Ghosts of the Abyss

Synopsis: Academy Award® winning director and master storyteller James Cameron journeys back to the site of his greatest inspiration, the legendary wreck of the Titanic. With a team of the world's foremost historic and marine experts and friend, Bill Paxton, he embarks on an unscripted adventure back to the final grave where nearly 1,500 souls lost their lives almost a century ago. Using state-of-the-art technology developed expressly for this expedition, Cameron and his crew are able to explore virtually all of the wreck, inside and out, as never before. With the most advanced 3D photography, moviegoers will experience the ship as if they are part of the crew right inside the dive subs. In this unprecedented motion picture event, made especially for IMAX 3D Theatres and specially outfitted 35mm 3D theaters across the country, Cameron and his team bring audiences to sights not seen since the sinking 90 years ago and explore why the landmark vessel, more than any shipwreck, continues to intrigue
Director(s): James Cameron
Production: Buena Vista Distribution
  1 nomination.
 
IMDB:
6.9
Metacritic:
67
Rotten Tomatoes:
80%
PG
Year:
2003
61 min
£16,302,332
Website
12 Views

PAXTON:
I believe things can

happen of such an intensity

that they do resonate

through time,

create, like, an echo.

The story of the "Titanic"

is very personal

to each person who hears it,

almost like a biblical story.

This giant ship,

all these people

in the middle of the ocean,

this iceberg, the warnings.

What would it have been like

to be there

on that fateful night?

I knew Jim was going to go back

to the "Titanic. "

He had talked about it.

He wanted to take

another expedition

since he had made the film.

He had invited me in passing.

But I guess I didn't

really seriously consider

I would actually go.

- Hello!

- Hello!

- You speak English?

- [Speaking Russian]

Great. I'm looking for my room.

My cabin.

[Speaking Russian]

Oh.

Oh, thank you.

Thank you, thank you, thank you.

But then,

when he actually said,

"No, I really want you

to come along and experience it

for yourself

and just take it all in"...

I had to go.

[Glen Phillips'

"Departure" plays]

# Leave my past #

# Leave my home #

# I'll find my way #

# To the great unknown #

The "Keldysh" is the largest

scientific research vessel

in the world.

And all the activity onboard

is focused on the "Mirs"

and what they have to accomplish

at the bottom of the ocean.

They take their work

extremely seriously.

Everything is checked

and rechecked,

just like a space mission.

# But like the shore finds

the ocean #

# Like the night finds

the day #

# I'll find an answer

to these questions #

# Far away #

# Far away #

Oh!

ABERNATHY:

My name is Lewis Abernathy.

I'm an underwater explorer.

I got them all.

I have been trying to thumb

a ride down to "Titanic"

for probably 10 years now.

What do you got?

We got bots, slimy bots, and

"A" deck, "B" deck, "C" deck.

Huge rusticles,

like this big around.

JOHNSTON:

My name is Lori Johnston.

My position was

as a microbiologist,

looking at the rusticles.

The idea that she spiraled down,

spitting objects.

PELLEGRINO:

My name is Charles Pellegrino.

I was one of the historians and

biologists on the expedition.

We tend to think of it

in 21st-century eyes.

LYNCH:
I'm Don Lynch,

and I studied the "Titanic"

based upon the testimony and

accounts of passengers and crew.

The people who were there

and witnessed it.

MARSCHALL:

My name is Ken Marschall.

I've been studying the "Titanic"

for over three decades now.

I checked it out.

The Straus suite.

Through those years and study,

I've sort of become

a visual historian

about the ship and her structure

and appearance.

PAXTON:

It was an amazing expedition

in terms of all of

the state-of-the-art technology

and engineering we were using,

in terms of the camera system.

The R.O.V.S were amazing.

On the cutting edge

of technology.

Just try to keep the light in

right where I've gone in.

I'm gonna explore these cabins.

There is no script. We don't

know what we're gonna see.

We don't know

what we're gonna encounter.

The crucial thing

about deep-sea photography

is lighting.

Just come up over and light

all this business down here.

- You see what I mean?

- Yeah.

So we had a sister ship on

the expedition called the "EAS."

The "EAS" had

this giant lighting chandelier

called Medusa.

The theory was to lower the

chandelier down over the wreck

and do this overlighting,

almost like moonlight.

There was no manual

for any of this.

Nobody had ever combined

this many elements

into a single-dive operation

before at these depths.

We were pushing the limits

of technology,

which was a little eerie

given the fate of the ship

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Submitted on August 05, 2018

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