PAST, PRESENT & FUTURE

TERMINATORTHE

TERMINATORTHE

BYRYAN MACEACHERN

PASTJOURNEY p12ARNOLD SCHWARZENEGGER p14“NICE NIGHT FOR A WALK.” p18SPARE A THOUGHT FOR LANCE HENRIKSEN p22JAMES CAMERON p24“THE UZI 9MM” p26JOURNEY 2 p28HOW WASHINGTON D.C.S GUN BAN LEAD TO A CRIME WAVE IN THE 80’S p32“PROBABLY ON PCP, BROKE EVERY BONE IN HIS HAND” p38PCP ADDICTION STATISTICS p42L.A. RIOTS p45

PRESENTTERMINATOR SALVATION p56JAMES CAMERON p62AVATAR OVERTAKES TITANIC AS TOP GROSSING FILM EVER p64JOURNEY 3 p66ARNOLD RETURNS p72WHAT’S YOUR WORST NIGHTMARE? p80NORTH KOREA BRANDS US ENEMY OF THE STATE p100

THE TERMINATOR

006

CONTENTS

FUTUREJOURNEY 4 p108LONE GUNMEN KILLS NORWAYS FUTURE LEADERS p110TIME TRAVEL THEORY p118HARLAN ELLISON p124CAMPAIGNERS CALL FOR INTERNATIONAL BAN ON “KILLER BOTS” p136

PENTAGON DEVELOPING AUTONOMOUS HUMANOID ROBOTS TO “PERFORM EVACUATION OPERATIONS” p140

007

CONTENTS

IN THE YEAR OF DARKNESS, THE RULERS OF THIS PLANET DEVISED

THE ULTIMATE PLAN. THEY WOULD RESHAPE

THE FUTURE BY CHANGING THE PAST. THE PLAN REQUIRED

SOMETHING THAT FELT NO PITY. NO PAIN.

NO FEAR. SOMETHING UNSTOPPABLE.

013

The idea for The Terminator came to Cameron

while he lay sick in a bed in Rome during post-

production on his first feature, Piranha II.

“I came up with the entire plotline all on one

wallop,” Cameron recalled, “pretty much as it

was later filmed, though it took many months

of fine-tuning to work out the characters and

everything else in detail.” An aspiring comic

book artist as a kid, Cameron acknowledged that

he “work(s) visually first, even as a writer.

This whole film evolved out of the central images

of the robot emerging from the fire.”

“THE FILM EVOLVED OUT OF THE CENTRAL IMAGE OF THE ROBOT EMERGING FROM THE FIRE”Drawing further from the other major film

influences in his life, the German impressionist

films of the 1930s and film noir of the 1940s,

Cameron soon produced a 45-page treatment of The

Terminator. He gave it to co-writer/producer

Gale Ann Hurd, another disciple of Roger

Corman’s crash-course school of filmmaking,

who immediately fell for the story and helped

Cameron to get it made. But he needed a

star. Someone to fill the mighty shoes of the

Terminator.

JOURNEY

THE TERMINATOR

014

Arnold Schwarzenegger has had a life unlike many

other individuals. Born in Thal, Austria, in

1947,

Schwarzenegger always dreamed of moving to the

United States. In Austria, he was extremely

athletic and participated in a number of sports.

Schwarzenegger’s father wanted his son to follow

in his footsteps and become a policeman, but

he chose to pursue a career in bodybuilding due

to his immense strength. Bodybuilding became a

major motivation in Schwarzenegger’s decision to

emigrate. When Schwarzenegger moved to the United

States at the age of 21, he could barely speak

a word of English. To help remedy this problem,

Schwarzenegger took English classes from Santa

Monica College in California. Schwarzenegger

knew that he would never become known as a famous

bodybuilder without having a strong command of

English.

ARNOLDSCHWARZ-ENEGGER

015

Schwarzenegger had his interest

sparked in bodybuilding from a

young age and began a training

routine when he reached his

teens. When he first arrived from

Austria, Schwarzenegger began

weight training at a Los Angeles

gym. Schwarzenegger had a desire

to become the greatest bodybuilder

in the world; something, which

he felt, was possible. In order

to achieve this, capturing the

Mr. Olympia title was a necessary

requirement. After losing to a

three-time champion on his first

attempt in 1969, Schwarzenegger

won the title the next year. This

Mr. Olympia title became the first

of many that helped establish

Schwarzenegger as one of the

greatest bodybuilders of all time.

Training at Gold’s Gym,

1974

THE TERMINATOR

018

EXT. PLAYGROUND - NIGHT 3

A beer bottle SMASHES on the ground. PULL BACK

to include its ex-owner and his two compatriots,

YOUTH GANG MEMBERS, lounging on the jungle gym of

a deserted playground. They sport nondescript

PUNK REGALIA...torn T-shirts, fatigue pants,

combat boots or high-top sneakers, leather

jackets.

The leader notices something and sits up.

LEADER

(pointing)

Hey, hey...what’s wrong with this picture?

Seen past the lounging toughs, Terminator walks

into a pool of streetlight, striding purposefully

toward them.

They slide from their perches and drop easily to

the ground like liquid shadows.

LEADER

Nice night for a walk, eh?

Terminator stops in front of them.

TERMINATOR

(without inflection)

Nice night for a walk.

They surround him, all swagger and malicious

good humor.

SECOND PUNK

Washday tomorrow, huh? Nothing clean, right?

Terminator eyes them without expression,

unhurried.

Reptilian.

TERMINATOR

Nothing clean. Right.

LEADER

This guy’s a couple bricks short.

Terminator turn to the second punk, ignoring the

others.

TERMINATOR

Your clothes. Give them to me.

The punks exchange glances, dismayed.

TERMINATOR

(coldly)

Now.

SECOND PUNK

(bracing)

Fuck you, asshole.

019

Without warning Terminator hammer-punches him in

the temple, flinging him with a CLANG into the

jungle gym. He drops to the ground in a still

heap.

The leader whips out his SWITCHBLADE and slashes

in one motion. Terminator catches the knife-

wielder’s wrist in an inhuman grip. He punches

the leader with piledriver force just below the

breastbone.

ANGLE - PAVEMENT, as the knife clatters down.

The punk’s combat boots are on tiptoe, barely

touching the ground.

ANGLE - TWO SHOT, Terminator and the leader

close together.

The punk’s eyes are wide, his veins distended

with an agonizing pressure. Terminator jerks

his fist back with a WET SOUND and the other

drops OUT OF FRAME.

The last tough is stumbling away, gaping with

terror. He backs into a chainlink fence, turns

to run along it, finds he is in a corner.

Terminator takes a step toward him, his gaze

ominous.

The punk begins shakily stripping off his

clothes.

Thunder peals overhead.

Once Cameron had sweated out that dream of the

endo-skeleton rising from the fiery inferno

and had fleshed it out into a full script,

he’d always imagined his title character as

an anonymous killing machine, a wiry Everyman

who could blend into a crowd. Not very Arnold

Schwarzenegger, but very Lance Henriksen. Cameron

had earmarked Henriksen after working with him

on Piranha II (after briefly considering OJ

Simpson, who, producer Gale Anne Hurd said, “was

athletic and had a kind face, the sort of face

you wouldn’t associate with a machine built to

kill...” - ahem) and the actor indulged in a

little bit of extra-curricular acting in order

to help Cameron get the film financed.

“I went into Hemdale [the prospective financial

backers] decked out like the Terminator,”

Henriksen recalls. “I put gold foil from a

Vantage cigarette package in my teeth and waxed

my hair back. Jim had put fake cuts on my head.

I wore a ripped-up punk rock t-shirt, a leather

jacket and boots up to my knees. It was a really

exciting look. I was a scary person to be in a

room with. I kicked the door open when I got

there and the poor secretary just about swallowed

her typewriter. I headed in to see the producer.

I sat in the room with him and I wouldn’t talk

to him. I just kept looking at him. After a few

minutes of that he was ready to jump out the

window!”

John Daly, Hemdale’s big chief, was sold. Teaming

up with Orion and HBO, Cameron and his producer

wife Gale Anne Hurd had their movie. That dream

was now about to become widescreen reality.

022

SPARE A THOUGHT FOR LANCEHENRIKSEN

THE TERMINATOR

Cameron was born in Kapuskasing, Ontario, Canada,

in 1954, he grew up in Chippawa, Ontario, with

his only brother Mike. He attended Stamford

Collegiate School in Niagara Falls, Ontario. In

1971, his family moved to Brea, California, when

Cameron was 17 years old.

After seeing the original Star Wars film in

1977, Cameron quit his job as a truck driver to

enter the film industry. When Cameron read Syd

Field’s book Screenplay, it occurred to him that

integrating science and art was possible, and he

wrote a ten-minute science fiction script with

two friends, entitled Xenogenesis. They raised

money and rented camera, lenses, film stock, and

studio, and shot it in 35mm. To understand how

to operate the camera, they dismantled it and

spent the first half-day of the shoot trying to

figure out how to get it running.

