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[DANCE MUSIC]
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[OMINOUS MUSIC]
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JAMES CAMERON: In
this scene, what you
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have is the convergence of
three separate plotlines.
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So that was a structural motif
that was used for that film.
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We follow in a third-person
omniscient way,
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jumping back and forth,
between three storylines--
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Sarah, introducing her
and getting to know her
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and presumably like
her to some extent.
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And then we see the Terminator
arrive through time.
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We don't know it's through
time, but we sort of know
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he's come from somewhere,
and see him start
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hunting down and killing--
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brutally killing
people with her name.
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So even though they haven't met,
and the two storylines haven't
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converged yet, there's
already an interrelationship
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between those two storylines.
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Kyle Reese comes
through time same way.
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Although his arrival is much
messier and rougher on him
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than it is on the
Terminator, we can
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make the assumption he has
come from the same place.
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He is from whatever
that world is.
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So there's already a connection
between the two of them.
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And we don't know if he's a
good guy or another bad guy.
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He certainly acts
very, very sinister.
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But I think we innately
sense that he's probably
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a protagonist.
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And he goes through getting
weapons, getting clothes,
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doing the same things
the Terminator does, just
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in a different way.
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He's more furtive.
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He doesn't hurt anybody.
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The Terminator just
bulldozes through whatever
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to get his objectives.
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So they're contrasted
to each other.
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So even though they're
clearly both soldiers,
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they're both sinister,
the Terminator
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is the more is the more
disturbing of the two.
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And they're both stalking Sarah.
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Terminator's is moving toward
her in this relentless fashion,
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Reese is following her.
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So is he-- we don't know
if he's a protector,
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or if he's a good guy,
if he's a bad guy.
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But we feel a relentless sense
that the three storylines
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are converging.
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[DANCE MUSIC]
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The music is pounding.
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So she sits down.
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She's nervous.
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[DANCE MUSIC]
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And--
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[DANCE MUSIC]
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--Terminator walks in.
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[DANCE MUSIC]
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The music tells me,
I'm in the same club.
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I'm at the door of the club.
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He's there.
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He's in the room with her.
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The killer that
we've seen brutally
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kill two other people
in his hunt for her
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and kill the gun shop owner
to get the weapons to do so
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is now in the room.
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So it's going to happen.
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It's going to go down.
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So we've just started the
clock on our chess move.
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We've just started the clock.
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And the audience knows it.
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And they know that this is the
beginning of a thing, a set
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piece, if you will, a scene.
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It just started.
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The second you put them
both in the same room,
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or in the same
space, you've just
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said to the audience,
all right, guys, it's on.
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Right?
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Now what's going to happen?
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So the jeopardy just shot up.
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The jeopardy's been
slowly building.
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It just shot up to a new level.
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[DANCE MUSIC]
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Terminator moves in his very
machine-like like fashion
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searching.
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Right?
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The clerk tells the
bouncer to stop him.
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He just crushes the guy's hand.
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He doesn't even look at him.
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He just glances at him
and then moves away.
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Now he's in scan mode.
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The hunter, killer, machine
scanning like a surveillance
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camera.
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[DANCE MUSIC]
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His eyes scan,
then his head turns
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to give him more compliance.
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Then his eyes scan
the other way.
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Then he has to move his head.
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It's unnatural.
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It's not human.
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It's machine-like.
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It's like a surveillance
camera scanning.
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So that's something that
we worked out together
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in rehearsal.
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Now here's Sarah.
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You cut back to the victim,
the innocent victim, Bambi.
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You know?
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Here comes the hunter
tromping through the woods.
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Here's Bambi.
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It's intercutting.
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The intercutting intensifies
the sense of expectation
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and builds suspense.
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Something is going to happen.
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It is inevitable.
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He will find her.
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He's very thorough.
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So we've established
him searching
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in a very machine-like
and thorough fashion.
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And we've established her
sitting there and essentially
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helpless and worried.
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Back to him scanning some more.
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Same principle.
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Back to her.
