‘Emilia Pérez’ | Anatomy of a Scene
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Watch Zoe Saldaña Confront Corrupt Politicians in ‘Emilia Pérez’
The director Jacques Audiard narrates the star’s passionate musical performance from the film.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.The actress Zoe Saldaña dons a red suit and fiercely works the room in this high-intensity sequence from the musical drama “Emilia Pérez.”Saldaña’s character, Rita, a lawyer in Mexico City, attends a gala with politicians while the title character Emilia (Karla Sofía Gascón) delivers a speech. This dreamlike sequence has Rita going table to table to confront attendees about their scandals, misdeeds and corruption as she sings the song “El Mal.” Emilia contributes verses from a lectern.The film’s French director, Jacques Audiard, narrates the sequence, discussing the rapid tempo of the song (they sped it up because Saldaña’s singing and dancing skills could meet the challenge), as well as working with nonprofessionals on intricate choreography (by Damien Jalet).Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More
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‘Emilia Pérez’ Review: A Song and Dance of Transformation
The star of Jacques Audiard’s showy new musical about a trans Mexican crime boss, Karla Sofía Gascón, adds soul to the melodrama. Zoe Saldaña also shines.In the floridly off-kilter “Emilia Pérez,” the director Jacques Audiard throws so much at you — gory crime-scene photos, a menacing cartel boss, a singing-and-dancing Zoe Saldaña — that you don’t dare blink, almost. Set largely in present-day Mexico City, the fast-track story follows a beleaguered lawyer, Rita (a very good Saldaña), who’s hired by a powerful drug lord, Manitas (a wonderful Karla Sofía Gascón), for an unusual job. Manitas, who presents as a man but identifies as a woman, wants help with clandestinely obtaining gender-affirming surgery and with tidying up some of the complications that come from a violent enterprise.Audiard, a French filmmaker and critical favorite with a string of impressive credits, likes changing it up. He’s partial to people and stories on the margins, though is especially drawn to crime stories; much of one of his finest films, “A Prophet,” takes place in prison. He also likes dipping in and out of genres while playing with and, at times, undermining their conventions, embracing an unorthodoxy that can extend to his characters. The protagonist in “The Beat That My Heart Skipped,” for one, is an outright thug but also a would-be concert pianist who, at one point, shows up at a recital bloodied after nearly beating another man to death.The complications in “Emilia Pérez” emerge in quick succession. After the brisk, eventful opener — featuring a murder trial, an unjust verdict and two musical numbers — Rita is being driven to a secret location by armed strangers, her head shrouded. Before long, she is seated in a truck, face to face with Manitas, a jefe with facial tattoos, a stringy curtain of hair and an ominously threatening whisper. Manitas delivers a staccato, tuneless rap that promises Rita “considerable sums of money” in exchange for her help. “I want to be a woman,” Manitas reveals sotto voce through soft lips and a mouthful of golden teeth.Rita agrees to help, though there’s little to suggest that she could deny Manitas’s request. To that end, Rita begins jetting around the world looking for a discreet, willing surgeon for Manitas, an expedition that, during one stop, finds her in a circular-shaped Bangkok clinic where she, the surgical team and gowned, bandaged patients are soon singing and striking poses. As Rita and a surgeon discuss options for Manitas, the doctor begins sing-chanting words like “mammaplasty” and “vaginoplasty” and “laryngoplasty,” which others pick up as a refrain. As bodies and the camera spin inside the clinic, Audiard cuts to an overhead shot of the facility, exuberantly tapping into his inner Busby Berkeley.The song-and-dance numbers — the score and songs are by Clément Ducol and Camille, and the choreography is by Damien Jalet — range from the intimate to the outsized, and are integrated throughout. Most seem like manifestations of private thoughts, as in an early number in which Rita voices aloud a trial argument that she’s mentally prepping while in a grocery store. When she exits into the jeweled city night, she is met by a rising rumble of voices from passers-by who are chanting “rising and falling.” As she walks on, her words shift into song, her movements become stylized, and the passers-by turn into an ensemble. Audiard then begins folding in images of Rita typing on a laptop as she sings.At first, this shift between inner and outer realities, between the ostensibly material world of contemporary Mexico and the metaphysical world of the characters, is jarring and amusing. From the start, the movie hooks you because of its abrupt turns, how it veers into places that, tonally, narratively and emotionally, you don’t expect. Yet while Audiard has productively combined classic genres and present-day sensibilities before, even the more personal, confessional numbers here add little more than novelty. It’s galvanizing when Rita belts a song — to herself, to us — about the corruption of Mexican leaders assembled at a banquet, but only because the movie is acknowledging a world that it otherwise uses as a fanciful stage.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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Karla Sofía Gascón of ‘Emilia Pérez’ Could Make Oscar History
