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So we're all firmly against reboots, right? Bastardizing well-loved material to make a quick buck, allowing upstart new directors
to destroy something precious, all that nonsense. But what about an arty reboot? That's possibly the best way to describe a potential new Lars von Trier project, in which he would, no joke, attempt to remake Taxi Driver five times, with a few extra rules to make things really challenging.

The news comes out of the Berlin Film Festival and a report from a Danish newspaper that says Scorsese has agreed to cooperate with von Trier on a follow-up to the film. Based on the sleuthing and Google translating that JoBlo.com was able to do, Von Trier would make the film according to the rules laid out in the 2003 documentary The Five Obstructions, in which Von Trier challenged his friend to remake his favorite film five times. Presumably this time the friend, Jorgen Leth, would get to lay down his own rules for Von Trier-- last time the challenges included setting the new film in Cuba, or making it entirely animated.

There's no telling what's going on with this story in actuality, whether it's a rumor cooked up in the insanity of a film festival or if Scorsese really has just slipped a gear and agreed to something so nuts. Given that the last big news story about Von Trier was the ultimately false one about him working with Penelope Cruz, I'm not getting my hopes up too high.

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Long Beach, California (CNN) -- A lifelong fascination with science fiction and the ocean has driven "Avatar" director James Cameron's career, he told the TED2010 conference Saturday.

"The ocean is so rich with amazing life," he said beginning a session called "Wisdom," the final one of the conference. "Nature's imagination is so boundless compared to our own human imagination."

Cameron said some thought his filming of "Titanic" was about the opportunity to depict "Romeo and Juliet" on the doomed ship. In fact, he said, "Secretly I wanted to dive to the wreck of the Titanic."

He did wind up exploring the wreck and said he saw amazing forms of underwater life. Cameron was struck by the comparison between deep ocean exploration and space travel; in both cases there's a search for alien creatures and no hope of rescue if you can't get back yourself. "I completely closed the loop between being a science fiction fan as a kid and doing this stuff for real."

TED, which stands for Technology, Entertainment and Design, is a nonprofit that hosts conferences which attract an influential audience and prominent speakers, including Bill Gates this year and last year. TED makes its talks available for free on the web.

Cameron's ground-breaking film, Avatar, has received nine Academy Award nominations and is the highest-grossing film ever (without taking inflation into account).

A late addition to the program, he told the audience of 1,500 and hundreds of others watching remotely that he decided in his teens to become a scuba diver but lived in a little village in Canada 600 miles from the ocean. He became certified as a diver in a YMCA pool across the border in Buffalo, N.Y., but didn't get to start exploring the ocean until he moved to California two years later.

In the past 40 years, Cameron has spent 3,000 hours underwater, with 500 of that in submersibles.

Cameron says he's learned a lot about science, but even more significantly he has learned lessons about leadership.

He says he asked himself why he tackled exploration. "You're doing it for the challenge, the thrill of discovery and the strange bond that happens when a small group of people form a team," Cameron said. "In that bond you realize the most important thing is the respect that you have for them and they have for you."

In the four years he spent making "Avatar," he said he tried to apply that same lesson.

"Curiosity is the most powerful thing you own," he said. "Don't put limitations on yourself. Other people will do that for you...failure has to be an option in art and exploration because it's a leap of faith.

"In whatever you're doing, failure is an option, but fear is not."

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Robert Pattinson, he of the sparkly vampire acting gigs and legions of fans, revealed some intriguing tidbits about his personal life during a reported pint-laden interview with Details magazine.

After a beer or two and plenty of chili-spiced bar snacks, Pattinson said that when it comes down to it, his biggest emotional attachment is to his dog.

"There might be something wrong with my emotional sight," the 23-year-old actor said. "The only emotional connection of relevance is with my dog. My relationship with my dog, it's ridiculous."

Which is more than he can say about his relationship with vaginas.

The racy photo shoot he did for Details positioned the heartthrob between the legs of a female model, and Pattinson said it made him a bit antsy.

"I really hate vaginas," he said. "I'm allergic to vagina. But I can't say I had no idea, because it was a 12-hour shoot, so you kind of get the picture that these women are going to stay naked after, like, five or six hours. But I wasn't exactly prepared. I had no idea what to say to these girls. Thank God I was hungover."

There was, however, a redeeming quality of the shoot for Pattinson.

"This shoot, it's kind of eighties nakedness, you know? If you look at porn in, like, the eighties, there was something kind of quaint about it, quite sweet—like this little naked community," Pattinson explained. "The people who made it liked it, they had respect for it. Not remotely like the porn that's available now. No community in it at all. It's just everything, everywhere."

Pattinson is currently working on an adaptation of the Guy de Maupassant novel "Bel Ami," and will make his next appearance on the silver screen in March in the drama "Remember Me."

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Until Taylor Lautner beefed up and began walking around shirtless in "New Moon," there wasn't a chance in the underworld that werewolves could steal pop culture's rabid affection for vampires.

