Transcript: Titanic: 20 Years Later with James Cameron | Jun 16, 2018

A clip shows images from the movie "Titanic."

James Cameron is in his sixties, clean-shaven, with short straight gray hair and wears a patterned blue tie.

He faces the camera and says WE RELEASED
TITANIC
20 YEARS AGO.
IT SEEMS LIKE A LIFETIME.
BUT I REMEMBER EVERYTHING
LIKE IT WAS YESTERDAY,
FROM THE FIRST DIVE TO THE WRECK
TO OUR LAST DAY OF PRODUCTION.
WE WERE CREATING A
LIVING HISTORY,
SO I NEEDED EVERY DETAIL AS
ACCURATE AS WE COULD MAKE IT.

Fast clips show images of the making of the movie.

James says WE OWED THE TRUTH
TO THE HUNDREDS OF SOULS LOST
THAT NIGHT IN 1912.
EVEN NOW, I FEEL A
RESPONSIBILITY
TO THE LIVING AND THE DEAD.
DID WE GET IT RIGHT?
AFTER DECADES OF EXPLORATION
AND SCIENTIFIC ANALYSIS,
WE KNOW A LOT MORE THAN
WE DID WHEN WE MADE THE FILM.
SO I'VE GATHERED
A TEAM OF EXPERTS...
PARKS STEPHENSON, KEN
MARSCHALL, AND DON LYNCH—

Parks is in his fifties, with short graying hair and a beard. He wears a blue polo T-shirt and a black cap with an embroidered emblem.

Ken is in his fifties, with short straight brown hair, a white moustache, and wears a black and white checker shirt.

Don is in his fifties, clean-shaven and with short wavy gray hair. He wears a black, white and yellow plaid shirt.

James says TO REOPEN THE CASE
FILE ON TITANIC
AND LOOK AT
WHAT WE'VE DISCOVERED
OVER THE LAST 20 YEARS.
WE'LL INVESTIGATE WHETHER
MORE LIFEBOATS ON BOARD
COULD HAVE SAVED MORE LIVES...

James tries to cut the ropes that hold a lifeboat and says I THINK I PROBABLY
WOULD CUT FASTER
IF MY LIFE DEPENDED ON IT.
(CLANKING)

James says HEAR THE SURPRISING STORY
OF HOW THE LONG-LOST
SHIP WAS FOUND.
DID YOU GET SPOOKED?

A man says IT WAS SPOOKY.

James says AND LEARN HOW
THE FILM AFFECTED
THE FAMILIES OF SOME OF
TITANIC'S FAMOUS PASSENGERS.
MOLLY BROWN SOUNDS LIKE
A REAL PISTOL.
I WOULD HAVE LOVED
TO HAVE MET HER.

A woman says SHE WAS LARGER THAN LIFE.

James says WE'LL STEP BACK IN TIME TO SEE
HOW OUR SETS MATCH UP AGAINST
WHAT WE FOUND AT THE WRECK SITE.
AND WE'LL MOUNT TESTS
THAT MAY ANSWER
QUESTIONS ABOUT THE SINKING
THAT HAVE BOTHERED ME
FOR ALMOST TWO DECADES.

James looks at images of a test and says YES!

James says WE'LL SEE WHERE WE WERE RIGHT
AND WHERE WE GOT IT WRONG.

The name of the show appears against a front image of the boat. It reads "Titanic: 20 years later, with James Cameron."

A voice says BACKGROUND AND ACTION.

A caption reads "Set of Titanic. 1996."

(HISSING)
(BOOMING)

The caption changes to "James Cameron. National Geographic Explorer in Residence and Filmmaker."

James says WHEN WE MADE TITANIC,
WE TRIED TO DO A FILM THAT WAS
AS IF WE HAD GONE BACK IN
A TIME MACHINE TO THAT NIGHT.
WE TRIED TO BE AS ACCURATE AS IT
WAS HUMANLY POSSIBLE TO BE.

The caption changes to "Don Lynch. Author, ‘Titanic: An illustrated History’."

Don says YOU COULD WALK OUT
OF ROSE'S CABIN,
DOWN THE CORRIDOR, DOWN
THE GRAND STAIRCASE,
THROUGH THE RECEPTION ROOM,
AND INTO THE DINING ROOM.
IT WAS EVERY PHOTOGRAPH
I HAD EVER SEEN.
IT WAS PERFECT.

At the set, James says AND ACTION.

The caption changes to "Ken Marschall. Artist and visual historian."

Ken says THAT FEELING THAT YOU HAD...
NO LONGER WAS TITANIC JUST
A STORY IN A BOOK OR A PICTURE.
YOU WERE THERE.

The caption changes to "Parks Stephenson. Naval systems engineer."

Parks says JAMES NOT ONLY MADE THIS MOVIE.
HE EMBRACED THE SUBJECT.
AND THE SUCCESS OF THE MOVIE
MADE IT POSSIBLE TO
DEPLOY NEW TECHNOLOGIES
TO EXPLORE THE WRECK
IN WAYS THAT HAD NEVER
BEEN DONE BEFORE.

James says WHO WOULD HAVE THOUGHT
THAT STUFF WOULD STILL BE THERE?
IT'S THE DREAM COME TRUE FOR ME.
TO ME, IT JUST OPENED THE DOOR
TO SO MANY MYSTERIES AND
UNANSWERED QUESTIONS.
AND THEN THAT SNOWBALLED
INTO A REAL LASTING INTEREST
IN THE FORENSIC WORK,
THE KIND OF MARINE
ARCHAEOLOGY OF THE WRECK SITE
AND A LASTING INTEREST
IN THE HISTORY OF TITANIC
AND THE IMPACT THAT IT
HAD ON SOCIETY.

Parks says THE WRECK IS THE LAST
SURVIVING WITNESS
TO THE DISASTER.
IT STILL HAS STORIES TO TELL
FOR ANYBODY WILLING
TO PAY ATTENTION
AND LISTEN TO WHAT
THE WRECK HAS TO TELL US.

A scene from the movie rolls.

Brock Lovett says to Rose ARE YOU READY TO GO
BACK TO TITANIC?

James says ON APRIL 14, 1912, AT 11:40 PM,
THE RMS TITANIC
STRUCK AN ICEBERG
DURING ITS MAIDEN VOYAGE FROM
SOUTHAMPTON, ENGLAND
TO NEW YORK CITY.
TWO HOURS AND 40 MINUTES LATER,
IT SANK TO THE BOTTOM OF
THE ATLANTIC OCEAN.
OF THE MORE THAN 2,200
PASSENGERS AND CREW ON BOARD,
JUST OVER 700
SURVIVED THAT NIGHT.
THE WRECK REMAINED
LOST AT SEA UNTIL 1985,
WHEN OCEANOGRAPHER ROBERT
BALLARD DISCOVERED IT
WHILE ON A SECRET
MISSION FOR THE US NAVY.
HIS EXPEDITION CHANGED THE
WAY WE EXPLORE THE DEEP.
AND IT CHANGED MY LIFE.
BOB AND I RECENTLY MET
AT THE RONALD
REAGAN PRESIDENTIAL LIBRARY
TO TAKE A LOOK AT THEIR
EXHIBIT ON TITANIC.

Robert is in his fifties, with short gray hair and clean-shaven. He wears beige trousers, a blue jacket with two yellow vertical stripes and a black cap.

Robert says THIS IS THE STORY
I COULD NEVER TELL.

James says BOB BALLARD IS ONE OF THE
NATION'S TOP OCEANOGRAPHERS.
BUT OF COURSE,
WHAT HE'S BEST KNOWN FOR
IS DISCOVERING THE TITANIC.
AND THAT'S AN AMAZING STORY,
BECAUSE IT TURNS OUT THAT
THAT WAS JUST A COVER STORY
FOR A MISSION THAT HE WAS DOING
FOR THE US NAVY AT THE TIME.
IN THE 1960S, THE US NAVY
LOST TWO NUCLEAR SUBMARINES,
THE THRESHER AND THE SCORPION,
UNDER MYSTERIOUS CIRCUMSTANCES.
IN THE 1980S, DR. ROBERT
BALLARD WAS BROUGHT IN
TO EXPLORE THE WRECK SITES
AND FIND OUT IF THE SOVIET
UNION HAD GOTTEN THERE FIRST.

The caption changes to "Doctor Robert Ballard. National Geographic explorer in residence and President of the Ocean Exploration Trust."

Robert says MY MISSION WAS TO GO OUT TO BOTH
THE THRESHER AND THE SCORPION
AND COMPLETELY DOCUMENT 100
PERCENT OF THE WRECKAGE.

James says AS IT TURNS OUT,
BALLARD FOUND THE MISSING SUBS
AND COMPLETED
HIS MISSION SO QUICKLY
THAT HE STILL HAD 12 DAYS
LEFT TO SEARCH FOR TITANIC.

Robert says IT WAS ACTUALLY
MAPPING THE WRECKAGE
THAT TOLD ME HOW TO
FIND THE TITANIC.
WHEN THE THRESHER AND THE
SCORPION IMPLODED,
ALL THESE PIECES CAME FALLING
DOWN TO THE OCEAN FLOOR.
SO, AS IT'S FALLING DOWN,
THE CURRENTS CARRIED IT
FOR OVER A MILE.
IT WAS A COMET OF DEBRIS.
SO INSTEAD OF
LOOKING FOR TITANIC,
I LOOKED FOR ITS DEBRIS.

Pointing at a map of the discovery area, Robert says WHEN THE CARPATHIA
GOT THE DISTRESS CALL,
IT WAS DOWN HERE.
HEADED TO THE REPORTED POSITION.
AND RAN INTO THEM EARLY.
AHEAD OF SCHEDULE.
SO I SAID,
"WHAT'S THE ERROR OF CELESTIAL
NAVIGATION BACK THEN?"
FIVE MILES.
SO I SAID, "LET'S GO
ANOTHER FIVE.
IT HAS TO BE TO THE NORTH."

James says YEAH, RIGHT.
SO THEN YOU JUST
RUN STRAIGHT NORTH.

Robert says SO THEN I RUN EAST-WEST LINES,

James says ACROSS THE...

Robert says THE INTERSECT, BUT
SPACE THEM 0.9 MILES.
AND IF I DON'T GET IT,
INTERSPACE THEM AT HALF.

