Tag Archives: James Cameron

T2 4k 3D: Crunching The Terminator’s Numbers

Terminator 2: Judgment Day arrived in cinemas in the summer of 1991. Its main competitor was Robin Hood: Prince of Thieves with Kevin Costner (remember him?). I went to see T2 twice at the cinema back then. By the time of the second viewing, I was watching the Soviet Union collapse live on TV news. (There was nervous laughter in the cinema when John Connor said the line about the Russians: “Aren’t they our friends now?”) The film dealt with Cold War fears. Looking at it again in 2017, it was difficult not to think of the current North Korean standoff as images of nuclear destruction flashed up on the screen repeatedly. So, the film’s themes are still relevant.

Just as the film is about time travel, so the film itself now functions like a time machine, taking us back to a time when Arnold Schwarzenegger was the biggest movie star on the planet. That’s not the case now. He’s been replaced by a bunch of anonymous superheroes who dominate the box office (James Cameron was an early champion of CGI effects and T2 was the first film to use them extensively and effectively. You could argue that it created the tools necessary to bring all these comic book universes to life. Other films like Jurassic Park (1993) and The Mask (1994) consolidated the wow factor of CGI and proved it was here to stay. It reached its creative nadir with George Lucas’s Star Wars prequels which were like expensive cartoons.) Since Arnold’s return from politics, he seems to have lost that cocky charisma of old and looks bored and weary in movies now. He has also struggled to find decent vehicles to star in. Only Escape Plan with pal Sylvester Stallone hinted at a possible new direction for Mr. Schwarzenegger when he got a chance to speak German in a movie for the first time.

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Terminator 2 has none of those problems. Arnold is in his 90s prime and the film has been impressively upgraded to 4k and 3D by Jim Cameron.

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Terminator creator James Cameron

Knowing his technical expertise and perfectionist nature, it was clear this wasn’t going to be a run-of-the-mill restoration and it isn’t. The sound is incredible with thunderous gunfire and explosions (my ears are still ringing the morning after) and Brad Fiedel’s score gains a new lease of life in the mix. Glaring continuity errors have been corrected by Cameron with great subtlety. Some of the in-camera effects have dated, particularly the puppetry effects but Cameron has wisely allowed them to remain so as not to alter the heart of the film. It is a film from 1991 after all and he clearly didn’t want to get into endless nit-picking of his former work like Mr Lucas did with the Star Wars special editions (Greedo shot first, anyone?).

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Robert Patrick as the T-1000

Cameron got the casting spot-on too. Robert Patrick is a fantastic villain as the liquid metal T-1000. (Cameron didn’t have the money or the CGI to introduce this character in the first Terminator in 1984 and his inclusion makes this sequel one of the best.) Patrick’s wiry physicality and short stature give a David-and-Goliath look to his epic confrontations with the hulking Schwarzenegger.

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Arnold Schwarzenegger with a young Edward Furlong

Edward Furlong in his first film role is a revelation as the troubled, thieving tearaway John Connor. (A big difference from the Messianic future leader we’d heard so much about in the first movie.) His genial interplay with Schwarzenegger is the heart of this movie. Sadly, Furlong got into drugs and missed out on the third Terminator movie because of it and his absence from the series, along with Jim Cameron and Linda Hamilton, was a huge loss (some would say the series has never recovered from that.)

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The Dream Team: Schwarzenegger, Linda Hamilton and Eddie Furlong

T2 is at its weakest when it strains for significance, some of it coming across as cloying and the ticking of emotional boxes (Titanic struggled with some of the same issues). Some of the sequences are derivative, particularly the Cyberdyne building sequence which is clearly influenced by Die Hard. Still, Cameron is able to rise above his influences to create something memorable.

