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Hey, Jim Cameron here. I\u2019m the director of \u201cAvatar: Fire and Ash.\u201d So this is Varang, played by Oona Chaplin. And she\u2019s sharing with Quaritch, now that he\u2019s in this altered state of consciousness, her backstory about how the volcano erupted. She doesn\u2019t use the term \u201cvolcano.\u201d She says the fire came from the mountain. We can fill that in for ourselves, destroyed her homeland, she says, \u201cburned our forests.\u201d And she talks about the plight of her people. So this is Oona imagining flame. There\u2019s no flame. And we even went back and did a pickup on this line \u2014 \u201cBut Eywa did not come.\u201d \u2014 because I wanted something punchy that I could really zoom in tight on her face because we really fell in love with her character, the look of her character. People need to remember there\u2019s actually zero photography going on here. There\u2019s a hundred percent performance capture. So when we see this P.O.V., of how Quaritch is perceiving her, which is his altered state due to the hallucinogenic truth powder that she shot up his nose with her blowpipe. This is me with my virtual camera just playing, just having fun. Just seeing what a 9 millimeter lens would look like, just seeing what would happen if I jitter the zoom so it kind of flutters and fluctuates a little bit. And then we created shaders that would have the surface kind of boiling with these fractal patterns. And we created lags and all that. So I did a little research ahead of time on this back in college. [Laughs] No more said on that. And so this is Oona and Stephen Lang. And they didn\u2019t do a lot of preparation. We didn\u2019t rehearse the scene very much. We just kind of plunged into it. But you see two really consummate actors working here and just bouncing off each other, just feeding off each other\u2019s energy. So Stephen approached it that he was on some kind of hallucinatory drug but he actually \u2014 he was playing it that he thought she was kind of amazing and almost goddess like. And that\u2019s why we play with the scale and the size of her with the wide lens here, and that he actually thinks it\u2019s kind of amazing and even funny at times, some of the things she says. Now, meanwhile, we\u2019re supposed to think he\u2019s in a lot of danger here. He\u2019s lost his overwatch guy: Wainfleet, his sniper. He\u2019s hidden from him. He\u2019s on his own with her. She\u2019s got a knife. She\u2019s picking up his kuru. We\u2019ve already seen her sever the kurus of many other people. Yeah, we\u2019re past the point of peak jeopardy here, where we fake out the audience that she\u2019s going to cut his kuru off, which we\u2019ve also been told is worse than death for them. Oona\u2019s performance is extremely detailed here. I\u2019ve got an awful lot of respect for what she did. I don\u2019t recall us doing a lot of takes. But at this point the power starts to shift. He said, \u201cI can give you the one thing you\u2019ve never had, which is an equal, \u201d and that stops her in her tracks. And then he starts to paint this picture of what he can do for her with human technology: guns and various advanced tech. And because he\u2019s on a truth serum, she must believe everything that he says. And that\u2019s what\u2019s wonderful about this scene, because he can\u2019t be lying. It will happen the way he describes it. And then she\u2019s looking out into a future where she has the kind of power that she\u2019s always dreamed of. And that\u2019s when she says, \u201cI see you,\u201d meaning I see what you\u2019re saying. \u201cYou need me.\u201d \u201cI see you.\u201d And he closes with \u201cdamn right you do.\u201d Which is \u2014 It\u2019s been his plan all along to walk in there and do that. So all that time you thought he was in jeopardy. He was actually just setting her up. Now it starts to play out. So cinematically, I love this scene. I like the slow motion, I like the wind. I like the fact that you don\u2019t hear any true sound here other than just the music, this incredibly pounding, driving thing. It\u2019s almost like the music of a destiny playing out. And when his technology meets her lust for power, it becomes almost sexual here, her glee. It\u2019s actually written in the script that she\u2019s like a girl with her first pony. You know what I mean? Like, she\u2019s just so happy with what he\u2019s brought for her. But it\u2019s actually quite a dark moment because you see the tumblers in the lock of destiny are kind of turning and locking in. And I had a bunch of dialogue here where he says, \u201cSo, are we partners?\u201d And she says, \u201cThis is not the way we become partners,\u201d but it just turned out to be unnecessary. And so it became a very stylized kind of cinematic approach. [GUNSHOTS]<\/p>\n<\/div>\n