Why you should check out a screening of ‘Terminator 2’ happening in LA

You could call it a fulfillment of Arnold Schwarzenegger’s famous promise from the first Terminator movie in 1984: “I’ll be back.”

Terminator 2: Judgment Day (1991), the bigger budget, multi-award winning follow-up to that first film is coming back to theaters in Los Angeles starting this weekend, in celebration of the film’s 35th anniversary.

Considered one of the best action films and best sequels of all time, it’s also celebrated among film experts for its groundbreaking use of CGI visual effects — most notably for the T-1000 character, a liquid metal cyborg masquerading as an LAPD officer, played by Robert Patrick.

Where to watch ‘T2’ on the big screen

While the American Cinematheque’s first two 35th anniversary screenings of Terminator 2 are already sold out, as of this article’s publishing time, tickets to screenings on May 29 (at Los Feliz 3) and May 30 (at Aero Theatre in Santa Monica) are still available.

Tickets for screenings on May 22 at The Ojai Playhouse and June 6 and 7 at The Vista in Los Feliz are also still available, and Rialto Pictures also lists screenings on July 2-5 at The Frida Cinema in Santa Ana.

And while the screening at The Academy Museum on May 27 (with the film’s Oscar-winning visual effects supervisor Dennis Muren in person) is sold out, we have you covered with some highlights from Muren’s interview with LAist below.

Making the impossible possible with CGI

Terminator 2, director James Cameron’s follow up to his surprise 1984 hit, The Terminator, was the first (and still only) movie in what would become the six-film Terminator franchise to earn an Oscar win or nomination.

Ultimately, the film took home four Oscars — for visual effects (for Dennis Muren, Stan Winston, Gene Warren, Jr. and Robert Skotak), makeup, sound, and sound effects editing — and also earned nominations for cinematography and film editing.

The visual effects studio responsible for the T-1000 character’s CGI effects was Industrial Light & Magic (ILM), founded in 1975 by Star Wars creator George Lucas. Dennis Muren headed up their Terminator 2 team, which consisted of about 35 artists.

Muren remembers first being taken with visual effects at the age of 6 or 7, watching The War of the Worlds (1953) in Los Angeles. He made his first film — a “creature feature” called Equinox — the summer between his freshman and sophomore years at Pasadena City College, and would go on to work for ILM on visual effects for movies like Star Wars, Indiana Jones, Terminator 2, Jurassic Park, and (fittingly) the 2005 version of War of the Worlds.

A scene from 'Terminator 2' (1991).

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via film-grab.com

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ILM and Muren began development on the CGI techniques that would be needed to pull off Terminator 2’s T-1000 character in movies like 1985’s Young Sherlock Holmes and 1989’s The Abyss, which was also directed by James Cameron.

“ILM has been so good at being able to really do the impossible,” Muren said. “And we kind of joke about that, but we've got many different ways of doing things.”

When the opportunity for Terminator 2 came up, Muren had also just returned from a year-long sabbatical he spent studying computer graphics, and said he was confident ILM had the tools needed to make the T-1000 character a reality.

“We were ready to input the film digitally,” Muren explained. “[To] do all the manipulation in a computer instead of with optical film running through printers and going to labs for processing.”

And when ILM got that digital system for “compositing” — combining live-action images, practical and CGI effects — working seamlessly, Muren says, “That was an incredible tool.”

But that didn’t mean that pulling off a shiny, shape-shifting, liquid metal character successfully would be easy.

“It's just complicated,” Muren explained. “You've just got this reflective material [and] how are we supposed to be able to see depth or shape when it's deforming?” But at the same time, Muren said, “that's what was exciting about it.”

Muren says the trickiest scene for the team to figure out is when the T-1000 walks through a cell door made of metal bars. While it happens in a matter of seconds on screen, it amounted to 14 to 16 weeks of work for the visual effects team.

“I always said that shot, even as we were doing it, and we got close to finishing, I said, ‘This is an absolutely impossible shot,’” Muren explained. So when they got it right, he said, “It was like a new world.”

Today, while he says Jurassic Park (1993) is the film he’s now asked about most often, he always reminds people: “T2 was really the breakthrough film.”