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sequel will dive into the oceans of Pandora PD: Will we see an theatrical re release pandora buy online australia this summer? JC: We're working on finishing an additional six minutes of the film which includes a lot of Weta work for a theatrical re release in August.

We were sold out of our Imax performances right up to the moment until they were contractually obligated to switch to "Alice in Wonderland," so we know we left money on the table there. And the 3 D really helped "Avatar" right up until the moment that it hurt it. And it hurt it at the moment "Alice" and then "How to Train Your Dragon" and "Clash of the Titans" came in and sucked up all the 3 D screens. We went from declining 8% a week to declining 50%. Clearly, it wasn't market forces directly; it was the availability of theaters. So we're going to wait until there's a time to come back in, inject the new footage into the mix and see if we can interest people in the "Avatar" experience in theaters. It'll be interesting because it'll be on DVD by then, but I think "Avatar" is kind of a unique category where people are enjoying the unique theatrical experience even though they may have seen it on the small screen. They want to have that immersive, transportive experience. "2001: A Space Odyssey" played for three years at the Loews cinema in Toronto. I remember that. It just kept playing. People wanted to return to that experience. That may not be the best example because I think "2001" took 25 years to break even. PD: What goes through your mind when you hear that officials in China changed the name of a peak in Zhangjiajie peak to Avatar Hallelujah Mountains or that Palestinian protesters are dressing as Na'vi? JC: I think it's really interesting that these people see their reality reflected in the movie. And of course this is what's caused all of these [environmental] groups to come to us and say, "Can you help can you order pandora jewelry online us? Can we do fundraising? Can you help with awareness? Can pandora jewelry dealers we associate our website? Can we link to 'Avatar All of these things. Right now, my challenge is to orchestrate this in a way that "Avatar" can continue to do pandora charms for sale some good. The next step is people need to know what to do what do I specifically do in my life next so that I don't feel helpless and powerless. PD: Does it change your outlook as a creator of entertainment? JC: Well, I think it makes certain projects that I liked as potential films seem trivial by comparison. I think it makes the idea of making another "Avatar" film more attractive. Because not only is it good business, but it's good for the environment. I think every model we should use in evaluating any environmental project moving forward should be: Is it good business and is it good for the environment? Because there's this idea promoted by the right and by special interest groups that you have to choose. In fact, as a sustainable vision for a healthy economy has to involve changing our energy policy and changing with respect to the natural world. Because we're hitting nature's thresholds, we're hitting nature's limits with respect to water and crop yields and energy use and fossil fuels heating the atmosphere at the same time we're past global peak and running out of that. So we've got to change anyway. The people embracing the change earliest are the ones facing the most vigorous economies in 10, 20 years. The nation that leads in renewable energy will be the nation that leads the world 10, 20 years from now. And right now, based on current trends, that's going to be China. We're not in any way competing with China in terms of renewable energy. That's where it shows the proof that you have to choose between economy or energy. China has clearly chosen economy at the expense of everything else with 8% GDP growth a year as a mantra and yet 60% of the solar panels in the world are made in China. They are the most aggressive leaders in the renewable energy sector. So clearly those two are going hand in hand. PD: Is your interest movingfrom cinema towardpublic policy? JC:Not specifically. Look, I'm an artist. I'm just going to be a big mouth and blather my opinions around, as artists are wont to do. That's fine. In the particular case of "Avatar," I found there's a call to action and a sense of duty that's emerged from it. It wasn't my intention going into [the film] to do that. I figured I'd be on vacation right now. I figured I'd make my big statement with the movie and let everyone else sort out what to do. Turns out there aren't that many people figuring out what to do. The leaders have been scared off, people of conscience in our leadership in Washington have been scared off by the right and the fossil fuel lobbies. They won't even use the term or change in an energy bill, which is ludicrous on its face. It completely ignores the elephant in the room that we're all dealing with. The average American doesn't even believe climate change is real, they think it's all a hoax. Two years ago, 50% of Americans thought climate change was real and thought it was human