trimarano waterworld

What Kind Of Boat Is Used In Waterworld?

December 15, 2023

‍ Key Takeaways

• The Waterworld boat is a trimaran with a tri-hull design.
• Its construction demanded meticulous care for durability.
• Its legacy endures as an iconic movie vessel, inspiring maritime and pop culture.

‍ Ever wondered about the boat used in Waterworld? Let’s uncover the secrets of this iconic vessel as we delve into its captivating story.

The boat used in the Waterworld is a trimaran, a type of boat characterized by its multiple-hull design. It comprises a central or main hull and two smaller outrigger hulls that are connected to the central hull through horizontal beams.

As an expert in maritime history, I bring a unique blend of knowledge and insights to the boat used in Waterworld. My expertise allows me to answer the question of what kind of boat was used and to delve into the intricacies of its design and significance within the film's narrative. As such, you’ll gain valuable insights from a knowledgeable source with a passion for boats, cinema, and storytelling.

Table of contents

‍ what kind of boat is used in the waterworld.

When I first heard about "Waterworld," I was captivated by its ambition. The film, directed by Kevin Reynolds, starring Kevin Costner in a post-apocalyptic setting where the earth is submerged in water.

The boat central to "Waterworld" is a trimaran, a type of multihull boat with a main hull and two smaller outrigger hulls. This vessel was not just a set piece but a functional craft, intricately designed by VPLP Design’ It was specifically for the film to embody the rugged and self-reliant spirit of the main character, Costner.

The film's portrayal of the trimaran was grounded yet imaginative, reflecting mankind's resilience in an imagined watery future. With its real-world sailing sequences, the boat became almost as much a character as the actors around it.

Two iterations of the trimaran were constructed for the film. A relatively standard racing vessel (surpassed 30 knots in September 1994). This was a fully functional Kevin Costner sailboat for distance shots and is in private hands.

The second one is an effects-laden transforming vessel for closeup shots. This one is at a lake in Universal Studios, Florida.

Now, let’s explore the design, significance, and lasting impression of the Waterworld trimaran.

Design and Concept

The design and concept of the Waterworld Trimaran represented a visionary approach to creating a vessel that was visually captivating and deeply embedded in the narrative fabric of the film.

Collaborating with VPLP Design , a renowned naval architecture firm, Vincent Lauriot Prevost embarked on a creative journey to craft a watercraft that would be both a functional mode of transportation and a symbol of hope in the dystopian world of "Waterworld."

The most striking feature of the Trimaran was its tri-hull design, an unconventional choice that set it apart from traditional watercraft.

This tri-hull configuration had two smaller outer hulls (amas) and a larger central hull (main hull). It was visually intriguing and contributed significantly to the vessel's stability and buoyancy.

In a world where dry land had become a rare commodity, this design choice allowed the Trimaran to navigate the vast expanses of water with confidence, providing a sense of security for its inhabitants.

The towering mast was another distinctive feature that added to the Trimaran's allure. It served a practical purpose by supporting sails and enhancing the vessel's imposing presence on the water.

This design element and windmill blades emphasized the Trimaran's capability to harness the power of the wind. It made the trimaran a formidable and efficient means of transportation in a world where fuel was scarce.

Perhaps one of the most visionary aspects of the Trimaran's design was its unconventional yet practical layout. While it appeared as a vessel of utility, it seamlessly incorporated living quarters, storage space, and essential facilities below deck.

This multifunctional design allowed it to serve as a mode of transportation and as a self-contained community on the water. It became a floating refuge, reflecting the resilience and adaptability of its inhabitants.

Size and Scale

The Trimaran in "Waterworld" was depicted as a massive vessel, which was crucial for the narrative. Its size suggested self-sufficiency and the ability to house a small community of survivors.

This allowed it to carry ample supplies, equipment, and provisions, making it suitable for long journeys and survival underwater near San Diego Bay and parts of the Pacific. The grand scale of the Trimaran emphasized its significance as a central element in the film.

Construction and Maintenance

Building the Waterworld Trimaran for filming and the fictional harsh marine environment required robust construction.

In the real world, a similar vessel would demand meticulous maintenance to ensure the integrity of its triple hulls and the functionality of its previously hidden mast system.

The filmmakers' commitment to maintaining the vessel's appearance and functionality reflected its importance as a central element of the film's world.

The Waterworld Trimaran was not just a backdrop; it was a dynamic character in its own right, and its proper care and maintenance were essential to ensure its seamless integration into the film's narrative. This video illustrates the Trimaran’s robust construction.

In-Film Role and Symbolism

In the movie "Waterworld," the Trimaran transcended its role as a mere vessel; it became a central character intimately linked with the survival and identity of the Mariner, portrayed by Kevin Costner.

This remarkable watercraft served multiple crucial functions throughout the narrative, going beyond its role as a mode of transportation.

Firstly, the Trimaran provided shelter in a world where dry land had become scarce. It symbolized the mariner's lifeline, offering him a safe haven from the dangers of the waterlogged world.

Its living quarters became a refuge, not just for the mariner but also for the hope of finding a place to call home.

The Trimaran's mobility was essential for navigating the treacherous seas and exploring the vast, flooded landscapes. Its agility mirrored the mariner's adaptability and resourcefulness in this harsh environment.

Furthermore, the vessel served as a formidable defense mechanism, protecting the mariner from the threats of pirates and the notorious smokers led by Dennis Hopper. It was a symbol of resilience, allowing the protagonist to confront adversity head-on and overcome the odds.

Legacy and Influence

The Waterworld Trimaran boat has left an enduring legacy, profoundly influencing both maritime enthusiasts and filmmakers alike. Its unique design, blending form and function, has captivated the imagination of those within the maritime community and beyond. It has influenced the community in the following ways:

Influence on Boat Design

Trimaran's tri-hull design, towering mast, and practical layout have inspired boat designers to push the boundaries of conventional maritime engineering. The idea of a versatile vessel that seamlessly combines self-sufficiency with speed and stability has prompted real-world adaptations.

Today, we see trimarans that borrow elements from the Waterworld Trimaran, particularly in terms of hull design and innovative modifications for extended voyages.

Impact on Storytelling

In the world of storytelling, the Waterworld Trimaran has set a precedent for the use of unique vessels as pivotal plot elements. Filmmakers have taken inspiration from its role as a character within the narrative, symbolizing resilience and hope in the face of adversity.

This influence is evident in subsequent films and media where distinctive boats or ships play central roles in the storyline.

