Editing RoboCop (section)

==Special effects and design==

===Special effects===
[[File:RoboCop 1987 Melting Man.jpg|thumb|left|alt=A behind-the-scenes photograph of actor Paul McCrane in a prosthetic costume depicting melting skin|Actor [[Paul McCrane]] as Emil Antonowsky. McCrane wore a prosthesis over his upper body to give the appearance of his skin melting. His death was the highest-rated scene by test audiences.{{sfn|Warren|1987|p=20}}]]

The special-effects team, led by [[Rob Bottin]], included [[Phil Tippett]], [[Stephan Dupuis]], Bart Mixon and [[Craig Hayes|Craig Davies]].{{efn|Attributed to multiple references:<ref name="UproxxRetro"/>{{sfn|Niderost|1987a|p=61}}{{sfn|Sammon|1987|pp=12, 15}}{{sfn|Niderost|1987c|pp=46, 48}}}} The effects were very violent because Verhoeven believed that that made scenes funnier.<ref name="EsquireOral"/><ref name="IndieWireCast"/> He compared the brutality of Murphy's death to the [[crucifixion of Jesus]], an effective way to evoke sympathy for the character.<ref name="EsquireOral"/><ref name="IndieWire10Things"/>{{sfn|Warren|1987|p=20}} The scene was filmed at an abandoned auto-assembly plant in [[Long Beach, California]], on a raised stage that allowed operators to control the effects from below.{{sfn|Sammon|1987|p=23}} To show Murphy being dismantled by gunfire, prosthetic arms were cast in [[alginate]] and filled with [[Pipe (fluid conveyance)|tubing]] that could pump artificial blood and compressed air. Weller's left hand, attached to his shoulders by [[Hook-and-loop fastener|velcro]] and controlled by three operators, was designed to explode in a controllable way so it could be easily put back together for repeat shots.{{sfn|Sammon|1987|p=23}} The right arm was jerked away from Weller's body by a [[Monofilament fishing line|monofilament wire]].<ref name="ViceNeumeier"/>{{sfn|Sammon|1987|p=23}} A detailed, articulated replica of Weller's upper body was used to depict Boddicker shooting Murphy through the head.{{sfn|Warren|1987|p=20}}{{sfn|Sammon|1987|p=23}}{{sfn|Niderost|1987|p=23}} A mold was made of Weller's face using foam [[latex]] that was baked to make it rubbery and flesh-like, and placed over a fiberglass skull containing a [[bullet hit squib|blood squib]] and explosive charge. The articulated head was controlled by four puppeteers, and had details of sweat and blood. A fan motor attached to the body made it vibrate, as if shaking in fear. The charge in the skull was connected to the trigger of Smith's gun by wire to synchronize the effect.{{sfn|Sammon|1987|pp=23–24}}

Emil's melting condition was inspired by the 1977 science-fiction film ''[[The Incredible Melting Man]]''.<ref name="EmilGamesRadar"/> Bottin designed and constructed Emil's prosthetics, creating a foam-latex headpiece and matching gloves that gave the appearance of Emil's skin melting "off his bones like marshmallow sauce".<ref name="EmilGamesRadar"/>{{sfn|Sammon|1987|p=39}} A second piece, depicting further degradation, was applied over the first. Dupuis painted each piece differently to emphasize Emil's advancing degradation. The prosthetics were applied to an articulated dummy to show Emil being struck by Boddicker's car. The head was loosened so it would fly off; by chance, it rolled onto the car's hood. The effect was completed with Emil's liquified body (raw chicken, soup, and gravy) washing over the windscreen.{{sfn|Sammon|1987|p=39}} The same dummy stands in for RoboCop when he is crushed by steel beams (painted wood).{{sfn|Sammon|1987|p=39}} Verhoeven wanted RoboCop to kill Boddicker by stabbing him in the eye, but it was believed the effort to create the effect would be wasted due to censorship concerns.{{sfn|Sammon|1987|p=40}}

