{"id":707490,"date":"2026-01-13T17:00:32","date_gmt":"2026-01-13T14:00:32","guid":{"rendered":"https:\/\/buradabiliyorum.com\/en\/james-cameron-ryan-coogler-chloe-zhao\/"},"modified":"2026-01-13T17:00:32","modified_gmt":"2026-01-13T14:00:32","slug":"james-cameron-ryan-coogler-chloe-zhao","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/james-cameron-ryan-coogler-chloe-zhao\/","title":{"rendered":"James Cameron, Ryan Coogler, Chloe Zhao"},"content":{"rendered":"
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\n\t\u201cDon\u2019t you want to go to each other\u2019s sets?\u201d James Cameron, the director of Avatar: Fire and Ash<\/em>, excitedly asked the other five participants on The Hollywood Reporter<\/em>\u2018s blockbuster Directors Roundtable \u2014 Bugonia<\/em>\u2019s Yorgos Lanthimos, Hamnet<\/em>\u2019s Chlo\u00e9 Zhao, A House of Dynamite<\/em>\u2019s Kathryn Bigelow, Sentimental Value<\/em>\u2019s Joachim Trier and Sinners<\/em>\u2019 Ryan Coogler \u2014 as they discussed their different app<\/a>roaches to filmmaking. \u201cI do!\u201d replied Zhao, while Coogler added, \u201cI\u2019m loving everything I\u2019m hearing.\u201d<\/p>\n

\n\tThe sextet, who range in age from 74 (Bigelow) to 39 (Coogler) and hail from Canada (Cameron), China (Zhao), Norway by way of Denmark (Trier), Greece (Lanthimos) and the U.S. (Bigelow and Coogler), have between them 22 total Oscar nominations, three best director Oscar statuettes (Cameron for Titanic<\/em>, Bigelow for The Hurt Locker<\/em>, which made her the first woman to win the award, and Zhao for Nomadland<\/em>, which made her the second) and incalculable moviemaking knowledge and experience.<\/p>\n

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\n\tIf you hadn\u2019t become a filmmaker, what would you be doing?<\/strong><\/p>\n

\n\tJAMES CAMERON<\/strong> I\u2019d had to decide between exploration and science<\/a> on the one hand and filmmaking on the other hand. And I\u2019ve gone back and forth. I took eight years off from Hollywood to do seven deep-ocean expeditions [post-Titanic<\/em>, pre-Avatar<\/em>].<\/p>\n

\n\tKATHRYN BIGELOW<\/strong> I\u2019d be painting.<\/p>\n

\n\tRYAN COOGLER<\/strong> I\u2019d probably have a coffee shop. I got pretty good at making espressos.<\/p>\n

\n\tYORGOS LANTHIMOS <\/strong>A baker. I could provide Ryan with my pastries.<\/p>\n

\n\tCHLO\u00e9 ZHAO <\/strong>A private detective.<\/p>\n

\n\tJOACHIM TRIER <\/strong>I used to be a pretty good skater, but I\u2019m too old now.<\/p>\n

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\t\t\t\t\tChloe Zhao, Hamnet<\/em><\/span><\/p>\n

\t\t\t\t\t\t\t\t\tPhotographed by Beau Grealy<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tWas there one film that nudged you down this road? <\/strong><\/p>\n

\n\tCAMERON <\/strong>2001: A Space Odyssey<\/em>, not just because my mind was blown by the cinema of it but because I wanted to know how they did it.<\/p>\n

\n\tZHAO <\/strong>I grew up in Beijing, and we didn\u2019t have Hollywood movies<\/a>. [Cameron\u2019s] The Terminator <\/em>was the first one I ever saw, and I went, \u201cHoly shit.\u201d<\/p>\n

\n\tBIGELOW <\/strong>The Wild Bunch<\/em>. I saw it on a double bill with Mean Streets<\/em>, and that was transformative.<\/p>\n

\n\tTRIER <\/strong>My father was a sound designer on a Norwegian stop-motion animated film called The Pinchcliffe Grand Prix<\/em> in the late \u201970s when I was a kid. I went to set and saw grown-ups playing with the animation of dolls, and then saw the result of that.<\/p>\n

\n\tCOOGLER <\/strong>My dad took me to Malcolm X<\/em>, and I remember just being overwhelmed by all of it.<\/p>\n

\n\tLANTHIMOS <\/strong>Cinema for me, growing up in Greece, was Spielberg films like Indiana Jones and Jaws<\/em>.<\/p>\n

