The clues to a great story | Andrew Stanton | TED

譯者: Kai Cheong Chan 審譯者: Joyce Chou

A tourist is backpacking

安德魯史丹頓:一名背包客

through the highlands of Scotland,

在蘇格蘭高地旅遊，

and he stops at a pub to get a drink.

在一家酒館停下來喝一杯。

And the only people in there is a bartender

那裡只有酒保

and an old man nursing a beer.

和一位喝著啤酒的老人家。

And he orders a pint, and they sit in silence for a while.

背包客點了杯啤酒，他們默默然坐了一會。

And suddenly the old man turns to him and goes,

忽然間，老人家轉向他說，

"You see this bar?

"看到這家酒吧嗎?

I built this bar with my bare hands

我用上全縣最好的木材

from the finest wood in the county.

憑雙手建成這家酒吧。

Gave it more love and care than my own child.

給它比給我兒子更多的愛和關心。

But do they call me MacGregor the bar builder? No."

但他們會稱呼我酒吧建造者MacGregor嗎?不會。"

Points out the window.

指向窗外。

"You see that stone wall out there?

"你看見外面那石牆嗎?

I built that stone wall with my bare hands.

我赤手築起的石牆。

Found every stone, placed them just so through the rain and the cold.

找來每塊石頭，歷盡雨水和寒冷把它們疊起來。

But do they call me MacGregor the stone wall builder? No."

但他們會稱呼我石牆建造者MacGregor嗎?不會。"

Points out the window.

指向窗外。

"You see that pier on the lake out there?

你看見外面湖邊那碼頭嗎?

I built that pier with my bare hands.

我赤手築成那碼頭。

Drove the pilings against the tide of the sand, plank by plank.

迎著浪把樁柱，一枝枝的，打進湖底沙中。

But do they call me MacGregor the pier builder? No.

但他們會稱呼我碼頭建造者MacGregor嗎?不會。

But you fuck one goat ... "

但你和一頭羊性交..."

(Laughter)

(笑聲)

Storytelling --

說故事 --

(Laughter)

(笑聲)

is joke telling.

就是說笑話。

It's knowing your punchline,

那是知道你的笑點，

your ending,

你故事的結局，

knowing that everything you're saying, from the first sentence to the last,

知道你所說的一切，從第一到最後的一句話，

is leading to a singular goal,

都是朝著單一目標，

and ideally confirming some truth

理想地也確認一些真理

that deepens our understandings

以加深我們對自己

of who we are as human beings.

作為人類的認識。

We all love stories.

我們都愛聽故事。

We're born for them.

我們為它們而來到這個世界。

Stories affirm who we are.

故事肯定我們是什麼的人。

We all want affirmations that our lives have meaning.

我們都想得到生命是有意義的肯定。

And nothing does a greater affirmation

沒有其他東西可比

than when we connect through stories.

用故事把我們連結起來帶來更大的肯定。

It can cross the barriers of time,

它可穿越時間，

past, present and future,

過去、現在和未來的障礙，

and allow us to experience

讓我們可透過其他人，

the similarities between ourselves

真實的或想像的，

and through others, real and imagined.

去感受彼此的異同。

The children's television host Mr. Rogers

兒童電視節目主持人Rogers先生

always carried in his wallet

在他的錢包裡經常帶著

a quote from a social worker

社會工作者的一句說話

that said, "Frankly, there isn't anyone you couldn't learn to love

它說:"坦白說，當你聽過他們的故事後，

once you've heard their story."

沒有任何人你不能學會去愛他的。"

And the way I like to interpret that

我喜歡用來演譯它的方式是

is probably the greatest story commandment,

說故事的誡條最重要的

which is "Make me care" --

是"令我關心" --

please, emotionally,

請你，在感情上、

intellectually, aesthetically,

理智上和美學上

just make me care.

令我關心。

We all know what it's like to not care.

