The right way forward
on space exploration
By James Cameron
February 2010 - What do rockets burn for fuel? Money. Money that is contributed by working families who have mortgages and children who need braces. And why do the American people support our efforts in space? Because they still believe, to some extent or another, in that shining dream of exploring other worlds. So it could be said that rockets really run on dreams.
The exploration of space is the grandest adventure challenging the human race. As a filmmaker I have celebrated this greatest of dreams in my movies and documentaries, and I remain as passionate about the discoveries ahead as I was when I was a kid.
So it was with some trepidation that I waited for the NASA budget to be unveiled this week. I was concerned that amid the nation's fiscal crises, space exploration would fall off the priority list. But the NASA budget reveals a pathway to a bright future of exploration.
Last year President Obama instructed the Augustine commission to report on the likely prognosis for NASA's exploration activities. After months of study, the conclusions the panel released in October were gloomy.
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Crowning James Cameron
Director of Avatar, Titanic Named
Modern Master by SBIFF
By Barney Brantingham
February 2010 - The King: There he was Saturday night, “the king of the world,” all six-feet-two of Jim Cameron, bathed in love and applause from the Arlington audience and getting a hug from his buddy, the king of California, Gov. Arnold Schwarzenegger.
Schwarzenegger, joking in his fractured English that “I’m still struggling saying the word Avatar,” the title of Cameron’s hit sci-fi film, presented the filmmaker with the Santa Barbara International Film Festival’s highest honor, the Lucky Brand Modern Master Award.
The governor, who was directed by Cameron in earlier films, called the part-time Santa Barbaran “a great talent and great innovator.” Added the governor, “You’re the king!”
During a Q & A session with moderator Leonard Maltin, Cameron offered this advice to would-be moviemakers: “You have to have something to say,” explaining that film school is fine, but you have to learn “from the school of life.” And, he said, “You have to create your own luck.
Directors talk about choice at panel discussion
February 2010 - Variety VP and editorial director Peter Bart asked Kathryn Bigelow if she intended to seek a bigger budget for her forthcoming South America-set drama given the recent awards for "The Hurt Locker."
"No," she replied, having learned that "with a more modest budget you get to retain more creative control." But "modest," she insisted, is a relative term; for the ambitious scope of a project like "Avatar," that film's budget might have felt comparatively modest.
"That's right," quipped James Cameron. "We could have used a lot more money." The benefits of parameters came up again when Quentin Tarantino ("Inglourious Basterds") said he had been tempted to direct an animated film until he became daunted by the prospect of the milieu's limitless possibilities.
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James Cameron Lending Director Marc Webb a Hand in Bringing SPIDER-MAN to 3D
By Michael Sullivan | Excerpt: collider.com
February 2010 - It seems as though behemoth auteur James Cameron will get to live his Spider-Man directorial dreams after all, albeit vicariously through (500) Days of Summer’s Marc Webb.
Jon Landau, Cameron’s friend and associate, told MTV that he and Cameron met with Webb last week to help bring the project into the third dimension.
Those who recall the recent frenzy over who would helm the Spider-Man reboot will remember hearing James Cameron’s name; after all, the Academy Award-winning director did write an extensive, story-boarded treatment (dubbed a “scriptment”) back in 1991.
However, in another interview with MTV at the Critics Choice Awards, Cameron called the Spider-Man reboot Sam Raimi’s “sloppy seconds.”
James Cameron, the focus and the fury
By Rachel Abramowitz
February - I first met James Cameron on the set of “Terminator 2: Judgment Day” and what I remember most is the screaming. It was a rainy night and Cameron's crew was set up at one of those glass mansions in Malibu, which, for the purposes of the film, was the home of Skynet scientist Miles Dyson, portrayed by Joe Morton.
The script pages for the evening were an ambush scene -- Sarah Connor, played by Linda Hamilton, had invaded the home to assassinate Dyson -- but Hamilton was the one who seemed under attack. My very vivid recollection of the night was watching Cameron berate the actress.
It was only later that I found out that the two were dating; that left me feeling like I had been in Malibu watching a foreign film without the benefit of subtitles. Cameron is, of course, the T-800 of all directors -- a fierce taskmaster, with almost superhuman drive and very little patience for human fallibility.
