that lean more historical in theme less sci

309
00:17:48,240 --> 00:17:50,800
Speaker 2: fi and so forth. But I believe he is set

310
00:17:50,840 --> 00:17:53,680
Speaker 2: to return to American cinema with a project called Young Cinner,

311
00:17:53,760 --> 00:17:55,080
Speaker 2: which is currently in development.

312
00:17:55,520 --> 00:17:58,840
Speaker 3: Yeah, regarding these other big Hollywood movies, it is a

313
00:17:58,880 --> 00:18:01,800
Speaker 3: weird string of films though you can totally see the

314
00:18:02,400 --> 00:18:05,880
Speaker 3: as different as they are the creative threads that run

315
00:18:05,920 --> 00:18:08,000
Speaker 3: through them, and I would say the thing that they

316
00:18:08,040 --> 00:18:11,399
Speaker 3: all have in common is excess. He was a filmmaker

317
00:18:11,440 --> 00:18:17,080
Speaker 3: who was into depicting depicting a kind of carnal excess

318
00:18:17,119 --> 00:18:21,720
Speaker 3: in terms of sex and violence, but usually to make

319
00:18:21,800 --> 00:18:25,080
Speaker 3: a point of some kind. Whether he was successful or

320
00:18:25,119 --> 00:18:28,280
Speaker 3: not in all of these endeavors, that's questionable, though. I

321
00:18:28,320 --> 00:18:31,080
Speaker 3: think I would single out Starship Troopers in ninety seven

322
00:18:31,560 --> 00:18:35,119
Speaker 3: as another movie that I think at the time a

323
00:18:35,200 --> 00:18:37,960
Speaker 3: lot of people really did not get it, kind of

324
00:18:38,000 --> 00:18:39,880
Speaker 3: like what happened with RoboCop. A lot of people saw

325
00:18:39,920 --> 00:18:43,720
Speaker 3: it as a kind of excessive, mindless, hyper violent sci

326
00:18:43,760 --> 00:18:47,040
Speaker 3: fi action movie that in retrospect a lot of critics

327
00:18:47,040 --> 00:18:49,760
Speaker 3: have looked back and said, this is actually a quite

328
00:18:49,800 --> 00:18:54,200
Speaker 3: sharp satire and works much better than we originally realized.

329
00:18:54,920 --> 00:18:56,680
Speaker 2: Yeah, and I still need to go back and rewatch it,

330
00:18:56,720 --> 00:18:59,120
Speaker 2: because I watched it when I was when it first

331
00:18:59,160 --> 00:19:01,359
Speaker 2: came out, just I just didn't pick up on all

332
00:19:01,359 --> 00:19:06,199
Speaker 2: the satire, and so the fascist themes in there that

333
00:19:06,200 --> 00:19:10,080
Speaker 2: are there intentionally, that are being satirized just ended up

334
00:19:10,119 --> 00:19:12,479
Speaker 2: sitting with me in a very weird way. I was like,

335
00:19:12,520 --> 00:19:16,040
Speaker 2: I really don't like the humans in this, and of

336
00:19:16,080 --> 00:19:18,399
Speaker 2: course I don't think you're supposed to like the humans

337
00:19:19,040 --> 00:19:21,359
Speaker 2: at least by the end of the film, So I

338
00:19:21,400 --> 00:19:24,240
Speaker 2: need to revisit it at some point. Now, Rahuvein was

339
00:19:24,280 --> 00:19:27,919
Speaker 2: apparently I've read slow to accept the Rogocop project, apparently

340
00:19:28,000 --> 00:19:31,119
Speaker 2: because he didn't really understand the satire at first. And

341
00:19:31,160 --> 00:19:33,399
Speaker 2: I think it's been said that his wife likes like

342
00:19:33,720 --> 00:19:35,760
Speaker 2: like set him down, was like no, no, no, see,

343
00:19:35,880 --> 00:19:38,280
Speaker 2: this is what it's don't you see what it's doing here?

344
00:19:38,359 --> 00:19:40,800
Speaker 2: And then he was like, Okay, yeah, I see now.

345
00:19:40,840 --> 00:19:42,760
Speaker 2: And I wonder how much of that has to do

346
00:19:42,800 --> 00:19:45,280
Speaker 2: with the excess, you know, because it's like he seems

347
00:19:45,320 --> 00:19:49,479
Speaker 2: like a filmmaker, you know, who is about pushing for

348
00:19:50,000 --> 00:19:53,000
Speaker 2: the excessive violence and or sexuality more the violence in

349
00:19:53,080 --> 00:19:56,720
Speaker 2: this film, but also pushing the satire, like making sure

350
00:19:56,800 --> 00:19:59,959
Speaker 2: that everything's ramped up enough that you can't miss it,

351
00:20:00,320 --> 00:20:04,600
Speaker 2: that even at least subconsciously, it's going to needle your

352
00:20:04,640 --> 00:20:07,199
Speaker 2: brain and make you realize something's not right here or

353
00:20:07,240 --> 00:20:10,639
Speaker 2: something's being sad. There's some additional way I'm supposed to

354
00:20:10,640 --> 00:20:11,159
Speaker 2: interpret this.

355
00:20:11,640 --> 00:20:14,640
Speaker 3: Yeah, though, like I said, I mean, I think, especially

356
00:20:14,680 --> 00:20:16,520
Speaker 3: in the case of Starship Troopers, it seems like a

357
00:20:16,520 --> 00:20:18,320
Speaker 3: lot of people did miss it at the time and

358
00:20:18,760 --> 00:20:20,800
Speaker 3: only got it years later looking back.

359
00:20:21,280 --> 00:20:24,840
Speaker 2: Yeah, now, the writers on this we have two writers.

360
00:20:24,880 --> 00:20:29,199
Speaker 2: There's Edward Neumeyer, American screenwriter, producer, and director. This was

361
00:20:29,240 --> 00:20:33,240
Speaker 2: his first big hit alongside Michael Miner, who I'll get

362
00:20:33,240 --> 00:20:35,000
Speaker 2: to in a second. He went on to work on

363
00:20:35,080 --> 00:20:38,920
Speaker 2: Starship Troopers, Starship Troopers two, and Starship Troopers three, which

364
00:20:38,920 --> 00:20:43,280
Speaker 2: he directed. He also co scripted Anaconda's The Hunt for

365
00:20:43,320 --> 00:20:48,160
Speaker 2: the Blood Orchid in two thousand and four, and he's

366
00:20:48,160 --> 00:20:50,840
Speaker 2: actually the writer of the upcoming Young Center project that

367
00:20:50,880 --> 00:20:52,080
Speaker 2: I referenced earlier.

368
00:20:52,760 --> 00:20:55,920
Speaker 3: I have not seen the Starship Troopers sequels, but oh boy,

369
00:20:56,040 --> 00:20:58,439
Speaker 3: that just sounds like, I don't know, reaching into a

370
00:20:58,480 --> 00:21:02,560
Speaker 3: snake hole in the woods. I don't know if that was.

371
00:21:03,960 --> 00:21:05,160
Speaker 3: Maybe they're great.

372
00:21:05,200 --> 00:21:08,640
Speaker 2: I haven't seen him now. As for Michael Minor, also

373
00:21:08,760 --> 00:21:12,120
Speaker 2: director and screenwriter of various projects, this was his first

374
00:21:12,119 --> 00:21:14,400
Speaker 2: big hit as well, which you followed up with scriptwork

375
00:21:14,440 --> 00:21:17,120
Speaker 2: on nineteen eighty nine's Deadly Weapon, which he also directed,

376
00:21:17,920 --> 00:21:22,720
Speaker 2: lownmower Man two, and also Anaconda's The Hunt for the

377
00:21:22,720 --> 00:21:25,920
Speaker 2: Blood Orchid. He also directed nineteen ninety nine's The Book

378
00:21:25,920 --> 00:21:28,960
Speaker 2: of Stars, which looks like I got some good reviews.

379
00:21:28,960 --> 00:21:31,600
Speaker 2: I think it's more of a drama. Early in his career,

380
00:21:31,640 --> 00:21:33,680
Speaker 2: he directed a number of music videos for the rock

381
00:21:33,720 --> 00:21:34,760
Speaker 2: band Y and T.

382
00:21:35,600 --> 00:21:36,800
Speaker 3: I don't think I know them.

383
00:21:37,119 --> 00:21:38,480
Speaker 2: I was not familiar. Look like some sort of a

384
00:21:38,520 --> 00:21:41,480
Speaker 2: rock band or metal band, but I just don't know. Now.

385
00:21:41,720 --> 00:21:44,240
Speaker 2: Our star of this is, of course, Peter Weller, playing

386
00:21:44,960 --> 00:21:47,800
Speaker 2: essentially a dual role Alex Murphy and then the RoboCop

387
00:21:47,840 --> 00:21:51,560
Speaker 2: that Murphy becomes, and then Robocop's attempts to reconnect with

388
00:21:51,600 --> 00:21:54,600
Speaker 2: the Alex Murphy he once was. Weller was born in

389
00:21:54,640 --> 00:21:57,800
Speaker 2: nineteen forty seven, American actor and director who's acting work

390
00:21:57,880 --> 00:22:00,760
Speaker 2: goes back to the early seventies and he's still active today.

391
00:22:00,800 --> 00:22:03,800
Speaker 2: We previously discussed him in more depth in our episode

392
00:22:03,800 --> 00:22:05,439
Speaker 2: on Penos KOs Manto's The Viewing.

393
00:22:05,880 --> 00:22:07,920
Speaker 3: As we go on to discuss Weller in this role,

394
00:22:08,240 --> 00:22:10,560
Speaker 3: a point of comparison that I think is maybe worth

395
00:22:10,600 --> 00:22:14,960
Speaker 3: making is to the actors who play Batman, where there's

396
00:22:15,000 --> 00:22:16,840
Speaker 3: a dual role, where there's like, you know, you have

397
00:22:16,920 --> 00:22:19,439
Speaker 3: your face revealed in one sense as Bruce Wayne, but

398
00:22:19,480 --> 00:22:21,959
Speaker 3: then also for part of the movie you are just

399
00:22:22,000 --> 00:22:22,840
Speaker 3: a mouth and chin.

400
00:22:23,520 --> 00:22:27,040
Speaker 2: M yeah, so you know. Luckily, Peter Weller has a

401
00:22:27,119 --> 00:22:31,359
Speaker 2: very handsome mouth and chin, very expressive. I think the

402
00:22:31,400 --> 00:22:35,320
Speaker 2: other interesting thing that was surely intentional is that, especially

403
00:22:35,359 --> 00:22:38,359
Speaker 2: at the time, he was a very gaunt actor, you know,

404
00:22:38,520 --> 00:22:41,600
Speaker 2: a very thin man, which you know, you need a

405
00:22:41,640 --> 00:22:43,800
Speaker 2: skeleton to go at the in the middle of all

406
00:22:43,800 --> 00:22:47,040
Speaker 2: of that gear that he ends up wearing in the

407
00:22:47,119 --> 00:22:50,720
Speaker 2: RoboCop suit. So I think that that probably was a

408
00:22:50,800 --> 00:22:53,320
Speaker 2: huge factor as well. You need somebody that can literally

409
00:22:53,320 --> 00:22:56,600
Speaker 2: be the skeleton of this thing. Now as Murphy, I

410
00:22:57,040 --> 00:22:59,240
Speaker 2: you know, he's basically just a likable good cop that

411
00:22:59,280 --> 00:23:01,560
Speaker 2: we don't really to know all that much. We learn

412
00:23:01,600 --> 00:23:04,600
Speaker 2: more about him through RoboCop as he tries to reconnect

413
00:23:04,640 --> 00:23:07,840
Speaker 2: with his past, and this results in various moments where

414
00:23:08,320 --> 00:23:12,720
Speaker 2: RoboCop the cyborg is trying to connect with the remnants

415
00:23:12,720 --> 00:23:15,000
Speaker 2: of his own humanity, you know, and his memories of

416
00:23:15,040 --> 00:23:18,120
Speaker 2: his family, and I think Weller does a really great

417
00:23:18,160 --> 00:23:22,200
Speaker 2: job in those moments, like they I kind of weld

418
00:23:22,280 --> 00:23:27,359
Speaker 2: some tears up in those moments myself. And then also

419
00:23:27,520 --> 00:23:30,360
Speaker 2: just as in terms of the action scenes, I think

420
00:23:30,400 --> 00:23:33,840
Speaker 2: it's a very nice physical performance. So there are certainly

421
00:23:33,840 --> 00:23:37,159
Speaker 2: times where the robot movements look silly, you know, walking

422
00:23:37,200 --> 00:23:39,919
Speaker 2: around as RoboCop, and I think maybe they're supposed to,

423
00:23:40,160 --> 00:23:42,560
Speaker 2: but there are also some great flourishes that really bring

424
00:23:42,680 --> 00:23:45,360
Speaker 2: this metallic hulk to life. I think about the way

425
00:23:45,440 --> 00:23:48,720
Speaker 2: that he positions his hands when he's firing that enormous

426
00:23:48,760 --> 00:23:51,520
Speaker 2: pistol of his I don't know if this is something

427
00:23:51,520 --> 00:23:56,360
Speaker 2: that actually makes sense in the use of a pistol,

428
00:23:56,400 --> 00:23:58,840
Speaker 2: but it looks really good when RoboCop does it.

429
00:23:59,280 --> 00:24:02,120
Speaker 3: Well, there's a range kind of ballet to the way

430
00:24:02,160 --> 00:24:04,920
Speaker 3: that he moves, like he doesn't just raise his arm

431
00:24:05,000 --> 00:24:08,920
Speaker 3: to shoot his RoboCop gun, if you know what I mean.

432
00:24:09,000 --> 00:24:10,919
Speaker 3: Rob There are some shots where he can almost kind

433
00:24:10,960 --> 00:24:13,679
Speaker 3: of like he raises both arms, like he raises his

434
00:24:13,760 --> 00:24:16,040
Speaker 3: other arm as a kind of counterbalance. Is that what

435
00:24:16,040 --> 00:24:16,800
Speaker 3: you're talking about?

436
00:24:17,000 --> 00:24:19,840
Speaker 2: Yeah, yeah, it does feel very mechanical like this, like

437
00:24:19,920 --> 00:24:23,480
Speaker 2: his upper torso is the turret of a tank, you know.

438
00:24:23,640 --> 00:24:27,320
Speaker 3: Yeah, but also so I see, Yeah, it is mechanical,

439
00:24:27,480 --> 00:24:30,480
Speaker 3: and it almost looks like he's doing a counterweight or counterbalance.

440
00:24:30,480 --> 00:24:33,000
Speaker 3: But it also kind of looks like a dance like

441
00:24:32,840 --> 00:24:35,720
Speaker 3: it like ballet or something where the arms both go out.

442
00:24:36,320 --> 00:24:38,720
Speaker 2: Yeah. If they had not done those things, I think

443
00:24:38,800 --> 00:24:43,119
Speaker 2: RoboCop the character would have been a lot more just

444
00:24:43,280 --> 00:24:47,280
Speaker 2: visually unappealing. So I was noticing a lot of that

445
00:24:47,359 --> 00:24:50,200
Speaker 2: and rewatching the film. Now Weller came back to play

446
00:24:50,840 --> 00:24:55,159
Speaker 2: RoboCop again in the sequel RoboCop two, but by RoboCop three,

447
00:24:55,200 --> 00:24:57,480
Speaker 2: he was played by a different actor, Robert John Burke

448
00:24:57,760 --> 00:25:02,040
Speaker 2: of the best known probably for Thinner Dust Devil I'm

449
00:25:02,040 --> 00:25:04,399
Speaker 2: to understand it well, or was unavailable because he was

450
00:25:04,400 --> 00:25:06,600
Speaker 2: filming Cronenberg's Naked Lunch at that point.

451
00:25:07,560 --> 00:25:12,000
Speaker 3: You know, I've never so RoboCop two is interesting. It

452
00:25:12,280 --> 00:25:15,320
Speaker 3: I think it is quite good, but it's very different

453
00:25:15,440 --> 00:25:18,359
Speaker 3: than the first RoboCop and has a has a different

454
00:25:18,480 --> 00:25:22,080
Speaker 3: kind of mindset. RoboCop three I've never seen, but it's

455
00:25:22,119 --> 00:25:24,760
Speaker 3: on paper seems like it could be hilarious, So I'm

456
00:25:24,880 --> 00:25:26,679
Speaker 3: I kind of want to get into it.

457
00:25:26,680 --> 00:25:29,640
Speaker 2: It has a great cast, and it's and it's interesting

458
00:25:29,720 --> 00:25:32,719
Speaker 2: too in that by three they're like, you know, kids

459
00:25:32,760 --> 00:25:37,520
Speaker 2: love RoboCop. Let's maybe let's make one that's not rated R.

460
00:25:38,560 --> 00:25:40,520
Speaker 2: And so that's what they did. But yeah, I've never

461
00:25:40,640 --> 00:25:42,840
Speaker 2: I've never seen it, but but I would like to

462
00:25:42,960 --> 00:25:46,520
Speaker 2: love robo Cup two. It really ups the ante, especially

463
00:25:46,560 --> 00:25:48,800
Speaker 2: on the stop motion violence.

464
00:25:49,119 --> 00:25:52,119
Speaker 3: Yeah, so three has what I know about it is

465
00:25:52,119 --> 00:25:55,840
Speaker 3: that I think it has rocket Ninjas and it is no.

466
00:25:56,440 --> 00:25:58,040
Speaker 3: Its reputation is quite terrible.

467
00:25:58,480 --> 00:26:00,720
Speaker 2: Yeah, but it has Stephen Root in it, so it's

468
00:26:00,800 --> 00:26:03,679
Speaker 2: kind of got to apply to Stephen Root rule. How

469
00:26:03,720 --> 00:26:05,920
Speaker 2: bad can it be if Stephen Root isn't it? I

470
00:26:05,920 --> 00:26:09,720
Speaker 2: should also note that Weller has returned to voice RoboCop

471
00:26:09,920 --> 00:26:12,760
Speaker 2: in recent years. I believe they put the character into

472
00:26:12,800 --> 00:26:15,399
Speaker 2: one of the Mortal Kombat games. And there's a new

473
00:26:15,680 --> 00:26:20,080
Speaker 2: RoboCop video game that I am not technologically equipped to play,

474
00:26:20,680 --> 00:26:22,879
Speaker 2: but I've read some interesting things about it. Sounds like

475
00:26:22,920 --> 00:26:25,160
Speaker 2: it does an interesting job of sort of drawing from

476
00:26:25,200 --> 00:26:29,800
Speaker 2: all three films to create a like a fourth narrative

477
00:26:29,840 --> 00:26:32,800
Speaker 2: that you can play through. I don't know that the

478
00:26:32,880 --> 00:26:36,480
Speaker 2: satire is there. So if you've played this new RoboCop game,

479
00:26:37,320 --> 00:26:38,960
Speaker 2: right in and tell us what you think.