There has never been a movie quite like “Emilia Pérez,” so it’s fitting that its star Karla Sofía Gascón is one of a kind, too.In the film from the director Jacques Audiard, Gascón plays a Mexico City cartel kingpin who fakes death in order to transition abroad in secret. Years after her gender-affirming surgery, the newly rechristened Emilia contacts the lawyer who helped arrange it (Zoe Saldaña) and has one more request: a reunion with the unsuspecting wife (Selena Gomez) and children she left behind, even though returning to the scene of her old crimes could have dire consequences.The multitude of genres suggested by this synopsis — a gritty drug-world exposé, a family melodrama, a trans-empowerment narrative — are further complicated by the fact that “Emilia Pérez” is a musical, meaning the characters are liable to break into song whether they’re in a love scene or clashing in a heated gunfight. In a film full of big swings, it’s hard to imagine any of the wild ideas holding together if it weren’t for Gascón, who can contain all of those multitudes in a single freighted look. Many pundits believe that after Netflix releases “Emilia Pérez” in November, Gascón will make history as the first openly trans actress nominated for an Oscar.In May, the 52-year-old Gascón was the breakout star of the Cannes Film Festival, where “Emilia Pérez” won a best actress award that was shared among all of the movie’s leading women. Since her castmates had returned home before the awards ceremony, an overcome Gascón took the stage on their behalf, and her emotional speech was the night’s highlight. At the microphone for nearly six minutes, Gascón flitted between Spanish and English as she tearfully asserted the humanity of trans people, joked about bribing the jurors, paid romantic tribute to her co-star Gomez, then apologized to Gomez’s boyfriend for her ardor.Afterward, Gascón tried to explain her speech’s breathless sprawl. “I’ve never been given a prize,” she told reporters. “I’ve mostly been given blows and kicks.”Spanish-speaking audiences may already be familiar with Gascón, a veteran of Mexican telenovelas who starred in the hit 2013 film “Nosotros los Nobles” and transitioned six years ago while in the public eye. “It was very difficult,” she told me recently over lunch in Los Angeles. “People knew me a certain way and then I changed, so I constantly felt that I had to justify myself. I was always fighting with everyone.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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‘The Substance’ and ‘Emilia Pérez’ Cause a Stir at Cannes
“The Substance” features Demi Moore in go-for-broke mode, while “Emilia Pérez” is a musical crime drama that defies description.Maybe “Megalopolis” was just an amuse-bouche.After Francis Ford Coppola’s $120 million movie polarized audiences during the first week of the Cannes Film Festival, the big swings have continued with “The Substance” and “Emilia Pérez,” two much-discussed films that are either stone-cold classics or total fiascos depending on whom you talk to here.But at a festival where a dozen new movies arrive every day and each title is in danger of being overshadowed, there’s nothing more effective than causing a commotion.The gory horror-comedy “The Substance” casts Demi Moore as Elizabeth Sparkle, an Oscar-winning actress who, as she ages, can find no better work than hosting an aerobics program. Even that gig is in danger thanks to an unscrupulous network executive (Dennis Quaid) who’s dead set on replacing Sparkle with someone younger and hotter. Backed into a corner, Sparkle decides to inject herself with the Substance, a mysterious fluid that promises a path to rejuvenation.But this procedure goes several steps beyond Botox and fillers. After taking the Substance, Sparkle’s younger self (Margaret Qualley) emerges painfully from her body and sets about reclaiming the aerobics gig that the network yanked away. The only catch is that Sparkle’s younger and older selves must trade off every week, agreeing to hibernate while the other one goes out on the town. Failure to maintain that balance could have gruesome effects on their bodies, and it isn’t long before this peaceful trade-off becomes an increasingly disfiguring tug of war.