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Rising tension by intercutting.
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Right?
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[DANCE MUSIC]
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Here comes the big move.
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She knocks the water
bottle off her table.
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And we go into slow motion.
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We're telling the
audience something.
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The Terminator walks into the
frame scanning relentlessly,
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doesn't see her,
misses her completely.
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The timing was-- we had to
do this shot a few times,
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obviously, to get
the timing perfectly.
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The way he appears
through the dancers.
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The waitresses cross.
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It's very stacked.
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This is using a long lens.
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If I had done this on a
short lens, a wide lens,
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I'd have seen too
much background.
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I wouldn't have been
selective enough.
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My waitress crossing
in the foreground
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would have been the
size of the Hindenburg.
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Sarah would have been a big.
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Terminator would
have been little.
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The farther I move back, the
longer the focal length I use.
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The more I stack
the shot, the more
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I compress the space,
the bigger he is.
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And the more I'm able to look
through a number of dancing
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bodies and sort of
graphic forms that
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are out of focus to see him.
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He's the plant of focus.
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She's not.
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She's not.
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Right?
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So this is selective.
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This is being highly selective,
leading the audience's eye
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in a selective fashion, by using
composition, lighting, focus.
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He misses her.
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She comes back up.
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She didn't see him--
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not that she even knows
what he looks like.
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Innocent victim, again.
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We're just reminding
the audience who
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our protagonist is,
and the fact that she
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doesn't know what's coming.
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And it just missed her.
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But we have another escalation.
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In her eyes, in that
moment, and it's
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aided and abetted by a little
flush of light from the dance
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floor as two dancers part.
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In slow motion,
she sees something.
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Now I haven't seen
what she sees yet.
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She could be seeing
the Terminator.
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But why would she be
alarmed at the Terminator?
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She's never seen the Terminator.
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She sees something, and
we see it in her face.
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And this is a beautiful piece
of editing by Mark Goldblatt.
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He holds on it just
enough frames for you
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to see her see something.
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And we don't know what it is.
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And these are magical shots
when you're able to get them.
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When the character--
she's not doing anything.
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It'd be very hard to
express it in a storyboard.
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It's something changes.
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And what she sees is Reese,
the person that she knows,
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that she's seen stalking her.
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Now she is afraid of this guy.
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She doesn't even know
about the other guy yet.
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Reese's eyes come up.
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[DISTORTED DANCE MUSIC]
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And he sees something.
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He sees her.
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Their eyes meet in a mirror.
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It's a love story.
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Their eyes meet
across a crowded room.
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It's a love story with shotguns.
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Another long lens shot that
this suggests-- and to this day,
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I don't remember if this is
supposed to be Sarah's hair
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or not.
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But I'm shooting over her,
and it's a stacked shot.
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Or there's just some
random foreground.
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I think it's a bit
of random foreground.
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But it's a long lens shot.
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So it suggests
that her brain has
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excluded the entire environment
in between her and him
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and gone--
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[BIG WHOOSH] --like that into--
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and this is how lens
choices are very subjective.
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If I were to duplicate
my experience right now,
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my subjective
experience right now,
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my vision stretches out
to where my hands are.
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Way out here.
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And way down here
and way up here.
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If I were to duplicate
that with a lens,
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I'd need to be on like a 10
or 12 millimeter fisheye lens.
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It would look ridiculous.
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It would look highly distorted.
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But I'm seeing all this.
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But it's not what my
brain is focused on.
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And it's not what
I would remember.
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So lens choice is
about the memory you
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would have if you were there.
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So if I saw something
really interesting,
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my focus, my
attention, would go--
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[SMALLER WHOOSH] --just to
that thing, a very tiny amount
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of my visual field.
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If I walk into a new room, a
place I'd never seen before,
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my attention gets much wider.
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I want to take in
the whole space.
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I want to feel where I am.
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I want to feel the
environment around me.
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Right?
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That's how we perceive.
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That's how we go
through life perceiving.
