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“I’d dreamed of creating a film like this, set on another world of great danger and beauty, since I was a kid reading pulp science-fiction and comic books by the truckload, and sitting in math class drawing creatures and aliens behind my propped up textbook.”ĭevelopmental psychologists have their own vocabulary for what Cameron was up to in math class. The Na’vi, meanwhile, dated back to a sketch in the late 70s in Orange County, California, when the teenage Cameron sketched a tall, slender blue girl standing in a field of magenta grass. The world of Pandora, however, was always the same: “Almost another Earth, at first glance, with white cloud whorls over a blue and brown surface … you can just tell, even from orbit … this is a planet that has life.” Cameron’s original treatment, written in 1994 and entitled Project 880, is markedly different from the finished film, from the names of its characters – Jake Sully is Josh Sully, Neytiri is Zuleika, Grace Augustine is Grace Shipley – to the concept of the avatars themselves, which in their original form have a rudimentary consciousness, capable of feeling terror and comfort in their human driver’s presence. Tellingly, the world of Avatar preceded the story or perhaps it is more accurate to say that the world was the story.
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