Dick Jones's fatal fall is shown by a stop-motion puppet of Cox, animated by Rocco Gioffre. The limited development time forced Gioffre to use a foam-rubber puppet with an aluminum skeleton instead of a better-quality, articulated version. It was composited against Mark Sullivan's matte painting of the street below.{{sfn|Sammon|1987|p=40}}{{sfn|Bates|1987a|p=23}} ED-209's murder of OCP executive Mr. Kinney was filmed over three days. Kevin Page's body was covered with 200 squibs, but Verhoeven was unhappy with the result and brought him back months later to re-shoot it in a studio-built recreation of the board room. Page was again covered in over 200 squibs and plastic bags filled with [[spaghetti squash]] and fake blood. Page described intense pain as each squib detonation felt like a punch.<ref name="THRPage"/> In the cocaine-warehouse scene, Boddicker's stuntman was thrown through glass panes rigged with detonating cord to shatter microseconds before he hit.{{sfn|Sammon|1987|p=32}} Gelatin capsules filled with [[sawdust]] and a sparkling compound were fired from an air gun at RoboCop to create the effect of ricocheting bullets.{{sfn|Sammon|1987|pp=31–32}}

===RoboCop===
{{main|RoboCop (character)}}
Bottin was tasked with designing the RoboCop costume.<ref name="EsquireOral"/><ref name="UproxxRetro"/>{{sfn|Niderost|1987|pp=20–21}} He researched the ''Star Wars'' character [[C-3PO]] and its stiff costume, which made movement difficult.{{sfn|Niderost|1987|pp=20–21}} Bottin was also influenced by robot designs in ''[[Metropolis (1927 film)|Metropolis]]'' (1927), ''[[The Day the Earth Stood Still]]'' (1951),{{sfn|Sammon|1987|p=7}}<ref name="IndieWire10Things"/> and several comic-book superheroes.{{sfn|Bates|1987b|p=19}}{{sfn|Niderost|1987|p=22}} He developed about 50 designs based on feedback from Verhoeven (who pushed for a more machine-like character),{{sfn|Bates|1987b|p=19}}{{sfn|Niderost|1987|pp=21–22}} before settling on a sleek aesthetic inspired by the work of Japanese illustrator [[Hajime Sorayama]].{{sfn|Volk-Weiss|2021|loc=28:00}} Verhoeven admitted his unrealistic expectations after reading Japanese science-fiction [[manga]]; it took him a while to realize it, which contributed to the costume delay.<ref name="EsquireOral"/>

The scope of the RoboCop costume was unprecedented, with its design and construction exceeding cost and schedule.{{sfn|Warren|1987|p=19}}<ref name="DallasObserverVerhoeven"/>{{sfn|Niderost|1987|p=23}} The costume took six months to build with flexible foam latex, semi-and completely-rigid [[polyurethane]], and a fiberglass helmet.{{sfn|Warren|1987|p=19}}{{sfn|Bates|1987b|p=19}}{{sfn|Niderost|1987|pp=22–23}} Moving sections were joined with aluminum and ball bearings.{{sfn|Niderost|1987|pp=22–23}} The costume is supported by an internal harness of hooks, allowing for sustained movement during action scenes.{{sfn|Niderost|1987|p=23}} Seven costumes were made, including a fireproof version and costumes depicting sustained damage.{{sfn|Sammon|1987|p=27}} Reports on their weight vary from {{cvt|25|to|80|lb}}.{{efn|Attributed to multiple references:{{sfn|Warren|1987|p=19}}<ref name="DOGDiminishing"/>{{sfn|Bates|1987a|p=18}}{{sfn|Sammon|1987|p=26}}}} RoboCop's gun, the Auto-9, is a [[Beretta 93R]] with an extended barrel and larger grip. It was modified to fire [[Blank (cartridge)|blank bullets]], and vents were cut into the side to allow for multi-directional muzzle flashes with every three-shot burst.{{sfn|Sammon|1987|pp=19, 27}}

