Before Avatar ... a curious boy | James Cameron

Translator: David J. Kreps Finnemann Reviewer: Niels Justus

I grew up on a steady diet of science fiction.

Jeg voksede op på en fast kost af science fiction.

In high school, I took a bus to school

I gymnasiet, jeg tog en bus til skole

an hour each way every day.

en time hver vej, hver dag.

And I was always absorbed in a book,

Og jeg var altid optaget af en bog,

science fiction book,

en science fiction bog,

which took my mind to other worlds,

hvilket bragte mig ind i andre verdener,

and satisfied, in a narrative form,

og fornøjet, på en narrativ måde,

this insatiable sense of curiosity that I had.

denne umættelige form for nysgerrighed jeg havde.

And you know, that curiosity also manifested itself

Og I ved, den nysgerrighed viste sig også

in the fact that whenever I wasn't in school

på den måde, at når jeg ikke var i skole

I was out in the woods,

var jeg ude i skoven,

hiking and taking "samples" --

på vandreture og tog "prøver" --

frogs and snakes and bugs and pond water --

frøer og slanger og biller og vand fra et vandhul --

and bringing it back, looking at it under the microscope.

og tog det med tilbage. Kiggede på det under et mikroskop.

You know, I was a real science geek.

I ved, jeg var en rigtig videnskabs nørd.

But it was all about trying to understand the world,

Men det handlede om at prøve at forstå verdenen,

understand the limits of possibility.

forstå grænserne for det mulige.

And my love of science fiction

Og min kærlighed for science fiction

actually seemed mirrored in the world around me,

lod faktisk til at være spejlet i verden omkring mig,

because what was happening, this was in the late '60s,

fordi det der skete - dette var i slutningen af 60'erne,

we were going to the moon,

vi tog til månen,

we were exploring the deep oceans.

vi udforskede dybhavet.

Jacques Cousteau was coming into our living rooms

Jacques Cousteau kom ind i vores stuer

with his amazing specials that showed us

med hans utrolige udsendelser, der viste os

animals and places and a wondrous world

dyr og steder og en vidunderlig verden,

that we could never really have previously imagined.

som vi aldrig rigtig kunne have forestillet os.

So, that seemed to resonate

Så, det gav genlyd

with the whole science fiction part of it.

med hele science fiction delen.

And I was an artist.

Og jeg var en kunstner.

I could draw. I could paint.

Jeg kunne tegne. Jeg kunne male.

And I found that because there weren't video games

Og jeg fandt ud af, at fordi der ikke var computerspil

and this saturation of CG movies and all of this

og denne mætning af CG film og al dette

imagery in the media landscape,

billedsprog i medie landskabet,

I had to create these images in my head.

blev jeg nød til at skabe billederne i mit hoved.

You know, we all did, as kids having to

Som I ved, det gjorde vi alle, som børn var vi nødt til

read a book, and through the author's description,

at læse en bog, og gennem forfatterens beskrivelse,

put something on the movie screen in our heads.

sætte noget på lærredet i vores hoved.

And so, my response to this was to paint, to draw

Så, mit svar på dette var at male, at tegne

alien creatures, alien worlds,

fremmede væsener, fremmede verdener,

robots, spaceships, all that stuff.

robotter, rumskibe, al den slags.

I was endlessly getting busted in math class

Jeg blev hele tiden irettesat i matematiktimerne

doodling behind the textbook.

for at lave kruseduller bag i bogen.

That was -- the creativity

Det var -- kreativiteten

had to find its outlet somehow.

skulle ud på en eller anden måde.

And an interesting thing happened: The Jacques Cousteau shows

Og der skete noget interessant: Jacques Cousteau udsendelserne

actually got me very excited about the fact that there was

gjorde mig utrolig begejstret for det faktum, at der var

an alien world right here on Earth.

en fremmed verden lige her på jorden.

I might not really go to an alien world

Jeg vil nok ikke rejse til en fremmed verden

on a spaceship someday --

i et rumskib en dag --

that seemed pretty darn unlikely.

det virkede til at være temmelig utroligt.

But that was a world I could really go to,

Men det var en verden jeg virkelig kunne besøge,

right here on Earth, that was as rich and exotic

lige her på Jorden, der var rig og eksotisk

as anything that I had imagined

som alt der jeg havde forestillet mig

from reading these books.

ved at læse de bøger.

