COMPOSING THE SCORE FOR ROBOCOP2|
The film score was composed and conducted by Leonard Rosenman, who did not use any of Basil Poledouris's themes from the first film, instead composing entirely new themes and leitmotifs.
By: Leonard Rosenman
The most interesting dramatic problem writing this score dealt with many of the same problems the film itself deals with: the robot vs the human being. How does music show human feelings of a mechanical and electronic entity? How does a composer thread the line between the mechanical and the human, in the context of such a project.
The problems were (i hope) solved by the compination of live and acoustic instruments, mixed with the sounds of computer driven electronic instruments. To make sure that the thoughts and memories of RoboCop were human in character I also used voices of four sopranos, sitting with the orchestra. The voices gave the score and edge of feeling that, in my opinion, nothing else could do.
This, aside from the drama of fights, chases and physical confrontations I attempted to add to the score a basis of the internal conflicts indigenous to the plight of a Roboot who remembers that he was once a human being, and that memory serves to provide the internal conflicts of the film.
This long and quite developed piece is actually the end credits of the film. Not only is the "RoboCop Theme" used but there is an entire middle section based on a more lyrical treatment of the theme, evoking memories of humanity in the mind of this Cyborg.
This piece depicts the violence and hopelessness of the nightlife of the city as depicted in the film. Even the small trace of humorous jazzy treatment of the two prostitutes is dark.
This is a flash back to the human days of RoboCop, with his wife and child.
A piece depicting Robo in his car, a fast and violent orchestral idea that both RoboCop and the machine he is driving are now basically related by electrical and mechanical similarities.
Another flashback to Robo's human days, even more poignant and mysterious.
ROBO AND NUKE
Actually, this is, in the film, the introduction of Robo descending upon criminals in an invincable and threatening way. In the thematic material for RoboCop I tried to play not only the robotic and mechanical aspect of the character but the nobility.
In the film this is the introduction to the public display of the monster RoboCop2. It's majestic promise is broken shortly after the fanfare by chaos and violence.
ROBO AND CAIN CHASE
The scene in which Robo is after the villain, Cain, concludes with a kind of "chicken run" in which both adversaries speed at each other and finally crash.
CREATING THE MONSTER
The music here is eerie and strange, depicting the complex and bloody operation wherin Cain is transformed into the monster, RoboCop2.
ROBO 1 VS ROBO 2
The great conflict between the two cyborgs that brings an end to the film. Both Robo themes are used, interlocked and played in various harmonic and pholyphonic styles.
|WOULD YOU LIKE TO KNOW MORE?