T is never shown to kill the cop or copy his clothes and seems very genuine . The first time we meet Sarah in Terminator 2, she's locked up in a mental .. of humanization of the character from the hospital scene to the end of the film. He witnesses both the T and T Terminators when Sarah attempted to Hospital himself, has a meeting with Detectives Weatherby and Mossberg. In an extended scene of Terminator 3: Rise of the Machines, he was shown to be. DELETED SCENES, Future war - Acquiring a plasma riffle T acquires a police car Neural-net processor meets Dyson's axe Escape from hospital.
T is never shown to kill the cop or copy his clothes and seems very genuine when talking to John Connor's foster parents, while the T is shown to go through the bar like a tank, crushing hands, breaking arms and seriously injuring people. Film Review Magazine Re-imagining the Terminator as a father figure and protector to errant teen John Connor was one of the three inspirational decisions that marks this out as one of the finest sci-fi sequels ever made. T2 conquered one of the biggest challenges in storytelling ever - to completely spin the audience's emotions on the character and turn the most ruthless killer into a sympathetic father figure.
The thing we did with the second film is that we reinvented the first film completely; spun it on its ass and made the Terminator the good guy, and came up with a whole new concept for a villain, it felt fresh James Cameron Globalnet: On T2, I wondered if I could get the audience to an emotional place where they would cry for the Terminator.
That was my goal: Could I take world's coldest motherfucker and turn you around in a two-hour time period to where you actually felt sorry for him?
Forget about all the hoo-ha with the liquid metal guy: I absolutely refused to do another film where Arnold Schwarzenegger kicks in the door and shoots everybody in sight and then walks away. I thought there must be a way to deflect this image of the bad guy as hero, and use what's great about the character.
I didn't know exactly what to do, but I thought the only way to deal with it would be to address the moral issues head-on. The key was the kid. Because it's never really explained why John Connor has such a strong moral fiber. For me, John was pushed by the situation when he sees The Terminator almost shoot the guy in the parking lot. I think everybody invents their own moral code for themselves, and it usually happens in your teens based on what you've been taught, what you've seen in the world, what you've read, and your own inherent makeup.
So, I started asking myself what is it that makes us human? Part of what makes us human is our moral code. But what is it that distinguishes us from a hypothetical machine that looks and acts like a human being, but is not?
John Connor intuitively knows what's right but can't articulate it.
John says, 'You can't go around killing people,' and The Terminator says, 'Why not? He gets into a kind of ethical, philosophical question that could go on and on. But all he says is, 'You just can't. Essentially, you've got a character associated with being the quintessential killing machine; that is his purpose in life.
Devoid of any emotion, remorse, or any kind of human social code, he suddenly finds himself in the strangest dilemma of his career. He can't kill anybody, and he doesn't know why. He's got to figure it out. He's got to, because he's half human. And he figures it out at the end. The Tin Man gets his heart. I thought it would be a real coup if we could get people to cry for a machine. If we could get people to cry for Arnold Schwarzenegger playing a robot, that would be terrific.
That was the fun of the whole thing. It wasn't all the chases and special effects and all that stuff John knows, from his future experience, that killing is bad for you. Because the Terminator was sent from the future by the leader John, to protect the child John, so the boy's character has to be woven with a strong moral fiber.
The fact that the Terminator was ordered not to kill people becomes a major point of the story. Just when the audiences have thought that they've seen it all, here comes the original idea never seen before. While sci-fi failed to invent a new synthetic villain that wouldn't be just a rehash of the first Terminator character, James Cameron brought us a shape changing, liquid killer. But even such idea was based on reality and real physics as much as possible.
James Cameron is known for his extremely realistic portrayal of the sci-fi characters and elements. Just like he does with all of his creations, James Cameron carefully thought up the technical data and details for the Terminators to inject as much plausible reality into them as possible.
He was recently described as someone who doesn't create science-fiction, but science facts. The more fantastic the subject the more realistic the situation needs to be for it to work The Making of T2, So how do I inject the fantastic element into a contemporary story? I didn't want to make a fantasy, like a magic mirror communication with another dimension. I wanted it to be gritty realistic, kind of hardware based, true science fiction, as opposed to fantasy science fiction. But there had to be limits about his shape-changing.
