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Speaker 1: This is a podcast from Minute Media.

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Speaker 2: Hello everybody, and welcome back to the Surely You Can't

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Be Serious podcasts, The podcast that makes Cambo Do you

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look like Kansas?

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Speaker 3: This is episode two of RoboCop nineteen eighty seven versus

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Predator nineteen eighty seven.

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Speaker 2: So why are we doing this podcast?

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Speaker 3: Because some damn full accused you of being the best

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there was? Jason, what's the matter? The CIA got you

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pushing too many pencils. Huh had a nut?

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Speaker 2: Make it easy on yourself, man, Okay, okay, all right,

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stick around, Thank you for not smoking? All right.

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Speaker 3: The RoboCop was released July seventeenth, nineteen eighty seven. It

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finished first to the box office. Not a great week

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at the box office because you had a re release

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of Snow White. Okay, you also had Jaws The Revenge

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came out the same weekend.

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Speaker 2: Oh did Jaws the Revenge do Welles?

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Speaker 3: The Revenge kind of did well? We need to talk

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about that. In fact, let's talk about that here in

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a couple of weeks.

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Speaker 2: Yeah, guys, a preview. In just a couple of weeks,

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we will be beginning our Worst of nineteen eighty seven

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series where we compare Jaws for the Revenge versus Superman

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for the Quest for more money, I mean the Quest

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for peace.

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Speaker 3: If you need to brush up on those, now's the time. Yeah, okay,

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let's talk casting for RoboCop.

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Speaker 4: My friend's call you, Murphy, did you call me Robocops?

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Speaker 3: We mentioned that your first call for RoboCop is Arnold Schwarzenegger,

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even though RoboCop would look ridiculous, I mean, it'd be massive.

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That wasn't gonna work. Plus he was doing Predator. So

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the next call they make is Sylvester Stallone. Naturally, same

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problem as Arnes Schwarzenegger is just going to be too

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darn big to put in that RoboCop cost it right,

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So then they could make a phone call to armand Sante.

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Speaker 2: Okay, so later those two guys would be in a

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movie called Judge Dredd. Yes, that's right, and Judge Dredd

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is the character from the comic books that they gave

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to Paul Vererhoven to say, this is what we want

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our RoboCop to be.

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Speaker 3: Like really, yeah, that's fantastic. It's a great nugget right there.

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Tom Bringer is also called Peter Fonda actually made a

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play for this role. So interesting to me. He shows

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up at the studio one day, is like, hey, how

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about me? Like, no, they also thought about Lance Henrickson.

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Speaker 2: Okay, wait, so Lance Heinrichson. Yes, was supposed to be

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the terminator, Yes, but didn't get that right, And was

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supposed to be RoboCop.

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Speaker 3: Yes, get that right. He's also bishop and aliens.

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Speaker 2: Wow.

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Speaker 3: You got kind of a little trifecta right there.

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Speaker 2: Yeah.

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Speaker 1: Right.

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Speaker 3: In fact, he didn't get the part. Hold that. We'll

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talk about that here in a second. Okay, okay, So

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ultimately they give the part to Peter Weller many special

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message for all the kids watching.

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Speaker 2: At home, you stay out of trouble.

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Speaker 3: They liked it because he's lean.

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Speaker 2: Well, they liked him because he was lean, and they

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liked him because he was cheap. He wasn't like a

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super well known actor at the point, but he had

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had enough screen credit to get a following, and the

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following was just where they needed it. It was in

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the sci fi world.

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Speaker 3: Huh.

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Speaker 2: He had just done a movie called Bukeru Bonzai.

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Speaker 3: Right, You and I had talked before we started recording.

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Neither one of us are fans of that movie.

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Speaker 2: I haven't seen that movie since probably the nineties, maybe

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even yeah, maybe even the eighties. I think I watched

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it because of RoboCop. I was like, oh, that's the

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guy from RoboCop, and I'll watch that. And it has

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Jeff Goldbloom in it, and a few other guys that

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are pretty big. Yeah, John Litt, I remember hating John

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Lithgow's character.

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Speaker 3: That's so weird.

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Speaker 2: It wasn't something that termy owns the time. But that

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may be one of those movies that if once I

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go back and look at it, I can appreciate it again.

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Speaker 3: It's been too long, good luck, because I watched it

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not too long ago. I thought it was terrible, but

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I know people love it so right, all right, And

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then finally we mentioned rugger Hower, right, but he and

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Verhoven had had a fallen out, and Rudder Harris like,

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screw that. I'm not working with him anymore.

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Speaker 2: That's yeah, it's crazy.

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Speaker 3: Then for the part of Dick Jones, they hire Ronnie Cox.

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Speaker 1: Fellow executives, it gives me great pleasure to introduce you

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to the future of law enforcement.

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Speaker 2: It's a great casting call because Ronnie Cox has played

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nothing but nice guys.

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Speaker 3: Right, Yeah, he's a detective Bogelo mil from Beverly Hills cop.

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Speaker 2: He well, I was thinking, he's the guy that plays

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in the dueling Banjos with the inbred guy on the porch.

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Speaker 3: That's true, he does that as well.

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Speaker 2: Yeah so he but he again, nice guy, nice guy,

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like a rule follower, and this is the opposite. Dick

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Jones is the opposite of that. Yes, absolutely, and he

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loved it. He loved the idea of playing a villain

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because he felt like he could just be as evil

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as he wanted to be and was completely okay. And

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it's perfect because you look at him and he's got

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a nice guy, clean cut guy look going. But then

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whenever he whenever he shows you at the dark side,

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you're like, oh.

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Speaker 3: Oh my, he goes right from taking a dump in

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that stall.

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Speaker 2: To cumping that guy's face.

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Speaker 3: Yes, there is no hand washing, grabs his hair. Yeah,

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it's very f Yeah, yep, don't f with me, especially

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when I haven't washed my hands. And also you have

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kirkwood Smith. Kirkwood Smith plays Bodiker.

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Speaker 2: Right, He's been in a bunch of stuff. I always

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think the seventies show. I think he's hilarious.

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Speaker 3: He's great in the seventy show.

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Speaker 4: Right.

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Speaker 3: I knew him first from Dead Poets Society.

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Speaker 2: Oh yeah, yeah, the mean dad.

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Speaker 3: He's the mean dad.

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Speaker 2: Yeah.

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Speaker 3: He was also kind of a scene as moral intellectual guy.

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So for him to play this sleazy cocaine dealing smoking,

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you know, sleezy bad guy.

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Speaker 2: Yeah. The glasses that they gave him to wear in

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that one were deliberately to make him look like Henry

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Kaimler from Uh Wow Germany.

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Speaker 3: That scene when he confronts and kills Spob in his

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house with the hookers and the drugs, and he just

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walks in and he's like putting his gun together, and

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the guy's like, whatever, you're getting paid, I'll double it.

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He doesn't even face him. He's there on a mission.

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Speaker 2: He makes that scene where they kill Murphy. Yeh yeah,

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I mean he is the guy that drives that scene

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from beginning to end. You probably don't think I'm a

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very nice guy, buddy. I think you're sliming. See, I

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got this problem. Cops don't like me, so I don't

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like cops. You got the other guys laughing, and it's

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all just this big joke, and so it's.

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Speaker 3: This beautiful dying.

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Speaker 2: It is this beautiful clash between guys hysterically laughing while

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also doing the most horrific violence upon the hero of

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the movie.

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Speaker 3: The first time I saw that, it was so disturbing

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because he's got the shotgun and he's waving around and

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I'm like, he's not gonna do this. He blows his

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hand off, and then they shoot him a thousand more times, right,

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and they blow his arm off, shoot him in the head,

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and then they're still trying to save his life. I'm like,

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that guy is dead, people, he dead, baby, Yeah, all right,

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here's the one that's gonna blow you ay.

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Speaker 2: And by the way, is exactly what Caleb said. He's like,

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are they kidding? Are they kidding? Right now? With the

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shocking what are they really think that they shot him

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in the head?

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Speaker 3: That dude is Swiss cheese? Which is funny to think about.

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Who got shot more Murphy the executive at the wrong place,

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wrong time in the office or Sonny from The Godfather.

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I mean they all got blasted a billion.

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Speaker 2: Times, right right?

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Speaker 3: Okay, so you're ready for this. Stephanie Zimbalist from Remington

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Steel was originally cast as Lewis Remington Steele.

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Speaker 2: We're back to Pierce Brosen again.

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Speaker 3: Yes, JN.

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Speaker 2: Mctarnan, Nomad's got it, okay, jumping forward Remington Steele, I

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got it. Well, she would have been a good one.

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She's very attractive. Right. Yeah.

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Speaker 3: So here's the interesting thing about this. When you and

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I were talking about this, Remington Steele had been canceled. Right,

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So Stephanie Zimblist is free to make movies. Okay, So

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what happens. Pierce Brosnan is then hired to be the

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next James Bond in nineteen eighty six.

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Speaker 2: That's right after Roger Moore. Okay, that's not after.

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Speaker 3: No, it's not Timothy Dawning Okay, okay, so follow me

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on this, all right, all right, Yeah, this is such

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an incredible thing. Pierce Brosnen was supposed to be James

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Bond after Roger Moore gave it up after a view

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to a kill. Okay, so think Pierce Brosen in The

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Living Daylights.

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Speaker 2: Wow. Yeah.

