Before Avatar ... a curious boy | James Cameron

翻译人员: Zachary Lin Zhao 校对人员: Angelia King

I grew up on a steady diet of science fiction.

我是在科幻小说的陪伴下长大的。

In high school, I took a bus to school

高中的时候，我每天要搭乘

an hour each way every day.

一个小时的公交车往返学校。

And I was always absorbed in a book,

漫长车程中，我总是沉浸在书本里，

science fiction book,

那些科幻小说

which took my mind to other worlds,

将我的思想带到其他的世界，

and satisfied, in a narrative form,

以叙事的方式，

this insatiable sense of curiosity that I had.

满足了我当时强烈的好奇感。

And you know, that curiosity also manifested itself

除此之外，我的好奇心也展现在其他方面：

in the fact that whenever I wasn't in school

每当我不需要上课的时候，

I was out in the woods,

我总会前往树林里，

hiking and taking "samples" --

远足和采集“标本”，

frogs and snakes and bugs and pond water --

青蛙呀、蛇呀、虫子呀、池水呀，

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

通通带回家中，放到显微镜下研究。

You know, I was a real science geek.

我当时算得上是极品的科学狂人。

But it was all about trying to understand the world,

但这一切都是为了尝试了解这个世界，

understand the limits of possibility.

了解可能的边界。

And my love of science fiction

而我对科幻小说的喜爱

actually seemed mirrored in the world around me,

也是与我周围的世界相呼应的，

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

因为当时是60年代末期，

we were going to the moon,

人类开始登月，

we were exploring the deep oceans.

开始潜入深海。

Jacques Cousteau was coming into our living rooms

雅克.格斯特（法国电影摄影师）将他神奇的视觉特效

with his amazing specials that showed us

带入我们的生活中，为我们呈现了

animals and places and a wondrous world

之前无法想象的动物、

that we could never really have previously imagined.

景观和一个美妙的世界。

So, that seemed to resonate

这一切都似乎和科幻小说之间

with the whole science fiction part of it.

产生着共鸣。

And I was an artist.

与此同时，我也是名艺术家。

I could draw. I could paint.

我能绘能画。

And I found that because there weren't video games

我也发现因为当时没有电子游戏、

and this saturation of CG movies and all of this

特效电影的渗入以及现今传媒产业中

imagery in the media landscape,

大量的图像化，

I had to create these images in my head.

我不得不在我的头脑中来创造这些图像。

You know, we all did, as kids having to

相信大家小时候都和我一样，

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

在读书的时候，往往会在我们大脑中

put something on the movie screen in our heads.

把作者所描述的东西向电影一样播放。

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

而我对此的回应则是描绘

alien creatures, alien worlds,

外星生物、外星世界、

robots, spaceships, all that stuff.

机器人、宇宙飞船、等等。

I was endlessly getting busted in math class

我躲在教科书后面涂鸦的行径

doodling behind the textbook.

总是被数学老师给逮个正着。

That was -- the creativity

正因此，我不得不为我的创造力

had to find its outlet somehow.

寻求其他的宣泄途径。

And an interesting thing happened: The Jacques Cousteau shows

有趣的是，雅克.格斯特的影片令我惊喜地发现

actually got me very excited about the fact that there was

原来在这个地球上

an alien world right here on Earth.

就存在着一个外星世界。

I might not really go to an alien world

我也许无法真的在有生之年

on a spaceship someday --

乘坐宇宙飞船前往外星世界。

that seemed pretty darn unlikely.

这听起来太不着边际了。

But that was a world I could really go to,

但这个地球上确实存在着一个

right here on Earth, that was as rich and exotic

我真的可以前往的世界——

as anything that I had imagined

富饶而奇异，

from reading these books.

拥有着我通过书本所幻想的一切。

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

因此在我15岁的那一年，我决定成为一名

at the age of 15.

潜水员。

And the only problem with that was that I lived

不过唯一的问题是，我当时

in a little village in Canada,

住在加拿大的一个小村庄里，

600 miles from the nearest ocean.

