Translation: Robot Public Enemy
Directed by Alex Proyas Alex Proyas
Written by Jeff Vintar Jeff Vintar
Hillary Seitz Hillary Seitz
Akiva Goldsman Akiva Goldsman
Starring Will Smith Will Smith
Bridget Moynahan Bridget Moynahan
Bruce Greenwood Bruce Greenwood
Kai McBride Chi McBride
Genre: Sci-Fi/ Crime/Action
Rated PG-13 (for violent action and nudity)
Produced by: 20th Century Fox 20th Century Fox
Release Date: July 16, 2004
Perfectly technologically sound, he's the only one who can see the breaks...
Box Office superstar Will Smith's only masterpiece of 2004
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Gods and Ghostbusters Gold Medal for special effects + Beautiful Realm Gold Medal for screenwriting + Lord of the Rings visual effects team
If you had a robot, what would you want it to do for you?
The question is: Is he trustworthy?
In 2035, USR develops the top robot NS-5, an automated household assistant, and the number of robots in the U.S. grows by a factor of three, with an average of one robot for every five people. NS-5 has a reinforced, durable titanium casing, and is capable of performing a variety of tasks, ranging from being a nanny, a cook, a courier, and a dog walker, to accounting for the family's income and expenditures. Unexpectedly, the horrific news of the murder of robotics inventor Dr. Alfred Lenin by the NS-5 robots has come to light. Humans are forced to confront the robots they trust with their lives, but are they worth trusting?
Chicago police detective Spooner (Will Smith) likes to dress old-fashioned and misses the simpler times of the past. He loathes technology and robots, but is in a world made of them. He is actively involved in the investigation of Dr. Lanning's murder, but the robot psychologist he is assigned to work with, Dr. Susan Cavan (Bridget Monahan), is a man who believes in logic, science, and prefers robots to humans. Their respective beliefs are about to force them onto a dangerous path, because humans and robots are not as simple as they think ......
Mechanical Enemy is adapted from the robot series of novels by sci-fi master Isaac Eisemoff, directed by Aurora Chase's renowned director Alex Proyas, with the help of action star Will Smith, glamorous actress Bridget Monahan, and a number of other actors and actresses. Actress Bridget Monahan in the lead role, in order to create a futuristic city of sci-fi fashion imagery, the behind-the-scenes team by the ID4 Star Terminator art design director to create the future of the street scene, the gods and ghosts of Warriors Gold Award-winning visual effects expert John Nielsen led a strong lineup. The most anticipated robot scene was created by the award-winning Weta Workshop in New Zealand. Producer John Davies said, "Asimov would be proud to make a movie about RoboCop! In RoboCop, director Proyas presents a dazzling and unique futuristic world, while keeping the key theme of artificial intelligence versus natural intelligence in mind, leading the audience to experience one of the most exciting sci-fi adventures of the year! The first choice of the summer, RoboCop, will be in theaters from July 30th!
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Action superstar Will Smith stars as Chicago police detective Spooner in the upcoming high-tech thriller Mechanical Enemy, adapted from the short story writings of Isaac Eisimoff, a master science fiction writer who specializes in creating imagery. In 2035, technology and robots have become an integral part of everyday life. In Robopublic Enemy, while everyone puts their trust in high technology, only one man insists on believing that this trust has already brought a huge threat to mankind.
RoboCop presents a stunning robot world on screen that is visually stunning in a way that has never been seen before in cinema history. Sonny is a special robot who holds clues to the murders, and is perhaps the key to the survival of the human race, and Sonny looks as if he really does have a robot on screen, and it's even more real and emotional than anyone else. The movie creates an unprecedented, three-dimensional animated virtual character.
RoboCop was directed by Alex Proyas of Aurora Chase fame, who created a stunningly mesmerizing visual style of 2035 Chicago, a society made up almost entirely of robots. Bridget Monahan has a great scene opposite Will Smith as psychoanalyst Dr. Susan Cavan. Bruce Greenwood plays Lawrence Robertson, the head of U.S. Robotics. Just as Lord of the Rings' Guru inspired the animated character to come to life with real-life movements and expressions, Sonny in RoboCop is copied from actor Aaron Tardy's performance. James Cranway plays the film's key character, the brilliant but enigmatic Dr. Averell Lenin.