Producers Guild of America Honoring James Cameron at 22nd Annual Producers Guild Awards Ceremony
September 2010 - The Producers Guild of America has announced James Cameron will be honored with the 2011 Milestone Award at next January’s Producers Guild Awards ceremony at the Hyatt Regency Century Plaza in Los Angeles.
The Milestone Award is the Guild’s highest honor that recognizes an individual (or team) who has made historic contributions to the entertainment industry. Previous recipients are Clint Eastwood, Alfred Hitchcock, Jeffrey Katzenberg, Ron Howard & Brian Grazer, and Walt Disney, among others.
With how much money Cameron has made at the worldwide box office, and how he’s also developed films about ocean exploration and conservation, it’s no surprise he’s being honored with this award.
Cameron Options 'The Last Train From Hiroshima'
January 2010 - As "Avatar" continues to make box office history, James Cameron is eyeing a slice of history for a potential helming gig. The "Avatar" director has optioned Charles Pellegrino's upcoming nonfiction tome "The Last Train From Hiroshima: The Survivors Look Back" with his own personal funds.
While in Japan in late December promoting "Avatar," Cameron asked 20th Century Fox for a day off Dec. 22 in order to visit Tsutomu Yamaguchi, one of the last survivors of the U.S. bombings of Hiroshima and Nagasaki during WWII. Yamaguchi died Monday at the age of 93. Pellegrino's book, published by Henry Holt, is set to hit bookstores Jan. 19.
Terminator Rights Sell for $29.5 Million
By Nikki Finke
February 2010 - The auction for the Terminator movie, TV program, and other spin-off rights just ended after a marathon bidding session today that stretched from 3 PM this afternoon until 8 PM tonight.
Both Sony Pictures and Lionsgate separately were bidding for the franchise, and then joined up after the first round was completed. "We're going to fight one hell of a fight," a Lionsgate insider told Deadline Hollywood in advance. Its plans were for "a complete re-boot, back to basics, with real emotional stories, and effects that will be secondary.
James Cameron: Failure's OK, fear isn't
By Richard Galant
February 2010 - A lifelong fascination with science fiction and the ocean has driven "Avatar" director James Cameron's career, he told the TED2010 conference Saturday. "The ocean is so rich with amazing life," he said beginning a session called "Wisdom," the final one of the conference. "Nature's imagination is so boundless compared to our own human imagination."
Cameron said some thought his filming of "Titanic" was about the opportunity to depict "Romeo and Juliet" on the doomed ship. In fact, he said, "Secretly I wanted to dive to the wreck of the Titanic." He did wind up exploring the wreck and said he saw amazing forms of underwater life.
Cameron was struck by the comparison between deep ocean exploration and space travel; in both cases there's a search for alien creatures and no hope of rescue if you can't get back yourself.
Avatar Producer Says 'Battle Angel Alita' Has A New Name, Will Follow 'Avatar 2'
By Larry Carroll
February 2010 - “'Avatar' was something Jim had written before, but we were about to embark on a film called ‘Battle Angel: Alita,’ and then we looked at ourselves and said ‘Wait a second, ‘Avatar’ is something that Jim always referred to as his magnum opus, and we can do it now,’” remembered the filmmaker’s producing partner, Jon Landau.
“But [‘Battle Angel’] is something that Jim is very, very passionate about. It was actually brought to our attention by another filmmaker, Guillermo del Toro; Guillermo saw those things in the property that he thought would really relate to Jim, and Jim responded to it immediately.”
Although Landau was quick to point out that Cameron plans to shoot an “Avatar” sequel first, he re-affirmed the filmmaker’s intentions to adapt Yukito Kishiro’s manga classic after that.
Cameron Directs Bigelow in Bill Paxton’s Music Video…come again?
By Julia Rhodes
February 2010 - James Cameron’s Avatar and Kathryn Bigelow’s The Hurt Locker are among the Oscar nominees for Best Picture of 2009. From 1989-1991, Cameron and Bigelow were married. They apparently parted amicably, since they have pleasant things to say about one another onstage at awards shows.
