How I accidentally changed the way movies get made | Franklin Leonard

翻译人员: jacks peng 校对人员: Tianji (Homer) Li

This weekend,

这个周末，

tens of millions of people in the United States

不论在美国，

还是在世界上其他地方——

and tens of millions more around the world,

in Columbus, Georgia, in Cardiff, Wales,

佐治亚州的哥伦布， 威尔士的加的夫，

in Chongqing, China, in Chennai, India

中国的重庆，印度的钦奈，

will leave their homes,

不计其数的人将走出家门，

they'll get in their cars or they'll take public transportation

钻进自己的车里， 或乘坐公共交通工具，

or they will carry themselves by foot,

亦或者步行前往

and they'll step into a room

一个巨大的房间，

and sit down next to someone they don't know

与一群素不相识的人坐在一起，

or maybe someone they do,

其中也可能有他们的熟人，

and the lights will go down and they'll watch a movie.

随后灯火将熄灭，电影开始放映。

They'll watch movies about aliens or robots,

他们会看关于外星人或机器人，

or robot aliens or regular people.

或机器外星人或普通人的电影。

But they will all be movies about what it means to be human.

但他们都是关于做人的电影。

Millions will feel awe or fear,

数百万人会感到震慑或恐惧，

millions will laugh and millions will cry.

数百万人会笑，数百万人会哭。

And then the lights will come back on,

然后灯火将重新打开，

and they'll reemerge into the world they knew several hours prior.

他们会回到他们以前认识的世界。

And millions of people will look at the world

这数千万人看世界的方式

a little bit differently than they did when they went in.

将会与他们看电影前有所不同。

Like going to temple or a mosque or a church,

跟去寺庙或清真寺或教堂

or any other religious institution,

或任何其他宗教机构一样，

movie-going is, in many ways, a sacred ritual.

从很多方面来说，看电影 是一个神圣的仪式。

Repeated week after week after week.

一周又一周的重复。

I'll be there this weekend,

我这个周末就会去那。

just like I was on most weekends between the years of 1996 and 1990,

就跟我在1996年至1990年 间的大多数周末一样，

at the multiplex, near the shopping mall

去购物中心附近的综合电影院，

about five miles from my childhood home in Columbus, Georgia.

距离我在佐治亚州哥伦布的 故居约5英里的地方。

The funny thing is that somewhere between then and now,

有趣的是从那时到 现在的某个阶段，

I accidentally changed part of the conversation

我偶然改变了哪些电影该被制作

about which of those movies get made.

的部分谈话。

So, the story actually begins in 2005, in an office high above Sunset Boulevard,

故事实际开始于2005年， 在日落大道上方的办公室，

where I was a junior executive

在那我是莱昂纳多·迪卡普里奥的

at Leonardo DiCaprio's production company Appian Way.

制片公司Appian Way的初级管理者。

And for those of you who aren't familiar with how the film industry works,

对那些不熟悉电影产业 运作方式的人来说，

it basically means that I was one of a few people behind the person

这基本上意味着我是在幕后

who produces the movie for the people behind and in front of the camera,

为导演和演员制作电影的少数人之一，

whose names you will better recognize than mine.

你会更容易认出他们的名字。

Essentially, you're an assistant movie producer who does the unglamorous work

从本质上说，你是一 个助理电影制片人， 你的工作是在制作一部电影的

that goes into the creative aspect of producing a movie.

创意方面做一些单调乏味的工作。

You make lists of writers and directors and actors

你会列出一个名单， 上面有编剧、导演和演员，

who might be right for movies that you want to will into existence;

都是你认为适合某部电影的人选；

you meet with many of them and their representatives,

你会见他们中的很多人 或他们的代表，

hoping to curry favor for some future date.

希望为将来的合作创造机会。

And you read, a lot.

你还会读很多东西，

You read novels that might become movies,

读可以成为电影的小说，

you read comic books that might become movies,

漫画、

文章、

you read articles that might become movies,

you read scripts that might become movies.