Xenogenesis was the first film Cameron made,

He was the director, writer, producer, and

production designer. He then became a production

assistant on a film called Rock and Roll High

School, uncredited in 1979. While continuing

to educate himself in filmmaking techniques,

Cameron started working as a miniature-model

maker at Roger Corman Studios. Making rapidly

produced, low-budget productions taught Cameron

to work efficiently and effectively. He soon

found employment as an art director in the sci-

fi movie Battle Beyond the Stars (1980). He did

special effects work design and direction on

John Carpenter’s Escape from New York (1981),

acted as production designer on Galaxy of Terror

JAMESCAMERON

(1981), and consulted on the design of Android

(1982).

Cameron was hired as the special effects director

for the sequel to Piranha, entitled Piranha II:

The Spawning in 1981. The original director,

Miller Drake, left the project due to creative

differences with producer Ovidio Assonitis,

who then gave Cameron his first job as overall

director. The interior scenes were filmed in

Italy while the underwater sequences were shot

at Grand Cayman Island.

The movie was to be produced in Jamaica. On

location, production slowed due to numerous

problems and adverse weather. James Cameron was

fired after failing to get a close up of Carole

Davis in her opening scene. Ovidio ordered

Cameron to do the close-up the next day before

he started on that day’s shooting. Cameron

spent the entire day sailing around the resort

to reproduce the lighting but still failed to

get the close-up. After he was fired, Ovidio

invited Cameron to stay on location and assist

in the shooting. Once in Rome, Ovidio took over

the editing when Cameron was stricken with food

poisoning. During his illness, he had a nightmare

about an invincible robot hitman sent from the

future to kill him

024

THE TERMINATOR

29 INT. PAWN SHOP - DAY 29

TIGHT ON GLASS COUNTERTOP as an AR-180 ASSAULT

RIFLE WITH SCOPE is laid beside a number of

other guns: a COLT K-MODEL .45 ACP, a SMITH AND

WESSON .38 FOUR-INCH.

TERMINATOR (V.O.)

...the Remington 1100 Autoloader...

WIDE as the CLERK, who looks like a sick lizard,

pallid and paunchy, takes the rifle from a wall

rack. He lays it beside the arsenal of perfectly

legal anti-human artillery already on the glass

counter.

Terminator scans expressionlessly for additional

selections.

CLERK

Anything else?

TERMINATOR

A phased plasma pulse-laser in the forty watt

range...

CLERK

(annoyed)

Just what you see, pal.

He indicates the display case and wall racks

with a minimal gesture.

TERMINATOR

The Uzi 9 millimeter.

CLERK

(setting it out)

You know your weapons, buddy.

Terminator examines each in turn, working the

actions with curt, precise movements.

CLERK

(continuing)

Any one of them’s ideal for home defense.

Which’ll it be?

TERMINATOR

All.

The clerk digs deep and finds a scrap of a smile.

CLERK

Maybe I’ll close early.

He turns around, fumbling in a drawer for the

registration papers. Terminator picks up a box

of shotgun shells.

CLERK

There’ll be a fifteen day wait on the handguns,

but you can take the rifles today if you...

He turns.

Seeing Terminator loading shells into the

shotgun.

CLERK

(continuing)

Hey...you can’t...

TERMINATOR

Wrong.

He raises the barrel and pulls the trigger. The

gun THUNDERS.

THE TERMINATOR

026

Originally, the character of the Terminator

was not written as a muscleman; he was written

as a bland, faceless guy who could fit into

any crowd. And originally, Schwarzenegger was

supposed to portray Kyle Reese, the film’s

world-saving hero, not the unstoppable murderous

robot sent from the future.

It was over a lunch with Schwarzenegger that

Cameron realised the hulking man sitting across

from him must play the Terminator. “You are a

machine,” Schwarzenegger recalls Cameron saying,

as the director tried to sell him the part of

the villain. “You’re the symbol of power, like

a fine-tuned machine. And I think people will

totally believe that you are a Terminator.”

But Schwarzenegger was not totally convinced:

“No. No. This is not what I’m here for.” So

Cameron made a hefty promise and an ambitious

prediction: “I will make you look like you’ve

never looked before, and I think that the part

itself will have more impact for you in your

career than the other character would have.

Because the other character is just another

hero. But this one, you’ll be a very memorable

cyborg villain and a human machine.”

“YOU'RE THE SYMBOL OF POWER, LIKE A FINE-TUNED MACHINE.” It didn’t take ling for Arnold to agree with

Cameron: “As soon as I read the script, I knew I

wanted to play the Terminator. It’s a completely

different kind of character.”

Cameron’s prediction came true: Arnold’s

performance did put him on the map as a bona

fide box office star. And the role, which

perfectly suited Schwarzenegger, finally allowed

him to flex a new set of muscles... his acting

ones! With previous appearances in such movies

as the bodybuilding documentary Pumping Iron,

Bob Rafelson’s Staying Hungry, and Conan, The

Barbarian, Schwarzenegger was becoming known for

his likeable charisma. But these roles focused

mainly on his physique. Cameron was interested

in more than just Arnold’s biceps: “I was

particularly fascinated by Arnold’s face,” he

said. “He looked like a human bulldozer in this

part, and we never show his body or use him as a

muscleman except in the opening scene.”

028

029

Schwarzenegger was happy to be viewed in a new

light: “I don’t like to fall into a category...

doing the same things all the time,” he said.

“I thought it would be quite challenging to play

the villain for a change; a robot, a killing

machine, a very intense sort of role.”

And challenging it was for Arnold, who put in

a lot of work to train for the role. “It was

basically the idea of locking into this robot

behavior; this cols, no-emotion behavior”,

he said. The actor, who would have to handle

numerous guns in the film, spent a month-and-a-

half prior to filming working with gun expert

Mitch Kalter to perfect his performance. With

Kalter’s guidance, Arnold learned “how to take

the gun apart and put it together quickly, how

to look professional when he did it and not to

have to look down when he put the magazine in.”

And according to Soldier of Fortune magazine,

Arnold’s handling of weapons in that film is

“entirely plausible”.

Cameron lauded Schwarzenegger’s performance: he

“did phenomenally well; he has a magnificent

ability to concentrate and create the character

practically seamlessly; he never stepped out of

the role. Once he became the Terminator, he was

the single-minded, strong-willed, forward-moving

character that he was written to be.”

JOURNEY

HOW WASHINGTOND.C'S GUN BAN

LED TO A CRIME WAVEIN THE EIGHTIES

HOW WASHINGTOND.C'S GUN BAN

LED TO A CRIME WAVEIN THE EIGHTIES

by Daniel Greenfield

If there’s any place in America where everything must go

smoothly, it’s Washington D.C., the city that runs the country.

And that’s true of gun control, which went as smoothly in

Washington D.C. as it has everywhere else.

The formula is simple. Ban guns. Encourage criminals.

As a former prosecutor in Washington, D.C., who enforced

firearms and ammunition cases while a severe local gun ban

was still in effect, I am skeptical of the benefits that many

imagine will result from additional gun-control efforts.

I dislike guns, but I believe that a nationwide firearms

crackdown would place an undue burden on law enforcement and

endanger civil liberties while potentially increasing crime.

The D.C. gun ban, enacted in 1976, prohibited anyone other than

law-enforcement officers from carrying a firearm in the city.

Residents were even barred from keeping guns in their homes for

self-defense.

Some in Washington who owned firearms before the ban were

allowed to keep them as long as the weapons were disassembled

or trigger-locked at all times. According to the law, trigger

locks could not be removed for self-defense even if the owner

was being robbed at gunpoint. The only way anyone could legally

possess a firearm in the District without a trigger lock was to

obtain written permission from the D.C. police. The granting of

such permission was rare.

The gun ban had an unintended effect: It emboldened criminals

because they knew that law-abiding District residents were

unarmed and powerless to defend themselves. Violent crime

increased after the law was enacted, with homicides rising to

369 in 1988, from 188 in 1976 when the ban started. By 1993,

annual homicides had reached 454.

034

THE TERMINATOR

035

THE FORMULA IS SIMPLE. BAN GUNS.ENCOURAGE CRIMINALS.

THE TERMINATOR

038

159 INT. TRAXLER’S OFFICE - NIGHT 159

TIGHT ON VIDEO MONITOR showing Reese in the

Interrogation Room.

REESE

(recorded)

...It’s just him and me.

CUT WIDE

revealing Sarah, Silberman, Traxler and Vukovich

watching a monitor sitting amid incredible

paperwork clutter on a desk top.

SILBERMAN

(recorded)

Why didn’t you bring any weapons?

Something more advanced. Don’t you have ray guns?

Vukovich, standing in the back, grins and nudges

Silberman, who nods appreciatively.

TIGHT ON REESE’S RECORDED IMAGE

glares at Silberman.

ON SARAH

as Silberman’s voice is heard.

SILBERMAN

(recorded)

Show me a piece of future technology.

REESE

(recorded/controlling his hostility)

You go naked. Something about the field

generated by a living organism. Nothing dead

will go.