Could it turn into a Coca-Cola machine? No, because it can't change its mass. It certainly can't change its weight; weight and mass are two physical constants. But it can become things. It could not turn into a small dog because it was too big, there was too much mass, too much material.
It could mimic weapons, but it couldn't mimic a weapon that would actually fire. A gun has moving parts, and there's gunpowder inside a brass shell, so it can't make itself into that I started thinking about the film in two stages. In the first stage the future sends back a mechanical guy, essentially what The Terminator became, and the good guys send back their warrior.
In the end, the mechanical guy is destroyed. But up there in the future, somewhere, they say, well, wait a minute, that didn't work; what else do we have? And the answer is something terrible, something even they're afraid of. Something they've created that they keep locked up, hidden away in a box, something they're terrified to unleash because even they don't know what the consequences will be - they being the machines, now in charge of the future. And that thing in the box becomes a total wild card; it could go anywhere, do anything; it's a polymorphic metal robot that is nothing more than a kind of blob.
I saw it as this mercury blob that could form into anything. It's powers were almost unlimited, and even in the future, they couldn't control it. Just sitting there writing the story scared me. Syd Field interview Stan Winston: People think of what great special effects, but in fact, that T has become a memorable character in motion picture history and an icon replicated and referenced in many movies, TV shows, cartoons and commercials DVD Review Magazine It's still one of the most exciting and eye popping action movies ever, and the morphing T is still unmatched as the most imaginative bad guy ever.
But the blistering set pieces are backed up with a very human story James Cameron: From a writing standpoint, the things that interested me the most were the characters. Sarah Connor was really interesting, especially in Terminator 2: In the time difference between Terminator made inand T2, I had to backfill those intervening nine years.
I had to find efficient ways of dramatically evoking what had happened to her. The tricky part was having it all make sense to a member of the audience who didn't remember or hadn't seen the first Terminator. Basically, I had a character popping onto the screen in a certain way, and therefore had to create a backstory for that character. I told myself I had to write the script just like there had never been a first film. The sequel had to be a story about someone who encountered something nobody else believes, like the opening scene of Invasion of the Body Snatchers, where Kevin McCarthy swears he's seen something shocking, and nobody believes him; then he starts telling the story.
The first time we meet Sarah in Terminator 2, she's locked up in a mental institution, and that raises the real question - is she really crazy? The advantage of doing a sequel is that you can play games you can't play in the original. For example, I know the audience knows that The Terminator is real. So they're not going to think she's crazy. But the question still remains: Has the past ordeal made her lose touch with reality? What I found so interesting is that a lot of people made the mistake of thinking I was presenting Sarah Connor as a role model for women.
Nothing could be farther from the truth. I wanted people to invest in her emotionally, to feel sorry for her, because she had been through such hell.
Sarah's not really a hero. She's an ordinary person who's been put under extreme pressure, and that makes her warped and twisted, but at the same time strengthened, in a sad kind of way. Judgment Day, Cameron used the same formula: In the first film, reese Reese models Sarah into a warrior and paradoxically fathers the man who'd sent him on his mission. In Titanic, Jack gives Rose the strength to break free of her class depression.
Terminator 2: Judgment Day Depth and Complexity
In T2, Sarah regains her soul by learning humanity from, of all things, a a killing machine Film Review Magazine Wearing his screenwriter hat, Cameron reasoned that living with the knowledge of Earth's future nuclear annihilation would have had a devastating effect on Sarah Connor's mind.
In other words, she turned from a scared, vulnerable waitress into a tough, aggressive killer with a muscular physique to match. It's a startling physical transformation that adds a whole other level of psychological credibility to Sarah's character and makes this a convincing continuation of the terminator saga And then there's the issue of Sarah loosing her morals while T is learning them. We wanted T to change, and we wanted Sarah to change; she starts out one way, becomes fixated on that, ends up becoming more of a machine that he does.
We wanted the two of them to change characters as the film went on: And it's partly through the Terminator's transformation that she understands what humanity really is.
Mali Finn, Emmy winning T2 casting director: Jim Cameron movie T2 does have all of those special effects but still is a character driven piece and has wonderful characters. We've got to have good actors as they're playing against all the special effects. Not only were the special effects extraordinary, but the thoughts and ideas behind the film were marvelous Mario Kassar: He's a great storyteller who can always take a plot to much higher levels.
