Behind the Scenes of Terminator 2: Crafting a Timeless Action Film
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This podcast episode delves into the intricate themes and character developments showcased in *Terminator 2: Judgment Day*, emphasizing the significant transformation of the T800 from a menacing figure to a protective guardian. We explore how this sequel not only elevates the action genre but also poses profound questions regarding fate and human nature. The dialogue encapsulates the emotional weight carried by Sarah Connor and her son, John, as they navigate a perilous journey that intertwines their destinies with that of the T800. The speakers reflect on the film's exceptional storytelling, its innovative use of special effects, and the layered performances that breathe life into its characters. Ultimately, we posit that *Terminator 2* stands as a testament to the potential of sequels to surpass their predecessors in both narrative depth and cinematic impact.
The discussion centers around the film "Terminator 2: Judgment Day," wherein the speakers dissect the film's narrative structure, thematic elements, and iconic scenes. They delve into the evolution of characters, particularly focusing on John Connor and his relationship with the T800, portrayed by Arnold Schwarzenegger. Throughout the conversation, the speakers express their admiration for the film's ability to balance action with emotional depth, particularly highlighting the dynamic between John, Sarah Connor, and the T800. The speakers also analyze the film's cultural impact, noting how it has influenced the action genre and continues to resonate with audiences. They explore the concept of fate versus free will, as embodied in the characters' struggles against a predetermined future, ultimately conveying that the film transcends mere entertainment to deliver a poignant message about humanity's choices.
The speakers examine the film's technical achievements, praising the groundbreaking special effects and practical stunts that contribute to its enduring legacy. They reflect on the film's ability to blend science fiction with a personal story, noting how the characters' growth parallels the explosive action sequences. The conversation also touches on the moral dilemmas faced by the characters, particularly Sarah Connor's transformation from a desperate mother into a warrior fighting for her son's future. This evolution is juxtaposed against the T800's journey from a relentless assassin to a protector, emphasizing the film's exploration of redemption and the capacity for change.
The episode culminates in a reflection on the film's significance in cinematic history, with the speakers expressing their collective agreement on its status as one of the greatest action films ever made. They highlight the film's intricate narrative, memorable quotes, and the profound emotional resonance it maintains, reinforcing its place as a cultural touchstone. The discussion concludes with a call to revisit the film, encouraging both new viewers and longtime fans to appreciate its artistry and the themes that continue to hold relevance in contemporary society.
Takeaways:
- The podcast hosts emphasize the significance of character evolution in 'Terminator 2', particularly in John Connor, who transitions from an unformed delinquent to a budding leader throughout the narrative.
- They discuss the film's profound thematic elements, notably the exploration of fate versus free will, as articulated through the dialogue of key characters, including Sarah Connor and the T800.
- A notable point raised is the film's technical achievements, particularly its groundbreaking special effects, which remain impressive and relevant even decades after its release.
- The hosts appreciate the intricate layering of action sequences that serve to enhance character development, rather than merely functioning as spectacle for entertainment.
- In discussing the film's structure, they identify instances of 'false victories' and 'false defeats', which illuminate the nuanced storytelling that defines this cinematic work.
- The dialogue reveals a consensus on the enduring impact of 'Terminator 2', not just as a sequel but as a standalone film that has shaped the action genre significantly.
Mentioned in this episode:
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Transcript
At this point in the movie, I'm like, okay, well, here's what you should have done.
Speaker A:And I'm thinking, yeah, right.
Speaker B:It's one of my favorite openings ever.
Speaker A:And I've watched that alternate ending and it is garbage.
Speaker C:It doesn't go where you think it's going to go.
Speaker D:There's a monster.
Speaker A:I am.
Speaker D:I'm ready for it to be over.
Speaker B:Well, I'm not sure I can even fully explain why I love this movie so much.
Speaker A:I had some issues with the scene.
Speaker C:My feelings on it have not changed.
Speaker D:I fell asleep until the scream.
Speaker D:This is actually where I started enjoying the movie.
Speaker A:This is one of my favorite scenes in all of cinema.
Speaker C:I thought that should have been cut.
Speaker A:Oh, well, I'm sure it's artistic and you just don't get it.
Speaker A:All right, here we are.
Speaker A:Season two, Fellowship of the Real four, Friends of the Movie.
Speaker A:This is season two.
Speaker A:We're recording for season two ahead of time.
Speaker A:And we initially had a plan of.
Speaker A:We had our movie picked out and we actually recorded it.
Speaker A:And then we, we had the bright idea of, well, this is the second season.
Speaker A:Maybe the first four movies should be second or at least sequel movies.
Speaker A:So the first episode that we recorded is actually probably going to wind up being the fifth.
Speaker A:And just like we kicked off season one with like a four movie Bruce Willis tribute, this is a four movie sequel tribute to commemorate what we are calling our second season.
Speaker A:And we anticipate it being more than 16 movies.
Speaker A:We got a late start last time and this time.
Speaker A:Whose pick was this?
Speaker C:This was my pick.
Speaker A:This was James pick Terminator 2.
Speaker C:Yeah, my, my thing was I thought we were going for the sequel is better than the original type of concept because I think that the second season of this podcast will be even better, more superior.
Speaker C:Sure you will to the first, but apparently with some of the other movies we picked that's not the case.
Speaker A:Well, I am going to not comment at this time until we.
Speaker C:So stay tuned for the other sequel episodes is what I'm saying.
Speaker A:Sure.
Speaker A:This is Terminator 2.
Speaker C:Which I again, I think is far superior to the original.
Speaker D:I agree with that.
Speaker D:I like it better than the first one.
Speaker A:Now, Terminator, the original Terminator, has a special place in my heart.
Speaker A:So it.
Speaker A:While I agree absolutely with that statement in terms of production value, Terminator will always have a place in my heart.
Speaker A:And I love both these movies.
Speaker A:But Terminator 2, I would argue is probably, I think, the best one of all of them.
Speaker A:Yeah, I haven't seen all of even that latest one.
Speaker A:What is it?
Speaker A:Genesis.
Speaker A:What was it?
Speaker B:There was one after that.
Speaker B:Dark Faith.
Speaker C:Yeah.
Speaker B:Fate.
Speaker A:Where's the one where Arnold has been living there and he's old.
Speaker B:And Dark Fate.
Speaker A:What was the one before that?
Speaker B:He's.
Speaker B:He's old in the last two.
Speaker A:Okay.
Speaker A:What's the one before that?
Speaker B:Then Genesis is the one where they go back in time.
Speaker B:Like, you basically get to see Sarah.
Speaker B:This Terminator 2 version of Sarah Connor go back to 84 to, like, help and grab Reese or whatever.
Speaker B:So Reese gets to meet the.
Speaker B:Did you.
Speaker B:Did you ever see that one ring a bell?
Speaker B:Then you got to be talking about dark face.
Speaker B:Talking about raising a cabin and.
Speaker A:Yes.
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:And that was okay.
Speaker A:Yeah.
Speaker B:It makes a good.
Speaker B:Yeah, I like it.
Speaker B:I have the same problem with Genesis and Dark Fate.
Speaker B:They both do horrible things to John Connor in different ways.
Speaker B:And those annoying.
Speaker B:Genesis, they.
Speaker B:Spoiler alert.
Speaker B:They turn him into a bad guy.
Speaker A:Yeah.
Speaker A:I was about to say there's something about.
Speaker B:And then they.
Speaker A:He's.
Speaker A:He's the.
Speaker A:The bad.
Speaker A:The source of all this.
Speaker A:I was like, I don't remember that.
Speaker B:And then in Dark Fate, they kill him.
Speaker A:Yeah.
Speaker B:Like, after they save the day, they're all like, you know.
Speaker A:Yeah.
Speaker B:I think I said, not a beach earning 20.
Speaker B:And they.
Speaker B:You know, the.
Speaker B:The other.
Speaker B:There's another Terminator that was dispatched and kills him and then just goes off into the sunset.
Speaker B:And that's which I like the.
Speaker B:As far as.
Speaker B:Like, all right, you gotta have.
Speaker B:Arnold played Terminator because he is Terminator.
Speaker B:But how do you explain the age thing?
Speaker B:So I like how both of those explain the age very well.
Speaker B:Yeah, but fucking.
Speaker B:The whole thing's about John Connor, you know, saving humanity.
Speaker B:Right.
Speaker B:So you can't turn him into a bad guy.
Speaker B:You can't kill him.
Speaker A:I think this.
Speaker A:I think this series has gone off the rails on more than one occasion to the point where they have a whole movie now that is, like, not even, like, not part of the.
Speaker B:I think you have four.
Speaker B:I think it's split into four different.
Speaker B:Because after Terminator 3, I guess that's one Terminator.
Speaker B:Rise of the Machines.
Speaker B:Right.
Speaker B:Which follows from off the first two, but kind of undo some of it.
Speaker B:And then you have the Christian Bale one, Salvation.
Speaker B:That's a whole different path.
Speaker B:I feel like.
Speaker B:And then the two we just talked about Genesis and then Dark Faith or whatever.
Speaker B:So.
Speaker A:Yes.
Speaker B:No wonder.
Speaker B:Like, these movies I love to remember, they keep failing at the box office because people don't know what the fuck's.
Speaker A:Going on, what story is this.
Speaker A:Yeah, I think so.
Speaker A:For me, if I was pressed to the wall, for me, it's.
Speaker A:It's.
Speaker A:It's Terminator 1 and Terminator 2 and that's it.
Speaker A:I don't.
Speaker D:Well, Terminator 1, Michael Bain.
Speaker A:Yeah.
Speaker A:Terminator and Terminator 2.
Speaker A:Are these series in my mind after that?
Speaker A:I don't know.
Speaker C:Absolutely.
Speaker D:Two was so exciting the first time I saw it, I.
Speaker D:I got so nervous.
Speaker B:Right.
Speaker D:Watching it.
Speaker B:So I like three, but one and two are the.
Speaker B:The superiors.
Speaker C:I was doing the math on this.
Speaker C:This was released in 91.
Speaker C:92.
Speaker B:I think it's 91.
Speaker C:I saw this in the theaters.
Speaker C:I would have been eight years old.
Speaker A:Wow.
Speaker C:When I saw this, I don't think.
Speaker A:I saw in theater.
Speaker C:My younger cousin was with us.
Speaker C:Younger?
Speaker C:He was seven.
Speaker B:Yeah.
Speaker C:My.
Speaker C:My cousin took us.
Speaker A:Yeah.
Speaker C:To this rated R movie.
Speaker C:And it wasn't 15 minutes in.
Speaker C:He had to take my cousin out.
Speaker C:So I was there most of the movie.
Speaker A:Yeah.
Speaker B:By yourself.
Speaker A:That's cool.
Speaker B:You were eight, you said I was.
Speaker C:Eight and I.
Speaker C:I loved it.
Speaker A:Yeah.
Speaker C:The level of violence.
Speaker C:Yeah, fine with me.
Speaker B:Yeah.
Speaker B:I had to have been nine, I guess.
Speaker B:Went and saw with my dad.
Speaker B:That's crazy because.
Speaker B:Yeah.
Speaker B:It came out in the summer and.
Speaker B:Yeah.
Speaker B:So that I would have turned 10 in December.
Speaker B:So.
Speaker B:Yeah, I had to have been nine.
Speaker B:But even the.
Speaker B:Oh, it was July 4th weekend.
Speaker B:Nice.
Speaker B:Just the beginning and.
Speaker B:Well, I guess we can get into this, but like the beginning with the.
Speaker B:The flames and stuff and.
Speaker B:Because you.
Speaker B:I feel like both these movies we're reviewing, like, they.
Speaker B:You.
Speaker B:It's older movies, so you have to watch the credits instead of saving the credits for the end or whatever.
Speaker B:And.
Speaker B:Yeah, but he has all the flames and all the stuff going on.
Speaker B:Like, I remember, like, every time I fire this movie up and watch that, I remember being in the theater just like looking at flames going.
Speaker B:And, you know, the flames amazed me, let alone with all the.
Speaker B:I was gonna see, you know, once the movie started, you know.
Speaker A:Yeah.
Speaker C:Well, this starts out with that prologue.
Speaker C:You're like, oh, happy life.
Speaker C:Cars and everything.
Speaker C:And then just death and destruction.
Speaker C:As a kid, you're like.
Speaker A:Well, this is the second James Cameron sequel that we watched.
Speaker A:We watched Aliens and Chris and I were talking about this before James got here.
Speaker A:You know, Cameron has been known to be a bit of a personality problem.
Speaker A:A little arrogant maybe.
Speaker A:But then you look at.
Speaker A:And we're going to talk about this when we get to the section.
Speaker A:But freaking Cameron, man.
Speaker A:I mean, well, I'm going to.
Speaker A:We'll get into the section in a second about the numbers.
Speaker A:But this is the second camera movie and the second one that has literally killed it.
Speaker C:But he directed the first Terminator.
Speaker C:He didn't direct the first Alien.
Speaker B:Correct.
Speaker C:Movie.
Speaker A:What did he do with that?
Speaker A:He just took Aliens.
Speaker A:Yeah, the sequels.
Speaker A:This is the second sequel.
Speaker A:So we did Aliens and we did Terminator 2.
Speaker A:So these are the second.
Speaker C:But Cameron both directed Terminator, and Terminator.
Speaker B:Is entirely his baby where Aliens was not.
Speaker C:Had he been given this type of budget on Terminator, I'm sure it would have been a sure.
Speaker C:Bigger movie.
Speaker A:All right, anyway, money, critics, fans.
Speaker A:Here we go.
Speaker A:Money, critics, fans.
Speaker A:All right, we can start off with the.
Speaker A:Does anybody have the synopsis or tagline or anything anybody wants to read?
Speaker A:I think.
Speaker A:I think by this point, everybody knows what Terminator 2 is about.
Speaker A:Machine.
Speaker B:I don't know, man.
Speaker B:The movie 91, that was a while ago.
Speaker B:They might not be surprised.
Speaker A:Yeah, I don't.
Speaker A:I don't.
Speaker C:Well, I did ask my daughter.
Speaker C:She had no idea she'd never seen this movie, and she still has not.
Speaker B:She's older than late.
Speaker C:She's 17.
Speaker B:17, yeah.
Speaker C:Yeah.
Speaker B:She know who Arnold Schwarzenegger was?
Speaker B:I don't know how, like, deep in the.
Speaker B:Like, the Ouija got with her.
Speaker B:Like.
Speaker C:Well, she knows Jingle all the Way.
Speaker C:We watch that every year.
Speaker C:So.
Speaker B:So is that.
Speaker B:Did you pitch it to her?
Speaker B:Like, it's Jingle all the Way, but instead of looking for a term.
Speaker B:Turbo Mendel.
Speaker B:He's a particular robot.
Speaker B:Yeah, yeah.
Speaker B:Did she watch it with you or.
Speaker C:No, no.
Speaker C:She was like, whatever.
Speaker B:Fuck that.
Speaker A:I'm 17.
Speaker A:I hate you.
Speaker B:Late loved his movie.
Speaker B:He still didn't join me because.
Speaker B:Yeah, sometimes they get in these moods, like, and I'm having to.
Speaker B:I guess we're going off rails a little bit here, but, yeah, I have to.
Speaker B:Still have to, like, get used to that.
Speaker B:Like, hey, Lathe, I'm watching this movie and, you know, sometimes he'll join, other times he doesn't.
Speaker B:Like, you know, I die a little bit inside when he doesn't join, you know.
Speaker A:Right.
Speaker C:He'll find it in his own way.
Speaker A:Yeah.
Speaker A:All right, so this came out.
Speaker D:Do you want me to.
Speaker A:Yeah.
Speaker A: rd,: Speaker A:If you got the.
Speaker A:Sherry's got the synopsis.
Speaker D:Do you want me to read it?
Speaker A:Yeah, read it.
Speaker B:All right.
Speaker D:In this sequel set 11 years after the Terminator, young John Connor, played by Edward Furlong, the key to civilians.
Speaker D:No Civilizations.
Speaker D:The key to civilization's victory over a future robot.
Speaker D: target of the shape shifting T: Speaker D:A Terminator sent from the future to kill him.
Speaker D:Another terminator.
Speaker D: The revamped T: Speaker D:Arnold Schwarzenegger has been sent back to protect the boy.
Speaker D:As John and his mother, Linda Hamilton go on the run with the T800, the boy forms an unexpected bond with the robot.
Speaker A:Yeah, sure.
Speaker A:Now I said 11 years.
Speaker A:The kid does not look 11.
Speaker A:Is he 11 in this movie?
Speaker A:He's not 11.
Speaker B:How old does he look?
Speaker B:The older.
Speaker A:Yeah, like, I don't know.
Speaker C:Edward Furlong I think was 12, 13, 14.
Speaker A:Now, his voice does crack it throughout the movie sometimes, so.
Speaker C:Well, I read in the trivia they had to do lots of overdubs because by the time they got done filming everything, you could hear his voice, like, back and forth.
