Terminator: Salvation - The NEW new thread

[Scarlet Spider]

I still dream at a Neil Bloomkamp Terminator film.

That would be really cool. I'm sure he would take good care of it too.

Bloomkamp is a big Terminator fan. The original film was what inspired him to become a filmmaker and it also influenced his work, while making District 9.

 

[Alonsovich]

From Jim Cameron and William Wisher's T2 script... note the bolded part...

Terminator 2 script (5/10/90):

EXT. CITY STREET - DAY

Downtown L.A. Noon on a hot summer day. On an EXTREME
LONG LENS the lunchtime crowd stacks up into a wall of
humanity. In SLOW MOTION they move in herds among the
glittering rows of cars jammed bumper to bumper. Heat
ripples distort the torrent of faces. The image is
surreal dreamy... and like a dream it begins very slowly
to...

DISSOLVE TO:

EXT. CITY RUINS - DAY

Same spot as the last shot, but now it is a frozen
landscape in Hell. The cars are stopped in rusted rows,
still bumper to bumper. The skyline of buildings beyond
has been shattered by some unimaginable force like a row
of kicked-down sandcastles. The sky glows, dark as iron.

A freezing wind blows through the desolation, keening with
the sound of ten million dead souls. It scurries the snow
into drifts, stark white against the charred rubble. Fire
and ice. The image is without color... lifeless as the
moon. A TITLE CARD FADES IN:

LOS ANGELES, AUGUST 11, 2029

ANGLE ON a heap of fire-blackened bones. Skulls identify
them as human. WE BEGIN TO TRACK, revealing beyond the
mound a vast tundra of bones and shattered concrete.
Skulls like eyeless sentinels. The rush hour crowds
burned down in their tracks.
We hear a MAN"S VOICE, gentle, though rich in authority,
and tempered by the pain of watching a world die.

MAN (V.O.)
It all came down on a Tuesday in
September of '99. Pretty normal
day, except for the end of the world
part. Somehow, I don't remember
how, we started calling it Judgment
Day. I was in Argentina that
particular Tuesday. A good place to
be, considering everything alive
north of the equator stopped being
alive...

WE DISSOLVE TO a playground... where intense heat has
half-melted the jungle gym, the blast has warped the swing
set, the merry-go-round has sagged in the firestorm.
Small skulls look accusingly from the snow-drifts. WE
HEAR the distant echo of children's voices... playing and
laughing in the sun. A silly, sing-songy rhyme as WE
TRACK SLOWLY over seared asphalt where the faint
hieroglyphs of hopscotch lines are still visible.

MAN (V.O.)
Afterward it got cold. Real cold.
Nuclear winter they called it. The
few that survived, starved...

CAMERA comes to a rest on a burnt and rusted tricycle...
next to the tiny skull of its owner. A metal foot crushes
the skull like china.

MAN (V.O.)
The few that survived that saw the
Machines rise up... machines of many
types but with one purpose... to
hunt us down and kill us all like a
bunch of cockroaches...

TILT UP, revealing a humanoid machine holding a massive
battle rifle. It looks like a hydraulically-actuated
CHROME SKELETON. A high-tech death figure. It is a
combat chassis, the underlying component, or endoskeleton,
of a Series 800 Terminator. An antipersonnel weapon
controlled by Skynet, a computer which is threatening the
human survivors of the war with final extinction.

The endoskeleton's glowing red eyes compassionlessly sweep
the dead terrain, hunting. Then suddenly snap toward
CAMERA.

ENDOSKELETON POV (DIGITIZED) as it racks a RUNNING FIGURE
across the desolate landscape. Through these eyes we see
the world as a computer-generated image. Symbols and
graphics rapidly appear on the center display as the
machine acquires its target.

THE FIGURE, a young boy in rags, is centerpunched by the
deadly round. He sprawls to a smoking heap on the
blackened sludge.

ANOTHER FIGURE, a guerrilla soldier hefting a battered RPG
rocket launcher.

THE ENDOSKELETON turns, too late. The rocket vaporizes
the top half of it. Its bottom half takes a few uncertain
steps, then topples to the earth.