As the movie progresses, Sarah becomes the Terminator. The sunglasses and use of red dot for targeting accent the transition visually. None of it is author's interpretation. The very beginning of the film already carries a visual message. Children are shown as carefree, enjoying the day on the playground. All this is directly contrasted with the same shots from the future, showing how really miniscule our everyday problems are - traffics, rushing to work etc - in the face of major world issues that are happening, or could happen The playground motif itself is reinstated three times in the opening credits and then returned to later in the film.
They symbolize carefree life and joy. At first, its used to contrast the "heaven" and "hell" so to speak. It is then used in the apocalyptic imagery. The playground is like a recurring dream motif that we keep seeing in different dreams. It returns later on in both of Sarah's dream sequences Note: There is a subtle and faint sound of children playing when the camera pans across the melted swings a s a ghostly reminder of the life that has been and all the souls lost in an instant James Cameron: The playground motif was something that I really wanted to work with, both in the main title and then it reoccurs 2.
T2 utilizes every special effect technique known to present the best and most realistic imagery possible. It uses CGI, stop motion, front projection, models, miniatures, animatronics,puppets, makeup, stunts, optical compositing, rotoscoping and more 3.
John Connor is shown as a haggard, tired and scarred man. A major preoccupation of the Terminator saga is the interplay between human and machine. But particularly in T2 this theme is paramount.
In the shots of John Connor in the future war, John is mimicking the characteristic T scanning function in which the eyes shift side-to-side slightly in advance of the head's rotation. Already that early in the movie the great theme is introduced, which will be expanded on so much culminating in the thumbs up: You really see his role as kind of guerilla leader.
I started to get fascinated with this idea of seeing people in different stages of their life and giving them a kind of a historical weight which is really how I think you tell an epic story. I wound up using the same idea later with Titanic The image of stoic Connor creates an incredible contrast to the original Coda ending in which we see Connor who didn't get through the war and didn't have to carry the burden - Connor who becomes a senator and starts a family.
Such closure creates a great poetic bookend to the story, beginning and ending with the same setting and character, yet in such different context. The fiery sequence was shot indoors for a better control of the flames. The walls inside were painted red and yellow to conceal the indoor location. The fire was shot at frames per second, which required a special Photosonic camera as well as special lighting controls since over ten times the amount of light is necessary to achieve normal exposures.
Several exposure test of flames have been shot beforehand in order to find the best way in maintaining the details in the flames. Incredible attention to visual detail and art 5. In the opening titles, there is a shot symbolizing the four horsemen of apocalypse amidst fire. Coupled with apocalyptic-like choir, it completed the imagery of the biblical Judgment Day James Cameron: Always called these the four horsemen of the apocalypse The scenery ends with the T Terminator endoskeleton, symbolizing a chrome figure of death The shot ends with an interesting and stylized transition, ending with a heavy clunk which was also used in promotional videos or T2, such as the teaser trailer and 's The Making Of Terminator 2 documentary.
The metal bars "sealing" the scene are then cleverly revealed to be a grill of a truck and the shot transitions smoothly into the next scene. Note the color contrast of hot and cold 6. As in the first movie, the termovision shots were color processed and were all filmed out digitally.
Termovision shots were lit differently from the rest of the photography. This often meant lighting shot in a flatter, more brightly lit matter. Incredible attention to detail 7. Even thought the T is suppose to be a good character this time around, it was tricky not to have him kill anyone while still being this ruthless killing machine. It was important for James Cameron for the T not to have blood on his hands because it would violate the moral code. A murderer cannot be a hero, even if he didn't know any better.
Cameron has a strong moral compass, and he simply didn't want the T to be the reason for any family's grief. Because of the same morality, John is never shown pointing a gun or using it.
The story was carefully constructed to omit any events that would necess it. The tricky part was to still show John as being well trained in weapons and the T to be something that isn't meant to be messed with, to retain that, the T leaves three bikers stabbed, burned and broken, while others retreating in fear A lot of the extras were real bikers to give the club a more realistic feel 8. The T's arrival is cleverly shown offscreen. Since only living tissue can go through time, it was planned that the T would arrive in a flesh cocoon and Officer Austin would find it while looking around.
However, since it would be too confusing for the audience at this stage of the story, the arrival was done offscreen not to reveal how he got through time and at the same time not contradicting the time travel rule 9. John's introduction is another example of great writing.
