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Behind The Scenes Interesting

20 Things about Terminator 2

It is 20 years since Terminator 2: Judgment Day opened in US cinemas, so to celebrate here are 20 facts about the film you may not know.

1. It is technically an independent film
The first Terminator was made outside the studio system, as it was funded by Hemdale Pictures and distributed by Orion. Although the original film was a box office hit in 1984, the sequel was held up by various legal issues which were only resolved when Carolco stepped in to purchase the rights. Run by Mario Kassar and Andrew Vajna, the company had become very successful in the 1980s on the back of the Rambo franchise – First Blood (1982) and Rambo: First Blood Part II (1984) – the latter of which Cameron co-wrote. So, although a big budget spectacular, it was independently financed outside the studio system.

2. James Cameron had previously sold his rights to the franchise for $1
Although he created the iconic character and story, Cameron sold his stake in any future sequels for the nominal sum of $1 before the first film was even made. His reasoning was that this was the only way he would be allowed to direct his first feature film. As it established his career, he later said that was the price of a ‘Hollywood education’. In 2009 he told the Toronto Sun :

“I wish I hadn’t sold the rights for one dollar. If I had a little time machine and I could only send back something the length of a tweet, it’d be – ‘Don’t sell.’

Although he was paid a reported $6m to write and direct T2, he has never seen any money from any of the subsequent films, TV shows or merchandising.

3. The film has a strange connection with the Rodney King incident
The biker bar scene where the T800 arrives was filmed just across the road from where LAPD officers assaulted Rodney King in March 1991. The famous amateur video, shot by George Holliday, is reputed to have two bits of footage on it. One is the T2 crew filming shots of Schwarzenegger and Furlong on a motorbike in the San Fernando Valley and the other – shot later – is of several police officers beating the crap out of King.

The resulting trial of the officers and their controversial acquittal triggered the LA riots of April 1992.

The irony is that the villain of T2 is a cop. When writing the script several months before filming, Cameron wrestled with what form the T-1000 would settle on and in Rebecca Keegan’s biography ‘The Futurist’ explained why he chose a police officer:

“The Terminator films are not really about the human race getting killed off by future machines. They’re about us losing touch with our own humanity and becoming machines, which allows us to kill and brutalise each other. Cops think of all non-cops as less than they are, stupid, weak and evil. They dehumanise the people they are sworn to protect and desensitise themselves in order to do that job.”

4. The groundbreaking visuals involved the first version of Photoshop
Dennis Muren of ILM was in charge of the 35 CGI artists who achieved the ground breaking visual effects of T2. Using techniques that had been pioneered in The Abyss (1987) and Willow (1988), the breakthrough came with a new piece of software that was the first version of Photoshop.

John Knoll of ILM and his brother Thomas Knoll (a PhD student at the University of Michigan) had developed the program, and like the chip in the movie which takes Cyberdyne in new directions, it allowed them to create the remarkable liquid effects in the pseudopod sequence in The Abyss (the first film ever to use Photoshop) and the morphing transitions in Ron Howard’s Willow (where humans turn in to animals).

For Terminator 2 Cameron decided to go much further and have a major character which was heavily reliant on the emerging digital tools. ILM created a version of what would become the scene where a silvery T-1000 walks out of the fiery wreckage of a burning truck.

Cameron was impressed and the visual effects budget ended up being $6m (a huge sum at the time), but it raised the bar for the entire industry. Muren and ILM would build on their work by creating the dinosaurs for Jurassic Park (1993) – if you look closely at the scene where Cyberdyne Systems is introduced you can spot an inflatable dinosaur hanging from the ceiling.

5. Billy Idol was the original choice for the T-1000
Hemdale had wanted O.J. Simpson to play the Terminator in the original film and T2 had its own strange moment of casting when Billy Idol was considered for the role of the T-1000. Cameron even featured the rocker in early concept drawings for the character but after he got injured in a motorcycle accident Idol was replaced by Robert Patrick.

6. English censors had major problems with two scenes
The BBFC objected to the scene in the psychiatric hospital where Sarah Connor picks a lock with a paper-clip, as they felt it was too realistic and might encourage people to copy it. They also had issues with the shoot out at Cyberdyne Systems where the T-800 shoots several SWAT team members in the leg as it resembled the old IRA practice where paramilitaries shot victims through their kneecaps.