我們都知道毫不在乎是怎樣的。

You've gone through hundreds of TV channels,

你逐一頻道地

just switching channel after channel,

轉換了數百個電視頻道，

and then suddenly you actually stop on one.

然後突然停在某一頻道上。

It's already halfway over,

它已播放了一半，

but something's caught you and you're drawn in and you care.

但有些東西吸引到你令你關心。

That's not by chance,

這並非偶然，

that's by design.

而是經過精心設計的。

So it got me thinking, what if I told you my history was story,

這令我反省，如果我把要告訴你我的歷史作為故事，

how I was born for it,

我如何為它來到這個世界，

how I learned along the way this subject matter?

如何在過程中不斷學習這個題材?

And to make it more interesting,

為使它更有趣，

we'll start from the ending

我會從結局開始

and we'll go to the beginning.

然後回到起點。

And so if I were going to give you the ending of this story,

如果我要先給你這個故事的結局，

it would go something like this:

它會是像這樣:

And that's what ultimately led me

這亦是最終令我

to speaking to you here at TED

在TED這裡

about story.

說給各位聽的故事。

And the most current story lesson that I've had

我最近的故事課是

was completing the film I've just done

剛在今年2012

this year in 2012.

完成那一部電影。

The film is "John Carter." It's based on a book called "The Princess of Mars,"

電影名叫"異星爭霸戰：尊卡特傳奇"(John Carter)。它根據Edgar Rice Burroughs所寫

which was written by Edgar Rice Burroughs.

一本叫"火星公主"(The Princess of Mars")的書拍成。

And Edgar Rice Burroughs actually put himself

Edgar Rice Burroughs 亦在電影內

as a character inside this movie, and as the narrator.

扮演一個角色和擔任旁白。

And he's summoned by his rich uncle, John Carter, to his mansion

他富有的叔叔，尊卡特，發電報傳召他去他的豪宅

with a telegram saying, "See me at once."

電報上說，"立刻前來見我。"

But once he gets there,

當他去到那裡，

he's found out that his uncle has mysteriously passed away

他發現叔叔神秘地去世了

and been entombed in a mausoleum on the property.

被埋在自有的陵墓內

(Video) Butler: You won't find a keyhole.

(影片)管家:你不會找到匙孔的。

Thing only opens from the inside.

它只能從裡面打開。

He insisted,

他堅持，

no embalming, no open coffin,

不做防腐處理，不開棺，

no funeral.

不舉行葬禮。

You don't acquire the kind of wealth your uncle commanded

如果是像我們一樣的人

by being like the rest of us, huh?

你不會得到你叔叔支配的那樣的財富，是吧?

Come, let's go inside.

來，我們進去看看。

AS: What this scene is doing, and it did in the book,

這一幕，在書中也同樣出現，有什麼目的呢?

is it's fundamentally making a promise.

它基本上是作出一個承諾。

It's making a promise to you

它向你作出一個承諾

that this story will lead somewhere that's worth your time.

故事會領你到某處理值得你花時間的地方。

And that's what all good stories should do at the beginning, is they should give you a promise.

這是所有優秀故事開始時都應做的，給你一個承諾。

You could do it an infinite amount of ways.

你可有無盡的方法去做。

Sometimes it's as simple as "Once upon a time ... "

有時只是簡單地"很久以前..."

These Carter books always had Edgar Rice Burroughs as a narrator in it.

這些卡特的書裡面都有Edgar Rice Burroughs 作為旁白。

And I always thought it was such a fantastic device.

我經常覺得這是一個很棒的工具。

It's like a guy inviting you around the campfire,

就像有人邀請你加入營火晚會，

or somebody in a bar saying, "Here, let me tell you a story.

或酒吧中有人說，"讓我給你說個故事。

It didn't happen to me, it happened to somebody else,

它並非發生在我身上，而是在另一個人身上，

but it's going to be worth your time."

但它值得你花時間聽聽。"

A well told promise

一個說得好的承諾

is like a pebble being pulled back in a slingshot

就像拉彈弓的石子

and propels you forward through the story

並推動你前進

to the end.