MAN (V.O.)
Our stubbornness makes no sense to
their machine minds. We fight when
logic tells us we are beaten. But
we have a saying... it's not over
'till its over. It keeps us going.
The war against the Machines is in
its thirty-first year...

The figure quickly takes cover at the approaching SOUND of
ROARING TURBINES. A shadow blackens the sky as a
formation of flying HK (Hunter-Killer) patrol machines
passes overhead.
PAN WITH THEM toward the jagged horizon, beyond which we
see flashes, and hear the distant thunder of a pitched
battle in progress.

CUT TO:

EXT. BATTLEFIELD - DAY

THE BATTLE. Human troops in desperate combat with the
Machines for possession of the dead Earth. The humans are
a ragtag guerrilla army, made up mostly of troops from
Southern Hemisphere countries... Africans, South
Americans, Australians. The survivors of the nuclear war
between the Northern Hemisphere super-powers. This is the
reality of the post-Apocalyptic world. North of the
equator we all die.

We hear radio chatter in Spanish, interspersed with
Swahili and other African languages. The occasional
Aussie unit can be heard.
The humans use RPG launchers, plasma-pulse battle rifles,
and home-built armored personnel carriers.

Skynet's weapons consist of the massive ground HKs (tank-
like robot weapon-platforms) flying HKs, medium weight
four-legged gun-pods called Centurions, the humanoid
Terminators in various forms (600, 700, and 800 series),
and small, fast-crawling kamikaze units called Silverfish
that look like 5' long chrome centipedes. The Silverfish
snake into gun emplacements and explode.

SEQUENCE OF RAPID CUTS

Explosions!
Beam-weapons firing like searing strobe-lights.
Energy bolts crisscrossing frame.
Hand-launched Stinger missiles blowing an aerial HK out of
the sky.
A Sapper team tries to disable a ground HK. They get
riddled by its rapidly tracking gun turret.

A TEAM OF GUERRILLAS is being overrun by terminator
endoskeletons in the ruins of a building. One by one, the
soldiers fall in desperate hand-to-hand combat. One of
the terminators looms over a wounded soldier, its battle
rifle's barrel swinging down toward the guerrilla's head.
The man stares defiantly into his death. Then...
Suddenly, amazingly, the terminator stops, freezing in
place...

Aerial HKs tilt slowly, out of control, and crash to the
ground. All the terminators stand frozen, unmoving, like
a bunch of toy soldiers.

The sudden silence takes the humans by surprise. They
slowly emerge from their rat-warren emplacements and
approach the frozen machines. We hear a voice speaking
over a radio headset. It is filled with awed emotion.

HEADSET VOICE (O.S.)
... The Colorado Division confirms
that Skynet has been destroyed...
The war is over... I repeat, Skynet
has been destroyed.

CAMERA TRACKS along the soldiers, bleeding, frostbitten,
wrapped in rags... Valley Forge with better weapons.
The wounded soldier in the ruins of the building
cautiously approaches the chrome skeleton before him. He
pushes against its chest with one finger. It topples with
a crash and lies still.
The soldier turns to his comrades with an idiot grin.
Tears are streaming down his face. A mighty cheer goes up
from the men and woman of the Last Army.


INT. TIME DISPLACEMENT COMPLEX - L.A. - LATER

A STAINLESS STEEL ELEVATOR SHAFT, going deep into the
bowels of the earth. Tiny figures stand on an open
platform which descends rapidly, becoming a speck.

ON THE PLATFORM. An imposing man, surrounded by a team of
guerrilla officers stands on the platform as it descends.
He is JOHN CONNOR. Forty-five years old. Chiseled.
Stern. The left side of his face is heavily scarred. An
impressive man, and clearly one forged in the furnace of a
lifetime of war. The voice we heard continues now.

CONNOR (V.O.)
My name is Connor. It's my job to
lead these people. My mother, Sarah,
gave me the job... and she's not
exactly someone you say "no" to. I
wish to God I had. I've sent
thousands to their deaths. But let
me tell you about death in this
world. We piss on the bones of a
billion people. Death's not what it
used to be. If there is a God, his
love and 45 cents will buy you
coffee...

The platform reached its destination. Connor and the
officers step off. Begin moving down a long corridor.