\n\tLet\u2019s dive into your 2025 films. Kathryn, 50 years ago you made a short called Psychological Operations in Support of Unconventional Warfare<\/em>. In 2002, you made K-19: The Widowmaker<\/em>, about a nuclear sub that has an accident. And now comes A House of Dynamite<\/em>, about America\u2019s response to a nuclear attack. What\u2019s at the root of your interest in this subject matter? <\/strong><\/p>\n

\n\tBIGELOW <\/strong>I\u2019m curious about the military-industrial complex and foreign policy and how we are sort of at the mercy of it. I also have an interest in the prospect of nuclear war. I grew up in the duck-and-cover era \u2014 we had to hide under our desks in case of an atomic blast \u2014 and now it feels like the specter of it has returned, with a lot of saber-rattling around the world.<\/p>\n

\n\tJim, technology<\/a> that makes possible \u201cvicarious experience\u201d was at the center of a film that you co-wrote and produced and Kathryn directed, 1995\u2019s <\/strong>Strange Days<\/em><\/strong>, and it\u2019s also at the center of your <\/strong>Avatar<\/em><\/strong> films, which you started writing that same year. <\/strong><\/p>\n

\n\tCAMERON<\/strong> We were developing those around the same time. The science fiction idea of technology that could project your mind into an alien body was more of a means to an end to place a character into a world. It was a way of looking at Indigenous culture and the way their values might be different. Avatar<\/em> sort of gets a human audience to vote against themselves; the aspirational value of the Na\u2019vi is we want to go back to that version of ourselves that was connected with nature.<\/p>\n

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\t\t\t\t\tJames Cameron, Avatar: Fire and Ash<\/em><\/span><\/p>\n

\t\t\t\t\t\t\t\t\tPhotographed by Beau Grealy<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tRyan, you\u2019ve said you don\u2019t make films unless you feel a personal connection to the material. What was it for <\/strong>Sinners<\/em><\/strong>? <\/strong><\/p>\n

\n\tCOOGLER <\/strong>It all started with my uncle, who was the eldest male family member I had. He was from Mississippi and moved to Oakland when he was 20. I was born and raised in Oakland, and I used to love spending time with him. If he\u2019d had enough whiskey, he\u2019d tell me a story about Mississippi, and the blues was always on. Then I started making movies and moved away. In 2015, he got very sick. I wanted to be there, but I was in Philadelphia making Creed<\/em> and then in L.A. finishing it. He\u2019d tell me on the phone, \u201cDon\u2019t worry about me, man, handle your business.\u201d But he ended up passing away while I was in postproduction, and I wasn\u2019t there, and I had a lot of guilt around it. When I\u2019d think about him, I\u2019d put on those old songs that he\u2019d had playing when we hung out, and I started to listen with a different ear and got obsessed. One day I was listening to one of his old songs, \u201cWang Dang Doodle,\u201d and it hit me like a lightning bolt: This could be a movie. I love genre cinema, too \u2014 nobody knew that about me \u2014 so I thought it would be fun to make something a little more personal and pull from some of my favorite influences.<\/p>\n

\n\tYorgos, <\/strong>Bugonia<\/em><\/strong> is a reimagining of the 2003 Korean film <\/strong>Save the Green Planet!<\/em><\/strong> \u2014 but it speaks to our current moment, when a lot of conspiracy-minded people are \u201cdoing their own research.\u201d <\/strong><\/p>\n

\n\tLANTHIMOS<\/strong> Will Tracy, who wrote the script, started working with Lars Knudsen and Ari Aster developing it, and then it came to me because they thought that I\u2019d be interested in it. From the first time I read it, I felt like it was almost ready to be made \u2014 because of the reasons you mentioned but also because it was extremely funny, complex, relevant and different to the stuff I\u2019ve done, but it also made absolute sense to me why they would think of me for it.<\/p>\n

\n\tChlo\u00e9, even after <\/strong>Hamnet<\/em><\/strong> producers Steven Spielberg and Sam Mendes asked you to direct it, you hesitated. Why? <\/strong><\/p>\n

