This headline gives me fucking heat vision:
The secret is he never had a role.
GAHT EM!
When Tim Miller was handed the keys to the Terminator kingdom, series creator James Cameron also handed him something else. It was a list of action scenes Cameron has wanted to do over the years, but never has. "They were just his little personal list of 'cool shit I'd like to see some day,' " Miller tells The Hollywood Reporter.
So either we got Cameron's table scraps, or he shouldn't have relied on somebody else to do what he does best.
Hamilton was hesitant to come back to the series after so many years away from the spotlight. She was particularly nervous about the key shot in which audiences would see Connor onscreen for the first time in 28 years. It had to be perfect.
So whose idea was it to give you a Hillary haircut and have you enter the scene like you're bored and not putting any effort into anything? I'm genuinely curious.
You're not the Terminator, Linda. You're not a young bodybuilding action hero. You're 63 years old. You didn't look cool, and the soyboy hacks and yaaas kweens who wrote and directed your character absolutely failed you. You were right to be scared. You should've told Cameron to fuck off unless he was directing the film himself.
I love stacking the deck against the good guys and then figuring a way out. They don't have any guns? Well, what do they have? They have a fucking old truck.
Stop saying "fuck", you absolute imbecile. You say this in every goddamn interview to make yourself sound cool or more forceful, but you're an oblivious hack, so it just makes you look like an insufferable idiot. Say "fuck" when you're angry instead, and don't get angry often.
At the beginning of this process, Jim handed us all this list of disconnected ideas for action scenes. One of them kind of turned into the underwater Humvee scene. He had always wanted to do this action scene where a car fell through the ice in a river and was washed along the river underneath the ice. That was the genesis of the dam scene. It was pretty cool to get this list of, "What if a tank drove down main street and then went through a mall?" All these ideas from Jim Cameron that he always wanted to see that were not connected to anything in particular. They were just his little personal list of "cool shit I'd like to see some day."
I'll keep this list in mind when I go see this flop today.
I had one bit that we did in pre-vis, but we cut. That highway sequence was twice as long as it is in the movie. There was a whole other sequence, where after the truck wreck, the Rev-9 goes after them. It kills a cop, who comes to investigate the burned truck, and then goes after them, and then catches up to them on a motorcycle. I wanted to do this sequence in Deadpool. Originally, I had a motorcycle chase where Deadpool is on a motorcycle. The way I wrote it in [Dark Fate] — is [The Rev-9, split into two figures] are chasing after the ladies and they shoot the motorcycle and the motorcycle is wrecking, but the Rev-9 jumps off right before the rocket hits the motorcycle and lands on the back of a flatbed truck, runs along the truck, jumps off the top of the cab, and lands on top of their car. We pre-vised it and it was cool, but everybody was like "OK, this scene is fucking crazy as it is. You've got to cut some shit, Tim."
Maybe you should have fired everybody then. If you had any hope of making this scene half as good as the canal chase from T2, then maybe you should've gone a little ham and made something more entertaining. This sounds more novel than just half-ass aping the canal chase.
The canal chase was about 5 minutes, 6 with the encounter in the mall.
@Manwithn0n0men how long was this highway scene in Dark Fate, give or take?
Originally, the first time I wrote [Sarah's entrance], it was just the automatic shotgun. It wasn't the bazooka. As I'm writing it, I'm like, "Man, it's cool but it's not quite satisfying enough." So Jim originally wanted to use the same shotgun they used in T2, and I thought, that's not going to be big enough. Then we went to the automatic shotgun. Then when we got down to this confrontation between two Terminators, we thought, "OK, I need something else to take care of the second one." We did the rocket launcher.
Not that I think it would've made a huge difference to the film overall, but I agree with Jim in this case. It would've been way more nostalgic to just have her with the Remington 870 from T2. Does she ever even use the big auto-shotgun again in the film?
It wasn't too deep into filming. It had been a few weeks, but it was really hard for Linda to do this scene. Not because she's not super capable — she is — but if you look at it carefully, to have to get out of a car with that giant fucking shotgun. There's not a lot of room, and you have a rocket launcher strapped to your back, and you have to do that while looking cool. It really became this sort of logistical thing. Linda practiced it a lot with our military adviser. Linda is a perfectionist, so it had to be perfect. When that day was done, and she had performed it like a badass, take after take, machine-like precision, I really felt her relax into this role. And she's like, "OK, I fucking got this."
All that emotional validation, and this easily her worst portrayal of the character.
Doing all that while looking cool has to be tough to do.
Unbelievably tough. Just getting out of the car was the major logistical thing. We ended up putting the strap of the rocket launcher on and we added the rocket launcher later in CG, because it's really impossible to get out of the car with all that gear on. Just the gun, too. That's one of the reasons we cut to the door already opening, because you can't open a door with a giant shotgun in your hand.There are all these little tricks of moviemaking.