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Speaker 3: But here's the deal. When they hired him to play

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the next James Bond, there was this incredible swell of

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interest in Pierce Brosnan. Well, the Ravington Steel people had

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a clause in their contract that if they decided to

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change their mind. They could, and so once Pierce Brosnen

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had all this interest because he was playing James Bond,

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the Ravington Steel people said, you know what, I think

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we will go ahead and make another season of Rivington Steel.

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Speaker 2: Wow.

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Speaker 3: So they pulled Pierce Brosnan out of James Bond and

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they pulled Stephanie Zimbolist out of RoboCop.

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Speaker 2: Oh my gosh. So they killed the movie careers for

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a time of both of those people. Yes, they did,

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because Pierce Brosnan didn't come in for like another ten.

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Speaker 3: Years old and I was in ninety five.

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Speaker 4: Wow.

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Speaker 2: Yeah. So yeah, that's basically almost ten years later.

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Speaker 3: It's crazy.

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Speaker 2: And Stephanie Zimbolists did she do anything after Remington's I

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don't think so. Wow wow. Okay, so she's out. She

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like she was in as Lewis yep. And now she's

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out because they pulled her back into Rimington Steel. Yep.

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And so then they hire.

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Speaker 3: They hire Nancy Allen. Glad to know you, Murphy.

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Speaker 2: So Nancy Allen, I remember as the mean girl from Carrie.

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Speaker 3: That's what everybody remembers her from.

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Speaker 2: Yeah.

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Speaker 3: Right, So here's the interesting thing about this Nancy Allen's

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dad was a New York cop.

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Speaker 2: Okay.

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Speaker 3: She was talking to the director about why she have

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this part. She said, my dad was a cop. We

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always knew in our house that it went number one, partner,

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number two, family, number three, himself.

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Speaker 2: Wow. We knew that.

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Speaker 3: His partner was the most important person in his life.

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And so that's what I'm going to bring to this role. Wow,

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that Lewis and Murphy are the number one people in

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each other's lives.

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Speaker 2: And then they made her cut her hair.

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Speaker 3: They didn't want anybody to think, well, Lewis and RoboCop

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ought to have a romance. Yeah, and so they said, like,

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cut your hair short and you're not looking sexy. There's

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no romance. We're not doing that. And then we have

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our man, Miguel ferrer who plays Bob Morton. I don't

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know anything that he has done other than he was

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in the TV series The Stand Guy's awesome.

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Speaker 2: Yeah, he passed away a few years ago.

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Speaker 1: Did he.

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Speaker 3: That's too bad Miguel Ferrara. By the way, when Nancy

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Allen showed up for the first day of filming, she

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walks in, She's like, okay, get a lay of the land.

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Figure out what everybody's doing, and they're filming the outtakes

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for the TV show. It's not my problem. This is

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the guy who's like, I'll buy that for a dollar.

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He's there with the two boob girls and the cake and.

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Speaker 2: The boob girls.

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Speaker 3: Yes, okay, we've had our shots. Yeah, and she thought,

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what do I got myself into? Dan o'hillary plays the

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old Man.

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Speaker 2: Yeah, he's an actor from way back.

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Speaker 3: He's a major character in the franchise. We never get

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his name.

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Speaker 2: He's just the old man, just the old man.

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Speaker 3: In fact, he's kind of the good guy in the

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first RoboCop.

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Speaker 2: Okay, I mean you know, I mean he's neutral. He's

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still the guy that after the guy is violently murdered

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there in the office, his first response is, I'm very disappointed.

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Speaker 3: That man just got shot one hundred and forty six

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thousand times.

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Speaker 2: They're calling in for an ambulance. They're gonna do something. Yeah,

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And then and then Dick is like, is a glitch? Glitch? Right?

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Speaker 3: We get that fixed it, no problem. We called our

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old man boner and a hole, but there is always respect.

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Here's a story for you. So, Peter Weller, they're shooting

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this in August of nineteen eighty six in Dallas.

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Speaker 2: It's gonna be warm.

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Speaker 3: Okay, we're two and a half hours away from Dallas.

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It's late July. My car read one hundred and four

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today when I drove over.

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Speaker 2: Yeah, it's been freaking hot, particularly hot summer this summer,

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but there was probably still pretty dang warm down in Dallas.

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Back in the eighties.

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Speaker 3: It was ridiculously hot, like super hot, they said. Peter

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Weller lost three pounds a day.

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Speaker 2: Yeah, in the suit.

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Speaker 3: And the funny thing is is that he had trained

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like with a mine coach, and he had worked on

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all this miming, you know. Yeah, then when he got

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the suit on, he realized, I can't move it all

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in this thing. Yeah, Like I am stiff as a

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board C three po style walking.

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Speaker 2: Around having trouble. So you know who designed his suit,

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Mister Rob Botein. Mister Rob Botein, who talked about a

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couple times now, Ye, Rob Boutein from the.

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Speaker 3: Howling he did howling, he did the thing.

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Speaker 2: Yes, both of which we've covered. Check those episodes out.

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They're great. So he comes in to help out Paul

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Verehoven make the RoboCop costume Paul Verehoven has no experience

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in science fiction whatsoever, but he's also a major control freak. Yes,

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and so when he sees the design that Rob Botein

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has done, he's like nope. And it's like okay, and

285
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they reads designs he's like nope, and again and again,

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just rejection after rejection. Right, finally they get it and

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they're like, this is horrible, but let's try it. It

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doesn't work at all, right, and he Paul Verhoven has

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to go, you know what I was wrong? You're right,

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Let's go back to the first cost. This time Roboteen

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is like, are you kidding me? And so they were

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super super mad at each other after this movie, like

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we're talking to each other. But the movie was such

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a success that when they decided to do Total Recall,

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they decided to team back up.

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Speaker 3: Hey, by the way, you and I did an episode

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of Total Recall with our good friends over the thirty

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something Movie podcast. So actually, if you're listening to this,

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go over to the thirty something Movie Podcast listen to

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their entire library, but also be sure and check out

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the episode we did on Total Recall with them.

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Speaker 2: Paul Verhoven would get together again with the writer of

303
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RoboCop to do a movie ten years later called Starship Troopers. Yes,

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Starship Troopers was based upon a novel that was written

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by another guy that we talked about during our Thing episode,

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Robert Heinlein.

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Speaker 3: That's it.

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Speaker 2: Robert Heinlein was the guy who when Philip K. Dick

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got in tax trouble, he said, I'll pay your taxes

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for you. That is, never had met the man before,

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but loved his work and said, I'll pay your taxes

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for you.

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Speaker 3: You know what else, while we're on the subject, Paul

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Verhoven has done Basic Instinct, which everybody in the early

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nineties saw.

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Speaker 2: If they were a teenage boy, they sure did.

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Speaker 3: If you could get in you saw that. And he

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also did a movie called Showgirls.

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Speaker 2: I was reading about this. I went off on that sidetrack.

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I went down that hole, if you will. And they're saying,

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00:15:22,120 --> 00:15:25,080
they're saying that Showgirls has become a cult classic. I

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00:15:25,120 --> 00:15:27,879
can't believe it. I refuse to believe it that there

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are people out there who were choosing to watch that show.

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I just I don't buy it.

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Speaker 3: Okay, listen before we get I mean, we're getting off

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on this a little bit, but you and I are

327
00:15:37,399 --> 00:15:40,799
studying up on the revenge in Superman four, two of

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00:15:40,840 --> 00:15:43,399
the worst movies of nineteen eighty seven for sure and

329
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ever and ever. I just did a podcast with our

330
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friends at a film by on Under the Cherry Moon

331
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by Prince, which is terrible yep. We talked about it

332
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and how it compared to Howard the Duck, which was awful.

333
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Those four giant piles of crap don't combine and hold

334
00:16:00,600 --> 00:16:02,000
a candle to the turd.

335
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Speaker 2: That was Showgirls, right, and Showgirls was a movie that

336
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I walked out on. Jaws three was another movie that

337
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I walked out on. The movie that you walked out

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00:16:10,559 --> 00:16:13,639
on was Last Action That's Right, which of course was

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00:16:13,679 --> 00:16:18,159
directed by John McTurnan, Yes, starring Arnold Swartzman. Yes, and

340
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Shane Black was there for the after party where they

341
00:16:21,120 --> 00:16:23,039
were like, well that was pretty terrible.

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Speaker 3: There's also a cameo of Sharon Stone in that movie.

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00:16:29,080 --> 00:16:31,759
And it's terrible, terrible, terrible, terrible.

344
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Speaker 2: Okay, okay, So do we need to talk special effects

345
00:16:34,039 --> 00:16:35,000
on RoboCop anymore?

346
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Speaker 3: The only thing I want to say more about the

347
00:16:37,200 --> 00:16:42,080
suit and Peter Weller yea and RoboCop. So it was hot, uncomfortable,

348
00:16:42,159 --> 00:16:44,360
it didn't work well with his acting. On top of

349
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all that, Peter Weller's being a pain in the butt

350
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because he's making everybody, you know, do this method acting

351
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thing where he made Verhoven call him either Murphy or

352
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Robo before he would move, you know. And Verhovean had

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kind of I mean, he's an anger guy, he's got

354
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a temper thing, and he finally had had enough of

355
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the complaining about the suit and the heat and all

356
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this stuff, so he fires Peter Weller.

357
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Speaker 2: Wait, he fires fires Peter Weller. Okay, go ahead.