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And you look at
the whole picture,
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and then you see
something interesting.
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Maybe you walk into a
big room that's a party.
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And maybe across
the room you see
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somebody you recognize
in your attention goes--
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[QUICK EXHALE] You just went
from an 18 millimeter lens
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to a 175 millimeter lens.
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You just did it in your head.
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00:09:19,060 --> 00:09:22,160
And it's not that we have
such a mechanism, but we do.
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It's in our visual
cortex, in our processing.
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And if you remember that
moment six months later,
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you would remember it that way.
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I walked in, I saw
the whole place, boom.
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I saw Bob.
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And I focused on him,
and I crossed the room.
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Now I'm in a tracking shot
going over to Bob, or whoever.
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So the point is that
cinematic language maps
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to human perception.
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But if you want to really
resonate with an audience,
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you resonate based on how a
million years of evolution
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have programmed our brains
and our visual cortexes--
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00:10:01,280 --> 00:10:02,480
cortexes?
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--to be the way they are.
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00:10:04,260 --> 00:10:08,480
So we're now in Sarah's
reality, looking across the room
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00:10:08,480 --> 00:10:11,810
and zooming in-- not literally
zooming in-- but switching to--
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I think this was shot
on 135 millimeter lens.
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And she's looking at him.
259
00:10:16,770 --> 00:10:20,350
And then she doesn't want him
to see her, so she looks away.
260
00:10:20,350 --> 00:10:22,620
Meanwhile, Terminator
has completed his scan.
261
00:10:22,620 --> 00:10:23,730
This is intercutting.
262
00:10:23,730 --> 00:10:25,410
It's all done in slow motion.
263
00:10:25,410 --> 00:10:26,650
She's moving in slow motion.
264
00:10:26,650 --> 00:10:28,500
The dancers are
dancing in slow motion.
265
00:10:28,500 --> 00:10:31,020
It's taken on a
dream-like aspect.
266
00:10:31,020 --> 00:10:36,500
On the Terminator's
turn, the source music,
267
00:10:36,500 --> 00:10:41,890
the pounding '80s
synth dance music
268
00:10:41,890 --> 00:10:44,810
starts to fade away
and get very echoey.
269
00:10:44,810 --> 00:10:48,820
And the score, which
is saying the--
270
00:10:48,820 --> 00:10:55,233
which is saying the narrative,
the driving force, comes up.
271
00:10:55,233 --> 00:10:57,500
[DANCE MUSIC]
272
00:10:57,500 --> 00:10:58,550
Club music's jamming.
273
00:10:58,550 --> 00:11:00,830
[DANCE MUSIC]
274
00:11:00,830 --> 00:11:04,250
A low beat starts to come in
here, a threatening energy
275
00:11:04,250 --> 00:11:05,210
on his eyes.
276
00:11:05,210 --> 00:11:07,767
[DISTORTED DANCE MUSIC]
277
00:11:07,767 --> 00:11:09,350
And there's that
heartbeat underneath.
278
00:11:09,350 --> 00:11:11,580
[SUSPENSEFUL MUSIC]
279
00:11:11,580 --> 00:11:16,650
And by the time the Terminator
turns, the Terminator's motif,
280
00:11:16,650 --> 00:11:17,880
if you will--
281
00:11:17,880 --> 00:11:23,610
the clanging, metallic rhythmic,
relentless sound comes in.
282
00:11:23,610 --> 00:11:26,110
The source music in the
club is almost gone.
283
00:11:26,110 --> 00:11:29,092
[SUSPENSEFUL MUSIC]
284
00:11:36,550 --> 00:11:39,100
So I'll pot that out so
you guys can hear me.
285
00:11:39,100 --> 00:11:40,210
And he starts his move.
286
00:11:40,210 --> 00:11:41,830
He's seen the target.
287
00:11:41,830 --> 00:11:42,760
He starts his move.
288
00:11:42,760 --> 00:11:44,255
Now we see what he sees.
