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Revisiting "The Terminator"
A Conversation With DVD Producer Van Ling
By Michael Coate
On October 2, 2001 MGM Home Entertainment released a new DVD of director James Cameron's science fiction classic "The Terminator," starring Arnold Schwarzenegger, Linda Hamilton and Michael Biehn. Originally produced by Hemdale Pictures and distributed by Orion Pictures, "The Terminator" was a low-budget production that caught the industry by surprise by striking a chord with moviegoers and becoming a boxoffice hit during its fall 1984 theatrical release. The success of the movie catapulted James Cameron to Hollywood's A-List of directors and led to him making "Aliens," the 1986 follow-up to Ridley Scott's 1979 hit, "Alien." The movie has had a strong shelf life in the ensuing years on video, and has been re-issued on VHS, LaserDisc and DVD numerous times. The presentation quality, however, was not always stellar. Last year, MGM acquired the rights to the film and agreed it would be worthwhile to revisit the title, giving attention to a new high-definition film transfer, upgrading the original mono soundtrack to 5.1 discrete digital (with Surround EX enhancement), and commissioning the creation of a new retrospective documentary. Footage originally excised from the final cut of "The Terminator" was also located and assembled for the DVD as a collection of deleted scenes (with the viewer option of a Cameron audio commentary). In addition, the documentary "The Terminator: A Retrospective," originally produced for a 1992 VHS release, was secured and included on the new DVD. The disc also features several minutes of hidden content, a stills gallery, James Cameron's original story treatment, trailers and TV spots, and additional DVD-ROM content.
At the helm of putting together this new package was longtime Cameron associate Van Ling. A summa cum laude graduate of the University of Southern California's School of Cinema-Television, Ling, 37, began his film career as creative/technical/research/VFX assistant to filmmaker James Cameron. Ling proceeded to work on ""The Abyss" and "Terminator 2: Judgment Day," and served as head of the production department for Cameron's Lightstorm Entertainment. In 1994 he joined Casey Cannon as partners in Banned From The Ranch Entertainment, and has been involved in the creation of visual effects and computer graphics for such productions as "Titanic," "Starship Troopers," "Dr. Dolittle," "Twister," "Dante's Peak," "Stir Of Echoes," and "Hollow Man."
Van has also been involved in producing menu design and/or original supplemental content for LaserDiscs and DVD, including "The Abyss," "Independence Day," "Field Of Dreams," "Star Wars: Episode I -- The Phantom Menace," and the much lauded "Terminator 2." Attentive viewers can even spot him as an actor in "T2," "Alien Nation" and "Titanic." Longtime readers of Widescreen Review may know Van from his associations with Joe Kane ("Video Essentials"), as well as from articles appearing in WSR issues 3 and 6, and from last year's "Re-creating 'T2'" interview (issue 42). Currently, Van is a freelance consultant and divides his time speaking at trade shows, producing DVDs and working on film and television productions.
In mid September, WSR's Michael Coate met up with Van at a Los Angeles eatery to discuss his contributions to the new "Terminator" DVD and his thoughts on the state of the DVD industry.
Michael Coate, Widescreen Review: In what ways do you feel the DVD industry has changed since the format was introduced?
Van Ling: I think that the audience is becoming a lot more sophisticated and a lot savvier to the possibilities of DVD as a format and what it can bring. What I'm hoping that means is that audiences will become more discerning about what they enjoy and what they don't enjoy, and what they'll accept and what they won't accept, on the format because I think that right now there is a kind of an arms' race going on between studios when it comes to DVDs. It's kind of the "kitchen sink" theory. It's the quest for bullet points, as I call it, where it's about quantity as opposed to quality. I find it very disheartening that the discs that really earn the title "Special Edition" -- the stuff that David Pryor does or Mark Rance does or Alita Holly does, or hopefully the kind of stuff I try to do, and Charlie de Lauzirika's discs, and so on -- that those kinds of discs get lumped in the same category of "Special Edition" as a disc whose only "Special Features" are chapter stops and four-color art work printed on the disc. Those are the things that kind of distress me about that. Hopefully people can see what the possibilities in the medium are, and I have certainly tried to illustrate on my discs what kind of things you can do with DVD, and how you can present information and so on. In that way, I think that it's a growing market, and it's going to be a question of let's see if it settles down and people getting down to the quality of it rather than the quantity.