In 1988, Cameron directed this music video for Bill Paxton’s (short-lived) band Martini Ranch, starring Bigelow and Paxton (“Big Love”).
Bigelow was hot on the heels of directing Paxton in Near Dark, which is one of my favorite vampire movies–a dirty, gory, totally off the wall Western with a fantastic AIDS allegory. So: “Reach” features two Oscar-nominated directors and an actor from one of the best shows on TV.
James Cameron tops most powerful in Hollywood list
September 2010 - If there were any doubts that money talks loudest in the movie business, they have been dispelled.
The expert panel behind the Guardian's inaugural Film Power 100, published in today's Film & Music section, have chosen James Cameron, director of the two highest grossing films ever made, as the person wielding the most power over the UK film industry.
Cameron, whose films Avatar and Titanic have taken a total of $4.61bn (£2.94bn) at the box office, took the top spot ahead of fellow director Steven Spielberg and actor Leonardo DiCaprio, who has replaced Tom Cruise as the go-to leading man for big-budget movies.
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James Cameron on the Cyborg
That Defined His Career
Transcribed by AMZ from
Empire April 2009 Magazine
ON DIRECTING THE FIRST TERMINATOR
"I was petrified at the start of Terminator. First of all, I was working with a star - at least I thought of him as a star at the time; Arnold came out of it even more a star.
But because I had written it, I always had a beacon because I knew the characters, so I always knew what to say to the actors.
It had gone into hiatus for a year (while Arnold Schwarzenegger completed a Conan sequel), nothing was happening, and I had no other job, and I couldn't move on to another directing job until I had done this film. So I just storyboarded everything. I was utterly prepared for that film, which was how we were able to make it relatively cheaply."
"People responded to it somehow, psychologically. The Terminator represented something to people, a dark side of the human psyche. People wanted to have that fantasy of being totally stripped of all moral constraints and being able to do exactly what they want. You don't have to open the door to look through the door."
"People basically saw Schwarzenegger as this muscle guy. I had lunch with him, after one previous initial meeting where he had been thrust upon me. The entire time that we were talking I was looking at his face and his manner and bearing. For me it was about the potential iconography of his face - it was about projecting a character and not just the physicality. I guess I saw an intensity that I liked."
"What changed was not the original concept - as written, the script didn't change at all. The visual concept changed. The Terminator was this anonymous character who could walk out of the crowd, just one face in the crowd, could walk up and kill you for no apparent reason. Arnold doesn't vanish in the crowd. It took on a slightly more hyperbolic visual style - a little more larger-than-life. When The Terminator first came out, people remembered the film fondly."
"Essentially, you've got a character associated with being the quintessential killing machine; this is his purpose in life. Devoid of any emotion, remorse, or any kind of human social order, he suddenly finds himself in the strangest dilemma of his career. He can't kill anybody and he doesn't know why. He's got to figure it out... The Tin Man gets his heart."
"Basically what I wanted to say in T2 was that everything is meant to be a certain way, everything has already been written. You can call it karma or destiny, whatever."
"The primary reason for the third one was financial, and that didn't strike me as organic enough reason to be making a film. There are a lot of original films that I want to make. I'm interested in exploring new technology. Arnold hoped I would do the film, and finally I just said, 'Look, stop being so loyal, just go charge them a lot of money and make the movie.' And that's exactly what he did."
"I see our potential destruction and potential salvation as human beings coming from technology and how we use it, how we master it, and how we prevent it from mastering us. Titanic was as much about that theme as the Terminator films, and in Aliens it is the reliance on technology that defeats the Marines, but it's technology being used properly that allows Sigourney's character to prevail at the end. It's always been fascinating for me, maybe because I kind of have an engineering background."
Creator James Cameron on Terminator's Origins, Arnold as Robot, Machine Wars
By James Cameron
As told to Wired writer Steve Daly
March 2009 - I first remember being aware of geopolitics during the Cuban missile crisis. When I was 7 or 8, I found a pamphlet for fallout shelters on the coffee table in my family's house in Ontario, and I remember thinking, "What's this about?"
