AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Terminator 2: Judgment Day
Director: James Cameron (Dir)
Release Date:   1991
Premiere Information:   Los Angeles opening: 3 Jul 1991; New York opening: week of 3 Jul 1991
Production Date:   9 Oct 1990--28 Mar 1991; Filmed on location in Fontana, Fremont, Lancaster, Long Beach, Los Angeles, and San Jose, California
Duration (in mins):   135
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Cast:   Arnold Schwarzenegger (The Terminator)  
    Linda Hamilton (Sarah Connor)  
    Robert Patrick (T-1000)  
    Joe Morton (Miles Dyson)  
    Earl Boen (Dr. Silberman)  
    S. Epatha Merkerson (Tarissa Dyson)  
    Danny Cooksey (Tim)  
    Castulo Guerra (Enrique Salceda)  
  and introducing Edward Furlong (John Connor)  
    Jenette Goldstein (Janelle Voight)  
    Xander Berkeley (Todd Voight)  
    Leslie Hamilton Gearren (Twin Sarah)  
    Ken Gibbel (Douglas)  
    Robert Winley (Cigar biker)  
    Pete Schrum (Lloyd)  
    Shane Wilder (Trucker)  
    Michael Edwards (Old John Connor)  
    Jared Lounsbery (Kid)  
    Casey Chavez (Kid)  
    Ennalls Berl (Bryant)  
    Don Lake (Mossberg)  
    Richard Vidan (Weatherby)  
    Tom McDonald (Cop)  
    Jim Palmer (Jock)  
    Gerard G. Williams (Jock)  
    Gwenda Deacon (Night nurse)  
    Don Stanton (Lewis, the guard)  
    Dan Stanton (Lewis as T-1000)  
    Colin Patrick Lynch (Attendant)  
    Noel Evangelisti (Hospital guard)  
    Nikki Cox (Girl)  
    Lisa Brinegar (Girl)  
    De Vaughn Nixon (Danny Dyson)  
    Tony Simotes (Vault guard)  
    Diane Rodriguez (Jolanda Salceda)  
    Dalton Abbott (Infant John Connor)  
    Ron Young (Pool cue biker)  
    Charles Robert Brown (Tattoo biker)  
    Abdul Salaam El Razzac (Gibbons)  
    Mike Muscat (Moshier)  
    Dean Norris (SWAT team leader)  
    Charles Tamburro (Police chopper pilot)  
    J. Rob Jordan (Pickup truck driver)  
    Terrence Evans (Tanker truck driver)  
    Denney Pierce (Burly attendant)  
    Mark Christopher Lawrence (Burly attendant)  
    Pat Kouri (SWAT leader)  
    Van Ling (Cyberdyne tech)  

Summary: Sarah Connor explains that a nuclear blast killed more than three billion people in 1997. In present-day 2029, survivors wage war against machines controlled by a computer named Skynet. Sarah recounts that Skynet sent two machines, called Terminators, back in time to destroy the human resistance leader, her son, John Connor. The first Terminator attempted to kill Sarah in 1984, before John was born, but failed. The second Terminator was sent to kill John as a young boy; however, the human resistance sent their own Terminator to protect him. In 1995, in Los Angeles, California, a Terminator, resembling a naked man, is transported to a parking lot outside a bar. The Terminator walks inside and is met with laughter and hostility. After stabbing one of the patrons with his own knife, the Terminator takes another patron’s clothing, a motorcycle, and a shotgun. The same night, a second Terminator, the T-1000, arrives, kills a police officer, and steals his patrol car and uniform. In the morning, John Connor works on his motorbike. Though his foster parents, Todd and Janelle Voight, order John to clean his room, he speeds away with his friend, Tim. At Pescadero State Hospital, a "Criminally Disordered Retention Facility," Sarah Connor exercises in her cell while Dr. Silberman leads a group of medical professionals on a tour of the facility. Approaching Sarah’s cell, Silberman describes her condition as “acute schizoaffective disorder,” saying she believes a machine was sent back in time to kill her while the father of her child, a soldier, was sent back simultaneously to protect her. The T-1000, dressed as a policeman, arrives at the Voight residence to question John's foster parents and obtains a picture of the boy. Meanwhile, John hacks into an automated teller machine to steal cash, telling Tim that Sarah taught him the trick. In an office building, Miles Dyson, a leading scientist with Cyberdyne Systems, examines a robotic arm and central processing unit in glass cases; unbeknownst to him, the items are relics of the 1984 Terminator. At an arcade in a shopping mall, John and Tim play games, while the Terminators close in on the boy. The T-1000 appears in the arcade, and John escapes to a hallway where he sees the Terminator brandishing a shotgun. As the Terminator and the T-1000 exchange fire, the Terminator pushes John to safety and shoots the other machine multiple times; however, the T-1000 quickly recovers. John runs to his motorbike and rides away, pursued by the Terminator on a motorcycle and the T-1000 in a stolen tow-truck. Riding onto an overflow channel, the Terminator pulls John onto the motorcycle while shooting at the tow-truck. The T-1000 crashes into an overpass and the truck explodes, allowing the Terminator to ride away with John. Moments later, the T-1000 emerges from the flames unharmed, re-forming into human shape. At the side of the road, John confirms that the Terminator has come to protect him, realizing that his mother’s beliefs about the future were true. He learns that the Terminator’s body is “living tissue over metal endoskeleton” and the T-1000 is a newer prototype, made of liquid metal. That evening, John calls the Voights to warn them about the T-1000, but when Janelle answers the phone, he senses that she seems different. In fact, the T-1000 has killed Janelle and assumed her form, and proceeds to kill Todd while talking on the phone. The Terminator deduces that John is speaking to the T-1000 and hangs up, explaining to the boy that Terminators can imitate any living thing of approximately the same size. At the hospital, police show Sarah pictures of the Terminator in 1984 and at the mall earlier that day, identifying the Terminator as her son’s kidnapper. She says nothing, but steals a paper clip. Realizing that the T-1000 will go after his mother next, John insists that he and the Terminator save Sarah. The Terminator rejects the idea and they argue. John discovers that the machine must obey his orders without question after he screams for the Terminator to let him go and the machine immediately drops him. Hearing the screams, two men in an adjacent parking lot offer to help the boy, but John rudely dismisses them and they insult