Terminator 3: Rise of the Machines - Production Wrap-Up(FINALLY!) - See You at the Poddy, Richter! - An Arnold Schwarzenegger Movie Podcast

Episode Transcript
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Speaker 1 (00:02):
Tip Deck Media, see the.

Speaker 2 (00:14):
Hello, and welcome to see you with the Body Richter.
My name is Chris Chapman, joined as always by my
co hosts Aaron Frescus and Joseph beck Castro. Today we
are going to finish up the lengthy production process of
Arnold's two thousand and three termination vehicle T three, Rise
of the Machines. Aaron is gonna tell us all sorts

(00:36):
of stuff about the production of the movie, So without
any further ado, I'm gonna throw it over to him,
take it away, erin.

Speaker 3 (00:43):
All right, And I know it's been a minute since
our last episode, so a quick reminder that we left
things off with the fellows at SEE two Pictures bringing
Jonathan Mostow on board to direct so T three as
a director. But now it needs a new script, so
Jonathan Mostow decides to bring his old writer buddies, John
Brancato and Michael ferris who he'd worked with on nineteen

(01:04):
ninety seven's The Game, which Bronc, Brancatto and Ferris co wrote.
By the way, Mostow had originally developed the game as
a project for himself to direct, but it ultimately ended
up being directed by David Fincher. Fun fact though about
the Game, Old Johnny Mostow had originally wanted Kurt Russell
for the lead role that it would eventually end up
being played by Michael Douglas, which would.

Speaker 2 (01:27):
Have been interesting.

Speaker 3 (01:30):
But the character is like such a rich asshole, and
Michael Douglas plays rich assholes so well, yeah, so good. Yeah.

Speaker 2 (01:37):
I'm also having trouble thinking of Kurt Russell being like,
oh desperate.

Speaker 3 (01:43):
Giveaway too much about it about what isn't in the
movie ye oh no, yeah, but he's pretty much desperate
throughout the whole thing. Well, I mean, if you guys
watch Breakdown, that's pretty much. Yeah, he's desperate throughout the
whole like very desperate. I mean, because he's not rich,
can't buy another wife in that, you know, at least
with the Game you can just at least.

Speaker 2 (02:04):
Not a good one. Yeah, cheap.

Speaker 3 (02:08):
I don't know. It's pretty much perfect casting with Michael Douglas.
I can't really see Kurt Russell in that role. He
so yeah, And Kurt Russell has like this affable demeanor
to him towards like huh, leave him alone, you bestards. Yeah, yeah,
Whereas it's kind of fun watching them fuck with Michael Douglas. Yeah,
but okay, anyway, so Mostown met his writer pals John

(02:32):
Broncoto Michael Ferris in college and had actually directed a
nineteen ninety one movie they'd written called Flight of Black Angel.
I was gonna say Flight of the Black Angel, but
it's Flight of Black Angel, which was a movie about jets,
I think. Anyway. Roca, Brancatto and Ferris have actually been
writing together since early nineties, getting their start on a

(02:54):
few low budget films before breaking through in nineteen ninety
five when they co wrote the Sandra Bullock cyber thriller
The Net, which is also what dork's called the Internet
in the nineties.

Speaker 1 (03:05):
I think everybody called it the net, really, Yeah, then
I switched to the web. Yeah, then it was like online.

Speaker 3 (03:16):
Now I just call it my porn box. I guess
that's a computer actually. Anyway, you guys remember that movie.

Speaker 2 (03:24):
Yeah, barely?

Speaker 1 (03:25):
Yeah, I mean barely, like I remember it existed, and
I've seen it at least twice.

Speaker 2 (03:29):
Yeah, but I've seen it once.

Speaker 1 (03:33):
Some technology fear mongering pretty much, and Erica and I
actually watched it recently.

Speaker 3 (03:39):
It's definitely dated, but it's still it's fun. But yeah, anyway,
So Brancato and Ferris then went on to write nineteen
ninety Seven's The Game, which I definitely recommend checking out
if you haven't seen, because it's pretty earn good yep,
although I think that's mostly due to the fact that
it was directed by well known perfections David Fincher. It's

(04:01):
probably cool yeah, who I believe has pretty much the
same reputation for being a control freak as James Cameron does.
He's basically like the industrial rock version of James Cameron.
Or like, if James Cameron is like really into the
band tool like David Fincher, You're like, yep, yeah, what
what band is industrial rock?

Speaker 2 (04:20):
If David Fincher, No, if David Fincher's tool, what band
is James Camp.

Speaker 3 (04:24):
I was trying to think of that, but I couldn't
think of any talking heads.

Speaker 2 (04:27):
The talking head I don't think so. I mean, he
think he's that experimental. He's a little more like that's true,
he's like fucking I don't know, let's say, like rat
or something.

Speaker 1 (04:41):
No, No, I don't know. That's actually good you too,
I don't know. Yeah, I was trying to think of
pump Out, like good Ship it just also happens to
be super like popular.

Speaker 3 (04:55):
Yeah.

Speaker 1 (04:56):
Yeah, and then like you know, the message, Yeah, and
like his early shit, you know, like Determinator is like War.
You know, it's like kind of dark and gritty, and
like War is about like the fucking basic.

Speaker 2 (05:12):
Terminators check the whole damn planet.

Speaker 3 (05:18):
Yeah. Yeah, yeah, I can't think of I couldn't think
anybody else. And I spent too long thinking of the
band's bed I had or that joke, and I was like,
I'm not gonna do you need to move on from
the James because I was like, what would James Cameron
be with that? But yeah, you two actually works perfectly sure.
By the way, me saying that David Fincher is probably
a big part of the reason why the game ended
up being a good movie is solely based on the

(05:39):
respective track records of both Fincher and the writers. Yeah,
because Fincher's next two movies after the game were Fight
Club in ninety nine and Panic Room I think it
was in two thousand and three, while writers John Brancato
and Michael Ferris's next two where Terminator three and two
thousand and three, followed a year later by Catwoman starring
Holly Bart, which I'm haven't seen, but I'm pretty sure

(06:01):
it was no Panic Room.

Speaker 1 (06:02):
I tell you that I've seen Panic Room. It it
was fine. I need I need to rewatch it, maybe
it'd be good. But the wife and I we made
a list of bad movies to watch, and then on
Saturday it was down to, uh, we're gonna watch Maximum
Overdrive because we talked about it on the podcast, or Catwoman.
I'm like, well, Catwoman's definitely on HBO because it's Warner Brothers.

Speaker 2 (06:26):
Yeah.

Speaker 1 (06:26):
Yeah, they fucking scrubbed that ship. It ain't on there.

Speaker 3 (06:29):
Oh I thought it was.

Speaker 2 (06:31):
Nope, I'm sure it was at some point. But HBO
is the fucking like Max is the fucking worst. So
whatever you think is on there, it's not on there.

Speaker 1 (06:38):
That's true. They didn't even have Westworld on there anymore.
And that's that's a fucking HBO show.

Speaker 3 (06:42):
But it's on It's on like two B or something
like that now, isn't it.

Speaker 2 (06:46):
Yeah? West World? Yeah jesus.

Speaker 1 (06:49):
But yeah, so I wanted to I wanted to watch it,
and Maximum Overdrive was better than I expected. Really, it
wasn't good. It was not at all like I expected
it to be because the advertisement is very much like
Stephen King's like, Hey, I'm Stephen King. I'm tired of

(07:10):
people having bad interpretations. I'm gonna scare the hell out
of you. And like it wasn't scary, but it wasn't
as fuel as I expected it to be.

Speaker 3 (07:20):
Gotcha, it was like.

Speaker 1 (07:22):
Kind of schlocky and I don't know he was buying shit.
It was better than a lot of other fucking interpretations
of his movies.

Speaker 3 (07:29):
So, by the way, Catwoman's not on anything, you have
to rent it.

Speaker 1 (07:32):
Yeah, I almost did that, just like so somebody got
like a fucking one cent check in the mail.

Speaker 2 (07:39):
Benjamin Brad can get his fucking Benjamin Brad.

Speaker 1 (07:42):
Yeah, he's like, holy shit, someone paid for that, like
just feels good about himself later on.

Speaker 3 (07:48):
You know, who is it that I can't remember who posted?
It was an actress that she she posted a residual
and it was zero. It was like, I can't remember
who it was though it was like a fame actress
for something. Anyway, And to be fair, as far as
Cat Woman and Terminat or two or three, I know
a lot of the problems behind those two movies they

(08:08):
had nothing to do with like didn't not to do
with the writers, sure, but yeah. Anyway, So in June
two thousand and one, Jonathan Mostow brings in his buddies
John Broncato Michael Ferris to rewrite the T three script, which,
according to Mostow, takes about a year to complete, and
lucky for us, John Brancato actually wrote up a blog
post on his website detailing this year long process, and man,

(08:30):
oh man, is it a fun read?

Speaker 2 (08:32):
If by fun you mean insufferable?

Speaker 3 (08:34):
Sure, do you want to take a few minutes to
focus on it? Because it actually sheds a bit of
light on a few of the film's problems. And I
should probably also preface it by noting that if it
seems like I was unfairly crapping on their careers a
few minutes ago, it's only because John Brancatto comes off
as such a petty and secure, incredibly bitter person in
this which I normally I would relate to like, But

(08:56):
he's being such a douchebag about it that it's.

Speaker 2 (08:58):
Yeah, yeah, it's so over the top. Caddy, did you
end up? I read? You read about half of it? Okay?

Speaker 3 (09:05):
Well, yeah, because the Terminator three part it only goes
to about halfway through. Yeah, and not even that maybe,
but anyway, Okay, So the blog post is titled how
to Beat a twice Dead Horse and is dated October ninth,
two thousand and nine, and I believe it's in response
to the backlash he received from Terminator Salvation, which he
also was credited with co writing with Michael Ferris. So

(09:27):
he starts off by praising the nineteen eighty four Terminator
film before calling T two quote a sprawling mess, bloated
and self important, and also quote a betrayal of the original.
I couldn't stand it.

Speaker 1 (09:39):
That completely wrong.

Speaker 2 (09:42):
Yeah, so he immediately loses all credibility. Yeah.

Speaker 3 (09:46):
Branketto then says, the first two it's exactly like why
it okay, okay, yeah, sorry, I'll start going off, but anyway.
Brancato then says the first two movies are seen as
quote sacred works of genius, and doing a third Terminator
without James Cameron struck him as sleazy and a little
sad and pretty much said that everyone would hate it,

(10:09):
which I mean is I don't know about the sleazy
and sad part, because.

Speaker 2 (10:13):
I mean this is also like hindsight though, like, yeah,
this is this is after the movie came out and
everybody hated it. Who knows. Yeah, I don't know.

Speaker 3 (10:21):
He's right about the everyone hating at fart. He's right
about the everyone hating a part, but it wasn't because
James Cameron wasn't involved.

Speaker 2 (10:28):
Yeah, exactly, Like the vast majority of people had no
idea about that or nor cared. Yeah, exactly, because it's
a director to where it's like, eh, what does he
really do? Yeah?

Speaker 3 (10:38):
But anyway. Brancatto then says that Jonathan Mostow had them
look over at Teddy Saraphine's original script, which he calls
a quote flat fanboy retrite of the second film with
another guy, nice guy Arnold and a female Terminator even
sillier than the Liquid Metal Man unquote. But Like when
I read that, I was like, why would you Wouldn't
you want a screenwriter that's actually a fan of the

(11:00):
films or at least like them, Because I don't necessarily
think the writer has to be a fanboy, but I
prefer someone that doesn't seem like he actively despises the
Terminator franchise.

Speaker 2 (11:10):
That's the part that's the problem is that he like
he makes it very clear on this blog post he
didn't want to write it, like he He specifically calls
out that, like we had made a deal with ourselves
not to write any more bullshit that we didn't get
up with, and it's like, okay, then don't fucking write it,
you stupid ad. So if you're gonna, if you're gonna
sell out your integrity for money, then don't complain about

(11:32):
how you send this fuck you exactly.

Speaker 1 (11:36):
Yeah, just hate yourself exactly exactly, be like, be like
all the good writers and hate yourself.

Speaker 3 (11:42):
Hit on the fucking movie.

Speaker 1 (11:43):
Yeah, be like, I shouldn't have have done that. I
told myself I wouldn't. I did it, and I fucked up.
Yeah exactly, It's okay to have regrets. But but running
throughout this entire blog post is him trying to lay
off the blame of anything he's ever done onto other.

Speaker 3 (12:00):
People, Like which I forgot to write it down, But yeah,
there's like as far as which I forgot to write down,
it's gonna mention it later. But as far as what
Joe was saying, Like there was a quote from Michael Douglas,
not Michael Douglas, Michael Caine about Jaws, Uh, whichever Jaws
he was. I think it was four, was he fo? Yeah,
he was in Jaws four, which I have it right
here because I pulled it up and then I didn't

(12:21):
write it down. It's got Jaws of the Revenge. He says.
I've never seen it, but by all accounts it is terrible. However,
I have seen the house that have built, and it's terrific, Sai,
which is the way like that?

Speaker 2 (12:32):
Yep? Hell yeah, either.

Speaker 3 (12:34):
Don't say anything bad that sure, if you're going to
then own that, Yeah, exactly.

