演講MP3+雙語文稿:《阿凡達》導(dǎo)演卡梅?。何冶澈蟮暮闷婺泻?/h1>

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2022年02月28日

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聽力課堂TED音頻欄目主要包括TED演講的音頻MP3及中英雙語文稿，供各位英語愛好者學習使用。本文主要內(nèi)容為演講MP3+雙語文稿:《阿凡達》導(dǎo)演卡梅?。何冶澈蟮暮闷婺泻?，希望你會喜歡！

【演講人及介紹】James Cameron

詹姆斯·卡梅隆是《阿凡達》、《泰坦尼克號》、《終結(jié)者》、《深淵》和許多其他大片的導(dǎo)演。

【演講主題】阿凡達背后的好奇男孩

【演講文稿-中英文】

翻譯者 Zachary Lin Zhao 校對：AiHack King

00:17

當我試圖在好奇心和想象力，激情，講故事，生活是怎樣的不可預(yù)知的旅程，以及我們?nèi)绾瓮ㄟ^想象來塑造現(xiàn)實之間，建立聯(lián)系的時候,我是在科幻小說的陪伴下長大的。高中的時候，我每天要搭乘一個小時的公交車往返學校。漫長車程中，我總是沉浸在書本里，那些科幻小說將我的思想帶到其他的世界，以敘事的方式，滿足了我當時強烈的好奇感。

When I tried to draw some connections, between curiosity and imagination, passion, storytelling, and how life's a kind of unpredictable journey and how through imagination we can actually shape the reality. I grew up on a steady diet of science fiction. In high school, I took a bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.

00:43

除此之外，我的好奇心也展現(xiàn)在其他方面：每當我不需要上課的時候，我總會前往樹林里，遠足和采集“標本”，青蛙呀、蛇呀、蟲子呀、池水呀，通通帶回家中，放到顯微鏡下研究。我當時算得上是極品的科學狂人。但這一切都是為了嘗試了解這個世界，了解可能的邊界。

And you know, that curiosity also manifested itself in the fact that whenever I wasn't in school I was out in the woods, hiking and taking "samples" -- frogs and snakes and bugs and pond water -- and bringing it back, looking at it under the microscope. You know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.

01:09

而我對科幻小說的喜愛也是與我周圍的世界相呼應(yīng)的，因為當時是60年代末期，人類開始登月，開始潛入深海。雅克.格斯特（法國電影攝影師）將他神奇的視覺特效帶入我們的生活中，為我們呈現(xiàn)了之前無法想象的動物、景觀和一個美妙的世界。這一切都似乎和科幻小說之間產(chǎn)生著共鳴。

And my love of science fiction actually seemed mirrored in the world around me, because what was happening, this was in the late '60s, we were going to the moon, we were exploring the deep oceans. Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. So, that seemed to resonate with the whole science fiction part of it.

01:39

與此同時，我也是名藝術(shù)家。我能繪能畫。我也發(fā)現(xiàn)因為當時沒有電子游戲、特效電影的滲入以及現(xiàn)今傳媒產(chǎn)業(yè)中大量的圖像化， 我不得不在我的頭腦中來創(chuàng)造這些圖像。相信大家小時候都和我一樣，在讀書的時候，往往會在我們大腦中把作者所描述的東西向電影一樣播放。而我對此的回應(yīng)則是描繪外星生物、外星世界、機器人、宇宙飛船、等等。我躲在教科書后面涂鴉的行徑總是被數(shù)學老師給逮個正著。正因此，我不得不為我的創(chuàng)造力尋求其他的宣泄途徑。

And I was an artist. I could draw. I could paint. And I found that because there weren't video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head. You know, we all did, as kids having to read a book, and through the author's description, put something on the movie screen in our heads. And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff. I was endlessly getting busted in math class doodling behind the textbook. That was -- the creativity had to find its outlet somehow.

02:24

有趣的是，雅克.格斯特的影片令我驚喜地發(fā)現(xiàn)，原來在這個地球上就存在著一個外星世界。我也許無法真的在有生之年乘坐宇宙飛船前往外星世界。這聽起來太不著邊際了。但這個地球上確實存在著一個我真的可以前往的世界——富饒而奇異，擁有著我通過書本所幻想的一切。

And an interesting thing happened: The Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday -- that seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.

