Because it was rarely tidied up, the study looked even more messy. Books, drafts, folders, and other items were piled up on several tables, and the entire wall on the west side was also covered with drafts.
Walking down the spiral staircase, Cameron and Catherine Bigelow were attracted by the storyboard drawings and various drafts all over the wall at the same time.
"Eric, did you do all of this?" The couple roughly read the contents of these manuscripts from south to north, and Cameron asked in disbelief, because the contents of these manuscripts were so surprising Yes, although most of them are sketches and storyboards, they also involve all aspects of film production, and Cameron even saw a large part of things involving film special effects.
Sensing the surprise of the Camerons and his wife, Eric was very satisfied. Although he had already decided to cooperate with the Camerons and his wife, Eric could also see that although all his films were selling well, Cameron still treated him well. A little contemptuous, even in "Terminator 2" it is obvious that he regards himself as a fool with a lot of money.
Although Eric generally doesn't care too much about what others think of him, but if he wants to maintain a long-term cooperation with a rebellious person like Cameron, it is necessary to show enough strength to the other party.
"This is my film plan for the next few years. In fact, when I was 10 in New York, I started doing it occasionally. What you see is the result of my days."
Cameron and Catherine Bigelow heard Eric's words, and once again turned their gazes to the wall covered with manuscript paper. The two of them just glanced at it roughly. At this time, Cameron noticed the content of the sketches .
A horrific tornado engulfed the entire house. Huge Tyrannosaurus rex chasing off-road vehicles. A tsunami several hundred meters high hits New York City. A great shadow looms over Washington, D.C.…
Cameron and Catherine Bigelow became more and more surprised as they watched, because in this era, these images usually only appear in comics or novels, but now it seems that Eric obviously wants to use these images as a live-action movie. On to the big screen.
Catherine Bigelow is still calm, but Cameron's eyes have revealed undisguised enthusiasm. He feels that a new era seems to be about to start.
After reviewing the sketches of these shots again, Cameron asked: "Eric, how do you plan to make these ideas into a movie, I mean, do you have a detailed feasibility plan?"
"Of course," Eric explained, "I'm going to spend about ten years creating two main series, besides the "Jurassic Park" series based on the novel I published two years ago, and the "Jurassic Park" series. It's a disaster movie series."
"The disaster film series?" Cameron turned his attention to those sketches again.
Eric walked up to Cameron, pointed to the content of some sketches and explained in detail: "Yes, a disaster film series that includes at least five films, you see. This one is a script called "Tornado". It mainly describes the story of a group of fanatical scientists chasing and researching tornadoes; here is a conception of aliens invading the earth. Temporarily named "Independence Day", but it seems that this name involves another copyright, I don't know if it can be obtained smoothly; There is an idea that a comet hits the earth and human beings are facing destruction. The script is called "The Great Collision of Heaven and Earth". Finally, here is a story about the global climate cooling down sharply and most of the United States being frozen. I call it "The Day After Tomorrow". The moral is that we never know what's going to happen after tomorrow."
Cameron and Catherine Bigelow listened intently to Eric's explanation together. After Eric finished speaking, Cameron reached out and touched the drawing on the wall for a long time before asking: "Eric, How do you plan to achieve this, and is the current technology able to achieve it?"
"Of course, as long as you are willing to spend money," Eric said confidently: "Actually, these two series involve the two development directions of future special effects movies in my imagination. I have talked with Stan and Ed before. I just came back from New York a few days ago, and I made a special trip to San Francisco just for these things."
Even with Cameron's madness, imagining Eric's "Jurassic Park" series and disaster film series in his mind still feels a little unbelievable. As a technical director, Cameron is very impressed with what the current special effects technology can do. It is clear to what extent, so he knows that although Eric's films can definitely be produced if they are forced to shoot, each one must be expensive.
Even Catherine Bigelow couldn't help but think that this little guy in front of her seemed crazier than her husband.
Cameron didn't seem to be too interested in the "Jurassic Park" series, but instead discussed with Eric the possibility of making a disaster film series.
"Eric, look, just as you said, for the "Tornado" with relatively simple special effects, how do you plan to truly show the tornado on the screen? As far as I know, the most advanced industrial light and magic The special effects also make it difficult to bring the tornado to life on the screen believably."
Eric turned over and took out a document from the desk and handed it to James Cameron. Cameron looked at the cover of the document and felt a little surprised. These should be very important things to Eric, but Now that Eric gave it to him, Cameron didn't show any pretense, and opened it directly to read it. Catherine Bigelow also moved to her husband curiously to look at the contents of the document.
The document in front of me is roughly a plan to entrust a scientific research team led by a famous physicist at Stanford University to develop a set of fluid simulation software. special effects.
When the Cameron couple read the document in front of them, Eric said next to him: "Professor Ron Fiddlex at Stanford has confirmed the feasibility of this plan, and the research and development work has already started preparations, which will take about half a year. This software can be put into use. At that time, the tornado, tsunami, explosion smoke and other scenes in the disaster movies I mentioned can all be realized through this software. In addition, Ed Kamal is now in Los Angeles is preparing a research team and plans to develop a 3D modeling software that can realize scenes such as buildings collapsing and cities being destroyed. In addition, Ed Kamal will also optimize Pixar's original rendering software Randerman , so that this software can adapt to the rendering work of live-action movies.” (To be continued..)