Real-World Application

The Waterworld Trimaran, although originally conceived for cinematic storytelling, possessed notable real-world applications that set it apart from competitive racing trimarans.

While its core features, including speed and stability, shared similarities with racing trimarans built for water sports, it was the additional modifications that made it stand out and hinted at its potential for practical use.

What truly distinguished the Waterworld Trimaran were the modifications designed for self-sufficiency and extended habitation. These included living quarters, storage spaces, and facilities necessary for sustaining life on the open sea.

These features showcased a level of versatility rarely seen in racing-oriented designs, suggesting a broader range of applications beyond the racecourse.

Additionally, the Trimaran's innovative modifications highlighted the potential for adapting such vessels to real-world scenarios, such as extended voyages and exploration missions.

Its ability to combine speed and stability with self-sufficiency demonstrated how maritime engineering could evolve to meet the demands of long-term habitation on the water.

Comparisons of the Waterworld Trimaran to Other Watercrafts

The mariner’s Trimaran, a marvel of post-apocalyptic engineering, has left an indelible mark on the imaginations of moviegoers and maritime enthusiasts alike. Its distinctive design and formidable presence make it a standout vessel in the world of film.

However, to truly appreciate the trimaran's exceptional attributes, it's essential to place it in context alongside other types of watercraft.

We’ll compare it with various vessels to highlight key differences, showcasing how this fictional creation stands out in the realm of maritime innovation.

To help you visualize how the Waterworld trimaran compares to other types of vessels, here's a table highlighting key differences:

Sailing Through Pop Culture: The Enduring Influence of 'Waterworld' Boat Designs

When I dive into pop culture, few things have the lasting impact of iconic movie props, especially those central to a film's theme, like the trimaran used in 'Waterworld.' It's more than just a vessel; it symbolizes adaptability and ingenuity in a dystopian future.

In my journey through cinema history, this unique boat has stood out for its design and how it has influenced media and merchandise. Let’s explore the influence of the Trimaran on pop culture.

Influence on Popular Media

The trimaran and the post-apocalyptic vibe of 'Waterworld' have had a palpable influence on other media, sometimes echoing the desolate yet adventurous feel found in the 25th-anniversary retrospectives of the movie.

Video games, especially those set in dystopian futures, often feature vessels and settings reminiscent of the film’s unique maritime environment. Many of these creations offer a nod to the rugged survivalist spirit embodied by 'Waterworld's' trimaran.

Merchandise and Spin-Offs

Merchandise from Waterworld, including lavish collectibles, has sailed into the hands of eager fans. Over the years, limited-edition models of the trimaran have become prized possessions.

The introduction of spin-offs has further fueled the demand for related products. For instance, video games set in the "Waterworld" universe have allowed players to immerse themselves in the post-apocalyptic world and interact with the iconic Trimaran.

These games have often featured the vessel as a central element of gameplay, emphasizing its significance in the franchise.

Moreover, intricate sailing ship models, not limited to the Trimaran alone, have gained popularity among fans. These models offer a hands-on experience, allowing enthusiasts to recreate film scenes or embark on imaginative adventures within the "Waterworld" universe.

Fan Community and Continued Interest

The legacy of 'Waterworld' resonates deeply within its vibrant fan community. Enthusiasts celebrate the film through fan events, analyze it on social media, and keep the conversation going through forums.

This continued interest is a testament to the cultural footprint of the film's maritime themes and the boat that made navigating a waterlogged Earth possible.

This article may contain affiliate links where we earn a commission from qualifying purchases. The images and content on this page may be created by, or with the assistance of, artificial intelligence, and should be used for entertainment and informational purposes only.

About THE AUTHOR

Brian Samson

I have a deep love of houseboating and the life-changing experiences houseboating has brought into my life. I’ve been going to Lake Powell on our family’s houseboat for over 30 years and have made many great memories, first as a child and now as a parent. My family has a passion for helping others have similar fun, safe experiences on their houseboat.

Trending Now

After spending over 30 years on houseboats, the memories and knowledge we've gained will never fade. Learn from our experiences here on LakeWizard. You can read more about us and our team, here .

©2024 LakeWizard. All rights reserved.

You can email us at [email protected]

LakeWizard.com is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon. This site also participates in other affiliate programs including but not limited to ShareASale, CJ, and ClickBank, and is compensated for referring traffic and business to these companies.

Log in or Sign up

You are using an out of date browser. It may not display this or other websites correctly. You should upgrade or use an alternative browser .

Waterworld Trimaran

Discussion in ' Multihulls ' started by big-boss , Mar 25, 2008 .

big-boss Junior Member

I am a new guy-been looking on for a week or so finally signed up. I want to build an ocean going trimaran like the one in waterworld. Is there any plans on something like that? Do I need to commision a designer? Be gentle on me please. I have built about everything but a boat. I have built a Kirkham Cobra (latest project) to bridges, tilt-up buildings,prisions, etc. I am a civil engineer, contractor and a craftsman. I want to do this.  

alan white Senior Member

Hi Big Boss, If I were you, I'd start with a rowboat for kids, maybe something made of underlayment plywood. Just kidding! A friend of mine told me that Waterworld tri was modified and filmed in Hawaii--- his daughter worked on the film. I know nothing more but wish you luck finding the designer. Alan  

RHough Retro Dude

big-boss said: ↑ I am a new guy-been looking on for a week or so finally signed up. I want to build an ocean going trimaran like the one in waterworld. Is there any plans on something like that? Do I need to commision a designer? Be gentle on me please. I have built about everything but a boat. I have built a Kirkham Cobra (latest project) to bridges, tilt-up buildings,prisions, etc. I am a civil engineer, contractor and a craftsman. I want to do this. Click to expand...

I know what an ORMA 60 is- I have MAPQUEST just like you guys! I want to make one. I do not know what "stock plans" are, though. Where do you get them? Thanks again.  

big-boss said: ↑ I know what an ORMA 60 is- I have MAPQUEST just like you guys! I want to make one. I do not know what "stock plans" are, though. Where do you get them? Thanks again. Click to expand...

Munter Amateur

If you're keen on the "slightly rough" look, google an aluminium tri named "Tin Can". I hear you might be able to get that boat pretty cheaply and its only a few hours north of you... Seriously - if you want a big tri like that you'd be far better off buying a second hand one. The construction is pretty complex and there are nicely depreciated ones that can be picked up for not too much money. Beware the operating costs and hassle factor of a boat that size though. skimping on maintenance could be expensive in the long run and dangerous.  