480
00:26:39,320 --> 00:26:39,720
Speaker 3: All right.

481
00:26:40,359 --> 00:26:44,000
Speaker 2: The next actor of note is Nancy Allen playing the cop.

482
00:26:44,200 --> 00:26:48,320
Speaker 2: Anne Lewis born nineteen fifty American actress who kicked off

483
00:26:48,320 --> 00:26:51,160
Speaker 2: her film career in nineteen seventy three is the last detail.

484
00:26:51,800 --> 00:26:53,960
Speaker 2: She followed this up with supporting roles in a string

485
00:26:54,000 --> 00:26:57,639
Speaker 2: of horror movies, including seventy six Is Carrie, then a

486
00:26:57,680 --> 00:26:59,720
Speaker 2: string of roles in films of the films of Brian

487
00:26:59,760 --> 00:27:03,000
Speaker 2: the Alma seventy nine's Home Movies nineteen eighties Dressed to

488
00:27:03,119 --> 00:27:07,239
Speaker 2: Kill and eighty one's Blowout After Robocops. She appeared in

489
00:27:07,280 --> 00:27:10,199
Speaker 2: both Robo sequels. She was in Polter Guys three in

490
00:27:10,240 --> 00:27:12,800
Speaker 2: eighty eight, she was in nineteen ninety eight Out of Sight,

491
00:27:13,640 --> 00:27:15,879
Speaker 2: She was in Children of the Corn six six six,

492
00:27:15,960 --> 00:27:19,520
Speaker 2: Isaac's return in nineteen ninety nine, and her last acting

493
00:27:19,560 --> 00:27:22,639
Speaker 2: credit was in two thousand and eight, So it sounds

494
00:27:22,640 --> 00:27:26,280
Speaker 2: like maybe she sort of quietly retired from cinema.

495
00:27:26,400 --> 00:27:28,920
Speaker 3: Is Children of the Corn six six six the six

496
00:27:29,000 --> 00:27:31,520
Speaker 3: hundred and sixty six movie in that series?

497
00:27:33,680 --> 00:27:35,560
Speaker 2: It might be. I feel like there are that many

498
00:27:35,600 --> 00:27:38,480
Speaker 2: of them. I've attempted to look. I don't think I've

499
00:27:38,520 --> 00:27:42,000
Speaker 2: ever seen one. I love Stephen King's original short story.

500
00:27:42,000 --> 00:27:45,240
Speaker 2: It's very creepy, but it's hard to figure out where

501
00:27:45,280 --> 00:27:48,960
Speaker 2: to even contemplate beginning with the Children of the Corn movies.

502
00:27:49,040 --> 00:27:51,040
Speaker 3: Why would it take Isaac that long to return?

503
00:27:52,400 --> 00:27:53,800
Speaker 2: I don't know. I think maybe he was out for

504
00:27:53,840 --> 00:27:55,040
Speaker 2: a movie or two. I don't know.

505
00:27:55,080 --> 00:28:00,760
Speaker 3: Okay, so I really really love Nancy Allen as Lewis

506
00:28:00,760 --> 00:28:04,120
Speaker 3: and RoboCop. Maybe my all time favorite buddy cop partner

507
00:28:04,680 --> 00:28:09,000
Speaker 3: in a buddy cop movie. So the movie shows kind

508
00:28:09,000 --> 00:28:11,960
Speaker 3: of multiple ways that the police characters react to the

509
00:28:12,840 --> 00:28:16,520
Speaker 3: pressures that they're under in this plot. You know, some

510
00:28:16,640 --> 00:28:20,320
Speaker 3: of the cops in the movie just become unthinking functionaries

511
00:28:20,320 --> 00:28:23,679
Speaker 3: of OCP, Like they just keep their heads down, do

512
00:28:23,760 --> 00:28:26,040
Speaker 3: what the boss says. They don't ask questions, even when

513
00:28:26,040 --> 00:28:29,520
Speaker 3: they are essentially ordered to assassinate RoboCop. Later in the movie.

514
00:28:30,000 --> 00:28:33,040
Speaker 3: Others are shown having emotional crises, like there's one guy

515
00:28:33,080 --> 00:28:35,920
Speaker 3: who just always in every scene seems to be freaking out.

516
00:28:37,119 --> 00:28:41,160
Speaker 3: Lewis is an interesting like she keeps cool under pressure,

517
00:28:41,200 --> 00:28:44,520
Speaker 3: and she thinks for herself and she uses compassion. She's

518
00:28:44,560 --> 00:28:47,280
Speaker 3: the one who's able to understand what's going on, to

519
00:28:47,360 --> 00:28:51,520
Speaker 3: see that RoboCop is actually Murphy when she gets in

520
00:28:51,560 --> 00:28:55,360
Speaker 3: his face and says, it's you Murphy. Yeah, And to

521
00:28:55,440 --> 00:28:57,680
Speaker 3: see that there's some part of him that is still human,

522
00:28:57,720 --> 00:28:59,760
Speaker 3: and to save his life when Dick Jones is trying

523
00:28:59,760 --> 00:29:03,480
Speaker 3: to have destroyed in the third act or second or third,

524
00:29:03,480 --> 00:29:05,560
Speaker 3: I don't know, later on in the movie, and I

525
00:29:05,560 --> 00:29:08,600
Speaker 3: think Nancy Allen does a great job with this role.

526
00:29:08,760 --> 00:29:12,960
Speaker 3: She's she's tough, down to earth, plays it smart human.

527
00:29:13,280 --> 00:29:14,560
Speaker 3: I really like her in this role.

528
00:29:15,080 --> 00:29:18,440
Speaker 2: Oh yeah, she's really the heart and soul of this

529
00:29:18,560 --> 00:29:20,920
Speaker 2: movie in many ways, in a very real sense and

530
00:29:20,960 --> 00:29:24,000
Speaker 2: an intentional sense, you know. And she's and it's also

531
00:29:24,040 --> 00:29:26,880
Speaker 2: great that she's not written as a love interest. Yeah,

532
00:29:26,920 --> 00:29:28,960
Speaker 2: you know, she's a capable action hero in her own

533
00:29:29,040 --> 00:29:32,520
Speaker 2: right in an action movie, but her compassion is really

534
00:29:32,560 --> 00:29:35,640
Speaker 2: her main strength. And that's and without her, if you

535
00:29:35,640 --> 00:29:38,920
Speaker 2: take her character out of this, you don't get any

536
00:29:39,000 --> 00:29:41,640
Speaker 2: kind of a positive resolution for the characters in the setting.

537
00:29:42,080 --> 00:29:44,280
Speaker 3: I agree. I think a lesser movie would have tried

538
00:29:44,320 --> 00:29:47,120
Speaker 3: to have some kind of romantic relationship between the two,

539
00:29:47,160 --> 00:29:49,880
Speaker 3: and it just that's not what this relationship is about.

540
00:29:49,960 --> 00:29:51,600
Speaker 3: And I'm glad they didn't go that direction.

541
00:29:52,560 --> 00:29:57,480
Speaker 2: I watched a featurette on the Arrow Blu Ray where

542
00:29:57,480 --> 00:30:01,600
Speaker 2: they're interviewing her about this role, and Nancy Allen does

543
00:30:01,640 --> 00:30:03,920
Speaker 2: point out it's very interesting how she ended up getting

544
00:30:04,040 --> 00:30:06,520
Speaker 2: the part, and you know, the sort of callback experience

545
00:30:06,560 --> 00:30:08,840
Speaker 2: and so forth. But she said she showed up in

546
00:30:08,920 --> 00:30:11,000
Speaker 2: Dallas and they were like, how about a shorter haircut?

547
00:30:11,080 --> 00:30:13,320
Speaker 2: And because she had longer hair, and she's like, okay,

548
00:30:13,360 --> 00:30:14,840
Speaker 2: she gets it, goes out, gets her haircut, and then

549
00:30:14,840 --> 00:30:17,680
Speaker 2: she's like, oh my god, I got my haircut way

550
00:30:17,720 --> 00:30:20,520
Speaker 2: too short. I've got a terrible haircut for this movie.

551
00:30:20,600 --> 00:30:22,840
Speaker 2: I don't think it looks terrible, but it is very short.

552
00:30:23,960 --> 00:30:27,560
Speaker 2: So it's interesting to think about that. Looking at the character,

553
00:30:27,720 --> 00:30:30,640
Speaker 2: I think it ultimately works really well for the character.

554
00:30:30,720 --> 00:30:32,640
Speaker 2: But at the time I think she was a little horrified.

555
00:30:32,680 --> 00:30:34,120
Speaker 2: She was like, I think I've gone too far.

556
00:30:34,600 --> 00:30:36,520
Speaker 3: I think this was the first movie I saw Nancy

557
00:30:36,560 --> 00:30:38,480
Speaker 3: Allen in, so I just think of this as her

558
00:30:38,560 --> 00:30:40,560
Speaker 3: natural haircut. So when I see her in other stuff

559
00:30:40,560 --> 00:30:42,520
Speaker 3: with longer hair, I'm like, oh, here she has long hair.

560
00:30:42,600 --> 00:30:45,840
Speaker 2: Now, all right, let's get into some of the corporate

561
00:30:46,000 --> 00:30:48,240
Speaker 2: characters here. We'll also come back to a few cops.

562
00:30:48,840 --> 00:30:51,760
Speaker 2: This is we've talked about this actor before, but Dan

563
00:30:51,840 --> 00:30:54,800
Speaker 2: o'hurlehey plays the old Man.

564
00:30:55,320 --> 00:30:58,760
Speaker 3: Oh boy, the villain from Halloween three, shows up as

565
00:30:58,800 --> 00:31:01,480
Speaker 3: a I don't know is he a villain? And yeah,

566
00:31:01,760 --> 00:31:04,920
Speaker 3: he's a sort of unwitting villain in this movie. You

567
00:31:04,960 --> 00:31:08,800
Speaker 3: don't see him. He's not as direct of a schemer

568
00:31:08,880 --> 00:31:11,000
Speaker 3: as some of the other corporate villains. He's more just

569
00:31:11,080 --> 00:31:13,760
Speaker 3: kind of like sitting there presiding over all of the

570
00:31:13,800 --> 00:31:16,480
Speaker 3: wickedness that goes on, mostly oblivious to it.

571
00:31:17,120 --> 00:31:19,400
Speaker 2: I you know, going into this, and perhaps the character

572
00:31:19,480 --> 00:31:22,240
Speaker 2: changes a bit in the sequels, I don't remember. I've

573
00:31:22,240 --> 00:31:24,160
Speaker 2: probably seen Rebel Coop two more than I've seen any

574
00:31:24,200 --> 00:31:26,360
Speaker 2: of them, so maybe he's more of a villain in too.

575
00:31:26,440 --> 00:31:29,520
Speaker 2: But in this one I feel like he is essentially

576
00:31:30,360 --> 00:31:34,760
Speaker 2: God or perhaps Zeus. You know, he's The corporate meeting

577
00:31:34,880 --> 00:31:38,080
Speaker 2: rooms of OCP are in a place where skycris skyscrapers

578
00:31:38,120 --> 00:31:41,200
Speaker 2: touch the heavens, and his appearance at a meeting is

579
00:31:41,240 --> 00:31:43,920
Speaker 2: spoken of in terms of a holy visitation, and we

580
00:31:44,000 --> 00:31:46,520
Speaker 2: never hear his name. He's just the old man. It

581
00:31:46,560 --> 00:31:50,120
Speaker 2: really does feel like he actually comes down for these

582
00:31:50,160 --> 00:31:53,960
Speaker 2: meetings from heaven or from Mount Olympus, carrying with him

583
00:31:54,000 --> 00:31:57,320
Speaker 2: the aloofness and distance of a divine father who wants

584
00:31:57,360 --> 00:32:00,480
Speaker 2: the best for his creations. He wants to create Delta City. Remember,

585
00:32:00,520 --> 00:32:04,680
Speaker 2: he's the idea man. All this robot cop stuff is

586
00:32:04,800 --> 00:32:07,600
Speaker 2: just in service to this grand dream that is going

587
00:32:07,680 --> 00:32:09,960
Speaker 2: to make the world better, at least for some people.

588
00:32:11,320 --> 00:32:13,640
Speaker 2: He wants to fix his creation, but he doesn't really

589
00:32:13,720 --> 00:32:15,480
Speaker 2: understand mortal existence. All that.

590
00:32:15,560 --> 00:32:19,160
Speaker 3: Well, you're right, and I think the comparison dozeus his

591
00:32:19,280 --> 00:32:22,160
Speaker 3: apt because in some ways he is kind of an

592
00:32:22,560 --> 00:32:26,520
Speaker 3: arbiter of justice or a moral authority in some way,

593
00:32:26,520 --> 00:32:29,000
Speaker 3: but he doesn't really seem to have much understanding of

594
00:32:29,040 --> 00:32:32,720
Speaker 3: morality at all. It's like he is like an amorl

595
00:32:32,960 --> 00:32:34,120
Speaker 3: arbiter of justice.

596
00:32:34,880 --> 00:32:37,760
Speaker 2: Yeah. Yeah, so it's an interesting role to look at again,

597
00:32:37,840 --> 00:32:40,080
Speaker 2: thinking of it's easy to go in and think about

598
00:32:40,080 --> 00:32:42,360
Speaker 2: his role in Halloween three, you know, where he is

599
00:32:43,000 --> 00:32:46,760
Speaker 2: this evil corporate guy, and we also talked about him

600
00:32:46,760 --> 00:32:49,160
Speaker 2: in the last Starfighter episode we did he plays he

601
00:32:49,160 --> 00:32:52,200
Speaker 2: plays a good guy in that he's covered in alien makeup.

602
00:32:52,840 --> 00:32:55,080
Speaker 3: In this I guess I would say he is functionally

603
00:32:55,160 --> 00:32:58,320
Speaker 3: a bad guy in terms of the effects of his behavior,

604
00:32:58,440 --> 00:33:01,920
Speaker 3: but he is doesn't have bad guy energy on screen.

605
00:33:02,400 --> 00:33:05,720
Speaker 3: He's just sort of like an oblivious god who's bumbling

606
00:33:05,760 --> 00:33:08,719
Speaker 3: around destroying people without really realizing it.

607
00:33:09,160 --> 00:33:11,960
Speaker 2: Yeah, and ultimately he's not a power to be overcome

608
00:33:12,080 --> 00:33:15,200
Speaker 2: by our heroes, but to be appealed to. Yeah, so

609
00:33:15,640 --> 00:33:17,520
Speaker 2: we'll talk about that when we talk about the climax.

610
00:33:17,560 --> 00:33:21,680
Speaker 2: But yeah. Dan O Hurley great actor of stage and screen.

611
00:33:21,720 --> 00:33:24,600
Speaker 2: He lived nineteen nineteen through two thousand and five. Ah,

612
00:33:24,680 --> 00:33:27,000
Speaker 2: but then we are true villain. Are one of our

613
00:33:27,000 --> 00:33:30,280
Speaker 2: true villains on the corporate end of things. Here is

614
00:33:30,360 --> 00:33:33,400
Speaker 2: the character Dick Jones played by Ronnie Cox.

615
00:33:33,680 --> 00:33:36,560
Speaker 3: Dick Jones is one of my all time favorite movie villains.

616
00:33:36,680 --> 00:33:39,840
Speaker 3: I love him, and I love all the corporate villains

617
00:33:39,840 --> 00:33:42,840
Speaker 3: in this movie, but Dick Jones is great and Ronnie

618
00:33:42,920 --> 00:33:46,360
Speaker 3: Cox in this role. Ronnie Cox was simply born to

619
00:33:46,440 --> 00:33:50,760
Speaker 3: play business creeps in Paul Verhoven films. One of my

620
00:33:50,840 --> 00:33:54,200
Speaker 3: other favorites is his role as Coohagan, the villain who

621
00:33:54,280 --> 00:33:57,280
Speaker 3: runs the for profit in Ours Colony in Total Recall.

622
00:33:58,200 --> 00:34:01,080
Speaker 3: And this is a spoiler for Total Recalls though if

623
00:34:01,080 --> 00:34:03,720
Speaker 3: you don't want it spoiled, closure ears for a second.

624
00:34:03,760 --> 00:34:06,920
Speaker 3: But in that movie, if you'll recall, he wants to

625
00:34:07,040 --> 00:34:09,920
Speaker 3: prevent the use of an alien device that will make

626
00:34:10,000 --> 00:34:13,440
Speaker 3: the atmosphere of Mars breatheable because he wants to protect

627
00:34:13,480 --> 00:34:16,080
Speaker 3: his racket selling oxygen to the Mars colonists.

628
00:34:16,440 --> 00:34:18,000
Speaker 2: Yeah, yeah, what is scoundrel?

629
00:34:19,000 --> 00:34:19,160
Speaker 3: Though?

630
00:34:19,200 --> 00:34:22,680
Speaker 2: It's interesting. I was digging into it and this movie.

631
00:34:23,400 --> 00:34:26,600
Speaker 2: You know, you now think of Ronnie Cox, you think

632
00:34:26,600 --> 00:34:29,560
Speaker 2: of characters like Jones, But apparently he was playing somewhat

633
00:34:29,560 --> 00:34:32,520
Speaker 2: against type on this one. He'd been mostly known for

634
00:34:32,560 --> 00:34:37,080
Speaker 2: playing pleasant, white collar type characters. He made his screen

635
00:34:37,120 --> 00:34:40,719
Speaker 2: debut in the nineteen seventy two John Borman thriller Deliverance.

636
00:34:41,400 --> 00:34:43,800
Speaker 2: We see him playing the guitar, and he's actually playing

637
00:34:43,800 --> 00:34:46,560
Speaker 2: the guitar in that dueling banjo scene because he's also

638
00:34:46,560 --> 00:34:47,480
Speaker 2: a singer songwriter.

639
00:34:48,160 --> 00:34:50,600
Speaker 3: He is the character in Deliverance who has like the

640
00:34:50,680 --> 00:34:54,440
Speaker 3: strongest moral compass. The others are are more like ruthless

641
00:34:54,480 --> 00:34:57,040
Speaker 3: and practical, and he's like, no, we've got to go

642
00:34:57,080 --> 00:34:59,600
Speaker 3: to the authorities and explain what happened and admit what

643
00:34:59,640 --> 00:35:02,640
Speaker 3: we did and all that, and you know, Bert Reynolds

644
00:35:02,640 --> 00:35:04,560
Speaker 3: has to argue with him and say, no, we got

645
00:35:04,560 --> 00:35:09,360
Speaker 3: to cover it up, which, again, yes, I guess seems

646
00:35:09,440 --> 00:35:12,719
Speaker 3: against type to me because I was more familiar with

647
00:35:12,800 --> 00:35:15,080
Speaker 3: him playing characters like Dick Jones. But yeah, I guess

648
00:35:15,120 --> 00:35:16,800
Speaker 3: you could look at it the other way around as well.