So, I decided I was going to become a scuba diver

Så, jeg besluttede mig for at jeg ville blive scuba dykker,

at the age of 15.

da jeg var 15 år.

And the only problem with that was that I lived

Og det eneste problem med det var at jeg boede

in a little village in Canada,

i en lille by i Canada,

600 miles from the nearest ocean.

950 kilmoter fra det nærmeste ocean.

But I didn't let that daunt me.

Men det gjorde mig ikke modløs.

I pestered my father until he finally found

Jeg plagede min far indtil han endelig fandt

a scuba class in Buffalo, New York,

scuba undervisning i Buffalo, New York,

right across the border from where we live.

lige på den anden side af grænsen fra hvor vi bor.

And I actually got certified

Og jeg blev faktisk certificeret

in a pool at a YMCA in the dead of winter

i en pool ved YMCA i den døde vinter

in Buffalo, New York.

i Buffalo, New York.

And I didn't see the ocean, a real ocean,

Og jeg så ikke oceanet, et rigtigt ocean,

for another two years,

før to år senere,

until we moved to California.

hvor vi flyttede til Californien.

Since then, in the intervening

Siden da, i den mellemliggende

40 years,

periode på 40 år,

I've spent about 3,000 hours underwater,

har jeg brugt cirka 3.000 timer under vandet,

and 500 hours of that was in submersibles.

og 500 timer af de timer blev brugt i ubåde.

And I've learned that that deep-ocean environment,

Og jeg har lært at det dybhavs miljø,

and even the shallow oceans,

og selv de lavvandede oceaner,

are so rich with amazing life

er så rige på utrolig liv

that really is beyond our imagination.

der virkelig er udenfor vores fantasi.

Nature's imagination is so boundless

Naturens fantasi er så grænseløs

compared to our own

sammelignet med vores egen

meager human imagination.

tarvelige menneskelige fantasi.

I still, to this day, stand in absolute awe

Jeg har stadig, den dag i dag, dyb respekt

of what I see when I make these dives.

for det jeg ser, når jeg dykker.

And my love affair with the ocean is ongoing,

Og min kærligheds-affære med oceanet er løbende

and just as strong as it ever was.

og lige så stærk som den nogensinde har været.

But when I chose a career as an adult,

Men da jeg valgte en karriere som voksen,

it was filmmaking.

var det at lave film.

And that seemed to be the best way to reconcile

Og det virkede til at være den bedste måde at forlige

this urge I had to tell stories

denne trang jeg havde til at fortælle historier

with my urges to create images.

med min trang til at skabe billeder.

And I was, as a kid, constantly drawing comic books, and so on.

Og jeg tegnede, som barn, tegneserier og så videre.

So, filmmaking was the way to put pictures and stories

Så, det at lave film var en måde til at sætte billeder og historier

together, and that made sense.

sammen, og det gav mening.

And of course the stories that I chose to tell

Og selvfølgelig var de historier jeg valgte at fortælle

were science fiction stories: "Terminator," "Aliens"

science fiction historier: "Terminator", "Aliens"

and "The Abyss."

og "Dybet".

And with "The Abyss," I was putting together my love

Og med "Dybet" satte jeg min kærlighed for

of underwater and diving with filmmaking.

det at være under vandet og dykning sammen med det at skabe film.

So, you know, merging the two passions.

Så, I ved, sammensætning af to passioner.

Something interesting came out of "The Abyss,"

Der kom noget interessant ud af "Dybet",

which was that to solve a specific narrative

hvilket var at løse et specifikt narrativt

problem on that film,

problem ved den film,

which was to create this kind of liquid water creature,

hvilket var, at for skabe denne form for flydende vand skabning

we actually embraced computer generated animation, CG.

tog vi faktisk computer generet animation, CG, til os.

And this resulted in the first soft-surface

Og dette resulterede i den første soft-surface

character, CG animation

karakter, CG animeret

that was ever in a movie.

der nogensinde var i en film.

And even though the film didn't make any money --

Og selvom filmen ikke tjente nogen penge --

barely broke even, I should say --

det løb knap nok rundt, burde jeg sige --

I witnessed something amazing, which is that the audience,

var jeg vidne til noget forbløffende, hvilket er at publikum,

the global audience, was mesmerized

det globale publikum, var tryllebundet

by this apparent magic.

af denne åbenbare magi.

