66 Facts About RoboCop

RoboCop is a 1987 American science fiction action film directed by Paul Verhoeven, with a screenplay by Edward Neumeier and Michael Miner.

Unaware of his former life, RoboCop executes a brutal campaign against crime while coming to terms with the lingering fragments of his humanity.

RoboCop was a financial success upon its release in July 1987, earning $53.

RoboCop is programmed with three prime directives: serve the public trust, protect the innocent, and uphold the law.

RoboCop is assigned to Metro West and hailed by the media for his brutally efficient campaign against crime.

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RoboCop then uses the police database to identify Emil's associates and review Murphy's police record.

RoboCop recalls further memories while exploring Murphy's former home, his wife and son having moved away following his death.

Lewis helps RoboCop escape to an abandoned steel mill to repair himself.

RoboCop confronts Jones at OCP Tower during a board meeting, revealing the truth behind Morton's murder.

RoboCop was conceived in the early 1980s by Universal Pictures junior story executive and aspiring screenwriter Edward Neumeier.

RoboCop's work there gave him the idea for RoboCop; he said, "I had this vision of a far-distant, Blade Runner–type world where there was an all-mechanical cop coming to a sense of real human intelligence".

RoboCop spent the next few nights writing a 40-page outline.

RoboCop believed that Detroit's declining automobile industry was due to increased bureaucracy.

RoboCop showed Neumeier and Miner films—including Madigan, Dirty Harry, and Mad Max 2 —to demonstrate the tone he wanted.

The scene that gained his attention was RoboCop returning to Murphy's abandoned home and experiencing lingering memories of his former life.

RoboCop was known mainly for television work and had not experienced film success.

RoboCop's costume was not finished until some time into filming.

RoboCop struggled to see through the thin helmet visor and interact or grab objects while wearing the gloves.

RoboCop was influenced by Piet Mondrian's art that featured stark black lines separating colored squares.

RoboCop initially received the restrictive X rating, meaning the film could be seen only by those over 17.

RoboCop remarked that his young children laughed at the X-rated cut, and audiences laughed less at the R-rated version.

RoboCop likened the brutality of Murphy's death to the crucifixion of Jesus, which was an efficient way to gain sympathy for Murphy.

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 out of censorship concerns.

RoboCop researched the Star Wars character C-3PO, looking at its stiff costume, which made movement difficult.

RoboCop developed around 50 different designs based on feedback from Verhoeven, who pushed for a more machine-like character, finally landing on a sleek aesthetic inspired by the work of Japanese illustrator Hajime Sorayama.

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Scope of the RoboCop costume was unprecedented, and both design and construction exceeded cost and schedule.

RoboCop's gun, the Auto-9, is a Beretta 93R with an extended barrel and larger grip.

RoboCop approached the design with modern American aesthetics and corporate design policy that he believed prioritized looks over functionality, including excessive and impractical components.

RoboCop did not add eyes, opining that they would make ED-209 more sympathetic.

RoboCop recounted having to crawl out from a 5-story high ledge to get the right shot of the Plaza of the Americas.

The burnished steel RoboCop logo was developed using special photographic effects that supervisor Peter Kuran based on a black-and-white sketch from Orion.

RoboCop's vision was created using hundreds of ink lines on acetate composited over existing footage.

Models and actors in fiberglass RoboCop costumes made appearances in cities throughout North America.

RoboCop retained the number-one position in its second weekend with an additional gross of $6.

RoboCop never regained the number one spot but remained in the top ten for six weeks in total.

RoboCop was one of the summer's surprise successes and contributed to Orion's improving fortunes.

RoboCop built a distinct, futuristic vision for Detroit, wrote two reviewers, as Blade Runner had done for Los Angeles.

RoboCop won the Special Achievement for Best Sound Editing at the 60th Academy Awards.

At the 42nd British Academy Film Awards, RoboCop received two nominations: Best Makeup and Hair for Carla Palmer ; and Best Special Visual Effects for Bottin, Tippett, Kuran, and Gioffre .

RoboCop was released in S-VHS in 1988, one of the earliest films to adopt the format.

RoboCop was considered easier to merchandise than other R-rated films.

Since its release, RoboCop has continued to be merchandised, with collectible action figures, clothing, and crockery.

Story of RoboCop has been continued in comics, initially by Marvel Comics.

Miner said that out-of-control crime was a particularly Republican or right-wing fear, but RoboCop puts the blame for drugs and crime on advancing technology and the privatization of public services, such as hospitals, prisons and the police.

RoboCop focused on OCP's claim that it has private ownership over RoboCop, despite making use of Murphy's corpse.

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The police are deliberately underfunded and the creation of RoboCop is done with the aim of supplanting the police with a more efficient force.

Susan Jeffords considers RoboCop to be among the many "hard body" films of the decade that portray perfect, strong, masculine physiques who must protect the "soft bodies": the ineffectual and the weak.

RoboCop portrays strength by eliminating crime and redeeming the city through violence.

In contrast, Brooks Landon argues that Murphy is dead and, while he recalls memories of Murphy's life, RoboCop is not and can never be Murphy and regain enough of his humanity to rejoin his family.

Dale Bradley posits that RoboCop is a machine who mistakenly thinks it is Murphy because of its composite parts and only believes it has a human spirit within.

An alternative view is that RoboCop's personality is a new construct informed partially by fragments of Murphy's own personality.

Murphy's death is prolonged and violent so that the audience can see RoboCop as imbued with the humanity taken from him by the inhumane actions of Boddicker's gang and OCP.

RoboCop was affected by his childhood experiences during World War II and the inhuman actions he witnessed.

RoboCop believed the concept of the immaculate hero died following the war and subsequent heroes had a dark side that they had to overcome.

RoboCop incorporated Christian mythology into the film: Murphy's brutal death is referred to as the crucifixion of Jesus before his resurrection as RoboCop, an American Jesus who walks on water at the steel mill and wields a handgun.

The scene of RoboCop returning to Murphy's home is described as like finding the Garden of Eden or a paradise.

Paul Sammon described the scene of RoboCop shooting bottles of baby food as a symbol of the relationship he and Lewis can never have.

RoboCop is considered a groundbreaking entry in the science fiction genre.

RoboCop has stated that many robotics labs use a "Robo-" prefix for projects in reference to the film, and he was hired as a United States Air Force consultant for futuristic concepts directly because of his involvement in RoboCop.

RoboCop worked with Neumeier on the science fiction film Starship Troopers .

In 2020, The Guardians Scott Tobias wrote that with hindsight RoboCop formed the beginning of Verhoeven's unofficial science fiction action film trilogy about authoritarian governance, followed by Total Recall and Starship Troopers.

Previously typecast as moral characters, Cox credited RoboCop with changing his image and—along with the Beverly Hills Cop films—boosting his film career to make him one of the decade's most iconic villains.

RoboCop appears as a playable character in the fighting game Mortal Kombat 11 .

RoboCop has been named one of the best science-fiction and action films of all time, and among the best films of the 1980s.

Filmmakers have spoken of their appreciation for RoboCop or cited it as an inspiration in their own careers, including Anna Boden and Ryan Fleck, Neill Blomkamp, Leigh Whannell, as well as Ken Russell, who called it the best science fiction film since Fritz Lang's Metropolis .

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RoboCop 3, directed by Fred Dekker, was targeted mainly at younger audiences, who were driving merchandise sales.