649
00:35:17,400 --> 00:35:21,080
Speaker 2: Yeah. The same year, seventy two, he also pops up

650
00:35:21,080 --> 00:35:23,759
Speaker 2: in The Mind Snatchers, a sci fi film that has

651
00:35:23,760 --> 00:35:27,920
Speaker 2: a cast that includes Christopher Walken, Joss Ackland, and Tom Aldridge.

652
00:35:28,480 --> 00:35:30,560
Speaker 2: So some interesting names in there, I've never seen it.

653
00:35:30,880 --> 00:35:32,920
Speaker 2: A fair amount of TV work followed, but he popped

654
00:35:32,960 --> 00:35:34,880
Speaker 2: up in seventy nine's The Onion Field, eighty two is

655
00:35:34,920 --> 00:35:38,480
Speaker 2: the Beast within eighty four's Beverly Hills Cop, it's sequel,

656
00:35:38,800 --> 00:35:41,960
Speaker 2: and then he did Robo Cop. Subsequent credits include not

657
00:35:42,000 --> 00:35:45,960
Speaker 2: only Total Recall, but the nineteen ninety Captain America film,

658
00:35:46,280 --> 00:35:49,800
Speaker 2: the TV series Cop rock Star Trek the Next Generation,

659
00:35:50,000 --> 00:35:52,480
Speaker 2: and I don't remember this, but apparently has an uncredited

660
00:35:52,560 --> 00:35:53,600
Speaker 2: role in Deep Blue Sea.

661
00:35:54,040 --> 00:35:56,680
Speaker 3: Is he basically playing Dick Jones in that? Like he's

662
00:35:56,680 --> 00:36:00,000
Speaker 3: a corporate I would have Silver Lord. Yeah.

663
00:36:00,080 --> 00:36:02,920
Speaker 2: Yeah, because it's kind of like post RoboCop. That's one

664
00:36:02,960 --> 00:36:05,319
Speaker 2: of the main reasons you're thinking about casting him. I'm like,

665
00:36:05,360 --> 00:36:07,879
Speaker 2: I'm guessing, and you know, basically probably printed money there

666
00:36:07,880 --> 00:36:08,400
Speaker 2: for a while.

667
00:36:08,719 --> 00:36:12,439
Speaker 3: You can imagine the Deep Blue Sea is just in

668
00:36:12,640 --> 00:36:16,360
Speaker 3: the RoboCop universe, like they're making smart sharks. That just

669
00:36:16,360 --> 00:36:18,120
Speaker 3: seems like another thing OCP would do.

670
00:36:18,960 --> 00:36:22,840
Speaker 2: Yeah. I don't think I said his birthday. He was

671
00:36:22,840 --> 00:36:25,040
Speaker 2: born in nineteen thirty eight, and he's still out there.

672
00:36:25,040 --> 00:36:28,480
Speaker 2: I think he still performs as a musician as a musician,

673
00:36:28,480 --> 00:36:30,479
Speaker 2: and I think he may still be active as an actor.

674
00:36:30,480 --> 00:36:33,160
Speaker 2: I don't recall off hand. Oh, but we have another

675
00:36:33,200 --> 00:36:36,920
Speaker 2: corporate character to talk about here, the character Bob Morton

676
00:36:37,360 --> 00:36:40,839
Speaker 2: played by Miguel Ferrer, who lived nineteen fifty five through

677
00:36:40,840 --> 00:36:43,920
Speaker 2: twenty seventeen, American actor and son of Jose Ferrer and

678
00:36:44,040 --> 00:36:47,239
Speaker 2: Rosemary Clooney, which of course made him George Clooney's cousin.

679
00:36:48,400 --> 00:36:50,560
Speaker 2: George Clooney apparently showed up with him to a lot

680
00:36:50,600 --> 00:36:53,640
Speaker 2: of these auditions back in the day they were oh

681
00:36:53,840 --> 00:36:54,480
Speaker 2: living together.

682
00:36:54,560 --> 00:36:57,319
Speaker 3: Yeah, what if a young George Clooney had been in

683
00:36:57,440 --> 00:37:01,400
Speaker 3: RoboCop Farrera.

684
00:37:01,800 --> 00:37:04,919
Speaker 2: He had a real knack for playing scoundrels started off

685
00:37:04,920 --> 00:37:08,480
Speaker 2: in early eighties television and some forgettable films. Pops up

686
00:37:08,520 --> 00:37:11,759
Speaker 2: as a first officer in Star Trek three after Robocopy

687
00:37:11,800 --> 00:37:14,719
Speaker 2: appeared in nineteen eighty nine's Deep Star six, one of

688
00:37:14,760 --> 00:37:17,479
Speaker 2: the many underwater horror films of eighty nine.

689
00:37:17,800 --> 00:37:21,800
Speaker 3: I think he undergoes a harrowing, explosive decompression in that film.

690
00:37:22,320 --> 00:37:25,400
Speaker 2: Oh man, that's probably right. He was in nineteen nineties

691
00:37:25,400 --> 00:37:27,799
Speaker 2: The Guardian ninety two's Twin Peaks. Fire Walk with Me

692
00:37:27,920 --> 00:37:31,040
Speaker 2: ninety four is the stand the mini series this Man

693
00:37:31,120 --> 00:37:33,600
Speaker 2: did three episodes of Tales from the Crypt I think

694
00:37:33,600 --> 00:37:37,040
Speaker 2: that's commendable. I'm not sure who else did that many.

695
00:37:38,040 --> 00:37:41,160
Speaker 2: He was also in ninety six's Project Alf ninety seven

696
00:37:41,239 --> 00:37:44,799
Speaker 2: is the night Flyer Moulan. In nineteen ninety eight he

697
00:37:44,800 --> 00:37:46,759
Speaker 2: did the voice of the main villain. He was in

698
00:37:46,800 --> 00:37:49,520
Speaker 2: two Thousands Traffic, and he pops up in Iron Man

699
00:37:49,560 --> 00:37:52,000
Speaker 2: three and twenty thirteen. He did a lot of voice

700
00:37:52,000 --> 00:37:54,320
Speaker 2: work late in his career and appeared in the twenty

701
00:37:54,320 --> 00:37:55,880
Speaker 2: seventeen Twin Peaks revival.

702
00:37:56,320 --> 00:37:59,120
Speaker 3: Miguel Ferrer is also great in this movie. Like I said,

703
00:37:59,120 --> 00:38:01,560
Speaker 3: I love all the corporate villains. He's a perfect foil

704
00:38:01,600 --> 00:38:05,959
Speaker 3: to Dick Jones. So Ronnie Cox is older, colder, more calculating,

705
00:38:06,360 --> 00:38:10,279
Speaker 3: and Miguel Ferrera's character, Bob Morton is a young hotshot

706
00:38:10,280 --> 00:38:14,399
Speaker 3: who thinks he's the next big thing, and they play

707
00:38:14,440 --> 00:38:17,399
Speaker 3: off of each other well, but they're like both so detestable.

708
00:38:18,080 --> 00:38:22,759
Speaker 2: Yeah yeah, Like Morton comes off as more likable in

709
00:38:22,800 --> 00:38:26,200
Speaker 2: some regards, but it's because he's less directly awful and

710
00:38:26,320 --> 00:38:31,239
Speaker 2: also doesn't resort to direct murder, though is also is

711
00:38:31,320 --> 00:38:34,839
Speaker 2: very culpable for human deaths, So it's like they are

712
00:38:34,880 --> 00:38:38,160
Speaker 2: both horrible, but they're different shades and degrees of the

713
00:38:38,200 --> 00:38:41,920
Speaker 2: same awfulness. Yeah, Morton's this ambitious, coked up business bro

714
00:38:42,280 --> 00:38:44,680
Speaker 2: who's definitely going to high five you in the men's room,

715
00:38:45,120 --> 00:38:47,640
Speaker 2: but you know, at the end of the day, he's

716
00:38:47,640 --> 00:38:51,040
Speaker 2: totally gonna sign off on civilian or police deaths if

717
00:38:51,080 --> 00:38:52,840
Speaker 2: it lets him advance.

718
00:38:52,480 --> 00:38:53,440
Speaker 3: Up the corporate ladder.

719
00:38:53,800 --> 00:38:56,719
Speaker 2: Yeah, these are two corporate characters, one more villainous than

720
00:38:56,719 --> 00:38:58,160
Speaker 2: the other. Both of both I think you could think

721
00:38:58,160 --> 00:39:03,320
Speaker 2: of his villains, but are they're essentially both lawful evil

722
00:39:03,360 --> 00:39:05,840
Speaker 2: to a certain degree. We also have to have a

723
00:39:05,880 --> 00:39:08,160
Speaker 2: little chaotic evil in this and that's where we have

724
00:39:08,239 --> 00:39:11,680
Speaker 2: the character Clarence Bodiker played by kurtwood Smith.

725
00:39:12,400 --> 00:39:16,239
Speaker 3: Yeah. This raises another interesting theme of RoboCop, which is

726
00:39:16,280 --> 00:39:19,680
Speaker 3: it depicts a world of an alliance between sort of

727
00:39:19,760 --> 00:39:23,839
Speaker 3: big capital and big crime, like the criminal bosses and

728
00:39:23,880 --> 00:39:28,120
Speaker 3: the corporate bosses essentially are working together against everybody else.

729
00:39:29,040 --> 00:39:32,480
Speaker 2: Yeah. Yeah, Yeah. Other antagonists in the film, though, are

730
00:39:32,560 --> 00:39:34,680
Speaker 2: very much part of the corporate machine. You know, It's

731
00:39:34,760 --> 00:39:38,400
Speaker 2: like they're to large degrees they can just be like,

732
00:39:38,440 --> 00:39:40,600
Speaker 2: I'm just trying to climb up the corporate ladder here,

733
00:39:40,640 --> 00:39:43,200
Speaker 2: I'm just doing what I have to do. I am

734
00:39:43,239 --> 00:39:46,160
Speaker 2: part of this company. I'm part of OCP. But yeah,

735
00:39:46,200 --> 00:39:50,759
Speaker 2: Clarence Bodicker is very much of the criminal world and

736
00:39:50,880 --> 00:39:54,680
Speaker 2: is just evil. Just doesn't seem to love anything in life.

737
00:39:54,719 --> 00:39:58,719
Speaker 2: It's just full of hate and violence. Even his cronies

738
00:39:58,760 --> 00:39:59,480
Speaker 2: are not safe.

739
00:40:00,080 --> 00:40:02,960
Speaker 3: He does seem to genuinely love crime like he loves

740
00:40:03,000 --> 00:40:03,480
Speaker 3: his work.

741
00:40:04,000 --> 00:40:08,400
Speaker 2: Yeah. Now. Kurtwood Smith the born nineteen forty three is

742
00:40:08,440 --> 00:40:11,319
Speaker 2: an American actor of stage, screen, and TV that may

743
00:40:11,360 --> 00:40:13,440
Speaker 2: be best known to many for his role as the

744
00:40:13,560 --> 00:40:17,120
Speaker 2: dad on That seventies show, but this was his big

745
00:40:17,160 --> 00:40:20,720
Speaker 2: breakout film role. And this was another case where, according

746
00:40:20,760 --> 00:40:22,200
Speaker 2: to some of the extras, I was looking at you know,

747
00:40:22,480 --> 00:40:25,400
Speaker 2: was very much against against type. This is not a

748
00:40:25,400 --> 00:40:28,000
Speaker 2: guy who'd done a bunch of villain roles. They were

749
00:40:28,000 --> 00:40:32,360
Speaker 2: thinking about other sort of established villainous actors like Michael Ironside,

750
00:40:32,960 --> 00:40:38,320
Speaker 2: but they ended up liking kurtwood Smith apparently because Verhoven

751
00:40:39,120 --> 00:40:43,080
Speaker 2: liked how he kind of looked like Heinrich Himmler in

752
00:40:43,400 --> 00:40:46,200
Speaker 2: The Little Glasses. He liked the idea of this being

753
00:40:46,239 --> 00:40:50,279
Speaker 2: like a more of a cerebral villain to be to

754
00:40:50,320 --> 00:40:54,040
Speaker 2: be the adversary of RoboCop, who obviously nobody's gonna best

755
00:40:54,120 --> 00:40:57,640
Speaker 2: RoboCop physically, no human is anyway, as we'll see, So

756
00:40:57,680 --> 00:41:00,120
Speaker 2: you need somebody who's more scheming, someone who's more of

757
00:41:00,120 --> 00:41:00,800
Speaker 2: a hyena.

758
00:41:01,360 --> 00:41:04,520
Speaker 3: I can see how this movie would have been again

759
00:41:04,600 --> 00:41:06,880
Speaker 3: diminished if it had gone a different direction, if you

760
00:41:06,920 --> 00:41:09,919
Speaker 3: had the standard boxy, tough guy in the heavy role,

761
00:41:10,719 --> 00:41:14,040
Speaker 3: not Toss Michael Ironside. I mean, I love Michael Ironside,

762
00:41:14,080 --> 00:41:17,600
Speaker 3: but the casting of a slightly nerdy looking but still

763
00:41:17,640 --> 00:41:22,040
Speaker 3: imposing actor like Smith here is really inspired for this role,

764
00:41:22,080 --> 00:41:24,520
Speaker 3: and it makes the character as memorable as he is

765
00:41:24,600 --> 00:41:28,600
Speaker 3: instead of just another violent Hinchman. The Himmler image does

766
00:41:28,680 --> 00:41:32,680
Speaker 3: come through. There seems to be something not just brutal,

767
00:41:32,800 --> 00:41:36,560
Speaker 3: but kind of transcendentally evil about the Bodicker we got,

768
00:41:36,880 --> 00:41:38,920
Speaker 3: and it's also there in his name. He's not like,

769
00:41:39,120 --> 00:41:43,160
Speaker 3: you know, Biff Drago, He's Clarence Bodiker.

770
00:41:44,120 --> 00:41:48,280
Speaker 2: Yeah. Yeah, it's a great performance. He's just so so nasty,

771
00:41:48,360 --> 00:41:53,440
Speaker 2: so sadistic, and like the scene where he's eventually apprehended

772
00:41:53,440 --> 00:41:56,440
Speaker 2: by RoboCop, roughed up and brought in and he's like spitting,

773
00:41:56,600 --> 00:42:01,279
Speaker 2: he spits blood onto the Police Desk just just a

774
00:42:01,360 --> 00:42:05,240
Speaker 2: wonderful performance. He followed up RoboCop with roles in nineteen

775
00:42:05,280 --> 00:42:08,520
Speaker 2: eighty eight Rambo, Three Dead Poets Society, in eighty nine,

776
00:42:08,560 --> 00:42:12,359
Speaker 2: Star Trek, The Undiscovered Country, ninety two's Fortress, ninety three's

777
00:42:12,400 --> 00:42:16,360
Speaker 2: Boxing Helena, and ninety five's Under Siege, Too Dark Territory,

778
00:42:16,360 --> 00:42:17,440
Speaker 2: plus lots more.

779
00:42:17,760 --> 00:42:21,600
Speaker 3: Under Siege, Too Dark Territory. That's a movie with hacking

780
00:42:21,840 --> 00:42:25,640
Speaker 3: in it. Yes, if you haven't seen it, it's about hacking,

781
00:42:26,360 --> 00:42:26,640
Speaker 3: all right.

782
00:42:26,680 --> 00:42:28,640
Speaker 2: Getting back into the cop characters a bit. We have

783
00:42:28,760 --> 00:42:32,439
Speaker 2: Robert Dukey in this playing Sergeant Reid With nineteen thirty

784
00:42:32,440 --> 00:42:35,359
Speaker 2: four through two thousand and eight, another mainstay of all

785
00:42:35,400 --> 00:42:38,439
Speaker 2: three RoboCop movies. His acting credits go all the way

786
00:42:38,440 --> 00:42:41,120
Speaker 2: back to the original Outer Limits. In the sixties, he

787
00:42:41,160 --> 00:42:43,080
Speaker 2: worked a lot in TV and film. He did one

788
00:42:43,120 --> 00:42:46,719
Speaker 2: of the voices on the nineteen sixties Harlem Globetrotter's cartoon,

789
00:42:47,320 --> 00:42:49,440
Speaker 2: and he had a memorable turn as the villain in

790
00:42:49,440 --> 00:42:53,280
Speaker 2: the nineteen seventy three black exploitation film Coffee, which starred

791
00:42:53,280 --> 00:42:56,680
Speaker 2: Pam Greer. He acted in three Robert Altman movies, seventy

792
00:42:56,680 --> 00:42:59,960
Speaker 2: five's Nashville seventy six is Buffalo Bill and the Indians

793
00:43:00,080 --> 00:43:03,520
Speaker 2: or Setting Bull's History lesson and nineteen ninety three shortcuts.

794
00:43:04,040 --> 00:43:06,160
Speaker 3: In this he plays the police sergeant who is putting

795
00:43:06,200 --> 00:43:10,239
Speaker 3: up with impossible pressures imposed by OCP as they've come

796
00:43:10,239 --> 00:43:11,080
Speaker 3: in and taken over.

797
00:43:11,640 --> 00:43:14,440
Speaker 2: So, yeah, it's a pretty standard role, but a notable actor,

798
00:43:14,760 --> 00:43:17,120
Speaker 2: all right. Getting back into the criminal world. Here we

799
00:43:17,160 --> 00:43:21,120
Speaker 2: have Ray Wise playing Leon Nash. This is one of

800
00:43:21,200 --> 00:43:25,840
Speaker 2: the criminal henchmen. To Botiker born nineteen forty seven. Wives

801
00:43:25,880 --> 00:43:28,120
Speaker 2: is probably best known for his role of Leland Palmer

802
00:43:28,160 --> 00:43:30,840
Speaker 2: and Twin Peaks, but he also played the doom doctor

803
00:43:30,880 --> 00:43:34,439
Speaker 2: Alex Holland and Wes Craven's Swamp Thing from nineteen eighty two.

804
00:43:34,960 --> 00:43:38,160
Speaker 2: Other credits include eighty two's Cat People, Cheevers, Creepers two

805
00:43:38,200 --> 00:43:40,839
Speaker 2: from two thousand and three, X Men First Class from

806
00:43:40,840 --> 00:43:44,840
Speaker 2: twenty eleven, and Wrong Cops from twenty thirteen. Like a

807
00:43:44,840 --> 00:43:46,640
Speaker 2: lot of these actors, he was apparently going in a

808
00:43:46,640 --> 00:43:50,920
Speaker 2: somewhat different direction here, a little bit against type in

809
00:43:50,960 --> 00:43:52,160
Speaker 2: the casting of this movie.