“The Substance,” directed by Coralie Fargeat, offers plenty to talk about, from Moore’s go-for-broke, bare-it-all performance to an outrageous finale that consistently pushes the line on gross-out gore. But the most spirited discussions at Cannes are over whether the movie is trenchant or skin-deep. David Ehrlich of IndieWire praised it as the best of the fest, but several people I’ve spoken to were positively angry about having watched it. Maybe any reaction is the right one when it comes to something so gleefully provocative: In a post online, the writer Iana Murray called the film “shallow” and “painfully unsubtle” but added, “i had a hell of a time though why lie.”“The Substance” is one of the higher-rated movies on the Screen International critics’ grid, a compilation of reactions that often presages the winner of the Palme d’Or, Cannes’ top prize. But another Palme contender, Jacques Audiard’s audacious “Emilia Pérez,” has prompted nearly as much conversation and debate. A crime drama that’s also a trans empowerment epic that’s also a full-blown movie musical, “Emilia Pérez” is virtually impossible to sum up: Imagine Pedro Almodóvar meets “Sicario” meets Jennifer Lopez’s wacky visual album “This is Me … Now: A Love Story,” and you’re only halfway there.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
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‘Special Ops: Lioness’ Review: Zoe Saldana Does Strong and Silent
The actress stars in a new series from Taylor Sheridan, known for his prototypically male heroes. This time, the dispensers of justice and violence are women.The “politics” of the writer and producer Taylor Sheridan’s television catalog — “Yellowstone,” “1883,” “Mayor of Kingstown,” “1923” and “Tulsa King” — are the subject of exhaustive discussion that isn’t always that pertinent to the series themselves. For something of more immediate artistic interest, how about the shows’ fascination with the violent deaths of women?The number of men who die in Sheridan’s westerns, neo-westerns, Midwestern noirs and — with the Sunday premiere of “Special Ops: Lioness” on Paramount+ — terrorism dramas is much greater, but they tend to die in the usual anonymous, bullet-spraying manner. Women’s deaths are more baroque, and more elaborately presented. A tourist has her throat ripped out by a leopard and is dropped from a tree like an overripe piece of fruit; a nun is suffocated in her bed, her mouth stuffed with tissue and her face branded (both “1923”). A stoolie girlfriend is brutally strangled (“Tulsa King”). The entire season of “1883” is in effect a flashback framed by the gruesome death of its heroine, run through by an arrow.This emphasis on female death doesn’t feel particularly lurid or sexualized; its importance is as a motif. It’s in the fabric of the shows, where dead mothers are as much of an accessory for the characters as cowboy hats and the woman at the center of “1883” narrates “1923” from beyond the grave. Its function is to reinforce a central theme of Sheridan’s oeuvre: the classic onus of male duty, an essential part of which is the protection of women, even though Sheridan, who likes to hedge his cultural bets, presents the women as fierce and capable in their own right.And it’s a primary reason for the shows’ distinctiveness. Overheated melodrama and sentimentality and a canny, plausibly deniable appeal to conservative and libertarian values are the obvious parts of the package, but they get their particular flavor from an oddly literary, morbidly romantic strain of neo-Victorian kitsch.(The literary and other allegiances in Sheridan’s writing — to Hemingway and John Ford in the westerns, to Greek tragedy in “Mayor of Kingstown” — are inescapable. The most enjoyable of his shows is the least pretentious one, and the only dramedy: the Sylvester Stallone vehicle “Tulsa King,” which benefits from the involvement of the “Sopranos” veteran Terence Winter as Sheridan’s showrunner.)“Special Ops: Lioness” differs from Sheridan’s other shows in several significant ways. It is a battlefield show, set among C.I.A. agents and Marines carrying out counterterrorism operations in the Middle East. And it is entirely focused on women: Its major action figures are a C.I.A. operative played by Zoe Saldana; a Marine, recruited for an undercover assignment, played by Laysla De Oliveira; and a gung-ho Marine team leader played by Jill Wagner.Paramount+ provided only one episode for review, so judgments at this point are tentative if not superfluous. But the Sheridanness of the show is evident. It is noticeable, for instance, that the three central women embodying the values of endurance and violent capability that Sheridan fetishizes go by the unisex names of Joe, Cruz and Bobby.More noticeable is the show’s premise, at least as it appears in the first episode, written by Sheridan and directed by John Hillcoat. The women, while presented as fully qualified for combat (in some cases in punishing detail), are not tasked with taking on terrorists directly. Their mission is to gain access by befriending women in the terrorists’ lives — to run a modified honey trap. You can see how this will provide plenty of opportunities for them to engage in brutal action, and perhaps the whole thing is a satirical starting point that eventually will be knocked down. But in the first episode the retrograde setup is presented entirely at face value.