\n\tZHAO<\/strong> When they told me the logline about a mother losing a child, that was quite triggering. The character of a mother did not exist in my films before because, like many, I carry a quite deep mother wound. It\u2019s the greatest wound a person can carry and probably the hardest one to heal. So the idea of making a film about that? I was like, \u201cI don\u2019t think so.\u201d But I did go through a midlife crisis for four years [after 2021\u2019s Eternals<\/em>] and realized that if you don\u2019t deal with something, it\u2019s going to come get you, so I thought, \u201cMaybe now is the time.\u201d<\/p>\n

\n\tJoachim, <\/strong>Sentimental Value<\/em><\/strong>, like most of your films, takes place in Oslo. It also centers on a family of artists who have a lot of intergenerational pain. You\u2019re from Oslo and a family of filmmakers. <\/strong><\/p>\n

\n\tTRIER<\/strong> My grandfather [Erik L\u00f8chen] made a film that got into Cannes in 1960, but there wasn\u2019t any infrastructure to really support him, so he only made one more feature in his life. I\u2019ve thought a lot about him \u2014 he passed away when I was 9 \u2014 and I\u2019m now the father of two young girls [like Stellan Skarsgard\u2019s character in the film, a filmmaker]. This film also comes out of conversations with Eskil Vogt, my co-writer, about the meaning of this thing we do. I\u2019m still struggling to understand why the hell we do what we do, and I tried to put that into the movie.<\/p>\n

\n\tCAMERON<\/strong> It\u2019s therapy.<\/p>\n

\n\tTRIER<\/strong> Maybe it is.<\/p>\n

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\t\t\t\t\tJoachim Trier, Sentimental Value<\/em><\/span><\/p>\n

\t\t\t\t\t\t\t\t\tPhotographed by Beau Grealy<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tPeople study your films in universities and write books about them, and they have theories \u2026<\/strong><\/p>\n

\n\tCAMERON<\/strong> They\u2019re always wrong, by the way. (Laughs<\/em>.)<\/p>\n

\n\tThis is the opportunity to set them straight: Do <\/strong>you<\/em><\/strong> see a connective thread that runs through your films?<\/strong><\/p>\n

\n\tCAMERON <\/strong>All of mine are love stories of one form or another: a girl-meets-boy [Titanic<\/em>], or a marriage that\u2019s breaking up [The Abyss<\/em>], or a woman creates a relationship with a girl that she feels protective of [Aliens<\/em>]. People think of me as a very technical filmmaker, and I love to do that, but for me, it\u2019s all about the heart.<\/p>\n

\n\tZHAO <\/strong>For me, it\u2019s fear of death. I did not grow up in an environment where there is religion or a way of looking at it as a natural part of the human experience but more as something taboo and bad. I\u2019m drawn to nature, especially nature that has not been tamed and controlled, so you have no choice but to be part of it. That\u2019s why your films, Jim, are so magical and still so relevant, because once you\u2019re forced to vibrate as part of nature, you become one with it, and then the illusion of separation dissolves and you\u2019re fearless and no longer afraid to die.<\/p>\n

\n\tRyan, Michael B. Jordan has been in every one of your films going back to Fruitvale Station<\/em>.<\/strong><\/p>\n

\n\tCOOGLER<\/strong> For Fruitvale<\/em>, I needed somebody to play this real guy who existed, who was murdered a few years before we started filming, and I was really into the fidelity of it. This young man was executed on camera, so people knew what he looked like where I was from, and that was really the only place I figured it would play, so if I cast somebody who didn\u2019t look like Oscar Grant, I was dead in the water. I kind of narrowed it down, and Mike was one of the guys, and I started to look at his work with a critical eye, and it was just obvious to me that this dude was a movie star. He was in movies where he\u2019d be, like, the third lead, or in a TV show in a supporting role, but he would find a way to be the person that people remembered. I wrote the screenplay, went to the Sundance Screenwriters Lab [in 2012], where I met Chlo\u00e9. Joachim was our advisor, this genius\u2014<\/p>\n

\n\tTRIER<\/strong> I was a confused kid. You guys were so good.<\/p>\n

\n\tCOOGLER<\/strong> They played us Oslo<\/em> [Trier\u2019s 2011 film Oslo, August 31st<\/sup><\/em>], and everybody, like, ran to him for advice.<\/p>\n