剧本。

And you read scripts from writers that might write the adaptations

你还阅读一些编剧的剧本，

of the novels, of the comic books, of the articles,

他们未来也许会将小说、漫画或文章 改变成电影剧本，

and might rewrite the scripts that you're already working on.

可能还会重写你已经 看中的剧本。

All this in the hope of finding the next big thing

你做的这一切都为了 寻找下一个大作品，

or the next big writer who can deliver something

或下一个可以让你和你的公司

that can make you and your company the next big thing.

变成大热门的下一个伟大编剧。

So in 2005, I was a development executive at Leonardo's production company.

所以在2005年，我是莱昂纳多 制作公司的一名开发主管。

I got a phone call from the representative of a screenwriter

我接到一位来自编剧代表的电话，

that began pretty much the way all of those conversations did:

电话的开头还蛮老套的：

"I've got Leo's next movie."

“我有莱昂下部电影的剧本。”

Now in this movie, that his client had written,

由他客户所写的这个电影讲述了 这个故事：

Leo would play an oil industry lobbyist

莱昂将扮演石油行业的政治说客，

whose girlfriend, a local meteorologist, threatens to leave him

他的女友，一个当地气象学家， 威胁要离开他，

because his work contributes to global warming.

因为他的工作引起了世界变暖。

And this is a situation that's been brought to a head

这一情况已经到了紧要关头，

by the fact that there's a hurricane forming in the Atlantic

因为大西洋上正在形成飓风，

that's threatening to do Maria-like damage from Maine to Myrtle Beach.

对从缅因州到莫特尔海滩都会有有 类似玛利亚飓风的破坏。

莱昂对这突如其来的分手 感到非常难过，

Leo, very sad about this impending break up,

does a little more research about the hurricane

他对飓风就多做了点研究后

and discovers that in its path across the Atlantic,

发现在其经过大西洋的途中，

it will pass over a long-dormant, though now active volcano

它将经过一个休眠已久的 活火山，

that will spew toxic ash into its eye

其有毒的灰烬将 喷射到飓风眼中

that will presumably be whipped into some sort of chemical weapon

可能会形成潜在的化学武器

that will destroy the world.

将会摧毁世界。

(Laughter)

（笑声）

It was at that point that I asked him,

就在那时，我问他，

"So are you basically pitching me 'Leo versus the toxic superstorm

“所以你是在向我推荐 ‘莱昂对抗将会摧毁人类的

that will destroy humanity?'"

有毒超级风暴吗？'"

And he responded by saying,

他回答说，

"Well, when you say it like that, it sounds ridiculous."

“你这样说，听起来是有些荒谬。”

And I'm embarrassed to admit that I had the guy send me the script,

这很尴尬，但我承认我最后 还是让那个人给我发了剧本，

and I read 30 pages before I was sure that it was as bad as I thought it was.

我读了30页，确定了 它真有我想的那么糟糕。

Now, "Superstorm" is certainly an extreme example,

现在， “超级风暴“肯定是 一个极端的例子，

but it's also not an unusual one.

但它也并非不寻常。

And unfortunately, most scripts aren't as easy to dismiss as that one.

不幸的是，大多剧本并不像它 没那么容易确定不要。

For example, a comedy about a high school senior,

例如，一部关于高中 毕业生的喜剧电影，

who, when faced with an unplanned pregnancy,

她，在面对意外怀孕时，

makes an unusual decision regarding her unborn child.

对未出生的孩子 做了个不寻常的决定。

That's obviously "Juno."

那电影显然是“朱诺”。

Two hundred and thirty million at the worldwide box office,

全球票房2亿3千万，

four Oscar nominations, one win.

四项奥斯卡提名，获胜一项。

How about a Mumbai teen who grew up in the slums

那么一个从小在贫民窟 长大的孟买青年

wants to become a contestant on the Indian version

想要在印度版的《百万富翁》

of "Who Wants To Be A Millionaire?"?

中胜出的故事呢？

That's an easy one -- "Slumdog Millionaire."

这很简单——“贫民窟的百万富翁。”

Three hundred seventy-seven million worldwide,

全球票房3亿7千万，

10 Oscar nominations and eight wins.

10项奥斯卡提名奖，获胜8项。

A chimpanzee tells his story

一只黑猩猩讲述

of living with the legendary pop star Michael Jackson.