358
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Speaker 3: Peter Weller's like, well, fine, I'm tired of walking around

359
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this suit in Dallas. Anyway, so Verehoven decides he's going

360
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to hire Lance Hendrickson. Well, guess what. The million dollars

361
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that they spend on the RoboCop suit doesn't fit Lance Hirison.

362
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So they're like, uh, guess what, You've got to call

363
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Peter Weller and make this right mm hm, And so

364
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Verehoven actually had in hand, goes back to Peter Weller

365
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and says, we please come back.

366
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Speaker 2: Listening to Paul Verehoven talk, I get the impression that

367
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it's pretty common thing. In his life that he throws

368
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his fist down, throws his foot down, whatever is like

369
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my way or the highway. But then just give him

370
00:17:51,880 --> 00:17:54,240
a few weeks and he'll be like, I was wrong

371
00:17:54,279 --> 00:17:57,000
about that. I shouldn't have said that. Yeah, he has

372
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the ability later to realize the air of his waist.

373
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Speaker 3: Well, it's one of the things he learned about in America.

374
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He said, in Holland he could yell at everybody and

375
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then go to lunch with them. Over here, people took

376
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it personally.

377
00:18:09,240 --> 00:18:12,039
Speaker 2: Yeah, it's a cultural thing. Okay. Before we get off

378
00:18:12,039 --> 00:18:14,599
the special effects on RoboCop, I have to say that

379
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it was a special effect that caused me to want

380
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to go see this movie in the first place.

381
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Speaker 3: Okay.

382
00:18:19,880 --> 00:18:22,559
Speaker 2: And it wasn't the Robocops special effect, all right. It

383
00:18:22,640 --> 00:18:25,319
was the guy who got thrown into the vat of

384
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toxic waste.

385
00:18:26,680 --> 00:18:28,200
Speaker 3: Oh man, we gotta talk about that.

386
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Speaker 2: I saw that in Fangoria magazine, and I was like,

387
00:18:31,839 --> 00:18:36,680
I gotta go see this. It is an incredibly disturbing

388
00:18:36,839 --> 00:18:41,720
piece of video history, of movie history, to see that

389
00:18:41,759 --> 00:18:44,799
guy hit the toxic waste and come out with his

390
00:18:45,240 --> 00:18:51,480
flesh melting off of his skin, hobbling along begging. He's

391
00:18:51,519 --> 00:18:55,240
got his hands have like melded into some sort of

392
00:18:55,559 --> 00:18:58,960
hoof finger things, and then sure enough the car's coming

393
00:18:59,000 --> 00:19:01,920
along and when it runs him over, he splats like

394
00:19:01,960 --> 00:19:03,759
a water balloon all over the wind.

395
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Speaker 3: Yes.

396
00:19:05,519 --> 00:19:08,519
Speaker 2: Yes, Oh, what an amazing effect that was.

397
00:19:08,759 --> 00:19:11,839
Speaker 3: Yeah, Like instantly, as soon as he hits that toxic waste,

398
00:19:11,880 --> 00:19:14,920
he becomes melting man and then he liquefies when that

399
00:19:15,279 --> 00:19:18,160
car hits him. Gross, which you and I talked about

400
00:19:18,200 --> 00:19:22,000
prior to recording. Great effect, Great impact, very memorable. The

401
00:19:22,039 --> 00:19:24,920
worst effect in the movie is when Dick Jones is killed.

402
00:19:25,119 --> 00:19:28,079
He shot and he falls out of the window and

403
00:19:28,160 --> 00:19:31,880
you have this weird it's like a stop motion marionette

404
00:19:31,960 --> 00:19:34,319
with giant arms. It's I don't even know what they're

405
00:19:34,359 --> 00:19:35,440
thinking on what did they.

406
00:19:35,359 --> 00:19:35,680
Speaker 5: Do in this?

407
00:19:35,799 --> 00:19:38,480
Speaker 2: It was really bizarre. It's like claymation or something. And

408
00:19:38,960 --> 00:19:43,400
the ED two nine, the stop motion that you see

409
00:19:43,400 --> 00:19:45,680
with that is so obvious. That is definitely a thing

410
00:19:45,720 --> 00:19:48,160
that doesn't hold up over time. It didn't bother me

411
00:19:48,200 --> 00:19:51,279
back then, but today I'm like, ooh, e, this is

412
00:19:51,319 --> 00:19:51,920
a little rough.

413
00:19:52,480 --> 00:19:53,559
Speaker 3: You know what else is weird about that?

414
00:19:54,240 --> 00:19:56,680
Speaker 2: I still pick it over cgi but it looked.

415
00:19:56,519 --> 00:19:59,640
Speaker 3: A little clash of the Titans, yeah, but a lot. Yeah.

416
00:19:59,720 --> 00:20:02,319
So he couldn't walk down the stairs and he ends

417
00:20:02,440 --> 00:20:04,240
up taking a step falling down and he's on his

418
00:20:04,319 --> 00:20:06,599
back feeling.

419
00:20:06,279 --> 00:20:10,519
Speaker 2: Like a pig deliverance Ronnie Cocks. Here you go, keep going.

420
00:20:10,680 --> 00:20:13,519
Speaker 3: Yeah, but I remember watching that going why would a

421
00:20:13,680 --> 00:20:15,079
robot squeal like a pig?

422
00:20:15,440 --> 00:20:15,680
Speaker 2: Right?

423
00:20:15,839 --> 00:20:16,640
Speaker 3: Well, it's just weird.

424
00:20:16,720 --> 00:20:18,839
Speaker 2: And it roars like a lion when he's about to

425
00:20:18,839 --> 00:20:19,960
shoot that guy too.

426
00:20:19,920 --> 00:20:20,279
Speaker 3: It does.

427
00:20:20,640 --> 00:20:22,119
Speaker 2: I think it's funny.

428
00:20:22,200 --> 00:20:24,200
Speaker 3: So that scene, they bring the guy to the front

429
00:20:24,200 --> 00:20:26,160
and they're like, hold the gun in a menacing manner

430
00:20:26,200 --> 00:20:28,359
at this thing, and it's like, you have twenty seconds

431
00:20:28,400 --> 00:20:30,920
to comply. I drop your gun. In the script, it's

432
00:20:31,039 --> 00:20:33,559
very clear that the reason why the D two a

433
00:20:33,640 --> 00:20:36,480
nine doesn't stop is because that the carpet in that

434
00:20:36,599 --> 00:20:39,759
office is so lush that when he drops the gun,

435
00:20:40,279 --> 00:20:43,440
it doesn't make a noise. Okay, you actually hear a

436
00:20:43,480 --> 00:20:46,119
guy in the background go he didn't hear it. Ah,

437
00:20:46,799 --> 00:20:48,759
And so he's like, you got five seconds to comply.

438
00:20:48,839 --> 00:20:51,440
The guy's like ah yeah, and then they blow him away.

439
00:20:51,599 --> 00:20:53,400
Speaker 2: Right. But what a memorable scene that was.

440
00:20:53,640 --> 00:20:56,680
Speaker 3: Yes, So we talked about robocops suit, I got one

441
00:20:56,680 --> 00:20:58,599
more effect I want to bring to your attention. Okay,

442
00:20:59,039 --> 00:21:01,039
and this blew me up. So you know when the

443
00:21:01,039 --> 00:21:04,759
guy the councilman's going crazy, he's take the mayor hostage,

444
00:21:05,079 --> 00:21:07,960
and then RoboCop is enacted to go take care of

445
00:21:07,960 --> 00:21:09,680
this terrist situation here.

446
00:21:09,839 --> 00:21:12,599
Speaker 2: You mean the guy that they promised to give a

447
00:21:12,640 --> 00:21:17,000
sucks an s ux six thousand, Yes with a block punk.

448
00:21:17,160 --> 00:21:21,200
Speaker 3: Yes, yes, And I want my old jaw back, and

449
00:21:21,240 --> 00:21:23,599
I want to recount, and no matter what the results are,

450
00:21:23,799 --> 00:21:27,960
I want to parking spot. Yeah, that guy. So there

451
00:21:28,039 --> 00:21:32,799
is atrophonic block punk, though too bad would be jealous

452
00:21:32,839 --> 00:21:36,400
of that quadrophonic blowpunk. Okay. So there's a fact in

453
00:21:36,440 --> 00:21:39,039
there where RoboCop is looking through the walls and he

454
00:21:39,119 --> 00:21:41,759
sees the heat signature of the guys inside.

455
00:21:42,039 --> 00:21:44,519
Speaker 2: Very predator, very predator. Right.

456
00:21:44,759 --> 00:21:48,039
Speaker 3: Well, you look really closely, it's digitized. They added a

457
00:21:48,079 --> 00:21:51,039
little filter to it, but it's basically a bunch of

458
00:21:51,119 --> 00:21:55,640
naked people that are painted to look like heat index, right,

459
00:21:56,680 --> 00:21:59,079
and when you look at it. So when I read that,

460
00:21:59,119 --> 00:22:01,119
I went back and looked at it. I'm like, holy crap,

461
00:22:01,200 --> 00:22:03,839
those people are naked.

462
00:22:03,920 --> 00:22:05,200
Speaker 2: Yeah, that's fantastic.

463
00:22:05,200 --> 00:22:06,200
Speaker 3: That's crazy, that's great.

464
00:22:06,400 --> 00:22:08,519
Speaker 2: So that's a great let's throw back to the special

465
00:22:08,559 --> 00:22:09,480
effects on Predator.

