演讲MP3+双语文稿:《阿凡达》导演卡梅隆：我背后的好奇男孩
听力课堂TED音频栏目主要包括TED演讲的音频MP3及中英双语文稿，供各位英语爱好者学习使用。本文主要内容为演讲MP3+双语文稿:《阿凡达》导演卡梅隆：我背后的好奇男孩，希望你会喜欢！
【演讲人及介绍】James Cameron
詹姆斯·卡梅隆是《阿凡达》、《泰坦尼克号》、《终结者》、《深渊》和许多其他大片的导演。
【演讲主题】阿凡达背后的好奇男孩
【演讲文稿-中英文】
翻译者 Zachary Lin Zhao 校对：AiHack King
00:17
当我试图在好奇心和想象力，激情，讲故事，生活是怎样的不可预知的旅程，以及我们如何通过想象来塑造现实之间，建立联系的时候,我是在科幻小说的陪伴下长大的。高中的时候，我每天要搭乘一个小时的公交车往返学校。漫长车程中，我总是沉浸在书本里，那些科幻小说将我的思想带到其他的世界，以叙事的方式，满足了我当时强烈的好奇感。
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，我的好奇心也展现在其他方面：每当我不需要上课的时候，我总会前往树林里，远足和采集“标本”，青蛙呀、蛇呀、虫子呀、池水呀，通通带回家中，放到显微镜下研究。我当时算得上是极品的科学狂人。但这一切都是为了尝试了解这个世界，了解可能的边界。
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
而我对科幻小说的喜爱也是与我周围的世界相呼应的，因为当时是60年代末期，人类开始登月，开始潜入深海。雅克.格斯特（法国电影摄影师）将他神奇的视觉特效带入我们的生活中，为我们呈现了之前无法想象的动物、景观和一个美妙的世界。这一切都似乎和科幻小说之间产生着共鸣。
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
与此同时，我也是名艺术家。我能绘能画。我也发现因为当时没有电子游戏、特效电影的渗入以及现今传媒产业中大量的图像化， 我不得不在我的头脑中来创造这些图像。相信大家小时候都和我一样，在读书的时候，往往会在我们大脑中把作者所描述的东西向电影一样播放。而我对此的回应则是描绘外星生物、外星世界、机器人、宇宙飞船、等等。我躲在教科书后面涂鸦的行径总是被数学老师给逮个正着。正因此，我不得不为我的创造力寻求其他的宣泄途径。
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.格斯特的影片令我惊喜地发现，原来在这个地球上就存在着一个外星世界。我也许无法真的在有生之年乘坐宇宙飞船前往外星世界。这听起来太不着边际了。但这个地球上确实存在着一个我真的可以前往的世界——富饶而奇异，拥有着我通过书本所幻想的一切。
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岁的那一年，我决定成为一名潜水员。不过唯一的问题是，我当时住在加拿大的一个小村庄里，最近的海也要600英里远。但我却没有因此而心灰意冷。我反复纠缠我的老爸，直到他在纽约水牛市为我找到了一个潜水训练班，它就在美加边界的另一侧。就这样，在水牛市刺骨的深冬，在基督教青年会的泳池内，我拿到了我的潜水证书。但在随后的两年里，我却不曾亲眼看见过大海，直到我们搬到了加利福尼亚洲。
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，我在水下度过了大概3000个小时。其中500个小时是在潜水器中度过的。我发现深海之中──即使是浅海之中──充满了令人惊奇的生命，远远超出了我们的想象。同我们人类狭隘的想象范围相比大自然的想象力是无边无际的。直到今日，我潜水时所目睹的一切仍令我感到无比惊奇。我对海洋的热爱始终如一、不曾改变。
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
但当我长大成人，需要择业的时候，我选择了电影制作。在当时看来，这是将我讲故事的渴求与创造图象的欲望合二为一的最好途径。在我还是个孩子的时候，我常常画漫画。而电影制作正好将图象和故事结合在一起。理所当然，水到渠成。当然了，我讲的故事都是些科幻故事《终结者》《异性》和《深渊》。在《深渊》中，我将我对深海和潜水的喜爱与电影制作结合到了一起。将两份热忱，合二为一。
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《深渊》也带来了另一种启迪：为了更好的呈现影片的叙事模式，创造出影片中的液体水生物，我们开始使用电脑动画技术。电影业中的首个电脑制作的软表面人物也因此而诞生。尽管那部电影票房不济，刚好回本罢了，我却因此而目睹了令人惊奇的一幕── 全球观众都被影片所呈现的魔法深深吸引。
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
这就是阿瑟·克拉克定律──先进的科技和魔法之间是难以区分的。而当时观众所目睹的正是这种魔力。这令我感到无比兴奋。我当时想到，“天呀，这项技术需要在电影艺术中大范围推广。”所以在我的下一部电影《终结者2》中，我们将这项技术推上了新的台阶。通过和“工业光魔”(ILM)电影特效公司的合作，我们创造了影片中那个液体金属家伙。而电影的成功与否将取决于这项技术能否奏效。结果它奏效了。我们再次创造了魔法。我们再次从观众那里得到了同样的回馈。不过那部电影的票房要稍微好一点。
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
综合这两次经历，我们意识到这将是一个全新的世界，一个容许电影艺术者们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是当时的知名化妆师和造型师。公司的名字就叫做"数码领域"（Digital Domain）。而公司的理念就是蛙跳过去光学打印机等等的模拟过程，直接转入数码制作。事实上我们的确做到了这一点，使得我们在一段时间内占据了先机。
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年代中叶，我们发现虽然公司的初衷是在生物、人物设计方面有所建树，但我们在这一方面却是落伍了。因此我创作了这个《阿凡达》的作品，旨在将视觉效果和电脑特效推向极限，利用电脑动画制造出具有真实人类情感的生物。主要角色将由电脑制作。整个场景将由电脑制作。但我却碰了一鼻子灰。我们公司里的人告诉我说，我们在当时的技术条件下，是无法完成这样的特效的。
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
所以我将这个想法放置一旁，转而制作了一部关于大船沉入海底的电影。（笑声）我当时跟电影公司说这部电影将会是船上的“罗密欧与朱丽叶”，将会是一部史诗般的、浪漫激情的电影。但私底下，我的真实动机是去拜访一下泰坦尼克的残骸。这才是我制作那部电影的原因。（掌声）我说的是事实。不过电影公司当时是不知情的。我说服了他们。我说： “我们将潜入船骸，实地取景， 作为影片的开场。此事至关重要、极具噱头。”于是我说服了他们投资于一场冒险历程。（笑声）
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
听起来很疯狂。但这件事归根结底，依旧是关于，如果用你的想像力来创造一个现实。事实上，我们的确在六个月后创造了一个现实──我在北大西洋2.5英里水下，身处一个俄罗斯潜水器中，通过一个视口观望真正的泰坦尼克。不是电影，不是高清，而是身临其境。（掌声）
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
那次经历令我大为惊叹。前期的准备工作是很繁琐的，我们需要搭建摄像机、灯光等等。但真正让我震惊的是，这些深海潜水活动 就如宇宙探险一样。两者都是高科技产物，两者都需要缜密的部署。你踏进船舱，踏入这漆黑险恶的环境，如果你无法依靠自己的力量返回的话，你是没有任何被营救的可能的。我当时想到：“天呀。我就好像活在一个科幻电影里面一样。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."