Speaker C:So they just did overdubs.
Speaker A:Yeah.
Speaker A:I was telling Cherry that he did not do well after this.
Speaker B:Yeah.
Speaker B:You know, there's.
Speaker B:Yeah.
Speaker A:In his life.
Speaker A:Yeah.
Speaker B:There's a reason he does not play in the third one or whatever.
Speaker B:Like, he's old enough.
Speaker B:Like, that would have been really cool.
Speaker C:He was an American History X, which was great.
Speaker C:He was in Cemetery 2.
Speaker C:And then he was in a lot of other stuff.
Speaker C:Just, you know.
Speaker A:Yeah.
Speaker C:Stuff.
Speaker A:Because I thought he'd do well in this movie.
Speaker B:You say he was in a band, James, Is that what you said?
Speaker C:I don't know.
Speaker B:Oh, I thought you said that.
Speaker B:I misunderstood.
Speaker C:No.
Speaker A:Anyway, he went off the rails a little bit himself, I think.
Speaker A:Personally?
Speaker B:Well, I mean, yeah.
Speaker B:Child actor.
Speaker B:Right.
Speaker B:Celebrity.
Speaker B:Like that's always.
Speaker C:It just came out of nowhere.
Speaker A:Yeah.
Speaker A:Honestly, I think it says introducing.
Speaker B:Yeah, this is first thing.
Speaker B:Yeah.
Speaker A:In the credits.
Speaker A:All right, so Muddy Craigs fans, that's what we are again.
Speaker A:Now.
Speaker A:This is the second Cameron film we're doing.
Speaker A:We did Aliens, and if you remember the stats from Aliens, they were absolutely skyrocketing through the stratosphere.
Speaker A:I pulled this up and I was again, blown away.
Speaker A:I'm like, you want to hate Cameron for being a.
Speaker A:You know, but.
Speaker A:But the guy can make movies and his movies have made.
Speaker B:Could.
Speaker B:Could make movies.
Speaker A:Okay.
Speaker A:Anyway.
Speaker A:Tomato meter.
Speaker A:Again, this is a little bit unfair, but over the course of its life, these are the consistent scores that this movie, and these are aliens type numbers.
Speaker A:Tomatometer.
Speaker A:93% of the critics continually rate this movie three, three and a half stars or above.
Speaker A:And 95% of the fans.
Speaker A:So there's like the people who hate this movie, who are they?
Speaker A:Because 93 and 95% of the fans and critics rave about this movie, I.
Speaker A:We.
Speaker A:Those are the only two movies that have those numbers that we've reviewed.
Speaker A:We're lucky if they get 70 or 75%.
Speaker A:I think that's good.
Speaker A:Now you want to talk about.
Speaker A:Okay, that's.
Speaker A:That's people's opinions.
Speaker A:Great.
Speaker A:The budget of this movie was what I have, like 100, 102 million.
Speaker A:Okay.
Speaker A:That's a lot of money.
Speaker A:It grossed half a billion worldwide and domestic.
Speaker A:So domestic, 200 million.
Speaker A:Worldwide, 300 million.
Speaker A:So even if you're looking at just a domestic, it doubled its money.
Speaker A:But over the whole world, half a billion dollars.
Speaker C:Well, it was the first movie over 300 million in the bank.
Speaker A:Yeah.
Speaker C:And it was the.
Speaker C:The opening weekend numbers were right at 32 million.
Speaker C:And that was more than Terminator made.
Speaker C:The original Terminator made in its entire run in the theaters.
Speaker C:So it came out of the gate smoking.
Speaker A:Yeah.
Speaker B:And to your point with the.
Speaker B:Cameron.
Speaker B:This is Cameron at his peak.
Speaker B:This is Arnold at his peak.
Speaker A:Yes.
Speaker B:I was telling the original term there them both starting at that point when.
Speaker A:When we were watching it last night, I remember telling Jerry, I said, this is.
Speaker A:This is the bad.
Speaker A:This is Arnold looking the most badass he ever looks.
Speaker A:Okay.
Speaker A:Arnold is his most.
Speaker C:Arnold.
Speaker A:Yeah.
Speaker A:Yes.
Speaker A:But.
Speaker A:But just badass.
Speaker A:Like the shades and the leather and.
Speaker C:Yeah.
Speaker A:The slick, the twirling of the gun.
Speaker A:I mean, he is straight up gunslinger in this movie.
Speaker A:Not.
Speaker B:Right.
Speaker A:I.
Speaker A:Yeah, this movie hits on all cylinders and Arnold is.
Speaker A:I think it's one of his best.
Speaker A:You know, like, if.
Speaker A:If you want to see Arnold's an extra star, this is it, man.
Speaker C:Yeah.
Speaker C:Because he keeps his mouth closed most of the time and when it comes out, it's robotic.
Speaker A:Yeah, Right, right.
Speaker A:Yeah.
Speaker A:So he really wasn't acting.
Speaker A:Okay.
Speaker C:Yes.
Speaker C:I mean, Arnold grew into being a very, very good actor.
Speaker A:No, no.
Speaker A:I think so.
Speaker C:He blew me away in that.
Speaker C:The Stallone movie where they're on the escape plan.
Speaker C:Escape plan.
Speaker C:When he was in solitary and he's just yelling in German, I was like, wow.
Speaker A:Yeah.
Speaker A:Well, if you want to see a, like a dramatic Arnold, I.
Speaker A:I love it.
Speaker A:It's a zombie movie.
Speaker A:It's called Maggie, and it is straight up drama.
Speaker A:I don't think there's a fight in it, but Arnold plays the grieving father of a girl who has got the zombie virus and is trying to get a cure for her.
Speaker A:And it's straight up drama.
Speaker A:And he nails it, man.
Speaker B:Because the twist in that one is it's not fast, it's very, very slow.
Speaker B:Turning To a zombie.
Speaker B:Right?
Speaker A:It is.
Speaker A:It's.
Speaker A:Yes.
Speaker B:And they come to collect her and he's like, you're not taking my daughter.
Speaker A:And yeah, so there is some of that, but it's straight up drama, if I remember.
Speaker A:And he nails it as a.
Speaker A:As a dramatic part.
Speaker A:Maggie.
Speaker D:I still like Kindergarten Cop.
Speaker B:Great.
Speaker B:I was just about to say that.
Speaker B:Kindergarten Cop.
Speaker B:I really like it too.
Speaker B:Esque at the beginning and maybe we'll review this someday.
Speaker B:By the end he's, you know, he's this teacher.
Speaker A:They're all new bathrooms.
Speaker B:Yeah.
Speaker B:It goes from being Terminator to Mr.
Speaker B:Kimball.
Speaker A:Yeah.
Speaker D:We accidentally found.
Speaker D:Well, not accidentally.
Speaker D:We did.
Speaker D:Someone told us.
Speaker D:We took a tour of Astoria.
Speaker A:Yeah.
Speaker A:From Goonies and all that.
Speaker D:Yeah.
Speaker D:Yeah.
Speaker D:And we went up to look at the Goonies house and drove past.
Speaker D:I was like, that looks like the school.
Speaker A:Yeah.
Speaker B:Nice.
Speaker A:From the Goonies house you could see the kindergarten copy.
Speaker A:Elementary school.
Speaker B:Oh, nice.
Speaker A:It's actually pretty cool.
Speaker D:Yeah.
Speaker A:Okay.
Speaker A:Money, Craigs fans.
Speaker A:Anything else about that?
Speaker A:This movie blew it away on all cylinders.
Speaker C:I think what I read was Cameron to do press for this movie.
Speaker C:He didn't want to give any scenes away.
Speaker C:So they shot separate montage films of Terminators being made and all that.
Speaker C:And then Terminator 2.
Speaker C:Lots of flames.
Speaker C:Because they want it to be very secretive, I guess.
Speaker A:Yeah.
Speaker C:I don't recall it.
Speaker C:I was too young.
Speaker C:But.
Speaker B:Yeah.
Speaker B:I mean, I don't remember.
Speaker B:I guess the reveal.
Speaker B:I guess when I was younger.
Speaker B:Like we talked about when we saw it in the theater.
Speaker A:But.
Speaker B:Yeah.
Speaker B:But watching it again and kind of think about it like, it's my understanding that.
Speaker B:Because Arnold is.
Speaker B:Is a bad Terminator.
Speaker B:He's the bad guy in the first one.
Speaker A:Yes.
Speaker B:And he's playing the same version of the Terminator in the second one.
Speaker B:Like I think the reveal that he's the good guy, like that's.
Speaker B:That was supposed to be hidden.
Speaker A:Yeah.
Speaker B:Like going into it.
Speaker B:You're not supposed to know that right into the movie.
Speaker B:So it's, you know.
Speaker A:Well, Sherry was saying, well, that explains.
Speaker B:That makes sense what you're saying.
Speaker B:But he doesn't want to give that away.
Speaker A:Yeah.
Speaker A:When.
Speaker A:When we're watching it last night and he comes out of the elevator and Sarah sees him and starts to run away.
Speaker A:Sherry said, we're not.
Speaker A:She doesn't know.
Speaker A:We're not supposed to know at this point.
Speaker A:I said, yeah.
Speaker A:The first time you saw this, you were not knowing.
Speaker B:Right.
Speaker A:You know.
Speaker A:Anyway.
Speaker C:Yeah, it was.
Speaker C:It was cleverly head.
Speaker C:What's the word?
Speaker C:I'm looking for hidden.
Speaker C:Hidden, hidden there in the shopping mall scene.
Speaker C:Like when they're both converging on it, you're like, oh, right, these toast.
Speaker A:There was a.
Speaker C:And that's 30 minutes into the movie.
Speaker B:Right.
Speaker A:I was on.
Speaker A:I was on Reddit and looking at some movie sites or whatever and somebody had posted a picture of a clapboard that said like Blue Harvest or blue dawn, scene 17, blah, blah, blah.
Speaker A:Well, that's Empire Strikes Back or Jedi.
Speaker A:Jedi.
Speaker B:Yeah.
Speaker A:And they did that because they didn't want companies overcharging them for stuff because, hey, what, you're Star wars, you got billions.
Speaker A:And they didn't want any of the press to know what they were doing.
Speaker A:And so they call it so the.
Speaker A:Throughout the course of its life, I guess it was called like Blue Harvest.
Speaker B:Yeah, right.
Speaker B:Because nobody cares about Blue Harvest.
Speaker B:What the hell is that?
Speaker B:But Star Wars.
Speaker B:Oh, shit.
Speaker A:Yeah, right?
Speaker B:People are going to mess up your stuff.
Speaker D:Can I go back to the, the.
Speaker D:The scene where he comes out of the elevator?
Speaker A:Yeah, that was.
Speaker D:I just remember being so scared at that moment.
Speaker D:Can you imagine this, this nightmare that has chased you for, you know, in the first one, and then the look on her face, you.
Speaker A:I just felt she sells it.
Speaker A:Yeah.
Speaker A:No, I was like, oh my.
Speaker A:At that point she's dead because she's not getting on the elevator and she's at the end of a dead end hall.
Speaker B:Right.
Speaker A:Yeah.
Speaker A:She.
Speaker A:It's movie over if this guy is the bad guy.
Speaker D:I mean, that's like a scene out of a nightmare.
Speaker A:I mean, it's a.
Speaker A:Yeah, they slow mo it and everything.
Speaker A:It's.
Speaker D:Anyway, anyway, I'm sorry.
Speaker A:No.
Speaker A:So we done with money?
Speaker A:Critics, fans were good, but I mean, like I said, this thing killed it.
Speaker A:All right, we're going to move into the mechanics now.
Speaker A:Again, we do.
Speaker A:For any of those who don't know, we do a breakdown of the movie based on Blake Snyder's Save the cat beat system.
Speaker A:15 beats.
Speaker A:It's a way to look at the movie.
Speaker A:And I'm not sure that Cameron used those beats.
Speaker A:I think they're all there.
Speaker A:But we'll talk about that when we get to it.
Speaker B:I think Terminator predates.
Speaker A:Sure.
Speaker A:And there are different systems of structuring, moving, and I think maybe some of that went on.
Speaker A:Anyway, so now we're going to talk about the mechanics.
Speaker B:Love it.
Speaker A:Love it.
Speaker A:I thought this movie had all the beats.
Speaker A:Okay, they're all there, but I think around the third act, they're nested within each other and we'll get to that.
Speaker B:When we agreed.
Speaker B:Yeah, like, I.
Speaker B:Going into it, I'm like, just kind of think about it, you know, I've seen a thousand times and was in my head, I was like, all right, this.
Speaker B:This beat is this.
Speaker B:This scene is this beat.
Speaker B:And then once I started watching it and doing it, I was like, oh, well, that's shit, though.
Speaker B:That's too late.
Speaker B:Or that's early, or.
Speaker B:Yeah.
Speaker A:There is a system called the Writer's Journey system, which has all these same beats, different names, and it's, again, a fast way to break a story.
Speaker A:But in that system, he is infinitely more flexible about the placement of those beats.
Speaker A:But than is Blake Snyder.
Speaker A:Blake Snyder says, no page 15, no page 10, and that's fine.
Speaker A:But the Writer's Journey system says you can put them any way we want, you know, and he calls them different names.
Speaker A:And I think you could find all those beats in this.
Speaker A:And if.
Speaker A:If you're looking at that system, then the flexibility of those beats is much more understandable.
Speaker A:And why some of these later elements are placed where they are.
Speaker B:No, and I think Snyder, I guess, makes a good argument for the, you know, being so original on the beats.
Speaker B:Like, he, you know, he thinks that, you know, equals a better story and a tighter story.
Speaker B:But also I think he's.
Speaker B:This whole thing.
Speaker B:His audience is screenwriters.
Speaker B:Right.
Speaker B:So he's pitching like, here are the rules.
Speaker B:Stick to this before you learn how to.
Speaker B:How to break them.
Speaker B:Right.
Speaker B:Learn the rules first.
Speaker A:Sure.
Speaker B:So, yeah, I think once you're established, you can.
Speaker A:Yes.
Speaker B:Like you said, move this stuff around a little bit if you want, so.
Speaker A:We can get into this.
Speaker A:I have.
Speaker A:And James had already briefly made allusion to it.
Speaker A:The movie does not start off with what I call an opening image.
Speaker A:It starts off with what I'm calling.
Speaker A:And James, I think, mentioned it.
Speaker A:A prologue.
Speaker A:Right.
Speaker A:You have the.
Speaker A:Essentially the aftermath of the machine, of the rise of the machines.
Speaker A:2029, Los Angeles, it says.
Speaker B:Yeah.
Speaker A:And Sarah Connors doing a voiceover explaining what's going on.
Speaker B:Yeah.
Speaker B:Even there, like, I would say that the.
Speaker B:You know, just.
Speaker B:You can see the difference in the budgets.
Speaker A:Sure.
Speaker B:Because, like, in the first one, it was like a.
Speaker B:Like a crawl, like, with words and stuff on the screen.
Speaker A:Yeah.
Speaker B:You know, word superimposed, just kind of telling you what's going on.
Speaker B:And then this one, like, you know, you have an actor, you know, actors performing, you know, the.
Speaker B:The voiceover.
Speaker A:Yeah, yeah.
Speaker A: Two Terminators,: Speaker A:They tried to kill him, she says.
Speaker A:And then a second, when he was a child.
Speaker B:All that voiceover over the future war that we're seeing, which is, you know, again, way more like than we saw in the first one.
Speaker B:We just saw little snippets where you can tell the budget.
Speaker B:He's able to, you know, see more.
Speaker B:We're able to see more of that.
Speaker A:I wonder if he did that because he wanted to show some of that.
Speaker A:Like.
Speaker C:Well, we only saw that in the first Terminator through Reese's flashbacks.
Speaker A:Yeah.
Speaker B:So it was very limited.
Speaker B:And.
Speaker B:Yeah, this is an actual scene.
Speaker B:Yeah, yeah, yeah.
Speaker B:You see good guys getting killed.
Speaker B:You see them taking out Terminators.
Speaker B:Like, it's.
Speaker B:It's cool.
Speaker A:Yes.
Speaker A:So we have this prologue, which I do not consider to be an opening image.
Speaker A:It does not give us the.
Speaker A:Before.
Speaker B:Yep.
Speaker A:I think it moves into setup before it even gets to the opening image.
Speaker A:So right off the bat, I think some of these beasts.
Speaker A:Because typically you would have the opening image, the theme stated, somebody saying something, what.
Speaker A:The argument of this movie is within the first 8, 10, or 15 minutes of the setup.
Speaker A:And I think some of that is shifted around.
Speaker A:So I have the setup before the opening image.
Speaker A:The Terminator arrives.
Speaker A:You see the arrival of these Terminators.
Speaker A:And I think one of the funnest scenes in the movie and certainly in cinema, the Arnold's procurement of clothes and even to the Song of Bad to the Bone.
Speaker A:It's just a very slick scene.
Speaker A:I love this.
Speaker A:I never get tired of this scene.