(The operation Saldana’s character runs takes its name from Team Lioness, a more utilitarian real-life program in which female soldiers were added to combat teams in part because of religious prohibitions against the touching or searching of women by men.)What can be said about “Special Ops” from its first 42 minutes is that it looks like an awful lot of other counterterrorism thrillers, with a visceral punch to its action and a ticky-tacky, backlot feel whenever it moves in close on its Middle Eastern settings. Saldana registers stoic magnetism, as usual, as the overseer of the operation, who shuttles between the field and meetings in Washington with her bosses, one of whom is played by Nicole Kidman. (Morgan Freeman will show up later as the secretary of state.) Other performers have trouble adding much to their characters’ stock, neo-“Dirty Dozen” personas. One of the few things we learn about De Oliveira’s Cruz: Her mother died.There is one moment in the “Special Ops” premiere — just a fleeting reaction shot — that taps directly into the mythos Sheridan’s shows share. When a mission goes bad, Saldana’s Joe calls in a missile strike that kills her own undercover operative. Debriefed later, she explains that she did it for “the sanctity of our operation.” But having seen the look on Joe’s face as she listened to the woman screaming while being set upon by a group of angry Arab men, we know that she had a different sanctity in mind. Sometimes, the first imperative when it comes to women’s safety is preventing the fate worse than death. More
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James Cameron and the Cast of ‘Avatar: The Way of Water’ Hold Their Breath
The original was the biggest hit ever, but the sequel still took a long time to come together. How will it resonate in a different era of moviegoing?James Cameron knew the question I really wanted to ask about his new sequel, “Avatar: The Way of Water.”“‘What took you so long?’ Let’s not beat around the bush,” the director cracked.It’s a fair query, since after Cameron’s 2009 sci-fi adventure took in nearly $3 billion and became the highest-grossing film of all time, a follow-up that returned us to the beguiling alien world of Pandora was slow to materialize. Hollywood has changed so much in the interim that 20th Century Fox, the studio that financed “Avatar” and Cameron’s megahit “Titanic,” was acquired by Disney right after the sequel finally went into production in 2017.So what did take Cameron so long? On a recent video call with his cast, he confessed to blowing off the movie for a few years while indulging his passion for deep-sea exploration. After constructing a submarine designed to take him to the bottom of the Mariana Trench, the deepest-known place on this planet, Cameron accomplished that goal in March 2012, even as his “Avatar” actors fretted.“We kept thinking, ‘I hope he survives to make a new movie,’” Sigourney Weaver said.And even when Cameron convened a writers room to map out a second and third film, “I just wound up with more story than I bargained for,” he said. A tale that was initially conceived to complete a trilogy came to span four more movies, which all required a considerable amount of preproduction: Writing those new movies took four years, and designing their different biomes, cultures and wardrobes took an extra five.But “Avatar: The Way of Water” acknowledges that plenty of time has passed since the first film: In this installment, the soldier-turned-liberator Jake Sully (Sam Worthington) and his great love, the blue-skinned alien Neytiri (Zoe Saldaña), are parents to a brood that includes three Na’vi children, a human boy who becomes part of their coterie and an orphaned, teenage Na’vi played by the 73-year-old Weaver through the magic of motion capture. (This is a different character than the one Weaver played in the first “Avatar,” and one hopes that any potential confusion is mitigated by the casting decision’s irresistible boldness.)Worthington, right, with the director James Cameron on set. “You’ve got to have something that the actors can get their teeth into” Cameron said of the screenplay.20th Century Studios“Avatar: The Way of Water” also adds new co-stars like Cameron’s “Titanic” lead Kate Winslet, and incorporated several deep-sea sequences that required the cast to film underwater while holding their breath for minutes on end. “You always walk away after an ‘Avatar’ journey feeling like you know more than you did before, and that’s exhilarating,” Saldaña said.Do they feel pressure to replicate the stunning success of the first “Avatar”? “You can’t be a slave to the outside forces,” Worthington said. “You’ve just got to go to work and be fearless and as true as you can.” Still, Cameron is a realist: He has already shot the third film and a little bit of the fourth, but he knows that his ability to finish a five-film franchise hinges on the box office performance of “Avatar: The Way of Water,” due in theaters Dec. 16.