創意之源何處尋覓？對好萊塢／寶來塢雙棲導演謝加·凱普爾（執導影片《伊麗莎白》，《印度先生》）來說，創意來自于純粹的焦慮的緊張感。他和我們分享了釋放我們每個人心中故事盒的途徑。

Shekhar Kapur: We are the stories we tell ourselves
謝加·凱普爾: 我們都只是講給自己的故事

So, I was just asked to go and shoot this film called "Elizabeth." And we're all talking about this great English icon and saying, "She's a fantastic woman, she does everything. How are we going to introduce her?" So we went around the table with the studio and the producers and the writer, and they came to me and said, "Shekhar, what do you think?"
其實，我當時只打算拍《伊麗莎白》。 所以我們全都在談論著這位偉大的英國人物， “她是個了不起的女人。她無所不能。 可是，她該怎樣出場？” 公司、制片人、編劇談了又談， 然后他們來找我：“謝加，你有什么想法？”

And I said, "I think she's dancing."
“我想她會跳舞。”

And I could see everybody looked at me, somebody said, "Bollywood."
于是在場所有人都看著我， “寶來塢。”有人說。

The other said, "How much did we hire him for?"
還有人說：“這家伙花了我們多少錢？”

And the third said, "Let's find another director."
或是：“我們真該換個導演。”

I thought I had better change. So we had a lot of discussion on how to introduce Elizabeth, and I said, "OK, maybe I am too Bollywood. Maybe Elizabeth, this great icon, dancing? What are you talking about?" So I rethought the whole thing, and then we all came to a consensus. And here was the introduction of this great British icon called "Elizabeth."
當時我想，我可能確實需要些改變。 于是我們又討論了很久伊麗莎白的出場。 我說：“可能我確實太過寶來塢。 可是，伊麗莎白，這位偉大的人物，的確也跳舞？“ ”你在說什么？！“ 于是我不得不再次從頭開始。 最后，我們終于達成共識。 電影中，這位偉大的英國女人，伊麗莎白， 是這樣出場的：

Leicester: May I join you, my lady?
雷徹思特：”可以和您跳舞嗎，我尊貴的夫人？“

Elizabeth: If it please you, sir. (Music)
伊麗莎白：”非常樂意，先生。“ (音樂)

Shekhar Kapur: So she was dancing. So how many people who saw the film did not get that here was a woman in love, that she was completely innocent and saw great joy in her life, and she was youthful? And how many of you did not get that? That's the power of visual storytelling, that's the power of dance, that's the power of music: the power of not knowing.
”所以，最后，她就是跳著舞出場。“ 看過電影，觀眾們可以感覺 ”嘿，這是個戀愛中的女人。“ 她是完完全全純真的， 趁著年輕，享受人生的快樂。 你們應該看到， 這就是通過圖像來講故事的力量。 也是音樂和舞蹈的力量。 是”無知“的力量。

When I go out to direct a film, every day we prepare too much, we think too much. Knowledge becomes a weight upon wisdom. You know, simple words lost in the quicksand of experience. So I come up, and I say, "What am I going to do today?" I'm not going to do what I planned to do, and I put myself into absolute panic. It's my one way of getting rid of my mind, getting rid of this mind that says, "Hey, you know what you're doing. You know exactly what you're doing. You're a director, you've done it for years." So I've got to get there and be in complete panic. It's a symbolic gesture. I tear up the script, I go and I panic myself, I get scared. I'm doing it right now; you can watch me. I'm getting nervous, I don't know what to say, I don't know what I'm doing, I don't want to go there.
導演電影時， 我們總是想得太多，準備得太多。 我們的知識成為負擔，使我們失去智慧。 在經驗增長的同時， 我們卻丟失了簡單的語言。 于是我問自己： ”今天你要做什么？“我不打算再按計劃行事， 我讓自己處于絕對的驚恐焦慮中。 這就是我逃離”理智“的方法。 它總是說：”嘿， 你知道你在做什么。當了這么多年導演之后， 你完完全全掌控著一切。“ 擺脫這個聲音后， 我感到的是徹底的驚恐焦慮。 我撕掉劇本， 陷入驚恐中。我感到害怕。 正如我現在做的這樣。你們可以看出來，我很緊張。 不知道說什么，不知道做什么，我害怕這樣。