Speaker 1 (12:38):
Some people I don't know, they're just not ready to
sell out. Man, I would fucking sell out so fast.

Speaker 3 (12:46):
Oh my integrity don't cost a thing much more like
my love, okay he then uh. He then goes on
to basically say that things had been so great and
the years after the game was released, which is why
they took the meeting for Terminator three, and they were
then hired to write the first draft, which Brancato goes

(13:09):
on to describe and it actually sounds a bit closer
to Terminator Genesis than T three. Yeah, which we'll post
because it's a good chunk of unless you want to
hear Joe like, it's okay cool because I didn't write
it down for a reason. I was like, it's it's
too long, and it's it's very confused, like it's it's

(13:29):
like trying to describe Terminator Genesis, where you're like, okay, wait,
I gotta reread that. What is he? What the fuck?

Speaker 2 (13:35):
Yeah?

Speaker 3 (13:36):
Anyway, uh so we'll post it. But yeah, He says
they were almost fired after turning it in, but Jonathan
Mostow ended up saving their jobs. He then says that
he and Mike Ferris were only given a few weeks
to fix the script and basically turn it into a
more safe, predictable, pain by numbers script that the C
two crew wanted. He does take credit for them adding

(13:57):
the last scene with the nukes, but says they were
also told to add some of the cheesiness back in
that he claims was included in the Teddy Seraphian version,
which were the Shelby back line and the stripper star sunglasses.
And do you guys remember those being in Those were
in the Teddy Seraphian version.

Speaker 2 (14:17):
No, not the stripper sunglasses.

Speaker 3 (14:19):
The Shelby back one line was though.

Speaker 2 (14:21):
She'll be back, I believe was. It's also possible they
were in another draft. Yeah, anyway.

Speaker 3 (14:25):
Brancato then says that they brought another writer in to
add even more cheese than it had already had, and
that he was pretty much disappointed after seeing the finished film.
He then goes on to point out aspects of the
film that he felt didn't work, and would you believe it,
he actually ends up taking some of the blame for
he and Michael Ferris's contributions that didn't work. No, no,

(14:46):
he actually criticizes the editing for ruining the supposed subtleties
that he claims survived from their script, which I can't
confirm because the final shooting script isn't anywhere on the
internet or sorry, the net. I think it's like one
of one of the only ways you probably read it
is if you were like to bid on it whenever
one of them goes up for auction. But yeah, he

(15:07):
owns up to absolutely none of the movie's faults, none
of them, yet surprisingly takes credit once again for what
was arguably the best part of the movie, which was
the ending.

Speaker 2 (15:15):
Yeah, exactly. It's It's just like, God, he's such a fucking.

Speaker 3 (15:19):
Just insufferable And I think my main issue with this
with his post isn't so much that he basically makes
himself out to be a martyr, but it's that he's
so whiny and pompous throughout the whole thing, and he
starts off the post with such a tone of like
misplaced arrogance that it makes it virtually impossible to sympathize
it with him about anything. And as a writer, he
should know this, He should know that that's you're gonna

(15:42):
lose your audience right away, because one of the first
things I learned when I started writing and performing like
stand up, was you can't come out of the gatehot
like that because your audience will will immediately turn on you. Yeah,
and if you do, you better READI super charming or
funny as hell, which Broncato was like, ohover two with that.

Speaker 2 (15:57):
He's fucking not. Yeah. The few jokes that he puts
in here that were like theirs, I was like, that's
not none of this is funny, Like I can't believe
you're like bragging about these, Like, well, what the fuck
are you doing?

Speaker 3 (16:12):
That would have got painned just as much as what
was left in there. Yeah, And I don't understand his
thought process with it, because he wrote the post to
explain his side of the story for T three and
intermter Salvation because he was getting so much hate after Salvation,
So most people already had some sort of like preconceived
bias coming into reading this, and then the small percentage

(16:32):
of people that actually did come in with an open
mind were pretty much guaranteed to be alienated by the
fact that Broncoto kicked things off. Kicks things off by
almost immediately shitting on T two, which is like the
most basically the most popular or probably the most beloved
movie of the franchise.

Speaker 2 (16:46):
Sorry, Joe, Oh, that's that's fine, and one of the
biggest blockbusters of all fucking time.

Speaker 1 (16:53):
And it's probably James Cameron's best movie. Is Arnold Swarscheneger's
best movie, you know, like yeah.

Speaker 2 (17:01):
Yeah, probably, yeah, Jesus, I don't know. It's it's just.

Speaker 3 (17:07):
It's so it's it's just a weird post like it.
It frustrated me.

Speaker 1 (17:10):
Yeah, and like you can have your your gripes with it,
you know, like we've we've discussed this many times on
this show about Terminator two and what that did to
Terminator one, and you know, all the complaints about everybody
that has about the Terminators after Terminator two, how like
fucked up the story or whatever. But Terminator two did
that to begin with. Like you can have those gripes,

(17:32):
but doesn't mean you have to like shoot on the movie.
Like I bring those up all the time, and it's
not a uh, I'm not putting down Terminator two, like
because it's the fucking fantastic movie. Like I watched that
one before even Terminator one, and I knew what the
hell was going on. The movie was amazing.

Speaker 3 (17:47):
Still, yeah, amazing, true, you could you could go and
you can go in that movie without knowing what's going on,
still following, no problem.

Speaker 1 (17:53):
But yeah, I don't know what a what a what
a showed?

Speaker 3 (17:57):
Well, I'm curious if this was see I don't think
that I was gonna say, is it just because of
like the credibility. So if like he had a bunch
of movies, like a better like list of credits besides
this and it was just like this is what happened
with this one bad movie, then it'd be like, Okay,
well I can see why he's kind of complaining. He
comes off very petty though, that's the problem I think.

Speaker 2 (18:18):
Yeah, I mean, yeah, I don't know, it just he's
so bitter throughout the entire thing. Yes, you can't like.

Speaker 3 (18:26):
But on top of that, there, if he had written
a better movie, I don't think they would have hit
asking for a change. And I don't know, but who knows, because.

Speaker 2 (18:33):
I mean studios are not Yeah, studios are shitty sometimes
a lot of times.

Speaker 1 (18:38):
But like I don't know, it's like maybe maybe it's
like watching sports and blaming the refs, but your team loses,
Like you know, maybe he's blaming this movie and he's
blaming what they did to his script for the reason
his career never reached the heights that it did. And
you know, we can read it as sour Graves, and
it's probably as sour Graves, but you know, yeah, I'm

(18:59):
also a fan. So they never actually lose. It's always
the rest of all. But yeah, I don't know, like
just starting it out with that shit, like like you
said earlier, Aaron, with losing the audience, that's exactly what
he's doing. So you know, maybe like talk about some
good shit and then like get into that later. Be
like I didn't like the way went and I thought

(19:21):
we had a bitter script or whatever, but you know,
that's the Hollywood process. What are you going to do?

Speaker 3 (19:26):
Yeah, if you do bring, if you do mention that
you need to put it somewhere after you already got
the crowd, Like, you don't start off with your hot
take unless unless you're like, like if it was like,
I don't know who's a famous like actual screenwrin like Aaron, Yeah,
it's the one I could think of, but like someone
like that where they're like he's like, all right, well

(19:46):
that's Aaron Sorkin, you know. Yeah, Okay, So there's more
of the blog post that we'll get into when we
eventually do termin your Salvation. But the whole thing just
comes off super bitter and petty, and he obviously didn't
want to take the job but did it any way
for the money, which whatever, you gotta do, what you
gotta do. But then shitting on it afterwards in order
to preserve your overinflated ego is just tacky as fuck. Yeah, extremely,

(20:07):
And I am just I realized. I was just glad
that I didn't read his post before watching the movie,
because I'm sure it would have made me way more
critical of the writing.

Speaker 2 (20:16):
Yeah, that's true. Yeah, you wouldn't feel bad about shitting
on anything.

Speaker 3 (20:22):
No, not at all. So yeah, it was that was
a blessing, I guess, So let's move on. Sorry. We
jump forward to December two thousand and one, when it's
reported that Edward Furlong has been dropped from Terminator three,
supposedly due to an ongoing issue with drugs, and just

(20:47):
like with E Linda Hamilton, we once again get two
different stories about the reason or the reasons behind Edward
Furlong's departure, one being from Furlong himself and the other
from director Jonathan Lost. Now, okay, so let's start off
by hearing Jonathan Mostow's version, which comes from two different
interviews he did in two thousand and three to promote
T three. The first part of the quote comes from

(21:10):
an interview with IGN who asks why Eddie Furlong didn't return,
and Mostow telling them quote what I would say from
a creative standpoint, Eddie did a fantastic job playing this
character at age thirteen. Fabulous, just fabulous. But the whole
reason that I was interested in doing the movie wasn't
because I wanted to make a movie to blow stuff up.
I just make movies that because I think I can

(21:31):
tell a good story. What was interesting to me again
was here he is in a very psychologically different place.
Biologically he's the same character, but psychologically he's quite different.
So I said, let's just sort of throw out all
the assumptions and let's go let's say sorry, let's just
say who's the best actor to play this character. He
then starts talking about Jodie Foster being replaced after Silence

(21:52):
of the Lambs in that interview, but he does continue
his explanation in a different interview by saying, quote, I
wanted to throw out all a summer and start from
scratch scratch and say who's the best actor to play
this part? Here? I have an actor who, at the
age of twenty two, is literally carrying the weight on
his shoulders. I needed an actor who has a tremendous
amount of soulfulness and is also a hell of an actor.

(22:15):
Nick Stall to me, seemed based on the work I've
seen in his priors and meeting with them and him
reading for some scenes, for me to be unique in
that at twenty two, it's very hard to find actors
that have that kind of soulfulness to them unquote. And
is it just me or does it seem like, does
that make it sound like they never seriously considered Erady

(22:36):
for Long for the role, but like in a way
that he didn't he wasn't actually ever hired for it.

Speaker 2 (22:42):
Yeah, I mean it sounds like when it makes it
sound like when Mostow came in, he like basically kicked
him out as essentially or just like ignored the studio's
requests to have him in the movie or whatever.

Speaker 1 (22:58):
He was looking for a type and Edward Forlong wasn't
that type.

Speaker 3 (23:02):
Which is weird because he's definitely okay, and we'll get
to in a second. But which is which is weird
because the earliest article I could find mentioning Eddie furlonging
fired was from December two thousand and one, so he
was supposedly still attached to the film when Jonathan Mostow
signed on in March two thousand and one, as well
as when they began rewriting the script in June of
two thousand and one, although I will admit it can

(23:22):
be difficult to find Internet articles from that long ago
unless it's like, unless it's like a really big news story. Sorry,
sorry the net anyway.

Speaker 1 (23:33):
I got it.

Speaker 3 (23:33):
This is why this, Why was this?

Speaker 2 (23:36):
Why?

Speaker 3 (23:36):
I even't have a girlfriend in the nineties. God, they're
gonna use the lingo.

Speaker 1 (23:41):
So not cool?

Speaker 3 (23:43):
I know, is it?

Speaker 2 (23:45):
Wait? Is it?

Speaker 3 (23:45):
Is it cool to say it now though? Or should
I be saying the web?

Speaker 2 (23:49):
You gotta be saying cyberspace now?

Speaker 3 (23:51):
Cyberspace? Okay? Anyway, So Eddie Edward for Long's reason for
not appearing is a bit of a different It's a
bit different than Jonathan moss House. I don't know why
I'm talking like William Shatner, but he actually spoke about
it earlier this year on Michael Rosenbaum's Inside of You podcast?

(24:12):
Have you have you heard that podcast?

Speaker 2 (24:14):
I've seen clips of it on YouTube. I've never like
sat down and listened to a whole episode, but I mean.

Speaker 3 (24:19):
He gets a good guess he like, yeah, he does
get good guests.

Speaker 1 (24:21):
Yeah, if it ain't this podcast, yep.

Speaker 2 (24:26):
Yeah, you heard that Joe Hates Stephen King podcast? You
heard it here?

Speaker 1 (24:30):
Yeah, and all sports podcasts.

Speaker 3 (24:33):
Yeah, you have a bunch of losers. Anyway, So he
said on that on the Inside of You podcast that
there was a clause in his T three contract stating
that he had to stay clean, so absolutely no drug use.
He then talks about his contract for a second before
explaining what led to him being fired, and he says, quote,

(24:53):
it was a sweet deal. It was the best deal
that I had ever gotten in my life. For T three.
It was like a lot of money, like and I
never made that kind of money. So I called my
friends and I'm like, guys, I just signed this fucking
awesome contract. We're gonna go to the club. We're gonna
get a bunch of blow and that's it. Man. This
is the end. Man, We're gonna fucking do it.

Speaker 2 (25:12):
This is the end.

Speaker 3 (25:13):
Yeah, Like you know, what's the end of? You can't
you can't do any more stuff. You know, if I
guess you could say he wanted one last blowout. Jokes
like that, or would make me confident about that fellowship
of the onion going to someone.

Speaker 2 (25:29):
Else, Jokes like that, or what gets you to the
Brancato level.

Speaker 3 (25:39):
But yeah, you wanted to know, you wanted one last
she bang. I don't know, I guess I.