SILBERMAN

(recorded)

Why?

REESE

(recorded)

I didn’t build the fucking thing.

SILBERMAN

(recorded)

Okay. Okay. But this...

(consults his notes)

cyborg...if it’s metal --

REESE

(recorded)

Surrounded by living tissue.

SILBERMAN

(recorded)

Of course.

039

C.U. - REESE, ON SCREEN

C.U. - SARAH

staring at the screen.

SARAH

(turning)

So Reese is crazy.

SILBERMAN

In technical terminology, he’s a loon.

SARAH

But--

Traxler hands her something that looks like

umpire’s padding.

VUKOVICH

Sarah, this is body armor. Our TAC guys wear

it. It’ll stop a 12 gauge round. This other

individual must’ve had one under his coat.

Sarah wants to believe him. God help her if

he’s wrong.

SARAH

But what about him punching through the

windshield?

VUKOVICH

(shrugs)

Probably on PCP, broke every bone in his hand

and won’t feel it for hours. There was this guy

once that...

Traxler cuts him off with a gesture and sits

beside Sarah on the bench.

TRAXLER

Why don’t you just stretch out here and get some

sleep. It’ll take your mom a good hour to get

here from Redlands.

SARAH

I can’t sleep.

TRAXLER

Go ahead. You’re safe. There’re thirty cops in

this building.

SARAH

Okay.

She lays her head on a wadded-up blanket as

everyone leaves the office.

The characteristics of the 104 persons who died in Los Angeles

County in 1980 where PCP use was involved, have been studied.

A majority of these victims were Black (73%), males (85%), in

their twenties (20-29 (58%)), and the victim of a homicide

(52%). In only 14% of these cases was there a fatal overdose of

PCP alone or in combination with other drugs.

Data on 80 PCP-related deaths, occurring in a 12-month

period in 1977-1978, were obtained from the files of the

Los Angeles County Coroner. Of these deaths, 44 cases were

evaluated by means of the psychological autopsy procedure. This

procedure involves abstracting data from available records

of the decedent and interviewing persons having personal or

professional knowledge of the decedent’s life history. Findings

indicate that the decedents tended to be young minority persons

with markedly disturbed personal and family backgrounds.

Prior to their deaths, they had used PCP extensively and had

a long history of polydrug use. Considerable psychosocial

maladjustment was evident prior to their deaths, with crises

and significant losses often occurring within 3 months of

death.

042

THE TERMINATOR

CHARACTERISTICS OF VICTIMS OF PCP-RELATED DEATHS IN LOS ANGELES COUNTY.

A study of the frequency of deaths resulting from the use

of drugs and chemicals in Los Angeles County in the period

1947--1980 indicated that there was a substantial increase in

the number of such deaths in 1968/69. This trend continued

until 1976/77 when the number of deaths decreased, and the

declining trend continued until 1979/80. An additional study

in the period 1974--1981, based on the analyses of 35 drugs

in biological samples taken in autopsies, showed that those

drugs were more often present in overdose cases of death

than in drug-related cases of death where drugs were not

directly responsible fo the occurrence of death. Ethanol and

phencyclidine were, however, more frequently found in drug-

related cases of death.

THE FREQUENCY OF DEATHS RESULTING FROM THE USE OF DRUGS AND CHEMICALS IN LOS ANGELES COUNTY.

043

A brief account of the six days of rioting which set Los

Angeles aflame following the acquittal of four police officers

who were filmed beating black motorist Rodney King.

“There’s a difference between frustration with the law and

direct assaults upon our legal system.”

- George Bush Snr., May 3rd, 1992.

The first rocks started to fly as the four LAPD officers who

beat Rodney King and the jury who acquitted them were leaving

the courtroom in suburban Simi Valley. Subsequent to the

acquittal, on the afternoon of April 29th 1992, thousands

of people began pouring into the streets of Los Angeles.

In a few hours rioting spread across the LA metropolitan

area. Conditions rapidly approached the level of civil war.

The police withdrew from the main areas of fighting, ceding

the streets to the insurgent poor. Systematic burnings of

capitalist enterprises commenced. More than 5,500 buildings

burned. People shot at cops on the street and at media and

police helicopters. Seventeen government buildings were

destroyed.

The Los Angeles Times was attacked and looted. A vast canopy

of smoke from the buildings covered the LA Basin. Flights out

of LA airport were cancelled and incoming flights had to be

diverted due to the smoke and sniper fire.

The rioting was the single most violent episode of social

unrest in the US in the twentieth century, far outstripping the

urban revolts of the 1960s both in sheer destructiveness and in

the fact that the riots were a multiracial revolt of the poor.

In the initial phase of the LA riots, the police were rapidly

overwhelmed and retreated, and the military did not appear

until the rioting had abated.

The New York Times noted:

THE TERMINATOR

047

L.A.RIOTS

“Some areas took on the atmosphere of a street

party as black, white, Hispanic and Asian

residents mingled to share in a carnival of

looting. As the greatly outnumbered police

looked on, people of all ages (and genders),

some carrying small children, wandered in and out

of supermarkets with shopping bags and armloads

of shoes, liquor, radios, groceries, wigs, auto

parts, gumball machines and guns”.

The 30,000 square foot military enlistment centre

for all nine counties of Southern California

was burned to the ground on the first night.

The state portrayed the rioting as an episode

of indiscriminate mayhem where rioters attacked

each other like sharks in a feeding frenzy.

While most media coverage and subsequent

histories have focussed on a few negative events,

such as the horrific beating of truck driver

Reginald Denny, in fact crimes against people,

such as rape and drive-by shootings, virtually

disappeared as previously atomised working

people of different colours and ethnicities came

together in mass collective violence, proletarian

shopping [looting] and a potlatch of destruction.

There were far fewer rapes and muggings during

the period than there are in LA under the normal

rule of law. on a conservative estimate, more

than 100,000 rebel poor in the greater LA area

have now collectively experienced, in arson,

looting and violence against the police, the

intelligent use of violence as a political

weapon. The number of participants in the

uprising is well into the six-figure range.

We know this because there were around 11,000

arrests (5,000 black, 5,500 Latino, 600 white)

and the vast majority of participants got away

scot-free.

Following the lead of events in the nation’s

cultural capital, mass spontaneous rioting

spread to several dozen cities across the US.

In San Francisco more than a hundred stores were

looted and rich areas were attacked. One of the

large posh hotels had its windows smashed by a

gang of youths chanting “The Rich Must Die”.

Protesters marched o¬nto the Interstate Freeway,

causing a massive tailback affecting several

hundred thousand car commuters. In San Jose,

students looted and attacked police cruisers.

Police were shot at in Tampa, Florida, and in

Las Vegas, armed rioters burned a state parole

and probation office. Armed confrontations

between the police and locals continued in Las

Vegas for the next 18 days. In Seattle a burning

police car was pushed into police ranks and

there was loads of looting, smashing and burning

in downtown Seattle. Similar events happened all

over the US.

On May 2nd, 5,000 LAPD, 1,000 Sheriff’s

Deputies, 950 County Marshals and 2,300 Highway

Patrol cops, accompanied by 9,975 National

Guard troops, 3,500 Army troops and Marines with

armoured vehicles and 1,000 Federal Marshals,

FBI agents and Border Patrol SWAT teams moved in

to restore order and guard the shopping malls.

Hundreds were wounded. Most of the people killed

in the uprising were killed in the repression of

the revolt. After much fighting and the largest

mass arrest in US history the LA 92 insurrection

came to a close.

THE TERMINATOR

048

PRESENT

THE MACHINES ROSE FROM THE ASHES OF THE NUCLEAR

FIRE. THEIR WAR TO EXTERMINATE MANKIND

HAD RAGED ON FOR DECADES. BUT THE FINAL BATTLE WILL

NOT BE FOUGHT IN THE FUTURE, IT WOULD BE FOUGHT IN OUR PRESENT...TONIGHT

THE TERMINATOR

056

With much buzzing, beeping and whirring, the

Terminator franchise comes to an absolute

creative standstill, or even goes clankingly

into reverse, with this fantastically dull

fourth episode. Look closely in the battle scenes

and you can see one of the red-eye Terminator

robots yawning, leaning over to another robot

and mouthing the words: “I actually voted for

Stavros Flatley.”

It is set in that post-nuclear future of smoky

wreckage, CGI ruination, battered bridges

and buggered buildings prophesied in James

Cameron’s original 1984 film. The star is

notorious crosspatch Christian Bale, playing

John Connor, the freedom fighter battling robot-

machine tyranny. Connor, you will recall, is

the resistance hero whom the machines tried to

wipe out by sending California’s future governor

Arnold Schwarzenegger back in time to whack his

mom. Connor and his comrades discover what they

think is a kryptonite-type weapon which will win

the war: a signal transmitter that appears to

immobilise the robots.

They certainly need all the help they can get.

Because Connor has chanced upon evidence that

the machines have developed an all-new, human-

looking super-duper, so-unstoppable-it-makes-

previous-Terminators-look-stoppable Terminator.