它和传奇歌星迈克尔·杰克逊 生活在一起的故事。

Anyone?

有人知道吗？

(Laughter)

（笑声）

It's a trick question.

这是个棘手的问题。

But it is a script called "Bubbles,"

但这是一个名叫“气泡”的剧本，

that is going to be directed by Taika Waititi,

将由塔伊加·维迪提执导，

the director of "Thor: Ragnarok."

他是《雷神:诸神黄昏》的导演。

So, a large part of your job as a development executive

所以，作为开发主管的 很大部分工作是

is to separate the "Superstorms" from the "Slumdog Millionaires,"

区分《超级风暴》和 《贫民窟的百万富翁》，

and slightly more generally, the writers who write "Superstorm"

稍微更普遍地说， 是把写作《超级风暴》的编剧

from the writers who can write "Slumdog Millionaire."

和能写作《贫民窟的百万富翁》 的编剧区分出来。

And the easiest way to do this, obviously, is to read all of the scripts,

最简单的方法显然是 阅读所有剧本，

but that's, frankly, impossible.

但这个，坦诚说，不可能。

A good rule of thumb is that the Writers Guild of America

根据经验数据，美国剧作家协会

registers about 50,000 new pieces of material every year,

每年会登记大约5万个新作品，

and most of them are screenplays.

其中大部分是电影剧本。

Of those, a reasonable estimate is about 5,000 of them

其中，合理估计有5000件

make it through various filters, agencies, management companies,

通过了各种筛选， 如代理、管理公司、

screenplay compositions and the like,

剧本创作机构等等，

and are read by someone at the production company

被制作公司或

or major studio level.

主流电影公司的人阅读。

And they're trying to decide whether they can become

那些人正考虑着这些剧本是否能成为

one of the 300-and-dropping movies that are released by the major studios

每年由各大电影公司 或旗下品牌发行的

or their sub-brands each year.

300部左右的电影之一。

I've described it before

我之前说过，

as being a little bit like walking into a members-only bookstore

这有点像走进一家会员制书店，

where the entire inventory is just organized haphazardly,

所有的书都是随意摆放的，

and every book has the same, nondescript cover.

每本书的封面都是 一样的平淡无奇·。

Your job is to enter that bookstore

你的工作是进入那个书店，

and not come back until you've found the best and most profitable books there.

除非你在那里找到了最好、 最赚钱的书，否则就不要出来。

It's anarchic and gleefully opaque.

它是暗无天日的一种不透明状态。

And everyone has their method to address these problems.

每个人都有自己的方法 解决这些问题。

You know, most rely on the major agencies

你知道，大多数依靠主要代理机构，

and they just assume that if there's great talent in the world,

他们会假设那些有才之人

they've already found their way to the agencies,

已经找到通向代理的门路了，

regardless of the structural barriers that actually exist

无视摆在进入代理机构

to get into the agencies in the first place.

门前的结构性障碍。

Others also constantly compare notes among themselves

其他人则不断比较 彼此之间的笔记，

about what they've read and what's good,

关于他们读过的、好的剧本

and they just hope that their cohort group is the best, most wired

他们只希望自己的群体 是最好的，最努力的，

and has the best taste in town.

最有品味的。

And others try to read everything, but that's, again, impossible.

其他人则试着读所有的剧本， 但这是不可能的。

If you're reading 500 screenplays in a year,

如果你在一年读500个剧本，

you are reading a lot.

你就读太多了。

And it's still only a small percentage of what's out there.

但它仍然只是市面上的一小部分。

Fundamentally, it's triage.

从根本上来说，这是分类。

And when you're in triage, you tend to default to conventional wisdom

当你在分类的时候， 你会自动默认传统智慧中

about what works and what doesn't.

什么有效，什么无效。

That a comedy about a young woman dealing with reproductive reality

一部关于年轻女人面对 生育现实的喜剧

can't sell.

毫无卖点。

That the story of an Indian teenager isn't viable in the domestic marketplace

一个印度青少年的故事在国内市场

or anywhere else in the world outside of India.

