失败是一个选项 但畏惧不是
I grew up on a steady diet of science fiction. In high school I took a bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.
我是看科幻小说长大的。高中时，我每天坐一小时的公交车上下学。我总是沉迷于科幻小说，这些书将我带到了另外的世界，用叙述的方式满足了我无止境的好奇心。
And you know that curiosity also manifested itself in the fact that whenever I wasn't in school I was out in the woods, hiking and taking "samples", frogs and snakes and bugs and pond water, and bringing it back, looking at it under the microscope. But I was, you know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.
大家知道好奇心可以通过事实表现出来。每当我不在学校，我总会在树林里游荡，寻找一些“样品”，比如青蛙、蛇、虫子或者池水，我把它们带回家放在显微镜下观察。你知道，我是一个真的科学发烧友。但我只是在试图了解这个世界，想找到潜力的极限。
And my, you know, love of science fiction actually seemed to be mirrored in the world around me, because what was happening, this was in the late 60's, you know, we were going to the moon, we were exploring the deep oceans. Jacques Cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. So, that seemed to resonate with the whole science fiction part of it.
你知道，我对科幻小说的热爱或许是那个时代的写照。因为所发生的事情，你知道，这是60年代末期，人类登上了月球，同时还去探索深海。雅克·库斯托的特别节目走进了我们的客厅，让我们看到了不同的动物和地方，一个我们以前想都没有想过的世界。这或许和科幻小说可以产生共鸣吧。
And I was an artist. I could draw. I could paint. And I found that because there weren't, you know, video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create these images in my head. You know, we all did, as kids having to read a book, and through the author's description put something on the screen, the movie screen in our heads. And so, my response to this was to paint, to draw alien creatures, alien worlds, robots, spaceships, all that stuff. I was endlessly getting busted in math class, you know, doodling behind the textbook. And that was, the creativity had to find its outlet somehow.
我是一个艺术家。我会画画。我也会画油画。我发现，你知道，没有计算机游戏和电脑合成技术，没有媒体的那些影响，我只能自己在脑海中创造这些形象。我们像孩子们一样，读书的时候会根据作者的描述在脑海中想象出一些画面，一些电影的画面。我对此的反应是是画一些外星生物，外星球、机器人、宇宙飞船等东西。在数学课上，我总是在数学课本上，你知道的，乱画。那是发泄创造力的一种途径。
And an interesting thing happened. The Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday. That seemed pretty dark and unlikely. But I could... that was a world I could really go to, right here on Earth, than was as rich and exotic as anything that I had imagined from reading these books.
有趣的事情发生了，雅克·库斯托的节目让我兴奋地确定了地球上真的有我们不了解的世界。我并不一定真的要在某一天坐飞船去找外星人。那看起来相当渺茫，可能性不大。但是……这是一个我真能去的地方，就在地球之上，那里和我读书时想象的一样丰富多彩，引人入胜。
So, I decided I was going to become a scuba diver at the age of 15. And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me. I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool in a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.
所以在我15岁时，我决定成为一名潜水员。唯一的问题是我住在加拿大的一个小山村，离最近的海有600英里远。但是我并没有因为这个气馁。我一直缠着父亲，直到他在边境对岸的美国纽约州的布法罗找到了一个潜水培训班。在那里，隆冬季节，我在基督教青年会的一个游泳池里获得了证书。在接下来的两年我还是没有看到大海，真正的大海，直到我们搬到了加利福尼亚州。
And since then, you know, in the intervening 40 years, I've spent about 3,000 hours underwater and 500 hours of that was in submersibles. And I've learned that deep ocean environment, and even the shallow oceans are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundless compared to our own meager human imagination. I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.
从那以后，你知道，这以后的40年里，我在水下待了3000个小时，其中有500个小时呆在潜水艇里。我了解到深海环境甚至是浅海环境都是那么丰富多彩，那里生活着许多超过我们想象的神奇生物。比起我们的想象力，自然的想象力完全没有边界。直到今天，当我潜水的时候我仍然对我看到的景象心存敬畏。我对于大海的爱仍然继续着，就像曾经一样强烈。
But, when I chose a career, as an adult, it was film making. And that seemed to be the best way to reconcile this urge I had to tell stories, with my urges to create images. And I was, as a kid, constantly drawing comic books, and so on. So, film making was the way to put pictures and stories together. And that made sense. And of course the stories that I chose to tell were science fiction stories: Terminator, Aliens, and The Abyss. And with The Abyss, I was putting together my love of underwater and diving, with film making. So, you know, merging the two passions.