Speaker 2 (25:44):
Don't really know what that means.

Speaker 1 (25:45):
You know, it's like the night before you go to
jail or yeah, you know.

Speaker 3 (25:48):
Like uh, or get fired from a movie.

Speaker 1 (25:51):
Yeah, I go to rehab tomorrow. Might as well fucking
make my last night crazy Kang exactly. But what I
don't get is like you have like Jared Letto was
Daniel day Lewis Lewis's Lewis ey'es Lewis I Yeah, of
the world, and they're like, sorry, yeah, They're all like, oh,
he's so dedicated, he's a method actor, Like look at him. Go.

(26:13):
And then over here you have Eddie Furlong, who, from
all accounts, at least for what they wrote in that movie,
he sounds like the perfect like method actor to play
that character. Ye, why wouldn't he be all strung out
and like fucking weird and everything a meth head actor,
if you will see, that was a lot better. Yeah,

(26:35):
Like why why why why wouldn't you have that guy
like he seems to you know, to be the exactly
the perfect guy for that.

Speaker 3 (26:42):
So that's that's why when where John Jonathan Mostout's excuse,
I was like, what are you talking about? You're describing
Edward for long.

Speaker 2 (26:50):
Yeah. It's just hard not to hear both accounts and
be like, Okay, one of these sounds way more honest
than the yes one.

Speaker 3 (26:56):
Exactly. Okay, that's not that's not the end of the story.
By the way, okay, okay, so uh so he continues
by a history by saying, quote, we went out to
this club called Joseph's. I remember I bored some cokes.
I remember I poured some coke on on the toilet,
but too much of it fell to the bag, and
I was like fuck, I didn't know what to do
with it. So I was like, fuck it, and I

(27:16):
carved this huge fucking horse rail on the on the thing,
and I just did it. By the way, quick side note,
the first time I read that, I totally like that quote.
I totally thought that he was snorting coke off the
toilet seat.

Speaker 2 (27:27):
Yeah, That's what I thought, because I don't know anything
about coke. So he says, I did it on the toilet,
and I was like, why the fuck would you do
it on the toilet seats?

Speaker 3 (27:34):
Like all around the rim?

Speaker 2 (27:37):
Is it just a trick? It's like I'm gonna do
a whole horseshoe a coke.

Speaker 3 (27:40):
Yeah. That also probably contributed it too. I'm assuming if
it wasn't a take he did it on like it,
it's gotta be the tank, right, Yeah, But I don't
know what do they have tanks. They don't have tanks
in public bathrooms though.

Speaker 2 (27:52):
Well, well it's a club, so if it's a nicer bathroom,
it might actually have it to plus.

Speaker 1 (27:56):
Trust me, like a lot of fucking places, especially like
clubs and some restaurants I've worked at. I won't mention
which one, but it was in Seattle and I worked
there for quite a long time. Some of them are
built for like mind, Yeah, like they fucking.

Speaker 2 (28:13):
Building it's got a mirrored toilet seat.

Speaker 1 (28:16):
Okay, so you know when you go to a casino
and they have like the like little rail where you
can put your beer or like at a ball game
or whatever, it's such a beer while you're peeing, think
of that idea. But kind of you know, who's ever
like designing the bathrooms like things in their mind, like
what is what.

Speaker 2 (28:31):
Are we gonna best thing for you?

Speaker 1 (28:34):
Able to fucking do? Rails in there? That's exactly what
it is.

Speaker 2 (28:37):
It's conspicuously at nose height. I mean you could bend down,
you can, but like you don't have to.

Speaker 4 (28:44):
Yeah, but yeah, if you, if you, if you have
a club like that, especially like a fancy club and
like a rich area or whatever, you know, there's a
lot of blow if you put like those like fucking
toilets you have and like high.

Speaker 1 (29:00):
School or whatever with a little handles sticking out the side,
and you flesh it and it's super loud, like no
one's gonna fucking go there, because like, like where the
fuck am I gonna be able to do blow here?

Speaker 2 (29:11):
That's the other thing, is I heard you. There's the
part of the story where he says he he like
lost a bunch of coke, and I was like, of
course you lost a bunch of coke. You were pouring
it out on the Toilet's see it's going in the bole.

Speaker 1 (29:22):
Just drink the water you d does all hydrate while
you're at it?

Speaker 3 (29:29):
Well, okay, I have a question, And there's still more
of the story, but but I guess this is more
for joke because Chris doesn't know shit about drinks. Tell
me the idea why people use mirrors. Is it just so
you make sure you get everything?

Speaker 1 (29:41):
No, it's it's it's.

Speaker 3 (29:43):
Because you look cool when you're like oh yeah, yeah.

Speaker 1 (29:46):
No, it's just easy to like see it on there,
and you know, like what else, Like you want a
flat surface so you can kind of like separate.

Speaker 3 (29:54):
It through whatever flat.

Speaker 1 (29:56):
Yeah, and you want like glass, you don't want to
use like a d D case or or something can.

Speaker 2 (30:03):
Microplastic in your nose.

Speaker 1 (30:05):
Yeah. And also you don't want something white, like you
want to be able to like yeah.

Speaker 3 (30:10):
See, you know I never sitting there for five minutes
just snorting to cant think of something that's flat and white.
Uh my chest.

Speaker 1 (30:22):
It's just a good like place to to put it.
And you know, everybody's got kind of mirrors like you
can use. Like You're not gonna like take a mirror
off the wall or whatever and like use that. But
if you have like a beauty mirror some other sort
of mirror, that's just easy. It's glass, yeah, first of all,
and you can see everything on there. It's not like

(30:43):
it goes through and as I've as I've seen people do.

Speaker 3 (30:47):
Yeah, yeah, I just figured, you know, anyway, so you
can do the story. Just after I snorted a bunch
of a horse fucking horse rail of cocaine, I remember
walking out, sorry, and I remember just walking out and
I'm talking to this chick and then all of a
sudden I wake up and the lights so embarrassing. The
lights in the club are on people are like standing

(31:09):
around me. My buddy's crying. He's holding me. I'm like,
what happened? He's like, dude, you fucking odeed. And I'm like,
I don't know, d what are you talking about? I?
And he says, I had a seizure. So time disappears
when you do, when you have a coke overdose, time disappears.
You have no idea what happened. The ambulance came. It
was so embarrassing. Oh man, yeah, yeah. So needless to say,

(31:34):
the whole thing didn't blow over. He pretty much ended
up losing the r and he did end up losing
the role because of it.

Speaker 2 (31:43):
Jesus.

Speaker 3 (31:44):
And first of all, doesn't he make it sound like
this happened pretty much right after they he signed a
T three contract. Yes, okay, so which I don't know
for sure, but I assume he would have signed it
right around the time. Like the Variety article that I
found writer reported that he sign onder the movie, which
was in August of two thousand, but like I said
a minute ago, the earliest article reporting him being fired

(32:06):
wasn't published until December two thousand and one.

Speaker 1 (32:09):
One thing I can say, possibly like a possible explanation
is like at that time, that's when they're going to
start filming or whatever, and then it's like, you know, hey,
we got to start, oh like doing lists and everything.

Speaker 3 (32:24):
Yeah, because they're not in contact with them up until
that makes sense.

Speaker 2 (32:28):
I would also say the studio may not want anybody
to know that he's not in the movie until they
have a replacement and stuff, because otherwise they could lose
investors and stuff that too.

Speaker 3 (32:40):
And and there's also something about this in that John
Brancato blog. He mentioned it in his manifesto, so I
guess he and Michael Ferris were given three requirements for
the first draft of the script, one of which says,
quote John Connor had to be a successful exascutive and

(33:01):
not Eddie Furlong and this. The other two were, by
the way, where Arnold had to be a good terminator
and their battermator had to be female. But the writers
were hired mid June two thousand and one, so I
honestly have no idea like and this had happened like
right around then, So I honestly have no idea when
Eddie for lungs, like at that overdose story took place,
or when exactly was fired.

Speaker 2 (33:19):
Yeah, I mean, I guess he was already out.

Speaker 3 (33:21):
Like around June or July two thousand and one. If
it took a year to finish the script, like they
finished it, it sounds like they were working on it
arrive until they started filming in two.

Speaker 1 (33:30):
Who said no Eddie Furlong the studio.

Speaker 3 (33:34):
Yeah, this see the guys Andrew Banjamin and Mario Kassar.

Speaker 2 (33:39):
Yep.

Speaker 3 (33:39):
Yeah, oh so yeah, they said they wanted uh Arnold
to be good terminator. The bat terminator has to be
a female. And the third one was John Connor. It
was technically John Connor had to be a successful executive.
But then like they had a little like in quotations,
it says and not Eddie Furlong. Yeah, so he was.
He had to be already app by then.

Speaker 2 (33:59):
Yeah, he was that that point. Yeah, so that draft
of the script was being written.

Speaker 3 (34:04):
Yeah. What I do know for sure is that old
Johnny moss How's reason for Eddie Furlong not being in
the movie is partly untrue, considering that Furlong was likely
already fired by the time they started working on the script,
so he didn't really have a choice in the matter. Yeah,
it's kind of like if you're told you can't have
something and being like, well I didn't want it anyway.

Speaker 2 (34:20):
It also is again trying to cover the studio so exactly,
you know, exactly, there's no salacious reason behind this. We
just went in a different creative direction.

Speaker 3 (34:29):
Yeah, and it just he sounds.

Speaker 1 (34:31):
Smart, Yeah, smart guy. But I've done the same thing. Yeah,
of course, Yeah, because you start saying that fucking studio fuck.

Speaker 3 (34:38):
Me, like John Brincatto who fucked me.

Speaker 1 (34:41):
In the asshole, and like good luck in another job.

Speaker 3 (34:45):
Yes, and he already seemed to have trouble with that
like after this anyway. It was it was interesting how
he made it sound like he had any actual control
over casting, considering how we found out during the last
episode that Arnold's contract pretty much gave him final say
on basically, Yeah, which I'm pretty sure, like I think
it included the principal cast as well.

Speaker 2 (35:05):
Yeah, definitely.

Speaker 3 (35:05):
And like I said when we were discussing Linda Hamilton,
I get why Mostau didn't reveal the truth, but his
explanations for old cast members not returning are just so
specific found kind of strange considering it kind of seems
like he didn't really have a choice and it's obviously
not the whole story. I don't know, it just made
like his he makes especially after hearing what Edward forlong said,

(35:26):
it makes his reasons just sound disingenuous, which I get again.
I get that he's you know, you're promoting the movie.
You're not going to say, well, he couldn't stop snorton cocaine.

Speaker 2 (35:35):
Yeah, I don't know.

Speaker 3 (35:39):
Fair So anyway, they lose a John Connor, but the
movie does gain a terminator. In February of two thousand
and two, and there were actually a few different people
rumored that they were considering for the role, including fam
Kee Jansen and Vin Diesel, who I guess was also
seriously considered for the role of like the lead role

(36:00):
in hell Boy. Oh really yeah, like Somelma Blair's role.
Stupid Yeah, according to him, like an interview, in an
interview that he did, so I don't know if it's
actually true. The fish Man, Yeah, which that wasn't David
Hyde Pierce, just his voice.

Speaker 2 (36:18):
It was David Hyde Peers's voice in the Doug Jones
Doug Jones, Yeah, that's his name. He did the voice
on the second one.

Speaker 3 (36:24):
Yeah, Doug Jones actually did the voice in the second one.

Speaker 2 (36:27):
Yeah. Yeah, David Hyde Pierce didn't come back, so Doug
Jones just did everything.

Speaker 3 (36:32):
Fucking Niles, you think you're better than me.

Speaker 2 (36:34):
It doesn't want to come back for anything, not that,
not the Fraser reboot.

Speaker 3 (36:37):
I know nothing. It's almost like Kelsey Grammar's an asshole.
I'm sure he is.

Speaker 1 (36:45):
Okay, oh yeah, now he's kind of China asshole.

Speaker 2 (36:48):
That's why nobody wanted to come back.

Speaker 3 (36:51):
Yeah, okay, yeah. But there were also a couple of
different articles with Arnold talking up w W former w
w F slash w WE wrestler China for the t
X role.

Speaker 2 (37:03):
That would have been good.

Speaker 1 (37:05):
However, once again, I guess they're not infiltration units. I
don't know whatever they are.

Speaker 2 (37:12):
But yeah, which I had.

Speaker 3 (37:14):
And then I was like, like I wrote it to him,
like that's not I have the same comment, like that
was what I mean. Interesting. But she buns into a
crowd as about as well as Arnold does.

Speaker 2 (37:22):
Yeah, but also about as well as two supermodels would
like Christano Lucan and fam Ka Jansen. True.

Speaker 1 (37:29):
I think the only good one they really had was
Robert Patrick. Yeah, is aurator.

Speaker 2 (37:34):
He just looks like a dude, this looks like a
racist cop.

Speaker 3 (37:37):
So he fit right in New York at or sorry that.

Speaker 2 (37:40):
Way, that's yeah, perfect casting one.

Speaker 3 (37:43):
Yeah, I mean I was thinking, like, I don't know
if she ever acted in anything either. I didn't actually
look up her credits.