James says BUT YOU ALREADY
KNEW THAT AT THAT DEPTH,
THE DEBRIS FIELD WOULD
BE MORE THAN A MILE.

Robert says ROUGHLY A MILE.
SO I CHEATED A LITTLE.
I SAID, LET'S DO 0.9."

James says THAT'S PRETTY SMART.

James says AND THEN IF I DON'T GET IT,
I'LL JUST INTERLACE.
SO WE BEGAN RUNNING
LINES BACK AND FORTH,
AND ON THE NINTH
LINE, HIT THE DEBRIS.

James says BUT YOU DIDN'T KNOW IT
WAS TITANIC STUFF
UNTIL YOU SAW THE BOILER.

Robert says CORRECT.

A man says WRECKAGE!
BINGO!
YEAH!

A woman says DID WE FIND IT?

Subtitles read "Somebody ought to go get Bob."

Robert says FOR SOME REASON, THAT NIGHT,
I JUST WASN'T SLEEPING.
AND THE KNOCK ON THE DOOR...
THIS IS NOW TWO IN THE MORNING.
AND THE COOK STUCK HIS HEAD IN,
AND HE SAID, "THE GUYS
THINK YOU MIGHT--."
HE DIDN'T EVEN
FINISH THE SENTENCE...
(CLAPPING)
AND I WAS PAST HIM.
I GOT INTO THE COMMAND CENTRE.
AND JUST AS I ENTERED
THE COMMAND CENTRE,
THEY WENT OVER THE BOILER.

A man says IT'S A BOILER!
IT LOOKS LIKE A BOILER!
(LAUGHING)

Robert says I KNEW IT WASN'T ANY WRECK;
IT WAS THE TITANIC.
AND THEN IT WAS LIKE SCORING THE
WINNING GOAL AT THE BUZZER.
SO OUR REACTION WAS JUBILANT.
JUMPING UP AND DOWN,
CELEBRATING!
AND THEN SOMEONE SAID,
"SHE SINKS IN 20 MINUTES."
AND THAT INNOCENT COMMENT
WAS DEVASTATING,
BECAUSE WHAT WERE WE DOING
CELEBRATING ANYTHING?
WE WERE EMBARRASSED THAT WE WERE
DANCING ON SOMEONE'S GRAVE.
SO I JUST SAID, "STOP THE SHIP.
I'M GOING OUTSIDE."
WE WENT OUT ON THE FANTAIL,
AND WE HAD A PRIVATE MEMORIAL.
AND THAT WAS IT.

James says EVERYBODY THAT DIVES TITANIC
HAS THEIR OWN STORY OF SEEING
IT FOR THE FIRST TIME.
AND PROBABLY THE MOST
FREQUENTLY ASKED QUESTION,
TO ME, IS,
"WHAT WAS IT LIKE SEEING THE
WRECK FOR THE FIRST TIME?"

Robert says I GET ASKED, YEAH.
"WHAT WAS IT LIKE?"

James says AND I ALWAYS WANT TO TELL THEM
THE STORY THEY WANT TO HEAR,
WHICH WAS, "THERE SHE
WAS, YOU KNOW,
THIS BEAUTIFUL, STATELY RUIN
COMING OUT OF THE DARKNESS."
THAT'S NOT WHAT HAPPENED.
IT'S LIKE A CLIFF.

Robert points at a scale model of the wrecked ship and says I REMEMBER.
THIS WAS WHERE WE CAME IN.
WE LANDED HERE.

James says IT'S A CLIFF.

Robert says YOU KNOW, THE WALL OF
CHINA; I MEAN, JUST A WALL.
AND THE FIRST THING I RECOGNIZED
WAS THE ANTIFOULING PAINT.

James says YEAH, THE RED PAINT.

Robert says IT WAS PINK.
IT WAS STILL PINK.
AND I SAID, "TOO BAD THEY DIDN'T
PAINT THE WHOLE SHIP
WITH THAT STUFF."

James says AND THE BILGE KEEL IS SITTING UP
ON TOP OF THE SAND BACK HERE.

Robert says EXACTLY.
IT WAS RIGHT THERE.
AND THEN THE PILOT,
HE SAID, "WE GOT TO GO."
SO HE DROPPED HIS WEIGHTS,
AND THEN WE BEGAN OUR ASCENT.
BUT THEN THESE EYES...

James says WHICH IS YOUR
LIGHTS KICKING BACK.

Robert says YOUR LIGHTS.
ALL THE EYES OF THE PEOPLE IN
IT WERE LOOKING AT US.

James says DID YOU GET SPOOKED?

Robert says IT WAS SPOOKY, BECAUSE
WE WERE NOW IN FREE ASSENT.
YOU COULDN'T STOP.
YOU'D DROPPED ALL YOUR WEIGHTS.
AND IT WAS JUST ALL THESE EYES,
AND THEN WE CLEARED IT.
IT WAS AMAZING.

James says THAT'S PRETTY MUCH
WHAT IT LOOKED LIKE
TO ME THE FIRST TIME,
EXCEPT WE WERE DOWN
HERE SOMEPLACE.
AND WE CAME IN ON HER
RIGHT ABOUT HERE.

He points at a place close to the front and says AND WE HAD COME ACROSS
THIS BERMED-UP MUD.

Robert says YEAH, YEAH.

James points at the deck and says HE CAME UP,
AND WE JUST CLEARED HERE.
AND THEN WE WOUND
UP SITTING UP HERE.
BUT THERE'S ALSO NOTHING COOLER
THAN COMING UP ON HER FROM...

Robert says YEAH, THAT WAS OUR SECOND TIME.

James says THAT'S THE MONEY SHOT.

Robert says AND THAT'S THE
MONEY SHOT, LOOKING UP.

James says WE DID IT FOR FAKE IN THE MOVIE.
AND IT'S THE TRANSITION SHOT
WHERE IT GOES INTO 1912.
SO, WE COME PAST OLD
ROSE'S FACE.
WE COME TO THAT SHOT OF THE
STEM, THE VERTICAL BOW.
AND THEN WE
TRANSITION INTO 1912.
AND WE CRANE UP OVER IT,
AND WE SEE THE WHOLE SHIP.

A clip from the movie rolls.

A man says KEEP IT COMING!
WATCH YOUR BACK THERE, SON!
COME ON, GET THE ROPE!
WATCH YOUR BACK!

James says YOU WON'T FIND
BODIES AT TITANIC.
YOU WON'T FIND SKELETONS.
THE BONES ACTUALLY
DISSOLVE INTO SOLUTION
VERY RAPIDLY AT THAT DEPTH.
WHAT ANYBODY WHO'S
EXPLORED THE WRECK FINDS
IS PAIRS OF SHOES.

Robert says IT TAKES YEARS FOR
A SKELETON TO VANISH.
BUT THE SHOES
TREATED WITH TANNIC ACID,
THEY WON'T EAT THEM.
SO ALL AROUND THE
TITANIC ARE THE SHOES.
THERE'S A SCENE WHERE
WE WERE FILMING,
AND WE CAME ACROSS
A PAIR OF WOMAN'S SHOES...

James says YEAH.

Robert says NEXT TO A PAIR OF
GIRL'S SHOES.
THESE WERE PEOPLE.

James says THESE WERE PEOPLE.
THOSE SHOES GOT TO
THE BOTTOM ON PEOPLE.

Robert says THEY WERE IN THEIR CABIN,
BECAUSE THE CABIN
WAS ALL AROUND THEM,
THE DESTRUCTION OF IT.
AND THERE WAS A
HAND MIRROR NEXT TO THEM
AND A COMB AND THEN A BONE COMB.
SO YOU CAN IMAGINE HER
HOLDING THE MIRROR
AS HER MOTHER COMBED HER HAIR
AND THEN PUT THE BONE COMB IN.

James says YOU CREATE A WHOLE STORY.
THIS IS THE HUMAN ELEMENT.
THIS IS WHAT PEOPLE TOUCHED.
IT'S WHAT THEY LIVED WITH.

Robert says AMAZING.

James, Don and Parks stand in front of a wall sized poster with all the names of the victims.

James says IT'S PRETTY DAUNTING
WHEN YOU SEE ALL THE NAMES
ALL AT ONCE, DON, HUH?

Don says EXACTLY.

James says HOW MANY PEOPLE?

Don says 1,496 PEOPLE.
YOU KNOW, IMAGINE
ALL OF THESE PEOPLE
OUT THERE IN THE OCEAN.
THIS IS THE CROWD THAT
WAS FLOATING AT SEA.
(MANY PEOPLE YELLING)

James says YOU KNOW, YOU GET SO INTO
THE FORENSICS OF IT, YOU KNOW,
AND STUDYING THE WRECK AND
THE BREAKUP OF THE WRECK
AND DISCOVERING
THE ARTIFACTS AND SO ON,
YOU REALLY LOSE SIGHT OF THE
HUMAN TRAGEDY, SOMETIMES.
I KNOW THAT THAT WAS
AN EPIPHANY FOR ME
WHEN I WAS THERE AT THE
WRECK THE FIRST TIME,
YOU KNOW, HOW THAT HIT ME.
AND I'D BEEN STUDYING IT
FOR MONTHS, YOU KNOW,
BUT IT WASN'T-- NOW,
IT WASN'T AT A REMOVE.
IT WASN'T A MYTH ANYMORE.
THESE WERE REAL PEOPLE.

Don says EVERYBODY HAD A FAMILY SOMEWHERE
THAT'S PROBABLY
AFFECTED TO THIS DAY.

(music plays)

James says HI, PAUL.
PAUL IS THE...

Paul says THE GREAT-GRANDSON
OF ISIDOR AND IDA STRAUS.

Paul is in his eighties, balding and clean-shaven. He wears a black suit, blue shirt and striped blue and red tie.

James says I KNOW THEIR STORY WELL.
I WANTED TO MEET WITH
THE FAMILIES
OF TITANIC VICTIMS AND SURVIVORS
TO HEAR THEIR STORIES
AND LEARN HOW THEY FELT ABOUT
HOW I DEPICTED THEIR ANCESTORS.
I STARTED WITH PAUL KURZMAN.
HIS GREAT-GRANDFATHER
ISIDOR STRAUSS
WAS A SELF-MADE MILLIONAIRE
AND A FORMER CONGRESSMAN.
HE AND HIS WIFE, IDA,
CHOSE TO DIE TOGETHER
ON THE TITANIC.