And as I go there, of course, my A.D. says, "You know what you're going to do, sir." I say, "Of course I do."
當我這樣時，助理導演說： ”先生，您知道自己在做什么。“我回答：“當然。”

And the studio executives, they would say, "Hey, look at Shekhar. He's so prepared." And inside I've just been listening to Nusrat Fateh Ali Khan because he's chaotic. I'm allowing myself to go into chaos because out of chaos, I'm hoping some moments of truth will come. All preparation is preparation. I don't even know if it's honest. I don't even know if it's truthful. The truth of it all comes on the moment, organically, and if you get five great moments of great, organic stuff in your storytelling, in your film, your film, audiences will get it. So I'm looking for those moments, and I'm standing there and saying, "I don't know what to say."
片場的人們會說： “嘿，看謝加。一看就知已經做足準備。” 其實我剛剛還在聽Nusrat Fateh Ali Khan， 只因為他的歌一片混亂。 我就是要自己進入混亂無章的狀態。 因為只有在混亂之中，我們才能期待真理的到來。 所謂準備其實也就只是準備。 我甚至不知道它是不是真的存在， 是不是值得信任。 真理只在瞬間降臨。 如果在你的電影里，在你的故事里， 你能夠有五個這樣的瞬間， 可以創作出了不起的東西， 你的觀眾會感覺到。 當時我就是在尋找這樣的瞬間。于是我站在這里，說： “我不知道該說什么。”

So, ultimately, everybody's looking at you, 200 people at seven in the morning who got there at quarter to seven, and you arrived at seven, and everybody's saying, "Hey. What's the first thing? What's going to happen?" And you put yourself into a state of panic where you don't know, and so you don't know. And so, because you don't know, you're praying to the universe because you're praying to the universe that something -- I'm going to try and access the universe the way Einstein -- say a prayer -- accessed his equations, the same source. I'm looking for the same source because creativity comes from absolutely the same source that you meditate somewhere outside yourself, outside the universe. You're looking for something that comes and hits you. Until that hits you, you're not going to do the first shot. So what do you do?
于是所有人都盯著你， 早晨7點，200人盯著你。 他們15分鐘前就到了。你是七點到的。 所有人都在問： “嘿！先做什么？這里發生了什么？” 而你只是把自己陷入到驚恐焦慮中。 那里，你什么都不知道。 正因為你什么都不知道， 你開始向宇宙祈求， 你開始試著與宇宙連接， 就是用愛因斯坦當年用的方法。 他就是用這方法連接了宇宙，看到了他的方程。 于是，我正在向同一個源泉祈求。 因為所有的創造力都來源于那一個地方。 你必須在你自己本身之外， 宇宙之外去探求、去冥想。 你期待有一樣東西會降臨，會打動你。 而且除非那樣東西降臨，你都決不會開機。 現在，你該做什么？

So Cate says, "Shekhar, what do you want me to do?"
凱特問：“謝卡，你想讓我做什么？”

And I say, "Cate, what do you want to do?" (Laughter) "You're a great actor, and I like to give to my actors -- why don't you show me what you want to do?" (Laughter) What am I doing? I'm trying to buy time. I'm trying to buy time.
我回答：“凱特，你想要做什么？ 你是個了不起的演員。我想讓你自己發揮。 所以，你為什么不給我看看你想怎么演。” （笑） 我在做什么？ 我只是努力爭取時間。

So the first thing about storytelling that I learned, and I follow all the time is: Panic. Panic is the great access of creativity because that's the only way to get rid of your mind. Get rid of your mind. Get out of it, get it out. And let's go to the universe because there's something out there that is more truthful than your mind, that is more truthful than your universe. [unclear], you said that yesterday. I'm just repeating it because that's what I follow constantly to find the shunyata somewhere, the emptiness. Out of the emptiness comes a moment of creativity. So that's what I do.
所以，關于講故事，我學到的第一點， 并且一直堅持的，就是驚恐焦慮。 那是創造力的偉大源泉 因為只有這樣我才能擺脫“理智”。 擺脫“理智”吧。 逃離它，忘掉它。 去向宇宙祈求， 因為那里的一些東西 要比你的”理智“更加可信， 比你自己的”宇宙“要更加可信。 您昨天說過。我只是重復， 因為那就是我一直所做的。 去尋找”空“。 只有在”空“里，才能尋求到創意的瞬間。 那就是我一直做的。