02:49

因此在我15歲的那一年，我決定成為一名潛水員。不過唯一的問題是，我當時住在加拿大的一個小村莊里，最近的海也要600英里遠。但我卻沒有因此而心灰意冷。我反復(fù)糾纏我的老爸，直到他在紐約水牛市為我找到了一個潛水訓(xùn)練班，它就在美加邊界的另一側(cè)。就這樣，在水牛市刺骨的深冬，在基督教青年會的泳池內(nèi)，我拿到了我的潛水證書。但在隨后的兩年里，我卻不曾親眼看見過大海，直到我們搬到了加利福尼亞洲。

So, I decided I was going to become a scuba diver at the age of 15. And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me. I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool at a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.

03:23

在那之后的40年里，我在水下度過了大概3000個小時。其中500個小時是在潛水器中度過的。我發(fā)現(xiàn)深海之中──即使是淺海之中──充滿了令人驚奇的生命，遠遠超出了我們的想象。同我們?nèi)祟惇M隘的想象范圍相比大自然的想象力是無邊無際的。直到今日，我潛水時所目睹的一切仍令我感到無比驚奇。我對海洋的熱愛始終如一、不曾改變。

Since then, in the intervening 40 years, I've spent about 3,000 hours underwater, and 500 hours of that was in submersibles. And I've learned that that deep-ocean environment, and even the shallow oceans, are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundless compared to our own meager human imagination. I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.

04:05

但當我長大成人，需要擇業(yè)的時候，我選擇了電影制作。在當時看來，這是將我講故事的渴求與創(chuàng)造圖象的欲望合二為一的最好途徑。在我還是個孩子的時候，我常常畫漫畫。而電影制作正好將圖象和故事結(jié)合在一起。理所當然，水到渠成。當然了，我講的故事都是些科幻故事《終結(jié)者》《異性》和《深淵》。在《深淵》中，我將我對深海和潛水的喜愛與電影制作結(jié)合到了一起。將兩份熱忱，合二為一。

But when I chose a career as an adult, it was filmmaking. And that seemed to be the best way to reconcile this urge I had to tell stories with my urges to create images. And I was, as a kid, constantly drawing comic books, and so on. So, filmmaking was the way to put pictures and stories together, and that made sense. And of course the stories that I chose to tell were science fiction stories: "Terminator," "Aliens" and "The Abyss." And with "The Abyss," I was putting together my love of underwater and diving with filmmaking. So, you know, merging the two passions.

04:42

而《深淵》也帶來了另一種啟迪：為了更好的呈現(xiàn)影片的敘事模式，創(chuàng)造出影片中的液體水生物，我們開始使用電腦動畫技術(shù)。電影業(yè)中的首個電腦制作的軟表面人物也因此而誕生。盡管那部電影票房不濟，剛好回本罷了，我卻因此而目睹了令人驚奇的一幕── 全球觀眾都被影片所呈現(xiàn)的魔法深深吸引。

Something interesting came out of "The Abyss," which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG. And this resulted in the first soft-surface character, CG animation that was ever in a movie. And even though the film didn't make any money -- barely broke even, I should say -- I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.

05:23

這就是阿瑟·克拉克定律──先進的科技和魔法之間是難以區(qū)分的。而當時觀眾所目睹的正是這種魔力。這令我感到無比興奮。我當時想到，“天呀，這項技術(shù)需要在電影藝術(shù)中大范圍推廣?！彼栽谖业南乱徊侩娪啊督K結(jié)者2》中，我們將這項技術(shù)推上了新的臺階。通過和“工業(yè)光魔”(ILM)電影特效公司的合作，我們創(chuàng)造了影片中那個液體金屬家伙。而電影的成功與否將取決于這項技術(shù)能否奏效。結(jié)果它奏效了。我們再次創(chuàng)造了魔法。我們再次從觀眾那里得到了同樣的回饋。不過那部電影的票房要稍微好一點。

You know, it's Arthur Clarke's law that any sufficiently advanced technology is indistinguishable from magic. They were seeing something magical. And so that got me very excited. And I thought, "Wow, this is something that needs to be embraced into the cinematic art." So, with "Terminator 2," which was my next film, we took that much farther. Working with ILM, we created the liquid metal dude in that film. The success hung in the balance on whether that effect would work. And it did, and we created magic again, and we had the same result with an audience -- although we did make a little more money on that one.