“If we make some money with two and three,” Cameron said, referring to the sequels, “it’s all mapped out. Scripts are already written, everything’s designed. So just add water.”Here are edited excerpts from our conversation.It’s not easy to follow up making the highest grossing movie ever, but James, you’ve now had to do it twice. What did you learn from the aftermath of “Titanic” that could be applied as you follow up “Avatar”?The Return of ‘Avatar’The director James Cameron takes us back to the world of Pandora for the sequel “Avatar: The Way of Water.”What to Know: The sequel opens on Dec. 16, 13 years after “Avatar” shattered box office records. If you remember little about the original movie, here is a refresher.Holding Their Breath: Cameron and the sequel’s cast discussed what it took to get the new “Avatar” made and to bring it to life in a changed world.Back to the Theater: To help reacquaint audiences with the 3-D filmmaking that dazzled audiences in 2009, the first movie was rereleased in theaters on Sept. 23.From the Archives: Cameron “hasn’t changed cinema, but with blue people and pink blooms he has confirmed its wonder,” our critic wrote after the release of “Avatar” in 2009.JAMES CAMERON You can’t think in those terms. If I brought that into every decision I make, then it’s like, “OK, is the color that’s going to go on the back of this Ilu going to make the difference of $10 million global gross?” I have to remind myself constantly to just have fun and enjoy the day because otherwise you’re competing with yourself.So is this a more fun James Cameron?SAM WORTHINGTON Yeah, absolutely.CAMERON Don’t all speak at once.What was the biggest difference between making the first and second film?ZOE SALDAÑA There were many more challenges. I was younger in the first installment, I didn’t have children. Now I have three children.Zoe Saldaña as Neytiri. She learned to hold her breath underwater. “I come from generations of island people,” and on colonized islands “you are taught to love the ocean as if it’s a goddess, but you fear it.”20th Century StudiosCAMERON And Zoe and Sam now play parents, 15 years later. In the first movie, Sam’s character leaps off his flying creature and essentially changes the course of history as a result of this crazy, almost suicidal leap of faith. And Zoe’s character leaps off a limb and assumes there’s going to be some nice big leaves down there that can cushion her fall. But when you’re a parent, you don’t think that way. So for me, as a parent of five kids, I’m saying, “What happens when those characters mature and realize that they have a responsibility outside their own survival?”Did having children change the way you take risks in your own life?CAMERON Yes, I was pretty wild in my misspent youth, and there are a lot of risks that I wouldn’t take now. I see some of that wildness in my own kids, and there are stories that are embargoed until they’ve turned a certain age. But it definitely colors your whole perspective to have children.I also want to do the thing that other people aren’t doing. When I look at these big, spectacular films — I’m looking at you, Marvel and DC — it doesn’t matter how old the characters are, they all act like they’re in college. They have relationships, but they really don’t. They never hang up their spurs because of their kids. The things that really ground us and give us power, love, and a purpose? Those characters don’t experience it, and I think that’s not the way to make movies.WORTHINGTON Jim wrote this family in a great way where not only are the stakes life and death, but the conflicts are quite domestic. You’re still having these arguments with kids that you have every day, like, “Pick up your clothes, eat your food,” even though the world is at war. To be honest, I’ve used a lot of what I learned from reacting to teenage boys in the movie and put it back into my real life, because I’ve got three boys — it’s a zoo at my house — and someone’s got to be the Great Santini and keep them in line.James, even before you had kids, a lot of your action films explored that parental dynamic. I’m thinking of Sarah Connor and her son, John, in “Terminator 2,” or Ripley and Newt in “Aliens.”CAMERON I think it’s a question of what interests one as a writer and director. The one thing I’ve learned is that you’ve got to have something that the actors can get their teeth into, something that they can draw on from their