直至故事的結局。

In 2008,

2008年，

I pushed all the theories that I had on story at the time

我把當時對故事的所有理論

to the limits of my understanding on this project.

在這項目上推到我能理解的極限

(Video) (Mechanical Sounds)

(影片)(機械音響)

♫ And that is all ♫

♫這就是♫

♫ that love's about ♫

♫愛的意義♫

♫ And we'll recall ♫

♫我們會♫

♫ when time runs out ♫

♫在時間消逝後♫

♫ That it only ♫

♫記得它♫

(Laughter)

(笑聲)

AS: Storytelling without dialogue.

沒有對話地說故事。

It's the purest form of cinematic storytelling.

這是電影式說故事的最純粹的形式。

It's the most inclusive approach you can take.

它是你可採用最包容的方式。

It confirmed something I really had a hunch on,

它印證了我真的有預感的一些東西，

is that the audience

就是觀眾

actually wants to work for their meal.

實際想參與準備他們的食物。

They just don't want to know that they're doing that.

他們只是不想知道自己在做那些工作。

That's your job as a storyteller,

那是你作為說故事者的任務，

is to hide the fact

就是隱瞞

that you're making them work for their meal.

你令他們自己準備食物的事實。

We're born problem solvers.

我們是天生解決問題的人。

We're compelled to deduce

我們被迫演譯

and to deduct,

和歸納，

because that's what we do in real life.

因為這正是我們在現實生活所做的。

It's this well-organized absence of information

正是這種有組織的信息不足

that draws us in.

把我們拉進去。

There's a reason that we're all attracted to an infant or a puppy.

我們被嬰兒或小狗吸引是有原因的。

It's not just that they're damn cute;

不單是因他們可愛;

it's because they can't completely express

而是他們不能完全表達

what they're thinking and what their intentions are.

他們的想法和動機。

And it's like a magnet.

它像一塊磁鐵。

We can't stop ourselves

我們無法阻止自己

from wanting to complete the sentence and fill it in.

要完成句子和填上去。

I first started

我首次開始

really understanding this storytelling device

真正明白說故事的工具

when I was writing with Bob Peterson on "Finding Nemo."

是在我和Bob Peterson寫"海底總動員(Finding Nemo)"的時候。

And we would call this the unifying theory of two plus two.

我們稱之為二加二的統一理論。

Make the audience put things together.

使觀眾把東西放在一起。

Don't give them four,

不要把四給他們，

give them two plus two.

給他們二加二。

The elements you provide and the order you place them in

你提供的元素和編排它們的次序

is crucial to whether you succeed or fail at engaging the audience.

對你能否成功引起觀眾投入起關鍵作用。

Editors and screenwriters have known this all along.

編輯和編劇們一直都知道這點。

It's the invisible application

它無形的應用

that holds our attention to story.

吸引我們對故事的關注。

I don't mean to make it sound

我不是要它聽起來

like this is an actual exact science, it's not.

像是精確科學，它不是。

That's what's so special about stories,

這是為何故事那麼特別，

they're not a widget, they aren't exact.

它們不是零件，它們並不精確。

Stories are inevitable, if they're good,

好的故事是不可抗拒的，

but they're not predictable.

但它們是難以預測的。

I took a seminar in this year

我今年參加了

with an acting teacher named Judith Weston.

表演老師Judith Weston的一個研討會。

And I learned a key insight to character.

我學到了對角色的一個見解。

She believed that all well-drawn characters

她相信所有出色的角色

have a spine.

都是有骨幹的。

And the idea is that the character has an inner motor,

意思是角色有一副內在的發動機

a dominant, unconscious goal that they're striving for,

他們所追求的一個主導性、沒意識的目標，

an itch that they can't scratch.

一個他們搔不著的癢處。

She gave a wonderful example of Michael Corleone,

她舉了很好的例子，就是"教父"中Michael Corleone，

Al Pacino's character in "The Godfather,"

是Al Pacino飾演的角色，

and that probably his spine

他們骨幹很可能

was to please his father.