him in return. When he orders it to take care of them, the Terminator wields a gun but John shoves it away. After the men run to safety, John informs the Terminator that killing people is unacceptable. That night, Sarah uses the paper clip to escape from her room. The T-1000 arrives at the hospital and assumes the identity of a policeman who patrols the building and then kills him. Fighting off nurses and guards, Sarah attacks Silberman and fills a syringe with Liquid Rooter. Moments later, John and the Terminator gain access to the hospital after the Terminator shoots a guard in the knees, careful not to kill him. Plunging the syringe into his neck, Sarah takes Silberman hostage and makes her way through the hospital. A guard grabs the syringe and frees the doctor, and Sarah runs away. At the end of a hallway, the Terminator emerges and Sarah runs in the other direction. Guards subdue her, but the Terminator fights them off and John arrives, assuring his mother that the Terminator will help them. The T-1000 appears and chases Sarah, John, and the Terminator to a parking garage where they steal a police car. Pursuing them on foot, the T-1000 climbs aboard the car, but the Terminator shoots it off. Sarah scolds her son for risking his life to save her. John cries and the Terminator asks what is wrong with his eyes. At a closed auto repair shop, the Terminator stitches a cut for Sarah and she removes the bullets from the Terminator’s back. When John suggests the Terminator behave more like a human, he learns that the machine is in “read-only” mode. To reverse the “read-only” mode, Sarah unscrews a port built into the Terminator’s skull and removes a central processing unit. Though she wants to destroy the computer altogether, John stops her, insisting he needs the Terminator. The next morning, John teaches the Terminator colloquialisms such as “no problemo” and “hasta la vista, baby.” The Terminator informs Sarah that Miles Dyson will soon invent a microprocessor that allows stealth bombers to fly unmanned. Dyson’s employer, Cyberdyne Systems, will use the microprocessor to innovate military technology, resulting in the creation of the machines ultimately controlled by Skynet. The Terminator states that the machines become “self-aware,” and when humans attempt to shut them down, Skynet will bomb Russia in retaliation. Russia will respond by attacking with a nuclear bomb on August 29, 1997. In Mexico, Sarah, John, and the Terminator arrive at a camp and meet Sarah’s militant friend, Enrique Salceda. They obtain an arsenal of weapons, clothes, and a new vehicle. John bonds with the Terminator and talks about his nomadic childhood and the rogue military training to which Sarah subjected him. After a nightmare about the nuclear blast, Sarah awakens, determined to kill Dyson before he invents the microprocessor. She leaves John and the Terminator behind, but they soon follow. Outside Dyson’s home, Sarah shoots through the window and pursues the scientist inside, shooting him in the shoulder; however, when she takes aim at the fallen Dyson, she cannot bring herself to execute him. The Terminator and John arrive, and the Terminator explains to Dyson the catastrophic consequences of his invention. Convinced, Dyson agrees to help them destroy Cyberdyne Systems in order to save humanity. Fully armed, they arrive at Cyberdyne’s offices, subdue the night watchman, and break into the lab. A security guard sounds a silent alarm, and police swarm the building. Dyson and John retrieve the previous Terminator's arm and central processing unit from their glass cases. The group disperses explosives throughout the lab, and Dyson grabs the detonator as they leave. At that moment, police arrive and open fire, hitting Dyson multiple times. Sarah, John and the Terminator escape, but Dyson remains behind. As he dies, he strikes the detonator, causing the lab to explode. John and Sarah take cover in an elevator as the Terminator shoots through the lobby, steals a police van, and crashes into the building to retrieve them. The T-1000 arrives on a police motorcycle and drives up the stairs, spotting his targets from above as they leave in the van. When a helicopter passes, the T-1000 drives out the window, grabs onto the aircraft, and commandeers it. He pursues the van and exchanges gunfire with Sarah, who is shot in the leg. The T-1000 rams the helicopter into the van, and both vehicles crash. Continuing the chase, John, Sarah, and the Terminator hop into a pickup truck, while the T-1000 obtains a large tanker truck filled with liquid nitrogen. John takes the steering wheel as the Terminator climbs aboard the tanker and blasts the T-1000 with bullets. The tanker rolls on its side, and the Terminator jumps off. Sarah and John drive inside a steel mill and crash; nearby, the tanker also skids to a stop. The T-1000 exits and steps into spilled liquid nitrogen which causes it to freeze and break apart. The Terminator opens fire, and the T-1000 shatters into frozen shards. The Terminator and John help Sarah, incapacitated by her bullet wound, move through the mill. Extreme heat liquefies the T-1000's frozen shards, and the machine re-forms. In hand-to-hand combat against the T-1000, the Terminator’s arm is trapped under a gear. While the T-1000 pursues John and Sarah, the Terminator breaks free, leaving an arm behind. Sarah lowers John down a shaft before the T-1000 extends its finger into a sharp point and pierces her shoulder. The Terminator appears and beats the T-1000 with a steel bar. In retaliation, the T-1000 rams the bar through the Terminator’s body, causing the Terminator’s system to shut down. However, shortly after the T-1000 leaves, the Terminator regains power. As the T-1000 approaches John, disguised as Sarah, the real Sarah appears and opens fire. Just as she runs out of ammunition, the Terminator arrives, shooting the T-1000 with a grenade launcher. The T-1000 explodes and falls into a vat of molten metal which destroys the machine. After they dispose of the robotic arm and central processing unit, John becomes upset at the suggestion that the Terminator must now be destroyed. The Terminator expresses a newfound understanding of why people cry. Sarah presses a button to lower the Terminator into the molten metal, and the Terminator signals them with a “thumbs up.”