life experience. I knew as I was writing it that Sam and Zoe were new parents and that this stuff would resonate for them, but if you’re speaking to a young audience, let them feel validated that kids on another planet, 200 years from now, are going through the same crap they’re going through right now.Sigourney, how did you react when you learned you’d be playing a moody, motion-captured 14-year-old?SIGOURNEY WEAVER I remember when Jim finally made the decision, he said, “You can do this because you’re so immature. Nobody knows this but me, but I know that you’re just 14 at heart.” And I think Jim is about 16, so he’s not off by much! But it was incredibly exciting to set loose your inner 14-year-old and to refine it, because being 14 is not all fun. I think we all remember how excruciating it can sometimes be and how unjust things seem in the moment. If you’re playing someone as sensitive as a 14-year-old girl who’s been uprooted, that’s a whole world of adventure you get to have as this character.Sigourney Weaver plays the teenage Kiri, left, in the new film as her character Dr. Grace Augustine, right, died in the original.20th Century StudiosZoe, what was it like to play the mother figure to Sigourney Weaver?SALDAÑA Oh my God, there were moments I would go, “There’s that teenager that just hates me.” I was a daughter before I became a mother, and I do remember those moments with my mom when I felt completely confused and misunderstood.Movies like “Aquaman” and the upcoming live-action version of “The Little Mermaid” take place underwater but don’t actually submerge the actors. “Avatar: The Way of Water” does, and the actors had to learn how to hold their breath for several minutes to shoot some of its undersea sequences. What’s gained from doing it for real?CAMERON Oh, I don’t know, maybe that it looks good? Come on! You want it to look like the people are underwater, so they need to be underwater. It’s not some gigantic leap — if you were making a western, you’d be out learning how to ride a horse. I knew Sam was a surfer, but Sig and Zoe and the others weren’t particularly ocean-oriented folks. So I was very specific about what would be required, and we got the world’s best breath-hold specialists to talk them through it.SALDAÑA The first step is you fake it till you make it: You tell your boss, “Yeah, absolutely, I’m so excited,” and then it’s complete horror, like, “What am I going to do?” At best, you’re going to walk away with a brand-new aptitude, but I was scared. I come from generations of island people, and the one thing people don’t know about island life is that if you’re from islands that have been colonized, a great percentage of people don’t know how to swim. Through folklore, you are taught to love the ocean as if it’s a goddess, but you fear it.When it came to holding your breath, what were your personal bests?SALDAÑA I’m very competitive, but we had an Oscar-winning actress in our cast that did seven minutes.Was that Kate Winslet?WEAVER Jesus, yeah, seven minutes.Did you have any idea she was capable of that?CAMERON No, and she didn’t either! But Kate’s a demon for prep, so she latched onto the free diving as something that she could build her character around. Kate’s character is someone who grew up underwater as an ocean-adapted Na’vi — they’re so physically different from the forest Na’vi, that we’d almost classify them as a subspecies. So she had to be utterly calm underwater, and it turned out that she was a natural.SALDAÑA I got almost up to five minutes. That’s a big accomplishment, you guys.CAMERON Five minutes is huge. Sig did six and a half.WEAVER To the surprise of the teacher! He said to get rid of your mammalian instinct to go, “Oh my God, my face is in the water.” So you spend several minutes just putting your body back into that element and letting those land-person feelings dissolve.SALDAÑA I was just in Europe, swimming in the Mediterranean with my husband and our children, and I passed it down to my boys — they were swimming underwater. I could do that because I surrendered to something, but it wasn’t wonderful from the beginning, I have to say.CAMERON Now it all comes pouring out.WORTHINGTON The trauma!Since the first film came out, environmental issues have become even more urgent. How does “Avatar: The Way of Water” speak to that?WORTHINGTON In the first movie, Jake Sully says, “Open your eyes. Sooner or later, you have to wake up.” That’s what he does in the movie — he wakes up to the world and this other culture — and I think that “Avatar: The Way of Water” is about protecting all of that.Neytiri and Jake Sully in the sequel. Now that they are parents, Cameron said, “what happens when those characters mature and realize that they have a responsibility outside their own survival?”20th Century StudiosCAMERON In the first film, you wind up with a sense of moral outrage about the destruction of a single tree. We have something very