James Cameron: Right. Titanic was conceived as a love story, and if I could have done it without one visual effect I would have been more than happy to do that. The fact is that the ship hasn’t existed since 1912, at least not at the surface, so we had to create it somehow. Obviously it was a big visual effect show when all was said and done, but that wasn’t my motivation to make the film. I don’t think that should ever be the motivation to make a film; it should be a means to an end. Certainly there’s an aspect of me that likes big challenges, whether it’s big physical construction or visual effects or whatever. I think that’s what I do best. Other people work at a much more intimate level; they do that solely and are better at that. I think that it was definitely a goal of Titanic to integrate a very personal, very emotional, and very intimate filmmaking style with spectacle. And try to make that not be kind of chocolate syrup on a cheeseburger, you know. Make it somehow work together. I think the spectacle got people’s attention, got them to the theaters, and then the emotional, cathartic experience of watching the film is what made the film work. I think the spectacle served it but was not the defining factor in its success. Once again I think it’s a question of balance. It’s sort of like looking at a painting and saying what part of the painting is the part that makes you like it. It’s all of it working together that makes you like the painting.