If your only reference point for the Terminator franchise is the woeful mess that was Terminator Genisys, I suggest you see Terminator 2 4k 3D on the big screen while you can. It still feels remarkably fresh and original (not hard in a time of comic book movie overload and lazy remakes). The humour hasn’t dated either with the audience laughing throughout at the gentle puncturing of Arnold’s tough image (it’s funnier than any of Schwarzenegger’s so-called comedies.)

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Cameron is hoping to re-release Aliens in 4k 3D, his other “best sequel ever made” and that would be most welcome from what I’ve seen here. He’s also returning to the Terminator franchise to produce a new trilogy of films starring Schwarzenegger (hopefully with Linda Hamilton and Edward Furlong back in the mix too to reunite the dream team). Shooting begins on the new movie in early 2018 with the director of Deadpool at the helm. He’ll be back, oh yes, he’ll be back.

© Stewart Stafford, 2017. All rights reserved.

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Aliens – The Best Sequel Ever Made?

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Ridley Scott’s Alien was released in 1979 and was a big hit. By 1986, it had faded away into the eerie mists of time somewhat when the sequel Aliens was unleashed by Twentieth Century Fox and writer/director James Cameron.

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Hot off The Terminator, Cameron was just the right guy to take on this sequel. He loved the original and had the sci-fi and technical know-how to push the franchise forward into thrilling new territory. Aliens was a huge hit that summer and earned Sigourney Weaver an Oscar nomination for Best Actress (unheard of for a science fiction movie at the time but indicative of the performance Cameron pulled out of her on set.)

Aliens, like all the best sequels, takes the original concept and expands upon it, deepening the meaning of it. We learn that Ripley’s first name is Ellen and that she had a daughter back on earth who died while she was drifting in space for 57 years (with nothing left for her back on earth, the traumatised Ripley is forced to return to the depths of space and confront her old alien enemy like the Minotaur in the labyrinth of legend.) We learn the name of the Alien species – the Xenomorph (interestingly, both Ridley Scott and Michael Fassbender are using that term to describe the Alien in interviews promoting the new film. James Cameron pulled off a similar trick in Terminator 2, another contender for best sequel of all-time, naming the liquid metal T-!000 a “mimetic poly-alloy.” T2 is making a welcome return in summer 2017 in a new 4k 3D version supervised by Mr Cameron.) The original Alien life cycle was based on an African wasp which lays its eggs under the skin of humans before the hatch out. Cameron expands this concept by making the Alien species a hive organism with a giant queen laying eggs at the apex of the hierarchy. Cameron even names the Alien planet LV-426. (They’re on LV-223 in Alien: Covenant, Ridley Scott again paying homage to the superior sequel Aliens.) The weapons and futuristic forklifts the space marines use delighted audiences with their ingenuity.

The film was shot at Pinewood Studios in England and the British crew gave Cameron a hard time as they thought they were making an inferior sequel to a British director’s classic original. They even dubbed Cameron “Grizzly Adams” at one stage. Cameron said: “The Pinewood crew were lazy, insolent and arrogant. We despised them and they despised us. The one thing that kept me going was the certain knowledge that I would drive out of the gate of Pinewood and never come back.” If you’re wondering why Cameron painted the Brits in such a bad light in Titanic, now you know.

 

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It was also a difficult shoot for Sigourney Weaver using flame-throwings, shooting weapons and having to carry two heavy guns strapped together and the child Newt on her hip. Weaver injured her back from it and you can tell from the way she struggles to run from the Alien Queen near the end.

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Jim Cameron was responsible for so many shoot-‘em-up moments in the 80s; The Terminator’s single-handed destruction of a police station, John Rambo’s single-handed destruction of the Viet Cong, the Soviets and the team of Nixonian American mercenaries who double-crossed him and left him for dead. He does it again in the finale of Aliens when Ellen Ripley lets rip with flame thrower, machine gun and grenade launcher to decimate the hated Alien Queen and her precious eggs. (Ripley has lost her daughter and denies the Alien Queen the right to be a mother also, a perfect and clever fusing of character arcs by Cameron.) Strange that by Avatar in 2009, Cameron’s heroes are a blue Smurf-like race worshipping a glowing tree like hippies on another planet. (There are FOUR sequels to Avatar coming in the next decade, folks. So prepare to make more love and not war, man!)

