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Well, for one thing, lots of money is riding on it.But so, to an extent, is James Cameron's stature as an unstoppable force in Hollywood.
To make the whole thing work, Worthington's performance, those subtle expressions that sell a character to the audience, had to come through the face of his 's face was not only lifeless, it was downright creepy. (Think of the penguins in of a blue, cat-eyed human–alien hybrid so important?The film—although "film" seems to be an anachronistic term for such a digitally intense production—takes place on a moon called Pandora, which circles a distant planet.Jake Sully, a former Marine paralyzed from the waist down during battle on Earth, has traveled to this lush, green world teeming with exotic, bioluminescent life to take part in the military's program."You have to eat pressure for breakfast if you are going to do this job," Cameron says. It makes you think about what you're doing, your audience.You're not making a personal statement, like a novel.He dreams almost impossibly big, and then invents ways to bring those dreams into reality.
The technology of moviemaking is a personal mission to him, inextricably linked with the art.
The human settlers are interested in mining Pandora's resources but can't breathe its toxic atmosphere, so to help explore the moon and meet with the native Na'vi who live there, Sully has his consciousness linked with a genetically engineered 9-foot-tall human–alien hybrid.
Cameron wrote his first treatment for the movie in 1995 with the intention of pushing the boundaries of what was possible with cinematic digital effects.
Cameron's studio partner, Twentieth Century Fox, had already committed to a budget of $200 million (the final cost is reportedly closer to $300 million) on what promised to be the most technologically advanced work of cinema ever undertaken.
But as Cameron looked into his computer monitor, he knew something had gone terribly wrong.
I started off imagining not that I would be a director, but a special-effects practitioner." Unable to afford to go to film school in Los Angeles, Cameron supported himself as a truck driver and studied visual effects on weekends at the University of Southern California library, photocopying dissertations on optical printing and the sensitometry of film stocks. "I gave myself a great course on film FX for the cost of the copying."Cameron eventually landed a job on the effects crew of Roger Corman's low-budget 1980 film , but he didn't tell anyone that he was an autodidact with no practical experience.