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The book also devotes a chapter to parts of previous drafts that included many scenes that were never filmed, mostly due to production costs, as well as notes and commentary about them. The most notable almost-scene is the time machine room, where the resistance sends Reese to 1984, and the second Terminator to 1994. Another abandoned moment is the T-1000 wreaking havoc at the Salceda camp (the trailer-park/junkyard-looking place in the desert) following the departure of the three heroes. This scene would've shown more T-1000 morphs and 'gags'. Like the photos that correspond with the final script, the storyboards of these lost moments are shown along with the script to give you an idea of what each scene would've looked like.
I found the most interesting part to be the introduction by co-writer/co-producer/director James Cameron. He talks about the grind of completing T2 in just a year, and probably his most profound revelation about himself: that writing the script is his least-favorite part of movie production. I found this little revelation to be rather ironic, because I always felt that his scriptwriting ability is his strongest suit. Well, maybe not with 'Titanic', but that's me.
Sadly, just about all of the stuff discussed in this trade paperback, and then some, has been incorporated into the Special Features disc of the Ultimate Edition DVD. If you've already entered the digital age of movie technology, this book is pretty much just a relic of the pre-DVD era.
'Late!
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John Rambo is in a Kentucky prison for the bloody one-man war against small town Sherif Teasle. Colonel Trautman offers Rambo's signed release if he agrees to take on what would be a suicide mission for most men. His first objective--penetrate the remembered jungles of Hell (Vietnam), and find the missing Americans who are still being tortured there. His second objective--DON'T rescue them. Only bring back photos. DON'T engage the enemy. DON'T get revenge. For Rambo, the first part is tough. The second, impossible.
But Rambo does agree to the conditions. He goes to Vietnam only to be abandoned by his only means of getting out of Vietnam, who have left on the orders of the Commanding officer Murdock to leave him there to be killed.
But remember, this is Rambo. A killing machine trained by the best to survive in the worst conditions. He decides that if Murdock will back out of his side of the deal, he's going to do the same. Forget taking pictures of the P.O.W. camps. Rambo's going to become a one-man army once again, and is going in to save them....and then he's going after Murdock for abandoning him.
Dense? Sure... but illuminating examples help to describe the deep thought, almost as parables in the Synoptic Gospels. The crag in the rock, the meeting at the cafe, all these verbal illustrations work into the text very well. Personally, I love the sections on the anguish of man when faced with the facticity of his own freedom. The dualism expressed by Morrell is a theme in philosophy which I usually don't enjoy (like any good post-Hegelian, I enjoy synthesizing opposites), he is able to pull it off with ease and magnificence. Though it is not as eloquent as the existentialism expressed by Albert Camus, it is every bit as enlightening and valuable.
Most people object to its density because they are used to the existential wanderings of the modern novel - Camus' The Stranger, or Dostoyevsky's Crime and Punishment - but this is the philosophical reflection of the situation of man expressed by such work. Morrell states early on that he is not performing an objective analysis of humankind, but rather a biased and understandably nuanced description of ontology from the perspective of the modern man.
Brilliant and exciting, Rambo : First Blood Part II is an essential part of anyone philosopher's bookshelf!
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This narrative is very valuable for the flesh and blood details it provides to the era of lynching. Cameron records his terror at seeing familiar white faces, people he had cut grass and run errands for, howling for his blood. The lynching was not sudden--people moved into town days beforehand, and news of the impending atrocity was even broadcast on the radio. Firemen sent in to disperse the crowd with water spray instead invited the mob to come aboard the trucks and cut the hoses. Cameron tried to hide among other black prisoners, but the mob threatened to hang them all, causing them to finally give him up. Possibly most horrible of all, these events took place not in the South, but in Marion, Indiana.
