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For the Los Angeles River sequence, was in pain because, since he could not wear a glove while cocking the gun, his fingers would get stuck in the mechanism. He tore the skin from his fingers and hand many times before he mastered it, and he achieved this while trying to act and control a Harley at the same time as told him where to look. He could not dart his eyes either because it would have ruined the shot. Shooting the gates also took weeks of practice because he had to also act cool while doing it. After the release of (1989) (featuring the infamous pseudo-pod scene), director felt he was ready to start working on this film.
However, he knew that half of the film's rights were owned by Hemdale (producer of (1984)). Shejrho dar borai zaboni modari. He ultimately went bankrupt, and the lack of funding prevented him from working. While working on (1990), with and, learned of Cameron's intention to make the film, and it was him who urged Kassar and Vajna to buy the rights from Hemdale. Finally, they bought them in February 1990, and Cameron would only start work the following month.
Trained with former Israeli commando Uzi Gal and with personal trainer for three hours a day, six days a week for thirteen weeks before filming. Under both, she trained intensely with weights and learned judo and heavy military training techniques. She had to maintain a demanding non-fat diet, even during filming, and lost twelve pounds. Because of this punishing regimen, she declined to reprise her role for (2003). Ironically, her identical twin sister was only required to 'hit the gym' for a few hours a week, and the difference is noticeable in the two scenes in which they appear together. So extensive is the Foley teamwork (sound design) in this movie, that just about every incidental movement on screen is replaced: the creaks of the Terminator's leather jacket, his buckle clinks and footsteps.
The entire sequence where Sarah escapes from her hospital bed using a paper clip to pick the strap buckle and door lock featured no originally recorded sounds, only Foley and music. Most of the sounds coming from weapons in the film were upgraded in post-production to create a sort of 'hyperreality'; handguns would get the sound of higher caliber guns, while shotguns would sound like cannons. The minigun used at the end originally made one loud monotonous sound because the shots are fired in such quick succession; the sound was slowed down considerably in post-production so that separate shots could be heard.
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