最近的海也要600英里远。

But I didn't let that daunt me.

但我却没有因此而心灰意冷。

I pestered my father until he finally found

我反复纠缠我的老爸，直到他在

a scuba class in Buffalo, New York,

纽约水牛市为我找到了一个潜水训练班，

right across the border from where we live.

它就在美加边界的另一侧。

And I actually got certified

就这样，在水牛市刺骨的深冬，

in a pool at a YMCA in the dead of winter

在基督教青年会的泳池内，

in Buffalo, New York.

我拿到了我的潜水证书。

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

但在随后的两年里，

for another two years,

我却不曾亲眼看见过大海，

until we moved to California.

直到我们搬到了加利福尼亚洲。

Since then, in the intervening

在那之后

40 years,

的40年里，

I've spent about 3,000 hours underwater,

我在水下度过了大概3000个小时。

and 500 hours of that was in submersibles.

其中500个小时是在潜水器中度过的。

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

我发现深海之中──

and even the shallow oceans,

即使是浅海之中──

are so rich with amazing life

充满了令人惊奇的生命，

that really is beyond our imagination.

远远超出了我们的想象。

Nature's imagination is so boundless

同我们人类狭隘的想象范围相比

compared to our own

大自然的想象力

meager human imagination.

是无边无际的。

I still, to this day, stand in absolute awe

直到今日，我潜水时所目睹的一切

of what I see when I make these dives.

仍令我感到无比惊奇。

And my love affair with the ocean is ongoing,

我对海洋的热爱

and just as strong as it ever was.

始终如一、不曾改变。

But when I chose a career as an adult,

但当我长大成人，需要择业的时候，

it was filmmaking.

我选择了电影制作。

And that seemed to be the best way to reconcile

在当时看来，这是将我

this urge I had to tell stories

讲故事的渴求与创造图象的欲望

with my urges to create images.

合二为一的最好途径。

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

在我还是个孩子的时候，我常常画漫画。

So, filmmaking was the way to put pictures and stories

而电影制作正好将图象和故事结合在一起。

together, and that made sense.

理所当然，水到渠成。

And of course the stories that I chose to tell

当然了，我讲的故事都是些科幻故事

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

《终结者》《异性》

and "The Abyss."

和《深渊》。

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

在《深渊》中，我将我对深海和潜水的喜爱

of underwater and diving with filmmaking.

与电影制作结合到了一起。

So, you know, merging the two passions.

将两份热忱，合二为一。

Something interesting came out of "The Abyss,"

而《深渊》也带来了另一种启迪：

which was that to solve a specific narrative

为了更好的呈现

problem on that film,

影片的叙事模式，

which was to create this kind of liquid water creature,

创造出影片中的液体水生物，

we actually embraced computer generated animation, CG.

我们开始使用电脑动画技术。

And this resulted in the first soft-surface

电影业中的首个

character, CG animation

电脑制作的软表面人物

that was ever in a movie.

也因此而诞生。

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

尽管那部电影票房不济，

barely broke even, I should say --

刚好回本罢了，

I witnessed something amazing, which is that the audience,

我却因此而目睹了令人惊奇的一幕──

the global audience, was mesmerized

全球观众都被影片所呈现的魔法

by this apparent magic.

深深吸引。

You know, it's Arthur Clarke's law

这就是阿瑟·克拉克定律──

that any sufficiently advanced technology is indistinguishable from magic.

先进的科技和魔法之间是难以区分的。

They were seeing something magical.

而当时观众所目睹的正是这种魔力。

And so that got me very excited.

这令我感到无比兴奋。

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

我当时想到，“天呀，这项技术需要在电影艺术中

into the cinematic art."

大范围推广。”

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

所以在我的下一部电影《终结者2》中，

we took that much farther.

我们将这项技术推上了新的台阶。

Working with ILM, we created the liquid metal dude

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

in that film. The success hung in the balance

液体金属家伙。而电影的成功与否

on whether that effect would work.