 

Production Company: Carolco  
  Pacific Western  
  Lightstorm Entertainment  
Production Text: A James Cameron film
Distribution Company: Tristar Pictures  
Director: James Cameron (Dir)
  Gary Davis (2d unit dir)
  Dirk Petersmann (Unit prod mgr)
  J. Michael Haynie (1st asst dir)
  George Parra (1st asst dir, 2d unit)
  Randall Badger (1st asst dir, 2d unit)
  Barry Thomas (1st asst dir, 2d unit)
  Scott Laughlin (Key 2d asst dir)
  Frank Davis (Key 2d asst dir)
  Tony Perez (2d asst dir)
  Dustin Bernard (2d asst dir)
  James Lansbury (2d asst dir)
  Grant Gilmore (2d asst dir, 2d unit)
  David Fudge (2d asst dir, 2d unit)
  Xochi Blymyer (2d 2d asst dir)
Producer: James Cameron (Prod)
  Gale Anne Hurd (Exec prod)
  Mario Kassar (Exec prod/Pres)
  B. J. Rack (Co-prod)
  Stephanie Austin (Co-prod)
Writer: James Cameron (Wrt)
  William Wisher (Wrt)
Photography: Adam Greenberg (Dir of photog)
  Michael A. Benson (Dir of photog, 2d unit)
  David L. Butler (Aerial dir of photog)
  Michael A. Benson ("A" cam op)
  Michael St. Hillaire ("A" cam op)
  Paul C. Babin (Extra cam op)
  Don Fauntleroy (Cam op, 2d unit)
  James Muro (Steadicam® op)
  Dennis J. Laine (Lead asst cam)
  Michael J. Fauntleroy (1st asst cam)
  Ted Hawser (1st asst cam, 2d unit)
  Bruce Manning (1st asst cam, 2d unit)
  Alan Cohen (2d asst cam)
  Gavin Alcott (2d asst cam)
  Dan Teaze (2d asst cam)
  Bruce DeAragon (2d asst cam, 2d unit)
  Todd Gavin (2d asst cam, 2d unit)
  Stephen A. Sfetku (Film loader)
  Christopher Duddy (Vista Vision cam tech)
  Chuck Tamburro (Aerial coord)
  Pete Martinez (Video asst op)
  Scott Warner (Video asst op)
  Richard J. Dungan (Video asst op, 2d unit)
  Gary Tandrow (Chief lighting tech)
  Salvatore J. Orefice (Chief lighting tech, 2d unit)
  Steven C. McGee (Elec best boy)
  Kevin J. Lang (Rigging gaffer)
  Steve Hastings (Rigging best boy)
  James Cox (Elec)
  David Dunbar (Elec)
  Brad Emmons (Elec)
  Jason Gunn (Elec)
  David E. Hengsteller (Elec)
  Frank Krejsa (Elec)
  Joe Rowan (Elec)
  John Smock (Elec)
  Donald Stanford (Elec)
  Darrin Pulford (Elec)
  Robert Gray (Key grip)
  Scott Robinson (Key grip, 2d unit)
  "Slick" Rick Rader (Best boy grip)
  Donald L. Hartley (Dolly grip)
  Richard Crompton (Grip)
  Hilary Klym (Grip)
  Brian Liberman (Grip)
  Tyrone Jackson (Grip)
  John Nash (Grip)
  Ryan Russill (Grip)
  Rodney Veto (Rigging grip)
  Zade Rosenthal (Still photog)
  Chapman (Cranes and dollies by)
  Hollywood Rental Company, Inc. (Lighting and grip equip supplied by)
Art Direction: Joseph Nemec, III (Prod des)
  Joseph P. Lucky (Art dir)
  Charles W. Breen (Asst art dir)
  Gary Diamond (Asst art dir)
  Carla S. Nemec (Art dept coord)
  Duncan Kennedy (Art dept asst)
  Stephen Burg (Conceptual artist)
  Phillip Norwood (Storyboard artist)
  George Jensen (Illustrator)
  John Eaves (Illustrator, Fantasy II Film Effects Inc.)
  John Rosengrant (Art dept coord, Stan Winston Studio)
  Shannon Shea (Art dept coord, Stan Winston Studio)
  Shane Mahan (Art dept coord, Stan Winston Studio)
  Bill Basso (Art dept, Stan Winston Studio)
  Dan Rebert (Art dept, Stan Winston Studio)
  Mark "Crash" McCreery (Art dept, Stan Winston Studio)
  Ian Stevenson (Art dept, Stan Winston Studio)
  Sean Rogers (Art dept, Stan Winston Studio)
  Jeff Periera (Art dept, Stan Winston Studio)
  Len Burge (Art dept, Stan Winston Studio)
  Glen Eisner (Art dept, Stan Winston Studio)
  Eileen Kastner Delago (Art dept, Stan Winston Studio)
  David Grasso (Art dept, Stan Winston Studio)
  Joseph Patrick Todd (Art dept, Stan Winston Studio)
  Beth Hathaway (Art dept, Stan Winston Studio)
  Joe Reader (Art dept, Stan Winston Studio)
  Mark Jurinko (Art dept, Stan Winston Studio)
  J. C. Matalon (Art dept, Stan Winston Studio)
  Mike Trcic (Art dept, Stan Winston Studio)
  Brad Krisko (Art dept, Stan Winston Studio)
  Curt Massof (Art dept, Stan Winston Studio)
  Richard Davidson (Art dept, Stan Winston Studio)
  Robert Burman (Art dept, Stan Winston Studio)
  Bruce Spaulding Fuller (Art dept, Stan Winston Studio)
  Greg Figiel (Art dept, Stan Winston Studio)
  Michael Spatola (Art dept, Stan Winston Studio)
  Brent Baker (Art dept, Stan Winston Studio)
  Karen Mason (Art dept, Stan Winston Studio)
  Andy Schoneberg (Art dept, Stan Winston Studio)
  David Stinnett (Art dept, Stan Winston Studio)
  Rob Watson (Art dept, Stan Winston Studio)
  Chris Swift (Art dept, Stan Winston Studio)
  Joseph Kelley (Art dept, Stan Winston Studio)
  Michiko Tagawa (Art dept, Stan Winston Studio)
  Adam Jones (Art dept, Stan Winston Studio)
  Alan Scott (Art dept, Stan Winston Studio)
  Paul Mejias (Art dept, Stan Winston Studio)
  Paul Sciacca (Art dept, Stan Winston Studio)
  Dave Beneke (Art dept, Stan Winston Studio)
  Mark Lohff (Artists' asst, Stan Winston Studio)
Film Editor: Conrad Buff (Film ed)
  Mark Goldblatt (Film ed)
  Richard A. Harris (Film ed)
  J. Dolan Production Units (Projectionist)
  Clarinda Wong (Supv 1st asst ed)
  Caroline Ross (1st asst ed)
  Jane Kass (1st asst ed)
  Ron South (2d asst ed)
  Clay Rawlins (2d asst ed)
  Kelly Tartan (2d asst ed)
  Roberto McGrath (Negative cutter, ILM)
  Mary Nelson Duerrstein (Negative cutting)
Set Decoration: Walter Martishius (Set des)
  Carole L. Cole (Set des)
  John M. Dwyer (Set dec)
  Barton M. Susman (Leadman)
  R. Patrick McGee (On set dresser)
  Joe Pizzorusso (Set dresser)
  William Dolan (Set dresser)
  Craig Baron (Set dresser)
  Charles Stewart (Prop master)
  Linda Waxman (Asst prop master)
  Steve Callas (Const coord)
  Mike Wells (Gen foreman)
  Bill K. Hoyt (Stand-by painter)
  Camair Research (Functional props)
  Mike Cameron (Functional props)
  Vince Catlin (Functional props)
Costumes: Marlene Stewart (Cost des)
  Bruce R. Hogard (Cost supv)
  Greg Hall (Set cost)
  Dawn Y. Line (Set cost)
  Collin Booth (Cost, 2d unit)
  Pattie Moon (Cost, 2d unit)
  Carol Dobrovolny (Specialty cost manufacturing)
Music: Brad Fiedel (Mus)
  Allan K. Rosen (Supv mus ed)
  Dan Garde (Asst mus ed)