466
00:22:09,519 --> 00:22:15,839
Speaker 3: Now, guys are the job.

467
00:22:17,519 --> 00:22:21,079
Speaker 2: Okay, So the infrared lenses that they were trying to

468
00:22:21,160 --> 00:22:25,359
use didn't work well for the jungle scenes, yes, and

469
00:22:25,400 --> 00:22:28,160
so they had to had to combine two cameras, basically

470
00:22:28,240 --> 00:22:30,839
had to film the same scene with two different cameras

471
00:22:30,880 --> 00:22:32,279
just at the perfect like they had a guy in

472
00:22:32,279 --> 00:22:34,799
there with a pro tractor, yes, making sure everything was

473
00:22:34,880 --> 00:22:38,000
exactly the same, so that you got one that's given

474
00:22:38,039 --> 00:22:40,079
you the jungle and one that's given you the heat

475
00:22:40,119 --> 00:22:42,799
signature of the guys that are walking around, and then

476
00:22:42,799 --> 00:22:45,799
they blend those. Keep in mind, this is eighty seven,

477
00:22:45,839 --> 00:22:47,480
where we don't have computers doing a whole lot of

478
00:22:47,519 --> 00:22:50,640
stuff at this point. So they melded those two images

479
00:22:50,680 --> 00:22:52,759
together so that you knew what was going on when

480
00:22:52,799 --> 00:22:56,279
you were looking through the eyes of the predator, which,

481
00:22:56,519 --> 00:22:59,440
by the way, another great job by John mcturnon on

482
00:22:59,519 --> 00:23:02,759
this one of not showing you the shark right, Oh yeah,

483
00:23:02,799 --> 00:23:06,160
for sure, because you don't see him, you just see

484
00:23:06,160 --> 00:23:09,400
through his eyes, which is exactly what Spielberg did with Jaws.

485
00:23:09,640 --> 00:23:12,240
And so you know he's there. I mean the moments

486
00:23:12,240 --> 00:23:14,400
that you get with him. You get the dorsal fin

487
00:23:14,559 --> 00:23:17,839
of this kind of fuzzy thing moving through which all good.

488
00:23:18,000 --> 00:23:20,119
Which again, that was a guy in a suit, right,

489
00:23:20,160 --> 00:23:22,200
It was a guy in a red suit. And so

490
00:23:22,240 --> 00:23:24,000
what they would do is they'd film that guy in

491
00:23:24,039 --> 00:23:27,119
the red suit because the red was the strongest contrasting

492
00:23:27,160 --> 00:23:29,680
color with the green of the jungle and the blue

493
00:23:29,720 --> 00:23:31,920
of the sky, and so they could take that and

494
00:23:31,960 --> 00:23:34,559
replace that red color whenever they did the film because

495
00:23:34,640 --> 00:23:37,279
green screen blue screen was can work, right, so they

496
00:23:37,440 --> 00:23:40,400
used the like a chroma key to film it, and

497
00:23:40,480 --> 00:23:43,960
they would film it again with a different frame, and

498
00:23:44,079 --> 00:23:46,839
so when you put those two images together, you had

499
00:23:47,279 --> 00:23:49,480
still the jungle, but it was bent as though it

500
00:23:49,519 --> 00:23:51,200
was bent around the guy in the red suit.

501
00:23:51,240 --> 00:23:55,799
Speaker 3: It's so effective too, the invisibility, the cloaking of the predator, right,

502
00:23:55,880 --> 00:23:56,559
it's awesome.

503
00:23:56,680 --> 00:24:00,640
Speaker 2: And then you've got the predator whose looks in intimidating

504
00:24:00,720 --> 00:24:03,799
when you first see him anyway, right, But then later

505
00:24:03,880 --> 00:24:07,119
on there's another reveal because you get that mask taken

506
00:24:07,160 --> 00:24:10,759
off and you realize, oh my gosh, that's one ugly mother.

507
00:24:14,880 --> 00:24:16,960
Speaker 3: So talk about the mandals, right.

508
00:24:17,079 --> 00:24:20,079
Speaker 2: So I mentioned before they had that we had Richard

509
00:24:20,079 --> 00:24:23,720
England who had designed this horrible, horrible suit, right, And

510
00:24:23,759 --> 00:24:26,000
so they're like, well, we can't, we can't use this.

511
00:24:26,119 --> 00:24:28,240
And so they hire a big, tall actor to play

512
00:24:28,279 --> 00:24:31,960
the part, but they need someone to design a monster

513
00:24:32,119 --> 00:24:34,920
for them, and so who do they go to? Of

514
00:24:34,960 --> 00:24:38,519
course Stan the man Stan Winston. Yes, And so Stan

515
00:24:38,799 --> 00:24:42,920
is flying in an airplane working on a Rastafarian style monster.

516
00:24:43,000 --> 00:24:45,799
If you look at the hair, that really that the

517
00:24:45,799 --> 00:24:48,880
predator has is it's very dreads reggae.

518
00:24:48,519 --> 00:24:48,960
Speaker 5: Kind of guy.

519
00:24:49,079 --> 00:24:51,960
Speaker 2: Right, So it's the Rastafarian monster. He's drawn pictures of

520
00:24:52,000 --> 00:24:54,559
it as he's flying with Joel Silver on one side

521
00:24:54,559 --> 00:24:58,640
of him and Jim Cameron Yes, on the other side

522
00:24:58,640 --> 00:25:01,480
of it. Yes, And as he's James Cameron looks over

523
00:25:01,680 --> 00:25:02,920
and he's like, what are you doing. He's like, Oh,

524
00:25:02,960 --> 00:25:05,920
I'm designing this monster for this new movie that Joel's doing,

525
00:25:05,920 --> 00:25:08,480
and he's like, James Cameron's like, you know, I always

526
00:25:08,480 --> 00:25:09,960
thought it would be cool if there was a monster

527
00:25:10,039 --> 00:25:14,319
with mandibles and Stan Winston's has the little light go on. Yeah,

528
00:25:14,319 --> 00:25:15,960
it's a terrible idea. I don't think that's a good

529
00:25:15,960 --> 00:25:18,720
idea at all. Just go ahead and take care of that.

530
00:25:19,200 --> 00:25:23,680
Speaker 3: When Jim Cameron speaks, you ought to listen. Man, such

531
00:25:23,720 --> 00:25:26,119
a cool effect too, because yeah, he's chasing around. He's

532
00:25:26,119 --> 00:25:29,119
got that cool predator helmet. It's like Darth Vader. Yeah,

533
00:25:29,160 --> 00:25:31,200
and he takes off the Darth Vader helmet. Instead of

534
00:25:31,200 --> 00:25:35,240
being a crusty old white guy, you have a scary monster, right.

535
00:25:35,240 --> 00:25:37,440
Speaker 2: Yeah, what hell are you?

536
00:25:38,839 --> 00:25:40,680
Speaker 1: Hard? Hard?

537
00:25:45,240 --> 00:25:48,400
Speaker 3: And the mandal and the roar and the mouth. Oh,

538
00:25:48,440 --> 00:25:49,799
it's so good.

539
00:25:49,839 --> 00:25:52,240
Speaker 2: Right And the fact that he's seven foot two doesn't

540
00:25:52,359 --> 00:25:52,880
hurt either.

541
00:25:53,119 --> 00:25:55,400
Speaker 3: Yes, Hey, I got something for you real quick before

542
00:25:55,400 --> 00:25:58,720
we move off of actors. Okay, I thought this was interesting. So,

543
00:25:59,039 --> 00:26:02,759
I mean, you've got manly men, right. These guys are

544
00:26:02,839 --> 00:26:06,359
super buff, they're super tough. They're all alphas, and so

545
00:26:07,079 --> 00:26:09,279
they would get up real early in the morning to

546
00:26:09,359 --> 00:26:11,640
work out. It became a competition to see who could

547
00:26:11,680 --> 00:26:13,799
look the best. It looked the biggest. Carl Weathers said

548
00:26:13,799 --> 00:26:15,440
he would get up at three o'clock in the morning

549
00:26:15,559 --> 00:26:18,119
and he would go lift before they got up.

550
00:26:18,319 --> 00:26:18,559
Speaker 4: Huh.

551
00:26:18,960 --> 00:26:20,680
Speaker 3: And they would never see him in the gym, and

552
00:26:20,720 --> 00:26:23,880
they thought, man, this guy's just really natural. How in

553
00:26:23,920 --> 00:26:26,400
the world's and he's like, I wanted them to think

554
00:26:26,440 --> 00:26:27,880
I was just naturally cut up.

555
00:26:28,039 --> 00:26:29,839
Speaker 2: I just want to get somebody and who could crack

556
00:26:29,880 --> 00:26:30,599
these bestars.

557
00:26:30,640 --> 00:26:32,359
Speaker 3: So he cooked up a story and dropped the six

558
00:26:32,359 --> 00:26:32,680
of us.

559
00:26:32,640 --> 00:26:33,279
Speaker 1: In and be trying.

560
00:26:34,960 --> 00:26:38,279
Speaker 3: Oh one thing I wanted to mention. On April twenty fifth,

561
00:26:38,440 --> 00:26:41,640
nineteen eighty six, they had to stop production of the

562
00:26:41,640 --> 00:26:43,279
movie Predator. Do you know why?

563
00:26:45,039 --> 00:26:47,319
Speaker 2: So royal wedding wasn't it.