Waterworld In 1994, Jeanneau Advanced Technologies (JAT) who produced the Lagoon range of catamarans, manufactured two specialist trimarans for the Kevin Costner film Waterworld. The film provided exposure of the fantastic designs of Marc Van Peteghem and Vincent Lauriot-Prévost as well as Jeanneau craftsmanship to a worldwide audience. The trimaran is a specialist replica of Florence Arthaud's "Pierre 1er" (Lakota), and was able to sail at speeds reaching 33 knots. Click to expand...

yipster designer

http://www.boatdesign.net/forums/showthread.php?t=10300&highlight=Waterworld http://www.sailinganarchy.com/YD/2003/orma.htm  

Thanks guys. I have been following the "tin can" When I first saw it I knew where it would fail- I was right. To me it is obvious-had the welding been better he would have simply been out farther before failure, IMO. I do understand the pint the guy is trying to make, I hope he does.  

Chris Ostlind Previous Member

Yes, there were two Waterworld tris. One went to somewhere in Florida last I heard and the other was completely refitted and is living in San Diego, going by the name of LoeReal. I found this page that looks at the boats in question, though the material is not up to date with photos. http://www.geocities.com/mariner767/index.html Attached below is shot of the way she looks in current racing trim Chris  

Attached Files:

Loereal.jpg.

After a little studing after your ideas- Damn that ORMA 60 is a big boat. I knew what it was before but after you comments I now understand waht I was seeing. I will be down south next month I will have to poke around and see if I can at least see one. Is there a boat that looks like that in a 40ft? What is the 39ft Ferrier (spelling?) like. Seems easy enough to build. Is it fast? THanks again. "Why start small? - When you can start big!"  

If you are really serious about a 40' trimaran and have the desire to learn how to build, then you should talk with naval architect, Jim Antrim in the SF Bay area. He's a world class designer of incredibly fast multihulls with several offerings in the size range you mention. Here's his website showing the trimarans: http://www.antrimdesign.com/trimarans/ The 40' Zephyr, shown below, will absolutely give you the thrill you seek Chris  

Good call Chris. If it were me and I didn't care much about cruising ... I'd see if a F40 Tri could be had for cheap. That would be a lot of bang for your buck. The F-39 is on my medium list, I like Farrier's stuff to a point and it is the biggest folder around. I think 45-50 is a better bet for a dual purpose racer/cruiser but that is a odd size, everything is either too full race for and old man to take his wife cruising on or too full cruise to make the thought of sailing fun for me. For a WaterWorld type boat Antrim would be hard to go wrong with.  

jamez Senior Member

Kurt Hughes has a bunch of Tri designs in the c. 40' range. They range from a formula 40 to cruising tris with various levels of accomodation. http://www.multihulldesigns.com/stock/f40tri.html http://www.multihulldesigns.com/stock/40tri_rapid.html  

• Advertisement:

Dick Newick's Ocean Surfer is nice too. Bit more solid than a F40. http://www.wingo.com/newick/oceansurfer.html  

Waterworld trimaran

Waterworld "Don't we all!"

Floating island - Trimaran or Catamaran?

Design of wood epoxy trimaran beams

Normon Cross Trimarans

Trimaran Build

FAO 7.8 meter trimaran ocean capable?

Best free CAD for trimaran design

Unstayed mast build for small canoe based trimaran.

Looking for a build plan for a tuff trailerable, weekender, beachable trimaran?

• No, create an account now.
• Yes, my password is:
• Forgot your password?

After Florence Arthaud’s victory in the 1994 Route du Rhum on the trimaran Pierre 1er , VPLP was commissioned by Universal to design and build the boat used by the main character played by Kevin Costner in the film Waterworld . 

In fact there were two versions of the boat. One was fully operational and used for the sailing sequences at sea. It had a maximum speed of about 15 knots. The other version was used for filming above and below deck, in particular for shots requiring special effects, and it was fitted with numerous gadgets including a telescopic mast for taking 360° views.

Both versions were 60 feet long and laid up in the moulds of Pierre 1er at the Jeanneau Techniques Avancées yar under the direction of Bruno Belmont who would go on to be Lagoon marketing director. The boats were shipped to Hawaii by cargo plane. The working trimaran was subsequently sold to American sailor H. L. Enloe who would later skipper her in numerous races and regattas. Waterworld was evidently a unique experience for the firm, adding Hollywood movie star Kevin Costner to the long line of famous mariners who have skippered boats designed by VPLP.

VPLP design

Jeanneau Techniques Avancées

fiber glass/kevlar

1,54 m/2,88 m

Paris +33 1 42 77 24 00 Vannes +33 2 97 44 74 19 Nantes +33 9 85 11 79 77

[email protected]

Privacy Policy

Subscribe to our newsletter

• Main articles
• Edit source

Trimaran in the film

A trimaran is a type of three-hulled sailing vessel, with a central hull and two outrigger hulls (or floats) attached with lateral beams. Due to the speed-based design, trimarans are often used in yacht racing.

In the Waterworld film and wider franchise , a heavily modified trimaran - perhaps the last of its type in the ocean-covered world - is the signature vessel and home of the protagonist, The Mariner .

• 1 Description
• 4.2 Video games
• 7 Production history
• 8.1 Concept art
• 8.2 Production gallery
• 8.3 Behind the scenes
• 8.4 Current ship
• 9 External Links
• 11 References

Description [ ]

The trimaran was 60 feet long, and when the sail was unfurled, it had an 85 foot high boom.

It was ramshackle and weather-beaten, the same as all other vessels and structures on Waterworld. It had been repaired multiple times over the years using all manner of materials, including metals, nylons, plastics and fiberglass. However the Mariner had added many of his own customisations over the years, enabling it to be manned by a single sailor. He had also added netting across from the main hull to the outrigger hulls. There is also a number of decorations made from trinkets the Mariner had made salvaged from the ocean floor, of which are kept in his collection in the interior of the vessel; these decorations include such items as wind chimes made from computer chips.

The trimaran has two 'modes'. In trawling mode, the Mariner's trimaran could use an 'eggbeater sail'. When needed, this could be quickly stowed and away and a more traditional yet impressively large sail could be unfurled with haste. The latter racing mode could be used to achieve high levels of speed. For additional bursts of speed, a spinnaker sail could be unfurled. In combination, and given how lightweight the trimaran is, it can attain speeds higher than any other vessel, even able to outrun motorised watercraft.

Also aboard the trimaran the Mariner kept a makeshift diving bell and scavenged flares for use in longer forays underwater.

