James Cameron Says He Wishes He’d Sounded Alarm Over Lost Submersible

A decal on a piece of equipment which reads "Titan" is pictured near a trailer with the OceanGate logo at OceanGate Expedition's headqurters in the Port of Everett Boat Yard in Everett, Washington, on June 22, 2023. (AFP)
A decal on a piece of equipment which reads "Titan" is pictured near a trailer with the OceanGate logo at OceanGate Expedition's headqurters in the Port of Everett Boat Yard in Everett, Washington, on June 22, 2023. (AFP)
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James Cameron Says He Wishes He’d Sounded Alarm Over Lost Submersible

A decal on a piece of equipment which reads "Titan" is pictured near a trailer with the OceanGate logo at OceanGate Expedition's headqurters in the Port of Everett Boat Yard in Everett, Washington, on June 22, 2023. (AFP)
A decal on a piece of equipment which reads "Titan" is pictured near a trailer with the OceanGate logo at OceanGate Expedition's headqurters in the Port of Everett Boat Yard in Everett, Washington, on June 22, 2023. (AFP)

Movie director and submersible maker James Cameron said on Thursday he wishes he had sounded the alarm earlier about the submersible Titan that imploded on an expedition to the Titanic wreckage, saying he had found the hull design risky.

All five aboard the vessel were killed.

Cameron became a deep-sea explorer in the 1990s while researching and making his Oscar-winning blockbuster "Titanic," and is part owner of Triton Submarines, which makes submersibles for research and tourism.

He is part of the small and close-knit submersible community, or Manned Underwater Vehicle (MUV) industry. When he heard, as many in the industry had shared, that OceanGate Inc was making a deep-sea submersible with a composite carbon fiber and titanium hull, Cameron said he was skeptical.

"I thought it was a horrible idea. I wish I'd spoken up, but I assumed somebody was smarter than me, you know, because I never experimented with that technology, but it just sounded bad on its face," Cameron told Reuters in a Zoom interview.

The cause of the Titan's implosion has not been determined, but Cameron presumes the critics were correct in warning that a carbon fiber and titanium hull would enable delamination and microscopic water ingress, leading to progressive failure over time.

Other experts in the industry and a whistle-blowing employee raised alarms in 2018, criticizing OceanGate for opting against seeking certification and operating as an experimental vessel. OceanGate has not addressed queries about its decision to forgo certification from industry third parties such as the American Bureau of Shipping or the European company DNV.

The US Coast Guard said on Thursday the submersible appears to have imploded on its expedition to the wreckage of the Titanic on the bottom of the North Atlantic, but a conclusive investigation will take time.

A secret US Navy acoustic detection system recorded "an anomaly consistent with an implosion or explosion in the general vicinity of where the Titan submersible was operating when communications were lost," the Navy told the Wall Street Journal.

Cameron said his sources reported similar information and he knew the submersible was lost from the start of the four-day ordeal, suspecting it imploded at the time the Titan's mother ship lost communications with and tracking of the submersible one hour and 45 minutes into the mission.

"We got confirmation within an hour that there had been a loud bang at the same time that the sub comms were lost. A loud bang on the hydrophone. Loss of transponder. Loss of comms. I knew what happened. The sub imploded," Cameron said.

He added that he told colleagues in an email on Monday, "We've lost some friends," and, "It's on the bottom in pieces right now."

The five who died mark the first deep-sea fatalities for the industry, Cameron said.

The industry standard is to make pressure hulls out of contiguous materials such as steel, titanium, ceramic or acrylic, which are better for conducting tests, Cameron said.

"We celebrate innovation, right? But you shouldn't be using an experimental vehicle for paying passengers that aren't themselves deep ocean engineers," Cameron said.

Cameron said both the Titanic and the Titan tragedies were preceded by unheeded warnings. In the Titanic's case, the captain sped across the Atlantic on a moonless night despite being told about icebergs.

"Here were are again," Cameron said. "And at the same place. Now there's one wreck lying next to the other wreck for the same damn reason."



Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
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Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)

Few artists have legacies so mammoth their very name could be considered synonymous with the music industry, but then again, most musicians are not the prodigious producer Quincy Jones.

