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[MUSIC PLAYING]
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JAMES CAMERON: Arnold
Schwarzenegger sucked up
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a whole bunch of our budget.
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What we had left to make
the movie wasn't a lot.
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It was around-- around, as
I said, around $4 million
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for a-- for a pretty ambitious
film of a lot of big action
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sequences.
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And, as anybody knows,
night street photography
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can be expensive, big action
sequences are expensive,
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big stunts are expensive.
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Visual effects, creating a
future world is expensive,
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and doing prosthetic
makeup can be expensive.
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But, you know, I
also knew that it
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could be done on a
shoestring because I'd
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worked for Roger
Corman for a few years
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and we'd done all that stuff.
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So, once again, the
key was preparation.
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So clearly these
storyboards were
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drawn in that-- in
that six-month interval
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after I knew I had Arnold
and I had time to plan.
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So this is clearly--
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Arnold has been-- his
likeness has been incorporated
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into the storyboards.
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So he enters the room.
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He's a shadowy figure.
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He turns on the light.
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We see the effect of
Reese's firing back at him
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and the car chase and
the crash and everything.
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His eye has been smashed,
it's swollen shut.
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We're starting to realize that
he's partially biological,
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that he's a cyborg.
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And-- but we don't know exactly
why he's-- we don't know yet
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why he's bulletproof.
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We don't know he has this--
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we don't know that he has
this endoskeleton inside him.
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We just know that he seems
to be kind of bulletproof,
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but we don't know why.
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And we're being led
to believe that he's
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a biological organism.
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He's bleeding, he's
swollen, and so on.
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So it's-- in a funny way,
it's kind of a misdirect.
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So he sits down,
he looks at a place
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where his arm was hit by
Reese's 12-gauge shotgun.
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And he's prepared
himself in advance
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in case he needs repairs.
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He reaches over, picks
up an X-Acto knife,
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and it begins to
cut his wrist open.
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And then I even took the liberty
of working with my friend
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Stan Winston to figure out
how we were going to do it,
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because we wanted to see
his hand moving, we wanted
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to see the actuators, the
hydraulic actuators moving
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in his forearm.
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And so we came up with
the idea that he would--
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he would hide his real arm.
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He would have a false
arm, and there'd
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be a puppeteer underneath
the table coming up
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through a hole in the desk.
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His hand was inside a sort of
glove that continued this way.
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It was actually quite
a clever solution.
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I incorporated that
into the storyboards.
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That's how Stan and I decided
that we were going to do it.
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So he cuts his
wrist, and then he--
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you know, we see him--
we see him working.
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We don't see what he's doing,
we don't see the surgery step
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by step.
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He puts down the X-Acto knife.
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A little bit of blood on it.
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And then we see
the result of it.
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Now I had elected that he
basically kind of flayed open
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all of the skin of his
forearm and we all--
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we see the mechanism underneath.
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And this was meant
to be the big reveal.
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He's a cyborg.
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He's a machine with some
kind of fleshy outer coating.
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When we actually
did the scene, we
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wound up with it being a
more contained surgical site,
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and I don't remember
the reason for that.
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Maybe they just decided
it was easier to do
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or maybe we were
a little concerned
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about our-- the graphicness
of that for the rating.
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So now let's take a
quick look at the scene.
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Let's see where the
storyboard led us.
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So I'll go back to the
beginning storyboard here.
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All right.
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So we've got the character
coming in a window.
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The character appears, throwing
their shadow on a window.
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For a lighting effect, we
went with a Venetian blind
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so that we could get that kind
of German expressionistic kind
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of feeling with the shadows
thrown by a Venetian blind.
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There's a fire escape ladder
here, fire escape ladder here.
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Different orientation, but
it's the same visual cue.
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We're in a higher
level of the building.
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He's coming in the
back way, so we
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didn't have to go through the
lobby and up the elevator.
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He's come up the fire escape.
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There's some kind of
neon sign outside.
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It sort of tells us
we're still urban
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and we're in some flophouse
that's on-- on an upper level.
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We can tell it's
kind of a flophouse
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because it's-- it's decorated
in a very crude way.