You know, it's Arthur Clarke's law

I ved, det er Arthur Clarkes lov

that any sufficiently advanced technology is indistinguishable from magic.

at enhver tilstrækkeligt avanceret teknologi er meget lig magi.

They were seeing something magical.

De så noget magisk.

And so that got me very excited.

Så det gjorde mig meget begejstret.

And I thought, "Wow, this is something that needs to be embraced

Og jeg tænkte, "Wow, dette er noget der skal gribes

into the cinematic art."

i filmkunsten."

So, with "Terminator 2," which was my next film,

Så, med "Terminator 2", hvilket var min næste film,

we took that much farther.

tog vi det meget længere.

Working with ILM, we created the liquid metal dude

Vi arbejde med ILM og skabte fyren af flydende metal

in that film. The success hung in the balance

i den film. Successen afhang af balancen

on whether that effect would work.

om den effekt ville virke.

And it did, and we created magic again,

Og det gjorde det, og vi skabte magi igen,

and we had the same result with an audience --

og vi havde det samme resultat med et publikum --

although we did make a little more money on that one.

selvom vi tjente lidt flere penge på den.

So, drawing a line through those two dots

Så, ved at tegne en streg mellem de to erfarings

of experience

prikker

came to, "This is going to be a whole new world,"

blev til, "Dette bliver en helt ny verden",

this was a whole new world of creativity

dette var en helt ny kreativ verden

for film artists.

for filmskabere.

So, I started a company with Stan Winston,

Så, jeg startede et firma med Stan Winston,

my good friend Stan Winston,

min gode ven Stan Winston,

who is the premier make-up and creature designer

der er førende make-up og væsen designer

at that time, and it was called Digital Domain.

på den tid, og det blev kaldt Digital Domain.

And the concept of the company was

Og firmaets koncept var

that we would leapfrog past

at vi kunne avancere forbi

the analog processes of optical printers and so on,

den analoge process med optiske printere og så videre,

and we would go right to digital production.

og vi kunne gå direkte til den digitale produktion.

And we actually did that and it gave us a competitive advantage for a while.

Og det gjorde vi faktisk og det gav os en konkurrencefordel i et stykke tid.

But we found ourselves lagging in the mid '90s

Men i midten af 90'erne blev vi hængende

in the creature and character design stuff

i væsen og karakter design tingene

that we had actually founded the company to do.

som vi faktisk havde skabt firmaet til at lave.

So, I wrote this piece called "Avatar,"

Så, jeg skrev dette stykke der hed "Avatar",

which was meant to absolutely push the envelope

der virkelig skulle flytte grænserne

of visual effects,

for visual effects,

of CG effects, beyond,

for CG effekter, endnu længere,

with realistic human emotive characters

med realistiske menneskelige følelsesmæssige karakterer

generated in CG,

skabt i CG,

and the main characters would all be in CG,

og hovedpersonerne ville være kun være CG,

and the world would be in CG.

og verden ville være CG.

And the envelope pushed back,

Og grænserne skubbede tilbage

and I was told by the folks at my company

og jeg blev fortalt af folkene i mit firma,

that we weren't going to be able to do this for a while.

at vi ikke ville være i stand til at kunne gøre det i noget tid.

So, I shelved it, and I made this other movie about a big ship that sinks.

Så, jeg lagde det på hylden og så lavede jeg en anden film om et stort skib der synker.

(Laughter)

(Latter)

You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship:

I ved, jeg tog ud og fremlagde det for studiet som "Romeo og Juliet" på et skib:

"It's going to be this epic romance,

"Det bliver denne episke romance,

passionate film."

passionerede film."

Secretly, what I wanted to do was

I al hemmelighed, det jeg ville gøre var

I wanted to dive to the real wreck of "Titanic."

at jeg ville dykke ned til det virkelige vrag af "Titanic".

And that's why I made the movie.

Og det var derfor jeg lavede filmen.

(Applause)

(Bifald)

And that's the truth. Now, the studio didn't know that.

Og det er sandheden. Nu vidste studiet ikke det.

But I convinced them. I said,

Men jeg overbeviste dem. Jeg sagde,

"We're going to dive to the wreck. We're going to film it for real.

"Vi dykker ned til vraget. Vi filmer det i virkeligheden.

We'll be using it in the opening of the film.

Vi vil bruge det i starten af filmen.