WSR Coate: At the ComicCon convention in San Diego back in July, where you were among a panel of DVD producers, you had brought a copy of "The Terminator" and sampled a portion of it for the convention-goers. I recall that upon you mentioning the number of minutes of hidden content included on the disc, there were simultaneous cheers AND groans from the audience. Shortly after that, the disc's hidden "Easter Egg" content became a hot topic on some of the Internet forums.
Ling: Yes, my hate mail.
WSR Coate: You seemed to be very "popular" for a couple days there because of your approach to Easter Eggs.
Ling: See, that's the thing. I'm actually getting tired on being typecast as Mr. Easter Egg. It's actually not what I'm about at all. As a film geek, or a film student, I like to reward people who pay more attention. A lot of people don't like that. They believe that if they pay for it, they deserve to have everything handed to them on a silver platter…which, of course, DVD is. They are certainly entitled to their opinions. Easter Eggs are a bonus, and I've always said that if you don't like what is listed and advertised as being the contents of the disc, don't buy it. You've got to have a pretty cynical or bitter sensibility if you find out that if there's more than what is advertised on the disc, you feel ripped off. That just seems wrong to me.
WSR Coate: The forums, newsgroups and Web sites devoted to DVD seem to be where much of the audience gets a lot of their information on releases. Do you read any of these or use them in any way?
Ling: I lurk on boards every so often. I've got a list of a dozen DVD Web sites that I pop on to, not frequently, but not infrequently. I try not to participate in the forums because I think that, number one, either they're doing just fine without my interjection, or, number two, they're going so far off without my interjection, that my interjection is not going to make a difference. I do care about what the people on the message boards think. I'm always interested in their opinions. I wish that they respected mine as much as I respected theirs in a number of instances, but I certainly feel that they're entitled to their opinions. I have often times in chats, on the infrequent times I do chats, I'll ask them, "Say, I'm working on this, what do you guys want to see?" When people say, "Oh, why didn't you do this and why didn't you do that," I usually have no problem in answering, "This is the story, this is how it works," and so on. I try to be very open about it.
WSR Coate: Has there been a case where someone made a suggestion on the Internet, and you actually took it and it ended up on the finished product?
Ling: A lot of times, however, not that they were the only one who suggested it. Obviously there's a difference between one person suggesting something versus ten people suggesting something. Making DVDs is not a democracy, but, at the same time, it doesn't mean you can't give people what they're asking for. Somebody had mentioned to me on "T2" on what we should do differently for the DVD as opposed to the LaserDisc, and somebody had said it would have been nice to know who the 26 people speaking in the commentary were. That's when I said, "Okay, well, what if I put a speaker ID subtitle that comes on when you listen to the audio commentary?" I don't know if I was the first one to do that, but I certainly was somebody who tried that.
WSR Coate: There have been a few like that now. I was pleased to see the audio commentary included on the "Star Wars: Episode I" DVD used the speaker ID subtitles too.
Ling: That was all from fan input. In a way, the consumer base and the fans are the beta testers of these things. And we learn from each experience and we're willing to take that kind of advice, and I think that's an important part of the feedback. I think that fans want to know that the studios are responsive to their requests. I mean, people are making a big deal about the fact that Warner Bros. caved in on "Willy Wonka" and that kind of shows you the power of opinion, and the importance of it. That doesn't mean people should get power hungry and say, "Well, you know, now if I don't get my whatever I'm asking for, I'm going to boycott the studios." There are a lot of factors that consumers don't know anything about in terms of why something gets on a disc or why something doesn't get on a disc. We, as DVD producers, do our best to try to put as much of the stuff that we feel people would enjoy seeing, and try to get the things, and fight to get the things, that are harder to get, legally or otherwise.
WSR Coate: Whose idea was it to revisit "The Terminator," and how did you become involved in the DVD project?