caused. Now we're down to a third. That's the work of a very well funded campaign to create a climate of denial in the media. You've got to work against that. Here's my philosophy in life: If there's a fire, you put it out. If there's a flood, you fill sandbags and you build a dike. You roll up your sleeves and you get to work. I think we're facing that kind of crisis and I'm not going to stand around and leave it to someone else to deal with it. I tried [being a mogul]. It bores me. I don't really want to produce other people's movies. Because they're either grown up filmmakers like Steven Soderbergh or Kathryn Bigelow that didn't really need me and I've produced both of them. It's fun to sit around with them and be collegial, but they don't need me. They can make the film without me. Or it's a new filmmaker starting out and I've got to hold their hand and lead them through the whole thing. I don't get anything out of it in either one of those configurations. I don't get anything out of putting my name on a movie as producer. It doesn't do anything for me. I make my own stuff. There are tons and tons of other things I'm interested in that have nothing to do with movies or are documentary projects. So I pick my feature film battles very carefully. They're going to be personal and they're going to take a lot of my energy. I'm not going to be some big production company and be Jerry Bruckheimer or something like that. It doesn't interest me. PD: When you embark on your next film project, do you know what the challenge will be? Something on par with filming underwater for "The Abyss" or perfecting the performance capture technology in "Avatar"? JC: Well you've already defined what the challenge will be on the next "Avatar" picture, which is to do what we did before at half the price and in half the time. Again, that's an impossible goal, we won't accomplish that, but if we can reduce by 25% in both categories, we'll have really accomplished something. We know our methodology works. We also know it took two years to come up with. It didn't even become efficient until the last two months of the production. So we were four years into a project before we had this machine running smoothly. So we take a snapshot of that moment in our production and say that's what we look like on Day 1, we're going to do better. Now, none of that has anything to do with coming up with a great story or great characters or great new settings and so on. That all is a given. That's not to say that it's done yet, it's a given that we have to do that. But for me, the technical challenge is in improving the process having proved that it works. We created a broad canvas for the environment of film. That's not just on Pandora, but throughout the Alpha Centauri AB system. And we expand out across that system and incorporate more into the story not necessarily in the second film, but more toward a third film. I've already announced this, so I might as well say it: Part of my focus in the second film is in creating a different environment a different setting within Pandora. And I'm going to be focusing on the ocean on Pandora, which will be equally rich and diverse and crazy and imaginative, but it just won't be a rain forest. I'm not saying we won't see what we've already seen; we'll see more of that as well. PD:Are you still an avid science fiction reader? JC:No, not so much an avid science fiction reader anymore. I probably spend more time writing than reading science fiction. I find that science fiction literature is so reactive to all the literature that's gone before that it's sort of like a fractal. It's gone to a level of detail that the average person could not possibly follow unless you're a fan. It iterates upon many prior generations of iterations. The literature now is so opaque to the average person that you couldn't take a science fiction short story that's published now and turn it into a movie. There'd be way too much ground work you'd have to lay. It's OK to have detail and density, but if you rely on being a lifelong science fiction fan to understand what the story is about, then it's not going to translate to a broader audience. Actually, literary science fiction is a very, very narrow band of the publishing business. I love science fiction in more of a pop culture sense. And by the way, the line between science fiction and reality has blurred a lot in my life doing deep ocean expeditions and working on actual space projects and so on. So I tend to be more fascinated by the reality of the science fiction world in which we live. I read real science voraciously. I read science magazines. Lay science magazines. I don't read science papers per se unless it's been sent to me by a friend in the science community that they're working on and is a subject that I'm conversant about. Like whether it's the thickness of ice on Europa. Something specific. 