Terminator 2 Judgment Day Ost

[Nella Mcnairy]

Canany one explain to me why, in Terminator 2: Judgment Day the T-800 robot tries to protect John Connor, and who programmed the T-800's systems to be good before sending him from the future. As we all know in the first movie, the Terminator / T-800 tries to kill Sarah Connor before she gave birth to John Connor.

If I recall correctly this was said in the film by the T800 himself. You'd need to confirm it as I don't remember but yeah. I want to say it was shortly after they saved John's mum (I forgot her name) from the insane asylum, when they're trying to remove/replace some processor chip or something.

Purely as an aside, you may wish to note (from Terminator: The Sarah Connor Chronicles) that killing John Connor is a hard-wired function of the Terminator chip and can't be removed from their programming. It can, however, be overridden through a software patch.

In T2 the terminators programmed mission is the protection and survival of John Conner. This is neither good or bad because the Terminator isn't choosing to do this and has no emotions, only a directive to not fail its mission.Early in the movie John discovers that the terminator must obey his orders. When a couple of tough looking big guys insult and try to intimidate John he tells the terminator " hey grab that guy" the terminator complies and then the second guy attacks him. In an instant the terminator has both men on their knee while pulling out his 45 cal auto and is about to shoot one of the men in the head when John grabs his hand making him miss by an inch. john says " Jesus, you were gonna kill that guy " the terminator replies " of course I'm a Terminator". This action is also neither good or bad because the Terminator is only following mission parameters. In the aftermath John orders the terminator to not kill anyone. John tries to explain that you can't go around killing people but the point is totally lost on the terminator although he will obey the order not to kill as it is now a new directive.

The point I'm trying to make is that the Terminator has no feelings or emotions at all and actions undertaken by him that would be termed good if done by a human simply don't apply to a terminator. One of his sub routines is human psychology so in a way he understands human actions but another of his sub routines is human anatomy, and both are used for the same purpose. To make him a more efficient killer.

A few moments later, the Terminator, a huge white man, walks towards the cops HOLDING A GUN. His character is a wanted cop-killer because he is identical to the terminator from the previous movie, and the police mention this more than once. The same cops who shot Dyson on sight give an armed cop-killer not one but TWO warnings before opening fire. He lives.

Nearly 10 years have passed since Sarah Connor was targeted for termination by a cyborg from the future. Now her son, John, the future leader of the resistance, is the target for a newer, more deadly terminator. Once again, the resistance has managed to send a protector back to attempt to save John and his mother Sarah.

Thomas L. Fisher Bob Ahmanson Brent Baker Bill Basso David Beneke Evan Brainard Len Burge Rob Burman Craig Caton Chris Cowan Richard Davison Glen Eisner Greg Figiel Bruce Spaulding Fuller Mark Goldberg Armando Gonzlez David Grasso Phillip Hartmann Beth Hathaway Adam Jones Mark Jurinko Eileen Kastner-Delago Joseph Kelly Brad Krisko Richard J. Landon Frank Charles Lutkus III Shane Mahan Greg Manion Karen Mason Curt Massof J.C. Matalon Mark 'Crash' McCreery Paul Mejias Hal Miles Jeff Periera Jon Curtis Price Joe Reader Dan Rebert Sean Rodgers John Rosengrant Steve Sanders Andy Schoneberg Paul Sciacca J. Alan Scott Shannon Shea Michael Spatola Ian Stevenson David Stinnett Christopher Swift Michiko Tagawa Joseph Patrick Todd Mike Trcic Robert E. Watson N. Brock Winkless IV Stan Winston Thomas Zell David Chameides Gary L. King George Zamora Andrew Miller

Dennis Muren Leslie Huntley Janet Healy Alison Savitch Gene Warren Jr. Doug Chiang Andrew Kennedy Stan Winston Paul Ashdown Gordon Baker Beth Block Barbara Brennan Betzy Bromberg Elaine Edford James Hagedorn Siddhartha Maganti Robert Skotak Steve 'Spaz' Williams Craig Barron Christopher Duddy Benot Eon Wade Howie Al Magliochetti Chiaki Matsubayashi Jeff Varga Harry Walton

Joel Kramer Dick Ziker Glenn R. Wilder Bobby Aldridge Debbie Evans Gary Davis Lane Leavitt Gilbert B. Combs Cotton Mather Doc D. Charbonneau Jeffrey J. Dashnaw Tommy J. Huff Bobby Porter Robin Lynn Bonaccorsi Janet Brady Bob Brown Billy Hank Hooker Norman Howell Larry Johnson Peter Kent Billy D. Lucas Pat Romano David Webster Maryellen Aviano Perry Barndt Gregory J. Barnett Rocky Capella Jack Carpenter Gene Hartline Terry Jackson Monty Jordan Mike Justus Kevin Larson Larry Linkogle Johnny Martin Mike Martinez Matt McColm Gary Robert Mike Ryan David Zellitti