\n\tZHAO<\/strong> I remember.<\/p>\n

\n\tCOOGLER<\/strong> My movie was set over the course of 24 hours, like his [Oslo<\/em>], so I was soaking up all the advice. But yeah, I sat with Mike \u2014 we\u2019re from 3,000 miles away, but roughly the same age \u2014\u00a0and we just clicked. Then we got on set and he was masterful. He\u2019s got a lot of God-given talent and God, I mean, look how he looks \u2014\u00a0no control over that, he hit the lotto here \u2014\u00a0but he just works hard and is very selfless. The story I never told anybody was how we got linked up on Creed<\/em>. While we were doing chemistry reads for Fruitvale<\/em>, I got a call to go meet with Sylvester Stallone and pitch him. Stallone\u2019s agent was like, \u201cYo, you gotta be here.\u201d I\u2019m like, \u201cI\u2019m in auditions for this movie.\u201d He\u2019s like, \u201cYou gotta be here or it ain\u2019t going to happen.\u201d So I had to explain to Mike that I had to leave the auditions. He was like, \u201cWhere are you going?\u201d I\u2019m like, \u201cI\u2019m going to make a Rocky<\/em> movie.\u201d He\u2019s like, \u201cIf you put me in the movie, you can go.\u201d I didn\u2019t think it was going to happen, but we shook hands: \u201cAll right, bro, you can play in this movie if it goes.\u201d That\u2019s how it happened.<\/p>\n

\n\tBIGELOW <\/strong>That\u2019s great!<\/p>\n

\n\tCAMERON <\/strong>Doors are only open for a split second, and he knew to go through it.<\/p>\n

\n\tYorgos, you and Emma Stone previously teamed up on The Favourite<\/em>, Poor Things<\/em> and Kinds of Kindness<\/em>\u2026<\/strong><\/p>\n

\n\tLANTHIMOS<\/strong> The Favourite<\/em> was a great experience, and we kept building on that.\u00a0There was a lot of trust between us, and we became very close friends, and she\u2019s become a producer on the films because I want to run everything by her, because I trust her sensibilities and taste and thoughts about the entirety of a film. And we\u2019re creating a bigger group around us that involves crew, as well, that comes back, and other actors. It\u2019s become like a theater troupe, travel<\/a>ing around, making films in various places.<\/p>\n

\n\tJoachim, Renate Reinsve had one line in Oslo<\/em>, then was the lead of The Worst Person in the World<\/em> and now Sentimental Value<\/em>\u2026<\/strong><\/p>\n

\n\tTRIER<\/strong> Because I\u2019m obsessed with light, we waited for transitional light every morning for eight days on Oslo<\/em>, and then shot something else for the rest of the day, so she was actually on set for nine days for that one line. Her character was hanging out with the main character throughout the night, and I would give her a task \u2014\u00a0bicycling around or hanging out at the party \u2014\u00a0and then I would look at the rushes, and everything she did was interesting. She made great choices. I didn\u2019t really direct her much, but she was just a real human being, living in the background there, and I thought, \u201cShe\u2019ll be a great star.\u201d Then she got all these roles in theater, but no one cast her for lead parts in movies, so I wrote her Worst Person in the World<\/em>.<\/p>\n

\n\tJim, you and Sigourney Weaver go back 40 years and four films to <\/strong>Aliens<\/em><\/strong>. <\/strong><\/p>\n

\n\tCAMERON <\/strong>I was terrified of Sigourney before I met her. She was Ripley [in 1979\u2019s Alien<\/em>, which Ridley Scott directed], and I had written this part [for the 1986 sequel], and I just prayed that she would like the script, which she did. When [2009\u2019s] Avatar<\/em> went out and became this huge thing, I brought Sigourney back from the dead! I wrote a whole other character for her [in Avatar 2<\/em> and 3<\/em>].<\/p>\n

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\t\t\t\t\tKathryn Bigelow, A House of Dynamite<\/em><\/span><\/p>\n

\t\t\t\t\t\t\t\t\tPhotographed by Beau Grealy<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tI want to talk about where you guys are during a shot. Jim, you like to operate the camera. Joachim, you are right next to the camera?<\/strong><\/p>\n

\n\tTRIER<\/strong> I have a small monitor so I can check the frame, but I believe that to really judge what the camera gets, I need to look. I want to be there, and I want to feel it. I use rehearsals to train actors to accept my gaze. If you sit with your friends and stare at them all the time, they think you\u2019re crazy. But when they see that I have \u2014\u00a0it sounds cheesy, but \u2014 a loving gaze, then I can be close and I\u2019m allowed to be there.<\/p>\n

\n\tChlo\u00e9, you started each day on <\/strong>Hamnet<\/em><\/strong> with a guided meditation. <\/strong><\/p>\n