将取决于这项技术能否奏效。

And it did, and we created magic again,

结果它奏效了。我们再次创造了魔法。

and we had the same result with an audience --

我们再次从观众那里得到了同样的回馈。

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

不过那部电影的票房要稍微好一点。

So, drawing a line through those two dots

综合这两次经历，

of experience

我们意识到

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

这将是一个全新的世界

this was a whole new world of creativity

一个容许电影艺术者们施展想象力的

for film artists.

全新世界。

So, I started a company with Stan Winston,

所以我和我的好友Stan Winston

my good friend Stan Winston,

成立了一家公司。

who is the premier make-up and creature designer

Stan Winston是当时的知名化妆师和造型师。

at that time, and it was called Digital Domain.

公司的名字就叫做"数码领域"（Digital Domain）。

And the concept of the company was

而公司的理念就是

that we would leapfrog past

蛙跳过去光学打印机等等的

the analog processes of optical printers and so on,

模拟过程，

and we would go right to digital production.

直接转入数码制作。

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

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。

But we found ourselves lagging in the mid '90s

但在90年代中叶，我们发现虽然公司的初衷

in the creature and character design stuff

是在生物、人物设计方面有所建树，

that we had actually founded the company to do.

但我们在这一方面却是落伍了。

So, I wrote this piece called "Avatar,"

因此我创作了这个《阿凡达》的作品，

which was meant to absolutely push the envelope

旨在将视觉效果

of visual effects,

和电脑特效

of CG effects, beyond,

推向极限，

with realistic human emotive characters

利用电脑动画制造出

generated in CG,

具有真实人类情感的生物。

and the main characters would all be in CG,

主要角色将由电脑制作。

and the world would be in CG.

整个场景将由电脑制作。

And the envelope pushed back,

但我却碰了一鼻子灰。

and I was told by the folks at my company

我们公司里的人告诉我说

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

我们在当时的技术条件下，是无法完成这样的特效的。

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

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。

(Laughter)

（笑声）

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

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”，

"It's going to be this epic romance,

将会是一部史诗般的、

passionate film."

浪漫激情的电影。

Secretly, what I wanted to do was

但私底下，我的真实动机

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

是去拜访一下泰坦尼克的残骸。

And that's why I made the movie.

这才是我制作那部电影的原因。

(Applause)

（掌声）

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

我说的是事实。不过电影公司当时是不知情的。

But I convinced them. I said,

我说服了他们。我说：

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

“我们将潜入船骸，实地取景，

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

作为影片的开场。

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

此事至关重要、极具噱头。”

And I talked them into funding an expedition.

于是我说服了他们投资于一场冒险历程。

(Laughter)

（笑声）

Sounds crazy. But this goes back to that theme

听起来很疯狂。但这件事归根结底，依旧是关于

about your imagination creating a reality.

如果用你的想像力来创造一个现实。

Because we actually created a reality where six months later,

事实上，我们的确在六个月后创造了一个现实──

I find myself in a Russian submersible

我在北大西洋2.5英里水下，

two and a half miles down in the north Atlantic,

身处一个俄罗斯潜水器中，

looking at the real Titanic through a view port.

通过一个视口观望真正的泰坦尼克。

Not a movie, not HD -- for real.

不是电影，不是高清，而是身临其境。

(Applause)

（掌声）

Now, that blew my mind.

那次经历令我大为惊叹。

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

前期的准备工作是很繁琐的，我们需要搭建摄像机、

and lights and all kinds of things.

灯光等等。

But, it struck me how much

但真正让我震惊的是

this dive, these deep dives,

这些深海潜水活动

was like a space mission.

就如宇宙探险一样。

You know, where it was highly technical,

两者都是高科技产物，

and it required enormous planning.

两者都需要缜密的部署。

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

你踏进船舱，踏入这漆黑

hostile environment

险恶的环境，

where there is no hope of rescue

如果你无法依靠自己的力量返回的话，

if you can't get back by yourself.

你是没有任何被营救的可能的。

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

我当时想到：“天呀。我就好像

living in a science fiction movie.

