1 00:00:05,000 --> 00:00:07,320 SARAH CONNOR: The survivors of the nuclear fire 2 00:00:07,360 --> 00:00:09,560 called the war "Judgment Day". 3 00:00:09,600 --> 00:00:12,880 They lived only to face a new nightmare: 4 00:00:12,920 --> 00:00:15,320 the war against the machines. 5 00:00:15,360 --> 00:00:17,360 (STONE CRUNCHES) 6 00:00:18,840 --> 00:00:21,280 (EXPLOSIVES WHISTLE) 7 00:00:23,440 --> 00:00:25,120 (LASERS FIZZ) 8 00:00:25,160 --> 00:00:29,080 In late 1989, James Cameron was troubled. 9 00:00:29,120 --> 00:00:32,840 Writing into the night, running on coffee and ambition, 10 00:00:32,880 --> 00:00:35,000 he was faced with a conundrum. 11 00:00:35,040 --> 00:00:37,640 What would frighten a Terminator? 12 00:00:37,680 --> 00:00:40,760 What would make the indomitable Arnold Schwarzenegger 13 00:00:40,800 --> 00:00:43,200 quake in his leather boots? 14 00:00:43,240 --> 00:00:46,520 How do you turn a cyborg assassin from the future 15 00:00:46,560 --> 00:00:48,320 into the underdog? 16 00:00:49,360 --> 00:00:51,360 (METALLIC SQUELCHING) 17 00:00:53,880 --> 00:00:55,200 (GUN COCKS) 18 00:00:57,880 --> 00:01:00,800 It took a while for the second film to be made. 19 00:01:00,840 --> 00:01:03,240 There were a number of legal wrangles, 20 00:01:03,280 --> 00:01:05,519 as well as James Cameron waiting 21 00:01:05,560 --> 00:01:08,000 for the technology to catch up with his ambition. 22 00:01:08,039 --> 00:01:09,720 His scale of ambition was huge, 23 00:01:09,760 --> 00:01:11,920 and a lot of the things that he had in his head 24 00:01:11,960 --> 00:01:13,640 simply couldn't be achieved. 25 00:01:13,680 --> 00:01:16,400 So the time lapse - the waiting - 26 00:01:16,440 --> 00:01:18,360 almost played into his hands 27 00:01:18,400 --> 00:01:20,760 because, by the time he was able to make the film, 28 00:01:20,800 --> 00:01:23,160 he was able to do the things that he wanted to do 29 00:01:23,200 --> 00:01:25,000 because technology had caught up. 30 00:01:25,039 --> 00:01:27,400 But that, of course, did result in then 31 00:01:27,440 --> 00:01:31,000 it being on a far grander scale in every aspect, particularly budget, 32 00:01:31,039 --> 00:01:34,880 and it was, at the time, the most expensive film ever made. 33 00:01:34,920 --> 00:01:36,680 Cameron knew in his bones 34 00:01:36,720 --> 00:01:39,320 he couldn't simply repeat the same routine. 35 00:01:39,360 --> 00:01:43,479 The question was - how do you outdo James Cameron? 36 00:01:43,520 --> 00:01:45,200 With Terminator 2: Judgment Day, 37 00:01:45,240 --> 00:01:48,080 he brilliantly chose to invert the formula. 38 00:01:48,120 --> 00:01:50,560 He made Schwarzenegger the good guy. 39 00:01:50,600 --> 00:01:55,200 A new version of the monotone T-800 fresh off the production line 40 00:01:55,240 --> 00:01:58,200 is sent back in time, like his predecessor. 41 00:01:58,240 --> 00:02:01,080 Only this model has been reprogrammed 42 00:02:01,120 --> 00:02:05,040 to protect the young boy who will one day save the future. 43 00:02:05,080 --> 00:02:07,080 He is a machine hero, 44 00:02:07,120 --> 00:02:09,720 the Tin Man with a heart. 45 00:02:11,080 --> 00:02:13,440 Come with me, if you want to live. 46 00:02:13,480 --> 00:02:16,040 It's OK, Mom. He's here to help. It's OK. 47 00:02:16,079 --> 00:02:18,280 (ANXIOUS PANTING) 48 00:02:20,480 --> 00:02:22,480 (APPROACHING FOOTSTEPS) 49 00:02:26,000 --> 00:02:28,000 (THEME MUSIC) 50 00:02:41,840 --> 00:02:44,120 ARNIE: I want to thank each and every one of you... 51 00:02:44,160 --> 00:02:46,440 (WOMAN SCREAMS) ..for coming here today... 52 00:02:46,480 --> 00:02:49,200 (WHOOPING) MAN: We love you! 53 00:02:49,240 --> 00:02:53,880 ..because the first Terminator was such a tremendous success 54 00:02:53,920 --> 00:02:57,880 in the movies and video and cable and network 55 00:02:57,920 --> 00:03:00,200 and all the different areas 56 00:03:00,240 --> 00:03:03,640 because of great fans like you. 57 00:03:03,680 --> 00:03:05,400 (CHEERING AND WOLF-WHISTLING) 58 00:03:05,440 --> 00:03:07,440 But I also told you, 59 00:03:07,480 --> 00:03:09,160 I'll be back. 60 00:03:09,200 --> 00:03:11,200 (WHOOPING AND CHEERING) 61 00:03:12,920 --> 00:03:14,920 The man... 62 00:03:16,360 --> 00:03:18,360 The main man is back! 63 00:03:18,400 --> 00:03:20,400 (WHOOPING AND CHEERING) 64 00:03:21,480 --> 00:03:23,760 When it first came to crafting a sequel 65 00:03:23,800 --> 00:03:27,840 to his smash-hit science-fiction slasher movie, The Terminator, 66 00:03:27,880 --> 00:03:32,520 Cameron imagined a film more epic and dazzling in every way - 67 00:03:32,560 --> 00:03:35,040 all the things he could only dream of doing 68 00:03:35,079 --> 00:03:37,640 when he made The Terminator. 69 00:03:37,680 --> 00:03:40,480 James Cameron wanted to create something 70 00:03:40,520 --> 00:03:43,120 which was going to surprise audiences 71 00:03:43,160 --> 00:03:45,079 and outdo the original. 72 00:03:45,120 --> 00:03:47,280 And he was able to do so 73 00:03:47,320 --> 00:03:51,040 with the help of a production company called Carolco, 74 00:03:51,079 --> 00:03:53,760 who were very cash rich at that time. 75 00:03:53,800 --> 00:03:55,800 They were an American independent, 76 00:03:55,840 --> 00:03:58,040 but they had realised fairly early on 77 00:03:58,079 --> 00:04:00,720 that they made most of their money from action flicks. 78 00:04:00,760 --> 00:04:04,600 So, in 1982, they had a lot of success with First Blood 79 00:04:04,640 --> 00:04:07,480 and then in 1985 with the Rambo sequel. 80 00:04:07,520 --> 00:04:09,280 So they were very much in the market 81 00:04:09,320 --> 00:04:14,480 for sequels of high-concept sci-fi action and thriller movies. 82 00:04:14,520 --> 00:04:16,880 So they managed, with some difficulties, 83 00:04:16,920 --> 00:04:19,839 to extract the rights to The Terminator 84 00:04:19,880 --> 00:04:22,640 because they were owned by another production company 85 00:04:22,680 --> 00:04:25,920 and also co-owned by James Cameron's ex-wife, 86 00:04:25,960 --> 00:04:29,080 who was a co-producer and co-writer on the first film. 87 00:04:29,120 --> 00:04:32,680 So they managed to extract the rights to that franchise, 88 00:04:32,720 --> 00:04:35,200 and then they managed to get James Cameron on board 89 00:04:35,240 --> 00:04:37,000 by offering him $6 million 90 00:04:37,040 --> 00:04:39,240 - the whole budget of his last film - 91 00:04:39,280 --> 00:04:41,640 simply as his salary for this film. 92 00:04:41,680 --> 00:04:44,600 And so that's when the wheels started turning for Cameron 93 00:04:44,640 --> 00:04:47,200 to really look at what else he could do 94 00:04:47,240 --> 00:04:49,240 with that much larger scope and budget. 95 00:04:49,280 --> 00:04:52,480 James Cameron had, in effect, given away so much of The Terminator 96 00:04:52,520 --> 00:04:55,440 that I don't think he'd really thought about doing a sequel. 97 00:04:55,480 --> 00:04:57,840 It wasn't something that was part of his project. 98 00:04:57,880 --> 00:04:59,840 But once Carolco came through with the money 99 00:04:59,880 --> 00:05:01,880 and, as he said, had his full attention, 100 00:05:01,920 --> 00:05:05,920 he initially just scribbled down on a yellow legal pad: 101 00:05:05,960 --> 00:05:09,080 The Terminator and John Connor 102 00:05:09,120 --> 00:05:10,440 as a friendship - 103 00:05:10,480 --> 00:05:14,080 and he realised that the idea would be to bring them together. 104 00:05:14,120 --> 00:05:16,760 Now, the original Terminator had essentially been 105 00:05:16,800 --> 00:05:19,320 within the genre of almost a slasher flick. 106 00:05:19,360 --> 00:05:21,640 A lot of the camera angles, a lot of the storytelling 107 00:05:21,680 --> 00:05:23,360 is very similar to, say, 108 00:05:23,400 --> 00:05:25,080 well, not quite a Friday The 13th, 109 00:05:25,120 --> 00:05:28,560 but maybe A Nightmare On Elm Street, quite a sophisticated slasher flick. 