When Waterworld was released in 1995, it was instantly met with intense media scrutiny—not just because of its watery post-apocalyptic setting, but because it had already become notorious as one of the most expensive movies ever made at the time. With a budget that ballooned to an estimated $175 million, much of it spent on ocean-based filming logistics, the production quickly earned the nickname “Fishtar,” a play on Ishtar, another infamous Hollywood flop.
But long before the cameras rolled and headlines screamed “disaster,” one of Hollywood’s most respected filmmakers had already predicted trouble. Steven Spielberg, who had himself shot Jaws on the open water and understood the challenges of filming on the ocean, reportedly warned that such a project would be a logistical nightmare. His experience told him that when you film on water, everything—from equipment to timing to weather—becomes infinitely more difficult and expensive.
Spielberg’s instincts were right. Waterworld was plagued by production delays, storms that destroyed sets, and rising tensions between star Kevin Costner and director Kevin Reynolds. The movie eventually opened to mixed reviews and underwhelming box office returns, though it later gained a cult following and found financial redemption through home video and international sales.
In hindsight, Spielberg’s early concerns weren’t just words of caution—they were a seasoned filmmaker’s prescient warning. While Waterworld may not have sunk entirely, its choppy journey from concept to screen is a lesson in the unpredictable nature of cinematic ambition, especially when you try to conquer the sea.