I had the sudden sensation that my coddled existence was a facade. Something dark and terrifying lurked behind it. I've been fascinated ever since by our human propensity for dancing on the edge of the apocalypse.
So when I wrote the first Terminator outline around 1982, I was just working out my childhood stuff. It was also born out of the science fiction movies and literature I grew up with. For the most part, they were warnings—about technology, about science, about the military and the government. You couldn't escape those themes or the fear of nuclear holocaust. The idea of a hit man from the future trying to change past events was certainly not new.
What I thought was cutting-edge was deciding to not have the Terminator be a guy in a robot suit. That's how it was typically done. But a flesh-covered endoskeleton? That was new. So for me it was all about how we could develop stop-motion animation and puppetry to create a true robotic endoskeleton. The team at visual-effects house Stan Winston Studio jumped into it and made it work. Casting Arnold Schwarzenegger as our Terminator, on the other hand, shouldn't have worked.
The guy is supposed to be an infiltration unit, and there's no way you wouldn't spot a Terminator in a crowd instantly if they all looked like Arnold. It made no sense whatsoever. But the beauty of movies is that they don't have to be logical. They just have to have plausibility. If there's a visceral, cinematic thing happening that the audience likes, they don't care if it goes against what's likely. I don't think anything resembling The Terminator is really going to happen.
James Cameron on Rolling Stone's
Top 100 Agents of Change
Titanic director seeks to reinvent
special effects with his new Avatar
February 2009 - WHAT HE'S CHANGING: Twelve years after he revolutionized the possibilities of CGI to make Titanic, Cameron is finally returning with a new feature film Avatar — and this time, he's pushing the boundaries of what's possible with 3-D, making it truly immersive rather than just having characters throw pingpong balls at the audience.
FRIENDS SAY: "He's trying to present it as a game changer," said Iron Man director Jon Favreau. "It's the future."
KEY QUOTE: "One more layer of the suspension of of disbelief will be removed."
James Cameron To Direct Heavy Metal Segment
June 2009 - Film School Rejects hit the jackpot recently in their interview with “Teenage Mutant Ninja Turtles” co-creator Kevin Eastman who announced that James Cameron, Zack Snyder and Gore Verbinski would all be directing segments of the Davich Fincher-produced “Heavy Metal” which is a film adaption of the cult adult sexy sci-fi/fantasy comic series of the same name.
They also report that Mark Osborne, who directed “Kung Fu Panda” will team up again with Jack Black and also direct a segment of film. Other “Big Name” cast additions are rumored to be announced shortly. Just like many people have wondered out loud, we’re not sure if James Cameron’s style suits the sexual tone of “Heavy Metal”, but I guess we’ll find out.
James Cameron to Receive Star
on Hollywood Walk of Fame
June 2009 - A new group of entertainers in motion pictures, television, live theater, and recording have been selected to receive stars on the Hollywood Walk of Fame. These individuals were chosen from among hundreds of nominations to the committee at a meeting held June 15, and ratified by the Chamber's Board of Directors.
The Walk of Fame recipients for the year 2010 are: James Cameron, Russell Crowe, John Cusack, Colin Firth, Gale Anne Hurd, Alan Menken, Randy Newman, Adam Sandler,
Emma Thompson and Mark Wahlberg
Cameron #9 on Entertainment Weekly's Top 25 Greatest Active Film Directors
February 2009 - With the Oscars on our minds, we're counting down the most talented, in-demand filmmakers behind the camera today, a list including Zack Snyder, James Cameron, Guillermo del Toro -- and our No. 1. Here's what EW had to say about Cameron on their pick as the 9th best active director:
9. JAMES CAMERON
THE EVIDENCE: Aliens (1986), Terminator 2: Judgment Day (1991), Titanic (1997)
WHY HIM: He was ''the king of the world'' at making blockbuster action movies until he decided to switch gears and focus on aquatic documentaries for a decade. But now Cameron is poised to reclaim his populist throne with the upcoming Avatar, an immensely ambitious and expensive 3-D spectacle due out in December. - John Young
The Common Threads of
James Cameron's Movies
By William Bradley | Excerpt: huffingtonpost.com
December 24, 2009 - Is Avatar the future of cinema? Probably. There has to be something to draw people away from their computers and home entertainment centers, and with television series now generally at least as good as if not better than feature films, there are fewer reasons to drive to a theater.
