2003:           

2002:           
1996:           


1995:           

1994:


1993:           

1992:           


1991:           
1989:           


1988:           
1986:          

1985:          


1984:          
1983:           
1882:           
1981:           

1979:           
1977:          
1976:            		Terminator 3: Rise of the Machines (in-game music)

Terminator: The Dawn of Fate (in-game music)

T2 3-D: Battle Across Time (Main theme released on T1: Definitive Edition) *****            Eden

Johnny Mnemonic (Only 1 track released on compilation CD) ***

True Lies ***
Blink

Striking Distance
The Real McCoy

Grey Matters (from "Terminator, The (1984)")
Straight Talk
Gladiator

Terminator 2: Judgment Day *

Immediate Family
True Believer
Fright Night Part II ***
The Accused (also song)
The Serpent and the Rainbow

Let's Get Harry
Desert Bloom

Compromising Positions
Fright Night *
Fraternity Vacation

The Terminator ***

Eyes of Fire (Irish music)

Hit and Run

Just Before Dawn
Night School

Suicide Cult

Looking Up

Apple Pie
Deadly Hero
Gums		 Brad Fiedel, born in 1951 in New York, scored his first B movie in 1976. Over the next 8 years he went on to score several low budget b movies and earned a reputation as a leading electronic artist. His low cost and effective scores caught the ear of one James Cameron and in 1984 Fiedel got his big movie break with Cameron�s 1984 film The Terminator. The score that Fiedel would produce for this score would become his most successful and widely appreciated score for its creative quality and its superb and instantly recognisable theme that remains today one of his strongest pieces.

Hardly recognised by the film scoring community however, are Fiedel�s orchestral works. Scores like True Lies although far from brilliant show Fiedel�s versatility and creativity. Most will remember the score from the critically slaughtered CD which unfortunately missed several of Fiedel�s best cues from the film. True Lies is a perfect blending of large scale orchestral bombast and flowing percussion with jazz underscore. The stalking cue leading up to the Toilet shoot out is a great example of the blending with the main brass theme woven in and out of the jazz underscore. Fiedel�s Concert pieces of themes like The Terminator also demonstrate his skill with which he can compose for electronics or full orchestra.

Fiedel was also a pioneer in electronic scoring, employing new technigues when ever he had the chance to. Whilst his score for T2: Judgement Day is techniquely and sounds like a synthesised score it is a very different type of synth score. Both Fiedel and Cameron wanted a more human sound to the score as opposed to the cold emotion less feel of the original true sythn score. So Fiedel took recordings of real instruments and then fed them through his computer, taking away much of the instruments resonance but still leaving a richer sound for the score.

However, the failure of his electronic score for T2 and the orchestral score for True Lies ended Fiedel�s blockbuster scoring career. Even the third Terminator film saw a new composer given the job over Fiedel. Which given Fiedel�s matured talent with orchestra since True Lies could have easily led to something spectacular for the T3 score, especially considering his massive orchestral effort for T2:3D.

Simply put, this underappreciated composer needs to be given another chance, especially at another Terminator film.
With 33 movies and over 60 TV assignments to his credit Brad Fiedel is a highly seasoned composer, whether he returns to big screen scoring however, remains to be seen.
The Terminator is one of those rare movies from the 80s that still stands proud today. Due to James Cameron�s unique abilities the action sequences are still fresh and the film feels far from cheesy. Cameron both wrote and directed the film on a tiny budget similar to Star Wars (The film that inspired him to give up his truck driving job and make movies). Apart from Piranha 2: The spawning this was his first big screen film. He found the idea in a dream (if you can call it that) when he was ill with a fever.
He managed to get a small amount of money and studio backing and in 1984 that nightmarish dream became a reality.
Originally O.J Simpson was suggested in the role of the T 101 but was turned down in place of Lance Henriksen. Arnold Schwarzenegger originally auditioned to play Resse, but Cameron, realising his potential screen presence asked him if he�d mind opting for the role of the terminator and Henriksen was recast in the pivotal role of Detective Vukovich, upping the film's body count a little more..
Despite being a ruthless, cold blooded killer audiences cheered Schwarzenegger�s character. He had a total of 17 lines in the whole film, many now much quoted, the rest of the film he spent juggernauting around the sets blowing things to pieces and killing people but his performance, nonetheless, cemented his role as an actor.
Having gone on to establish himself as a major film director with Aliens and The Abyss,  James Cameron returned to the scene of his breakthrough film in 1991 with Terminator 2: Judgement Day. This second film changed things upside down in the Terminator universe with Schwarzenegger playing the hero opposite the villainous liquid metal adversary of Robert Patrick. The film offers up different versions of the future and pushed the boundaries of FX at the time. The film was made with a budget 15 times larger than the original film and was an enormous box office hit, taking more in its first July 4th weekend than the original film made in its entire run.
The second film is by far the classier and showier, with more elaborate special effects, a motorcycle jump from a high rise apartment leading to a chase and fight on an airborn helicopter.
Indeed, the film became the biggest hit of the year and won Oscars for Visual Effects, Makeup, Sound and Sound Effects Editing.
It was also the pioneer film in promoting itself as simply T2. This would lead to other similar promotions for films such as ID4 in film marketing.
                    
                        Arnold Schwarzenegger on Director James Cameron's perfectionist techniques.

"If a shot was half an inch off the way he visualized it, he would go crazy. I remember one day we were shooting some stunt sequences...real physical stunts, and jim came onto the set to demonstrate how the stunts should be done. He did them without padding and without seemingly giving a second thought to his safety. I thought he must be crazy!"
Back to Cyberdyne
Hosted by www.Geocities.ws

1