The caption changes to "Paul Kurzman. Great grandson of Isidor and Ida Straus."

Paul says THE STORY, AS YOU KNOW SO WELL,
IS THAT SHE GOT
INTO A LIFEBOAT...
WOMEN AND CHILDREN DID...
AND EXPECTED HER HUSBAND,
ISIDOR, TO FOLLOW.

James says TO COME IN, YEAH.

Paul says AND HE SAID, "I WILL NOT
ENTER A LIFEBOAT UNTIL I SEE
THAT ALL THE WOMEN AND CHILDREN
ON BOARD ARE IN LIFEBOATS."
AND SHE SAID...

A clip from the movie rolls.

Ida syas NO!
WE'VE BEEN TOGETHER
FOR 40 YEARS.
AND WHERE YOU GO, I GO.
DON'T ARGUE WITH ME, ISIDOR.
YOU KNOW IT DOES NO GOOD.

Paul says "WE WILL BE ON THE SHIP
TOGETHER AS IT GOES DOWN.
WE WILL DIE AS WE HAVE
LIVED: TOGETHER."
WHEN THEY FOUND ISIDOR'S BODY,
THEY FOUND A LOCKET
WITH INITIALS.
ISIDOR STRAUS.
HERE IS A PICTURE
OF THEIR ELDEST SON, JESSE.
AND HERE IS A PICTURE OF
THEIR ELDEST DAUGHTER, SARA.

James says YOUR GRANDMOTHER.

Paul says MY GRANDMOTHER.

James says YOUR GRANDMOTHER.
(CHUCKLING)

James says SO, THAT'S WHAT HE KEPT
CLOSE TO HIS HEART.

Paul says AND THIS IS THE
MOST PRECIOUS ITEM
IN MY LIFE.

James says THAT'S POWERFUL.
THAT'S POWERFUL.

Paul says WHEN THE END OF THE FILM CAME,
I DIDN'T WANT TO MOVE.
I DIDN'T WANT TO
LEAVE THE THEATRE.

James says WELL, THANKS.

Paul says I WAS CAPTURED.
IT WAS REALLY THE ACCURACY,
THE WORK YOU DID AS DIRECTOR
TOWARD ENSURING
AUTHENTICITY OF THE FILM.

James says IT WASN'T JUST ME, THOUGH.
IT WASN'T JUST ME,
BECAUSE ONCE WE
HAD DIVED TO THE WRECK,
EVERYBODY WHO CAME ABOARD...
PRODUCTION DESIGNER,
COSTUME DESIGNER...
EVERYONE FELT THAT WE HAD
TO LIVE UP TO THAT STANDARD.

(music plays)

James says TWENTY YEARS AGO,
WE TRIED TO BRING TITANIC
TO LIFE WITHOUT COMPROMISE.
WE DID THE BEST WE COULD
WITH THE INFORMATION WE HAD.
BUT SINCE THEN,
I'VE MADE 33 DIVES TO
THE WRECK SITE.
AND I'VE DISCOVERED SURPRISING
NEW THINGS ABOUT THE SHIP
AND SOLVED MYSTERIES
THAT HAVE PUZZLED
EXPLORERS FOR DECADES.
FOR THE MOVIE
TITANIC,
WE UNEARTHED
EVERY KNOWN PHOTOGRAPH,
POURED OVER
ARCHITECTURAL DRAWINGS,
AND BUILT OUR SHIP
RIVET BY RIVET,
MAKING SURE EVERYTHING
WAS IN ITS RIGHTFUL PLACE
AS WAS KNOWN BACK IN 1996.
TODAY, AT THE REAGAN
LIBRARY EXHIBIT,
WE'LL LOOK BACK AT
SOME OF OUR FILM SETS,
ARMED WITH ROV FOOTAGE FROM
MY 33 DIVES TO THE WRECK
TO SEE WHAT WE GOT RIGHT
AND WHAT WE DIDN'T.

A clip from the movie rolls.

(LAUGHING)

The caption changes to "Straus Suite."

Rose says IT'S QUITE PROPER, I ASSURE YOU.
THIS IS THE SITTING ROOM.

James enters the room and says WOW.
SO, THEY'VE COMPLETELY
REBUILT THE SET.
YOU KNOW, I HAVEN'T SEEN THIS
SINCE WE MADE THE FILM
20 YEARS AGO.

Ken says ISN'T THIS GREAT?

James says IT'S GREAT, YEAH!
THIS WAS, LIKE, ONE OF OUR
FIRST COUPLE DAYS OF SHOOTING.
AND ONE OF THE VERY FIRST THINGS
THAT KATE WINSLET AND
LEONARDO HAD TO DO
WAS, YOU KNOW, GET NAKED.
(LAUGHING)

The caption changes to "Regence-style sitting room. RMS Olympic."

James says WE WERE INSPIRED
BY THIS REGENCY MOTIF
THAT WAS KNOWN TO BE ON OLYMPIC
AND KNOWN TO BE ON
TITANIC IN OTHER ROOMS.
AND WE PLACED IT INTO THE
PORTSIDE MILLIONAIRE'S SUITE,
THE THREE-ROOM SUITE,
BECAUSE NOBODY
KNEW WHAT WAS IN THERE.

Ken says WE DIDN'T KNOW THAT AT THE TIME.

James says I WAS WORKING IN
WHAT WAS NOT KNOWN.
THE CRAZY THING
ABOUT ALL OF THIS IS,
WE MADE THE MOVIE IN '96.
AND IN 2005,
WE GOT INTO THE STRAUS
SUITE ON B DECK.
AND IT LOOKED JUST LIKE
THE FAKE SET THAT WE BUILT.

Ken says THE MOST EXCITED
I'VE EVER SEEN YOU.

James says OH, MAN.
LIKE, I WAS GEEKING OUT.

A clip from 1996 rolls and James says OH, SAY IT'S NOT THE CLOCK.
IT LOOKS LIKE A CLOCK TO ME.
SAY IT IS NOT THE
CLOCK ON THE MANTLE.
OH, MY GOD.

A man says AND LOOK AT THE WOODWORK.

James says THIS IS OUTRAGEOUS.
IT WAS JUST SITTING THERE.

Ken says IT WAS UTTERLY SURREAL.

James says IT WAS LIKE A LITTLE BUBBLE
OF PERFECT PRESERVATION.

Ken says IT'S UNBELIEVABLE.
IF YOU WROTE A
SCREENPLAY WITH THAT,
IT'S ALMOST, YOU KNOW,
LIKE, PUSHING IT.
"YEAH, SURE, THE CLOCK'S
GOING TO STILL BE
SITTING ON THE MANTLE."

James says IT WAS.

Ken says OF COURSE, IT WAS ATTACHED
FOR HEAVY SEAS IN
THE NORTH ATLANTIC.
BUT THAT NOTHING HIT IT,
THAT NO FURNITURE FLOATING
AROUND THE ROOM...

James says TOOK IT OUT OR BROKE THE GLASS.

Ken says EXACTLY.

Parks says AND THAT CLOCK HOLDS
AN IMPORTANT FORENSIC CLUE.
THAT CLOCK HAS THE TIME
THAT THIS CABIN FLOODED.
AND WE KNOW THE TIMES ON THE
CHRONOMETER ON THE BRIDGE.
SO IF WE CAN GET
THE TIME OFF THAT CLOCK
AND MATCH IT TO THE TIME
ON THE BRIDGE CHRONOMETER,
WE HAVE THE RATE
OF TITANIC'S SINKING.

James says ARE YOU TELLING ME I GOT
TO GO BACK DOWN THERE?

Parks says WELL, THERE'S SOME MUCK
ON THAT THING.
WE NEED TO CLEAN IT OFF
AND SEE WHAT IT SAYS.

A clip form the movie rolls with the caption "Marconi Wireless Room."

An operator says to the captain CQD?
SIR?
(PAPER RIPPING)

The captain says THAT'S RIGHT, CQD.
THE DISTRESS CALL.
THAT'S OUR POSITION.
(CLICKING)
(TAPPING)

James says WHEN WE SHOT THE FILM IN '96,
THIS WAS BASED ON THE
BEST INFORMATION WE HAD.
THERE WAS ONE
KIND OF FUNKY
DOUBLE-EXPOSED PICTURE...

Ken says OF TITANIC.

James says YEAH, AND IT SHOWED KIND
OF THIS AREA, AS I RECALL.

Ken points at other controls on the wall and says AND THIS IS NOT IN THE PHOTO.
YOU DIDN'T SEE ANY OF THAT.

James says I ASSUMED IT WAS THERE...

Ken says BECAUSE THE
OLYMPIC PHOTOS SHOWED IT.

A photo of the crew member appears with the caption "Titanic’s sister ship. RMS Olympic."

James says SO, THIS WAS ACTUALLY
A PRETTY GOOD
REPRODUCTION OF OLYMPIC.
AND IT TURNED OUT TO BE
COMPLETELY WRONG FOR TITANIC,
ONCE WE GOT IN
THERE WITH THE ROV.
SO WE KIND OF
GOT THIS PART RIGHT.
AND WE GOT THIS PART
COMPLETELY WRONG,
BECAUSE THIS IS ALL
ACTUALLY IN A SEPARATE ROOM,
THE SILENT ROOM, RIGHT?
THE THING IS, THESE
GUYS WERE HEROES.
I DIDN'T HAVE TIME
TO GET IT INTO THE FILM,
BUT THE WIRELESS OPERATORS
WERE LIKE THE HACKERS
OF THEIR DAY.

Pictures of Harold Bride and Jack Phillips appear.

James says THE ACTIONS TAKEN BY
OPERATORS BRIDE AND PHILLIPS
SAVED HUNDREDS OF LIVES.

Parks says THEY LOST POWER ON THE SET
THE DAY BEFORE THE DISASTER.
THE MARCONI MAINTENANCE
MANUAL SAYS,
IN THIS SITUATION, YOU
LEAVE IT ALONE,
WAIT FOR A MARCONI
ENGINEER ASHORE TO FIX IT.
AND YOU'RE GOING TO OPERATE OFF
THIS EMERGENCY COIL HERE.

James says YEAH, WHICH IS BATTERY-POWERED,
WHICH HAD ZIPPO FOR RANGE.

Parks says ABOUT 60, 70 MILES
THEORETICAL RANGE, WHICH...
CARPATHIA WAS A LITTLE BIT
OUTSIDE THAT RANGE
WHEN SHE STARTED TO PICK UP
TITANIC'S DISTRESS CALL.

