Cameron comes calling

Zorianna Kit chats up James Cameron, producer of thriller Sanctum,
which has the cash counters ringing 

ONE year after his 3D adventure Avatar was ringing up movie ticket sales on its way to a global box office record of $2.8 billion, James Cameron is back in theatres with a new thriller, Sanctum.

The movie, which was produced by Cameron and directed by Alister Grierson, tells of a diving team that becomes trapped in underwater caves.

Shot in 3D, Sanctum hit theatres recently.

This film is based on an actual experience that Sanctum producer and co-writer Andrew Wight had in Australia. What about nature makes it at once terrifying and beautiful?

Like all his films, Cameronís latest film Sanctum, too, deals with the power of nature
Like all his films, Cameronís latest film Sanctum, too, deals with the power of nature 
Photo: Reuters

When you deal with the ocean or a cave, itís going to do what itís going to do, and it does not care if youíre there. You can get swatted like a fly. On the other hand, nature offers us incredible gifts, incredible beauty and incredible insights. Itís a give and take.

This film is a bit of a departure for you ó itís an independent thriller with no stars. Itís not one of your big-budget studio films or one of your many documentaries.

Thereís a list of things we have to tell people that Sanctum is not. Itís not a documentary. Itís not a monster movie in a cave. Thereís no supernatural component to this. Itís pure survival drama.

The environment itself is almost like a character.

Itís a labyrinthian environment that continues to evolve, sometimes constricting down to a very claustrophobic space and sometimes opening out to stadium-sized caverns. That variety, along with the unexpected, which comes around each corner, is part of what I think propels the movie.

Would it have a different effect if it was 2D?

Itís a diminishment of the full sensory experience. Movies have progressively moved towards a more sensually enriched experience ó first adding sound, then color, then going wide screen

Your last two films, Titanic and Avatar, both dealt with the power of nature. What do these films, including Sanctum, say about you?

I think filmmakers expose who they are through their films and this is really who I always was. As a kid, I was the head of the science club in my high school. Living in rural Canada, I spent all my time hiking around. I had to explore. I was very curious, restless and drawn by nature. To grow up in Niagara Falls, how can you not be impressed by the power and the awesome spectacle that nature can provide? These are the things that form you.

Whatís happening with the Avatar sequels?

Iím writing the scripts. We are developing the software and all the nuances to our performance capture system to take it to the next level. And weíre developing some new technology that needs to be in place by the end of this year.

Will the story still have an environmental slant?

The environmental themes and themes of indigenous rights will absolutely continue, but stay in balance with a good kick-ass action adventure. Weíll continue with the characters that survived the first movie. Weíll bring in new characters and new pictorial environments.

A year ago at this time, you were walking the award show red carpets for Avatar with long hair. Now youíre sporting a much shorter do. What prompted the change?

Globoscope: Worth a dekko
W
HATís in a name, said the Bard of Avon and gave the rose as a good reason but that was way before cinema and promos came along.

After Titanic, I got recognised by every third person walking down the street. It was a creepy feeling. I had this fantasy that if I let my hair grow really long, thatís the way everybody would see me at the Oscars. Then I could cut it and nobody would recognise me.

Do you get recognised now?

Not as much. Luckily with directors, you have your moment in the sun and then the memory fades away. Unlike actors, you get to go back to anonymity after a certain period of time. ó Reuters Life!





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