主要作品：

《泰坦尼克號》

《真實的謊言》

《終結(jié)者2》

《異形2 》

《終結(jié)者I》

《食人魚2：繁殖》

In 1981 a young Canadian filmmaker got his first big break when he was asked to direct a cheap horror movie that featured ferocious flesh-eating fish. Thats James Cameron.

Personable and friendly， he was the antithesis of the reputation he has earned over the years as an obsessive perfectionist willing to push his cast and crew to unreasonable extremes.

Yet he admits he is not afraid to pull punches. “Im not in this to phone it in and do mediocre work，” he said. In a sign of how he runs a set， there is a baseball cap in his office with the letters HMFIC on it.

“Hes a perfectionist who knows every single part of movie-making process，” says Arnold Schwarzenegger. He first worked with Cameron on Terminator. He originally wanted the role of Kyle Reese， the films human hero， rather than the cyborg killer， but was convinced by Cameron to switch parts. He worked with Cameron on three films and considers him a good friend. “Hes a driven guy， a disciplined guy，” he says. “He blows up sometimes on the set and can be very demanding. But that is because he knows exactly what he needs and will fight for it until he gets it.”

The director was born in Canada and spent his early years in a town close to Niagara Falls. At 17 his family moved to southern California. There， Cameron decided to deviate from the path his father， an engineer， had set out for him. He dropped out of junior college and found jobs as a machinist and then a truck driver. “I just became this blue-collar guy，” he said. “But I was constantly thinking as an artist， so Im painting， drawing， writing， thinking about visual effects and filmmaking.”

He spent time at the University of Southern California library， where he read books about the technical aspects of filmmaking. After making a short film with two friends he landed a job working for Roger Corman， the B-movie king.

If Corman taught him the basics， he has Stanley Kubrick to thank for sparking his interest in filmmaking. Seeing 2001： A Space Odyssey at the age of 14 had a profound effect on him and left him dreaming about making science fiction films. But he has not limited himself to science fiction： Titanic was a historical love story written off by experts and reviewers who had to eat their words when it broke box office records.

Perhaps more than any other working Hollywood director， his films push the technological boundaries of cinema. Avatar was shot using a new generation of cameras and computer technology pioneered by Cameron and his team.He has always been fascinated by science and technology. Whether its someone at NASA， or Panasonic or Sony， hes not talking to the chief executive. Hes talking to the guys in the lab coats and they are speaking the same language.

1981年，一名年輕的加拿大電影制作人受邀執(zhí)導(dǎo)一部以殘忍的食人魚為賣點的低成本恐怖片，他獲得了職業(yè)生涯的第一個重大突破。他就是詹姆斯·卡梅隆。

卡梅隆親切友好的為人，與他多年來贏得的名聲截然相反——他被認(rèn)為是一個偏執(zhí)的完美主義者，不惜把演員和攝制組逼到不合情理的極限。

但他承認(rèn)，他不怕得罪人。他曾說過，“我從事這一行，不是為了敷衍了事做平庸的工作。”在他的辦公室里，有一頂寫有HMFIC（魔鬼導(dǎo)演）的棒球帽，很能說明他在片場的指揮風(fēng)格。

阿諾德·施瓦辛格表示：“他是個完美主義者，了解影片制作過程的每一個環(huán)節(jié)?！笔┩咝粮裨凇督K結(jié)者》一片中與卡梅隆首度合作。他最初希望飾演片中的人類英雄卡爾·雷斯，而不是那個機器人殺手，但在卡梅隆的說服下調(diào)換了角色。他與卡梅隆合作過三部影片，把他當(dāng)作自己的好友?！八莻€有上進心和自制力的人，”他說，“他有時會在拍攝現(xiàn)場發(fā)脾氣，可能會很難伺候，但那是因為他知道自己到底要什么，并且會不懈爭取，直到達到他想要的效果。”

卡梅隆出生于加拿大，早年生活在靠近尼亞加拉瀑布的一個小鎮(zhèn)上。17歲那年，他隨家人搬到美國加州南部，在那里，他決定偏離當(dāng)工程師的父親為他設(shè)計的道路。他從大專退學(xué)，先是當(dāng)機械師，然后做了卡車司機。他說：“我就這樣變成了一個藍領(lǐng)工人，但我經(jīng)常以藝術(shù)家的方式思考問題，所以我會去練習(xí)繪畫、素描和寫作，思考視覺效果和電影制作方面的問題?！?/p>

他去南加州大學(xué)的圖書館，貪婪地閱讀關(guān)于電影制作技術(shù)的書籍。在與兩個朋友一起制作了一部短片后，他獲得了為“B級片（低預(yù)算拍出來的影片）之王”羅杰·科曼工作的機會。

如果說科曼教會了他基本原理，那么斯坦利·庫布里克（美國導(dǎo)演）則激發(fā)了他對電影制作的興趣。14歲那年觀看《2001：太空漫游》的經(jīng)歷，對他產(chǎn)生了深遠(yuǎn)影響，令他萌生了制作科幻片的夢想。但他并未局限于科幻題材。《泰坦尼克號》講述的是一個歷史題材的愛情故事。該片打破了票房紀(jì)錄，令那些對它頗有微詞的業(yè)內(nèi)專家和評論人士不得不收回前言。

在挑戰(zhàn)制片技術(shù)極限方面，卡梅隆或許勝過目前好萊塢其他任何一位導(dǎo)演。《阿凡達》的拍攝，使用了由卡梅隆及其團隊開發(fā)的新一代攝影機和電腦技術(shù)。他向來對科學(xué)技術(shù)著迷不已，不管對方是美國國家航空航天局，還是松下或者索尼，他都繞過首席執(zhí)行官，直接和那些穿著白色實驗室大褂的技術(shù)人員交流，他們說的是同一種語言。