Where, oh where, can this chilling prototype

be? Meanwhile, a mysterious warrior hoves into

view, insinuating himself into the resistance

fighters’ ranks: one Marcus Wright, played by

the Australian actor Sam Worthington. But as

we have already seen this same character in

the pre-credit sequence on death row, pledging

his body to science, it isn’t hard to guess his

tragically conflicted secret. Inevitably, we are

to be reintroduced to that self-defeating concept

already rolled out in T2: the “nice” Terminator,

the Terminator we’re sort of supposed to be

rooting for.

Fundamentally, Connor and Wright utterly cancel

each other out; all the crash-bang action is

entirely uninvolving, looking frankly less

exciting than the chase scene at the beginning

of Walt Disney’s Bolt. There’s nothing to compare

with the magnificent showdown between Arnie and

Linda Hamilton at the end of the first movie,

TERMINATORSALVATION

057

and the only woman on view here is Bryce Dallas

Howard, playing Connor’s winsomely pregnant

partner who is at all times wringing wet.

If the contest was about who can be the dullest,

Bale would win hands down. His belligerent,

resentful facial expression is that of a stunned

ox, or a vexed moose, or a rhino that thinks

it’s overheard someone calling its mum a slag.

All the world has now heard the famous on-

set meltdown that Bale had while making this

film, weirdly maintaining his American accent

while raging at director of photography Shane

Hurlbut for messing with the lights while Bale

was trying to do a scene. (Almost as many will

have heard his apology, phoned into an LA radio

station, expressing concern that anyone would

have thought less of Hurlbut, and emphasising

that he is in fact an outstanding professional.)

Perhaps the tantrum should be released as a

bonus feature with the DVD - or perhaps it

is rather that the film should be the bonus

feature, and Bale’s super-strop the main event.

It is certainly more exciting and more deeply

felt than anything in the fictional action.

The terminators themselves, once so scary, are

now starting to resemble a chorus line of grumpy

C3POs. And despite being notionally formidable

warriors, they have an unfortunate eccentricity,

THE TERMINATOR

058

which is to prove convenient for the narrative.

If you can get close enough to stab them in the

back of the neck, they go limp and floppy for a

good few minutes! What a very unfortunate design

flaw for these Terminators. Why didn’t the

“machines”, those implacable foes of humanity,

think to stick a metal plate on the back of

their necks?

And the other thing is, for the third time, he’s

beck. The original Terminator comes very briefly

out of retirement, digitally created to look

like Arnold Schwarzenegger as he was 25 years

ago, in his primped, pumped pomp. Oddly, this

obviously unreal Arnie doesn’t look as excitingly

and creepily unreal as the actual, real, non-CGI

Schwarzenegger did all those years ago. Nothing

and no one in this film looks as gloriously mad

as he did in 1984, and no one is capable of the

droll, subversive hints of humour that helped to

make the film and its star such a smash.

Famously, Schwarzenegger’s later switch from

movies to politics was so quick that he was

fully installed as governor of California just

as the DVD edition of Terminator 3: The Rise of

the Machines hit the stores. Well, now that his

career in public office is beginning to tank,

who knows if the de facto leader of Hollywood’s

Austrian-American community won’t be back for

T5? After all, Sly Stallone returned for another

Rocky and another Rambo. Perhaps Arnie will feel

the need to stick in the old red contact lenses

for another sentimental outing. Perhaps this

can be all about the problems that a Terminator

faces in his autumnal years: the slowing up, the

grandchildren, the bittersweet visits to the

prostate clinic. It couldn’t be worse than this.

THE TERMINATOR

063

When it was released in 1984, The Terminator

established Arnold Schwarzenegger as a huge

star, and James Cameron, onetime truck driver,

suddenly became a top-tier director.

Over the next 10 years, Cameron helmed a series

of daring films, including Aliens, The Abyss,

Terminator 2: Judgment Day, and True Lies.

Generating $1.1 billion in worldwide box office

revenue, they gave Cameron the kind of clout

he needed to revisit his dream of making an

interstellar epic. So in 1995, he wrote an

82-page treatment about a paralyzed soldier’s

virtual quest on a faraway planet after Earth

becomes a bleak wasteland. The alien world,

called Pandora, is populated by the Na’vi,

fierce 10-foot-tall blue humanoids with catlike

faces and reptilian tails. Pandora’s atmosphere

is so toxic to humans that scientists grow

genetically engineered versions of the Na’vi,

so-called avatars that can be linked to a

human’s consciousness, allowing complete remote

control of the creature’s body. Cameron thought

that this project — titled Avatar — could be

his next blockbuster. That is, the one after he

finished a little adventure-romance about a ship

that hits an iceberg.

JAMESCAMERON

Titanic, of course, went on to become the

highest-grossing movie of all time. It won

11 Oscars, including best picture and best

director. Cameron could now make any film he

wanted. So what did he do?

He disappeared.

Cameron would not release another Hollywood

film for 12 years. He made a few underwater

documentaries and did some producing, but he

was largely out of the public eye. For most of

that time, he rarely mentioned Avatar and said

little about his directing plans.

But now, finally, he’s back. On December 18,

Avatar arrives in theaters. This time, Cameron,

who turned 55 this year, didn’t need to build

half an ocean liner on the Mexican coast as he

did with Titanic, so why did it take one of the

most powerful men in Hollywood so long to come

out with a single film? In part, the answer is

that it’s not easy to out-Lucas George Lucas.

Cameron needed to invent a suite of moviemaking

technologies, push theaters nationwide to

retool, and imagine every detail of an alien

world.

THE TERMINATOR

064

Avatar’s worldwide takings in just six weeks

stand at $1.859bn (£1.15bn), versus Titanic’s

$1.843bn (£1.14bn).

The figures are not adjusted for inflation or

the higher cost of Avatar’s 3D film tickets.

Director James Cameron holds the remarkable

distinction of directing both the world’s top

grossing movies.

Titanic, which starred Kate Winslet and Leonardo

DiCaprio, set a new box office record during its

release in 1997-1998.

It also won Cameron an Oscar for best director.

The biggest movie of all time in North America

- adjusted for inflation - continues to be Gone

with the Wind in 1939.

The movie, starring Clark Gable and Vivien

Leigh, took ticket sales of almost $1.5 billion

(£929m), according to tracking firm Box Office

Mojo.

If the same rules are applied to Avatar, then

the movie actually ranks at number 26.

Avatar - Cameron’s latest epic - won two Golden

Globes last week, and is expected to garner an

Oscar nomination next month.

Earlier this month, it became the fastest movie

ever to achieve $1bn (£619m) in ticket sales

around the world, and took over second place from

The Lord of the Rings: The Return of the King.

It has proved a worldwide sensation, dominating

the box office from North America to China and

Russia.

The science-fiction adventure, about a disabled

marine who infiltrates a race of giant blue

aliens, mixes live action with digitally-created

performances.

It was reportedly the most expensive film ever

made, with a budget of at least $300m (£185m).

AVATAR OVERTAKES TITANIC AS TOP-GROSSINGFILM EVER

JOURNEY

While the film gave birth to the tech-noir

genre, The Terminator also established James

Cameron as “a filmmaking force to contend with”

(The Hollywood Reporter). It has also had such

a lasting impact, including direct references

in over fifty other films that it stands out as

“one of the most important films in the 1980s”

(Esquire).

A low-budget film laden with ahead-of-its-

time special effects, The Terminator required

a dedicated and creative team of artists to

achieve the look and energy for which the

ambitious director was striving. And with

foresight, ingenuity, experimentation and bold

decision-making, the Oscar-calibre visual team,

including cinematographer Adam Greenberg and

special effects supervisor Gene Warren, Jr, made

it happen.

• To give the Terminator even more of an

imposing and ominous presence, Greenberg

shot him from low angles. “He’s big to begin

with,” Greenberg said, “but doing all those

low angles makes him look like a monster”

• To go along with the foreboding elements of

the story, Greenberg aimed for “a cool look,

lots of dark shadows, strong black light...

a very hard, strong, contrasting look.” And

he “accomplished most of what he set out

to do by lighting and mood, rather than by

using a lot of elaborate equipment the film

couldn’t afford.”

• The film contains many high-speed car chases

in which the cars appear to be travelling at

90 miles an hour. In reality, however, the

cars never went faster than 40 mph. “What I

did,” Greenberg revealed, “was have lights

mounted on cars accompanying us.” These cars

would ride along next to the vehicles being

filmed, shining their fast-moving lights

onto the action, “giving the illusion of an

extra 25-30 m.p.h.”

067

• There were many different effects techniques

employed to create the film’s futuristic

atmosphere. Computer effects, which gave a

view of the world from the perspective of

the Terminator; stop-motion animation, which

animated the machines of the future; and

miniature photography, which gave a glimpse

of a war-torn land-to-come, were supplied

by a team of talented visual artists led by

Gene Warren, Jr.

• Hand-held cameras captured much of the

desired rapid pacing of the film. According

to Greenberg, “shooting hand-held gives an

energy to a scene you can’t get any other

way.”