就是討好他的父親。

And it's something that always drove all his choices.

那一直驅動著他所有的選擇。

Even after his father died,

即使他父親去世後，

he was still trying to scratch that itch.

他還不斷依循這個思維

I took to this like a duck to water.

這令我如魚得水。

Wall-E's was to find the beauty.

在Wall-E中是美的追求。

Marlin's, the father in "Finding Nemo,"

在"海底總動員"中，父親Marlin，

was to prevent harm.

是要避開傷害。

And Woody's was to do what was best for his child.

而“玩具總動員(Toy Story)”中Woody是要做對小孩最好的事。

And these spines don't always drive you to make the best choices.

但這些骨幹不一定驅使你作出最佳的選擇。

Sometimes you can make some horrible choices with them.

有時你可作出可怕的選擇。

I'm really blessed to be a parent,

我其的很幸運能作為一名家長，

and watching my children grow, I really firmly believe

看著孩子成長，我真的堅信

that you're born with a temperament and you're wired a certain way,

你生與俱來某氣質和特定想法，

and you don't have any say about it,

你是無權過問的，

and there's no changing it.

亦無法改變的。

All you can do is learn to recognize it

你只可學會認識它

and own it.

和擁有之。

And some of us are born with temperaments that are positive,

有些人生與俱來正面的氣質，

some are negative.

有些是負面的。

But a major threshold is passed

但當你夠成熟

when you mature enough

去承認是什麼驅使你

to acknowledge what drives you

並去操控它時

and to take the wheel and steer it.

你就通過了一個重要的門檻。

As parents, you're always learning who your children are.

作為父母，你總是在了解你的孩子。

They're learning who they are.

他們也在了解自己。

And you're still learning who you are.

而你亦仍在了解自己。

So we're all learning all the time.

所以我們無時無刻都在學習了解。

And that's why change is fundamental in story.

這是為何改變是故事的基礎。

If things go static, stories die,

如果事物靜止，故事就失去生命，

because life is never static.

因為生活永不靜止。

In 1998,

1998年，

I had finished writing "Toy Story" and "A Bug's Life"

我寫完"玩具總動員（Toy Story）"和"蟲蟲特攻隊（A Bug's Life）"之後

and I was completely hooked on screenwriting.

我完全迷上了編劇。

So I wanted to become much better at it and learn anything I could.

所以我想做得更好而盡我所能去學習。

So I researched everything I possibly could.

我盡我所能去研究一切。

And I finally came across this fantastic quote

最後我遇到這奇妙的佳句

by a British playwright, William Archer:

英國劇作家 William Archer 所說的:

"Drama is anticipation

"戲劇是預期

mingled with uncertainty."

夾雜著不明朗。"

It's an incredibly insightful definition.

這是一個令人難以置信的精闢定義。

When you're telling a story,

當你說故事時，

have you constructed anticipation?

有沒有建立期待?

In the short-term, have you made me want to know

短暫地，你有沒有令我想要知道

what will happen next?

接下來會發生什麼?

But more importantly,

但更重要的是，

have you made me want to know

你有沒有令我想要知道

how it will all conclude in the long-term?

它長期的結局?

Have you constructed honest conflicts

你有沒有透過事實真相

with truth that creates doubt

建立誠實的衝突

in what the outcome might be?

創造對可能出現的結果產生的懷疑?

An example would be in "Finding Nemo,"

在"海底總動員（Finding Nemo）"有個例子，

in the short tension, you were always worried,

在短期中，你總是擔心

would Dory's short-term memory

Dory的短暫記憶

make her forget whatever she was being told by Marlin.

會否令他忘記Marlin對她說過的話。

But under that was this global tension

但在這之下是

of will we ever find Nemo

能否在浩瀚的大海中

in this huge, vast ocean?

