One named wonderdouche McG (aka Mayor McCheese) recently updated his Terminator Salvation blog to discuss the editing and visual effects process.

Charlie Gibson is aware of his responsibility as the VFX supervisor and second unit director of this film. He works with ILM and Asylum every day and makes revisions to the finest detail. We want the patina of the machines to be dirty and heavy and perfectly realistic – that’s why we built so much practically with Stan Winston.

Ooh, “patina”, nice word, McCheese.  You’re so erudite!  Maybe I’ve been wrong about you all along!

We set out to create a world that honored the Terminator mythology but was its own new beginning. Every day I learn from Conrad [Buff, the editor] as he makes the elegant choices of a disciplined filmmaker. It feels great to have his confidence in the movie. I take his opinion very seriously, he provides a daily litmus test for what is worthy of a Terminator film.

Okay, getting kinda fruity.  But I have to admit, I’m impressed he’s been able to repress his inner retard for this long.

Most importantly, Christian and Sam bring power to the rolls of John Connor and Marcus Wright. This is a story of two destinies colliding. Connor is part of a resistance comprised of the ethnicities that make up the globe. This film is so much more that just Los Angeles. It reflects the global crisis of man, all of man versus machine.

Bwahahaha!  This is gonna be so deep, man!  It’s about global crisis!  Choke on my powerful rolls, you robot SOBs!  Drink my venti latte of death!  Feast on my muffins of annihilation!

Haha, “rolls”.  What an idiot.