068

THE TERMINATOR

072

Back in the 90s, if you said Arnold

Schwarzenegger was going to enter politics, you’d

be considered a fool, and an unfunny one at

that. A decade later he become the Governor of

California.

Politics aside, the worst part about about

Schwarzenegger’s change in career aspirations

was that he was taken out of the film industry

for a full seven years and we’ve sincerely

missed him during that time. Fortunately for

us, and moviegoers around the world, Arnold

Schwarzenegger is ready to make his return to

acting!

On his own Twitter account, only an hour ago,

Arnold Schwarzenegger tweeted the following

message:

“Exciting news. My friends at CAA have been

asking me for 7 years when they can take offers

seriously. Gave them the green light today.”

It’s not surprising but it sure is pleasing to

hear from Arnold himself, that he’s ready to jump

back in the action and start looking at scripts

officially. We had heard previously that this

was the case and we eagerly await news on what

projects he attaches himself to.

Could one of his first roles be a bigger part in

Sylvester Stallone’s The Expendables 2? Could it

be a return to one of his previously established

franchises like True Lies 2 should James Cameron

find time in his schedule work again with him? Or

will we see him in something brand new?

Whatever film Arnold returns with, I hope it’s in

the action genre. After such a long absence, his

return to a starring role would cause an absolute

media frenzy and he could sell such a movie

easily on his own.

ARNOLDRETURNS

THE THING THAT WON'T DIE, IN THE NIGHTMARE THAT WON'T END.

WHAT'S

WORST NIGHTMARE?

YOUR

WHAT'S

WORST NIGHTMARE?

YOURI asked friends and family to share their worst

nightmares with me to help explore people’s

fears. I set up an anonymous online comment

box, where they could confess and shared it via

twitter & facebook.

I FELT LIKE I WAS BEING CHOKED, AND WHEN I WOKE UP IT ACTUALLY FELT LIKE THERE WERE HANDS AROUND MY NECK. OTHER TIMES I WAS BEING SHOT AND WHEN I WOKE UP IT FELT LIKE THERE WAS A WOUND THERE, BUT THE CHOKING WAS BY FAR THE SCARIEST.

“

”

I'M A KID, AND I GET LOST AFTER-HOURS IN A MALL. I'M FINE UNTIL A STRANGE OLD COUPLE START ASKING ME IF I'M LOST, AND WANT TO HELP FIND MY PARENTS. THEY DECIDE THEY'RE GOING TO TAKE ME HOME. THEN I RUN. I FIND MYSELF HIDING IN AN UNFINISHED STORE - WITH WOOD FRAMING AND OPAQUE PLASTIC SHEETING. I CAN SEE THEIR SILHOUETTES AS THEY COME IN LOOKING FOR ME. I SCURRY AROUND, FEARFUL UNTIL THEY FINALLY FIND ME, GRAB ME - THEN I WAKE UP.

“

I'M A KID, AND I GET LOST AFTER-HOURS IN A MALL. I'M FINE UNTIL A STRANGE OLD COUPLE START ASKING ME IF I'M LOST, AND WANT TO HELP FIND MY PARENTS. THEY DECIDE THEY'RE GOING TO TAKE ME HOME. THEN I RUN. I FIND MYSELF HIDING IN AN UNFINISHED STORE - WITH WOOD FRAMING AND OPAQUE PLASTIC SHEETING. I CAN SEE THEIR SILHOUETTES AS THEY COME IN LOOKING FOR ME. I SCURRY AROUND, FEARFUL UNTIL THEY FINALLY FIND ME, GRAB ME - THEN I WAKE UP.

“

”

I DREAMED MY DAD SEXUALLY ABUSED ME. I WAS FURIOUS AND DISGUSTED. SO I KILLED HIM. THEN I KILLED MYSELF. THEN I KEPT SAYING OVER AND OVER, IN MY HEAD, “PLEASE GO BACK AND MAKE ME WHOLE AND WELL AGAIN. “ AFTER A BIT THE DREAM RE-SET ITSELF TO THE BEGINNING.

“

I DREAMED MY DAD SEXUALLY ABUSED ME. I WAS FURIOUS AND DISGUSTED. SO I KILLED HIM. THEN I KILLED MYSELF. THEN I KEPT SAYING OVER AND OVER, IN MY HEAD, “PLEASE GO BACK AND MAKE ME WHOLE AND WELL AGAIN. “ AFTER A BIT THE DREAM RE-SET ITSELF TO THE BEGINNING.

“

”

IN A MAZE, TRYING TO EVADE TWO PEOPLE. I CAN SEE THEIR FEET. I PRAY THEY CAN'T SEE ME, BUT I DON'T KNOW. I AM COUNTING ON THE MAZE BEING TOO HARD FOR THEM TO GET TO ME. I SUPRESS MY BREATHING AND TRY TO RUN VERY QUIETLY. I ALWAYS WAKE BEFORE I GET CAUGHT.

“

IN A MAZE, TRYING TO EVADE TWO PEOPLE. I CAN SEE THEIR FEET. I PRAY THEY CAN'T SEE ME, BUT I DON'T KNOW. I AM COUNTING ON THE MAZE BEING TOO HARD FOR THEM TO GET TO ME. I SUPRESS MY BREATHING AND TRY TO RUN VERY QUIETLY. I ALWAYS WAKE BEFORE I GET CAUGHT.

“

”

RECURRING NIGHTMARES INVOLVE MY TEETH FALLING OUT, THEY CAN BE EASILY PULLED OUT OR THEY FALL OUT BUT I CAN FEEL EVERY PART OF THE TOOTH FROM THE SHARP EDGES, BLOODY TASTE AND BITS OF SINEWY GUM ATTACHED.

“

RECURRING NIGHTMARES INVOLVE MY TEETH FALLING OUT, THEY CAN BE EASILY PULLED OUT OR THEY FALL OUT BUT I CAN FEEL EVERY PART OF THE TOOTH FROM THE SHARP EDGES, BLOODY TASTE AND BITS OF SINEWY GUM ATTACHED.

“

”

THE TERMINATOR

100

A North Korean ambassador has attacked the US as

his country rebuffed fresh calls from its only

ally China to give up its nuclear programme.

As the sun set on Pyongyaang after a day of

peaceful festivities celebrating the 101st

anniversary of the birth of its founding father

Kim Il Sung, the threat of a missile launch

remained high.

Ji Jae-ryong looks at photo albums on display at

an exhibition in Beijing

In Seoul, South Korean Defence Minister Kim Kwan-

jin told a parliamentary committee that North

Korea still appeared poised to launch a missile

from its east coast, although he declined to

disclose the source of his information.

US Secretary of State John Kerry warned North

Korea not to conduct a missile test, saying it

would be provocation that would “raise people’s

temperatures” and further isolate the country.

He said the US was “prepared to reach out” but

Pyongyang must first bring down tensions and

honour previous agreements.

North Korea’s ambassador to China, Ji Jae-Ryong,

remained defiant. “Currently, enemy powers such

as the United States are exerting unprecedented

military and political suppression on our

country,” he said.

“But we have unswervingly demonstrated the power

of a nuclear state and a military power, and

firmly maintained peace and stability on the

peninsula, and even in Northeast Asia and the

whole world.

North Koreans bow to statues of their former

leaders

“And that is because we embrace comrade [North

Korea leader] Kim Jong-Un as the top leader of

our party and military.”

There had been fears North Korea might use the

national holiday to demonstrate its military

capability.

Tens of thousands of people had gathered in the

capital Pyongyang to celebrate the unveiling

of new statues of Kim Il Sung and the son who

succeeded him, Kim Jong-Il.

NORTH KOREA BRANDS US ENEMY OF THE STATE

021

North Korea has made a habit of

linking high-profile military tests

with key dates in its calendar.

Kim’s grandson, Kim Jong-Un, had

started the day with a visit to

the Pyongyang mausoleum, where his

grandfather’s body lies embalmed,

to pay “high tribute in humblest

reverence”, the official Korean

Central News Agency said.

He also visited the embalmed body

of his father, who died in December

2011.

The Korean peninsula has been in a

state of heightened military tension

since the North carried out its third

nuclear test in February.

Incensed by fresh UN sanctions

and joint South Korea-US military

exercises, Pyongyang has spent weeks

issuing blistering threats of missile

strikes and nuclear war.

FUTURE

108

One afternoon during a break

from shooting, Schwarzenegger

walked into a downtown eatery

to grab some lunch... and

people gasped in horror at

the sight of him! He was still

in costume and make-up; an

artificial layer of his face

was carved away revealing

teeth, metallic jawbones and

a bulging eyeball amid seared

patches of fake flesh. “It’s

more challenging to play a

robot than a human,” Arnold

said. It’s also harder to get

seated at restaurants!

JOURNEY

CHECKPLEASE

THE TERMINATOR

110

Norwegian judges have jailed the mass killer

Anders Behring Breivik after declaring him sane,

yet his extremist ideology and shocking violence

continue to raise questions.

