PAST, PRESENT & FUTURE
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Transcript of 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
PAST
PAST
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
027
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
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
021
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 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
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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