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"I gave [Christian Bale] Cormac McCarthy's The Road. We started talking about Do Androids Dream of Electric Sheep?, and Philip K Dick, and what science fiction can really mean. We began to have a respectful conversation but his answer was without reservation, 'No.'"

"I thought, 'What do I need to do to improve this script?' So I went to Jonah Nolan- who's Chris' brother who wrote The Dark Knight – because Jonah, a) has good dynamics with Christian and that would create a great shorthand.

And I came to learn very quickly in talking to Jonah that he's a very considerate, intelligent guy who puts story and character in the forefront always as you see in the greatness of The Dark Knight."

The Involvement of Stan Winston:

"So I get Jonah onboard, we work on it a little bit, we go get Christian onboard, so now I've got this great actor who I think could be our John Connor, I've got a great writer who's doing his thing, and then I think, 'Well, the machines and the visual effects of this are also a very big deal, even though we've been talking story, story, story, so I go to the great Stan Winston. Stan Winston who created all the Terminators for the first movies, created the Alien, created all the Jurassic Park dinosaurs, Predator, you name it, he's done just about everything. I talk to Stan and Stan's excited about doing it. And it's bittersweet, I'm sad and happy in a certain way to report Stan has since passed on…he passed on during the making of our movie…and as an aside it's certainly our intention to dedicate this picture to the memory of Stan Winston who did such a great job honoring us all with his great creations."

Arnold's Take on This New Terminator:

"I've got Bale, I've got Jonah, I've got Stan, naturally I've got to go talk to a big strong Austrian guy and see how he feels about this whole thing.

I talked to Schwarzenegger, he plays it very politically. He's friends with Moritz – when you hear Moritz' accent you'll understand that they're from the same neck of the woods – and that goes well. He wishes us well. "

Talking to Jim Cameron:

"From my understanding, I don't think Cameron was ever that high on the third picture. And I don't really want to go down this road of this very, very serious, very difficult enterprise of making a film and feel like the guy who gave birth to it is against what we're doing. So I go down to Avatar and I go see Cameron, just to kiss the ring and tell him exactly what I'm trying to do. And concurrently I want to look at Sam Worthington who's the star of Avatar who we're considering to play opposite Christian in this movie."
"So I go see Jim and he's cordial, but he says, 'Look, I'm not going to endorse your movie. I reserve the right to hate it. But I wish you well and if you're going to make a Terminator movie, I would prefer you made a good one to a bad one.' And I said, 'Well, I don't really know what to make of that but here's exactly what we want to do.' He said, 'Why is the story worth telling?' …I said, 'Because it's the first picture to take place post Judgment Day and I think the fans are really interested in those worlds that you only ever alluded to ever so briefly. So we can take a look at that and therefore that would make it new again, in the spirit of what Nolan did with Batman Begins into The Dark Knight. In the spirit of what I think the Bond franchise has done in the Daniel Craig phase, of really reinvigorating and establishing credibility.'"

"So he says, 'All right, that sounds interesting. Let me tell you a little story. When I was doing Aliens, I was facing the same thing. People said, 'Who the f--k is this guy Jim Cameron?! He's following Ridley Scott, he's made Piranha II… Who is this guy?' And he felt he could honor the original mythology while pushing it forward and really give the fans what they were looking for in an Alien picture. And I think it's safe to say we all like that second Aliens movie; it's one of the great platoon movies of all time. So I put all these ducks in a row and we started to begin this adventure."

On the Film's Look:

"The look and feel of this world… I wanted to create an otherworldliness to speak to a post Judgment Day reality. So we talked to the CalTech guys, we talked to the people who monitored Chernobyl, and we talked about what the world would smell and look and taste and feel like after the bombs have gone off. And we heard all these bits and pieces of information and we started testing that with the look of the film."
"We went to Kodak and got a dead Kodak stock. We baked it in the sun a little bit too long to damage the film a little bit. We shot the film on uncorrected Panavision lenses, not the primo lenses but the ultraspeed lenses that flare a little bit more easily, aren't quite as sharp, and have an interesting patina. But then most importantly, we added three times as much silver in the processing as one traditionally would with a colored stock. So you add it all up and you get this otherworldliness and this patina of realism."

Machines on the Set of Terminator Salvation:

"A lot of people just want to make CG movies where actors are emoting with c-stands with tennis balls on top of them and that's the last thing in the world I wanted to do. I mean, Christian pretty much broke his hand early on in the picture fighting this - the T-600. Those of you who know the mythology know the T-600 as described by Kyle Reese, they were bigger, we could identify them easily. They had the bad prosthetic rubber skin on them, and of course with the coming of the T-800 they created a lot of problems. And I wanted real robots for the actors to interface with so you could get that grittiness and that realism. And you add it all up and you get a great economy of visual effects because I don't like feeling the cartoon, so to speak."
Page 3:On Linda Hamilton and the Terminator Salvation Ending