Robocop (1987) vs. Predator (1987): Part 2

<v Speaker 1>This is a podcast from Minute Media.
<v Speaker 2>Hello everybody, and welcome back to the Surely You Can't
<v Speaker 2>Be Serious podcasts, The podcast that makes Cambo Do you
<v Speaker 2>look like Kansas?
<v Speaker 3>This is episode two of RoboCop nineteen eighty seven versus
<v Speaker 3>Predator nineteen eighty seven.
<v Speaker 2>So why are we doing this podcast?
<v Speaker 3>Because some damn full accused you of being the best
<v Speaker 3>there was? Jason, what's the matter? The CIA got you
<v Speaker 3>pushing too many pencils. Huh had a nut?
<v Speaker 2>Make it easy on yourself, man, Okay, okay, all right,
<v Speaker 2>stick around, Thank you for not smoking? All right.
<v Speaker 3>The RoboCop was released July seventeenth, nineteen eighty seven. It
<v Speaker 3>finished first to the box office. Not a great week
<v Speaker 3>at the box office because you had a re release
<v Speaker 3>of Snow White. Okay, you also had Jaws The Revenge
<v Speaker 3>came out the same weekend.
<v Speaker 2>Oh did Jaws the Revenge do Welles?
<v Speaker 3>The Revenge kind of did well? We need to talk
<v Speaker 3>about that. In fact, let's talk about that here in
<v Speaker 3>a couple of weeks.
<v Speaker 2>Yeah, guys, a preview. In just a couple of weeks,
<v Speaker 2>we will be beginning our Worst of nineteen eighty seven
<v Speaker 2>series where we compare Jaws for the Revenge versus Superman
<v Speaker 2>for the Quest for more money, I mean the Quest
<v Speaker 2>for peace.
<v Speaker 3>If you need to brush up on those, now's the time. Yeah, okay,
<v Speaker 3>let's talk casting for RoboCop.
<v Speaker 4>My friend's call you, Murphy, did you call me Robocops?
<v Speaker 3>We mentioned that your first call for RoboCop is Arnold Schwarzenegger,
<v Speaker 3>even though RoboCop would look ridiculous, I mean, it'd be massive.
<v Speaker 3>That wasn't gonna work. Plus he was doing Predator. So
<v Speaker 3>the next call they make is Sylvester Stallone. Naturally, same
<v Speaker 3>problem as Arnes Schwarzenegger is just going to be too
<v Speaker 3>darn big to put in that RoboCop cost it right,
<v Speaker 3>So then they could make a phone call to armand Sante.
<v Speaker 2>Okay, so later those two guys would be in a
<v Speaker 2>movie called Judge Dredd. Yes, that's right, and Judge Dredd
<v Speaker 2>is the character from the comic books that they gave
<v Speaker 2>to Paul Vererhoven to say, this is what we want
<v Speaker 2>our RoboCop to be.
<v Speaker 3>Like really, yeah, that's fantastic. It's a great nugget right there.
<v Speaker 3>Tom Bringer is also called Peter Fonda actually made a
<v Speaker 3>play for this role. So interesting to me. He shows
<v Speaker 3>up at the studio one day, is like, hey, how
<v Speaker 3>about me? Like, no, they also thought about Lance Henrickson.
<v Speaker 2>Okay, wait, so Lance Heinrichson. Yes, was supposed to be
<v Speaker 2>the terminator, Yes, but didn't get that right, And was
<v Speaker 2>supposed to be RoboCop.
<v Speaker 3>Yes, get that right. He's also bishop and aliens.
<v Speaker 2>Wow.
<v Speaker 3>You got kind of a little trifecta right there.
<v Speaker 2>Yeah.
<v Speaker 1>Right.
<v Speaker 3>In fact, he didn't get the part. Hold that. We'll
<v Speaker 3>talk about that here in a second. Okay, okay, So
<v Speaker 3>ultimately they give the part to Peter Weller many special
<v Speaker 3>message for all the kids watching.
<v Speaker 2>At home, you stay out of trouble.
<v Speaker 3>They liked it because he's lean.
<v Speaker 2>Well, they liked him because he was lean, and they
<v Speaker 2>liked him because he was cheap. He wasn't like a
<v Speaker 2>super well known actor at the point, but he had
<v Speaker 2>had enough screen credit to get a following, and the
<v Speaker 2>following was just where they needed it. It was in
<v Speaker 2>the sci fi world.
<v Speaker 3>Huh.
<v Speaker 2>He had just done a movie called Bukeru Bonzai.
<v Speaker 3>Right, You and I had talked before we started recording.
<v Speaker 3>Neither one of us are fans of that movie.
<v Speaker 2>I haven't seen that movie since probably the nineties, maybe
<v Speaker 2>even yeah, maybe even the eighties. I think I watched
<v Speaker 2>it because of RoboCop. I was like, oh, that's the
<v Speaker 2>guy from RoboCop, and I'll watch that. And it has
<v Speaker 2>Jeff Goldbloom in it, and a few other guys that
<v Speaker 2>are pretty big. Yeah, John Litt, I remember hating John
<v Speaker 2>Lithgow's character.
<v Speaker 3>That's so weird.
<v Speaker 2>It wasn't something that termy owns the time. But that
<v Speaker 2>may be one of those movies that if once I
<v Speaker 2>go back and look at it, I can appreciate it again.
<v Speaker 3>It's been too long, good luck, because I watched it
<v Speaker 3>not too long ago. I thought it was terrible, but
<v Speaker 3>I know people love it so right, all right, And
<v Speaker 3>then finally we mentioned rugger Hower, right, but he and
<v Speaker 3>Verhoven had had a fallen out, and Rudder Harris like,
<v Speaker 3>screw that. I'm not working with him anymore.
<v Speaker 2>That's yeah, it's crazy.
<v Speaker 3>Then for the part of Dick Jones, they hire Ronnie Cox.
<v Speaker 1>Fellow executives, it gives me great pleasure to introduce you
<v Speaker 1>to the future of law enforcement.
<v Speaker 2>It's a great casting call because Ronnie Cox has played
<v Speaker 2>nothing but nice guys.
<v Speaker 3>Right, Yeah, he's a detective Bogelo mil from Beverly Hills cop.
<v Speaker 2>He well, I was thinking, he's the guy that plays
<v Speaker 2>in the dueling Banjos with the inbred guy on the porch.
<v Speaker 3>That's true, he does that as well.
<v Speaker 2>Yeah so he but he again, nice guy, nice guy,
<v Speaker 2>like a rule follower, and this is the opposite. Dick
<v Speaker 2>Jones is the opposite of that. Yes, absolutely, and he
<v Speaker 2>loved it. He loved the idea of playing a villain
<v Speaker 2>because he felt like he could just be as evil
<v Speaker 2>as he wanted to be and was completely okay. And
<v Speaker 2>it's perfect because you look at him and he's got
<v Speaker 2>a nice guy, clean cut guy look going. But then
<v Speaker 2>whenever he whenever he shows you at the dark side,
<v Speaker 2>you're like, oh.
<v Speaker 3>Oh my, he goes right from taking a dump in
<v Speaker 3>that stall.
<v Speaker 2>To cumping that guy's face.
<v Speaker 3>Yes, there is no hand washing, grabs his hair. Yeah,
<v Speaker 3>it's very f Yeah, yep, don't f with me, especially
<v Speaker 3>when I haven't washed my hands. And also you have
<v Speaker 3>kirkwood Smith. Kirkwood Smith plays Bodiker.
<v Speaker 2>Right, He's been in a bunch of stuff. I always
<v Speaker 2>think the seventies show. I think he's hilarious.