810
00:43:52,360 --> 00:43:54,520
Speaker 3: Yeah, he also has a kind of weird energy as

811
00:43:54,520 --> 00:43:55,960
Speaker 3: a henchman that it works.

812
00:43:56,360 --> 00:43:59,640
Speaker 2: Yeah. We also have to mention we mentioned Emil already.

813
00:43:59,680 --> 00:44:02,560
Speaker 2: This is one of the other violent members of the gang,

814
00:44:03,280 --> 00:44:06,000
Speaker 2: has more of a anarchist vibe to him. You know,

815
00:44:06,040 --> 00:44:09,120
Speaker 2: he's got the punk haircut and so forth. He is

816
00:44:09,160 --> 00:44:12,120
Speaker 2: also a spoiler alert, he's the guy who gets melted

817
00:44:12,160 --> 00:44:14,120
Speaker 2: by toxic waste.

818
00:44:14,520 --> 00:44:17,040
Speaker 3: The extent to which RoboCop is a melt movie is

819
00:44:17,640 --> 00:44:20,960
Speaker 3: non zero. There is a melting scene, and Emil is

820
00:44:21,000 --> 00:44:22,960
Speaker 3: the poor soul who melts.

821
00:44:23,200 --> 00:44:27,120
Speaker 2: Yeah. Played by Paul mccrane born nineteen sixty one. He

822
00:44:27,120 --> 00:44:29,920
Speaker 2: made a big splash, you know, unintended because he does

823
00:44:29,960 --> 00:44:33,000
Speaker 2: splash in this movie. But he made a big splash

824
00:44:33,080 --> 00:44:35,520
Speaker 2: in nineteen eighty's Fame, and he was also a lot

825
00:44:35,600 --> 00:44:39,080
Speaker 2: later a long time cast member on Er. He doesn't

826
00:44:39,080 --> 00:44:41,480
Speaker 2: melt in either of those films, but he did follow

827
00:44:41,520 --> 00:44:44,920
Speaker 2: up RoboCop with nineteen eighty eight's The Blob, so maybe

828
00:44:44,920 --> 00:44:47,439
Speaker 2: he hadn't had quite enough melting yet at this point

829
00:44:47,480 --> 00:44:49,759
Speaker 2: in his career. I did see in some of the

830
00:44:49,760 --> 00:44:51,400
Speaker 2: exits they were like, oh, he was really down for

831
00:44:51,480 --> 00:44:53,600
Speaker 2: all this makeup. He was down for this melt scene.

832
00:44:53,640 --> 00:44:58,720
Speaker 3: So he both melts and splashes in the same role. Yeah,

833
00:44:59,040 --> 00:44:59,560
Speaker 3: it's weird.

834
00:44:59,600 --> 00:45:03,680
Speaker 2: Rewatch this film knowing how horrible this character's fate is.

835
00:45:03,719 --> 00:45:06,680
Speaker 2: And even as we're shown how horrible this character is,

836
00:45:06,719 --> 00:45:09,560
Speaker 2: like he is not a nice guy, but his fate

837
00:45:09,680 --> 00:45:12,840
Speaker 2: is so disgusting that you can't help but feel a

838
00:45:12,840 --> 00:45:14,600
Speaker 2: little bad for him and see him at least as

839
00:45:14,600 --> 00:45:17,160
Speaker 2: some sort of a tragic character. You want to be like, oh, dude,

840
00:45:17,160 --> 00:45:19,719
Speaker 2: you're making all these terrible choices in life, and we

841
00:45:19,800 --> 00:45:20,960
Speaker 2: know where they are leading you.

842
00:45:21,239 --> 00:45:23,600
Speaker 3: Well, his friends are like Bodiker in the gang, and

843
00:45:23,640 --> 00:45:27,120
Speaker 3: they don't. It just shows how unloyal they are to

844
00:45:27,200 --> 00:45:29,480
Speaker 3: each other when the way they react to him, like

845
00:45:29,520 --> 00:45:31,920
Speaker 3: he's melting and he runs up on ray Wise, and

846
00:45:32,000 --> 00:45:35,040
Speaker 3: ray Wise is he goes like help be and ray

847
00:45:35,040 --> 00:45:37,400
Speaker 3: Wise is just like, don't touch me. Man.

848
00:45:38,320 --> 00:45:42,520
Speaker 2: Yeah. Now you're going back into the corporate world in

849
00:45:42,560 --> 00:45:44,239
Speaker 2: the midst of all of these villains and all it's

850
00:45:44,280 --> 00:45:46,359
Speaker 2: easy to miss some how great some of these other

851
00:45:46,480 --> 00:45:50,040
Speaker 2: small performances are like you have this character Donald Johnson,

852
00:45:51,560 --> 00:45:55,480
Speaker 2: who's this kind of I guess a corporate OCP, yes man,

853
00:45:56,040 --> 00:45:59,400
Speaker 2: and also just sort of a business goblin. I don't know,

854
00:45:59,680 --> 00:46:03,560
Speaker 2: he's he's always there in these scenes. He's never he's

855
00:46:03,600 --> 00:46:05,680
Speaker 2: never the you know, the central point of the scene,

856
00:46:05,719 --> 00:46:08,400
Speaker 2: but he's he's there, He's attending all these business meetings

857
00:46:09,400 --> 00:46:11,680
Speaker 2: and he makes every scene better.

858
00:46:11,880 --> 00:46:14,160
Speaker 3: Yet he smiles a lot. He just brings a real

859
00:46:14,320 --> 00:46:18,400
Speaker 3: positive energy to these board meetings where robots murder his colleagues.

860
00:46:18,880 --> 00:46:21,680
Speaker 2: Yeah. Yeah, and he's largely unfazed by it. He's like,

861
00:46:22,480 --> 00:46:23,680
Speaker 2: business has got to keep moving.

862
00:46:23,880 --> 00:46:27,000
Speaker 3: Looks like we hit a snag. Yeah we'll well, we'll

863
00:46:27,000 --> 00:46:28,959
Speaker 3: do better next time. Yeah.

864
00:46:29,080 --> 00:46:32,240
Speaker 2: Yeah. This character is played by Felton Perry born nineteen

865
00:46:32,320 --> 00:46:36,560
Speaker 2: forty five. He was also in nineteen seventy three's Magnum Force.

866
00:46:36,760 --> 00:46:39,040
Speaker 2: He did a lot of TV, played a lot of detectives,

867
00:46:39,840 --> 00:46:42,240
Speaker 2: and with a cast member on the nineteen eighty series

868
00:46:42,280 --> 00:46:43,439
Speaker 2: The Greatest American Hero.

869
00:46:52,600 --> 00:46:55,960
Speaker 3: Now, RoboCop has a lot of great special effects and

870
00:46:56,239 --> 00:47:00,000
Speaker 3: one notably terrible but in a lovable way special effect.

871
00:47:00,040 --> 00:47:01,400
Speaker 3: So I feel like we got to talk about the

872
00:47:01,680 --> 00:47:02,359
Speaker 3: effects a bit.

873
00:47:03,120 --> 00:47:06,400
Speaker 2: Yeah, And as always, we can't mention everybody like this

874
00:47:06,840 --> 00:47:08,839
Speaker 2: especially is a film where you had a whole crew

875
00:47:08,880 --> 00:47:12,520
Speaker 2: of very talented artists in different fields and we can't

876
00:47:12,520 --> 00:47:14,560
Speaker 2: possibly cover them all. So we're just going to cover

877
00:47:14,719 --> 00:47:17,400
Speaker 2: I think like three main names that should be mentioned.

878
00:47:17,840 --> 00:47:18,280
Speaker 3: First.

879
00:47:18,719 --> 00:47:22,279
Speaker 2: We've already mentioned the melting and the makeup involved there.

880
00:47:22,760 --> 00:47:26,959
Speaker 2: Rob Botein has special makeup effects credit on this Born

881
00:47:27,040 --> 00:47:30,960
Speaker 2: nineteen fifty nine. A true cinematic gore master, and I

882
00:47:31,040 --> 00:47:32,759
Speaker 2: think this is the first film we've looked at on

883
00:47:32,800 --> 00:47:36,680
Speaker 2: Weird House that has directly involved him. His makeup credits

884
00:47:36,680 --> 00:47:39,920
Speaker 2: include So many Great Things, Squirm from seventy six, The

885
00:47:39,920 --> 00:47:43,480
Speaker 2: Original Star Wars from seventy seven, The Howling from eighty one,

886
00:47:43,560 --> 00:47:47,359
Speaker 2: John Carpenter's The Thing from eighty two, Legend from eighty five,

887
00:47:47,560 --> 00:47:51,279
Speaker 2: Total Recall from nineteen ninety. He also did creature designs

888
00:47:51,440 --> 00:47:54,440
Speaker 2: on nineteen eighties Humanoids from the Deep That's a fish

889
00:47:54,480 --> 00:47:58,680
Speaker 2: Man Movie, ninety seven's Mimic, and nineteen ninety eight's Deep Rising.

890
00:47:59,120 --> 00:48:01,360
Speaker 3: His work on The Thing is especially iconic.

891
00:48:01,600 --> 00:48:04,120
Speaker 2: Oh yeah, I mean this is just a master of

892
00:48:04,840 --> 00:48:09,400
Speaker 2: practical makeup effects. You know, these are things that you know,

893
00:48:09,719 --> 00:48:11,680
Speaker 2: you got to throw him into the same conversation with

894
00:48:12,160 --> 00:48:16,160
Speaker 2: names like Screaming Mad George. You know, just an absolute master.

895
00:48:16,640 --> 00:48:18,800
Speaker 2: He doesn't seem to have worked much in the twenty

896
00:48:18,800 --> 00:48:20,719
Speaker 2: first century at all, though, at least in terms of

897
00:48:21,000 --> 00:48:23,320
Speaker 2: being credited on things. And I have to realize I

898
00:48:23,360 --> 00:48:25,440
Speaker 2: don't know. We always stress this, but it's my understanding

899
00:48:25,480 --> 00:48:28,520
Speaker 2: that sometimes affects people's names don't actually make it into

900
00:48:28,560 --> 00:48:30,799
Speaker 2: the final credit some things, So I don't know. Maybe

901
00:48:30,800 --> 00:48:34,400
Speaker 2: he's working in other capacities behind the scenes. But according

902
00:48:34,400 --> 00:48:36,760
Speaker 2: to you know, like the databases outside of a working

903
00:48:36,760 --> 00:48:40,240
Speaker 2: on an episode of Game of Thrones, yea, his his

904
00:48:40,480 --> 00:48:42,800
Speaker 2: work in recent decades has been sparse.

905
00:48:43,239 --> 00:48:47,040
Speaker 3: Do do we know or just assume that Beteen is

906
00:48:47,920 --> 00:48:50,680
Speaker 3: largely responsible for the emial melting scene.

907
00:48:51,560 --> 00:48:53,719
Speaker 2: I didn't double check it. It's probably there's so many

908
00:48:53,760 --> 00:48:57,160
Speaker 2: extras the ero release I didn't get to watch them all,

909
00:48:57,200 --> 00:48:59,680
Speaker 2: but I assume he had to be have played a

910
00:48:59,719 --> 00:49:02,279
Speaker 2: pivot role in that. It's just too disgusting looking.

911
00:49:02,400 --> 00:49:05,799
Speaker 3: Okay, but another main effect. So there are a lot

912
00:49:05,840 --> 00:49:08,200
Speaker 3: of great special makeup effects in the movie. Also, there

913
00:49:08,200 --> 00:49:14,200
Speaker 3: are interesting makeup effects clearly involved in realizing the unmasked

914
00:49:14,280 --> 00:49:17,000
Speaker 3: RoboCop effect when he takes his visor off and you

915
00:49:17,040 --> 00:49:21,160
Speaker 3: can see Peter Weller's face jutting out of this robot exoskeleton.

916
00:49:21,200 --> 00:49:23,920
Speaker 3: I'm sure that took a lot of effects work to

917
00:49:23,960 --> 00:49:26,480
Speaker 3: make it look as good as it does. But there

918
00:49:26,560 --> 00:49:29,240
Speaker 3: is another big thing in the movie which is the

919
00:49:29,400 --> 00:49:34,200
Speaker 3: rival project to the RoboCop project ED two nine, one

920
00:49:34,239 --> 00:49:38,320
Speaker 3: of my favorite aspects of RoboCop, which is achieved largely

921
00:49:38,400 --> 00:49:41,600
Speaker 3: with the help of stop motion effects that look great

922
00:49:41,719 --> 00:49:45,799
Speaker 3: and are some of the funniest special effects I can

923
00:49:45,880 --> 00:49:46,720
Speaker 3: think of seeing.

924
00:49:47,160 --> 00:49:50,880
Speaker 2: Yeah, this is such a great creation. ED two o

925
00:49:51,040 --> 00:49:54,120
Speaker 2: nine sometimes referred to in the credits as ED two thousand,

926
00:49:54,200 --> 00:49:56,319
Speaker 2: so I guess maybe at some point in production they

927
00:49:56,320 --> 00:49:57,320
Speaker 2: called him AD two thousand.

928
00:49:57,360 --> 00:49:57,719
Speaker 3: I don't know.

929
00:49:58,760 --> 00:50:01,279
Speaker 2: ED two o nine is better two nine, if you will.

930
00:50:01,960 --> 00:50:06,440
Speaker 2: But Craig Hayes is credited as as AD's creator and

931
00:50:06,520 --> 00:50:11,960
Speaker 2: designer and also designer and constructor of the large prop

932
00:50:12,160 --> 00:50:13,880
Speaker 2: for ED two nine. So when we see ED two

933
00:50:13,880 --> 00:50:17,120
Speaker 2: o nine in the film, he's either standing there as

934
00:50:17,120 --> 00:50:20,960
Speaker 2: a physical, practical robot that's I think actually made out

935
00:50:20,960 --> 00:50:24,680
Speaker 2: of out of wood and other materials, you know, and

936
00:50:25,000 --> 00:50:27,600
Speaker 2: he doesn't move around much like just basically the top

937
00:50:27,640 --> 00:50:30,440
Speaker 2: half rotates to point guns at you that sort of thing.

938
00:50:31,040 --> 00:50:33,400
Speaker 2: But and then the rest of the time, as we'll discuss,

939
00:50:33,520 --> 00:50:37,440
Speaker 2: he's a stop motion effect. But Hayes was involved in

940
00:50:37,480 --> 00:50:42,239
Speaker 2: designing it. Apparently, you know, looked to various things like

941
00:50:42,280 --> 00:50:45,480
Speaker 2: looked at trains, a little Bit and and other mechanical

942
00:50:46,719 --> 00:50:49,839
Speaker 2: vehicles and robots to sort of design it, but also

943
00:50:49,880 --> 00:50:53,080
Speaker 2: looked at at the Orca that the head of ED

944
00:50:53,120 --> 00:50:55,760
Speaker 2: Tone two nine is apparently partially based on the Orca.

945
00:50:56,040 --> 00:50:56,719
Speaker 3: I can see that.

946
00:50:57,239 --> 00:51:00,640
Speaker 2: Yeah. So Hayes did visual effects work on other notable

947
00:51:00,680 --> 00:51:02,880
Speaker 2: films that he worked on Jurassic Park as part of

948
00:51:02,960 --> 00:51:06,680
Speaker 2: Tippet Studio. He also worked on Hollowman, Blade two and

949
00:51:06,760 --> 00:51:10,360
Speaker 2: two thousand and three's The Matrix Revolutions. Now I mentioned

950
00:51:10,640 --> 00:51:16,080
Speaker 2: Tippet Studio. Yes, Phil Tippett is is credited as the

951
00:51:16,120 --> 00:51:19,920
Speaker 2: creator of the ED two nine sequences, more specifically the

952
00:51:19,960 --> 00:51:23,560
Speaker 2: stop motion sequences. If you're not familiar with Phil Tippet

953
00:51:23,600 --> 00:51:26,319
Speaker 2: born nineteen fifty one, he is one of, if not

954
00:51:26,520 --> 00:51:30,240
Speaker 2: the best known living masters of stop motion and monster

955
00:51:30,360 --> 00:51:35,000
Speaker 2: special effects. Somehow, this is our first Tippet film, I

956
00:51:35,040 --> 00:51:37,720
Speaker 2: believe on Weird House Cinema we've mentioned him in passing

957
00:51:38,600 --> 00:51:43,080
Speaker 2: you know, connections on other films, but I don't think

958
00:51:43,080 --> 00:51:46,160
Speaker 2: we've talked about him in depth before. You know, this

959
00:51:46,239 --> 00:51:48,560
Speaker 2: is another situation where we can't list all the classics

960
00:51:48,760 --> 00:51:51,040
Speaker 2: that he was involved in, but his creations have come

961
00:51:51,080 --> 00:51:53,319
Speaker 2: to life in such films as some of the Star

962
00:51:53,360 --> 00:51:57,080
Speaker 2: Wars movies. Nineteen eighty six is Howard the Duck as

963
00:51:57,400 --> 00:52:00,480
Speaker 2: a notable stop motion monster at the end eighteen eighty

964
00:52:00,480 --> 00:52:04,600
Speaker 2: eights Willow both RoboCop sequels, Jurassic Park in ninety three,

965
00:52:04,680 --> 00:52:08,840
Speaker 2: Starship Troopers, and of course his own project, which was

966
00:52:08,880 --> 00:52:10,839
Speaker 2: made over many years. I haven't seen it yet, but

967
00:52:11,360 --> 00:52:14,320
Speaker 2: finally released in twenty twenty one, Mad God.

968
00:52:14,960 --> 00:52:18,280
Speaker 3: Really good stop motion in this film.

969
00:52:17,680 --> 00:52:19,279
Speaker 2: And we'll come back to talk a little bit more

970
00:52:19,280 --> 00:52:21,960
Speaker 2: about ED two nine later on and just how incredibly looks.