7. Two sets of twins were used in the film
Two scenes utilised a pair of identical twins to create the illusion of the T-1000 in disguise as another character. Don and Dan Stanton (who had previously been in Good Morning Vietnam) played the hospital security guard who gets caught out at the coffee machine. Linda Hamilton’s twin sister was used as a double in the climactic fight and another (deleted) scene involving a mirror.

8. It was the most expensive film ever made
At a budget of $102m it was, at the time, the most expensive film ever made. But, like the Rambo movies, it was funded by pre-sales to foreign distributors. With Schwarzenegger and Cameron now much more bankable figures at the box office, Carolco not only raised the budget easily but had even made a profit before the film was released. Cameron’s future films Titanic (1997) and Avatar (2009) would also become the most expensive made up to that point, as well as the most successful.

9. Cameron also produced Point Break whilst preparing T2
During the preparation for T2, Cameron also served as producer on Kathryn Bigelow’s Point Break. Cameron had married Bigelow in 1989 and had also directed her in a music video (‘Reach’ by Martini Ranch), where she played the leader of a cowgirl gang.

Point Break was originally known as Johnny Utah and Bigelow was determined to cast Keanu Reeves in the lead role, which puzzled Cameron as the actor was best known for the Bill and Ted movies. The film would open the week after T2 in July 1991 and was a box office success which established Reeves as an action star.

10. Arnold Schwarzenegger was initially disappointed with his ‘good’ character
Cameron completed the script in a marathon 36 hour writing session in May 1990, just before flying to the Cannes film festival where Carolco officially announced it. When Cameron first told him of the idea that the T-800 would kill anyone, Arnold Schwarzenegger was a little concerned that the Terminator would not actually terminate anyone.

11. Part of Robert Patrick’s anatomy had to be digitally removed from one scene
For the scene where the naked T-1000 arrives and steals the cops clothes, the effects team had to digitally remove a sensitive part of Robert Patrick’s anatomy. But on video versions of the film it partially showed up, prompting Cameron to later joke that he wanted his money back for the “digital willy removal”.

12. Linda Hamilton became deaf in one ear during filming
In the elevator sequence where Sarah Connor escapes from the hospital with John and the T-800, Hamilton went for a bathroom break and forgot to put her ear plugs back in. When Schwarzenegger fired his shotgun at the T-1000 above right by her, it resulted in serious hearing loss in one ear.

13. Practical make-up was blended with the CGI
The visual effects by ILM were skilfully blended with practical special effects and make-up from Stan Winston’s studio which involved the deteriorating face and body of the T-800 and the changes in the T-1000 as it got shot and physically distorted.

14. The sounds of the film were a lot cheaper than the visuals
The sound of the T1000 morphing was achieved in a number of cost-effective ways. When it moves through the bars at the psychiatric hospital, we are hearing the sound of a can of dog food being emptied. Another foley effect was achieved by dipping a condom-covered microphone into a mixture of flour and water and then shooting compressed air into it.

15. The freeway chase involved some highly dangerous stunt work
Cameron shot the helicopter chase on the freeway himself as his Steadicam operator felt it was too risky. If you look closely you’ll see an actual chopper fly under the freeway overpass and in a later shot just clear a bridge. Cameron implicitly trusted his helicopter pilot, but also admitted that a stunt involving the T800 jumping on to a moving truck was “really dangerous” and that he wouldn’t have done it in later films.

16. The ending was changed late on
The original ending saw an older Sarah Connor look at her son John playing with his daughter in a peaceful future scenario but was cut after a test screening at Skywalker Ranch. Carolco felt it would ruin any future sequels and Cameron relented with a rewrite just one month before the film’s release, using road footage from the scene just before the attack on Cyberdyne Systems. The first ending can be seen in later special editions of the film.

17. It was the highest grossing film of 1991 and won 4 Oscars
When it eventually did open on July 4th weekend in 1991, it opened in 2,274 cinemas and half of all tickets sold in America were for T2. It earned $54 million during that weekend and would eventually gross $204 million in the United States and $519 million worldwide. 

At the 64th Academy Awards it won Oscars for Best Sound, Best Make Up, Best Visual Effects and Best Sound Editing. It was nominated for Best Cinematography and Film Editing.

18. Despite the huge success of T2 Carolco later went bankrupt
Although Carolco made had major hits such as T2 and Basic Instinct (1992), the company played a risky game in the early 1990s. As their budgets grew, they needed to have hit after hit to sustain their growing costs. Whilst major studios had the protection of a larger corporate owner, Carolco eventually came to grief with the disastrous releases of Cutthroat Island and Showgirls in 1995. Both were costly flops and the company filed for bankruptcy, with most of their assets being purchased for $50 million. Mario Kassar and Andrew Vajna later created C2 Pictures which produced Terminator 3 in 2003.

