"What happened was, in the weeks and months following Comic-Con, what I asked from the studio was to agree to four points that I wanted to do," he says. "The more the ILM shots arrived, the more I realized that there were only a few shots that would miniaturize. I asked the studio, number one, that we would not hyper-stereo-lize the thing. That we would not force 3D on the beauty shots. That we would keep the giant dimensions. They agreed. Number two, they agreed to something very unusual. Normally a conversion takes a few weeks. I asked to start it immediately so we could take the full 40 weeks to do the conversion. As an example, 'Titanic' took about 50 weeks to convert. The final thing that I asked that they agreed to, which was amazing, was that I asked them to give me an extra budget, which is considerable, to actually have ILM composite the shots that are CG native 3D. We're not giving elements. ILM is giving the composite in 3D from the get-go. That's a huge, huge element. Now I'm going to be involved in supervising it. What can I tell you? I changed my mind. I'm not running for office. I can do a Romney."
Seems he was worried about nothing. Sometimes the studio knows best. They gave him the budget to do a job like Titanic 3D and he'll take the opportunity to build his reputation in 3D, rather than be a stubborn starving artist caught up in the myths of out of date technology. I am reassured he is willing to change his mind. Kind of my own motto, when the conditions change, don't dig in your heels, change your mind. I have a new found respect for him as a student of the art, rather than an ignorant stubborn big shot director.
Now that that debate is settled, lets all hope the story is worthy of the effort and we all are entertained.