110 00:05:28,600 --> 00:05:31,680 So we have a relentless killer, who cannot be stopped, 111 00:05:31,720 --> 00:05:34,640 coming after a girl and someone trying to save her. 112 00:05:34,680 --> 00:05:38,720 The idea of a nuclear apocalypse is very much backdropped. 113 00:05:38,760 --> 00:05:41,480 It's just the situation that is happening in the future 114 00:05:41,520 --> 00:05:43,720 that brings around our slasher flick today. 115 00:05:43,760 --> 00:05:46,520 And Arnold Schwarzenegger, this Panzer tank of a man, 116 00:05:46,560 --> 00:05:50,159 crashing through contemporary Los Angeles in his search to kill - 117 00:05:50,200 --> 00:05:52,400 that's your plot, really. 118 00:05:52,440 --> 00:05:56,360 With Terminator 2, it's a complete flip. 119 00:05:56,400 --> 00:05:59,480 Arnold Schwarzenegger had become a huge star 120 00:05:59,520 --> 00:06:02,000 with the first Terminator film, 121 00:06:02,040 --> 00:06:04,600 having made a couple of Conan movies before that. 122 00:06:04,640 --> 00:06:07,000 He'd understood that 123 00:06:07,040 --> 00:06:10,440 Cameron already sort of got the wind under his sails 124 00:06:10,480 --> 00:06:13,480 with The Abyss and Aliens, 125 00:06:13,520 --> 00:06:15,360 and so he was... 126 00:06:15,400 --> 00:06:18,800 They sort of came together. There was a confluence of ideas that 127 00:06:18,840 --> 00:06:23,160 at some stage when special effects were improving 128 00:06:23,200 --> 00:06:25,880 that Cameron would actually make the sequel. 129 00:06:25,920 --> 00:06:29,560 After the success of The Terminator and Aliens, 130 00:06:29,600 --> 00:06:32,000 at the end of the '80s, this young Canadian, 131 00:06:32,040 --> 00:06:34,720 veteran of Roger Corman's B-movie studio, 132 00:06:34,760 --> 00:06:38,080 was the leading genre filmmaker in Hollywood, 133 00:06:38,120 --> 00:06:41,440 but he championed a brand of science-fiction realism. 134 00:06:41,480 --> 00:06:45,800 However many cyborg assassins or alien infestations, 135 00:06:45,840 --> 00:06:48,560 his films never felt far-fetched. 136 00:06:48,600 --> 00:06:52,400 Cameron had a gift for centring his films in human terms, 137 00:06:52,440 --> 00:06:57,840 real people confronting future technology that is plausible. 138 00:06:57,880 --> 00:07:00,600 Over the years, it was Arnold Schwarzenegger 139 00:07:00,640 --> 00:07:03,680 who kept the idea of a Terminator sequel alive, 140 00:07:03,720 --> 00:07:05,400 pushing his old friend to make 141 00:07:05,440 --> 00:07:07,640 another action movie in the same mould. 142 00:07:07,680 --> 00:07:11,240 After all, it was the role that made him a superstar. 143 00:07:11,280 --> 00:07:13,520 The villainous machine with a mixture 144 00:07:13,560 --> 00:07:15,520 of a bodybuilder's balletic grace 145 00:07:15,560 --> 00:07:17,880 and the actor's blackly comic delivery 146 00:07:17,920 --> 00:07:19,920 had become a cult favourite. 147 00:07:19,960 --> 00:07:22,400 Irony now ruled the box office. 148 00:07:22,440 --> 00:07:25,160 But he was taken aback when Cameron suggested 149 00:07:25,200 --> 00:07:26,760 he was now the good guy, 150 00:07:26,800 --> 00:07:30,040 while remaining the icy-cool killing machine, 151 00:07:30,080 --> 00:07:32,920 This science-fiction sequel can lay claim to being 152 00:07:32,960 --> 00:07:36,880 the most revolutionary film since The Jazz Singer introduced sound. 153 00:07:36,920 --> 00:07:39,159 It transformed an industry, 154 00:07:39,200 --> 00:07:42,840 for Cameron chose to create his liquid-metal Terminator 155 00:07:42,880 --> 00:07:45,960 using computer-generated imagery. 156 00:07:46,000 --> 00:07:48,000 (CRACKLING) 157 00:07:48,040 --> 00:07:50,640 (METALLIC SQUELCHING) 158 00:07:50,680 --> 00:07:52,680 (THUD REVERBERATES) 159 00:07:52,720 --> 00:07:54,400 DENNIS MUREN: ILM had been around 160 00:07:54,440 --> 00:07:57,760 for 15 years or so, doing some really cutting-edge effects. 161 00:07:57,800 --> 00:08:01,440 Jim had already done about 52 storyboards 162 00:08:01,480 --> 00:08:04,400 for what he wanted to do with this character. 163 00:08:04,440 --> 00:08:06,520 I'd never seen anything like it in a film. 164 00:08:06,560 --> 00:08:08,840 If we could make this guy that didn't exist, 165 00:08:08,880 --> 00:08:10,400 this character out of chrome, 166 00:08:10,440 --> 00:08:12,760 that could be phenomenal. 167 00:08:17,120 --> 00:08:21,280 Hi, I'm here with John Rowe at Buckinghamshire New University, 168 00:08:21,320 --> 00:08:24,560 and we're here to talk about Terminater 2: Judgment Day 169 00:08:24,600 --> 00:08:28,720 and the revolution in special effects that came with it. 170 00:08:28,760 --> 00:08:31,120 So, John, tell me a little bit about 171 00:08:31,160 --> 00:08:34,640 the scale that James Cameron had in mind 172 00:08:34,679 --> 00:08:36,679 for this sequel to The Terminator. 173 00:08:36,720 --> 00:08:38,799 Did they know they were going to get there? 174 00:08:38,840 --> 00:08:41,240 I mean, in terms of processing power 175 00:08:41,280 --> 00:08:44,080 and what it required at Industrial Light and Magic, 176 00:08:44,120 --> 00:08:46,520 it must have been a sort of step into the unknown. 177 00:08:46,560 --> 00:08:48,880 Yeah, it's totally revolutionary. 178 00:08:48,920 --> 00:08:51,320 I don't think... I mean, that's the great... 179 00:08:51,360 --> 00:08:55,080 That attitude and that mindset still persists to this day. 180 00:08:55,120 --> 00:08:58,360 I think if... When anybody comes up with a story idea, 181 00:08:58,400 --> 00:09:00,680 no matter how fantastical, 182 00:09:00,720 --> 00:09:04,040 if it is something that cannot be filmed physically, 183 00:09:04,080 --> 00:09:07,720 then there are obvious places that you go to look. 184 00:09:07,760 --> 00:09:10,040 You can either ask the art department, 185 00:09:10,080 --> 00:09:11,760 you can ask the cinematographer 186 00:09:11,800 --> 00:09:13,720 or you can ask the visual-effects people. 187 00:09:13,760 --> 00:09:15,520 They tend to be the main three places 188 00:09:15,560 --> 00:09:18,680 that you look for solutions to your story problems, if you like. 189 00:09:18,720 --> 00:09:22,920 And the moment it's no longer art department and cinematography 190 00:09:22,960 --> 00:09:24,640 and it can't actually be filmed, 191 00:09:24,680 --> 00:09:27,080 then you have to talk to a visual-effects supervisor 192 00:09:27,120 --> 00:09:28,800 or a specialist to say: 193 00:09:28,840 --> 00:09:30,520 can I actually do this? 194 00:09:30,560 --> 00:09:33,280 And those were the conversations that James Cameron had 195 00:09:33,320 --> 00:09:35,280 with Dennis Muren to go, 196 00:09:35,320 --> 00:09:38,120 "OK, what's the limit that I can go to here?" 197 00:09:38,160 --> 00:09:40,720 bearing in mind a lot of this hadn't been done before. 198 00:09:40,760 --> 00:09:44,680 And using the skills he had and his amazing perception, he said, 199 00:09:44,720 --> 00:09:46,720 "Well, you can go this far, but no more." 200 00:09:46,760 --> 00:09:49,200 And what's interesting is James Cameron accepted that 201 00:09:49,240 --> 00:09:51,040 and then said, "Well, let's go to there." 202 00:09:51,080 --> 00:09:53,560 There's a story about Dennis Muren picking up the phone 203 00:09:53,600 --> 00:09:55,640 and James Cameron explaining what he wanted. 204 00:09:55,680 --> 00:09:57,760 And he's like, "Can you do it, Dennis?" 205 00:09:57,800 --> 00:10:00,480 And Dennis was like: sure. Put the phone down and went, 206 00:10:00,520 --> 00:10:02,320 "Right, what do we do, everybody?" 207 00:10:02,360 --> 00:10:05,360 It's like they were inventing as they went.Very much so. 208 00:10:09,400 --> 00:10:10,840 (GLASS FRAGMENTS TINKLE) 209 00:10:30,960 --> 00:10:32,960 (BRAKES SCREECH) 210 00:10:36,880 --> 00:10:38,200 (FIRE CRACKLES) 211 00:10:51,920 --> 00:10:53,600 (TYRES SQUEAL) 212 00:10:54,640 --> 00:10:56,640 (MOTORCYCLE REVS) 213 00:10:56,680 --> 00:11:00,880 It was shortly before Christmas 1989 when James Cameron's phone rang. 214 00:11:00,920 --> 00:11:03,120 Mario Kassar was on the other end, 215 00:11:03,160 --> 00:11:06,640 flamboyant head of Hollywood independent Carolco. 