\n\tZHAO <\/strong>I went digging, in those four years of midlife crisis, to get out of my head and go into the subconscious. There were a couple of ancient modalities that I pulled out of mystery schools and union psychology to experiment with on Hamnet<\/em>. There\u2019s dream work \u2014 working with dreams. Sometimes we would put 300 extras under, into a collective dream, right before we called \u201cAction!\u201d And then there were tantric workshops, a Hindu tradition of working with energies and polarities. We would get Paul [Mescal] and Jessie [Buckley] in a polarity workshop to see how much they could get into their gendered polarity to the extreme and then let them clash into each other. Different kinds of somatic exercises. I don\u2019t rehearse scenes, but I try to get the actors into their bodies and make them comfortable with each other.<\/p>\n

\n\tCOOGLER<\/strong> I\u2019m loving everything I\u2019m hearing.<\/p>\n

\n\tJim, you\u2019ve said you\u2019re not particularly interested in making an art house, film festival type of film\u2014<\/strong><\/p>\n

\n\tCAMERON<\/strong> Let me contextualize that. I write a number of scenes in all my films that are very small, usually a two-hander or maybe even a solo scene, little intimate scenes between people. I love those scenes. I just do the other scenes too, the big shit. [laughs<\/em>]<\/p>\n

\n\tChlo\u00e9, you\u2019ve said the opposite: \u201cIf I could, I would have all my films start at a festival.\u201d Joachim, you\u2019ve said, \u201cI love the fact we have films with Tom Cruise, and I will see Mission: Impossible<\/em>, but I\u2019d never compromise the kind of creative control I\u2019ve had from film one\u201d on smaller-scale projects. But Jim, Kathryn and Ryan have found ways to maintain creative control on larger canvases. Ryan went from a $900,000 budget for Fruitvale Station<\/em> to $40 million for Creed<\/em> to $200 million Black Panther<\/em>. Chlo\u00e9 went from $80,000 for The Rider<\/em> to $5 million for Nomadland<\/em> to $236 million for Eternals<\/em>.<\/strong> Chlo\u00e9 and Ryan, did you feel a big difference going from relatively small-scale projects to Marvel? <\/strong><\/p>\n

\n\tCOOGLER <\/strong>You feel it, for sure. I was fortunate that I did them all kind of back to back. I walked off one into the other, so the stair step was helpful. But yeah, you get new elements. The biggest one was second units. They had to explain to me what they were. Like, \u201cHey, he\u2019s going to be directing another unit.\u201d I was like, \u201cWhat?\u201d \u201cHe\u2019s going to be a director.\u201d I\u2019m like, \u201cWhat? Wait, excuse me?\u201d They\u2019re like, \u201cYeah, they don\u2019t record sound.\u201d I\u2019m like, \u201cThey don\u2019t have sound?!\u201d I told them, \u201cI\u2019m not doing this second unit. I don\u2019t understand it.\u201d They said, \u201cWell, what are your favorite action movies?\u201d I said, \u201cTerminator 2<\/em>. If Terminator 2 <\/em>had a second unit, then I\u2019ll do it.\u201d<\/p>\n

\n\tCAMERON <\/strong>Oh, yeah, we had a second unit! (Laughs<\/em>.)<\/p>\n

\n\tCOOGLER<\/strong> They printed out the credits. (Laughs<\/em>.) But that was the big one. Just the concept of a whole other crew.<\/p>\n

\n\tZHAO<\/strong> I actually didn\u2019t feel the difference very much. When you make a film [Nomadland<\/em>] with $5 million in the desert with 27 people, without an AD, you do everything yourself. It\u2019s extremely stressful. Then at Marvel, it was like, \u201cWow, people are doing stuff for me and things are taken care of!\u201d You ask for something and it\u2019s there. It\u2019s great. But also, those 27 people stayed the same.<\/p>\n

\n\tCAMERON <\/strong>I was going to say, there are many levels of extras and production and Musco lights and all that stuff. But I think the five people around the camera \u2014 the DP, AD and the principal actors in the scene \u2014 that intimacy never changes.<\/p>\n

\n\tTRIER <\/strong>[In Norway,] I don\u2019t make so much money off making a film, but I\u2019m allowed to do my film. I remember going to the biggest screen in Oslo and watching The Abyss<\/em> and dreaming of making grand images, and I still think I am, on my own small scale.<\/p>\n

