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THE MAKING OF TERMINATOR 2 - Starring Arnold Schwarzenegger and Linda Hamilton

Jun 02, 2021
In 1984, movie audiences were introduced to a new type of villain. Seven years later, writer-director James Cameron reteamed with stars Arnold Schwarzenegger and Linda Hamilton for the long-awaited sequel Terminator 2: Judgment Day. If today they are little children, they are all adults. The phrase that everyone always asked me to say is, you know, say, I'll be back, say, your lines are coming now, I'm a cyber organism, Cyberdyne systems model 101, I'll be back. Those words took on new meaning in the fall of 1990, when the cast and crew gathered in the Mojave Desert to continue the story of Sarah Connor and her fight against the machines of the future.
the making of terminator 2   starring arnold schwarzenegger and linda hamilton
The important element that has changed in her life since we last saw her is that she had her son John Connor and he is now 10 years old. years the new movie Terminator is no longer directed at her the child right now is the target it's okay for Cameron Terminator 2 he goes alone it's a matter of time action it was inevitable that a Terminator sequel would be made and I wanted to be in The Helm I wanted to make sure it didn't stray from the concept of what it should be. Cameron's vision of a murderous cyborg from the future struck a chord with audiences around the world.
the making of terminator 2   starring arnold schwarzenegger and linda hamilton

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the making of terminator 2 starring arnold schwarzenegger and linda hamilton...

The Terminator represented something to people, a kind of dark side. of the human psyche people want to have that fantasy of being able to do exactly what they wanted to do when they wanted to do it I need you to close your boots and your motorcycle forgot to say please it took us all I think a while to realize The fact that The Terminator had penetrated the culture and continued to reflect on me in many ways and was always a very strong force in trying to make the sequel. I told Jim Cameron and I said, you know, we should have an ongoing story because we're dealing with such an interesting topic here.
the making of terminator 2   starring arnold schwarzenegger and linda hamilton
I knew instinct told me that based on that, the strength of the first movie there would be another one, it's just you, you're never ready, yes, several members of the original Terminator team returned. for the sequel, which includes cinematographer Adam Greenberg and Terminator effects creator Stan Winston, the sequel has to be faithful to the first film, but it still has to be more than the first film, we have to give them what they got in the first one and we have to give them. something new and fresh and I think that's what we've done in Terminator 2.
the making of terminator 2   starring arnold schwarzenegger and linda hamilton
How can Arnold star in the sequel? A Terminator is built in a factory and there is one after another after another and they all look like Armand. I guess it's just because he Cute, this Terminator, though, isn't just another pretty face, there's more sophistication to the way he'll look and much bigger things will happen on screen over six months. Terminator 2 combined the efforts of more than a thousand filmmakers filming day and night throughout the state of California to capture the script's many action sequences, the production changed the course of a river to film high-speed chases in the extensive control channels of Los Angeles floods, the close quarters of the NASA film crew often paralleled the action of the scenes.
The film's bankers resurrected a defunct steel factory that recreated the intense heat and light of molten steel. Ironically, actual temperatures in the factory averaged 42 degrees,