But you'll never see anything at home like Avatar, which nonetheless holds common thematic threads going back to the beginning of the director's career. I've liked director James Cameron's films since The Terminator in 1984.
But I was distinctly under-wowed by the first clip I saw from Avatar. Of course, I was viewing it on the screen of one of my laptops. Fortunately, I realized that I was seeing only a fraction of what could be available in the highly-immersive, richly-detailed 3D world Cameron was devising. Which merely makes all the difference. What you've heard since the backlash subsided and Avatar came out last Friday (and swiftly emerged as a big hit) is true.
To the extent that one can be on the planet Pandora while sitting in a movie theater, you are there. At times, the sense of wonder was such that I felt like a 4-year old back in the boat at Disneyland's old Jungle River ride. Of course, even then I realized that that it was a ride and not real. And with what's dubbed "performance capture" technology (through which actual human performance is transformed into the "alien") -- and this piece is about themes, not techno-geekery -- the CGI characters come fully to life.
So yes, if movies have a future, which they should, Avatar represents the future of movies. Is it the greatest movie of all time? While it's one of a kind, the answer for me is clearly no. Which doesn't mean it's not terrific, for it most assuredly is. While the look and feel of Avatar is new, the rest of its substance is familiar. And by that I don't mean the now tired trope that it's Dances With Wolves in outer space.
'Fantastic' plans for James Cameron
Salerno to adapt remake of the 1966 sci-fi film
By Tatiana Siegel | Excerpt: variety.com
December 11, 2009 - As he eyes a return to outer space for “Avatar” sequels, James Cameron appears to be heading to inner space by putting “Fantastic Voyage” on the front burner.
20th Century Fox has tapped Shane Salerno (“Aliens vs. Predator: Requiem”) to adapt a remake of the 1966 sci-fi film, which will be produced by Cameron.
Although Cameron has never expressed interest in helming the pic — which centers on a dying scientist whose only chance for survival rests with five colleagues who are miniaturized and injected into his bloodstream — he would employ the same pricey 3-D and digital technology on “Fantastic” that was used in “Avatar,” insiders say.
In fact, Cameron and Jon Landau’s Lightstorm Entertainment will likely launch several pics for Fox in the coming years in an effort to amortize the millions invested in “Avatar’s” technology. “Fantastic” may soon be joined in the active development queue by a new pair of “Avatars.” Cameron talked up two potential sequels during a press conference before Thursday’s London premiere.
“When I pitched it to Fox, they said, ‘We’ve spent a lot of money creating all these assets, all these CG mountains, plants, trees, leaves, flowers, bugs’ — everything you saw up there on screen had been made by people at workstations over a period of years and so they have value,” said Cameron, who told the assembled U.K. media outlets that he has worked out the story for a second and third film.
James Cameron on his filmography
Cameron shares reflections on his films
Transcribed by AMZ
Total Film Magazine
October 5, 2009 - Total Film magazine (#159) has a feature on James Cameron that centers on his filmography and he gives detailed reflection on each of his films.
So I thought, 'I actualy can do this. I just fell in with a pack of thieves and wackos.' I also realized nobody would hire me after that experience. I'd have to create my own thing to direct again."
The Terminator: "I had many, many people trying to buy that script, but I wouldn't sell unless I went with it as the director. Initially, I didn't really want Arnold. I'll never forget telling my roommate, 'I've got to go have lunch with Conan and pick a fight with him.' That was my agenda: to get in an argument and come back and say he was an asshole. But he was so charming and so into the script. Even though he made me smoke a cigar that made me sick for six hours. Funny thing was he even had to pay for lunch, because I was this loser who didn't have any money.
Aliens: "Our intention was to do a film that was not scary but more intense and exhilarating. It turned out everybody but us thought the film could be made without Sigourney Weaver, which completely blew my mind. One of my biggest problems was coming up with a reason why she goes back. Soldiers from Vietnam re-enlisted because they had an inner demon to be exorcised - that was a good metaphor for her.