Speaker 2 (37:48):
Yeah, China, I don't know that I've ever seen her anything.

Speaker 1 (37:51):
I think she died too.

Speaker 3 (37:52):
She did die, I know that. Okay. So according to
Jonathan Mostow, which take this with the grain of salt,
they looked at ten thousand women for the role, which, okay, dude, sure.

Speaker 5 (38:05):
But uh according to maybe you looked at him around
the time you were casting the role, I don't be
good anyway.

Speaker 3 (38:16):
But they eventually went with twenty three year old Christana Logan,
who up to that point had done mostly TV, including
a couple episodes of Boy Mean's World. She'd been on
a show on the WB Show called Unhappily ever After,
which was the one where Bob kat Gathwaite did the
voice of like the Stuffed Rabbit that talks to us
like children ripoff basic.

Speaker 1 (38:38):
Okay, yeah, yea, yeah, yeah, but you know who the
daughter in that was, Sneaky Cox. Yeah, and she was
an interminator too.

Speaker 3 (38:45):
She was interminator too, that's true. Yeah, who is she when?

Speaker 1 (38:49):
Uh?

Speaker 3 (38:50):
Brother Patrick questions her when he's looking for the arca. Yeah, yeah,
she's in the in the gallery.

Speaker 1 (38:55):
Yeah. I don't think she's in the arcade. I think
it's outside somewhere. Oh okay, Like he's just going down
the street, like, hey, girls, have you seen this boy?

Speaker 2 (39:04):
Gotcha?

Speaker 1 (39:04):
But that's John Connor. I don't know why she has
like Todd Flanders, that's John Connor.

Speaker 2 (39:12):
We're not allowed to have sugar.

Speaker 1 (39:16):
Iron helps us play?

Speaker 3 (39:19):
Uh so? Uh yeah, she was in that which I watched.
I don't know. That show was something.

Speaker 2 (39:26):
I always wanted to watch that show, but it was like, yeah.

Speaker 3 (39:28):
I gotta get we weren't allowed to watch that show.

Speaker 1 (39:30):
Come on, I know I watched that show. It was
I don't know. I thought it was good, but that
was fucking nineties. I was a teenager. Yeah, Like it
wasn't like mind blowing, but I think it was about
as good as Married with Children?

Speaker 3 (39:43):
Did you watch Married with Children?

Speaker 1 (39:45):
Like I did? Was that it?

Speaker 3 (39:46):
Have you seen it recently?

Speaker 1 (39:47):
I haven't seen that recently, and I haven't seen Happily
Unhappily ever after whatever it is, called. Yeah, I mean
it was a total like rip off show. It's like
the family Guy of the Simpsons or whatever.

Speaker 3 (39:58):
Yeah, but.

Speaker 1 (40:00):
I remember enjoying both of them, but I haven't seen
them since I was probably a teenager. Married with Children
just built like, you know, a legacy because it had
Al Bundy and he scored four touchdowns in a single
game at Polk High School. Yeah, so I can't comment
on the quality of either show.

Speaker 3 (40:18):
Okay, I don't remember.

Speaker 2 (40:20):
I watched I watched a ton of Married with Children
for like three weeks, like fifteen years ago, because I
had I had Mono, and so I couldn't sleep.

Speaker 3 (40:31):
You were god dog.

Speaker 2 (40:39):
That's only funny because I had one girlfriend at the
time and we hadn't even kissed.

Speaker 1 (40:47):
Oh so you're saying you usually have multiple girlfriends at.

Speaker 2 (40:49):
Yes, exactly, That's exactly what I'm saying. Okay, No, I
had Mono, so I couldn't sleep. So I kept waking
up at like three thirty or four in the morning
after falling asleep, but like two or whatever, just in
horrible pain. And so I would just go and watch
TV and try not to think about it. And for
some reason, they had like marathons of children running and

(41:10):
that show is fucking weird. Like I'm not gonna say
it's not funny at all. There were some okay jokes,
but it's so like I think it's a level of
satire that I just don't get, Like I don't understand
what the premise of the show is. It's I think
al Bundy's whole character is that he hates sex with

(41:32):
his wife.

Speaker 3 (41:33):
Which is always weird to me. He just kind of
hates his family, doesn't he.

Speaker 2 (41:37):
Yes, but mostly sex with his wife. Yeah, like that's
most of his character.

Speaker 1 (41:43):
Yeah, the Simpson is now they're like, ah, let's have sex,
no pig and the last I will tell you why
this this show is so prominent. It's without the kind
of racial setting of it, yes, or the like racial
good thing or whatever. So the Cosby Show came along

(42:05):
and it was like, Hey, look at this like black
family that like you know, is living in a middle
class you know, they're not like fucking jj and good
times or like any of that other stuff. On the
flip side, like the kind of counter to that, I
guess you can say was married with children, which was like, hey,
look at this white family who's fucking poor. Quote unquote

(42:27):
even though they own that fucking giant house in Chicago,
but whatever, like poor and fucking miserable and everything, and
that was kind of like the the reverse of that.
But I never even when I was a kid, and
from a kid in now, I don't understand why he'd
ever wanted to have sex with Katie Sagaal. Yeah, I
don't get the joke, but you know his kids like

(42:50):
Bud whatever, little Pip Squeak and then.

Speaker 2 (42:53):
Yeah, I get it, Bud with Horny, Uh, what's her name?
Was slutty? Uh, Kelly was slutty. Yeah, but that was
just Peg was horny, was horny and also dumb, like
I guess they were all dumb, but like I don't know,
but yeah, I just didn't like again, not that it
wasn't funny, There were like funny parts, but I just
didn't like, why the fuck was this show man? Like

(43:14):
I and what Joe said totally like I I get
it on a conceptual level, but in the execution, I
was just like, this is the weirdest fucking show, Like
I don't understand any of the writing decisions being made here.

Speaker 3 (43:26):
Also lasted a long time.

Speaker 1 (43:27):
These shows aren't that risque back then, like, oh, yeah,
that's true. When when The Simpsons came out, that was
like it was kind of it was the fucking yeah.
And now you watch like the first season or two,
you're like, this is a fucking wholesome as shit.

Speaker 2 (43:39):
Yeah.

Speaker 1 (43:40):
I mean most of the nineties of that show was
wholesmiths shit. It was just like Bart wasn't fucking beaver cleaver,
you know. So that's why everybody flipped their shit. It's
good when to do homework and parents are like, oh
my god.

Speaker 2 (43:55):
He's the devil exactly. He called his dad by his
first name and they were like fucking crazy.

Speaker 1 (44:01):
AnyWho, anyway, a little sidetracked, Yeah, a little bit.

Speaker 3 (44:05):
She also started in a role as She also had
a starring role as Taja on the show Mortal Kombat Conquest,
which lasted one season. Yeah, she actually put on forty
three She actually put on fifteen pounds of muscle for
the role as well as took krafmaga and mime lessons,
but those were separate lessons by the way. It wasn't

(44:27):
like a Krav Maga mime class. That's would have been
fun to watch Krav McGough class. She took kravmagoch lessons
and mime classes. That's probably the way I should have
worded that. She also did weapons training as well. So
they do finally find their new John Connor at the
end of March two thousand and two, about three weeks
three weeks before they started filming. This role also has

(44:51):
a pretty well known list of actors that they were considering,
including well well known at the time, including Shane West Okay,
Joe Now Okay, Logan Marshall Green who uh sorry, Shane
West was in I don't even know. I know who

(45:14):
he is.

Speaker 2 (45:15):
He was the heart throb in what's that movie? The
cancer movie? Uh? What the fuck is that movie? The
Mandy Moore cancer movie?

Speaker 3 (45:25):
Hey, what's the walking?

Speaker 1 (45:26):
Walking at the Long Walker? Walter remember walk to Remember.

Speaker 2 (45:30):
That's the one. Yeah, he was in the League of
Extraordinary Gentleman. He was Tom Sawyer. Who else was he?
He was in a bunch of stuff.

Speaker 3 (45:40):
He's in a bunch of stuff.

Speaker 1 (45:42):
I think I said The Long Walk, which is a
Richard Bachman ak Stephen King book and it is not
not a romantic.

Speaker 3 (45:49):
The Long Walk, you remember, is what they should know.

Speaker 1 (45:53):
Yeah, they s fucked up.

Speaker 3 (45:57):
Then you had a Logan Marshall Green who was in
later in Prometheus, he was the guy that first gets
the fucking idiot that takes his fucking helmet off.

Speaker 2 (46:05):
Yeah, like and.

Speaker 3 (46:07):
Gets and gets Uh does it? I don't think a
face hugger goes something, goes on a stroke or something.
I haven't watched a movie in a while. But he's
the first one that gets infected and ends up infecting Uh,
the main cho Have you not seen that? Sorry?

Speaker 2 (46:21):
Really he hasn't seen the game. Yeah, but he didn't
trust him to have seen anything.

Speaker 3 (46:25):
This was a this was a newer movie. I figured,
you know.

Speaker 1 (46:27):
What, am I watch guy?

Speaker 2 (46:30):
Movie?

Speaker 1 (46:31):
Movie?

Speaker 2 (46:31):
Guy? Watch watch a movie? Guy, Joe, watch it all
or something?

Speaker 1 (46:36):
Geez, I gotta do other stuff. I can't just be
watching movies all day.

Speaker 3 (46:43):
It makes sense to me. Uh, you've seen how long
it has taken me to write this. Uh, okay, and
then you have The last one was Jake Jillenhaw, who
is in stuff.

Speaker 2 (46:55):
Yeah, here's a lot of stuff. The bubble Boy.

Speaker 3 (46:57):
Yeah, he was the star of Bubble Boy. I think
it was in a Spider Man movie too.

Speaker 2 (47:04):
Yeah, almost spider Man. Almost. John Connor, He's got a
lot of almost.

Speaker 3 (47:07):
Yeah, that probably at least one. I don't know, they
don't if it worked out for the best. I'm curious that. Wait,
what was he doing. He was probably doing a Donny
Darko around this time, I would assume, although I think
that came out before this.

Speaker 1 (47:20):
Yeah, I think that came out in two thousand and one.

Speaker 3 (47:23):
Curious what he ended up booking besides this, which, oh,
that's right, it was h Yeah this time it was no, no, no,
it wasn't jar Head. It was uh sorry, I was
just the day after Tomorrow, was in two thousand and four,
so possibly that, yeah, anyway, okay, but they ended up

(47:46):
deciding on twenty two year old Nick Stall, who's probably
most famously known for his role as a yellow pedophile
in Sin City. Yeah, but uh, he'd actually started.

Speaker 1 (47:57):
I always associated him with Carnival.

Speaker 3 (48:01):
Yeah, same, but then I was in the articles pretty
much every article. It wouldn't have actually mentioned it this time,
because I think that was after this, But any article
that I read past this was like, uh, sin City,
sin City. So yeah, I think it's just because it
was a Carnivals got canceled. It was a smaller thing.
But yes, same carnival. But he actually started acting when

(48:23):
he was a kid and actually starred in my Mel
Gibson's nineteen ninety three directorial debut called The Man Without
a Face, which I believe is based on the Faceless
Guy that Joe saw that one time in quest Haven. Yep, Yeah, yeah, yep.

Speaker 1 (48:38):
I'm so waiting for my fucking world ty check for
that piece of shit.

Speaker 3 (48:41):
Fucking mel Gibson, Mel Gibson, because you're Jewish exactly.

Speaker 5 (48:45):
I was just about to say.

Speaker 1 (48:46):
That I didn't want to give me anything.

Speaker 3 (48:52):
I'm gonna stop talking.

Speaker 2 (48:55):
It's like, thanks for the movie idea, sugar tips.

Speaker 1 (49:00):
First of all, I think he's pissed because I didn't.
I was like, hey, you can say whatever you want
about Jewish people, but don't say sugar heads, say sackle
and breast. And it's just like, I'm not gonna have it.
That was Scottish in Australia.

Speaker 2 (49:14):
It's like, uh, it's not gonna have it.

Speaker 1 (49:22):
No, see that are you're trying to do. I don't know.

Speaker 2 (49:24):
He's Australian, he's Australian.

Speaker 3 (49:27):
I'm not gonna have it. I'm not gonna have it,
not gonna have it, mate, I ain't gonna have it.

Speaker 1 (49:34):
I ain't gonna have it, mate, just do.

Speaker 3 (49:36):
The line from from Simpsons it gets it was IM
gonna heave it.

Speaker 2 (49:43):
I see you've played knife he splaining before.

Speaker 3 (49:47):
But yeah, like Joe said, he also started in HB
at the HBO show Carnival, which I've always wanted to watch.

Speaker 1 (49:53):
Button that also, that started in two thousand and three,
so he might have booked that before or after whatever
right around the same time.

Speaker 3 (50:02):
Yeah. He uh. There was actually an MTV article that
I was reading that I'm actually gonna mention right now
that talks to him. That pretty much says the next
thing he is doing after T three is Carnival. Oh well,
so Stall learned to ride a motorcycle for the role
as well as had some weapons training.

Speaker 2 (50:19):
Well, he learned to ride a motorcycle for the three
for like the thirty second scene at the very beginning,
you got to learn to ride a motorcycle, like if
you're gonna worry as well.

