There’s a good reason why James Cameron is running 15 minutes late when Total Film calls. It’s five weeks until his deadline to deliver Avatar: The Way Of Water when we speak over Zoom in mid-October, and the legendary filmmaker is spending every waking moment on Pandora. “It’s going to be a bit of a photo finish, but the issue is not that we won’t get done,” he starts, pausing to grin. “The issue is: will there be some little compromises here and there throughout the film that probably only I would notice?”
Cameron has never done things by halves, and the Avatar sequels may be the ultimate example of that thinking in a career built on pushing the limits of what’s possible on screen. Subject to a disproportionate level of scepticism before release in mid-December 2009, Avatar resonated in large part thanks to the allure of its richly detailed, exquisitely realised alien world of Pandora, inhabited by the lithe, blue-skinned Na’vi. It would go on to obliterate box-office records as audiences returned, again and again, to experience cinema’s unrivalled escapist fantasy, in still-novel 3D.
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