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it difficult for actors and, in Northern California, a team of expert pyrotechnicians to sweat. He starred in one of the biggest daytime shootouts in film history, tell me it wasn't a rush, his greatest achievement was blowing up a four-story office building. We'll be so wrong it's those reverse lights waiting for your signal. Jim Donald and I working. together it is like in the first film, he is one of the most professional people I have worked with, he has incredible concentration, he takes physical direction like no other actor I have worked with and it is truly a pleasure to work with them. before method acting, although then in 1984 he paid a lot of attention to acting, now he pays much more attention to acting, the way he directs the actors, how much time he spends in rehearsals, how much time he spends with perfection and with the movements. and churches, so I would say that in that area he is much smarter and much more sophisticated.
I mean, he wants to do basically everything because he has a very clear vision of what he wants to see and see him end up running around with the smoke machine and creating smoke. in front of the camera and then put blood on you and try to put makeup on that's why people always say that Jim Cameron's movie has a certain look because it's a total representation of what he wants to see long before the cameras roll on Cameron and The team works hard designing sequences and testing ideas in a unique combination of film and science.
I do a lot of visual research. I do a lot of technical research. The more fantastic the theme, the more realistic the situation must be. I use extremely detailed models. Cameron designs sequences with the help of a thumb-sized video camera blocking the scene in miniature. Production designer Joe Nemec can alter a location or set to meet the specific needs of the scene. Additionally, during pre-production, a former Israeli commando provided the cast with military personnel. Combat and Weapons Training Since Sera's character became an expert marksman, Linda was required to master a variety of weapons and assault rifles.
It was really like going into the military and learning the mentality and facing myself in a big way, which was even more meaningful in terms of playing Sarah, she is so focused on one path, a path focused on duty, that she has lost all contact with her son, you can't risk even for me, do you understand that you are too important, that he is a great warrior, but for what you know then she has nothing that makes her worth while you know and also my life we don't even notice the shot anymore why just what meat there was a nuclear war sarah has lived with the certain knowledge of the destruction of the world on a certain date for so long and this haunts her dreams and nightmares every night and has taken her to the point of madness, as would anyone who truly had to face that knowledge that we experienced The End of the World through Sarah's eyes, a process that required the strictest sense of realism, but even more powerful and disturbing are Sara's visions of people when we had to create ashen bodies that were going to be destroyed by a nuclear holocaust.
It was very disturbing and it was the only moment where it felt a little uncomfortable because it wasn't pleasant to watch while you were filming it, but it's the important aspect of the movie Judgment Day, the day Sara was told the war would begin to clear. the way. for humanity's successor, the machines, the future war for Terminator 2 Cameron mobilized an army of actors, stuntmen and special effects teams to create the final battle between humanity and the machines. This battle took place in many levels in Terminator 2 as the team successfully ran a vehicle. stunt after stunt The scene required the Terminator to climb from a speeding pickup truck onto an optimistic heavy tanker truck performed by Arnold's stunt double Peter Kent.
After a successful turn, the truck was rolled onto its side and towed by a crew of tractors Peter wrote the sliding tanker like a surfboard to protect young John Connor the human resistance has sent but the Terminator himself our mission is to protect you, who sent you, you did this it's profound to play the role of young John Connor , his newcomer Eddie Furlong, is almost the classic in some ways. the classic story, I mean, he was literally taken off the streets of Pasadena and thrown into the vortex of

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a movie and Jim said Eddie, I was going to tell you on Friday, but don't tell anyone, but we'll cast you in this. . film and I felt like hugging Jim, but he's a boy, so I didn't hug him with less than a month before production.
Eddie began an intense period of preparation, in addition to his regular education, he received physical training, acting lessons and motorcycle classes. Funny thing I'm sure it's nothing he would have expected and it's a complete left turn in his life, but on the other hand, kids have this remarkable ability to deal with things, whatever life throws at them. life, they don't know what the world is supposed to be like. It hasn't been yet, so they just think okay, you know, it can be if it wants to be. One of the many tasks that Stan Winston and his team undertook was to improve the original Terminator makeup design.
Originally, there were a series of stages designed or considered as Arnold puts on his makeup for this particular production, an actor should know that, going into a situation like this, there is physical stress in this process. Fortunately, Arnold Schwarzenegger is a professional. Three more hours of this, I don't know how much longer I can last. this attacks him like a pro he doesn't complain okay but I need my feet massaged my oatmeal when the Austrian Christmas music I need it all go ahead do it this prefab piece here will stick to Arnold's space with the Arnold's help holding it up no, no, Sophie, okay, now it's the glue we use that makes these arms rise and swell on the days when the makeup isn't 100 percent on, I just sneak up next to the camera and do it.
I rub a little. Vaseline on the lens during production, makeup artists Jeff Don and Steve Laporte and hairstylist Peter Toth Ball would transform Arnold into the flesh-covered Terminator approximately 35 times, totaling six consecutive days in a makeup chair for Arnold, not too much just because. you put too much. blood on it, no you can't see the work that's been done, you can't see the metal and flesh that's gone, it just looks like a big bloody mess, like you slapped a burger on it, that's a good one example, Jeff Burger. I accept this possibility that there could be a mix between a human component and a machine component and I think it's just an aspect of our lives right now that we are so surrounded by machines all the time and the fact that we can accept that for me .
It's the most amazing thing of all: I'm good-looking, no camera can capture all these good looks, so what they do in every movie is they put appliances and terrible makeup on the down-looking kind of tone. a little bit to match the rest of the actors in the movie my breath was so bad for two and a half hours three and he did the next stage for the makeup is stage five six seven and it's basically the same thing Arnold had before . just more chrome, more appliances. Your eye will be covered so we can't see through it and it will probably take you another hour and a half to put it on.
He will love you, as one would imagine, Sarah. She's having trouble accepting the Terminator as an ally She doesn't know he'll come back She knows it's a possibility So she's ready without affection You know I've kept it very clean Do you know what you're doing? Five detailed human anatomy files. I bet he makes you a more efficient killer. that character develops slowly, but the fact of hanging out with a human being Jesus, you're going to kill that guy, of course, I'm a