216 00:11:06,680 --> 00:11:10,200 The producer had bought the rights to The Terminator, 217 00:11:10,240 --> 00:11:13,840 and wanted to know what it would take for Cameron to direct a sequel. 218 00:11:13,880 --> 00:11:18,840 The answer for that would ultimately be a budget for $100 million, 219 00:11:18,880 --> 00:11:22,320 at the time the most expensive film ever made. 220 00:11:22,360 --> 00:11:26,280 And he needed a villain that would make Arnie look vulnerable - 221 00:11:26,320 --> 00:11:29,080 not a bigger Terminator, 222 00:11:29,120 --> 00:11:31,960 but the ultimate stealth machine 223 00:11:32,000 --> 00:11:34,920 made of intelligent mimetic liquid metal - 224 00:11:34,960 --> 00:11:39,600 a new, virtually indestructible killer assassin. 225 00:11:39,640 --> 00:11:41,640 (FIRE CRACKLING) 226 00:11:50,040 --> 00:11:51,720 (METALLIC HISS) 227 00:11:51,760 --> 00:11:55,560 It was impossible for this work to have been done two years before, 228 00:11:55,600 --> 00:11:57,400 but actually it was even impossible 229 00:11:57,440 --> 00:11:59,440 for this stuff to have been done a week before 230 00:11:59,480 --> 00:12:01,360 because we were learning things that fast. 231 00:12:03,600 --> 00:12:06,920 This shot is typical of what's gonna come in this movie. 232 00:12:06,960 --> 00:12:09,000 You're gonna see shot after shot after shot 233 00:12:09,040 --> 00:12:12,240 with no cutting, no tricks. It's all there. 234 00:12:12,280 --> 00:12:15,480 It's got the shot at the beginning that you see something like fire. 235 00:12:15,520 --> 00:12:17,920 Out of it comes something you've never seen before, 236 00:12:17,960 --> 00:12:20,200 which is this chrome character walking, 237 00:12:20,240 --> 00:12:22,440 reflecting all the fire around him. 238 00:12:22,480 --> 00:12:24,160 No cut. 239 00:12:24,200 --> 00:12:26,840 It's impossible. You've never seen it. 240 00:12:26,880 --> 00:12:30,160 So let's have a look at some of the extraordinary moments 241 00:12:30,200 --> 00:12:33,120 of visual effects in the film, and maybe you can talk us through 242 00:12:33,160 --> 00:12:36,360 exactly what has been achieved with each of these shots.OK. 243 00:12:37,880 --> 00:12:42,520 Well, this is a very iconic image of T-1000 emerging from the flames. 244 00:12:42,560 --> 00:12:45,120 And he's walking towards the camera, 245 00:12:45,160 --> 00:12:48,800 the camera tracks with him and he morphs into human form. 246 00:12:48,840 --> 00:12:51,600 So the character is CG, obviously when it's silver, 247 00:12:51,640 --> 00:12:53,880 and the process they've gone through 248 00:12:53,920 --> 00:12:56,480 is to composite that three-dimensional image 249 00:12:56,520 --> 00:12:59,040 into a live-action backplate. 250 00:12:59,080 --> 00:13:01,640 The flames are real... 251 00:13:01,680 --> 00:13:03,680 The CG character is not. 252 00:13:03,720 --> 00:13:05,720 And what they've very cleverly done 253 00:13:05,760 --> 00:13:09,200 is match the lighting of the flames onto the CG character, 254 00:13:09,240 --> 00:13:10,920 as it comes towards the camera. 255 00:13:10,960 --> 00:13:14,040 So the tricky bits there are the lighting and the movement again. 256 00:13:14,080 --> 00:13:17,640 To my eye, the transformation from silver man 257 00:13:17,680 --> 00:13:21,160 into Robert Patrick the actor is still seamless. 258 00:13:21,200 --> 00:13:23,800 It does work very well. You're right. 259 00:13:23,840 --> 00:13:26,720 But I think, by modern standards, 260 00:13:26,760 --> 00:13:29,640 it's a little bit crude now, but at the time... 261 00:13:29,680 --> 00:13:31,680 It hadn't been achieved before then. 262 00:13:31,720 --> 00:13:34,040 So you can't knock it. I mean, it's amazing. 263 00:13:34,080 --> 00:13:36,360 What he's achieved is absolutely incredible 264 00:13:36,400 --> 00:13:38,960 with the technology that was available at the time. 265 00:13:39,000 --> 00:13:41,360 They had created a new technique here to do this. 266 00:13:41,400 --> 00:13:43,440 It's not something that existed before. 267 00:13:43,480 --> 00:13:46,600 I mean, that is problem-solving taken to a ridiculous level. 268 00:13:46,640 --> 00:13:48,320 I need a minute here. 269 00:13:48,360 --> 00:13:52,200 You're telling me that this thing can imitate anything it touches? 270 00:13:52,240 --> 00:13:54,720 Anything it samples by physical contact. 271 00:13:54,760 --> 00:13:56,520 Get real. 272 00:13:56,560 --> 00:14:00,440 Like, it can disguise itself as a pack of cigarettes? 273 00:14:00,480 --> 00:14:02,520 No, only an object of equal size. 274 00:14:02,560 --> 00:14:05,040 Why wouldn't it become a bomb or something to get me? 275 00:14:05,080 --> 00:14:06,880 It can't form complex machines. 276 00:14:06,920 --> 00:14:09,360 Guns and explosives have chemicals, moving parts. 277 00:14:09,400 --> 00:14:11,080 It doesn't work that way. 278 00:14:11,120 --> 00:14:13,600 But it can form solid metal shapes. Like what? 279 00:14:13,640 --> 00:14:15,720 Knives and stabbing weapons. 280 00:14:15,760 --> 00:14:20,080 His idea was to create a completely different kind of Terminator - 281 00:14:20,120 --> 00:14:24,800 an advance on the original T-800, as played by Arnold Schwarzenegger. 282 00:14:24,840 --> 00:14:30,480 And this, he came up with the idea of a creature made of liquid metal, 283 00:14:30,520 --> 00:14:33,320 a sort of mercury on legs - 284 00:14:33,360 --> 00:14:36,200 absolutely extraordinary concept. 285 00:14:36,240 --> 00:14:39,400 It was a challenge not just to 286 00:14:39,440 --> 00:14:42,400 the actor who would eventually play him, 287 00:14:42,440 --> 00:14:45,560 but also to the special-effects department, 288 00:14:45,600 --> 00:14:49,360 including both Industrial Light and Magic's 289 00:14:49,400 --> 00:14:51,200 computer-generated imagery, 290 00:14:51,240 --> 00:14:53,960 but also Stan Winston Studios 291 00:14:54,000 --> 00:14:55,840 who were creating the puppets 292 00:14:55,880 --> 00:14:58,800 and all the in-camera special effects as well. 293 00:14:58,840 --> 00:15:02,800 All of this had to be combined into putting together 294 00:15:02,840 --> 00:15:05,960 a being on the screen that was utterly believable, 295 00:15:06,000 --> 00:15:07,880 and that had never been done before. 296 00:15:07,920 --> 00:15:12,160 It's sort of fascinating that he started in a place 297 00:15:12,200 --> 00:15:14,640 where most of us would say, 298 00:15:14,680 --> 00:15:17,320 "Well, that's sort of a folly. That's so ambitious." 299 00:15:17,360 --> 00:15:21,080 The technology to do that, basically early CGI, 300 00:15:21,120 --> 00:15:24,760 was not necessarily totally there. 301 00:15:24,800 --> 00:15:28,280 So there had to be almost an RandD element, 302 00:15:28,320 --> 00:15:32,360 and their team kind of grew from about five people to about 25 people 303 00:15:32,400 --> 00:15:36,560 because of the amount of work it took to get this T-1000 right 304 00:15:36,600 --> 00:15:40,000 and to make his sort of translucent, quicksilver quality 305 00:15:40,040 --> 00:15:42,560 of melting into things and emerging out of things 306 00:15:42,600 --> 00:15:45,720 and growing different limbs 307 00:15:45,760 --> 00:15:48,000 feasible on screen. 308 00:15:48,040 --> 00:15:50,040 (FOOTSTEPS SQUEAK) 309 00:16:02,240 --> 00:16:04,520 Now, this is the famous scene where 310 00:16:04,560 --> 00:16:07,640 the T-1000 rises up from the asylum floor. 311 00:16:07,680 --> 00:16:10,760 Oh, yes. Another very iconic image. 312 00:16:11,560 --> 00:16:14,280 (COIN JANGLES IN VENDING MACHINE) 313 00:16:16,640 --> 00:16:18,640 (METALLIC SQUELCHING) 314 00:16:18,680 --> 00:16:20,680 (STEAMING COFFEE HISSES) 315 00:16:30,160 --> 00:16:32,560 Let's leave it there. 