Speaker A:I liken it to.
Speaker A:And again, a movie we will eventually revisit view.
Speaker A:But probably the best opening of any movie ever is that opening sequence of Big Lebowski, where.
Speaker A:Not on the carpet, man.
Speaker A:The whole.
Speaker A:The whole sequence of.
Speaker A:I think it's down there somewhere.
Speaker A:Let me take a little.
Speaker A:That whole opening is brilliant.
Speaker A:And this, I think, is equally.
Speaker A:Yes, as brilliant for fun and for ideas of value.
Speaker A:And.
Speaker B:Yeah, I feel like there's.
Speaker B:You know, I guess I just.
Speaker B:You know, we talked about this before.
Speaker B:It happens.
Speaker B:I think every time, even though we've seen these movies a thousand times, as we watch them kind of with a more critical eye, we notice stuff.
Speaker B:Right.
Speaker B:And one of the things I noticed here is we were talking about a little bit before, a few minutes ago, talking about it, about the.
Speaker B:The reveal of Arnold being good or bad.
Speaker B:Right.
Speaker B:I feel like there's some hints in there, like he was preparing the.
Speaker B:The audience, that he is going to be good.
Speaker A:Yeah.
Speaker B:Because also by this point in Schwarzenegger's career, he's playing good guys.
Speaker B:He's not playing bad guys anymore.
Speaker B:So I feel like I noticed some hints.
Speaker B:The.
Speaker B:The first one, my son pointed out the theme to the.
Speaker B:For the music.
Speaker B:Right.
Speaker B:The theme.
Speaker B:Always thought they were kind of the same.
Speaker B:Maybe it sound a little.
Speaker B:I could tell it sounded a little bit different, but I was like, all right, well, Budget, he's got, you know, more.
Speaker A:Yeah.
Speaker B:Stuff to do the song with.
Speaker B:My son pointed out that the theme is more heroic than the.
Speaker B:In the second one than it is the first time.
Speaker A:Huh.
Speaker B:So there's a musical cue, right.
Speaker B:That it's a little bit different.
Speaker A:Yeah.
Speaker B:And then in the original, when he goes up to the guys, he says, give me your.
Speaker B:Your clothes.
Speaker B:You know, Give me your clothes.
Speaker B:Give them to me.
Speaker A:Not yet.
Speaker B:Here it's.
Speaker B:I need.
Speaker B:Right.
Speaker B:There's just subtle differences there.
Speaker B:But not give me.
Speaker B:But I need your clothes.
Speaker B:Boots and motorcycle.
Speaker B:Right.
Speaker A:Yes.
Speaker B:And then these guys attack him.
Speaker B:First the guy blows smoke in his face.
Speaker B:The guy tries to put a cigarette out on.
Speaker B:On him or does put it out on him.
Speaker B:Where in the.
Speaker B:The original they have a couple of wise cracks.
Speaker B:Then he immediately, like, shoves his fist through the guy's.
Speaker A:Yeah.
Speaker B:He kills his heart out of him.
Speaker A:I don't think he kills any of these.
Speaker A:Right.
Speaker A:I mean.
Speaker B:Yeah.
Speaker B:I don't think he kills them.
Speaker B:And they get their jerks and they get what they deserve.
Speaker B:But it's so.
Speaker B:Yeah.
Speaker B:Just that.
Speaker B:And then the.
Speaker B:The playing the bad to the bone.
Speaker B:Right.
Speaker B:Like, you don't play Bad to the bone on Determinator from the first one.
Speaker A:No, this is a lighter.
Speaker A:No, it's absolute slick and cool, man.
Speaker C:Well, the.
Speaker C:His body count is almost zero throughout the entire movie, I don't think.
Speaker A:Yeah.
Speaker A:I don't know if he actually kills anybody.
Speaker C:No.
Speaker A:Because he's given the direction.
Speaker A:Okay.
Speaker B:You can't later on to John.
Speaker B:Yeah.
Speaker A:And body.
Speaker A:You know, even with the cops, you know, human casualties, 0.0, you know, and.
Speaker B:Yeah, that's after John tells him.
Speaker A:Even before I had.
Speaker A:No, he hadn't killed the.
Speaker A: The T: Speaker A:Well, he kills probably a lot of people, but.
Speaker A:Yeah.
Speaker C:Well, he killed the cop immediately when he came.
Speaker A:Yeah, yeah.
Speaker A:Yeah.
Speaker B:And even that they hide as far as the reveal.
Speaker B:They hide it like it looks like maybe he punches him in the stomach.
Speaker B:Like you don't see.
Speaker B:Like, we know later on that he had a knife hand, you know, and stabbed him.
Speaker B:But we don't see it on screen.
Speaker C:That's true.
Speaker A:You don't.
Speaker B:Then he puts on the uniform.
Speaker B:So you're like, okay, this.
Speaker B:Okay, cop uniform, he's a good guy.
Speaker A:Now this, there is a bad guy.
Speaker A:There is a little bit of a discrepancy in the story logic here.
Speaker A:I don't think it's takes you out, but okay, so Robert Patrick, right, The actor.
Speaker A:Obviously we want to see his face.
Speaker B:Yeah.
Speaker A:Now other times throughout the movie when he impersonate, when he takes over, he impersonates the person, the, the foster mom, the, the security guard at the hospital.
Speaker B:Why didn't he impersonate the cop?
Speaker A:I didn't even want to watch that guy throughout the movie.
Speaker A:Right.
Speaker A:We, we're.
Speaker A:They're paying Robert Patrick for his face.
Speaker D:So it also, as a matter of fact, whenever the cop drove up, I'm like, oh, here, here comes.
Speaker A:Well, that's Robert Patrick.
Speaker A:Yeah, it was.
Speaker D:And then I realized, wait a minute.
Speaker A:Yeah.
Speaker A:So why they didn't have Robert.
Speaker B:He could have had Robert Patrick be the cop.
Speaker A:Yes, yeah, yeah.
Speaker C:Well, to that you need a thread throughout the movie of one character you're following.
Speaker C:Ideally he could turn into anybody at any time and just right jump through the movie and you would never know.
Speaker C:So it had to always go back to Robert Patrick.
Speaker A:Well, damn resting face.
Speaker B:I never thought about that.
Speaker B:Why didn't he impersonate Arnold?
Speaker C:Yeah.
Speaker B:And, and thought about that till just now.
Speaker A:Because Arnold's.
Speaker B:Because Cameron didn't think of it.
Speaker B:Right.
Speaker B:And we're thinking about it 20 years later, but yeah, done that.
Speaker C:He has to touch it or something.
Speaker A:Yeah, it definitely touches Arnold.
Speaker A:I mean, they scuffle, but true.
Speaker A:But when, when would he ever be able to supplant Arnold at that point?
Speaker A:Right.
Speaker A:When would he.
Speaker B:We're jumping ahead but like when he takes him out at the end and then he turns into Sarah called John now he totally should turn into Arnold.
Speaker B:John, come here.
Speaker B:The fucking movie over and humanity's done.
Speaker C:Get over here now.
Speaker B:Yeah, you know what I mean?
Speaker B:Like that's really.
Speaker B:I mean, I thought about it.
Speaker A:I didn't even think of that either.
Speaker B:But maybe Cameron did think of it and couldn't come up with a fucking way out of it because.
Speaker B:Let's not do that.
Speaker A:We were talking about that scene tool.
Speaker B:I never know.
Speaker B:I told you just now.
Speaker A:But Sherry made a good point.
Speaker A:I was like, why didn't he just use Sarah's voice?
Speaker A:Because Sarah's there and she would have said no, no, John, but why don't you just kill Sarah instead of, you know, torture or kill her?
Speaker A:And then so there's a little squishiness.
Speaker C:I Think what is, what does Harrison Ford say?
Speaker C:This ain't that kind of movie, kid.
Speaker A:Yeah.
Speaker A:If you're asking right.
Speaker A:And up till trying to analyze it.
Speaker A:I never even.
Speaker B:Well, yeah.
Speaker B:I mean, well, here it is.
Speaker B:What how many times we've seen it and then the curse.
Speaker A:Never thought about that.
Speaker B:So.
Speaker A:Yeah.
Speaker D:Okay.
Speaker D:I had a question.
Speaker D:What is his name again?
Speaker D:Robert.
Speaker A:Robert Patrick.
Speaker A:Yeah.
Speaker D:Yeah.
Speaker D:My question to Philip was in his audition, did he just run?
Speaker D:Because that's always.
Speaker D:We see him running so much.
Speaker C:Well, they say that the trivia that he had a rigorous running regime.
Speaker C:Breathing through his nose.
Speaker A:Yeah.
Speaker C:So he could appear more.
Speaker A:Yeah.
Speaker A:You don't want to see Terminator huffing it.
Speaker C:And when he's chasing, chasing the dirt bike up the ramp.
Speaker C:He was catching up to the dirt bike.
Speaker C:They had to cut around him.
Speaker C:He was so fast.
Speaker D:Yes.
Speaker D:I mean he, that he does.
Speaker D:He runs.
Speaker A:There's his, his body fat index at this movie is probably like negative 2.
Speaker B:Well even just his mannerisms when he, you know, not just the running, but just his entire mannerism.
Speaker B:How he moves is very, very cool and you know.
Speaker A:Yeah.
Speaker B:No energy wasted and.
Speaker A:Yes.
Speaker A:All right, so we got the setup of the arrival of the Terminators.
Speaker A:I think at this point we do get an opening image.
Speaker A:Two opening images because it's almost.
Speaker A:You're really following John and Sarah and they're the ones that I think are subject to change.
Speaker A:Arnold.
Speaker A:Well, we'll get to that because I think it's, we didn't talk about the genre, but I, I want to call this a Buddy Love and it's a three hander.
Speaker A:I think I forgot to mention that that's something sometimes we like to do is try to nail what genre we think it is because there's change.
Speaker A:Incomplete Heroes.
Speaker A:But, but I think all three of them undergo a change by the end of this movie.
Speaker C:But it's not a Golden Fleece.
Speaker A:Well, see, I, I, I, I settled on Buddy Love and I stopped looking.
Speaker A:But I, I figured Chris would have something and you guys.
Speaker C:Yeah.
Speaker C:Because I mean I know very limited about it.
Speaker C:So it's a road movie.
Speaker A:That makes sense.
Speaker C:Yeah, it's a road movie and there's a.
Speaker A:They're trying to get away or else to Skynet or whatever.
Speaker A:Are you looking at?
Speaker B:Look, I was looking at Buddy Love.
Speaker B:So it's, it's about an incomplete hero who is missing something physical, ethical or spiritual.
Speaker B:He needs another to be whole.
Speaker A:Yep.
Speaker B:And then to a counterpart who makes the completion.
Speaker B:That completion about.
Speaker B:Sorry.
Speaker B:Who makes that completion come about or in the case of a three hander story about a triangle or a four hander story about two couples.
Speaker A:Right.
Speaker B:As qualities the hero needs and then three, a complication being a misunderstanding personal or ethical viewpoint.
Speaker B:Epic historical event or the prudish disapproval of society.
Speaker A:Yeah, I think an epic event.
Speaker A:I think it fits in there because I think I.
Speaker A:Because there are changes in each of these characters by the end.
Speaker A:Each one of these is not the same as they are in the beginning.
Speaker A:And that's where these opening image, I think are.
Speaker A:Are stark contrasts to where they are at the end.
Speaker C:I think they say that in the dialogue at some point where he says that he learns.
Speaker B:Learning.
Speaker A:Learning machine.
Speaker C:Yeah, he's a learning machine.
Speaker C:So it sets it in there.
Speaker C:About what?
Speaker C:The questions that he asks and the mannerisms and the things he takes on.
Speaker C:He definitely does change, even though he's a robot.
Speaker A:And I think.
Speaker A:I think John changes and definitely Sarah changes.
Speaker C:Yeah, you see that a lot in.
Speaker C:And I noticed this last time that I watched it, you see John develop into like this misfit kid to a budding leader.
Speaker C:Like you can see it in him, you know, mom, mom, we gotta be.
Speaker B:I mean, she goes off course and he writes her.
Speaker C:Yeah.
Speaker A:Yes.
Speaker B:He teaches the Terminator Church.
Speaker B:Explain Terminator.
Speaker B:Why you can't just go around killing people.
Speaker C:Right.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:So the opening image for John is this delinquent, parentless, directionless.
Speaker A:He's absolutely delinquent.
Speaker A:With no authority figures in his life and doesn't want any.
Speaker B:She's not my mother, Todd.
Speaker A:Yeah, she's psycho.
Speaker C:Everything that he's known and grown up and they get to it later, you know, running around with, you know, arms dealers and learning Spanish.
Speaker C:All of his life that he's been prepping for when his mom gets arrested.
Speaker C:His life is a lie.
Speaker A:Yeah, it's all a lie.
Speaker A:She's a psycho.
Speaker A:And so here he is.
Speaker B:Didn't you know?
Speaker B:Yeah.
Speaker C:Super talented kid, super smart.
Speaker C:Living in a world where he's just an orphan.
Speaker A:Yeah.
Speaker A:Subject to no authority.
Speaker A:Now Sarah is just as he's parentless.
Speaker A:Sarah is childless.
Speaker A:You know, she's naked without me.
Speaker A:So a parent without a child.
Speaker A:But she's very determined and.
Speaker A:But detained and thought delusional.
Speaker A:So this is her resting state in the beginning.
Speaker B:Yeah.
Speaker A:Just buried deep, never getting out.
Speaker A:Determined, but full of anxiety and anguish about what she knows is coming.
Speaker B:Yeah.
Speaker B:I guess I just looked at it from John's point of view because I had.
Speaker B:It is like dude with a problem.
Speaker A:Yeah.
Speaker B:And I thought about Golden Fleece.
Speaker B:Like you're saying.
Speaker B:And just, I guess, do with.
Speaker B:The problem is an innocent hero who is dragged into the mess without asking for it or even aware of how he got involved.
Speaker A:Yeah.
Speaker B:A sudden event that thrust our innocent into the world of hurt and is definite and comes without warning.
Speaker B:A life or death battle is at stake and the continued existence of an individual, family, group or society is in question.
Speaker A:You see all that solid.
Speaker A:And, and that's if, and if you really look at it, I mean, so you're, you're thinking this is John Connor's story.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:And I think largely that's true.
Speaker B:I felt like that was the, I don't know, maybe the easiest.
Speaker B:And you know, because, because you are right.
Speaker B:They all three change.
Speaker A:Yes.
Speaker A:And.
Speaker A:And there's real, I think real emotional attachment by the end.
Speaker A:Like at some point.
Speaker A:And we'll get to it.
Speaker A:But at some point.
Speaker A:Sarah says he'll never leave him.
Speaker A:Never.
Speaker B:Yeah.
Speaker B:Out of all the would be fathers that came and gone, he's.
Speaker B:He's the best.
Speaker B:He's in an insane world.
Speaker B:He's the same.
Speaker A:And they're horsing around and the family unit.
Speaker A:Right.
Speaker A:I mean.
Speaker B:Right.
Speaker B:And everybody gets drunk and, and hit him or yell at him.
Speaker B:He'll never say he's too busy to spend time with him.
Speaker B:Yeah.
Speaker A:And as, as, as I want to say cheesy.
Speaker A:But it's.
Speaker A:By the end of this movie, I'm still emotionally hooked.
Speaker A:Even last night.
Speaker C:Thumbs up, man.
Speaker A:You know, just, you know, the cheese works.
Speaker A:Anyway.
Speaker A:All right, so I'm, I, I think if you're looking at it from John's story, and usually you need to focus on one character and I think it's John.
Speaker A:So I think you're right.
Speaker A:But I think all three of these characters go through an arc.
Speaker A:Now I'm calling this the opening image because you see John and Sarah.
Speaker A:Then I call it.
Speaker B:So when he's in the garage revving the bike or whatever and she's trying to get his attention.
Speaker B:That's your opening image.
Speaker A:Yes.
Speaker A:The whole delinquency.
Speaker B:Yeah.
Speaker A:She's not my dad.
Speaker A:Right.
Speaker A:Um.
Speaker A:Yes.
Speaker A:Now then I, then I say we move into what I call setup two.
Speaker A:Because you have the T2.
Speaker A:I call them T1 and T2.
Speaker A: But it's T: Speaker A:Yeah.
Speaker A: So the T: Speaker A:And at this point early on in the story, the T800 Arnold is one step ahead of him for now because he's already been to the house.
Speaker C:Yeah.
Speaker A:And so Is.
Speaker A:Is a little bit ahead.
Speaker B:It's like, you know, just like what, two lines maybe and you could miss it.
Speaker B:Two lines and a look.
Speaker B:But I really like it.
Speaker B:Like, I like kind of the misdirect.
Speaker B:He comes up and he's, you know, instead of your clothes, your boots and motorcycle, give them to me.
Speaker A:Yeah.
Speaker B: The fucking T: Speaker B:It's like, this guy can't be the bad guy.
Speaker B:This is gonna be the good guy.