INT. CORRIDOR

This place was designed by machines for machines. The
architecture is alien, without aesthetics, without even
such human basics as doorknobs and lights. Connor leads
the team past more frozen terminator endoskeletons,
deactivated like the ones on the surface.

CONNOR (V.O.)
All these machines were controlled
by a kind of God, a low-rent self-
appointed God called Skynet. Skynet
was a supercomputer built for
strategic defense back in the
Nineties. Today we destroyed it in
its fortress in the Colorado Rockies,
and all its toys stopped...

As they continue on, they pass other teams of guerrilla
soldiers.

CONNOR (V.O.)
This place is one of Skynet's toys.
A machine built by machines.It is
like nothing which has ever existed
before... the first tactical time
weapon. Before today, no human had
seen this place, but I've been here
in my dreams many times. All my
life I've tried to imagine what it
would look like. Now I'm actually
here...


INT. TIME DISPLACEMENT CHAMBER

Vault-like doors open. Connor strides through with
authority and purpose. He is saluted smartly by everyone
he encounters, though he wears no insignia of rank.

There is a bustle of hurried activity here. The chamber
is the size of a high-school gym and consist totally of
machine surfaces. Nothing in the design makes any sense.
We can't tell what anything does. It is a technology we
cannot imagine.

CONNOR (V.O.)
Skynet, being almost infinitely
smart, was also infinitely tricky.
It knew it was losing, so it thought
of a way to rig the game...

Technicians have pulled up floor panels and tapped
directly into cabling of the machine, using portable
terminals that they have wheeled in. Many of the soldiers
in this war against machines are technical specialists...
you have to fight fire with fire.

CONNOR (V.O.)
And now, though we've won the war,
there is still one battle left to
fight. The most important one. It
will be fought in the past, almost
four decades ago... before all this
began... See, the only problem with
time travel is... it ain't over even
when it's over.

At the far end of the room, a young soldier stands
surrounded by a team of technicians. KYLE REESE. Sarah
Connor's defender, teacher, and lover in the first film.
A simple soldier who is about to walk point-blank into the
gaping maw of history. At the moment, he is the center of
activity. As he finishes stripping off his battle
uniform, the techs begin smearing his body with a
conductive so the time-field will follow his outline.

Reese looks around at all the activity. Battle and the
prospect of death have never scared him. But the
importance of what he is about to do terrifies him.

The techs move aside and suddenly John Connor is standing
beside him. Connor... their grim messiah. Their leader.
He fixes Reese with an intense gaze. There is so much he
wants to say, but cannot bring himself to. Finally Reese
speaks.

REESE
Did you know I'd be the one who
volunteered?

Connor nods.

CONNOR
I've always known. Sarah told me.

Reese nods. Suddenly understanding everything.

REESE
That's why you moved me to your
unit? Kept me so close.

Connor shrugs enigmatically.
One of the techs interrupts them

TECH
We're ready, Sergeant.

THREE ENORMOUS CHROME RINGS, one inside the other, are
suspended in a circular hole in the center of the room's
floor. John and Reese approach them.

Reese steps onto the first ring. It bobs under his
weight. We see that the rings are freely floating in a
magnetic field. Reese steps to the inner ring and looks
into the hole. A vast echoing darkness below. He looks
back at John. The messiah is waiting for him to step into
the bottomless pit.

CONNOR
Sometimes you have to put your faith
in the machine.

Reese takes a breath, then steps into open space and is
buoyed up by an unseen field of force. He floats in the
middle of the rings. The techs start the time
displacement sequence.

THE RINGS BEGIN TO MOVE, slowly rotating around each other
on different axis like some complex gyroscope.

THE FLOOR BEGINS TO SPLIT OPEN, like wedges in a pie which
begin to pull back from the center. The rings are
spinning faster now, suspended in space in the middle of
the receding floor wedges. The rings begin to descend.

JOHN AND REESE LOCK EYES as they move apart. Reese is
dropping into an unbelievably vast circular space... the
time-field generator. John watches him go, until Reese is
a tiny figure. The rings are spinning so rapidly now they
almost disappear, becoming a sphere of whirling steel.
Technicians pull John back from the edge.