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As with the team of mercenaries in Rambo: First Blood Part II (co-written by Cameron), the team of colonial marines in Aliens are a bunch of arrogant jerks that get taught a lesson later in the film. The late, great Bill Paxton, back with Cameron again after a brief Terminator appearance, adds so much humour and energy to the film, even ad-libbing the line “Game over, man, Game OVER!” (his voice cracking with emotion on that last line brings the house down.) Most actors would try to steal scenes by being macho; Paxton does it by being a hysterical (and hysterically funny) coward. It’s a brilliant performance from a fine actor. RIP, Bill.

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Another Cameron regular, Michael Biehn, is a commanding presence and potential love interest for Ripley. He replaced James Remar not long into shooting and is a welcome addition to the film.

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In 1992, a director’s cut of Aliens appeared adding 17 additional minutes to the running time.

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That was the same year we got the shoddy Alien 3 and those extra 17 minutes were a soothing balm to seething fans of the franchise. All the characters we loved from Aliens were callously and stupidly killed off in the opening minutes of the third film. It immediately threw away any chance of being a worthy follow-up right then.

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Concept art for a possible fifth Alien movie

(Neill Blomkamp has proposed a fifth Alien film which ignored the disappointing third and fourth entries and continues where Aliens left off. James Cameron has approved the concept while Ridley Scott has shot it down saying it will probably never happen. Meanwhile, Ridley continues with his perplexing and unnecessary prequels. Not many people want them, they want the sequel that should have been but it seems as if it will never happen now. Fox need to give the audience what they want instead of forcing them to accept the opposite. Scott is doing what George Lucas did with Star Wars essentially; he directed the original but the sequel is better as with The Empire Strikes Back. Now, decades later, he is unwisely returning to direct a series of unwelcome prequels that only serve to remind us how great the first trilogy was and make us long for it again.)

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I’ll go see Alien: Covenant, but I’m not holding out much hope for it or the franchise. The prequels seem to be explaining too much about the Alien, robbing it of its mystique. We don’t need to know the xenomorph’s backstory, it’s a slimy monster that’s going to get you. That’s all we need to know. Fear of the unknown is the key to great horror films, but movie studios are determined to squeeze every drop of cash out of a franchise. Let’s hope they see sense and give us the one we really want – Neill Blomkamp’s Alien 5.

© Stewart Stafford, 2017. All rights reserved.

The Power of Dreams, The Richness of Nightmares

Dreams have inspired thinkers of all kinds to come up with great works throughout history. Author Salman Rushdie referred to it earlier this week as “the world of imagination and dream, the irrational world which is not subject to logic.”

The theory of relativity is alleged to have come to Albert Einstein in a dream. The genre of science fiction owes its existence to the nightmare Mary Shelley had that inspired her to write the novel Frankenstein in 1816. Bram Stoker had an erotic dream about female vampires ravishing him after a crab supper one night. That surreal spark lit the touchpaper of his classic vampire novel Dracula and became the “brides of Dracula” sequence.

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A nightmare inspired Stephen King to write The Shining:

“In late September of 1974, Tabby and I spent a night at a grand old hotel in Estes Park, the Stanley. We were the only guests as it turned out, the following day they were going to close the place down for the winter. Wandering through its corridors, I thought that it seemed the perfect – maybe the archetypal – setting for a ghost story. That night I dreamed of my three-year-old son running through the corridors, looking back over his over shoulder, eyes wide, screaming. He was being chased by a fire-hose. I woke up with a tremendous jerk, sweating all over, within an inch of falling out of the bed. I got up, lit a cigarette, sat in the chair looking out the window at the Rockies, and by the time the cigarette was done, I had the bones of the book firmly set in my mind.”