Tom Johnson Kevin Rose-Williams E. Larry Oatfield Sandina Bailo-Lape Diana Pellegrini Marian Wilde Teresa Eckton Ken Fischer Tim Holland Richard Hymns Ethan Van der Ryn John Rotondi Lee Orloff Gloria S. Borders Dennie Thorpe Christopher Boyes Gary Rydstrom Gary Summers Robert Shoup Clare C. Freeman John Roesch Thierry J. Couturier Nicholas James

David Foster Wallace wasn't wrong when he called this "F/X Porn", but i happen to like porn, and what's more this is a downright Biblical demonstration of late-period analog craft, one that's often overlooked in favor of the 10-odd minutes of primordial CGI. being part of the beginning of the end doesn't make STAR WARS any less awesome, either. not that i'm saying this is STAR WARS. in any case, while is isn't as elemental, as alchemical as the first one, it is still elemental, it is still alchemical, not only in its relentless button-pusher pandering but in Cameron's ratcheted emotional paranoia. the future is determined to end us all, one way or another, and it is unstoppable.

As impressive a piece of analog machinery as the original, to be sure, but idk I've always found this material much more impactful as an existential technophobic slasher than an action extravaganza. It is pretty astonishing that the blueprint for every bad franchise blockbuster for the last two decades is all right here (complete with winking humor/references and a constantly escalating plot where an odd makeshift family comes together in the middle of FX showcase setpieces) and somehow it all just rips anyway. I guess ultimately craft this good just overpowers it. Helps that Cameron is a solid writer too, the scene where Linda tries to kill Dyson in front of his family is just really emotionally perverse stuff.

On closer inspection, the damage to the great man extends beyond just the loss of half a face: bullet marks riddle his neck and head; a steel skeletal frame protrudes through half of his face and stomach; one eye is entirely covered over with an elaborate special effects eyeball, enabling it to light up at will; and, clasped around the cigar, there is now some sort of steel contraption where Arnie's left hand used to be.

"I like my friends to come by when I look like this," he chuckles, puffing on the cigar. "I took photos like this with my daughter (two-year-old Katherine Eunice from his marriage to Kennedy clan member Maria Shriver), and she laughed her head off at daddy with all the fake blood. I like to put the photos up on my office wall to shock everybody."

It is certainly not difficult to believe that for Terminator 2, Arnold has had to spend literally hundreds of hours going through the rigours of modern make-up. What is surprising is that this notoriously impatient man seems quite happy to do it.

"For the original film, he was in 'ripped-apart face' make-up for maybe three days," says chief make-up artist Jeff Dawn. "On this film he's in it for maybe 30 days and it takes about five hours to put it on every day and another hour to take it off. And one thing Arnold says he doesn't like about himself is that he isn't patient enough, but I found him to be extremely patient in the chair. He signed the contract to do this movie and read the script and knew he'd be in the chair for hundreds of hours and I've heard no complaints."

The key change between this sequel and the 1984 original is the fact that this time around Arnie is not so much the bad guy as an underdog to Robert Patrick's more sophisticated T-1000 model Terminator, a killing machine out to destroy ten-year-old John Connor (newcomer Edward Furlong), the future leader of the rebel forces. Arnie's original T-800 is now reprogrammed not to terminate, but to actively protect the boy, son of old adversary Sarah Connor (Linda Hamilton). Even director James Cameron admits that the idea of Arnold Schwarzenegger as underdog is not the easiest notion to accept. Hence the meticulously planned incomplete plot details announced to the world at various points during production.

"We wanted to slowly release the ideas so they built in proper sequence," explains the 37-year-old director, here returning to the scene of his original triumph, having passed by Aliens and The Abyss along the way. "If it just got dumped on you that Arnold was the good guy in this movie, I don't think you'd buy the idea. First, we announced that it was Terminator 2, then that Arnold was reprising the character from the same model line. Then the idea that he has been reprogrammed to be essentially a hero and that there is a second terminator he is in conflict with."

This second terminator, made of liquid metal and the machine that provides the lion's share of Terminator 2's stunning effects, was born out of the obvious need to create something with the terrible capacity of actually scaring the original Terminator, supposedly the ultimate killing machine.

And outrageous it most certainly is, with the computer-generated imagery involved so complex that one 15-second shot could take anything up to ten days for the computer to render on film, while, to produce the required 150 visual effects shots, four different teams of state-of-the-art experts were brought on to the production, including original Terminator creator Stan Winston and the legendary George Lucas outfit, Industrial Light And Magic.

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