<v Speaker 3>He's great in the seventy show.
<v Speaker 4>Right.
<v Speaker 3>I knew him first from Dead Poets Society.
<v Speaker 2>Oh yeah, yeah, the mean dad.
<v Speaker 3>He's the mean dad.
<v Speaker 2>Yeah.
<v Speaker 3>He was also kind of a scene as moral intellectual guy.
<v Speaker 3>So for him to play this sleazy cocaine dealing smoking,
<v Speaker 3>you know, sleezy bad guy.
<v Speaker 2>Yeah. The glasses that they gave him to wear in
<v Speaker 2>that one were deliberately to make him look like Henry
<v Speaker 2>Kaimler from Uh Wow Germany.
<v Speaker 3>That scene when he confronts and kills Spob in his
<v Speaker 3>house with the hookers and the drugs, and he just
<v Speaker 3>walks in and he's like putting his gun together, and
<v Speaker 3>the guy's like, whatever, you're getting paid, I'll double it.
<v Speaker 3>He doesn't even face him. He's there on a mission.
<v Speaker 2>He makes that scene where they kill Murphy. Yeh yeah,
<v Speaker 2>I mean he is the guy that drives that scene
<v Speaker 2>from beginning to end. You probably don't think I'm a
<v Speaker 2>very nice guy, buddy. I think you're sliming. See, I
<v Speaker 2>got this problem. Cops don't like me, so I don't
<v Speaker 2>like cops. You got the other guys laughing, and it's
<v Speaker 2>all just this big joke, and so it's.
<v Speaker 3>This beautiful dying.
<v Speaker 2>It is this beautiful clash between guys hysterically laughing while
<v Speaker 2>also doing the most horrific violence upon the hero of
<v Speaker 2>the movie.
<v Speaker 3>The first time I saw that, it was so disturbing
<v Speaker 3>because he's got the shotgun and he's waving around and
<v Speaker 3>I'm like, he's not gonna do this. He blows his
<v Speaker 3>hand off, and then they shoot him a thousand more times, right,
<v Speaker 3>and they blow his arm off, shoot him in the head,
<v Speaker 3>and then they're still trying to save his life. I'm like,
<v Speaker 3>that guy is dead, people, he dead, baby, Yeah, all right,
<v Speaker 3>here's the one that's gonna blow you ay.
<v Speaker 2>And by the way, is exactly what Caleb said. He's like,
<v Speaker 2>are they kidding? Are they kidding? Right now? With the
<v Speaker 2>shocking what are they really think that they shot him
<v Speaker 2>in the head?
<v Speaker 3>That dude is Swiss cheese? Which is funny to think about.
<v Speaker 3>Who got shot more Murphy the executive at the wrong place,
<v Speaker 3>wrong time in the office or Sonny from The Godfather.
<v Speaker 3>I mean they all got blasted a billion.
<v Speaker 2>Times, right right?
<v Speaker 3>Okay, so you're ready for this. Stephanie Zimbalist from Remington
<v Speaker 3>Steel was originally cast as Lewis Remington Steele.
<v Speaker 2>We're back to Pierce Brosen again.
<v Speaker 3>Yes, JN.
<v Speaker 2>Mctarnan, Nomad's got it, okay, jumping forward Remington Steele, I
<v Speaker 2>got it. Well, she would have been a good one.
<v Speaker 2>She's very attractive. Right. Yeah.
<v Speaker 3>So here's the interesting thing about this. When you and
<v Speaker 3>I were talking about this, Remington Steele had been canceled. Right,
<v Speaker 3>So Stephanie Zimblist is free to make movies. Okay, So
<v Speaker 3>what happens. Pierce Brosnan is then hired to be the
<v Speaker 3>next James Bond in nineteen eighty six.
<v Speaker 2>That's right after Roger Moore. Okay, that's not after.
<v Speaker 3>No, it's not Timothy Dawning Okay, okay, so follow me
<v Speaker 3>on this, all right, all right, Yeah, this is such
<v Speaker 3>an incredible thing. Pierce Brosnen was supposed to be James
<v Speaker 3>Bond after Roger Moore gave it up after a view
<v Speaker 3>to a kill. Okay, so think Pierce Brosen in The
<v Speaker 3>Living Daylights.
<v Speaker 2>Wow. Yeah.
<v Speaker 3>But here's the deal. When they hired him to play
<v Speaker 3>the next James Bond, there was this incredible swell of
<v Speaker 3>interest in Pierce Brosnan. Well, the Ravington Steel people had
<v Speaker 3>a clause in their contract that if they decided to
<v Speaker 3>change their mind. They could, and so once Pierce Brosnen
<v Speaker 3>had all this interest because he was playing James Bond,
<v Speaker 3>the Ravington Steel people said, you know what, I think
<v Speaker 3>we will go ahead and make another season of Rivington Steel.
<v Speaker 2>Wow.
<v Speaker 3>So they pulled Pierce Brosnan out of James Bond and
<v Speaker 3>they pulled Stephanie Zimbolist out of RoboCop.
<v Speaker 2>Oh my gosh. So they killed the movie careers for
<v Speaker 2>a time of both of those people. Yes, they did,
<v Speaker 2>because Pierce Brosnan didn't come in for like another ten.
<v Speaker 3>Years old and I was in ninety five.
<v Speaker 4>Wow.
<v Speaker 2>Yeah. So yeah, that's basically almost ten years later.
<v Speaker 3>It's crazy.
<v Speaker 2>And Stephanie Zimbolists did she do anything after Remington's I
<v Speaker 2>don't think so. Wow wow. Okay, so she's out. She
<v Speaker 2>like she was in as Lewis yep. And now she's
<v Speaker 2>out because they pulled her back into Rimington Steel. Yep.
<v Speaker 2>And so then they hire.
<v Speaker 3>They hire Nancy Allen. Glad to know you, Murphy.
<v Speaker 2>So Nancy Allen, I remember as the mean girl from Carrie.
<v Speaker 3>That's what everybody remembers her from.
<v Speaker 2>Yeah.
<v Speaker 3>Right, So here's the interesting thing about this Nancy Allen's
<v Speaker 3>dad was a New York cop.
<v Speaker 2>Okay.
<v Speaker 3>She was talking to the director about why she have
<v Speaker 3>this part. She said, my dad was a cop. We
<v Speaker 3>always knew in our house that it went number one, partner,
<v Speaker 3>number two, family, number three, himself.
<v Speaker 2>Wow. We knew that.
<v Speaker 3>His partner was the most important person in his life.
<v Speaker 3>And so that's what I'm going to bring to this role. Wow,
<v Speaker 3>that Lewis and Murphy are the number one people in
<v Speaker 3>each other's lives.
<v Speaker 2>And then they made her cut her hair.
<v Speaker 3>They didn't want anybody to think, well, Lewis and RoboCop
<v Speaker 3>ought to have a romance. Yeah, and so they said, like,
<v Speaker 3>cut your hair short and you're not looking sexy. There's
<v Speaker 3>no romance. We're not doing that. And then we have
<v Speaker 3>our man, Miguel ferrer who plays Bob Morton. I don't
<v Speaker 3>know anything that he has done other than he was
<v Speaker 3>in the TV series The Stand Guy's awesome.
<v Speaker 2>Yeah, he passed away a few years ago.
<v Speaker 1>Did he.
<v Speaker 3>That's too bad Miguel Ferrara. By the way, when Nancy
<v Speaker 3>Allen showed up for the first day of filming, she
<v Speaker 3>walks in, She's like, okay, get a lay of the land.