James says AND IT DIDN'T GO
IN THE OTHER DIRECTION.
SO IF THEY
HADN'T REBUILT THE SET,
THEY WOULDN'T HAVE BEEN
ABLE TO TALK TO CARPATHIA.

Parks says PROBABLY NOT.

James says CARPATHIA SAVED OVER 700 PEOPLE.
THE POINT IS, THEY
WOULDN'T HAVE BEEN SAVED
IF THESE GUYS
HADN'T DISOBEYED THE RULES.

The caption changes to "Grand staircase."

Jack says SO, YOU WANT TO GO
TO A REAL PARTY?

James says SO, THIS IS THE
GRAND STAIRCASE, WHICH...
WE BUILT IT FROM THE PLANS,
THE WAY THEY ACTUALLY BUILT
THE STAIRCASE.
SO THE STAIRCASE
HAS GOT A STEEL FOOTING.
THEN, WHEN WE SANK
THE SHIP, IT LIFTED.
WOOD IS BUOYANT.
IT RIPPED OFF THAT FOOTING,
AND IT ALL FLOATED UP.
AND IT ACTUALLY PINNED
TWO STUNT PLAYERS.
FORTUNATELY, THEY WEREN'T HURT,
BUT IT WAS A PRETTY
SCARY MOMENT.
WHEN THE WRECK WAS FIRST FOUND,
THERE WAS NO STAIRCASE.
AND THE ASSUMPTION WAS MADE
THAT THE LITTLE
WOOD-BORING MOLLUSCS
HAD EATEN THE WHOLE THING.
BUT THEN WE COULDN'T FIGURE OUT
WHY ALL THE COLUMNS AND WALL
PANELLING AND EVERYTHING
ON THE D DECK LEVEL AND SO
ON WERE STILL THERE.
IT DIDN'T ADD UP.

Ken says AND THIS IS SO SUBSTANTIAL.
I MEAN, THIS IS SOLID OAK.
OAK IS ONE OF THE
STRONGEST, DENSEST WOODS.

Parks says AND EVEN IF THE WOOD
HAD DISAPPEARED,
WHERE DID ALL THOSE IRON
BALUSTRADES GO?

James says YEAH, EXACTLY.
SO WE WENT DOWN,
AND WE LOOKED AROUND
THE BOTTOM WITH THE ROV.
WE COULDN'T EVEN FIND REMNANTS.
COULDN'T FIND REMNANTS
OF THE BALUSTRADES.
WE COULDN'T FIND REMNANTS OF
THE STAIRS OR ANY OF THAT STUFF.
SO WE THOUGHT, "AH,
IT FLOATED OUT."
IT WAS AN INTERESTING, YOU KNOW,
KIND OF ART IMITATING LIFE...

Don says YEAH.

Ken says EXACTLY.

James says WHERE IF WE HADN'T
MADE THE MOVIE,
WE WOULDN'T HAVE COME TO
THAT ANSWER, I DON'T THINK.

(music plays)

James says WANDERING THROUGH
THE TITANIC EXHIBIT,
IT'S HARD NOT TO FEEL HAUNTED
BY THE RELICS OF THE PAST:
A DECK CHAIR,
A GOLD POCKET WATCH,
A TRAVELLING COAT.
YOU FEEL THE LOST SOULS
STANDING THERE BESIDE YOU.
AND I FELT THAT WAY
MAKING THE MOVIE AS WELL.

Don says THIS IS JIM CAMERON.
THIS IS JACKIE DREXEL.
HER GRANDPARENTS WERE JOHN JACOB
ASTOR AND MADELEINE ASTOR.

James says SURE, OF COURSE, YEAH.

Jackie is in her fifties, with mid-length wavy blond hair and wears a blue shirt dress with fine red and white stripes.

A picture of John Jacob and Madeleine Astor appears.

Don says IN THE CASE OF JOHN
JACOB ASTOR AND MADELEINE,
I MEAN, HERE WAS THE
RICHEST MAN ON THE TITANIC
WITH HIS BRAND-NEW WIFE
AND STARTING A NEW
FAMILY AND EVERYTHING.

James says JACKIE HAD A STRONG PERSONALITY,
AND I SAW KIND OF A THROUGH-LINE
IN THAT SPARK OF LIFE
THAT I IMAGINE JJ ASTOR HAD.

The caption changes to "Jacqueline Astor Drezel. Granddaughter of John Jacob and Madeleine Astor."

James says THANK YOU FOR JOINING US HERE.
YOUR FATHER, I BELIEVE, WAS...

Jackie says YES, FIVE MONTHS.

James says IN MADELEINE ASTOR'S ABDOMEN
AT THAT POINT.
SHE WAS FIVE MONTHS PREGNANT.

A clip from the movie rolls.

Rose says HIS LITTLE WIFE-Y THERE,
MADELEINE, IS MY AGE
AND IN A DELICATE CONDITION.
SEE HOW SHE'S TRYING TO HIDE IT?

James says HE SEEMED LIKE A REALLY
INTERESTING MAN.

Jackie says HE'S AN ABSOLUTELY
FASCINATING MAN.
HE WAS MORE PRAISED FOR
DYING AS A HERO
RATHER THAN THE LIFE THAT
HE ACTUALLY LED,
WHICH WAS QUITE AMAZING.

James says HE HAD A CURIOUS MIND.
WE SHOT A COUPLE SCENES
AROUND THEIR STORY
THAT GOT CUT OUT OF THE MOVIE.
I WAS FASCINATED BY THE MOMENT
WHERE HE WAS CUTTING
OPEN THE LIFE PRESERVER
AND SEEING THE CORK
AND FIGURING OUT HOW THE
LIFE PRESERVER WORKED.
BUT THIS IS WHAT MADELEINE WORE.

Jackie says IT LOOKS TINY.

James says YEAH.
THIS LIFEJACKET KEPT HER WARM
AND MAYBE KEPT HER ALIVE.

Jackie says MY FATHER WENT TO HALIFAX,
AND HE WAS OFFERED THAT.
AND HE SAID HE JUST
COULDN'T EVEN TALK ABOUT IT.
COULDN'T EVEN THINK ABOUT IT.

James says TOO TRAUMATIC.

Jackie says IT CHANGED HIS LIFE.
AND I THINK HIS MOTHER
WAS TOTALLY TRAUMATIZED.

James says YEAH.

Jackie says DO YOU, BY ANY CHANCE,
KNOW HOW MY GRANDFATHER DIED
AND IF THE LIFEBOAT NUMBER 4
THAT MY GRANDMOTHER WAS IN
WAS CLOSE ENOUGH TO HAVE SEEN?

James says HAVE SEEN IT?
I DON'T THINK

Jackie says THEY WOULD HAVE SEEN IT.
BECAUSE HE DIED WITH
THE FUNNEL COLLAPSING.

James says IT'S THOUGHT, BECAUSE
OF THE SOOT ON HIS BODY.

Jackie says YOUR VISION OF
THE FACES IN THE WATER
GAVE JUST THE MOST
AMAZING, CHILLING FEELING.

James says I THINK ONE OF MY REALIZATIONS,
AFTER THE FILM WAS RELEASED,
IS THAT, YOU KNOW,
THIS ISN'T ANCIENT HISTORY.
THIS ISN'T 200 YEARS AGO.
IN TRYING TO SELL VISCERALLY
HOW TRAUMATIC IT MUST HAVE
BEEN FOR THE SURVIVORS,
INCLUDING GOING BACK
INTO THAT FIELD OF BODIES
TRYING TO FIND
SOMEBODY STILL ALIVE,
YOU KNOW, I PROBABLY WASN'T
AS SENSITIVE TO
HOW THAT MIGHT HAVE FELT
TO PEOPLE WHOSE FAMILIES HAD
BEEN TRAUMATIZED BY THE EVENT.

Jackie says I'D NEVER THOUGHT ABOUT IT
BEFORE.
AND THEN I SAW IT,
AND IT REALLY HIT ME.

(music plays)

James says THE FILM
TITANIC
DEPICTED WHAT WE BELIEVED
WAS AN ACCURATE PORTRAYAL OF
THE SHIP'S LAST HOURS.
WE SHOWED IT SINKING BOW-FIRST,
LIFTING THE STERN
HIGH IN THE AIR
BEFORE ITS MASSIVE WEIGHT
BROKE THE VESSEL IN TWO.
OVER THE PAST 20 YEARS,
I'VE BEEN TRYING TO FIGURE OUT
IF WE GOT THAT RIGHT.
I'VE DIVED TO THE
WRECK DOZENS OF TIMES,
AND I'VE BROUGHT IN NAVAL
ENGINEERS
TO ANALYZE ALL THE
COMPLEX VARIABLES AT WORK.
NOW, I WANT TO TAKE
IT TO THE NEXT LEVEL:
DOING AN ACTUAL REAL-WORLD
PHYSICAL TEST OF THE SINKING
THAT INCORPORATES THE NEW
INFORMATION WE'VE GATHERED.
WILL IT SINK THE WAY
WE PORTRAYED IT?
I DON'T KNOW.
OUR MISSION IS TO MIRROR THE
PHYSICS AT WORK THE BEST WE CAN
AND SEE WHAT HAPPENS.

Parks says THERE'S A GAZILLION
THEORIES FLOATING AROUND.
THERE ALWAYS HAS BEEN.

James says WE WANT TO COME UP
WITH A CREDIBLE THEORY.
THE WHOLE PURPOSE OF THIS
INVESTIGATION IS TO UNDERSTAND,
DOES THIS HANG ON
OR DOES IT GO AWAY?
I'VE BEEN TALKING ABOUT THE BOW
SWINGING DOWN AND
BREAKING OFF FOR 20 YEARS,
BUT I NEVER HAD ANY PROOF.
IT'S JUST OUTSIDE OF
SCIENCE AT THIS POINT.
AND I THOUGHT, "WELL, JUST
BUILD A MODEL AND BREAK IT."
I HAVE NO WAY OF SAYING THAT
THAT IS, IN FACT, WHAT HAPPENED,
BUT I'D LIKE TO BE ABLE TO
RULE IT IN AS A POSSIBILITY,
BECAUSE THEN I DON'T HAVE
TO REMAKE THE FRICKIN' FILM.
WE'RE GOING TO BE DOING
PRACTICAL RIGGING
WITH PYROTECHNICS
AND SINKING IT IN A TANK.
I IMMEDIATELY THOUGHT
OF GENE WARREN.
I'VE KNOWN HIM FOREVER,
AND WE'VE DONE A FEW PROJECTS
TOGETHER OVER THE YEARS.

