Set roughly a hundred and twenty-five years in the future, “Avatar” is, like most speculative science fiction, a cautionary tale. It is a fantasy about fantasy, about the experience of sitting inert in the dark while your mind enters another world. Humans can’t breathe the air on Pandora Jake lies in a casket-like vessel, while his consciousness, projected into an “avatar”-Vishnu-blue and nine feet tall, like the native population, the Na’vi-explores Pandora’s rich interior. The hero of “Avatar,” Jake Sully (Sam Worthington), is a paraplegic ex-marine who travels to Pandora, a moon in the Alpha Centauri star system, where there is a human colony. “With ‘Avatar,’ I thought, Forget all these chick flicks and do a classic guys’ adventure movie, something in the Edgar Rice Burroughs mold, like John Carter of Mars-a soldier goes to Mars,” Cameron told me. Then gone.” Spielberg says, “He gets a lot of points for being a techno-brat, but he is a very emotional storyteller.” We are somewhere in the ocean deep, looking up at two subs freefalling like express elevators. They each resolve into clusters of lights, which are soon revealed to be two DEEP SUBMERSIBLES, falling toward us. “Then two faint lights appear, close together. “ IN THE BLACKNESS we hear the lonely ping of a bottom sonar,” the beginning of his treatment for “Titanic” reads. The writing is a genre of its own: “tech-noir,” Cameron called it after “Terminator” his late-period style is more like gear-head schmaltz. Some of his most memorable characters-Sarah Connor, the heroine of the “Terminator” movies Ellen Ripley, of “Aliens”-are mothers. Cameron’s movies, soaked in sweat and blood and scorched by apocalyptic flames, have romance at their molten cores. George Lucas popularized space opera Steven Spielberg has perfected awe. “It’s the most complicated stuff anyone’s ever done.” Another time, he said, “If you set your goals ridiculously high and it’s a failure, you will fail above everyone else’s success.” “This film integrates my life’s achievements,” he told me. The digital elements of “Avatar,” he claims, are so believable that, even when they exist alongside human actors, the audience will lose track of what is real and what is not. He is a pioneer of special effects: the undulating water column of “The Abyss” and the liquid-silver man of “Terminator 2” helped to inspire the digital revolution that has transformed moviemaking in the past two decades. “Avatar” will be the first big-budget action blockbuster in 3-D Cameron shot it using camera systems that he developed himself.
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He started working on it full time four years ago, from a script he wrote in 1994. It has been twelve years since he has made a feature film “Avatar,” his new movie, comes out on December 18th and will have cost more than two hundred and thirty million dollars by the time it’s done. “Terminator 2” earned five hundred and nineteen million around the world, and “Titanic,” which came out in 1997, still holds the record for global box-office: $1.8 billion.Ĭameron is fifty-five. But victory is sweeter after a close brush with defeat. “Terminator 2” was the first film to cost a hundred million dollars, “Titanic” the first to exceed two hundred million. His movies are among the most expensive ever made. The pressures on Cameron are extreme, never mind that he has brought them on himself. “Hiring you is like firing two good men,” he says, or “Watching him light is like watching two monkeys fuck a football.” A small, loyal band of cast and crew works with him repeatedly they call the dark side of his personality Mij-Jim backward. “It saves so much time.” His evaluations of others’ abilities are colorful riddles. “I always do makeup touch-ups myself, especially for blood, wounds, and dirt,” he says. (Schwarzenegger had been giving the other actors a tour of the Capitol.) Cameron has mastered every job on set, and has even been known to grab a brush out of a makeup artist’s hand. “Do you want Paul Verhoeven to finish this motherfucker?” he shouted, an inch from Arnold Schwarzenegger’s face, after the actor went AWOL from the set of “True Lies,” a James Bond spoof that Cameron was shooting in Washington, D.C. He is a screamer-righteous, withering, aggrieved. The director James Cameron is six feet two and fair, with paper-white hair and turbid blue-green eyes.
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