After all, if you wanted to portray the BP man in evenhanded terms, you would never cast Malkovich—so good at snideness and sniveling—in the part (Or give the guy a shamefaced scene when he slinks to a rescue raft, much like those James Cameron provided for the villainous types in “Titanic”?)
He and writers Matthew Sand and Matthew Michael Carnahan know, as Ron Howard did with “Apollo 13” and James Cameron knew with “Titanic,” that it’s not about whether they live or they die or if the ship goes down or all are saved.
Peter Berg’s “Deepwater Horizon,” named for the doomed oil rig that exploded in 2010 and killed 11 crew members, can be summed up as a modern-day version of James Cameron’s “Titanic.”
As James Cameron did in Titanic , Deepwater Horizon makes some effort to give us a simplified technical précis ahead of time of the disaster we’re about to see — although the explanation here, preciously illustrated with a can of Coke, a straw, and some honey, offers only the haziest of context.
Clearly never having seen “Titanic,” he orders the crew to proceed full steam ahead with a series of high-pressure drilling tests that will lead to the well’s fateful blowout.
So James Cameron, nearly a century removed from the Titanic disaster, thought he had licence to impose his own characters and melodramatic instincts on what occurred, in addition to employing “God’s eye” – who takes a step back from the chaos and unclean composition of the moment, to repackage the action in a style a modern audience can understand; wide-shots, flowing edits, action beats.