19. It got a timely DVD release in August 1997
T2 has been released by several different companies on VHS, Laserdisc, DVD and Blu-ray. In 1993, the Special Edition cut of the film was released to Laserdisc and VHS, containing 17 minutes of never-before-seen footage including a dream sequence featuring Kyle Reese (Michael Biehn, a scene where John Connor prevents Sarah from destroying the Terminator and the original epilogue of an elderly Sarah in the future.

The subsequent “Ultimate Edition” and “Extreme Edition” releases also contain this version of the film. When it was first released on DVD as a single disc in August 1997 – the same month as the original ‘judgement day’ in the film.

20. Skynet went live around the same time as Google
In the film we learn that Skynet goes live on August 29th 1997, whilst in real life the domain name for Google was registered on September 15th 1997. Coincidence? 😉

> Buy Rebecca Keegan’s biography of James Cameron The Futurist at Amazon UK
> Find out more about T2 at Wikipedia and IMDb

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News Technology Thoughts

The End of the Cinema Experience?

Last week some major questions about the cinema experience were raised at Cinema Con, the annual convention of American theater owners in Las Vegas.

Previously known as ShoWest, the convention has been relaunched and gathers the National Association of Theatre Owners, who represent over 30,000 movie screens in the US and additional cinema chains from around the world.

Studios go there to preview their big summer blockbusters and get exhibitors excited for upcoming titles like Super 8 and Real Steel.

It is an important place to spot industry trends this year two of the big ones were: higher frame rates and a controversial video on demand scheme backed by four of the major studios.

HIGHER FRAME-RATES

One of the fundamentals of cinema is that films are shown at 24 frames per second, as light is projected through a print on to a screen.

Even with the rise of digital projection systems, this has essentially stayed the same as audiences have got used to this particular look.

One major panel at Cinema Con saw James Cameron, George Lucas and Jeffrey Katzenberg discuss higher framerates for how films are projected.

Cameron was advocating that films in cinemas should be projected at 48 fps or 60fps and that the current generation of digital projectors could easily adopt this with a software upgrade.

But what would films screened at higher frame rates actually look like?

Visual effects maestro Douglas Trumbull has long been advocating higher frame rates with his Showscan cinematic process.

After his pioneering work on films such as 2001: A Space Odyssey (1968), Close Encounters of the Third Kind (1977) and Blade Runner (1982), Trumbull came up with the idea for projecting higher quality images at 60fps on bigger cinema screens.

This NBC news clip in 1984 shows Trumbull promoting Showscan:

For various reasons, it never took off even though in 1993, Trumbull, Geoffrey Williamson, Robert Auguste and Edmund DiGiulio were awarded a Scientific and Engineering Academy Award for devloping the system.

Trumbull persisted with a digital version of Showscan, which he thinks has a place in modern cinemas and can improve regular movies as well as those shot on 3D.

In this 2010 video, Trumbull demonstrates Showscan Digital:

Back at CinemaCon, Cameron indicated that he plans to shoot his upcoming Avatar sequels using a technique similar to Showscan.

He unveiled a series of basic scenes shot by Russell Carpenter (his DP on True Lies and Titanic) which involved a medieval set.

They included a lot of camera movements such as pans and sweeps that often cause “strobing” or the appearance of flicker.

The scenes involved included a banquet and a sword fight and part of the presentation was to compare them at different framerates: 24, 48 and 60, as well as 3D.

He spoke earlier this year of his desire for higher frame rates in a talk with former Google CEO Eric Schmidt:

Part of the argument against higher frame rates is that 24fps is the established look of film and to mess with it is unwise and will make films look weird.

It could also be argued that it would tend to benefit the action spectaculars Cameron specialises in.

But given how much money the director has generated for cinema owners with Terminator 2 (1991), Titanic (1997) and Avatar (2009), the audience would have given serious consideration to his idea.

As studios struggle to deal with declining DVD profits and cinema owners struggle to adapt to shifting audience expectations, it is a development worth watching over the next couple of years.

But that wasn’t the biggest news story to come out of Cinema Con as four of the major studios dropped a major bombshell regarding how films are distributed.