316 00:16:32,600 --> 00:16:35,640 But of course the clever part about it, story-wise, 317 00:16:35,680 --> 00:16:41,120 is how you now realise that T-1000 can change shape into anything. 318 00:16:41,160 --> 00:16:44,440 It is explained in the film 319 00:16:44,480 --> 00:16:47,160 that it can't be tiny, like a packet of cigarettes. 320 00:16:47,200 --> 00:16:48,920 It has to be the same sort of size, 321 00:16:48,960 --> 00:16:52,320 and he can't be something mechanical with moving parts inside, 322 00:16:52,360 --> 00:16:54,680 but he can turn himself into sharp objects, 323 00:16:54,720 --> 00:16:59,080 like a massive sword arm or a... and so on. 324 00:16:59,120 --> 00:17:01,760 But that original... That start point for the shot, 325 00:17:01,800 --> 00:17:03,720 where we see the tiled floor, 326 00:17:03,760 --> 00:17:06,839 in hindsight, again, if you look at it now, you go: 327 00:17:06,880 --> 00:17:10,359 actually, that's very clever, the way that they have chosen 328 00:17:10,400 --> 00:17:12,200 to start from that point on the floor 329 00:17:12,240 --> 00:17:15,160 and then have the character build up out of the floor. 330 00:17:15,200 --> 00:17:17,560 Because if you think about it mathematically, 331 00:17:17,599 --> 00:17:20,400 inside the computer, you start with a piece of geometry. 332 00:17:20,440 --> 00:17:23,800 So, of course, that's well hidden by the tiles on the floor. 333 00:17:23,839 --> 00:17:26,280 And so, they've created a piece of geometry 334 00:17:26,319 --> 00:17:28,960 which changes shape, to form a human shape, 335 00:17:29,000 --> 00:17:30,800 and then superimposed it optically 336 00:17:30,840 --> 00:17:33,520 over the piece of film that they've shot in the corridor. 337 00:17:33,560 --> 00:17:36,320 Fantastic. You make it sound so easy now, 338 00:17:36,360 --> 00:17:39,080 but I'm sure at the time it was... It's still not very easy. 339 00:17:39,120 --> 00:17:41,240 None of this stuff is easy... (LAUGHS) 340 00:17:41,280 --> 00:17:45,480 ..but the thought process for working out 341 00:17:45,520 --> 00:17:49,680 the effective way of using what is available at the time 342 00:17:49,720 --> 00:17:53,680 and then covering it up, so that it looks seamless or it looks natural, 343 00:17:53,720 --> 00:17:55,880 I mean, it's very clever. 344 00:17:55,920 --> 00:17:57,920 (FOOTSTEPS CLICKING) 345 00:18:07,960 --> 00:18:11,720 Robert Patrick is critical to the success of Terminator 2 346 00:18:11,760 --> 00:18:13,880 for a number of reasons - the first one being 347 00:18:13,920 --> 00:18:15,720 it was not technically possible 348 00:18:15,760 --> 00:18:21,080 to have an entirely CGI-animated Terminator-1000, 349 00:18:21,120 --> 00:18:24,120 because they barely had the technology to do 42 shots. 350 00:18:24,160 --> 00:18:26,920 They could not have made the film without a real person. 351 00:18:26,960 --> 00:18:30,080 But they also needed a real person who was incredibly different 352 00:18:30,120 --> 00:18:32,640 in their physicality to Arnold Schwarzenegger. 353 00:18:32,680 --> 00:18:35,880 They needed... He wanted to set this person up 354 00:18:35,920 --> 00:18:39,920 as being the extreme opposite of the T-800 - 355 00:18:39,960 --> 00:18:43,800 someone who was fluid, who moved in a particular way, 356 00:18:43,840 --> 00:18:47,200 who could... This idea of the East versus West, 357 00:18:47,240 --> 00:18:50,800 the different kind of energy to the great hulking T-800. 358 00:18:50,840 --> 00:18:53,680 But also he had to be a character 359 00:18:53,720 --> 00:18:57,280 who was so amorphous in his appearance that, 360 00:18:57,320 --> 00:18:59,080 when he first arrives 361 00:18:59,120 --> 00:19:02,240 on screen, you have to believe he's a goodie. 362 00:19:02,280 --> 00:19:05,840 He goes into a police uniform and a police car 363 00:19:05,880 --> 00:19:07,840 and, for a while, when he's in the police car 364 00:19:07,880 --> 00:19:10,840 and he's got to serve and protect and he's in the police uniform, 365 00:19:10,880 --> 00:19:14,320 you believe that he's the good guy. He's there to be the hero. 366 00:19:14,360 --> 00:19:16,720 He's very similar to Kyle Reese in the first film. 367 00:19:16,760 --> 00:19:19,480 But then, as soon as you realise that he's the bad guy, 368 00:19:19,520 --> 00:19:22,640 you notice there's just something slightly off about his face. 369 00:19:22,680 --> 00:19:25,360 It's almost like he has elfin ears 370 00:19:25,400 --> 00:19:27,600 or he's slightly not quite human. 371 00:19:27,640 --> 00:19:29,320 Now, that's phenomenal. 372 00:19:29,360 --> 00:19:33,160 There's an actor there who can be, on one hand, the hero, 373 00:19:33,200 --> 00:19:36,200 and just as the scene changes, you look at him again 374 00:19:36,240 --> 00:19:39,040 and you suddenly see, no, he's clearly bad. 375 00:19:39,080 --> 00:19:40,760 It's an amazing performance. 376 00:19:50,960 --> 00:19:54,520 So Robert Patrick, to me, is one of the most unforgettable villains 377 00:19:54,560 --> 00:19:58,000 of any film of this kind, certainly. 378 00:19:58,040 --> 00:19:59,920 He just keeps coming, and of course 379 00:19:59,960 --> 00:20:01,640 that's the terror of the entire... 380 00:20:01,680 --> 00:20:03,520 of both the first and the second film. 381 00:20:03,560 --> 00:20:05,440 I think it can't be understated 382 00:20:05,480 --> 00:20:09,240 how much Terminator 2 transformed the film industry, 383 00:20:09,280 --> 00:20:13,600 particularly around technology and special effects and CGI. 384 00:20:13,640 --> 00:20:16,160 The head of Industrial Light and Magic at the time said 385 00:20:16,200 --> 00:20:19,400 that, without Terminator 2, there would've been no Jurassic Park, 386 00:20:19,440 --> 00:20:21,480 and without Jurassic Park there wouldn't... 387 00:20:21,520 --> 00:20:23,400 And you continue all the way down the line 388 00:20:23,440 --> 00:20:25,400 to things like Lord Of The Rings. 389 00:20:25,440 --> 00:20:28,400 That whole... I guess all the RandD 390 00:20:28,440 --> 00:20:31,160 that was involved in getting to the point in Terminator 2 391 00:20:31,200 --> 00:20:34,120 where you could have those... you could achieve those effects 392 00:20:34,160 --> 00:20:35,840 meant there was no going back. 393 00:20:35,880 --> 00:20:37,880 People started to see what was possible. 394 00:20:37,920 --> 00:20:39,880 If you were going to pick a group of people 395 00:20:39,920 --> 00:20:43,080 who would be able to solve these incredible problems, 396 00:20:43,120 --> 00:20:47,040 then Dennis Muren and the team at Industrial Light and Magic 397 00:20:47,080 --> 00:20:49,520 were the people to go to at the time, 398 00:20:49,560 --> 00:20:53,240 having had great success with The Abyss, 399 00:20:53,280 --> 00:20:55,320 which was, as far as I'm aware, 400 00:20:55,360 --> 00:20:58,920 really the first CG character on the screen. 401 00:20:58,960 --> 00:21:02,720 To go from that to then creating the T-1000 character 402 00:21:02,760 --> 00:21:05,240 with the mercury look 403 00:21:05,280 --> 00:21:07,320 was a natural progression in terms of CG, 404 00:21:07,360 --> 00:21:09,280 but still had never been done before. 405 00:21:09,320 --> 00:21:12,000 It was absolutely incredible what they achieved. 406 00:21:12,040 --> 00:21:14,840 From a visual-effects person's point of view, 407 00:21:14,880 --> 00:21:17,480 to pick water in the first film 408 00:21:17,520 --> 00:21:20,120 and shiny surfaces in the second film was madness. 409 00:21:20,160 --> 00:21:22,920 These are two of the hardest things you can do. 410 00:21:22,960 --> 00:21:25,320 So the scale of ambition was huge. 411 00:21:37,080 --> 00:21:38,760 Get out. 412 00:21:40,560 --> 00:21:42,560 Arghhh! 