However, at the same time the costs were spiraling out of control, so I remember the praise from all parties becoming more sparing as time went on - they didn’t want to encourage me to sacrifice schedule for quality. I had only ever done sci-fi, horror and action previously, so this must have been a relief. She shared with me later that she was very excited that the raw footage captured the sweep and emotion promised by the script. Sherry was very complimentary about the dailies as we went along. She was always the creative interface between us and Paramount, and remained highly supportive of the film. I have no idea how much Sherry had to do with all this business maneuvering. I had one brief call with Sherry in which she was very positive about the power of the script. But Paramount was interested - Sherry had read the script and thought it was good. I was due to start photography of the present-day scenes in Halifax, Nova Scotia, in a few days, and had no time to deal with studio politics. In late July of ’96, only a couple weeks before we were to start principal photography, and with the construction of the studio in Baja in full swing and the full-size ship set already being built, Casey Silver at Universal passed after a long dalliance. I told Peter that finding a partner was his problem, I had a movie to make, so I just proceeded hell-bent toward production, and Fox continued to fund the film while they scrambled to find a partner. Peter Chernin at Fox had made it clear that he wanted a partner to share the pain on a $100 million (or so we thought at the time) chick flick. Twenty years after he scored what, at the time, was the biggest hit in movie history with 1997’s Titanic, director James Cameron for the first time reveals some of the behind-the-scenes drama behind his classic film in this letter he wrote to THR ’s Stephen Galloway for his new biography, Leading Lady: Sherry Lansing and the Making of a Hollywood Groundbreaker (Crown Archetype, out April 25).
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