VIDEO ON DEMAND or STUDIOS vs EXHIBITORS

One of the hot topics for the film industry that has been smouldering for a number of years is the issue of the release window.

Since the advent of home video in the early 1980s, there was an established pattern of release for a movie which allowed it to be screened first at cinemas, then on video a few months later and eventually on TV platforms.

Each stage made money for the studios and it was important that one didn’t cannibalise the other.

But over the years the window has gradually shortened to the point that films hit DVD and Blu-ray around 3 months after they have opened in cinemas.

There is a now a growing movement of people that feel the release window is outdated and that audiences should be able to legally access films via download or pay-per-view at the same time as they are released in cinemas.

Obviously, the exhibitors are dead against this.

Not only would it potentially cut into their profits but could be the beginning of a slippery slope where the cinema experience would be badly damaged, perhaps fatally.

So when the news broke during CinemaCon that four of the major studios (Warner Bros., Fox, Sony and Universal) had signed up to a premium VOD service with satellite company DirectTV, it was a major slap in the face to exhibitors.

The details are that DirecTV will allow users to stream titles to their home from April, beginning with titles such as Unknown (the Liam Neeson thriller which came out in the US on February 18th) and Just Go With It (the Adam Sandler comedy which had a February 11th release in the US).

Wide theatrical releases will become available on this service just 60 days after they open at cinemas, at a cost of $30.

This means that the window of release has been shortened even further and NATO (National Association of Theater Owners) issued a swift statement, expressing “surprise and strong disappointment” at the move.

Firstly, they were pissed at the basic idea:

On March 30, it was reported that Warner Bros., Fox, Sony and Universal planned to release a certain number of their films to the home 60 days after their theatrical release in “premium” Video on Demand at a price point of $30. On behalf of its members, the National Association of Theater Owners (NATO) expresses our surprise and strong disappointment.

Then there was the timing (although I guess the studios plan was to ruffle feathers and get attention):

Theater operators were not consulted or informed of the substance, details or timing of this announcement. It’s particularly disappointing to confront this issue today, while we are celebrating our industry partnerships at our annual convention – CinemaCon – in Las Vegas. NATO has repeatedly, publicly and privately, raised concerns and questions about the wisdom of shortening the theatrical release window to address the studios’ difficulties in the home market.

Then there was the risks of ‘early-to-the-home VoD’:

We have pointed out the strength of theatrical exhibition — revenues have grown in four of the last five years — and that early-to-the-home VoD will import the problems of the home entertainment market into the theatrical market without fixing those problems. The studios have not managed to maintain a price point in the home market and we expect that they will be unable to do so with early VoD. They risk accelerating the already intense need to maximize revenues on every screen opening weekend and driving out films that need time to develop—like many of the recent Academy Award-nominated pictures.

Piracy also got a mention:

They risk exacerbating the scourge of movie theft by delivering a pristine, high definition, digital copy to pirates months earlier than they had previously been available.

Interestingly, Paramount is mentioned as being a hold out. (Could this be because Viacom boss Sumner Redstone has a background in movie exhibition?):

Paramount has explicitly cited piracy as a reason they will not pursue early VoD. Further, they risk damaging theatrical revenues without actually delivering what the home consumer seems to want, which is flexibility, portability and a low price.

Then the big guns really came out:

These plans fundamentally alter the economic relationship between exhibitors, filmmakers and producers, and the studios taking part in this misguided venture. We would expect cinema owners to respond to such a fundamental change and to reevaluate all aspects of their relationships with these four studios. As NATO’s Executive Board noted in their open letter of June 16, 2010, the length of a movie’s release window is an important economic consideration for theater owners in whether, how widely and under what terms they book a film.

Additionally, cinema owners devote countless hours of screen time each year to trailers promoting the movies that will play on their screens. With those trailers now arguably promoting movies that will appear shortly in the home market to the detriment of theater admissions, we can expect theater owners to calculate just how much that valuable screen time is worth to their bottom lines and to the studios that have collapsed the release window. The same consideration will no doubt be given to the acres of wall and floor space devoted to posters and standees.

And to finish there was what appeared to be a thinly veiled threat:

In the end, the entire motion picture community will have a say in how the industry moves forward. These studios have made their decision in what they no doubt perceive to be their best interests. Theater owners will do the same.

The above words could be read as: “You want to put Liam Neeson thrillers and Adam Sandler comedies on to VOD? Fine, we just won’t show them”.

Exhibitors still have this powerful weapon.