This is a funny metaphor. Trying to cram too much shit into
the car your movie that you end up having to CG some of it out. Maybe you should've cut the "trying to be cool" goal for Linda and thought about what the fuck you were doing. If she's been killing Terminators as soon as they arrive, then why wasn't she right there in Mexico to greet the REV-9 with a kill box? Rough bender last night?
My proudest moment in all of Deadpool, oddly enough is where Ryan spins his katanas and puts them on the sheaths on his back. We were figuring out, "What are we going to do? Should we just take the blades off and use stubbies? I finally said, "I've got an idea, what if we film it in reverse?" Everyone goes, "Oh. Fuck." I filmed Ryan pulling the katanas out, and it worked. I did a little test on my iPhone. "It can't be this easy." We did it, and it worked. It was my proudest moment, I felt like a fucking genius.
Don't break your arm patting yourself on the back there, you special boy you.
They budgeted it like a PG-13 movie that was going to have a broader audience, and they didn't change that until pretty deep into post. It was well past my director's cut where the final decision had been made, so even had they wanted to … cut back on the expense, that ship had already sailed in terms of VFX, which was great.
Gotta have that broad $28 million dollar audience appeal for an R-rated film, eh Tim? I'm glad the likes of Joker is embarrassing you self-impressed hacks. Though maybe that was out of your control, so I won't hold it against you for not sacking up and selling a hard R to Skydance.
Do you know who ultimately made the call on the rating? Are you calling Paramount's Jim Giannopoulos or Skydance's David Ellison to get the OK?
I haven't reached anywhere near the power that I would need to make them make that decision if they thought they were going to lose money. The only real thing I influenced that that I had under my control, is I don't really feel like everybody knew how grim and gritty a movie we were making. I think everybody had this idea in their mind of this sort of T2 lightness. … At some point they realized we have a pretty grim and gritty film on our hands and I think that helped the R decision. Skydance, Paramount and Fox [which distributes Dark Fate internationally] are pretty much equal partners, so they sort of all had to agree.
This reminds me of how studios often
sabotage their own movies because they didn't realize what kind of movie they were bankrolling. So you did force their hand, you just didn't make a movie people wanted to see. I guess this vindicates Skydance a little, but not much.
Now here we go: Let's talk about John Connor.
You'd think it [killing John off] was probably a controversial decision, but it really wasn't.
I'll let
JonTron take this one.
Yes Tim. Tell us how we really feel.
There was a lot of talk at the really early stages of should this new savior be someone who was connected to the Connors? Should it be John's daughter or something like that? Which I was always against, because I'm just not a fan of the Chosen One sort of movie as much as I am of a hero sort of rising to meet adversity, who could be an everyman or an everywoman. I identify with those people much more than I do with Neo in The Matrix or King Arthur or something like that. So I was all for this being some new person that wasn't connected to the Connors and had been chosen by the hand of fate.
How is Dani any less "chosen by the hand of fate"?
YOU are the hand of fate, Tim. This is
YOUR movie. Whoever you
CHOOSE is the
CHOSEN ONE, dipshit. We just wanted John not to be thrown away like a used tampon.
We all knew a couple of things. One: Sarah Connor is not a happy character. She is best when she is driven and tragic and you need some rocket fuel for that.
Bullshit premise. "She was unhappy in the last film so she has to stay unhappy in this one, wat do."
You can't have John be a 36-year-old accountant somewhere. And really, when you think about it, he could be sort of a pathetic figure as a man who had missed his moment in history and was relegated to this banal, ordinary existence, when in fact had Sarah not chosen to destroy Cyberdyne, he would be the leader of humanity. Nobody wants to see that.
And you thought people wanted to see him shot in the chest, instead?
Asshole, this is a false dichotomy. It's not either "John is the hero of the resistance" or "John is a boring, pathetic man". He could've been anything. This MOVIE could've been anything, but you chose to make a garbage film. Don't bitch out and blame the past, claiming that you were painted into a corner and HAD to kill John like that. I don't care how much sense it makes for your movie when your movie is a derivative, non-starter mess. You're not James Cameron, you're Rian Fucking Johnson.
Secondly, [John's death], that's rocket fuel for Sarah. And lastly, you need to clear the stage for these new characters. They are not going to be able to have their moment, or come into their moment, with John hanging around. There's just no good way to do that.
You're all hacks. Nobody cares about your new shitty characters. Everywhere I've gone I've told people, "This is going to be shit. It's just like Star Wars." And here you are proving me right. Because you had to make shitty characters nobody's ever going to care about, you then had to bring back the old cast to put asses in seats before killing and degrading them. Get fucked.
Everybody was in pretty strong agreement
Fire everybody. You're surrounded by yes-men and yaaas kweens.
and the way to start it, was really, you want to have this dramatic impact. You want to slap the audience in the face and say, "Wake up. This is going to be different." I feel like that accomplished that. I hate the violence of it. I hate the idea of a kid being shot, but the dramatic fuel that it gives the story is kind of undeniable.
Good job, you slapped the audience right in the face. I hope it was worth it.
Why is Hollywood full of so many fuckups?
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