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A nightmare also inspired King to write Misery:

“I was on Concorde, flying over here, to Brown’s. I fell asleep on the plane, and dreamt about a woman who held a writer prisoner and killed him, skinned him, fed the remains to her pig and bound his novel in human skin. His skin, the writer’s skin. I said to myself, ‘I have to write this story.’ Of course, the plot changed quite a bit in the telling. But I wrote the first forty or fifty pages right on the landing here, between the ground floor and the first floor of the hotel.”

James Cameron was in Rome in the early 1980s. The production company behind his directorial debut Pirahna II: Flying Killers (you’re not missing much, folks) fired him. He was starving and penniless. In his hotel room, he had the “fever dream” that would lead to his big breakthrough – The Terminator:

“I was sick at the time. I had a high fever. I was just lying on the bed thinking and came up with all this bizarre imagery … I think also the idea that because I was in a foreign city by myself and I felt very dissociated from humanity in general, it was very easy to project myself into these two characters from the future who were out of sync, out of time, out of place.”

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Dreams can even inspire musical compositions. Singer/songwriter Sting keeps a diary of his dreams and he named his 1985 album “The Dream of the Blue Turtles” after one of them.

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Queen guitarist Brian May on how he wrote the classic track We Will Rock You:

“Queen played a gig at Bingley Hall near Birmingham. It was a popular venue at the time. It was a big sweaty barn and that night it was packed with a particularly vocal crowd. They were definitely drowning us out with their enthusiasm. I remember that even after we left the stage they didn’t stop singing – loudly. They sang You’ll Never Walk Alone, which is very emotional. Quite a choking thing really. I certainly found it inspirational. Later that night back at our hotel I said to the others, “That was great. So what should we do to continue generating that kind of energetic response?” I woke up with the We Will Rock You lyrics in my head and had it written in about 10 minutes.”

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A similar thing happened to Paul McCartney when he wrote The Beatles classic Yesterday:

“I just fell out of bed and it was there. I have a piano by the side of my bed and just got up and played the chords. I thought I must have heard it the night before or something, and spent about three weeks asking all the music people I knew, ‘What is this song?’ I couldn’t believe I’d written it.”

The idea for my first book The Vorbing also came to me through a dream. I’m not for one minute comparing myself or my book to the aforementioned works of genius. Their reputations are set in stone, mine has yet to begin. I am merely stating that the process was the same for me. It was in June 1996 that I had a nightmare, a fragment of a dream really about vampires. They were coming out of the sky and flattening people around me. I woke up and ran downstairs to type it up before I forgot it. I wrote a short story that would become the first chapter of The Vorbing. From there, I kept working on it every day that summer. I was not on the internet then, so there were no distractions. I recreated the world of my dream on the page and then expanded it to see where it would take me. I was about to start the second year of my acting course and was so lucky to continue being paid during the summer recess. I could put 100% into seeing if I could write a book for the first time. Somehow I did and it felt like climbing a mountain.

It did become an obsession. I had not chosen to write a book about vampires, they had chosen me to write about them for some reason and I couldn’t stop. Now, 19 years later, the book is nearly ready for release. It is a time of great excitement but also great uncertainty as I push my baby chick out of the nest to see if it can fly. Some will try to shoot it down, no doubt, but some will also give my baby a chance and nurture it. Vampires should fly at Halloween and this year, The Vorbing takes flight.

“I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams” – William Butler Yeats

© Stewart Stafford, 2015. All rights reserved.

Terminator Genisys – A Terminator Too Far

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[N.B. This review contains spoilers, so if you haven’t seen the film yet, you might want to watch it first before reading this. You have been warned.]