05:56

綜合這兩次經(jīng)歷，我們意識到這將是一個全新的世界，一個容許電影藝術(shù)者們施展想象力的全新世界。所以我和我的好友Stan Winston成立了一家公司。Stan Winston是當時的知名化妝師和造型師。公司的名字就叫做"數(shù)碼領(lǐng)域"（Digital Domain）。而公司的理念就是蛙跳過去光學打印機等等的模擬過程，直接轉(zhuǎn)入數(shù)碼制作。事實上我們的確做到了這一點，使得我們在一段時間內(nèi)占據(jù)了先機。

So, drawing a line through those two dots of experience came to, "This is going to be a whole new world," this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friend Stan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leapfrog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.

06:36

但在90年代中葉，我們發(fā)現(xiàn)雖然公司的初衷是在生物、人物設(shè)計方面有所建樹，但我們在這一方面卻是落伍了。因此我創(chuàng)作了這個《阿凡達》的作品，旨在將視覺效果和電腦特效推向極限，利用電腦動畫制造出具有真實人類情感的生物。主要角色將由電腦制作。整個場景將由電腦制作。但我卻碰了一鼻子灰。我們公司里的人告訴我說，我們在當時的技術(shù)條件下，是無法完成這樣的特效的。

But we found ourselves lagging in the mid '90s in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG, and the main characters would all be in CG, and the world would be in CG. And the envelope pushed back, and I was told by the folks at my company that we weren't going to be able to do this for a while.

07:14

所以我將這個想法放置一旁，轉(zhuǎn)而制作了一部關(guān)于大船沉入海底的電影。（笑聲）我當時跟電影公司說這部電影將會是船上的“羅密歐與朱麗葉”，將會是一部史詩般的、浪漫激情的電影。但私底下，我的真實動機是去拜訪一下泰坦尼克的殘骸。這才是我制作那部電影的原因。（掌聲）我說的是事實。不過電影公司當時是不知情的。我說服了他們。我說： “我們將潛入船骸，實地取景， 作為影片的開場。此事至關(guān)重要、極具噱頭。”于是我說服了他們投資于一場冒險歷程。（笑聲）

So, I shelved it, and I made this other movie about a big ship that sinks. (Laughter) You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship: "It's going to be this epic romance, passionate film." Secretly, what I wanted to do was I wanted to dive to the real wreck of "Titanic." And that's why I made the movie. (Applause) And that's the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition. (Laughter)

07:54

聽起來很瘋狂。但這件事歸根結(jié)底，依舊是關(guān)于，如果用你的想像力來創(chuàng)造一個現(xiàn)實。事實上，我們的確在六個月后創(chuàng)造了一個現(xiàn)實──我在北大西洋2.5英里水下，身處一個俄羅斯?jié)撍髦?，通過一個視口觀望真正的泰坦尼克。不是電影，不是高清，而是身臨其境。（掌聲）

Sounds crazy. But this goes back to that theme about your imagination creating a reality. Because we actually created a reality where six months later, I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port. Not a movie, not HD -- for real. (Applause)

08:14

那次經(jīng)歷令我大為驚嘆。前期的準備工作是很繁瑣的，我們需要搭建攝像機、燈光等等。但真正讓我震驚的是，這些深海潛水活動 就如宇宙探險一樣。兩者都是高科技產(chǎn)物，兩者都需要縝密的部署。你踏進船艙，踏入這漆黑險惡的環(huán)境，如果你無法依靠自己的力量返回的話，你是沒有任何被營救的可能的。我當時想到：“天呀。我就好像活在一個科幻電影里面一樣。太酷了！”

Now, that blew my mind. And it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives, was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And I thought like, "Wow. I'm like, living in a science fiction movie. This is really cool."