Speaker 3 (50:28):
That was that was That was him learning to ride
a motorcycle.

Speaker 2 (50:31):
Falling off the back, but he wasn't supposed to fall off.

Speaker 3 (50:38):
Yeah, he learned to ride a motorcycle for the role
and had some weapons training.

Speaker 2 (50:43):
I just imagined the whole movie was filled with him
on a motorcycle, and then they started filming and he
couldn't fucking do it, and they're like, never mind, just
kind of that ship change.

Speaker 3 (50:52):
The script put him in the back of a vet
vet drug exactly put him in a cage, he spoke
to that's why the script got rewritten. He spoke to
MTV in two and two about his approach to the role, saying, quote,
I'm not trying to imitate anything about the character that's
been done. I just don't think that that's realistic or
that's even possible. You have to kind of use your

(51:14):
own arsenal. So I've really just tried to make it
my own end quote. But I really just wish he
would have approached the role by imitating Edward for Long's
performance in two thousand or an Terminator two, just like
Squeaky Voice and all.

Speaker 2 (51:27):
Just yeah, Mom, I honestly wish you would have fucking
done something, because yeah, he's kind of.

Speaker 1 (51:36):
About as bland him and fucking Claire Danser about his
bland characters. And I don't necessarily think it's acting. It's
a little bit of directing and writing, and I guess acts, but.

Speaker 3 (51:51):
Actors, Yeah, especially Claire Danes.

Speaker 1 (51:53):
Yeah, it's just bland as fuck.

Speaker 2 (51:55):
Yeah. The most interesting part of his performance is just
when he's fucking strung out at the beginning of the movie.

Speaker 1 (52:01):
Yeah, Like it's just they it's only like charisma or
anything interesting.

Speaker 2 (52:08):
There's just barely anything through the character writing.

Speaker 3 (52:10):
Yeah, which I don't feel bad about saying that's the
fucking writing.

Speaker 2 (52:14):
Yeah.

Speaker 3 (52:14):
Yeah, that's uh, that's that's uh, you know, I mean
he they maybe they would have been a little more
interesting if the editing wouldn't have stripped the subtlety out
of the characters.

Speaker 1 (52:24):
You know.

Speaker 3 (52:25):
Oh yeah, yeah that's the ending though. The ending was good,
the ending. Did you guys see that ending?

Speaker 2 (52:32):
My ending?

Speaker 1 (52:33):
Yeah?

Speaker 3 (52:33):
Yeah, yeah, pretty good. Anyway, Okay, uh, let's move on
to our final character, Kate, who I couldn't find too
much info about, not the character that the actor, just
the whole situation, the whole hiring process. The only other
actor I found that was considered for the role was
Claire for Lannie, who was the girlfriend in Malrats. She

(52:54):
was a mystery man. She focks death and Mijo Black
like you know, like she was uh yeah, Joe no,
Jonna Blink. She was the main girl. She was the
one that wasn't Shannon Doherty in Mulretz.

Speaker 2 (53:10):
Yeah.

Speaker 3 (53:10):
So she was Jason London's girlfriend or Jeremy Land. I
don't know which one it is.

Speaker 1 (53:14):
Yeah, no, they just I just find it odd that
they narrowed it down to two Claire's. I. I, well,
did I step on your joke?

Speaker 4 (53:23):
No?

Speaker 3 (53:23):
No, no, no, no, I I I'm sure there were more.
I just couldn't find out a lot about this, but
that was the only one that was for sure like
mentioned as far as being considered to be cast, and
I couldn't find when they initially cast the role. But
Kate was originally supposed to be played by a relatively
new actress named Sophia Bush, who at the time had

(53:43):
like three credits, one of them being two thousand and
two's National Lampoons Van Wilder, which she just plays someone
who wants to fuck Ryan Reynolds.

Speaker 2 (53:51):
Basically, okay, shit, I could play that role, exactly, play
that role now.

Speaker 3 (54:00):
She actually ended up filming for about two weeks, but
ended up being let go for looking too young, with
Jonathan Mostow saying in two thousand and three interview quote.
It was heartbreaking because initially I want to Claar Danes
and then sort of like Hollywood deal making silliness, it
didn't work out. So then I started casting for the part,
and I found this actress, Sophia Bush, who I thought

(54:21):
was fabulous and I still do, and I cast her
in it, and I was more excited about her casting
than I was anyone else in the movie. I thought
I made it real fine, And after about a week
of filming, it became clear that she was too young.
She was nineteen and the other actors were twenty two,
and there's just a difference, and three years at that
age is a big difference. And I tried everything I
could do to make her look older, but ultimately the

(54:43):
camera doesn't lie, so I had to replace her, and
it was heartbreaking because it was a huge break for her.
End quote. But to be fair, Nick Staal looks like
he's like twenty two going on thirty six and t three,
so like, of course, I can definitely see why she
might have looked younger for a love interest.

Speaker 2 (54:56):
Also, like actors that young always play way younger, Yes,
like if somebody on a show or in a movie
is in high school it means they're in their early twenties,
sometimes in their late twenties. You know, that's just kind
of how Hollywood is.

Speaker 3 (55:11):
So yeah, yeah, so she was nineteen.

Speaker 2 (55:13):
If she's nineteen, most of her roles at that time
were probably for like high school.

Speaker 3 (55:17):
Well, she was in the Uh she had three credits.
One of them, yeah, the Van Wilder when she was
but she that's college. But also Ryan Reynolds looks younger
than Nick Stall did, so that's true.

Speaker 2 (55:30):
Also true, So that makes sense.

Speaker 1 (55:32):
I gotta give it up to Jonathan must correct.

Speaker 3 (55:38):
I want to hear what he's gonna say.

Speaker 1 (55:39):
Say, MOSCOFC, just keep calling him that.

Speaker 3 (55:43):
That's that's way better.

Speaker 1 (55:45):
No, but he he knows how to play the game,
like yeah, you know, he's like, look, this didn't work out.
Let me explain, give you some bullshit reason that makes
everybody look good. Uh didn't work out with Sophia Bush.
That was really heartbroken. But like she was, she was
too young and too pretty, you know, Like he knows
how to like fucking milk it and like good for him.

(56:06):
Like this is to me talking shit about him at all? Yeah,
Like that's fucking fair. Do smart and professional?

Speaker 3 (56:13):
Well, I think he actually felt bad because at this
time she had like it was the very beginning of
her career. So like it seems like it ended up
working out for the best for her though, because she'd
end up landing a role on the WB teen drama
One Tree Hill the same year Terminator three was released,
which pretty much launched her career.

Speaker 2 (56:29):
Yeah.

Speaker 3 (56:30):
Oh, which Erica was just watching right before, like we
started recording, and I think she's watching now. Still shit,
what are you watching there?

Speaker 1 (56:37):
You go speaking of you two that they have a yeah, One.

Speaker 3 (56:42):
Tree Hell this song. Yeah, yeah. I don't have a
date for when Sophia Bush was cast, but as far
as the recasting, Variety reported that Claren Danes signed on
to takeover the role on May fifth, which was about
two weeks into production, and Clardane started filming the following day.

Speaker 2 (56:58):
Oh wow.

Speaker 3 (56:58):
Yeah, And I would say she's probably the most well
known star at that time besides Arnold's.

Speaker 1 (57:06):
Right, Yeah, she's gotta be yeah one arm set.

Speaker 2 (57:10):
Right, My so called life was that was big, right, Yeah.

Speaker 3 (57:13):
Yeah, she'd already been in a ton of stuff like yeah,
My so called Life, which she was nominated for an
Emmy four. Yeah, she'd done Romeo and Juliet ninety six
with Illian narrative DiCaprio. She did The Mod Squad and
Broke Down Palace in nineteen ninety nine. She then took
a break from acting, which is nice, like she was
she was doing well enough to where she could take
a break, Yeah, yeah, to attend Yale. Oh and then

(57:37):
came back in two thousand and two with two films,
which the first one was Igby Goes Down, which is
supposed to be super good, and then The Hours, which
was nominated for a Best Picture Academy Award. But yeah,
so I think the best actor in the movie too, Like.

Speaker 2 (57:50):
Yeah, again, she has no character, but that's not her fault.

Speaker 3 (57:54):
Yeah, Broncado. Okay, So filming Again's April fifteenth, two thousand
and two, with the planned one hundred days shooting schedule,
which was originally supposed to be thirty eight days in
La Los Angeles in sixty two days in Vancouver, but
they figured out a way to trim eight million dollars
from the budget in order to shoot the whole thing

(58:16):
in La with Arnold telling a variety about this that
they did it to stay closer to their families as
well as to preserve the crew jobs that would have
been lost had production moved to Canada. Wikipedia states that
Arnold actually deferred part of his salary to help trim
down the budget, but the reference link confirming that info
is dead, so I'm not one hundred percent sure if

(58:37):
that's true or not, got it because he doesn't mention
in his book. By the way, I have a few
different numbers for the budget, but it was estimated to
be as low as one hundred and sixty seven million,
but as high as one hundred and eighty seven million,
some of which that money came from product placement deals
with Pepsi and Toyota and then possibly is in a Dream,
But I'm not really sure about that one because it

(58:58):
is like a blinking you miss kind of product placement
right there.

Speaker 2 (59:01):
Yeah. Yeah, but it was a big one.

Speaker 3 (59:04):
Yeah, and this craziest budget actually made it the most
expensively in sorry, the most expensively the most expensive independently
financed movie ever made at that time. Wowow yeah.

Speaker 2 (59:18):
Interesting, just meaning that there was no like big studio involvement.

Speaker 3 (59:22):
There there was, but like only for the distribution.

Speaker 2 (59:25):
But as far as the production budget was, yes, yes
it was, it was. Uh it was they just gathered
it from those It was C.

Speaker 3 (59:32):
Two and then Intermedia I think got it and maybe
one more.

Speaker 2 (59:35):
Yeah, that that Chinese company, right or was the Japanese.

Speaker 3 (59:38):
Well, I think they were. They were distributing. They took
over distribution for like Japan and then Germany or something
like that. Oh, and that's why that's why Fox backed
up Gotcha. By the way, I can't remember if I
mentioned this already, like in an episode, but paying off
Carolco's debts was apparently also built into the film's budget,
which just sounds like sketchy as fuck, but I'm sure

(01:00:00):
it happens. Something that happens all the time.

Speaker 2 (01:00:02):
But that's yeah, probably, but that's just very funny. I
wonder if that's why they were so desperate to get
the fucking rights to the movie.

Speaker 3 (01:00:10):
I mean that makes sense too, and a weird thing
on which I don't have written down, but there's a
lot of like not re revising what happened, but a
lot of uh, well, they ended up losing the rights,
but then they got uh they bought them back from
a company that went bankrupt on like bitch, it was
their company that the I don't remember where I read that,
but I was like, what the fuck are you guys talk?

(01:00:31):
What are you talking about?

Speaker 2 (01:00:32):
That's very funny. A lot of reframing of the facts.

Speaker 3 (01:00:36):
Of the story. But anyway, so they actually ended up
building as far as like the sets. They actually ended
up building a quarter mile long street set at the
Boeing plant in Downey, California for part of the crane
chase sequence, with the entire sequence being plotted out beforehand
by director Jonathan Mostow and a kid you not stunt

(01:00:58):
coordinator Simon Crane because those jokes jokes is right themselves, Like.

Speaker 2 (01:01:05):
That's funny.

Speaker 3 (01:01:06):
So the scene feature in the TX crashing the crane
through a glass building while Arnold's T fifty hangs on
was a practical effect.

Speaker 2 (01:01:14):
Damn.

Speaker 3 (01:01:14):
Yeah, he wasn't actually like on there obviously. No, that
was digital like when he was Yeah, that's all digital.
He wasn't on there for that. They had dumby attached
to it, which was looked kind of funny.

Speaker 2 (01:01:25):
So there was something on there, just legs swinging in
the breeze.

Speaker 3 (01:01:28):
Yeah, But they actually ended up constructing a glass building
and then crashing the crane through it as the effects
team set off charges in order to guarantee the building
actually fell down. Supposedly, the studio wanted that scene removed
because they didn't want to pay for it, but Arnold
allegedly paid the one point four million it costs to
keep it in. And I'm not sure if that's true.
I first saw it in the T three IMDb trivia

(01:01:50):
and then found it mentioned on like random sits and
in random videos, but none of them provide a source,
so they may have possibly just pulled it from the
always reliable IMDb. Yeah, Arnold does say in the DVD
commentary that he was insistent that they keep it in,
but he doesn't mention paying for it.

Speaker 2 (01:02:08):
Well that's good because that's that's one of the better
set pieces of the movie.

Speaker 3 (01:02:12):
For sure, and Arnold obviously was on the crane for
a lot of the filming of that sequence, telling a
cinemareview dot com, every movie you do and image sticks
with you, and I will always remember the weeks that
I spent hanging on the hook of that huge monster crane,
getting dragged behind it, smashed into things. It was unbelievable.
We used every safety precaution, but there were close calls
many times. He then goes on to describe exactly none

(01:02:33):
of those close calls.

Speaker 2 (01:02:36):
Damn.