971
00:52:21,960 --> 00:52:26,719
Speaker 2: But finally, the music here is by Basil Polodorus, who

972
00:52:26,800 --> 00:52:30,719
Speaker 2: lived nineteen forty five through two thousand and six American composer,

973
00:52:30,760 --> 00:52:33,680
Speaker 2: best known in film for his work with John Millius,

974
00:52:34,200 --> 00:52:37,600
Speaker 2: who he met at USC studying filmmaking and composing. He

975
00:52:37,640 --> 00:52:40,680
Speaker 2: also worked several times with Paul Verhooven. He worked with

976
00:52:40,840 --> 00:52:44,120
Speaker 2: Millius as early as nineteen seventy on a student film

977
00:52:44,360 --> 00:52:48,439
Speaker 2: and then later on seventy eight's Big Wednesday. Nineteen eighty

978
00:52:48,480 --> 00:52:52,360
Speaker 2: two's Conan the Barbarian. Of course, that in my opinion,

979
00:52:52,440 --> 00:52:55,920
Speaker 2: is his master work, like that is such an incredible

980
00:52:56,200 --> 00:52:59,759
Speaker 2: and just perfect score for that movie. But he also

981
00:52:59,800 --> 00:53:02,320
Speaker 2: worked with Milius on Red Dawn from eighty four, Farewell

982
00:53:02,360 --> 00:53:04,120
Speaker 2: to the King in eighty nine, and Flight of the

983
00:53:04,120 --> 00:53:08,400
Speaker 2: Intruder in ninety one. With Verhooven, he worked with him

984
00:53:08,400 --> 00:53:11,439
Speaker 2: for the first time on Plus Blood from eighty five,

985
00:53:11,880 --> 00:53:15,200
Speaker 2: followed this up with RoboCop and Starship Troopers in ninety seven.

986
00:53:15,840 --> 00:53:20,640
Speaker 2: Other scores of note include Renee Cardona Junior's Tintorera from

987
00:53:20,960 --> 00:53:24,319
Speaker 2: nineteen seventy four, The Shark Movie or a Shark Movie,

988
00:53:24,360 --> 00:53:28,720
Speaker 2: we should say the Shark Movie in any respect. Also

989
00:53:28,800 --> 00:53:31,919
Speaker 2: the Michael Crichton scripted Extreme Close Up in seventy three,

990
00:53:32,320 --> 00:53:34,840
Speaker 2: The Blue Lagoon in nineteen eighty, Cherry two thousand and

991
00:53:34,960 --> 00:53:37,520
Speaker 2: nineteen eighty eight in the nineteen eighty nine mini series

992
00:53:37,560 --> 00:53:40,840
Speaker 2: A Lonesome Dove. So for this movie, you know, solid,

993
00:53:40,960 --> 00:53:45,200
Speaker 2: catchy and sweeping score. I think a highly effective score.

994
00:53:45,560 --> 00:53:49,239
Speaker 2: It has the right bombosity for RoboCop.

995
00:53:49,520 --> 00:53:51,920
Speaker 3: Yeah. I love the RoboCop theme. I think it's perfect

996
00:53:51,920 --> 00:53:55,520
Speaker 3: for the film, and it sonically evokes exactly the feeling

997
00:53:55,600 --> 00:53:58,520
Speaker 3: of the world and the plot like it sounds like

998
00:53:58,600 --> 00:54:02,200
Speaker 3: a doomed attempt at heroism in a bleak world ruled

999
00:54:02,200 --> 00:54:05,799
Speaker 3: by bad men. Yeah, all right, you want to talk

1000
00:54:05,840 --> 00:54:09,279
Speaker 3: a bit about the plot, Yeah, let's dive right in now.

1001
00:54:09,360 --> 00:54:11,359
Speaker 3: This is one of those where I think it does

1002
00:54:11,440 --> 00:54:14,120
Speaker 3: not make sense to do a full scene by scene

1003
00:54:14,600 --> 00:54:17,359
Speaker 3: recap of the movie, but rather in this case, we're

1004
00:54:17,400 --> 00:54:20,080
Speaker 3: going to discuss a bit about the broad outline and

1005
00:54:20,160 --> 00:54:23,600
Speaker 3: some themes and highlights from the movie. One thing we've

1006
00:54:23,640 --> 00:54:28,719
Speaker 3: got to talk about is are the media segments in RoboCop.

1007
00:54:28,840 --> 00:54:34,600
Speaker 3: RoboCop repeatedly breaks the action with news reports, commercials, and

1008
00:54:34,680 --> 00:54:38,600
Speaker 3: clips of TV shows from in universe, as if we

1009
00:54:38,600 --> 00:54:42,200
Speaker 3: were characters in the world of RoboCop watching the same

1010
00:54:42,320 --> 00:54:43,279
Speaker 3: TV they do.

1011
00:54:44,280 --> 00:54:47,160
Speaker 2: Yeah, and these are extended sequences. I'd forgotten just how

1012
00:54:47,200 --> 00:54:51,440
Speaker 2: long they are, Like you're watching RoboCop world television for

1013
00:54:51,640 --> 00:54:54,960
Speaker 2: minutes on end, including right at the top of the film,

1014
00:54:55,200 --> 00:54:57,680
Speaker 2: and it does a great job of positioning you within

1015
00:54:57,719 --> 00:54:59,440
Speaker 2: the world of the movie, of course, giving you a

1016
00:54:59,440 --> 00:55:02,520
Speaker 2: little back for what's going on elsewhere in the world,

1017
00:55:02,600 --> 00:55:05,920
Speaker 2: what's going on in culture and media, but at the

1018
00:55:05,920 --> 00:55:09,560
Speaker 2: same time, in some ways counterbalancing the violence that we

1019
00:55:09,600 --> 00:55:14,000
Speaker 2: see on screen, but also driving home the satire and

1020
00:55:14,080 --> 00:55:18,239
Speaker 2: like keeping satire on your radar as you are interacting

1021
00:55:18,400 --> 00:55:20,400
Speaker 2: with the gritty details of the plot.

1022
00:55:20,560 --> 00:55:22,240
Speaker 3: There's a way that like when you see the news

1023
00:55:22,280 --> 00:55:25,160
Speaker 3: reports in the media segments sort of just lightly gloss

1024
00:55:25,200 --> 00:55:29,160
Speaker 3: over what sound like actually horrific events that sort of

1025
00:55:29,239 --> 00:55:32,480
Speaker 3: makes you see the events of the violent events of

1026
00:55:32,520 --> 00:55:33,680
Speaker 3: the plot differently.

1027
00:55:34,239 --> 00:55:35,359
Speaker 2: Yes, yeah, but.

1028
00:55:35,360 --> 00:55:37,239
Speaker 3: Anyways, Yeah, but a big part of what they do,

1029
00:55:37,360 --> 00:55:40,520
Speaker 3: especially the beginning of the film is just world setting,

1030
00:55:40,520 --> 00:55:43,000
Speaker 3: you know, establishing what kind of world is this taking

1031
00:55:43,080 --> 00:55:46,960
Speaker 3: place in? And I would say the news segments from

1032
00:55:47,000 --> 00:55:50,759
Speaker 3: the world of RoboCop depict a kind of hyper Reaganite

1033
00:55:50,800 --> 00:55:54,560
Speaker 3: near future. So there is an idea that there's escalation

1034
00:55:54,680 --> 00:55:57,839
Speaker 3: of the Cold War, massive military build up, a lot

1035
00:55:57,880 --> 00:56:01,680
Speaker 3: of focus on weapons technology, and a supply side free

1036
00:56:01,719 --> 00:56:04,720
Speaker 3: for all where everything is run by for profit corporations

1037
00:56:04,760 --> 00:56:07,959
Speaker 3: and cash is king. And the first thing we see

1038
00:56:07,960 --> 00:56:09,879
Speaker 3: in the movie after like a sweep over the city

1039
00:56:09,920 --> 00:56:12,960
Speaker 3: and the title is a news segment, and so to

1040
00:56:13,360 --> 00:56:16,600
Speaker 3: set the scene of this world, it mentions before there's

1041
00:56:16,600 --> 00:56:19,719
Speaker 3: a segment about how the remaining enclave of the apartheid

1042
00:56:19,800 --> 00:56:23,319
Speaker 3: government in South Africa has unveiled their possession of a

1043
00:56:23,360 --> 00:56:26,799
Speaker 3: French made neutron bomb and has announced their willingness to

1044
00:56:26,920 --> 00:56:30,280
Speaker 3: use it against the people to protect white minority rule.

1045
00:56:30,840 --> 00:56:34,640
Speaker 3: There is another report from the new quote star Wars

1046
00:56:34,840 --> 00:56:38,440
Speaker 3: Orbiting peace Platform, and this appears to be a play

1047
00:56:38,480 --> 00:56:42,160
Speaker 3: on the so called Star Wars Missile Defense initiative, except

1048
00:56:42,239 --> 00:56:45,960
Speaker 3: in the movie the quote peace platform seems to be

1049
00:56:46,080 --> 00:56:50,080
Speaker 3: just some kind of like general orbital weapons system which

1050
00:56:50,120 --> 00:56:52,520
Speaker 3: they call a peace platform. And then in a later

1051
00:56:52,600 --> 00:56:54,640
Speaker 3: news segment in the movie, we find out that it

1052
00:56:54,920 --> 00:56:59,040
Speaker 3: quote accidentally fired a laser barrage at Santa Barbara, California

1053
00:56:59,400 --> 00:57:02,399
Speaker 3: during attack and that kills hundreds of people, including two

1054
00:57:02,440 --> 00:57:05,560
Speaker 3: former presidents who are not named. And then the anchors

1055
00:57:05,640 --> 00:57:08,040
Speaker 3: just say the nation mourns for Santa Barbara, and then

1056
00:57:08,080 --> 00:57:09,200
Speaker 3: they move on to something else.

1057
00:57:09,719 --> 00:57:13,879
Speaker 2: And I mean it's implied that that's Ronald Reagan. Yeah,

1058
00:57:13,920 --> 00:57:16,920
Speaker 2: we see Ronald Reagan's body there on the ground. So

1059
00:57:18,000 --> 00:57:20,960
Speaker 2: the satire is at times pretty grim.

1060
00:57:21,120 --> 00:57:23,640
Speaker 3: But then it cuts straight from these like horrific reports

1061
00:57:23,680 --> 00:57:27,840
Speaker 3: to commercials, and the commercials are for things. One is

1062
00:57:27,880 --> 00:57:31,200
Speaker 3: for the Family Heart Center, which is a clinic focusing

1063
00:57:31,200 --> 00:57:35,480
Speaker 3: on heart transplants with new mechanical artificial hearts. But the

1064
00:57:35,520 --> 00:57:38,000
Speaker 3: doctor in the commercial at first he's like, you know, oh,

1065
00:57:38,040 --> 00:57:41,120
Speaker 3: it's time for a heart transplant, and then he transitions

1066
00:57:41,120 --> 00:57:44,400
Speaker 3: into sounding like he's pitching a customer on jet skis.

1067
00:57:44,760 --> 00:57:48,640
Speaker 3: He's like the series seven sports Heart by Jensen Yamaha,

1068
00:57:48,840 --> 00:57:49,640
Speaker 3: you pick the.

1069
00:57:49,640 --> 00:57:54,240
Speaker 2: Heart, which I guess also positions where we are in,

1070
00:57:54,440 --> 00:57:55,720
Speaker 2: like the cybernetic world.

1071
00:57:56,200 --> 00:57:59,600
Speaker 3: Yeah. Then there is an ad for a family board

1072
00:57:59,680 --> 00:58:02,720
Speaker 3: game called New Coom, a game that looks kind of

1073
00:58:02,760 --> 00:58:06,040
Speaker 3: like Battleship, except it's for four players and it seems

1074
00:58:06,080 --> 00:58:07,720
Speaker 3: like the way you win the game is if you

1075
00:58:07,800 --> 00:58:11,080
Speaker 3: were the first player to use nuclear weapons. The tagline

1076
00:58:11,120 --> 00:58:13,200
Speaker 3: of the game is get them before they get you,

1077
00:58:14,080 --> 00:58:17,960
Speaker 3: graam grim. Then there are adds for a car. This

1078
00:58:18,080 --> 00:58:20,640
Speaker 3: car has a big footprint in the movie. It is

1079
00:58:20,680 --> 00:58:24,000
Speaker 3: called the six thousand SUX, So that's kind of low

1080
00:58:24,040 --> 00:58:29,200
Speaker 3: hanging fruit joke, but you know, I wouldn't change it.

1081
00:58:29,880 --> 00:58:32,560
Speaker 3: This is apparently the hottest new car in the world now.

1082
00:58:32,760 --> 00:58:35,840
Speaker 3: It is extremely ugly. It gets eight miles per gallon,

1083
00:58:35,920 --> 00:58:38,520
Speaker 3: but it's new, it's huge. You've got to have one.

1084
00:58:38,880 --> 00:58:40,960
Speaker 3: The commercial makes the point that the car is bigger

1085
00:58:40,960 --> 00:58:41,720
Speaker 3: than Godzilla.

1086
00:58:42,680 --> 00:58:44,960
Speaker 2: Yeah, we have this nice commercial that has the stop

1087
00:58:45,000 --> 00:58:47,320
Speaker 2: motion monster in it, like very much in the Harry

1088
00:58:47,320 --> 00:58:51,560
Speaker 2: Housen style. Obviously, created by Phil Tippett here, which is

1089
00:58:51,560 --> 00:58:54,200
Speaker 2: a nice nod to those movies that are in a

1090
00:58:54,320 --> 00:58:56,560
Speaker 2: very large way and inspiration for the creation of N

1091
00:58:56,600 --> 00:58:57,240
Speaker 2: two nine.

1092
00:58:57,400 --> 00:59:01,720
Speaker 3: But then also we see the TV TV shows. The

1093
00:59:01,760 --> 00:59:04,360
Speaker 3: most popular TV show in the world of RoboCop, which

1094
00:59:04,360 --> 00:59:07,960
Speaker 3: we see multiple times, involves a man with glasses and

1095
00:59:08,000 --> 00:59:12,040
Speaker 3: a mustache ogling women in bikinis and then turning directly

1096
00:59:12,080 --> 00:59:16,680
Speaker 3: to the camera to utter his beloved catchphrase I'd buy

1097
00:59:16,760 --> 00:59:20,960
Speaker 3: that for a dollar. So, according to an article that

1098
00:59:21,000 --> 00:59:23,800
Speaker 3: I turned up, though it is not mentioned in the movie,

1099
00:59:23,600 --> 00:59:27,320
Speaker 3: the name of this TV sitcom is It's not my

1100
00:59:27,520 --> 00:59:32,280
Speaker 3: problem exclamation point and it's interesting. So the show is

1101
00:59:32,360 --> 00:59:39,160
Speaker 3: portrayed as just insipid trash, but multiple times we see

1102
00:59:39,240 --> 00:59:43,360
Speaker 3: characters watching this show, such as there's one moment where

1103
00:59:43,400 --> 00:59:47,400
Speaker 3: this sadistic murderer Emil is watching the show on a

1104
00:59:47,400 --> 00:59:50,480
Speaker 3: TV through a shop window, and I think he's like

1105
00:59:50,520 --> 00:59:53,400
Speaker 3: sitting in his car watching it, drinking a liquor bottle

1106
00:59:53,480 --> 00:59:56,560
Speaker 3: or something. He seems to find it marvelously entertaining, and

1107
00:59:56,560 --> 00:59:58,720
Speaker 3: then he ends up breaking the glass in the window

1108
00:59:58,760 --> 01:00:01,240
Speaker 3: so he can turn the TV up louder and laugh

1109
01:00:01,280 --> 01:00:04,800
Speaker 3: along with the laugh track. So something's interesting about the

1110
01:00:04,840 --> 01:00:08,560
Speaker 3: way RoboCop depicts this world of cruel, sadistic men who

1111
01:00:08,640 --> 01:00:11,680
Speaker 3: kill without a thought and then in their downtime are

1112
01:00:11,720 --> 01:00:16,000
Speaker 3: sedated and entertained by mindless, repetitive sitcoms that just seem

1113
01:00:16,080 --> 01:00:19,040
Speaker 3: to be looping the same scene and catchphrase over and over.

1114
01:00:19,640 --> 01:00:22,960
Speaker 2: Yeah. Yeah, that a Neil scene especially is interesting, you know,

1115
01:00:23,000 --> 01:00:28,000
Speaker 2: because they intentionally took time to show you his enjoyment

1116
01:00:28,040 --> 01:00:33,240
Speaker 2: of this show, that this bottom of the barrel misogynistic

1117
01:00:33,320 --> 01:00:36,360
Speaker 2: comedy that seems to be everybody's favorite. And I guess

1118
01:00:36,360 --> 01:00:39,120
Speaker 2: it also I'd buy that for a dollar like it

1119
01:00:39,240 --> 01:00:44,160
Speaker 2: just it also kind of ties into the overall capitalist,

1120
01:00:44,240 --> 01:00:48,280
Speaker 2: corporate world of RoboCop. Everything can be bought for a dollar, right.

1121
01:00:48,920 --> 01:00:52,360
Speaker 3: It's almost like a mantra delivering the hidden message that

1122
01:00:52,400 --> 01:00:55,880
Speaker 3: my trust and allegiance is cheap, Just give me the cash.

1123
01:00:56,200 --> 01:01:08,360
Speaker 2: Yeah, all right, Well let's talk more about the setting here.

1124
01:01:09,240 --> 01:01:11,840
Speaker 3: Yeah, so the media segments are used to establish a

1125
01:01:11,840 --> 01:01:15,360
Speaker 3: lot about the broader world. The specific setting of the

1126
01:01:15,400 --> 01:01:18,520
Speaker 3: movie is the city of Detroit in Michigan, where it

1127
01:01:18,560 --> 01:01:23,360
Speaker 3: seems the situation is there's some overlap with reality that

1128
01:01:23,440 --> 01:01:27,320
Speaker 3: the city was a thriving metropolis, but it has suffered

1129
01:01:27,320 --> 01:01:30,160
Speaker 3: a lot because a lot of the industry that used

1130
01:01:30,160 --> 01:01:32,920
Speaker 3: to be based there has moved offshore or shuttered in

1131
01:01:32,960 --> 01:01:36,000
Speaker 3: some way. So the film is just full of abandoned,

1132
01:01:36,120 --> 01:01:42,040
Speaker 3: empty factory buildings that continually visually communicate this theme of

1133
01:01:42,080 --> 01:01:46,440
Speaker 3: just like the loss of former prosperity and so forth.

1134
01:01:46,960 --> 01:01:49,440
Speaker 3: So huge portions of the city have been left out

1135
01:01:49,440 --> 01:01:52,920
Speaker 3: of work, impoverished and desperate, and the city is essentially

1136
01:01:52,960 --> 01:01:56,720
Speaker 3: on the brink of collapse. So the job of running

1137
01:01:56,800 --> 01:02:01,240
Speaker 3: the local police department has been outsourced to OCP Omni

1138
01:02:01,240 --> 01:02:05,240
Speaker 3: Consumer Products. But OCP has set its sites higher than

1139
01:02:05,320 --> 01:02:08,440
Speaker 3: just running the police. Essentially, they have a plan to

1140
01:02:08,520 --> 01:02:12,240
Speaker 3: demolish the existing Detroit and replace it with a new,

1141
01:02:12,600 --> 01:02:16,360
Speaker 3: completely privately owned settlement called Delta City, where they will

1142
01:02:16,400 --> 01:02:19,760
Speaker 3: run everything. So in a way, you can see how

1143
01:02:19,800 --> 01:02:22,800
Speaker 3: it is in OCP's interest for things in Detroit to

1144
01:02:22,840 --> 01:02:25,560
Speaker 3: get as bad as they possibly can be so that

1145
01:02:25,600 --> 01:02:28,280
Speaker 3: they can buy up all the property cheap and privatize

1146
01:02:28,280 --> 01:02:29,360
Speaker 3: all the local government.

