Director James Cameron revealed that it took at least 13 years to come up with the screenplay for 'Avatar 2'.
According to Variety, Cameron shared that before "Avatar: The Way of Water" there was a full 'Avatar 2' screenplay that was written and then thrown into the trash. It turns out that at least an entire year of the 13-year gap between 2009's "Avatar" and 2022's "The Way of Water" was spent on a screenplay that will never see the light of day. The director said, "When I sat down with my writers to start 'Avatar 2,' I said we cannot do the next one until we understand why the first one did so well." "We must crack the code of what the hell happened."
Cameron and his team came with the solution. He shared, "All films work on different levels. The first is surface, which is character, problem and resolution. The second is thematic. What is the movie trying to say? But 'Avatar' also works on a third level, the subconscious. I wrote an entire script for the sequel, read it and realized that it did not get to level three. Boom. Start over. That took a year."
During an appearance on "The Marianne Williamson Podcast" last year, Cameron elaborated more on this third level that he believes allowed "Avatar" to become the highest-grossing movie of all time at the worldwide box office.
Last year, during a 'The Marianne Williamson Podcast' show, Cameron revealed that more on this third level that he believes allowed "Avatar" to become the highest-grossing movie of all time at the worldwide box office, as per Variety.
He said, "There was a tertiary level as well...it was a dreamlike sense of a yearning to be there, to be in that space, to be in a place that is safe and where you wanted to be." "Whether that was flying, that sense of freedom and exhilaration, or whether it's being in the forest where you can smell the earth. It was a sensory thing that communicated on such a deep level. That was the spirituality of the first film."
He also fired his "Avatar" sequel writers as they were trying to create new stories as opposed to figuring out what made the first movie a record-breaker.
Cameron added, "When I sat down to write the sequels, I knew there were going to be three at the time and eventually it turned into four, I put together a group of writers and said, 'I don't want to hear anybody's new ideas or anyone's pitches until we have spent some time figuring out what worked on the first film, what connected, and why it worked." "They kept wanting to talk about the new stories. I said, 'We aren't doing that yet.' Eventually, I had to threaten to fire them all because they were doing what writers do, which is to try and create new stories. I said, 'We need to understand what the connection was and protect it, protect that ember and that flame.'"
Recently, James Cameron unveiled several scenes from 'Avatar: The Way of Water' from the second installment of his epic sci-fi franchise, on September 10 at D23 Expo.
The film once again centres on Worthington's Sully and Saldana's Nav'i character Neytiri.
A sequel to Award-winning 2009 epic adventure 'Avatar,' which was released in theatres 13 years ago, the script comes from Cameron and Josh Friedman.
'Avatar: The Way of Water' stars Zoe Saldana, Sam Worthington, Sigourney Weaver, Stephen Lang, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Jemaine Clement, and Kate Winslet.
The second part of the film will hit theatres globally on December 16, 2022. (ANI)
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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