Speaker 3 (01:02:37):
Yeah, let's see what else for that scene. The crane flipping,
along with the rest of the visual effects, were handled
by Industrial Light and Magic, which is George Lucas's company,
right yep. Jonathan Mostow says in the DVD commentary that
the entire crane sequence took about five to six months
to edit. He also mentioned that the bed of the
veterinary truck was actually the most used set, like the

(01:03:00):
most used location in the movie.

Speaker 2 (01:03:02):
That's funny.

Speaker 3 (01:03:03):
Yeah, Also, this is a bit of a sidetrack, but
it's not really sort of so anyway, So Arnold barely
mentions Urmia or three in the book. In his book
twenty twelve, I think is total recall, but mostly because
at the time he seemed like he was more focused
on getting his political career going. And I bring it
up because at the time he was actively promoting California
as I was Proposition forty nine, which would increase funds

(01:03:26):
for after school programs. And by the way, this was
obviously a super important time for Arnold political whiles. Whilst
for Arnold political whaws, but we're we're not really going
to go get into it right now, besides a couple
of mentions, partly because this episode is already probably going
to be our longest one, but mostly because I don't
know Dick about politics and was definitely not paying attention
during this like his time in office, because I was

(01:03:47):
busy doing nothing really with my life that mattered apparently.
So having said that, we will go over at all
eventually in what I'm sure will be one of our
most listened to episodes ever. I'm sure, but I just
wanted to throw that out there so it doesn't seem
like we're just ignoring it. It's just a lot of
research and I'm putting I'm gonna put it off as
long as I can.

Speaker 2 (01:04:07):
And I'm sure our most intelligence sounding episode as well.

Speaker 3 (01:04:11):
But yeah, I bring it up right now, specifically because
of two things he mentions in the book. The first
is about the prop that I was talking about, Proposition
forty nine, which according to his book, he helped design,
and as I just mentioned, he was actively campaigning and
trying to raise money for during the T three production.
He also mentions in the book that bringing people to
the T three set was a he found out was
a great way to raise money for Prop forty nine,

(01:04:34):
saying that California, the California Attorney General, whose name was
Bill lockyar visited the set when they were shooting the
chase scene and Arnold was schmoozing with him to get
a support On the same day he was shooting like
his crane scene. Hopefully what wile hooked up to the crane,
so like he's like, come on, Bill, don't leave me
hanging here, trying to think of something with crane. But

(01:04:56):
I had nothing anyway.

Speaker 1 (01:05:00):
Fraser joke in there somewhere.

Speaker 3 (01:05:02):
Well, I was like, I was like, you, I'm gonna
be crying, like like crying or something that's and I
was like, Okay, just give it up. You're gonna spend
way too much. You get something though, toss.

Speaker 2 (01:05:12):
Me a hundred while you're down there.

Speaker 3 (01:05:15):
I don't know anyway, So he wasn't the only person
to visit when they were filming that crane chase sequence.
Jonathan Mostow told Vulture in twenty twenty one that Bill
Clinton visited after they had already started filming like the
crane destroying everything, and says that Clinton was just in
awe and like amazed by it. He's like, oh, my god,
this is the greatest thing I ever seen. Sorry, Okay.

(01:05:39):
The second thing he mentioned that I wanted to go
over real quick is how exactly he became involved with
Prop forty nine, And it actually relates to something we
discussed a couple episodes back, which is Arnold's contract. So
I'm gonna give you like those super basics of like
how he got involved because it was a long process.
But according to the book, he was already considering running
for governor before filming began on T three and was

(01:06:00):
secretly consulting with political advisors in two thousand and one
about possibly running, like the possibility of running and winning.
Oh so yeah. So he pays a visit to the
C two crew Andy Vagina, Mario Cassar to kind of
run the idea past them and see if, like, if
they seemed enthusiastic about it. He was going to hit
them up for campaign money as well as kind of

(01:06:20):
like ask them if they would ask other producers to
contribute as well. So Arnold talks about how this meeting
went and saying in his book quote, when I went
to their office to talk about the governorship in April
two thousand and one, I didn't expect them to bring
up Terminator three. I'd sign a deal memo, it's in quotes,
to star in it if it ever got made. But
the project had been in development limbo for years and

(01:06:41):
real quick, unquote, but real quick. If this happened in
April two thousand and one, then at this point Vagina
and Kassar had just hired John Dean Mostow, because he
got hired at the end of March two thousand and one. Also,
he said he signed a deal memo, which is actually different.
I looked it up. It's different from his eventual contract.
So according to my yeah, according to my ten seconds

(01:07:01):
of research on Google, a deal memo seems like it's
a less formal version of a contract but is still
legally binding. So it's like in between like a like
a a what is.

Speaker 2 (01:07:13):
It a a signed cocktail napkin? No?

Speaker 3 (01:07:15):
No, like a word like a verbal contract. Oh okay,
somewhere in between a verbal contract and an actual contract.

Speaker 2 (01:07:22):
Got it, okay?

Speaker 3 (01:07:23):
But yeah, so I'm assuming it was probably like the basics,
like just stating that he'd start in the movie if
You ever got made, and that they'd work out they'd
eventually work out a contract, if that ever happened. Yeah,
So anyway, he continues saying, quote, Jim Cameron moved on
to the projects, and as far as I knew, they
didn't have a director or a script. But as I
made my pitch about politics, I saw them look at

(01:07:45):
me as if to say, what the fuck are you
talking about running for governor? Continues terma or three turned
out was a lot farther along than I thought. A
script was almost ready, and not only that, they'd entered
into merchandise and international distribution deals were tens of millions
of dollars. They were playing to start production within a year.
Andy was reasonable and friendly, but firm, saying, and this

(01:08:05):
is him quoting Andy Vajhna, if you back out, I'll
get sued because we sold the rights based on you
as a star. I'm the last person interested in suing you.
But if I get sued, I'll have to sue you
because I can't afford to pay all these guys back
with damages.

Speaker 2 (01:08:20):
The numbers are huge. So first off, if we can
assume that's all true, then that means that c two
obviously didn't bother to keep Arnold or his people in
the loop about any sort of progress for T three
because Arnold mentioned is not even knowing about the script
or them hiring a director, which also is strange considering

(01:08:40):
his contract states he has final approval of the director,
and Mostow had already signed on at that point, so
his contract states that, but does his But obviously the
memo deal wouldn't have stated it.

Speaker 3 (01:08:49):
Maybe it did. I don't have the specifics of that,
so it could have, and they just like pushed it
over to that. But I don't know why his contract
would if if they already hired a director. So the
timelines for this are like more messed up and confusing
the actual because because.

Speaker 2 (01:09:04):
That kind of shit can change all the way up
to production. Yeah, true, like like you can fire. You
know that, that's true, But it still seems crazy that
they wouldn't keep him updated when they were doing major
stuff like getting scripts commissioned, getting exactly hiring directors that.

Speaker 3 (01:09:21):
That well, I don't I don't know, like you know,
how he can be with stuff.

Speaker 2 (01:09:28):
His memory is not perfect.

Speaker 3 (01:09:29):
But yeah, But so at first, I couldn't figure out
why C two would keep Arnold, wouldn't keep Arnold in
a loop, but I'm assuming they at least give him
updates only as often as they needed to, and it
was probably done through his like manager Asian or whoever,
who I'm guess would probably checking with C two before
Arnold would sign on to any movies to see like
I would assume that was part of their like arrangement, right,

(01:09:52):
That makes sense to me. Plus the fact that at
the time, Arnold was keeping this like as hush hush
as possible, so I guess TECH two wouldn't have any
reason to give him an update unless they hear from
like if there's nothing going on, which there was, though,
that's what's weird, unless they hear from Arnold's people. Yeah,
but still, the fact that they made those distribution deals

(01:10:12):
without bothering to check in that just seems risky as fuck,
Like seriously, that's like something that people who've bankrupted a
company before would.

Speaker 2 (01:10:19):
Do, so I don't get, and then created a new
shell company to reacquire the property that their old company
just lost.

Speaker 3 (01:10:30):
Yeah, I don't know, it's like, seriously, why check in
with Arnold before you make multiple deals that hinge on
his involvement? You might try to talk you out of
it if he happens to have another project in the works.
Plus it's not like he can say no once the
deal is done anyway, because then you can just threaten
as sue him apparently. Like, I don't know, it's just
it's very weird.

Speaker 2 (01:10:50):
I also just find it really hilarious that he comes
to them like, hey, you want to invest in my campaign,
and they're like, they're gonna break my fucking legs. What
fuck I'm talking about? It's like your my meal ticket?
What the fuck are you talking about?

Speaker 3 (01:11:08):
Exactly. So that's why I'm I'm I don't know, like,
I don't know it's true, what's not. It's just weird.
And at first I was like, oh, fuck these guys.
But then I was like, well, if the timelines are
weird because what Variety's reporting and all that, so who
knows what how that if this was actually an April
or if it was before anyway. So yeah, so this

(01:11:30):
led to a few different things. First, Arnoll mentions this
a book that after this happened, he still had the
desire to do something political, So this is when PROP
forty nine was developed got it. Secondly, C two basically
forcing him to do Termia three. And I wasn't gonna
say that because he technically did sign a contract, but
sure like it was yeah, I don't know.

Speaker 2 (01:11:52):
Putting him in a position, like a particular position.

Speaker 3 (01:11:55):
Yeah, but yeah, that that meant that he definitely couldn't
run for in the two thousand and two election, which
I I'm pretty sure he was he was thinking about.
He wasn't for sure yet, because he wasn't even for sure.
I just realized that I didn't mention him running for
governor at I don't have it in my notes any point,
at any point in the in the rest of the notes.

(01:12:15):
So so he he does eventually do that while he's
promoting the film, which I'll try to remember. But anyway, so, yeah,
even if he decided who he couldn't have, which ended
up working out because California voted to recall Gray Davis
as governor in two thousand and three and Arnold ends
up winning that recall election. And then lastly, in this

(01:12:35):
one's speculation, but I feel like that meeting Arnold had
with Casar and Vajina probably led at least a little
bit to him taking completely full advantage when it was
time to like puts contract together.

Speaker 2 (01:12:49):
They really laid all their cards on the table in
that meeting if all that, Yeah, that's true, so he
could Yeah.

Speaker 3 (01:12:55):
And on top of that, he was actually he seemed
this was something he was enthusiastic about. So if they
were like, sorry, man, yeah you can't. Nope, not gonna
have and you gotta do this, and he's like, all right, well,
if I'm doing this instead of that, I'm gonna get
fucking paid.

Speaker 2 (01:13:08):
Yeah.

Speaker 3 (01:13:09):
Okay, sorry about sidetrack.

Speaker 2 (01:13:11):
Moving on, Okay.

Speaker 3 (01:13:12):
I had a note that I think I wrote down
when we did the summary about finding more info about
the song that's playing during the gas station scene, which
is titled Debt Funky Man Yeah, and was produced for
the movie by William Randolph. The third or three, I
don't know, like three because apparently that's what people will

(01:13:33):
go by sometimes according to the director or a writer of
Maggie's right, yeah, John Scott three or something like that. Anyway,
but with the lyrics being provided by Jonathan Mostow director
Jonathan Mostow two lyrics Terminader three, Rising the Machines director
Jonathan Mostow.

Speaker 2 (01:13:53):
The two words of lyrics like, I don't remember there
being any other lyrics.

Speaker 3 (01:13:57):
This song A bunch of other night. I still can't
I don't remember the lyrics, but people love this song
on YouTube, like there's a bunch of comments, a bunch
of comments under the songs like oh my god, I've
been looking for.

Speaker 2 (01:14:10):
The song for so long, okay why, I have no idea?

Speaker 3 (01:14:17):
And I couldn't find any any other credits by one
mister Randolph Besides dat funky Man. There is a SoundCloud
artist named DJ William Randolph, but I'm not sure if
it's the same dude, And to be honest, I wasn't
willing to devote more than five and it's to researching
this goopy as song, so like, but moving on from there.
I also have a quick bit of trivia I found
on IMDb and didn't verify it because it doesn't fucking matter,

(01:14:40):
But there were a couple of mentions of scenes in
the official novelization of the movie that were interesting because
they flesh out the characters more. And the first one
is kind of broad, but it says, and I'm just
reading this directly from the IMDb quote, but it says
the novelization gives us some background information on Kate's relationship

(01:15:01):
with her father. General Brewster was such an alcoholic that
his wife.

Speaker 1 (01:15:04):
Left him it's.

Speaker 3 (01:15:08):
Just gonna get worse.

Speaker 2 (01:15:09):
It sounds like fan fiction already.

Speaker 3 (01:15:13):
Missus Brewster approved of Kate's engagement, but Kate wanted her
father's approval too. He granted it, but he but never
met Scott. Kate was an only child. Also, she is
not sure about Mary and Scott, which is kind of curious.

Speaker 2 (01:15:27):
That's in the movie.

Speaker 3 (01:15:28):
Yeah, and he is nervous. He is nervous about meeting
her father. Kate enjoys working with animals because you know
where you stand with them.

Speaker 2 (01:15:36):
That's just dialogue for the movie.

Speaker 3 (01:15:37):
I think, wait, does she say that?

Speaker 2 (01:15:40):
I'm pretty sure she says that sometime, But maybe I'm
just making that shit up. I mean, just like whoever
wrote this IMDb trivia.