History [ ]

The Mariner was in possession of the trimaran for an unspecified amount of time prior to the events of the film , although he had likely had it for a long time.

The Smokers burned the trimaran, and after the Mariner helped the survivors of Oasis Atoll find Dryland , the Mariner took out to sea a new, wooden boat the found on the shore there.

After the events of the film, and as seen in the comics , the Mariner made a new trimaran, this one made from the husk of an old jet fighter.

• Main article: Waterworld toy line

The Trimaran Kenner play set

Kenner released a line of action figures based on Waterworld, and also a trimaran playset.

The trimaran playset was the only playset in the Kenner Waterworld toy line, which comprised mainly action figures.

Gallery [ ]

Video games [ ]

THE ATOLL - Waterworld Trimaran Playset Review (Kevin Costner Sailboat)

A deep dive into the Kenner trimaran toy playset by The Atoll YouTube channel, also includes information on the film set

• In Peter Rader 's original script/pitch in the 1980s, the protagonist's boat went undescribed, but was referred to as the Meggan . [1]
• In Peter Rader's second revised script of 1991, the protagonist's ship was not a racing-orientated trimaran, but was a converted barge. The protagonist, Morgan, names the vessel Miranda after his late wife who was killed by pirates.

Production history [ ]

Concept artist Steve Burg 's first job on the film was to come up with a 'hero boat', and he found inspiration in sailing magazines. He toyed with the idea of a catamaran , but decided that a trimaran would be better both practically and aesthetically. The French company Jeanneau Advanced Systems , a world leader in racing yacht production, was hired to construct Berg's vision.

Two trimarans were built for the film; one for close-up filming and displaying the transformations (which was only partially viable as a sailing vessel), while the other was fully seaworthy and intended for wide-shots and sailing on the open sea. Each cost over a million to make. The first is kept as a prop at Universal Studio's Waterworld: A Live Sea War Spectacular in Hollywood City. The other is a working vessel, now named Loe Real , was purchased by a private collector in San Diego.

Production galleries [ ]

Concept art [ ].

Production gallery [ ]

Behind the scenes [ ]

Current ship [ ]

External Links [ ]

• Trimaran article at Wikipedia

Sources [ ]

• Behind the scenes images courtesy of The Atoll Instagram page via The Making of Waterworld

References [ ]

• ↑ Maelstrom: The Odyssey of Waterworld
• 2 The Mariner

• Search Please fill out this field.
• Newsletters
• Sweepstakes

Dangerous when wet: Inside the tumultuous times of Waterworld

Fish gotta swim. Birds gotta fly. Kevin Costner's gotta play the hero.

This article originally appeared in the July 14, 1995 issue of Entertainment Weekly.

Wind. Water. Costner.

He’s soaked, greasy hair brushing his shoulders, grimy face looking grim. He clings to the sail for life as his craft rips the ocean. Before him: safety, the atoll, a great floating fort. Behind him: villains on Jet Skis, beating the waves. A nightmare army. Gaining fast.

In a few weeks, Waterworld — the most expensive movie in history — will finally arrive in theaters nationwide. But on this June day, at high noon, it’s playing on just one screen — inside the Todd-AO recording studio in Los Angeles. The orchestra, 102 strong, obeys the twitches of a single skinny baton, itself a slave to the regiment of numerical subtitles fluttering at the bottom of the picture. It’s one of the first scenes moviegoers will witness in Waterworld . As Costner outwits his speedy nemeses and navigates his craft toward home, the music swells. The real Costner — who has been watching from a control room at the back — stands up, and his grin crescendos with the score. He points dramatically — heroically — over the orchestra. He says nothing.

A few minutes later, over lunch at a quiet middlebrow restaurant near the studio, Costner is talking a blue streak. And he’s not smiling. For weeks, he has been caged in editing rooms, trying to make sense of the sometimes thrilling, sometimes sprawling Waterworld footage, racing toward a July 28 release date. He’s the star of the show, a producer, and now — in the wake of some brutal battles fought during production — an investor in the film and its surrogate director. “I’m not doing this because I love this,” he says. “I really wanted to be in the mountains fishing this summer and hunting. I did not want to be in the editing room when the sun is shining. That wasn’t my job. It wasn’t something I signed on for. I didn’t want it. I don’t know how to make that any clearer.”

How has it come to this?

The answer will explain how Waterworld gobbled up a record budget and generated a record amount of ink on, variously, reports of the volatile Hawaiian weather that plagued the production, rumors that an on-location affair led to Costner’s decision to divorce while filming last October, gossip about the runaway cost — estimated conservatively at $160 million, liberally at $180 million. Even The Wall Street Journal hit the pool, announcing — quel scandale! — that there were no bathrooms on the atoll set.

The answer will also explain how the film began without a finished script and finished off, perhaps once and for all, the star’s historically rocky 10-year friendship with his director, Kevin Reynolds, who jumped ship after Costner took over editing duties. “In the future, Costner should only appear in pictures he directs himself,” says Reynolds. “That way he can always be working with his favorite actor and his favorite director.”

Kevin Costner. Savior or scoundrel? Depends on whom you ask. Either way, he’s suffering. It’s hard to feel sorry for Oscar-winning movie stars who are said to cheat on their wives and betray their friends, and Costner knows it. But he seems to see himself as a hero, on screen and off; the bodyguard, carrying Whitney Houston — and now Waterworld — to safety. So here he sits in his torn jeans and white polo shirt, at a patio table, patiently telling his story. “All I know is that I’m going to work every day trying to fix problems, trying to make a movie for people spending seven dollars to go see and enjoy,” he says. Costner isn’t the only Waterworld player who wants to set the record straight. Talk to producer Chuck Gordon and he’ll tell you two things:

(1) That the budget on the movie had already been upped to $100 million by the time shooting began in Hawaii on June 27, 1994. “This movie’s been picked on because it’s so over schedule and over budget, because everybody thinks we started out at $65 million.”

(2) “There were bathrooms all over the place!”

Yet no one has fully explained exactly why such an expensive film was not only greenlit, but greenlit at a budget destined to be left in the dust, on a 96-day shooting schedule that everyone involved knew was unrealistic, and even, as costar Jeanne Tripplehorn puts it, “without a script — without a locked-in script.” Some speculate that MCA/ Universal’s executives were afraid to tell their estranged Japanese bosses at parent company Matsushita how much the film would cost; others say they dove into Waterworld in order to scare Matsushita out of the business (Matsushita sold the studio to Seagram’s Edgar Bronfman Jr. this April for $5.7 billion). Tom Pollock, chairman of the MCA Motion Picture Group, pooh-poohs both rumors. “We believed at the time that the movie could be made for just under $100 million,” he insists. “I thought it was a good bet. Do I believe that the movie, at this price, will make money? I don’t know. I think it can.”