It will be really important. It will be a great marketing hook."

Det vil blive virkelig vigtigt. Det vil være en fantastisk marketings fidus."

And I talked them into funding an expedition.

Og jeg overtalte dem til at finansiere ekspeditionen.

(Laughter)

(Latter)

Sounds crazy. But this goes back to that theme

Lyder skørt. Men det fører tilbage til det tema

about your imagination creating a reality.

om at ens fantasi skaber en virkelighed.

Because we actually created a reality where six months later,

Fordi vi skabte faktisk en virkelighed hvor jeg seks måneder senere,

I find myself in a Russian submersible

befinder mig i en russisk ubåd

two and a half miles down in the north Atlantic,

fire kilometer under overfladen i Atlanten,

looking at the real Titanic through a view port.

og kiggede på den rigtige Titanic gennem et koøje.

Not a movie, not HD -- for real.

Ikke en film, ikke HD -- virkeligheden.

(Applause)

(Bifald)

Now, that blew my mind.

Det slog benene væk under mig.

And it took a lot of preparation, we had to build cameras

Og det krævede meget forberedelse, vi skulle bygge kameraer

and lights and all kinds of things.

og lys og alle mulige ting.

But, it struck me how much

Men, det slog mig hvor meget

this dive, these deep dives,

dette dyk , disse dybe dyk,

was like a space mission.

var ligesom en rummission.

You know, where it was highly technical,

I ved, hvor det var meget teknisk,

and it required enormous planning.

og det krævede enorm meget planlægning.

You get in this capsule, you go down to this dark

Man går i denne rumkapsel, man tager ned i dette mørke

hostile environment

fjendtlige miljø

where there is no hope of rescue

hvor der ikke er noget håb om undsætning

if you can't get back by yourself.

hvis man ikke selv kan sørge for at komme tilbage.

And I thought like, "Wow. I'm like,

Og jeg tænkte ligesom, "Wow. Jeg ligesom,

living in a science fiction movie.

lever i en science fiction film.

This is really cool."

Dette er virkelig koldt."

And so, I really got bitten by the bug of deep-ocean exploration.

Så, jeg blev virkelig bidt af dybhavs udforskning.

Of course, the curiosity, the science component of it --

Selvfølgelig, nysgerrigheden, den videnskabelige del af det --

it was everything. It was adventure,

det var alt. Det var eventyr,

it was curiosity, it was imagination.

det var nysgerrighed, det var fantasi.

And it was an experience that

Og det var en oplevelse som

Hollywood couldn't give me.

Hollywood ikke kunne give mig.

Because, you know, I could imagine a creature and we could

Fordi, I ved, jeg kunne forestille mig et væsen og vi kunne

create a visual effect for it. But I couldn't imagine what I was seeing

skabe en visuel effekt til det. Men jeg kunne ikke forestille mig det jeg så

out that window.

ud af det vindue.

As we did some of our subsequent expeditions,

I takt med at vi tog på nogle af vores efterfølgende ekspeditioner,

I was seeing creatures at hydrothermal vents

så jeg væsener ved hydrotermiske skorstene

and sometimes things that I had never seen before,

og nogle gange ting jeg aldrig havde set før,

sometimes things that no one had seen before,

nogle gange ting som ingen havde set før,

that actually were not described by science

som faktisk ikke var beskrevet af videnskaben

at the time that we saw them and imaged them.

på det tidspunkt vi så dem og forestillede os dem.

So, I was completely smitten by this,

Så, jeg var fuldstændig ramt af dette,

and had to do more.

og skulle se mere.

And so, I actually made a kind of curious decision.

Så, jeg tog faktisk en besynderlig beslutning.

After the success of "Titanic,"

Efter successen af "Titanic",

I said, "OK, I'm going to park my day job

sagde jeg, "OK, jeg sætter mit almindelige arbejde på pause

as a Hollywood movie maker,

som en Hollywood filmskaber,

and I'm going to go be a full-time explorer for a while."

og jeg vil være en fuldtids eventyrer et stykke tid."

And so, we started planning these

Så, vi begyndte at planlægge disse

expeditions.

ekspeditioner.

And we wound up going to the Bismark,

Og vi endte med at tage til Bismark,

and exploring it with robotic vehicles.

og udforskede det med robotagtige køretøjer.

We went back to the Titanic wreck.