289
00:11:44,255 --> 00:11:46,630
Now, at the time I shot this,
I thought, well, maybe I'll
290
00:11:46,630 --> 00:11:49,010
even go into what we called
"Termovision," Terminator
291
00:11:49,010 --> 00:11:49,510
vision.
292
00:11:49,510 --> 00:11:50,650
I'll go fully subjective.
293
00:11:50,650 --> 00:11:53,350
I'll have him analyzing
the whole scene.
294
00:11:53,350 --> 00:11:54,140
We tried it.
295
00:11:54,140 --> 00:11:55,060
I didn't like it.
296
00:11:55,060 --> 00:11:57,190
Because it broke the flow.
297
00:11:57,190 --> 00:12:00,200
But we still know
we're in his vision.
298
00:12:00,200 --> 00:12:02,810
And we're pulling
back in front of him.
299
00:12:02,810 --> 00:12:06,230
And we're seeing her revealed.
300
00:12:06,230 --> 00:12:07,410
It's all in slow motion.
301
00:12:07,410 --> 00:12:09,720
So we're stretching time.
302
00:12:09,720 --> 00:12:11,220
We're stretching
time, because we've
303
00:12:11,220 --> 00:12:13,200
put you in a state of dread.
304
00:12:13,200 --> 00:12:14,700
We've done it with crosscutting.
305
00:12:14,700 --> 00:12:17,850
We've done it by converging
the three storylines.
306
00:12:17,850 --> 00:12:19,770
We've done it with music.
307
00:12:19,770 --> 00:12:22,050
And now we want to
stretch that moment.
308
00:12:22,050 --> 00:12:25,200
We want you to continue
to feel that grit
309
00:12:25,200 --> 00:12:29,735
as long as we can stretch it
out in a nightmarish fashion.
310
00:12:29,735 --> 00:12:31,110
In real life,
something like this
311
00:12:31,110 --> 00:12:33,117
might have happened in
two or three seconds.
312
00:12:33,117 --> 00:12:34,950
We want to stretch it
out as long as we can.
313
00:12:34,950 --> 00:12:39,260
Because once you've gotten
the audience to a place
314
00:12:39,260 --> 00:12:42,230
that they're enjoying, because
perversely people actually
315
00:12:42,230 --> 00:12:44,353
enjoy being scared,
they enjoy being tense,
316
00:12:44,353 --> 00:12:46,020
they enjoy having an
emotional reaction.
317
00:12:46,020 --> 00:12:47,330
They also enjoy laughing.
318
00:12:47,330 --> 00:12:48,200
They enjoy crying.
319
00:12:48,200 --> 00:12:51,770
They enjoy the warmth of a
great relationship moment.
320
00:12:51,770 --> 00:12:52,580
All those things.
321
00:12:52,580 --> 00:12:55,910
But they're here to enjoy
all of it in all its colors,
322
00:12:55,910 --> 00:12:57,110
in all its dynamics.
323
00:12:57,110 --> 00:12:59,780
Once they're enjoying
something, you'll
324
00:12:59,780 --> 00:13:02,270
let them stay there
as long as you can.
325
00:13:02,270 --> 00:13:04,130
You sustain the state.
326
00:13:04,130 --> 00:13:06,860
So the slow motion
is used to continue
327
00:13:06,860 --> 00:13:11,090
to build tension by
sustaining and crosscutting,
328
00:13:11,090 --> 00:13:12,577
building the tension.
329
00:13:12,577 --> 00:13:14,160
Something's going
to happen right now.
330
00:13:14,160 --> 00:13:15,520
[SUSPENSEFUL MUSIC]
331
00:13:15,520 --> 00:13:17,960
And her eyes see the Terminator.
332
00:13:17,960 --> 00:13:19,113
Reese sees the Terminator.
333
00:13:19,113 --> 00:13:20,530
He's the first one
to take action.
334
00:13:20,530 --> 00:13:21,700
It's in slow motion.
335
00:13:21,700 --> 00:13:24,760
It's all happening
in a dream state.