Ling: Well, "T1" was originally produced and owned by Hemdale Pictures, and distributed by Orion Pictures, so it was two companies that owned the rights, or portions thereof, to the film. We had talked about maybe doing a stereo mix as early as 1992. Jim Cameron and I, and some others, had discussed this, and the thought at that point was if you're going to do stereo, do it right. Do a real multi-track mix. Don't just pan the mono around like some of the faux stereo versions that were out there. Jim basically said if we're going to do it, we had to do it right, and he didn't think anyone was going to pay for doing it right, because it meant going back and looking at stuff, and splitting the tracks and all that. If you think about it from a business standpoint, neither Orion nor Hemdale stood to gain that much from putting in the kind of resources it would take to do that, because one of them didn't own it and one of them couldn't distribute it. So, it didn't make any sense at that point. Since then, Hemdale and Orion were both purchased by MGM, and now MGM owns the complete rights to "Terminator 1," and, as such, they stood to be able to gain from that. Plus they understood that it was a big film for them, it was one of their biggest catalog films, and they wanted to do right by it, especially in light of how James Cameron's other films have been presented on DVD. I think they wanted to do something that would do right by the film and be consistent with that kind of thing. I don't think anybody wanted to think, "Oh, well, you know what? The Fox films of Cameron's came out really great, and some other studio who did one dropped the ball." I think that they were really great about doing it. They said they were committed to doing a really good thing. They were willing to pay for a new mix. They talked with Lightstorm and asked who should do the new mix. They said, "They should have Skywalker Sound, Gary Rydstrom and those guys do it." And that's what happened. They had David Bernstein, who transferred "Titanic" for Jim, do the new hi-def transfer, so there was this process where MGM really committed themselves to wanting to do a good job, and I hooked them up with Brad Fiedel, who was going to re-split the music out so that it could be in 5.1 as well. MGM had no legal reason to ask for approval or anything from Jim Cameron, because back then Jim had no rights to the film the way he does on his current films. They did it out of courtesy, and they wanted to treat the film like this is the filmmaker's film.
Now, I got involved when MGM approached me about doing it, since they had obviously known that I had done several other Cameron films on DVD and they could see that I had the background and credentials to do "T1." Also, one of the folks I dealt with at Fox had just moved over to MGM and she vouched for me. I was still in the throes of finishing "T2" and so I didn't have time to do the menus for "T1," so they brought in Georgopoulos Design, who did a good job doing something similar to what I did with "T2" but in their own style. And I focused on doing the supplemental materials like the retrospective documentary, the still galleries and the deleted scenes. I was the one who came up with the specifics, but the initial idea to revisit the film on DVD was from MGM, and they were really supportive and committed to doing a good job.
WSR Coate: Did they ask for Cameron's input or involvement in any way?
Ling: They certainly asked for his input. Obviously, he was busy on a lot of other things. He was actually in the middle of putting together "Dark Angel" at that point, but Lightstorm was certainly aware and involved in a lot of the process when it came to the new mix and the new transfer. They were kept informed as to how things were going, and since MGM had hired the people that Lightstorm and I had recommended to do it, it seemed to be being taken care of in the best possible way.
WSR Coate: What were the challenges in putting together a good DVD for this title? Did the low-budget status of the film or the fact that it was an acquisition make the process of producing the disc any more difficult?
Ling: Well, part of the challenge was the fact that since MGM acquired the property from these two defunct entities, what they got from it was whatever those studios gave them, which doesn't necessarily mean it was everything. We don't know. The other problem is that because of that, there's no, what I call, production memory of the film other than from Jim or producer Gale Anne Hurd or the other filmmakers.
WSR Coate: Did you have access to call sheets or any production notes or other materials?
Ling: I had no access to call sheets. I had no access to production notes. Once the film was made, as far as Orion was concerned, it was all about distribution. They just wanted to keep track of the number of prints. Hemdale didn't really do much with any of the material; they just stored all of the editorial boxes. Luckily we did have all of those, but it was still a challenge finding material. I had no access to any on-set, behind-the-scenes video material that was shot at the time. There were a lot of tough legal issues involved with that material, mostly because when you have a small, low-budget production company making what may have been, for all I know, handshake deals with freelance videographers or whatever, there became questions of ownership and all sorts of things. Those kind of legal things on any production, not just on "The Terminator," can really diminish the amount of material that you can get. I used all of my contacts from working with all of the people on subsequent films to try to get as much material as possible. I talked to Gene Warren at Fantasy II, and Joe Viskocil, the pyrotechnician, and Stan Winston, and got a lot of great material from those guys. And I got as much support from MGM in terms of what they were given by Hemdale and Orion, so I got to go back into boxes that hadn't been opened for 16 years to try to find scenes that I knew existed, but I didn't know in what form. So, I was able to pull out the materials that you do see on the disc, and they were just in work print form. I actually went in and we pulled the negative and we transferred the negative, and we edited it together, on-lined it, and did a little audio mix for it. So they were better than VHS work tapes.
