American Cinematographer - July 1991 - 51

increase the shadows and create

a

harder, stronger look. The harder
the

light, the better he looked. I'd
light the other actors softer, but on
him I'd always go hard and cold."
To create a consistent look
for Terminator 2, Greenberg dis¬
covered he had to use three differ¬
ent stocks: Kodak 5297 for daytime

interiors; 5245 for exterior day; and
5296 for

night exteriors and all in¬
Greenberg was very im¬
pressed with Kodak's 5296, which
he considers one of the major im¬
provements on this production as
opposed to the original film.
"When we made the first film, they
teriors.

didn't have 96, so it was all shot

using 93, which wasn't good stock.
The 96 is much better. I think it gave
very rich-looking colors. I
a lot with
gels to really
stretch the colors of this movie. On
us some

worked

one hand, I was
going for a cold
blue look, while on the other, I
wanted it to look very warm and
orange. The combination works
well, and I was able to shoot both
the white mental hospital and the

Above:

Schwarzenegger's
Terminator,
reduced to scrap
metal in the

dark, fiery steel mill at the end of
the movie with this same stock, 96.
I only changed the type of light and

original, is given
overhaul by

an

Hamilton and

the colors."

her on-screen

Although most of Termi¬
shot in Los Angeles,
Cameron took his crew up to San
nator 2

son,

was

future savior
who is the focal

Jose for three or four weeks to shoot

point of the
mayhem in both

elaborate sequence outside the
fictitious Cyberdine Laboratory,
an

films. Left: In
order to shoot
this chase, the
film's creators
had to light up
the Long Beach

the place where certain microchips
in the Terminator's head were in¬
vented. The sequence involves the

good Terminator breaking into and
then escaping from the laboratory
under seige. The interior of the
Cyberdine laboratory was a set
built in Valencia, Calif., which

Greenberg lit primarily with prac¬
tical lights. The exterior, on the
other hand, was big and demanded
special handling.
"The Cyberdine Labora¬
tory was supposed to be a huge
building and we planned a massive
shootout between the Terminator
and police, who arrive with their

helicopter after someone sounds
the alarm," Greenberg explains.
"We knew we were going to have
a lot of
big action in this sequence

Edward

Furlong, the

Freeway for five
and a half miles.

-

fire, shooting and explosions.

We also wanted

a

number of shots

of the police helicopter flying low,
which meant there couldn't be any

nearby electrical or telephone
eventually shot only the

wires. We

exterior of the lab in San

Jose be¬

couldn't find a building in
the L.A. area that wouldn't interfere
with helicopter activity."
As with the mental insti¬
cause we

like

an
army base, so I placed Xe¬
lights on the towers around the
building to control the area," he
notes proudly. "I actually used
those as practical lights to illumi¬
nate the set, along with a huge
bright light on the helicopter. I
think the audience will buy it and
it's very effective. The sequence
climaxed with a very big shootout,
followed by a very big explosion.

non

ize the look of the vast

Greenberg decided to styl¬
Cyberdine
Laboratory complex. "I felt it was

As the Terminator drives away,
boom! Everything goes on fire!
"This explosion was the

July 1991

American

tution,

Cinematographer

49
American Cinematographer - July 1991

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