If that doesn't explain just how big the production was, Greenberg offers the following example: "When I started working on the film, I asked the sound man, 'How many Motorola walkie talkies do we have?' He said, '187,'" Greenberg relates, his voice rising in astonishment. For me to oversee this, to coordinate everything so we'd get the same look in both units, was very difficult, but Mike's worked with me before and he's very good."
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"He was practically filming another whole movie right alongside our movie. "He was working for almost six months, practically the entire show, separately from us," Greenberg says. Second-unit photography was headed by Mike Benson, who was formerly John Alcott, BSC’s assistant, and who has assisted Greenberg for the past five years.
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There's not one static shot: Even shooting in a closet, the camera moves inside a car, the camera moves!" I thought it would be good style-wise, and it works well with this type of show because Jim likes to move the camera a lot. I just said, ‘You never know.’ We ended up hiring Jimmy Muro and kept him working all the time. "When I came on this show," Greenberg adds, "I mentioned that it might be good to have a Steadicam around, but Jim didn't think he would use it very much. For me, the most complicated aspect was not dealing with the special effects, it was the size of the operation. There's a lot of special effects - this entire movie is special effects - but l've been through all that before, technically. We used lots of cameras, sometimes nine cameras on a single shot, including crash box cameras for the action scenes. On this movie, Jim Cameron and the producers wanted to go big - bigger than maybe they expected - and all the way through the film, big sets and complicated action and effects nothing was simple. "The numbers of the crew were incredible, and we had very big lighting setups. "It was like being the head of a big battalion," he says. I didn't have time, but equipment-wise I had what I needed."įrom Greenberg's point of view, the toughest thing about making Terminator 2 was dealing with the sheer physical size of the production. For a cinematographer, you'd think for this amount of money, I could have anything I want, but I did not. Ironically, Terminator 2's big budget did not buy Greenberg the freedom and time one would have thought: "I told Jim Cameron, 'We've got maybe 10 or 15 times what we had on the original Terminator, but, as cinematographer, I have less time to do my job than on the first one, than on any movie I've done in the last five years!' Because of the complications of this production, I was very squeezed for time. This is today's movie in Hollywood! Very scary." And what was it like to go from shooting a low-budget masterpiece to the most expensive film in history in less than a decade? Greenberg laughs and says, "I'm sorry. Greenberg says, "Although I don't know the exact numbers, about half the budget went before we started shooting: Schwarzenegger's salary, buying out the original producers, et cetera. “Because of the complications of this production, I was very squeezed for time. On this kind of budget, with Cameron's penchant for drop-dead action sequences, Terminator 2 should give most of its audiences heart attacks before the final reel unwinds. Though critics have tended to focus on the film's extraordinarily large budget (over $100 million), chances are good the film will be well worth its cost. Now, seven years and another 30 features later, Greenberg has practically finished shooting the long-awaited sequel, Terminator 2: Judgment Day. Cinematographer Adam Greenberg, ASC - who had previously shot The Terminator (1984) for director James Cameron. Many people believe The Terminator was Greenberg's first film in actuality, he had shot nearly 90 features all over the world before he met Cameron and helped create the film that made Arnold a household name synonymous with fast paced, spectacular action. It also had a nice trickle-down effect on Polish-born cinematographer Adam Greenberg, ASC who went on to shoot so many American films he has since become a United States citizen. On a $6.5 million budget, it managed to make an international star of Arnold Schwarzenegger, catapulted James Cameron to the top ranks of directors and made its producers happy and rich. machine mini-epic, started out as a low budget phenomenon. The Terminator (1984), an imaginative man vs. Unit photography by Zade Rosenthal At top, a T-800 Terminator advances on the remnants of humanity. The fight for the future of humanity continues on in James Cameron’s epic sci-fi action sequel, as shot by Adam Greenberg, ASC.
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