[Chapter 592: Titanic Begins Filming, Cameron Vows to Succeed or Die Trying]
On February 26, Linton arrived in Rosarito, Mexico, accompanied by his assistant Li Xiaoran, who had just returned from vacation, and his bodyguard Danny. This once quiet seaside town had suddenly come alive with activity.
Not far from the bay, a colossal film studio had sprung up, completely transforming the town's landscape. The first thing that caught Linton's eye upon arrival was a massive ship anchored in the giant water tank on the set.
The director, James Cameron, had insisted -- some might say obsessively -- on reconstructing the Titanic one-to-one based on historical records. Unlike the earlier production in a previous life where only half a ship was built due to budget constraints, this time, with Linton providing ample funding, Cameron had an entire replica constructed.
The cost? A staggering $100 million just for the ship alone.
Nacho Misi, the producer representing Linton, was biting his nails in frustration -- not out of company loyalty, but because his own income largely depended on the project's profits. The higher the cost, the slimmer the margins, and the smaller his bonus.
He worried the film might lose money, making his two years spent on the project a waste.
Nacho had crunched the numbers: using CGI and modeling, the ship's construction would have cost no more than $10 million. A halfway solution -- building just half the ship as done in the prior production -- would have kept costs around $50 million to $60 million.
Instead, they spent over ten times that amount on a full ship replica.
Faced with this enormous financial pressure, Nacho was far from happy and had tried to persuade Cameron to reconsider.
But Cameron was immovable, and what frustrated him the most was that Linton himself seemed strangely agreeable, approving the bloated budget without hesitation.
From Linton's perspective, however, the $100 million was a wise investment.
Beyond achieving stunning on-location effects, the film's global blockbuster status could transform this site into a Titanic-themed park -- a constant revenue-generating asset.
...
The Titanic project had officially started in May 1995 and had been in intense preparation for nearly two years.
Thanks to this ample prep time and sufficient funds, the studio facilities were nearly complete when Linton arrived -- unlike the previous rushed shoot where construction was ongoing during filming.
Other cast members, including female lead Kate Winslet, had already settled on set for over a month, familiarizing themselves with the script and undergoing rigorous training.
In fact, Kate had privately called Linton to complain, saying Cameron was a tyrant who forced twelve-hour grueling training sessions every day, leaving everyone exhausted.
...
Despite Cameron's fearsome reputation as a set tyrant, he knew who the real boss was. Having learned the hard way when he once tried to replace Linton as lead, Cameron never dared make unreasonable demands about Linton's schedule.
Instead, he politely asked Linton to start rehearsing art scenes and read the script ahead of time but didn't insist that he join early physical training.
When Linton finally arrived, Cameron was thrilled and organized a welcome party to help him bond with the rest of the cast.
Except for the leads, Cameron handled all casting decisions himself.
Upon joining, Linton found that the cast almost perfectly mirrored the previous production, reinforcing that some things in history simply repeated themselves.
Billy Zane returned to play the steel magnate's son Cal Hockley; Gloria Stuart reprised the role of elderly Rose; Kathy Bates was Molly Brown, among others.
The legendary superstar and film's top investor naturally received a warm welcome from the entire crew.
Any jealousy over his tardiness was masked by genuine smiles and laughter.
...
That afternoon, Cameron and producer Nacho gave Linton an exclusive tour of the studio.
They wanted him to fully grasp the environment he'd be working in and reassure him his investment wasn't wasted.
Their first stop was the massive soundstage number one.
Immediately inside was a ten-meter-deep indoor water tank roughly the size of two football fields.
More impressive still were the grand sets mounted on hydraulic platforms at the center of the tank.
James Cameron enthusiastically pointed out the historically accurate, lavish first-class cabins and the iconic three-level grand staircase.
"This is where we'll shoot the scenes of first-class passengers fleeing as the ship tilts and floods after striking the iceberg," he explained passionately.
Nacho added, "The hydraulic platform is key. It can precisely tilt the ship to simulate all angles and stages of the sinking until it finally breaks apart."
Pointing to the massive pipes connecting the dock to the open sea, Cameron continued, "We'll pump five million gallons of real seawater directly from the ocean. The water will flood this platform slowly, submerging the dining rooms and staircase. What we're capturing on film is the raw, desperate fear and chaos passengers experience during disaster."
Linton looked down at the gleaming high-end wooden flooring and crystal chandeliers overhead, imagining the impending flood and asked, "This will be a classic destruction shot, but is there really only one chance to film it?"
"Exactly," Cameron replied. "I want to document the real destruction. After filming, the entire set will be ruined and can't be reused. So all cast and crew must rehearse here repeatedly beforehand to guarantee the perfect take."
...
Rosarito was a remote town with limited infrastructure and few travelers -- no decent hotels existed nearby.
Fortunately, when the crew bought the 100-acre studio land years ago, Linton had already planned for this, envisioning a sustainable oceanfront film studio and theme park.
Producer Nacho commissioned a comprehensive design plan and secured a special $20 million budget from Linton to build necessary amenities, including a four-star hotel.
After nearly two years, most facilities were complete, and the hotel had opened its doors with the crew as its first guests.
Without this hotel, everyone would have been forced to live 30 miles away in the chaotic border city of Tijuana -- time-consuming, risky, and exhausting.
The hotel's top floor housed six luxurious executive suites, but only four were occupied: Linton and Kate at the east end; James Cameron and Nacho at the west.
Unsurprisingly, Kate naturally ended up sharing Linton's suite that night.
