Last time I took a look at an individual shot in Paul Verhoeven's sci-fi masterpiece Robocop. This time I'm going to look at a longer sequence, and examine it more or less shot by shot. I haven't tracked every single cut -- sometimes there are shot/reverse-shot setups that move the story forward with dialogue but don't give us any new visual information, and I've glossed over a few of these. I think I've caught all the distinct camera setups, however.
The most important principle demonstrated in this sequence is the idea of a delayed reveal. Director Paul Verhoeven and writers Ed Neumeier and Michael Miner already took their sweet time setting up the character of Robocop. Having spent over 20 minutes of screen time establishing the story, painting the movie's world, and putting into place the various events that will lead to Robocop's creation, they are now almost absurdly coy when it comes to actually showing us the guy. (Slightly ironic, perhaps, when we consider that he's already been plastered all over the movie posters.) They pull out every trick in the book -- relegating the audience to inhabiting the POVs of minor characters, using overt visual masking to obscure Robocop and tease us -- in order to hype up the importance of Robocop's arrival as an event. All of this has the effect of making us more excited: the more we can't see something, of course, the more we want to. Grasping this basic psychological premise is of enormous value for filmmakers, but few seem to understand it as completely as Verhoeven does here. Credit for this sequence must also go, of course, to cinematographer Jost Vacano, editor Frank Urioste, and all the other cast and crew members.
Note: There are spoilers a-plenty below, so be warned.
1. Sequence begins with Bob Morton (Miguel Ferrer) and Johnson (Felton Perry) entering the precinct and getting accosted by the protective Sgt. Reed (Robert DoQui), who wants to know what's going on.
2. Summoning his best "yuppie scum" attitude, Morton snottily tells Reed that this is official OCP business, and therefore above Reed's pay grade.
3. Reed's objections are cut short by something that catches his eye offscreen. What's impossible to convey here are the sound effects that accompany this scene; the heavy robotic stomping of Robocop's footsteps is just one example of the fine sound design at work in the film as a whole.
4. This is the first real glimpse of Robocop in the film. Verhoeven employes a masking technique -- shooting through frosted glass -- meant to obscure the object of the shot and further heighten our anticipation. Robocop's appearance will be obscured in various other ways as the sequence continues; it's really just one extended tease.
5. As Reed reacts to what he's seeing, other cops enter frame behind him. Throughout the sequence there will be many reaction shots of normal cops offering, verbally or nonverbally, some variation on the theme of "who the hell is this guy?" This is another way the script heightens the impact of Robocop -- by multiplying the number of minor characters who are fascinated, threatened, and scared by him.
6. The cops' POV shot reveals only a brief glimpse of Robocop -- seen tantalizingly from behind -- as he's ushered through another door and surrounded protectively by OCP officials.
7. Now a small sequence begins of the cops running after Robocop to learn more about him. By grounding the sequence in the cops' POV at this point, Verhoeven continues to draw out the suspense in a teasing way: he's putting us in the same boat as these uninformed, everyday cops who don't have access to the information they want. Even though we paid for a ticket to see a movie about Robocop, Verhoeven's telling us: "Not yet."
8. Sequence continues, tracking in front of the cops as they run. Camera is handheld here, adding to a sense of chaos and mounting excitement.
9. Reverse angle of the cops, now seen from behind as they continue to run.
10. From over the cops' shoulders, we see another tantalizing glimpse of Robocop -- still from behind, and now separated from us by a chicken-wire fence. This is the second masking device Verhoeven has used. We're still stuck outside with the cops and he's still telling us, visually: "Get back. You're not wanted here. You're glimpsing something you're not supposed to be seeing."
11. Corresponding reverse angle on the cops through the fence, looking at Robocop with palpable curiosity. Our own emotional response, as audience members, is cueing off the expressions on the cops' faces.
12. We get another glimpse of Robocop -- the most complete one yet -- just as the OCP scientist frustratingly slides the fence door closed.
13. Shot continues to track around the outside of the fence enclosure. Robocop continues to be glimpsed darkly -- not only obscured by the fence, but also by the constant presence of scientists, handlers, and hangers-on, crowding around him like so many worker bees.
