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ROBOCOP 1 - CAST AND CREW QUOTES
Comments and quotes about RoboCop1 by cast and crew. The quotes are taken from various sources such as DVD commentarys and magazines.
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PETER WELLER
"When i was making it, I knew it was going to be a great thing, but you never know whether they are going to be successful or not. I knew we were making a fantastic social allegory, and, I don't want to sound pretentious, a spiritual one as well."
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PAUL VERHOEVEN
"The Bixby Snider set was shot one or two days before we started the real shooting of the movie, and was supposed to be funny but not really funny, so i shot it that way. I remember Nancy Allen coming to the set . She just came from New York or wherever she came from, she was visiting the Bixby Snider set and she was completely depressed because she saw these scenes, me directing these scenes, and she thought: God, what kind of movie is this? Im completely fucked, this director doing this completely silly, non comic stuff and thinking it is funny."
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PETER WELLER
"I had to walk down stairs into a disco through smoke and 80 extras, descending at a 45-degree angle with two inches of vision through the helmet! It was the hardest thing I ever did!"
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FRANK MILLER
"I didn't see it when it came out. I figured a movie with the title ROBOCOP had to be really dumb.
But my friends urged me again and again to see it. I rented the videotape and loved it.
I found myself laughing again at some of the gags the next day. I really enjoyed the nice balance of Frankensteinian angst and the unintentional humor - intentional from the writers' point of view, but not from the characters. I enjoyed the hell out of it."
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KURTWOOD SMITH
"I was really happy to do that part. They didn’t pay me, it was like TV money. But I didn’t care cause it was a fun part. I could tell while we were doing it and by watching the dailies that it was going to be a good action film, was pretty sure it would be a successful film, but I didn’t really know how interesting a movie it was because I didn’t see the other parts being shot. I didn’t realize the sense of humor of the film until it was all put together. And also a lot of the stuff Peter did made it deeper film then the comic book that it read as."
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PETER WELLER
"Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It’s like Beauty and the Beast, or the Tin Man of The Wizard of Oz. It’s a great little jewel of a human story."
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ROB BOTTIN
"Originally I hadn't been real keen on doing RoboCop, because frankly the title put me off. But once I read the script I was hooked. So I decided to do a little research on the history of robot movies, and one of the first things I noticed was that in no past movie I had seen had the robot actually participated in the mayhem - mostly it was like C-3PO where all this action is going on around him. And let's face it, almost all movie robots have been stiff, jerky things. So by this time I was starting to worry. 'Uh-oh, there must be a reason for all this!' But I rolled up my sleeves anyway and went to it. "
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MICHAEL MINER
"We were writing RoboCop when Terminator was being completed. And we waited until the RoboCop script was finished before we saw the Terminator film.
I guess they could both be called postmodern robot films in the sence that the humour is very dark. I think that the Cameron film is much more a horror film than RoboCop, wich to me is social satire with some very real emotions in it"
BASIL POLEDOURIS
"Paul Verhoeven and I spent about three agonizing weeks exploring whether ROBOCOP should be extremely contemporary, as in rock rhythm tracks and lead instruments, or be orchestral. The studio thought that the film's audience would be young and that this particular audience wouldn't be interested in the movie unless it contained music that spoke to them. Kind of an insult to the young movie goer, but that's the way people in marketing tend to think. As artists, Paul and I were a bit confused also since either approach would be valid. In the end it seemed perfect to join the two styles in order to represent the half-human, half-machine idea of ROBOCOP himself and we ended with a fusion between fairly outrageous synthesizers, by Derek Austin in London, and a sort of punk approach with the orchestra."
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