找到Nemo的整體張力。

In our earliest days at Pixar,

我們早期在皮克斯工作室時，

before we truly understood the invisible workings of story,

在我們真正了解故事的無形運作前，

we were simply a group of guys just going on our gut, going on our instincts.

我們簡單地只是一群靠直覺和本能去做的人。

And it's interesting to see

有趣的是

how that led us places

這引領我們

that were actually pretty good.

去到實際相當不錯的位置。

You've got to remember that in this time of year,

你要記住在每年的這個時候，

1993,

在1993年那時，

what was considered a successful animated picture

被視為成功的動畫

was "The Little Mermaid," "Beauty and the Beast,"

是"小美人魚(The Little Mermaid)"，"美女與野獸(Beauty and the Beast)"，

"Aladdin," "Lion King."

"阿拉丁(Aladdin)"，"獅子王(Lion King)"。

So when we pitched "Toy Story" to Tom Hanks for the first time,

當我們首次向Tom Hanks推薦"玩具總動員"時，

he walked in and he said,

他走進來說，

"You don't want me to sing, do you?"

"你們不是要我唱歌吧?"

And I thought that epitomized perfectly

我想這完美地概括了

what everybody thought animation had to be at the time.

當時人們對動畫的想法。

But we really wanted to prove

但我們真的想證明

that you could tell stories completely different in animation.

你可在動畫中用完全不同的方法去說故事。

We didn't have any influence then,

我們那時並無任何影響力，

so we had a little secret list of rules

所以我們有一份我們自己的

that we kept to ourselves.

祕密的規則。

And they were: No songs,

那是:沒有歌曲，

no "I want" moment,

沒有"我想"時刻，

no happy village,

沒有快樂村莊，

no love story.

沒有愛情故事。

And the irony is that, in the first year,

諷刺的是，在第一年裡，

our story was not working at all

我們的故事完全不行

and Disney was panicking.

迪士尼恐慌了。

So they privately got advice

他們私下詢問

from a famous lyricist, who I won't name,

一位知名的作詞人的意見，我不要說出他的名字，

and he faxed them some suggestions.

他傳真了幾項建議。

And we got a hold of that fax.

我們拿到了那份傳真。

And the fax said,

傳真說，

there should be songs,

應有歌曲，

there should be an "I want" song,

應有一首"我想"的歌，

there should be a happy village song,

應有一首快樂村莊的歌，

there should be a love story

應有一個愛情故事

and there should be a villain.

亦應有一個惡棍。

And thank goodness

感謝上蒼

we were just too young, rebellious and contrarian at the time.

我們當時就是太年輕、反叛和相反主義者。

That just gave us more determination

這給我們更大的決心

to prove that you could build a better story.

去證明我們可創作一個更好的故事。

And a year after that, we did conquer it.

一年之後，我們戰勝了。

And it just went to prove

它正好證明了

that storytelling has guidelines,

說故事有指引，

not hard, fast rules.

但不是硬性的規則。

Another fundamental thing we learned

我們學會的另一基礎知識是

was about liking your main character.

關於喜愛你的主角的。

And we had naively thought,

我們曾幼稚地認為

well Woody in "Toy Story" has to become selfless at the end,

在"玩具總動員"結尾Woody要變得無私，

so you've got to start from someplace.

你便要從某一處開始。

So let's make him selfish. And this is what you get.

就讓我們先把他寫成自私。就是這樣。

(Voice Over) Woody: What do you think you're doing?

(旁白)Woody:你覺得怎樣?

Off the bed.

下床。

Hey, off the bed!

喂，下床!

Mr. Potato Head: You going to make us, Woody?

薯頭先生:Woody，你打算把我們趕下床嗎?

Woody: No, he is.

Woody:不，是他。

Slinky? Slink ... Slinky!

Slinky?Slink .. Slinky!

Get up here and do your job.

起來，做你的工作。

Are you deaf?

你聾了嗎?

I said, take care of them.

我說，處理他們。

Slinky: I'm sorry, Woody,

Slinky:對不起，Woody，

but I have to agree with them.