14. Camera continues to track as Bob Morton asks the scientists questions about Robocop's capabilities. The dialogue in this sequence constitutes a major Exposition Dump -- screenwriter Ed Neumeir is planting a lot of key information that will pay off later on in the storyline. But the exposition goes down easy and is almost unnoticed because of the headlong velocity of the scene's pacing.
15. As Morton and a scientist discuss the tracking device that will allow them to follow Robocop's activities, Verhoeven cuts in a brief insert close-up of the device. I've always found this shot slightly jarring because it breaks the visual consistency of the fence in the foreground of the master shot. Were I directing the sequence, I might have tried to find a way to keep the fence, blurrily, in foreground here. But Verhoeven may have decided that such an approach would obscure the visual of the tracking device's screen. In any case, it's wise to highlight this device with a closeup, because it will pay off importantly later on, when Clarence Boddicker's gang uses the tracker to locate Robocop for the climactic battle.
16. We return to the master shot as Morton examines the tracking device.
17. The expository dialogue continues, as Morton asks what Robocop eats, and the scientist leads him to a food dispenser.
18. We get another insert closeup, this time of the "rudimentary paste" being dispensed into a paper cup.
19. Back to master shot; Morton and Johnson move into a close 2-shot as Johnson tries the paste and says it "tastes like baby food." Mainly meant for comic relief, this moment has a minor "plant and payoff" quality, as it sets up a later gag in which Robocop's former partner Lewis (Nancy Allen) brings him some Gerber's baby food to eat.
20. We now, finally, are given permanent access inside the wire fence, but Verhoeven still isn't giving us a fully unobstructed view of Robocop! Instead of using intervening objects to obscure him, Verhoeven now relies on the camera angle itself: an extreme low angle looking up from the floor at the seated Robocop, whose form is consequently distorted.
21. We now go into a video-rasterized view of Robocop's subjective POV -- a perspective originally established in the earlier sequence in which Robocop's assembly in the OCP offices was seen over a series of weeks through his eyes. The OCP technician -- recognizable by her comically oversized glasses props, and seen to have planted a big lipsticky kiss on Robocop's visor at the office Christmas party -- holds up a pen to test his tracking. On a screenwriting level, this is another example of the scene being used to establish Robocop's "powers" -- to give us a sense of what, largely, he's capable of. And it turns out he's a crack shot.
22. This is the corresponding reverse shot of Robocop tracking the pen. Kudos to Peter Weller for the robotic body language he employs on his head movements here, but I feel the shot gives away a bit too much of Robocop's unobscured form, and slightly violates the overall spirit of the sequence. Still, I suppose you can't keep teasing forever. Incidentally, Robocop's docile behavior throughout this sequence creates an ironic contrast: he's the biggest, baddest character in the room, but he's also a newborn, with body language to match. Not till the next sequence will we see him actually behaving like a hero -- and a naive one, at that. The nascent quality of his personality in these early scenes constitutes the starting point of a character arc that will conclude with his triumphant re-acquisition of his human identity in the final scene, when he famously tells the Old Man his name is "Murphy."
23. Back in Robocop's subjective POV as he analyzes the voice stress of the OCP technicians, and records and plays back what they're saying. Another seemingly-inconsequential "plant" that will have important ramifications later: Robocop's ability to record everything he sees becomes essential to the downfall of evil OCP executive Dick Jones (Ronny Cox).
24. Back to the low angle on the chair as the technicians continue talking and being recorded.
25. Now here's one of the most important, and beautiful, shots in the film. Bob Morton strides into the subjective POV and says "clear out" -- erasing all the playback/recording chaos that had been clogging Robo's poor little circuit boards. In a moment that manages simultaneously to reference Mary Shelley's Frankenstein, Isaac Asimov's "I, Robot," and the Biblical book of Exodus, Morton leans his arms on the chair, stares directly into Robocop's eyes, and asks him to recite his prime directives. It's as if Morton himself is the arbiter of our hero's ethical compass, the bearer of the (three) commandments. It's a visually striking moment, a "trailer moment," made all the more memorable by the flat, affectless quality with which Weller delivers the lines, "Serve the public trust, protect the innocent, uphold the law." It also drives home the idea that, for Robocop, this sniveling, ambitious, coke-snorting, asshole yuppie is his surrogate father, even his personal God. This realization lends especial poignancy to Robocop's later quest to put Dick Jones behind bars. He's not merely being a good cop: he's avenging his slain father.
