Ultimately when I moved on to Terminator, that team saw the value in those early tests. I worked initially on Aladdin for the first few months to get that project off the ground at ILM and flew to London for a few meetings with Will to do test shoots to prove and show, not only to ourselves at ILM, but everybody, that this was the right approach for the Genie character. So at ILM, I was a huge proponent of pushing that technology and ultimately we did push it through on Aladdin. We got close but not at the level that Anyma provides. When Disney Research Zurich shared with me the Anyma process a few years ago, I got extremely excited about that process because, while at Digital Domain, I’d been pushing something similar there. Anyma demo video from Disney Research Zurich. I felt strongly that that would give us the most seamless results. I’ve been very familiar with that, having done that on a few other occasions. We did end up going with a head replacement methodology based on all of those factors and other things. So we needed actors on the day doing that to help provide a guide, for example, Linda Hamilton being there to help coach the body actor for her to make sure that these performances were as true to as actors as possible. We needed to be able to block it from a ‘how do we shoot it?’ standpoint, a DP standpoint, a sets point, and also be able to figure out what is the emotional tone that our director wants out of it? It would have to be head replacement rather than fully CG characters because we needed that physicality. I knew that we would have to shoot real actors. Either way, Dark Fate hopes to change an old genre with a new narrative.Eric Barba: Reading that part of the script initially was a little bit scary because to me it pegged the meter on the difficulty right off the bat, especially with young John. It’s one thing to tell a story about women balancing their empathy with a desire to be independent leaders, but it’s another to allow women to tell those stories. Dark Fate, form filmmaker Tim Miller, has five credited screenwriters - all men.

The next frontier for the Terminator franchise would be to see women write or direct. At the end of the film, when Dani and Sarah team up, both women are presented as warriors who are also women, never having to give up anything. Dani is compassionate and intelligent, like John and Grace. Losing her family galvanizes her to action, but she never abandons the traits that have made her who she is. Dani has a close-knit family and interactions with her community. In The Terminator, Sarah only seemed to have her friend Ginger, and her mother in her life.

Though Dani is initially presented as a Sarah Connor clone, her trajectory implies one wherein her character won’t travel the same road as Sarah. But it’s an attempt to rectify the flaws of the past.

The revelation is poignant, if not a little on the nose. But Dani is not the mother of the future, she is the leader of the future. Women have historically been penalized in features and literature for being sexual, being pure, or their decision to have children or not. Sarah’s resentment is an acknowledgement of the past films’ issues and the problems of sci-fi and horror in general. Sarah Connor derisively brings up how she’s been a mother Mary figure throughout her life and how Dani is being punished because she has a womb. The script also acknowledges the misogyny inherent in the original film’s premise. 'Terminator' Director on Linda Hamilton's Key Moment and John Connor's Secret Role

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