<v Speaker 3>Figure out what everybody's doing, and they're filming the outtakes
<v Speaker 3>for the TV show. It's not my problem. This is
<v Speaker 3>the guy who's like, I'll buy that for a dollar.
<v Speaker 3>He's there with the two boob girls and the cake and.
<v Speaker 2>The boob girls.
<v Speaker 3>Yes, okay, we've had our shots. Yeah, and she thought,
<v Speaker 3>what do I got myself into? Dan o'hillary plays the
<v Speaker 3>old Man.
<v Speaker 2>Yeah, he's an actor from way back.
<v Speaker 3>He's a major character in the franchise. We never get
<v Speaker 3>his name.
<v Speaker 2>He's just the old man, just the old man.
<v Speaker 3>In fact, he's kind of the good guy in the
<v Speaker 3>first RoboCop.
<v Speaker 2>Okay, I mean you know, I mean he's neutral. He's
<v Speaker 2>still the guy that after the guy is violently murdered
<v Speaker 2>there in the office, his first response is, I'm very disappointed.
<v Speaker 3>That man just got shot one hundred and forty six
<v Speaker 3>thousand times.
<v Speaker 2>They're calling in for an ambulance. They're gonna do something. Yeah,
<v Speaker 2>And then and then Dick is like, is a glitch? Glitch? Right?
<v Speaker 3>We get that fixed it, no problem. We called our
<v Speaker 3>old man boner and a hole, but there is always respect.
<v Speaker 3>Here's a story for you. So, Peter Weller, they're shooting
<v Speaker 3>this in August of nineteen eighty six in Dallas.
<v Speaker 2>It's gonna be warm.
<v Speaker 3>Okay, we're two and a half hours away from Dallas.
<v Speaker 3>It's late July. My car read one hundred and four
<v Speaker 3>today when I drove over.
<v Speaker 2>Yeah, it's been freaking hot, particularly hot summer this summer,
<v Speaker 2>but there was probably still pretty dang warm down in Dallas.
<v Speaker 2>Back in the eighties.
<v Speaker 3>It was ridiculously hot, like super hot, they said. Peter
<v Speaker 3>Weller lost three pounds a day.
<v Speaker 2>Yeah, in the suit.
<v Speaker 3>And the funny thing is is that he had trained
<v Speaker 3>like with a mine coach, and he had worked on
<v Speaker 3>all this miming, you know. Yeah, then when he got
<v Speaker 3>the suit on, he realized, I can't move it all
<v Speaker 3>in this thing. Yeah, Like I am stiff as a
<v Speaker 3>board C three po style walking.
<v Speaker 2>Around having trouble. So you know who designed his suit,
<v Speaker 2>Mister Rob Botein. Mister Rob Botein, who talked about a
<v Speaker 2>couple times now, Ye, Rob Boutein from the.
<v Speaker 3>Howling he did howling, he did the thing.
<v Speaker 2>Yes, both of which we've covered. Check those episodes out.
<v Speaker 2>They're great. So he comes in to help out Paul
<v Speaker 2>Verehoven make the RoboCop costume Paul Verehoven has no experience
<v Speaker 2>in science fiction whatsoever, but he's also a major control freak. Yes,
<v Speaker 2>and so when he sees the design that Rob Botein
<v Speaker 2>has done, he's like nope. And it's like okay, and
<v Speaker 2>they reads designs he's like nope, and again and again,
<v Speaker 2>just rejection after rejection. Right, finally they get it and
<v Speaker 2>they're like, this is horrible, but let's try it. It
<v Speaker 2>doesn't work at all, right, and he Paul Verhoven has
<v Speaker 2>to go, you know what I was wrong? You're right,
<v Speaker 2>Let's go back to the first cost. This time Roboteen
<v Speaker 2>is like, are you kidding me? And so they were
<v Speaker 2>super super mad at each other after this movie, like
<v Speaker 2>we're talking to each other. But the movie was such
<v Speaker 2>a success that when they decided to do Total Recall,
<v Speaker 2>they decided to team back up.
<v Speaker 3>Hey, by the way, you and I did an episode
<v Speaker 3>of Total Recall with our good friends over the thirty
<v Speaker 3>something Movie podcast. So actually, if you're listening to this,
<v Speaker 3>go over to the thirty something Movie Podcast listen to
<v Speaker 3>their entire library, but also be sure and check out
<v Speaker 3>the episode we did on Total Recall with them.
<v Speaker 2>Paul Verhoven would get together again with the writer of
<v Speaker 2>RoboCop to do a movie ten years later called Starship Troopers. Yes,
<v Speaker 2>Starship Troopers was based upon a novel that was written
<v Speaker 2>by another guy that we talked about during our Thing episode,
<v Speaker 2>Robert Heinlein.
<v Speaker 3>That's it.
<v Speaker 2>Robert Heinlein was the guy who when Philip K. Dick
<v Speaker 2>got in tax trouble, he said, I'll pay your taxes
<v Speaker 2>for you. That is, never had met the man before,
<v Speaker 2>but loved his work and said, I'll pay your taxes
<v Speaker 2>for you.
<v Speaker 3>You know what else, while we're on the subject, Paul
<v Speaker 3>Verhoven has done Basic Instinct, which everybody in the early
<v Speaker 3>nineties saw.
<v Speaker 2>If they were a teenage boy, they sure did.
<v Speaker 3>If you could get in you saw that. And he
<v Speaker 3>also did a movie called Showgirls.
<v Speaker 2>I was reading about this. I went off on that sidetrack.
<v Speaker 2>I went down that hole, if you will. And they're saying,
<v Speaker 2>they're saying that Showgirls has become a cult classic. I
<v Speaker 2>can't believe it. I refuse to believe it that there
<v Speaker 2>are people out there who were choosing to watch that show.
<v Speaker 2>I just I don't buy it.
<v Speaker 3>Okay, listen before we get I mean, we're getting off
<v Speaker 3>on this a little bit, but you and I are
<v Speaker 3>studying up on the revenge in Superman four, two of
<v Speaker 3>the worst movies of nineteen eighty seven for sure and
<v Speaker 3>ever and ever. I just did a podcast with our
<v Speaker 3>friends at a film by on Under the Cherry Moon
<v Speaker 3>by Prince, which is terrible yep. We talked about it
<v Speaker 3>and how it compared to Howard the Duck, which was awful.
<v Speaker 3>Those four giant piles of crap don't combine and hold
<v Speaker 3>a candle to the turd.
<v Speaker 2>That was Showgirls, right, and Showgirls was a movie that
<v Speaker 2>I walked out on. Jaws three was another movie that
<v Speaker 2>I walked out on. The movie that you walked out
<v Speaker 2>on was Last Action That's Right, which of course was
<v Speaker 2>directed by John McTurnan, Yes, starring Arnold Swartzman. Yes, and
<v Speaker 2>Shane Black was there for the after party where they
<v Speaker 2>were like, well that was pretty terrible.
<v Speaker 3>There's also a cameo of Sharon Stone in that movie.
<v Speaker 3>And it's terrible, terrible, terrible, terrible.
<v Speaker 2>Okay, okay, So do we need to talk special effects
<v Speaker 2>on RoboCop anymore?
<v Speaker 3>The only thing I want to say more about the
<v Speaker 3>suit and Peter Weller yea and RoboCop. So it was hot, uncomfortable,
<v Speaker 3>it didn't work well with his acting. On top of
<v Speaker 3>all that, Peter Weller's being a pain in the butt
<v Speaker 3>because he's making everybody, you know, do this method acting
<v Speaker 3>thing where he made Verhoven call him either Murphy or
<v Speaker 3>Robo before he would move, you know. And Verhovean had
<v Speaker 3>kind of I mean, he's an anger guy, he's got
<v Speaker 3>a temper thing, and he finally had had enough of
<v Speaker 3>the complaining about the suit and the heat and all
<v Speaker 3>this stuff, so he fires Peter Weller.