terminator

, listen to me very carefully, okay, you're not a

terminator

anymore, okay, and all that registers and me starting to deal with all those kinds of emotions that the terminators sent to kill young John is unlike any killing machine ever imagined.
I call it a mimetic polyalloy, a meeting that indicates that it is made of a substance that can imitate anything that the t1000 touches is Robert Patrick Jim. Looking for someone who was kind of a mix between the protector character that was Michael Biehn in the first one and Arnold Schwarzenegger, who was the Terminator, and I think I was looking for someone who could look like he could just be a human and yet could being a Terminator could handle the intensity to be a Terminator well, I wanted to find someone who would be a good contrast to Arnold if the 800 series is some kind of human hands our tank then the 1000 series had to be a Porsche and Terminator Advanced Prototype which was scarier than the previous model.
What I like about Robert is that he seems like a cat in a way, it's almost like he's all about senses. You know you feel like he's very in touch with the world. and analyzing and observing it, my character wants to completely eliminate John Connor, that is his mission, a young, tenacious and relentless machine, and he will not stop, although his missions are exactly opposite. Both terminators come from the same creator, the invisible supercomputer called Skynet, we come from the same one. technology, so we have to have some programming, are you John Connor's legal guardian? That's right, officer, what have you done now?
So we are both killing machines, we were different guys. There was a guy here this morning looking for him. Yes big one. guy on a bike so I have something to do with this the new Terminator really with these new capabilities is much more threatening basically I'm death you know they're running from death both terminators are programmed to complete their missions at all costs andwithout a doubt, but Sarah has decided to face her destiny and takes matters into her own hands. I need to know how Skynet is built. Who is responsible? The most directly responsible person is Miles Bennett Dyson.
She decides that the only way to stop the future that she knows is going to happen is to kill the man who builds the chip that starts the war in a very real way; she becomes the Terminator of the second film, at least on a psychological level for the cast and crew. Terminator 2 has been more than a meeting, it's been very intense in Tobruk and you know, a lot of night shootings and a lot of hours and so on, and I feel very honored and happy to be able to do the second one in 1984. Cameron transformed Arnold into one of the villains most memorable on screen.
Seven years later, the process is being reversed. Terminator is to become a protector, ultimately the film is about the value of human life, no matter how inconsequential it may seem to others or even to yourself, your individual existence can have great value in the future, they have a job to do to protect their child and they do it. One of the most amazing aspects of Terminator 2 is that it has taken the art and science of special effects to a whole new level. Several Academy Award-winning effects companies worked under a strict veil of secrecy for nearly a year to create the many and varied effects.
Terminator 2 Fantasy 2 under the command of Terminator veteran Jean Warren greatly expanded the future war sequences of the first film by combining live-action combat sequences with cinematographic effects the artists created the massive battlefield for the war between man and the famous endoskeleton machine also returns for In the sequel, Stan Winston's company joined forces with stop-motion animator Peter Klein to create an army of these high-tech death figures. It is the same endoskeleton. It's basically the same design we've perfected, but it's much more technically advanced than the series endoskeleton. The first movie is actually artistically advanced, they can do more, there's more life in these endoskeletons, but redesigning the original endoskeleton was just the beginning for Stan Winston and the staff.
In this particular film, we had to duplicate each Lee animatronic lead actor in the scene where the Terminator appears. he must fight his way through a SWAT firing squad. Stan was called in to create a double of Arnold that could withstand a flurry of gunfire. There's nothing we can do that will truly double the living things we can get close to, but we can't do it exactly. We're making very nice animatronic duplications of living beings, it's just a movie you don't get paid to do, so I make it for you. Okay, relax for Sara's nightmare. Winston's team designed and created several duplicates of Linda Hamilton, all of which were destroyed upon creation.