In addition to the big names behind the scenes, RoboCop had a strong behind-the-scenes crew of some of the industry's premier technicians. This includes Garage Time's Director of Photography Simon Duggan, ID4 Design Director Patrick Tatupo, Aurora Chase Editor Richard Rinelow and Warriors William Hoy, Devil's Terminator 3 Soundtrack Artist Marco Bizarre, and Aurora Chase Costume Designer Elisabeth Palmer.
Robopocalypse also enlisted the help of SAW Gold Award-winning visual effects specialist John Nelson, who oversaw and directed more than a thousand visual effects shots throughout the film in presenting Sony and the other robots, bringing Tatuapo's overall art design to perfection. In addition to this, the visual effects working group also created a futuristic cityscape of Chicago in 2035.
Some of the characters of RoboCop are derived from Eisimoff's story of the same name (including Dr. Lanning, and a younger Dr. Susan Cavan), while others are conceived and inspired by the acclaimed novel plus other works.
Imagine a world where motorcycles run on the road by themselves, where robots play symphonies, where animal thought patterns dictate robotic actions... these aren't imagined futuristic worlds, they've been in today's headlines for a long time. The movie is set 30 years from now, and every household will have a RoboCop "fully automated home helper" robot, and there will be buildings, clothing, and transportation that will be fantastical, but not unimaginable, to modern audiences.
After seeing so many conveniences brought about by this technological advancement, one can't help but wonder if robots can be fully trusted to fully enter human life in the future world. Every home has more than one of these full-featured robots that clean the house, act as couriers, walk the pets, and even take care of the kids. But what if that trust breaks down? That's the central question posed by RoboCop.
The story takes place at a time when technological and social alienation have gone off the rails, and robots in the US are about to triple in size. With the launch of the most advanced top-of-the-line robot, the NS-5 Automated Home Assistant, the ratio of one robot to every five humans has been reached. The latest generation of robots, housed in a reinforced durable titanium shell, is designed to perform any kind of task, from acting as a babysitter to a cook to accounting for household income and expenses. the massive dumping and popularization of NS-5 further established the importance of robots, and the group that invented it became the most powerful company ever to have existed on the planet.
The epic holocaust depicted by Robopublican that would change history actually first appeared in screenwriter Jeff Witt's script Hardwired more than a decade ago, about a mysterious murder in which robots may be the culprits behind the crime. Producer Lawrence Mack was highly interested in developing the script, and 20th Century Fox Film put it into the pipeline, initially confirming that Alex Proyas would direct. In early 2000, screenwriter Witt flew to Australia to begin close communication with Proyas on the RoboCop project, which took more than two years to complete.
"We started talking to Proyas about the script with the goal of going bigger," recalled producer Lawrence Mark. Producer Lawrence Mack recalls, "At the beginning, it felt like it was more of a murder thriller set in the future, and then we were trying to enlarge the format to have more room to play. And because of director Proyas' unique and excellent taste in visual style, the movie started to want to build on the special effects to maximize the possibilities."
Science fiction guru Isaac Asimov's groundbreaking "Three Safety Rules"
The Three Safety Rules for Robots: 1. Robots cannot harm humans, or stand by and watch as humans are harmed.
2. Robots must obey human commands unless they violate the first law.
3. A robot must protect itself unless it violates the First and Second Laws.
At the time, producer John Davis presided over the studio that got the movie rights to RoboCop, and director Proyas found visual elements outside the script inside writer Isaac Seymour's science fiction novels, and Isaac's ideas and characters fit naturally into the original screenwriter's script of Witte's futuristic murder mystery.
"The marriage of Hardwired and the original Robot Enemy novels just clicked because Fox had always wanted to make a big movie about robots and the director had always dreamed of bringing Eisimov's novels to the big screen himself," said producer John Davis, "and it seemed like it was only a matter of time before this union would happen because there were so many things about the central themes of the two sides of the fence that coincided!" Producer Lawrence Mark added.
The world of 2035 wants robots to adhere to three major safety codes: robots can't harm humans or cause potential harm, robots have to listen to human instructions unless the instructions conflict with the first code, and robots have to protect themselves without violating the first and second codes. Eisimov created this code of robot safety first in his science fiction novels, but what was originally a simple concept has been further developed to also implicate scientists who study robots and artificial intelligence.
"Eisimov was a great science writer," said fellow screenwriter Jeff Witt, "a pioneer of science fiction and the first wave of writers to start writing in depth about robots. Before Eisimov, robots were often treated as monsters. He was the first wave of writers who treated robots like sentimental Frankenstein."