If they choose not to promote or even screen films, then that would almost certainly turn an expensively assembled theatrical release into a straight-to-DVD leper.

Earlier this year, the UK’s three big cinema chains – Odeon, Vue and Cineworld – threatened to boycott Alice in Wonderland in protest against Disney’s plan to shorten the theatrical run by bringing forward the DVD release date.

Eventually, agreements were reached but it highlighted the fact that big studios also have a powerful bargaining chip: they have the hit films cinemas need in order to survive.

But is it conceivable that in the future they could make a major film available on home platforms and bypass cinemas?

It would appear that established filmmakers are on the side of the cinemas.

During a Warner Bros presentation for The Hangover Part II, director Todd Phillips got wild applause for pledging his support for exhibitors.

Even futurists like Cameron and Lucas are still big believers in the theatrical experience.

But if you are on the studio side advocating the VOD argument, you might think that this is a bridge that should be crossed sooner rather than later.

The costs of digital distribution are lower and VOD potentially reaches the audiences who can’t make it to a cinema.

With lower-budget films dependent of word of mouth such as 127 Hours or Win Win, a studio like Fox Searchlight might argue that a mixed model of theatrical and VOD might benefit those films, as they would get more people watching and paying for them than is currently the case.

Strangely, it could be the more specialised films with lower marketing budgets that benefit more from the current plans.

But there are also those arguing that folding the release window is a suicidal move that would kill profits.

Former Twentieth Century Fox chief Bill Mechanic said to Bloomberg:

Every time [a film] plays the studios are earning back more money. If you eliminate all that to one window, it is completely destructive to the overall film business. This is myopic …very short-sighted and a very bad idea.

An anonymous columnist posted on The Wrap warning of a cinema apocalypse:

Film studios seem determined to kill the movie business completely. After putting video stores out of business by authorizing Redbox to rent videos for $1 per day from what amounts to a Coke machine, now they want to put movie theaters in a coma by authorizing a new at-home video-on-demand release during what has until now been the exclusive first-run theater window. As for the impact on theatrical attendance, I believe it will be devastating. However, among studio execs the best case quoted to me was a 10 percent drop in attendance with the executives insisting that, “Some theaters will close, others will raise prices … it’s all good.” The reality is that a 10 percent drop in total attendance, across the board and permanent, will cause 2/3 of all the theaters in the U.S. to close their doors and never open again.

Perhaps the uncomfortable truth is that there is a larger cultural change going on.

Although large numbers of the general public enjoy going to the cinema, the pace of technological change in devices (TVs, computers) and the distribution of films has made a key section of the audience impatient as to what, when and where the see something.

Major studios can gauge this and are willing to burn bridges with exhibitors in order to satisfy this demand and reduce their distribution costs.

I don’t think anyone film fan wants to see the theatrical experience go away, as it remains the best way to experience the medium.

But this move by the big studios makes it feel like major changes are just over the horizon.

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DVD & Blu-ray Reviews

Blu-ray: Avatar Extended Collector’s Edition

James Cameron’s sci-fi blockbuster finally gets the special edition treatment with the Avatar: Collector’s Extended Edition (20th Century Fox Home Entertainment) after a barebones release back in the Spring.

In case you didn’t catch what is now the most financially successful film in history at cinemas, the story involves an ex-Marine (Sam Worthington) who to an exotic alien planet where is caught between a battle between the natives and the human colonists.

The image quality of the original Blu-ray transfer was stunning. Even without the 3D aspect, which helped bump up ticket sales in cinemas, the quality of the visuals is exemplary with the live action and visual effects shots integrating wonderfully.

With this extended edition the major selling point is that this package contains three different cuts: the original theatrical release, the special edition re-release, and the exclusive extended cut not shown in theaters.

Added to this are around eight hours of bonus features that exhaustively detail the production of the film.