But now that moviegoers' appetites have been whetted for this particularly hairy breed of supernatural beast, perhaps the new horror movie "The Wolfman," starring Benicio Del Toro and Anthony Hopkins, can help the myth finally step out from the, er, non-shadow of vampires after all.

In the past 30 years, there have been a number of films dedicated to the frightening -- and sometimes hilarious -- things that can happen when under the werewolf curse, yet the genre has never soared into popularity.

We're officially past "New Moon" frenzy, and werewolves haven't exactly shown up in TV series, novels and other movies the same way vampirism has since "Twilight" and its cohorts left their mark.

"Vampires have always been more popular because there's a romantic element," Slantmagazine.com film critic Nick Schager said. "They're striking, dashing, and there are sexual components to the legend."

The werewolf, on the other hand, is not only plagued by a "cheesiness" factor that happens when the special effects are poor, Schager said, the myth itself is also decidedly less romantic.

Even Lautner's character, whose houndish transformation does retain some elements of the werewolf myth, turns into a wolf only when the undead come around, making him a somewhat safer choice for his love interest.

On top of that, the "New Moon" wolf men seem to become more attractive once their supernatural gene kicks in, and in typical werewolf genre films, "you don't get to be the good-looking, debonair hunk from 'True Blood,' " Schager said. "It's all about losing control and turning into a beast."

The genre has also suffered from less-than-scary films, Yahoo! movie critic Sean Phillips said.

"I think for a long time, werewolves were feared, but in the silly '80s, we had to bring the werewolf down," he said.

John Landis' 1981 film "An American Werewolf in London" is perhaps one of the most iconic in the genre, but it fits squarely into the "comedy-horror" category. There's also nothing horrific about a barely post-pubescent Michael J. Fox using his newfound canine aggression to ask for a keg in 1985's "Teen Wolf."

The ensuing years weren't much better, with such tales as 1994's "Wolf" using the legend as the basis of satire.

"The classic monsters have been softened and commercialized; they're almost comical now," Phillips said. "They're lighter, gentler versions of the beasts they used to be."

Since Del Toro's film is rated R, Phillips believes that "The Wolfman" will attract an audience that's into horror, even if they're not into werewolves.

Indeed, "Wolfman" producer and actor Del Toro hasn't been quiet about his intent on keeping the film in line with its terrifying inspiration, the original 1941 "The Wolf Man," starring Lon Chaney Jr. and Bela Lugosi.

"[The horror] was intentional," the 43-year-old said. "We wanted to bring the story to the 21st century, [but] at the same time, we wanted to stay truthful to the original."

"The Wolfman" maintains the mythology that has captivated fans of the genre for decades, delving into "what extent human beings are animals, to what extent we're civilized and to what extent you can repress animal instincts," co-star Hugo Weaving said.

Even the effects needed to be different. Instead of relying on CGI, as other werewolf films have in recent years, "The Wolfman" kept it classic by bringing in venerated makeup artist Rick Baker to use more practical special effects on Del Toro. (Baker is no stranger to creating wolfmen; he also did the makeup effects for the groundbreaking "American Werewolf in London," which earned him an Oscar.)

That doesn't mean the practical effects haven't been augmented with CGI -- this is 2010 -- but the combination of the two creates a character that's "more iconic wolf man versus what they've done in 'Underworld,'" said film critic Todd Gilchrist.

Most important, "Wolfman" stays true to the heart of the mythology. Being a werewolf isn't a lifestyle or a source of power; it's a frightening, inescapable curse that renders the afflicted unable to control their actions.

"In 1981, with 'The Howling' and 'American Werewolf in London,' the people who were the beasts didn't have any self-loathing about their werewolf affliction," Schager said. "If it's not a terrible thing to become a werewolf, and he's in control of himself and is not a rampaging beast, what becomes scary about it?"

Nothing at all, which is why Gilchrist believes that werewolves haven't gotten their pop culture due: They're not obviously frightening anymore.

"The way that these horror movies were done in the '30s and '40s was very effective, because there was an unknown visual landscape for horror. Audiences hadn't seen these creatures, which is why they were much more susceptible to being scared by them," Gilchrist said.


But by now, audiences have "seen so many different kinds of beasts that kill people, not to mention the technological sophistication needed. Can you really make a movie about a guy who's dressed up as a wolf in 2010?"

Add to that the lack of versatility in werewolf movie plot lines, and Gilchrist doesn't predict a burst of wolf movies or HBO television shows.

"The vampire movies in the past year are all different. 'Daywalkers' and then 'New Moon,' those couldn't be more diametrically opposed," Gilchrist said.

But werewolf movies tell more or less the same tale, he said.

"Some of them were maybe more empowering, some were more tragic, but they're all pretty much the same," Gilchrist said. "There's going to be perennial interest in werewolves as a movie property, but it's not going to launch a trend."

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