336
00:13:24,760 --> 00:13:25,480
It's horrifying.
337
00:13:25,480 --> 00:13:27,550
Can he get these idiots
out of the way in time
338
00:13:27,550 --> 00:13:29,890
before the Terminator
puts the laser dot on her?
339
00:13:29,890 --> 00:13:31,540
[SUSPENSEFUL MUSIC]
340
00:13:31,540 --> 00:13:33,190
Yes.
341
00:13:33,190 --> 00:13:34,360
Barely.
342
00:13:34,360 --> 00:13:36,550
And it's split-second.
343
00:13:36,550 --> 00:13:38,890
And I just want to
compliment Mark Goldblatt
344
00:13:38,890 --> 00:13:42,390
for doing a remarkable job
on the cutting of this scene
345
00:13:42,390 --> 00:13:45,520
and refining it down to
one split-second shot.
346
00:13:45,520 --> 00:13:50,260
I think Kyle Reese is probably
on screen in the pivotal moment
347
00:13:50,260 --> 00:13:52,820
of this scene--
348
00:13:52,820 --> 00:13:54,130
we can find out right now--
349
00:13:54,130 --> 00:13:56,323
1, 2, 3, 4, 5, 6, 7--
350
00:13:56,323 --> 00:13:58,290
[MOUSE CLICKING]
351
00:13:58,290 --> 00:14:00,330
10 frames.
352
00:14:00,330 --> 00:14:02,370
After all these long
slow-motion shots,
353
00:14:02,370 --> 00:14:04,350
it all pivots on 10 frames.
354
00:14:04,350 --> 00:14:07,720
And now watch what happens
next, here in real-time.
355
00:14:07,720 --> 00:14:08,950
She falls out the way.
356
00:14:08,950 --> 00:14:09,790
He starts shooting.
357
00:14:09,790 --> 00:14:11,300
We pop back and forth.
358
00:14:11,300 --> 00:14:14,560
These are 10 frame, 16
frame, 18 frame shots.
359
00:14:14,560 --> 00:14:16,420
It all happens like lightning.
360
00:14:16,420 --> 00:14:20,620
It even seems faster
because of the fact--
361
00:14:20,620 --> 00:14:23,830
the juxtaposition that you're
coming off of slow motion
362
00:14:23,830 --> 00:14:24,700
into action.
363
00:14:24,700 --> 00:14:26,210
[SUSPENSEFUL MUSIC]
364
00:14:26,210 --> 00:14:28,675
So just to see it again.
365
00:14:28,675 --> 00:14:29,300
We're building.
366
00:14:29,300 --> 00:14:33,170
We're building in slow,
nightmarish, dream-like moment
367
00:14:33,170 --> 00:14:35,480
to Reese pulls the trigger.
368
00:14:35,480 --> 00:14:36,610
Everything pivots on that.
369
00:14:36,610 --> 00:14:37,610
And then it's just boom.
370
00:14:37,610 --> 00:14:38,060
Boom.
371
00:14:38,060 --> 00:14:38,360
Boom.
372
00:14:38,360 --> 00:14:38,900
Shot.
373
00:14:38,900 --> 00:14:39,500
Shot.
374
00:14:39,500 --> 00:14:40,400
Shot.
375
00:14:40,400 --> 00:14:41,640
Shot.
376
00:14:41,640 --> 00:14:42,140
Shot.
377
00:14:42,140 --> 00:14:42,780
Shot.
378
00:14:42,780 --> 00:14:43,280
Cut.
379
00:14:43,280 --> 00:14:45,680
It's 18 frames per cut.
380
00:14:45,680 --> 00:14:48,680
And it doesn't stop again
until we find out what
381
00:14:48,680 --> 00:14:50,300
happened to the Terminator.
382
00:14:50,300 --> 00:14:53,060
And he's on the ground not dead.
383
00:14:53,060 --> 00:14:54,420
Is he dead?
384
00:14:54,420 --> 00:14:57,290
And he's completely still.