It’s sad to witness great ideas being run into the ground but that’s exactly what you get in Terminator Genisys. James Cameron’s cool, iconic, anti-hero android assassin is reduced to a grandfatherly irrelevance spouting boring exposition in the background (“You’re a relic from a deleted timeline!” says the villain to Arnold at one point and it just about sums up how he and his character are treated in this). It reminded me of the last Indiana Jones film where Harrison Ford was literally a backseat passenger most of the time while the younger Shia LaBeouf did all the action. Here Jai Courtney is the younger man given much more to do. It just doesn’t work. The movie is called Terminator for a reason.

It starts well, we finally get to see the moment Skynet gets defeated in a future war prologue and their Terminators, tanks and aerial machines come to a screeching halt. Except, if you’ve read the novelisation of Terminator 2, all of that was in there. James Cameron even planned to film the segment himself in Terminator 2 but ran out of time and money. So that’s a lift from T2. So is Arnold’s fake cyborg smile. Oh and the whole plot about the destruction of Cyberdyne. The first movie gets pilfered too even down to trite lines like “I’ll be back” and “Come with me if you want to live.” It’s time to park those lines and try to come up with new ones or better yet leave us with our memories.

James Cameron got the casting of Sarah Connor and Kyle Reese so right in Linda Hamilton and Michael Biehn, they brought so many different things to the role. The same can’t be said of the tiny Emilia Clarke and Aussie Jai Courtney in the same roles here. There’s no charisma or spark between them. It’s like the makers wanted a slice of the Marvel audience. They reckoned there’s a generation of kids who’ve never seen a Terminator movie. So they took the best bits of the other movies, recast it with young actors and made sure it got a kiddie-friendly 12-rating (there’s no random murders of women called Sarah Connor or bloody massacres in police stations here, just look at the way they rewrite the scene where The Terminator kills three punks who won’t give him their clothes. They wimp out and go for the soft option. The Terminator has lost his edge completely.) It’s also a great shame that neither Christian Bale nor Edward Furlong returned as John Connor, he’s played by another Aussie and the second Clarke in the movie (not related), Jason Clarke. He’s okay even though he bears an uncanny resemblance to the wrong Sarah Connor shot by Arnold back in the 1984 original.

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On the positive side, we do get to find out that the mother of Kyle Reese, the father of the saviour of humanity, is Irish (knew it! He he.) Plus, there’s a nice reference to The Addams Family when one of the cops sees Arnold and asks: “Who’s Lurch?” (Sarah Connor’s pet iguana in the first Terminator film was called Pugsley, also a nod to The Addams Family.) These flashes of inspiration are few and far between. The jokey dialogue doesn’t really work either.

James Cameron has given Terminator Genisys his blessing but I think he’s being kind to his old pal Arnold Schwarzenegger to help him have a big opening weekend (even so, it’s made $10 million less than predicted at the US box office in its first three days). Paramount had hoped to do two sequels in 2017 and 2018 before the rights automatically revert to James Cameron in 2019. Arnold Schwarzenegger is nearly 70 years old now. It might be best to finally throw The Terminator onto the scrapheap. The thrill has most definitely gone.

© Stewart Stafford, 2015. All rights reserved.

Back To Black: From Exterminator to Ex-Terminator?

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I’ll never forget the first time I saw the movie “The Terminator.” Even though it had been made in 1984, I didn’t catch up with it until October 1986. My parents had gone out for the night to my cousin’s 21st birthday party and I was left alone to watch whatever I wanted (a new and thrilling experience for a teenage boy!). They had also gone out the previous Friday and I’d rented a double bill of Bruce Lee movies (inspired by the early Jean Claude Van Damme movie “No Retreat, No Surrender” where Bruce Lee returns from the dead to teach a young guy how to overcome the evil Muscles from Brussels.)

This time I decided to choose a movie I’d had my eye on for a while. I had seen the phonebook-sized VHS cover with the word Schwarzenegger on it. I didn’t know who Schwarzenegger was, but the name sounded foreign, unpronounceable and vaguely threatening. He also looked cool in his shades, leather jacket and with his gun raised up by his face. I had no idea who James Cameron was either (I didn’t particularly notice or care about movie credits then). I think I’d gotten it mixed up in my head with a film called “The Exterminator” that my friends had told me about in school. They said something about The Exterminator putting a gangster in a mincing machine and teenage boys love a bit of cartoon gore like that. So, after school, I cycled over on my Raleigh racing bike and booked “The Terminator” before anyone else could.