Director Proyas's love of Eisimov's work goes back to childhood memories, "I read a lot of science fiction when I was about 10 years old, and Eisimov was one of my favorite authors. I'm a huge fan of the sci-fi genre, and RoboCop is one of the few that I think would be cool to make into a movie. It's been a dream of mine to make a movie like this since I was very young, and now is the time for that dream to come true."
"It's incredible, I think Eisimov's ideas are both the most immediate and the most sustainable in the long run." Proyas says it's hard to imagine that he had already imagined the future with such precision in the 4.50s, easily bridging the various things that affect us in this world today. We're getting closer and closer to that future world we talk about, and this is the perfect time for Robopublic Enemy to come out."
The Casting Process
As RoboEnemy entered a more rigorous phase of preparation, Proyas and the producers began to shift their focus to casting. Maybe we're all tired of hearing that the director and producer's first and best choice will always be the one who happily pops up and accepts an offer to perform. But RoboCop insists that the official line is definitely not watered down: "Will Smith was first on our list, and actually signing him felt like a lottery win. Producer John Davis said, "Because the story of the people in the movie is just as compelling as the story of the robots, it's very important to thank Will Smith for joining us." Producer Lawrence Mark said.
"What appeals to me most about Robopublic Enemy is that it centers on the notion that robots are not the problem, that technology is not the problem itself, that the limits of human logic are really the problem, and that in the end, we become our own worst enemies." Will Smith said.
"RoboCop is an original mix of genres," Smith continued, "a high-tech action movie with tight, exciting special effects, a romantic love scene, and a murder mystery. Director Proyas' ability to shift back and forth between genres and tone is quite remarkable. Usually the dramatic structure of a thriller and an action movie are in conflict, and their climaxes build up at different times, but Alex breaks the rules of the genres to produce a new and unique style."
RoboCop brought a whole new challenge to Will Smith, "As an actor, it's not really that easy to really hit it out of the park in an action movie. It's fun for me to play a character who's in a bit of a tough situation, because I've played too many heroes who save the world with ease. It's not often that I get to interpret the deeper emotions and traumas of a character, and I like to explore the psychological side of a frustrated character's turn. So taking on this movie was a major turn for me."
After Will Smith agreed to take on the role of Detective Spooner and executive produce the movie, he offered to bring in Beautiful Realm Gold Award-winning screenwriter Achyva Goldsman to join the behind-the-scenes cast. In particular, Smith expects the movie to take a deeper dive into science and sci-fi, "We saw Robopublican as a rare opportunity, and it always takes a while to come across a script like this. We wanted to stretch a little bit more and push the limits of the genre," Smith said.
"Will's request was, for Alex and I, a way of saying what was in our hearts." Screenwriter Achvar Gausman says that's exactly what he's wanted since he was a kid. Proyas, Smith, Gausman, producer Wick Godfrey and top Fox executives gathered for a meeting to discuss the script in Florida, where Smith was filming Jedi 2. 'We sat down in a motel and started talking scene by scene,' recalls Gausman, 'and we kept the twists and turns of Eisimov's story, which were also the main focus of Jeff Witt's screenplay, but took it We kept the twists and turns and turns that were the focus of Jeff Witt's script, but made it more of a traditional three-act structure."
The director and screenwriters worked hard to differentiate the character of Detective Spooner from previous genre formulas. Spooner hates technology and robots, but he's in a world of technology and robots, a fundamental conflict that is the key to Robopublican. "Spooner likes old-fashioned dress, he likes old songs, he's nostalgic for a simpler time in the past," says Smith, "and he doesn't like robots, so he's just the perfect person to investigate this murder because he's going to find out exactly what went wrong with the robots that were taken for granted."
Spooner's relationship with robotics expert Dr. Susan Cavan is at the heart of the story, and casting a character with the looks and acting chops to rival Will Smith's on the big screen, as well as the emotional depth of Eisimoff's character, made casting one of the most difficult tasks for the filmmakers.
"Bridget Monahan was able to convey very aptly what we wanted to do with the character, which was to have a very human warmth underneath the robotic coldness," said producer John Davis. said producer John Davis.
Monahan was invested in exploring the complexity of the character, and Susan is the polar opposite of Spooner, a robotic psychologist who is very rational and focused in everything she does. Susan analyzes everything in a clear and organized way, she has a completely different view of the world than Spooner. "Susan's approach is based on logic, because science and reason are part of who she is. But as the story progresses and she realizes that there is a cruel side to cold technology, her beliefs begin to change. It's very interesting to see the journey of a character's inner transformation."