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He walks in as a silhouette.
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We don't see much.
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And he puts on the light,
and we go to the close-up.
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Light bulb is in frame.
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This is tracking very
closely to the storyboard.
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Here's the storyboard.
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Light bulb's in frame.
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Naked light.
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And we see his injuries.
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And that's very
much what we shot.
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So we had a very clear
intention with the scene.
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We knew beat by beat
what we were doing.
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So stylistically we're
right in the zone,
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we knew what we were doing
because we drew it up.
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It starts with the art.
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And so these-- these drawings
are not only storyboards,
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but they're also, in a sense,
design drawings or style guide.
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So go to the next-- next series.
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He reveals the injury and
he starts to do the surgery.
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And that's literally
the next cut.
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So here, he sits down, and the
reason we decided to do this
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was to show the audience
that there wasn't a hole here
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with a puppeteer underneath--
to implant subconsciously
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in the audience's mind that
it is just a normal table.
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He puts his hand on the table.
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He reveals the wound.
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And then he reaches
for the X-Acto knife.
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And I knew that that
was a critical cutting
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piece that we needed.
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That's this shot.
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So this was just a, you
know, 100-millimeter macro
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shot that we did deep
in post-production.
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I probably-- I probably
did this shot for 20 bucks.
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Shot it myself, you know?
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I didn't waste
time on my inserts
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when I was shooting with
Arnold Schwarzenegger.
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I picked my battles.
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And I knew that I could
pick up all kinds of stuff
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later down and
dirty on the cheap
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just by renting a camera
and a couple of lights,
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and I think we--
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I think we shot this on
my desk at my apartment.
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But, knowing that you
have that cut, now
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in the next shot we see, geez,
it looks the same, right?
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Except it's not.
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We've gone to this other setup.
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We've gone to this setup.
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And now you could
use and blend it.
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He could put his
hand down and then
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you could literally blend to
the-- the other practical gag
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and it would be seamless.
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But who cares?
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It worked.
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So he starts to
cut that same arm
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that you think is Arnold's
arm that he just set down.
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Now he's-- now he's
hogging into it.
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We cut to Arnold.
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There's a known cutaway
that was known ahead
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of time, planned ahead of time.
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He sets the knife down.
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That's this shot.
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There's Arnold working,
there's the knife going down,
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and then we're going to reveal
what it is he's been doing.
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And he reaches in with
a pair of forceps.
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Again, using inserts to create
tension and a sense of detail.
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And he's opened
up his arm and we
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see the actuators
moving inside the arm
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and we actually
even punch in on it.
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But the key to it was to hold
in this tilt down where we're
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coming off his face
down, down his arm.
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We have no reason to think
it's not Arnold's arm,
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and we see it moving,
and through the hole,
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we can glimpse the actuator.
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So how'd they do that?
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I mean, you've got to
remember, this is 1984.
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So I think anybody that studies
a sequence can kind of see
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how it's done now,
but the point is,
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that with a little planning,
a little ingenuity,
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working with the right
people and Stan Winston--
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he was just coming
up at the time,
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he became one of the top
world-class prosthetics
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and makeup effects
designers, you figure it out.
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You figure it out ahead
of time, you draw it up,
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and if it works in a drawing,
it's going to work on film.
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Because film is also
about image replacement
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and image retention.
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So seeing Arnold put his arm
down and then cutting back
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to a very similar angle where
it's not his arm, it's now--
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it's now your effects gag,
creates the impression that
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it's still his arm, and when
you cut it open, you're--
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Arnold's cutting his arm open.
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So once again, the emphasis
here is on-- is on planning.
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When we go to the next
sequence where he operates
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on his eye, very similar thing.
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The payoff is the moment where
he sticks the exact knife
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into his eye.
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Well clearly we're not having
Arnold Schwarzenegger stick
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an X-Acto knife into his eye.
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So this is what we came up with.
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That we'd have a
puppet head that
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was actuated by a puppeteer's
hand inside the head.
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And there'd be one
person who was pretending
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to be Arnold's right arm and
a completely other person
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was pretending to be
Arnold's left arm.
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And as memory serves, I
think Arnold was actually
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one of the people.