The three discs break down as follows:

Disc 1: Three Movie Versions

  • Original Theatrical Edition (includes family audio track with objectionable language removed)
  • Special Edition Re-Release (includes family audio track with objectionable language removed)
  • Collector’s Extended Cut with 16 additional minutes, including alternate opening on earth

Disc 2: Filmmaker’s Journey

  • Over 45 minutes of never-before-seen deleted scenes
  • Screen tests, on-set footage, and visual-effects reels
  • Capturing Avatar: Feature-length documentary covering the 16-year filmmakers’ journey, including interviews with James Cameron, Jon Landau, cast and crew
  • A Message from Pandora: James Cameron’s visit to the Amazon rainforest
  • The 2006 art reel: Original pitch of the Avatar vision
  • Brother termite test: Original motion capture test
  • The ILM prototype: Visual effects reel
  • Screen tests: Sam Worthington, Zoë Saldana
  • Zoë’s life cast: Makeup session footage
  • On-set footage as live-action filming begins
  • VFX progressions
  • Crew film: The Volume

Disc 3: Pandora’s Box

  • Interactive scene deconstruction: Explore the stages of production of 17 different scenes through three viewing modes: capture level, template level, and final level with picture-in-picture reference
  • Production featurettes: Sculpting Avatar, Creating the Banshee, Creating the Thanator, The AMP Suit, Flying Vehicles, Na’vi Costumes, Speaking Na’vi, Pandora Flora, Stunts, Performance Capture, Virtual Camera, The 3D Fusion Camera, The Simul-Cam, Editing Avatar, Scoring Avatar, Sound Design, The Haka: The Spirit of New Zealand
  • Avatar original script
  • Avatar screenplay by James Cameron
  • Pandorapedia: Comprehensive guide to Pandora
  • Lyrics from five songs by James Cameron
  • The art of Avatar: Over 1,850 images in 16 themed galleries (The World of Pandora, The Creatures, Pandora Flora, Pandora Bioluminescence, The Na’vi, The Avatars, Maquettes, Na’vi Weapons, Na’vi Props, Na’vi Musical Instruments, RDA Designs, Flying Vehicles, AMP Suit, Human Weapons, Land Vehicles, One-Sheet Concepts)
  • BD-Live extras (requires BD-Live-enabled player and Internet connection–may be available a limited-time only): Crew Short: The Night Before Avatar; additional screen tests, including Stephen Lang, Giovanni Ribisi, Joel David Moore, CCH Pounder, and Laz Alonso; speaking Na’vi rehearsal footage; Weta Workshop: walk-and-talk presentation

Avatar Collector’s Extended Edition is out today from 20th Century Fox Home Entertainment

> Buy it on Blu-ray or DVD from Amazon UK
> IMDb entry

Categories
News

James Cameron vs Glenn Beck

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Director James Cameron had some strong words for Fox News host Glenn Beck yesterday calling him a “fu**ing a**hole” and a “madman”.

At a press event for the home entertainment launch of Avatar in Los Angeles on Tuesday, Cameron let rip when asked about Beck:

“Glenn Beck is a f***ing a**hole. I’ve met him. He called me the anti-Christ, and not about Avatar. He hadn’t even seen Avatar yet. I don’t know if he has seen it.”

The Hollywood Reporter has noted that Cameron’s beef with Beck goes back to 2007 when the talk show host was working for CNN and criticised the Cameron-produced documentary ‘The Lost Tomb of Jesus‘ by saying:

“Many people believe James Cameron officially has tossed his hat in the ring today and is officially running for anti-Christ.”

Cameron was less than thrilled with Beck’s comments:

“He’s dangerous because his ideas are poisonous. I couldn’t believe when he was on CNN. I thought, what happened to CNN? Who is this guy? Who is this madman? And then of course he wound up on Fox News, which is where he belongs, I guess.”

He later backtracked a little saying:

“You know what, he may or may not be an a**hole, but he certainly is dangerous, and I’d love to have a dialogue with him.”

Interestingly, both men have made a lot of money for Rupert Murdoch as Avatar was mostly funded and released by 20th Century Fox whilst Beck is one of the stars of Fox News.

In the same session Cameron also attacked climate change deniers:

“Anybody that is a global warming denier at this point in time has got their head so deeply up their ass I’m not sure they could hear me.”

The environmental themes of Avatar are forming a big part of its home video release, a point which Cameron was keen to emphasise:

“Look, at this point I’m less interested in making money for the movie and more interested in saving the world that my children are going to inhabit. How about that? I mean, look, I didn’t make this movie with these strong environmental anti-war themes in it to make friends on the right, you know.”

The DVD and Blu-ray release date for Avatar is April 22nd, which is also Earth Day.

> Avatar at the IMDb
> Find out more about James Cameron and Glenn Beck at Wikipedia
> Pre-order the Avatar Blu-ray or DVD from Amazon UK

Categories
Interesting

James Cameron at the NRDC Event

An interesting and lengthy interview with James Cameron for a special online edition of KCRW’s The Treatment, recorded live at a benefit for the Natural Resources Defense Council.

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