Avatar: The Way of Water: Sam Worthington recalls shooting underwater for the sequel

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Avatar: The Way of Water’s final stage of production has been finished after a nearly six-year journey, and the sequel is now unquestionably on schedule to debut in theatres around the world. In this spirit, Sam Worthington, the actor who will play Jake Sullyhas talked about his experiences working underwater for James Cameron’s Avatar: The Way Of Water.

Twelve years have passed since the release of the original Avatar movie, which became one of the highest-grossing Hollywood productions.The underwater scenes in The Way Of Water were Worthington’s biggest challenge to date, he admitted in a recent interview with Empire Online. Worthington again in the eagerly anticipated sequel revealed that he had to learn to “free dive” for the movie, which is deep water diving without scuba equipment.

Worthington shared, “You spend many, many hours ten, twelve, fifteen underwater, and it’s stressful for everybody involved; not just the performance, but the safety team, the free dive team, the camera crew that are under there with you with Jim and the technical crew on top. If that’s not running smoothly, then people are going to get in trouble. So there’s an element of risk about it. This is where I yield to Jim, because he’s never going to put us in trouble. He’s done enough missions that he understands that this was kind of a mission-based approach to filmmaking.”

Worthington acknowledged that he did have a great deal of trust in Cameron, despite his reservations about following the director’s vision. Sam Worthington stated, “Jim’s an old school storyteller. People gather around the fires, and they strengthen communities through telling stories of the past, the present and the future. And I think that Jim is one of them. I think what he loves is when the themes he talks about love, family, hope, honour, fear, survival are explored on the grandest scale. I think Jim really loves to explore those in a way which takes it beyond just normal, everyday pedestrian filmmaking.”

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