WSR Coate: A popular feature of DVD seems to be audio commentary. I'm not sure if people listen to them in their entirety, or at all, but they certainly are included on a lot of discs. More and more filmmakers are endorsing that feature, but James Cameron is one of a handful of filmmakers who doesn't usually participate in that. How did you manage to get a commentary for the deleted scenes included on the "Terminator" disc?
Ling: That was a commentary in the same way that the commentary on "T2" was created. It was where I would interview him and ask leading questions, and then knowing how that could be used in cutting it together into a commentary. Now, this is what is interesting: a lot of people may not consider that to be a "legitimate" commentary, because it wasn't the filmmaker sitting down watching the film.
WSR Coate: What are the advantages of "creating" a commentary through editing rather than simply "recording" one?
Ling: I think that editing the commentary actually gives you more bang for the buck because it allows you to concentrate the comments, and I certainly don't think that they're not scene specific. Actually, I think they are scene specific if you edit them properly. This may not be a "legitimate" commentary in the same way as one that is recorded running, but, at the same time, it has no instances of long pauses where the filmmaker gets caught up in the film and doesn't say anything, and it also doesn't have a lot of those "Oh yeah, I remember that" or "That was cool" kind of comments that you sometimes hear. If the filmmaker has told their story well, they'll get caught up in the film as well. I think that there are many different ways to do commentaries, and this one was the best I could do under the circumstances, because Jim is a very busy man and he has not shown any inclination to want to do commentaries. So the fact that I was able to get this out, and the fact that he didn't have any problem with it being put on as a commentary, and I think he may prefer it to some extent, seemed to work in favor of both the fans and me. But I've had some people say, "Oh, this isn't a true commentary; it's just cobbled together."
WSR Coate: Well, what is a true commentary?
Ling: I don't think there's one definition of what a true commentary is. People have made a distinction of commentary and scene-specific commentary because there have been some cases in which the commentary was actually an interview or something that was done for a different purpose, and just happened to be put on the track with the movie. I think that commentaries should be edited, not necessarily for content, but for concentration. Often times you get a lot of silent stretches, and you've seen that on a lot of DVDs. That really only happens on running commentaries. On "Field Of Dreams," for instance, with director Phil Alden Robinson and cinematographer John Lindley, we did the LaserDisc and it was subsequently translated to DVD, where we did a commentary track with them, and I had them do two passes. I did this to see what they are focusing on, and I'd be making notes on what scenes they hadn't covered as much, and then I'd go back and, not make them do it entirely a second time, but I would go back to certain scenes to try to fill things in. Even when we had it edited, there would be one or two holes where we'd find 10 seconds where nothing's going on, and I would literally ask the director to talk about the scene, and he would record seven seconds of an interesting anecdote, and we were able to put it in. I think, in a way, doing it that way gives you more bang for the buck.
WSR Coate: One would think the recording and editing process is just a means to an end. It's the finished product that counts.
Ling: Exactly; it is the finished product that counts.
WSR Coate: How do you approach a commentary?
Ling: You have to be prepared. I understand that Ron Howard writes notes and comes in completely prepared, and actually sits down and thinks about each of the scenes. You'll see other commentaries where the director will say, "You know, I haven't watched this in 20 years." So, it's a question of what do you prefer. I prefer commentaries that give you a lot of information. I was not able to do a commentary, obviously, with Jim on "The Abyss," so I tried to do the next best thing, which was to write a text commentary and include it as an entire subtitle track. Now, that had been done before. I believe "Ghostbusters" had a text commentary track, but that wasn't a true commentary as much as it was production notes that had been written for Don Shay's "Making Ghostbusters" book that were just attached to the various scenes. Nothing wrong with that, but I wanted to do something that was really scene specific that you couldn't see anywhere else. I spent a lot of time writing the text commentary for "The Abyss," and I went and researched and pulled up facts and did all sorts of things, and hopefully people have watched it because I've gotten some favorable comments from it. People had fun with it and understood what I was going for, and it was a legitimate commentary. It's just by the likes of me as opposed to, say, people anybody would care about.
WSR Coate: Was there ever a consideration to do something like that on "T1?"
Ling: There was a very brief discussion of that, but I don't feel I have the legitimate ability to do that on "T1" because I was not involved in the film production. So that's one of the reasons we didn't do it there.