\n\tBIGELOW <\/strong>I don\u2019t think scope makes size. I mean, Sentimental Value<\/em> is huge, it\u2019s gigantic! And Fruitvale<\/em>, oh my God \u2014 its impact and story! That\u2019s where the size is.<\/p>\n

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\t\t\t\t\tRyan Coogler, Sinners<\/em><\/span><\/p>\n

\t\t\t\t\t\t\t\t\tPhotographed by Beau Grealy<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tRyan, with <\/strong>Sinners<\/em><\/strong>, you made a deal that 25 years from now, ownership of the film will revert to you. <\/strong><\/p>\n

\n\tBIGELOW <\/strong>That\u2019s brilliant!<\/p>\n

\n\tWhat made you decide, with this film, to seek that? <\/strong><\/p>\n

\n\tCOOGLER <\/strong>I\u2019m constantly looking at what everybody else is doing to find my way; I have a hard time leaping to a place that I haven\u2019t at least seen somebody get to before. And I knew it was something that was possible. Filmmakers that I know had done it. I was fortunate enough to have made some movies that had some financial success. We were coming out of the writers and actors strikes. It was a scary time where it felt like, \u201cMan, this next movie I do might be my last.\u201d And really, Sinners<\/em> is a movie about capitalism as much as anything, and my people\u2019s relationship with it here in this country. My uncle was a sharecropper, like the folks in the film, who had been fucked over his whole life. I\u2019m telling their story. So it was one of those things where we went out with the script and had a list of asks. Fortunately, a lot of studios were into it. It was heartwarming, and then terrifying, once Warner Bros. said, \u201cAll right, let\u2019s go.\u201d I didn\u2019t want to make them look stupid, and I wanted to make the best movie we could. And if anybody looks to me and what I did for motivation, that\u2019s awesome, because I definitely looked to Tyler Perry, M. Night Shyamalan and Quentin Tarantino.<\/p>\n

\n\tZHAO <\/strong>(To Cameron<\/em>) Can you imagine if you\u2019d had that deal when you made Avatar<\/em>?<\/p>\n

\n\tCAMERON <\/strong>I wish I had.<\/p>\n

\n\tThe two most veteran directors at this table are Jim and Kathryn. You were, of course, married from \u201989 to \u201991 \u2026 <\/strong><\/p>\n

\n\tCAMERON <\/strong>We were married longer ago than half our lives.<\/p>\n

\n\tThen continued to make great films together, including the aforementioned <\/strong>Strange Days<\/em><\/strong> \u2026 <\/strong><\/p>\n

\n\tCAMERON <\/strong>We love working together.<\/p>\n

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\t\t\t\t\tYorgos Lanthimos, Bugonia<\/em><\/span><\/p>\n

\t\t\t\t\t\t\t\t\tPhotographed by Beau Grealy<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tAnd I know have been very supportive of each other since. I\u2019m curious: What\u2019s the biggest thing that you\u2019ve each learned from the other? <\/strong><\/p>\n

\n\tCAMERON <\/strong>Authenticity. Kathryn cannot do anything that\u2019s not authentic. I think it\u2019s evolved to not be about pushing away that which is commercial; it\u2019s figuring out what\u2019s real in the world and then running that through her lens. And I look for that in my own work.<\/p>\n

\n\tBIGELOW <\/strong>Oh, that\u2019s very kind of you, thank you. I think the desire to just reach as far as you possibly can \u2014 that really comes from Jim, a reach that seems both improbable and impossible and yet is doable.<\/p>\n

\n\tCAMERON <\/strong>You do it.<\/p>\n

\n\tThis story appeared in the Jan. 15 issue of The Hollywood Reporter magazine. Click here to subscribe<\/a><\/em>.<\/p>\n<\/div>\n

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Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cDon\u2019t you want to go to each other\u2019s sets?\u201d James Cameron, the director of Avatar: Fire and Ash, excitedly asked the other five participants on The Hollywood Reporter\u2018s blockbuster Directors Roundtable \u2014 Bugonia\u2019s Yorgos Lanthimos, Hamnet\u2019s Chlo\u00e9 Zhao, A House of Dynamite\u2019s Kathryn Bigelow, Sentimental Value\u2019s Joachim Trier and Sinners\u2019 Ryan Coogler \u2014 as they…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-707490","post","type-post","status-publish","format-standard","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/707490","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=707490"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/707490\/revisions"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=707490"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=707490"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=707490"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}