Cameron faithfully tells his tale seemingly without embarrassment or residual hatred. His father was worthless. He and his friends were indeed up to no good the night they were arrested. Far from being passive victims, community blacks took their firearms and tried to drive into town to protect him, but they were turned back by police. And Cameron notes those few white people who were kind to him. All these details provide context, and makes the lynching appear even more monstrous than any sociological jargon possibly could.
The second half of the book is an account of his prison years, and it is nothing special. The epilogue, a speech given when he was presented with the key to the city of Marion, is a touching example of forgiveness, such that only greatness of spirit and possibly extreme old age can bring. A true black classic.
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I usually am one to read relationship/unrealistic novels such as The Outsiders or Catcher in the Rye, but after falling in love with the movie "Aliens" when I was seven I thought reading the book may be fun to. I have to admit, I have read this before, but not since the third grade so picking it up again was not a problem because I had lost all memory of the tale. The thing I like about reading books based on movies is that you get a whole new idea of what each character is feeling when something happens. For instance although Sigourney Weaver is a truly talented actress, when Ripley is trying to get Newt (AKA Rebecca Johnson) to drink the hot chocolate in the movie you don't get the same essence of her emotion towards the child as you do in the novel. I appreciate Alan Dean Foster because he has a tendency to go over what is expected and dive into the depths of a character, making them more distinguishable and easier to get to know. This book is truly one of the only books that makes reading it before or after you see the movie a fun ride. Plus there's a lot of swearing, that's always a plus.
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Unfortunately the sections on the films that preceed "The Abyss" are relatively light reads. The section on "Aliens" does however bring in some very interesting details about the production that I have never seen in print before...it does not however go quite far enough, I put it down wanting to know more.
Overall 3 out of 5...this book could have done more with the earlier period of this directors career.
VERY RECOMMENDED.
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Anyway, Parisi has done a fantastic job shedding light on the immense production that was Titanic. It's great to read another take on the movie (pro-Titanic) from a person who was on the set for the duration of filming. While the film was in production, the way the press covered the film was pathetic (though fun gossip). Also, having been a fan of the way Parisi covers Cameron for T.H.R. and Wired, it was wonderful for us to have her delve a little deeper into the project.
My only wish is that Parisi would have included more about some of the crew members like Simon Crane, Jimmy Muro, and Josh McLaglen. Also, knowing how PA's get the crap work on movies, it would have been nice to hear some of their gossip. (Not to be confused with the press' gossip. I wanted more more like teamster/PA gossip). I would have also liked a little more insight into the cast. (not so much kate and leo, just a general overview on the work/conditions/feelings the main cast had on Titanic--something along the lines of how billy zane explains it all)
Otherwise, this book was a joy to read. It was a fast read too, which is always a good thing for a college student. :-)
A good read, and helpful in understanding just how big an undertaking this film was, but while I admire James Cameron and loved the film, the golden glow that this book gives him is a bit much. Overall, I would recommend it for anyone wanting to see the innovativeness, stamina, politics, and gambling that went into pulling off the biggest film of all time (so far).
For those who want to understand why the movie is so great, this book shows how the gargantuan work effort by James Cameron shaped and created his masterpiece. In fact, you might start evolving from a Titanic fan into a Cameron groupie.
This fast-paced book presents an overview of the more technical aspects of the making of the movie. Paula Parisi started writing it while the movie was still being made and no one was interested in publishing the book, so it's not a hurriedly-written exploitation of the movie's success.
We learn a lot about Cameron's drive and genius, his thoroughness and creativity. The book takes us from the early days of the Halifax venture and the dives to the wreck, through the assembly of the gigantic Fox Baja, Mexico set. It tells of his perseverance during the days of all the negative media attention, and his battles against budgetary and time constraints. We realize that James Cameron is truly a great artist first, and then a great technician.
My only wish is that the book dealt more with the cast of the movie and what they experienced, than it does the technical aspects. But the author explains in a postscript that the technical domain is her specialty. One gets the feeling that it's 200 pages only scratch the surface of what was really involved in making of James Cameron, and of the Titanic.
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