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In the Pilot Sarah asks Cameron what to do so she doesn't lose John and Cameron gives her the answer, even in the Pilot Cameron was influencing everything to do with John. I do admit that Everything He Is would have to reference Sarah but Everything He Will Be would have to reference Cameron as Sarah was shown to do nothing to develop John during the entire show it was all Cameron's influence (along with Derek who let John be involved), the only thing you could say for Sarah's influence over John if she had any was a bad one, still expecting him to run which is obviously not going to prepare him for what is coming in his future
I uploaded on Youtube a video on TSCC : Fox Movie Channel presents "making a scene" devoted to Terminator : The Sarah connor Chronicles.
This original program includes interviews from David Nutter, pilot director & executive producer, James Middleton, consulting producer, James Lima, visual effects supervisor, Michael Novotny, production designer, Joel Kramer, stunt coordinator as well as Lena Headey, Thomas Dekker and Summer Glau.
We learn the basics behind the creation of the show, the characters and how the show respects James Cameron's vision from T1 and T2.
I uploaded on Youtube the Director’s Cut from Terminator : The Sarah Connor Chronicles S01E04 "Heavy Metal" featuring Summer Glau and her big jump from the truck as it went off the cliff! Join the director and the stunt crew as they show you how Cameron can stick a landing like no one else.
I will upload clips from the Special features Terminator the Sarah Connor Chronicles season 1 blu-ray. This is the first one Summer talks about her training in terminator bootcamp You can't stop the signal!
Thanks for posting all these videos Chris. It certainly adds a lot to my understanding. That opening clip showing the terminator being assembled has always interested me. In the reflections off of the polished surfaces you can see a background which I am guessing could be the bunker where the Coltan was taken for storage. Cameron said that she had been built there in some kind of manufacturing cell.
Towards the end of the sequence, there appear to be some moving objects in the background and I mean they are moving in their own frame of reference and not just relative to the moving assembly of the terminator. I don't believe we are seeing Cameron being assembled as the robot appears to be a larger T888. However, I wonder if Josh Friedman had hidden some aspect of the story in the reflections that appear. There is a background; it appears to be some kind of machine hall where there other things going on but as to what, I have no real knowledge, just speculation.
Any ideas? If you are going through Hell, keep going.
That opening clip showing the terminator being assembled has always interested me.
Can you say which clip exactly you're talking about (indicate message #)?
I find your idea interesting; Hitchcock was a graphic artist in its first professional years (during the silent film era) and he has always kept a very graphic vision of the scenes (don't use words if you can use images), and it shows in the opening credits of his movies.
I like it when an opening credit is made specifically and not made from clips of the serie because the creator of the show can send a message (hidden or not) to the audience about the essence of the show; for example, the opening credit of Syfy's Caprica has it all (every detail counts but notice for example at 0:19 of the video the man opening his jacket to show a knife, thus revealing his nature) :
Message 23 contains the video showing the assembly sequence for the Terminator's head and its attachement to the body. There is quite a large room shown as reflections on the polished surfaces of the head and other bits.
Hitchcock is a master at putting the audience right in the scene. And as you say, he uses very few words instead preferring to show us what he wants us to see. His scripts must read like novels in their use of descriptions of settings.
"The camera ascends to the second story and enters in through the window. Inside, we see a dingy, worn apartment. The curtains that part as we enter are torn, dirty, and have holes from gunfire having passed through them. A chair is placed in front of the window. As we pass through the window, the camera moves down and in one fluid move, we are sitting in the chair, in the scene, watching as the two characters have a heated discussion about what to do with the body. There is blood everywhere..."
Ok, enough of that - all that I mean to say is that he probably had to write pages and pages of descriptions with dialogue thrown in for good measure. Who cares! He was a great film maker. I read the longer, orginal script for Serenity (The Kitchen Sink version I think it is called) and it contains surprisingly little description. I suppose that it must be essential that the script has to be interpreted by an art director, a director, and others to provide the background and setting needed to support the story. If you are going through Hell, keep going.
Message edited by Alex - Wednesday, 11 Jul 2012, 14:23