Speaker B:Right?
Speaker A:Right.
Speaker A:No.
Speaker B:And they're like, hey, there's another guy looking for him too.
Speaker B:Yeah, big guy on a bike.
Speaker B:And then you see on his.
Speaker B:Robert Patrick Sells.
Speaker B:You see the look on his face?
Speaker A:Yes.
Speaker B:Yeah.
Speaker B:I wouldn't worry about him.
Speaker B:Really cool.
Speaker A:I know.
Speaker A:I.
Speaker A:I really like Patrick in this movie.
Speaker B:I like him period.
Speaker B:He's been in a lot of stuff and he's really, really good.
Speaker B:I like him a lot.
Speaker A:Absolutely.
Speaker A:John living off his.
Speaker A:So this is still what I'm calling the setup set up too.
Speaker A:Because it.
Speaker A:So so far I have a setup, an opening image and then more setup.
Speaker A:And I think that's going to be a trend throughout this movie that the beats but like we already talked about, I think are rearranged a little bit.
Speaker A:John living off his wits, short term goals, thinks his mom is psycho.
Speaker A:Sarah is analyzed.
Speaker A:She needs to escape.
Speaker A:Tries using her wits.
Speaker A:She tries to outsmart the doctor here.
Speaker A:He's.
Speaker A:He.
Speaker A:I think he.
Speaker A:His whole motivation is, I can write a book on this.
Speaker A:I'm not letting her go ever.
Speaker B:He says it in the.
Speaker B:In the first one that the same actor and everything, right?
Speaker B:That same psychiatry.
Speaker B:He goes when he's.
Speaker B:They get Reese when they have them in the police station.
Speaker B:And he interviews Reese and Reese is just like honest with them and tells him.
Speaker B:And you know, he's making fun of laser guns and he's like, I could write a career.
Speaker B:I can make a career off of this.
Speaker A:Yes.
Speaker B:And I like how he fucking has.
Speaker A:Yeah.
Speaker A:Yes, I think so.
Speaker A:So she's.
Speaker A:And so she at this point, crazy.
Speaker B:Technically he's a loop.
Speaker A:Right?
Speaker A:So I think that she is trying.
Speaker A:Now, does she intend to escape if she goes to minimum security?
Speaker A:Absolutely.
Speaker A:Okay.
Speaker A:But she is.
Speaker A:Right.
Speaker A:But he is.
Speaker A:He.
Speaker A:He does.
Speaker A:He's never gonna let her go.
Speaker A:And I think at that point she realizes it.
Speaker B:It's his meal ticket man.
Speaker A:Right.
Speaker B:Plus he doesn't believe it.
Speaker B:Right.
Speaker B:So.
Speaker A:Yes.
Speaker A:Held against her will.
Speaker A:Desperate.
Speaker A:Now we also get some setup at this point about Dyson at Skynet reverse engineering and researching what we find out is the arm and the computer chip from the first.
Speaker C:I like how tight that seed was.
Speaker C:Introducing him, let you know he has a family and kids, what he's working on, how advanced they are, and then boom, they're out.
Speaker A:No, no, absolutely.
Speaker C:That is a tight little introduction scene.
Speaker A:The whole sequence of all that we just talked about up to this point.
Speaker A:Because I think we're about to get into the Catalyst.
Speaker A:But.
Speaker A:But now we know all the major players, all what they're doing.
Speaker A:And, and it's.
Speaker A:I think it is like James said, very tight, very compact, and it.
Speaker A:And it just moves.
Speaker C:And he doesn't know he's a bad guy.
Speaker C:He's just a guy.
Speaker A:Right.
Speaker C:You know, they, they.
Speaker C:I asked him one time.
Speaker C:You know what they told me?
Speaker C:Don't ask.
Speaker A:Right.
Speaker B:Yeah.
Speaker A:Yes.
Speaker C:Like, so he's just a cog in.
Speaker B:The wheel, but he made advancing technology with it with no idea of where.
Speaker A:Well, he's thrilled.
Speaker A:It gave us things we never thought of.
Speaker A:Like, he's even at the end, he's still excited.
Speaker A:And then he has to check himself.
Speaker B:Yeah, yeah.
Speaker B:Right now when Alexa kills us, like, yeah, the guy that invented that is like Dyson now.
Speaker B:Like, he thinks it's great.
Speaker A:It's the greatest thing ever.
Speaker B:So what you're saying about the tightness of the scene, what you're saying is writers of Fred Claus take note?
Speaker B:Is that what you're saying?
Speaker A:Oh, okay.
Speaker A:We're doing that, are we?
Speaker C:Fred Claus writers be on watch.
Speaker A:Gotcha.
Speaker B:I couldn't help it because this movie.
Speaker A:Is longer than Fred Claus.
Speaker A:It is by half an hour.
Speaker A:This is like a two and a half hour movie.
Speaker A:Which I was.
Speaker C:It's so tight.
Speaker C:No, it is little thing.
Speaker C:There's no fat on this.
Speaker A:No, no.
Speaker A:Even the, the prolo action sequences, ideas of value every five seconds.
Speaker A:I really will get into that.
Speaker A:All right, so that's what I have, is the setup and the opening image.
Speaker A:We've established our characters and sort of the world.
Speaker A:Anything else at this point?
Speaker A:Okay, I have the catalyst.
Speaker A:Okay, so John is at the mall and his friend has told him a cop is looking for you.
Speaker A:So he's now escaping, thinking, you know, the cops are after me for which crime?
Speaker A:Right.
Speaker B:Who knows what?
Speaker C:Yeah, that kid instinctually lied to the cop, saved the world.
Speaker A:That's right.
Speaker A:Yeah.
Speaker C:No, man, I don't know who that is.
Speaker A:I don't know who that is.
Speaker A:Yeah.
Speaker A:Yes.
Speaker B:So that's a good buddy, man.
Speaker C:Exactly.
Speaker B:Yeah.
Speaker B:He lied to the cop and then me.
Speaker B:Hey, John, there's cops, you know, scoping for you.
Speaker B:Check it out.
Speaker A:Yeah, yeah.
Speaker C:Trying to get in the way.
Speaker A:Bam.
Speaker A:He just knocks the.
Speaker A:Out of him Almost.
Speaker A:Yeah.
Speaker A:So the catalyst I'm having as the.
Speaker A: The T: Speaker C:That's the reveal.
Speaker C:That's a reveal where the T800 is the good guy.
Speaker A:Yes.
Speaker C:The Guns n Roses.
Speaker A:Right?
Speaker A:No, that's perfect.
Speaker A:Yeah.
Speaker A:Because you know, I didn't think.
Speaker C:Music video.
Speaker B:Yeah, didn't even think about it.
Speaker C:To the music video.
Speaker A:That's awesome.
Speaker A:Yeah.
Speaker A:Because they're playing Guns and Roses because.
Speaker B:You had to hide the gun somehow.
Speaker B:Yeah.
Speaker B:Box Roses.
Speaker B:Why not?
Speaker B:But yeah.
Speaker B:Didn't even think about guns.
Speaker B:That is very nice.
Speaker C:You Could Be Mine.
Speaker C:That's the name of the song.
Speaker A:Yeah, yeah.
Speaker A:No, that's a great song.
Speaker A:Appetite for Destruction is still one of the greatest rock albums ever.
Speaker A:I mean there that.
Speaker A:That album is solid top to bottom.
Speaker A:Anyway, anyway, so this is what I'm calling.
Speaker A:Calling the Catalyst now we all agree on that.
Speaker A:I mean.
Speaker B:Yes.
Speaker C:Yeah.
Speaker C:This is where.
Speaker B:Yeah.
Speaker B:John's mind his own business at this point and then all sudden.
Speaker A:Yeah.
Speaker B:You know, and thinks his mom's a psycho and he doesn't even believe the Terminator stuff anymore.
Speaker A:Yes.
Speaker A:He is quickly going to get it.
Speaker A:Go to school on that.
Speaker A:Right now there is.
Speaker A:I think there is some debate though.
Speaker A:There is a debate section, John.
Speaker A:Because John sees this now obviously he's going to run because bullets are flying.
Speaker B:Yeah.
Speaker B:Get down.
Speaker A:Yeah.
Speaker A:But he doesn't think, oh my mom was right.
Speaker A:This Terminator I need to stay with.
Speaker A:He takes off.
Speaker A:So I think.
Speaker B:Yeah.
Speaker B:Even though Terminator grabs him and shields him, he's still like this.
Speaker A:I'm out of here.
Speaker A:So.
Speaker A:So his debate about accepting or not accepting this situation now it's fight or flight.
Speaker A:I understand.
Speaker A:But it begins here where he is just in denial.
Speaker A:I'm out of here.
Speaker A:No, this is not happening.
Speaker A:I'm gone.
Speaker B:Agreed.
Speaker A:Yeah.
Speaker C:But he acts.
Speaker C:I think his.
Speaker C:His training beforehand with his mother.
Speaker C:Because he doesn't act like a normal 10 year old in that situation.
Speaker A:Right.
Speaker C:He acts like a full blown adult.
Speaker C:Fight or flight.
Speaker C:Get me out of here.
Speaker C:There's bullets flying.
Speaker C:A normal 10 year old me, I would pee my shorts and lay down.
Speaker A:And that's.
Speaker A:I think that.
Speaker B:Right.
Speaker A:That goes to what I was talking about earlier.
Speaker A:Because this is 11 years later.
Speaker A:Which mean he.
Speaker A:John can't be any more than 11.
Speaker B:Right.
Speaker A:But we need to keep him.
Speaker B:I think the year is off though.
Speaker B:I think it was made in what, 91.
Speaker B:But I don't think it's 91 in movie time, actually.
Speaker A:I know, but I think it's.
Speaker B:But it goes from 84 to.
Speaker C:It just shows 10 years have passed, so.
Speaker A:Yeah, but if he.
Speaker A:If he.
Speaker A:Sarah slept with.
Speaker A:With.
Speaker A:With Reese.
Speaker B:Reese.
Speaker B:Reese.
Speaker B:No, I was just saying like.
Speaker A:And now it's.
Speaker B:It's not actually 91, but it doesn't matter.
Speaker C:We know how kids are made.
Speaker A:Right.
Speaker B:Let's get into that.
Speaker B:How.
Speaker B:How does that work?
Speaker A:Well, I got a sound effect for that.
Speaker B:I'm sure you do.
Speaker A:Okay.
Speaker B:Anyway, it doesn't matter.
Speaker B:Yeah, yeah, yeah.
Speaker B:95, 96.
Speaker A:But he's not your typical 10 or 11 year old at.
Speaker A:To James's point.
Speaker C:Right?
Speaker A:Yeah.
Speaker B:He's had training.
Speaker A:Yes.
Speaker A:He is 11 year old.
Speaker A:Probably with the mindset of a 35 year old because of the.
Speaker A:Everything is.
Speaker A:Yeah.
Speaker A:Crazy wacko mother has put him through.
Speaker B:Right.
Speaker A:That he thought was a lie.
Speaker A:Now when he does.
Speaker A:So they're riding on the bike.
Speaker A:But he does demand to get off the bike and.
Speaker A:And continue what I think is some of this debate.
Speaker C:Yeah.
Speaker B:Huge action scene.
Speaker B:Are we not talking about that?
Speaker A:Yeah, no, no.
Speaker C:Sure.
Speaker A:Yeah.
Speaker A:But he, but he rides with.
Speaker A:He wanted.
Speaker A:Okay, well, we'll get another thing off the bike.
Speaker A:Comes to terms.
Speaker A:Try to get a grip and figure.
Speaker A:So you can see him scrambling mentally, you know, like.
Speaker B:Yeah.
Speaker B:His dialogue cue to me was like the debate.
Speaker B:Okay, timeout.
Speaker B:Stop the fight.
Speaker A:Absolutely.
Speaker A:Yes.
Speaker B:And then they talk about it.
Speaker B:Yeah.
Speaker A:Yes.
Speaker B:Which even then, like, I think.
Speaker B:I think both these movies do this very well, but that we're gonna review.
Speaker B:But hiding the pope in the pool, hiding the exposition, like.
Speaker B:And I think Cameron's really good at this.
Speaker B:I think he did it well in the first Terminator when Reese and Sarah are, you know, in a chase scene, he's explaining everything.
Speaker B:He's yelling at her.
Speaker B:Explain everything.
Speaker B:What's going on.
Speaker B:Yeah, they do it here too.
Speaker B:Right.
Speaker B:Because it's why he's trying to, you know, and it's a little bit fun because the, the audience, if you've seen the first one, you already kind of know what a Terminator is.
Speaker B:John does not.
Speaker A:Yes.
Speaker B:So he.
Speaker B:As he's.
Speaker B:Roy's saying, you know, you're really real and male.
Speaker B:Termin.
Speaker B:Like he's poking him in the face and you know, and poking.
Speaker B:Like it's.
Speaker B:It's fun.
Speaker A:Yeah.
Speaker A:No, he is definitely debating about whether he just, you know, Slipped into La La Land or.
Speaker A:This is real, you know.
Speaker B:Right.
Speaker B:Get.
Speaker B:Get a grip, Joan.
Speaker A:Yeah, the.
Speaker A:The stone cold delivery on the phone, you know, How's Wolfie?
Speaker A:Your parent.
Speaker A:Your foster parents are dead.
Speaker B:Your foster parents are dead.
Speaker B:Right?
Speaker A:Now Sarah gets her own dicks.
Speaker B:But we got to warn them.
Speaker A:Yeah, right.
Speaker A:Sarah gets her own catalyst.
Speaker A:We know.
Speaker A:We know who, you know who this guy is.
Speaker A:She's.
Speaker A:She sees that the Terminator has arrived.
Speaker C:Right.
Speaker A:And so she gets her own.
Speaker A:And now there's no debate with Sarah at that point.
Speaker A:She's.
Speaker A:She knows and.
Speaker C:Well, that's the cool thing.
Speaker C:We.
Speaker C:You skipped it a little bit.
Speaker C:When the foster parents are dead and he's saying we got to go get my mother.
Speaker A:Yes.
Speaker C:We got to go get her out.
Speaker C:I.
Speaker C:I thought, man, as a 10 year old, how cool would that be if you had your own Terminator that could do whatever you wanted.
Speaker A:I think he comes to some of that conclusion.
Speaker C:Yeah, I've got you.
Speaker C:We know you're real.
Speaker C:Let's go get my mother.
Speaker A:Yeah, right, right, right.
Speaker A:Yeah.
Speaker B:Cool.
Speaker B:My own Terminator.
Speaker B:Right.
Speaker A:And that's not a priority in the.
Speaker A:Tactically.
Speaker A:It is not a priority.
Speaker A:And even Sarah says that, you know.
Speaker A:Yeah.
Speaker A:Myself, you know.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:You were stupid coming from me or whatever.
Speaker B:Yeah.
Speaker B:She's not a mission priority.
Speaker B:Well, fuck you.
Speaker B:She's priority to me.
Speaker A:Yeah.
Speaker A:Right, right.
Speaker A:Because now everything she said is true.
Speaker B:Yeah.
Speaker A:Now I can love my mother and not think she's some kind of crazy.
Speaker B:Right?
Speaker A:Because.
Speaker A:Because his immediate reaction is, oh, my mother, now we're reunited.
Speaker A:And she.
Speaker B:Yeah, like he doesn't even care that she's in a fucking psych ward now it's let me go break her out of that.
Speaker A:Right.
Speaker A:And she does not reciprocate to his sorrow immediately or whatever.
Speaker A:Yeah.
Speaker A:So that's her own.
Speaker A:No debate.
Speaker A:Knows exactly what she needs to do.
Speaker C:Yeah.
Speaker A:John accepts the truth, learns the rules of owning a T1 and sets some rules himself.
Speaker A:So yeah.
Speaker A:So she now sets these rules about you can't kill people because of the two douchebags, you know, help.
Speaker A:Because he.
Speaker A:He doesn't want.
Speaker A:He wants to go get his mother.
Speaker A:And the T1 doesn't.
Speaker A:T800 doesn't.
Speaker A:And grabs him.
Speaker A:Hey, let me go, man.
Speaker A:And yeah, probably are douchebags, but they didn't deserve.
Speaker C:Right.
Speaker C:They were trying to help a kid, man.
Speaker A:So that was a little bit of a dick move on his part.
Speaker A:But Arnold T800 goes to kill the guy and stops him and sets some rules.
Speaker A:No, you can't kill anybody.
Speaker B:Right.
Speaker B:Well, they also discuss like once he learns, you know, your first parents did.
Speaker B:He explains that like he.
Speaker B:That he copied them and imitated them.
Speaker B: That the T: Speaker A:Yeah, yeah, yeah.
Speaker B:And explained, you know, so he could describe.
Speaker B:Describe himself or disguise himself as a pack of cigarettes.
Speaker B:No, only objects could be equal size.
Speaker A:Yeah.
Speaker A:We have to learn the rules of this world.
Speaker A:And I think it's hidden well.