413 00:21:42,600 --> 00:21:44,600 (PROPELLOR BLADES WHIRRING) 414 00:21:59,200 --> 00:22:01,560 Come with me, if you want to live. 415 00:22:01,600 --> 00:22:03,600 It's OK, Mom. He's here to help. It's OK. 416 00:22:03,640 --> 00:22:05,480 (ANXIOUS PANTING) 417 00:22:08,600 --> 00:22:10,600 (APPROACHING FOOTSTEPS) 418 00:22:12,040 --> 00:22:14,040 (FOOTSTEPS CLICK) 419 00:22:17,880 --> 00:22:20,440 Now, this shot is just extraordinary, isn't it? 420 00:22:20,480 --> 00:22:23,440 The most remarkable shot in the whole film. 421 00:22:24,640 --> 00:22:26,640 (METALLIC GURGLING) 422 00:22:26,680 --> 00:22:28,440 (METALLIC HISS) 423 00:22:28,480 --> 00:22:30,640 DENNIS: My favourite shot is the one where 424 00:22:30,680 --> 00:22:33,000 the T-1000 walks through the bars. 425 00:22:33,040 --> 00:22:36,520 When you shoot the background for it, it's actually fairly simple. 426 00:22:36,560 --> 00:22:39,680 We had Robert stand there, walk up and do his performance, 427 00:22:39,720 --> 00:22:42,000 and then had him walk away 428 00:22:42,040 --> 00:22:45,240 and had the bars just by themselves, and then took the bars away 429 00:22:45,280 --> 00:22:48,200 and he walked in there and then did the whole performance again - 430 00:22:48,240 --> 00:22:51,280 walked and pretended they were there and walked on through. 431 00:22:51,320 --> 00:22:53,320 And with those three pieces of film 432 00:22:53,360 --> 00:22:55,440 we could make the computer graphic image 433 00:22:55,480 --> 00:22:57,480 that you see in the film. 434 00:22:58,840 --> 00:23:00,520 It turned into an amazing shot. 435 00:23:06,680 --> 00:23:07,800 (METALLIC CLINK) 436 00:23:07,840 --> 00:23:09,080 (GUN CLANKS) 437 00:23:11,480 --> 00:23:13,480 Go. 438 00:23:15,400 --> 00:23:19,200 The clanking of the gun, to me, just sells the scene. 439 00:23:19,240 --> 00:23:20,960 It's perfect storytelling. Yeah. 440 00:23:21,000 --> 00:23:24,200 Which is often the way with the most successful visual-effects shots, 441 00:23:24,240 --> 00:23:28,080 because of course sound is half of everything that we do in filmmaking. 442 00:23:28,120 --> 00:23:33,280 So, often, that is the key to selling a VFX shot 443 00:23:33,320 --> 00:23:36,520 is a sound effect that kicks in just at the right moment 444 00:23:36,560 --> 00:23:39,760 and really sells the idea that what you're seeing is real. 445 00:23:39,800 --> 00:23:41,560 And how would you describe 446 00:23:41,600 --> 00:23:45,120 James Cameron's storytelling in relation to special effects? 447 00:23:45,160 --> 00:23:49,960 He has changed the way that stories are told. There's no question. 448 00:23:50,000 --> 00:23:53,320 I mean, the types of story that he tries to tell 449 00:23:53,360 --> 00:23:55,960 couldn't be told without visual effects. 450 00:23:56,000 --> 00:23:59,840 And he has taken it to a level that nobody dreamed possible 451 00:23:59,880 --> 00:24:03,880 with every single film that he's done, every project that he's done. 452 00:24:03,920 --> 00:24:07,720 In so many situations, so many other movies over the years, 453 00:24:07,760 --> 00:24:10,160 you can see an advancement in technical process 454 00:24:10,200 --> 00:24:13,200 where something is tried for the first time, 455 00:24:13,240 --> 00:24:16,440 is successful - and everybody shares that information. 456 00:24:16,480 --> 00:24:18,640 What I love about visual effects is the fact that 457 00:24:18,680 --> 00:24:21,480 people don't hang on to their ideas. They're happy... 458 00:24:21,520 --> 00:24:23,360 Visual-effects people love showing off 459 00:24:23,400 --> 00:24:25,800 and they like to show people how they've done things. 460 00:24:25,840 --> 00:24:28,600 And so this becomes an accepted practice. 461 00:24:28,640 --> 00:24:31,040 It becomes a norm. And so, 462 00:24:31,080 --> 00:24:35,120 having seen characters like this in liquid form 463 00:24:35,160 --> 00:24:37,560 for the first time, there have been many copies. 464 00:24:37,600 --> 00:24:39,840 Give me a five. 465 00:24:39,880 --> 00:24:42,440 SARAH CONNOR: Watching John with the machine, 466 00:24:42,480 --> 00:24:44,480 it was suddenly so clear. 467 00:24:44,520 --> 00:24:46,960 The Terminator would never stop. 468 00:24:47,000 --> 00:24:49,000 It would never leave him, 469 00:24:49,040 --> 00:24:51,240 and it would never hurt him. 470 00:24:51,280 --> 00:24:54,240 Never shout at him or get drunk and hit him, 471 00:24:54,280 --> 00:24:57,120 or say it was too busy to spend time with him. 472 00:24:57,160 --> 00:24:59,400 It would always be there 473 00:24:59,440 --> 00:25:02,640 and it would "die" to protect him. 474 00:25:04,040 --> 00:25:07,200 Of all the would-be fathers who came and went over the years, 475 00:25:07,240 --> 00:25:09,240 this thing - this "machine" - 476 00:25:09,280 --> 00:25:11,560 was the only one who measured up. 477 00:25:11,600 --> 00:25:15,400 In an insane world, it was the sanest choice. 478 00:25:17,320 --> 00:25:20,360 Cameron has become the most successful director of all time 479 00:25:20,400 --> 00:25:23,320 because his films touch on universal themes. 480 00:25:23,360 --> 00:25:25,080 He makes love stories. 481 00:25:25,120 --> 00:25:26,840 This is the tale of a boy 482 00:25:26,880 --> 00:25:30,160 and the Terminator guardian angel he comes to love. 483 00:25:30,200 --> 00:25:32,360 Their relationship is funny, touching 484 00:25:32,400 --> 00:25:34,480 and ultimately heartbreaking. 485 00:25:34,520 --> 00:25:40,200 As they seek to escape the T-1000 and avert future catastrophe, 486 00:25:40,240 --> 00:25:43,200 rescuing Sarah Connor from an asylum, 487 00:25:43,240 --> 00:25:46,680 a family unit is formed. 488 00:25:46,720 --> 00:25:48,480 With Cameron, not only do you get 489 00:25:48,520 --> 00:25:52,040 these extraordinary advances in special-effects technology, 490 00:25:52,080 --> 00:25:54,480 these kind of leaps and bounds in storytelling, 491 00:25:54,520 --> 00:25:57,680 you get a very strong emotional core. 492 00:25:57,720 --> 00:26:01,080 He once said that all his films are love stories, 493 00:26:01,120 --> 00:26:04,320 and I kind of understand that. And in this case, it's a love story 494 00:26:04,360 --> 00:26:06,920 between a boy and a Terminator and the forming of a family. 495 00:26:06,960 --> 00:26:09,840 Very much so. It is. It's the... 496 00:26:09,880 --> 00:26:12,800 It's a broken family being reunited and held 497 00:26:12,840 --> 00:26:14,600 and brought back together again 498 00:26:14,640 --> 00:26:17,680 and Arnold Schwarzenegger playing that father figure, 499 00:26:17,720 --> 00:26:19,400 the father he never had. 500 00:26:19,440 --> 00:26:21,600 He's very dismissive of his stepfather - 501 00:26:21,640 --> 00:26:23,320 his foster father. Yeah. 502 00:26:23,360 --> 00:26:25,560 And so he now has somebody that, 503 00:26:25,600 --> 00:26:29,920 because he has such high standards, that he expects a man to be - 504 00:26:29,960 --> 00:26:33,720 there is an example of somebody he can actually look up to for once. 505 00:26:33,760 --> 00:26:37,560 But also I think there's that lovely moment where he realises 506 00:26:37,600 --> 00:26:40,440 that the Terminator has to do what he says, 507 00:26:40,480 --> 00:26:42,480 and that is a beautiful moment. 508 00:26:42,520 --> 00:26:46,480 Because then he goes, "Great, don't kill anyone."(LAUGHS) 509 00:26:46,520 --> 00:26:49,200 (ANXIOUS BREATHS) 510 00:26:49,240 --> 00:26:51,400 Jesus, you were gonna kill that guy. 511 00:26:51,440 --> 00:26:53,520 Of course, I'm a Terminator. 512 00:26:55,480 --> 00:26:58,200 Listen to me very carefully, OK? 513 00:26:58,240 --> 00:27:01,480 You're not a Terminator any more, all right? 514 00:27:01,520 --> 00:27:03,840 You got that? 515 00:27:03,880 --> 00:27:06,120 You just can't go around killing people. 516 00:27:06,160 --> 00:27:10,160 Why?What do you mean - why? Cos you can't. 517 00:27:10,200 --> 00:27:13,040 Why? Because you just can't, OK? 518 00:27:13,080 --> 00:27:15,120 Trust me on this. 519 00:27:18,480 --> 00:27:22,840 Cameron needed to find the perfect 12-year-old to play John Connor. 520 00:27:22,880 --> 00:27:24,920 It was a tall order. As he put it: 521 00:27:24,960 --> 00:27:29,840 This punk kid becomes the Julius Caesar of a dystopian future. 