26. This brief closeup of Robocop -- the tightest shot of him yet -- not only underscores his childlike demeanor in Morton's presence, but also sets up the reveal that there is a 4th, classified directive; Robocop seems troubled by something and we'll momentarily find out what it is.
27. We're back in the subjective POV, and the mysterious "Directive 4" flashes on and off for a few seconds. Inattentive viewers -- distracted by Morton's joyful line ("I fucking love that guy!") -- might not even notice this crucial plot point. But it'll pay off much later, when Directive 4 prevents Robocop from arresting Dick Jones. It's only the latest of several crucial plot points Neumeier has written into the scene, and it adds an undercurrent of uncertainty and anxiety to an otherwise energized, uplifting moment.
I'm only half-finished breaking down this remarkable "Arrival of Robocop" sequence. Check back soon for the rest!
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As being the Colorado Rapids prepare to face FC Dallas in a Major League Soccer fixture for that second time in less than three weeks, The Tuesday List looks along at the Dallas Burn's draft class of 1996.
The team had one pick in all of 16 rounds of the inaugural MLS draft. The players selected have some interesting coaching accomplishments, quite a bit of international experience plus some Colorado ties. They are listed here in order, first as a result of 16th:
Ted Eck: A member of the Colorado Foxes coming from 1992 until 1996, when he joined the Burn. Eck also played for that indoor Denver Thunder in 1992-93, and he played occasionally for that U. S. national team.
Tom Soehn: Traded in 1998 to help Chicago, where he helped the fire to one MLS Pot and two U. S. Open Cup titles. Currently coach of D. C. United.
Lawrence Lozzano: Was coach at the childhood level by Marcelo Balboa's father. Also played for cheap Wholesale Jerseysthe San Jose Clash, the Galaxy and the MetroStars. One appearance for the U.S. national team.
Brian Haynes: A teammate of Eck's using the Colorado Foxes from 1992-1994. Was an assistant coach with Dallas from 2001 to 2007 as well as being now the head coach of the Real Colorado Cougars with the W-League. Made 21 appearances with the national team of Trinidad as well as Tobago.
Jason Kreis: Scored the first goal in wholesale jerseys china
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Mark Dodd: Former Foxes coach Dave Dir selected another of his players; Dodd won two championships cheap Wholesale Jerseyswith the Foxes, was the APSL player of the year and a first-team APSL all-star. He represented the Burn in two MLS All-Star Games. Dodd was an alternate on the United States' 1998 World Cup team.
Rene Ortiz: Played two games using the Burn and was released. Has coached at the high school level in California as well as being the coach of the Mexican national futsal team.
Gerell Elliott: Played three seasons using the Burn. Was part of Dallas' U. S. Open Cup subject team in 1997.
John Kerr Jr.: First American to engage in England's Premiership. Part of the firstwholesale jerseys from china in-season trade in MLS history .Extensive playing time for the U.S. national team in the mid-1980s. Currently head coach at Duke University, his alma mater. Father played with Pele for the New York Cosmos of the North American Soccer League.
Jim McGeough: Never signed with the Burn. Played for the Tampa Bay Rowdies of the APSL for two seasons in a career that lasted from 1984 to 1998. Another gratuitous opportunity bring up the Rowdies.
Jorge Flores: Scored two goals and registered one assist for that Burn in 34 games, including 19 starts. Was a consistent starter for that U. S. at the youth level.
Richard Farrer: Played seven season using the Burn and one season at Colorado College.
Jimmy Glenn: Played nine games for that Burn and was released. Was a member of the Rochester Flaming Rhinos in 1999, when they beat the Colorado Rapids inside the final of the U. S. Open Cup. It was a common time a USL team beat an MLS team for the actual championship.
Steve Keller: Never played in MLS. Played for the Chicago Stingers inside the U. S. Open Cup.
Ed Puskarich: Played 18 games using the Burn.
Gabriel Gentile: Did not play in MLS.
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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