His murder of 77 unsuspecting people on 22 July

last year was the worst outrage for Norway since

World War II.

It was also the worst far-right attack in Europe

since Italy’s Bologna railway station bombing of

1980, which killed 85 and wounded hundreds.

Breivik’s calculated acts of political violence

took months, even years, of intricate planning.

After bombing the Oslo government district he

went on a shooting spree at a Labour Party youth

camp on Utoeya Island. It was the deadliest mass

shooting by a gunman in peacetime.

In a country as famously tolerant, integrated

and wealthy as Norway, what could have motivated

such mass murder?

His method was that of a “lone wolf” right-wing

terrorist. But he also saw himself as part of

an international crusade, a Nordic warrior who

could inspire others.

Breivik posed with self-styled military honours

in an image on the internet

First dubbed “leaderless resistance” by a radical

right ideologue in 1982, the “lone wolf” tactic

has remained a signature of far-right violence

for three decades - one whereby the “terrorist

cycle” of preparation and execution is undertaken

single-handedly.

Since Breivik’s killing spree, “lone wolf”

attacks by right-wing extremists have continued:

from a targeted killing of Senegalese traders by

a CasaPound activist in Florence last December

to the “hate rock” shooting rampage at a Sikh

Temple earlier this month by a neo-Nazi singer,

Wade Michael Page.

Last week in the Czech Republic, police arrested

a 29-year-old man stockpiling explosives and

weapons, claiming to be directly inspired by

Breivik.

“Lone wolf” terrorism represents a tiny - if

less detectable - fraction of terrorist attacks.

It remains difficult to accomplish - that is why

Breivik’s “manifesto”, comprising some three-

quarters of a million words, is so dangerous.

Beyond the incitement to hatred and violence,

Breivik’s 2083: A Declaration of European

Independence provides a do-it-yourself guide for

“lone wolf” terrorism, ranging from a daily bomb-

making diary to instructions on how to source

materials - both logistical and material - from

the dark corners of the internet.

The manifesto supersedes all previous terrorist

manuals and concludes, allegedly at 12.51 on the

day of Breivik’s attacks: “If you want something

done, then do it yourself.”

He did so, chillingly and with cold

LONE GUNMANKILLS NORWAYS FUTURE LEADERS

determination. And his manifesto, sent to

thousands of fellow far-right “patriots” in the

hours before his attacks, is patently intended to

inspire copycats.

Breivik killed 69 people and wounded dozens more

in his Utoeya shooting frenzy

Breivik wants his murders on 22 July 2011 to

be considered a form of “terrorist PR” for his

manifesto and accompanying online film.

He claims the “Knights Templar” clenched fist

salute “symbolises strength, honour and defiance

against the Marxist tyrants of Europe”.

From demonising rhetoric to terrorist instruction

manual, Breivik’s manifesto is a call to arms for

right-wing extremists that, in work on similar

failed plots in the UK, I have elsewhere dubbed

“broadband terrorism”.

The date 2083 refers to the 200th anniversary of

Karl Marx’s death, and the 400th of the Battle of

Vienna, when a Christian army halted the Ottoman

Empire’s northward advance in Europe.

Breivik’s subtitle is lifted from a 2007 essay by

fellow Norwegian blogger “Fjordman”. Extensive

citations - often plagiarised - also refer to

other anti-Muslim ideologues and groups, from the

Dutch politician Geert Wilders and Steven Yaxley-

Lennon’s English Defence League to the likes of

Jihadwatch and Stop the Islamisation of Nations

(SION).

In this sense, Breivik’s Islamophobic references

are less harbingers than reformulated, stock

canards that have been trundling around the far-

and radical-right for more than a generation.

“

THE TERMINATOR

112

determination. And his manifesto,

sent to thousands of fellow far-

right “patriots” in the hours before

his attacks, is patently intended to

inspire copycats.

Breivik killed 69 people and wounded

dozens more in his Utoeya shooting

frenzy

Breivik wants his murders on 22 July

2011 to be considered a form of

“terrorist PR” for his manifesto and

accompanying online film.

He claims the “Knights Templar”

clenched fist salute “symbolises

strength, honour and defiance against

the Marxist tyrants of Europe”.

From demonising rhetoric to terrorist

instruction manual, Breivik’s

manifesto is a call to arms for

right-wing extremists that, in work

on similar failed plots in the UK,

I have elsewhere dubbed “broadband

terrorism”.

The date 2083 refers to the 200th

anniversary of Karl Marx’s death, and

the 400th of the Battle of Vienna,

when a Christian army halted the

Ottoman Empire’s northward advance in

Europe.

Breivik’s subtitle is lifted from

a 2007 essay by fellow Norwegian

blogger “Fjordman”. Extensive

citations - often plagiarised - also

refer to other anti-Muslim ideologues

and groups, from the Dutch politician

HE KILLED SO CHILLINGLY AND WITH COLD DETERMINATION.

“

113

Geert Wilders and Steven Yaxley-

Lennon’s English Defence League to

the likes of Jihadwatch and Stop the

Islamisation of Nations (SION).

In this sense, Breivik’s Islamophobic

references are less harbingers than

reformulated, stock canards that

have been trundling around the far-

and radical-right for more than a

generation.

Religious overtones

Literally hundreds of references

to Breivik’s main enemy, “Cultural

Marxism”, derive from the Christian

Right in the US, while its allegedly

anti-Judeo-Christian offspring,

“multiculturalism” - for which, read

“Islamification of Europe” - appears

more than 1,100 times across Breivik’s

1,513-page manifesto.

These and other terms are used to

demonise European Muslims on well-

networked internet sites; theirs is

the language of civilisational war,

not democratic politics.

His activities, of course, were not

limited to online hate. He was a dues-

paying member of Norway’s populist

right-wing Progress party for some

five years until 2004.

During that time he seems to have

visited Bradford in northern England

shortly after riots there in 2001,

which further convinced him of the

allegedly evil and “genocidal” nature

“HE KILLED SO CHILLINGLY AND WITH COLD DETERMINATION.

“

THE TERMINATOR

114

of multiculturalism.

The online multi-player game World of Warcraft also

became a big part of his life - sometimes he played

it for as many as 16 hours a day. Players adopt

fantasy roles and fight battles to earn rewards.

By 2009, Breivik was using Facebook to communicate

with members of the recently formed street movement

the English Defence League, and later claimed to

have hundreds of EDL Facebook friends.

By 2010, Breivik was apparently in contact with at

least some of the EDL leadership, and attended at

least one demonstration that year. He also visited

London to welcome fellow “counter-jihadist” Geert

Wilders.

While very different, these networks continue to

agree that - again citing 2083 - “multiculturalism

is an anti-European hate ideology”.

Breivik offers a clear instance of “Christianism”

- the use of travestied Christian doctrines for

the advancement of violent and revolutionary views.

That is no reason for anyone to demonise more than

a billion worshippers of Jesus Christ. By the same

token, Islamism remains a political perversion of a

Muslim faith shared by a billion souls.

THE TERMINATOR

118

The Einstein-Rosen Bridge

In Fiction: In Carl Sagan’s novel/movie, Contact, Eleanor Arroway is whisked

through long conduits that bridge the enormous distances between points in

space, and a similar thing seems to happen in everything from Star Trek: Deep

Space Nine to Bill & Ted’s Excellent Adventure.

Lost in Space (the movie) demonstrated the concept when the crew of the

Jupiter 2 arrived after a rescue team, that was in turn sent after the ship.

Even Gene Roddenberry presented this in his original Star Trek pilot, “The

Cage.” Captain Christopher Pike gives the helmsman an order for “time-warp

factor,” and not just “warp-factor” as in the later Kirk-era and beyond.

Perhaps he took it out to avoid confusion in storytelling.

Fact Check: Traveling through these conduits, you’re essentially traveling

forward in time at a rate which would be the ratio between the length of the

wormhole and the actual distance in real space. Let’s say you wanted to go

through a bridge to a star a mere five light years distant. When you look at

the star from Earth, the photons that are reaching your eyes left the star

five years ago, so you are seeing the star as it was five years ago. If your

wormhole to this star is a mere mile long in your relative space, you could

traverse it in seconds. When you arrive at the star, you would see it as it

would exist five years in the future, relative to Earth time.

TIME TRAVELTHEORY

TIME TRAVELTHEORY

THE TERMINATOR

120

In Fiction: This theory was probed two different ways by the same piece of

fiction (sort of). It was explored by the movie Somewhere in Time, based

on Richard Matheson’s novel, Bid Time Return. The novel gave protagonist

Richard Collier a brain tumor, so the slant was that his time travel was

a hallucination. The movie creators apparently wanted to make this a true

science fiction story like in Jack Finney’s novel, Time and Again, so they

added a mysterious pocket watch that Christopher Reeves as Richard (pictured)

can use to hypnotize himself, and not by giving him brain cancer.