"Both Bridget and Will's characters have the same problems, but have opposite points of view." Director Proyas says, "At the beginning of the movie, the beliefs of the two are simply the opposite of each other. Spooner hates robots, doesn't believe in technology at all, and insists on clinging to the good old days in a futuristic world. Susan, on the other hand, loves robots more than humans, and is actively involved in robotics research and development, believing that one day robots will outperform humans and come back to improve the human race. And these beliefs drive both protagonists down dangerous paths for different reasons."
Both Spooner and Susan are helped in their quest for truth by a special robot, Sony, which was composited from live-action footage by Aaron Tardy. Tardy and the VFX team worked closely to create a flexible, vivid digital character that is perfectly expressive of movement, emotion, intelligence, and even humor, with the emotions built up between Sonny and Spooner being another important narrative thread in RoboCop's story.
"Sonny is an interesting and not very easy character to bring to life because he's a robot, but he has human qualities." Producer Wick Godfrey said. "He's naive and warm because he was created differently than other robots. Sonny has a witty sense of humor. Aaron is a comedic actor with a very solid theater foundation, and he does extremely well at that."
"Sonny is like a child," Tardy said, "still having the precision of a robot at times, not catching the rhythm of human emotions, but he's innocent and sunny at the same time. Sonny was created for a purpose, but he doesn't know this himself. He's been tucked away from birth with many secrets, and it's not until the end of the movie that it all comes out."
Aaron Tardy traveled to Vancouver a month before the official shoot to prepare for the role, honing in on the mechanics of the robot's movements, the look of his speech, and his pantomime performance. He also had to learn Taekwondo, undergo physical fitness training and balance exercises.
When the movie began filming, actor and dancer Paul Mokou, who played the hero of Dance Nation, designed the movements of the other robots in the movie. "I'm the only one who doesn't have to work with Paul," Tardy said, "because Sonny's a first-generation robot, and he's different from everybody else.
Bruce Greenwood plays Lawrence Robertson, the chairman of U.S. Robotics and the big money man who built the robot empire. It is on the eve of the launch of the highly human and functional NS-5 robot that the RoboCop story unfolds. "We're about to unveil this most brilliant and wonderful technological achievement to the world at a very reasonable price." We're introducing a new generation of robots that are more complex and sophisticated than any previous version," says Bruce Greenwood, with the expressionless face of a movie character. It's a major breakthrough in the technology industry, and it just happened overnight."
"One of the most relevant propositions of RoboCop is the confrontation of artificial intelligence with natural intelligence," Greenwood added, "at what point does artificial intelligence start to have problems with their resilience and the limits of their flexibility and extension? If computers and robots can think for themselves, where does that come into play with human-designed equations? I think those are interesting questions."
McBride, who played a narcotics detective, plays Captain John Birkin, Spooner's boss and mentor. "Birkin and Spooner have been friends for many years," McBride said, "and Spooner's life has been changed dramatically, and the damage is still there, and Birkin understands that; and he wants to lead Spooner to come out of it slowly and go back to being a dedicated detective."
Comet Crash veteran James Cranway stars as Dr. Averell Lenin, the science geek who was the brains behind the growing robotics empire, and whose death kicked off Enemy of the Machine.
Cranway was looking forward to joining RoboEnemy because the movie explores issues that interest him. "The movie opens up a whole series of complex propositions," says Cranwell, "What are the moral choices we're making? How intricate has artificial intelligence become, and how should humans respond to it? I give the director and writers a lot of credit for discussing all of this from a detective story that progresses while examining each of these questions, and the deeper questions they continue to spawn."
Dr. Lanning's death brings to the surface all the dilemmas of technology versus humanity, revealing that there may be evil spirits inside the machines that threaten human existence that people have no control over, and his death brings it all to light, giving Spooner clues to pursue. "The problem is in the process of retrospective reasoning, like the path suggested by the breadcrumbs meandering through the story of 'Candy House.'"
Production footage
Mechanical Enemy spent a full year and a half in pre-production before principal photography, with director Proyas working closely with his core team, including design director Tatupo, who had heated discussions about how to present the art concepts for a futuristic world in which robots were already essential members of human society. The two had a great understanding of each other, and have long since demonstrated their compatible and complementary design sensibilities in Aurora Chase.
