James Cameron says AI will never replace human artists’ “flow” in filmmaking

James Cameron is breaking his usual post-release moratorium to revisit “Avatar: The Way of Water” ahead of its October 3 theatrical re-release, driven by the need to maintain thematic consistency with the upcoming third film, “Avatar: Fire and Ash,” set for December release. The director also revealed his evolving approach to visual effects production and expressed strong views on generative AI’s role in filmmaking, emphasizing that “we need our artists” and that AI “is never going to take the place” of human creativity.

What you should know: Cameron has fundamentally changed how he approaches visual effects work, creating what he calls a “creative culture” rather than just a technical one.

• He’s encouraging VFX artists to think as storytellers, asking them to understand the narrative purpose behind every shot and work in “flow” rather than isolated elements.
• This approach has resulted in “first look finals” – shots that are approved on first review, which Cameron calls “the craziest thing in the world” for anyone familiar with VFX production.
• The method started on “The Way of Water” and has been refined further on “Fire and Ash,” creating what Cameron describes as a “crazily joyful finish” to production.

Major story changes: Cameron made significant additions to “Fire and Ash” after completing principal photography, bringing back the Toruk – the large flying creature Jake rode in the first film.

• The director realized audiences would wonder why Jake doesn’t simply retrieve the powerful creature to solve his problems, saying “I was saving it for a later film. I was like, ‘Fuck that! He should get the bird.'”
• He rewrote scenes and shot additional material to incorporate the Toruk storyline, pushing the film’s runtime to three hours.
• Cameron shot 95% of both “The Way of Water” and “Fire and Ash” during an 18-month period from September 2017 to early 2019.

What they’re saying: Cameron is adamant about the irreplaceable value of human artists in the creative process.

• “This is why the Gen AI stuff is never going to take the place of that. We need our artists. It’s artists in control of the process, right?”
• On grief and emotional authenticity: “In the typical universe of superheroes and so on, grief is not really dealt with, because it’s an impediment to all the cool stuff you want to see. But I thought, Nah, I want to be very authentic about these people emotionally.”

The big picture: The re-release serves as preparation for “Fire and Ash,” which Cameron describes as the second part of a larger story arc that spans films two and three.

• Key relationships introduced in “The Way of Water” – particularly involving Spider, Kiri, and the complex dynamic between Jake and the resurrected Quaritch – will reach fruition in the third film.
• Cameron emphasizes that grief over the loss of Jake and Neytiri’s eldest son will create authentic relationship pressure, challenging their bond in ways that reflect real-world family trauma.

Future uncertainty: Cameron admits he’s at a “crossroads” regarding the franchise’s continuation beyond the third film.

• The financial performance of “Fire and Ash” will significantly influence whether Disney moves forward with the planned fourth and fifth films, dated for 2029 and 2031.
• Rising production costs, particularly in VFX, are “starting to close out the type of films that I like to make,” potentially forcing a production pause to reassess methodology.
• Cameron is also considering other projects, including “Ghosts of Hiroshima,” though he hasn’t yet written a script for that adaptation.

Why this matters: Cameron’s comments reveal both the creative evolution of blockbuster filmmaking and the economic pressures facing large-scale productions in an era of escalating costs. His emphasis on human creativity over AI automation offers a counterpoint to industry trends toward technological replacement of artistic roles, while his uncertainty about the Avatar franchise’s future highlights the financial realities even successful directors face in today’s entertainment landscape.