Reimagining a Sci-Fi Masterpiece: Terminator 2 Gets a Live Soundtrack and Laser Show
James Cameron’s Terminator 2: Judgement Day, a film etched into cinematic history, continues to captivate audiences decades after its release. Arnold Schwarzenegger’s iconic portrayal of the reprogrammed cyborg, the gripping narrative, a blend of performances from campy to profoundly sincere, moments of unexpected humour, and breathtaking action sequences all contribute to its enduring appeal. Even the visual effects, remarkably, still hold their own against modern standards.
However, beyond the visual spectacle, the film’s original score by Brad Fiedel is equally unforgettable. This haunting, emotive fusion of orchestral and industrial sounds masterfully underscored the story of a protector from the future battling a more advanced threat. In today’s world, with the rapid ascent of artificial intelligence like ChatGPT, the film’s cautionary tale about rogue AI feels eerily prescient, resonating with a new layer of urgency.
Now, a unique artistic endeavour is set to breathe new life into this beloved classic. An enterprising team of artists is preparing to present Terminator 2: Judgement Day with an entirely new live score and accompanying laser spectacle across Melbourne, Sydney, and Canberra. This ambitious project promises a viewing and listening experience unlike any other, allowing audiences to engage with the film in a completely novel way.
A Fusion of Vintage Synths and Dazzling Light
Leading this sonic and visual reimagining is Belgian producer Peter Van Hoesen. He will collaborate with musicians from the Melbourne Electronic Sound Studio (MESS) to bring his original compositions to life. The soundscape will be crafted using vintage synthesizers, evoking a retro-futuristic atmosphere that perfectly complements the film’s themes. Adding another layer of dramatic intensity, Melbourne’s audiovisual wizard Robin Fox will orchestrate a mesmerising laser show, synchronised with the music and the on-screen action. This is not merely a screening; it’s a multi-sensory event designed to immerse viewers in a reimagined Terminator 2.
Haydn Green, the founder and director of Hear My Eyes, the cinema event production company behind this ambitious project, expressed his long-held desire for this venture. “It’s been a long time coming,” Green stated. Hear My Eyes has a proven track record of giving cult films such as Hellraiser, Chopper, and Suspiria the live score treatment. However, securing the rights for Terminator 2 from major distributor StudioCanal proved to be a six-year undertaking.
Green elaborated on the film’s significance: “It’s such a high-profile film, and obviously James Cameron and Arnie have such an incredible legacy.” He revealed his personal affinity for the sci-fi genre, particularly the works of Arnold Schwarzenegger, noting Total Recall as a favourite, but ultimately declaring Terminator 2 as the “pinnacle” for him.
Addressing the Purists: An Artistic Experiment
The prospect of a new soundtrack for such a widely adored film has, understandably, sparked curiosity and even some apprehension among those unfamiliar with Green’s vision. The concern is to tamper with a revered cinematic experience. Green acknowledges this sentiment, stating, “The concern is ‘fair enough’.” He further explained, “There are so many things in life that are not sacred any more and people are very protective over the things they love, especially the art they love.”
While audiences are generally more open to reinterpretation in other art forms like music and theatre, films often evoke a stronger sense of ownership. “I can understand the knee-jerk reaction that might consider this an insult or a challenge, but we’re not out to compete with the original score, which will be there forever,” Green clarified. “This is designed as an artistic experiment where we create something ephemeral and communal.”
A Composer’s Journey: Embracing the Abstract
For Peter Van Hoesen, the opportunity to score Terminator 2 was met with immediate enthusiasm. His background as a techno producer and composer of richly textured, futuristic music made the project feel like a natural fit. “I don’t want to have this come over as arrogant, but it kind of felt logical to me,” he confessed. He readily admits that Fiedel’s original score is inimitable, but his initial attempts at creating a new score inadvertently leaned towards a classical film sound, even incorporating melodic references to the original. This led him to a crucial realisation: his unique contribution lay in his abstract electronic music sensibilities.
“I had to realise that I was asked to do this not because they wanted another classical film score but because I’m an abstract electronic music producer,” he explained. His choice of vintage synthesizers from MESS was driven by their reliability for live performance and the availability of virtual counterparts, which allowed him to compose remotely from his base in Ho Chi Minh City. “I knew that if I programmed a sound in the software version, it could be translated into the hardware version without too many issues,” he added.
Lasers and Restraint: The Art of Subtle Enhancement
Robin Fox, a key collaborator in this project, typically insists on a deep integration of his sound and laser design. However, his previous successful collaboration with Hear My Eyes on Suspiria, where he co-wrote the score with Hieroglyphic Being, instilled a strong sense of trust in Green and Van Hoesen’s capabilities. As the founding director of MESS, Fox plays a pivotal role in overseeing the musicians and the vintage synthesizers used to bring Van Hoesen’s score to life, describing the process as “quite a beautiful and cranky process.”
Designing the laser accompaniment for Terminator 2 presented a unique challenge, requiring a delicate balance of enhancement and restraint. “The aesthetic problem is really how much not to do because essentially, you don’t want to mess with the experience of seeing the film,” Fox mused. While the application of lasers during action sequences is straightforward, finding poignant ways to incorporate them into the film’s quieter moments posed a more complex artistic puzzle. “It’s an interesting question, how do you be poignant with lasers?” he pondered. “It’s kind of an oxymoronic proposition, but it’s been about trying to find these moments.”
A New Perspective on a Beloved Film
Green encourages potential attendees to approach the event with an open mind. He shared an anecdote about a devoted fan of Guillermo del Toro’s Pan’s Labyrinth who attended a Hear My Eyes event with significant reservations. This fan later reported being profoundly moved by the film’s conclusion, stating it was the first time the movie had brought them to tears. Green believes that by altering “one thing, this musical element, they experienced so many elements of the movie anew and were more engaged with their emotions.” He harbours a similar hope for the Terminator 2 reinterpretation, aiming to offer audiences a surprising and deeply emotional experience.
“This is just an opportunity to find a new entry point into a film that you know and love and experience it afresh.”
Terminator 2: Judgement Day with its new live score and laser show will be presented at:
- Melbourne: Hamer Hall, Arts Centre, from February 26-28.
- Sydney: City Recital Hall, March 7.