"I've described RoboCop as having a documentary quality that focuses on the future because I didn't want to just stick to the traditional Hollywood model of the future," says director Proyas. I wanted to create a little bit more realism and put the audience in a world of robots," says Proyas. I wanted a future where everything was very believable, no flying cars or other bizarre landscapes that are usually seen in sci-fi movies. I want it to be as realistic as possible, as if we were 30 years ahead of where we are now."
"I'm more interested in the characters and the story than I am in just playing around with special effects," continued director Proyas, "The robots themselves are already a very complex confluence of technological advances, and there's a lot to play with, and I don't want to add too much other special effects stuff. So we're going to have cool cars that are going to fly all over the place, but they're not going to take away from the robots, they're going to be the main character of the world of 2035."
In fact, design director Tatupo's primary task was to design the robots, including Sony, one of the most important characters in the movie. Tatupo, who also did the set art and styling for Fox's blockbuster hit ID4, will be at work again on RoboCop.
"It was important to have the opportunity to design the movie set, Sony and the other robots from the beginning of the movie," Tatupo said, "and I have a model of the world in my mind, where every human and robot will find their place."
Tatupo and the director spent two years experimenting with Sony's look, with a focus on "putting everything we've seen before behind us," and there were at least 50 ideas in the process, with the final product winning out on the basis of its sleekness and elegance.
For director Pujas, Sony's look was a decisive factor in adding credibility to the story: "We wanted the robot to feel close and familiar, as natural as a family member, as a child in the family."
"As usual, Sony drew inspiration from Eisimov's novels, which is that robots naturally provide a sense of security or closeness when they don't piss people off or hurt them. This can be justified from the point of view of both humans and the big companies that market robots. That's why we try to adhere as faithfully as possible to the spirit of the Eisimov original."
The turning point in Sony's design came when Proyas began to try to mold it into a humanized and naive character, "Sony's essence is innocence," Proyas said, "He's more the big boy on the edge of adulthood. Sonny is smart, but the emotions he doesn't like in other robots, the chicanery, the constant trickery, on the other hand, makes him like an overgrown child again."
In the end, all of the NS-5 robots, including Sony, fit roughly three characteristics: transparency, human-like appearance but with unique musculature, and highly contrasting faces. And these cosmetic traits posed a design challenge. "Because they don't shape-shift, we had to figure out how Sony and the other NS-5 robots could suddenly become frightening and not change the overall design." Tatupo said.
Most importantly, the transparency itself adds to the sense of security, "If something is transparent, it means it's not hiding anything." Tatupo explains, "For example, the more glass in a public *** building, the friendlier it feels. If robots don't hide anything, then they should be safe . ...At least that's what we think."
Another thing that creates Sonny as a transparent lido is that he adjusts to the light to give the impression that when one looks at Sonny from his face and appearance, he simply looks like an innocent angel. But if you put him in the light and penetrate the inside, he becomes what Tatupo calls "mechanically creepy and scary". The beauty of transparency is that it achieves the goal of "change" without "change".
Sony's face can be divided into three layers, with the machine on the inside, and the skull structure much the same as a human's, as well as the most fluent appearance. The bones are covered with soft skin, "when you touch him draw feels soft, but underneath is hard bone." Tatupo said.
To differentiate Sony from the other robots in RoboCop and the robot paradigm of previous movies, Tatupo created "futuristic muscles" that are less cold and mechanical and more anthropomorphic. To achieve this muscle texture, Tatupo drew inspiration from the lively "Replica Sheep" coverage and discussion, including new materials that respond to electronic impulses and how to react to external stimuli like a real muscle.
In the end, the producers, directors, and crew understood that taking the human element into account was key to designing Sony. "A year before we started shooting, we were sitting in the office agonizing over how we were going to do the robot part... whether it was going to be computer-animated, whether it was going to be live-action in costume, or what-have-you... We didn't realize that the emotional side of the equation was more important than anything else, and we just approached it with the neutrality that we would have if it was a scientific problem," says producer Vic Godfrey. Although we won't see Aaron Tardy on screen, it's through this simulation that we'll see the robot show his humanity and mental fluidity," says producer Vic Godfrey.
Tatupo was also responsible for the other robots that populate the story, "The earlier robot, NS-4, also had an anthropomorphic appearance, but it wasn't as detailed as NS-5. The textures weren't as detailed, and even though they were assigned similar tasks, they weren't as perfect. So it's another interesting contrast between the two generations of robots."
As design director, Tatupo was tasked with developing and creating the future landscape of 2035, and all of the components had to be worked out early and then modified to perfection, so early on we were wondering if we should do a location scout in Vancouver to find the right place to shoot, or if we should do it all by computer.