但是长大后，我选择的职业是拍电影。拍电影看起来是我实现讲故事和创造形象的愿望的最好方式。孩提时，我就一直坚持画连环画等等。所以说拍电影可以把这些图画和故事放在一起。这很有道理。当然我讲的故事都是科幻故事：《终结者》，《异形》和《深渊》。拍《深渊》的时候，我把我对电影和潜水的热爱结合起来。这，你知道，也是将两种热情结合起来。
Something interesting came out of The Abyss, which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, CG. And this resulted in the first soft-surface character, CG animating that was ever in a movie. And even though the film didn't make any money, barely broke even, I should say, I witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.
拍摄《深渊》时，我有了一些有趣的想法。我们要解决电影中一个具体的叙事问题，我们要塑造一个液态水的生物时，我们使用了计算机生成动画——电脑图形。电脑图形的应用产生了电影历史上第一个电脑制成的形象，一个软表面角色。虽然这部电影没有赚钱，甚至让公司差点破产，但我想说我见证了令人惊叹的东西，全世界的观众都会对这逼真的魔法着迷。
You know, it's Arthur Clarke's law that any sufficiently advanced technology is indistinguishable from magic. They were seeing something magical. And so that got me very excited. And I thought, "Wow, this is something that needs to be embraced into the cinematic art." So, with Terminator 2, which was my next film, we took that much farther. Working with ILM, we created the liquid metal dude in that film. The success hung in the balance on whether that effect would work. And it did. And we created magic again. And we had the same result with an audience. Although we did make a little more money on that one.
根据亚瑟·克拉克定律，任何高难度的技术和魔法没有什么区别，很多人觉得自己看到了一些神奇的东西。这让我感到很兴奋。我想，“哇，电脑图形应该被用到电影艺术中去。”所以，在我接下来的电影《终结者2》中，我把这种技术又推进了一步。我们和工业光学魔术公司创造了一个金属人。这部电影是否成功取决于电脑图形的效果是否有效。电影成功了。我们再次创造了魔法。结果观众的反应和我们一样。我们确实赚得比上一部电影多一些。
So, you know, drawing a line through those two dots of experience, came to, this is going to be a whole new world, this was a whole new world of creativity for film artists. So, I started a company with Stan Winston, my good friend Stan Winston, who is the premier make-up and creature designer at that time, and it was called Digital Domain. And the concept of the company was that we would leap-frog past the analog processes of optical printers and so on, and we would go right to digital production. And we actually did that and it gave us a competitive advantage for a while.
所以，你知道，把这两次经验连结在一起，对电影艺术家来说，这将会是一个全新的世界，一个全新的充满创造力的世界。所以我和好友斯坦·温斯顿开了一家公司，名字叫Digital Domain。斯坦·温斯顿是顶尖的化妆师和人物造型设计师。这家公司的理念是：我们会跳过类似光学冲印的过程，直接进入数字制作。事实上我们确实那么做了，而且这让我们有了一段时间的竞争优势。
But we found ourselves lagging in the mid 90's in the creature and character design stuff that we had actually founded the company to do. So, I wrote this piece called "Avatar," which was meant to absolutely push the envelope of visual effects, of CG effects, beyond, with realistic human emotive characters generated in CG. And the main characters would all be in CG. And the world would be in CG. And you know the envelope pushed back. And I was told by the folks at my company that we weren't going to be able to do this for a while.