Speaker 3 (01:15:49):
Well, it could be from the novelization. I wasn't gonna
put the time into actually looking into the novelization because
then I'd have to like search the novelization for these parts.
And I was like, okay, no, okay, if.

Speaker 2 (01:15:58):
It's not in this movie, I swear to god, it's
in another movie. But that that line sounds very very familiar.

Speaker 3 (01:16:02):
That does line? That does line sound familiar?

Speaker 2 (01:16:05):
That's how I talk like yoga.

Speaker 3 (01:16:08):
When Kate was born. Her family was stationed in Germany
at Ramstein, which is a band, so I don't I
don't know that was Ramstein. I don't know. I'm pretty
sure there're a metal band, so that must have been annoying.

Speaker 2 (01:16:20):
Maybe she was conceived at a concert.

Speaker 3 (01:16:24):
Because because she was born as a quote Air Force child,
it explains why she knows the difference between a real
gun and a paintball gun when John pulls one on her.

Speaker 1 (01:16:33):
Sure.

Speaker 3 (01:16:34):
So yeah, that was all apparently from the novelization, which
I loved reading those novelizations when I was.

Speaker 2 (01:16:40):
This might be a fun one to like. Actually, I
don't know, some of those novelizations go crazy.

Speaker 3 (01:16:44):
Yeah, moving on. The cemetery scene was filmed at Rose
Hills Memorial Park in Woodier, California. Apparently Arnold suffered a
squib related injury during the shootout scene when he's holding
a casket over his shoulder.

Speaker 2 (01:16:57):
I thought you were going to say, when Kate shot
him in the face. Yeah, that would be Is this.

Speaker 3 (01:17:01):
A squid that goes off? And don't worry if you're
unsure exactly what's seene I'm talking about, because Arnold definitely
describes it when he's asked about the injury during an
interview with blackfilm dot Com, saying, quote, accidents happen often
in a movie set, especially when you deal with explosions
and stunts. There was one scene where I carried the
casket down the hill, and it was the same time

(01:17:22):
I was shooting at police officers and blowing up their
vehicles and just throwing everything that's in front of me
and then shooting back. I just love one. Sorry, quick
side note, I love when in the DVD commentary, which
I've is my first DVD commentary that I've watched of
his movies. Yeah, most of his it's broken up, so

(01:17:44):
he's not on it the whole time. It's uh, it's
it's got Clarityon's Chris Donal Lokan the main people, and
then Jonathan Mostown, but they keep cutting between them, so
the commentary and they're cutting between them, but a centemors
his commentary. It's just describing the scene as that's happening,

(01:18:05):
which is just great.

Speaker 2 (01:18:06):
Like with the.

Speaker 3 (01:18:07):
Fireman seen that, I was mad at them because they
hit me with the fire struck, So can I reach
you in I'm like, this is I can't do anything
with this, but it's just great to hear anyway. So yeah,
so he keeps saying in the In the quote, he says,
the whole casket was loaded up with little explosives that
would go off, and the idea was to put one

(01:18:29):
underneath my hand. In the middle of the shoot, I
felt this unbelievable pain and this explosion going off underneath
my finger, and I'm absolutely convinced if I wouldn't have
had the thick leather gloves, my finger would have come
off with that. It was unbelievably bruised for a long
time and I had to get medical attention for it.

Speaker 2 (01:18:46):
Wow.

Speaker 3 (01:18:47):
By the way, that's what those are called, right, squibs?
Like I don't want to sound like some sort of
using the wrong terminology.

Speaker 2 (01:18:52):
I mean, the squib is the thing where they shoot you.

Speaker 3 (01:18:55):
Yeah, yeah, blood packet explodes on Yeah yeah, that's okay. Yeah.
So he because he made it sound like a squib
slash explosive was supposed to be underneath his hand in
that quote, but I think he maybe meant that that's
how the injury happened.

Speaker 2 (01:19:07):
Got it.

Speaker 3 (01:19:07):
But by the way, a squib is an explosive. Is
the explosive that he mentioned the quote they're used by
special effects teams to simulate bullet hits.

Speaker 2 (01:19:14):
Yeah, so maybe the squib was just on the casket
and his hand was in the wrong plate, like and
you know what I mean, and the squib went off
when his hand was somewhere it shouldn't have been. Yeah,
I don't know.

Speaker 3 (01:19:25):
Well, I I only think he may have misspoke for
that in that interview, because he states on in the
DVD commentary that one of the explosives that ricocheted off
the casket and almost blew his finger off, and then
says that it was under his finger because quote, they
made a mistake of where to put the explosive, gotcha.
So yeah, who knows, I mean, whatever it was, it

(01:19:45):
almost blew his finger off. Yeah, So anyway, not exactly
sure how it happened. Maybe they're pyrotechnician called in sick
that day, so they finally decided to like finally give
that kid that drives a food truck is big break
in Hollywood. For some reason, he kept insisting that on all,
just keep his hand.

Speaker 2 (01:19:59):
Over the explosive.

Speaker 3 (01:20:00):
I don't know, I don't know if I should be
doing it right there as like as possible. Anyway, speaking
of a DVD commentary, Jonathan Mostown mentions during the cemetery
shootout that Arnold's leather jacket weighed about forty pounds, but
doesn't give a reason why. So I'm not sure if
his jacket was maybe lined with something or like like
maybe line with something like I don't know, but that's
one heavy ass jacket.

Speaker 2 (01:20:20):
He just wanted to do a workout while he was
in the middle of shooting the scenes.

Speaker 3 (01:20:24):
Maybe, I don't know, like, unless that's how much leather
jackets weigh. I'm not cool enough.

Speaker 2 (01:20:27):
To wear forty Yeah, not forty pounds.

Speaker 3 (01:20:32):
Yeah, I just I realized as I was writing this,
I was like, I'm not even cooling enough to wear
pludther much less leather.

Speaker 2 (01:20:36):
Like.

Speaker 3 (01:20:36):
I actually tried to buy a at this real pricey
leathered wallet from north Strom with this one time, but
then when I asked the sales guy to show me
their Indiana Jones collection, he ended up talking me into
buying one of the children's section like velcro wallets. That
way I wouldn't lose my bus pass. Yeah, the wallet
had Indiana Jones on it, and he was wearing his
leather jackets, so it kind of counts anyway, sorry forty pounds, Like,

(01:21:02):
it's just weird that you mentioned it, and it just
doesn't bother to expid it at all. He's like, yeah,
it's Jackie wearning forty pounds. Why you figure it out anyway? Sorry,
Moving on a couple more things as far as the
cemetery sequence. First off, I'm sure you guys remember that
scene when the TX shows up to the cemetery still
disguised as Scott Peterson aka Claire's boyfriend Claire Dane's boyfriend. Sorry,

(01:21:25):
but then for some reason transforms back into the original
into its original Kris Donna Locan form while walking towards her. Yeah, yep,
which I think Chris was bitching about or both of you.
I can't remember.

Speaker 2 (01:21:37):
I think we both mentioned it. Yeah, it's because it's
a really stupid thing to do.

Speaker 3 (01:21:41):
Well, apparently, that single shot of the TX slowly transforming
from Scott Peterson sorry convicted murder Scott Peterson into Christna
Locan was I'm gonna have to take that out.

Speaker 2 (01:21:55):
Was mean of the most canonically in the movie Cop Killer.
Scott Peterson Yes.

Speaker 3 (01:21:59):
Oh exactly, not convicted murder okay, anyway, was one of
the most challenging cgi effects of the entire film, which
Jonathan mostown mentions was partly because the actors are in motion,
as well as the fact that the camera's moving around
them at the same time, which makes sense as far
as difficulty, because like working on that animated sketch that

(01:22:23):
I've been working on for like four years, which isn't
traditional animation, but anyway, the process of animating a character
to do two actions at the same time, like talking
and moving their hands is such a gigantic pin in
the ass as far as timing to get right. And
that's without the camera moving.

Speaker 2 (01:22:39):
So yeah, that's true.

Speaker 3 (01:22:41):
And grit that I didn't know anything when I started
doing that. Mostly it's mostly like through trial and air,
but like, my knowledge of the whole process is limited.
But this actually it actually made me think of something
I saw in a behind the scenes featurette for the
movie Roger Who Framed Roger Rabbit. Yeah, so there's this
part where director Robert Zemeckis is talking about how he
wanted to be able to shoot the movie like a

(01:23:02):
regular movie, like you know, but he was told about
some supposed rule and animation that you can't move the camera.
It then cuts to the film's eventual director of animation,
Richard Williams, whose response is just badass. When he's asked
about the rule. He was basically like Robert Zamachis asked
me why all these other animation directors so you can't
move the camera? And I told him because they're lazy,

(01:23:23):
which is just great, because yes you can. But it's
a lot of fucking work.

Speaker 2 (01:23:28):
Yeah, yeah, it's a fucking nightmare for the animators.

Speaker 3 (01:23:31):
Exactly exactly what he was saying. He's like, so, wait,
we can do it. He's like, yes, is it going
to be hard. It's extremely hard, but it can be done. Like, yeah,
it's just gonna as long as you have the money
for it, it can be done, no problem. Anyway. It
just made me think, like that made me think of
that because like, yeah, the way that it moves around
was the same thing that was a problem with them. Anyway, Sorry,

(01:23:51):
back to the T three effect.

Speaker 2 (01:23:52):
That's fair.

Speaker 3 (01:23:53):
So the way they pulled it off, that transformation shot,
they laid down a track and then put a camera
on this big machine that automatically moves across the track
and just repeats the same shot over and over again.
M So they just filmed what were basically three different
variations of the same shot if that makes sense.

Speaker 2 (01:24:14):
One with Peterson.

Speaker 3 (01:24:15):
Yeah yeah, so one was a shot of just the
background with no actors, and then they put up a
blue screen and then they got shots of both Kris
Dona Logan and Mark Famigilietti, the actor who plays Scott Peterson,
just walking in front of it. They ended up having
to do a ton of takes in order to get
try to get both actors, like the timing and I
think the stride too as close and sing.

Speaker 2 (01:24:37):
As possible, like the movements.

Speaker 3 (01:24:39):
Yeah yeah, and uh Mark Famiglietti. But yeah, that dude
also had to wear these special platform shoes due to
being a few inches shorter than Kristana Logan, which was
one of my favorite parts of the visual, like speeture
red because like he looks like, I don't know, it
looked like Frankenstein, like something like Herman Munster wearing the
months or something like that. Like just like it's like

(01:25:00):
platform because they're also like black and yeah, anyway like
Disco Scoo's platform shoes. Yeah, pretty much, but not as cool.
So yeah, they were also wearing tracking markers to help
with matching their performances, which ILM were then later able
to line up digitally using this like cool kind of
shader tool, and then once ILM SYNCD up the actors' performances,

(01:25:23):
they then applied the transformation animation over the actors in
order to create like a kind of a seamless transition
between the two of them.

Speaker 2 (01:25:32):
Damn, yeah, it's pretty cool.

Speaker 3 (01:25:34):
Yeah, So you guys want to take a guess at
how long it took ILM to complete this twenty second sequence.

Speaker 2 (01:25:42):
Let's go eight months.

Speaker 1 (01:25:43):
Okay, it's gonna go three months, ten months.

Speaker 2 (01:25:48):
Ten months.

Speaker 3 (01:25:50):
It took them ten months. And that wasn't even technically
the twenty second like because the whole the whole little
sequence is twenty seconds long, but there are also it
also cuts to a reaction shots of clardines, so it's
probably about fifteenish, like sixteenth yeah, yeah, something like that.

Speaker 1 (01:26:08):
It was like just not even not even needed.

Speaker 3 (01:26:12):
Yeah, it's a cool shot, but it's also like when
you watch it, I realized as I kept watching this
over and over again, I am pretty sure that it's
one of the shots that they use for like promotion.
So we probably already saw a ton of times before
like in the trailer and whatnot, before we actually saw
it in the movie. And on top of that, now

(01:26:33):
I'm going with townies this time. Townies like us don't
fucking care about like it's like cool, it changed, like
it changed.

Speaker 2 (01:26:38):
And that's the problem is that we have no idea
what kind of work has to go into a shot,
like exactly, it's like at that time, for you to
say that that was one of the hardest shots for
them to get, I was like, what the why the
fuck would they? Would that be that hard? Yeah?

Speaker 3 (01:26:54):
Yeah, which it's it. That wasn't even the hardest one.
The hardest one's coming later and even that, and I
was like, really, guys, come on, like, fuck you, the
technology doesn't exist yet, bitchy.

Speaker 2 (01:27:06):
Exactly, we literally had to invent the kind of animation
or whatever.

Speaker 3 (01:27:10):
Anyway, moving on from that, we're almost done with this
pruction stuff. But both CRS, which you know is it's
kind of eventually like it kind.

Speaker 2 (01:27:18):
Of right, Oh, is that okay?

Speaker 3 (01:27:20):
CRS was the company, then that's like the program or whatever. No,
it's what are Dad works for? Like it's like, oh,
it's like.

Speaker 2 (01:27:27):
The Department of the Yeah, yeah, gotcha.