1147
01:02:29,960 --> 01:02:32,480
Speaker 2: Yeah yeah, but at the same time they need a

1148
01:02:32,480 --> 01:02:35,440
Speaker 2: little bit of muscle, and also they are, as we're

1149
01:02:35,480 --> 01:02:38,480
Speaker 2: tiled at one point, they basically are the military, so

1150
01:02:38,520 --> 01:02:41,960
Speaker 2: they're working on all of these various military projects as well.

1151
01:02:42,080 --> 01:02:45,960
Speaker 3: Right, And so amidst this backdrop, we see the OCP Headquarters,

1152
01:02:46,000 --> 01:02:48,960
Speaker 3: which is this strange looking building that has a kind

1153
01:02:48,960 --> 01:02:53,040
Speaker 3: of inverted triangle architecture near the bottom, but then it

1154
01:02:53,160 --> 01:02:55,800
Speaker 3: just goes straight up from there, and so it's very

1155
01:02:55,800 --> 01:03:00,160
Speaker 3: weird looking skyscraper architecture. But it does seem on theme

1156
01:03:00,200 --> 01:03:02,920
Speaker 3: somehow because it's like all of this concrete that like

1157
01:03:03,240 --> 01:03:05,880
Speaker 3: comes down to a point near where it meets the ground.

1158
01:03:05,920 --> 01:03:08,160
Speaker 3: So it's the idea of like this corporation just like

1159
01:03:08,440 --> 01:03:10,840
Speaker 3: crushing the people on the ground. Yeah.

1160
01:03:11,000 --> 01:03:13,680
Speaker 2: Yeah, Again, the bottom part of this is Dallas City Hall,

1161
01:03:14,080 --> 01:03:17,120
Speaker 2: but by creating this mate painting of it rising the

1162
01:03:17,200 --> 01:03:19,800
Speaker 2: rest of the way up into the sky, it's like

1163
01:03:19,880 --> 01:03:23,360
Speaker 2: it's stabbing into the earth, like it's a sword come

1164
01:03:23,400 --> 01:03:27,160
Speaker 2: down from the heavens. And we eventually see multiple shots

1165
01:03:27,160 --> 01:03:29,760
Speaker 2: at different points in the film of people ascending or

1166
01:03:29,800 --> 01:03:33,200
Speaker 2: descending in elevators and some sort of you know, vast

1167
01:03:33,280 --> 01:03:36,680
Speaker 2: atriums of this building, and these are also created with

1168
01:03:36,760 --> 01:03:40,160
Speaker 2: matte paintings. And in the extras on the Arrow Blu Ray,

1169
01:03:40,200 --> 01:03:43,400
Speaker 2: they mentioned that Forbidden Planet was one of the influences

1170
01:03:43,440 --> 01:03:46,760
Speaker 2: here and creating this kind of vast interior space.

1171
01:03:47,000 --> 01:03:50,280
Speaker 3: I never would have made that connection, but that's really good. Yeah.

1172
01:03:50,440 --> 01:03:52,600
Speaker 3: But anyway, Okay, so we're here at OCP headquarters. We

1173
01:03:52,680 --> 01:03:55,520
Speaker 3: coming in this corporate board meeting, which is a great scene.

1174
01:03:55,560 --> 01:03:59,040
Speaker 3: We've got OCP Vice President Dick Jones played by Ronnie Cox.

1175
01:03:59,680 --> 01:04:02,960
Speaker 3: He is showing off his plan to move on to

1176
01:04:03,040 --> 01:04:06,320
Speaker 3: the next stage in their control of the Detroit Police Force.

1177
01:04:06,720 --> 01:04:10,480
Speaker 3: He wants to essentially replace the remaining human police force

1178
01:04:10,840 --> 01:04:14,200
Speaker 3: with a violent police robot called ED two o nine.

1179
01:04:14,600 --> 01:04:17,280
Speaker 3: He brings ED two O nine out for a demonstration

1180
01:04:17,840 --> 01:04:20,800
Speaker 3: that turns horrific robot. I don't know if you want

1181
01:04:20,840 --> 01:04:24,040
Speaker 3: to describe this scene. It's it's an iconic scene from

1182
01:04:24,040 --> 01:04:27,240
Speaker 3: the film, maybe the most remembered part of all of RoboCop.

1183
01:04:27,800 --> 01:04:29,840
Speaker 2: Yeah, I mean, for starters, it has we have to

1184
01:04:29,880 --> 01:04:31,920
Speaker 2: mention that that ED to nine And if you don't

1185
01:04:31,920 --> 01:04:33,720
Speaker 2: know what ED to nine looks, to nine looks like,

1186
01:04:34,120 --> 01:04:37,120
Speaker 2: do do yourself a favor and find an image surger

1187
01:04:37,880 --> 01:04:41,120
Speaker 2: or video clip because it does not look like a policeman,

1188
01:04:41,200 --> 01:04:43,680
Speaker 2: looks like a weapons platform is.

1189
01:04:43,640 --> 01:04:45,320
Speaker 3: And that's not what a humanoid and shape.

1190
01:04:45,360 --> 01:04:48,760
Speaker 2: Yeah, it's just a weapons platform that they're clearly eyeing

1191
01:04:49,040 --> 01:04:54,120
Speaker 2: for a larger military market. It was not created expressly

1192
01:04:54,160 --> 01:04:58,640
Speaker 2: with police work in mind. It is a frightening, uh

1193
01:04:59,080 --> 01:05:00,600
Speaker 2: bestial machine.

1194
01:05:01,200 --> 01:05:03,600
Speaker 3: So Dick Jones is setting up the demonstration. He gets

1195
01:05:03,640 --> 01:05:06,360
Speaker 3: one of the one of his colleagues from the boardroom

1196
01:05:06,400 --> 01:05:10,000
Speaker 3: here to uh to point a gun at ED two

1197
01:05:10,080 --> 01:05:12,120
Speaker 3: oh nine for the demonstration. And there's a little detail.

1198
01:05:12,160 --> 01:05:14,080
Speaker 3: A lot of people notice that he hands a gun

1199
01:05:14,120 --> 01:05:15,800
Speaker 3: to this guy. He's like, all right, let's see if

1200
01:05:15,800 --> 01:05:17,920
Speaker 3: we can make him do his job. And so the

1201
01:05:17,960 --> 01:05:21,040
Speaker 3: other guy points the gun at Dick Jones, and ED

1202
01:05:21,040 --> 01:05:23,480
Speaker 3: two o nine does not react to this, like of

1203
01:05:23,600 --> 01:05:26,720
Speaker 3: like people threatening each other. But then Dick Jones is like, no, no,

1204
01:05:26,840 --> 01:05:29,160
Speaker 3: pointed at ED two oh nine. And so then when

1205
01:05:29,160 --> 01:05:32,440
Speaker 3: he when he threatens the hardware, then ED two o

1206
01:05:32,600 --> 01:05:35,680
Speaker 3: nine comes online and like points his turrets at him

1207
01:05:35,720 --> 01:05:38,160
Speaker 3: and says, you drop the weapon. You have twenty seconds

1208
01:05:38,200 --> 01:05:41,720
Speaker 3: to comply. So the guy he said, you know he

1209
01:05:41,840 --> 01:05:44,080
Speaker 3: is goaged on by Dick Jones. He says, better do

1210
01:05:44,120 --> 01:05:47,520
Speaker 3: as you're told. So the guy drops the weapon, and

1211
01:05:47,560 --> 01:05:51,240
Speaker 3: then ED two o nine says, you now have fifteen

1212
01:05:51,360 --> 01:05:55,120
Speaker 3: seconds to comply it clearly has not registered the loss

1213
01:05:55,160 --> 01:05:58,640
Speaker 3: of the weapon. So in a horrifically violent turn of events,

1214
01:05:58,680 --> 01:06:03,240
Speaker 3: the robot malfunk and then ends up just liquefying this guy.

1215
01:06:03,280 --> 01:06:05,120
Speaker 3: It shoots him like hundreds of times.

1216
01:06:05,600 --> 01:06:09,280
Speaker 2: Yeah, just notorious graphic scene, and some cuts of the

1217
01:06:09,280 --> 01:06:13,800
Speaker 2: film have the extended goification of this this poor dimmed individual.

1218
01:06:14,360 --> 01:06:17,200
Speaker 2: But yeah, and it's a frantic affair. He's trying to like, hi,

1219
01:06:17,440 --> 01:06:19,720
Speaker 2: you know, run to for cover, and they're pushing him

1220
01:06:19,760 --> 01:06:21,160
Speaker 2: back in the way because no one else wants to

1221
01:06:21,160 --> 01:06:24,680
Speaker 2: get shot and caught the crossfire. And yeah, and then

1222
01:06:24,760 --> 01:06:28,280
Speaker 2: finally an utter failure of the program here.

1223
01:06:28,520 --> 01:06:30,400
Speaker 3: So the old Man looks at Dick Jones and says,

1224
01:06:30,400 --> 01:06:33,919
Speaker 3: I'm very disappointed in you, Dick, and Dick Jones says, sure,

1225
01:06:33,920 --> 01:06:39,120
Speaker 3: it's only a glitch, like completely unconcerned with you know,

1226
01:06:39,240 --> 01:06:41,960
Speaker 3: the threat this would pose to people. Is just kind

1227
01:06:42,000 --> 01:06:43,680
Speaker 3: of like, ah, yeah, we'll figure it out, don't worry

1228
01:06:43,720 --> 01:06:47,480
Speaker 3: about it. But this does seem like a pretty catastrophic

1229
01:06:47,520 --> 01:06:50,880
Speaker 3: failure to the old Man. And right there next to him,

1230
01:06:50,920 --> 01:06:53,920
Speaker 3: waiting in the wings is Bob Morton played by Miguel Ferrer,

1231
01:06:54,200 --> 01:06:57,320
Speaker 3: who steps in with his rival project. He's like, clearly

1232
01:06:57,520 --> 01:06:59,560
Speaker 3: ed two O nine is not ready for prime time.

1233
01:07:00,000 --> 01:07:03,200
Speaker 3: We've got something ready to go, the RoboCop program, and

1234
01:07:03,240 --> 01:07:05,480
Speaker 3: he tells the old man about it. It's ready to

1235
01:07:05,480 --> 01:07:07,760
Speaker 3: go as Plan B. All they need is a donor,

1236
01:07:07,920 --> 01:07:10,400
Speaker 3: and he thinks they should have one pretty soon. What

1237
01:07:10,440 --> 01:07:12,120
Speaker 3: does that mean, We're about to find out.

1238
01:07:12,520 --> 01:07:14,880
Speaker 2: Yeah, it may not be here. Maybe it's a little

1239
01:07:14,920 --> 01:07:17,960
Speaker 2: later that we learned that. Yeah, not only are they

1240
01:07:18,000 --> 01:07:21,200
Speaker 2: eyeing donors, but they are making sure that prime police

1241
01:07:21,240 --> 01:07:25,760
Speaker 2: candidates are being reassigned to dangerous zones so that they're

1242
01:07:25,760 --> 01:07:28,120
Speaker 2: going to be more likely to encounter some sort of

1243
01:07:28,120 --> 01:07:31,160
Speaker 2: fatal injury that would deliver their body straight to the

1244
01:07:31,240 --> 01:07:32,000
Speaker 2: RoboCop program.

1245
01:07:32,120 --> 01:07:34,680
Speaker 3: Yeah, they do. They do like a physical and they're like, okay,

1246
01:07:34,680 --> 01:07:36,680
Speaker 3: Peter Weller, he would be a good candidate to go

1247
01:07:36,720 --> 01:07:38,720
Speaker 3: in the RoboCop suit. So we're going to send him

1248
01:07:38,760 --> 01:07:42,560
Speaker 3: after Clarence Bodiker and deny him back up. Yeah, So

1249
01:07:42,720 --> 01:07:45,400
Speaker 3: here we meet our hero Alex Murphy and Peter Weller.

1250
01:07:45,720 --> 01:07:48,760
Speaker 3: After OCP transfers him to a new Metro division, he

1251
01:07:48,800 --> 01:07:51,720
Speaker 3: gets paired with his new partner Lewis. That's Nancy Allen.

1252
01:07:51,920 --> 01:07:53,880
Speaker 3: They get to know each other. They have some nice

1253
01:07:53,880 --> 01:07:56,600
Speaker 3: friendly banter, but early on, maybe it's his first day

1254
01:07:56,640 --> 01:07:59,520
Speaker 3: at the new division, not exactly clear. They respond to

1255
01:07:59,520 --> 01:08:02,720
Speaker 3: a bank robbery in progress and it's Clarence Botiker's gang

1256
01:08:02,720 --> 01:08:06,000
Speaker 3: and Botaker is just the nastiest, meanest criminal on earth.

1257
01:08:06,760 --> 01:08:10,320
Speaker 3: While Murphy and Lewis are chasing them, there's this one

1258
01:08:10,360 --> 01:08:14,040
Speaker 3: part where you see Botiker, just like the gang has

1259
01:08:14,280 --> 01:08:18,400
Speaker 3: no friendship or loyalty even to each other. One of

1260
01:08:18,439 --> 01:08:21,160
Speaker 3: the gang is injured during the shootout when they're in

1261
01:08:21,200 --> 01:08:25,040
Speaker 3: a chase, and Bodaker just like grabs him and goes

1262
01:08:25,080 --> 01:08:27,800
Speaker 3: can you fly Bobby and throws him out of the

1263
01:08:27,920 --> 01:08:32,240
Speaker 3: van into the police car, which briefly delays them, and

1264
01:08:32,479 --> 01:08:35,800
Speaker 3: eventually Murphy and Lewis pursue the gang all the way

1265
01:08:35,840 --> 01:08:39,679
Speaker 3: to an abandoned foundry, and while attempting to make an arrest,

1266
01:08:39,720 --> 01:08:43,160
Speaker 3: again no backup is available. As usual, Murphy is caught

1267
01:08:43,400 --> 01:08:48,200
Speaker 3: and then brutally executed by the gang an awful, horrifically

1268
01:08:48,320 --> 01:08:52,080
Speaker 3: violent scene. His body is recovered taken to a hospital,

1269
01:08:52,160 --> 01:08:54,160
Speaker 3: but he can't be revived. He is dead.

1270
01:08:55,000 --> 01:08:59,280
Speaker 2: Yeah, I think shotgun dismemberment is worth mentioning in terms

1271
01:08:59,320 --> 01:09:02,760
Speaker 2: of Murphy's death because you know, because it's like it's

1272
01:09:02,840 --> 01:09:06,080
Speaker 2: that extreme, like like it's another example of the violence

1273
01:09:06,200 --> 01:09:09,519
Speaker 2: just ratcheted up to an unbelow to a degree where

1274
01:09:09,520 --> 01:09:12,000
Speaker 2: it almost takes some of the punch out of it

1275
01:09:12,080 --> 01:09:15,120
Speaker 2: because it becomes an obvious Hollywood gore fest. I don't know,

1276
01:09:15,280 --> 01:09:17,599
Speaker 2: everyone's mileage is going to vary on this sort of thing.

1277
01:09:18,280 --> 01:09:22,400
Speaker 3: Now, next we get a really interesting sequence in the movie,

1278
01:09:22,439 --> 01:09:25,720
Speaker 3: which is we have Murphy's death, but from here we

1279
01:09:25,800 --> 01:09:30,080
Speaker 3: start seeing something from some point of view through a

1280
01:09:30,160 --> 01:09:35,479
Speaker 3: kind of grainy almost computer or CRT image. We see

1281
01:09:35,479 --> 01:09:40,280
Speaker 3: these views of scientists messing with somebody from their point

1282
01:09:40,280 --> 01:09:43,400
Speaker 3: of view, like drilling around on their head and adjusting

1283
01:09:43,400 --> 01:09:47,120
Speaker 3: his vision. So we're seeing robocops point of view, and

1284
01:09:47,160 --> 01:09:50,760
Speaker 3: this is the project run by Bob Morton. Rob do

1285
01:09:50,800 --> 01:09:53,240
Speaker 3: you anything you want to identify about these scenes where

1286
01:09:53,280 --> 01:09:58,439
Speaker 3: we're like watching Murphy's physical remains become become able to

1287
01:09:58,520 --> 01:10:01,719
Speaker 3: see as they are becomingcop.

1288
01:10:01,040 --> 01:10:03,360
Speaker 2: I mean, it's almost like he's being he is being

1289
01:10:03,400 --> 01:10:07,000
Speaker 2: born again, you know, it's like early memories, childhood memories

1290
01:10:07,040 --> 01:10:09,280
Speaker 2: almost that's some sort of sense. As he's watching the

1291
01:10:09,280 --> 01:10:12,960
Speaker 2: scientists work on him, as he's eventually seeing you know,

1292
01:10:13,000 --> 01:10:16,200
Speaker 2: there's like an office party, a Christmas party or something

1293
01:10:16,240 --> 01:10:19,679
Speaker 2: that's underway, and they're interacting with him a little bit.

1294
01:10:19,760 --> 01:10:22,280
Speaker 2: But also there are bits of dialogue though on the

1295
01:10:22,280 --> 01:10:24,759
Speaker 2: other hand that far from discussing him as a child.

1296
01:10:24,800 --> 01:10:27,639
Speaker 2: I think Morton in particular is like he's dead now

1297
01:10:27,640 --> 01:10:29,479
Speaker 2: we can do whatever we want with him. Like he's

1298
01:10:29,479 --> 01:10:31,799
Speaker 2: no longer a human, he is a product.

1299
01:10:32,240 --> 01:10:36,320
Speaker 3: Yeah, he signed the rights to his remains away. That

1300
01:10:36,439 --> 01:10:38,880
Speaker 3: was part of his contract to be a cop, and

1301
01:10:38,920 --> 01:10:40,720
Speaker 3: we can do whatever we want with them. He's not

1302
01:10:40,880 --> 01:10:44,960
Speaker 3: him anymore. Yeah. Also in these scenes, we learn about

1303
01:10:45,000 --> 01:10:49,080
Speaker 3: robocops three prime directives. They say, you know, he's guided

1304
01:10:49,120 --> 01:10:52,400
Speaker 3: by the directives to serve the public trust, to protect

1305
01:10:52,439 --> 01:10:54,880
Speaker 3: the innocent, and uphold the law. And then there is

1306
01:10:54,920 --> 01:10:57,360
Speaker 3: a fourth directive that is not spelled out. It just

1307
01:10:57,360 --> 01:11:00,000
Speaker 3: says it's classified, but it does flash on the screen.