Waterworld ‘s byzantine history began nearly a decade ago in the fertile brain of a 1983 Harvard graduate named Peter Rader. In 1986, Rader, an aspiring director, was summoned for a meeting at New Horizon, the production company of noted schlockmeister-director Roger Corman. “Listen,” Rader says he was told by a young executive named Brad Krevoy, “I got some South African money, and they want to do a Mad Max rip-off. If you write it, I’ll let you direct it.”

Recalls Rader: “There seemed to be two moral questions. One, would I be willing to take South African money? And I answered that in, like, five minutes. ‘For a chance to direct? Sure!’ The second question was, was I willing to do another Mad Max rip-off? On that I put my foot down. At that point all the B-movie companies were doing post-apocalyptic road movies. Crappy movies.”

But Rader arrived at his next meeting bright-eyed and hopeful. “I’ve got this brand-new spin,” he pitched. “What if we set the entire thing on water?”

“Are you crazy?” Krevoy snapped. “A movie like that would cost us $5 million!”

Krevoy passed — and went on, years later, to produce Dumb and Dumber . Rader decided to write the script on spec. In 1989, Lawrence Gordon’s Largo Entertainment purchased Waterworld for a price in the mid-six-figures and asked for rewrites. There were seven drafts over the next two years.

Then, in 1991, a miracle happened. Costner phoned Lawrence Gordon’s brother Chuck, who had a production deal with Largo. “What’s this thing called Waterworld ?” Costner asked. Gordon sent him the screenplay, and Costner called to say he was interested.

Within days, Kevin Reynolds called: “What ever happened to that project Waterworld ?”

“Funny you should mention it,” Chuck Gordon told him, “because a giant movie star is interested in doing it.”

Reynolds and Costner had already met.

Sixteen years ago, Kevin Reynolds, now 45, was a golden boy, the son of a prominent Texas family. (His father, the stern, imposing Herbert Reynolds, recently retired as president of Baylor University.) At USC film school, Reynolds’ student film had so impressed Steven Spielberg that he produced Reynolds’ 1985 feature debut, a well-reviewed but little-seen road comedy called Fandango . Reynolds auditioned Costner, now 40, for the movie, gave him his first starring role, and they hit it off. They shared a taste in movies — “epics,” says Reynolds, “things that told a personal story against a big backdrop” — and came from similar backgrounds. Both are principled — some would say stubborn — men who like to have their way with their vision of a film.

When Costner was making his directorial debut on Dances With Wolves , Reynolds stepped in to help with some of the more complicated scenes — though when Costner accepted his 1991 Oscar as Best Director, Reynolds wasn’t among the 15 people he thanked. Still, in his first flush of superstardom, Costner hired Reynolds to direct Robin Hood: Prince of Thieves (1991). Then their relationship went sour. They played creative tug-of-war over Costner’s insistence on trying an English accent, and squabbled over script and editing changes. Costner reportedly wanted less of the villain, played with scenery-chomping delight by Alan Rickman, and more of the hero, himself. Foreshadowing Waterworld , Reynolds walked off the film during the editing process. The two stopped speaking.

“I’m not interested,” said Reynolds when Gordon disclosed the identity of the giant movie star who had set his sights on Waterworld . Costner also balked. “I’m not going to do it,” he told Gordon. “But I really think [Reynolds] is the right guy to direct the movie.”

Lawrence Gordon finally persuaded the two Kevins to meet in Lake Tahoe, where Costner was shooting The Bodyguard . There they resolved their differences — “I thought we did,” says Costner — and agreed to try working together again. Costner went on to produce Reynolds’ next project, the disastrous Easter Island adventure Rapa Nui , released by Warner Bros. in a now-you-see-it-now-you-see-it-on-video fashion. Costner the actor kept busy in A Perfect World , Wyatt Earp , and The War , which grossed a respective $31 million, $25 million, and $16 million. The two men began Waterworld unaware that by the time it wrapped, they both would need a hit.

Reynolds, Costner, and Gordon’s first order of business was to overhaul Rader’s script. They kept his basic concept — a future in which the polar ice caps have melted and the earth is underwater. Reynolds put gills on the Mariner (Costner’s character), one of the first human beings to mutate and adapt to this wet new world, while Costner pushed for him to be something more than a standard action hero. So he became a grizzled loner reluctantly saddled with a beautiful woman and her adopted daughter, whose tattoo of a map to dry land makes her a target of the villainous Deacon and his army of “smokers,” so named because they possess a dwindling supply of oil.

A series of screenwriters began work on the script, though only Rader and David Twohy ( The Fugitive ) will get credit. Early on, the old conflicts between Costner and Reynolds resurfaced. “Kevin Reynolds saw this as a movie that could redefine ’90s action,” says Marc Norman, who composed three drafts of Waterworld . “Costner also wanted that kind of action, but not at the expense of character.”

Reynolds had planned on polishing the script further before shooting. But Costner — worried about the June 1994 start date — took it into his hands, ordering his own writers to work on it. “This character has to be unique,” he says, “and to do that, you have to have scenes that are unique and interesting, and show behavior where you’re willing to follow the guy through the movie. Those things weren’t there.” But Reynolds claims Costner took control of the script when they “were still months away from shooting.”

“Kevin [Reynolds] said, ‘If you were director, would you let somebody do what you’re doing right now?’ ” Costner recalls. “And I said, ‘No, but I wouldn’t be in this position.’ ”

The rumbling continued right into production, with Costner grousing that Reynolds “passively-aggressively” sat back and never followed the studio’s orders to trim a costly first-act scene in which the atoll is attacked. Reynolds says the complaint was “totally unfounded. Costner was in control [of the script] at the time.” Indeed, Costner ultimately hired writer Joss Whedon (a script doctor for Speed ) to work under his orders during production.

Crags of black lava line the way to Kawaihae Harbor on the island of Hawaii, where most of Waterworld was shot. There, bits of white coral and shells remain, fashioned into messages that bear witness to the production: “We love The Bodyguard ,” they proclaim, and “Kev C. We Love U.”