When I was a kid -- I was about eight years old. You remember how India was. There was no pollution. In Delhi, we used to live -- we used to call it a chhat or the khota. Khota's now become a bad word. It means their terrace -- and we used to sleep out at night. At school I was being just taught about physics, and I was told that if there is something that exists, then it is measurable. If it is not measurable, it does not exist. And at night I would lie out, looking at the unpolluted sky, as Delhi used to be at that time when I was a kid, and I used to stare at the universe and say, "How far does this universe go?"
當我還是個8歲的孩子時， 你知道那時候的印度，沒有污染。 那時我們住在德里，我們當時叫它Khota。 Khota現在變成一個不好的詞了，意思是“他們的地盤” 晚上我們會睡在外面。 我剛開始在學校學習物理， 我學到 如果一樣東西存在， 它就是可測量的。 如果一樣東西不可測量， 它就不存在。 晚上我就在德里當時純凈的夜空下躺著， 我還是個孩子， 我看著整個宇宙，說： ”宇宙將存在多久？“

My father was a doctor. And I would think, "Daddy, how far does the universe go?"
我的父親是個醫生。 我會問：”爸爸，宇宙將存在多久？“

And he said, "Son, it goes on forever."
他回答：”永無止境。“

So I said, "Please measure forever because in school they're teaching me that if I cannot measure it, it does not exist. It doesn't come into my frame of reference." So, how far does eternity go? What does forever mean? And I would lie there crying at night because my imagination could not touch creativity.
”那你告訴我怎么度量永久啊！ 學校的老師說 如果某東西你不能測量，它就不存在。 不存在我的參照系里。” 所以，什么是永恒？ 永遠是什么意思？ 那些晚上，我躺著哭泣， 因為我的想象力不能觸及到創造力。

So what did I do? At that time, at the tender age of seven, I created a story. What was my story? And I don't know why, but I remember the story. There was a woodcutter who's about to take his ax and chop a piece of wood, and the whole galaxy is one atom of that ax. And when that ax hits that piece of wood, that's when everything will destroy and the Big Bang will happen again. But all before that there was a woodcutter. And then when I would run out of that story, I would imagine that woodcutter's universe is one atom in the ax of another woodcutter. So every time, I could tell my story again and again and get over this problem, and so I got over the problem.
我該怎么做？ 于是在那時，在七歲那年， 我編了個故事。 不知為什么， 到現在我還記得那個故事。 有一個伐木工 拿起他的斧子準備砍一塊木頭。 他的斧子很大。整個宇宙不過是其中一粒原子。 當他的斧子擊打到那片木頭， 萬事萬物都消亡。 大爆炸將再次發生。 在我們的宇宙之前，只有一個伐木工。 然后我會跳出這個故事， 去想象那個伐木工的宇宙。 它只是另一個伐木工斧子的一個原子。 所以每次，我都可以不斷的講述我的故事， 以為解決了我的問題。 所以我就這樣解決了困惑。

How did I do it? Tell a story. So what is a story? A story is our -- all of us -- we are the stories we tell ourselves. In this universe, and this existence, where we live with this duality of whether we exist or not and who are we, the stories we tell ourselves are the stories that define the potentialities of our existence. We are the stories we tell ourselves. So that's as wide as we look at stories. A story is the relationship that you develop between who you are, or who you potentially are, and the infinite world, and that's our mythology.
可我是怎么做到的？講故事。 那么，什么是故事？ 故事就是一切，是我們所有人。 我們都只是我們講給自己的故事。 在這個宇宙里，在這種存在里， 我們過著雙重的生活 我們究竟存在與否？ 我們究竟是誰？ 故事，我們講給自己的故事 決定了 我們存在的可能性。 我們只是我們告訴自己的故事。 宇宙萬物也只和我們的故事一樣寬廣。 你是誰，你能成為誰， 和我們這個無窮的宇宙的關系， 就在我們的故事里。 那就是我們的神話。