活在一个科幻电影里面一样。

This is really cool."

太酷了！”

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

正因此，深海探险成了我新的嗜好。

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

当然了，这归结于其中的好奇感、科学性。

it was everything. It was adventure,

它是万物合一、是探求未知、

it was curiosity, it was imagination.

是好奇无边、是想象无限，

And it was an experience that

是好莱坞无法给予我的

Hollywood couldn't give me.

难得经历。

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

虽然我可以想象出一个生物，然后利用电脑特效将它创造出来，

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

但我却无法想象出那天我透过潜水窗

out that window.

所看到的一切。

As we did some of our subsequent expeditions,

在我们随后的探险过程中，

I was seeing creatures at hydrothermal vents

我观测到过居住在热液喷口的生物，

and sometimes things that I had never seen before,

有时会看到我之前从来没有看过的东西，

sometimes things that no one had seen before,

有时会看到任何人之前都没有看过的东西，

that actually were not described by science

甚至是一些在我们当时目击并记录之前

at the time that we saw them and imaged them.

还没有被科学所描述的事物。

So, I was completely smitten by this,

正因此，我对此是神魂颠倒，

and had to do more.

不得不继续下去。

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

于是我做出了一个令人惊讶的决定。

After the success of "Titanic,"

在《泰坦尼克号》取得成功之后，

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

我决定：“好吧，我在好莱坞制作电影的工作

as a Hollywood movie maker,

到这里就可以告一段落了。

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

在接下来的一段时间里，我要成为一名全职探险家。”

And so, we started planning these

因此，我们开始计划

expeditions.

这些探险活动。

And we wound up going to the Bismark,

我们前往俾斯麦沉船，

and exploring it with robotic vehicles.

利用机器人装置来探测它的残骸。

We went back to the Titanic wreck.

我们随后又回到了泰坦尼克的残骸。

We took little bots that we had created

并且创造出了一批可以

that spooled a fiber optic.

缠绕光学纤维的机器人。

And the idea was to go in and do an interior

目的就是深入到残骸中，探索其内部的样子

survey of that ship, which had never been done.

──一个前无古人的做法。

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

在此之前，没有人看过残骸的内部。他们没有所需要的技术，

so we created technology to do it.

所以我们就创造出相应的技术。

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

要知道，我当时就在泰坦尼克的甲板上，

of Titanic, sitting in a submersible,

坐在一个潜水器内，

and looking out at planks that look much like this,

看着就如同这个的木质甲板，

where I knew that the band had played.

心想着曾在这里表演的乐队。

And I'm flying a little robotic vehicle

我操控着一个小型的机器人探索器

through the corridor of the ship.

飞过船内的走廊。

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

虽然我在操控着它，

but my mind is in the vehicle.

我的思想却是在这个探索器内，

I felt like I was physically present

我感觉我确确实实地

inside the shipwreck of Titanic.

置身在泰坦尼克的残骸中。

And it was the most surreal kind

那是我所经历过的最难以置信的

of deja vu experience I've ever had,

此曾相识的感觉，

because I would know before I turned a corner

因为在机器人的探测灯照亮周围之前，

what was going to be there before the lights

我就已经知道每个转角背后

of the vehicle actually revealed it,

所隐藏的一切，

because I had walked the set for months

原因就在于电影制作的过程中，

when we were making the movie.

我花费了很多个月的时间在这个场景中走来走去。

And the set was based as an exact replica

而摄影棚中的道具就是依照这个船的设计图

on the blueprints of the ship.

所制造出来的一个真实模型。

So, it was this absolutely remarkable experience.

所以那一次的经历是非比寻常的，

And it really made me realize that

它使我感受到了一种

the telepresence experience --

远程监控的经历──

that you actually can have these robotic avatars,

我们甚至上拥有这些机器人形态的阿凡达，

then your consciousness is injected into the vehicle,

我们将我们的思想意识注入其中，

into this other form of existence.

注入另外一种存在形式中。

It was really, really quite profound.

