James Cameron has found his true love, and it is blue.
In an interview with The New York Times, the “Titanic” and “Aliens” filmmaker admits that a combination of his own non-filmmaking activities and his commitments to the “Avatar” franchise mean that he has essentially scrapped all plans to either develop or produce any other films outside of his documentaries and several “Avatar” sequels.
Asked about scripts he’s looking at or general areas of interest he might explore on film, he gave the following lengthy answer:
“I’ve divided my time over the last 16 years over deep ocean exploration and filmmaking. I’ve made two movies in 16 years, and I’ve done eight expeditions. Last year I basically completely disbanded my production company’s development arm. So I’m not interested in developing anything.
I’m in the “Avatar” business. Period. That’s it. I’m making “Avatar 2,” “Avatar 3,” maybe “Avatar 4,” and I’m not going to produce other people’s movies for them. I’m not interested in taking scripts. And that all sounds I suppose a little bit restricted, but the point is I think within the “Avatar” landscape I can say everything I need to say that I think needs to be said, in terms of the state of the world and what I think we need to be doing about it… and doing it in an entertaining way.
Anything I can’t say in that area, I want to say through documentaries, which I’m continuing. I’ve done five documentaries in the last 10 years, and I’ll hopefully do a lot more. In fact, I’m doing one right now, which is on this, the Deep Sea Challenge project that we just completed the first expedition. So that’ll be a film that’ll get made this year and come out first quarter of next year.”
While that news will deflate many a “Battle Angel Alita” fan, those who want to return to Pandora are definitely curious as to how the “Avatar” sequel is progressing. Cameron says things are still a long time off:
We’ve spent the last year and a half on software development and pipeline development. The virtual production methodology was extremely prototypical on the first film. As then, no one had ever done it before and we didn’t even know for two and half years into it and $100 million into it if it was going to work. So we just wanted to make our lives a whole lot easier so that we can spend a little more of our brainpower on creativity.
It was a very, very uphill battle on the first film. So we’ve been mostly working on the tool set, the production pipeline, setting up the new stages in Los Angeles, setting up the new visual effects pipeline in New Zealand, that sort of thing. And, by the way, writing. We haven’t gotten to the design stage yet. That’ll be the next.