522 00:27:29,880 --> 00:27:32,520 Arguably, he is the protagonist. 523 00:27:32,560 --> 00:27:37,080 They finally found Edward Furlong at a Boys and Girls Club in Pasadena. 524 00:27:37,120 --> 00:27:39,400 He had a twitchy intensity 525 00:27:39,440 --> 00:27:42,880 and his cocky assurance was a front for a troubled background. 526 00:27:42,920 --> 00:27:46,680 He was raw, certainly, never having acted before, 527 00:27:46,720 --> 00:27:50,840 but he had real chemistry with Schwarzenegger on screen. 528 00:27:50,880 --> 00:27:53,720 I think Edward Furlong is great in the movie 529 00:27:53,760 --> 00:27:57,280 because he has to go through, in a way... 530 00:27:57,320 --> 00:28:00,560 The journeys of each of the three main leads 531 00:28:00,600 --> 00:28:03,560 are very, very different, but they follow a similar kind of arc 532 00:28:03,600 --> 00:28:06,440 in different directions. It's an exploration of humanity 533 00:28:06,480 --> 00:28:09,040 and an exploration of family love. 534 00:28:09,080 --> 00:28:13,240 So, at the beginning, John Connor is absolutely uncontrollable. 535 00:28:13,280 --> 00:28:14,960 He's a wild kid. 536 00:28:15,000 --> 00:28:18,920 And he has to, in his interaction with the machine, 537 00:28:18,960 --> 00:28:22,800 in his attempt to teach the machine to be more human, 538 00:28:22,840 --> 00:28:27,920 he gradually understands how HE can be more human. 539 00:28:27,960 --> 00:28:30,760 So he loses the hard shell 540 00:28:30,800 --> 00:28:33,920 and becomes the kid who says, "Stop killing people. 541 00:28:33,960 --> 00:28:35,520 You can't kill. Be good." 542 00:28:35,560 --> 00:28:38,280 Being human is about forgiving, letting go, 543 00:28:38,320 --> 00:28:41,720 and that's how he learns himself to forgive and let go, 544 00:28:41,760 --> 00:28:44,840 and that's how he learns, finally, to appreciate his mother. 545 00:28:46,160 --> 00:28:49,440 Look, I'm gonna go get my mom, 546 00:28:49,480 --> 00:28:52,000 and I order you to help me. 547 00:29:01,040 --> 00:29:03,480 Cameron was determined he couldn't do the sequel 548 00:29:03,520 --> 00:29:06,160 without Linda Hamilton as Sarah Connor. 549 00:29:06,200 --> 00:29:09,480 But the actress had one condition before she would accept. 550 00:29:09,520 --> 00:29:12,000 "I want to be crazy," she told him. 551 00:29:12,040 --> 00:29:14,240 It made logical sense. 552 00:29:14,280 --> 00:29:17,120 Sarah Connor knows the world is going to end, 553 00:29:17,160 --> 00:29:19,600 and no-one believes her. 554 00:29:19,640 --> 00:29:22,480 The actress got into incredible shape. 555 00:29:22,520 --> 00:29:25,640 Hamilton would push to do her own stunts, 556 00:29:25,680 --> 00:29:28,280 learn to pick her handcuffs 557 00:29:28,320 --> 00:29:31,440 and strip an automatic rifle while blindfolded. 558 00:29:32,920 --> 00:29:35,120 Linda Hamilton in the first Terminator film 559 00:29:35,160 --> 00:29:37,760 is very much a victim. 560 00:29:37,800 --> 00:29:42,520 She is a waitress who is on the run from the implacable Terminator. 561 00:29:42,560 --> 00:29:45,640 In order to reprise her role 562 00:29:45,680 --> 00:29:49,640 in Terminator 2, she said, "I'll definitely do it, 563 00:29:49,680 --> 00:29:53,360 but I want the character to be crazy." 564 00:29:53,400 --> 00:29:56,480 It was as if she was suffering from PTSD. 565 00:29:56,520 --> 00:29:59,360 She had been incarcerated. 566 00:29:59,400 --> 00:30:01,920 She'd had the terrible experience 567 00:30:01,960 --> 00:30:06,040 of having to deal and see off the Terminator in the original film. 568 00:30:06,080 --> 00:30:08,240 She had built herself up into 569 00:30:08,280 --> 00:30:12,560 this sort of basically survivalist commando. 570 00:30:12,600 --> 00:30:15,520 When it comes to Terminator 2, she has spent years 571 00:30:15,560 --> 00:30:18,480 preparing for the apocalypse. She knows it's coming 572 00:30:18,520 --> 00:30:21,680 because she's met the apocalypse in the form of the Terminator. 573 00:30:21,720 --> 00:30:23,400 And she's been training. 574 00:30:23,440 --> 00:30:26,120 She's been trying to convince people that doom is coming. 575 00:30:26,160 --> 00:30:28,960 And of course no-one believes her. They think she's crazy. 576 00:30:29,000 --> 00:30:32,360 So she's physically superb. She's trained. 577 00:30:32,400 --> 00:30:35,640 And indeed, Linda Hamilton trained and trained and trained and trained, 578 00:30:35,680 --> 00:30:37,520 but also in the film, 579 00:30:37,560 --> 00:30:41,480 she's seen as completely mad and is in an asylum, essentially, 580 00:30:41,520 --> 00:30:43,600 where she's still working on her training 581 00:30:43,640 --> 00:30:47,400 and has to be busted out to come to her son's aid. 582 00:30:47,440 --> 00:30:49,920 So she is logically where you'd expect 583 00:30:49,960 --> 00:30:52,320 someone who's had that sort of experience to be. 584 00:30:52,360 --> 00:30:55,120 Her mind was almost broken by what happened in the past. 585 00:30:55,160 --> 00:30:58,200 Now, in the future, all of her nightmares are coming true. 586 00:30:58,240 --> 00:31:00,240 (FAINT OPERATIC SINGING) 587 00:31:03,160 --> 00:31:04,440 (CHILD SQUEALS) 588 00:31:04,480 --> 00:31:05,880 (MOUTHS) 589 00:31:06,920 --> 00:31:09,000 Mama! 590 00:31:09,040 --> 00:31:11,040 (MOUTHS) 591 00:31:11,080 --> 00:31:13,000 (METAL MESH RATTLES) 592 00:31:13,040 --> 00:31:15,800 Hey, let's do this one. 593 00:31:15,840 --> 00:31:17,720 (FENCE RATTLES) 594 00:31:17,760 --> 00:31:19,200 Whee! 595 00:31:20,440 --> 00:31:22,440 There we go! 596 00:31:22,480 --> 00:31:24,400 (RATTLING INTENSIFIES) 597 00:31:24,440 --> 00:31:26,440 (CHUCKLES) 598 00:31:35,040 --> 00:31:37,040 (SPEECH MUTED) (HARSH RATTLING) 599 00:31:39,200 --> 00:31:40,880 (CHILD SCREAMS) Argh! 600 00:31:40,920 --> 00:31:42,880 James Cameron definitely gives the impression 601 00:31:42,920 --> 00:31:45,680 of somebody that was sort of haunted by nuclear anxiety. 602 00:31:45,720 --> 00:31:48,560 And he said that he was writing the first Terminator film, 603 00:31:48,600 --> 00:31:50,280 and he was listening to Sting 604 00:31:50,320 --> 00:31:52,800 and listening to Sting lyrics about the Russians. 605 00:31:52,840 --> 00:31:56,320 So, there's definitely that kind of miasma of, like, nuclear anxiety 606 00:31:56,360 --> 00:31:58,440 throughout his writing. 607 00:31:58,480 --> 00:32:00,240 But with Terminator 2, 608 00:32:00,280 --> 00:32:02,880 he again takes a step into the very ambitious. 609 00:32:02,920 --> 00:32:06,440 And for a scene which only lasts a few moments 610 00:32:06,480 --> 00:32:10,880 completely recreates the image of a nightmare of a nuclear blast, 611 00:32:10,920 --> 00:32:13,480 which is really terrifying, you know, 612 00:32:13,520 --> 00:32:16,280 and it's in Sarah Connor's nightmares. 613 00:32:16,320 --> 00:32:18,520 But he went out of his way to do that. 614 00:32:18,560 --> 00:32:20,400 Probably a lot of people will have said, 615 00:32:20,440 --> 00:32:22,760 "Is that necessary?" And I'm sure it was very expensive. 616 00:32:22,800 --> 00:32:25,600 But it was clearly something that preoccupied him 617 00:32:25,640 --> 00:32:28,600 and something that he wanted to put upon the audience 618 00:32:28,640 --> 00:32:32,760 as the stakes that the future of humanity 619 00:32:32,800 --> 00:32:36,640 and the future of mankind are dependent on what happens 620 00:32:36,680 --> 00:32:40,640 with this mother-son father-surrogate-son dynamic. 621 00:32:40,680 --> 00:32:42,880 The relentless shoot ran for months, 622 00:32:42,920 --> 00:32:45,760 moving between hundreds of Los Angeles locations, 623 00:32:45,800 --> 00:32:50,600 like a vast military operation led by a single-minded general. 624 00:32:50,640 --> 00:32:53,120 Cameron was an unstoppable visionary, 625 00:32:53,160 --> 00:32:56,560 demanding everything and more from his cast and crew. 626 00:32:56,600 --> 00:33:00,320 To his view, filmmaking had to be a heroic struggle, 627 00:33:00,360 --> 00:33:03,280 a contest against Olympian odds. 628 00:33:03,320 --> 00:33:06,440 Because Cameron - and he's not given enough credit for this - 629 00:33:06,480 --> 00:33:09,760 is such a personal instinctual filmmaker. 