LIGHTNING BEGINS TO ARC across the vast room below. A
huge charge of energy is building up. Everyone takes
cover behind blast walls they have set up. They put on
goggles like they used to do at A-bomb tests. This is
going to be big.

The chamber below has become a Hell of energy with Reese
at its center. The drone and crackle of the machines
builds to thunder, there is a BLINDING FLASH OF LIGHT!

When the glare fades the floating rings are empty. They
slow to a stop, seared and smoking. Reese is gone.

FUENTES, one of the officers, turns to Connor.

FUENTES
Now what happens to Reese? I mean,
what did happen?

Connor's gaze seems far away from this time and place.

CONNOR
He accomplishes his mission and in
doing so, he dies.

FUENTES
He is a good soldier.

Connor solemnly nods.
CONNOR
Yes... He's also my father.

FUENTES
Mother of God!

Fuentes stares at Connor in amazement. He has just been
given a glimpse into his leader's private Hell. Connor
turns from the smoking chamber. He seems suddenly ten
years old as his features drain of strength, shoulders
sagging.

Fuentes shouts an order to a waiting Sapper team.

FUENTES
Sapper team. Set your charges.
Let's blow this place back to Hell.

Connor shakes his head no. Mustering his strength.

CONNOR
Not yet. There's one more thing we
have to do.

TIGHT ON MASSIVE DOORS OF STEEL, covered with a thin sheet
of ice. Locking bolts slam back. Ice shatters like glass
as the doors begin to open. We are in--


INT. COLD STORAGE FACILITY

Connor walks into the darkness, followed by a few
technicians. They are in a vault-like cold-storage room.
Hanging in steel racks from ceiling tracks are hundreds of
what appear to be men. They are in rows of ten. Within
each row, each of the bodies are absolutely identical.

Connor signals the techs to remain by the door and walks
out among the dark bodies. They are UNACTIVATED
TERMINATORS. He stops at a row in which they are
identical to the terminator which was sent to kill Sarah
(the Arnold model).

He walks to the end of the row. There is one empty rack.
He faces the terminator in the next rack. Its eyes are
closed.
John seems distant as he studies that face.
Fuentes enters the chamber, pushing past the technicians.
Calls for his leader in the darkness.

FUENTES
John?... John?...

TIGHT ON CONNOR, his face pensive as Fuentes calls his
name. Fuentes voice slowly dissolves to ANOTHER VOICE. A
woman's. Echoing as though from a great distance...

CUT TO:



This audio transition takes us directly to the scene of
young John Connor in the Voights' garage in the present-
day. The use of a sound dissolve between the two voices
calling John's name while holding a tight shot on his face
works as a flashback-style transition to bridge the future
and the present.

Seems that Cameron's intention was to make Reese very aware that he was Connor's father...

 

[Solidus]

First, that is not considered cannon since it is not part of the movie. But even if it was, to me that solidifies that...he always knew. You can't change anything. It was always going to be that way because Sarah told him it would be that way because it happened to her in the past as well. That to me shows nothing of alternate time lines what so ever.

But as for Reese, well that is why he must of cut it. That and it never flat out says. How could he understand everything in that transition between the two? BTW I love that whole scene but I never took anything out of it that Reese knew? But I guess we must be reading it differently.

EDIT: As well to me it confirms that yes Reese understands that why John knew who would go back because the same person always goes back. Its cyclical. Not understanding that he's his father. But understanding that why John knows everything, and knows so much about the machines. Which was at least one thing they kept in TS.

And I'm not saying you can't think the other way. Like many religions some people interpret things differently. And I just see it a different way then some which is cool.

 

[Alonsovich]

First, that is not considered cannon since it is not part of the movie. But even if it was, to me that solidifies that...he always knew. You can't change anything. It was always going to be that way because Sarah told him it would be that way because it happened to her in the past as well. That to me shows nothing of alternate time lines what so ever.

With all due respect for the finished film... the only reason why that scene never made it was for being enormously expensive to make. That thing is storyboarded (pretty easy to find) and made it VERY far into the process (only place where it's not present is in the final film)... point is... it WAS Cameron's intention to make him a soldier on a mission and by not including this he opened the alternate timelines theory. His own fault.