564
00:26:47,880 --> 00:26:52,799
Speaker 3: Mister Arnold Schwarzenegger married Maria Shreiver. Yeah, they say production stopped.

565
00:26:52,799 --> 00:26:55,200
They did some second unit stuff, but he flew back,

566
00:26:55,440 --> 00:26:58,839
got married, honeymoon for three days before returning to the

567
00:26:58,839 --> 00:26:59,519
set of Predator.

568
00:26:59,599 --> 00:27:02,319
Speaker 2: It's funny because John McTurnan talks about this. You know,

569
00:27:02,400 --> 00:27:05,559
they get a certain budget for a movie and at

570
00:27:05,559 --> 00:27:08,240
some point they use up all of that money and

571
00:27:08,279 --> 00:27:09,920
so you have to stop because you have no more

572
00:27:09,920 --> 00:27:12,039
money to pay people, right right. And I think that

573
00:27:12,240 --> 00:27:15,079
I think that maybe Arnold's wedding kind of coincided with

574
00:27:15,119 --> 00:27:18,279
this pretty nicely as well. But they're talking about like

575
00:27:18,640 --> 00:27:20,559
you feel like this is a hindrance. He's like, no,

576
00:27:20,640 --> 00:27:23,119
it's not a hindrance. It's an absolute blessing because you

577
00:27:23,160 --> 00:27:25,119
can go and you can look at what's working, and

578
00:27:25,160 --> 00:27:27,480
you can edit all of this stuff together, because the

579
00:27:27,519 --> 00:27:30,279
whole point is you take that footage that you've done,

580
00:27:30,519 --> 00:27:32,920
you put it all together like it's the movie, and

581
00:27:32,960 --> 00:27:34,440
then you go show it to the guys with the

582
00:27:34,480 --> 00:27:36,680
money yeah, and they go, Okay, we'll give you all money.

583
00:27:36,960 --> 00:27:39,440
Let's finish this picture. And so you can not only

584
00:27:39,519 --> 00:27:41,880
go and create a product that's going to get you

585
00:27:41,920 --> 00:27:44,160
more funding, you also can go back and fix all

586
00:27:44,200 --> 00:27:46,720
your mistakes and know what you need to refilm. So

587
00:27:46,880 --> 00:27:49,799
they've got this multi week break that they have that

588
00:27:49,839 --> 00:27:52,720
he can put together what he's got that works, take

589
00:27:52,759 --> 00:27:54,799
out what doesn't work, and figure out how to fix

590
00:27:54,839 --> 00:27:57,640
it all and most importantly, get more money.

591
00:27:57,680 --> 00:27:59,960
Speaker 3: One of the difficulties I heard some of the production

592
00:28:00,119 --> 00:28:02,359
people mention is when they're shooting in the jungle, this

593
00:28:02,400 --> 00:28:05,000
is not a set, this is actual Mexican jungle, right,

594
00:28:05,480 --> 00:28:09,000
and it's hot, and there's bugs and there's snakes, yes,

595
00:28:09,079 --> 00:28:10,759
And one of the things that they said that you

596
00:28:10,839 --> 00:28:14,480
never really would think it's never flat right, You're always

597
00:28:14,519 --> 00:28:17,759
standing askew yep, And so that really makes it easy

598
00:28:17,759 --> 00:28:21,160
for injuries and it's just never very RESTful, right, Okay,

599
00:28:21,200 --> 00:28:22,920
I've got a little tidbit I want to mention. I

600
00:28:22,920 --> 00:28:25,920
thought this was interesting. Shane Black is seen reading a

601
00:28:26,079 --> 00:28:28,559
comic book in the jungle and it's a Sergeant Rock

602
00:28:28,680 --> 00:28:32,160
comic book, yes, which was interesting because mciernon said at

603
00:28:32,200 --> 00:28:35,279
the time, Arnold Schwarzenegger was supposed to star in a

604
00:28:35,359 --> 00:28:38,240
movie about Sergeant Rock, which if you're a kid in

605
00:28:38,279 --> 00:28:40,720
the eighties you remember it as kind of like the

606
00:28:40,759 --> 00:28:43,400
other Gi Joe, and so Arnold Schwarzenegger brought all these

607
00:28:43,400 --> 00:28:46,160
comic books to read because he's studying up on the

608
00:28:46,200 --> 00:28:48,920
part of Sergeant Rock. Obviously that never happened, but Shane

609
00:28:48,960 --> 00:28:50,559
Black was like, hey, can I read some of your

610
00:28:50,559 --> 00:28:53,000
comic books? And they filmed him reading some of the

611
00:28:53,000 --> 00:28:54,119
Sergeant Rock comic books.

612
00:28:54,200 --> 00:28:57,240
Speaker 2: Okay, I don't want to get away from these movies

613
00:28:57,279 --> 00:29:00,319
without at least touching on the composers. I think that

614
00:29:00,359 --> 00:29:04,440
the music, especially for Predatory, is a key factor. Right sure,

615
00:29:04,519 --> 00:29:06,839
So before I get there, let me talk about RoboCop.

616
00:29:06,920 --> 00:29:10,079
Robo CoP's got a really unique style. It's very like

617
00:29:10,400 --> 00:29:12,599
it's one of the subtle soundtracks. It's not one that

618
00:29:12,640 --> 00:29:15,799
grabs you, but it does a really good job of

619
00:29:15,920 --> 00:29:19,440
carrying the story along. It's definitely there. But the guy,

620
00:29:19,559 --> 00:29:25,000
the composer for RoboCop is this guy named Basil Polidorius, Right,

621
00:29:25,559 --> 00:29:27,200
Have you heard of him? No? I haven't. Well you

622
00:29:27,240 --> 00:29:29,039
would think that you would have, because he was also

623
00:29:29,039 --> 00:29:32,960
the composer for Conan the Barbarian, Red Dawn, Iron Eagle,

624
00:29:33,079 --> 00:29:36,920
The Hunt for Red October, Free Willie Starsroop Troopers, And

625
00:29:38,359 --> 00:29:42,039
I mean he's he's been around, he's when Emmy's he's

626
00:29:42,079 --> 00:29:45,000
he's a pretty accomplished guy. So he's one of those

627
00:29:45,000 --> 00:29:47,160
guys that I love when we do these things that

628
00:29:47,200 --> 00:29:49,480
I'm like, oh, I'm introduced to this guy that I've

629
00:29:49,519 --> 00:29:52,160
never really heard of before, But why haven't I He

630
00:29:52,279 --> 00:29:54,440
should be one of those guys. He's an award winning

631
00:29:54,440 --> 00:29:57,400
composer of some of the greatest movies of the eighties

632
00:29:57,400 --> 00:29:59,640
and nineties. I am glad that I now know who

633
00:29:59,680 --> 00:30:02,480
he is. Wow, I Basil Polidorius.

634
00:30:02,880 --> 00:30:06,480
Speaker 3: Okay, Ley miser up. That's a that's an impressive line up, man.

635
00:30:06,720 --> 00:30:08,680
And it's not like those are movies I have never seen.

636
00:30:08,720 --> 00:30:10,079
I mean, those are big time movies.

637
00:30:10,279 --> 00:30:13,640
Speaker 2: Right, So then my question to you is do you

638
00:30:13,680 --> 00:30:15,960
know who the composer is for Predator.

639
00:30:15,880 --> 00:30:20,519
Speaker 3: I do. I do as Yeah, hot off.

640
00:30:20,319 --> 00:30:23,440
Speaker 2: Of Back to the Future, we've got Alan Silvestri. And

641
00:30:23,480 --> 00:30:25,720
when you know it's him, you're like, oh, well, of

642
00:30:25,759 --> 00:30:30,359
course it is, because it has all of his standard tricks.

643
00:30:30,480 --> 00:30:33,240
I mean it's just if Allan Sivestri did not score

644
00:30:33,279 --> 00:30:36,240
this movie, I don't think we'd be talking about it today. Really,

645
00:30:36,319 --> 00:30:39,599
I really really think that. I mean because I mean, simply,

646
00:30:39,640 --> 00:30:43,799
you've got a army blow them up movie followed by

647
00:30:44,000 --> 00:30:49,200
a predator hunt. But it's not some big intricate plot, right,

648
00:30:49,240 --> 00:30:52,519
I mean, there's no sure it's it's not super strong,

649
00:30:52,640 --> 00:30:54,480
like it's kind of top gun, right, It's just a

650
00:30:54,599 --> 00:30:57,319
very simple plot line. Right. But when you throw his

651
00:30:57,519 --> 00:31:01,279
score in there, that's got these big worn blast the

652
00:31:01,279 --> 00:31:04,400
strings that have got the staccato rhythms in him, get

653
00:31:04,400 --> 00:31:07,480
the big bunyrol to get the I mean, it's that

654
00:31:07,680 --> 00:31:12,000
music that takes this movie up to the unforgettable level.

655
00:31:12,160 --> 00:31:15,880
Speaker 3: The Predator theme, I think is a great suspense theme.

656
00:31:16,200 --> 00:31:16,359
Speaker 4: Yeah.

657
00:31:16,400 --> 00:31:18,279
Speaker 3: And what's crazy is they didn't release it for like

658
00:31:18,319 --> 00:31:18,960
twenty years.

659
00:31:18,960 --> 00:31:20,759
Speaker 2: I mean it was like, why did they do that?

