Highlights
- Terminator Zero
brings a unique Japanese perspective to the beloved sci-fi universe of James Cameron’s
Terminator
. - Director Masashi Kudō emphasizes the horror of nuclear weapons and their aftermath, likening the Terminator to Godzilla.
- Mattson Tomlin had to adjust action scenes due to Japan’s strict gun laws, presenting narrative hurdles and creative opportunities.
As a film enthusiast with a penchant for sci-fi and a soft spot for the original Terminator series, I must say that Netflix’s new anime series, Terminator Zero, has left me thoroughly impressed. Having traversed through various cultures and cinematic landscapes, I can confidently assert that this Japanese take on James Cameron’s universe is a breath of fresh air.
In the freshly released anime series, “Terminator Zero,” produced by Mattson Tomlin for Netflix, we delve into a captivating new narrative within James Cameron’s popular sci-fi realm. The eight-episode animated journey is set in Japan in 1997, where scientist Malcom Lee (André Holland) foresees the approaching Judgment Day. In an attempt to eliminate him, Skynet sends a T-800 (Timothy Olyphant), from the year 2022, but the resistance fighters counter this by sending back their own combatant – a battle-hardened figure named Eiko (Sonoya Mizuno) – to safeguard Malcolm and prevent nuclear Armageddon in this new timeline. “Terminator Zero” doesn’t merely spin a novel tale; it offers a platform for creator Mattson Tomlin and director Masashi Kudō to incorporate distinct Japanese viewpoints on nuclear conflict into the storyline.
In an interview with MovieWeb, Masashi Kudō shared insights about his contributions to the film “Terminator Zero”. During our chat, Kudō emphasized the significance of infusing the franchise with a Japanese viewpoint on Judgment Day and the nation’s extensive history and understanding of nuclear devastation. Since the 1940s, the nuclear apocalypse has been a recurring motif in Japanese narratives, leading to the creation of one of cinema’s most enduring symbols – Godzilla. Kudō highlighted how crucial it was for him to portray not just the devastation caused by nuclear weapons, but also their lasting effects. He stated:
When discussing the subject of nuclear war, the fear and risk associated with nuclear weapons is particularly relevant in Japan, given its history during World War II. This topic holds significant importance here, especially in August, as it serves as a stark reminder of the devastating impact such weapons can have on humanity. A visit to the Hiroshima Peace Memorial Museum, or the Atomic Bomb Museum, powerfully conveys this message. I vividly recall my own encounter with the museum when I was quite young, and I wanted to convey in my work just how dangerous and terrifying nuclear weapons can be for humans, aiming to capture this essence visually.
Setting The Terminator in Japan Forced Surprising Changes
Kicking off with an intense, ten-minute action sequence at the outset signaled that Terminator Zero was unreservedly committed to its anime style. For creators Mattson Tomlin and Kudō, the impact of Japan on the series extended well beyond its storyline. In a conversation with MovieWeb, showrunner and writer Mattson Tomlin shared an intriguing challenge that the Japanese setting posed for the production team.
In composing action sequences, Tomlin’s approach was shaped by an American viewpoint. This is advantageous due to the country’s relaxed firearm regulations, which make it easier to depict fictional gunfights. However, Tomlin encountered difficulties when he presented his action scenes to his Japanese producers. He elaborated:
In my initial draft, Eiko confronted the Terminator for the first time in a parking lot, and she shattered a car window with her elbow, reached into the glove compartment for a revolver. However, I received feedback from Production IG at Nobu stating that such an action wouldn’t occur in reality because Japan does not allow civilians to possess guns except for police officers and military personnel.
Initially, upon finding the message, Tomlin felt a sense of panic, thinking that the project was instantly doomed. But as he reflected on it later, similar to how Sarah Connor reassessed her situation in The Terminator, the writer and showrunner understood it presented a fresh chance for the series. He put it this way:
Initially, I panicked, thinking something like, ‘Gosh, we can’t produce Terminator in Japan, I’ve made such a mistake.’ But then, it slowly hit me that this is an obstacle I must conquer as a writer, and it’s an exciting challenge for both myself and the characters. It’s not unlike what Kyle Reese experiences in the original film when he gets a police shotgun.
“But he also is saying throughout half the movie ‘These weapons aren’t gonna do anything, this is just kind of bullsh*t.’ So, in a way, we get the characters right back in that place, but it’s even worse because
I don’t even have the thing that isn’t going to do anything
.”
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2024-08-23 00:32