similar that takes place in “Avatar: The Way of Water,” and from what we’ve seen from test audiences, people feel that same sense of moral outrage. Does that translate in some tiny way when people come out of the theater into the way they think about the world, about nature, about our responsibility to the environment? Maybe, I don’t know.WEAVER You opened our eyes in the first one, but the second one, because it deals with the oceans and we’re having a crisis with the oceans, I feel it’s so much more transformative. If our goal is to become part of the World Surf League campaign and protect 30 percent of the ocean by 2030, I truly feel that this film is going to advance that goal. And it’s enhanced by the fact that the 3-D will absolutely put you on Pandora, in the water.CAMERON Jacques Cousteau said, “You won’t protect what you don’t love.” He knew that the way to get people to love the ocean is to show it to them with all its beauty and complexity and grandeur. We’re losing the whales, we’re losing the dolphins, we’re losing the sharks. We’re losing the coral reefs due to atmospheric [carbon dioxide] dissolving in the ocean. People will look back a hundred years from now and say, “We had all those things, and we squandered them.” So that’s in [the movie], but in a very organic way as part of the storytelling. The warning is between the lines.The first “Avatar” was a major breakthrough when it came to 3-D. What do you make of what happened to the format in the years after that?CAMERON I think the studios blew it. Just to save 20 percent of the authoring cost of the 3-D, they went with 3-D post-conversion, which takes it out of the hands of the filmmaker on the set and puts it into some postproduction process that yielded a poor result. I do think that the new “Avatar” film will rekindle an interest in natively authored 3-D, which is what I personally believe is the right way to do it. I say either do 3-D or don’t do 3-D, but don’t try to slap it on afterward to get the up-charge on the ticket.SALDAÑA And look, do you want to make a lot of money, or do you want to make something you’re truly proud of that stands the test of time?CAMERON Do I have to choose?SALDAÑA It’s unfortunate, but people chose the moneymaking machine, the post-conversion. And not every director is like Jim, with the level of commitment you put into it. That’s the difference between a project that is just a blockbuster hit and something that is truly special, and I wish more directors would understand that. If they just did a little course at the [Directors Guild of America] …CAMERON I’ll teach it! More
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‘Avatar: The Way of Water’: What to Know Before Watching
After 13 years, James Cameron’s sequel, “Avatar: The Way of Water,” is finally opening in December. Here’s everything you need to know.What can be accomplished in 13 years? Given that much time, J.K. Rowling published all seven of the Harry Potter books — and helped turn the first six of them into movies. Taylor Swift cranked out eight studio albums — and rerecorded two of them. The Yankees won the World Series eight times.James Cameron made one film.“Avatar: The Way of Water,” a roughly three-hour sci-fi epic, is a sequel to his 2009 “Avatar,” which shattered box office records and garnered a devoted fan base. (The three Academy Awards — for art direction, cinematography and visual effects — didn’t hurt either.) It’s set for a holiday-season release on Dec. 16 in theaters.If you remember very little about Pandora, here’s a refresher on the “Avatar” plot, the phenomenon it became and the stakes a sequel faces.OK, I just need to make sure before I get my hopes up yet again: This is really, finally, actually happening?Yes.Why did it take so long?The short answer is that the dazzling — and costly — array of visual effects means these films spend forever and a day in preproduction. Also, a majority of the sequel was filmed underwater, and new motion-capture technology had to be developed to accomplish the feat.Thirteen years is a long time, but not long enough for me to have seen the original “Avatar.” Can I watch “The Way of Water” anyway?Well, yes, but it’d be like diving into the “Star Wars” franchise with “The Empire Strikes Back.” How did Han Solo get in that carbonite? And what’s the deal with him and Princess Leia?OK, got it, not optional. So where can I watch “Avatar”?You’ll no longer be able to find it on Disney+ after it was quietly removed from the streaming service in August. You can, however, see “Avatar” in theaters beginning Sept. 23, when Disney will rerelease it with remastered audio and picture.Sam Worthington and Zoe Saldaña in a scene from the original.20th Century FoxI don’t have time to rewatch a nearly three-hour film! Hit me with the highlights.It’s the middle of the 22nd century and humans have depleted Earth’s natural resources, so they are now colonizing a moon known as