我得要他們的同意。

I don't think what you did was right.

我不認為你所做是對的。

Woody: What? Am I hearing correctly?

Woody:什麼?我沒聽錯吧?

You don't think I was right?

你不認為我是對的?

Who said your job was to think, Spring Wiener?

誰說你的工作是思想，Spring Wiener?

AS: So how do you make a selfish character likable?

那麼如何令一個自私的角色變得可愛呢?

We realized, you can make him kind,

我們意識到你可把他變得仁慈、

generous, funny, considerate,

慷慨、風趣、體貼、

as long as one condition is met for him,

唯一的條件是

is that he stays the top toy.

他永遠是排於第一位的玩具。

And that's what it really is,

這正是事實，

is that we all live life conditionally.

我們都有條件地生活著。

We're all willing to play by the rules and follow things along,

我們願意依循規則

as long as certain conditions are met.

只要某些條件得到滿足。

After that, all bets are off.

之後，遊戲結束。

And before I'd even decided to make storytelling my career,

甚至在我決定以說故事作為我的事業前，

I can now see key things that happened in my youth

我現在可看到在我年輕時發生的關鍵事情

that really sort of opened my eyes

真的令我瞠目

to certain things about story.

有關故事的一些事情。

In 1986, I truly understood the notion

在1986年，我真正理解

of story having a theme.

故事有一個主題這個概念。

And that was the year that they restored and re-released

正是我們修復和重新發行

"Lawrence of Arabia."

"阿拉伯的勞倫斯（Lawrence of Arabia）"那一年。

And I saw that thing seven times in one month.

我在一個月內看了那部戲七次。

I couldn't get enough of it.

我無法得到滿足。

I could just tell there was a grand design under it --

我可以說出背後有宏偉的設計 --

in every shot, every scene, every line.

每一個鏡頭，每一個埸景，每行對白。

Yet, on the surface it just seemed

但表面上它看似

to be depicting his historical lineage

描繪著他的

of what went on.

歷史過程。

Yet, there was something more being said. What exactly was it?

但那裡還說著更多的東西。究竟是什麼呢?

And it wasn't until, on one of my later viewings,

要去到我看最後一次時，

that the veil was lifted

面紗才被揭開來

and it was in a scene where he's walked across the Sinai Desert

是在他橫越西奈沙漠那埸戲

and he's reached the Suez Canal,

他走到了蘇伊士運河，

and I suddenly got it.

我突然明白了。

(Video) Boy: Hey! Hey! Hey! Hey!

(影片)男孩:喂!喂!喂!喂!

Cyclist: Who are you?

騎車的人:你是誰?

Who are you?

你是誰?

AS: That was the theme: Who are you?

這就是主題:你是誰?

Here were all these seemingly disparate

這裡是所有這些看似不相干的

events and dialogues

事件和對話

that just were chronologically telling the history of him,

只按時間順序說著他的歷史，

but underneath it was a constant,

但在這下面是一個常數，

a guideline, a road map.

一個指引，一個路線圖。

Everything Lawrence did in that movie

勞倫斯在那部電影所做的一切

was an attempt for him to figure out where his place was in the world.

是企圖為他找出他在世界上的位置。

A strong theme is always running through

總有一個強而有力的主題貫穿著

a well-told story.

說得很好的故事。

When I was five,

在我五歲的時候，

I was introduced to possibly the most major ingredient

我已接觸到我覺得一個故事應具備

that I feel a story should have,

可能是最主要的材料

but is rarely invoked.

而很少被應用到的。

And this is what my mother took me to when I was five.

這是我五歲時媽媽帶我去看的。

(Video) Thumper: Come on. It's all right.

(影片)Thumper:來吧，沒問題的。

Look.

看。

The water's stiff.

水結冰了。

Bambi: Yippee!

Bambi:喔耶！

Thumper: Some fun,

Thumper: 想玩嗎

huh, Bambi?

Bambi?

Come on. Get up.

來吧。起來吧。

Like this.