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So we actually got his real
hand on-- on one of them.
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And so once again,
the frame is--
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it's what's outside of the
frame you're not processing--
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you're not able to process.
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You're only given what's
inside that frame.
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So here he is cutting
into his eyeball,
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and this is the puppet head.
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And here's-- here's one person's
hand and here's the other
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person's hand.
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And you can see that they--
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they map very well to
each other in terms of--
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of how the shot was done.
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And you're led to
believe that it's Arnold,
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or at least you're not quite
sure of how it's being done.
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And then here, he's
just faking it.
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If you look very carefully, if
I were to stop it on a frame--
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and this is just kind of
looking behind the scene,
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there's no blade in
that X-Acto knife.
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We're not going to
have Arnold screw
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around with an X-Acto
knife up next to his eye.
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Safety was more important
than us being seen.
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And there was no digital way
to put the blade in back then.
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Now, you could have
him poke himself
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in the face with a-- with
a bladeless X-Acto knife
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and put the blade
in later and even
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see it come out of
his skin or whatever,
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it'd be very easy to do.
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In those days I
just took the chance
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that people wouldn't see it.
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And they don't see it.
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Because they see
what they expect
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to see, up to a certain
point, unless you really
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play fast and loose.
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There's even one shot earlier
in the sequence that's even more
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blatant, and it's this one.
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He literally is just
raising an X-Acto knife
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that has no blade in it.
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But we want there
to be a blade there.
245
00:11:41,280 --> 00:11:43,940
And I don't remember anybody
raising a fuss about it
246
00:11:43,940 --> 00:11:44,510
at the time.
247
00:11:44,510 --> 00:11:46,610
Now, of course, with
internet trolls,
248
00:11:46,610 --> 00:11:49,470
it'll be all over the
place within 24 hours.
249
00:11:49,470 --> 00:11:50,960
Aha, those idiots.
250
00:11:50,960 --> 00:11:53,240
But at the time, there
was a willing suspension
251
00:11:53,240 --> 00:11:58,150
of disbelief, because effects
were cruder back in that day.
252
00:11:58,150 --> 00:12:01,080
And as-- the farther you go
back, the cruder they were.
253
00:12:01,080 --> 00:12:03,900
The willing suspension
of disbelief was greater.
254
00:12:03,900 --> 00:12:05,910
Now, the willing
suspension of disbelief
255
00:12:05,910 --> 00:12:08,598
is not as great, so you've
got to be even better.
256
00:12:08,598 --> 00:12:10,890
But the good news is, the
effects techniques are better
257
00:12:10,890 --> 00:12:11,730
and they're cheaper.
258
00:12:11,730 --> 00:12:14,370
So you meet-- you
meet the demand.
259
00:12:14,370 --> 00:12:16,050
It's a constant dance.
260
00:12:16,050 --> 00:12:18,408
But, you know, just
full disclosure,
261
00:12:18,408 --> 00:12:19,950
there's no blade in
the X-Acto knife,
262
00:12:19,950 --> 00:12:22,075
and it's right there in
front of God and everybody,
263
00:12:22,075 --> 00:12:24,480
and people want to see
that there's a blade there,
264
00:12:24,480 --> 00:12:26,310
and so they do.
265
00:12:26,310 --> 00:12:30,540
So once again, a
very low-budget film
266
00:12:30,540 --> 00:12:34,080
that was trying very, very
hard to punch above its weight.
267
00:12:34,080 --> 00:12:38,250
And when I see it today, you
know, it more or less holds up.
268
00:12:38,250 --> 00:12:40,920
There's a lot of little
cringey moments, you know?
269
00:12:40,920 --> 00:12:42,720
But I think it did
manage to punch
270
00:12:42,720 --> 00:12:44,850
above its weight for
its-- for its time period.
271
00:12:44,850 --> 00:12:46,860
And that's what you
always want to aspire to,
272
00:12:46,860 --> 00:12:50,590
I think, as a filmmaker
working on a low budget.
273
00:12:50,590 --> 00:12:52,560
Try to look like more
than what you had.
274
00:12:52,560 --> 00:12:55,910
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