Speaker 3 (01:27:30):
I probably should have looked up with that stood for.
But anyway, the military compound and Pewter Robot Services. Yeah,
that sounds right, and the military like the bunker at
the end. We're both sets, and I believe they were
filmed at I think they were filmed at Los Angeles
Center Studio. It didn't say exactly, but which was where
pretty much everything that wasn't or sorry, everything that was

(01:27:50):
shot on a set was filmed. They actually ended up
using a ton of space. They use like six sound
stages while they were there. So the T one robots
that attack them when they're at cr were actual robots
built by stan Winston Studios, with stan Winston telling ign
quote Terminator one, the first terminator we built robots, or sorry,

(01:28:11):
we pretended to build robots. Great imagination, great fun, what
a great thought, robots that can actually do things. Terminator two,
we broke round with two technologies and continued to pretend
to build robots with technology of animatronics and CGI to
give you the illusion of robots. And Terminator three we
actually build robots.

Speaker 2 (01:28:30):
Damn.

Speaker 3 (01:28:31):
Yeah. So they were actual, like functioning robots that they built.

Speaker 2 (01:28:35):
That's awesome. It's very funny because that kind of stuff
paves the way. But like, I'm sure the robots that
they have at like Disneyland now that people operate like
R two D two robots and shit, are like, yeah,
ten times more advanced than those now.

Speaker 3 (01:28:50):
Yeah for sure.

Speaker 2 (01:28:51):
Yeah.

Speaker 3 (01:28:51):
Stan Winston Studios also created Arnold's fake torso that was
used for the scene when he removes one of his
power cells. And then, in addition to designing the model
for the TX, like they designed the TICS like model
or whatever, I don't know, they also created life size
models of both Arnold's T fifty and Christna Logan as

(01:29:14):
the t X And they're extremely lifelike, like enough where
Arnold is standing next to one and it's hard to
tell which one is Arnold. Really yeah, I'm like, I'm here,
I'm gonna put a link in the the chat so
you guys can check it out.

Speaker 1 (01:29:30):
Damn.

Speaker 3 (01:29:31):
Yeah, they're pretty crazy good.

Speaker 1 (01:29:34):
Yeah.

Speaker 3 (01:29:35):
Yeah, And I can't remember if they have that picture
and there Arnold is standing next to one, but I
was like, which one is which, like sat there for
a second trying to figure out which one.

Speaker 2 (01:29:46):
Yeah, it's the one where he's like half his face
is in green screen.

Speaker 3 (01:29:50):
Yeah, yeah, that one which I'm assuming it's that that's
the one that's him.

Speaker 2 (01:29:54):
But yeah, that's definitely him.

Speaker 3 (01:29:56):
I don't know why they're putting green screen on anyway,
but yeah, the last two things. As far as far
as visual effects, ILM handled the CGI during the bathroom fight,
the one at CRS between Arnold and the TX. Arnold
actually mentions on the DVD commentary that he would do
the fight choreography with the pillow, which would have been

(01:30:18):
great to see. He also has some weird comment on
the commentaries where he's like, see, the thing about this
is that in movies they you can't you're not normally
allowed to hit women or but with this because she's
she's a tumnat that you can hit. And I was like,
what are you talking to me?

Speaker 1 (01:30:38):
What?

Speaker 3 (01:30:41):
You don't have to talk about this whole thing. You
just put the and just like watch the scene. Anyway,
So yeah, one of the and then like I was saying,
one of the hardest effects ILAM created and it was
apparently the hardest effect was when the TX gets stuck
to the particle general or accelerator or whatever it was. Yeah, yeah,

(01:31:02):
and her skin starts peeling off, like not skin, but
you know her.

Speaker 2 (01:31:06):
Yeah, it looks like she's melting into the party.

Speaker 3 (01:31:09):
Yes, exactly. Yeah, that was the hardest one apparently, which
is what we were talking about. They had to invent
new technology. It took them six months just to develop
a method to simulate that sequence. Yeah.

Speaker 2 (01:31:21):
I like how both of the hardest shots in the
movie were moments where I was like, this doesn't make
any fucking sense. This is fucking stupid. Yeah, or you
wouldn't think about it until you see a shitty version
of it or a company that's not ILM creating it
and you're like, hey, this looks like shit.

Speaker 1 (01:31:41):
Yeah, It's like when I try to do web design, like, wow,
it looks like fucking garbage. It's like nineteen ninety seven.

Speaker 3 (01:31:49):
You gotta sell it as the charm of it, you know, yeah,
retro sate exactly. You gotta have a lot of blinking stuff.

Speaker 1 (01:31:55):
Yeah, a little counter how many people their damning baby?

Speaker 3 (01:32:05):
And then the last two quick bits of trivia from
or from IMDb the novelization stuff, which is the last
two that I want to mention. But first, according to
the novelization general Robert Brewster, Kate's dad knows that Skynet
is designed to think for itself and privately muses whether
or not it could ever become a threat to humanity

(01:32:26):
since it can adapt to anything. Is one the second one,
it says Cyberdiine went bankrupt after the events of Termato two.

Speaker 2 (01:32:35):
That makes sense.

Speaker 3 (01:32:35):
This explains why Skynette's construction has been overtaken by CRS.
Skynette allegedly cost the Pentagon fifteen billion to make.

Speaker 2 (01:32:45):
Huh.

Speaker 3 (01:32:46):
Yeah, anyway, did you guys actually read any of those
like novelizations ever? Because I used to love those when I.

Speaker 1 (01:32:51):
Was I've never read one in my life.

Speaker 2 (01:32:53):
We owned the one for the Lost World, the Jurassic
Park movie. I read that one, I remember, but I
I don't remember what was in it, like at all,
and like, I'm sure it was a lot of the
same ship.

Speaker 3 (01:33:04):
But usually that one is even I'm sure it was
worse because it's a book based on a book.

Speaker 2 (01:33:12):
So yeah, that's true, and it was super short. Well yeah,
it was one of those small ones, right tiny.

Speaker 3 (01:33:18):
Yeah. Yeah, it was like probably like exactly yeah. Yeah,
so it's it's describing the movie basically.

Speaker 2 (01:33:25):
Yeah, essentially, it's because.

Speaker 3 (01:33:27):
The Lost World is not a whole lot like the movie. Yeah, yeah,
but I used to like those novelizations just because it
would like just basically being impatient to watch the movie.

Speaker 2 (01:33:39):
Yeah, and there was the Batman for everyone too.

Speaker 3 (01:33:42):
Yeah, that one's that one is I remember being fun
when I was little. But I'm sure it's just like
ship because I think they're just given the script.

Speaker 2 (01:33:52):
Yeah, and then they and they're not always given the
latest version.

Speaker 3 (01:33:56):
Of the finals. So sometimes there's differences, like.

Speaker 2 (01:34:00):
Famously the Back to the Future one where it ends
with the nuclear bomb. Yeah.

Speaker 3 (01:34:05):
I was just reading an article about that the other day.
It was an old, old, cracked article, but yeah, I
was talking about how the novelization's crazy because it that
and like Marty really wants to see an atomic blast
and that's like leading to that or something like that.
I don't know anyway. And then the last thing to
mention as far as film locations or filming or whatever
will lead us to the end of production, and that

(01:34:29):
is the arrival scene for both the Terminators. So I
believe Arnold's was filmed in San Fernando Valley, at least
that's where the bar was that he gets his clothes from, gotcha. Yeah,
And apparently several of the women in the stripper scene,
like that bar stripper scene were actually Arnold's female employees.
So but yeah, as far as his actual arrival scene

(01:34:52):
in the desert, apparently in preparation for his nude scene,
you know, when arriving in the time bubble, Arnold increased
his daily work at teen from one hour a day
to about three to five hours a day in order
to obtain this exact same weight and body measurements that
he had during Terminator two.

Speaker 2 (01:35:09):
Damn. Yeah, well, I mean it paid off. He looks
good in that scene. Yeah, he looks very It looks
like a fucking terminator in that scene.

Speaker 3 (01:35:17):
He explained why he did this to Night Ritter, that
newspaper that I was anyway saying, quote, I had to,
you know, otherwise people would say he's lost it, he's
all saggy and flabby, and that would be all anyone
would talk about it. I didn't want to be digitized
because someone would blab and then it would beat all
the columns.

Speaker 5 (01:35:38):
Fill.

Speaker 3 (01:35:39):
I just worked hard. He also worked out every day
was on set, Like when they would break for lunch,
he would go and just work out.

Speaker 2 (01:35:47):
Yeah.

Speaker 3 (01:35:48):
And then the last scene shot for the movie was
the first part of the TX arrival scene when like, yeah, yeah, yeah,
because the rest of that scene was filmed, like the
first thing that she shot, like that Christna Logan shot.
Oh okay, they shot.

Speaker 2 (01:36:05):
So when you say, when you say the first part,
are you just talking about does it cut away?

Speaker 3 (01:36:09):
Sorry? Does it cut away right after she gets there?
Because I thought she doesn't the woman when she's naked,
right exactly?

Speaker 2 (01:36:16):
Yeah, when she watched up to that car, that stuff,
all that.

Speaker 3 (01:36:18):
Stuff with the car I believe was shot somewhere else
or like first or maybe.

Speaker 2 (01:36:28):
Or maybe just the part after she gets in the car.

Speaker 3 (01:36:30):
Yeah, when she talks to the cop. So yeah, yeah, anyway,
it was actually filmed on Rodeo Drive. Jonathan Mostou said
it took five months to get clearance to shoot that
on location, and it was also challenging due to it
being a big tourist area and Kristna Locan actually being naked.

Speaker 2 (01:36:48):
Yeah.

Speaker 3 (01:36:48):
Yeah, so they were based trying to just you know,
block stuff off. It was a close set. But Christna
Locan actually ended up mentioning on a Jay Leno interview
that we're not going to watch because it's fucking creepy.
But anyway, she mentions on the Tonight Show with Leno who.
On top of that, he also had James Woods there
as an other guest. I'm like, oh man, I'm sure

(01:37:09):
she was dealing with shit once the like.

Speaker 2 (01:37:11):
A cut away against Creepy Sandwich.

Speaker 3 (01:37:13):
Yeah exactly, Jesus Christ. But she mentions that one of
the producers, She's like, all of a sudden, because they
were talking, like, he tell me about that another thing
that you did. She was talking about, and she's like, yeah,
one of the producers all of a sudden shows up.
I'm like, fucking amen. She's like, why are you here?
You can't. She kicked him off the set base you
had to kick good.

Speaker 2 (01:37:33):
Yeah, thank god.

Speaker 3 (01:37:34):
Anyway, So filming officially and September eighth, two thousand and two,
it took one hundred and eight days twenty weeks, so
I believe they went about a week over their hundred
day schedule, although I'm assuming they made sure to have
Arnold Rapp by that nineteen week deadline that was his
contract that other which would have been the last week

(01:37:55):
of August. Yeah, exactly, Otherwise they would have had to
pay the extra one point six million overage fees.

Speaker 2 (01:38:00):
Jesus yeah. Yeah.

Speaker 3 (01:38:02):
So that's it for that's it for that.

Speaker 1 (01:38:04):
Okay.

Speaker 3 (01:38:04):
Cool.

Speaker 2 (01:38:05):
So that finally wraps up production after just I don't know,
eight nine years, and so we're gonna move on to
the promotional material next episode, So stay tuned for lots
of I'm sure riveting and funny videos.

Speaker 3 (01:38:18):
Not really.

Speaker 2 (01:38:20):
Well anyway, I'm sure something will be entertaining, whether it's
one of us or one of the videos.

Speaker 1 (01:38:24):
Yeah, you gotta be better at teasing, man.

Speaker 3 (01:38:27):
I mean, yeah it is. Who Joe's gonna deliver his
crane joke.

Speaker 1 (01:38:31):
Gonna yeah, exactly, I gotta go down into the joke
workshop joke Bunker.

Speaker 3 (01:38:37):
He's gonna workshop that for a week and then come
back with the Fraser joke again. Ye, but it's gonna
be a good one.

Speaker 1 (01:38:44):
Yeah, unlike the jokes in Fraser is pretty good. Yeah,
I've never actually yeah.

Speaker 2 (01:38:51):
It's it's uh, he's gonna go down in the bunker
and watch eight seasons of Fraser.

Speaker 3 (01:38:56):
Yeah, studying anyway.

Speaker 2 (01:39:00):
Anyway, So that does it for this week. Make sure
to tune in next week and uh, yeah, I guess
we just say the thing now. See.

Speaker 6 (01:39:08):
If you enjoy our show, please consider giving us a
positive review on Apple podcasts or your podcast.

Speaker 1 (01:39:14):
App of choice.

Speaker 6 (01:39:15):
You can follow us on Twitter and Instagram at the
potty Richter to make sure you never miss an episode.

Speaker 5 (01:39:21):
See You with The.

Speaker 6 (01:39:21):
Potty Richter is a production of tape deck Media. Follow
tape Deck on Instagram at tape deck Underscore Media, or
look us up on Facebook for more hilarious podcasts.

Speaker 1 (01:39:33):
This has been a tape deck Media production.

Speaker 3 (01:39:35):
Thank you for listening.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Terminator 3: Rise of the Machines - Production Wrap-Up(FINALLY!)