但是在90年代中期，我发现我们在生物设计和角色设计上落后了，而这本来是我们创建公司的目的。我写《阿凡达》这个作品就是想要推动整个视觉体验以及动画效果的进步，让电影人物跳出人们想象的框架。电影中的主要人物都是电脑图形，世界也是电脑图形。但是这个想法被反驳了。我公司的员工告诉我，我们短时间内还做不到。
So, I shelved it, and I made this other movie about a big ship that sinks. And you know, I went and pitched it to the studio as "Romeo and Juliet on a ship." It's going to be this epic romance, passionate film. Secretly, what I wanted to do was I wanted to dive to the real wreck of Titanic. And that's why I made the movie. And that't the truth. Now, the studio didn't know that. But I convinced them. I said, "We're going to dive to the wreck. We're going to film it for real. We'll be using it in the opening of the film. It will be really important. It will be a great marketing hook." And I talked them into funding an expedition.
所以我把《阿凡达》放在了一边，转而制作了另一部关于巨轮沉没的电影。你知道，我去找制片公司简单解释说这是船上的“罗密欧与朱丽叶”，这将会是个史诗般的爱情故事，是一部充满热情的电影。说心里话，我其实只是想要潜到真正的泰坦尼克号残骸里去，这才是我拍片的真正理由。这是真的。那时，制片公司并不知道。但我说服了他们。我说：“我们将会潜入沉船拍摄真实画面，我们要把它用在电影的开场，这很重要，这将是很好的营销策略。”于是我说服了他们赞助这次探险。
Sounds crazy. But this goes back to that theme about, you know, your imagination creating a reality. Because we actually created a reality where six months later I find myself in a Russian submersible two and a half miles down in the north Atlantic, looking at the real Titanic through a view port, not a movie, not a HD, for real!
听起来很疯狂，但是这又回到了主题上，你知道，想象创造现实。因为我们确实创造了现实，六个月之后，我在北大西洋2.5英里深的水下的一艘俄罗斯潜艇里，透过舷窗看着真正的泰坦尼克号，不是在电影里，也不是高画质的，是真的。
Now, that blew my mind. And you know, it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And you know, I thought like, "Wow. I am like living in a science fiction movie. This is really cool."
这让我非常惊讶。你知道，要做很多准备工作，我们得搭建摄影机，设计灯光和所有其他东西。但是令我震惊的是，这次深海拍摄多么像是一次太空任务。你知道，技术高端，准备工作繁杂。你进入潜水舱，你下到黑暗危险的环境中。如果你自己回不去，就没有获救的希望。你知道，我想，“噢，我好像生活在科幻电影里，这太酷了。”
And so, I really got bitten by the bug of deep ocean exploration. Of course, the curiosity, the science component of it. It was everything. It was adventure. It was curiosity. It was imagination. And it was an experience that Hollywood couldn't give me. Because, you know, I could imagine a creature and we could create a visual effect for it. But I couldn't imagine what I was seeing out of that window. As we did some of our subsequent expeditions I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them. So, I was completely smitten by this, and had to do more.
在深海探险的时候，我真的对深海生物很好奇，当然，好奇是科学研究的一部分。这就是全部，这就是冒险，这就是好奇心，这就是想象力。这是我在好莱坞体会不到的。因为我可以想象一种生物并且为之创造一种视觉效果。但是我想象不到我在窗外看到的那些东西。在我们随后做的那些考察时，我看到了一些深海温泉区的生物。我从来没见过这些生物，没有人见过。事实上，我们看到它们，想到它们的时候，并不能用科学描述出来。我完全被迷住了，所以我要做得更多。
And so, I actually made a kind of curious decision. After the success of Titanic, I said, "Okay, you know, I'm going to park my day job as a Hollywood movie maker, and I'm going to go be a full time explorer for a while." And so, you know, we started planning these expeditions. And we wound up going to the Bismark, and exploring it with robotic vehicles. We went back to the Titanic wreck. We took little bots that we had created that spooled a fiber optic. And the idea was to go in and do an interior survey of that ship, which had never been done. Nobody had ever looked inside the wreck. They didn't have the means to do it, so we created technology to do it.