660
00:31:20,880 --> 00:31:23,200
Speaker 3: It makes it and when they did release it.

661
00:31:23,119 --> 00:31:25,200
Speaker 2: It is sold out in a day, right. It's just

662
00:31:25,440 --> 00:31:28,319
it is crazy that this soundtrack did not get more

663
00:31:28,359 --> 00:31:31,440
credit than it did. It's definitely deserving because it is

664
00:31:31,480 --> 00:31:34,559
so strong, and in every Predator movie that they've done

665
00:31:34,599 --> 00:31:36,680
since then, they've used it. I mean, he was the

666
00:31:36,680 --> 00:31:39,880
composer for Predator two. Sure, which, by the way, there's

667
00:31:39,880 --> 00:31:43,680
another interesting connection because we've got who are who's our

668
00:31:43,880 --> 00:31:48,680
hero in Predator two, Danny Danny Glover from Leith, the Weapon.

669
00:31:48,519 --> 00:31:50,720
Speaker 3: And the other guy. You got Bill Paxton who is

670
00:31:50,759 --> 00:31:53,200
in Aliens, and you've got.

671
00:31:53,319 --> 00:31:56,839
Speaker 2: The Blonde the Blonde Bomb. You've got you've got mister

672
00:31:56,880 --> 00:31:57,559
Gary Busey.

673
00:31:57,720 --> 00:31:59,079
Speaker 3: Oh that's exactly right.

674
00:31:59,119 --> 00:32:01,400
Speaker 2: Who is mister John and the Weapon? Right?

675
00:32:01,400 --> 00:32:04,599
Speaker 3: It was yeah, wow, that is big time. Hey, you

676
00:32:04,640 --> 00:32:07,359
know we talked in our Blade Runner episode how there's

677
00:32:07,440 --> 00:32:13,519
connective tissue between Blade Runner, Aliens, Terminator, RoboCop, the Abyss.

678
00:32:13,720 --> 00:32:15,519
I think it's so fun to think that these are

679
00:32:15,519 --> 00:32:16,440
all in the same universe.

680
00:32:16,519 --> 00:32:18,400
Speaker 2: Yeah. Man, if we could get like a whole series

681
00:32:18,400 --> 00:32:20,480
with all these guys together, I think be fantastic. Oh

682
00:32:20,519 --> 00:32:23,519
my gosh, So have you got some interesting tidbits situation?

683
00:32:23,519 --> 00:32:25,920
Speaker 3: I have a few tidbits that I want to share.

684
00:32:26,039 --> 00:32:26,279
Speaker 2: Hit me.

685
00:32:26,440 --> 00:32:30,559
Speaker 3: Okay, now, this one blew me away. In Sacramento, California,

686
00:32:30,599 --> 00:32:34,160
a robbery suspect fled into a darkened movie theater to

687
00:32:34,440 --> 00:32:39,279
escape police. He became so engrossed in RoboCop, which was

688
00:32:39,319 --> 00:32:41,519
playing on the screen he failed to notice that the

689
00:32:41,519 --> 00:32:44,400
police came in and had taken over the movie theater.

690
00:32:44,759 --> 00:32:46,640
When they flipped the lights on, all he could do

691
00:32:46,880 --> 00:32:55,200
was surrender better alive. RoboCop was submitted to the MPAA

692
00:32:55,240 --> 00:32:58,680
twelve times before it got an R rating. It was

693
00:32:58,759 --> 00:33:02,079
rated X eleven times. Wow, how about that?

694
00:33:02,279 --> 00:33:02,839
Speaker 2: Too violent?

695
00:33:03,240 --> 00:33:04,119
Speaker 3: Very very violent.

696
00:33:04,240 --> 00:33:08,720
Speaker 2: I mean there's one brief booby scene at the very beginning,

697
00:33:08,720 --> 00:33:11,240
the very beginning, Yep, that's it. The rape scene, like

698
00:33:11,319 --> 00:33:16,880
the attempted rape scene was pretty cartoony. Okay, I thought,

699
00:33:18,400 --> 00:33:20,920
was that scary for the kid my age? That was

700
00:33:21,319 --> 00:33:23,119
a little intense. Yeah, I mean he goes up under

701
00:33:23,119 --> 00:33:24,000
her dress with a knife.

702
00:33:24,079 --> 00:33:25,359
Speaker 3: Yeah, well yeah, I guess so.

703
00:33:25,559 --> 00:33:25,960
Speaker 2: Okay.

704
00:33:26,119 --> 00:33:30,319
Speaker 3: The three or excuse me, the four prime directives of RoboCop. Yes, okay,

705
00:33:30,319 --> 00:33:31,720
I want to talk about this for just a second.

706
00:33:32,119 --> 00:33:35,079
Number one, Serve the public trust, yes. Number two, protect

707
00:33:35,119 --> 00:33:38,480
the innocent, yes, number three uphold. The law number four

708
00:33:38,799 --> 00:33:42,240
classified was classified. Yep, But we learned later that any

709
00:33:42,279 --> 00:33:46,079
attempt to arrest a senior officer at OCP results in shutdown,

710
00:33:46,160 --> 00:33:48,960
which I thought it would have been more effective instead

711
00:33:48,960 --> 00:33:51,480
of acting like you're having a seizure to just freeze.

712
00:33:51,519 --> 00:33:53,839
That's a minor thing with me. But these are taken

713
00:33:53,880 --> 00:33:58,759
from Isaac Asimov's three laws on robotics. Okay, Isaac Asimov,

714
00:33:58,799 --> 00:34:00,519
the guy who lived in Central Park, guy that was

715
00:34:00,559 --> 00:34:02,720
pissed at the Ghostbusters for filming.

716
00:34:02,920 --> 00:34:05,000
Speaker 2: The greatest sci fi writer of all time?

717
00:34:05,559 --> 00:34:08,480
Speaker 3: Exactly, Yes, I am familiar. I think it's disgusting that

718
00:34:08,599 --> 00:34:10,559
these are his three laws of robotics.

719
00:34:10,559 --> 00:34:11,119
Speaker 2: Okay, okay.

720
00:34:11,199 --> 00:34:13,400
Speaker 4: The first law was that a robot couldn't hurt a

721
00:34:13,440 --> 00:34:16,800
human being or through an action, allow a human being

722
00:34:16,840 --> 00:34:19,559
to come to harm. The second law was that a

723
00:34:19,639 --> 00:34:23,159
robot had to obey orders given it by human beings,

724
00:34:23,320 --> 00:34:26,320
provided that didn't conflict with the first law. And the

725
00:34:26,360 --> 00:34:29,559
third law was that a robot had to protect its

726
00:34:29,599 --> 00:34:32,519
own existence, except where that would conflict with the first

727
00:34:32,519 --> 00:34:33,159
two laws.

728
00:34:33,239 --> 00:34:36,000
Speaker 3: Have you seen the KFC commercials that RoboCop is it?

729
00:34:36,199 --> 00:34:36,800
Speaker 2: I have not seen.

730
00:34:37,039 --> 00:34:38,119
Speaker 3: I said that to you today.

731
00:34:38,239 --> 00:34:39,840
Speaker 2: I know, I'm sorry. I was kind of in the

732
00:34:39,840 --> 00:34:40,559
middle of something.

733
00:34:41,960 --> 00:34:45,039
Speaker 3: Well, you're missing a treat because RoboCop had Peter Weller

734
00:34:45,119 --> 00:34:49,800
in the suit doing commercials for kfcill Kentucky Froutchigen is delicious.

735
00:34:50,239 --> 00:34:53,320
Speaker 2: What's the sick of recipe? If I told you I'd

736
00:34:53,400 --> 00:34:54,159
have to kill you?

737
00:34:59,320 --> 00:35:02,440
Speaker 3: Ha ha ha, You're going to take the family package

738
00:35:02,559 --> 00:35:03,199
that are alive.

739
00:35:04,519 --> 00:35:07,400
Speaker 2: Waste makes taste for time?

740
00:35:08,960 --> 00:35:13,400
Speaker 3: Is the precinct in Dallas used for filming in RoboCop

741
00:35:13,559 --> 00:35:16,559
is the same precinct that Lee Harvey Oswald was taken

742
00:35:16,639 --> 00:35:18,519
to after shooting John F.

743
00:35:18,559 --> 00:35:21,039
Speaker 2: Kennedy. Oh, the one he was taken out of where

744
00:35:21,039 --> 00:35:22,159
he gets shot by Jack Ruby.

745
00:35:22,280 --> 00:35:24,440
Speaker 3: Exactly. Wow, kind of famous. You may have heard of it.

746
00:35:24,440 --> 00:35:26,480
You may have heard of it. One thing we have

747
00:35:26,559 --> 00:35:30,800
to talk about is the religious imagery of RoboCop.

748
00:35:30,960 --> 00:35:34,639
Speaker 2: Yeah. So Paul Verhoven he mentions that he wanted to

749
00:35:34,719 --> 00:35:39,400
do a christ dying on the cross part in his movie, right, yes,

750
00:35:39,639 --> 00:35:42,840
And so obviously that's what we get when we have

751
00:35:43,320 --> 00:35:45,400
when we have the murder of Murphy, right, I mean

752
00:35:45,440 --> 00:35:49,360
he's outstretched it, I mean, he's very Jesus being murdered

753
00:35:49,400 --> 00:35:52,360
by the Romans. It's very very.

754
00:35:52,159 --> 00:35:56,400
Speaker 3: Strong crucifixion of Murphy right with the shotguns.