WSR Coate: Would you agree that we are living in a sort of Revisionist Era of Filmmaking, because there have been a lot of cases where films are being revisited and altered in one form or another? The director goes back and makes a change he claims would have made 20 years ago if they had the time or money, or quite often changes are made based on a modern-day sensibility. Or a lot of films, whether they get a theatrical re-release or just goes straight to video, are having changes made, even if it's just having a soundtrack re-purposed…which is the case with "T1." So, in the age of Revisionists' Filmmaking, was it difficult to resist the temptation to make a lot of changes to "The Terminator" beyond a remixed soundtrack?
Ling: Yeah, I think that with the Revisionist Era of Filmmaking, which this certainly is, the good news about the revisionist part is that means that the theatrical release doesn't have to be the final word. There's a certain point at which whatever the theatrical was, that was it -- all else is marketing. And that's not what it's about any more. I think that there's a lot more creativity going into this. There's also, I think, a sense of relief on the part of the filmmakers and on the studios' part to have this opportunity to revise it, if necessary or if desired, because there's less friction between the studio and the filmmaker now because they'll say, "I'm not upset about necessarily cutting that out, because it's better for the pacing and for theatrical if I cut it out, but I'm not going to scream and shout about it as much because I can have it on DVD now. I can have my cake and eat it too." That's the good news of it. The bad news of it is that often times people will start tinkering and tinkering and tinkering, sometimes for the better and often times not. As is with most of the cases, it doesn't make a difference one way or the other; it's kind of just there. I think that once we started showing omitted scenes, because people wanted to see more of what was going on in the story, even though it wasn't in the story itself, there became a greater pressure to start putting in deleted scenes. I don't think that's necessarily always a good idea as occasionally scenes are cut because they suck. You know, the performances didn't work, or something else didn't work about the scene…they're cut for a reason. There's no reason to drag those things out. What I find interesting, and the reason I do like seeing deleted scenes sometimes, is that it shows what is necessary and what is not necessary to tell a story, and you kind of see how the narrative process works. I think that is something creative writers and all sorts of creative people can learn from, to see how things work originally envisioned, and then how they ended up and whether it works or not, or whether it works better or not. Although I do have to say I generally object to the idea of revisiting it to the point of saying this is now the official version of the film, because I kind of, for those exact narrative educational reasons, like to know that there's this version and there's that version. Choose which one you like, but compare them and see the differences and learn from the differences, and that's why I try wherever I can to do seamless branching if they're legitimate versions of the film, and they each work as films in and of themselves. If they don't, there's no reason to put them back in. In "The Terminator," for instance, the deleted scenes were not put back into the film by choice. Neither Mark Goldblatt, the editor, nor Jim Cameron, nor I, thought those scenes should go back in. They were interesting sidelines and illuminated some interesting points, but the pacing of the film was so perfect, that to start messing with that would actually necessitate a complete re-edit of the movie.
WSR Coate: Wasn't "T1" considered for a theatrical re-release prior to being issued on DVD?
Ling: I'm not sure. I think that MGM had talked about that at one point, but I don't know if it actually went anywhere. They certainly have both the sound and picture elements to do so. It may be entirely possible that in order to promote the film, MGM might screen it once or twice on film prior to the DVD release as happened with "Akira," for instance, where showing it in theatrical reminds people again why they should get it on DVD. So, that's entirely possible because "T1" was completed on film. They certainly have the ability to do that. Other Special Editions don't exist anywhere except on video as assembled picture. For "Aliens" and "Terminator 2," I have had requests come in, both when I was at Lightstorm and after, asking to screen the Special Editions and if I could send them a print. We don't have one! We have to reconstruct those from Special Edition section IP reels and VistaVision shot reels and theatrical prints. "The Abyss" was finished on film and saw limited theatrical re-release in its longer version, and it's great to be able to do that, but that doesn't happen very often.
WSR Coate: A lot of DVDs have documentaries, or at least they claim to have them on the jacket, but often times they're just little featurettes. What do you feel is the value of having an original documentary on a disc, particularly a retrospective documentary?
