Which is the greatest film ever made?  

I think it is the Titanic.
The film was produced by Cameron's Lightstorm Entertainment in conjunction with Paramount Pictures and 20th Century Fox. It is based on reality, though Cameron created several fictional characters, portrayed by Kate Winslet (Rose DeWitt Bukater) and Leonardo DiCaprio (Jack Dawson), who put flesh and blood on the skeleton of the story. She's a first class passenger, a socialite headed for a wedding in New York. He's an artist traveling home in steerage. They fall in love and seduce the audience.All of Cameron's films during the past 15 years have been ladened with innovative visual effects, including Terminator, Aliens, The Abyss, Terminator 2: Judgment Day and True Lies. All of them were fantasies, or in the case of True Lies, hyper-reality. The use of visual wizardry was blatant, like it was a character in the film.Titanic is different. Some 500 visual effects shots are skillfully weaved into the fabric of the story. They include starfields for night skies, wire removal for flying objects and falling people, simple two layer composites and about 160 "heavy duty" shots.Cameron said visual effects only had one purpose. He wanted the audience to see and feel what it must have been like to be on the R.M.S. Titanic before the accident and during that desperate night. Cameron believed that success depended on the willingness of the audience to accept the illusion and empathize with the characters when they are in mortal danger. He insisted on absolutely invisible visual effects. A number of digital studios played roles in the making of Titanic, including ILM, VIFX and Cinesite, however, most of the magic and the continuity of effects with live-action were supervised by Rob Legato at Digital Domain, in Venice, Calif. Legato studied cinematography at Brooks Institute. He worked at Robert Abel & Associates when that company was producing TV commercials on the cutting edge of the digital film frontier. His narrative films include such TV series as The Twilight Zone and Star Trek: Deep Space Nine and Interview with the Vampire and Apollo 13 in the feature film realm.
Cameron spent years researching the history of the R.M.S. Titanic. He conferred with scholars and historians, including Don Lynch and Ken Marshall, authors of The Titanic: An Illustrated History, and poured through other records. However, the most revealing and compelling research occurred during 12 dives to the site of the wreckage approximately 400 miles off the coast of Newfoundland, Canada, and two-and-a-half miles underwater. The company chartered a Russian scientific vessel that carried two of the five submersibles in the world capable of diving that deep.
An IMAX crew previously filmed the wreckage for their 1992 film Titanica. They shot with a static camera through a nine-inch thick porthole. Their imagery is compelling, but Cameron wanted a lot more. He wanted the camera outside the submersible, where it could pan and tilt and use wide-angle lenses. A conventional Panavision 35mm camera was inside a titanium housing on a pan-and-tilt, remotely operated platform. A ROV (remotely operated vehicle) launched by the submersible carried the camera platform and a custom lighting system. The rig withstood 6,000 pounds per square inch of pressure. The main limit was the 500-foot film magazine. That gave them only 12 minutes of film for each 16-hour dive. Pre-visualization using models and a video camera was essential. In early to mid-1995, Cameron showed Legato some of the underwater film of the wreckage. Then, he asked if he was interested in working on the movie? The conclusion Legato draws is that while there were visual tricks which would have been impossible to perform as recently as a year ago, computers are becoming integrated into the everyday creative process and making it more collaborative.
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