Speaker A:I think it's good.
Speaker B:It is.
Speaker B:And then I just don't thought about it.
Speaker B:I wonder if even like you were talking about earlier, Schwarzenegger's like robot delivery.
Speaker B:I wonder if that like kind of helps sell.
Speaker A:I think it does.
Speaker B:That it's not just two people talking.
Speaker B:You know, he's getting half the information from a robot.
Speaker A:Yes.
Speaker A:No, you have to learn the rules of.
Speaker A:Yeah, absolutely.
Speaker B:Because he wants to go back home too, or whatever to his foster home or we got a warm or whatever and negative.
Speaker B: The T: Speaker A:I would.
Speaker B:I would.
Speaker B:Yeah.
Speaker A:No, that's great.
Speaker B:So clever writing on turning everything on its head.
Speaker B:You know, because that's, you know, now the Terminator.
Speaker B:That's why we.
Speaker B:If you've seen the first one.
Speaker B:That's how he operates now.
Speaker B:He's operating, you know, saving John from committing those out of state.
Speaker C:Get out of the normal places.
Speaker C:You are.
Speaker B:Yes.
Speaker A:I have the break into two here.
Speaker A:Orders the orders the T800 to join him in the second act.
Speaker A:So they get on the bike and they ride off to agree.
Speaker B:That's my break into.
Speaker A:Yeah.
Speaker A:Yes.
Speaker B:Then we had him just joining Arnold or whatever.
Speaker B:And then I realized no, that's all debate and catalyst and.
Speaker B:Yeah.
Speaker B:Because it's.
Speaker B:The big moment is going.
Speaker B:Yeah.
Speaker B:Because even order you to go.
Speaker B:Yeah, we're gonna.
Speaker B:Yeah, you're gonna say my mom or whatever.
Speaker B:And I order you to help me.
Speaker A:Yes.
Speaker A:Because even with the two.
Speaker A:Two douchebags or whatever, he's still at that point, he's trying to get away.
Speaker A:Get off me.
Speaker A:Get away from me.
Speaker A:I'm being kidnapped.
Speaker A:You know, at that point he wants to get away still in some kind of debate phase, you know, had it accepted.
Speaker B:Jack Douchebag.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:This guy.
Speaker A:Will you.
Speaker A:Yeah, yeah.
Speaker B:I feel sorry for those guys.
Speaker A:Yeah.
Speaker A:That.
Speaker A:That was like.
Speaker B:Even the buddy.
Speaker B:Like when he goes beat it or whatever when they come over there and he's like, man, I told you, like, you know, the buddies, like didn't want to help at all the whole time.
Speaker A:No.
Speaker A:All right.
Speaker A:So fun and Games now.
Speaker A:Sarah makes a break.
Speaker A:T2 gets to the hospital.
Speaker A: T: Speaker A:T800 gets to the hospital.
Speaker A:Sarah meets T1 and T2.
Speaker A:And then this callback.
Speaker A:Come with me if you want to.
Speaker A:That I've gone through that quickly, but that's those initial.
Speaker A:Funny now, I guess we didn't talk about the chase through the reservoir prior to this was.
Speaker C:I mean, it was on the motorcycle.
Speaker B:And yeah, it was just cool.
Speaker A:I just absolutely slick.
Speaker B:I mean, like you said, you had mentioned to him twirling the shotgun with one hand, like reloading it or whatever and shooting the fence.
Speaker B:Know every time it's in the way.
Speaker B: Arnold is shooting at the T: Speaker B:Yes.
Speaker A:The.
Speaker C:The iconic part where Edward Furlong, you know, stops the bike and looks back over his shoulder and then booms.
Speaker B:Over the bridge.
Speaker C:Over the bridge.
Speaker A:The ideas of value are absolutely stellar in each of these set pieces.
Speaker B:I think, you know, even because Arnold's.
Speaker B:Go ahead.
Speaker B:Sure.
Speaker D:No, I was going to say he may not have killed anyone, but he sure did cause a lot of property damage.
Speaker A:Yeah, yeah.
Speaker A:No, my God.
Speaker B:Yeah.
Speaker B:Because he pulls out when the chase first starts.
Speaker B:He pulls out and then.
Speaker B:Yeah, there's this huge fucking pile up behind him or whatever.
Speaker B:Cuts people.
Speaker B:So, yeah, we don't know that he didn't kill somebody.
Speaker B:Maybe somebody might have died.
Speaker B:Nobody got hurt, and a lot of people.
Speaker A:There are several prolonged set pieces in this movie.
Speaker B:Why do you call them prolonged?
Speaker A:Well, I think we could get to it.
Speaker A:I think the last third of the movie is a freaking set piece.
Speaker A:I.
Speaker A:I almost.
Speaker A:I will get.
Speaker B:Well, that's your breaking three, sir.
Speaker B:That's your third act.
Speaker A:Absolutely.
Speaker A:Breaking through orders.
Speaker B:They're.
Speaker B:They're long, but, but not like they work.
Speaker A:Ideas of value.
Speaker A:Yes.
Speaker B:Okay.
Speaker A:100.
Speaker A:No fat.
Speaker A:In this movie, like James said, funny games.
Speaker A:We went through the fun and games, the B story.
Speaker B:I had one more thing to say about the.
Speaker A:Okay, go ahead.
Speaker B:The.
Speaker B:The tunnel chase or whatever.
Speaker B:Yeah, I guess two more things like Arnold's elevated and he has to get down there.
Speaker B:So there's a scene where he makes the jump on.
Speaker B:On the bike.
Speaker B:That would probably blow the tires and all that stuff, but whatever.
Speaker A:But it works.
Speaker B:He gets down there.
Speaker A:Yeah.
Speaker B:And to me, like, it's one of those things you're talking about when you saw it as a kid.
Speaker B:Just the.
Speaker B:I don't know.
Speaker B:Remember the.
Speaker B:Because by this point, you're on board.
Speaker B:Arnold's a fucking good guy.
Speaker B:He's not just Mando.
Speaker B:He's fucking Terminator, you know?
Speaker A:Yeah.
Speaker B:When he.
Speaker B: ler and he can't because the T: Speaker A:Yes.
Speaker B:The.
Speaker B:I don't know, just.
Speaker B:I remember the.
Speaker B:Like I said, every time I see it, it flashes me back to when I was a kid.
Speaker B:The joy I felt when he finally gets around it.
Speaker B:So, yeah, the music kicks in and that's that hero theme coming in.
Speaker B:And then he grabs John off the bike.
Speaker A:Oh, yeah.
Speaker C:Lifts him.
Speaker B:Yeah.
Speaker B:Right, Right.
Speaker B:And then John's bike goes underneath the truck.
Speaker B:Showing you, in case you hadn't figured out, this is what the fuck was.
Speaker B:Was about to happen.
Speaker A:Right, Right.
Speaker B:Smushed Connor all over the cement.
Speaker A:Right.
Speaker A:For the B story.
Speaker A:I have.
Speaker A:I have question mark.
Speaker A:The T1.
Speaker A:I think the T1 is the instrument of change both for John and to some degree, Sarah.
Speaker A:But I think they change each other.
Speaker A:Do you have a.
Speaker A:A B story?
Speaker A:Yeah, the mentor.
Speaker A:The.
Speaker A:The change character.
Speaker A:Because it almost has to be the T.
Speaker A:T800.
Speaker A:Right.
Speaker A:I mean.
Speaker B:Yeah.
Speaker A:Even though they change him because he's learning.
Speaker B:Right.
Speaker B:Because back to the.
Speaker B:The buddy love type thing.
Speaker B:Because they do have like a buddy love type relationship.
Speaker A:Yeah, yeah.
Speaker B:And they bond or whatever.
Speaker A:But even in a.
Speaker A:In a dude with a problem, there's got.
Speaker A:I mean, the B store, there's got to be a.
Speaker B:There's always a B story.
Speaker A:Yeah.
Speaker A:So I think.
Speaker A:I think it's probably the T1, T800, whatever.
Speaker A:Because I have buddy love triangle.
Speaker A:Three hander is what I wrote down there.
Speaker A:But.
Speaker A:But I think due to the problem, if you're focusing on the main character of John, you're right.
Speaker A:They're healing.
Speaker A:So then there's a scene after.
Speaker B:No, John's almost a flat arc in a way.
Speaker B:I mean, like he goes from.
Speaker B:Yeah, sort of.
Speaker B:Because he goes from being, you know, this lost, you know, delinquent.
Speaker B:Right.
Speaker B:To, like you said, becoming a leader.
Speaker B:But like those.
Speaker B:Those are there.
Speaker B:Those were always hidden.
Speaker B:The message.
Speaker B:Like he tells Arnold very early on, you can't go around killing people.
Speaker B:And then.
Speaker B:So he already knows that.
Speaker B:Well, before Sarah goes off the rails and tries to kill Dyson.
Speaker A:Yes.
Speaker A:So he's.
Speaker B:He changes them.
Speaker B:Right.
Speaker B:So he's their B story in a way.
Speaker B:Both Sarah and Arnold.
Speaker A:Yeah.
Speaker A:Yes, he does change Arnold.
Speaker B:Yeah.
Speaker A:And.
Speaker B:And Sarah and shows the mom.
Speaker B:Because.
Speaker B:Because mom's like, you know, that was stupid of you to come to me or come and try to save me.
Speaker A:Yeah.
Speaker B:He knows the value of human life already, I think.
Speaker A:So to your point, if it's a flat arc, he was, he was who he was and sort of got away from that because he thought it was deception and returns to who he was.
Speaker B:Correct.
Speaker A:Yeah.
Speaker A:So that, that could be a flat arc.
Speaker A:Now can you be the B story and the main character though, right?
Speaker A:I mean, yeah, because.
Speaker B:Because in a flat arc you change.
Speaker A:The world around you.
Speaker B:Change the world around you.
Speaker A:Yeah, yeah, that's true.
Speaker B:Everybody else is the B story.
Speaker A:Yes.
Speaker A:Okay.
Speaker A:Yeah.
Speaker A:So he changes the world.
Speaker B:You can have a central B story person.
Speaker B:But like you.
Speaker A:But you're absolutely right what you said.
Speaker A:A flat art character changes the world around, doesn't change himself.
Speaker A:Right.
Speaker B:Like Ted Lasso.
Speaker B:Ted Lasso is who he is and he changes everyone else.
Speaker A:Right, okay.
Speaker A:All right, very true.
Speaker A:There's a scene of healing up, learning about each other.
Speaker A:You know, here is where I think.
Speaker A:So we're late on the theme stated.
Speaker A:But, but I was.
Speaker A:But I think there is one.
Speaker B:Yeah.
Speaker A:And again I think these beats are there, but they're shifted.
Speaker A:Arnold.
Speaker A:T800 says something.
Speaker A:And then of course Sarah says.
Speaker A:So I'm having sort of.
Speaker A:This is the theme stated.
Speaker A:We're.
Speaker A:Because John says to the T800, we're not going to make it, are we?
Speaker A:And when he sees two kids with guns, I mean, I mean, I mean people, right.
Speaker A:We're not going to make it.
Speaker A:And then the T800 says it's in your nature to destroy yourselves.
Speaker A:Which I think is, is probably some of the thematic argument of this movie.
Speaker A:But I think Sarah nails it more because I think the movie goes from no fate which she carves into the table to no fate but what we make.
Speaker A:Right.
Speaker A:So it's the idea that this is going to happen by the end of the movie.
Speaker A:It's, it's, it's open ended now.
Speaker A:Fate to no fate.
Speaker A:But what we make.
Speaker B:Yeah.
Speaker B:Okay.
Speaker A:Is what I'm nailing is sort of the theme here are.
Speaker A:Is it in our nature to destroy ourselves and is that really our ultimate fate?
Speaker A:Or can we.
Speaker A:Because she says if a machine can.
Speaker B:Learn the value of human life, maybe we can do.
Speaker A:Maybe we can do.
Speaker A:So that's what I'm picking as the theme.
Speaker B:Can go around killing people.
Speaker B:Why?
Speaker A:Yeah, well, I have a list.
Speaker B:Because you just can't.
Speaker B:Why?
Speaker A:Yeah, I love that you kill that guy.
Speaker B:Of course.
Speaker B:I'm a Terminator.
Speaker A:Okay.
Speaker A:Yeah.
Speaker A:No, no, I just love that everywhere all right.
Speaker A:So I guess more also sort of under the fun and games we learn our future history 2:14pm Aug 29th Skynet becomes self aware is what I wrote down.
Speaker A:They get to Enrique's and T800 is Uncle Bob.
Speaker A:They start to bond.
Speaker A:Now in any time travel movie you almost.
Speaker A:This is almost like a.
Speaker A:A trope, right.
Speaker A:Some character will look at another character because Sherry hates time travel movies because it does screw around.
Speaker A:You start thinking of the logic and you get into this spiral of confusion.
Speaker A:And so almost invariably in some time travel movie you'll have one character turn to another character and say don't even try thinking about it, man.
Speaker A:Just for it's time.
Speaker A:Trying to sort of say yeah, we know this is going to mess with your head.
Speaker A:Just let it go.
Speaker A:John says the time when they're bonding.
Speaker A:He says the whole thing messes with your head.
Speaker A:You know, in terms of the.
Speaker B:Yeah, he's talking about sending his dad back or whatever.
Speaker A:My dad back.
Speaker B:Someone dead and I hadn't been born yet.
Speaker A:Yeah, yeah.
Speaker A:It messes with your head.
Speaker A:And that's the allude.
Speaker A:That's the cuz Reese didn't know that.
Speaker B:He was his dad.
Speaker A:Okay.
Speaker A:Yeah.
Speaker A:All right.
Speaker A:Yeah.
Speaker A:So at some point there is this statement I thought, yeah, well there it is.
Speaker A:And that alleviates the audience from having to be like oh my God, what the logic of it.
Speaker D:So I do have a stupid question pertaining to that.
Speaker A:Sure.
Speaker D:So do they.
Speaker D:They change the future then they think.
Speaker B:They think they have or all the sequels.
Speaker D:Yeah, well that's what.
Speaker D:I haven't seen the sequels except for the last.
Speaker A:Well, they do at that.
Speaker A:At the end of this movie.
Speaker A:I have a question though.
Speaker A:At the end of this movie, essentially they have.
Speaker D:Or is it like Final Destination where you think you.
Speaker B:You did something message and it's only.
Speaker D:Going to catch up with you later.
Speaker A:I think they have changed the future by the end of this movie.
Speaker A:Sarah believes it now I think there's a problem and we.
Speaker A:This is a good important as any.
Speaker A:When they're in the steel factory and Arnold gets his arm cut off.
Speaker B:Yeah.
Speaker B:They leave it.
Speaker A:They leave it.
Speaker A:And now I'm thinking you went through.
Speaker B:All this self sacrifice.
Speaker B:It's the same.
Speaker B:You can pull.
Speaker B:It's.
Speaker B:It's mashed up more but you can pull the arm just like you did before.
Speaker A:Yeah.
Speaker A:So I, I question that.
Speaker A:And I.
Speaker A:And I.
Speaker B:And I'm hoping that called Revenue Stream, sir.
Speaker B:Cameron knew what he was doing.
Speaker A:Okay.
Speaker B:No, I'm just playing nice.
Speaker B:It's.
Speaker B:I've so it does.
Speaker B:I've got the same thought before.
Speaker A:Yeah.
Speaker D:Is that how.
Speaker B:Actually, that never comes up.
Speaker A:Never comes up again.
Speaker A:And that's the problem in Terminator in 3.
Speaker B:Rise of Rise of the Machines.
Speaker B:Actually, one of the things I really like about it is we're kind of talking about John being raised as this great military leader, as he says in the movie.
Speaker B:Right.
Speaker B:And all these skills and stuff.
Speaker B:Well, after two, if they stop everything, then he almost has no purpose.
Speaker B:He doesn't know what he's supposed to do with his life.
Speaker A:Yes.
Speaker B:Right.
Speaker B:And then he even loses his mom.
Speaker B:Like, Sarah dies, has cancer or something.
Speaker B:So I like where that picks up.
Speaker B:Like, that's his opening image is he's this loser who does now he's three.
Speaker B:Yeah.
Speaker B:He's a loser.
Speaker B:Doesn't know what the fucking do with his life because he was always told he would save humanity and stop Judgment Day.
Speaker B:And then that.
Speaker B:That never happened because of the events from two.
Speaker A:Sure.
Speaker B:And then eventually Arnold shows up and he tells him that, you know, Judgment Day is inevitable.
Speaker B:You just postponed it or whatever.
Speaker A:Okay.
Speaker A:Yeah.
Speaker A:Because we need.
Speaker B:I don't know if you'll make a sequel from two.
Speaker B:I felt like that was an interesting.
Speaker B:As far as the writers, like, I really like that.
Speaker B:Interesting way to go.
Speaker A:All right.
Speaker B:But, yeah, I mean, you got to have sequels.
Speaker B:You got to come up with something.
