Obviously he made the best sci-fi / action movie of all time in Terminator 2 and many other brilliant movies. How complex and detailed his story telling is, is the best.
"Even the water on the streets was put there on purpose. Wetting the streets is a time-honored part of lighting night scenes as it provides interesting reflecting lights."
"This scene covered three narrative issues simultaneously: resonance, setup and motif. It had resonance by having T-800 perform the same action as in the first film but in a different context. The scene also set up the gag of finding the keys in the visor later on. The choice of station wagon reinforces the recurring motif of the trio as a strange kind of family. Good storytellers think about these things and try to incorporate them even in action films about robots from the future."
T-1000's glasses also have a subliminal meaning within the story. He was given reflective sunglasses to create a cold, insectoid feel and to reinforce the chrome motif of the liquid metal killer.
SOUND: Sound designer Gary Rydstrom added a lion's roar into the sound of the truck to add a subliminal danger.
Here's one of many examples of a breath taking lighting from Adam Greenberg, who received nominations for Oscar , American Society of Cinematographers for Outstanding Achievement and British Society of Cinematographers awards for his work on T2. In this scene cold lighting and low camera angles show the T-800 as a piece of technology, with eyes hidden behind sunglasses to reinforce the sense of inhumanity.
The story and characters are carefully constructed. Tim, John's friend, was created solely to explain the story to the audience and find out the whereabouts of Sarah and John's attitude towards her and her stories. This way the audience gets filled in in many areas without even realizing that they're being fed. Another great story element is John's character. He appears to be a complete opposite of what the audience would expect, continuing the story's artistic consistency in representing the characters in a least expected way. Just like in the first movie when Sarah, the 'mother of the future', is a clumsy waitress.
"Taking lessons from his favorite filmmaker, Stanley Kubrick, James Cameron puts subliminal meaning even to the set and the surroundings. Cyberdyne Systems interiors were designed and envisioned as it had been machined out of a block of aluminum, reflecting the cold technological motif of what Cyberdyne was to become. The sets are very cold with reflective, sleek surfaces and busy space. The sleek, precise and machine looking architectural envelope mirrors the inner guts of a robot and the cold terror and lack of emotion that the fruits of this company will bring upon the world. It was a nightmare to shoot and light because of the reflective surfaces, but it didn't matter - the story cannot be compromised."
"The Cyberdyne Systems Model 101 Series 800 Version 2.4 Infiltration-Combat Unit was sent from the future to arrive in Acton, California on June 8, 1995. Its mission was to protect young John Connor, which it successfully completed."
Personality
"This Terminator had all the strength and capacity of the first unit, but he was very logical, and at first seemed to have a limited capacity for human emotion and learning.
After his learning capabilities were activated, the Terminator began to exhibit other human traits such as humor such as quipping "I need a vacation" after defeating the T-1000, and perhaps even love, as he tenderly wipes John's tears away and hugs him like a father before allowing itself to be destroyed to save humanity"
"T-1000 is a Prototype Series 1000 Terminator sent by Skynet from the future to terminate John Connor's younger self. It was the second Infiltrator sent back on assassination missions by Skynet."
Personality
"Like its successor, the T-X, the T-1000 appears to possess a limited emotional range (aside from that necessary for infiltration). He exhibits a shocked expression just before he is destroyed in the factory, and wags a finger in a "tsk-tsk" gesture at one of his attackers after an unsuccessful attempt at destroying him, and he also performs a double-take when he spots a clothing store mannequin that resembles his liquid metal form. He also displays frustration when the T-800 thwarts his interrogation of Sarah Connor, prompting him to ruthlessly beat the T-800 before impaling him. As well, a confused expression appeared on his face in the steel mill when he started to malfunction and his hand automatically fused with a metal bar as he grabbed it.
The T-1000 is much stronger than its predecessor, as well as possessing a superior command of martial arts techniques that make it more than a match for the already-fearsome T-800."
]
"For the transformation sounds Rydstrom was spraying Dust-Off into a flour and water mixture, with a condom-sealed mic stuck in the goo.
The Dust-Off would make huge goopy bubbles. The moment the bubble is forming, it has this sound that is similar to a cuppucino maker or a milk steamer.