这的确是很深刻的感受。

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

也许这一切可以让我们大致猜想几十年后的世界

some decades out

会是怎样。

as we start to have cyborg bodies

作为一名科学小说迷

for exploration or for other means

我可以想象各种

in many sort of

后人类社会的未来，

post-human futures

利用半机械人

that I can imagine,

来进行探险

as a science fiction fan.

以及其他活动。

So, having done these expeditions,

所以通过这些探险

and really beginning to appreciate what was down there,

我开始真正地欣赏海底的美妙，

such as at the deep ocean vents

比如那些生活在深海裂口处的

where we had these amazing, amazing animals --

奇妙的动物们。

they're basically aliens right here on Earth.

它们算得上就是地球上的外星生物。

They live in an environment of chemosynthesis.

它们住在一个化学合成的环境中，

They don't survive on sunlight-based

完全不需要我们赖以生存的

system the way we do.

太阳光照。

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

所以当你看到那些

a 500-degree-Centigrade

生活在500度高温的海底地柱周边的

water plumes.

动物的时候，

You think they can't possibly exist.

你觉得它们完全不可能存活。

At the same time

与此同时，

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

我也开始对太空科技感兴趣。

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

这自然也是受到了年少时候科学小说的影响。

And I wound up getting involved with

结果我和太空社区建立了

the space community,

很紧密的联系，

really involved with NASA,

和美国航天局合作，

sitting on the NASA advisory board,

成为了他们咨询委员会的一员，

planning actual space missions,

策划真正的太空任务，

going to Russia, going through the pre-cosmonaut

前往俄罗斯，参观宇航员之前的

biomedical protocols,

生物科学协议

and all these sorts of things,

等等一系列的事情

to actually go and fly to the international space station

以便于我们带着我们的3D摄影器材

with our 3D camera systems.

前往国际空间站。

And this was fascinating.

这种经历是令人难忘的。

But what I wound up doing was bringing space scientists

但我到头来所做的，却是说服太空科学家们

with us into the deep.

跟随我们前往海洋深处，

And taking them down so that they had access --

让他们可以切身体验。

astrobiologists, planetary scientists,

太空生物学家、天体科学家

people who were interested in these extreme environments --

等等对极端环境感兴趣的人们

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

都被我们带到深海裂口处，让他们能亲眼观看、

and take samples and test instruments, and so on.

采取样品、探测仪器等等。

So, here we were making documentary films,

所以我们在制作记录片的同时

but actually doing science,

却是在研究科学

and actually doing space science.

研究太空科学。

I'd completely closed the loop

我把小时候

between being the science fiction fan,

身为科学小说迷的经历

you know, as a kid,

和真实从事这一行业的经历

and doing this stuff for real.

联系到了一起。

And you know, along the way in this journey

在这个探索之旅中，

of discovery,

我也是

I learned a lot.

学到了很多东西。

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

我学到了很多关于科学的东西。但我也学会了很多

about leadership.

关于领袖才能的东西。

Now you think director has got to be a leader,

你觉得导演必须得是一名领袖人才，

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

是领导、是掌舵者之类的。

I didn't really learn about leadership

但在这些探险之前，

until I did these expeditions.

我对领袖才能却是一无所知。

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

因为我终究要问自己：

"What am I doing out here?

“我到底在做些什么呢？

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

我为什么要做这些事情？我从中得到什么呢？”

We don't make money at these damn shows.

这些该死的纪录片根本不赚钱。

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

我们想回本都不容易。没名没份的。

People sort of think I went away

很多人都认为我在《泰坦尼克》和《阿凡达》两部电影之间

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

退居幕后，坐在沙滩上面

someplace, sitting at the beach.

修指甲罢了。

Made all these films, made all these documentary films

但事实上我制作了这些电影，这些纪录片，

for a very limited audience.

