There also appeared to be a bit of disagreement over who would star in the film. Kramer was replaced by Jerry Jameson, a veteran of TV ( Six Million Dollar Man, McCloud, Ironside, Hawaii Five-O) who’d just directed the Frye-produced Airport ‘77.
Stanley Kramer ( The Defiant Ones, On The Beach, It’s a Mad, Mad, Mad, Mad, Mad World) was originally going to direct, but he was soon ousted due to a dispute over the movie’s scale miniature effects.
Grade brought in American producer William Frye to help guide the project Frye’s most recent hits at that point were the disaster sequels Airport ‘75 and Airport ‘77 – the latter film, curiously enough, about a rescue team’s efforts to dredge a sunken passenger jet off the ocean floor. Nevertheless, production on Raise The Titanic ploughed on. “The special effects will be enormous, especially in two scenes when the ship comes up to the surface, and when it is towed into New York harbor.” “The film is supposed to cost between $12 and $15 million, which is difficult for me to believe,” Cussler told the Associated Press. “We still eat out only once a week, usually at McDonald’s.”ĭespite his simple culinary tastes, Cussler recognised that Raise TheTitanic! would be hard to adapt, particularly given the expensive special effects required to realise the book’s pivotal sequence. “We did buy a new refrigerator,” Cussler said of the life changes his new fortune brought. The deal Grade signed with Cussler wasn’t quite as lucrative as the Bantam proposal – the Titanic movie rights were snapped up for $450,000 – but the author was nevertheless a legitimately wealthy man. Indeed, one person attracted by the book’s allure (after a bit of coaxing) was Britain’s Lord Grade, a film and television producer who had plans to turn Raise The Titanic! into the kind of starry, glamorous adventure movie that had was all the rage in the 1970s.
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