<v Speaker 2>Wait, he fires fires Peter Weller. Okay, go ahead.
<v Speaker 3>Peter Weller's like, well, fine, I'm tired of walking around
<v Speaker 3>this suit in Dallas. Anyway, so Verehoven decides he's going
<v Speaker 3>to hire Lance Hendrickson. Well, guess what. The million dollars
<v Speaker 3>that they spend on the RoboCop suit doesn't fit Lance Hirison.
<v Speaker 3>So they're like, uh, guess what, You've got to call
<v Speaker 3>Peter Weller and make this right mm hm, And so
<v Speaker 3>Verehoven actually had in hand, goes back to Peter Weller
<v Speaker 3>and says, we please come back.
<v Speaker 2>Listening to Paul Verehoven talk, I get the impression that
<v Speaker 2>it's pretty common thing. In his life that he throws
<v Speaker 2>his fist down, throws his foot down, whatever is like
<v Speaker 2>my way or the highway. But then just give him
<v Speaker 2>a few weeks and he'll be like, I was wrong
<v Speaker 2>about that. I shouldn't have said that. Yeah, he has
<v Speaker 2>the ability later to realize the air of his waist.
<v Speaker 3>Well, it's one of the things he learned about in America.
<v Speaker 3>He said, in Holland he could yell at everybody and
<v Speaker 3>then go to lunch with them. Over here, people took
<v Speaker 3>it personally.
<v Speaker 2>Yeah, it's a cultural thing. Okay. Before we get off
<v Speaker 2>the special effects on RoboCop, I have to say that
<v Speaker 2>it was a special effect that caused me to want
<v Speaker 2>to go see this movie in the first place.
<v Speaker 3>Okay.
<v Speaker 2>And it wasn't the Robocops special effect, all right. It
<v Speaker 2>was the guy who got thrown into the vat of
<v Speaker 2>toxic waste.
<v Speaker 3>Oh man, we gotta talk about that.
<v Speaker 2>I saw that in Fangoria magazine, and I was like,
<v Speaker 2>I gotta go see this. It is an incredibly disturbing
<v Speaker 2>piece of video history, of movie history, to see that
<v Speaker 2>guy hit the toxic waste and come out with his
<v Speaker 2>flesh melting off of his skin, hobbling along begging. He's
<v Speaker 2>got his hands have like melded into some sort of
<v Speaker 2>hoof finger things, and then sure enough the car's coming
<v Speaker 2>along and when it runs him over, he splats like
<v Speaker 2>a water balloon all over the wind.
<v Speaker 3>Yes.
<v Speaker 2>Yes, Oh, what an amazing effect that was.
<v Speaker 3>Yeah, Like instantly, as soon as he hits that toxic waste,
<v Speaker 3>he becomes melting man and then he liquefies when that
<v Speaker 3>car hits him. Gross, which you and I talked about
<v Speaker 3>prior to recording. Great effect, Great impact, very memorable. The
<v Speaker 3>worst effect in the movie is when Dick Jones is killed.
<v Speaker 3>He shot and he falls out of the window and
<v Speaker 3>you have this weird it's like a stop motion marionette
<v Speaker 3>with giant arms. It's I don't even know what they're
<v Speaker 3>thinking on what did they.
<v Speaker 5>Do in this?
<v Speaker 2>It was really bizarre. It's like claymation or something. And
<v Speaker 2>the ED two nine, the stop motion that you see
<v Speaker 2>with that is so obvious. That is definitely a thing
<v Speaker 2>that doesn't hold up over time. It didn't bother me
<v Speaker 2>back then, but today I'm like, ooh, e, this is
<v Speaker 2>a little rough.
<v Speaker 3>You know what else is weird about that?
<v Speaker 2>I still pick it over cgi but it looked.
<v Speaker 3>A little clash of the Titans, yeah, but a lot. Yeah.
<v Speaker 3>So he couldn't walk down the stairs and he ends
<v Speaker 3>up taking a step falling down and he's on his
<v Speaker 3>back feeling.
<v Speaker 2>Like a pig deliverance Ronnie Cocks. Here you go, keep going.
<v Speaker 3>Yeah, but I remember watching that going why would a
<v Speaker 3>robot squeal like a pig?
<v Speaker 2>Right?
<v Speaker 3>Well, it's just weird.
<v Speaker 2>And it roars like a lion when he's about to
<v Speaker 2>shoot that guy too.
<v Speaker 3>It does.
<v Speaker 2>I think it's funny.
<v Speaker 3>So that scene, they bring the guy to the front
<v Speaker 3>and they're like, hold the gun in a menacing manner
<v Speaker 3>at this thing, and it's like, you have twenty seconds
<v Speaker 3>to comply. I drop your gun. In the script, it's
<v Speaker 3>very clear that the reason why the D two a
<v Speaker 3>nine doesn't stop is because that the carpet in that
<v Speaker 3>office is so lush that when he drops the gun,
<v Speaker 3>it doesn't make a noise. Okay, you actually hear a
<v Speaker 3>guy in the background go he didn't hear it. Ah,
<v Speaker 3>And so he's like, you got five seconds to comply.
<v Speaker 3>The guy's like ah yeah, and then they blow him away.
<v Speaker 2>Right. But what a memorable scene that was.
<v Speaker 3>Yes, So we talked about robocops suit, I got one
<v Speaker 3>more effect I want to bring to your attention. Okay,
<v Speaker 3>and this blew me up. So you know when the
<v Speaker 3>guy the councilman's going crazy, he's take the mayor hostage,
<v Speaker 3>and then RoboCop is enacted to go take care of
<v Speaker 3>this terrist situation here.
<v Speaker 2>You mean the guy that they promised to give a
<v Speaker 2>sucks an s ux six thousand, Yes with a block punk.
<v Speaker 3>Yes, yes, And I want my old jaw back, and
<v Speaker 3>I want to recount, and no matter what the results are,
<v Speaker 3>I want to parking spot. Yeah, that guy. So there
<v Speaker 3>is atrophonic block punk, though too bad would be jealous
<v Speaker 3>of that quadrophonic blowpunk. Okay. So there's a fact in
<v Speaker 3>there where RoboCop is looking through the walls and he
<v Speaker 3>sees the heat signature of the guys inside.
<v Speaker 2>Very predator, very predator. Right.
<v Speaker 3>Well, you look really closely, it's digitized. They added a
<v Speaker 3>little filter to it, but it's basically a bunch of
<v Speaker 3>naked people that are painted to look like heat index, right,
<v Speaker 3>and when you look at it. So when I read that,
<v Speaker 3>I went back and looked at it. I'm like, holy crap,
<v Speaker 3>those people are naked.
<v Speaker 2>Yeah, that's fantastic.
<v Speaker 3>That's crazy, that's great.
<v Speaker 2>So that's a great let's throw back to the special
<v Speaker 2>effects on Predator.
<v Speaker 3>Now, guys are the job.