The Abyss: "I used to always dream about tidal waves. I don't know if it's a Jungian thing; I haven't researched it. Waves are rather good metaphors, which is probably why I was attracted to rewriting Point Break, even though I don't surf. In The Abyss, there was no monster. We were the monster. Audiences didn't like that. They wanted another duke-out between Sigourney Weaver and the queen Alien. And that's not what that movie ever was.
Terminator 2: Judgement Day: "In the first film, the Terminator's not really a character, he's the emodiment of the ultimate tidal wave. So the idea of this little guy who could kick Arnold's ass was fun. I wanted the effect of the T-1000 to look like a spoon going into hot fudge. The last 25 pages were written non-stop - we'd been up for 36 hours - and we shot the film in under 13 months. The first time I saw the film with an audience, the moment Arnold walks down the steps of the bar got the biggest reaction. I thought, 'Why are they reacting so strongly? Because they got it. He's back. Now we can do anything.'"
Avatar: "Avatar takes place in another world and you'll feel like you've been to that world. When you see a scene in 3D, that sense of reality is supercharged. But I made it my mission to keep the 3D out of the actor's consciousness completely. Most of them forgot we were shooting in 3D. Then every once in a while one of them would watch some dailies and come back wide-eyed. We're making a $200 million-plus movie and it's all about the journe of one guy, Jake. Sam Worthington's in every scene in the film, from beginning to end. It all hangs on that one piece of casting.
Cameron Goes Deep With 3-D "Sanctum"
By Mike Fleming | Excerpt: variety.com
August 2009 - After watching Columbia Pictures clean up with the Peter Jackson-produced "District 9" and Fox do the same with the Luc Besson-produced "Taken," what an interesting time for James Cameron to seek domestic distribution for "Sanctum," a $30 million budget action survival drama that will use the same cameras and 3-D technology that Cameron did for "Avatar."
Wayfare Entertainment has committed to finance the film for a late 2009 production start in Australia's Queensland/Gold Coast region. Alister Grierson (“Kokoda”) will direct a script written by Andrew Wight and John Garvin.
Wight, who helped Cameron road-test and hone his 3-D equipment and technology on documentaries like "Aliens of the Deep” and “Ghosts of the Abyss,” is the producer. Cameron is executive producer, along with Wayfare principals Ben Browning, Michael Maher and Peter Rawlinson. FilmNation’s Glen Basner is handling offshore sales. CAA, which put together the package for the filmmakers, will sell domestic.
FilmNation’s Aaron Ryder is co-producer. “Sanctum” is a fictional drama inspired by Wight’s own near-death experience, when he led an expedition of 15 divers miles into a remote underwater cave system below Australia’s Nullarbor Plain, and watched a freak storm collapse the cave entrance. It became a two-day battle to survive until all 15 were rescued, an ordeal captured in the 1989 docu “Nullarbor Dreaming.”
I09's 2009 Top 20 Science Fiction Power List
Cameron makes the list
By Annalee Newitz | Excerpt: io9.com
December 24, 2009 - With this list, we've tried to reflect as accurately as possible who the movers and shakers are in the worlds of science fiction - the people who can command a big budget, or get a creative project produced just by signing their name to it.
James Cameron: Whether you love or hate Avatar, there's no denying Cameron knows how to make science fiction into a rich, technically sophisticated storytelling genre. And he can command a budget of nearly $400 million, which is what many estimate Avatar cost.
James Cameron Gets Star on Walk of Fame
December 21, 2009 - Director James Cameron is honored with a star on Hollywood's Walk of Fame on the same day his sci-fi epic, 'Avatar,' hits theaters. "This only happens once and it really sort of means you have arrived," Cameron told ET at the event
Also pointing out that he is not in the entertainment business for the accolades, he really just enjoys making the films he makes. The Oscar-award winning director of 'Titanic,' and other notable films including 'The Abyss,' 'Aliens' and 'The Terminator,' was introduced by California Governor Arnold Schwarzenegger and Sigourney Weaver.