Sound: Lee Orloff (Sd mixer)
  Nicholas R. Allen (Boom op)
  Knox Grantham White (Cable)
  Skywalker Sound A Division of LucasArts Entertainment Company, Marin County, California (Post prod sd services provided by)
  Gary Rydstrom (Sd des, Skywalker Sound)
  David Slusser (Asst sd des, Skywalker Sound)
  Tom Myers (Asst sd des, Skywalker Sound)
  Scott Chandler (Asst sd des, Skywalker Sound)
  Tom Johnson (Re-rec mixer, Skywalker Sound)
  Gary Rydstrom (Re-rec mixer, Skywalker Sound)
  Gary Summers (Re-rec mixer, Skywalker Sound)
  Gloria S. Borders (Sd supv, Skywalker Sound)
  Robert Shoup (Sd eff ed, Skywalker Sound)
  Tim Holland (Sd eff ed, Skywalker Sound)
  Teresa Eckton (Sd eff ed, Skywalker Sound)
  Ken Fischer (Sd eff ed, Skywalker Sound)
  Richard Hymns (Sd eff ed, Skywalker Sound)
  Ethan Van der Ryn (Sd eff ed, Skywalker Sound)
  Larry Oatfield (Sd eff ed, Skywalker Sound)
  Paige Satorius (Dial ed, Skywalker Sound)
  Stacey Foiles (Dial ed, Skywalker Sound)
  Ewa Sztompke (Dial ed, Skywalker Sound)
  Gwen Yates-Whittle (Dial ed, Skywalker Sound)
  Sara Bolder (Dial ed, Skywalker Sound)
  C. J. Appel (ADR ed, Skywalker Sound)
  Barbara McBane (ADR ed, Skywalker Sound)
  Michael Perrone (ADR ed, Skywalker Sound)
  Diana Stirpe (Sd asst, Skywalker Sound)
  Claire Sanfilippo (Sd asst, Skywalker Sound)
  Vanessa James (Sd asst, Skywalker Sound)
  Kevin Williams (Sd asst, Skywalker Sound)
  J. R. Grubbs (Sd asst, Skywalker Sound)
  Pam Uzzell (Sd asst, Skywalker Sound)
  Clare Freeman (Sd asst, Skywalker Sound)
  Phil Olbrantz (Sd asst, Skywalker Sound)
  Sam Hinckley (Sd asst, Skywalker Sound)
  Hael Kobayashi (Sd asst, Skywalker Sound)
  Susan Sanford (Sd asst, Skywalker Sound)
  Jim Seymour (Sd asst, Skywalker Sound)
  Susan Popovic (Sd asst, Skywalker Sound)
  Marion Wilde (Foley ed, Skywalker Sound)
  Diana Pellegrini (Foley ed, Skywalker Sound)
  Sandina Bailo-Lape (Foley ed, Skywalker Sound)
  Dennie Thorpe (Foley artist, Skywalker Sound)
  Marnie Moore (Foley asst, Skywalker Sound)
  Christopher Boyes (Foley rec, Skywalker Sound)
  Kathleen Korth (Re-sync ed, Skywalker Sound)
Special Effects: Dennis Muren (Industrial Light & Magic visual eff supv)
  Stan Winston (Spec makeup and Terminator eff prod)
  Tara Meaney Crocitto (Asst to Stan Winston, Stan Winston Studio)
  Thomas L. Fisher (Spec eff coord)
  Scott Fisher (Spec eff asst)
  Bob King (Spec eff asst)
  Jay King (Spec eff asst)
  Terry King (Spec eff asst)
  Roger Hansen (Spec eff asst)
  Bruce Minkus (Spec eff asst)
  Mark Noel (Spec eff asst)
  Alison Savitch (Visual eff prod supv)
  Van Ling (Creative supv/Visual eff coord)
  Miller Drake (Visual eff ed)
  Julie J. Webb (Asst visual eff ed)
  John Bruno (Visual eff des)
  Richard Mula (Visual eff lighting consultant)
  Geoffrey Burdick (Visual eff asst)
  Industrial Light & Magic A Division of LucasArts Entertainment Company, Marin County, California (Computer graphics images by)
  Mark A. Z. Dippé (Asst visual eff prod supv, ILM)
  Jay Riddle (Computer graphics shot supv, ILM)
  Doug Smythe (Computer graphics shot supv, ILM)
  Lincoln Hu (Computer graphics shot supv, ILM)
  George H. Joblove (Computer graphics shot supv, ILM)
  Scott E. Anderson (Computer graphics shot supv, ILM)
  Thomas A. Williams (Computer graphics shot supv, ILM)
  Stefen M. Fangmeier (Computer graphics shot supv, ILM)
  Eric Enderton (Computer graphics software developer, ILM)
  Carl Nai Frederick (Computer graphics software developer, ILM)
  Michael J. Natkin (Computer graphics software developer, ILM)
  Angus Poon (Computer graphics software developer, ILM)
  John F. Schlag (Computer graphics software developer, ILM)
  Tien Truong (Computer graphics software developer, ILM)
  Janet Healy (Visual eff prod, ILM)
  Doug Chiang (Visual eff art dir, ILM)
  Michael Gleason (Visual eff ed, ILM)
  Jim May (Visual eff asst ed, ILM)
  Joshua Pines (Scanning supv, ILM)
  Lisa Vaughn (Scanning coord, ILM)
  Bruce Vecchitto (Opt photog supv, ILM)
  Gail Currey (Visual eff coord, ILM)
  Stuart Robertson (Digital supv, ILM)
  Randall K. Bean (Scanning op, ILM)
  George Gambetta (Scanning op, ILM)
  Michael Cooper (Scanning op, ILM)
  Patrick McArdle (ILM plate photog)
  Chuck Schumann (ILM plate photog)
  Carl Miller (ILM plate photog)
  Jeff Light (Scanning software, ILM)
  Terry Chostner (ILM eff photog)
  Bob Hill (ILM eff photog)
  Jack Gallagher (Plate photog coord, ILM)
  Barbara Brennan (Digital artist, ILM)
  Jim Hagedorn (Digital artist, ILM)
  Gordon Baker (Digital artist, ILM)
  Judith Weaver (Computer graphics coord, ILM)
  Ginger Theisen (Computer graphics coord, ILM)
  Greg Maloney (Digital transfer op, ILM)
  James D. Mitchell (Computer graphics tech asst, ILM)
  Rachel Falk (Computer graphics tech asst, ILM)
  Diana Ace (Computer graphics tech asst, ILM)
  Douglas Scott Kay (Computer graphics dept mgr, ILM)
  Jay Lenci (Computer graphics systems support, ILM)
  Ken Beyer (Computer graphics systems support, ILM)
  Susan Adele Colletta (Digital coord, ILM)
  Alice Rosen (Digital coord, ILM)
  Chuck Ray (Stage tech, ILM)
  Tim Morgan (Stage tech, ILM)
  Phil Heron (Stage tech, ILM)
  Stan Winston Studio (Spec makeup and Terminator eff created at)
  Richard Landon (Mechanical dept coord, Stan Winston Studio)
  Evan Brainard (Mechanical dept, Stan Winston Studio)
  Craig Caton (Mechanical dept, Stan Winston Studio)
  Christian Cowan (Mechanical dept, Stan Winston Studio)
  Mark Goldberg (Mechanical dept, Stan Winston Studio)
  Armando Gonzalez (Mechanical dept, Stan Winston Studio)
  Charles Lutkus (Mechanical dept, Stan Winston Studio)
  Gregory Manion (Mechanical dept, Stan Winston Studio)
  Hal Miles II (Mechanical dept, Stan Winston Studio)
  Jon C. Price (Mechanical dept, Stan Winston Studio)
  Brock Winkless (Mechanical dept, Stan Winston Studio)
  Pacific Data Images (Addl digital compositing)
  Fantasy II Film Effects Inc. (Spec visual eff by)
  Gene Warren, Jr. (Visual eff supv, Fantasy II Film Effects Inc.)