===ED-209===
{{main|ED-209}}
To budget for ED-209's development, Tippett developed preliminary sketches and hired Davies to design the full-scale model which was constructed with the help of Paula Lucchesi.{{sfn|Sammon|1987|pp=12, 15}} Verhoeven wanted ED-209 to look mean, and thought that Davies' early designs lacked a "killer" aesthetic. Davies was influenced by [[killer whale]]s and a [[United States Air Force]] [[LTV A-7 Corsair II]]. He approached the design with modern American aesthetics and a corporate-design policy that he believed prioritized looks over functionality, including excessive and impractical components. He did not add eyes, thinking that they would make ED-209 more sympathetic.{{sfn|Sammon|1987|p=15}} The fully-articulated fiberglass model took four months to build, cost $25,000, stood {{convert|7|ft}} tall, and weighed {{cvt|300|to|500|lb}}.{{sfn|Sammon|1987|pp=15–16}}{{sfn|Bates|1987a|p=24}}{{sfn|Bates|1987c|p=25}} The 100-hour work weeks took their toll and Davies minimized the detail of ED-209's feet, since he did not think they would be shown.{{sfn|Sammon|1987|p=16}} The model was later used on promotional tours.{{sfn|Bates|1987a|p=24}}{{sfn|Bates|1987c|p=25}}{{sfn|Sammon|1987|pp=16, 40}}

Davies spent another four months building two {{convert|12|in|cm|adj=on}} miniature replicas for [[stop motion]] animation.{{sfn|Sammon|1987|pp=16, 19}} The two small models allowed scenes to be animated and filmed more efficiently, which saved time in completing the 55 shots needed in three months.{{sfn|Sammon|1987|pp=16, 19}} Tippett was the lead ED-209 animator, assisted by [[Randal M. Dutra]] and Harry Walton.<ref name="UproxxRetro"/>{{sfn|Bates|1987c|p=25}}{{sfn|Sammon|1987|pp=19–20}} Tippett conceived ED-209's movement as "unanimal"-like, as if it were about to fall over before catching itself.{{sfn|Bates|1987c|p=25}} To complete the character, the droid was given the roar of a [[leopard]]. Davison provided a temporary voiceover for ED-209's speaking voice, which was retained in the film.{{sfn|Sammon|1987|p=20}}

==={{anchor|Other effects and design}}Other effects and designs===
''RoboCop'' contains seven matte effects, mainly painted by Gioffre. Each matte was painted on [[masonite]]. Gioffre supervised on-site filming to [[Masking (art)|mask]] the camera where the matte is inserted, and remembered having to crawl out from a five-story-high ledge to get the right shot of the Plaza of the Americas.{{sfn|Sammon|1987|p=11}} The burnished steel RoboCop logo was developed using photographic effects that supervisor Peter Kuran based on a black-and-white sketch from Orion. Kuran created a scaled-up matte version and [[Backlighting (lighting design)|backlit]] it. A second pass was made with a sheet of aluminum behind it to create reflective detail.{{sfn|Sammon|1987|p=8}} RoboCop's vision was created with hundreds of ink lines on [[acetate]] composited over existing footage. Several attempts had to be made to get the line thickness right; at first, the lines were too thick or too thin.{{sfn|Sammon|1987|p=24}} Assuming that [[Infrared photography|thermographic photography]] would be expensive, Kuran replicated thermal vision using actors in body stockings painted with thermal colors and filmed the scene with a [[polarizer|polarized lens filter]].{{sfn|Sammon|1987|p=28}} RoboCop's mechanical recharging chair was designed by [[John Zabrucky]].<ref name="Chair"/> The OCP boardroom model of Delta City was made under the supervision of art director Gayle Simon.{{sfn|Sammon|1987|p=12}}

The film's police cars are 1986 [[Ford Taurus (first generation)|Ford Taurus]] models painted black.<ref name="LAtimesDesign"/> The Taurus was chosen because of its futuristic, aerodynamic styling for the vehicle's first production year. The car was intended to feature a customized interior that would show graphical displays of mug shots, fingerprints, and other related information, but the concept was considered too ambitious.<ref name="UproxxRetro"/>{{sfn|Sammon|1987|p=8}} The 6000 SUX driven by Boddicker and others was an [[Oldsmobile Cutlass Supreme]], modified by [[Gene Winfield]] and based on a design by [[Chip Foose]]. Two working cars were made with a third, non-functional one that was used when the vehicle exploded.{{sfn|Sammon|1987|pp=35–36}} The 6000 SUX commercial features a [[plasticine]] dinosaur animated by Don Waller and [[Blocking (stage)|blocked]] by [[The Chiodo Brothers|Steve Chiodo]].{{sfn|Sammon|1987|pp=35–36}}