Production designer Dennis Gassner had scouted locations in Australia, New Zealand, Malta, and the Bahamas before deciding to dock in Kawaihae Harbor. The locale offered manageable fax and phone lines as well as flights to Los Angeles. In return, the mammoth production pumped fuel into a community still depressed over the closing of a sugar mill, providing work for nearly 300 extras (who were queried at casting calls, “Will you do nudity?” and “Do you have a pet?”). Had Gassner asked the natives, however, he would have learned that Kawaihae means “warring waters.”

What may have been the first recorded overrun occurred in March, when Ginger Peterson, a local hire who served as a location manager, met with Gordon. “He saw my BMW,” she recalls, “and joked, ‘She’s being paid too much.’ ” As Gordon swung open the car door, a gust of wind blasted it loose. “It caused $1,600 in damages,” says Peterson.

Sixteen hundred dollars. Sounds quaint, no? Waterworld ‘s final overrun tab could have bought her about 4,000 brand-new BMWs. Relatively minor thefts (computers and generators) added to the tally. So did contractors, who gouged the production for everything from steel supplies to portable toilets. “Companies knew they were the only games in town and took advantage,” says Peterson, whose finger-pointing earned no friends in the community. (She relocated after the shoot because, says one local, “she would have been lynched if she’d stayed.”)

In May 1994, the cast joined the 500-plus crew on the island. Jeanne Tripplehorn ( The Firm ) would play the role of the Mariner’s sexy atoll passenger. Tina Majorino, 10, the achingly cute costar of Corrina, Corrina, beat out Oscar winner Anna Paquin as the tattooed tyke. Dennis Hopper signed on as the Deacon after shooting began.

Throughout June, Waterworld ‘s crew constructed the trimaran — the Mariner’s swift, sleek, 60-foot-long sailing vessel (two were built, costing at least $500,000 each); a floating “slave colony”; and the atoll, a doughnut-shaped jumble of metal that would become a metaphor for the gargantuan production itself. Its eight sections included the morbid organo-barge, in which dead Waterworld residents are buried in muck and recycled as fuel. Originally budgeted at $1.5 million, the atoll, constructed of 1,000 tons of steel, ultimately weighed in at $5 million.

With the tally rising, Universal could have considered pulling the plug. By then, however, the producers were in it for about $20 million, mostly because the actors’ pay-or-play deals had kicked in. So on June 27, 1994, the adventure began. “The winds were terrible,” says one crew member. “Some days we couldn’t shoot at all.” Shots were often ruined by other boats on the horizon, and angles from inside the atoll sometimes caught glimpses of mountains in the distance — a Waterworld no-no. An effects crew, operating in an expensive postproduction crunch, had to correct the glitches by computer.

For their troubles, the extras got a lesson in the price of showbiz glamour. “We were tripping over cables,” says Sonny LaRosa, 53, who quit after six weeks. By the time the production was in full swing, the medics were treating 40 or 50 employees a day. At least the suffering was democratic. Nearly everyone got seasick, including Reynolds, who as a young man had attended the Texas Maritime Academy before discovering he “hated the sea. I vomited my way across the North Atlantic.”

“I threw up,” says the intrepid Majorino, “but not in front of anybody.” In addition, along with Tripplehorn, she endured being dumped from the trimaran and run over by it. “They were a little shaky for a while,” says Reynolds, “but they were real troupers.” Majorino was thrice taken ashore with jellyfish stings (which were treated with meat tenderizer), thus earning her the nickname “Jellyfish Candy” from Costner. As for Tripplehorn, “I was feeling a little like Patty Hearst. I was just completely brainwashed by my captors and I was just out there trying to get through it.”

Even the hero wasn’t immune to mishap. He spent two hours strapped high on the trimaran’s swaying mast for the benefit of a helicopter shot. “I’ve read about The Twilight Zone and every f—ing thing else,” he says of the notorious 1982 accident that killed actor Vic Morrow and two children. The mere recollection of the shot turns him cranky. “The helicopter was about 20 feet away from me.”

“Back the f— up!” Costner yelled. Drowned out by the roar of the helicopter, he frantically waved the pilot away. They got the shot, but as the boat turned around, a fierce gale blew up. “I don’t know what the reason was, but we had purposefully gone out to one of the windiest channels in the world,” says Costner, who was stranded, white-knuckled and lashed to the mast, for half an hour. Gordon laughs now, but tries not to. “He was not happy,” says the producer, who was safe on shore.

No one, however, is laughing about Norman Howell, Costner’s stunt double, who suffered a near-fatal embolism during a deep-sea dive while filming. Flown on Costner’s jet to a hospital in Honolulu, he recovered in a decompression chamber, and returned to work in a few days. “He was lucky,” says Gordon quietly.

The two Kevins eased into a truce following the script squabble, and their relationship throughout production was “tolerable,” says Reynolds. “Strained sometimes, but overall, pretty civil.” Now, however, it was Universal’s turn to make noise.

For one thing, high-profile crewmembers kept leaving. Peter Chesney, the designer who helped create the atoll’s elephantine gates, was reportedly forced off the set in August, along with effects liaison Kate Steinberg. Gone by Labor Day was frustrated first assistant director Alan Curtiss, who production sources say had tried to convince the studio from the start that the picture couldn’t be finished in the 96 originally scheduled days. Curtiss thought it needed 135; it eventually took 166.

By the time Curtiss quit, Waterworld ‘s budget had risen to $135 million, and a production that was supposed to end before the October hurricane season had no end in sight. Around that time, Costner’s agent, Michael Ovitz, MCA president Sid Sheinberg, Pollock, and Universal president Casey Silver powwowed in Hawaii. Their marching orders: Start trimming expensive scenes. Costner said no. “But I’ll participate on some level,” he told them. “I’ll let you know I give a s—.”

In order to keep Universal from forcing draconian cuts in the script, Costner reached into his own pocket: He agreed to forfeit his 15 percent cut of the gross receipts, which was to have been piled on top of his $12.5 million fee. (His cut will kick back in if the film makes money.) “That’s something Kevin [Reynolds] seems to ignore,” says Costner. “The guy got to shoot everything that was there. That doesn’t happen by magic — it happens by somebody going to bat.”

By October, even young Majorino seemed to get into the bunker mentality, choosing a striped prisoner’s uniform as her Halloween costume. That same month, hurricane season arrived right on schedule — though the biggest storm was Costner’s announcement that he and his wife, Cindy, the mother of his three children, were divorcing after 16 years of marriage.