所以，我做了一个奇怪的决定。在《泰坦尼克号》成功后，我说：“好吧，我要暂停我的主业——好莱坞电影制作人，做一段时间全职探险家。”于是，你知道，我们开始计划那些冒险。我们紧张而又兴奋地去俾斯麦，用机器开发探险。我们又回到了泰坦尼克号的残骸处。我们带了一些自制的装着光纤眼的机器人。我们想的是到船里做一个以前从没有做过的内部调查。没有人看过残骸里面。人们没有方法这么做，而我们发明了这么做的技术。
So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at planks that look much like this, where I knew the band had played. And I'm flying a little robotic vehicle through the corridor of the ship. You know when I say, you know, I'm operating it, but my mind is in the vehicle. I felt like I was physically present inside the shipwreck of Titanic. And it was the most surreal kind of deja vu experience I've ever had, because I would know before I turned a corner what was going to be there before the lights of the vehicle actually revealed it, because I had walked the set for months when we were making the movie. And the set was based as an exact replica on the blueprints of the ship.
所以我当时就站在泰坦尼克号的甲板上，坐在潜艇里，看着那些跟这个很像的木板，也就是乐团最后在甲板上演奏的地方。然后我操纵着一台遥控载具通过走道。在船上虽然我只是操纵，但意志却在这载具中。我觉得我仿佛整个人走入泰坦尼克号的残骸中，这是我这辈子最超现实的似曾相识感。因为我知道，在转过转角之前，甚至是在灯光照射到之前，我就知道后面的景象。因为我在拍电影时，就在布景上走过好几个月，而我们的布景则是完全复制船的蓝图。
So, it was this absolutely remarkable experience. And it really made me realize that, you know, the telepresense experience you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence. It was really really quite profound. And may be a little bit of a glimpse to what might be happening, you know, some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.
这真是不同寻常的经历。让我真正意识到，你知道，遥距体验的可能。你可以用这些机械代理人，把意识灌注到这载体上或是其他形式的存在物中。这真的让人非常着迷。让我们看看可能发生的事情，你知道，几十年后可能发生的情景，我们可以使用电子人进行探险或是别的工作。这是我作为一个科幻迷可以想象到的后人类时代的未来。
So, having done these expeditions, and you know, really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing amazing animals. They are basically aliens right here on Earth. They live in an environment of chemosynthesis. They don't survive on sunlight based system the way we do. And so, you're seeing animals that are living next to a 500 degree Centigrade water plumes. You think they can't possibly exist.
在这些探险之后，你知道，我开始真正欣赏这些存在于海底的生物，比如那些深海温泉区我们看到的那些神奇生物。他们基本上是地球上的陌生生物。它们生活在一个化学合成的环境之中。它们不像我们生活在阳光为基础的系统下。因此，你见到生活在500度高温水流旁的动物。你以为它们可能并不存在。
At the same time I was getting very interested in space science as well, again, you know the science fiction influence, as a kid. And I wound up getting involved with the space community, really involved with NASA, sitting on the NASA advisory board, planning actual space missions, going to Russia, going to the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3D camera systems. And this was fascinating. But what I wound up doing was bringing space scientists with us into the deep and taking them down so that they had access to astrobiologists, planetary scientists, people who were interested in these extreme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.
同时，你知道，从小被科幻小说影响的我对于太空科学也非常感兴趣。我进入了美国国家航空航天局的顾问委员会，计划真正的太空任务，去俄罗斯，参与前宇航员的生物协定等事情，让宇航员带着3D摄像机进入太空站。这些非常有趣，但我真正想做的是将这些太空专家，行星学家和那些着迷于极致环境的人们带入深海，让他们看看深海，取一些样本做一些实验等等。
So, here we were making documentary films, but actually doing science, and actually doing space science. I can completely close the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real.
所以我们在做纪录片，事实上是在做科学，做太空科学。我完全把孩提时对科幻小说的迷恋和现在把之变成现实结合起来了。
And you know, along the way in this journey of discovery, I learned a lot. I learned a lot about science. But I also learned a lot about leadership. Now you think director has got to be a leader, you know, leader of, captain of the ship, and all that sort of thing.
你知道，在发现的旅途中，我学到了很多。不仅仅是科学知识，还学到了很多关于领导力的东西。很多人以为作为导演，就一定具有很高的领导力，就像船长带领整艘船一样。
I didn't really learn about leadership until I did these expeditions. Because I had to, at a certain point, say, "What am I doing out here? Why am I doing this? What do I get out of it?" We don't make money at these damn shows, you know, we barely break even. There is no fame in it. People sort of think I went away between Titanic and Avatar and was buffing my nails someplace, you know, sitting at the beach. Made all these films, made all these documentary films, you know, for a very limited audience.
