Before taking permanent residence in Pandora, James Cameron had ambitions to slow down, keep it simple(r), and just tell another aquatic love story. The film to give him this opportunity was The Dive, which, while still in his favorite format, would take a more intimate emotional journey than that of Jake and Neytiri. (Do you even remember who I’m referring to?) Maybe it’s because the focus would be a true-life story — one centering on Francisco “Pipin” Ferraras and Audrey Mestre, free-divers who would “[plunge] to unimaginable depths before swimming back to the surface.
And, busy though he may be, the project has not vanished from Cameron‘s mind. With a producing credit now to his name, the director and Lightstorm Entertainment have pegged Martin Campbell (Casino Royale, Green Lantern) to helm the picture, which 20th Century Fox are putting their distribution weight behind. J. Michael Straczynski (Changeling) has written the screenplay; it’s also expected that The Dive will retain the 3D, what with Cameron‘s involvement and all. (Avatar sequels took up his time before long, but he was still very hands-on with the process, going so far as to film “Ferraras as he did a tribute dive in memory of his late wife, plunging to the depth that cost her life.”)
Details on production starts aren’t being disclosed right now — Campbell‘s own Umbra might be something of a stopgap — but it is, all things considered, great news for a project that, personally, never even seemed like a real possibility. (In other words, any non-documentary that Cameron announces feels like wishful thinking in a post-Avatar career, as sad as that is.) Now, I’m only hoping Campbell can tap into the emotional reverb of Casino Royale and avoid the hammy schmaltz found in Edge of Darkness.
Do you think Campbell can do this story justice? Would you rather have seen Cameron?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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