像這樣。

Ha ha. No, no, no.

哈哈。不要，不要，不要。

AS: I walked out of there

我走出那裡

wide-eyed with wonder.

充滿好奇的睜大雙眼。

And that's what I think the magic ingredient is,

這是我認為的神奇材料成分，

the secret sauce,

秘密醬汁，

is can you invoke wonder.

就是你調用奇蹟。

Wonder is honest, it's completely innocent.

奇蹟是誠實，它是完全天真的。

It can't be artificially evoked.

它不可能人為地誘發。

For me, there's no greater ability

對我來說，世上沒有更大的能力

than the gift of another human being giving you that feeling --

超過另一個人給予你那種感覺的天賦 --

to hold them still just for a brief moment in their day

去抓住他們的曰子裡的一段短暫時刻

and have them surrender to wonder.

把自己順從於奇蹟。

When it's tapped, the affirmation of being alive,

當它被應用時，作為活著的肯定，

it reaches you almost to a cellular level.

它幾乎透入你細胞裡面。

And when an artist does that to another artist,

當一名藝術家施之於另一名藝術家時，

it's like you're compelled to pass it on.

它像強迫你要傳揚出去一樣。

It's like a dormant command

它像是沈睡的指令

that suddenly is activated in you, like a call to Devil's Tower.

突然被喚醒起來，像造訪魔鬼山(Devil's Tower)一樣。

Do unto others what's been done to you.

把施於你身上的施於其他人。

The best stories infuse wonder.

最好的故事注入了奇蹟。

When I was four years old,

當我四歲的時候，

I have a vivid memory

我有一個生動的記憶

of finding two pinpoint scars on my ankle

在我的腳踝上找到兩個細微的疤痕

and asking my dad what they were.

並問我爸爸它們是什麼。

And he said I had a matching pair like that on my head,

他說在我頭上也有匹配的一對像那樣的東西，

but I couldn't see them because of my hair.

但因為我的頭髮遮蓋看不到它們。

And he explained that when I was born,

他解釋我出生時

I was born premature,

並不足月

that I came out much too early,

我早產的太快

and I wasn't fully baked;

並未完全成熟;

I was very, very sick.

我病得十分厲害。

And when the doctor took a look at this yellow kid with black teeth,

當醫生看了這個黃色，黑色牙齒的嬰孩後，

he looked straight at my mom and said,

他直望著我媽媽說，

"He's not going to live."

"他活不成的。"

And I was in the hospital for months.

我在醫院住了幾個月，

And many blood transfusions later,

輸了很多次血後，

I lived,

我活了下來，

and that made me special.

這令我與眾不同。

I don't know if I really believe that.

我不知自己是否真的相信這說法。

I don't know if my parents really believe that,

我不知我父母是否真的相信，

but I didn't want to prove them wrong.

但我不想去證明他們錯誤。

Whatever I ended up being good at,

無論我最後有什麼成就，

I would strive to be worthy of the second chance I was given.

我會為值得給予第二次機會而努力。

(Video) (Crying)

(影片)(哭泣)

Marlin: There, there, there.

Marlin:那裡，那裡，那裡。

It's okay, daddy's here.

沒關係，爸爸在這裡。

Daddy's got you.

爸爸找到你了。

I promise,

我承諾，

I will never let anything happen to you, Nemo.

我不會再讓任何事情發生在你Nemo身上。

AS: And that's the first story lesson I ever learned.

這就是我所上的第一課。

Use what you know. Draw from it.

使用你知道的東西。從中抽取使用。

It doesn't always mean plot or fact.

那不一定意味著情節或事實。

It means capturing a truth from your experiencing it,

那意味著從你經驗它時捕捉真理，

expressing values you personally feel

表達你個人內心深處

deep down in your core.

感受到的價值。

And that's what ultimately led me to speaking to you

這是最終引領我在今天的TEDTalk這裡

here at TEDTalk today.

和各位說話的原因。

Thank you.

謝謝大家

(Applause)

(掌聲)