The disturbing nuclear sequence that destroyed Los Angeles was a task entrusted to advanced productions under the direction of Bob Skotak. Vast miniatures of cityscapes were built in tremendous detail for the sole purpose of their destruction, but the truly revolutionary effects involve the creation of the t1000, the deadliest machine ever built. It just blew my mind to see it and you're like, wow, they've transformed you, you're, you're liquid mercury, man, they're liquid chrome. I don't think I'll get over it and I totally believed that creating the t1000 required the combined efforts of Stan Winston's company and Industrial Light and Magic under the direction of Dennis Muren at the beginning of this program, Jim already had the board ready and you need to start with storyboards, you have to know what you're doing in the beginning can't even be done, a show like this, you know?
Is it technically feasible to do it now? Jim hoped it would and I thought it would, so we all agreed we could do it. Then I started figuring out what was going to be done optically, what was going to be done has a real-life effect, and then what things on our end would be necessary for ILM to help them figure things out optically and vice versa, and that was it. It worked as perfectly as possible when the t1000 x's capabilities went beyond what was possible with makeup and animatronic prosthetics. ILM was tasked with creating the effects optically, literally redefining the ultimate in computer animation, computer-generated imagery.
They're a way to create new effects, especially when we've been doing traditional effects for 80 years and you're starting to see, I think a lot of the limits of traditional effects, you know it's very difficult to achieve. we use the same tools and do different things all the time Dennis and I sat down and conceived the process and decided to concentrate on Robert Patrick's form because Robert is the t1000, we decided that we are going to study his body we are going to observe his movements we are going to find a way to capture his quality his way of walking the way he runs the way he behaves the way his body changes shape and that era for us was going to be the key that drove our visual approach to the entire team 1,000 in making the models, studying Robert Patrick, we got Robert and he was up here and we painted a grid on him and we filmed a lot of footage of him and we could see what it was like the grid moved as his muscles moved, his bodies were moving as they were at the beginning of the program, so that gives you an extremely powerful guide to creating a real Robert Patrick walk, a real Robert Patrick run, which is actually the t1000 and the t1000 run so it's absolutely critical to our entire process we are trying to always duplicate human beings everyone is shooting for human beings this is really the first successful step in adding real life to another wise inanimate piece of geometry notice the wrinkles you know it's the slight gestures of eyes and hands and stuff like a real human that's the kind of thing that's the extra step we wanted to take we were meant to do that or nothing we knew other people had come so far we wanted to go further that I dabbled a little in this in the abyss with the tentacle of water that formed the faces of Ed Harris and Mary Elizabeth Mastrantonio and that turned out to be a very convincing image that people remembered indelibly from that movie, so that encouraged me to take it. one step further or many steps further, as in the abyss ILM employed a revolutionary laser scanning process to capture the movements and form of Robert Patrick in one of the most powerful ways or one of the most exciting ways to use it is to obtain people's facial expressions on the computer I'm sitting in a chair you know like this and I can't I can't move this way I can't move this way I have to stay still all control hits this emotion and fixes this expression, you know, we can reconstructing the faces of the actors, it is a very free process, you can follow what is happening and digitize those expressions as you wish and we can immediately work with them, animate the model, create humans, they were very realistic, very strong. human faces come out, I mean we work on these things and every day you know we still haven't lost the spirit of wonder when we see what comes out, it's new and that's what's necessary, we can't have a sequel and just have it more .
Likewise, there are some wonderful new surprises in Terminator 2. Bringing the t1000 to life has been a group effort. I knew I was in good hands, like with ILM and Stan Winston. I knew I was working with the best of the best and I just like it. Thanks to them, the crew and my cast members as the sci-fi movie of the decade, seven years later, stars Arnold Schwarzenegger and Linda Hamilton and visionary director James Cameron have created one of the greatest films ever created, the conclusion of the Terminator saga for the Terminator cast and crew. 2 was nothing less than destiny until sight baby you

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