We tell our stories, and a person without a story does not exist. So Einstein told a story and followed his stories and came up with theories and came up with theories and then came up with his equations. Alexander had a story that his mother used to tell him, and he went out to conquer the world. We all, everybody, has a story that they follow. We tell ourselves stories. So, I will go further, and I say, "I tell a story, and therefore I exist." I exist because there are stories, and if there are no stories, we don't exist. We create stories to define our existence. If we do not create the stories, we probably go mad. I don't know; I'm not sure, but that's what I've done all the time.
我們講故事。 沒有故事的人是不存在的。 愛因斯坦講了個故事。 在故事里他提出了他的理論， 在理論里提出了他的方程。 亞歷山大的母親告訴他一個故事， 他于是征服了世界。 我們所有人，每一個人，都跟隨著他的故事。 我們給自己講故事。 更進一步，我說 我講故事，所以我存在。 因為那些故事，所以我存在此處。 如果沒有故事，那么我們都將消失。 我們的故事決定了我們的存在。 如果我們停止講故事， 我們可能會瘋掉。 我不知道。但我一直就是這么做的。

Now, a film. A film tells a story. I often wonder when I make a film -- I'm thinking of making a film of the Buddha -- and I often wonder: If Buddha had all the elements that are given to a director -- if he had music, if he had visuals, if he had a video camera -- would we get Buddhism better? But that puts some kind of burden on me. I have to tell a story in a much more elaborate way, but I have the potential. It's called subtext. When I first went to Hollywood, they said -- I used to talk about subtext, and my agent came to me, "Would you kindly not talk about subtext?" And I said, "Why?" He said, "Because nobody is going to give you a film if you talk about subtext. Just talk about plot and say how wonderful you'll shoot the film, what the visuals will be."
現在我們講講電影。 電影講故事。 我常常想，我在拍一部佛的電影， 我會想：如果佛擁有和導演一樣的 那些器材。 他有音樂，他有特效，他有攝影機， 我們會不會有更好的佛教？ 但這個成為了我的某種負擔。 我必須以一種更加明確的方式 來講述這個故事。 但我看到了那種可能性。 那就是“言外之意”。 在我剛到好萊塢時，人們和我說—— 我當時和人們談論“言外之意”，于是我的代理人對我說， “請不要再談論‘言外之意’了。”” 我問：“為什么？”他說：“因為如果你再談論它， 沒有人會給你片約。 試著只去談論情節， 談談你將會把電影拍得多么精彩， 或者談談會有什么樣的視覺效果。”

So when I look at a film, here's what we look for: We look for a story on the plot level, then we look for a story on the psychological level, then we look for a story on the political level, then we look at a story on a mythological level. And I look for stories on each level. Now, it is not necessary that these stories agree with each other. What is wonderful is, at many times, the stories will contradict with each other. So when I work with Rahman who's a great musician, I often tell him, "Don't follow what the script already says. Find that which is not. Find the truth for yourself, and when you find the truth for yourself, there will be a truth in it, but it may contradict the plot, but don't worry about it."
所以當我們看一部電影， 這些就是我們尋求的， 我們在情節得層面上看那個故事， 在心理得層面上， 看那個故事， 之后我們在政治的層面上看那個故事， 在傳說的層面上 看那個故事。 我在這所有層面上尋找故事。 現在的狀況是， 這些故事不必彼此契合。 在許多時候，故事之間相互矛盾， 這正是精彩之處。 在我和偉大的音樂家Rahman合作時， 我常常和他說，“不要拘泥于劇本， 找到劇本之外的東西。 自己尋找真相。 當你找到它時， 它就會出現在你的音樂中。它有可能會和情節不符， 但是不用擔心。“

So, the sequel to "Elizabeth," "Golden Age." When I made the sequel to "Elizabeth," here was a story that the writer was telling: A woman who was threatened by Philip II and was going to war, and was going to war, fell in love with Walter Raleigh. Because she fell in love with Walter Raleigh, she was giving up the reasons she was a queen, and then Walter Raleigh fell in love with her lady in waiting, and she had to decide whether she was a queen going to war or she wanted...
所以，在《伊麗莎白》的續集《黃金時代》里， 故事情節大概如此 編劇是這樣寫的。 一個受到菲利普二世 威脅的女人 去到戰場， 當她到了那里，她和雷利爵士墜入愛河。 因為這段愛情， 她打算放棄皇位。 但那位爵士 卻愛上她的侍女。 于是，她不得不做出選擇，她是一個作戰的女王， 或者她只是想要愛情。