<v Speaker 2>Okay, So the infrared lenses that they were trying to
<v Speaker 2>use didn't work well for the jungle scenes, yes, and
<v Speaker 2>so they had to had to combine two cameras, basically
<v Speaker 2>had to film the same scene with two different cameras
<v Speaker 2>just at the perfect like they had a guy in
<v Speaker 2>there with a pro tractor, yes, making sure everything was
<v Speaker 2>exactly the same, so that you got one that's given
<v Speaker 2>you the jungle and one that's given you the heat
<v Speaker 2>signature of the guys that are walking around, and then
<v Speaker 2>they blend those. Keep in mind, this is eighty seven,
<v Speaker 2>where we don't have computers doing a whole lot of
<v Speaker 2>stuff at this point. So they melded those two images
<v Speaker 2>together so that you knew what was going on when
<v Speaker 2>you were looking through the eyes of the predator, which,
<v Speaker 2>by the way, another great job by John mcturnon on
<v Speaker 2>this one of not showing you the shark right, Oh yeah,
<v Speaker 2>for sure, because you don't see him, you just see
<v Speaker 2>through his eyes, which is exactly what Spielberg did with Jaws.
<v Speaker 2>And so you know he's there. I mean the moments
<v Speaker 2>that you get with him. You get the dorsal fin
<v Speaker 2>of this kind of fuzzy thing moving through which all good.
<v Speaker 2>Which again, that was a guy in a suit, right,
<v Speaker 2>It was a guy in a red suit. And so
<v Speaker 2>what they would do is they'd film that guy in
<v Speaker 2>the red suit because the red was the strongest contrasting
<v Speaker 2>color with the green of the jungle and the blue
<v Speaker 2>of the sky, and so they could take that and
<v Speaker 2>replace that red color whenever they did the film because
<v Speaker 2>green screen blue screen was can work, right, so they
<v Speaker 2>used the like a chroma key to film it, and
<v Speaker 2>they would film it again with a different frame, and
<v Speaker 2>so when you put those two images together, you had
<v Speaker 2>still the jungle, but it was bent as though it
<v Speaker 2>was bent around the guy in the red suit.
<v Speaker 3>It's so effective too, the invisibility, the cloaking of the predator, right,
<v Speaker 3>it's awesome.
<v Speaker 2>And then you've got the predator whose looks in intimidating
<v Speaker 2>when you first see him anyway, right, But then later
<v Speaker 2>on there's another reveal because you get that mask taken
<v Speaker 2>off and you realize, oh my gosh, that's one ugly mother.
<v Speaker 3>So talk about the mandals, right.
<v Speaker 2>So I mentioned before they had that we had Richard
<v Speaker 2>England who had designed this horrible, horrible suit, right, And
<v Speaker 2>so they're like, well, we can't, we can't use this.
<v Speaker 2>And so they hire a big, tall actor to play
<v Speaker 2>the part, but they need someone to design a monster
<v Speaker 2>for them, and so who do they go to? Of
<v Speaker 2>course Stan the man Stan Winston. Yes, And so Stan
<v Speaker 2>is flying in an airplane working on a Rastafarian style monster.
<v Speaker 2>If you look at the hair, that really that the
<v Speaker 2>predator has is it's very dreads reggae.
<v Speaker 5>Kind of guy.
<v Speaker 2>Right, So it's the Rastafarian monster. He's drawn pictures of
<v Speaker 2>it as he's flying with Joel Silver on one side
<v Speaker 2>of him and Jim Cameron Yes, on the other side
<v Speaker 2>of it. Yes, And as he's James Cameron looks over
<v Speaker 2>and he's like, what are you doing. He's like, Oh,
<v Speaker 2>I'm designing this monster for this new movie that Joel's doing,
<v Speaker 2>and he's like, James Cameron's like, you know, I always
<v Speaker 2>thought it would be cool if there was a monster
<v Speaker 2>with mandibles and Stan Winston's has the little light go on. Yeah,
<v Speaker 2>it's a terrible idea. I don't think that's a good
<v Speaker 2>idea at all. Just go ahead and take care of that.
<v Speaker 3>When Jim Cameron speaks, you ought to listen. Man, such
<v Speaker 3>a cool effect too, because yeah, he's chasing around. He's
<v Speaker 3>got that cool predator helmet. It's like Darth Vader. Yeah,
<v Speaker 3>and he takes off the Darth Vader helmet. Instead of
<v Speaker 3>being a crusty old white guy, you have a scary monster, right.
<v Speaker 2>Yeah, what hell are you?
<v Speaker 1>Hard? Hard?
<v Speaker 3>And the mandal and the roar and the mouth. Oh,
<v Speaker 3>it's so good.
<v Speaker 2>Right And the fact that he's seven foot two doesn't
<v Speaker 2>hurt either.
<v Speaker 3>Yes, Hey, I got something for you real quick before
<v Speaker 3>we move off of actors. Okay, I thought this was interesting. So,
<v Speaker 3>I mean, you've got manly men, right. These guys are
<v Speaker 3>super buff, they're super tough. They're all alphas, and so
<v Speaker 3>they would get up real early in the morning to
<v Speaker 3>work out. It became a competition to see who could
<v Speaker 3>look the best. It looked the biggest. Carl Weathers said
<v Speaker 3>he would get up at three o'clock in the morning
<v Speaker 3>and he would go lift before they got up.
<v Speaker 4>Huh.
<v Speaker 3>And they would never see him in the gym, and
<v Speaker 3>they thought, man, this guy's just really natural. How in
<v Speaker 3>the world's and he's like, I wanted them to think
<v Speaker 3>I was just naturally cut up.
<v Speaker 2>I just want to get somebody and who could crack
<v Speaker 2>these bestars.
<v Speaker 3>So he cooked up a story and dropped the six
<v Speaker 3>of us.
<v Speaker 1>In and be trying.
<v Speaker 3>Oh one thing I wanted to mention. On April twenty fifth,
<v Speaker 3>nineteen eighty six, they had to stop production of the
<v Speaker 3>movie Predator. Do you know why?
<v Speaker 2>So royal wedding wasn't it.
<v Speaker 3>Mister Arnold Schwarzenegger married Maria Shreiver. Yeah, they say production stopped.
<v Speaker 3>They did some second unit stuff, but he flew back,
<v Speaker 3>got married, honeymoon for three days before returning to the
<v Speaker 3>set of Predator.
<v Speaker 2>It's funny because John McTurnan talks about this. You know,
<v Speaker 2>they get a certain budget for a movie and at
<v Speaker 2>some point they use up all of that money and
<v Speaker 2>so you have to stop because you have no more
<v Speaker 2>money to pay people, right right. And I think that
<v Speaker 2>I think that maybe Arnold's wedding kind of coincided with
<v Speaker 2>this pretty nicely as well. But they're talking about like
<v Speaker 2>you feel like this is a hindrance. He's like, no,
<v Speaker 2>it's not a hindrance. It's an absolute blessing because you
<v Speaker 2>can go and you can look at what's working, and
<v Speaker 2>you can edit all of this stuff together, because the
<v Speaker 2>whole point is you take that footage that you've done,
<v Speaker 2>you put it all together like it's the movie, and
<v Speaker 2>then you go show it to the guys with the
<v Speaker 2>money yeah, and they go, Okay, we'll give you all money.
<v Speaker 2>Let's finish this picture. And so you can not only
<v Speaker 2>go and create a product that's going to get you
<v Speaker 2>more funding, you also can go back and fix all
<v Speaker 2>your mistakes and know what you need to refilm. So
<v Speaker 2>they've got this multi week break that they have that
<v Speaker 2>he can put together what he's got that works, take
<v Speaker 2>out what doesn't work, and figure out how to fix
<v Speaker 2>it all and most importantly, get more money.
