Interviews
Gabriel Luna Explains How the Rev-9 in ‘Terminator: Dark Fate’ is “the Ted Bundy of Terminators” [Interview]
Spoilers Ahead.
There’s a new Terminator in town, and he’s unlike any Terminator audiences have ever seen before. Not only is the Rev-9 from Terminator: Dark Fate (read our review), played by Gabriel Luna, a hybrid creation – with a solid robot endoskeleton and a liquid metal skin, which can separate into two separate killing machines – but he’s also got a sense of humor.
In a new interview with Gabriel Luna, Bloody-Disgusting asked why the Rev-9 can make quips unlike any Terminator before him, and found out how it all ties into a surprising, “human” weakness.
“That was always there, that was one of the crucial elements that Tim [Miller, director] said was important to this character,” Luna explained, referring to the Rev-9’s sense of humor.
“Of course I tried to develop an imposing presence. I tried to see what I could get away with in terms of my stillness, and keep my body activated, keep my eyes focused,” Luna established. “He’s not having thoughts, he’s having programs and flashes of input, maybe, kind of cross through his sight. But he should definitely…there should be something there, present, in his eyes at all times. So I had very clear thoughts and very clear images whenever you have a moment that I’m being very still and somewhat motionless.”
“But the idea that his simulation would be so good and so realistic that he could easily know what it’s like to shoot the shit with those Texas Rangers,” Luna added, playfully affecting a southern drawl, “or to put that woman at ease early in the film when he touches the fabric. She’s doing the laundry and he literally just fell out of the sky. So that was important.”
“I wanted to be the Ted Bundy of Terminators, that’s what I was trying to do,” Luna said.
But make no mistake, the Rev-9 isn’t cracking wise just because it amuses him. It’s just a part of his sophisticated programming.
“It’s still a simulation. I think his self-awareness grows over time,” Luna said, referring to one of Terminator: Dark Fate’s central conceits. “In the film, Arnold’s character, what took him decades to do, I felt the Rev-9 could do in the first couple days. Start to develop more human characteristics. Of course, they’re learned characteristics. They’re not real feelings, but they’re the equivalent of those.”
Some of those character-building elements for the Rev-9 may have been left on the cutting room floor, but according to Luna they definitely inform his performance, and they give the Rev-9 a very unusual flaw.
“You know, there’s a lot that’s cut, there’s a lot of moments. It’s a very fast-moving film, so whether or not it reads, or not, is another thing,” Luna said. “But in my mind, in my body, I’m like okay, he’s growing a more personal stake to execute this mission, to execute this girl.”
“And in the end, that may be his human fallacy,” Luna explained. “It’s a human weakness to grow that, to have the frustration grow in his desire to kill Dani. And in the end, he resorts to rationale and logic in that other Terminators really haven’t in the past, when he encounters another Terminator standing in front of him, and I think that should have developed over the film.”
“He drops in as a newborn but the moment he’s there and the moment he logs into the network that is our world he’s immediately flooded with everyone’s feelings, everyone’s thoughts, everyone’s Facebook, everyone’s Instagram, everyone’s love for their parents, everyone’s hate for their enemy,” Luna revealed. “That’s quite a bit of information and that’s a lot that he can utilize in his attempt to simulate human behavior and have these very full, somewhat realistic human encounters. Except for the fact that he’s not blinking, he’s barely breathing, or not breathing at all.”
Terminator: Dark Fate is now in theaters everywhere.
Interviews
The Work ‘Grind’ Is Hell, So Brea Grant & Ed Dougherty Made a Horror Anthology About It [CFF 2026 Interview]
Genre fans rejoice! Chattanooga Film Festival is back for its 13th year in 2026 with a killer lineup and once again offering audiences both in-person and virtual options. After having its World Premiere at SXSW this spring, the horror comedy anthology Grind is playing CFF 2026 opening weekend.
From a screenplay by Brea Grant (Torn Hearts, 12 Hour Shift) and Ed Dougherty (MLM) and segments directed by Grant, Dougherty, and Chelsea Stardust (Satanic Panic), Grind features four interwoven stories that parody the gig economy, hustle culture, and the evils of late-stage capitalism.
The anthology follows weary everyday people juggling side hustles just to survive, while going up against greedy oligarchs, and cleverly uses dark humor and bloody practical effects to portray a world much like our current economic nightmare.
Bloody Disgusting had the pleasure of chatting with Brea Grant and Ed Dougherty about the socioeconomic commentary in Grind, casting Barbara Crampton as a villain, and DIY filmmaking.
Bloody Disgusting: Every segment in this anthology feels relatable because people are actually struggling to survive in the gig economy right now. How did the two of you come up with the idea of creating Grind?
Brea Grant: Like you said, we were trying to come up with a cool idea that seemed relevant right now. The thing that everyone we know is talking about is the economy, the lack of work, and the nightmare hellscape that is late-stage capitalism. It felt like the right time to write something that really featured that as the main horror. As the main thing that people were scared of, this world sort of came to us over the course of a couple of years.
Ed Dougherty: We wanted to make a hit film, and we said, “Let’s make a horror anthology, that’s the most marketable thing there is.” [laughs]
BG: [laughs] Definitely not!
BD: I love anthologies!