1308
01:11:00,680 --> 01:11:03,160
Speaker 3: They say nothing about that out loud. It's just something

1309
01:11:03,160 --> 01:11:05,799
Speaker 3: that RoboCop sees on his own heads up display.

1310
01:11:06,320 --> 01:11:08,120
Speaker 2: Yeah, this will become important later on.

1311
01:11:08,840 --> 01:11:11,479
Speaker 3: So after this RoboCop is unveiled, they put him out

1312
01:11:11,479 --> 01:11:12,720
Speaker 3: on the beat and there are just a bunch of

1313
01:11:12,760 --> 01:11:16,040
Speaker 3: scenes of RoboCop out on patrol, intervening when crimes are

1314
01:11:16,040 --> 01:11:18,840
Speaker 3: in progress. We see him stop an armed robbery at

1315
01:11:18,840 --> 01:11:21,839
Speaker 3: a convenience store. He intervenes when two men are attacking

1316
01:11:21,840 --> 01:11:25,360
Speaker 3: a woman in an abandoned lot. He resolves a hostage

1317
01:11:25,400 --> 01:11:28,400
Speaker 3: situation at city hall. And in all of these scenes,

1318
01:11:28,479 --> 01:11:31,480
Speaker 3: RoboCop is shown to be in some ways highly effective,

1319
01:11:31,680 --> 01:11:35,879
Speaker 3: in other ways not like he is successful at stopping

1320
01:11:35,920 --> 01:11:39,400
Speaker 3: the crimes, but he does so via the application of

1321
01:11:39,560 --> 01:11:42,320
Speaker 3: brutal violence in every case, and he is shown to

1322
01:11:42,360 --> 01:11:46,080
Speaker 3: be cold and mechanical in his relations to victims.

1323
01:11:46,720 --> 01:11:50,040
Speaker 2: Yeah, we see the media segments of him being celebrated,

1324
01:11:50,080 --> 01:11:52,960
Speaker 2: but also, yeah, at the same time, he's not really

1325
01:11:53,040 --> 01:11:56,519
Speaker 2: doing the ideal version of police work here. He's just

1326
01:11:56,760 --> 01:12:00,160
Speaker 2: like a blunt instrument that reaches through walls to have

1327
01:12:01,320 --> 01:12:02,519
Speaker 2: criminals and so forth.

1328
01:12:02,800 --> 01:12:06,000
Speaker 3: There's one part where I think they're asking, like there's

1329
01:12:06,040 --> 01:12:09,800
Speaker 3: like school children clearly being terrified by RoboCop during some

1330
01:12:09,880 --> 01:12:12,360
Speaker 3: kind of outreach program, and they're like, do you have

1331
01:12:12,400 --> 01:12:14,920
Speaker 3: any message for the children, And he says, stay out

1332
01:12:14,960 --> 01:12:19,519
Speaker 3: of trouble. But all of this builds up to a

1333
01:12:20,360 --> 01:12:24,759
Speaker 3: realization Lewis Murphy's old partner sees through the machine mask.

1334
01:12:24,960 --> 01:12:28,960
Speaker 3: She sees that it's Murphy underneath, noticing little ticks, little

1335
01:12:29,520 --> 01:12:33,080
Speaker 3: sayings and movements that mirror things Murphy did. One giveaway

1336
01:12:33,240 --> 01:12:36,599
Speaker 3: is that Murphy was practicing this kind of, you know,

1337
01:12:36,760 --> 01:12:40,559
Speaker 3: a cowboy gun holster move that was from a TV

1338
01:12:40,600 --> 01:12:43,479
Speaker 3: show that his son liked called TJ Laser, And then

1339
01:12:43,520 --> 01:12:47,320
Speaker 3: she sees RoboCop do the same move, so she realizes

1340
01:12:47,360 --> 01:12:49,320
Speaker 3: who it is. She's like, that's Murphy in there, and

1341
01:12:49,360 --> 01:12:50,960
Speaker 3: she goes up to him. At one point she like

1342
01:12:51,000 --> 01:12:53,880
Speaker 3: approaches him in a hallway and says, Murphy, it's you,

1343
01:12:54,880 --> 01:12:58,120
Speaker 3: and this causes a crisis. RoboCop is not supposed to

1344
01:12:58,200 --> 01:13:01,760
Speaker 3: have a personality or any mimas Bob Morton again, he

1345
01:13:01,800 --> 01:13:04,920
Speaker 3: explains that, like, it's just physical scaffolding. They just need

1346
01:13:04,920 --> 01:13:08,639
Speaker 3: some brain tissue. Murphy no longer exists, it's just brain

1347
01:13:08,680 --> 01:13:12,400
Speaker 3: tissue owned by OCP. That's not a person, it's a machine.

1348
01:13:13,080 --> 01:13:18,479
Speaker 3: But nevertheless, RoboCop begins to malfunction by having memories and

1349
01:13:18,680 --> 01:13:22,960
Speaker 3: dreams and glitches, and this leads up to a scene

1350
01:13:23,000 --> 01:13:25,439
Speaker 3: where he visits his former home that he shared with

1351
01:13:25,479 --> 01:13:28,720
Speaker 3: his family, which is now empty and for sale. There's

1352
01:13:28,760 --> 01:13:32,479
Speaker 3: like a robotic salesman who starts talking when he comes

1353
01:13:32,479 --> 01:13:34,040
Speaker 3: in the door, like, oh, this could be your new

1354
01:13:34,120 --> 01:13:36,760
Speaker 3: dream home. And I think some critics at the time

1355
01:13:36,920 --> 01:13:40,200
Speaker 3: might have sneered at these sequences of him, you know,

1356
01:13:40,280 --> 01:13:44,840
Speaker 3: this machine with these strange, robotic motions, trying to reclaim

1357
01:13:44,920 --> 01:13:48,080
Speaker 3: his past life and remember what it was. They might

1358
01:13:48,120 --> 01:13:50,519
Speaker 3: have seen that as ridiculous. But I found this stuff

1359
01:13:50,600 --> 01:13:53,200
Speaker 3: quite moving. To each their own, I guess.

1360
01:13:53,240 --> 01:13:55,479
Speaker 2: Yeah, yeah, this is one of the segments that really

1361
01:13:55,840 --> 01:13:58,679
Speaker 2: hit me in the fields. I liked it. I thought

1362
01:13:58,720 --> 01:13:59,480
Speaker 2: it worked.

1363
01:13:59,439 --> 01:14:02,679
Speaker 3: Also some in here. There's a scene where Dick Jones

1364
01:14:02,920 --> 01:14:05,479
Speaker 3: sends Clarence Bodiker, who works for him by the way,

1365
01:14:05,840 --> 01:14:09,320
Speaker 3: to Bob Morton's house to kill him. He's just like, Okay,

1366
01:14:09,320 --> 01:14:10,200
Speaker 3: I'm done with Morton.

1367
01:14:10,920 --> 01:14:13,840
Speaker 2: Yeah yeah, Like Morton really didn't know what he was

1368
01:14:13,920 --> 01:14:17,400
Speaker 2: messing with it. Clearly didn't really think that Dick Jones

1369
01:14:17,400 --> 01:14:20,720
Speaker 2: would send a goon to his house to murder him

1370
01:14:20,760 --> 01:14:22,719
Speaker 2: in cold blood, and that's exactly what happens.

1371
01:14:23,160 --> 01:14:26,320
Speaker 3: Then there's an interesting middle section of the movie in

1372
01:14:26,360 --> 01:14:32,519
Speaker 3: which RoboCop, in this process of rediscovering that he might

1373
01:14:32,560 --> 01:14:34,519
Speaker 3: have been a person at one point and who that

1374
01:14:34,560 --> 01:14:40,320
Speaker 3: person was, he starts to systematically solve Murphy's own murder.

1375
01:14:40,720 --> 01:14:44,719
Speaker 3: So he like encounters Emil, one of Clarence Bodeker's gang

1376
01:14:45,560 --> 01:14:48,720
Speaker 3: in the middle of like robbing a gas station, and

1377
01:14:48,880 --> 01:14:51,559
Speaker 3: he encounters him, and from him he traces him to

1378
01:14:51,680 --> 01:14:55,560
Speaker 3: other members of Botacker's gang and eventually to Botaker himself.

1379
01:14:55,960 --> 01:14:59,600
Speaker 3: And when he captures Bodeker claims that he can't be

1380
01:14:59,680 --> 01:15:02,320
Speaker 3: arrested because he has a protection agreement. He works for

1381
01:15:02,360 --> 01:15:05,000
Speaker 3: Dick Jones, and Dick Jones runs the police.

1382
01:15:05,520 --> 01:15:09,599
Speaker 2: Yeah, this whole solving Zone murder series of sequences is great.

1383
01:15:09,920 --> 01:15:11,559
Speaker 2: Like there's the scene where he goes to the nightclub

1384
01:15:11,600 --> 01:15:14,680
Speaker 2: to collect Ray Wise's character. Yeah, that one's a lot

1385
01:15:14,720 --> 01:15:19,559
Speaker 2: of fun. Yeah, it builds nicely until he's yeah, he's

1386
01:15:19,600 --> 01:15:23,559
Speaker 2: already found Bottiker, that this is where there's a He

1387
01:15:23,640 --> 01:15:27,400
Speaker 2: roughs him up quite a bit and drags a bloody,

1388
01:15:27,439 --> 01:15:29,880
Speaker 2: snarling Boticker into police headquarters.

1389
01:15:30,360 --> 01:15:34,000
Speaker 3: But so now he has evidence that Dick Jones is

1390
01:15:34,000 --> 01:15:36,040
Speaker 3: behind it all, So he tries to go up the

1391
01:15:36,080 --> 01:15:38,599
Speaker 3: chain to arrest Dick Jones and it doesn't work out

1392
01:15:38,600 --> 01:15:42,040
Speaker 3: so well. He walks into the office Ronnie Cox is

1393
01:15:42,040 --> 01:15:45,040
Speaker 3: sitting there, and Ronnie Cox like holds out his hands.

1394
01:15:45,080 --> 01:15:47,880
Speaker 3: He says, sounds pretty serious. You better arrest me. But

1395
01:15:48,000 --> 01:15:53,280
Speaker 3: RoboCop is somehow unable to act. He something is preventing him,

1396
01:15:53,560 --> 01:15:56,800
Speaker 3: and here we see the activation of Directive four, his

1397
01:15:57,000 --> 01:16:00,680
Speaker 3: secret guiding principle, which is that he cannot against the

1398
01:16:00,720 --> 01:16:04,960
Speaker 3: interests of OCP, so he cannot will himself to arrest

1399
01:16:05,040 --> 01:16:06,160
Speaker 3: one of its officers.

1400
01:16:07,040 --> 01:16:09,160
Speaker 2: Oh yeah, And then this is where Dick Jones, with

1401
01:16:09,600 --> 01:16:12,920
Speaker 2: villainous charm, brings out ED two o nine. He's like,

1402
01:16:13,000 --> 01:16:14,519
Speaker 2: I going to introduce you to a friend of mine.

1403
01:16:15,400 --> 01:16:20,000
Speaker 2: Boardroom doors open and outcomes this glorious stop motion creation.

1404
01:16:20,880 --> 01:16:23,440
Speaker 2: ED two o nine is here to finish off RoboCop.

1405
01:16:23,720 --> 01:16:26,599
Speaker 3: So yeah, for a bit, there's this fight, the struggle

1406
01:16:26,600 --> 01:16:29,599
Speaker 3: where RoboCop is sort of immobilized. It's these two killer

1407
01:16:29,680 --> 01:16:32,920
Speaker 3: robots versus each other, but one of them still has

1408
01:16:33,040 --> 01:16:36,160
Speaker 3: a shred of humanity inside it and it manages to

1409
01:16:36,400 --> 01:16:39,400
Speaker 3: barely escape ED two o nine. And then there is

1410
01:16:39,479 --> 01:16:41,880
Speaker 3: a detail in this fight that I've always loved since

1411
01:16:41,920 --> 01:16:44,400
Speaker 3: the first time I saw the movie. What how is

1412
01:16:44,560 --> 01:16:48,040
Speaker 3: ED two o nine defeated in this confrontation by stars.

1413
01:16:48,360 --> 01:16:51,880
Speaker 3: ED two o nine gets to the stairwell and RoboCop

1414
01:16:51,960 --> 01:16:54,320
Speaker 3: runs down it and ED to O nine. Clearly, this

1415
01:16:54,439 --> 01:16:56,840
Speaker 3: is a contingency that the designers of ED two O

1416
01:16:56,960 --> 01:16:59,360
Speaker 3: nine had never thought of. And it is unable to

1417
01:16:59,439 --> 01:17:03,240
Speaker 3: navigate going down a staircase and ends up turned on

1418
01:17:03,320 --> 01:17:07,600
Speaker 3: its back and unable to get up. And it's hilarious.

1419
01:17:08,040 --> 01:17:11,960
Speaker 3: It feels so right, and it's the best possible conclusion

1420
01:17:12,000 --> 01:17:12,519
Speaker 3: to this fight.

1421
01:17:13,080 --> 01:17:15,600
Speaker 2: Yeah, yeah, it hits all the right notes and in

1422
01:17:15,640 --> 01:17:18,000
Speaker 2: a sense, like it does get into this again sort

1423
01:17:18,000 --> 01:17:21,719
Speaker 2: of light sci fi about cybernetics and robotics. The idea

1424
01:17:21,720 --> 01:17:25,240
Speaker 2: that ED two nine is a military application that is

1425
01:17:25,280 --> 01:17:27,760
Speaker 2: clearly clearly was not designed for police work. It was

1426
01:17:27,800 --> 01:17:30,920
Speaker 2: not designed to interact in a human world, and an

1427
01:17:30,960 --> 01:17:33,519
Speaker 2: important part of police work is interacting in a human

1428
01:17:33,560 --> 01:17:37,640
Speaker 2: world that involves obviously things like stairs, as well as

1429
01:17:37,680 --> 01:17:41,040
Speaker 2: other nuances like being able to tell the difference between

1430
01:17:41,040 --> 01:17:45,200
Speaker 2: a perpetrator who is an active threat and someone who

1431
01:17:45,240 --> 01:17:46,920
Speaker 2: has already surrendered and so forth.

1432
01:17:47,200 --> 01:17:49,479
Speaker 3: Yeah, and so I think that I think part of

1433
01:17:49,520 --> 01:17:51,680
Speaker 3: the vision of ED two nine is that it is

1434
01:17:51,720 --> 01:17:55,160
Speaker 3: a very dangerous, lethal robot, but in many ways it

1435
01:17:55,240 --> 01:17:59,720
Speaker 3: is poorly designed. So it's like it is designed to

1436
01:18:00,280 --> 01:18:04,639
Speaker 3: appeal to the people who award defense contracts more than

1437
01:18:04,680 --> 01:18:06,840
Speaker 3: to like actually be good at its job.

1438
01:18:07,120 --> 01:18:11,919
Speaker 2: Right, But again great great finish to this initial combat

1439
01:18:11,960 --> 01:18:14,000
Speaker 2: between RoboCop and ED two and nine.

1440
01:18:14,200 --> 01:18:16,720
Speaker 3: But at this point, so RoboCop is he's able to

1441
01:18:16,720 --> 01:18:19,200
Speaker 3: get down the stairs. But at this point the OCP

1442
01:18:19,360 --> 01:18:22,080
Speaker 3: controlled police Force arrives and they have been ordered to

1443
01:18:22,160 --> 01:18:26,240
Speaker 3: destroy RoboCop and so they try, but Lewis saves him.

1444
01:18:26,280 --> 01:18:28,559
Speaker 3: She comes to the rescue. She takes him off to

1445
01:18:28,720 --> 01:18:32,560
Speaker 3: the abandoned foundry we saw earlier and helps him rediscover

1446
01:18:32,600 --> 01:18:35,280
Speaker 3: who he is. And this sequence his mask comes off,

1447
01:18:35,320 --> 01:18:38,120
Speaker 3: like he removes the bolts and takes off his visor

1448
01:18:38,439 --> 01:18:42,760
Speaker 3: and reveals that Murphy's face is still underneath there to

1449
01:18:42,800 --> 01:18:46,559
Speaker 3: some extent, his brain still is Murphy's brain, though it's

1450
01:18:46,600 --> 01:18:49,479
Speaker 3: different and there I don't know. There's like a really

1451
01:18:49,520 --> 01:18:53,120
Speaker 3: tender scene where she helps him recalibrate his aim and

1452
01:18:53,200 --> 01:18:56,080
Speaker 3: it just kind of gives him encouragement. He doesn't know

1453
01:18:56,120 --> 01:18:59,559
Speaker 3: what he is, but whatever he is, she's there to help. Yeah.

1454
01:18:59,680 --> 01:19:02,840
Speaker 2: Yeah, this I really liked this part. Also, the part

1455
01:19:02,880 --> 01:19:04,479
Speaker 2: where after the mask has come off and he has

1456
01:19:04,479 --> 01:19:07,519
Speaker 2: to be left alone, you know, it's it's it's a

1457
01:19:07,560 --> 01:19:10,200
Speaker 2: tender moment. That is, it's well acted by it by

1458
01:19:10,280 --> 01:19:13,080
Speaker 2: both actors involved here, and you know, I totally totally

1459
01:19:13,120 --> 01:19:15,880
Speaker 2: buy into it, and it made me tear up just

1460
01:19:15,920 --> 01:19:16,400
Speaker 2: a little bit.

1461
01:19:17,000 --> 01:19:20,559
Speaker 3: Meanwhile, Dick Jones hooks Bodiker's gang up with some kind

1462
01:19:20,560 --> 01:19:23,040
Speaker 3: of military grade weapons that they are going to need

1463
01:19:23,120 --> 01:19:26,920
Speaker 3: to destroy RoboCop. Jones of course wants RoboCop dead for

1464
01:19:27,000 --> 01:19:30,679
Speaker 3: two reasons. First of all, RoboCop has evidence against Jones

1465
01:19:30,720 --> 01:19:33,440
Speaker 3: and his memory banks, and he doesn't want to be implicated.

1466
01:19:33,479 --> 01:19:36,560
Speaker 3: But the second thing is, of course, if RoboCop is eliminated,

1467
01:19:36,560 --> 01:19:39,320
Speaker 3: that'll put ED two o nine, that that project back

1468
01:19:39,400 --> 01:19:40,960
Speaker 3: front and center. Yeah.