The premise of time travel by self-hypnosis was also explored in the Star

Trek: The Next Generation episode, “Where No One Has Gone Before.” The Episode

has the Enterprise, guided by a strange alien from Tau Alpha-C, warping to

unknown universes, times and beyond. In the episode Wesley Crusher looks at

the settings being entered into the ship’s warp drive by the alien and says

that his inputs made him think that “space, time and thought are not the

separate things we believe them to be.”

Fact Check: If particles such as photons exhibit wave like tendencies, and

— according to quantum theory — those patterns can be interfered with by

particles in another quantum universe — could brain waves, as well? Hey, it

worked on TV!

TRAVEL BY SELFHYPNOSIS

TRAVEL BY SELFHYPNOSIS

THE TERMINATOR

124

Harlan Ellison has written many, many science

fiction stories. Born in 1934, the Cleveland

native reportedly published 100 short stories

within the first year of his first professional

job, and has over 1,000 stories credited to him

by Wikipedia. He has written so many stories that

his official website’s bibliography has to be

indexed and filtered by a variety of criteria.

Harlan Ellison has also filed many, many

lawsuits. In 2006, he sued Fantographics,

a publisher of comic books and alternative

culture-themed books because he claimed several

anecdotes about him in one of their books were

defamatory. In 2009, he sued Paramount, the

owners of Star Trek, for failure to pay him

royalties for an episode of the original series,

which he wrote that aired in 1967. He also sued

the Writers Guild of America (the screenwriters’

union) for failure to adequately protect him.

In 2000, he sued a small website for posting the

text of four of his stories but, more notably,

also sued America Online and several other

telecommunications companies for failing to

detect and remove the presence of his stories.

By every account of his childhood ever given,

James Cameron was a voracious reader of

science fiction growing up. He described his

science fiction consumption as “tonnage” and,

in interview after interview, he rattles off

the names of the science fiction writers from

the 1960’s and 1970’s almost like they’re

old friends: Bradbury, Clarke, Asimov, and on

and on. In a 1999 interview, he listed Harlan

Ellison as one of these favorite authors: “In

the latter years of high school I got into the

newer guys of that time, Harlan Ellison, Larry

Niven, people like that. It was a steady diet of

science fiction.”

Since James Cameron writes and produces science

fiction movies, and since Harlan Ellison has

written so many science fiction stories, there

was bound to be some overlap between the events

and ideas of their respective stories.

So, it’s not any surprise at all that, in 1984,

Harlan Ellison threatened to sue James Cameron

for plagiarizing his works. Ellison’s complaint

was never formally filed as a lawsuit, so all

the negotiations and the settlement were done

entirely out of court.

It’s important to note that James Cameron

has hardly spoken of the settlement and there

appears to be no record of any other parties

HARLANELLISON

from the defense (The Terminator producer Gale

Anne Hurd, the film’s financiers, etc.) making

public comments. Because of this, literally all

known details of the complaint and the settlement

are told entirely from Harlan Ellison’s point

of view. So, all accounts of the incident are

told with a bias – unintentional or not – toward

Ellison’s side. Cameron commented on the issue at

the 1991 T2 Convention: “For legal reasons I’m

not suppose to comment on that (the addition of

acknowledgement credits) but it was a real bum

deal, I had nothing to do with it and I disagree

with it.”

Ellison says the incident started like this:

“Before Terminator came out I began to hear from

people, ‘Gee, there’s this script they’re going

to shoot that reads an awful lot like your script

for Soldier.’” The ‘Soldier’ script that Ellison

is referencing is one of two teleplays he wrote

for the anthology TV series, The Outer Limits.

The second script he wrote for that series

was called Demon with a Glass Hand. Ellison

continues, “Now Soldier had been available on

videocassette for many years. Demon with a Glass

Hand had won all the awards but Soldier was right

there in popularity.”

In addition to those casual warnings of

similarities from unnamed persons, Ellison also

was told by a friend of his,Tracy Torme, that,

while visiting the set for The Terminator,

he had asked Cameron where he got the story

idea. According to Ellison’s account of Torme’s

statement, Cameron replied, “Oh, I ripped off a

couple of Harlan Ellison stories.”

125

THE TERMINATOR

130

Ellison says that he contacted Hemdale when the

movie was still in production and asked to see

a copy of the script and was surprised when they

refused.

The final clue that he might have a case for

plagiarism came when Ellison wasn’t invited

to the press screening for The Terminator. He

said, “Now, I get invitations to everything and

anything, but for some reason, I never got an

invitation to the screening of The Terminator.”

According to the science fiction news program

Prisoners of Gravity, Ellison was able to sneak

into the screening by posing as film critic

Leonard Maltin’s assistant. Upon first seeing

The Terminator, Ellison said, “It was not my

desire to find a similarity. I was sitting in

there thinking, ‘Please don’t let it be.’ But if

you took the first three minutes of my Soldier

episode and the first three minutes of The

Terminator, they are not only similar but exact.

By the time I left the theater, I knew I had a

case against someone who plagiarized my work.”

So, Ellison and his attorneys then contacted

Hemdale (the financiers of The Terminator) and

Orion (the movie’s distributor) to discuss a

payment or settlement, with the obvious threat

of a lawsuit in case none was offered. And soon

after this initial contact, Ellison’s complaint

received even more support.

“About a week after my attorney contacted

Hemdale, I got a call from the editor of Starlog

magazine. .... It turned out Cameron had given

an interview to Starlog and, after I began

inquiring at Hemdale, [The Terminator producer

Gale Anne] Hurd sent Starlog a legal demand

to see the interview.” According to Ellison,

Gale Anne Hurd then modified Starlog’s article

on The Terminator. She omitted a quote from

Cameron in the article that read, “‘Oh, I took

a couple of Outer Limits segments.’” The reason

that the Starlog editor had contacted Ellison

was to provide him with the original version of

the article, the one without Gale Anne Hurd’s

editing. Said Ellison, “At this point we went

131

to Hemdale and to Orion and we said, ‘I’m afraid

we got him with the smoking gun. Now do you want

to do something about this or do you want us to

whip your ass in open court? We’d be perfectly

happy to do it either way.’” Between the account

of Tracy Torme and the Starlog interview, the

attorneys for Hemdale and Orion quickly realized

that they wanted no part of a lawsuit, by

Ellison’s accounts. “They took one look at this

shit and their attorneys said, ‘Settle.’”

According to celebrity biographer and tabloid

writer Marc Shapiro, Hemdale was actually willing

to go to court if Cameron himself wanted to.

However, if they did go to court at Cameron’s

behest and they lost, they would have then turned

right around and sued Cameron (presumably for

fraud). So Cameron ultimately acquiesced. In the

one quote from him attributed to the matter, he

was reported to have said, “What it came down to

was that I could risk getting completely wiped

out or I could wave it off and let this guy get

his f------ credit.”

There are two separate (and very divergent)

accounts of the monetary settlement. Ellison

told the TV show Prisoners of Gravity, “And they

settled with a substantial amount of money, not

the kind of money I’d have gotten if I went to

court. It was, uh, 65 or 75 thousand dollars

with an additional five thousand to be paid to

be after a period of time that was stipulated in

the contract if I did not speak of any of this.”

But according to Marc Shapiro, the amount he

received was actually $400,000. Finally, Harlan

Ellison was to receive credit on all subsequent

copies of The Terminator.

Now let’s take a look at the actual similarities

between The Terminator and Soldier.

(It’s important to note that, contrary to many

claims at internet science fiction and movie

sites, Demon with a Glass Hand absolutely was

not one of the stories they were alleging that

was plagiarized by The Terminator. Indeed,

aside from the fact that Demon with a Glass

Hand and The Terminator both has protagonists

who travel backward in time, there are no

substantive similarities worth noting. Also,

in the interview with Prisoners of Gravity,

Harlan Ellison specifically states that Soldier,

and not Demon with a Glass Hand, was the only

story plagiarized. So any claims that Demon

with a Glass Hand was a direct source for The

Terminator are bogus and any evidence used to

compare them are the result of critics grasping

for similarity straws.)

First, let’s take a look at the basic story

for The Terminator. Here is the quick synopsis

offered by IMDB.com: “A human-looking, apparently

unstoppable cyborg is sent from the future to

kill Sarah Connor; Kyle Reese is sent to stop

it.”

Note that none of the primary plot elements used

in that synopsis are parallel to Harlan Ellison’s

soldier. Not the cyborg, not the assassination

mission, and not the saviour.

Now, let’s take a look at the basic story for

Soldier. Here is the quick synopsis offered

by Wikipedia (IMDB.com doesn’t offer one):

“Eighteen hundred years in the future, two foot

soldiers clash on a battlefield. A random energy

weapon strikes both and they are hurled into a

time vortex. While one soldier is trapped in the

matrix of time, the other, Qarlo Clobregnny,

materializes on a city street in the year 1964.

Qarlo is soon captured and interrogated by

Tom Kagan, a philologist, and his origin is

discovered. Qarlo has been trained for one

purpose, fighting, and that is all he knows.

Progress is made in “taming” him; eventually

Qarlo comes to live with the Kagan family.