The caption changes to "Gene Warren Junior. Academy Award winning Visual Effects supervisor."

Gene is in his seventies, with short wavy white hair and wears a white shirt.

James says LET'S THINK ABOUT
WHAT WOULD BE THE BEST WAY
TO HELP HOLD THAT UP
WHEN THIS BREAKS.

Gene says HE WANTED US TO DO
A DISASTER FORENSICS
ON REALLY WHAT HAPPENED
WHEN TITANIC SANK.

The caption changes to "Christopher Lee Warren. Smart L.A. Productions, Director of photography."

Christopher is in his late forties, with short gray hair and a shadow of a beard. He wears a white shirt.

He says BECAUSE WATER IS WATER.
WATER DOESN'T CHANGE
ITS DYNAMICS.
LET'S SEE WHAT THE BOW DOES.
LET'S SEE WHAT THE STERN DOES
AND RE-CREATE WHAT
MIGHT HAVE HAPPENED.

James says I'VE BEEN WANTING TO DO THIS
DAMN MODEL TEST FOR A LONG TIME.
I KNEW THAT TRYING
TO INCORPORATE
ALL THE LESSONS WE'D
LEARNED ABOUT THE SINKING
INTO A SINGLE MODEL TEST
WOULDN'T BE EASY.
WELL, THAT'S NOT WHAT
I BELIEVE HAPPENED.
BUT I WAS ABOUT TO FIND
OUT JUST HOW HARD IT WOULD BE.
YOU'RE NOT FOLLOWING
WHAT I'M SAYING.

A clip from the movie shows a sailor say ICEBERG RIGHT AHEAD!
(CRASHING)

James says FOR OVER 20 YEARS, I'VE WONDERED
WHY TITANIC WENT
DOWN THE WAY IT DID.
IN THE MOVIE, IT BREAKS,
AND THE STERN FALLS
BACK WITH A BIG WAVE.
AND THEN THE BOW PULLS IT DOWN,
AND THE STERN
STANDS UP STRAIGHT.
AND THEN THE BOW BREAKS
OFF, SINKS STRAIGHT DOWN.
AND THAT STERN'S SITTING THERE,
AND IT SLOWLY GOES DOWN.
IT'S A DRAMATIC IMAGE
AND AS ACCURATE AS I COULD
MAKE IT AT THE TIME.
BUT I'VE NEVER STOPPED
TRYING TO FIND OUT
EXACTLY WHAT HAPPENED.

Parks says OVER THE YEARS,
OUR LITTLE ANALYSIS TEAM
HAS USED A WIDE VARIETY
OF SOURCE MATERIAL
IN ORDER TO TRY AND PUT TOGETHER
THE PIECES OF THE PUZZLE
THAT IS THE SINKING
OF THE TITANIC.

James says WE KNOW FROM THE WRECK
EXACTLY WHERE THE STEEL BROKE,
RIGHT TO THE RIVET.

Parks says JIM'S EXPLORATION
OF THE BOW SECTION
HAS FINE-TUNED OUR UNDERSTANDING
OF WHAT WAS GOING
ON DURING THE FLOODING
AND DURING THE DESCENT
TO THE OCEAN FLOOR.

James says WE'VE GOT A MAST
THAT'S KNOCKED AFT.
ALL OF THE B DECK
FORWARD-FACING WINDOWS...
BROKEN, BROKEN, BROKEN.
TO ME, THAT ALL ADDS UP
TO A VERY STRONG LONGITUDINAL
FLOW OVER THE SHIP.
WE SEE A CONSISTENT
PATTERN OF THE EFFECTS
OF AN ALMOST HURRICANE-LIKE
FLOW OF WATER
FROM THE FRONT OF THE SHIP
TOWARD THE BACK OF THE SHIP.
THAT CAN ONLY BE EXPLAINED
BY THE SHIP SINKING
VERTICALLY, STRAIGHT DOWN.
A BIG PIECE OF
THE KEEL, 70 FEET LONG,
TWO BIG FRAMES
OF THE DOUBLE BOTTOM
WERE FOUND WAY OUT
IN THE DEBRIS FIELD.
THEY HAD BEEN
RIPPED OFF THE SHIP.
BY WHAT?
WELL, THEY'VE BEEN RIPPED OFF
BY THE BOW SEPARATING.

Parks says BIT BY BIT,
PUTTING ALL THESE LITTLE
DATA POINTS TOGETHER,
WE'RE ESSENTIALLY ABLE
TO REVERSE-ENGINEER
MAJOR KEY FRAMES OF THE SINKING.
WE ENGAGED THE
UNITED STATES NAVY TO BUILD
TWO COMPUTER SIMULATION
MODELS OF TITANIC.
ONE SHOWED US HOW THE WATER
PROGRESSED THROUGH
THE SHIP AS IT SANK.
THE OTHER MEASURES THE
STRESSES IN A HULL.
AND WHAT IT TOLD US WAS,
TITANIC DIDN'T NEED TO RISE 90
DEGREES OUT OF THE WATER.
THE MODEL CALCULATED
APPROXIMATELY 23 DEGREES
BEFORE PEAK STRESSES
WERE REALIZED IN THE STRUCTURE
AND SHE BROKE.
BUT FOR A SHIP THE SIZE
OF TITANIC TO SINK,
THERE'S AN UNLIMITED NUMBER
OF VARIABLES GOING ON
DURING THE SINKING.
THE COMPUTER SIMULATION
WOULD BEAR SOME OF THAT OUT,
BUT TOO MANY VARIABLES
TO NAIL DOWN
EXACTLY WHAT WOULD HAPPEN.
SO WE GOT TO TRY A
DIFFERENT DIMENSION,
AND THAT'S WHERE THE
PHYSICAL MODEL COMES IN.

James looks at the model and says HYDRODYNAMICALLY,
IT'S GOT TO BE PRETTY CLOSE
TO WHAT THE SHIP WAS, I THINK.
IT'S A ONE-OFF MODEL.
IT'S NOT 100 percent ACCURATE
IN SOME OF ITS FINE DETAILS,
BUT IT WAS ACCURATE IN
TERMS OF THE OVERALL SHAPE,
WHICH IS ALL WE REALLY NEED
FOR A HYDRODYNAMIC STUDY.

Parks says THE BIGGEST PART WAS
HAVING THIS MODEL FLOAT
AND THEN SINK LIKE WE LEARNED
FROM ALL OF OUR
RESEARCH-GATHERING.

James says IT'S A KNOWN LENGTH, RIGHT?
70 FEET.

Parks says YES.
70 FEET FROM THE BREAK AFT.
FROM THE BREAKPOINT HERE.
WE KNEW THAT THE MODEL WAS
GOING TO HAVE TO BREAK,
SO WE HAD TO PUT IN A MECHANISM
THAT WOULD ALLOW IT
TO BREAK AT THE POINT
WHERE OUR COMPUTER
SIMULATION HAD INDICATED.
AND SO, THIS IS THE
HINGE PIECE DOWN HERE?

The caption changes to "Gene Warrant the Third. Visual Effects supervisor."

Gene is in his fifties, with short wavy gray hair in a headband and a goatee, and wears glasses and a camouflaged blue shirt.

He says THE HINGE IS RIGHT HERE.

James says NO, THAT'S NOT WHAT
I'M CALLING THE HINGE PIECE.
THE HINGE ISN'T HERE.
THE HINGE IS HERE.

Christopher says JIM-- HE'D GIVEN US
SOME DIRECTION.
WE KIND OF GOT IT HALF-RIGHT,
BUT HE WANTED THE HINGE
IN A DIFFERENT PLACE.

James says IT'S WHAT I CALL
THE BANANA THEORY,
WHICH IS, AS THE SHIP BROKE,
THAT KEEL, THE STRONGEST
PART OF THE SHIP, HELD ON.
THIS FALLS BACK.
AND THAT'S THERE, AND
THEN IT RIPS AWAY.
THERE'S YOUR HINGE PIECE.
AND AS IT RIPPED AWAY,
IT FORMED ALMOST
LIKE A THIRD PIECE.
THE KEEL, IT GOES...
(IMITATING SCRAPING NOISE)
LIKE THAT.
NO, IT DOESN'T TAKE OFF
YET, NECESSARILY... NECESSARILY.
THAT'S WHAT WE WANT
TO UNDERSTAND.
IT'S KIND OF A PROOF OF CONCEPT.
WE CAN NEVER PROVE
WHAT ACTUALLY HAPPENED.
WE CAN ONLY PROVE WHAT
MIGHT HAVE HAPPENED.
THE HYDRODYNAMIC FORCES ON THIS
WERE ENOUGH TO
SNAP THE MAST AFT,
BLOW THE WHEELHOUSE OFF...

Parks says JIM CAME IN AND LOOKED AT IT.
AND WHAT HE DID NOT
SEE IS THE WATER FLOW
THAT ACCOUNTS FOR A
LOT OF THE DAMAGE
THAT WE'VE SEEN AT THE WRECK.
SO HE'S DIRECTED SOME CHANGES
SO THAT WE CAN TRULY REMOVE
ANY LATENT BUOYANCY
LEFT IN THE BOW.
WE DIDN'T HAVE ALL THE
INTERIOR WALLS AND EVERYTHING
THAT WOULD HAVE SLOWED
DOWN THE RATE OF FLOODING,
SO WE USED A COMBINATION
OF SPONGES AND FOAM,
FOAM TO PROVIDE BUOYANCY,
SPONGES TO PROVIDE THE
DELAYING FACTOR
IN HOW QUICKLY A SPACE WILL FILL
UP WITH WATER ONCE FLOODING.

James says IT'S ALL VERY CATASTROPHIC
RIGHT IN HERE, AND VERY FAST,
WHICH IS THE EQUIVALENT OF THIS
WICKING THE WATER IN RAPIDLY.

Parks says EACH SUCCESSIVE RUN
WAS BASICALLY A
FINE-TUNING OF THE MODEL
TO WHERE WE WOULD SEE IT PERFORM
THE WAY THAT WE KNEW IT HAD TO.