385
00:14:57,290 --> 00:15:02,000
So what the shot is
saying is, he's dead.
386
00:15:02,000 --> 00:15:03,110
Or is he?
387
00:15:03,110 --> 00:15:04,225
No he's not.
388
00:15:04,225 --> 00:15:06,350
I could have gone straight
to him opening his eyes.
389
00:15:06,350 --> 00:15:10,310
But it was more
interesting to do the hand.
390
00:15:10,310 --> 00:15:12,860
So now the whole thing just
escalated to a new level.
391
00:15:12,860 --> 00:15:17,870
We cut to Sarah to show that
she saw the result of him
392
00:15:17,870 --> 00:15:21,560
taking six 12-gauge
rounds at close range
393
00:15:21,560 --> 00:15:23,360
and falling to the ground.
394
00:15:23,360 --> 00:15:25,730
She saw that he's getting up.
395
00:15:25,730 --> 00:15:27,740
Because it's important
later that she saw it.
396
00:15:27,740 --> 00:15:30,674
[GUNFIRE, SCREAMING]
397
00:15:35,080 --> 00:15:36,960
This is a case
where a low angle--
398
00:15:36,960 --> 00:15:39,180
a low wide-angle lens,
an 18 millimeter lens
399
00:15:39,180 --> 00:15:41,858
right on the floor,
makes him seem huge.
400
00:15:41,858 --> 00:15:43,650
Because now you want
to give him the power.
401
00:15:43,650 --> 00:15:45,540
Power has shifted.
402
00:15:45,540 --> 00:15:48,430
Reese had the power for a
moment, but it was ineffective.
403
00:15:48,430 --> 00:15:49,920
Now the Terminator has ascended.
404
00:15:49,920 --> 00:15:52,050
He's that which must be feared.
405
00:15:52,050 --> 00:15:55,470
He's that which is implacable
that can't be stopped.
406
00:15:55,470 --> 00:15:58,870
So you want to make him big
and powerful at this point.
407
00:15:58,870 --> 00:16:01,500
Here's a shot
that's, you know, I
408
00:16:01,500 --> 00:16:04,240
could have done this on a
different choice of lenses.
409
00:16:04,240 --> 00:16:07,140
This is actually a
relatively short lens
410
00:16:07,140 --> 00:16:09,003
very close to the weapon.
411
00:16:09,003 --> 00:16:10,920
And I found this out
when I was storyboarding,
412
00:16:10,920 --> 00:16:13,830
when I was photographing
my friend Bill Wisher
413
00:16:13,830 --> 00:16:18,470
and having him stick shotguns
out of my car in the--
414
00:16:18,470 --> 00:16:22,360
out in the-- out
at the city dump,
415
00:16:22,360 --> 00:16:27,640
that if I got a long
lens, I saw a small gun
416
00:16:27,640 --> 00:16:31,130
in the actor's hand relative
to the size of their face.
417
00:16:31,130 --> 00:16:36,000
If I moved in on a wider
lens, I saw a big gun
418
00:16:36,000 --> 00:16:37,330
that was right in front of me.
419
00:16:37,330 --> 00:16:38,940
It was scarier.
420
00:16:38,940 --> 00:16:41,700
So the instrument of
death became as important
421
00:16:41,700 --> 00:16:42,980
as the Terminator.
422
00:16:42,980 --> 00:16:44,760
And he sort of
becomes one with it.
423
00:16:44,760 --> 00:16:48,690
And it's because the wide
lenses seem to enhance
424
00:16:48,690 --> 00:16:50,760
the power of the shot.
425
00:16:50,760 --> 00:16:53,520
[OMINOUS MUSIC]
426
00:16:56,290 --> 00:16:58,750
Everything you do, every
decision you make, every lens
427
00:16:58,750 --> 00:17:02,140
choice you make, everything
that you ask an actor to do all
428
00:17:02,140 --> 00:17:05,560
adds up to a total
effect of a film.
429
00:17:05,560 --> 00:17:08,500
[OMINOUS MUSIC]
31553
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