Vi tog tilbage til Titanics vrag.

We took little bots that we had created

Vi tog små robotter som vi havde skabt

that spooled a fiber optic.

der lagde noget fiberoptisk kabel.

And the idea was to go in and do an interior

Og ideen var at tage ind og lave en indvendig

survey of that ship, which had never been done.

inspektion af det skib, hvilket aldrig var blevet gjort før.

Nobody had ever looked inside the wreck. They didn't have the means to do it,

Ingen havde nogensinde kigget inden i det vrag. De havde ikke ressourcer til at gøre det,

so we created technology to do it.

så vi skabte teknologien til at gøre det.

So, you know, here I am now, on the deck

Så, I ved, her er jeg nu, på dækket

of Titanic, sitting in a submersible,

af Titanic, siddende i en ubåd,

and looking out at planks that look much like this,

og kigger ud på plankerne der ligner dette,

where I knew that the band had played.

hvor jeg vidste at bandet havde spillet.

And I'm flying a little robotic vehicle

Og jeg flyver et lille robotagtigt fartøj

through the corridor of the ship.

gennem skibets korridor.

When I say, "I'm operating it,"

Når jeg siger, "Jeg betjener den",

but my mind is in the vehicle.

men mine tanker er i fartøjet.

I felt like I was physically present

Jeg følte at jeg var fysisk tilstede

inside the shipwreck of Titanic.

i Titanics vrag.

And it was the most surreal kind

Og det var den mest surrealistiske form

of deja vu experience I've ever had,

for deja vu oplevelse jeg nogensinde havde haft,

because I would know before I turned a corner

fordi inden jeg drejede om et hjørne ville jeg vide

what was going to be there before the lights

hvad der var der, før fartøjets lys

of the vehicle actually revealed it,

faktisk afslørede det,

because I had walked the set for months

fordi jeg havde gået rundt på settet i månedsvis

when we were making the movie.

da vi lavede filmen.

And the set was based as an exact replica

Og sættet var lavet som en tro kopi

on the blueprints of the ship.

af skibets grundtegning.

So, it was this absolutely remarkable experience.

Så, det var denne fuldstændig bemærkelsesværdige oplevelse.

And it really made me realize that

Og det fik mig virkelig til at indse at

the telepresence experience --

oplevelsen af at være tilstede via TV --

that you actually can have these robotic avatars,

at man faktisk kan have disse robotagtige avatarer,

then your consciousness is injected into the vehicle,

så ens bevidsthed bliver overført til fartøjet,

into this other form of existence.

ind i denne anden form for eksistens.

It was really, really quite profound.

Det var virkelig, virkelig ret markant.

And it may be a little bit of a glimpse as to what might be happening

Og det er måske en lille smule af et glimt af, hvordan det kunne foregå

some decades out

om nogle årtier

as we start to have cyborg bodies

når vi begynder at have cyborg kroppe

for exploration or for other means

til at udforske eller til andre formål

in many sort of

i mange forme for

post-human futures

post-menneske fremtider

that I can imagine,

som jeg kan forestille mig,

as a science fiction fan.

som en science fiction fan.

So, having done these expeditions,

Så, efter at have oplevet disse ekspeditioner,

and really beginning to appreciate what was down there,

og virkelig begynde at sætte pris på det der var dernede,

such as at the deep ocean vents

såsom ved dybhavs kilderne

where we had these amazing, amazing animals --

hvor vi havde disse fantastiske, fantastiske væsner --

they're basically aliens right here on Earth.

de er dybest set rumvæsner lige her på Jorden.

They live in an environment of chemosynthesis.

De lever i et kemosyntetisk miljø.

They don't survive on sunlight-based

De overlever ikke på det sol baserede

system the way we do.

system som vi gør.

And so, you're seeing animals that are living next to

Så, I ser væsner der lever ved siden af

a 500-degree-Centigrade

500 graders

water plumes.

vand røgfaner.

You think they can't possibly exist.

Man tror de umuligt kan eksistere.

At the same time

På samme tid

I was getting very interested in space science as well --

begyndte jeg at blive interesseret i rum videnskab også --

again, it's the science fiction influence, as a kid.

igen, det er science fiction indflydelsen, som et barn.