A man says HAVEN'T WE SUNK
THIS DAMN SHIP YET?
BELIEVE IT OR NOT,
WE'RE DOING EXACTLY...
WE'RE DOING THE BANANA PEEL.

James says OKAY.
LET'S SEE WHAT WE GOT.
THAT THING'S BUOYANT,
SO THAT'S NO GOOD.
IT NEEDS TO BE NEGATIVE.

Parks says THEN WE CAME UP
WITH ANOTHER PROBLEM.
WHEN THE SHIP BREAKS,
IT LOSES BUOYANCY.
OUR BUOYANCY WAS FOAM.
WE COULDN'T JUST MAKE
IT DISAPPEAR WHEN IT BROKE.
SO WE HAD TO COME UP A METHOD
TO HAVE THE FOAM WORK ITS
OWN WAY OUT OF THE HULL
TO SIMULATE THE LOSS OF
BUOYANCY AFTER THE BREAK.
IF THEY TRY TO ADJUST
FLOTATION IN THIS
SO THAT THE BREAK HAPPENED
WHERE IT'S ALWAYS BEEN FILMED,
IT'S TOO HIGH OUT OF THE WATER.

James says OH, YEAH, YEAH.
WE DEFINITELY GOT THAT WRONG.

Christopher says AT THAT POINT, IT
BECAME A TEAM EFFORT.

James says I WOULD DRILL
UP THIS AREA, RIGHT?
THIS SHOULD ALL BE PACKED WITH
SPONGE, UP IN HERE.

Christopher says HE JUMPED IN WITH US LIKE
WE WERE AT ROGER CORMAN DAYS,
LIKE HE WAS IN HIS 20S AGAIN.

James says SO WE'LL PROBABLY HAVE TO
CUT THESE UP, RIGHT?
THERE WE WERE, BACK
RIGGING STUFF TOGETHER
AND DOING TAPE AND SOLDERING AND
THE THINGS THAT YOU DO.
THAT WASN'T SETTING THE
WAYBACK MACHINE
FOR 20 YEARS AGO ON
TITANIC.
THAT WAS SENDING IT BACK TO
THE EARLY '80S FOR ME.

A man says YOU'VE DONE THIS BEFORE.

James says A FEW TIMES.
(LAUGHING)

James says I'VE BLOWN MY SHARE
OF (BLEEP) UP.
WE STARTED TO FIGURE
OUT HOW TO DO IT
IN A WAY THAT WE
FINE-TUNE THE BREAKUP.
BY CHANGING THE TIMING, WE
COULD HAVE THE STERN
FALL BACK MORE OR
FALL BACK LESS,
HAVE THE BOW SWING DOWN MORE
OR SWING DOWN LESS.
WHEN WE DID OUR
COMPUTER SIMULATION,
THERE WAS A MOMENT WHERE THE
STRESSES ON THE SHIP
EXCEEDED THE STRENGTH
OF THE MATERIAL.
AND THAT'S WHEN
IT SHOULD HAVE BROKEN.
AND THAT HAPPENED WHEN
THE SHIP TILTED TO 23 DEGREES.
SO, WHEN WE SANK
THE SHIP AT 23 DEGREES,
IT SEEMED TO DO EVERYTHING
THAT WAS OBSERVED.
WE SAID IT BROKE AT 23 DEGREES.
SO, WE WERE ACTUALLY BREAKING
AT AROUND 25, 26 DEGREES,
ACCORDING TO THIS CRUDE TEST.
BUT I MEAN, I THINK, YOU KNOW,
IT'S TELLING US SOMETHING.
WE'RE HOMING IN ON THIS.
AND IN FACT, THAT
WAS EVEN INCREASED.
WHEN IT BROKE, THE STERN KIND
OF POPPED UP A LITTLE BIT,
AND YOU COULD KIND OF
SEE THE BREAK.
AND THE BOW SWUNG DOWN AND
DETACHED AND FELL VERTICALLY.
SO WE FEEL PRETTY
COMFORTABLE THAT IT WAS
SOMEWHERE BETWEEN MAYBE
20 AND 30 DEGREES OF TILT
WHEN IT BROKE.

A man says ALRIGHT, HERE WE GO.

James says LET'S DO IT.
LET'S ROLL.
ALRIGHT, SO PROPS ARE CLEAR.
AND IT BREAKS RIGHT AT
THE WATER LINE.

A man says OH, SWEET.

James says IT COMES UP A LITTLE BIT.

The man says SWEET.

James says SWINGS DOWN.
PULLS THE STERN MORE VERTICAL.

The man says THAT'S THE BANANA MODEL.

James says CHECK THAT OUT!
TOUCHDOWN!

Parks says WE DID SEE SOME
SCENARIOS PLAYED OUT
ALMOST EXACTLY AS IT WAS FILMED,
THE STERN GOING
UNDER VERTICALLY,
GIVING JACK AND ROSE
THEIR FEW MOMENTS
RIGHT THERE AT THE FANTAIL.

James says AS THE STERN CAME
UP AND WENT VERTICAL,
IT ALWAYS TURNED
ALMOST 90 DEGREES.
AND THAT'S EXACTLY
WHAT PEOPLE SAW.
AND PEOPLE DESCRIBE IT
STANDING UP LIKE A TOWER
OR LIKE A FINGER
POINTING AT THE SKY.
AND THAT'S EXACTLY WHAT WE SAW.
YES!
VERTICAL STERN!
YES!
IT'S NOT LIKE WE DID
A BATTERY OF A 100 RUNS
WITH A VERY PRECISION MODEL.
BUT I THINK IT DOES SHOW WHAT IS
POSSIBLE TO HAVE HAPPENED.
I THINK WHAT WE'RE SEEING
IS, THERE'S A RANGE, RIGHT?
YOU CAN GET IT TO WHERE
THE STERN FALLS BACK,
BUT THEN IT DOESN'T GO
VERTICAL WHEN IT GOES UNDER.
WELL, WE FOUND OUT YOU CAN
HAVE THE STERN SINK VERTICALLY
AND YOU CAN HAVE THE STERN
FALL BACK WITH A BIG SPLASH,
BUT YOU CAN'T HAVE BOTH.
SO THE FILM IS WRONG
ON ONE POINT OR THE OTHER.
I TEND TO THINK IT'S WRONG
ON THE FALLBACK OF THE STERN
BECAUSE OF WHAT WE SEE
AT THE BOW OF THE WRECK.
THERE ARE ABOUT FIVE
OR SIX INSTANCES
OF HYDRODYNAMIC EFFECTS,
AND THERE'S ONLY ONE WAY
THAT CAN HAPPEN.
IT SWUNG DOWN,
AND IT SHOT OFF LIKE A BOMB,
DROPPING STRAIGHT DOWN.
SO I THINK WE CAN RULE
IN THE POSSIBILITY
OF A VERTICAL STERN SINKING,
AND I THINK WE CAN RULE
OUT THE POSSIBILITY
OF IT BOTH FALLING BACK AND
THEN GOING VERTICAL.
WE WERE SORT OF
HALF-RIGHT IN THE MOVIE.

Parks says WITH EACH THING THAT WE TRY,
EACH STEP THAT WE TAKE,
I THINK WE'RE GETTING
CLOSER AND CLOSER
TO WHAT ACTUALLY DID
HAPPEN THAT NIGHT.

James says OKAY, LET'S DO IT AGAIN.
THAT WAS PERFECT.
LET'S DO IT AGAIN.
(LAUGHING)

James says I'M CONSTANTLY FASCINATED
BY THE ENGINEERING,
THE HARDWARE, THE FORENSICS.
AND I'LL GET VERY EXCITED ABOUT
THE IDEAS, YOU KNOW.
YOU ALWAYS HAVE TO
KIND OF GRAB YOURSELF
BY THE SCRUFF OF YOUR
NECK AND REMIND YOURSELF,
WHAT HAPPENED THERE WAS
A REAL TRAGEDY
THAT HAPPENED TO REAL PEOPLE.
AND IT STILL RESONATES
DOWN THROUGH TIME
IN THIS VERY POWERFUL WAY.
AND SOMETIMES, YOU FORGET
THAT IN THE MOMENT,
BUT I TRY NEVER TO
FORGET IT FOR VERY LONG.
OUR SCALE MODEL SINKING
TOOK ONLY SECONDS.
IN REAL LIFE, THE
PASSENGERS AND CREW
HAD ABOUT AN HOUR
AND A HALF TO ESCAPE.
MORE THAN TWO THIRDS
OF THEM DIDN'T MAKE IT,
WHICH BRINGS UP
ANOTHER CONTROVERSY:
COULD MORE PEOPLE HAVE
BEEN SAVED?

Another clip from the movie rolls.

Rose says MR. ANDREWS, FORGIVE ME.
I DID THE SUM IN MY HEAD,
AND WITH THE NUMBER OF LIFEBOATS
TIMES THE CAPACITY
YOU MENTIONED,
FORGIVE ME, BUT IT SEEMS
THAT THERE ARE NOT ENOUGH
FOR EVERYONE ABOARD.

Mister Andrews says ABOUT HALF, ACTUALLY.

James says TITANIC CARRIED 20 LIFEBOATS,
BUT THEY ONLY MANAGED TO LAUNCH
18 IN AN HOUR AND A HALF.
NOW, WE'VE ALL BEEN TOLD THAT
IF THE SHIP CARRIED MORE BOATS,
MORE LIVES COULD HAVE
BEEN SAVED.
BUT WOULD THAT HAVE REALLY
HAVE MADE A DIFFERENCE?
COULD THE CREW HAVE LAUNCHED
MORE BOATS IN THE TIME THEY HAD?
I'VE WONDERED ABOUT
THIS FOR A LONG TIME,
AND WE NEVER TESTED
IT... UNTIL NOW.

Parks says SO, WHAT WE DID WAS,
WE TOOK A REPLICA LIFEBOAT
LEFT OVER FROM THE MOVIE
WITH A SET OF DAVITS
MOUNTED ATOP A PLATFORM
THAT WAS TALL ENOUGH
TO REPRESENT THE HEIGHT OF
THE PROMENADE DECK,
THE BOAT DECK BEING UP ON TOP.
GOT A CREW TO MAN AND LOWER THE
LIFEBOATS
SO THAT WE COULD SEE
HOW LONG IT TOOK.
WE FIGURED THAT IT WOULD TAKE
ABOUT TWO MINUTES
TO ROLL THE CANVAS BACK
ON THESE LIFEBOATS.