His first scene sets up the character very fast also filling out the exposition on what happened between the two movies. John is shown as a natural leader, as he's clearly in charge of his friend. He's also shown to not only ride bikes at the age of 10, but fix them as well. The following ATM hacking scene is not only a setup for the scene later on, in which he uses his portable device to access the vault key this way this ability is introduced beforehand and doesn't feel like rabbit out of a hat when he does it laterbut also to explain the audience that John is extremely skilled and must've been trained for all these years.
Being a smart mouthed brat, he appears to be a complete opposite of what the audience would expect at first, continuing the story's artistic consistency in representing the characters in a least expected way.
Gradually within the story, John is introduced as level headed leader with both strong leading skills and moral code The story and characters are carefully constructed. Tim, John's friend, was created solely to explain the story to the audience and find out the whereabouts of Sarah and John's attitude towards her and her stories.
This way the audience gets filled in in many areas without even realizing that they're being fed. Another great story element is John's character. The scene at Voights' house showcases a great but tough one continuing shot.
The scene had to be designed with perfect timing - note that John's bike is getting ready to leave just as Todd is exiting the house. The building that doubled as Pescadero was an abandoned medical facility. All the security doors were added, as well as lockouts, monitor stations and other realistic details based on the research by Cameron.
Silbermann's dialogue with the review board also served as exposition, done in a natural way. Characters in dream sequences serve several purposes and in this case it's to present the inner monologue to the audience and show Sarah's state of mind and hidden vulnerability.
The scene personifies Sarah's own guilt over her inability to protect John in her current condition T2: Reese symbolizes the strong side of Sarah, and the dream sequence is also showing that the character, while tough outside, is truly hurting and weakening inside. Note the beautiful, angelic lighting, which sort of symbolically foreshadows a descend of an angel in the form of Reese.
Note the evenly distributed haze as well to add to the dreamy feel Note the backlight on Reese, creating a sort of halo effect, complementing the imagery of an angel character Sarah's story gets even more heartbreaking from the very first time we hear about her from John. Right away we find out that the poor woman who lost everyone and everything and who lived through so much got to suffer even more, physically and mentally. Not only is she closed in mental hospital, ridiculed and physically abused and treated like an animal, but even her own son despises her and she is all alone in every possible way.
The tape that Sarah and Dr. Silberman watch during the hearing scene mirrors the tape of Reese that Sarah was watching in the first movie, freeze framing on Sarah in the exact same position, situation and emotional outburst as Reese's.
It symbolizes and shows that Sarah has become what Reese was - a dedicated tough fighter. Also, the scenes with Silberman give more expositions to the story in a natural and organic way Taking lessons from his favorite filmmaker, Stanley Kubrick, James Cameron puts subliminal meaning even to the set and the surroundings.
Cyberdyne Systems interiors were designed and envisioned as it had been machined out of a block of aluminum, reflecting the cold technological motif of what Cyberdyne was to become.
The sets are very cold with reflective, sleek surfaces and busy space. The sleek, precise and machine looking architectural envelope mirrors the inner guts of a robot and the cold terror and lack of emotion that the fruits of this company will bring upon the world. It was a nightmare to shoot and light because of the reflective surfaces, but it had to be done.
We decided early on that Cyberdyne will be one of the colder sets, because we're dealing with a robot, something that we wanted in some ways bring into the set as well. Sleek surfaces, or reflective type surfaces. Example of a great technique of using editing and camera work to reflect the mood of the scene during Sarah's outbreak: Also, note the use of silence - a device that James Cameron is known to use in all of his movies often contrasting it with heavy, busy sounds that it either proceed or succeed it.
The scene is very interesting for several reasons, from both filmmaking and story point of view. We're also introduced to one of many themes of the movie Van Ling: One of the central themes of the movie; Technology itself is amoral and it is how it gets used that gives it a morality. Terminator is essentially a gun, who can be either used to destroy or to protect. We also see the first signs of leadership and tactical decision-making from John Connor.
Connor decides that it's better to take a chance on T and take responsibility for it, which is a hard decision since he was brought up to hate and despise it for all his life.
Peter Silberman | Terminator Wiki | FANDOM powered by Wikia
Here's one of many examples of a breath taking lighting from Adam Greenberg, who received nominations for OscarAmerican Society of Cinematographers for Outstanding Achievement and British Society of Cinematographers awards for his work on T2.