As soon as my parents went out, I popped the cassette into our suitcase-sized Blaupunkt video recorder. I had no idea of the unique quality of the movie I was about to watch. From the moment the future war sequence appeared on the screen, I knew I was watching something really different. Then this legend appeared:

The machines rose from the ashes of the nuclear fire.
Their war to exterminate mankind had raged for decades, but the final battle would not be fought in the future.
It would be fought here, in our present.

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I was spellbound. After the eerie opening images of Skynet’s probes and flying Hunter Killers (the precursors of today’s drones?) prowling the rubble of a skull-covered WMD-flattened city (the nuclear nightmare of every kid who grew up from the late 1940s to the late 1980s, including myself), there was now the promise of something even more exciting. How good was this movie going to get?

After the ominous Terminator theme tune by Brad Fiedel, we get to the time-travellers who in arrive in Los Angeles circa 1984. James Cameron, like John Carpenter before him, proves himself to be a master of atmosphere (indeed, the music for “Halloween III: Season of the Witch” and “The Terminator” are very similar in parts and both movies deal with killer robots masquerading as humans). Both directors know how to use silence and shadows and even humour before hitting the audience with big shocks. The Terminator does ape the noirish photography, electronic soundtrack and editing techniques (Mark Goldblatt also edited Halloween II three years previously) of the Halloween series which was probably a clever move by Cameron as they were hugely popular at the box office then.

I was thrilled by Michael Biehn’s theft of a pair of Nike running boots as, believe it or not; I was wearing an identical pair of them as I watched this movie. I had bought them when I was on holiday with my family during the summer of 1986 and they served me well. The similarity in our footwear convinced me that this was a movie for me!

To cut a long story short, I was completely hooked from start to finish on the movie. I didn’t want it to end. But end it did and I turned over to watch one of those naughty “Red Triangle” movies they were screening on Channel 4 at the time. This one turned out to be Japanese.

Two months later, I went to see “Aliens” with my brother after he came home from America. (30,000 people emigrated from Ireland in 1986; my brother was one of them). So I suddenly got a double dose of James Cameron’s first movies all at once.

James Cameron, wanted “The Terminator” to be a film “that a twelve-year-old would think was the most rad picture he’d ever seen,” but also one “that a forty-five-year-old Stanford English professor would think had some sort of socio-political significance between the lines.” I can understand both perspectives looking at the film now and remembering my teenage experience of it that Friday night.

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In Terminator 2: Judgment Day, as happened with the edgy protagonists in the Dirty Harry and Lethal Weapon franchises, the Terminator character is softened greatly. He becomes a family-friendly, wisecracking father figure and is no longer the ruthless, casually homicidal character he was in the first film. The character and the sequel lost the intense, nihilistic feel of the original by letting the audience off the hook through comic relief. The end of the world doesn’t seem so terrifying if you’re laughing at it. It coincided with Schwarzenegger’s initial forays into politics and his association with the Kennedy family through his marriage to Maria Shriver and campaigning for President George Bush Sr. So it could have been an overt attempt by Arnold to exercise his star power and reboot his image. There is also the possibility that the studio and/or James Cameron wanted to tone down the violence to get a lower age rating for the movie to make more money and that it did (The Terminator got an 18 certificate age rating in the UK, Terminator 2 got a 15).