The slowly forming bubble has a metallic quality to it. It also had an evolving quality. The sound seemed to fit because it had beginning and an end."
"Even the water on the streets was put there on purpose. Wetting the streets is a time-honored part of lighting night scenes as it provides interesting reflecting lights."
"This scene covered three narrative issues simultaneously: resonance, setup and motif. It had resonance by having T-800 perform the same action as in the first film but in a different context. The scene also set up the gag of finding the keys in the visor later on. The choice of station wagon reinforces the recurring motif of the trio as a strange kind of family. Good storytellers think about these things and try to incorporate them even in action films about robots from the future."
T-1000's glasses also have a subliminal meaning within the story. He was given reflective sunglasses to create a cold, insectoid feel and to reinforce the chrome motif of the liquid metal killer.
SOUND: Sound designer Gary Rydstrom added a lion's roar into the sound of the truck to add a subliminal danger.
Here's one of many examples of a breath taking lighting from Adam Greenberg, who received nominations for Oscar , American Society of Cinematographers for Outstanding Achievement and British Society of Cinematographers awards for his work on T2. In this scene cold lighting and low camera angles show the T-800 as a piece of technology, with eyes hidden behind sunglasses to reinforce the sense of inhumanity.
The story and characters are carefully constructed. Tim, John's friend, was created solely to explain the story to the audience and find out the whereabouts of Sarah and John's attitude towards her and her stories. This way the audience gets filled in in many areas without even realizing that they're being fed. Another great story element is John's character. He appears to be a complete opposite of what the audience would expect, continuing the story's artistic consistency in representing the characters in a least expected way. Just like in the first movie when Sarah, the 'mother of the future', is a clumsy waitress.
"Taking lessons from his favorite filmmaker, Stanley Kubrick, James Cameron puts subliminal meaning even to the set and the surroundings. Cyberdyne Systems interiors were designed and envisioned as it had been machined out of a block of aluminum, reflecting the cold technological motif of what Cyberdyne was to become. The sets are very cold with reflective, sleek surfaces and busy space. The sleek, precise and machine looking architectural envelope mirrors the inner guts of a robot and the cold terror and lack of emotion that the fruits of this company will bring upon the world. It was a nightmare to shoot and light because of the reflective surfaces, but it didn't matter - the story cannot be compromised."
"The Cyberdyne Systems Model 101 Series 800 Version 2.4 Infiltration-Combat Unit was sent from the future to arrive in Acton, California on June 8, 1995. Its mission was to protect young John Connor, which it successfully completed."
Personality
"This Terminator had all the strength and capacity of the first unit, but he was very logical, and at first seemed to have a limited capacity for human emotion and learning.
After his learning capabilities were activated, the Terminator began to exhibit other human traits such as humor such as quipping "I need a vacation" after defeating the T-1000, and perhaps even love, as he tenderly wipes John's tears away and hugs him like a father before allowing itself to be destroyed to save humanity"
"T-1000 is a Prototype Series 1000 Terminator sent by Skynet from the future to terminate John Connor's younger self. It was the second Infiltrator sent back on assassination missions by Skynet."
Personality
"Like its successor, the T-X, the T-1000 appears to possess a limited emotional range (aside from that necessary for infiltration). He exhibits a shocked expression just before he is destroyed in the factory, and wags a finger in a "tsk-tsk" gesture at one of his attackers after an unsuccessful attempt at destroying him, and he also performs a double-take when he spots a clothing store mannequin that resembles his liquid metal form. He also displays frustration when the T-800 thwarts his interrogation of Sarah Connor, prompting him to ruthlessly beat the T-800 before impaling him. As well, a confused expression appeared on his face in the steel mill when he started to malfunction and his hand automatically fused with a metal bar as he grabbed it.
The T-1000 is much stronger than its predecessor, as well as possessing a superior command of martial arts techniques that make it more than a match for the already-fearsome T-800."
]
"For the transformation sounds Rydstrom was spraying Dust-Off into a flour and water mixture, with a condom-sealed mic stuck in the goo.
The Dust-Off would make huge goopy bubbles. The moment the bubble is forming, it has this sound that is similar to a cuppucino maker or a milk steamer.
The slowly forming bubble has a metallic quality to it. It also had an evolving quality. The sound seemed to fit because it had beginning and an end."