只有很少数的观众看过。

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

没名、没份、没钱。你到底在做什么呢？

You're doing it for the task itself,

我做这一切是为了这个经历本身的价值

for the challenge --

为了这个挑战──

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

而大海就是最富挑战的环境，

for the thrill of discovery,

我做这一切也是为了探索发现的惊奇感，

and for that strange bond that happens

为了那种一小群人组成一个紧密的团队时

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

所撞击出的奇妙的凝聚力。

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

因为每一次我们都会和10到12个人

working for years at a time,

一起工作上几个年头。

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

有时要在海上呆上个2-3个月。

And in that bond, you realize

而在那种凝聚力下，你意识到

that the most important thing

最重要的事情

is the respect that you have for them

就是你与他们

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

彼此之间的尊敬，你们共同完成了一个

that you can't explain to someone else.

无法向他人解释的任务。

When you come back to the shore and you say,

当你回到海岸上，你会说：

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

“我们需要做这个，这个光学纤维，这个电律衰减，

and the this and the that,

还有这个、那个。”

all the technology of it, and the difficulty,

各项技术、其中的难度、

the human-performance aspects of working at sea,"

海上作业的工作效率──

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

这些都是你无法向他人解释的。这就好像那些

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

同甘共苦过的警察、战士一样，他们知道

and they know they can never explain it.

他们是无法向其他人解释其中的经历的。

Creates a bond, creates a bond of respect.

创造一个凝聚力，创造一个充满尊重之情的凝聚力。

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

所以当我回来制作我的下一部电影

which was "Avatar,"

《阿凡达》的时候，

I tried to apply that same principle of leadership,

我试着应用同样的领导信条──

which is that you respect your team,

尊敬你的团队，

and you earn their respect in return.

他们才会回过头来尊敬你。

And it really changed the dynamic.

而这一信条的确是改变了团队的活力。

So, here I was again with a small team,

我再次和一个小团队走到了一起

in uncharted territory,

共同前往未知的领域

doing "Avatar," coming up with new technology

制作《阿凡达》，创造不曾存在过的

that didn't exist before.

新科技。

Tremendously exciting.

振奋人心。

Tremendously challenging.

充满挑战。

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

在四年半的时间里，我们变成了一个大家庭。

And it completely changed how I do movies.

这个经历彻底改变了我制作电影的方式。

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

人们评论说：你把海底生物

you brought back the ocean organisms

带回到人们视野中来

and put them on the planet of Pandora."

放到了潘朵拉这个星球上。

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

对于我而言，更侧重于做事的基本法则

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

和这个过程本身，从而改变了事情的结果。

So, what can we synthesize out of all this?

所以我们从这一切中得到了什么呢？

You know, what are the lessons learned?

学到了哪些东西呢？

Well, I think number one is

我觉得第一点就是

curiosity.

好奇心。

It's the most powerful thing you own.

这是你所拥有的最有力的东西。

Imagination is a force

想象力是一种力量

that can actually manifest a reality.

一种可以反映现实的力量。

And the respect of your team

而你团队对你的尊敬

is more important than all the

要比这个世界上所有其他的桂冠

laurels in the world.

都要重要。

I have young filmmakers

有时年轻电影导演

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

会问我：“给我一些电影方面的建议。”

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

我的回答是：“不要局限你自己。

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

别人会来局限你，会为你去划边界，但你不要自己局限自己。

don't bet against yourself,

不要赌自己会输。

and take risks."

要敢于冒险。”

NASA has this phrase that they like:

美国航空局有一则他们很喜欢的名言：

"Failure is not an option."

“失败不是一个选项。”

But failure has to be an option

但在艺术和探险中，

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

失败必定是个选项，因为这些都需要敢于挑战的信心。

And no important endeavor

没有哪个需要创新的

that required innovation

重要奋斗

was done without risk.

是在没有风险的条件下完成的。

You have to be willing to take those risks.

你必须愿意承担这些风险。

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

而这就是我所想要留给你们的启迪：

is that in whatever you're doing,

无论你做什么，

failure is an option,

失败都是其中一个选项，

but fear is not. Thank you.

但畏惧却不是。谢谢你们。

(Applause)

（掌声）