  Leslie Huntley (Visual eff prod, Fantasy II Film Effects Inc.)
  Joseph Viskocil (Pyrotechnic supv, Fantasy II Film Effects Inc.)
  Michael Joyce (Model and shop supv, Fantasy II Film Effects Inc.)
  Gary Rhodaback (Model maker, Fantasy II Film Effects Inc.)
  Pete Gerard (Model maker, Fantasy II Film Effects Inc.)
  Dennis Schultz (Model maker, Fantasy II Film Effects Inc.)
  Dwight Shook (Model maker, Fantasy II Film Effects Inc.)
  Monty Shook (Model maker, Fantasy II Film Effects Inc.)
  Steve Petruzates (Model maker, Fantasy II Film Effects Inc.)
  Christopher Warren (Cam op, Fantasy II Film Effects Inc.)
  Paul Gentry (Cam op, Fantasy II Film Effects Inc.)
  Michael Joyce (Model and shop supv, Fantasy II Film Effects Inc.)
  Jerry Pojawa (Visual consultant, Fantasy II Film Effects Inc.)
  Bob Micheletti (Opt eng, Fantasy II Film Effects Inc.)
  Jim Martin (Opt eng, Fantasy II Film Effects Inc.)
  Betzy Bromberg (Opt supv, Fantasy II Film Effects Inc.)
  Tony Alderson (Fire shots, Fantasy II Film Effects Inc.)
  Beth Bloc (Prod coord, Fantasy II Film Effects Inc.)
  Scott Beverly (Prod asst, Fantasy II Film Effects Inc.)
  James Cook (Prod asst, Fantasy II Film Effects Inc.)
  Steve Cohen (Prod asst, Fantasy II Film Effects Inc.)
  Tony Moffet (Prod asst, Fantasy II Film Effects Inc.)
  Kirby Jones (Prod asst, Fantasy II Film Effects Inc.)
  Don Fergus (Opt cam, Fantasy II Film Effects Inc.)
  David Tucker (Opt cam, Fantasy II Film Effects Inc.)
  Dave Emerson (Opt cam, Fantasy II Film Effects Inc.)
  Bryan Cooke (Opt line-up, Fantasy II Film Effects Inc.)
  Make Up Effects Unlimited (Sculptor, Fantasy II Film Effects Inc.)
  Bart Mixon (Sculptor, Fantasy II Film Effects Inc.)
  Dan Frye (Sculptor, Fantasy II Film Effects Inc.)
  Dan Platt (Sculptor, Fantasy II Film Effects Inc.)
  The Artificial Lighting Company (Tesla coil, Fantasy II Film Effects Inc.)
  Ed Angell (Tesla coil, Fantasy II Film Effects Inc.)
  4-Ward Productions, Inc. (Spec visual eff seq)
  Robert Skotak (Spec visual eff seq, 4-Ward Productions, Inc.)
  Elaine Edford (Spec visual eff seq, 4-Ward Productions, Inc.)
  Robert Skotak (Visual eff supv, 4-Ward Productions, Inc.)
  Dennis Skotak (Supv dir of photog, 4-Ward Productions, Inc.)
  James Belkin (Dir of photog, 4-Ward Productions, Inc.)
  George D. Dodge (Dir of photog, 4-Ward Productions, Inc.)
  Mary Shelton (Best boy, 4-Ward Productions, Inc.)
  Mark Shelton (Gaffer, 4-Ward Productions, Inc.)
  George Neil (Gaffer, 4-Ward Productions, Inc.)
  Jennifer Bell (Eff coord, 4-Ward Productions, Inc.)
  Robert Costa Genesis Optical EFX (Opt eff supv, 4-Ward Productions, Inc.)
  Hollywood Optical Systems, Inc. (Opticals, 4-Ward Productions, Inc.)
  Michael Novotny (Prod des, 4-Ward Productions, Inc.)
  W. Peter Miller (Ed, 4-Ward Productions, Inc.)
  Electric Image, Inc. (Computer imaging, 4-Ward Productions, Inc.)
  Emmet Kane (Eff lead man, 4-Ward Productions, Inc.)
  Rick Rische (Matte painter, 4-Ward Productions, Inc.)
  Richard Kilroy (Matte painter, 4-Ward Productions, Inc.)
  Ricc Ruskuski (Miniature set and rig supv, 4-Ward Productions, Inc.)
  Stephen Brien (Miniature set and rig supv, 4-Ward Productions, Inc.)
  Joel Steiner (Miniature set op, 4-Ward Productions, Inc.)
  Louis Zutavern (Model builder, 4-Ward Productions, Inc.)
  Brian McFadden (Model builder, 4-Ward Productions, Inc.)
  Daniel Carter (Model builder, 4-Ward Productions, Inc.)
  William Stromberg (Model builder, 4-Ward Productions, Inc.)
  Jim Davidson (Model builder, 4-Ward Productions, Inc.)
  David Zen Mansley (Model builder, 4-Ward Productions, Inc.)
  Anthony Stabley (Model builder, 4-Ward Productions, Inc.)