But as for Reese, well that is why he must of cut it. That and it never flat out says. How could he understand everything in that transition between the two? BTW I love that whole scene but I never took anything out of it that Reese knew? But I guess we must be reading it differently.

Again... it was $$$, for sure... Van Ling's words, Jim Cameron's own creative advisor.

REESE
Did you know I'd be the one who
volunteered?

Connor nods.

CONNOR
I've always known. Sarah told me.

Reese nods. Suddenly understanding everything.

REESE
That's why you moved me to your
unit? Kept me so close.


I don't know either what to make out of this... but this "suddenly understanding everything" is at the very least enigmatic...

 

[Solidus]

Regardless of how you and I may see it, I too agree I would have loved to see that scene in fruition. That and I think Cameron said that it would of made the movie way too long.

I loved the Frozen landscape ideas. And the Terminator's all shutting down. And I know that the TDE designs were actually used in Contact the movie. I wish James would do a George Lucas and film that stuff and put it in. But I doubt that will ever happen.

 

[Alonsovich]

Regardless of how you and I may see it, I too agree I would have loved to see that scene in fruition. That and I think Cameron said that it would of made the movie way too long.

I loved the Frozen landscape ideas. And the Terminator's all shutting down. And I know that the TDE designs were actually used in Contact the movie. I wish James would do a George Lucas and film that stuff and put it in. But I doubt that will ever happen.

Definitely... but this thing in 1992 means either impossible or VERY expensive...

 

[Solidus]

Definitely... but this thing in 1992 means either impossible or VERY expensive...

Yea it would have been hard. Contact was in...97 I think so maybe yea the SFX may have been way over what Cameron could have done at the time. But now...it would be awesome.

 

[Octoberist]

i'm just over terminator. leave it be.

 

[Scarlet Spider]

Seems that Cameron's intention was to make Reese very aware that he was Connor's father...

Nothing in that sequence suggests that Reese knew he Connor's father but that Connor always knew the truth and he always knew he how everything would end. The only thing Reese discovers in that exchange with John, is that John always knew the Kyle would have volunteered to go back and protect Sarah.

In the first Terminator film, Sarah asks Reese about John's father and Kyle says very sincerely, John never talked about him much, although he knew John's father died before the war.

 

[Scarlet Spider]

Also, here's a quote from McG where he states that John Connor could never tell Kyle Reese, that Kyle is really his father and John must always keep it a secret from him.

Is John Conner aware that Kyle Reese is his father? McG confirms he is:

Indeed. John Conner has been told by his mother Sarah to protect Kyle and send him back. But he cannot tell Kyle the role he plays. He must lead by example. In our film, you see the true and literary sense of the word Salvation. To show that Kyle Reese wants to go. If he goes, he can never come back. He still wants to go. This is the movie about how he makes that choice. Of course John Conner couldn't say what Kyle's role was. Because, after all, Kyle is a guy. If he told Kyle his role was to go back and bang a girl, he'd **** it up. If he says, "You've got to go back and save her." Then he thinks he's got a shot." But if he knows he has to land the girl, he would flounder and **** it up, and Michael Biehn would have been lame. John Conner had to keep that a secret.

http://www.movieweb.com/news/NEKKJKNKAw1yOR

 

[Sawyer]

I'll tell you this: If there is another Terminator, Bear McCreary needs to do the score...
[YT]q0zpqxKYPsk[/YT]

 

[Bim]

Also, here's a quote from McG where he states that John Connor could never tell Kyle Reese, that Kyle is really his father and John must always keep it a secret from him.

U know, i was wondering about that the other day. Had John told Kyle "Hey ur my daddy and u have to go knock up my mom" or did he just tell him he had to save his mom and let it happen naturally?

 

[Asteroid-Man]

For the whole "plot hole" thing in TS and how the timeline has been screwed up you must be nick in the head. Look at it one step at a time.

Future: There's a war that starts in 1997 and in 2029 when the machines start losing, they send a Terminator to the past to kill John Connor's mother (knowing nothing at this point about Kyle). John, knowing about this event from his mother's training, sends Kyle to save John (by protected Sarah and impregnating her).