And I wound up getting involved with

Og jeg endte med at blive involveret i

the space community,

rum samfundet,

really involved with NASA,

virkelig involveret med NASA,

sitting on the NASA advisory board,

sidde på NASAs rådgivningskomite,

planning actual space missions,

og planlægge faktiske rummissioner,

going to Russia, going through the pre-cosmonaut

tog til Rusland, gå gennem pre-kosmonaut

biomedical protocols,

biomedicinske protokoler,

and all these sorts of things,

og alle den slags ting,

to actually go and fly to the international space station

til faktisk at flyve til den internationale rumstation

with our 3D camera systems.

med vores 3D kamera systemer.

And this was fascinating.

Og dette var fascinerende.

But what I wound up doing was bringing space scientists

Men det jeg endte med at gøre var at tage rum videnskabsfolk

with us into the deep.

med os ned i dybet.

And taking them down so that they had access --

Og tage dem ned så de havde adgang --

astrobiologists, planetary scientists,

astrobiologer, planetariske videnskabsfolk,

people who were interested in these extreme environments --

mennesker der var interesserede i disse ekstreme miljøer --

taking them down to the vents, and letting them see,

tage dem med ned til skorstenene, og lade dem se,

and take samples and test instruments, and so on.

og tage prøver og afprøve instrumenter, og så videre.

So, here we were making documentary films,

Så, her var vi i gang med at lave dokumentarfilm,

but actually doing science,

men faktisk lavede vi videnskab,

and actually doing space science.

og lavede faktisk rum videnskab.

I'd completely closed the loop

Jeg havde fuldstændig lukket sløjfen

between being the science fiction fan,

mellem at være science fiction fan,

you know, as a kid,

I ved, som barn,

and doing this stuff for real.

og gøre disse ting i virkeligheden.

And you know, along the way in this journey

Og I ved, hen af vejen i denne opdagelses

of discovery,

rejse,

I learned a lot.

lærte jeg meget.

I learned a lot about science. But I also learned a lot

Jeg lærte en masse om videnskab. Men jeg lærte også en masse

about leadership.

om lederskab.

Now you think director has got to be a leader,

Nu tror man at en instruktør skal være leder,

leader of, captain of the ship, and all that sort of thing.

leder af, skibets kaptajn, og den slags ting.

I didn't really learn about leadership

Jeg lærte i virkeligheden ikke om lederskab

until I did these expeditions.

før jeg lavede disse ekspeditioner.

Because I had to, at a certain point, say,

Fordi jeg skulle, på et bestemt punkt, sige,

"What am I doing out here?

"Hvad laver jeg her?

Why am I doing this? What do I get out of it?"

Hvorfor gør jeg dette? Hvad får jeg ud af det?"

We don't make money at these damn shows.

Vi tjener ikke penge på disse pokkers shows.

We barely break even. There is no fame in it.

Vi kan næsten få det til at løbe rundt. Der er ingen berømmelse i det.

People sort of think I went away

Mennesker tror jeg forsvandt

between "Titanic" and "Avatar" and was buffing my nails

mellem "Titanic" og "Avatar" og jeg polerede mine negle

someplace, sitting at the beach.

et eller andet sted, mens jeg sag ved stranden.

Made all these films, made all these documentary films

Lavede alle disse film, lavede alle disse dokumentar film

for a very limited audience.

til et meget begrænset publikum.

No fame, no glory, no money. What are you doing?

Ingen berømmelse, ingen ære, ingen penge. Hvad laver du?

You're doing it for the task itself,

Man gør det for opgaven i sig selv,

for the challenge --

for udfordringen --

and the ocean is the most challenging environment there is --

og oceanet er det mest udfordrende miljø der er --

for the thrill of discovery,

for spændingen ved opdagelsen,

and for that strange bond that happens

og for det mærkelige bånd der opstår

when a small group of people form a tightly knit team.

når en lille gruppe mennesker danner et tæt knyttet team.

Because we would do these things with 10, 12 people,

Fordi vi ville gøre disse ting med 10, 12 mennesker,

working for years at a time,

og arbejdede i årevis af gangen,

sometimes at sea for two, three months at a time.

nogengange på havet i to, tre måneder ad gangen.

And in that bond, you realize

Og i det bånd opdager man

that the most important thing

at den vigtigste ting

is the respect that you have for them

er den respekt man har for dem

and that they have for you, that you've done a task

og som de har for en, at man har gjort et stykke arbejde

that you can't explain to someone else.

som man ikke kan forklare for en anden.