<v Speaker 3>One of the difficulties I heard some of the production
<v Speaker 3>people mention is when they're shooting in the jungle, this
<v Speaker 3>is not a set, this is actual Mexican jungle, right,
<v Speaker 3>and it's hot, and there's bugs and there's snakes, yes,
<v Speaker 3>And one of the things that they said that you
<v Speaker 3>never really would think it's never flat right, You're always
<v Speaker 3>standing askew yep, And so that really makes it easy
<v Speaker 3>for injuries and it's just never very RESTful, right, Okay,
<v Speaker 3>I've got a little tidbit I want to mention. I
<v Speaker 3>thought this was interesting. Shane Black is seen reading a
<v Speaker 3>comic book in the jungle and it's a Sergeant Rock
<v Speaker 3>comic book, yes, which was interesting because mciernon said at
<v Speaker 3>the time, Arnold Schwarzenegger was supposed to star in a
<v Speaker 3>movie about Sergeant Rock, which if you're a kid in
<v Speaker 3>the eighties you remember it as kind of like the
<v Speaker 3>other Gi Joe, and so Arnold Schwarzenegger brought all these
<v Speaker 3>comic books to read because he's studying up on the
<v Speaker 3>part of Sergeant Rock. Obviously that never happened, but Shane
<v Speaker 3>Black was like, hey, can I read some of your
<v Speaker 3>comic books? And they filmed him reading some of the
<v Speaker 3>Sergeant Rock comic books.
<v Speaker 2>Okay, I don't want to get away from these movies
<v Speaker 2>without at least touching on the composers. I think that
<v Speaker 2>the music, especially for Predatory, is a key factor. Right sure,
<v Speaker 2>So before I get there, let me talk about RoboCop.
<v Speaker 2>Robo CoP's got a really unique style. It's very like
<v Speaker 2>it's one of the subtle soundtracks. It's not one that
<v Speaker 2>grabs you, but it does a really good job of
<v Speaker 2>carrying the story along. It's definitely there. But the guy,
<v Speaker 2>the composer for RoboCop is this guy named Basil Polidorius, Right,
<v Speaker 2>Have you heard of him? No? I haven't. Well you
<v Speaker 2>would think that you would have, because he was also
<v Speaker 2>the composer for Conan the Barbarian, Red Dawn, Iron Eagle,
<v Speaker 2>The Hunt for Red October, Free Willie Starsroop Troopers, And
<v Speaker 2>I mean he's he's been around, he's when Emmy's he's
<v Speaker 2>he's a pretty accomplished guy. So he's one of those
<v Speaker 2>guys that I love when we do these things that
<v Speaker 2>I'm like, oh, I'm introduced to this guy that I've
<v Speaker 2>never really heard of before, But why haven't I He
<v Speaker 2>should be one of those guys. He's an award winning
<v Speaker 2>composer of some of the greatest movies of the eighties
<v Speaker 2>and nineties. I am glad that I now know who
<v Speaker 2>he is. Wow, I Basil Polidorius.
<v Speaker 3>Okay, Ley miser up. That's a that's an impressive line up, man.
<v Speaker 3>And it's not like those are movies I have never seen.
<v Speaker 3>I mean, those are big time movies.
<v Speaker 2>Right, So then my question to you is do you
<v Speaker 2>know who the composer is for Predator.
<v Speaker 3>I do. I do as Yeah, hot off.
<v Speaker 2>Of Back to the Future, we've got Alan Silvestri. And
<v Speaker 2>when you know it's him, you're like, oh, well, of
<v Speaker 2>course it is, because it has all of his standard tricks.
<v Speaker 2>I mean it's just if Allan Sivestri did not score
<v Speaker 2>this movie, I don't think we'd be talking about it today. Really,
<v Speaker 2>I really really think that. I mean because I mean, simply,
<v Speaker 2>you've got a army blow them up movie followed by
<v Speaker 2>a predator hunt. But it's not some big intricate plot, right,
<v Speaker 2>I mean, there's no sure it's it's not super strong,
<v Speaker 2>like it's kind of top gun, right, It's just a
<v Speaker 2>very simple plot line. Right. But when you throw his
<v Speaker 2>score in there, that's got these big worn blast the
<v Speaker 2>strings that have got the staccato rhythms in him, get
<v Speaker 2>the big bunyrol to get the I mean, it's that
<v Speaker 2>music that takes this movie up to the unforgettable level.
<v Speaker 3>The Predator theme, I think is a great suspense theme.
<v Speaker 4>Yeah.
<v Speaker 3>And what's crazy is they didn't release it for like
<v Speaker 3>twenty years.
<v Speaker 2>I mean it was like, why did they do that?
<v Speaker 3>It makes it and when they did release it.
<v Speaker 2>It is sold out in a day, right. It's just
<v Speaker 2>it is crazy that this soundtrack did not get more
<v Speaker 2>credit than it did. It's definitely deserving because it is
<v Speaker 2>so strong, and in every Predator movie that they've done
<v Speaker 2>since then, they've used it. I mean, he was the
<v Speaker 2>composer for Predator two. Sure, which, by the way, there's
<v Speaker 2>another interesting connection because we've got who are who's our
<v Speaker 2>hero in Predator two, Danny Danny Glover from Leith, the Weapon.
<v Speaker 3>And the other guy. You got Bill Paxton who is
<v Speaker 3>in Aliens, and you've got.
<v Speaker 2>The Blonde the Blonde Bomb. You've got you've got mister
<v Speaker 2>Gary Busey.
<v Speaker 3>Oh that's exactly right.
<v Speaker 2>Who is mister John and the Weapon? Right?
<v Speaker 3>It was yeah, wow, that is big time. Hey, you
<v Speaker 3>know we talked in our Blade Runner episode how there's
<v Speaker 3>connective tissue between Blade Runner, Aliens, Terminator, RoboCop, the Abyss.
<v Speaker 3>I think it's so fun to think that these are
<v Speaker 3>all in the same universe.
<v Speaker 2>Yeah. Man, if we could get like a whole series
<v Speaker 2>with all these guys together, I think be fantastic. Oh
<v Speaker 2>my gosh, So have you got some interesting tidbits situation?
<v Speaker 3>I have a few tidbits that I want to share.
<v Speaker 2>Hit me.
<v Speaker 3>Okay, now, this one blew me away. In Sacramento, California,
<v Speaker 3>a robbery suspect fled into a darkened movie theater to
<v Speaker 3>escape police. He became so engrossed in RoboCop, which was
<v Speaker 3>playing on the screen he failed to notice that the
<v Speaker 3>police came in and had taken over the movie theater.
<v Speaker 3>When they flipped the lights on, all he could do
<v Speaker 3>was surrender better alive. RoboCop was submitted to the MPAA
<v Speaker 3>twelve times before it got an R rating. It was
<v Speaker 3>rated X eleven times. Wow, how about that?
<v Speaker 2>Too violent?
<v Speaker 3>Very very violent.
<v Speaker 2>I mean there's one brief booby scene at the very beginning,
<v Speaker 2>the very beginning, Yep, that's it. The rape scene, like
<v Speaker 2>the attempted rape scene was pretty cartoony. Okay, I thought,
<v Speaker 2>was that scary for the kid my age? That was
<v Speaker 2>a little intense. Yeah, I mean he goes up under
<v Speaker 2>her dress with a knife.
<v Speaker 3>Yeah, well yeah, I guess so.
<v Speaker 2>Okay.
<v Speaker 3>The three or excuse me, the four prime directives of RoboCop. Yes, okay,
<v Speaker 3>I want to talk about this for just a second.