  Tim Conrad (Model builder, 4-Ward Productions, Inc.)
  Bret Alexander (Model builder, 4-Ward Productions, Inc.)
  Doug Moore (Model builder, 4-Ward Productions, Inc.)
  Anthony Chaney (Model builder, 4-Ward Productions, Inc.)
  Joseph Thompson (Model builder, 4-Ward Productions, Inc.)
  Jorge Fuentes (Stage mgr, 4-Ward Productions, Inc.)
  Samantha Stevens (Stage asst, 4-Ward Productions, Inc.)
  Kevin Brown (Stage asst, 4-Ward Productions, Inc.)
  Sergio Moreno (Stage asst, 4-Ward Productions, Inc.)
  Anthony Forzaglia Jr. (Stage asst, 4-Ward Productions, Inc.)
  Joseph Viskocil (Spec eff supv, 4-Ward Productions, Inc.)
  Bob Ahmanson (Spec eff tech, 4-Ward Productions, Inc.)
  Thomas Zell (Spec eff tech, 4-Ward Productions, Inc.)
  Phillip Hartmann (Spec eff tech, 4-Ward Productions, Inc.)
  Steve Sanders (Spec eff tech, 4-Ward Productions, Inc.)
  Paula Pirok (Prod asst, 4-Ward Productions, Inc.)
  Video Image (Terminator p.o.v., video and graphic displays by)
  Rhonda C. Gunner (Terminator p.o.v., video and graphic displays by, Video Image)
  Richard E. Hollander (Terminator p.o.v., video and graphic displays by, Video Image)
  Gregory L. McMurty (Terminator p.o.v., video and graphic displays by, Video Image)
  John C. Wash (Terminator p.o.v., video and graphic displays by, Video Image)
  Larry Weiss (Crew, Video Image)
  Scott Peterson (Crew, Video Image)
  Joseph Goldstone (Crew, Video Image)
  Antoine Durr (Crew, Video Image)
  Andy Kopra (Crew, Video Image)
  Caroline Allen (Crew, Video Image)
  John Desjardin (Crew, Video Image)
  Scott Gigieler (Crew, Video Image)
  Ernest Farino (Main title supv)
  Paul Olsen (Main title graphic des)
  Lumeni Productions Inc. (Main title graphics by)
  Pacific Title (Titles and opticals by)
  Hansard® (Process compositing by)
Make Up: Jeff Dawn (Key makeup artist)
  Steve Laporte (Makeup artist)
  Ed French (Makeup artist)
  Peter Tothpal (Key hairstylist)
  Robert L. Stevensen (Hairstylist)
Production Misc: Le Studio Canal+ S.A. (Pres in assoc with)
  Mali Finn (Casting)
  Emily Schweber (Asst casting assoc)
  Uno Casting (Extras casting)
  Abra Edelman (San Jose extras casting)
  Eric Sindon (Extras set coord)
  Trudy Ramirez (Scr supv)
  Katharyn Joyce King (Scr supv, 2d unit)
  Richard Klotz (Loc mgr)
  Steve Dawson (Loc mgr)
  Jim Morris (Loc mgr)
  Robert Foulkes (Asst loc mgr)
  Marc Cohen (Loc asst)
  Chris Silver Finigan (Prod accountant)
  Pamela Kaye (Prod accountant, ILM)
  Thomas A. Davila (Asst prod accountant)
  Timothy A. Burris (Asst prod accountant)
  Rick Sweeney (Asst prod accountant)
  Mike Muscat (Acting coach)
  Laura Cathleen Sherman (Loc security)
  Pia Mehr (Teacher)
  Jane Prosnit (Prod coord)
  Dean Wright (Asst prod coord)
  Alexandra Drobac (Asst to Mr. Cameron)
  Kim Balser (Asst to Mr. Kassar)
  Joe Earley (Asst to Ms. Hurd)
  Mary Lamar Mahler (Asst to Ms. Austin)
  Lisa Ann Stone (Asst to Ms. Rack)
  Anne Merrem (Asst to Mr. Schwarzenegger)
  Ross Levinson (Asst to Mr. Fiedel)
  Anthony Cortes (Ms. Hamilton's personal trainer)
  John Davis (Prod asst)
  Jeffrey D. Nelson (Prod asst)
  Rachel Oberstein (Prod asst)
  Michael Pitt (Prod asst)
  Kristine Spindler (Prod asst)
  Liam Phillips (Prod asst)
  Michael Vigilietta (Prod asst)
  Leslie Schor (Prod asst, ILM)
  Uzi Gal (Tech adv and trainer)
  Kelly Cantley (DGA trainee)
  Cindy Lasher (First aid)
  Gene Johnson (Transportation coord)
  Jerry Johnson (Transportation capt)
  Pete Johnson (Transportation capt, 2d unit)
  Steve Bonner (Picture car capt)
  Kenneth Newland (Transportation office coord)
  Jack Wood L.A.P.D. (Coord motor officer)
  Wallace Sarver L.A.P.D. (Coord motor officer)
  Call the Cops (Police tech adv)
  Randy Walker (Police tech adv)
  Ed Arneson (Police tech adv)
  Michael Albanese (Police tech adv)
  James Dahl (Police tech adv)
  Steven Stear (Police tech adv)
  Ronald D. Hughes (Cast security)
  Harry Lu (Weapons master)
  Tony DiDio (Weapons specialist)
  Dennis Davidson Associates (International pub)
  Ed W. Marsh (Electronic press kit)
  David G. Hudson (Electronic press kit)
  Marv Freeman (Steel mill consultant)
  John Moy (Craft service)
  Gala Catering (Catering)
  Silver Screen (Catering, 2d unit)
  Pamela Easley (Post prod supv)
  Crystal Dowd (Post prod coord)
  Joseph Berger-Davis (Post prod asst)
  Steven Quale (Special projects)
  Ed Jones (Exec in charge of post prod, ILM)
  Jim Morris (Exec in charge of prod, ILM)
  Marty Shindler (Exec in charge of finance, ILM)
  Frans J. Afman (Financial services)
  Complete Film Corporation (Completion bond services provided by)
  Albert G. Ruben & Company, Inc. (Prod insurance provided by)
  Renco Investment Company (Cyberdyne Systems Corporation building courtesy of )
Stand In: Peter Kent (Mr. Schwarzenegger's stand-in)
  Mary Ellen Aviano (Ms. Hamilton's stand-in)
  Rhonda Miller (Mr. Furlong's stand-in)
  Joel Kramer (Stunt coord)
  Gary Davis (Stunt coord)
  Janet Brady (Stunts)
  Bob Brown (Stunts)
  Doc D. Charbonneau (Stunts)
  Gilbert B. Combs (Stunts)
  Jeff Dashnaw (Stunts)
  Debbie Evans (Stunts)
  Billy Hank Hooker (Stunts)
  Norman Howell (Stunts)
  Thomas J. Huff (Stunts)
  Larry Johnson (Stunts)
  Peter Kent (Stunts)
  Lane Leavitt (Stunts)
  Bill Lucas (Stunts)
  Cotton Mather (Stunts)
  Bobby Porter (Stunts)
  David Webster (Stunts)
  Glenn Wilder (Stunts)
  Dick Ziker (Stunts)
Animation: Steve Williams (Computer graphics anim supv, ILM)
  John Andrew Berton Jr. (Computer graphics anim, ILM)
  Geoff Campbell (Computer graphics anim, ILM)
  Richard L. Cohen (Computer graphics anim, ILM)
  Jonathan French (Computer graphics anim, ILM)
  Christian Hogue (Computer graphics anim, ILM)
  Elizabeth Maxwell Keith (Computer graphics anim, ILM)
  John Nelson (Computer graphics anim, ILM)
  Joseph M. Pasquale (Computer graphics anim, ILM)
  Stephen Rosenbaum (Computer graphics anim, ILM)
  Andrew Schmidt (Computer graphics anim, ILM)
  Alex Seiden (Computer graphics anim, ILM)
  Annabella Serra (Computer graphics anim, ILM)
  Tom Bertino (Roto supv, ILM)
  Terry Molatore (Rotoscoper, ILM)
  Jack Mongovan (Rotoscoper, ILM)
  Joanne Hafner (Rotoscoper, ILM)
  Sandy Houston (Rotoscoper, ILM)
  Peter Kleinow (Go anim, Fantasy II Film Effects Inc.)