Asked why he decided to go public during an already tumultuous time, Costner lets his voice go soft, and says, “There’s almost never a good time for these things.” The announcement only whetted the appetite of the press, which was already hungry for details from the set, as it had been closed to journalists. Costner even banned the tabloids themselves from the set after he saw a crewmember with one that carried his photo on the cover. “This doesn’t help me at all to have this sitting right here,” he told the worker. “I’m really happy you have time to read this. I wish I had the time.” And when Hopper tried to show Costner a tabloid article, Costner quietly got up and walked away. “I don’t ask for a lot on the set,” he says. “Be quiet, don’t read my tabloid headlines to me.”

While Costner was agonizing over his marriage, he found solace for the first time in several years in his old friendship with Reynolds. “I sympathized with him,” says Reynolds, whose first marriage ended in divorce in 1985. “I knew he was going through a very hard time in his life. He didn’t miss any days because of it. I just think it played heavily on his mind.”

By the time the production moved to Los Angeles at the beginning of this year, the bill was up to $150 million, and phrases like Fishtar and Kevin’s Gate (a term that, it should be noted, was also applied to the hugely successful Dances With Wolves when it was in production) were showing up in print.

Back on dry land, Reynolds shot underwater city sequences in tanks at Huntington Beach, and scenes of the Deacon’s tanker (a replica of the Exxon Valdez) on a field in the City of Commerce, south of L.A. Heights — shy Costner says he insisted on doing his own bungee-jump stunt work at a parking lot location “so the movie would be over sooner.” (Stuntmen require extra camera setups to hide their faces.) He plummeted toward the asphalt, which resembled “any other parking lot. Black, large, you fall on your head, you’re dead.”

On Feb. 14, the day shooting finished, Costner was being jerked like a marionette by wires in front of a bluescreen for a shot that would become part of a bungee jump. “I hurt my back really bad doing the shot,” he says. “[Reynolds] wanted another take. I just kind of shook my head and said, ‘I can’t.’ ”

Footage of the 110-foot tanker miniature had already been shot in the Mojave Desert, so the filmmakers quickly started on postproduction, producing such elaborate visual effects as a computer-generated ocean and creating a giant sea creature from scratch.

And while they were at it — according to Newsweek — Costner ordered his hair to be computer-enhanced. “I cannot tell you for the life of me where that would come from,” he says, denying the report. “We had a hard enough time getting the computer-generated things we need for the movie, let alone that.”

And then, of course, there were the gills. “The damned things look like little vaginas!” a Universal exec was quoted as saying. “They were always going to be enhanced by computer,” says Gordon, who called columnist Liz Smith to deny that Costner had anything resembling sex organs on his neck. “Talking to Liz Smith about vaginas, that was probably the hardest conversation.” An effects crew solved the problem by digitally transferring Costner’s gills from an above-water scene — in which they looked like gills — to the underwater shots, in which they indeed looked like…you know.

Meanwhile, whatever détente the two Kevins had reached was icing over in the editing room. Costner says he fought with the studio to give Reynolds a 10-week edit schedule rather than the truncated five-week schedule the studio wanted. “The next day [the executives] came back to me and said, ‘[Reynolds] waived it.’ I said, ‘Fine, I don’t give a s—.’ ” Five weeks later Reynolds turned in a 2-hour-and-40-minute cut that he intended to trim to 2 hours and 15 minutes (as his contract required) after the studio saw “the tough choices [in editing] that we’d have to make.” He also called for reshoots in Hawaii.

Costner predicted that the cuts Reynolds would choose would leave the film with nothing but “wall-to-wall action, which the movie couldn’t sustain. It’s not good enough to be wall-to-wall action.” He also worried that Reynolds’ plan for reshoots would jeopardize the film’s summer release.

A Robin Hood rerun was unfolding. “[Costner’s] biggest concern was the Mariner,” says Reynolds. “My biggest concern was the story. I wanted a coherent tale from beginning to end.” Says screenwriter Twohy, “At the end of the day, there should be one director on a movie, one clear voice. When you have a star as talented and powerful as Kevin Costner, it leads to pushing and pulling. Sometimes that can hurt a film.”

Reynolds took Universal’s suggestions and promised to accommodate the studio, on the condition that he could also prepare his own version for a Directors Guild of America screening — a standard part of the postproduction process. He says the producers agreed, but that Costner and Chuck Gordon wanted “a day or so” with the film in the editing room to work on it.

“A week later, they were still cutting,” says Reynolds. And when the producers told him there was no longer time for him to preview the movie for the DGA, “I finally said, ‘I’m not going to work like this.’ That’s when I left.”

Ten days later, on May 9, the lights went down on a test screening of the producers’ rough cut in Sacramento. The test audience had been invited to “a new action movie with a major Hollywood star.” At 7:25 p.m., they were told it was Waterworld . “I want my money back!” shouted one man. “I knew it would be this f—ing movie!” The print received lukewarm to bad reviews. “It took us two hours to realize what was going on,” one attendee said. And someone complained that the computer-generated shark footage, unfinished at the time, looked fake.

Costner and the effects crews returned to their editing rooms for more cutting. A subsequent sneak in Dallas scored 20 percent higher approval ratings, says Gordon. “And it’s getting better. The movie’s being cut even again. The shark footage was worked on.” As of the end of June, camera crews were on Catalina island, still working, taking shots of the ocean.

Universal is hopeful that Waterworld , which will be rated PG-13, can somehow make money by the time it’s released internationally. “If it does Flintstones business or Speed business worldwide, it will be very successful,” says Pollock. But even he admits the movie needs to do blockbuster business, commonly defined as at least $100 million domestically. In any case, the real winner — or at least the sure non-loser — may be MCA’s new owner Bronfman; under the terms of his purchase, Matsushita agreed to shoulder Waterworld ‘s production costs, while MCA will reap its profits, if any are made.

These days, the two Kevins are once again not speaking to each other. They are, however, more than willing to talk about each other — at separate tables, in separate restaurants, on separate days. This morning, Kevin Reynolds is having breakfast in the Polo Lounge of the recently revamped Beverly Hills Hotel, going over what went wrong between him and the star. He’s cautious. He wonders what Costner’s been saying about him. He’s told Costner feels he ran interference between Reynolds and the studio, and got no thanks for it.

“I’m sorry,” says Reynolds in his softened Texas accent, containing his temper, “but all good things don’t flow from Kevin Costner. If he fought so hard for me, why did he stay in the editing room and jeopardize my DGA screening?”

Costner said there just wasn’t time. That was his…

“Rationale?” says Reynolds.