Awards for James Cameron
Director to be honored by Santa Barbara Film Festival, Visual Effects Society
November 13, 2009 - New York Women in Film and Television has announced the winners of this year's Muse Awards. It's already a busy awards season for helmer James Cameron, who will receive the Santa Barbara Film Festival's modern master award and the Visual Effects Society's lifetime achievement nod. Cameron will be feted at the historic Arlington Theater during the Santa Barbara fest, which runs Feb. 4-14. The VES Awards will be presented Feb. 28 at the Century Plaza Hotel.
With his Sci-Fi epic "Avatar," the famously volatile
director is trying to change the way movies are made
January 2010 - Forty years ago, the kind of kid Jim Cameron was, the jocks in high school just wouldn't leave him alone. This was in Chippawa, Ontario, not far from the roar of Niagara Falls. He was a science geek who once fashioned a diving bell out of a mayo jar and sent a mouse down to the bottom of a local creek. He'd take the bus to museums in Toronto and spend his time sketching Etruscan helmets and dinosaur bones.
He was lanky, and clumsy, and a terrible athlete, probably the worst wrestler in the entire school — "useless," a classmate recalls. So the jocks had it in for him. They'd wait for him at the top of stairs, bop the books out from under his arms, send them scattering. Or else they'd punch him in the gut, pow, just because. He didn't stick up for himself. He stood and took it. He was precisely the kind of shy suburban kid who grows up to take his revenge bloodily, with guns and knives.
Only he didn't go in that direction, not exactly. Instead, he became a major motion-picture director and earned a reputation as "the scariest man in Hollywood." In 1989, during the making of The Abyss, he ran his production in such a way that star Ed Harris burst into tears. On one shoot, crew members wore T-shirts that said "You Either Shoot It My Way Or You Do Another F***ing Movie."
James Cameron Makes AskMen.com's
Top 49 Most Influential Men of 2009
October 6, 2009 - No. 39 James Cameron: We’re reluctant to call anyone in Hollywood a genius, but James Cameron comes awfully close.
This critically acclaimed helmsman has been thrilling audiences since the mid-1980s, when he wrote and directed The Terminator and Aliens.
The two films resurrected the long-dormant sci-fi genre by infusing it with believable story lines, three-dimensional characters and, for the first time ever, ass-kicking heroines.
James Cameron looks to release
‘Terminator 2' in 3D
By Erik Buckman | Excerpt: reelloop.com
September 25, 2009 - On the heels of news that Cameron’s Titanic will be given the 3D treatment, we know that audiences may see another favorite from the past in the third dimension: Terminator 2: Judgment Day.
According to Lightstorm Entertainment, Cameron’s production company, a testing phase has already been completed on the film. Lightstorm partner Jon Landau, “We are certainly interested in exploring the opportunity to re-release some of Lightstorm’s past films in 3D, I don’t think it’s too far into the future."
Titanic in Digital 3-D Will Put
the Iceberg Right in Your Face
By Ethan Anderton
September 23, 2009 - By now you know that digital 3-D is the cool new kid on the block, and he's stealing all of 2-D's friends. They're going to go back and turn all your old favorite films into 3-D adventures and we can all have a piece of it for the price of an admission ticket.
Over at Cameron's production company, Lightstorm Entertainment, insiders are saying it will be less than a year before we see Titanic sink again in front of our eyes in digital 3-D.
Update on Cameron's Battle Angel
By Jim Dorey | Excerpt: marketsaw.com
September 15, 2009 - Jim Dorey of Marketaw.com has an update on Cameron's Battle Angel, the less heard project currently over-shadowed by Avatar.
Marketsaw reports that there is a possibility of Battle Angel "having some gladiatorial aspects of future sports and a wide social gap of the 'have and have nots.'
And further that Battle Angel will have many different looks (new faces, bodies, and outfits) as she evolves in the movie."
King of the World . . . Again
January 2010 - Reasonable people can debate the artistic merits of James Cameron's work. What's indisputable, however, is that the Avatar director's influence extends far beyond his movie credits.
Cameron is the most important commercial force in modern film, and his vision for the future of the movie business is rapidly demolishing anything that gets in its way.