1469
01:19:41,040 --> 01:19:43,200
Speaker 2: Yeah, he's promising to have an ED two o nine

1470
01:19:43,240 --> 01:19:45,320
Speaker 2: like on every street corner. So there are already a

1471
01:19:45,320 --> 01:19:47,679
Speaker 2: lot of these in stories just ready to roll out

1472
01:19:47,680 --> 01:19:48,880
Speaker 2: into the city in force.

1473
01:19:49,600 --> 01:19:52,160
Speaker 3: So Botaker and the gang now armed with these, with

1474
01:19:52,200 --> 01:19:55,439
Speaker 3: this heavy artillery, they come to hunt down RoboCop at

1475
01:19:55,439 --> 01:19:58,840
Speaker 3: the foundry. But there and this leads to a bunch

1476
01:19:58,840 --> 01:20:01,200
Speaker 3: of great action scenes there, like a car chase, and

1477
01:20:01,240 --> 01:20:04,400
Speaker 3: there are these shootouts and all that together, RoboCop and

1478
01:20:04,520 --> 01:20:08,479
Speaker 3: Lewis managed to defeat Bodiker and his gang This is

1479
01:20:08,520 --> 01:20:12,040
Speaker 3: the sequence that includes Emil getting doused with toxic waste

1480
01:20:12,040 --> 01:20:17,439
Speaker 3: and eventually melting. So it's incredibly gory action scenes. We've

1481
01:20:17,439 --> 01:20:20,040
Speaker 3: said that a million times now, but like you be warned,

1482
01:20:20,120 --> 01:20:23,200
Speaker 3: this is an incredibly bloody, violent movie. But as action

1483
01:20:23,280 --> 01:20:25,639
Speaker 3: scenes they work pretty great. Yeah.

1484
01:20:25,720 --> 01:20:28,559
Speaker 2: Yeah, I mean, I've seen my shriff Gorfest and I've

1485
01:20:28,560 --> 01:20:31,280
Speaker 2: seen this film before obviously, but yeah, when I was

1486
01:20:31,280 --> 01:20:34,720
Speaker 2: rewatching the Emeeal melting sequence, it's just like I had

1487
01:20:34,760 --> 01:20:39,599
Speaker 2: a just like a grimace fixed into my face for

1488
01:20:39,680 --> 01:20:43,679
Speaker 2: like a good solid five minutes because it's so grim

1489
01:20:43,840 --> 01:20:45,559
Speaker 2: and it's so gross, and it seems to go on

1490
01:20:45,720 --> 01:20:50,080
Speaker 2: forever until he's finally hit by a car by a

1491
01:20:50,120 --> 01:20:53,679
Speaker 2: Boticker's car and just explodes in a splash of slime.

1492
01:20:53,920 --> 01:20:59,120
Speaker 3: It's awful. Yeah. So after all this, RoboCop goes to

1493
01:20:59,400 --> 01:21:02,960
Speaker 3: arrest Jones because you know OCP is behind it all,

1494
01:21:03,360 --> 01:21:06,600
Speaker 3: working on Dick Jones's orders. So RoboCop comes into a

1495
01:21:06,640 --> 01:21:10,479
Speaker 3: board meeting and he turns the old man against him

1496
01:21:10,560 --> 01:21:13,360
Speaker 3: by playing a tape of Dick Jones admitting the murder

1497
01:21:13,360 --> 01:21:16,479
Speaker 3: of Bob Morton. Now you know, OCP may not be

1498
01:21:16,680 --> 01:21:20,799
Speaker 3: very sensitive to the harm they caused to regular people,

1499
01:21:21,120 --> 01:21:23,519
Speaker 3: but this is the murder of one of these corporate

1500
01:21:23,560 --> 01:21:27,200
Speaker 3: guys themselves, and I think they're unsettled by that. So

1501
01:21:27,200 --> 01:21:30,640
Speaker 3: so now Dick Jones actually feels afraid. He tries to

1502
01:21:30,760 --> 01:21:34,160
Speaker 3: take the old man hostage to flee the scene. And

1503
01:21:34,600 --> 01:21:38,080
Speaker 3: here there's an interesting conflict because RoboCop is still bound

1504
01:21:38,160 --> 01:21:41,160
Speaker 3: by Directive four, so he cannot act against OCP. He

1505
01:21:41,200 --> 01:21:46,240
Speaker 3: can't act against Jones. But then he he essentially hints

1506
01:21:46,280 --> 01:21:49,640
Speaker 3: to the old man what the problem is, and the

1507
01:21:49,680 --> 01:21:53,400
Speaker 3: old man then announces that Jones is fired from his position.

1508
01:21:53,760 --> 01:21:57,040
Speaker 3: So RoboCop immediately shoots him out of the skyscraper window.

1509
01:21:58,240 --> 01:22:01,840
Speaker 3: So that's an interesting And then there is a special effect. Well,

1510
01:22:01,840 --> 01:22:05,280
Speaker 3: the special effects generally in this movie are fantastic. There

1511
01:22:05,360 --> 01:22:08,160
Speaker 3: is a famously bad one as Jones falls out of

1512
01:22:08,160 --> 01:22:10,200
Speaker 3: the window and it looks like he has really long

1513
01:22:10,360 --> 01:22:11,759
Speaker 3: arms for some reason.

1514
01:22:12,560 --> 01:22:15,320
Speaker 2: Yeah, this is a stop motion effect. They use a

1515
01:22:15,360 --> 01:22:19,640
Speaker 2: stop motion model of Dick Jones, which I mean, basically,

1516
01:22:20,800 --> 01:22:22,679
Speaker 2: I guess you have to think about about stop motion

1517
01:22:22,760 --> 01:22:25,000
Speaker 2: a lot with this film, Like stop motion is here

1518
01:22:25,920 --> 01:22:28,360
Speaker 2: and used in this film not so much because it

1519
01:22:28,439 --> 01:22:32,280
Speaker 2: is loving and well crafted and is like an art

1520
01:22:32,320 --> 01:22:34,840
Speaker 2: form all its own. It was the best way of

1521
01:22:34,880 --> 01:22:39,840
Speaker 2: delivering this particular effect at the time. And so with

1522
01:22:40,120 --> 01:22:41,880
Speaker 2: even with Dick Jones falling out the window, like what

1523
01:22:41,920 --> 01:22:45,160
Speaker 2: are your choices? You either don't show it, or you

1524
01:22:45,280 --> 01:22:48,479
Speaker 2: use like a Dick Jones lying on a blue mat

1525
01:22:48,520 --> 01:22:50,160
Speaker 2: and do like a green scaring kind of a thing

1526
01:22:50,160 --> 01:22:52,840
Speaker 2: where he's like, ah, you know, like Mortal Kombat two

1527
01:22:52,920 --> 01:22:56,720
Speaker 2: falling into the pit, which can also look pretty bad.

1528
01:22:56,840 --> 01:22:59,080
Speaker 2: Or you go for a stop motion, and in this

1529
01:22:59,240 --> 01:23:02,000
Speaker 2: case it didn't quite work, like they were trying to

1530
01:23:02,040 --> 01:23:05,479
Speaker 2: create something that was too lifelike. But I wouldn't change it. Yeah,

1531
01:23:05,479 --> 01:23:07,479
Speaker 2: I wouldn't change it. Still admired.

1532
01:23:07,760 --> 01:23:10,840
Speaker 3: I love the long arms that it gives me a

1533
01:23:10,880 --> 01:23:11,760
Speaker 3: tickle every time.

1534
01:23:13,240 --> 01:23:15,519
Speaker 2: This was a time period too, where like that sort

1535
01:23:15,520 --> 01:23:17,720
Speaker 2: of shot I feel like happened a lot. You had

1536
01:23:17,760 --> 01:23:19,840
Speaker 2: a lot of bad guys falling to their death, Like

1537
01:23:19,880 --> 01:23:23,400
Speaker 2: didn't the Joker go down the same way? Maybe a

1538
01:23:23,439 --> 01:23:28,480
Speaker 2: slightly more convincing effect. I don't recall, Yeah, falling off skyscrapers.

1539
01:23:28,479 --> 01:23:30,080
Speaker 2: They'll do it well anyway.

1540
01:23:30,160 --> 01:23:34,639
Speaker 3: So after this, the old man says, he says something

1541
01:23:34,680 --> 01:23:38,040
Speaker 3: like nice shooting son. What's your name? And RoboCop does

1542
01:23:38,080 --> 01:23:42,200
Speaker 3: not say RoboCop. He says Murphy. And that's the end

1543
01:23:42,200 --> 01:23:46,759
Speaker 3: of the film. And it's an interesting ending because Murphy

1544
01:23:46,880 --> 01:23:53,080
Speaker 3: has somewhat reclaimed his humanity, like he has acted against

1545
01:23:53,320 --> 01:23:56,960
Speaker 3: the direct interests of his one of his bosses in

1546
01:23:57,000 --> 01:24:00,160
Speaker 3: this case, so he has somewhat done the right thing

1547
01:24:00,200 --> 01:24:03,400
Speaker 3: despite what he's being told to do by the by

1548
01:24:03,400 --> 01:24:06,679
Speaker 3: the organization that controls him. He has to some degree

1549
01:24:06,760 --> 01:24:10,280
Speaker 3: recovered part of himself in that like he you know,

1550
01:24:10,320 --> 01:24:13,599
Speaker 3: he remembers his family, he remembers his life. Even though

1551
01:24:13,640 --> 01:24:17,519
Speaker 3: he's not fully the Murphy he was, he realizes some

1552
01:24:17,680 --> 01:24:21,240
Speaker 3: part of him is Murphy, but he's still not completely free.

1553
01:24:21,320 --> 01:24:23,720
Speaker 3: And I think that makes the ending more interesting and

1554
01:24:23,760 --> 01:24:27,000
Speaker 3: bittersweet than if he just had like a total victory

1555
01:24:27,080 --> 01:24:29,479
Speaker 3: over the bad guys. He's still not fully free because

1556
01:24:29,479 --> 01:24:32,280
Speaker 3: he's not able to remove directive for he just has to,

1557
01:24:32,560 --> 01:24:35,120
Speaker 3: like outsmart it, find a way around it by getting

1558
01:24:35,320 --> 01:24:37,920
Speaker 3: the old man to fire Dick Jones so he can act.

1559
01:24:38,120 --> 01:24:40,760
Speaker 2: But again, thinking of Dick Jones as kind of a

1560
01:24:40,760 --> 01:24:44,479
Speaker 2: God or Zeus figure, it's like he has he has

1561
01:24:44,520 --> 01:24:47,439
Speaker 2: scaled at the top of Mount Olympus once more and

1562
01:24:47,760 --> 01:24:50,400
Speaker 2: I guess we also have a satanic figure literally falling

1563
01:24:51,320 --> 01:24:54,639
Speaker 2: from the from the heights here. But but then the

1564
01:24:54,880 --> 01:24:57,920
Speaker 2: old Man has to acknowledge him, and in asking him

1565
01:24:57,920 --> 01:24:59,679
Speaker 2: his name, there is kind of like a power there.

1566
01:24:59,680 --> 01:25:03,280
Speaker 2: It's like like, this is your chance to reclaim some

1567
01:25:03,360 --> 01:25:05,960
Speaker 2: portion of humanity that we took from you, and he

1568
01:25:06,080 --> 01:25:08,240
Speaker 2: does reclaim at least part of it.

1569
01:25:08,680 --> 01:25:11,000
Speaker 3: Yeah, but like we said, it's not a complete victory,

1570
01:25:11,360 --> 01:25:14,040
Speaker 3: you know, It's not like OCP is completely defeated and

1571
01:25:14,640 --> 01:25:16,760
Speaker 3: the world has changed for the better. I mean, it's

1572
01:25:16,800 --> 01:25:19,880
Speaker 3: a small, limited victory, but at least it is that

1573
01:25:20,000 --> 01:25:22,599
Speaker 3: in this otherwise bleak and horrible world.

1574
01:25:23,040 --> 01:25:25,800
Speaker 2: Yeah, I mean, there's so many great little moments, like

1575
01:25:26,040 --> 01:25:28,639
Speaker 2: the final showdown with Botaker, of course, where he stabs

1576
01:25:28,680 --> 01:25:31,120
Speaker 2: him in the neck, which apparently they wanted to do

1577
01:25:31,160 --> 01:25:35,200
Speaker 2: something grizzlier, and this was this was thing, the less

1578
01:25:35,200 --> 01:25:37,519
Speaker 2: grizzly version, you know. And I guess you don't actually

1579
01:25:37,600 --> 01:25:40,719
Speaker 2: see him stab him in the neck. You just see,

1580
01:25:40,760 --> 01:25:44,200
Speaker 2: like way too blood splashed under Robocop's chest and then

1581
01:25:44,240 --> 01:25:48,000
Speaker 2: you see Bodeker stumbling away with blood gushing out of

1582
01:25:48,040 --> 01:25:51,800
Speaker 2: his neck. Still incredibly violent, but I'd forgotten that you

1583
01:25:51,840 --> 01:25:55,080
Speaker 2: don't actually see it going into his neck.

1584
01:25:55,640 --> 01:25:58,040
Speaker 3: The spike that he uses to kill Botaker there is

1585
01:25:58,080 --> 01:26:00,240
Speaker 3: not actually meant to be a weapon. It is the

1586
01:26:00,400 --> 01:26:03,240
Speaker 3: jack that he uses to interface with the police computer.

1587
01:26:03,840 --> 01:26:06,320
Speaker 2: Yeah, and when he busts it out again to load

1588
01:26:06,400 --> 01:26:10,320
Speaker 2: the incriminating evidence, it's still bloody with Bodiker's blood. But

1589
01:26:10,320 --> 01:26:13,799
Speaker 2: but but shortly after that, there's that scene where Lewis

1590
01:26:14,000 --> 01:26:16,760
Speaker 2: is all is shot up and you know, they've they've

1591
01:26:16,760 --> 01:26:18,880
Speaker 2: defeated the bad guys there, and this is at the

1592
01:26:18,920 --> 01:26:23,479
Speaker 2: industrial site, and RoboCop says to her, it's like, don't worry,

1593
01:26:23,520 --> 01:26:25,600
Speaker 2: they'll fix you up. They always do, or something to

1594
01:26:25,600 --> 01:26:29,200
Speaker 2: those effects, which they fix everything, they fix everything, which

1595
01:26:29,560 --> 01:26:31,760
Speaker 2: which ties into this feeling of yeah, the sort of

1596
01:26:31,760 --> 01:26:35,639
Speaker 2: the partial victory, like the powers that these are still

1597
01:26:35,760 --> 01:26:39,080
Speaker 2: very much in charge and are very much the deciders

1598
01:26:39,080 --> 01:26:44,240
Speaker 2: of life and death and resurrection, but some monoicum of victory,

1599
01:26:44,280 --> 01:26:46,840
Speaker 2: some some shred of humanity has been reclaimed.

1600
01:26:47,280 --> 01:26:50,320
Speaker 3: So that's RoboCop. Would you buy that for a dollar?

1601
01:26:51,560 --> 01:26:54,639
Speaker 2: Yes, I would. I would buy it for thirty plus

1602
01:26:54,680 --> 01:26:58,519
Speaker 2: dollars whatever the going rate for the Blu Ray is,

1603
01:26:59,360 --> 01:27:02,519
Speaker 2: you know, or you know, rent it digitally or physically

1604
01:27:02,520 --> 01:27:04,320
Speaker 2: for somewhere in the neighborhood of four or five dollars.

1605
01:27:04,439 --> 01:27:05,840
Speaker 2: Well worth it, well worth the time.

1606
01:27:06,200 --> 01:27:07,360
Speaker 3: Okay, that's all I've got.

1607
01:27:07,720 --> 01:27:09,960
Speaker 2: All Right, We're going to gohea and close out this episode.

1608
01:27:09,960 --> 01:27:12,879
Speaker 2: I think we have one more episode before our Christmas selection,

1609
01:27:13,160 --> 01:27:15,960
Speaker 2: so you know, keep your eyes open to see what

1610
01:27:16,000 --> 01:27:19,200
Speaker 2: we're going to be covering. You can follow the films

1611
01:27:19,200 --> 01:27:21,240
Speaker 2: that we cover on Weird House Cinema by going to

1612
01:27:21,360 --> 01:27:23,600
Speaker 2: letterbox dot com. That's L E T T E R

1613
01:27:23,680 --> 01:27:26,040
Speaker 2: B O x D dot com. Our user name there

1614
01:27:26,120 --> 01:27:27,760
Speaker 2: is weird House, and we have a nice list of

1615
01:27:27,760 --> 01:27:30,960
Speaker 2: all the movies we've covered so far and sometimes a

1616
01:27:31,000 --> 01:27:33,600
Speaker 2: sneak peek at what's coming up at least in the

1617
01:27:33,600 --> 01:27:37,040
Speaker 2: week to follow. We're primarily a science podcast here. It's

1618
01:27:37,040 --> 01:27:39,679
Speaker 2: stuff to blow your mind with core episodes on Tuesdays

1619
01:27:39,720 --> 01:27:42,240
Speaker 2: and Thursdays, but on Fridays we set aside most serious

1620
01:27:42,280 --> 01:27:44,760
Speaker 2: concerns to just talk about a weird film film here

1621
01:27:44,760 --> 01:27:47,760
Speaker 2: on Weird House Cinema. Follow us on social media if

1622
01:27:47,800 --> 01:27:51,120
Speaker 2: you use social media on Instagram, we are st b

1623
01:27:51,320 --> 01:27:54,479
Speaker 2: ym podcast and I have to say that the social

1624
01:27:54,479 --> 01:27:56,559
Speaker 2: media team has been putting up some some cool like

1625
01:27:56,640 --> 01:28:00,640
Speaker 2: trailer audio visual trailer samples of the films covered on

1626
01:28:00,680 --> 01:28:02,360
Speaker 2: Weird House, so that's another place where you can get

1627
01:28:02,720 --> 01:28:05,519
Speaker 2: a little taste of the movie we're talking about each week.

1628
01:28:05,840 --> 01:28:09,480
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1629
01:28:09,760 --> 01:28:11,320
Speaker 3: If you would like to get in touch with us

1630
01:28:11,320 --> 01:28:13,799
Speaker 3: with feedback on this episode or any other, to suggest

1631
01:28:13,880 --> 01:28:15,800
Speaker 3: a topic for the future, or just to say hello,

1632
01:28:15,880 --> 01:28:18,400
Speaker 3: you can email us at contact at stuff to Blow

1633
01:28:18,479 --> 01:28:26,240
Speaker 3: your Mind dot com.

1634
01:28:26,400 --> 01:28:29,320
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1635
01:28:29,400 --> 01:28:32,200
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1636
01:28:32,360 --> 01:28:35,600
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.