A clip from the movie rolls.

A crew member says ROLL BACK THAT COVER!
ROLL BACK THAT CANVAS!

Parks says SO WE PRE-SET OUR
CLOCK TO TWO MINUTES.

James says OKAY, SO, THE ROPES ARE IN.
AND YOU GUYS KNOW WHAT
TO DO, RIGHT,
TO GET THEM FLAKED
OUT ON THE DECK?
YOU'RE GOING TO DO THAT SORT
OF THERE AND THERE,
SO WE NEED TO STAY
OUT OF THOSE...

A man says NO, WE CAN PUT IT RIGHT THERE.

James says WELL, PUT IT WHERE
YOU WOULD HAVE DONE IT
IF YOU WERE REALLY ON THE SHIP.

Another man says OKAY.

James says AND IF WE'RE IN YOUR WAY,
THEN MOVE US OUT OF THE WAY,
BECAUSE WE'RE
CURIOUS PASSENGERS.
AND YOU'RE HAVING TO YELL
AT US TO GET OUT OF THE WAY,
POLITELY, OF COURSE,
BECAUSE WE'RE ALSO, YOU
KNOW, RICH PASSENGERS
IN THE FIRST-CLASS
AREA OF TITANIC.
SO, WHEN WE SAY, "GO,"
READY THE BOAT, AND THEN TELL
US WHEN IT IS READY, OKAY?

A man says BRING LINES ON DECK.
CLOCK IS RUNNING.
(CLOCK TICKING)

The crew boss says REMOVE CRADLE.
SWING BOAT OUT.

James says YOU CAN SEE HOW GEARED
DOWN IT IS ON THAT LEAD SCRIM.
IT TAKES A LOT OF CRANKS
TO GET THAT DAVIT
TO MOVE JUST A FEW FEET.

The crew boss says KEEL CLEARED.
KEEP CRANKING.

Parks says THE OTHER THING YOU
NOTICE WAS THE VOICE COMMANDS
BY THE OFFICER
COORDINATING THE TWO SIDES.
AND IN THE BEGINNING, WITH
THAT STEAM GOING OFF,
THEY'RE GOING TO HAVE
TROUBLE HEARING.

James says SOMEBODY WOULD HAVE
TO YELL BACK AND FORTH,
OR SOMEBODY WOULD JUST HAVE
TO SEE THE OTHER GUYS WORKING
AND JUST IMITATE, BECAUSE
THEY COULDN'T HEAR ANYTHING.

The crew boss says OKAY, GOOD.
LOWER BOAT TO EMBARKATION DECK.

Parks says SO, AT WHAT POINT
DO THEY START LOADING?

James says SO, THEY'RE GOING TO LOWER IT
DOWN TO THE EDGE OF
THE BOAT DECK,

Parks says BECAUSE THEN YOU
JUST STEP INTO IT.

James says RIGHT.

Parks says YOU WANT TO STEP INTO IT.
YOU DO NOT WANT THEM STEPPING
OVER IF YOU CAN AVOID IT.

The crew boss says HOLD IT.
SECURE THE BOAT.

James says OKAY.
ALRIGHT, STOP THE CLOCK.

Parks says EIGHT MINUTES AND 30 SECONDS.

James says EIGHT MINUTES AND 30 SECONDS.
NOW, WE'RE GOING TO HAVE TO
JUST ESTIMATE THE LOADING TIME.

Parks says THE KEY HERE IS THAT YOU DON'T
KNOW HOW MUCH TIME YOU HAVE.
YOU'VE NEVER PRACTISED THIS.

James says BUT JUST AS A BASELINE,
LET'S GET SOME VALUES FOR
HOW LONG IT TAKES
TO DO EACH PART
OF THE OPERATION.
SO, I THINK YOU'RE
PROBABLY LOOKING
AT A TIME THAT VARIED.
INITIALLY, IT WAS PROBABLY
SLOWER AS PEOPLE WERE RETICENT,
AND THEN LATER, AS THEY
GOT MORE DESPERATE,
IT PROBABLY SPED UP.
LET'S SAY 10 MINUTES.
LET'S SAY 10 MINUTES.
THAT PUTS US UP TO 18
AND A HALF MINUTES.
NOW, LET'S SEE HOW LONG IT TAKES
US TO LOWER ONE DECK LEVEL.

Parks says AND CLOCK RUNNING.

The crew boss says READY.
OKAY, LOWER.

Don says IT JERKS ITS WAY DOWN.

James says YOU CAN SEE HOW JERKY IT IS
EVEN NOW, NOT LOADED.
IT'D BE, LIKE, THREE TIMES
THAT WHEN IT WAS FULLY LOADED.
AND THAT'D MAKE IT
A LOT HARDER TO LOWER.

The crew boss says OKAY, HOLD IT.

Parks says STOPPING THE CLOCK.

James says SO, WHAT WAS THAT?

A man says JUST SHY OF TWO MINUTES.

James says JUST SHY OF TWO MINUTES.
OKAY, SO THAT'S TWO
MINUTES TO GO 10 FEET.
IT'S ANOTHER 50
FEET TO THE WATER,
SO WE HAVE TO ADD
ANOTHER 10 MINUTES.
SO THAT'S 30
MINUTES, 30 SECONDS.

Parks says AND THEY WERE
WORKING SIMULTANEOUSLY.

James says THEY WERE LOADING PASSENGERS IN
WHILE THEY WERE CRANKING
OUT THE NEXT BOAT.
THEN OUR TIMES
CAN TELESCOPE SOMEWHAT.
WHEN YOU START
MULTIPLYING IT OUT,
IT SHOULD HAVE TAKEN MORE
LIKE TWO HOURS.
FROM THE TIME THE LIFEBOATS
WERE ORDERED LAUNCHED,
YOU HAD ABOUT
AN HOUR AND A HALF.

Parks says HOWEVER THEY MANAGED IT,
THEY HAD JUST ENOUGH TIME
TO GET THOSE BOATS...

James says NOT QUITE ENOUGH TIME.

Parks says YEAH, NOT QUITE.

James says THE TRUTH IS, THE
LAST TWO BOATS,
THE LAST TWO COLLAPSIBLES WERE
WASHED OFF THE SHIP.
THEY DID NOT HAVE TIME.
IT'S ACTUALLY PRETTY AMAZING
THAT THEY MANAGED TO LAUNCH
AS MANY LIFEBOATS AS THEY DID.
AND WHAT MADE IT
EVEN MORE CHALLENGING
WAS THAT IN THE FINAL
STAGES OF TITANIC SINKING,
THE LIFEBOATS WERE
BEING LAUNCHED
RIGHT ON TOP OF EACH OTHER.
TO AVOID BEING CRUSHED,
MEN WERE CUTTING THE ROPES
CONNECTED TO THE DAVITS
WITH POCKET KNIVES.
I MEAN, I WANTED TO SEE FOR
MYSELF HOW DIFFICULT THAT WAS.
LET'S RAISE UP ONE END OF
THE BOAT, IN CONTACT.

A man says ABOUT ONCE INCH
OUT OF THE CRADLE.
AND THEN THEY WANT
TO CUT ONE OFF THE ROPES.

James says NO, I WAS THINKING MORE
LIKE A FOOT.
LET'S DO AN ACTION SHOT.

The man says A FOOT?

James says LET'S RAISE IT UP A FOOT, GUYS.

The man says ALRIGHT, SO, WHO'S GOING
TO DO THE HONOURS?

James says I'LL DO IT.

A man says WHAT, SOMEBODY HAS
TO GO ONTO THE BOAT?

James says I'LL DO IT.

Parks says WHATEVER HAPPENS,
JIM, WE'LL GET IT ON FILM.

James says EXACTLY.

Parks says LET'S GO.

A man says CLOCK RUNNING.

James starts cutting the ropes and says ALRIGHT.
JEEZ.
IS THIS AN ACTUAL KNIFE?

Don says IT SHOULD HAVE BEEN
A REALLY SHARP KNIFE.

James says IT'S SHARP.

Parks says WE DO KNOW THIS TYPE
OF KNIFE WAS USED.

James says ALRIGHT, I'M GOING TO GO
WITH YOUR EXPERTISE.
I THINK I PROBABLY
WOULD CUT FASTER
IF MY LIFE DEPENDED ON IT.
(SNAPPING)
THAT'S PROMISING.

Don says WE'RE GETTING CLOSE.

James says OH, JEEZ.
YOU IMAGINE, LIKE,
50 PEOPLE SCREAMING.
WATER COMING UP.

Don says THERE'S A BOAT COMING
DOWN ON YOUR HEAD.
DON'T FORGET.

James says YEAH, THAT, TOO.
IT'S GOING TO GET DRAMATIC
HERE IN A SECOND.

Don says I CAN HEAR IT.
(SNAPPING)

James says ALRIGHT, THAT'S PROMISING.

The boat drops.

(CLANKING)

James says BEAUTY.
AND WE'RE FREE.

Don says YEAH.

James says SO, HOW LONG DID THAT TAKE?

A man says 1:40.

James says I WOULD SAY, IF MY
LIFE DEPENDED ON IT,
I COULD PROBABLY SHAVE
ABOUT 30 SECONDS OFF THAT.
AND YOU GO FOR A RIDE.

(music plays)

James says I THINK IF YOU HAD
MORE LIFEBOATS ON THAT SHIP,
THEY WOULD HAVE JUST
GOTTEN IN THE WAY,
AND IT MIGHT HAVE COST
HUNDREDS OF LIVES.

A woman’s voice says AT CHERBOURG,
A WOMAN CAME ABOARD
NAMED MARGARET BROWN.
BUT WE ALL CALLED HER MOLLY.
HISTORY WOULD CALL HER "THE
UNSINKABLE MOLLY BROWN."

A clip from the movie rolls.

Molly says WELL, I WASN'T ABOUT TO WAIT
ALL DAY FOR YOU, SONNY.
HERE, IF YOU THINK
YOU CAN MANAGE.

James says MARGARET BROWN WAS ONE
OF THE MOST FAMOUS SURVIVORS
OF THE TITANIC.
HER WARMTH AND STRENGTH
AFTER THE DISASTER
BECAME PART OF THE LEGEND.
MARGARET BROWN...
MOLLY BROWN, AS THE
WORLD KNOWS HER...
WAS OBVIOUSLY QUITE A CHARACTER.
SHE SOUNDS LIKE A REAL PISTOL.
I WOULD HAVE LOVED
TO HAVE MET HER.
SEEMS LIKE YOU'VE GOT
A LITTLE BIT
OF HER GENE OF VIVACIOUSNESS.
The caption changes to "Muffet Laurie Brown. Great granddaughter of Margaret Brown."