或印度以外的任何地方都不可行。

That the only source of viable movies is a very narrow groups of writers

可行电影的唯一来源 来自于已经在好莱坞

who have already found their way to living and working in Hollywood,

熟门熟路的那一小群编剧，

who already have the best representation in the business,

他们在商业中已经有了最好的代表作，

and are writing a very narrow band of stories.

他们写的故事，也没什么新意。

And I'm somewhat embarrassed to admit, that that's where I found myself in 2005.

我有点不好意思承认， 那是在2005年我发现自己所处的境地。

Sitting in that office above Sunset Boulevard,

坐在日落大道上的 那间办公室里，

staring down that metaphorical anonymized bookstore,

俯视着那家暗喻的匿名书店，

and having read nothing but bad scripts for months.

几个月来除了糟糕的剧本什么都没读。

And I took this to mean one of two things:

我认为这意味着两件事中的一件：

either A: I was not very good at my job,

第一：我并不擅长我的工作，

which was, ostensibly, finding good scripts,

那就是，找到好的剧本，

or B: reading bad scripts was the job.

第二：我的工作就是阅读不好的剧本。

In which case, my mother's weekly phone calls,

在这种情况下，我母亲 每周给我打电话，

asking me if my law school entrance exam scores were still valid

询问我的法学院入学考试成绩 是否仍然有效，

was something I should probably pay more attention to.

可能是我应该更加关注的事情。

我也知道

What I also knew

我将要度假两周，

was that I was about to go on vacation for two weeks,

工作时读烂剧本已经够糟糕的，

and as bad as reading bad scripts is when it is your job,

度假的时候读它们更可怕。

it's even more painful on vacation.

So I had to do something.

所以我必须做点啥。

So late one night at my office, I made a list

一天晚上在我的办公室， 我做了一份清单，

of everyone that I had had breakfast, lunch, dinner or drinks with

上面有与我吃过早餐，午餐， 晚餐和一起喝过酒，

that had jobs similar to mine, and I sent them an anonymous email.

跟我有类似工作的人， 我给他们发了一封匿名电邮。

And I made a very simple request.

我有一个非常简单的请求。

Send me a list of up to 10 of your favorite screenplays

请列出上至10个你最喜欢的剧本，

that meet three criteria.

它们要符合三个标准。

One: you love the screenplay,

第一：你喜欢这个剧本，

two: the filmed version of that screenplay will not be in theaters

第二：该剧本的电影将不会在

by the end of that calendar year,

当年年底上映，

and three: you found out about the screenplay this year.

第三：这是你今年发现的剧本。

This was not an appeal for the scripts that would be the next great blockbuster,

这不是对下一部大作的呼吁，

not an appeal for the scripts that will win the Academy Award,

也不是对将赢得奥斯卡 大作的呼吁，

they didn't need to be scripts that their bosses loved

它们也不必要是老板们 钟爱的剧本

or that their studio wanted to make.

或他们工作室想要制作的剧本。

It was very simply an opportunity for people to speak their minds

这只是个简单的机会让人们

about what they loved,

说出他们所喜爱的，

which, in this world, is increasingly rare.

这点，在这个世界越来越稀罕了。

Now, almost all of the 75 people I emailed anonymously responded.

几乎所有75个我匿名 邮件的人都回应了。

And then two dozen other people actually emailed to participate

另外还有24个人发邮件

to this anonymous email address,

参与到这个匿名的邮件往来，

but I confirmed that they did in fact have the jobs they claimed to have.

但我确认他们确实拥有 他们声称拥有的工作。

然后我把投票整理成电子表格，

And I then compiled the votes into a spreadsheet,

ran a pivot table, output it to PowerPoint,

做了点透视图，把结果放到PPT中，

and the night before I left for vacation,

在我离开度假前那晚，

I slapped a quasi subversive name on it

我给它起了个颠覆性的名字，

and emailed it back from that anonymous email address

通过匿名邮件地址发还给

to everyone who voted.

参与投票的每个人。

The Black List.