Here's the story I was telling: The gods up there, there were two people. There was Philip II, who was divine because he was always praying, and there was Elizabeth, who was divine, but not quite divine because she thought she was divine, but the blood of being mortal flowed in her. But the divine one was unjust, so the gods said, "OK, what we need to do is help the just one." And so they helped the just one. And what they did was, they sent Walter Raleigh down to physically separate her mortal self from her spirit self. And the mortal self was the girl that Walter Raleigh was sent, and gradually he separated her so she was free to be divine. And the two divine people fought, and the gods were on the side of divinity.
這一切這樣出現在我的電影中。 天界諸神面前， 站立兩個人， 菲利普二世，希望死后進入天界 因為在世時他總是不斷祈禱。 還有伊麗莎白，也想成為神， 但卻不可以。雖然她自以為注定會成為神， 但她的體內流淌著的并不是永生的血液。 可是，那位將成為神的卻并不是一位正直的人， 于是諸神說道： “好吧。讓我們這么干 讓我們幫助那位正直的人。” 于是他們開始幫助她。 而他們所做的事就是讓雷利爵士來到人間 去把她不朽的精神 和無法達到永生的肉體分離開來。 那個不能永生“她” 就是派到雷利爵士那里的那位女侍， 漸漸的，他將她“抽離” 于是她可以成為神了。 然后菲利普和伊麗莎白相互斗爭， 眾神站在伊麗莎白那邊。

Of course, all the British press got really upset. They said, "We won the Armada."
當然，電影放映時，英國的媒體都瘋了。 后來有人說：“我們贏得了無敵艦隊之戰。”

But I said, "But the storm won the Armada. The gods sent the storm."
而我說：“是風暴幫助你們贏得了戰爭。 而風暴是諸神派遣的。“

So what was I doing? I was trying to find a mythic reason to make the film. Of course, when I asked Cate Blanchett, I said, "What's the film about?" She said, "The film's about a woman coming to terms with growing older." Psychological. The writer said "It's about history, plot." I said "It's about mythology, the gods."
我在干什么？ 我只是找一個傳奇的理由 來制作一部影片。 后來我問凱特布蘭徹特：”這部電影講的是什么？“ 她說：”它講的是 一個女人的成長故事。” 心理層面。 而編劇說它是關于歷史、情節。 我說它是關于神話傳說。 眾神的故事。

So let me show you a film -- a piece from that film -- and how a camera also -- so this is a scene, where in my mind, she was at the depths of mortality. She was discovering what mortality actually means, and if she is at the depths of mortality, what really happens. And she's recognizing the dangers of mortality and why she should break away from mortality. Remember, in the film, to me, both her and her lady in waiting were parts of the same body, one the mortal self and one the spirit self.
我不妨現在播放電影 ——只是一些片段—— 還有鏡頭是如何運轉—— 這就是當時的場景，我心中的場面， 她正處在死亡的深淵。 她發現了死亡的含義， 一旦她處在死亡的深淵， 那么死亡真的可能降臨。 當時的她已經看到了死亡的威脅 正因為如此她想要永生。 請記住，在電影中，對于我來說， 她和她的侍女一樣 都只是一個人的兩面 一個是會死的自我 一個是不朽的精神。

So can we have that second?
那么，我們可能擁有后者么？

(Music)
（音樂）

Elizabeth: Bess? Bess? Bess Throckmorton?
伊麗莎白：Bess？ Bess？ Bess Throckmorton?

Bess: Here, my lady.
貝斯：我在這里，我的女王。

Elizabeth: Tell me, is it true? Are you with child? Are you with child?
伊麗莎白：請告訴我，那是真的嗎？ 你懷孕了嗎？ 你是不是已經懷上了爵士的孩子？

Bess: Yes, my lady.
貝斯：是的，我的女王。

Elizabeth: Traitorous. You dare to keep secrets from me? You ask my permission before you rut, before you breed. My bitches wear my collars. Do you hear me? Do you hear me?
伊麗莎白：你背叛了我。 你竟敢瞞著我？ 你必須有我的允許才能生存， 必須有我的允許才能呼吸。 你這個蕩婦竟還敢待在我身邊。 你在聽嗎？你在聽我說話嗎？

Walsingham: Majesty. Please, dignity. Mercy.
Walsingham：陛下。請息怒。請顯示你的仁慈吧。

Elizabeth: This is no time for mercy, Walsingham. You go to your traitor brother and leave me to my business. Is it his? Tell me. Say it. Is the child his? Is it his?
伊麗莎白：這并不是仁慈的時候，Walsingham。 你去找你那位叛徒兄弟，讓我自己決定。 孩子是不是他的？ 告訴我！說！孩子是他的嗎？