<v Speaker 3>Number one, Serve the public trust, yes. Number two, protect
<v Speaker 3>the innocent, yes, number three uphold. The law number four
<v Speaker 3>classified was classified. Yep, But we learned later that any
<v Speaker 3>attempt to arrest a senior officer at OCP results in shutdown,
<v Speaker 3>which I thought it would have been more effective instead
<v Speaker 3>of acting like you're having a seizure to just freeze.
<v Speaker 3>That's a minor thing with me. But these are taken
<v Speaker 3>from Isaac Asimov's three laws on robotics. Okay, Isaac Asimov,
<v Speaker 3>the guy who lived in Central Park, guy that was
<v Speaker 3>pissed at the Ghostbusters for filming.
<v Speaker 2>The greatest sci fi writer of all time?
<v Speaker 3>Exactly, Yes, I am familiar. I think it's disgusting that
<v Speaker 3>these are his three laws of robotics.
<v Speaker 2>Okay, okay.
<v Speaker 4>The first law was that a robot couldn't hurt a
<v Speaker 4>human being or through an action, allow a human being
<v Speaker 4>to come to harm. The second law was that a
<v Speaker 4>robot had to obey orders given it by human beings,
<v Speaker 4>provided that didn't conflict with the first law. And the
<v Speaker 4>third law was that a robot had to protect its
<v Speaker 4>own existence, except where that would conflict with the first
<v Speaker 4>two laws.
<v Speaker 3>Have you seen the KFC commercials that RoboCop is it?
<v Speaker 2>I have not seen.
<v Speaker 3>I said that to you today.
<v Speaker 2>I know, I'm sorry. I was kind of in the
<v Speaker 2>middle of something.
<v Speaker 3>Well, you're missing a treat because RoboCop had Peter Weller
<v Speaker 3>in the suit doing commercials for kfcill Kentucky Froutchigen is delicious.
<v Speaker 2>What's the sick of recipe? If I told you I'd
<v Speaker 2>have to kill you?
<v Speaker 3>Ha ha ha, You're going to take the family package
<v Speaker 3>that are alive.
<v Speaker 2>Waste makes taste for time?
<v Speaker 3>Is the precinct in Dallas used for filming in RoboCop
<v Speaker 3>is the same precinct that Lee Harvey Oswald was taken
<v Speaker 3>to after shooting John F.
<v Speaker 2>Kennedy. Oh, the one he was taken out of where
<v Speaker 2>he gets shot by Jack Ruby.
<v Speaker 3>Exactly. Wow, kind of famous. You may have heard of it.
<v Speaker 3>You may have heard of it. One thing we have
<v Speaker 3>to talk about is the religious imagery of RoboCop.
<v Speaker 2>Yeah. So Paul Verhoven he mentions that he wanted to
<v Speaker 2>do a christ dying on the cross part in his movie, right, yes,
<v Speaker 2>And so obviously that's what we get when we have
<v Speaker 2>when we have the murder of Murphy, right, I mean
<v Speaker 2>he's outstretched it, I mean, he's very Jesus being murdered
<v Speaker 2>by the Romans. It's very very.
<v Speaker 3>Strong crucifixion of Murphy right with the shotguns.
<v Speaker 2>Yes, right, and interesting and I pointed this out to
<v Speaker 2>you that it happens again. You know, you have death
<v Speaker 2>and resurrection because he comes back as RoboCop right then,
<v Speaker 2>even as RoboCop when we see him and he's confronting
<v Speaker 2>when he's confronting Bodiker out in the kind of sewer area,
<v Speaker 2>he looks like he's walking on the water.
<v Speaker 3>That was all done intentionally, and that blew me.
<v Speaker 2>Away, right, and then they drop the junk, you know,
<v Speaker 2>the giant metal bars on top of him, and he
<v Speaker 2>dies again, except that this time instead of him being pierced,
<v Speaker 2>he pierces the other guy.
<v Speaker 3>He does, that's right.
<v Speaker 2>And he's resurrected once again, and he comes back to
<v Speaker 2>comes back to confront Dick Jones after that. So he
<v Speaker 2>says what Paul Verehoven says is the first one is
<v Speaker 2>the historical death of Jesus on the cross. The second
<v Speaker 2>one is the American Jesus. It's Jesus with a shotgun, right,
<v Speaker 2>which and he points out a biblical verse. He's like,
<v Speaker 2>you know, Jesus says, go sell your cloak and buy
<v Speaker 2>a sword. Well that's what he does. He comes back
<v Speaker 2>with a sword.
<v Speaker 3>Interesting. Yeah, it's an interesting take. One other thing I
<v Speaker 3>was going to mention to you on RoboCop. The owners
<v Speaker 3>of the house in Dallas where Bob Morton is killed.
<v Speaker 3>They were thrilled that there was a movie that was
<v Speaker 3>going to happen inside their house, until they realized that
<v Speaker 3>it was hookers, cocaine and murder. They had reservations. They
<v Speaker 3>shot it anyway. Yeah, but I thought that was interesting.
<v Speaker 2>But they didn't actually blow up their house, No, they
<v Speaker 2>did not. They did blow up a lot of stuff
<v Speaker 2>though in this movie.
<v Speaker 3>They did that gas station.
<v Speaker 2>Yeah.
<v Speaker 3>Before we talk final judgment. There's one other thing I
<v Speaker 3>was going to mention. RoboCop has Robo Cup two, Robo
<v Speaker 3>Cup three. It had a cartoon series. It kind of
<v Speaker 3>got diluted after this R rated gore Fest. Predator has
<v Speaker 3>had Predator, Predator two, Predator Vusalien. All of these have
<v Speaker 3>got continually worse.
<v Speaker 2>Yeah, And we talked about Pray, We talked about Prey.
<v Speaker 2>It's one that's coming up. And there's been talk for
<v Speaker 2>a while about a Robocopp returns that disregards basically everything
<v Speaker 2>that happened after RoboCop one and treats it like that's
<v Speaker 2>the beginning point is the end of RoboCop one. They've
<v Speaker 2>gone through a couple of directors and it's kind of
<v Speaker 2>it seems to me it might be in development hell
<v Speaker 2>at this point, but I'm hopeful.
<v Speaker 3>Are we ready to get to the Choppa and do
<v Speaker 3>to Chop? Okay, everybody, We've got a very special Shirley showcase. Today.
<v Speaker 3>We're hearing from Jeff Johnson, one of the co hosts
<v Speaker 3>of the film By podcast, and he is going to
<v Speaker 3>talk about his thoughts on RoboCop versus Predator.
<v Speaker 5>Hello, Shirley fans, this is Jeff Johnson from a film
<v Speaker 5>By podcast, and I'm gonna have me some fun because
<v Speaker 5>today we are discussing two of my favorite movies from
<v Speaker 5>nineteen eighty seven, Predator and RoboCop. First, let's set the
<v Speaker 5>Chopper down in Central America, where Arnold Schwarzenegger is leading
<v Speaker 5>a powerhouse group of nineteen eighties muscle deep into the
<v Speaker 5>Jungles on a CIA sponsored rescue mission. After a quick
<v Speaker 5>firefight and some quality catchphrases, the real threat emerges when
<v Speaker 5>a seven foot highly skilled alien with an advanced weaponry
<v Speaker 5>begins hunting the team for sport. The final battle between
<v Speaker 5>Dutch and the Predator is an intense display of hand
<v Speaker 5>to hand combat, from the first punch throne to the
<v Speaker 5>explosive finale. Now back on the streets of old Detroit,
<v Speaker 5>the threat is no less dangerous, with the city's crime
<v Speaker 5>rate out of control and a police department on the
<v Speaker 5>brink of strike. Enter Alex Murphy on his first day,
<v Speaker 5>tragically and horrifically executed, only to be resurrected as OCP's RoboCop,
<v Speaker 5>the answer to cleaning up the streets. Scream Queen Nancy
<v Speaker 5>Allen proves she can pack a punch as she helps
<v Speaker 5>RoboCop take down everybody, from street level thugs to corporate scumbags.