755
00:35:56,480 --> 00:35:59,800
Speaker 2: Yes, right, and interesting and I pointed this out to

756
00:35:59,840 --> 00:36:03,320
you that it happens again. You know, you have death

757
00:36:03,360 --> 00:36:06,679
and resurrection because he comes back as RoboCop right then,

758
00:36:06,800 --> 00:36:10,360
even as RoboCop when we see him and he's confronting

759
00:36:10,679 --> 00:36:14,559
when he's confronting Bodiker out in the kind of sewer area,

760
00:36:14,760 --> 00:36:16,800
he looks like he's walking on the water.

761
00:36:17,039 --> 00:36:19,199
Speaker 3: That was all done intentionally, and that blew me.

762
00:36:19,199 --> 00:36:23,320
Speaker 2: Away, right, and then they drop the junk, you know,

763
00:36:23,400 --> 00:36:25,559
the giant metal bars on top of him, and he

764
00:36:25,679 --> 00:36:30,039
dies again, except that this time instead of him being pierced,

765
00:36:30,159 --> 00:36:31,880
he pierces the other guy.

766
00:36:32,239 --> 00:36:33,559
Speaker 3: He does, that's right.

767
00:36:33,480 --> 00:36:36,840
Speaker 2: And he's resurrected once again, and he comes back to

768
00:36:37,320 --> 00:36:40,519
comes back to confront Dick Jones after that. So he

769
00:36:40,719 --> 00:36:43,840
says what Paul Verehoven says is the first one is

770
00:36:44,360 --> 00:36:48,079
the historical death of Jesus on the cross. The second

771
00:36:48,119 --> 00:36:51,880
one is the American Jesus. It's Jesus with a shotgun, right,

772
00:36:51,960 --> 00:36:54,800
which and he points out a biblical verse. He's like,

773
00:36:54,880 --> 00:36:57,280
you know, Jesus says, go sell your cloak and buy

774
00:36:57,320 --> 00:36:59,159
a sword. Well that's what he does. He comes back

775
00:36:59,159 --> 00:36:59,639
with a sword.

776
00:37:00,039 --> 00:37:03,159
Speaker 3: Interesting. Yeah, it's an interesting take. One other thing I

777
00:37:03,199 --> 00:37:06,360
was going to mention to you on RoboCop. The owners

778
00:37:06,480 --> 00:37:09,719
of the house in Dallas where Bob Morton is killed.

779
00:37:09,760 --> 00:37:11,480
They were thrilled that there was a movie that was

780
00:37:11,480 --> 00:37:14,360
going to happen inside their house, until they realized that

781
00:37:14,400 --> 00:37:18,840
it was hookers, cocaine and murder. They had reservations. They

782
00:37:18,880 --> 00:37:21,199
shot it anyway. Yeah, but I thought that was interesting.

783
00:37:21,199 --> 00:37:24,000
Speaker 2: But they didn't actually blow up their house, No, they

784
00:37:24,039 --> 00:37:25,880
did not. They did blow up a lot of stuff

785
00:37:25,920 --> 00:37:26,679
though in this movie.

786
00:37:26,719 --> 00:37:28,119
Speaker 3: They did that gas station.

787
00:37:28,480 --> 00:37:29,199
Speaker 2: Yeah.

788
00:37:29,280 --> 00:37:31,320
Speaker 3: Before we talk final judgment. There's one other thing I

789
00:37:31,360 --> 00:37:35,039
was going to mention. RoboCop has Robo Cup two, Robo

790
00:37:35,079 --> 00:37:38,159
Cup three. It had a cartoon series. It kind of

791
00:37:38,159 --> 00:37:42,519
got diluted after this R rated gore Fest. Predator has

792
00:37:42,559 --> 00:37:46,639
had Predator, Predator two, Predator Vusalien. All of these have

793
00:37:46,760 --> 00:37:48,039
got continually worse.

794
00:37:48,440 --> 00:37:51,119
Speaker 2: Yeah, And we talked about Pray, We talked about Prey.

795
00:37:51,159 --> 00:37:54,320
It's one that's coming up. And there's been talk for

796
00:37:54,360 --> 00:37:59,119
a while about a Robocopp returns that disregards basically everything

797
00:37:59,119 --> 00:38:02,480
that happened after RoboCop one and treats it like that's

798
00:38:02,559 --> 00:38:05,039
the beginning point is the end of RoboCop one. They've

799
00:38:05,079 --> 00:38:07,639
gone through a couple of directors and it's kind of

800
00:38:07,679 --> 00:38:09,360
it seems to me it might be in development hell

801
00:38:09,400 --> 00:38:11,000
at this point, but I'm hopeful.

802
00:38:11,119 --> 00:38:13,400
Speaker 3: Are we ready to get to the Choppa and do

803
00:38:13,519 --> 00:38:18,239
to Chop? Okay, everybody, We've got a very special Shirley showcase. Today.

804
00:38:18,280 --> 00:38:20,599
We're hearing from Jeff Johnson, one of the co hosts

805
00:38:20,639 --> 00:38:23,000
of the film By podcast, and he is going to

806
00:38:23,000 --> 00:38:26,800
talk about his thoughts on RoboCop versus Predator.

807
00:38:26,960 --> 00:38:31,440
Speaker 5: Hello, Shirley fans, this is Jeff Johnson from a film

808
00:38:31,480 --> 00:38:34,559
By podcast, and I'm gonna have me some fun because

809
00:38:34,599 --> 00:38:37,639
today we are discussing two of my favorite movies from

810
00:38:37,719 --> 00:38:42,320
nineteen eighty seven, Predator and RoboCop. First, let's set the

811
00:38:42,400 --> 00:38:45,920
Chopper down in Central America, where Arnold Schwarzenegger is leading

812
00:38:45,920 --> 00:38:49,360
a powerhouse group of nineteen eighties muscle deep into the

813
00:38:49,440 --> 00:38:53,239
Jungles on a CIA sponsored rescue mission. After a quick

814
00:38:53,239 --> 00:38:57,519
firefight and some quality catchphrases, the real threat emerges when

815
00:38:57,559 --> 00:39:00,880
a seven foot highly skilled alien with an advanced weaponry

816
00:39:01,000 --> 00:39:04,360
begins hunting the team for sport. The final battle between

817
00:39:04,480 --> 00:39:07,760
Dutch and the Predator is an intense display of hand

818
00:39:07,800 --> 00:39:10,880
to hand combat, from the first punch throne to the

819
00:39:10,960 --> 00:39:14,360
explosive finale. Now back on the streets of old Detroit,

820
00:39:14,599 --> 00:39:17,960
the threat is no less dangerous, with the city's crime

821
00:39:18,039 --> 00:39:20,480
rate out of control and a police department on the

822
00:39:20,480 --> 00:39:24,559
brink of strike. Enter Alex Murphy on his first day,

823
00:39:25,119 --> 00:39:31,400
tragically and horrifically executed, only to be resurrected as OCP's RoboCop,

824
00:39:31,920 --> 00:39:35,119
the answer to cleaning up the streets. Scream Queen Nancy

825
00:39:35,119 --> 00:39:37,800
Allen proves she can pack a punch as she helps

826
00:39:37,880 --> 00:39:42,800
RoboCop take down everybody, from street level thugs to corporate scumbags.

827
00:39:43,159 --> 00:39:45,599
So what happens when these two Titans of nineteen eighty

828
00:39:45,599 --> 00:39:48,679
seven face off, Well, I think when the smoke clears,

829
00:39:48,719 --> 00:39:52,079
you'll see Arnold Schwarzenegger standing triumphantly, much the same.

830
00:39:51,920 --> 00:39:53,440
Speaker 3: Way he did at the end of Predator.

831
00:39:53,679 --> 00:39:56,719
Speaker 5: RoboCop is clever for its ability to create an immersive

832
00:39:56,719 --> 00:40:01,599
experience with the news breaking segments and the commercials, but

833
00:40:01,639 --> 00:40:03,760
it tends to lean a little too much on the

834
00:40:03,800 --> 00:40:08,119
hyperviolence to sell what should already be an incredible story,

835
00:40:08,320 --> 00:40:10,360
and that takes a little bit of fun out of it.

836
00:40:10,400 --> 00:40:13,440
And while it's fun to watch Arnold Schwarzenegger fight what

837
00:40:13,559 --> 00:40:17,519
he refers to as one ugly mother of an alien,

838
00:40:17,760 --> 00:40:20,480
the real fun is watching him stand shoulder to shoulder

839
00:40:20,519 --> 00:40:24,159
and fight alongside Hollywood tough guys like Bill Duke, Jesse,

840
00:40:24,239 --> 00:40:28,159
the Body, Ventura, Sunny Landam and Carl Weathers. It's like

841
00:40:28,239 --> 00:40:32,199
watching the nineteen eighty seven edition of The Expendables, and

842
00:40:32,239 --> 00:40:36,679
that's why it gets my pick. D Jason, I ain't

843
00:40:36,679 --> 00:40:39,079
got time to bleed, but I always got time for

844
00:40:39,119 --> 00:40:42,639
a Shirley Showcase. So thanks for listening and we'll talk

845
00:40:42,639 --> 00:40:43,239
again soon.