我把它称为“黑名单”。

A tribute to those who lost their careers during the anti-communist hysteria

它是向20世纪40年代和50年代在 反共狂潮中失去事业

of the 1940s and 50s,

的人们的致敬，

and a conscious inversion of the notion

这是一种意识上的颠覆，

that black somehow had a negative connotation.

即黑在某种程度上有负面含义。

After arriving in Mexico, I pulled out a chair by the pool,

抵达墨西哥之后， 我在泳池旁边拉出一把椅子，

started reading these scripts and found, to my shock and joy,

开始阅读这些剧本， 我惊喜 地发现，

that most of them were actually quite good.

大多剧本其实是不错的。

Mission accomplished.

任务完成。

What I didn't and couldn't have expected

我没有和没能想到的是

was what happened next.

下来发生的事情。

About a week into my time on vacation,

我度假大约一个星期。

I stopped by the hotel's business center to check my email.

我在酒店的商业中心 停下来检查我的邮件。

This was a pre-iPhone world, after all.

这是苹果手机的之前世界，毕竟。

And found that this list that I had created anonymously

我发现我匿名创造的清单

had been forwarded back to me several dozen times,

被转发给我几十次，

at my personal email address.

到我个人的电邮地址中。

Everyone was sharing this list of scripts that everyone had said that they loved,

每个人都在分享这个剧本的清单， 因为他人的喜爱，

reading them and then loving them themselves.

在自己阅读了剧本之后， 也喜欢上了它们。

And my first reaction, that I can't actually say here,

我的第一反应是， 我不能这儿说，

but will describe it as fear,

但是我将形容它为恐惧，

the idea of surveying people about their scripts

调查人们对剧本的想法

was certainly not a novel or a genius one.

当然不是一个新奇或天才的主意。

Surely, there was some unwritten Hollywood rule of omertà

当然，好莱坞有一些 不成文的“默尔塔法则”，

它曾引导人们远离这类行为，

that had guided people away from doing that before

that I was simply too naive to understand, it being so early in my career.

当时我还太幼稚，无法理解， 因为那是我职业生涯的早期。

I was sure I was going to get fired,

我确信我会被解雇，

and so I decided that day that A: I would never tell anybody

所以那天我决定了 A：我永远不告诉任何人

that I had done this,

是我写的这个清单，

and B: I would never do it again.

B:我永远不再做这个了。

Then, six months later, something even more bizarre happened.

然后，六个月之后， 更奇怪的事情发生了。

I was in my office, on Sunset,

我在我的办公室，在日落大街，

and got a phone call from another writer's agent.

一个编剧的经纪人给我打电话。

The call began very similarly to the call about "Superstorm":

电话的开场非常相似“超级风暴”：

"I've got Leo's next movie."

“我有莱昂下部电影的剧本。”

Now, that's not the interesting part.

现在，这不是有趣的部分。

The interesting part was the way the call ended.

有趣的部分是电话结束的方式。

Because this agent then told me, and I quote,

因为这个经纪人随后 告诉我，我引用下，

"Don't tell anybody, but I have it on really good authority

“别告诉任何人， 但是我非常确信

this is going to be the number one script on next year's Black List."

这将会是来年 黑名单上的头号脚本。“

(Laughter)

（笑声）

Yeah.

是啊。

Suffice it to say, I was dumbfounded.

我只能说，我傻眼了。

Here was an agent, using the Black List, this thing that I had made anonymously

这个代理人，使用了 黑名单，这个我匿名做的

and decided to never make again,

并决定不再做的东西，

to sell his client to me.

来把他的客户推销给我。

To suggest that the script had merit,

推荐的理由是仅因为这个剧本有可能

based solely on the possibility of being included on a list of beloved screenplays.

会被列入受人喜爱的剧本清单中。

After the call ended, I sat in my office, sort of staring out the window,

电话结束了之后，我在办公室里， 盯着窗外，

alternating between shock and general giddiness.

处于震惊和昏眩之间。

And then I realized that this thing that I had created

然后我意识到我创作的这件事

had a lot more value

远比我在假期中

than just me finding good screenplays to read over the holidays.