630 00:33:09,800 --> 00:33:12,760 In his youth, he grew up near Niagara Falls, 631 00:33:12,800 --> 00:33:15,840 and he would hear the falls and the water 632 00:33:15,880 --> 00:33:19,120 and he would run wild in the woods 633 00:33:19,160 --> 00:33:21,200 over these enormous limestone gorges. 634 00:33:21,240 --> 00:33:24,000 And right across his films, there's his childhood 635 00:33:24,040 --> 00:33:27,400 being played out in these extraordinary ways, these visions. 636 00:33:27,440 --> 00:33:30,400 He says he dreams a lot of his images up. 637 00:33:30,440 --> 00:33:32,520 Well, this was a dream. 638 00:33:32,560 --> 00:33:35,880 The whole concept for this film started, 639 00:33:35,920 --> 00:33:38,400 as far as I understand, as a dream, 640 00:33:38,440 --> 00:33:42,400 and it was then, when he started developing the idea, 641 00:33:42,440 --> 00:33:44,240 the whole story came out. 642 00:33:44,280 --> 00:33:47,480 But he must have been eating cheese. (LAUGHS) 643 00:33:47,520 --> 00:33:50,640 It was a fever dream, he said. It was a fever dream. Exactly. 644 00:33:50,680 --> 00:33:53,560 That came out of his head. I don't know where that comes from. 645 00:34:12,880 --> 00:34:15,719 (MAN AND WOMAN CRYING AND WHIMPERING) 646 00:34:18,440 --> 00:34:20,120 Oh, my God. 647 00:34:20,159 --> 00:34:23,719 Now, listen to me very carefully. 648 00:34:23,760 --> 00:34:28,120 Unleashed into hungry cinemas, Terminator 2 fulfilled its destiny 649 00:34:28,159 --> 00:34:30,920 and became the biggest film of all time - 650 00:34:30,960 --> 00:34:33,679 something that would become a habit for Cameron. 651 00:34:33,719 --> 00:34:35,600 But it wasn't just about 652 00:34:35,639 --> 00:34:38,760 the sensationalism of blockbuster making. 653 00:34:38,800 --> 00:34:41,719 Cameron has the uncanny Hitchcock-like gift 654 00:34:41,760 --> 00:34:44,679 for anticipating the audience reaction. 655 00:34:45,880 --> 00:34:47,000 (GUNSHOT) 656 00:34:49,960 --> 00:34:52,400 (METALLIC CLINKING) 657 00:34:59,160 --> 00:35:01,160 (GUN COCKS) 658 00:35:05,360 --> 00:35:07,560 (RATTLING) 659 00:35:24,280 --> 00:35:25,960 I love that shot. 660 00:35:26,000 --> 00:35:28,000 It's a witty piece of special effects. 661 00:35:28,040 --> 00:35:30,320 It's lovely, isn't it? I mean, the subtlety 662 00:35:30,360 --> 00:35:32,560 is what that's all about, without question. 663 00:35:32,600 --> 00:35:34,760 And of course it helps you understand 664 00:35:34,800 --> 00:35:37,880 more about the character and about what this... 665 00:35:37,920 --> 00:35:39,800 The poly... The poly-mimetic alloy. 666 00:35:39,840 --> 00:35:42,160 The poly-mimetic alloy. (LAUGHS) 667 00:35:42,200 --> 00:35:44,520 I love that. The poly-mimetic alloy 668 00:35:44,560 --> 00:35:47,360 is intelligent and it goes and finds itself. 669 00:35:47,400 --> 00:35:50,640 But what I find fascinating about people like James Cameron 670 00:35:50,680 --> 00:35:53,600 is that they really understand what the world looks like. 671 00:35:53,640 --> 00:35:56,040 And so they have this ability to translate that 672 00:35:56,080 --> 00:35:57,960 into very interesting storytelling 673 00:35:58,000 --> 00:36:01,720 or fascinating or fantastical storytelling. 674 00:36:01,760 --> 00:36:05,440 And again that very much goes with 675 00:36:05,480 --> 00:36:08,600 where visual effects fit into the storytelling process 676 00:36:08,640 --> 00:36:11,760 and how people go about realising these amazing effects. 677 00:36:11,800 --> 00:36:15,000 Because you really have to understand what things look like, 678 00:36:15,040 --> 00:36:18,760 because what we're talking about is an emulation process. 679 00:36:18,800 --> 00:36:21,640 You are mimicking real life, 680 00:36:21,680 --> 00:36:24,400 and you have to make things look like they are real. 681 00:36:24,440 --> 00:36:27,440 So if you don't know what things look like in the first place, 682 00:36:27,480 --> 00:36:29,200 it's quite a hard thing to do. 683 00:36:29,240 --> 00:36:33,400 But in Cameron's case, he is particularly driven by realism. 684 00:36:33,440 --> 00:36:35,640 Even though his films are science fiction, 685 00:36:35,680 --> 00:36:37,800 and in many ways they're very far-fetched, 686 00:36:37,840 --> 00:36:41,360 the way they're made and the way the story is told is realistic. 687 00:36:41,400 --> 00:36:43,280 Very much so. Yes. 688 00:36:43,320 --> 00:36:45,880 And there's a whole load of themes going on, 689 00:36:45,920 --> 00:36:48,480 which, again, watching it back after so many years, 690 00:36:48,520 --> 00:36:52,960 there's many themes within that which really drive home 691 00:36:53,000 --> 00:36:56,040 the time and the place where the film was made. 692 00:36:56,080 --> 00:36:58,640 Vital to the ethos of Terminator 2 693 00:36:58,680 --> 00:37:01,000 is the iconography of Los Angeles: 694 00:37:01,040 --> 00:37:02,920 familiar locations, 695 00:37:02,960 --> 00:37:08,360 but transformed into a shimmering mythic rendition of the famous city. 696 00:37:08,400 --> 00:37:11,680 It is a look Cameron christened "tech noir", 697 00:37:11,720 --> 00:37:14,040 this atmospheric blue veil 698 00:37:14,080 --> 00:37:16,640 that turned the city by night into a dream scape. 699 00:37:18,720 --> 00:37:22,960 The city of Los Angeles has a number of roles in the film Terminator 2. 700 00:37:23,000 --> 00:37:25,080 For a start, it is shot, 701 00:37:25,120 --> 00:37:28,400 in fact, ironically, in a way to save money, 702 00:37:28,440 --> 00:37:31,920 it is shot at night using natural street lights. 703 00:37:31,960 --> 00:37:33,680 So the feel that you get 704 00:37:33,720 --> 00:37:36,680 for what James Cameron later termed "tech noir"... 705 00:37:36,720 --> 00:37:41,280 The idea of Los Angeles is a very well-established noir city 706 00:37:41,320 --> 00:37:43,000 from way back in the 1940s. 707 00:37:43,040 --> 00:37:45,040 A lot of noir films were shot there. 708 00:37:45,080 --> 00:37:47,920 It's important to have those references to noir film 709 00:37:47,960 --> 00:37:50,400 for James Cameron and to shoot it in the same way, 710 00:37:50,440 --> 00:37:53,440 in many ways, with that sort of same look and that same feel, 711 00:37:53,480 --> 00:37:55,200 so that the connection between 712 00:37:55,240 --> 00:37:57,360 the different schools of noir were clear. 713 00:37:57,400 --> 00:38:00,120 The other crucial thing in Los Angeles 714 00:38:00,160 --> 00:38:03,240 is that you have to have a city which has the capability 715 00:38:03,280 --> 00:38:05,520 to deliver huge chases on freeways, 716 00:38:05,560 --> 00:38:09,560 but also believably contain a state-of-the-art defence system. 717 00:38:09,600 --> 00:38:12,160 Now, as it happens, of course Los Angeles DOES have 718 00:38:12,200 --> 00:38:14,600 a strong connection with the defence industry. 719 00:38:14,640 --> 00:38:16,280 It does have all of these things. 720 00:38:16,320 --> 00:38:20,320 If you wanted to invent the perfect city for Terminator 2, 721 00:38:20,360 --> 00:38:23,240 you would invent a city which was very much like Los Angeles. 722 00:38:23,280 --> 00:38:25,160 And he didn't have to - he lived there. 723 00:38:25,200 --> 00:38:27,640 CHRISTINA: Tech noir is a good way to put it, and in a way 724 00:38:27,680 --> 00:38:29,680 it encapsulates again the... 725 00:38:29,720 --> 00:38:31,600 not contradiction as such, 726 00:38:31,640 --> 00:38:34,800 but the two sides of Cameron's approach, 727 00:38:34,840 --> 00:38:38,520 which is quite tactile old-school storytelling 728 00:38:38,560 --> 00:38:42,760 with emotional realism, with a sense of the past of filmmaking, 729 00:38:42,800 --> 00:38:44,880 with a sense of how a narrative should move. 730 00:38:44,920 --> 00:38:46,640 Quite traditional in that sense, 731 00:38:46,680 --> 00:38:50,200 with a much more radical series of ideas 732 00:38:50,240 --> 00:38:54,320 that are challenging about technology, about our humanity, 733 00:38:54,360 --> 00:38:57,280 the philosophical questions about the future 734 00:38:57,320 --> 00:39:00,520 and the dangers inherent in technology, 735 00:39:00,560 --> 00:39:04,560 in AI, which is of course fascinating in its own way 736 00:39:04,600 --> 00:39:07,360 because this is James Cameron we're talking about. 