The director says his next project will be moving to Seattle with his wife and 2-year-old daughter. He’s catching a plane later in the day. “I’m going to take some time off,” he says, thoughtfully. “Next year I want to do a really small movie, more personal.”

Starring who?

“Starring nobody.”

At the end of his interview, Costner is still in a gentlemanly good mood when the waiter brings the bill. Costner boards his big white Chevrolet and heads back to work. He idles in traffic on a bridge that spans a small gully. A woman has parked on the side, so her little girl can get out and gaze over the guardrail at the water.

“I keep thinking that woman is going to toss that kid over,” says Costner. He pulls the great white vehicle forward and thinks on this further. “I’ll have to jump in and save her.” Now he’s smiling again, and he laughs at himself. “I hope the music’s playing when I go.”

(Additional reporting by Gregg Kilday, with Pat H. Broeske, Michael Szymanski, and Jeffrey Wells)

Related Articles

• Forum Listing
• Marketplace
• Advanced Search
• All Topics Sailing
• General Sailing Discussions
• SailNet is a forum community dedicated to Sailing enthusiasts. Come join the discussion about sailing, modifications, classifieds, troubleshooting, repairs, reviews, maintenance, and more!

The Tri from Water World, Where is she?

• Add to quote

I was painfully thinking and then I wondered on the Tri that was the focal point in the movie "Water World". Does any one know of her were abouts? Or her history after the movie had been made?  

Inspired by racing trimarans built by Jeanneau Advanced Technologies' multi-hull division Lagoon; a custom 60 foot (18 m) yacht was designed by Marc Van Peteghem & Vincent Lauriot-Prevost VPLP, and built in France by Lagoon. Two versions were built, 1) a relatively standard racing trimaran for distance shots, and 2) an effects-laden transforming trimaran for closeup shots, and the aforementioned transformation. The first trimaran was launched on 2 April 1994, and first surpassed 30 knots (56 km/h; 35 mph) in September of that year.[5] The transforming version was first seen in the film as a sort of raft with a three-bladed egg-beater windmill. When needed levers could be triggered that would flatten the windmill blades while raising a hidden mast to full racing height. This was followed by revealing a boom previously hidden in the hull, and automated unfurling of the two sails. Once the transformation was complete this version could actually sail, although not as well as the dedicated racer.[5] The first boat is stored in a lake at Universal Studios Florida, and the second is in private hands in San Diego, California. [5] Click to expand...

waterworld trimaran One of the waterworld trimarans lives in the marina just across the road from the san diego airport. think it's harbor island.  

• ?            
• 176K members

Top Contributors this Month

Space Engineers

Subscribe to download Trimaran - WaterWorld

Enter the full URL of your item or group's Facebook page

Enter the full URL of your item or group's Twitter page

If you have a related Youtube channel, enter the URL.

Enter the full URL of your item or group's Polycount page

Enter the full URL of your item or group's reddit page

Enter the full URL to your item or group's Sketchfab page

The Character Everyone Forgets Jack Black Played In Waterworld

Jack Black is everywhere, all around us, at all times. He's in the smile of every child, in the glint of light shimmering on a morning dew drop, and in your head for the next two or three days because you just read the words "this is not the greatest song in the world."

And he's in movies, in case you haven't heard. Lots of movies — the guy has over 150 acting credits listed on his IMDb page. His career really started to pick up steam around 2000, with High Fidelity arguably marking the watershed moment when he began to inch toward real stardom. So, it can be a little baffling when you spot him in his formative years, popping up as a background extra in Demolition Man , or a guy named Monte in the episode of Touched by an Angel where Melissa Joan Hart gets wrapped up in the seedy world of bootleg CD sales. All this, and so much more, actually happened.

Another prime example: In 1995, Jack Black made a brief-but-striking appearance in Waterworld, one of America's top three favorite movies where Kevin Costner has gills.

Jack Black's tenacious Waterworld appearance

As Mad Max movies go, Waterworld is certainly the dampest, least authorized, and most expensive. And thanks to one thrilling airplane-versus-trimaran battle sequence, it's also the Jack Blackiest.

The scene: The Mariner (Kevin Costner),  Helen (Jeanne Tripplehorn) , and Enola (Tina Majorino) are tracked down by the nefarious Smokers, pirates with a penchant for gas-powered mayhem. The situation is grim. Our heroes are stuck on their sailboat like a bunch of nerds, while the bad guys buzz them in a Helio H-295 Super Courier seaplane with a mounted machine gun. The pilot? None other than the Kung-fu Panda himself.

Black's role is a limited one. His lines are pretty much confined to grunting in frustration and, in a particularly optimistic moment, telling his trigger happy gunner not to hit the kid while he strafes a moving boat with automatic fire from the back of a low-flying aircraft. Tragically, the whole outing comes to an abrupt end when the most accurately wielded harpoon cannon in history launches four feet of steely death through the gunman, and Black winds up in what could best be described as "the reverse Empire Strikes Back snowspeeder maneuver." 

Blessedly, Black's character escapes and flies off into a vast horizon filled with opportunity and water. Maybe he'll be back for the sequel .

Waterworld Trimaran

Spotlight airplane.

Spotlighting lets you share this airplane with all of your followers. This is a great way to help new players get the recognition they deserve for their work.

Click the Spotlight button below and all of your followers will receive a notification.

Download Airplane

If you are on Mac, copy this airplane ID to the clipboard and press CMD+L while in the designer in SimplePlanes to download this airplane.

If you are on mobile, then try requesting the mobile version of the site. You can learn more about how to do that here . Otherwise, just click the Download for Mobile button below.

Kevin Costner's trimaran sailboat from the movie Waterworld. Features • Working helm and sails (ROLL) • Mounted harpoon gun (YAW + Activate1) • Forward/back ballast (VTOL). Slide VTOL control no further than the first mark in either direction to adjust the ballast. Half-way is almost perfect.

Specifications

General characteristics.

• Successors 5 airplane(s)
• Created On iOS
• Wingspan 24.6ft (7.5m)
• Length 40.9ft (12.5m)
• Height 41.7ft (12.7m)
• Empty Weight 12,785lbs (5,799kg)
• Loaded Weight 16,032lbs (7,272kg)

Performance

• Power/Weight Ratio 0.841
• Wing Loading 24.8lbs/ft 2 (121.1kg/m 2 )
• Wing Area 646.4ft 2 (60.1m 2 )
• Drag Points 15748
• Number of Parts 286
• Control Surfaces 0
• Performance Cost 591

10 Comments

• Log in to leave a comment