Eric Braeden on Titanic: Glamorous Set or Soap Opera Speed?

He’s known as the mercurial Victor Newman, but in his latest confession, Eric Braeden reveals a different truth: the hulking film set of Titanic left him yearning for the breakneck pace of soap operas.

In the inaugural episode of Soapy, hosted by Rebecca Budig and Greg Rikaart, Braeden quips that after delivering around 260 episodes of The Young and the Restless each year, even working with James Cameron on Titanic felt “bloody boring.” The slower rhythms, the relaxed wait-times—it was a different world. And yet, behind that tongue-in-cheek jab lies a deeper portrait of two distinctly different storytelling machines.

Soap Rhythm vs. Cinematic Tempo

Braeden’s point isn’t merely about speed; it’s about structure. Daytime TV is a machine—a relentless churn requiring immediate memory, instant emotional recall, and rare breaks. In contrast, film sets move deliberately, “time in between scenes to socialize, light a shot, reset.” He contrasts this bustling map of production intensity to Titanic’s looser tempo. Is efficiency—the soap’s heartbeat—underrated even in big-budget cinema?

Fear, Fame, and the Cameron Intimidation

Braeden’s anecdotes go deeper: initial dread of working with “bloody big a––hole” James Cameron, refusal to board the plane to Mexico, nearly exiting and ultimately yielding to family encouragement. He recalled meeting Cameron and discovering “he couldn’t have been nicer.” It’s a tale of myth upended: the perfectionist director turned thoughtful host. Does this reveal a generational divide in how sets should feel and be felt?

This isn’t simply industry insider talk—it’s a commentary on creative tempo, power dynamics, and the pace at which art is made. It’s rare to see a soap legend dismiss the Titanic experience, but Braeden’s candor forces us to ask: what do we value more—relentless velocity or mindful craft?

If we’ve come to equate film sets with glamour, maybe it’s time to consider what drive truly sustains storytelling—speed, patience, or perhaps, a balance between both.

After all, Titanic may flow with dramatic waves—but for some, the quickest current cuts deepest.