  Mary Mullen (Ink and paint supv, Fantasy II Film Effects Inc.)
  Sean Applegate (Head anim, Fantasy II Film Effects Inc.)
  Bret Mixon (Roto supv, Fantasy II Film Effects Inc.)
Color Personnel: Art Tostado (Col timer)
MPAA Rating: R
Country: United States
Language: English

Music:
Songs: "You Could Be Mine," performed by Guns N' Roses, written by Izzy Stradlin and W. Axl Rose, published by Guns N' Roses Music (ASCAP), courtesy of Geffen Records; "Bad to the Bone," performed by George Thorogood and the Destroyers, written by George Thorogood, published by Del Sound Music (BMI), courtesy of EMI Records USA, a Division of Capitol Records, Inc., by arrangement with CEMA Special Markets; "Guitars, Cadillacs," written and performed by Dwight Yoakam, published by Coal Dust West Music (BMI), courtesy of Reprise Records, by arrangement with Warner Special Products.
Composer: Axl Rose
  Izzy Stradlin
  George Thorogood
  Dwight Yoakam
Source Text: Based on the film Terminator written by James Cameron and Gale Anne Hurd (Hemdale Productions, 1984).
Authors: James Cameron
  Gale Anne Hurd

Copyright Claimant Copyright Date Copyright Number
Carolco Pictures, Inc. 9/7/1991 dd/mm/yyyy PA527728

PCA NO: 31159
Physical Properties: Sd: Spectral Recording® Dolby Stereo SR in selected theatres; Cinema Digital Sound at selected theatres
  col: CFI
  Lenses/Prints: Lenses and Arriflex® camera by Otto Nemenz International; prints by Technicolor® Eastman print film

 
Genre: Adventure
  Science fiction
Sub-Genre: Action
 
 
Subjects (Major): Computers
  Nuclear warfare
  Resistance movements, War
  Robots
  Search and rescue operations
  Time travel
 
Subjects (Minor): Ammunition
  Arcades
  Atomic bomb
  Automobile chases
  Bombs
  Firearms
  Fistfights
  Foster parents
  Gunfights
  Helicopters
  Impersonation and imposture
  Imprisonment
  Innovations
  Laboratories
  Los Angeles (CA)
  Mental illness
  Military intelligence
  Mothers and sons
  Motorcycles
  Multiple murderers
  Nightmares
  Police
  Psychologists
  Revolutionaries
  Schizophrenia
  Scientists
  Self-sacrifice
  Steel mills
  Syringes
  The Future
  War

Note: The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Jeremy Carr, Visiting Research Fellow with the Arizona State University Center for Film, Media and Popular Culture.

The film begins and ends with voice-over narration by the character, "Sarah Connor," and the narration occurs intermittently throughout the film. In the end credits, producers thank the following organizations and individuals: Advanced Computer Products; Atari Games Corporation; Jon Bell; California Film Commission; California Steel Industries, Inc.; CalTrans – Ray Baghshomali and Marc Duprey; Capt. Mike Lanam and the Fremont Police Department; The City of Fremont, California; Cinetica Giotto Bicycle Provided by Ochsner International; The County of Los Angeles Economic Development Corporation Film Office – Chandra Shah; Edge Innovations; Electrocom Automation, Inc.; Hero Cologne by Prince Matchabelli; The Hewlett-Packard Company; Tom Hudson; The Los Angeles County Flood Control District; Matte World; Midway Manufacturing Company; Miller Brewing Company; Miller Electric Mfg. Co.; James Muro; National Drager; Northgate Computer Systems; Pepsi-Cola Company; C.A. Robinson Company; Sega Enterprises, Inc.; Southern California Prosthetics and Orthotics; Subway Sandwiches & Salads; Williams Electronics Games, Inc.; and, Yorba Systems. End credits also contain the following statements: “Play the hit Nintento game from Acclaim/LJN Entertainment” and “Now read the Bantam book.”
       After The Terminator (1984, see entry), which cost $6.5 million and took in $38.4 million in box-office receipts, became Hemdale Film Corporation’s most successful film to that time, a 31 Jan 1985 DV article reported that Hemdale planned to focus more heavily on production than acquisitions. Hemdale announced plans to produce a sequel to The Terminator , with shooting projected to begin in the fall of 1985. Arnold Schwarzenegger, star of The Terminator , was said to be “committed in principle,” with Gale Ann Hurd slated to produce and James Cameron slated to write. At the time, Cameron was not interested in directing the sequel, according to a Jul 1991 Box article. Sometime later, executive producer Mario Kassar, Carolco Pictures’ chief executive officer, purchased sequel rights to The Terminator , and, when actor Arnold Schwarzenegger said he would play “The Terminator” only if Cameron reprised his role as director, Kassar approached Cameron. A 28 Feb 1990 Var news item announced a deal between Cameron and Carolco Pictures, in which Cameron would serve as writer, director and producer on several feature films, including Terminator 2 .