Speaker B:And.
Speaker B:Yeah, it's amazing to me that no one ever used that arm anyway.
Speaker D:Because am I not wrong, We.
Speaker D:You just said that earlier.
Speaker D:The chip and the arm and chips there is from the.
Speaker B:The chip's gone from Arnold.
Speaker A:Oh, the chip is in his head.
Speaker A:Yeah, yeah.
Speaker A:From the arm is from when the art.
Speaker A:When he got squished in the masher that Sarah let him into Terminator from the first movie.
Speaker A:Yeah.
Speaker D:Okay.
Speaker D:Because the guy said, well, I didn't ask where.
Speaker D:Or he asked where it came from, and he was told no.
Speaker A:Yeah, right, right.
Speaker D:You don't need to know things or something.
Speaker A:Yeah.
Speaker A:So at this point, I think they're bonding.
Speaker A:Time travel.
Speaker A:Mess with your head.
Speaker A:They act as agents of change on each other.
Speaker A:Sarah describes the two.
Speaker A:One as the perfect father.
Speaker A:We sort of talked about that.
Speaker A:Carves no fate into the desk, into the picnic table.
Speaker A:You see these scenes of family in love and these.
Speaker A:These familial scenes of family and love and children as the Enrique is playing with his kids.
Speaker A:And everything just makes.
Speaker A:You can see.
Speaker A:It just makes her sad and tired because she knows, okay, love your kids, but you're all gonna die.
Speaker A:We're all right.
Speaker A:Because there's no fate.
Speaker A:This is, you know.
Speaker B:Yeah.
Speaker B:It's interesting to me that like she.
Speaker B:Yeah.
Speaker B:I don't know.
Speaker B:I guess cuz Reese was after all of it.
Speaker B:But like, just like she's more worn down and more.
Speaker B:Like I said, doesn't have fate and.
Speaker B:And what.
Speaker B:You know, kind of what's.
Speaker B:I guess what's going on and knows that she needs to stop this or whatever.
Speaker B:Right.
Speaker B:Like where.
Speaker B:Reese wasn't that worn down to me.
Speaker B:He was, but he wasn't.
Speaker B:Yeah.
Speaker B:And it gets.
Speaker B:Yeah.
Speaker B:Just different.
Speaker B:It just sits to me.
Speaker B:Because she loses her way.
Speaker B:Right.
Speaker A:Yes.
Speaker B:Well, Reese never did.
Speaker B:It just.
Speaker A:It's.
Speaker B:I don't know.
Speaker A:Well, Reese was focused as a soldier, fighting these things.
Speaker B:Yeah.
Speaker A:Whereas she can only see he was after.
Speaker B:He was after.
Speaker B:He didn't see it.
Speaker B:She grew up in the.
Speaker A:And she knows that for that to happen, billions need to die.
Speaker B:Yeah.
Speaker B:And that sucks.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:She has that weight where he does it.
Speaker A:Right.
Speaker A:It was all after the.
Speaker A:She has this dream sequence.
Speaker A:She sees almost a vision of herself playing with kids on the playground.
Speaker A:And in my mind she's thinking, this would have been my life.
Speaker B:Yeah.
Speaker A:Had.
Speaker B:Yeah.
Speaker B:She's wearing the same like waitress hairstyle and.
Speaker C:Waitress.
Speaker B:Yeah.
Speaker A:And she's basically the innocent playing with her kids and.
Speaker B:Right.
Speaker A:Doesn't look like, you know, like.
Speaker A:I mean, because she is lean and cut in.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:Big transformation.
Speaker B:Yeah.
Speaker A:Seeing.
Speaker A:Seeing what she could have become had none of this happened.
Speaker A:And.
Speaker A:And it's herself.
Speaker A:So she.
Speaker A:And.
Speaker A:And you can't hear, but you can see her mouth the words, wake up.
Speaker A:Wake up.
Speaker B:Yeah.
Speaker A:She's sleeping, but she's telling herself in that scene to wake up.
Speaker A:Like, you know, you.
Speaker A:You people are walking through a world that is burning and you don't even know it.
Speaker A:You need to be, you know.
Speaker B:Yeah.
Speaker B:In the.
Speaker B:In the director's cut, there's more.
Speaker B:There's, you know, deleted scenes or whatever.
Speaker B:There's a scene with Michael Bean where he appears to her.
Speaker A:Oh, really?
Speaker B:Yeah.
Speaker B:And says, we're running out of time, Sarah.
Speaker B:And all this when she's in the psych ward.
Speaker A:Oh.
Speaker A:Oh, that's cool.
Speaker B:She tries to run to him and stuff and he just appears.
Speaker B:But he's.
Speaker B:He's got the same stuff, you know, clothes that he had on from the first one.
Speaker B:So it's kind of cool.
Speaker B:I mean, obviously they feel like, you know, you don't need it, but.
Speaker A:Right.
Speaker A:No, I mean, Michael Bean fans.
Speaker B:It's cool.
Speaker A:Well, I saw that it was two and a half hours.
Speaker A:And I intentionally selected the theatrical version.
Speaker A:Like, I can't watch a four hour.
Speaker A:I don't know how long it was, but like this.
Speaker A:I did not select the extended cut.
Speaker A:I think it's four hours.
Speaker B:Not a Costner film, man.
Speaker A:Right.
Speaker A:Well, that.
Speaker C:That scene where the bomb goes off, I guess that's supposed to be Los Angeles.
Speaker C:I don't know.
Speaker B:Yeah, I think so.
Speaker C:But that was awesome.
Speaker C:That was scary.
Speaker C:When I was a kid, I remember watching that.
Speaker C:Like.
Speaker C:Oh, my God.
Speaker C:No, no, it's actually real nuclear footage.
Speaker A:Yeah.
Speaker A:No, it's.
Speaker B:Yeah.
Speaker A:Very, very well done.
Speaker A:All.
Speaker A:There's not a bad effect in this movie.
Speaker A:And a lot of these are.
Speaker A:Are still practical effects.
Speaker A:Right.
Speaker A:I don't think there's not much CGI being used at this point.
Speaker A:Right.
Speaker A:A lot of these.
Speaker B:Yeah.
Speaker B: Other than the T: Speaker B:Yeah.
Speaker B:I think everything else is fairly practical.
Speaker A:Okay.
Speaker A:So she wakes up and then she rides off to Dyson, John and the T1 T800 pursuit.
Speaker A:She's.
Speaker A:So she's at this point, has had enough.
Speaker A:She's going off and she is going to whack Dyson and take care of this.
Speaker B:She's going to blow him away.
Speaker B:Right.
Speaker A:Right.
Speaker A:So what I'm calling to the midpoint.
Speaker A:So I have a midpoint false victory.
Speaker A:Sarah gets to Dyson and has her shot.
Speaker A:I say she gets everything she thinks she wants, but she can't.
Speaker A:She can't kill the last.
Speaker A:I'm calling, calling it.
Speaker A:She can't kill the last of herself to do it.
Speaker A:It's like the reason she doesn't pull the trigger is because she's going to kill somebody.
Speaker B:Right.
Speaker B:You can't go around killing people.
Speaker A:Right.
Speaker A:And the kid is there.
Speaker A:And also she has a.
Speaker A:She gets everything she wants.
Speaker A:She's at this will stop it.
Speaker A:False victory, but she can't do it.
Speaker B:Yeah.
Speaker A:Now maybe that's a defeat, but I think she gets there and is.
Speaker A:And is initially trying to kill him.
Speaker B:Right.
Speaker A:So it's.
Speaker C:It's.
Speaker A:It's everything she's been living for her whole life now.
Speaker A:I can do it.
Speaker B:Yeah.
Speaker A:Calling it a false victory.
Speaker A:That would you have.
Speaker A:Do you have something else?
Speaker B:No, that's.
Speaker B:That's what I had.
Speaker A:John.
Speaker A:And T1 arrives.
Speaker A:Sarah confesses.
Speaker A:So at this point, she.
Speaker A:I think she.
Speaker A:To your point, John steps up as sort of the leader because she's having an emotional breakdown right now where she can't kill the last of her humanity to do this.
Speaker A:And she even says, I almost, meaning I almost killed that Father and his kid, you know.
Speaker B:Yeah.
Speaker A:And she.
Speaker A:And John steps up to comfort her and at this point, I think gets what he's been looking for, the love of his mother.
Speaker A:She's.
Speaker A:I love you, John.
Speaker B:And she finally realizes, you know, you came to stop me.
Speaker B:So you are, you know, you aren't just this kid that's not listening to anything I'm saying.
Speaker A:Right.
Speaker B:You are listening.
Speaker B:And now you're showing.
Speaker B:Teaching me, showing me, you know, you knew it was right and I didn't.
Speaker A:Yes, yes.
Speaker B:She's very Terminator esque.
Speaker B:You know, when she's trying to.
Speaker B:When she's storming the house.
Speaker A:Yeah, yeah.
Speaker A:And John sort of has to rein her in later, Mom, a little more constructive.
Speaker A:Dyson gets a revelation.
Speaker A:They break the news to Dyson.
Speaker A:So at this point I'm calling it a false victory midpoint.
Speaker A:Now here's where I think we have all the beats, but they're nested within each other.
Speaker A:Because I have an immediate break into three at this point.
Speaker C:That's what I was thinking.
Speaker C:I thought the break into three was literally them walking across the parking lot with the bags of guns.
Speaker C:I'm like they're marching into.
Speaker B:Yeah, I didn't think that initially, but yes, on one.
Speaker B:Scrolling back and looking at it because I had it later.
Speaker B:Yeah.
Speaker B:But yeah, I agree.
Speaker B:That's their break into three.
Speaker A:So you have this break into three.
Speaker A:Okay.
Speaker A:And then if you're breaking into three, you're looking for your hightower surprise.
Speaker A:You're looking for your storm in the castle.
Speaker A:And all that I think is happening here.
Speaker A:And then you have a bad guys close in.
Speaker A:All is lost and a dark.
Speaker B:You know.
Speaker B:Sorry, I lied.
Speaker B:I knew it didn't sound right.
Speaker B:I had midpoint false victory.
Speaker B:Saving Sarah, getting her out from the.
Speaker B: Because the T: Speaker A:Out of the hospital.
Speaker B:Yeah, out of the hospital.
Speaker B:Yeah.
Speaker A:Because.
Speaker B:Because then everything else is bad guy is bad guys closed in after that.
Speaker B:Right.
Speaker B:Her losing her way, going after Dyson.
Speaker A:Yes, but that, but yes, I understand that makes sense.
Speaker B:Too early.
Speaker A:Way early.
Speaker A:Like, because I think this midpoint is.
Speaker A:That is right at the hour 10 hour, 5 minute mark of a 2, 2 and a half hour movie with Dyson.
Speaker B:It is.
Speaker B:Is that's the midpoint.
Speaker A:Yes.
Speaker A:She gets the.
Speaker A:Dyson gets everything she thinks she wants.
Speaker A:The kill shot.
Speaker B:That rings true.
Speaker A:And that's right at about an hour or so.
Speaker A:If you're talking about the midpoint of the movie.
Speaker A:And so I thought okay, but.
Speaker A:But that.
Speaker A:But then they're breaking into three Got to.
Speaker B:Yeah.
Speaker B:No, I guess I'm confused on my stuff now because.
Speaker B:Yeah.
Speaker B:Because I do feel like them going after cyber 9 is the breaking in 3.
Speaker B:But at one point I had it.
Speaker B:All right.
Speaker B:The SWAT closes in on them.
Speaker B: T: Speaker B:It felt like bad guys close in.
Speaker A:It is.
Speaker A:It breaks into three and then you get your bad guys.
Speaker A:All is lost in Dark Knight, which should have happened before you break into three, according to.
Speaker B:Right.
Speaker A:That's where I thought, okay, I wrote that down.
Speaker A:I'm like, okay, this is going to be one of those movies where the whole third of the movie is the third act, but we don't get right.
Speaker A:And I thought, well, it's an action movie.
Speaker A:Okay, I guess I get that.
Speaker A:But then I was like, wait a minute.
Speaker A:No, no, no.
Speaker A:It's nested within the third act rather than coming before the third act, in my opinion.
Speaker B:Yeah.
Speaker B:Because even feels like a storm into the castle.
Speaker A:It is.
Speaker A:Cyberdyne has to be the castle, right?
Speaker A:Has to be.
Speaker B:Yeah.
Speaker B:That's where they destroy all that.
Speaker B:Then they're golden.
Speaker C:That's where the stuff is.
Speaker C:That's where John gets to use his card technique.
Speaker C:Where he gets to playoffs.
Speaker A:Yeah.
Speaker B:There's tons of very much.
Speaker B:Tons of setup and payoffs.
Speaker A:Yeah.
Speaker B:Easy money.
Speaker B:And then the teaching Arnold all the.
Speaker B:All the.
Speaker B:The lingo of the day, you know, the 90s lingo.
Speaker B:So that he can then say it later on.
Speaker A:Absolutely.
Speaker B:The stupid stuff like when he fixes the truck.
Speaker C:No problemo.
Speaker B:No problemo.
Speaker B:Yeah.
Speaker A:So the break into three.
Speaker A:Going to Cyberdyne, storming the castle, assembling the team.
Speaker A:Sarah, John, the T1 and Dyson as they're approaching the security desk.
Speaker A:There's your team.
Speaker A:There's the castle.
Speaker A:So they assembled the team and now they're storming the castle.
Speaker A:Your hightower surprise.
Speaker A:Locked out because of an alert.
Speaker A:So everything is shut down.
Speaker A:They can't get in.
Speaker A:That's your.
Speaker A:I'm calling that your surprise.
Speaker A:John uses some previously learned skills like.
Speaker B:You were talking about a whole steel mill factory action piece after this.
Speaker B:You're right.
Speaker A:I know.
Speaker A:Chase.
Speaker A:Trust me.
Speaker A:Chase.
Speaker A:John uses some of his skills and the T1 T800 clears the parking lot.
Speaker B:Right.
Speaker A:So you the execution of the new plan.
Speaker B:We're going to walk in at least are here.
Speaker B:How many of them?
Speaker B:All of them, I think.
Speaker A:Yeah.
Speaker A:So.
Speaker A:So their plan was get the keys, shut it down, blah, blah, blah.
Speaker A:High tower surprise.
Speaker A:We're locked out.
Speaker A:The cops arrived.
Speaker A:Execution of the new plan.
Speaker A:Arnold's 0.0 casualties right.
Speaker A:Skills.
Speaker A:Getting the key now.
Speaker A:Now, bad guys close in, right?
Speaker A:Security alert at Cyberdyne.
Speaker A:Cops are called.
Speaker A:Send everything you got.
Speaker A:The T2 shows up at the house, learns of Cyberdyne building.
Speaker A:Cops around Cyberdyne.
Speaker A:Cops infiltrate Cyberdyne.
Speaker A:So the cops actually get into the building.
Speaker B:Swat.
Speaker A:Yeah, swat.
Speaker A:Yes.
Speaker C:Dean Norris is one of those guys.
Speaker B:Yeah, yeah.
Speaker B:Fall back.
Speaker B:Fall back.
Speaker B:Yeah, he's the guy.
Speaker A:He's always breaking bad.
Speaker B:Yeah, yeah, yeah.
Speaker B:And Lethe weapon, too.
Speaker B:But yeah, he.
Speaker B:He's the one that sees Dyson when he's been shot up.
Speaker B:And he's holding the detonator.
Speaker C:Well, I still like that.
Speaker C:That even Dyson was holding this, knowing, hey, we're gonna destroy this.
Speaker C:I don't know how much longer I can hold this.
Speaker C:And he gives.
Speaker C:Tries to give him time to get out.
Speaker B:Right?
Speaker A:Right.
Speaker C:I never caught that as a kid.
Speaker C:I'm like, he's taking everybody with him.
Speaker A:Right?
Speaker A:Right.
Speaker C:So he's trying to do the right thing.
Speaker C:But you guys shot me.
Speaker B:Right?
Speaker A:Yes.
Speaker B:Dicks.
Speaker A:So this is back at Savior.
Speaker B:Initially shot me.
Speaker C:Yeah, Right.
Speaker A:Yeah.
Speaker C:And then.
Speaker C:I mean, sorry, when.
Speaker C:When that explodes, when he drops it, the.
Speaker C:Oh, it does.
Speaker C:The exterior shot of the building blowing up.
Speaker C:And every single time, I'm like, glass.
Speaker C:Who gives a about Glass?
Speaker A:What did we say?
Speaker A:I said, this feels very much like that.
Speaker A:Even with the cops surrounding the place, I said, this feels very much like Die Hard.
Speaker A:And as soon as it blew up, I said, glass.
Speaker A:Who gives a about Glass?
Speaker A:We need a whole load of screen doors.
Speaker A:That's what she said.
Speaker C:Well, good.
Speaker C:I'm glad we're right there.
Speaker C:We're right there with each other.
Speaker B:Yeah, but now.