<v Speaker 5>So what happens when these two Titans of nineteen eighty
<v Speaker 5>seven face off, Well, I think when the smoke clears,
<v Speaker 5>you'll see Arnold Schwarzenegger standing triumphantly, much the same.
<v Speaker 3>Way he did at the end of Predator.
<v Speaker 5>RoboCop is clever for its ability to create an immersive
<v Speaker 5>experience with the news breaking segments and the commercials, but
<v Speaker 5>it tends to lean a little too much on the
<v Speaker 5>hyperviolence to sell what should already be an incredible story,
<v Speaker 5>and that takes a little bit of fun out of it.
<v Speaker 5>And while it's fun to watch Arnold Schwarzenegger fight what
<v Speaker 5>he refers to as one ugly mother of an alien,
<v Speaker 5>the real fun is watching him stand shoulder to shoulder
<v Speaker 5>and fight alongside Hollywood tough guys like Bill Duke, Jesse,
<v Speaker 5>the Body, Ventura, Sunny Landam and Carl Weathers. It's like
<v Speaker 5>watching the nineteen eighty seven edition of The Expendables, and
<v Speaker 5>that's why it gets my pick. D Jason, I ain't
<v Speaker 5>got time to bleed, but I always got time for
<v Speaker 5>a Shirley Showcase. So thanks for listening and we'll talk
<v Speaker 5>again soon.
<v Speaker 3>I love it when you give Jeff an invitation like
<v Speaker 3>this because he really comes with the full one hundred
<v Speaker 3>mile an hour fastball. One of my favorite Shirley Showcases
<v Speaker 3>of all time is when Jeff did the Top Gun
<v Speaker 3>soundtrack Shirley Showcase. If you haven't heard that, go back
<v Speaker 3>and listen. Super funny, super clever, super insightful. And that's
<v Speaker 3>what you get over a film by podcast, Just great
<v Speaker 3>stuff from them. Jeff, thanks again, buddy, We will see
<v Speaker 3>you down the line. Jeff, thank you. For your cooperation.
<v Speaker 2>Okay, guys, time for final judgment. I'm gonna go ahead
<v Speaker 2>and serve it up to you, my friend. You get
<v Speaker 2>to go first.
<v Speaker 3>Your move, creep, my moove creep.
<v Speaker 2>Yeah.
<v Speaker 3>Okay. These movies are interesting because I did not see
<v Speaker 3>them either, one of these in the theater. Hmkay. These
<v Speaker 3>are HBO movies for me. Yeah, And I think at
<v Speaker 3>the time, I saw Predator first, and I saw RoboCop
<v Speaker 3>kind of in pieces. And when I saw RoboCop, I
<v Speaker 3>didn't understand the sat tire, I didn't understand the sort
<v Speaker 3>of over the top goofiness. I didn't like the TV show,
<v Speaker 3>but I did like the character a lot if I
<v Speaker 3>was a super iconic character. I think both movies have
<v Speaker 3>eighties iconic characters. For me, though, when I watch Predator,
<v Speaker 3>I think it's an interesting movie because I'm watching a
<v Speaker 3>special Forces movie that liides with aliens, and for me,
<v Speaker 3>that movie works better. I choose Predator, and I still
<v Speaker 3>love RoboCop, but for me, it's all the way Predator,
<v Speaker 3>no question, slam Dunk's bike football Predator. Okay, so how
<v Speaker 3>could you not vote for Arnold with his gigantic biceps
<v Speaker 3>In nineteen eighty seven you need to get to the job.
<v Speaker 3>Your move creep.
<v Speaker 2>Okay, so nostalgia is a big part of your opinion
<v Speaker 2>on this one. It is, there's no question about it.
<v Speaker 4>Right.
<v Speaker 2>So I will tell you that I saw RoboCop beginning
<v Speaker 2>to end back in the eighties. It took me a
<v Speaker 2>long time to see Predator. I think it was probably
<v Speaker 2>nineties or two thousands before I saw Predator the first time. Really, Okay,
<v Speaker 2>I rewatched it again. I had remembered the end wrong.
<v Speaker 2>I thought at the end that the Predator set off
<v Speaker 2>his little self destruct thing and it killed Dutch, and
<v Speaker 2>I thought, wow, yeah, So upon the rewatching, let me
<v Speaker 2>just say, neither one of these movies is perfect, right,
<v Speaker 2>They're both awesome. They're both there haulking testa steroni shooting guns. Yes,
<v Speaker 2>awesome for sure, but they've also got problems. They've both
<v Speaker 2>got problems.
<v Speaker 3>Okay.
<v Speaker 2>When it was, when it was I was watching Predator
<v Speaker 2>and Caleb was marveling at all of the explosions. I
<v Speaker 2>was chuckling to myself. I'm just like, this is just absurd.
<v Speaker 2>How many bullets and bombs are going off.
<v Speaker 3>Right now, kidding me? Compared to RoboCop.
<v Speaker 2>Right, And so then I rewatched RoboCop. I'm like, Okay,
<v Speaker 2>there's a lot of big explosions, a lot of bullets
<v Speaker 2>in this one, too, right, But for me, again, it's
<v Speaker 2>just like you, it's the nostalgia thing, except that my
<v Speaker 2>nostalgia is with robo Cop. I kind of I like
<v Speaker 2>the storyline better with RoboCop, probably largely influenced by that.
<v Speaker 2>I saw it back then and loved it back then,
<v Speaker 2>but I just felt like there was more of a story.
<v Speaker 2>There was more going on with Murphy and his remembering
<v Speaker 2>and what it means to be a man versus being
<v Speaker 2>a robot, and then the surprise that the leader of
<v Speaker 2>the corporation is the guy who's behind the bad guys.
<v Speaker 2>I just it was to me always a much more
<v Speaker 2>impactful movie. Plus the special effects just freaking awesome. So
<v Speaker 2>I gotta Gorobo cop Man. Sorry, Spiking Football, it's rebo
<v Speaker 2>cop all away from me. Thank you for your cooperation.
<v Speaker 3>Okay, interesting, So I'm Predator, you're robo cop. We want
<v Speaker 3>to hear from you, guys, which one do you choose?
<v Speaker 3>Somebody's got to be the robber match here because we're tied.
<v Speaker 2>Yeah, get we gotta get a tiebreaker. So you guys,
<v Speaker 2>tell us what you think. Guys, be sure and if
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<v Speaker 2>So guys, be sure to hit that follow button, hit
<v Speaker 2>that subscribe button on whatever your podcast app is. Because
<v Speaker 2>next week we are bringing you to Monumental Failures from
<v Speaker 2>nineteen eighty seven. We're going to have Superman for the
<v Speaker 2>Quest Piece versus Jaws four Jaws the Revenge, trying to
<v Speaker 2>determine not which one is the best, but which one.
<v Speaker 3>Is the worst. It's gonna be tough.
<v Speaker 2>It is a tough It is a tough choice on
<v Speaker 2>which one of those thinkers thinks more.
<v Speaker 3>We are also inviting our good buddies Jeff and Brad
<v Speaker 3>from the Film By podcast to help us break down
<v Speaker 3>and dissect these two atrocities.
<v Speaker 2>Yeah, be sure and tune in for that.
<v Speaker 4>Excuse me, I have to go somewhere.
<v Speaker 2>There is a crime happening