找到好的剧本来读要更具价值。

And so I did it again the next year --

所以我来年又做了这个 --

and the "LA Times" had outed me as the person who had created it --

而“洛杉矶时报”泄露了 我是它的创作者--

and the year after that,

而在那之后的一年，

and the year after that -- I've done it every year since 2005.

而在那之后的一年-- 自2005年以来我每年都做了。

And the results have been fascinating,

结果很迷人，

because, unapologetic lying aside, this agent was exactly right.

因为，无须解释 ，这个 经纪人是完全正确的。

This list was evidence, to many people, of a script's value,

这份清单代表了一个剧本的价值，

and that a great script had greater value

证明了一部好剧本会有

that, I think, a lot of people had previously anticipated.

比人们预期的更大的价值。

Very quickly, the writers whose scripts were on that list

那些在清单上的剧作家

started getting jobs,

开始找到了工作，

those scripts started getting made,

这些剧本开始被制作，

and the scripts that got made

那些被选中的剧本

were often the ones that violated the assumptions

往往是那些违背了

about what worked and what didn't.

什么有效和无效假设的剧本。

They were scripts like "Juno" and "Little Miss Sunshine"

比如说《朱诺》，《阳光小美女》，

and "The Queen" and "The King's Speech"

《女王》，《国王的演讲》

and "Spotlight."

和 《聚光灯》这样的剧本。

And yes, "Slumdog Millionaire."

是的，《贫民窟的百万富翁》。

And even an upcoming movie about Michael Jackson's chimpanzee.

甚至还包括即将到来的关于 迈克尔·杰克逊的黑猩猩的电影。

Now, I think it's really important that I pause here for a second

现在，我想在这有必要停顿一下，

and say that I can't take credit for the success of any of those movies.

这些电影的成功不能归功于我。

I didn't write them, I didn't direct them, I didn't produce them, I didn't gaff them,

我不是编剧，也不是导演， 我也没有参与制作，我也不是灯光师，

I didn't make food and craft service --

我也没有给演员提供餐饮服务——

we all know how important that is.

我们都知道这个多么重要。

The credit for those movies, the credit for that success,

这些电影，这些成功，

goes to the people who made the films.

归功于制造电影的人们。

What I did was change the way people looked at them.

我做的是改变人们看待它们的方法。

Accidentally, I asked if the conventional wisdom was correct.

无意中，我挑战了传统的智慧是否正确。

And certainly, there are movies on that list that would have gotten made

当然，没有黑名单， 在清单上的有些电影

without the Black List,

本来也会被制作，

but there are many that definitely would not have.

但肯定有很多不会被制作。

And at a minimum, we've catalyzed a lot of them into production,

至少，我们催化了 很多剧本进入制作阶段，

and I think that's worth noting.

我认为这是值得注意的。

There have been about 1,000 screenplays on the Black List

自2005年推出以来，黑名单上有

since its inception in 2005.

大约1000个剧本。

About 325 have been produced.

大约325已经被制作了。

They've been nominated for 300 Academy Awards,

其中共获得300奥斯卡提名,

they've won 50.

赢得50项奖。

Four of the last nine Best Pictures have gone to scripts from the Black List,

最近的9部最佳影片中， 有4部来自黑名单的剧本，

and 10 of the last 20 screenplay Oscars have gone to scripts from the Black List.

最近的20项奥斯卡最佳编剧奖中， 有10项来自黑名单。

All told, they've made about 25 billion dollars

加起来，它们全球票房的总收入

in worldwide box office,

为250亿美元，

which means that hundreds of millions of people

意味着有数亿人

have seen these films when they leave their homes,

离开家，坐在他们不认识的人身边，

and sit next to someone they don't know and the lights go down.

关灯看了这些电影。

And that's to say nothing of post-theatrical environments

就更不必说院线外的诸如

like DVD, streaming and, let's be honest, illegal downloads.

