Winston. Filming Filming for The Terminator was set to begin in early 1983 in Toronto, but was halted when producer Dino De Laurentiis applied an option in Schwarzenegger's contract that would make him unavailable for nine months while he was filming Conan the Destroyer. During the waiting period, Cameron was contracted to write the script for Rambo: First Blood Part II, refined the Terminator script, and met with producers David Giler and Walter Hill to discuss a sequel to Alien, which became Aliens, released in 1986. There was limited interference from Orion Pictures. Two suggestions Orion put forward included the addition of a canine android for Reese, which Cameron refused, and to strengthen the love interest between Sarah and Reese, which Cameron accepted. To create the Terminator's look, Winston and Cameron passed sketches back and forth, eventually deciding on a design nearly identical to Cameron's original drawing in Rome. Winston had a team of seven artists work for six months to create a Terminator puppet; it was first molded in clay, then plaster reinforced with steel ribbing. These pieces were then sanded, painted and then chrome-plated. Winston sculpted reproduction of Schwarzenegger's face in several poses out of silicone, clay and plaster. The sequences set in 2029 and the stop-motion scenes were developed by Fantasy II, a special effects company headed by Gene Warren Jr. A stop-motion model is used in several scenes in the film involving the Terminator's skeletal frame. Cameron wanted to convince the audience that the model of the structure was capable of doing what they saw Schwarzenegger doing. To allow this, a scene was filmed of Schwarzenegger injured and limping away; this limp made it easier for the model to imitate Schwarzenegger. One of the guns seen in the film and on the film's poster was an AMT Longslide pistol modified by Ed Reynolds from SureFire to include a laser sight. Both non-functioning and functioning versions of the prop were created. At the time the movie was made, diode lasers were not available; because of the high power requirement, the helium–neon laser in the sight used an external power supply that Schwarzenegger had to activate manually. Reynolds states that his only compensation for the project was promotional material for the film. In March 1984, the film began production in Los Angeles. Cameron felt that with Schwarzenegger on the set, the style of the film changed, explaining that