Editing RoboCop (section)

=== {{anchor|Post production}}Post-production ===
{{Main|RoboCop (soundtrack)}}
{{anchor|score1987}}
{{Listen
| filename    = Robocop theme - Basil Poledouris.ogg
| title       = "Rock Shop" by Basil Poledouris
| description = The main theme of ''RoboCop'' by [[Basil Poledouris]]. Performed by the [[Sinfonia of London]], the score combines orchestral music with synthesizers.}}
An additional $600,000 budget increase was approved by Orion for post-production and the music score, raising the budget to $13.7{{nbsp}}million.{{efn|Attributed to multiple references:<ref name="UproxxRetro"/>{{sfn|Goldberg|1988|p=25}}<ref name="afi"/><ref name="LATimesVerhnMakesGood"/>}}{{efn-lr|The 1987 budget of $13.7{{nbsp}}million is equivalent to ${{Format price|{{Inflation|US|13700000|1987}}}} in {{Inflation/year|US}}.}}

[[Frank J. Urioste]] was the film's editor.<ref name="IndieWire10Things"/> Several [[Pick-up (filmmaking)|pick-up]] shots were filmed during this phase, including Murphy's death, RoboCop removing his helmet, and shots of his leg holster.{{sfn|Sammon|1987|pp=23,38}} After the OCP boardroom scene in which RoboCop calls himself Murphy, another scene revealed that Lewis was alive in a hospital before showing RoboCop on patrol. The latter scene was thought to lessen the former's triumphant feeling, and was removed.{{sfn|Warren|1987|p=72}}{{sfn|Sammon|1987|p=41}} Verhoeven wanted the in-film Media Breaks to abruptly interrupt the narrative and unsettle the viewer. He was influenced by [[Piet Mondrian]]'s art, which featured stark black lines separating colored squares.<ref name="EsquireOral"/> Peter Conn directed many of the Media Breaks, but "TJ Lazer" was directed by Neumeier.{{sfn|Sammon|1987|pp=8–9, 24}}

''RoboCop''{{'}}s violent content made it difficult to receive an [[Motion Picture Association film rating system#MPA film ratings|R rating]] from the [[Motion Picture Association|Motion Picture Association of America]] (MPAA), which restricted the film to viewers over 17 unless accompanied by an adult. It initially received the more-restrictive [[X rating]], limiting the film to those over 17.<ref name="EsquireOral"/><ref name="IndieWireCast"/><ref name="LATimesRating"/> Although some reports suggest it was refused an R-rating eleven times, Verhoeven said that the number was actually eight.<ref name="EsquireOral"/><ref name="IndieWireCast"/> The MPAA took issue with several scenes, including Murphy's death and ED-209 shooting an executive.<ref name="LATimesVerhnMakesGood"/><ref name="IndieWire10Things"/> The violent scenes were shortened and Media Breaks were added to help lighten the mood; Verhoeven recalled that one reviewer was confused by their jarring appearance in the film, and complained that the projectionist had used the wrong [[film reel]].<ref name="EsquireOral"/><ref name="IndieWireCast"/>

The MPAA also objected to a scene of a mutated Emil being disintegrated by Boddicker's car, but Verhoeven, Davison and Orion refused to remove it because it consistently received the biggest laughs during test screenings.<ref name="UproxxRetro"/>{{sfn|Warren|1987|p=20}} Verhoeven made the violence comical and surreal, and believed that the cuts made the scenes appear more (not less) violent.<ref name="EsquireOral"/><ref name="IndieWireCast"/> He said that his young children laughed at the X-rated cut, and audiences laughed less at the R-rated version.<ref name="EsquireOral"/><ref name="LATimesVerhnMakesGood"/> According to Verhoeven, people "love seeing violence and horrible things".<ref name="LATimesVerhnMakesGood"/> The film is 103 minutes long.<ref name="BBFCRuntime"/>

[[Basil Poledouris]] composed the [[film score]] after working with Verhoeven on ''Flesh + Blood''.<ref name="DOGWhereareThey"/> The score combines synthesizers and orchestral music, reflecting RoboCop's [[cyborg]] nature. The music was performed by the [[Sinfonia of London]].<ref name="FilmTracks"/><ref name="Sinfonia"/>