...
After a passionate, intimate night, Kate lay softly on Linton's chest, whispering, "Darling, I'm so glad you're here."
"What's wrong? Feeling uncomfortable?"
"Cameron really is a tyrant. Training goes over twelve hours every day; we're all drained."
"It's okay. Directors like him have their ways. With such a massive budget on the line, the pressure's huge, so it makes sense he's strict."
"Will you train with us tomorrow?"
"Of course. I'm an actor too. Once filming starts, I'll uphold the director's authority."
...
Playing Jack Dawson, a painter, Linton had to develop a basic skill: drawing.
Thanks to his superb physical and mental condition as a Celestial Presence stage cultivator, mastering this skill wasn't hard. Plus, he didn't need to be a master artist, just convincing enough.
Last year, he had already hired a professional art instructor from USC's School of Arts for training.
In less than a week, his talent elevated him to a level comparable to top university graduates in painting.
Whether it was light and shadow composition, capturing expression in sketches, or watercolor combinations, Linton quickly learned and delivered outstanding portraits and landscapes.
The next morning at 8 a.m., after breakfast, Linton and Kate headed to the set.
James Cameron, still skeptical, requested that Linton sketch Kate on the spot as a test.
Within half an hour, Linton completed a near-perfect charcoal sketch.
The likeness was uncanny -- from her features to posture and expression -- leaving Cameron immensely satisfied and confident that Linton was dedicating himself to the role.
Afterward, Linton joined the cast for rehearsals.
...
Since many crucial scenes could only be filmed once -- sets destroyed after -- the assistant director diligently organized repeated run-throughs to ensure flawless execution.
Aside from rehearsals, lead actors spent daily hours doing script readings and physical conditioning.
Their schedules were packed from a 7:30 a.m. breakfast until 8:30 p.m. dismissal -- over 12 hours of relentless work.
Producer Nacho initially worried that Linton might struggle under pressure, so he stayed close, monitoring him.
Seeing Linton adapt as well as everyone else, Nacho finally relaxed.
Privately, he explained, "This movie is such a huge investment, both you and Cameron bear enormous pressure. We have to be relentless to make the best film possible."
Linton understood and sympathized.
Nacho added with a smirk, "Good thing we're in Mexico, or unions would have shut us down already. Of course, we pay overtime."
...
After a week of rehearsals, filming officially began.
With a top Hollywood director and a mega star attached, combined with a soaring budget of $280 million, Titanic attracted intense media attention.
With rumors leaked from Los Angeles, on the opening day, a legion of reporters showed up, even without sending formal invites.
To keep the press at bay, James Cameron and Nacho Misi imposed a strict gag order forbidding leaks about the grueling overtime.
But of course, reporters ignored the extras -- they focused on Cameron and Linton.
The first question came from Hollywood Gossip Daily, aimed at Linton:
"Linton, the White House recently announced your appointment as chief advisor to the White House, the Senate, and the House. Why are you here filming instead of working in Washington? Do you value this movie over your government duties?"
Though from one of their own, the question was blunt and sharp, causing Nacho's teeth to clench, wondering if he should dock the reporter's travel stipend.
But Linton answered with calm assurance.
"First, I sincerely thank the White House, Senate, and House for their trust in appointing me advisor. I will give my best in supporting all three branches. However, this film was confirmed two years ago and contracts were signed long before this. Integrity is a virtue we all must uphold; I see no reason not to honor it. In fact, friends know my greatest passions are acting and singing. Please respect my freedom and don't take away my hobbies."
Linton's flawless response eased Nacho's anxiety.
The reporters, mostly satisfied, had ample material to write on integrity, freedom, and dedication.
Attention soon turned to Cameron, and one reporter posed a harsher question:
"James, word is you've already spent $280 million, nearly double the original $150 million budget. Everyone knows romance films have a box office ceiling. How will you recoup costs? Is this your and Linton's Waterloo?"
The question elicited eager expressions.
Despite Cameron and Linton's star power, industry insiders largely doubted the film's profitability.
With production costs expected to surpass $300 million, plus at least $100 million in marketing, the total investment topped $400 million easily.
Factoring in financing over the lengthy timeline, the film needed to gross at least $800 million worldwide to break even.
Hollywood blockbusters continually break records, but mostly action and sci-fi films.
Titanic, however, was a romantic disaster movie -- a genre with inherent box office ceilings.
The highest grossing romance to date was As Good as It Gets at $331 million; the top disaster film, last year's Twister, earned $547 million globally.
Since Titanic's budget overruns were publicized last year, analysts had been ringing the death knell.
Realistically, everyone wanted to ask Linton, but as the world's third richest man and a rising Washington power broker -- who had recently been rumored online as mastermind behind a bloody crackdown on LA gangs -- no reporter dared risk their safety by pressing him.
Cameron, by contrast, had no such protection.
As the crowd awaited their answers, Cameron's voice cut sharply through the tension:
"Listen up -- Titanic will succeed. It will shock the world and set new box office records."
The reporter wasn't convinced:
"James, what makes you so sure this film won't fail?"
Cameron's reply rocked the room:
"The movie cannot fail. If it does, I won't just forfeit my entire salary -- I'll jump from the very top of the Titanic I had built."
His words crashed like thunder, igniting the crowd.
Reporters and paparazzi buzzed with excitement, practically desperate to shake Cameron's hand.
It had been a trip worth every second -- tomorrow's headlines would explode with this story, and generous bonuses already winked from the horizon.
*****
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