Speaker B:But all I can hear is, like, John going, there's a lot of glass out there.
Speaker A:All.
Speaker B:A lot of people.
Speaker B:Who gives a shit about Glass?
Speaker A:So, bad guys, all is lost.
Speaker A:Cops shoot Dyson and prevent the detonation.
Speaker A:I'm calling this the.
Speaker A:So if we had a false victory, this is the false defeat, right?
Speaker A:Cops have basically stopped this thing.
Speaker A:Okay?
Speaker A:But that's a false defeat.
Speaker B:Because going back with a different all is lost now, here in a minute.
Speaker A:Okay.
Speaker A:Okay.
Speaker B:It's all over the place.
Speaker A:Right?
Speaker A:Well, let me tell you.
Speaker A:The Dark Knight.
Speaker A:And then we'll see how you can correct this plate of spaghetti that I've made.
Speaker B:No, no, no.
Speaker B:I think it's spaghetti.
Speaker A:The all is lost.
Speaker A:Cops shoot Dyson, prevent detonation.
Speaker A:False defeat.
Speaker A:Which has to be an opposite of the midpoint.
Speaker A:False victory.
Speaker A:Dark knight of the soul, Dyson is dying.
Speaker A:And he knows it.
Speaker A:His dig deep down is dead man switch.
Speaker A:I don't know how long I can hold this.
Speaker B:Right.
Speaker A:But he's now a dead man switch.
Speaker A:You better get out of here.
Speaker A:And he's digging deep down.
Speaker A:You know you're going to die, but you're still trying to fulfill the mission.
Speaker A:That's a big deep dig deep down.
Speaker A:And if ever.
Speaker A:Right.
Speaker A:So, yeah, so that's what I'm having as the dark night of the soul.
Speaker A:Storming the castle.
Speaker A:There's this line.
Speaker A:Storming the castle.
Speaker A:I'll be back.
Speaker A:Arnold again.
Speaker A:Call back the keys.
Speaker A:Call back the T1.
Speaker A:I'm calling it the T1 Uber.
Speaker A:He gets the van or whatever.
Speaker B:He always crashes, though, like in the first one.
Speaker B:In the second one, he says, I'll be back.
Speaker B:And then he returns crashing doors.
Speaker A:Absolutely true.
Speaker A:Now there is.
Speaker A:This is a throwaway.
Speaker A:I.
Speaker A:I don't know, Sherry.
Speaker A:I had the movie wrong.
Speaker A:It's Lost Boys.
Speaker A:Okay.
Speaker A:So they filmed Lost Boys in this guy's comic shop who actually owned the comic.
Speaker A:Comic shop.
Speaker A:And they put him in the movie.
Speaker A:He's a guy way in the distance in the background playing pinball or something.
Speaker B:Yeah.
Speaker A:Who owns the comic book shop that they're filming Lost Boys in.
Speaker A:And he should have just stood there and played his pinball as a background character and kept his mouth shut.
Speaker A:But he.
Speaker A:But he knew they were filming.
Speaker A:And he says something.
Speaker A:He says a line like, tilt, tilt.
Speaker A:I tilted.
Speaker A:He later in interviews, because Grim, One of the YouTube guys we watched went to the.
Speaker A:And talked to him and all this kind of stuff.
Speaker A:And he says, I said that so that I could be in the movie, that you would, you know, you would hear me.
Speaker A:Now.
Speaker A:You could say that was me.
Speaker A:There's this scene where Arnold is shooting the gas bombs at people and knocking them down.
Speaker A:And one cop runs away and he shoots him and he falls down and the guy says, oh, God, it hurts.
Speaker A:Do you remember this?
Speaker C:Yeah.
Speaker A:I'm like, dude, that was not in script Man.
Speaker C:James Cameron's over there just torturing his extras.
Speaker C:And that really hurt.
Speaker A:Yeah.
Speaker A:Because you're not refilming that scene to get that.
Speaker A:That out of there.
Speaker A:Now maybe you could.
Speaker A:I don't know if you could sound it out.
Speaker C:Oh, they could definitely sound it out.
Speaker A:Yeah.
Speaker C:They would edit it out, sound wise.
Speaker C:Because, I mean, most of Edward Furlong was all voiceover.
Speaker C:So.
Speaker C:Yeah.
Speaker B:I just don't have a different thought about it.
Speaker B:It's funny, but maybe it's there because, like, he's shooting these guys with Canisters, like up close.
Speaker B:Right.
Speaker B:I'm sure maybe it's there.
Speaker B:So you know, he didn't kill that guy.
Speaker B:He's talking.
Speaker B:He's bitching about the pain.
Speaker A:Well, yeah, but you can see.
Speaker A:See it bounce off.
Speaker A:And you see him shoot another guy and he didn't die.
Speaker A:And this guy was of greater distance.
Speaker A:He ran away.
Speaker A:I think that guy was trying to get in the movie, man.
Speaker B:He probably was.
Speaker A:Oh, God, it hurts.
Speaker A:And it's such a lame lie.
Speaker B:It probably does hurt a lot.
Speaker A:Oh, God, it hurts.
Speaker D:Okay.
Speaker A:I, I saw.
Speaker A:I, I listen to that.
Speaker A:I'm like, oh, my.
Speaker C:Well, I, I.
Speaker C:So to get back to what you were doing, all of your Dark Knight and dig deep down, that was just for Dyson.
Speaker C:That wasn't for the entire.
Speaker B:Yeah, he's on the team now.
Speaker B:Yeah, but you can't just switch.
Speaker A:Well, I know, but.
Speaker A:But they're having to flee, right?
Speaker A:Having basically been defeated.
Speaker A:Yeah, because.
Speaker A:Yeah, but Sarah looks at Dyson and they sort of nod at each other.
Speaker C:My question is, is this one, Is this an instance where each character has a dark knight?
Speaker C:A dig deep down.
Speaker A:They could.
Speaker A:It could.
Speaker C:I mean, I know that's not really.
Speaker A:Sarah couldn't kill Dyson.
Speaker A:Sarah knows that Dyson has a kid and a wife, and she couldn't kill him.
Speaker A:I almost killed a father and his kid.
Speaker A:And now she's looking at him and he's nodding and she's sensing, okay, this father is about to give up his life for something I drug his ass into.
Speaker B:Right.
Speaker A:This is on me.
Speaker A:I think, I think, I think on some level, it is a dark night for sure.
Speaker B:I'm trying to think what John, Just because I feel like, because to me, originally, just thinking about this movie, this was gonna say a minute ago, my all is lost in Dark Knight.
Speaker B:So this kind of fits what we're saying.
Speaker B:Arnold has his own.
Speaker B:When he gets temporarily defeated by the.
Speaker B: By the T: Speaker B:Yeah.
Speaker B:He digs down.
Speaker B:Yeah, it has.
Speaker B:All is lost.
Speaker B:The mission's not done and he's fucking wiped out.
Speaker B:You think he dies for a second and then alternate power or whatever reroutes.
Speaker B:And even like.
Speaker B:And I know he's a robot, but I feel like when he's pulling the, the bar out, like he has a look of disgust on his face, like he's mad about it.
Speaker B:Like, I just got my ass whooped and.
Speaker A:Right.
Speaker A:No, no.
Speaker A:I think to James's point, I think, I think you almost.
Speaker B:If they all have their own, that's got to be his because then he comes back and saves the day.
Speaker A:Yes.
Speaker B:And need a vacation.
Speaker A:And.
Speaker A:And John's could be.
Speaker A:You know, because he's called.
Speaker A:Because they separate.
Speaker A:Like the team breaks up at the.
Speaker A:And so John is calling mom mom as he's being ushered away.
Speaker A:And now he thinks he's lost his mom.
Speaker A:And.
Speaker A:Yes.
Speaker B:Out of the very, very end.
Speaker A:Right.
Speaker A:Right.
Speaker A:Well, yeah.
Speaker A:Absolutely.
Speaker A:Yeah.
Speaker A:So then.
Speaker A:Then I'd say to your point Chris, this.
Speaker A:We haven't gotten to the factory yet.
Speaker A:The finale.
Speaker A:Okay.
Speaker A:So you have the break into three, then the high, then the bad guys.
Speaker A:All's lost.
Speaker A:Dark Knight which leads to the finale.
Speaker A:But the finale is a good chunk of the movie, right?
Speaker B:Yeah.
Speaker A: T: Speaker A:He gets in a helicopter.
Speaker B:Well okay.
Speaker B:I just thought about this.
Speaker B:All right.
Speaker B:So if getting Dyson and going to Cyberdyne is like a false victory.
Speaker B:Right.
Speaker B:Because they get there.
Speaker B:They.
Speaker A:Yeah.
Speaker A:Well they're gonna do.
Speaker B:They're gonna blow it all up and save humanity.
Speaker B:And then SWAT shows up.
Speaker B:False alarm.
Speaker B: T: Speaker B:So that's all bad guys close in.
Speaker B:They're breaking the three is get the hell out of there alive with still the chips and stuff.
Speaker B:They don't know at this point what they're gonna do.
Speaker B:They're just trying to get away from the thousand.
Speaker A:This was a question.
Speaker B:That's their break into three.
Speaker B:Maybe.
Speaker A:You know, initially I thought this was a plot hole because I'm looking at Sherry because I'm analyzing this thing now.
Speaker A:Before I didn't care.
Speaker A:Shiny parts.
Speaker C:Popcorn.
Speaker A:Popcorn.
Speaker C:Yeah.
Speaker A:But they take the arm and the chip away from a building that they are decimating.
Speaker C:Yeah.
Speaker A:Why Then they act like they don't know what they're going to do with it.
Speaker A:Now I think that is answered because Arnold on the road says take the exit.
Speaker B:Yeah.
Speaker A:I think he must know that there's.
Speaker A:The steel factory is there and that they can burn this thing up.
Speaker B:And maybe that was always a plan.
Speaker B:They just never said it.
Speaker A:Didn't tell.
Speaker B:They can't be the plank is John ask.
Speaker B:I love where you're going with that but John ask.
Speaker B:We'll just burn up in there.
Speaker B:It can't be the plan if he has later on.
Speaker B:We'll just burn up.
Speaker A:Yeah.
Speaker B:Yes, John, we had this conversation, you.
Speaker A:Know, but I think the T800 knows.
Speaker A:I don't know that he told me.
Speaker C:Well, I doubt that because they walk in and there's like a vat of molten steel that they look at.
Speaker B:Yeah.
Speaker B:They should have dropped in right there.
Speaker A:Yeah.
Speaker D:Got your Remember when I said how they got there?
Speaker D:They were going down the road and he said, take this exit.
Speaker D:I mean, it was just.
Speaker A:Yeah.
Speaker A:So there is all this because I was willing to give him a pass that Arnold knew take the exit because he wants.
Speaker B:But I feel like.
Speaker A:But even at the factory, like you.
Speaker B:Said, they barely made it.
Speaker B:The truck smashed in all the stuff.
Speaker B:I think that was the last minute.
Speaker B:Hey, take the exit down.
Speaker D:No, that's what I'm saying.
Speaker B:Yeah.
Speaker D:It wasn't planned.
Speaker C:Mills are there in America.
Speaker A:Right.
Speaker B: Secondly, there's: Speaker A:Well, California is not known as this, as the Rust Belt.
Speaker A:Like if you're talking steel, U.S.
Speaker A:steel Detroit and all.
Speaker A:I don't even know if there is.
Speaker B:There's clearly.
Speaker B:Well, there was one till this happened, apparently.
Speaker B:Cover it up.
Speaker C:Now, I think I saw in the trivia this was an active area that they filmed in.
Speaker A:Sure.
Speaker C:I don't know where that location is.
Speaker C:But that was an actual.
Speaker A:No, no, I'm sure building.
Speaker A:I don't know if I read this or heard this somewhere.
Speaker B:Yeah.
Speaker B:I mean, what if they found a fucking meat factory, you know, instead of a steel mill?
Speaker A:Yeah.
Speaker A:What were they gonna do?
Speaker B:Can we freeze this stuff?
Speaker B:Yes.
Speaker B:I mean, yeah.
Speaker A:So I tend to think, well, damn.
Speaker B:Man, he just punched a big.
Speaker A:I was a little disappointed when I started asking those questions.
Speaker A:Why are you taking the arm and the chip?
Speaker B:Because one little line from fucking Source Nader could have solved that.
Speaker A:Sure.
Speaker B:You know, the metal will not burn.
Speaker B:And you know what I mean, like, it doesn't get hot enough.
Speaker B:We need to find something, you know, source that's hotter, whatever.
Speaker B:Right.
Speaker B:I'm willing to learn from him.
Speaker B:Could have saved that.
Speaker A:Well, I'm willing to give him a pass on the building.
Speaker A:Okay.
Speaker A:You're going to blow this building up.
Speaker A:That's for all the computers and papers.
Speaker A:Yes.
Speaker A:That's going to definitely be destroyed.
Speaker A:We can't guarantee.
Speaker B:We know it won't burn from the first one because they blew his ass up and he came back out his skeleton so you know, it won't burn from a bomb like that.
Speaker A:We can't risk that the army ship are going to be destroyed in this building and they don't find it in the rubble.
Speaker A:I'm willing to give it just.
Speaker C:So they were on a mission to destroy it.
Speaker A:Yes.
Speaker C:They didn't know they could melt it.
Speaker C:They didn't know that there was a foundry they were just looking to destroy.
Speaker B:Yeah.
Speaker B:They didn't have a plan on, you know.
Speaker A:Yeah.
Speaker A:We got to get this Away from Cyberdyne.
Speaker B:Yeah.
Speaker B: Now T: Speaker B:We got to run.
Speaker C:Well, because it was in John's backpack.
Speaker B:Yeah.
Speaker C:He was already exiting.
Speaker A:Yes.
Speaker A:They were taking it away to get it out of the hands of Cyberdot, but I don't think they had a plan on how they.
Speaker A:At some point when the.
Speaker A:When the dust settles, they'd be like, well, how do we get rid of this thing?
Speaker B:Right.
Speaker A:And then.
Speaker A:And then.
Speaker A:So.
Speaker A:So I'm willing to give them a pass on that.
Speaker B:Yeah.
Speaker A:But they didn't have a clue that.
Speaker B:They lucked out with the steel Milk because fate know.
Speaker A:And then like to your point, why didn't they just chuck it in there when they did?
Speaker B:That was James's point when you first arrived.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker B:Son of the badass a la vista scene.
Speaker B:It should have been a la vista, baby.
Speaker B:Dropping it into the.
Speaker A:Let's go to.
Speaker A:To, you know, the chilies.
Speaker C:Schwarzenegger doing a cannonball.
Speaker C:Like grabbing the backpack and just dipping himself.
Speaker A:Yeah.
Speaker C:Okay.
Speaker B:Film.
Speaker C:Roll credits.
Speaker C:It's over.
Speaker A:I think we can smooth it over, but there is.
Speaker A:There is some squishiness there.
Speaker B:That's funny.
Speaker B:See that in my head now.
Speaker B:Gun involved.
Speaker B:And he goes in there.
Speaker B: And then T: Speaker B:Wait.
Speaker B:What just happened?
Speaker B:You know, now I have no purpose.
Speaker A:It was my purpose.
Speaker B:How it should have ended.
Speaker B:That's what we just did there.
Speaker A:So all this.
Speaker A:This extended set piece.
Speaker A:I call it roadway road rage.
Speaker A:You know, the battle on the highway.
Speaker A:I really like Arnold marching up to the windshield of that.
Speaker B:Oh, I love that.
Speaker C:That's very.
Speaker B:Yes.
Speaker A:Force feeding him.
Speaker B:He's trying to shoot him with the.
Speaker B:With the grenade launcher or whatever.
Speaker B:And then he rams him to him and the thing ends up in the.
Speaker B:The last bullet is in the back of the bed of the truck.
Speaker B:So then he craps the.
Speaker A:Here, drive.
Speaker B:M16 is just sitting there.
Speaker B:Drive.
Speaker B:And then.
Speaker B:Yeah.
Speaker A:Force feeds.
Speaker B:Unloads his ass.
Speaker A:Right.
Speaker B:I love his face.
Speaker B:Yes.
Speaker A:Right.
Speaker B:Love that scene as a kid and love it now.
Speaker A:I still love it.
Speaker B:Then he turns the wheel and crashes the truck.
Speaker A:Yes.
Speaker A:T1 gets a new ride.
Speaker A:This is the maximum velocity of this vehicle.
Speaker B:Right.
Speaker B:I could get out and run faster than this.
Speaker A:That's right.
Speaker A:Ice Road Truckers.
Speaker A:I call it the truck with the CO2 or whatever in it.
Speaker A:Now this was.
Speaker A:I was going to say Roger Siskel and Ebert.
Speaker A:They used to do movies with.
Speaker A:Siskel had a name for the place they go.
Speaker A:He calls it your spark factory.
Speaker A:A factory that seems to have no purpose except to make Sparks.
Speaker A:And that's essentially.
Speaker A:Yes, it says steel, but it's a.