When you come back to the shore and you say,

Når man kommer i land og man siger,

"We had to do this, and the fiber optic, and the attentuation,

"Vi skulle gøre dette, og det fiberoptiske kabel, og dæmpningen,

and the this and the that,

og dit og dat,

all the technology of it, and the difficulty,

hele teknologien i det, og sværhedsgraden,

the human-performance aspects of working at sea,"

den menneskelige præstations del af at arbejde på havet."

you can't explain it to people. It's that thing that

man kan ikke forklare det for folk. Det er den ting som

maybe cops have, or people in combat that have gone through something together

politibetjente måske har, eller mennesker i kamp der har gennemlevet noget sammen

and they know they can never explain it.

og de ved at de aldrig kan forklare det.

Creates a bond, creates a bond of respect.

Skaber et bånd, skaber et bånd af respekt.

So, when I came back to make my next movie,

Så, da jeg kom tilbage for at lave min næste film,

which was "Avatar,"

der var "Avatar",

I tried to apply that same principle of leadership,

prøvede jeg at anvende det samme lederskabs princip,

which is that you respect your team,

hvilket er at man respekterer sit team,

and you earn their respect in return.

og til gengæld gør man sig fortjent til deres respekt.

And it really changed the dynamic.

Og det ændrede virkelig dynamikken.

So, here I was again with a small team,

Så, her var jeg igen med et lille team

in uncharted territory,

i et ukendt område,

doing "Avatar," coming up with new technology

lavede "Avatar", fandt på ny teknologi

that didn't exist before.

der ikke eksisterede før.

Tremendously exciting.

Enormt spændende.

Tremendously challenging.

Enormt udfordrende.

And we became a family, over a four-and-half year period.

Og vi blev en familie i løbet af en periode på fire og et halvt år.

And it completely changed how I do movies.

Og det ændrede fuldstændigt måden hvorpå jeg laver film.

So, people have commented on how, "Well, you know,

Så, mennesker har kommenteret såsom, "Jamen, du ved,

you brought back the ocean organisms

du fandt ocean væsnerne frem igen

and put them on the planet of Pandora."

og satte dem på planeten Pandora."

To me, it was more of a fundamental way of doing business,

For mig, var det mere en fundamental måde at gøre forretning på,

the process itself, that changed as a result of that.

selve processen, ændrede sig som resultat af det.

So, what can we synthesize out of all this?

Så, hvad kan vi syntetisere ud af alt dette?

You know, what are the lessons learned?

I ved, hvad er lektien, der er lært?

Well, I think number one is

Jamen, jeg tror nummer et er

curiosity.

nysgerrighed.

It's the most powerful thing you own.

Det er den mest kraftfulde ting man ejer.

Imagination is a force

Fantasi er en kraft

that can actually manifest a reality.

der faktisk kan manifestere en realitet.

And the respect of your team

Og ens teams respekt

is more important than all the

er vigtigere end alle

laurels in the world.

laurbær i hele verden.

I have young filmmakers

Der er unge filmproducenter

come up to me and say, "Give me some advice for doing this."

der kommer op til mig og siger, "Giv mig noget råd til at gøre dette."

And I say, "Don't put limitations on yourself.

Og jeg siger, "Lad være med at begrænse dig selv.

Other people will do that for you -- don't do it to yourself,

Andre mennesker gør det for dig -- gør det ikke mod dig selv,

don't bet against yourself,

lad være med at spille mod dig selv,

and take risks."

og tag chancer."

NASA has this phrase that they like:

NASA har et udtryk de godt kan lide:

"Failure is not an option."

"Fiasko er ikke en mulighed."

But failure has to be an option

Men fiasko skal være en mulighed

in art and in exploration, because it's a leap of faith.

i kunst og udforskning, fordi det er et trosspring .

And no important endeavor

Og ingen vigtige anstrengelser

that required innovation

der krævede innovation

was done without risk.

blev gennemført uden risiko.

You have to be willing to take those risks.

Man skal være villig til at tage de risici.

So, that's the thought I would leave you with,

Så, det er tanken jeg vil efterlade jer med,

is that in whatever you're doing,

det er at hvadend man laver,

failure is an option,

fiasko er en mulighed,

but fear is not. Thank you.

men det er frygt ikke. Tak.

(Applause)

(Bifald)