In this scene cold lighting and low camera angles show the T as a piece of technology, with eyes hidden behind sunglasses to reinforce the sense of inhumanity. The sunglasses are an important story device in The Terminator and T2.
In the first movie they meant to dehumanize T more and more as the movie progresses and as he takes on more damage, becoming less and less human-like in appearance. In T2, the meaning of the sunglasses has an even deeper meaning and message. The sunglasses symbolizes his gradual transformation - he wears the sunglasses in the beginning when he is nothing more than a killer with a blank mind and looses them when he's starting his journey to become more human.
In T2, every character has his own specific aura, type, intensity and style of lighting, underlining their characters or emotions. Adam lights outward from the characters" Even the water on the streets was put there on purpose.
Adam Greenberg lights the spare white walls by using a combination of heavy outside backlighting or side lighting with a good balance of ambient light to fill in the shadows, while still keeping the moody nighttime feel. In the scene where Lewis locks the door behind the detectives, Adam Greenberg skipped the light off the floor to light the walls in an interesting way Another example of outstanding camera work evident during the hospital chase: It's important in an action sequence to shoot and cut the scenes so that the audience always understands what's going on.
This means making the layout of the immediate set very clear and maintaining the "axis" or "stage line" of the scene from shot to shot. This means staying consistent with the left-to-right orientation of the scene.
For instance, Sarah is running left to right, then her pursuers stay screen-left of her, regardless of camera angle. Silberman thought nothing of the so-called delusions shared by Kyle Reese and Sarah Connor other than being able to make a career from them being under his care.
After a close call with seeing the Terminator inSilberman witnessed two in action in during Sarah Connor's escape from the Pescadero State Hospital. Contents Fiction The Terminator Dr. Silberman was brought in to interrogate Kyle Reesethe soldier sent from the future to protect Sarah Connor from the Terminator that tried to kill her.
He downplayed Reese's story as delusional and constructed in such a way that it cannot be refuted, such as how there was no evidence of advanced technology because the time machine can only send things back that generate a bio-energy created by living tissue.
He left the police station before the Terminator's attack, briefly passing the latter who was disguised as a human in the corridor. He still believed the story was delusional and constructed even after the attack on the police station. The Terminator Terminator 2: Judgment Day Silberman threatened to be poisoned by Sarah Connor.
Silberman was the chief and criminal psychologist at Pescadero State Hospital where Sarah Connor was imprisoned as a mentally unsound inmate. Silberman made little headway with her, and was constantly a victim of her attacks when the opportunity presented itself, even stabbing him in the knee at one point. Sarah briefly used him as a hostage when she threatens to inject him with poison to try and get out of the asylum by forcing his staff to release her when he refused to have her transferred to the minimum security wing of the prison and sentenced her 6 extra months as a penalty for requesting her move.
He witnesses both the T and T Terminators when Sarah attempted to escape, stunned as the latter machine steps through a barred gate. He was ultimately left alone in the corridor terrified with the unconscious staff members as the two Terminators traveled down to the car park. Silberman, who just became a patient at Pescadero State Hospital himself, has a meeting with Detectives Weatherby and Mossberg.
After meeting the T, he was obviously starting to believe some of what Sarah always claimed. Search Mode T2 Trilogy Dr. Silberman has survived the professional disaster that was his last encounter with Sarah Connor, taking an extended break from his position at Pescadero for therapy.
Coming to grips with what he saw and allowing his fellow practitioners to convince him it was all a psychotic break helped, but he was unable to resume his duties at Pescadero. Looking into private and clinical work was difficult for Peter as well, as background checks eventually revealed the reason for his departure from Pescadero, and rejections began to pile up.Terminator 2: Escape From Hosptal 4K
Eventually, he found acceptance at the Encinas Halfway House, handling the transition of patients, including those from Pescadero, back into greater society.
Silberman was again brought face to face with Sarah a shock to both of them while she recuperated from injuries received at the hands of Serena Burns. Coming to the realization that what he encountered that night was not Sarah's delusions but her stark and terrifying reality, Dr. Silberman offers whatever help he can to Sarah and her allies. In November of while conducting a covert meeting of allies under the guise of a therapy session, Dr.