T1:The Terminator has no idea what Sarah looks like so he kills every Sarah Connor he can find in a specific city (obviously the Machines have some sort of record if they know WHERE to go and WHAT John's mother's name was). Kyle arrives, is caught by the police and gives several statements to the police and a psychiatrist about the future tech, war and why he is there aswell as who sends he and then he escapes and saves Sarah. He is then killed after leaving her pregnant. Sarah keeps the knowledge of the future to train John to be a step of the game in the future. The arm that is left behind is what leads to the jump in technology (already an alternate timeline is created as humanity is given a headstart on tech.)

T2: Judgement day is 2 years away and Sarah is in an asylum giving warnings about the future, talking about the importance of John, her encounter with Kyle and the Terminators. A Terminator arrives from the (unaltered) future to protect Sarah from a more advanced Terminator. (Both arrive at an insitution where both Machines had record of in the future, so that would mean that they have accessed the files in this institution.) In the end, they find out that the arm was found leading to fastly advancing technology in a timeline that is only just coming into existence. They destroy the lab that would have caused Judgement day and the little footprint they left in time from T1 turns into a crater in the spacetime continuum as they prevented judgement day. The future of T1 and T2 is now out of the picture due to what happens in T2's present day.

T3:A Terminator comes to the past (from the future that was created due to the events of T2's present) to kill John's generals (this again changes the future) and in the end uploads the last part of the skynet virus. The virus was already launching, but the new Terminator uploads files into the Skynet system and the machine's protocol. Wouldn't you think that she would also give a forewarning to all of the machine's when she did this just like when Kyle warned Sarah? When this happens, time is altered yet again and John is worried. The T-800 tells John about the future (conceived due to the events of T2's present), but again, the future is altered again when the T-X updates the virus in 2004.

Terminator Salvation: We finally jump a bit into the future, but this isn't the same future that Sarah was warned about in T1 because that timeline was altered when the arm was found and when Judgement Day was prevented. This isn't the events of the future created due to the prevention of Judgement Day either as half of the important military figures were killed and the virus updated the Skynet system. The events we see in TS are caused by the events of Present Day T3. Half of John's friends/comrads/soon-to-be soldiers never even lived to see judgement day and the machines of this time period know of the events leading up to the death of John Connor (based on the timeline following the events of T2's present). So now we have a John Connor who believes he knows Skynets every move, and a Skynet that thinks it knows John Connor's every move. Skynet tries to alter the would-be time again by using a "would-be" general of John's as bait (they know he's important as in the future we see in T3, based on the events of T2 he's supposed to be a general, and he gave a statement back in the 80's about the future (they don't know Skynet's perspective from the original 2029 because that timeline no longer exists)) So Skynet knowing now that Kyle is important to John and knowing that John is the one who will lead the resistence (as the T-X forewarned Skynet in T3) tries to lure John to one of Skynet's facilities to kill him using the first T-800. This T-800 is more powerful than the T-800s in the first three as the records that the T-X uploaded into the Skynet server in T3 probably mentioned the T-800's weaknesses (which is why the new T-800s are invulnerable to molten metal but in T2 that's how the T-800 killed himself).

Now I wouldn't be surprised if in T5 the T-800s are almost impossible to control. Look some people like to say how TS and T3 were completely BS and confusing because they have plot holes and miss points made in the other terminator films, but in all honestly, these are movies about time travel and about changing things to alter the future. The timeline changes every film, and it's been like this since the begining of T1 when Kyle spoke to the police (on record) about the future. This alone, would lead to some changes in the future.

I think those of you claiming that there are plot holes are experiencing one of these things:
A) You are incable of using inference
B) The plot is too all-over the place in all FOUR movies (not just T3/TS)
C) You chose to find things in newer installments of "classics" for the hell of it

As the same arguments continue to arise, I'm just going to keep responding with this^^^ again.

 

[Carnotaur3]

But then why even keep him as a priority before hand. The General knew it, and that list was before Marcus was awakened. So it still makes no sense.