Speaker A:It's.
Speaker A:It's a spark factory, as Cisco would say.
Speaker C:That's a good.
Speaker B:Yeah, that's true.
Speaker B:One thing I noticed just during this chase, when he's chasing with the helicopter, right.
Speaker B:And they're in the.
Speaker B:In the SWAT van at this point before they get into the.
Speaker B:The 18 wheeler in the.
Speaker B:In the little bullshit truck.
Speaker B:Yeah, they pass the.
Speaker B:The 18 wheeler.
Speaker A:Yeah, yeah, they do.
Speaker B:Because he honks on himself like the, the one carrying the.
Speaker B:The.
Speaker B:Not nitroglycerin, the CO2 or what was it?
Speaker B:Liquid nitrogen.
Speaker B:Yeah, they passed that truck.
Speaker B:I'd never notice it again.
Speaker B:One of those things.
Speaker B:You've seen this thing a thousand times and yeah, they.
Speaker B:They passed it.
Speaker C:Oh, I.
Speaker C:I chuckled out loud.
Speaker C:When they're in the SWAT van and he just hits the brakes and the.
Speaker B:Helicopter and you don't catch.
Speaker B:Right before that, right before the smash, when he's shooting at Sarah, he's shooting with two hands and driving with a third.
Speaker A:Mm, yeah, I didn't notice that.
Speaker A:Real quick, you can see metal, right?
Speaker C:He's got four hands.
Speaker A:Four.
Speaker C:The whole apparatus is four hands.
Speaker C:Two were.
Speaker B:Two are steering and one and two are shooting.
Speaker A:Yeah, I did not.
Speaker C:It's real quick edit and they probably cost a millions of dollars, Right.
Speaker B:You can see more in the.
Speaker B:In the director's cut or whatever.
Speaker A:Okay.
Speaker B:It's very clear what's going on there.
Speaker B:You're right, James.
Speaker B:It is four.
Speaker C:Stan Winston.
Speaker C:The.
Speaker C:The.
Speaker A:Yes.
Speaker C:The same guy that did the thing and I did just all the other stuff.
Speaker C:Yeah, Stan Winston's great.
Speaker B:But again, like.
Speaker B:And he.
Speaker B:I mean, he could always.
Speaker B:He outmatched Arnold, you know, pretty easily.
Speaker B:But I just thought about something now, like, if you can generate extra hands, why didn't he like go four hands on Arnold and like beat him up with four hands?
Speaker A:Well, you know.
Speaker C:Sure.
Speaker A:Yeah.
Speaker B:We don't have the budget for that, Jim.
Speaker B:Okay, got it.
Speaker C:Let's just do like a little kind of movie, kid.
Speaker B:Yeah, exactly.
Speaker A:Yeah.
Speaker A:So he freezes, he gets shattered.
Speaker B:Says the cool line.
Speaker B:The payoff.
Speaker A:Yes.
Speaker A:Disassembling the team.
Speaker A:Clash of the Terminator titans again.
Speaker A:Another fight.
Speaker A:The team disassembled.
Speaker A:Again.
Speaker A:Sarah gets pinned down.
Speaker A:Doesn't.
Speaker A:The whole point where the Terminator is torturing her.
Speaker B:And yeah, there's lots of reversals in there which are great.
Speaker B:I mean, there's lots of reversals about the whole movie, but yeah, they freeze him.
Speaker B:And like when he comes out of the.
Speaker B:After the truck is Crashed.
Speaker B:And he's walking like.
Speaker B:It's very reminiscent of Arnold coming out of the truck that's on fire in the first one.
Speaker A:Yes.
Speaker B:And then he freezes.
Speaker B:Oscar Vista goes in a bunch of pieces, and then the pieces fucking start crashing like, God damn, this dude's.
Speaker A:Oh, no.
Speaker A:Yes and no.
Speaker A:Coming back.
Speaker A:Very, very cool.
Speaker A:Let's go.
Speaker A:Now Arnold gets rammed through the back and it goes out.
Speaker A:Alternate power.
Speaker A:The T2 assumes.
Speaker A:Does he assume.
Speaker A:Yeah, yeah, yeah, yeah.
Speaker C:Played by her twin sister.
Speaker B:Yeah.
Speaker A:Yes.
Speaker B:Same thing with the fencing.
Speaker A:Yes.
Speaker A:Then they.
Speaker A:Sarah does her thing, and then Arnold is able to get him into the liquid steel.
Speaker A:Right.
Speaker A:T2 is cooked.
Speaker A:Yeah.
Speaker B:She had one more shot, then she would have been golden.
Speaker B:Yes.
Speaker B:Yeah.
Speaker B:But she runs out and then he does the, you know, finger.
Speaker B:No, no, no kind of thing.
Speaker A:Right.
Speaker A:I have reunited, and it feels so lousy.
Speaker A:So all the team is together, but Arnold has to go, and John doesn't want him to.
Speaker A:All three have undergone the change, affecting each other, because the Terminator at this point seems that he has grown close to.
Speaker A:Through his learning, close to John.
Speaker A:John is very emotional about losing the Terminator.
Speaker A:Sarah has.
Speaker A:Has embraced her son and maybe has hope for the future now.
Speaker B:Well, yeah.
Speaker B:Well, they have.
Speaker B:There's three instances about tears, like when Joan and when in the car, they just saved Sarah from the.
Speaker B:From the psych ward.
Speaker A:Yeah.
Speaker B:And they're arguing or whatever.
Speaker B:And Terminator looks at John in the river mirrors.
Speaker B:What's wrong with your eyes?
Speaker A:Oh, yeah, yeah, yeah.
Speaker B:Nothing.
Speaker B:And then later on, they talk about the crying or whatever and explain it, you know, and pain causes it.
Speaker B:No.
Speaker B:You know, so they talk about it.
Speaker B:Yeah.
Speaker B:The payoff here is, you know, I now know why you cry.
Speaker B:But it's something I can.
Speaker A:I was.
Speaker A:It almost remind me of like an ET Moment where ET Points up.
Speaker B:Right.
Speaker A:Elliot's heart right here.
Speaker B:Yeah.
Speaker A:His own heart.
Speaker A:Ow.
Speaker A:You know.
Speaker B:Yeah, yeah.
Speaker A:It gets me every time.
Speaker A:E.T.
Speaker A:made me cry, too.
Speaker B:But anyway, now I'm seeing Arnold go.
Speaker B:I will be right here.
Speaker A:No, but I.
Speaker A:This is an.
Speaker A:I was still on board with the whole scene, man.
Speaker B:You know, when John starts going, I order you not to go.
Speaker B:I order you not to go.
Speaker B:Yeah, it's.
Speaker A:No, no, it's.
Speaker B:I remember as a kid, I was pissed and upset.
Speaker B:I'm like, you can't do that to.
Speaker B:He's the hero.
Speaker A:You can't do that.
Speaker B:I mean, I get it now as an adult.
Speaker B:Right.
Speaker B:And it's so.
Speaker C:Well for us at that age, we're.
Speaker B:John going, what The.
Speaker C:Yeah, we love this guy.
Speaker B:We had our own Terminator.
Speaker B:Yeah, right.
Speaker A:The unknown future closing image.
Speaker A:Facing it with a sense of hope.
Speaker A:Maybe we can learn the value of human life.
Speaker A:And I have basically, like I said before, from no fate to no fate.
Speaker A:But what we make it with the shot of the road, meaning the future is uncertain.
Speaker A:You know, we're on a new road here or whatever.
Speaker A:As my closing image, all three have grown, I think, you know.
Speaker C:Yeah, yeah.
Speaker C:It's a fantastic movie.
Speaker C:You know, the.
Speaker C:I think going back to what you were saying, that.
Speaker C:That the soundtrack sounding more uplifting, more heroic.
Speaker C:Yeah, more heroic.
Speaker C:When he goes down.
Speaker B:Yeah.
Speaker B:It's even playing.
Speaker B:I had to know about that.
Speaker B:Thank you for.
Speaker C:Yeah, yeah.
Speaker B:It plays the theme.
Speaker A:Yeah.
Speaker B:Which was like the bad guy theme.
Speaker A:In the first one.
Speaker B:It plays the theme as he's going lowering himself down.
Speaker A:Yeah, yeah, yeah.
Speaker B:Oh, my.
Speaker B:Another note.
Speaker B:It's just interesting.
Speaker B:When we first see him, he's kneeling and he rises and the last thing is he's.
Speaker A:Oh, that's cool.
Speaker A:Yeah.
Speaker A:You know, that's good.
Speaker A:Good direct.
Speaker A:Good bookend of.
Speaker C:Yeah.
Speaker C:Just.
Speaker C:It closed out so nicely, I think.
Speaker A:I think this is one of the greatest action movies ever.
Speaker A:I think it's also very.
Speaker A:In a lot of ways, it's very intelligently written.
Speaker A:I think there's some.
Speaker A:Maybe some squishy parts.
Speaker A:But.
Speaker A:But you'd be hard pressed to find a movie that's pristine in its story logic.
Speaker A:But I.
Speaker A:Even so, I just.
Speaker A:If you analyze it.
Speaker A:Yeah.
Speaker A:But if you're in for the popcorn, like, I've never paused or had a.
Speaker A:Had a moment's thought about anything in this movie up till this time when we're sort of analyzing it.
Speaker C:I watched this movie a few times, and watching it the first time with a critical eye, I was like, oh, man, I gotta watch this again.
Speaker C:Because that's when I caught.
Speaker C:Oh, we didn't know that.
Speaker C:With Schwarzenegger stepping out of the elevator.
Speaker C:Sarah Connor.
Speaker C:I never realized she didn't know.
Speaker A:Right.
Speaker C:The bad.
Speaker C:And it was.
Speaker C:It made so much more sense.
Speaker C:It was even more enjoyable the more I watched it with a critical eye.
Speaker C:So great popcorn movie.
Speaker C:Great, well written movie.
Speaker A:I think so.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker A:All right.
Speaker A:Are we ready to do our past consider?
Speaker C:Yeah.
Speaker A:That little snippet is called the Showdown.
Speaker A:I thought, well, that's appropriate.
Speaker A:Anyway, like I.
Speaker D:It reminded me of the good bad.
Speaker A:Absolutely.
Speaker C:We should all be shifting eyes at each other.
Speaker A:That's what I'm saying.
Speaker A:We're still, you know, past consider recommendations.
Speaker A:I absolutely.
Speaker A:This the way we've talked about them.
Speaker A:I recommend this movie is a go to and it has never failed from the moment it was made.
Speaker A:It was as good today as it was when I first saw it.
Speaker A:I love it.
Speaker A:I recommend this as an action movie, as an Arnold movie, as just a good story.
Speaker A:I think it's two and a half hours.
Speaker A:I was never bored, never felt like I was watching the two and a half hour movie.
Speaker C:Yeah, totally agree with that.
Speaker C:It's a great movie.
Speaker C:Pass.
Speaker C:Yes, for sure.
Speaker C:No, not pass.
Speaker C:Pass this movie off.
Speaker C:No, strongly recommend.
Speaker A:Strongly recommend.
Speaker C:And this movie, even if you haven't seen the first one, still stands on its own.
Speaker A:I think you're giving enough information where it's a standalone.
Speaker A:I really love Terminator.
Speaker A:Terminator is a good movie.
Speaker B:Same here.
Speaker B:I love the first one, but yeah, that'd be interesting to like watch the second one first and then go back and watch the first one.
Speaker C:Yeah.
Speaker A:Because I think you might like.
Speaker B:You haven't seen them.
Speaker B:I mean, like, watch the second one first.
Speaker B:Like you're saying, I think you might lose something, like wipe my memories.
Speaker B:I could do that.
Speaker C:Just see how that's what I did.
Speaker C:Because, you know, I was so young and saw Terminator 2 first.
Speaker C:I think if I don't, I have no recollection of watching Terminator before that.
Speaker A:Would you get the sense of the menace of the Terminator if you hadn't seen the first one?
Speaker C:You know, not in the second one, but in the watching, if you hadn't.
Speaker A:Seen the first one, would you think, what is she afraid of?
Speaker B:Yeah, right.
Speaker B:You wouldn't get it all.
Speaker C:Yeah, well, watching the original, I was like, Schwarzenegger's the bad guy and oh, this is like a horror movie.
Speaker B:It plays like a horror movie.
Speaker B:Yeah, more action.
Speaker C:Yeah.
Speaker C:Like they're two, two totally different themed feeling movie.
Speaker A:Somebody was saying that about because I was looking at Alien.
Speaker A:Aliens and somebody had made the remark, well, Alien is a horror movie and Aliens is an action movie.
Speaker A:Well, Cameron, he didn't have anything to do with Alien, right.
Speaker A:No, Right.
Speaker A:But, but, but even with the Terminators, he went from what arguably is a horror movie, you know, to.
Speaker A:To more of a mainline action movie.
Speaker A:Same with Alien.
Speaker A:Aliens.
Speaker A:I think Aliens is more of an action than a horror.
Speaker A:Even though when I first saw.
Speaker A:Scared the shit out of me, you know.
Speaker B:Right.
Speaker B:Anyway, now he's making horrific movies.
Speaker A:Wow.
Speaker B:Yeah, that's obviously 100% recommend for me on this.
Speaker B:Yeah, I think it's one of the greatest, you know, action movies ever.
Speaker B:Made, yes.
Speaker B:And yeah, I'll take.
Speaker B:Even though we talked about the, you know, them maybe not having a plan how they were going to destroy the arm and stuff.
Speaker B:I'll take that over fluorescent flora and fucking McGuffin called unobtainium any day of the week.
Speaker A:Well, I think they.
Speaker A:In terms of the arm, they had every intention of destroying it.
Speaker A:They knew Skynet couldn't have it.
Speaker A:They couldn't risk the explosion.
Speaker A:So they were going to destroy it when the dust settled.
Speaker B:Right.
Speaker A:They happened along, happy coincidence, into this factory, which I think story logic is not something you can balk at it.
Speaker A:That's fine.
Speaker B:Again, it holds up more than Unobtainium.
Speaker D:It's movie magic.
Speaker D:It's always.
Speaker A:Yeah.
Speaker A:So, yeah.
Speaker A:Sherry.
Speaker D:Oh, yes.
Speaker D:I recommend, even though you said it before, I do not like time travel and I try to block that out of this whole.
Speaker A:Yeah.
Speaker D:This movie.
Speaker D:You know, try to not think about that.
Speaker D:You have to.
Speaker D:Of course, in the first one, his father comes back anyway.
Speaker D:It is one of the best action movies I think I've ever seen.
Speaker A:Oh, yeah.
Speaker D:No, I do love it.
Speaker D:And one reason I do like it better than the first one is because I like that Arnold is the good guy.
Speaker A:Sure.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:Arnold is very young in the first one even.
Speaker A:I mean.
Speaker A:Yeah, yeah.
Speaker A:And probably had not had a lot of speaking parts and prior movies, like.
Speaker C:Not a ton, maybe.
Speaker A:Yeah.
Speaker C:He spoke.
Speaker B:Not a lot.
Speaker C:He speaks very good English.
Speaker A:No, no.
Speaker A:Right, right.
Speaker A:But I think maybe even at that point they were like this Austrian.
Speaker C:His name was hard to sell.
Speaker B:Yeah.
Speaker D:He was in the Scavenger hunt for a brief second.
Speaker A:That's a movie.
Speaker A:Yeah, it was a decent movie, but.
Speaker C:Hercules Comes to New York, I think was his first one or something like that.
Speaker A:All right.
Speaker C:But.
Speaker A:Yeah.
Speaker D:Yes, yes.
Speaker C:Terminator 2.
Speaker C:Was everybody hitting their stride all at the right.
Speaker A:Oh, this is everybody at their prime.
Speaker A:Man.
Speaker A:Arnold never looked cooler than he does in this movie.
Speaker A:Man.
Speaker A:I'm kidding.
Speaker A:All right, we good?
Speaker C:Yeah.
Speaker A:All right.
Speaker A:I think we are done and we are out.
Speaker D:He may not have killed anyone, but he sure did cause a lot of property damage.
Speaker A:Yeah, yeah.
Speaker A:No, my God.
Speaker A:I think this.
Speaker A:I think this series has gone off the rails on more than one occasion.
Speaker C:Happy life, cars and everything.
Speaker C:And then just death and destruction.
Speaker D:I just remember being so scared at that moment.
Speaker A:It's just a very slick scene.
Speaker A:I love this.
Speaker A:There is a little bit of a discrepancy in the story logic here.
Speaker D:In his audition, did he just run?
Speaker C:I like how tight that seed was.
Speaker B:Your foster parent can go around killing people.
Speaker B:Why?
Speaker C:Yeah, well, so he's trying to do the right thing.
Speaker C:But you guys shot me, right?
Speaker B:Yes, dicks.
Speaker A:Because she says if a machine can.
Speaker B:Learn the value of human life, maybe we can, too.
Speaker A:Maybe we can do so.