ED: We do, too. We feel like it’s kind of an undervalued form of horror film, but it’s a hard sell.
BG: People told us not to make it. They said, “Don’t make an anthology. It’s too hard to sell.” But we did it anyway.
BD: I guess I’m just one of those weirdos who likes anthologies and watches them all.
ED: We believe that there are a lot of weirdos like you out there. It seems like every good horror anthology has a long life, but it’s just getting over the initial hump that’s difficult.
BD: Chelsea Stardust directed some of the segments with the two of you and serves as a producer. How did she first get involved with this project?
BG: The project has a long history. We shot the first segment, which is about multi-level marketing, a couple of years ago. We had decided we wanted to make a full anthology, but it took us about a year after shooting that initial segment to shoot the rest of the movie. When we did that, we knew we needed to bring on a producer aside from Ed and me, since we were directing the bulk of the movie, so that was how she came on board. I’ve been friends with her for a long time, and the one thing I know about her as a friend is that she is very organized, so it felt like a good fit. I just called her one day and said, “Would you want to produce these three segments that we have left to shoot of Grind?” and she came on board.
BD: There are some fun cameos in Grind, but we have to talk about Barbara Crampton. She’s so good as a villainess. Why did you want her for this role, and what was it like working with her on this film?
BG: She’s in her villain era, which is so fun. [laughs] Obviously, we’re huge Barbara Crampton fans, and when we were making MLM, it was a smaller part of the movie that we knew we needed to call on people who could do a good job but were also friendly to us [laughs]. I’m friends with Barbara Crampton, and we’ve done three movies together before this. So, it felt like someone within our reach, but could also really draw a horror crowd. She has a huge fanbase, and she’s also super supportive of all the projects that she’s been in, so that was also really exciting. She’s a great actress, and she’s super funny. I think a lot of these horror actresses, especially those who came up in the eighties and nineties, weren’t given an opportunity to be funny. I think she was ready to jump on an opportunity that was different than what she was used to; it’s not running around and screaming. She is a cult leader, and she is quite funny in it. She just takes the comedy so well and seriously, and she does such an amazing job with it. She has a scene across from Rob Huebel, who is obviously a comedy master, and I feel like the two of them together were hilarious. It’s been fun to watch Barbara go from these iconic roles to a different kind of role at this point in her career. We’re super happy to be a part of that.
ED: And she loves the movie and has been so supportive. Every time she posts about it, I’m like, “I can’t believe this. This is amazing.”
BD: This is an accurate parody of the current socioeconomic situation in this country, as well as our obsession with online culture. It repeatedly asks the question, “What are you willing to do to make money,” in a world with wealth inequality and evil oligarchs. It’s fun, and it’s a horror movie, but it’s thought-provoking. What do you hope audiences take away from Grind, besides having a good time?
ED: I read every review and every Letterboxd review; Brea does not. So, I’ve seen it all. I’ve seen some reviews that say, “Good movie but doesn’t propose a solution.” I think we do propose a solution, which is that the power of unions and organizing is the only way that we will be able to fight back against oligarchs. I do think that is the message of the film. Organizing is the only way to defeat these villains. I do think we have a lot to say in the film. I’d want someone to say, “Man, I’ve never seen a horror anthology that had a political message before.” [laughs]
BG: I think the other thing is that what is currently happening is that we live in a world in which people kind of feel alone in this. They’re like, “Well, I’m doing bad, “or “I’m having trouble paying my rent.” We wanted to hang a lantern on the fact that this is happening to everyone, that wealth disparity is at an all-time high. We’re pointing out to people that you aren’t in this alone; you’re not the only person doing side hustles. Every filmmaker friend I have is working a side job of some sort at this point, and that is just in Los Angeles. Outside of this city, I think things are more dire. I think it was about infusing some politics into something that could make people realize that they aren’t alone and that there are ways of fighting back and fighting the system that has been set up against them.
ED: I think the tone of the movie, which is darkly comedic, also really matches the tone of life right now. Everything seems almost at a parody level as far as the disconnect between oligarchs and trying to make a living and reality. The absurdist nature of the film kind of captures the real tone of life.
BD: There are some cool creature effects and makeup effects in this movie. Can you talk a little bit about the practical effects and makeup?
ED: I think especially because of the message of the film, which is pushing back against the current hellscape we’re in, we wanted to use as many practical effects as possible. We used matte paintings, miniatures, and practical creature effects. I’m always afraid of the matte painting because we used the old school matte painter, but they do look a little AI. I heard someone make a noise behind me during one of the shots, and I was like, “I hope that noise wasn’t them using AI because that’s a matte painting.” [laughs] There’s also the fact that it’s pretty DIY. It’s a film that we financed ourselves and shot in our houses as much as possible. We wanted the whole thing to feel handmade and very tactile.
BG: We’re old school horror fans, so we love seeing practical effects. The practical stuff is really fun for us. It’s the stuff that we think is actually cool. [laughs] So, practical stuff made the most sense for us. We both grew up in the punk scene in the nineties, and I think it just kind of comes naturally to us to try to do things ourselves. And we both work on projects for big companies, with smaller companies, but always for other people, so trying to do something ourselves to see what that felt like was also part of the experiment of Grind.
ED: This was our chance to do everything we wanted our way.
Grind screens at the Chattanooga Film Festival on June 20.
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