737 00:39:07,400 --> 00:39:09,920 The kind of technology that he's been involved in 738 00:39:09,960 --> 00:39:13,200 over the past 30, 40 years 739 00:39:13,240 --> 00:39:17,360 has been intrinsic to how cinema has changed in many ways. 740 00:39:17,400 --> 00:39:20,280 What's extraordinary is, considering it was created 741 00:39:20,320 --> 00:39:22,920 as a fictional piece of work 742 00:39:22,960 --> 00:39:25,240 and it was created with all kinds of things - 743 00:39:25,280 --> 00:39:29,600 scientists researching in atomic energy authorities 744 00:39:29,640 --> 00:39:31,680 in nuclear facilities who said, 745 00:39:31,720 --> 00:39:35,960 this is without doubt the most realistic depiction 746 00:39:36,000 --> 00:39:39,200 of a nuclear explosion they've ever seen in a fictional film. 747 00:39:39,240 --> 00:39:43,760 Terminator 2 is more than just a great science-fiction epic. 748 00:39:43,800 --> 00:39:48,000 It is a genuine... It offers a genuine emotional experience, 749 00:39:48,040 --> 00:39:50,560 for all the reasons that we've spoken about. 750 00:39:50,600 --> 00:39:53,360 The fact is that it has a human heart, 751 00:39:53,400 --> 00:39:56,720 that it is basically about relationships. 752 00:39:56,760 --> 00:39:59,520 The thriller element, the science-fiction, 753 00:39:59,560 --> 00:40:02,960 the dystopian element, is sort of the framework of it. 754 00:40:03,000 --> 00:40:04,680 It's the context of it. 755 00:40:04,720 --> 00:40:09,280 But what you have at heart is a very human story. 756 00:40:09,320 --> 00:40:14,440 OK, one of those central figures isn't actually human, 757 00:40:14,480 --> 00:40:17,720 but he's sort of moving towards humanity 758 00:40:17,760 --> 00:40:21,200 or moving towards some kind of emotion 759 00:40:21,240 --> 00:40:23,880 that he didn't have to begin with. 760 00:40:23,920 --> 00:40:28,520 Storytelling has always battled with the idea of describing 761 00:40:28,560 --> 00:40:31,440 something which we have never seen or which we cannot see, 762 00:40:31,480 --> 00:40:34,880 and telling a story through it and trying to make that convincing. 763 00:40:34,920 --> 00:40:37,400 Now, whether that's just reading out a book 764 00:40:37,440 --> 00:40:39,600 or whether you start to get into stage plays 765 00:40:39,640 --> 00:40:42,640 and you start to get into the way the Victorians would try to create 766 00:40:42,680 --> 00:40:46,840 a ghost through Pepper's ghost or try to get early monsters on films, 767 00:40:46,880 --> 00:40:49,800 which would essentially be someone in a rug with a claw. 768 00:40:49,840 --> 00:40:55,520 This ability to convey the unimaginable or the long dead 769 00:40:55,560 --> 00:40:57,800 - all of these things that we can't see - 770 00:40:57,840 --> 00:41:00,760 has been something that storytellers have been obsessed with. 771 00:41:00,800 --> 00:41:02,800 And then James Cameron comes along and says, 772 00:41:02,840 --> 00:41:05,400 "Actually, look. Look what I did. I've done it. 773 00:41:05,440 --> 00:41:07,400 Only through 42 shots maybe, 774 00:41:07,440 --> 00:41:09,960 but this computer can make anything." 775 00:41:10,000 --> 00:41:12,200 And Hollywood descended on it. 776 00:41:12,240 --> 00:41:14,480 I would imagine in my head, I'd like to think that 777 00:41:14,520 --> 00:41:16,400 the following morning, after the film broke, 778 00:41:16,440 --> 00:41:18,480 there was a queue of directors outside the offices 779 00:41:18,520 --> 00:41:21,320 of Industrial Light and Magic with their scripts. "Can you do this?" 780 00:41:21,360 --> 00:41:23,760 The one that really stands out for me is Jurassic Park, 781 00:41:23,800 --> 00:41:25,880 because there's a moment in Jurassic Park 782 00:41:25,920 --> 00:41:28,560 where Laura Dern looks at the dinosaurs. 783 00:41:28,600 --> 00:41:34,080 And she is seeing, as a palaeontologist, for the first time, 784 00:41:34,120 --> 00:41:37,000 all of the things that she's spent her whole life imagining. 785 00:41:37,040 --> 00:41:38,880 And she's us at that point. 786 00:41:38,920 --> 00:41:40,920 She is us looking at CGI and saying, 787 00:41:40,960 --> 00:41:43,440 all of these things that we've read about in books 788 00:41:43,480 --> 00:41:45,160 and we've imagined in our heads, 789 00:41:45,200 --> 00:41:47,200 we can just put them on the screen now 790 00:41:47,240 --> 00:41:49,800 and we can see them as if they're real. 791 00:41:49,840 --> 00:41:51,640 And that's what changed. 792 00:41:51,680 --> 00:41:53,680 Of course, the building of a film, 793 00:41:53,720 --> 00:41:55,840 the construction of action sequences, 794 00:41:55,880 --> 00:41:57,840 required a whole new level of thinking. 795 00:41:57,880 --> 00:42:00,200 Very much so, and this is where you realise 796 00:42:00,240 --> 00:42:02,920 that the VFX artists are a combination 797 00:42:02,960 --> 00:42:04,680 of an artist and an engineer, 798 00:42:04,720 --> 00:42:06,960 and it's bringing those two things together. 799 00:42:07,000 --> 00:42:09,160 It's art and science working together 800 00:42:09,200 --> 00:42:12,520 in solving problems, if you like, 801 00:42:12,560 --> 00:42:14,560 technical problem solving, 802 00:42:14,600 --> 00:42:17,440 that allows that thinking to become a reality. 803 00:42:17,480 --> 00:42:20,360 And of course, James Cameron's father was an engineer 804 00:42:20,400 --> 00:42:22,480 and his mother was an artist. He often says 805 00:42:22,520 --> 00:42:25,440 he's the perfect combination of those things as a filmmaker. 806 00:42:25,480 --> 00:42:27,160 He IS the perfect combination. 807 00:42:27,200 --> 00:42:29,800 And that is actually what makes it interesting 808 00:42:29,840 --> 00:42:33,720 to teach visual effects as a subject, because, of course 809 00:42:33,760 --> 00:42:37,560 often it's the people who have interests in both areas 810 00:42:37,600 --> 00:42:40,160 who make the very good visual-effects artists. 811 00:42:40,200 --> 00:42:42,360 It's not unusual to find people 812 00:42:42,400 --> 00:42:44,880 who have a pure physics background 813 00:42:44,920 --> 00:42:46,600 working in visual effects 814 00:42:46,640 --> 00:42:49,200 because you have to understand the physical world. 815 00:42:49,240 --> 00:42:51,120 In the same way, it's not uncommon 816 00:42:51,160 --> 00:42:54,040 to find mathematicians working in visual effects 817 00:42:54,080 --> 00:42:56,800 because it's all computer based. It's all maths. 818 00:42:56,840 --> 00:42:59,360 But if there was such a thing, 819 00:42:59,400 --> 00:43:01,640 the ideal VFX artist would be 820 00:43:01,680 --> 00:43:04,720 a combination of art, maths, physics. 821 00:43:04,760 --> 00:43:08,000 We've really enjoyed being here. My thanks to you, John, 822 00:43:08,040 --> 00:43:10,920 for taking us through the film in such incredible detail. 823 00:43:10,960 --> 00:43:12,960 It was great fun. Thank you. 824 00:43:13,000 --> 00:43:15,040 We should never forget that this film 825 00:43:15,080 --> 00:43:17,280 is a superb piece of movie engineering, 826 00:43:17,320 --> 00:43:21,080 gripping storytelling told at a thunderous pace 827 00:43:21,120 --> 00:43:24,600 in which we never lose touch with the characters. 828 00:43:25,680 --> 00:43:27,880 Hasta la vista, baby. 829 00:43:29,240 --> 00:43:31,240 (GUNSHOT) 830 00:43:32,800 --> 00:43:35,480 (FRAGMENTS TINKLE) 831 00:44:04,920 --> 00:44:07,040 AccessibleCustomerService@sky.uk