但我却是从这些探险中学到如何带领团队的。因为我必须得学会。有时候我会问自己，“我为什么会在这里？为什么要做这件事？我从中得到了什么？”我们并没有从这些纪录片中赚钱，甚至差点破产。我也没有赚到名声。很多人以为我在《泰坦尼克号》之后《阿凡达》之前就一直躺在沙滩边上韬光养晦。这些纪录片其实只有很少的观众。
No fame, no glory, no money. What are you doing? You're doing it for the task itself, for the challenge--and the ocean is the most challenging environment there is, for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. Because we would do these things with 10-12 people working for years at a time. Sometimes at sea for 2-3 months at a time.
没有名声，没有荣耀，没有利润。我在做什么？你只是为了任务本身，为了挑战——海洋是现存最具挑战性的环境；为了发现的兴奋；也为了一种奇怪的关系，这发生在一个由很少人组成的紧密团队中。我们10到12个人在一起工作了很多年做这些事情。有时要在海里一起工作2到3个月。
And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you've done a task that you can't explain to someone else. When you come back to the shore and you say, We had to do this, and the fiber optic, and the attenuation, and this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can't explain it to people. It's that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it. Creates a bond, creates a bond of respect.
在那种关系中，我发现最重要的东西就是尊重。你尊重他们，他们也尊重你，每个人做的工作都无法向其他人解释。当你从岸边回来的时候，你说，我们不得不这样做，光纤眼、钝化、这个、那个，所有的技术、困难和在海边表演的各方面，你没法跟大家说清楚。这很像警察经历的那种事情或是格斗中人们经历的，他们知道他们解释不清。创建一种关系，创建一种尊重关系。
So, when I came back to make my next movie, which was "Avatar", I tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return. And it really changed the dynamic. So, here I was again with a small team, and you know, in Uncharted territory doing "Avatar", coming up with new technology that didn't exist before. Tremendously exciting.Tremendously challenging. And we became a family, over a four and half year period. And it completely changed how I do movies. So, people have commented on how, well, you know, you brought back the ocean organisms and put them on the planet of Pandora. To me it was more of a fundamental way of doing business, the process itself, that changed as a reslt of that.
所以，当我开始拍摄我的下一部电影《阿凡达》时，我试着将这种互相尊重的领导力原则应用在电影拍摄中。很快情况就改变了。在《阿凡达》拍摄过程中，我的团队也很小，你知道，也在未知领地拍摄《阿凡达》，创造新的科技。这非常有意思，非常有挑战性。四年半的时间里，我们成为了一个家庭。这完全改变了我拍电影的方式。有评论文章说，卡梅隆把海底的一些生物放到了潘多拉星球上。对于我来说，这只是做事情的基本方式，这个过程本身改变了事情的结果。
So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity. It's the most powerful thing you own. Imagination is a force that can actually manifest a reality. And the respect of your team is more important than all the laurels in the world. I have young film makers come up to me and say, you know, "Give some advice for doing this." And I say, "Don’t put limitations on yourself. Other people will do that for you, don't do it to yourself, don't bet against yourself and take risks."
最后，总结一下，我学到了什么？我觉得第一：好奇心，这是你拥有的最有力量的东西；第二：想象力，这是你创造现实的力量；第三：对团队的尊重，这是比世界上其他所有荣誉都更重要的东西。你知道，有年轻的电影制作人过来跟我说：“给我一些拍电影的建议吧”。我回答说：“不要给自己加上限制。其他人会替你这么做，不用自己这么做，不要拿自己下赌注。不要冒险。”
NASA has this phrase that they like: "Failure is not an option." But failure has to be an option in art and in exploration, because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks. So, that's the thought I would leave you with, is that in whatever you're doing, failure is an option, but fear is not.
美国国家航空航天局有这样的警句：“失败并不是一种选择”。但是失败，在艺术上、在探险上肯定是一种选择，因为这是信仰的飞跃。任何需要革新的重要努力都需要冒险。你必须愿意承担这些冒险。所以，这是我想给你的想法，不管你做什么，失败是一个选项，但畏惧不是。
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