Pandora, which is home to both the valuable mineral unobtanium and a tribe of 10-foot-tall indigenous blue creatures known as Na’vi, who look like a mash-up of the Blue Man Group, centaurs, professional basketball players and armed supermodels. A group of specially trained humans inhabit genetically engineered Na’vi bodies, known as avatars, to interact with the tribe while their human bodies remain in a remote location.The protagonist is Jake Sully (Sam Worthington), a paraplegic ex-Marine who replaces his identical twin brother in the Avatar Program after his death. Power struggles ensue within the program about what is worth sacrificing to obtain the unobtanium, as well as the value of Na’vi life; within the forest, as Jake tries to convince the Na’vi to accept him as one of their own; and within Jake himself. He grapples with the ethics of what he is doing, which is complicated by the fact that he has fallen for one of the Na’vi women, Neytiri (Zoe Saldaña).After Col. Miles Quaritch (Stephen Lang), the head of the security force for the group mining the unobtanium, destroys the Na’vi’s gathering place, Hometree, and kills many of them, Jake confronts him in his Na’vi form. Quaritch almost kills Jake before Neytiri fatally shoots the colonel with two arrows to the chest. Jake, in love with Neytiri and having gained the trust of the Na’vi, chooses to transfer to his avatar form permanently. The film’s closing shot is of his eyes, waking up on Pandora.The visual effects in the film were a big deal, right?Oh, yes. Reviewers focused as much — if not more — on the images as on the plot, both explaining and lauding the use of performance capture, which was then a newfangled innovation that had been most notably used for Gollum in Peter Jackson’s “Lord of the Rings” films.Wasn’t “Avatar” released in 3-D?Yes, it was shot with a 3-D camera system that gave Cameron an augmented-reality view in real time by integrating the live actors with computer-generated environments in the viewfinder. “Avatar” was one of the films that restarted a fad of 3-D cinematic releases, though you may not have actually seen it in 3-D: Many theaters didn’t yet have 3-D projection systems.What about the film itself? Was it any good?It brought in more than $2.8 billion at the worldwide box office, becoming the highest-grossing movie of all time, not adjusted for inflation. Reviewing the film for The New York Times, Manohla Dargis named it a Critic’s Pick, calling it “glorious and goofy and blissfully deranged.”Both critics and audiences lauded the visuals and immersive world-building, but the story itself — which was familiar to anyone who had seen “Dances With Wolves” or “The Last Samurai” — won far less acclaim, with a large portion of reviewers dismissing it as generic or unoriginal. In her review, Dargis also criticized Cameron’s writing, particularly the dialogue, which she noted veered into “comically broad” territory at times (case in point: “Yeah, who’s bad?” Jake taunts a rhinolike creature).Jake Sully (Worthington) is back for the sequel, in which he’s now a father. 20th Century StudiosIs Cameron writing the sequel, too?Yes, though while he had sole script credit on “Avatar,” he co-wrote “The Way of Water” with Josh Friedman, who wrote the 2005 “War of the Worlds” adaptation that was directed by Steven Spielberg, and is co-writing the forthcoming “Star Trek 4” film.What do we know about “The Way of Water” so far?Cameron, who won an Academy Award for directing “Titanic,” is going back to the sea with the sequel, which is — as you may have guessed from the title — set primarily underwater. It takes place more than a decade after the events of the first film and focuses on Jake Sully and Neytiri and their preteen children. It also introduces a new tribe of reef-dwelling Na’vi known as the Metkayina.Is Zoe Saldaña back?Saldaña, who became a fan favorite for her performance as Neytiri and went on to play the green-skinned Gamora in Marvel’s “Guardians of the Galaxy” films, is back for “The Way of Water,” along with Worthington, Lang, Sigourney Weaver, Joel David Moore and CCH Pounder. Yes, some of their characters are apparently dead, and no, we haven’t figured out how that works yet.They’ll be joined by prominent newcomers, including Kate Winslet (the Na’vi leader Ronal), Cliff Curtis (Tonowari, a leader of the Metkayina clan), Edie Falco (a military officer) and Jemaine Clement (a marine biologist).Will the sequel be shown in 3-D?Yes, but good news for glasses-wearers: You won’t need two sets to take in the film; a newer laser system eliminates the need for special glasses. (Though many theaters, as was the case the first time around, do not yet have the necessary equipment.)Am I going to have to wait 13 more years for “Avatar 3”?Cameron has signed on to make three more sequels, and they’re currently set for release in 2024, 2026 and 2028.But maybe pencil in 2035, 2048 and 2061, just in case. More