But the time eddy holding the enemy soldier

slowly weakens. Finally he materializes fully

and tracks Qarlo to the Kagan home. In a final

hand-to-hand battle, Qarlo sacrifices his life

to kill the enemy and save the Kagan family.”

In that entire synopsis, merely one sentence

parallels The Terminator: “Qarlo Clobregnny,

materializes on a city street in the year 1964.”

That’s it. By Harlan Ellison’s own admission,

the similarities between the two stories are in

the very beginning. Again, here’s what he said,

“But if you took the first three minutes of

‘The Terminator’, they are not only similar but

exact.”

“The first three minutes.”

Ellison flat out denied taking anything from any

other episodes on his own website: “Terminator”

was not stolen from “Demon with a Glass Hand,”

it was a rip off of my OTHER Outer Limits script,

“Soldier.”

Here are the actual, substantial similarities

between the two stories, broken down item by

item. As Harlan Ellison himself said, they’re

all contained within the earliest shots:

THE TERMINATOR

132

THE TERMINATOR

136

A pre-emptive ban is needed to halt the

production of weapons capable of attacking

targets without any human intervention, a new

campaign has urged.

Jody Williams, from the Campaign to Stop Killer

Robots, says such weapons, which do not yet

exist, would be regarded as “repulsive”.

But some scientists argue existing laws are

sufficient to regulate their use, should they

become a reality.

The UK government has said it has no plans to

develop such technology.

Weapons with a degree of autonomy, including

Unmanned Aerial Vehicles - commonly known

as drones - are already widely used on the

battlefield.

Such weapons are described as “human-in-the-loop”

systems because they can only select targets and

deliver lethal force with a human command.

But organisers of the Campaign to Stop Killer

Robots - a global effort being launched on

Tuesday - say advances in robotic technology

mean it is only a matter of time before fully

autonomous “human-out-of-the-loop” systems -

capable of firing on their own - are developed.

They argue that giving machines the power

over who lives and dies in war would be an

unacceptable application of technology, and would

pose a fundamental challenge to international

human rights and humanitarian laws.

Estimates vary over how long it could be before

such weapons are available, but the group says

a new treaty is needed to pre-emptively outlaw

their development, production and use.

Campaign leader Ms Williams, who won a Nobel

Peace Prize in 1997 for her work in bringing

about a ban on anti-personnel landmines, said:

“As people learn about our campaign, they will

flock to it.

“The public conscience is horrified to learn

about this possible advance in weapons systems.

People don’t want killer robots out there.

“Normal human beings find it repulsive.”

But some experts have questioned the need for a

ban, arguing instead for an open debate about the

legal and ethical implications of such weapons.

Roboticist Professor Ronald Arkin, from the

Georgia Institute of Technology in the US, said:

“The most important thing from my point of view

is that we do not rush these systems into the

battlefield.

“A moratorium as opposed to ban - where we say,

‘we’re not going to do this until we can do it

right’ - makes far more sense to me than simply

crying out, ‘ban the killer robots’.

“Why should we do that now?”

Recent statements by UK and US governments

suggest a reluctance to take human beings fully

“out-of-the-loop” in warfare.

CAMPAIGNERS CALL FOR INTERNATIONAL BAN ON “KILLER ROBOTS”

In March, Lord Astor of Hever - the UK’s

parliamentary under secretary of state for

defence - said the Ministry of Defence “currently

has no intention of developing systems that

operate without human intervention”.

And a directive issued by the US Department of

Defense in November 2012 stated that all weapons

with a degree of autonomy “shall be designed

to allow commanders and operators to exercise

appropriate levels of human judgment over the use

of force”.

137

CAMPAIGNERS CALL FOR INTERNATIONAL BAN ON “KILLER ROBOTS”

THE TERMINATOR

140

The Department of Defense has awarded a lucrative

contract to an engineering and robotics design

company to develop and build humanoid robots

that can act intelligently without supervision.

Boston Dynamics Inc. has been contracted by

the Defense Advanced Research Projects Agency

(DARPA), the agency responsible for the

development of new technologies for use by the

military, in a deal worth $10.9 million.

The DoD announced Tuesday that “The robotic

platforms will be humanoid, consisting of two

legs, a torso, two arms with hands, a sensor

head and on board computing.”

DARPA’s website says that the robots will help

“conduct humanitarian, disaster relief and

related operations.”

“The plan identifies requirements to extend aid

to victims of natural or man-made disasters and

conduct evacuation operations.” reads the brief,

first released in April as part of DARPA’s

‘Robotics Challenge’.

The robots will operate with “supervised

autonomy”, according to DARPA, and will be able

to act intelligently by themselves, making their

own decisions if and when direct supervision is

not possible.

The Pentagon also envisions that the robots will

be able to use basic and diverse “tools”.

“The primary technical goal of the DRC is to

develop ground robots capable of executing

complex tasks in dangerous, degraded, human-

engineered environments. Competitors in the DRC

are expected to focus on robots that can use

standard tools and equipment commonly available

in human environments, ranging from hand tools

to vehicles, with an emphasis on adaptability to

tools with diverse specifications.” reads the

original brief.

The robots are set to be completed by Aug. 9,

2014, according to the contract.

Boston Dynamics has enjoyed a long working

relationship with DARPA, during which time it has

developed the rather frightening BigDog. This

hydraulic quadruped robot can carry up to 340lb

load, meaning it can be effectively weaponised,

and recovers its balance even after sliding on

ice and snow.

The company has also developed the CHEETAH-

Fastest Legged Robot, a four-footed robot that

gallops at 18 mph:

The company also developed RiSE, a robot that

climbs vertical terrain such as walls, trees and

fences, using feet with micro-claws to climb on

textured surfaces:

PENTAGON DEVELOPING AUTONOMOUS HUMANOID ROBOTS TO “PERFORM EVACUATION OPERATIONS”

While the Pentagon says the robots are for

“humanitarian” missions, one cannot avoid

thinking of the propensity to adapt this kind

of military style technology for other more

aggressive purposes.

Indeed, the Pentagon has, in the past, issued

a request to contractors to develop teams of

robots that can search for, detect and track

“non-cooperative” humans in “pursuit/evasion

scenarios”.

Issued in 2008, the request, called for a “Multi-

Robot Pursuit System” to be operated by one

person.

The proposal described the need to

“…develop a software/hardware suit that would

enable a multi-robot team, together with a

human operator, to search for and detect a non-

cooperative human subject.

The main research task will involve determining

the movements of the robot team through the

environment to maximize the opportunity to

find the subject, while minimizing the chances

of missing the subject. If the operator is an

active member of the search team, the software

should minimize the chance that the operator may

encounter the subject.”

141

PENTAGON DEVELOPING AUTONOMOUS HUMANOID ROBOTS TO “PERFORM EVACUATION OPERATIONS”

WHO TO KILL.WHEN TO KILL.WHERE TO KILLTHEM.

“THE TERMINATOR

144

It is seemingly important to the Pentagon that

the operator should not have to come into

contact with the person being chased down by the

machines.

The description continues:

“The software should maintain awareness of line-

of-sight, as well as communication and sensor

limits. It will be necessary to determine an

appropriate sensor suite that can reliably detect

human presence and is suitable for implementation

on small robotic platforms.”

Paul Marks at The New Scientist pointed out such

proposals are somewhat concerning, because they

inevitably will be adapted for domestic purposes

such as crowd control.

“…how long before we see packs of droids hunting

down pesky demonstrators with paralysing weapons?

Or could the packs even be lethally armed?”

Marks asks.

Marks interviewed Steve Wright, an expert on

police and military technologies, from Leeds

Metropolitan University, who commented:

“The giveaway here is the phrase ‘a non-

cooperative human subject’.

What we have here are the beginnings of

something designed to enable robots to hunt down

humans like a pack of dogs. Once the software is

perfected we can reasonably anticipate that they

will become autonomous and become armed.

We can also expect such systems to be equipped

with human detection and tracking devices

including sensors which detect human breath and

the radio waves associated with a human heart

beat. These are technologies already developed.”

“

145

Indeed, noted as PHASE III on the Pentagon

proposal was the desire to have the robots

developed to “intelligently and autonomously

search”.

Top robotics expert, Noel Sharkey, Professor

of Artificial Intelligence and Robotics at the

University of Sheffield, has previously warned

that the world may be sleepwalking into a

potentially lethal technocracy and has called

for safeguards on such technology to be put into

place.

In 2008, Professor Sharkey told listeners of the

Alex Jones show:

“If you have an autonomous robot then it’s going

to make decisions who to kill, when to kill and

where to kill them. The scary thing is that the

reason this has to happen is because of mission

complexity and also so that when there’s a

problem with communications you can send a robot

in with no communication and it will decide who

to kill, and that is really worrying to me.”

The professor also warned that such autonomous

weapons could easily be used in the future by

law enforcement officials in cites, pointing

out that South Korean authorities are already

planning to have a fully armed autonomous robot

police force in their cities.

WHO TO KILL.WHEN TO KILL.WHERE TO KILLTHEM.

“ “

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