The larger-than-life figure died Sunday night at his Los Angeles home, surrounded by his family. He was 91 and scheduled to receive an honorary Academy Award later this month.

Across his career, the 28-time Grammy Award winning Jones worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with hundreds in-between. The best way to celebrate his legacy, of course, is to listen to the music he made.

1963: Ella Fitzgerald and Count Basie's orchestra, “Honeysuckle Rose”

Those looking to kickstart their Jones listening journey at the very beginning of his career could do so with “Liza,” from his first album, “Jazz Abroad,” a joint release with Roy Haynes. For everyone else, look to his arrangements on 1963's “Ella and Basie!,” an album by Fitzgerald with Count Basie's orchestra. Moving from just vocals and bass before building into its own grandness — not to mention, a delightful scat solo from Fitzgerald — “Honeysuckle Rose” from the album is an exemplar of Jones' jazz brilliance.

1963: Lesley Gore, “It’s My Party”

Teenage heartbreak met its match on Lesley Gore's “It's My Party,” recorded when its pop singer was still in her own adolescence. Jones produced the record, with its addictive melodies, percussion and cheerful horn section — emotionally and diametrically opposed to its narrative tale of a girl getting dumped by her boyfriend for her best friend on her birthday. You'd cry, too, if it happened to you.

1964: Frank Sinatra, “Fly Me to the Moon”

Jones' legacy is defined by an idiosyncratic ability to master various American musical forms with an apparent ease. That is the case of this canonized cover by Frank Sinatra, “Fly Me to the Moon,” from Sinatra's 1964 album, “It Might as Well Be Swing,” arranged by Jones. The producer set the song to a punchy, swinging rhythm and wistful flute, and the rest is history. You can also thank Jones for “The Best Is Yet to Come.”

1967: Ray Charles, “In the Heat of the Night”

Jones scored the 1967 film “In the Heat of the Night,” which includes its R&B-gospel title track, “In the Heat of the Night,” performed by his good friend Ray Charles. It is soul committed to wax, amplified by the inclusion of a lusty tenor sax solo.

1979: Michael Jackson, “Don’t Stop 'Til You Get Enough”

Perhaps Jones' best-known production partnership is the one he had with Michael Jackson, working with the King of Pop on his culture-shifting albums, 1979's “Off the Wall," 1982's “Thriller” and 1987's “Bad.” The pair met while working on the 1978 movie “The Wiz" — Jones worked on its soundtrack, and Jackson was its star. “Don't Stop ‘Til You Get Enough," with its inventive disco-funk, ambitious production and Jackson's signature falsetto set the stage for the massive career to come.

1981: Quincy Jones, “Just Once”

Put it in the pantheon of great piano ballads: On Jones' 1981 album “The Dude,” James Ingram takes over lead vocal duties for “Just Once,” the big-hearted and bigger-feelings track.

1982: Michael Jackson, “Billie Jean”

What songs are more immediately recognizable? An elongated drum and bass lick introduce “Billie Jean,” one of the great genre-averse pop songs of all time, from Jackson's record-breaking “Thriller" album. Here, Jones' production is post-disco, but still funky, still prescient. And time tells the greatest tale: “Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time.

1982: Donna Summer, “Love Is in Control (Finger on the Trigger)”

And now for something completely different: In 1982, Jones worked with Donna Summer on her self-titled album, a dance-forward record that includes the synth-y pop single “Love Is in Control (Finger on the Trigger)," which earned a Grammy nomination for best R&B vocal performance, female.

1985: USA for Africa, “We Are the World”

Nearly four decades ago, some of the biggest stars on the planet — Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen among them — came together for an all-night recording session. The result was “We Are the World,” a pop superhit overseen by Jones, the 1985 charity record for famine relief in Africa.

Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.”

1989: Quincy Jones with Ray Charles and Chaka Khan, “I'll Be Good to You”

Back in 1976, Jones produced the Brothers Johnson's R&B hit, “I'll Be Good to You,” and then re-recorded the track with Ray Charles and Chaka Khan — an ebullient number with contemporary production, completely transforming the classic.