       According to Var , the budget was expected to be $60 million, with Schwarzenegger receiving a salary between $12 and 15 million. For underlying rights, Carolco paid Hemdale more than $5 million. A 26 Feb 1991 DV article reported that Cameron would be paid around $6 million. Though rumors circulated that the budget of the film eventually exceeded $100 million – which would make it the most costly motion picture made to that time – Carolco denied the rumors and insisted the company did not disclose the budgets of their films “as a matter of business practice.” In a 31 May 1991 HR news brief, Peter Hoffman, Carolco chief executive officer, confirmed that the film’s budget was nearing $75 million, and expenditures on marketing would potentially raise the final cost to over $100 million.
       Production notes from AMPAS library stated that Terminator 2: Judgement Day was completed one year after Cameron and writer William Wisher finished the first draft of the screenplay in only eight weeks. A rigorous three-month preproduction phase preceded principal photography. Schwarzenegger’s young co-star, Edward Furlong, was cast less than one month prior to the 8 Oct 1990 start date. To prepare for the role of “John,” Furlong was given acting lessons and physical training, and he learned to ride a motorcycle. Actress Linda Hamilton also worked with a physical trainer before reprising her role as Sarah Connor, and Uziel Gal, aka “Uzi Gal,” a former commando for the Israeli armed forces, trained the cast to fight and use military weapons.
       A crew of over 1,000 people was employed, and filming took place entirely in California. Locations included the Terminal Island Freeway in Long Beach; an “abandoned steel mill in Fontana”; an office building in northern California; and Los Angeles “flood-control” channels which served as the backdrop for the film’s “first spectacular stunt sequence” in which the “T-1000” drives a stolen tow truck from an overpass onto a flood channel below. First and second units worked together to film the sequence, which was completed after nearly five weeks of shooting. A 15 Jul 1991 People news brief stated that the former hospital in Lake View Terrace, CA, which served as “The Pescadero State Hospital” in the film, had been vacant since 1989, after Nancy Reagan aimed to convert the building into a drug rehabilitation center but cancelled plans after protests from neighbors.
       According to a 30 Jun 1991 NYT article, Terminator 2: Judgement Day had “the largest stunt budget ever,” at $1 million, and the schedule included “800 stuntman days.” Cameron claimed that no stuntmen had been injured on the three films he had previously directed, and stunt coordinator Gary Davis prioritized safety when orchestrating the stunts. For a particularly challenging sequence in which the T-1000 drives a motorcycle through a window and grabs onto a helicopter, stunt person Bob Brown flew forty-five feet mid-air on a motorcycle before a safety harness pulled him off, and he dropped onto cardboard boxes stacked below. For another sequence in which the Terminator climbs from one vehicle to another as they speed along at sixty miles per hour, Peter Kent, Schwarzenegger’s stunt double, rehearsed thoroughly and executed the stunt in three takes.
       The 26 Feb 1991 DV article speculated that the film's special effects cost $17 million. “150 visual effects shots” were scheduled, as stated in production notes. Stan Winston developed “special make-up effects” and animatronics, while Industrial Light & Magic was responsible for “computer-generated imagery.” 4-Ward Productions and Fantasy II Film Effects collaborated on “miniature effects and opticals.”
       Sets were designed by production designer Joseph Nemec, III, who used footage shot by Cameron with a “thumb-sized” camera which laid out the blocking of scenes inside miniatures. Nemec used the blocking to dictate the spaces he designed.
       Although a 29 Jul 1991 article in Var stated that Terminator 2: Judgement Day was “blazing the trail” for 6-track optical digital soundtracks, it also noted that the CDS (Cinema Digital Sound) process had been introduced the year before with Dick Tracy (1990, see entry). CDS enabled an encoded 6-track optical stereo track to be printed on 35mm film and eliminated the necessity of making 70mm 6-track magnetic striped prints. Although this enabled producers to supply 35mm prints, costing $2,000 instead of 70mm mag prints costing approximately $7,000, the article also noted that the new sound system would cost exhibitors $20,000 per screen to equip their theatres for CDS.
       Critical reception was overwhelmingly positive. On 3 Jul 1991, Janet Maslin wrote in NYT that Cameron "made a swift, exciting special-effects epic that thoroughly justifies its vast expense." Duane Byrge, in a 1 Jul 1991 HR review, stated that the actors "more than hold their own" amidst the "visual/aural onslaught," and added that he would "forgo passing judgment on the special effects contributors...as their accomplishments are simply beyond our level of understanding."
       A 4 Nov 1991 Box report announced that the film had taken in over $200 million in box-office receipts to the time, and was expected to earn an additional $250 million overseas. The home video version was slated to go on sale 11 Dec 1991.
       According to a 30 Jun 1991 LAT news item, actor Michael Biehn, who played a resistance fighter in the first film, reprised his role in the sequel, but the cameo was eventually cut from the final edit; however, Biehn did appear in an early trailer for Terminator 2: Judgement Day .
       To date, two more sequels have followed in the Terminator motion picture franchise: Terminator 3: Rise of the Machines (2003, see entry), in which Schwarzenegger reprised his role as “The Terminator”; and Terminator Salvation (2009, see entry), which starred Christian Bale as “John Connor.”
       Terminator 2: Judgement Day won four Academy Awards for Makeup, Sound, Sound Effects Editing, and Visual Effects. The film was also nominated for the Academy Awards for Cinematography and Film Editing.
 

Bibliographic Sources:   Date   Page
Box Office   Jul 1991   pp. 14-15.
Daily Variety   31 Jan 1985   p. 1, 10.
Daily Variety   26 Feb 1991   p. 1, 8.
Daily Variety   17 Apr 1991.   
Daily Variety   28 Jun 1991.   
Hollywood Reporter   16 Oct 1990.   
Hollywood Reporter   23 Oct 1990.   
Hollywood Reporter   2 Apr 1991.   
Hollywood Reporter   31 May 1991.   
Hollywood Reporter   1 Jul 1991   p. 8, 16.
Hollywood Reporter   4 Nov 1991.   
Los Angeles Times   30 Jun 1991.   
Los Angeles Times   3 Jul 1991   p. 1.
Los Angeles Times   22 Sep 1991.   
New York Times   30 Jun 1991.   
New York Times   3 Jul 1991   p. 11.
New York Times   24 Jul 1991.   
People   15 Jul 1991.   
Variety   28 Feb 1990.   
Variety   8 Apr 1991.   
Variety   1 Jul 1991   p. 34.
Variety   29 Jul 1991   p. 1, 48.

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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