I’m looking forward to seeing Cameron’s “Avatar” sequels, whenever he brings out a movie you’re going to sit up and take notice. He’s hired the writers of Spielberg’s War of the Worlds and Rise and Dawn of the Planet of the Apes to help him with the “Avatar” sequel scripts and they’re talented scribes. It should be interesting to see what they come up with. The fourth sequel to Cameron’s The Terminator, “Terminator Genisys” is coming out in summer 2015. (Schwarzenegger’s movies since his comeback after politics haven’t been great. Escape Plan with his pal Stallone is easily his best post-Governor movie and performance. The rest have been forgettable and Arnold looks tired and bored in them with no sign of his old charisma or one-liners.) The Terminator has undergone another image change for “Terminator Genisys” to reflect where Arnold is now and his android assassin will have grey hair in the new film. Yes, will people take to a granddaddy cybernetic organism? We shall see.

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So Arnold Schwarzenegger and James Cameron, like The Terminator, will be back, if separately. Let’s hope they can reach the levels that they did with their unforgettable first collaboration. If not, we can always time travel to the original again any time we want by putting it on our TVs. Arnold’s not an ex-Terminator yet.

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© Stewart Stafford, 2015. All rights reserved.

The Science Fiction Faction

For me, the term science fiction is something of a misnomer. For me, science fiction is “science yet to be.” It’s amazing how the sci-fi films of the 80s and 90s have influenced our modern world.

1990’s Total Recall, seen as a classic at the time, is now pounced on by today’s generation as being not very good because its innovations are with us now from its then-futuristic webcam chats to body scanners at airports (although they still haven’t got around to making that touchpad device that turns a girl’s fingernails different colours on command). The pilotless flying machines in The Terminator(1984) that were called HKs or Hunter-Killers are quite clearly the prototype for the drones we have prowling our skies today (they’re even called Predator drones after another Schwarzenegger sci-fi film)

You could argue that H.G. Wells predicted all this with his Martian fighting-machines in his book The War of the Worlds in 1898. Or did the designers of mechanised warfare in the 20th century take their cue from Wells himself? I believe they did. Writers have the luxury of creating worlds in the freedom of their imaginations. There are no budgetary constraints. No chains of command or standard operating procedures to adhere to. They can play out their scenario in full and demonstrate its effectiveness which perhaps inspires those in power to emulate their proven hypothesis.

Mary Shelley’s Frankenstein sits at the heart of the science fiction spider web. Her 1818 novel concerned itself with things we are still worried about today, especially in this interconnected online virtual reality world most of us live in 24/7. Where is all this technology going? Is our humanity being swamped by it all? Will it one day overwhelm us, its creators, and take over as Frankenstein’s creature did? What sort of world will that be? James Cameron extrapolated on those fears to spectacular effect in his Terminator movies (surely Schwarzenegger missed his calling with Frankenstein. In his prime, he did resemble something someone had constructed instead of a real human being or “a condom stuffed with walnuts” as Clive James once described him.) Those fears are also in everything from 1927’s Metropolis to Westworld in 1970s, Robocop in the 80s and The Matrix in the 90s.

Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde novella from 1886 is another cornerstone of the science fiction genre. He had two different personas inhabiting the same body. That idea is the basis of every comic book superhero movie from Superman (Kal-El/Clark Kent) and Batman (Bruce Wayne/Batman) to Spider-Man (Peter Parker/Spider-Man), etc. It has also served sci-fi’s cousin genre, the horror movie, well in Psycho (Norman Bates/Mother) and The Exorcist (Regan/Pazuzu The Demon).

Science fiction is the exploration of innovations, not necessarily in a futuristic world, but the very projection of forward-thinking ideas does shape the construction of those worlds. Even if the influence is indirect, it is still fuelling reality through pop culture filtering into the public consciousness. The science “fiction” tag is dismissive to me, as if to label it ludicrous and put it in an unreal box. The cliché that the pen is mightier than the sword, like all clichés, has a basis in fact. Ideas really can and have changed the world. It is happening every day all around us. Fiction has been the launch pad of progress so many times and will continue to be in the future. Dismiss it as science “fiction” at your peril.

© Stewart Stafford, 2014. All rights reserved.