Chicago in RoboCop has two very different flavors. The downtown area is full of spectacularly beautiful landscapes, with wide, clean plazas and simple winds, and curtained-off buildings populated by affluent city dwellers. The suburbs, on the other hand, are very different, feeling run-down, outdated, and poor.
Proyas, a director known for his visual style, has a personal authorial stamp, and greenery is never absent from his films. But getting "Pale Without Trees" in lush, green Vancouver was a challenge, and the crew even had to send out a team to make sure no trees were in the shot.
The decision to use Chicago as the backdrop for the story was based on its skyline, which is close to the original Proyas concept of blending modern and traditional landscapes. For example, clusters of state-of-the-art skyscrapers might be followed by old buildings half a century old.
In order to achieve Proyas's ideal of a sprawling landscape, the movie had to mix and match set pieces, real locations, and computer effects for most of the shots.
The U.S. Robotics office building in downtown Chicago is itself a character in the movie. Many of the movie's scenes revolve around it, including its plaza, laboratories, boardrooms, and offices, as well as the building's tunnels, display platforms, and interior spaces.
Tatupo explains, "The Robotics Society building is interestingly shaped, kind of like a sword, which gives visitors a sense of vertigo. One edge of the building is very fluent, a large expanse of glass, so that anyone who walks into the connecting walkway sees themselves, the whole city, and the lobby at the bottom of the building is also visible. The building is designed so that the entire future world is visible to the viewer, not just a glimpse of it.
The plaza outside the Robotics Association building symbolizes power, "When you have power, you don't really build a skyscraper, you get a big imposing plaza next to the building because land is expensive," Proyas said. Proyas said.
Detective Spooner, played by Will Smith, lives in a Chicago suburb that is downtown today, but in 2035 is a remote suburb of the city, a far cry from the upscale area where the Robotics Society and Dr. Cavan live.
In New Westminster, a suburb of Vancouver known to the Chinese as Chinatown, the crew found a 260-foot-long, two-story neighborhood along the riverfront where Detective Spooner lived, which the crew nicknamed Spooner Village.
There is an all-powerful computer, V.I.K.I., which is responsible for controlling the Robotics Association's headquarters. "V.I.K.I. can be said to be the command center of the robotics empire, a bit like the human brain's position in the entire body, which determines the pulse of the whole body, i.e., the whole building's function. The transparent design of the building's volume allows the operation of this head to be spread out in front of the audience in a surprisingly detailed and rigorous manner.
The futuristic transportation system in Robopublic Enemy is another selling point of the film, with suburbanites using motorcycles to get around on the ground, while all other means of transportation are below ground, with countless intricate tunnels and grid after grid of parking lots underneath the ground.
The car of the future, with its wheels transformed from flat to spherical, and its ability to tilt and glide through slots, offers a fantastic view of traffic that we've never seen before, and the fact that every car is traveling at super-speed makes it even more enjoyable.
All of the cars in RoboCop were specially designed for the movie, with designers and staff from Audi, the famous German car brand, working together to create Wilhelmus's awesome car, Hero, and Audi also provided some of the existing cars, with some variations and ingenuity, to appear in the movie in a new light.
The man behind the dazzling array of cars was the movie's chief automotive designer, Jeff Julian, who visited the German factory several times to customize the car for Will Mills, to keep up with the latest automotive fashions, and to use the blueprints of new Audi cars that were about to go on sale to add to the mix.
Production Highlights
RoboCop brought in the gold medal-winning special effects expert John Nielsen to supervise more than a thousand special effects shots in the movie from pre-production until post-production was complete. Nielsen and his right-hand man and partner, John Bolton, who is highly regarded in the industry for his digital design in movies like Jedi 2, led a 20-person work crew from the start of shooting in Vancouver, and were on standby for every step of the process. Over the course of half a year, the operations and requirements became more and more complex, with every shot, scene and character in every scene being elaborate, and the scale becoming more and more spectacular. Several premier special effects studios, including Weta, famous for The Lord of the Rings, were also involved, and they were responsible for the indistinguishable live-action compositing in RoboCop.
The special effects department had a lot of responsibility, including animating the live-action Sony robots, creating the robot empire of 2035, and all of the high-tech action sequences, which had to be seamlessly integrated into the live-action and computer animation.
"Sony had to be so cute that audiences wanted to buy one for their home collection immediately after the movie." Said special effects director John Nelson, "The visual effects became