Bonus : As evoked in introduction, this Blu-Ray de Terminator 2 gives all its noble letters to the concept d' interactivity, while rehabilitating its definition first. And yes, here, one interacts really and directly with same film! C' is quite simple, except some short small things (cut scenes, teasers and bandages advertisement), all is consultable directly during the reading of film, without leaving there, us authorizing to fork d' an element with l' other according to our desire. That l' one is fan absolute, or just curious to discover certain aspects, everyone will find satisfaction there! Let us note that the three versions of film are available: the version cinema (137min), the version director' S cut (154min), but also the version directors cut even longer, only accessible by password. How one is sympathetic, one gives it to you! It is necessary to be placed on the five asterisks, and to seize 82997. Code which corresponds to the date of the last judgement, on August 29, 1997 (08-29-97) in English. On the longer versions, the additional scenes are not doubled in French. Finally subtitled comments! Let us start the festivities with sobriety. Namely to them from now on impossible to circumvent audio comments, distributed here on two tracks. D' a side: James Cameron and his scenario writer William Wischer (recorded for l' edition of 2003), l' other, celebrates it comment utilizing not less than 26 people (recorded in 1993). The first satisfaction, and not of least: the comments are subtitled in French! " Enfin" let us be us tried to blow, so much disappointment was of setting for the anglophobes until there. A good thing of made, us allowing d' finally; to fully appreciate the glance of the realizer on l' one of its percussion films, on a first comment less unmethodical than the second, leaving him many time to develop aspect of film. Obviously, time will have made that on very many points, the film lost good number of its secrecies in 18 years of fascination (and yes, already), but c' is nostalgia and the glance d' author who prevails. C' is a fact, James Cameron who evokes l' numerical imagery, c' is often 1000 times more enthralling than of by n' import which d' other aujourd' today. And instead of making the guide (' ' there c' is numerical, there c' is réel' '), it brings its reflexions to us. A d' point of view of; as much more important qu' there remains the pionner d' a certain technology. In addition, to re-examine film later 12 years also authorized some lightnesies to him and this last does not dry up d' anecdotes enough amusing. L' a d' between them reveals, for example, that when qu' they are units on the motor bike, Arnold Schwarzenegger n' would not have stopped knocking by inadvertency Edward Furlong with its rifle. Liking, enriching, a true lesson of technical cinema and set of themes.
For those which the technique fascine always, one can thus continue on the very complete second comment. Not less than 26 speakers (2-6!), which is hustled on only one and even track… Lastly, they do not hustle really puisqu' it s' acts primarily of small independent talks carried out by Van Ling, person in charge of the no-claims bonus on film since the first edition (but also of this Blu-Ray present). Not only, information really attractive for is bitten of setting in purely technical scene, but l' together remains d' a fluidity with any test. D' access because Van Ling takes care d' to introduce each speaker, but also because, Blu-Ray obliges, l' editor had l' excellent idea to propose small photographs of the latter beside their subtitles. Thus, one always knows who speaks without never being likely to confuse them the ones with the others. Impossible to be mistaken. An excellent initiative in any case! Thanks to Blu Ray one looks all the no-claims bonus during film! One passes then to l' enormous piece. A true flat good-natured of resistance which constitutes with him only a true exploration of several hours through the disc for most patient. Even if the visit of the slides of film is limited to its own duration (2h30, therefore), one is very quickly tempted to retrogress on many scenes, in order to redécouvrir them through new functions. To summarize, it s' d' acts; a version much more practical and more complete of l' infernal and interminable no-claims bonus of l' Ultimate edition where it was necessary to stuff a text and occasionally to fall on additional modules… The large bazaar in s' question; thus call Interactive modes and presents itself rather simply in the form d' a gray bar which s' post in top of l' screen as of the starting of film. C' is there that the things become complicated, and before fully taming l' tool, a few good minutes will be necessary. A disconcerting bit at the beginning, this system proposes to select six types of labels, which will very quickly become essential and amusing lorsqu' one has some seizes operation and the many possibilities: - The first label less offers a function PIP, not proposing than 69 small vidéos which will intervene of time to other, in a corner of l' screen. D' one duration bordering approximately 30 seconds at 2 minutes, they s' will delay primarily on the key scenes. One will know all about the turning of the scene in the future, of the dive of the truck, of the technical special effects, as well as twisting images of the scene of the bar (where Arnold n' is not only naked, but raises in more one multicoloured shorts fluo of the most beautiful effect) as well as the many comparative ones before/after numerical final improvements. 69 vidéos which profit from subtitles, but they should really well be sought. Indeed, beside the module discrete a small arrow appears. By precisely pressing the low arrow of your remote control, of the function additional appear, and allow to select subtitles, of zapper d' a video module with another (practical for the least patient) but also to look at them directly, without passing by film, on a secondary menu. It will be regretted just that, even by choosing this function, the windows remain small…
- The second and third labels allow d' in turn; to have access to anecdotes in any kinds on film (on the actors, a tiny appearing detail with l' screen, etc) for l' one, thus qu' a very precise technical description for l' other, history of knowing how plans (linings, SFX, etc) are created. If these last are not unfortunately proposed qu' in English, they are sufficiently summary to remain comprehensible for those which have some concepts. In addition, one will be amused to see arrows appearing of time to other on l' image to explain what exactly l' one speaks (as on discrete placements of marks, for example). - The fourth label proposes elements known as " connectés". C' be-with-to say qu' a panel appears and d' proposes to us; to stop a few seconds (or minutes) film to reach d' others vidéos or photograph galleries with accompanying notes. Durations about equivalent to those evoked in the paragraph devoted to the PIP, these last are 59, and are also consultable separately, with or without subtitles by the same means of ' ' arrow bas' '. A small flat, at least for l' specimen that we had, since these small vidéos makes l' d' object; light a bug which strongly jerks their unfolding. If the sound n' in does not suffer, we have d' access believed qu' it s' d' acted; a series of ravelling photographs… Their short duration does not waste the pleasure, but guarantee that the product placed at the disposal in the trade will have rectified this detail. - Lastly, the fifth and sixth labels are there like comparative tools. L' one gives access to the scenario (unfortunately, written in English) and l' other with the story-board, always during the reading of film. A good way of noting the similarities or the differences between film such qu' he was thought before turning, and the end result with l' screen. Moreover, it will be regretted nevertheless a little that the story-boards are not more numerous, although the step is more appreciable. All that is owl… very owl. But noncontent d' to be pleasant to follow independently from/to each other, one can also cumulate these labels the ones with the others according to the possibilities. More exactly, in the way in which distributed we them above. Pip only goes all alone, but the anecdotes and the indications of turning can be posted units, stopped by the additional elements, just like the scenario and the story-board can be supplemented side by side, with film in backdrop. |
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