Ling: I think that documentaries are very important, and the main importance is to be able to distinguish them from featurettes, which are primarily informational public relations. I think retrospective ones are great, which is why I've generally concentrated on producing catalog titles rather than newer titles. I think that documentaries are really the way to get to the meat of what was unique about that film, and the historical perspective of it in relation to the rest of film. So, I think that documentaries are very important, and I hope that studios continue to allow DVD producers or documentarians to do those kinds of things and spend more time rather than sort of settling for, "Oh, our doc is the featurette. It's the half hour special that was aired to promote the movie." Those kinds of things have their place, and they are usually kind of fun to watch because they were designed that way, but it's kind of like wanting to combine the half hour promo and your "E! True Hollywood Story" into one place.
WSR Coate: Can you discuss the reasoning behind including two documentaries on the "T1" disc, one new, one previously produced?
Ling: Yes. "Other Voices" is my new documentary. "The Terminator: A Retrospective" was produced in 1992 for a VHS boxed set release that was a very limited release. It contained both "T1" and "T2" and "The Making Of T2," and because we couldn't get "The Making Of T1" due to these legal issues that I eluded to earlier, we went and shot a new piece that was basically an interview between Jim and Arnold back in 1992 reminiscing about the first film. So, we put that together, and it was edited by Jeff McQueen, but, as you know, the movie isn't all just Jim and Arnold, so what I wanted to do with the new documentary was to put more of a perspective on it where I could interview people one-to-one, and get some behind-the-scenes material, shots, and photos that I could, and put together a more comprehensive documentary as opposed to a kind of interview.
WSR Coate: Last year's Ultimate Edition DVD release of "T2" was among the first titles released on the dual-side, dual-layer DVD-18 format. Now with this new release of "The Terminator," it's also on a fairly new format, DVD-14. How did that come about?
Ling: That was MGM being very accommodating to me in the sense that they originally had planned this as a single DVD-9, and with the amount of material I was putting together, I was saying there was no way to fit this on to a single DVD-9 and do justice to the quality and the dimension and all of that. They were wonderful enough to allow it be a 14 as there wasn't enough material for two 9s, yet there was too much for one 9, and they did choose the compromise. Actually, I think it's fitting because "T2" was one of the first really big releases to be on DVD-18, so why not have "T1" be one of the first big releases on DVD-14?
WSR Coate: I was really surprised to see titles being released in the DVD-14 format (including MGM's "It's A Mad Mad Mad Mad World" and "Legally Blonde") because it seems to be similar to the DVD-18 and yet the studios currently seem to have abandoned using that format, even those who initially supported it like Artisan and Warner. The studios seem to favor multiple disc releases rather than an 18, and MGM did just that with their recent release of "Hannibal."
Ling: I think that "Hannibal" had a lot material, a lot of great material. Charlie de Lauzirika was able to really create a lot of great supplemental material, enough to fill a pair of 9s with the movie and with the special material. On "T1" we really didn't have that. If it wasn't for DVD-14, MGM most likely would have said, "You know what? We can't spring for two 9s or an 18, so you'll have to cut down whatever you can to fit it onto the single DVD-9 with the movie," which I think would have been a disservice to the fans. Fortunately, they were great about it. They gave me a solution, so I was able to have a one-hour documentary. I was only originally supposed to do a half an hour, and I told them that I had plenty of material and I'd really love to explore this as opposed to just sort of touching on points here and there, and then move on. For that reason, I was thrilled that they were going to do a 14.
WSR Coate: DVD has grown in the few years it has been around and everyone has an idea of what the DVD experience really is. What is your idea of what the DVD experience is?
Ling: The DVD experience, like the movie experience, is what you bring to it, because DVD doesn't have to be just a medium for showing a movie. It has become, with the advent of the kind of Special Editions you've seen from the great producers out there, a creative entity in and of itself, and I think that is something we're all really happy about and dedicated to as DVD producers. It doesn't have to be just a marketing thing. It doesn't have to be just another medium from which we help the studio sell the movie. It can be a lot more than that. The DVD experience can be entertainment and education and insight, and all sorts of different things. It can be an archive, and it can illuminate aspects of the filmmaking process and pay homage to the filmmakers and the cast and the crews that work so hard to put the films together. That's what I think the DVD experience is, and I think we're only seeing the tip of the iceberg, and it's only limited by what we imagine we want to see and what we think people want to see.
Click here to read "Re-creating 'T2'"
Click here to read WSR's review of the new "Terminator" DVD
Click here to read WSR's review of the "Terminator 2" Ultimate Edition DVD
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