As for the rest of it, yea I use to believe all the alternate timeline stuff too. And I still don't prefer it anymore. But the fact of it is, if they want to go with the alternate timeline stuff they need to explain it. That to me shows they really don't know/care what they are doing. If they wanted to change it, they should at least explain it in some ways, not heavily but enough. And that is why I've grown tired of T3 and T4 in some ways. But that's why you gotta get into Hollywood there Carn and set em strait. Cuz we need some one that understands the mythos.

But anymore I just want T3/T4 to be erased and them start anew after T2 again. But that's me.



That would be really cool. I'm sure he would take good care of it too.

He was priority because a dead pre-judgment day Connor is more important than a post-judgment day Connor. Skynet knows that if Kyle goes back to protect Sarah, he will save her and give birth to Connor. They don't know, however, that Kyle Reese IS his father until later.

There might even be another plan to copy Kyle's skin (hence why he was thrown onto the slab last minute) and use him as a Terminator.

 

[luke1234]

Just saw the flick, there wasnt one moment where i believed i was watching a Terminator Film. Lotta **** didnt make sense. Score was non-existent. This is what u get when u put a director like McG at the helm. He banks on the ideas that the other directors put forward but never presents his own. It was like watching a cinematic Video Game. And as for Arnold, wow he looked bad. Terminator will always be a trilogy to me.
3/10

 

[hippie_hunter]

I still dream at a Neil Bloomkamp Terminator film.

Neil Blomkamp would be perfect.

 

[I SEE SPIDEY]

^Word.

 

[Sawyer]

Director: Neill Blomkamp
Script: James Cameron (pipedream, I know)
Score: Bear McCreary
Two straight hours of this.... http://www.youtube.com/watch?v=g6DOGjbkk3g

This is what I want.

 

[Symbiotic]

Director: Neill Blomkamp
Script: James Cameron (pipedream, I know)
Score: Brad Fiedelhttp://

Fixed.

 

[Sawyer]

Fixed.

He's great and all... but Bear McCreary really needs more exposure.

Plus, is he still working?

 

[Scarlet Spider]

I've posted this before, Neill Blomkamp's thoughts on Terminator:

After The Terminator was released, I first had to endure a horrific two- or three-year wait period where I simply couldn't get my hands on it. From the time I was about 11, I was aware of the film. Every time I entered a video store, I would instantly go and seek out the shelf that displayed the VHS cover of Schwarzenegger holding the long-slide 1911[handgun] with the laser sight and the red digital code in his sunglasses, and then be forced to rent He-Man or some other lame show because I was "too young for that movie." When I was about 12, my cousin had a magazine with lots of stills from Terminator. The magazine came with me on my family vacation where I spent the whole time redrawing each image. By the time I finally saw it, I was 13. I was at a friend's house and saw the cover on his shelf. I almost fainted.

I think it scared me more than I was expecting, because the Terminator is horrifying. But of course, at 13, things are much more literal. It's not about the Cold War and nuclear genocide—it's about a robot guy who shoots things. The idea of a terrifying cyborg and the mechanical requirements to bring that to life had me wound up with so much creative energy. Illustrations and crappy sculptures just didn't satiate the hunger I felt.

When I was making District 9, I tried to keep other movies out of my mind. But I think The Terminator affected me so much that it had to find its way into District 9 one way or another. The idea of man and machine is hugely interesting to me, and although it doesn't happen in the same way as in The Terminator, there is a cybernetic link between Wikus and the exo suit. I also think the pieces falling off of him could be traced to when the Terminator has the exposed mechanics and then cuts out his eye. There's also the overall tone of District 9, which although more satirical than The Terminator's, does have the same kind of raw '80s violence. Terminator is the movie that made me want to make movies.

http://www.maxim.com/movies/the-movie-blog/85370/when-arnold-ruled-earth.html

 

[Scarlet Spider]

He's great and all... but Bear McCreary really needs more exposure.

Plus, is he still working?

No, Fiedel's retired.

McG even met with him about scoring Salvation.

 

[Symbiotic]

No, Fiedel's retired.

McG even met with him about scoring Salvation.

Oh. Damn.

 

[hippie_hunter]

Bear McCreary is another thing I demand!

Along with Summer Glau

 

[FCEEVIPER]

Agreed!

Plus 1.