Muffet is in her forties, with shoulder length wavy brown hair with bangs and she wears black trousers and a brown sweater.

She says OH, THAT'S NICE OF YOU TO SAY.
SHE WAS INTELLIGENT.
SHE HAD, LIKE, THAT
EMOTIONAL INTELLIGENCE
TO READ THE SITUATIONS.
AND I REALLY LIKE THAT.

James says THE FACT THAT SHE WAS IN BOAT 6
WITH THE GUY THAT WAS AT THE
HELM WHEN THEY HIT THE ICEBERG,
THE GUY THAT WAS
IN THE CROW'S NEST
WHO SHOULD HAVE
SPOTTED THE ICEBERG
MAYBE A LITTLE BIT SOONER...
AND THEN HELMSMAN HITCHENS,
HE REFUSED TO GO BACK AND
GOT INTO A REAL TUSSLE WITH HER.

Movie’s Molly says THERE'S PLENTY OF ROOM FOR MORE!

Hitchens says AND THERE'LL BE
ONE LESS ON THIS BOAT
IF YOU DON'T SHUT THAT
HOLE IN YOUR FACE!

Muffet says I LIKE TO SAY
THAT MY
GREAT-GRANDMOTHER'S STORY
STARTS WHERE
YOUR MOVIE LEFT OFF...

James says AH, WELL...

Muffet says BECAUSE LATER IN THE NIGHT,
SHE ACTUALLY
TOOK OVER THAT BOAT...

James says RIGHT.

Muffet says ACTUALLY, USING
THE SAME THREAT
THAT HITCHENS HAD USED ON HER:
"IF YOU INTERFERE WITH US
DOING WHAT I THINK
WE NEED TO DO RIGHT NOW,
I'M GOING TO THROW
YOU OVERBOARD."

Hitchens says YOU DON'T UNDERSTAND.
IF WE GO BACK, THEY'LL
SWAMP THE BOAT!
THEY'LL PULL US RIGHT DOWN!
I'M TELLING YOU!

Molly says KNOCK IT OFF.
YOU'RE SCARING ME.

Muffet says AND THEY TOLD ME
THAT HE HAD SAID
DURING HIS LIFETIME,
"MRS. BROWN COULD HAVE GOTTEN
INTO ANY BOAT THAT NIGHT.
WHY DID SHE HAVE TO
STEP IN MINE?"

James says "WHY DID SHE GET IN MINE?"
(BOTH LAUGHING)

James says WELL, SHE WAS VERY
CONFRONTING WITH HIM.
HE WAS AT THE HELM WHEN THE
SHIP HIT AN ICEBERG.
(CRASHING)
(METAL SCREECHING)
(SCREAMING)

Muffet says SO, NOW, I'VE LEARNED
A LITTLE BIT MORE ABOUT
MY ANCESTOR.
BUT IS THERE ANYTHING
THAT YOU WOULD REALLY LIKE
TO HAVE CHANGED
NOW THAT THIS MUCH
TIME HAS GONE BY
OR BASED ON REACTION
FROM THE MOVIE?

James says WELL, YOU KNOW,
IT'S INTERESTING.
I THINK THAT MEETING
PEOPLE SUCH AS YOURSELVES,
WHO ARE CONNECTED,
WHOSE FAMILIES ARE
CONNECTED TO THE EVENT,
REALLY MADE ME APPRECIATE
SOMETHING THAT I DON'T THINK
I QUITE REALIZED WHEN I
WAS MAKING THE FILM.
YES, I KNEW IT WAS HISTORY,
BUT I WASN'T AS SENSITIVE
TO THE FAMILIES,
I DON'T THINK, THE DESCENDANTS,
AND HOW THAT STORY
MEANT SO MUCH TO THEM.
AND IN THE CASE OF FIRST OFFICER
WILLIAM MCMASTER MURDOCH,
I TOOK THE LIBERTY
OF SHOWING HIM SHOOT SOMEBODY
AND THEN SHOOT HIMSELF.

(GUN FIRING)
(PEOPLE SCREAMING)

James says HE'S A NAMED CHARACTER.
HE WASN'T A GENERIC OFFICER.
WE DON'T KNOW THAT HE DID THAT.
BUT YOU KNOW, THE
STORYTELLER IN ME SAYS,
"OH, I START
CONNECTING THE DOTS.
HE WAS ON DUTY.
HE'S CARRYING ALL THIS
BURDEN WITH HIM."
MADE HIM AN
INTERESTING CHARACTER,
BUT I WAS BEING A SCREENWRITER.
I WASN'T THINKING ABOUT
BEING A HISTORIAN.
AND I THINK I WASN'T
AS SENSITIVE ABOUT THE FACT
THAT HIS FAMILY, HIS SURVIVORS
MIGHT FEEL OFFENDED BY THAT.
AND THEY WERE.
AND YOU KNOW,
I FEEL LIKE I SHOULD HAVE
MADE HIM MORE OF A
GENERIC CHARACTER, THEN.
THEN IT COULD HAVE BEEN ANY
ONE OF A NUMBER OF PEOPLE
WHO WHERE AT THAT
PLACE AT THAT TIME.

The captain says WHAT WAS THAT, MR. MURDOCH?

Murdoch says AN ICEBERG, SIR.

James says to the descendants WHEN WE WOULD GO
OUT ON AN EXPEDITION,
WE'D WAIT UNTIL 11:40 AT NIGHT,
WHICH WAS THE MOMENT THE
SHIP HIT THE ICEBERG,
RIGHT AT THAT EXACT SPOT.
AND WE'D GO OUT ONTO THE BOW
OF THE RESEARCH SHIP,
AND WE'D RAISE A GLASS
IN HONOUR OF THE
PASSENGERS AND THE CREW
OF THE RMS TITANIC.
AND SO, I WOULD JUST
LIKE TO PROPOSE A TOAST
TO YOU, THE DESCENDANTS
AND THE REPRESENTATIVES
OF THAT HISTORY,
AND THANK YOU FOR
SHARING IT WITH US.
SO, TO YOUR ANCESTORS.
THESE ARE PEOPLE
THAT HAVE GROWN UP
WITH TITANIC IN THEIR FAMILY.
AND IT'S KIND OF ALWAYS
LOOMING OVER THEM.
AND IT MEANS SOMETHING TO THEM,
AND IN SOME WAYS, IT'S
DEFINED THEM.
TO AN ENTIRE GLOBAL COMMUNITY
OF TITANIC ENTHUSIASTS
AND HISTORIANS,
THESE PEOPLE ARE
PASSING ON THE TORCH
OF WHAT THEIR FAMILY KNOWS.

Rose raises her glass and says TO MAKING IT COUNT.

Don says JIM CAMERON'S
TITANIC
WAS BEYOND ANYBODY'S
EXPECTATIONS.
WE KNEW WHEN WE WERE WORKING ON
IT, IT WAS GOING TO BE EPIC.
WHAT A GREAT SETTING
FOR A LOVE STORY,
THIS FANTASTIC SHIPWRECK
THAT HAS FASCINATED PEOPLE
FOR DECADES ANYWAY,
PRESENTED SO VIVIDLY
AND SO ACCURATELY.

In the movie set, young James says TO GO BACK THERE IS TO RISK
BEING PULLED DOWN INTO
THAT ICY WATER WITH THEM.
SO IT'S REALLY A CHOICE
BETWEEN YOUR LIVES
AND THEIR LIVES.

Ken says JAMES CAMERON
BROUGHT TITANIC BACK TO LIFE,
AS I HAVE TRIED TO DO THROUGH MY
ENTIRE LIFE WITH MY PAINTINGS.
AND YOU CAN'T PUT
ENOUGH VALUE ON THAT.

Robert says I KNEW THE OLD
LADY IN HER GRAVE.
THAT'S THE TITANIC I KNEW.
JIM SHOWED ME THIS
BEAUTIFUL YOUNG WOMAN.
WE SAILORS TEND TO THINK
OF SHIPS AS WOMEN.
HE SHOWED ME THAT
BEAUTIFUL SHIP.
I JUST LOVED IT.

Parks says THAT MOVIE USED
TITANIC AS A STAGE
TO TELL A TEENAGE LOVE STORY.
IT WASN'T MEANT TO BE A
HISTORICAL NARRATIVE.
BUT IT CREATED A PASSION IN JIM
TO FOLLOW UP THAT MOVIE
WITH ACTUAL EXPEDITIONS
TO THE ACTUAL WRECK.
AND BECAUSE OF
THAT CONTINUED INTEREST
THAT GOES WAY BEYOND
A FEATURE FILM,
WE HAVE MADE DISCOVERIES
AND LEARNED THINGS
THAT HAVE ACTUALLY CHANGED
THE HISTORY
AND OUR UNDERSTANDING
OF TITANIC.

James says I JUST REALLY WAS
FASCINATED BY TITANIC,
THE STORY, THE
ARCHAEOLOGY OF IT,
AND JUST WANTED TO KNOW MORE.
WHAT HAPPENED THAT NIGHT
IN TERMS OF THE FINAL
MOMENTS OF THE SHIP
AND THE BREAKUP, THE
WAY IT SANK?
WE WILL NEVER KNOW
EXACTLY WHAT HAPPENED,
BUT WE CAN SAY WHAT IS
POSSIBLE TO HAVE HAPPENED.
TITANIC WASN'T JUST A STORY.
THIS WAS SOMETHING REAL.
THIS REALLY HAPPENED
TO REAL PEOPLE.
AND WE NEED TO HONOUR
THOSE THAT DIED
AND THEIR FAMILIES.
I THINK IT'S IMPORTANT
FOR FILMMAKERS
TO UNDERSTAND THAT
RESPONSIBILITY
AND ACTUALLY GET IT RIGHT.

Music plays as the end credits roll.

Executive producers, James Cameron and Maria Wilhelm.

Director, Thomas Grane.

Produced by Earthship Productions, Inc and Mob Scene, LLC.

Copyright 2017, NGC Network US, LLC. All rights reserved.

Watch: Titanic: 20 Years Later with James Cameron