846
00:40:44,599 --> 00:40:46,360
Speaker 3: I love it when you give Jeff an invitation like

847
00:40:46,400 --> 00:40:49,719
this because he really comes with the full one hundred

848
00:40:49,760 --> 00:40:52,480
mile an hour fastball. One of my favorite Shirley Showcases

849
00:40:52,519 --> 00:40:55,440
of all time is when Jeff did the Top Gun

850
00:40:55,760 --> 00:40:59,360
soundtrack Shirley Showcase. If you haven't heard that, go back

851
00:40:59,360 --> 00:41:03,719
and listen. Super funny, super clever, super insightful. And that's

852
00:41:03,719 --> 00:41:05,840
what you get over a film by podcast, Just great

853
00:41:05,880 --> 00:41:08,280
stuff from them. Jeff, thanks again, buddy, We will see

854
00:41:08,280 --> 00:41:11,480
you down the line. Jeff, thank you. For your cooperation.

855
00:41:12,199 --> 00:41:15,719
Speaker 2: Okay, guys, time for final judgment. I'm gonna go ahead

856
00:41:15,719 --> 00:41:17,440
and serve it up to you, my friend. You get

857
00:41:17,480 --> 00:41:18,000
to go first.

858
00:41:18,079 --> 00:41:21,079
Speaker 3: Your move, creep, my moove creep.

859
00:41:21,280 --> 00:41:21,639
Speaker 2: Yeah.

860
00:41:21,719 --> 00:41:24,519
Speaker 3: Okay. These movies are interesting because I did not see

861
00:41:24,559 --> 00:41:26,920
them either, one of these in the theater. Hmkay. These

862
00:41:26,920 --> 00:41:30,000
are HBO movies for me. Yeah, And I think at

863
00:41:30,000 --> 00:41:33,320
the time, I saw Predator first, and I saw RoboCop

864
00:41:33,400 --> 00:41:36,719
kind of in pieces. And when I saw RoboCop, I

865
00:41:36,719 --> 00:41:40,480
didn't understand the sat tire, I didn't understand the sort

866
00:41:40,519 --> 00:41:43,559
of over the top goofiness. I didn't like the TV show,

867
00:41:43,800 --> 00:41:45,679
but I did like the character a lot if I

868
00:41:45,760 --> 00:41:48,199
was a super iconic character. I think both movies have

869
00:41:48,599 --> 00:41:54,400
eighties iconic characters. For me, though, when I watch Predator,

870
00:41:54,719 --> 00:41:57,440
I think it's an interesting movie because I'm watching a

871
00:41:57,599 --> 00:42:02,599
special Forces movie that liides with aliens, and for me,

872
00:42:02,679 --> 00:42:06,440
that movie works better. I choose Predator, and I still

873
00:42:06,480 --> 00:42:09,159
love RoboCop, but for me, it's all the way Predator,

874
00:42:09,199 --> 00:42:14,400
no question, slam Dunk's bike football Predator. Okay, so how

875
00:42:14,400 --> 00:42:17,960
could you not vote for Arnold with his gigantic biceps

876
00:42:18,000 --> 00:42:20,920
In nineteen eighty seven you need to get to the job.

877
00:42:22,159 --> 00:42:23,079
Your move creep.

878
00:42:23,360 --> 00:42:25,719
Speaker 2: Okay, so nostalgia is a big part of your opinion

879
00:42:25,719 --> 00:42:27,360
on this one. It is, there's no question about it.

880
00:42:27,440 --> 00:42:27,599
Speaker 4: Right.

881
00:42:27,880 --> 00:42:31,519
Speaker 2: So I will tell you that I saw RoboCop beginning

882
00:42:31,519 --> 00:42:34,119
to end back in the eighties. It took me a

883
00:42:34,159 --> 00:42:36,239
long time to see Predator. I think it was probably

884
00:42:36,440 --> 00:42:40,360
nineties or two thousands before I saw Predator the first time. Really, Okay,

885
00:42:40,480 --> 00:42:43,199
I rewatched it again. I had remembered the end wrong.

886
00:42:43,320 --> 00:42:47,280
I thought at the end that the Predator set off

887
00:42:47,360 --> 00:42:50,280
his little self destruct thing and it killed Dutch, and

888
00:42:50,400 --> 00:42:55,440
I thought, wow, yeah, So upon the rewatching, let me

889
00:42:55,480 --> 00:42:57,800
just say, neither one of these movies is perfect, right,

890
00:42:58,119 --> 00:43:04,599
They're both awesome. They're both there haulking testa steroni shooting guns. Yes,

891
00:43:04,840 --> 00:43:09,280
awesome for sure, but they've also got problems. They've both

892
00:43:09,360 --> 00:43:10,280
got problems.

893
00:43:10,320 --> 00:43:10,519
Speaker 3: Okay.

894
00:43:10,800 --> 00:43:14,000
Speaker 2: When it was, when it was I was watching Predator

895
00:43:14,239 --> 00:43:16,960
and Caleb was marveling at all of the explosions. I

896
00:43:17,039 --> 00:43:21,119
was chuckling to myself. I'm just like, this is just absurd.

897
00:43:21,679 --> 00:43:25,159
How many bullets and bombs are going off.

898
00:43:25,119 --> 00:43:28,360
Speaker 3: Right now, kidding me? Compared to RoboCop.

899
00:43:28,519 --> 00:43:31,840
Speaker 2: Right, And so then I rewatched RoboCop. I'm like, Okay,

900
00:43:31,880 --> 00:43:33,920
there's a lot of big explosions, a lot of bullets

901
00:43:33,920 --> 00:43:37,559
in this one, too, right, But for me, again, it's

902
00:43:37,639 --> 00:43:39,840
just like you, it's the nostalgia thing, except that my

903
00:43:39,920 --> 00:43:43,199
nostalgia is with robo Cop. I kind of I like

904
00:43:43,280 --> 00:43:47,960
the storyline better with RoboCop, probably largely influenced by that.

905
00:43:48,039 --> 00:43:50,199
I saw it back then and loved it back then,

906
00:43:50,719 --> 00:43:54,000
but I just felt like there was more of a story.

907
00:43:54,840 --> 00:43:59,639
There was more going on with Murphy and his remembering

908
00:43:59,679 --> 00:44:02,400
and what it means to be a man versus being

909
00:44:02,440 --> 00:44:06,800
a robot, and then the surprise that the leader of

910
00:44:06,840 --> 00:44:09,800
the corporation is the guy who's behind the bad guys.

911
00:44:10,840 --> 00:44:13,639
I just it was to me always a much more

912
00:44:13,679 --> 00:44:18,719
impactful movie. Plus the special effects just freaking awesome. So

913
00:44:19,079 --> 00:44:22,719
I gotta Gorobo cop Man. Sorry, Spiking Football, it's rebo

914
00:44:22,800 --> 00:44:25,039
cop all away from me. Thank you for your cooperation.

915
00:44:28,880 --> 00:44:32,159
Speaker 3: Okay, interesting, So I'm Predator, you're robo cop. We want

916
00:44:32,159 --> 00:44:34,079
to hear from you, guys, which one do you choose?

917
00:44:34,119 --> 00:44:36,760
Somebody's got to be the robber match here because we're tied.

918
00:44:36,960 --> 00:44:39,360
Speaker 2: Yeah, get we gotta get a tiebreaker. So you guys,

919
00:44:39,360 --> 00:44:41,559
tell us what you think. Guys, be sure and if

920
00:44:41,559 --> 00:44:43,880
you haven't subscribed to our patroon page, do that. If

921
00:44:43,920 --> 00:44:45,840
you're not ready to do that yet, leave us a

922
00:44:45,840 --> 00:44:49,360
five star rating and put a review in there. If

923
00:44:49,360 --> 00:44:51,320
you put in the review, get to the.

924
00:44:51,320 --> 00:44:53,840
Speaker 3: Choppa or bet or Alive. You're coming with me?

925
00:44:54,119 --> 00:44:57,480
Speaker 2: Yes, that would be an opportunity for you to win

926
00:44:57,639 --> 00:45:02,679
a specially engraved, custom made Ozarka Tumblr cup with the

927
00:45:02,679 --> 00:45:05,920
Shirly Podcast logo and your name. So be sure and

928
00:45:06,000 --> 00:45:06,320
do that.

929
00:45:06,719 --> 00:45:08,719
Speaker 3: Hey, guys, take some time to do this because we

930
00:45:08,760 --> 00:45:11,239
love sending out these cups. So if you enter five

931
00:45:11,280 --> 00:45:13,480
star review, you got a good chance to win one

932
00:45:13,480 --> 00:45:14,079
of these cups.

933
00:45:14,280 --> 00:45:17,199
Speaker 2: So guys, be sure to hit that follow button, hit

934
00:45:17,239 --> 00:45:20,480
that subscribe button on whatever your podcast app is. Because

935
00:45:20,559 --> 00:45:27,039
next week we are bringing you to Monumental Failures from

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nineteen eighty seven. We're going to have Superman for the

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Quest Piece versus Jaws four Jaws the Revenge, trying to

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determine not which one is the best, but which one.

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Speaker 3: Is the worst. It's gonna be tough.

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Speaker 2: It is a tough It is a tough choice on

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which one of those thinkers thinks more.

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Speaker 3: We are also inviting our good buddies Jeff and Brad

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from the Film By podcast to help us break down

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and dissect these two atrocities.

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Speaker 2: Yeah, be sure and tune in for that.

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Speaker 4: Excuse me, I have to go somewhere.

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Speaker 2: There is a crime happening