DVD和流媒体，非法下载这些渠道了。

Five years ago today, October 15,

5年前的今天，10月15号，

my business partner and I doubled down on this notion

我和我的商业伙伴都坚信，

that screenwriting talent was not where we expected to find it,

剧本创作人才并不在 我们预料得到的地方，

and we launched a website that would allow anybody on earth

我们推出了一个网站，

who had written an English-language screenplay

允许世上任何写了英语剧本的人

to upload their script, have it evaluated,

上传他们的本子，让它获得评估，

and make it available to thousands of film-industry professionals.

并将其提供给成千上万的 电影行业专业人士。

And I'm pleased to say, in the five years since its launch,

我很高兴地说，自推出5年以来，

we've largely proved that thesis.

我们在很大程度上 证明了这个观点。

Hundreds of writers from across the world have found representation,

来自世界各地的数百名编剧 已经找到了代表，

have had their work optioned or sold.

他们的作品被选中或买下。

Seven have even seen their films made in the last three years,

有7个人在过去的3年里 已经制作了他们的电影，

包括一部叫《夜莺》的电影，

including the film "Nightingale,"

关于一位老兵心理衰退的故事，

the story of a war veteran's psychological decline,

在这部90分钟的电影里， 大卫·奥伊罗是唯一出现在

in which David Oyelowo's face is the only one on screen

for the film's 90-minute duration.

大荧幕上的演员。

It was nominated for a Golden Globe and two Emmy Awards.

它获得一个金球奖和两个艾美奖的提名 。

It's also kind of cool that more than a dozen writers

还有一件很酷的事， 因为这个网站而被发现的

who were discovered on the website

十几位编剧都出现在了

have ended up on this end-of-year annual list,

这个年终年度榜单上，

including two of the last three number one writers.

是过去三年中”最佳编剧“之中的两位。

Simply put, the conventional wisdom about screenwriting merit --

简单地说，关于剧本价值的 传统智慧 --

where it was and where it could be found,

它在哪里以及它可以在哪里找到，

was wrong.

是错误的。

And this is notable, because as I mentioned before,

这是值得注意的， 因为正如我之前提到，

in the triage of finding movies to make and making them,

在寻找电影和制作的分类中，

there's a lot of relying on conventional wisdom.

有太多依靠传统智慧。

And that conventional wisdom,

而那个传统的智慧，

maybe, just maybe,

可能，只可能，

might be wrong to even greater consequence.

可能会有导致更大的问题。

Films about black people don't sell overseas.

黑人的电影在海外不热销 。

Female-driven action movies don't work,

女性主导的动作片没戏，

because women will see themselves in men, but men won't see themselves in women.

因为女人通过男人会看到自己， 但男人不会从女人中看到自己。

That no one wants to see movies about women over 40.

没有人想看40岁以上的女性电影。

That our onscreen heroes have to conform to a very narrow idea about beauty

我们的银幕英雄 必须遵从我们认为

that we consider conventional.

传统的关于美的狭隘观念。

What does that mean when those images are projected 30 feet high

当这些图像被投射到30英尺 高的地方，灯光熄灭，

and the lights go down,

对像我这样在乔治亚州 哥伦布市长大的孩子

for a kid that looks like me in Columbus, Georgia?

Or a Muslim girl in Cardiff, Wales?

或者是威尔士加的夫的一个穆斯林女孩，

或者钦奈的同性恋，

Or a gay kid in Chennai?

What does it mean for how we see ourselves

这对我们如何看自己意味着什么？

and how we see the world and for how the world sees us?

这对如何看待世界和世界如何看待我们， 意味着什么？

We live in very strange times.

我们生活在很奇怪的时代。

And I think for the most part, we all live in a state of constant triage.

我认为在很大程度上，我们都生活在 一个不断筛选的状态中。

There's just too much information,

有太多信息，

too much stuff to contend with.

太多的东西要处理。

And so as a rule, we tend to default to conventional wisdom.

因此我们倾向于默认传统智慧。

And I think it's important that we ask ourselves, constantly,

我认为我们需要不断地扪心自问

how much of that conventional wisdom is all convention and no wisdom?

传统智慧中有多少只是 传统的，却无智慧的？

And at what cost?

还有代价是什么？

Thank you.

谢谢。

（鼓掌）

(Applause)