6, 2010 (Lawrence K. Ho / Los Angeles Times). Second, the box art for the Blu ray (Fox). Third,a demonstrator against Israel barrier near the village of Bilin, West Bank, is dressed as a character from the film likening the Palestinians land struggle to the film fight (Bernat Armangue / Associated Press). Fourth and sixth, scenes from (Fox). Fifth, Cameron on the set of (Fox). Bottom, James Cameron goes native (illustration by Kevin Lingenfelser) Almost every movie I seen that takes place under water has been slow moving and somewhat boring. Several Bond movies, Lara Croft, 20,000 Leagues, The Abyss, Fantastic Voyage, Finding Nemo, Star Wars 1, Harry Potter 4, Voyage to the Bottom of the Sea, Sky Captain, etc. out of the water), where people aren hindered by breathing apparatus and aquatic gear. Of course, Avatar inhabitants will be free of diving suits and face masks. Even Cameron recognized this when he made The Abyss. That why the actors had newly designed face masks that revealed much of their face. As much as we all want everyone to do everything for "the right reasons", ie, the environment, artistic drive, political statements and so on, the fact is that in the end everyone needs and wants to make money (or some type of recognition to boost career). I love my job, but to be honest would not do it for free nor would I be upset if more money was offered my way, especially when I knew I deserved it. After all the work he done with one movie alone ( Avatar) I think he deserves the right to boast and enjoy his good fortune. He still cares about the viewers and wants to make sure he not feeding us the same stories and sights over and over again. He is trying to be inovative for us too. Movies aren six dollars to see anymore, and I can truely say that his movies more often then not are twenty dollars (plus popcorn and soda well spent :) This is the kind of irony that is just absurd. Hearing Cameron talk of "sustainability" begs the question: How sustainable is his own filmmaking? I am not only speaking of the environment, the economy and the culture but the fact that his own practice as a blockbuster filmmaker precludes him from any serious attempt at changing how films are made from a sustainability perspective, mostly, because of how all large scale films are made today. I for one do not believe in a film that merely traffics in "sustainability metaphors" without a real discussion about making Hollywood more sustainable and future minded. For example, why can a film like Avatar off set its carbon footprint; achieve a more non profit model for research and education; and help instill civic responsibility in Hollywood? These aren metaphors it just smart business. If paying for this so called immersive experience is so necessary, then, again, why not make the gain of such an experience something more than idolatry? Imagine a Hollywood that rebuilds; refinances; and revitalizes neighborhoods, communities and cultures that it has been shooting in for decades. If we knew that for every movie crew we saw on the street there was a building being fixed, a school being revitalized or a park created, then, yes, I could probably deal better with the metaphors because at least then I would know they weren idle! Let see if Hollywood can go "cradle to cradle" before accepting the notion that "profit" is in our rights as individuals, because profit should mean something to everyone directly or indirectly involved! From creator to consumer profit is meant to be shared not spoiled. I think alllowing environmentalist to link onto his own work for free is enough, he already said he didn set out to make a diffrence that he would leave that to the activist. Shooting with 3 D camera and now that almost every movie made is all digital is absolutly a step in the right direction. There is no physical waste left behind, and concidering that the energy actually used to run these camera is less than that used on film (not to mention direct downloading to studios versus cost of fuel for shipping and packaging). In the end, his movie did send out the "be aware" message and it is after that our job to make a change in our own lives. Despite what politicians do, or what big corporations do in the end we can really only depend on ourselves to make that change, there are more of us than them anyhow. This is a point that should not be ignored. It is not altruistic to state that there is a need for everyone in the world to understand that we are all in the same boat of us are in the gallows, starving and in the dark on almost all things. The ones on the deck that have the "fresh air" status are only slightly better, regardless, they still will do anything and everything to preserve that, but even so, one way or another they row the boat and are whipped constantly. Only a handfull do indeed stand on the top with the spyglass and these aim the vessel towrards where they wish it to go. The current world economic problem is part of the direction.

It is time for the captains to leave boat is a nightmare. Hollywood, the great propaganda machine of USA, holds one of the keys for changing the awhereness of people upon this planet propaganda is a tool, no more and no less. The immersive experience has its value, alas, what cost? At the cost of the many that are on the lower decks starving?How much meterealistic crap must we surround ourselves with.


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