Bess: Yes. My lady, it is my husband's child. Elizabeth: Bitch! (Cries)
貝斯：是的。 我的女王。 這是我丈夫的孩子。 （哭泣聲）

Raleigh: Majesty. This is not the queen I love and serve.
雷利：陛下。 這并不是我熱愛并且侍奉的女王。

Elizabeth: This man has seduced a ward of the queen, and she has married without royal consent. These offenses are punishable by law. Arrest him. Go. You no longer have the queen's protection.
伊麗莎白：這個男人引誘了女王的侍女， 結婚時甚至都沒有取得皇家的許可。 這些行為是違法的！抓住他！ 去！ 你不再受到女王的保護。

Bess: As you wish, Majesty.
貝斯：如你所愿，陛下。

Elizabeth: Get out! Get out! Get out! Get out.
伊麗莎白：出去！出去！ 全都給我出去！

(Music)
（音樂）

Shekhar Kapur: So, what am I trying to do here? Elizabeth has realized, and she's coming face-to-face with her own sense of jealousy, her own sense of mortality. What am I doing with the architecture? The architecture is telling a story. The architecture is telling a story about how, even though she's the most powerful woman in the world at that time, there is the other, the architecture's bigger. The stone is bigger than her because stone is an organic. It'll survive her. So it's telling you, to me, stone is part of her destiny. Not only that, why is the camera looking down? The camera's looking down at her because she's in the well. She's in the absolute well of her own sense of being mortal. That's where she has to pull herself out from the depths of mortality, come in, release her spirit. And that's the moment where, in my mind, both Elizabeth and Bess are the same person. But that's the moment she's surgically removing herself from that. So the film is operating on many many levels in that scene. And how we tell stories visually, with music, with actors, and at each level it's a different sense and sometimes contradictory to each other. So how do I start all this? What's the process of telling a story?
謝加·凱普爾: 好了，我在試圖說明什么？ 伊麗莎白意識到 并且決定和她的嫉妒心 和她自己腐朽的一面 進行面對面的斗爭。 我是怎樣處理那些建筑的？ 它們也在講一個故事。 建筑們在講一個故事 作為世界上當時最有權利的女人 卻仍然有一些其他東西要超過她，在她之上， 比如這些建筑。 這些石塊要比她更大，因為石頭是沒有生命的。 這將拯救她。 所以，石頭就是她的命運， 不僅如此。為什么攝像頭要向下？ 那是因為她正在井里。 在她自我構筑的 絕對的深井里。 就是從那里，她將自己 從死亡的深淵中掙脫出來， 她進入那里，解放了她的精神。 在我心里，在那個瞬間， 伊麗莎白和貝斯仍然是一體的。 但在那個瞬間， 她將貝斯從體內抽離。 因此在那個場景里， 電影正在許多許多層面上同時推進。 我們就是這樣講故事， 視覺效果，音樂，演員， 在每一個層面上，都有一個不同的故事 有時甚至會相互矛盾。 我是如何開始這一切的？ 講故事的過程是怎樣的？

About ten years ago, I heard this little thing from a politician, not a politician that was very well respected in India. And he said that these people in the cities, in one flush, expend as much water as you people in the rural areas don't get for your family for two days. That struck a chord, and I said, "That's true." I went to see a friend of mine, and he made me wait in his apartment in Malabar Hill on the twentieth floor, which is a really, really upmarket area in Mumbai. And he was having a shower for 20 minutes. I got bored and left, and as I drove out, I drove past the slums of Bombay, as you always do, and I saw lines and lines in the hot midday sun of women and children with buckets waiting for a tanker to come and give them water. And an idea started to develop. So how does that become a story? I suddenly realized that we are heading towards disaster.
大約十年前， 我從一個政治家那里聽到了一件小事， 他并不是一位廣受尊敬的政治家。 他說那些住在城市里的人， 一個人就要用掉 農村里所有人在兩天里 都無法得到的水。 這引起我的共鳴。我說：“是這樣！” 我到馬拉巴山區 去探望一位朋友。 他讓我在他住所的第20層 稍等一下。 那個地區確實是孟買的繁華地段。 他花20分鐘洗了個澡。 我感到無聊，于是開車離開。 我路過孟買的貧民窟， 就像平常一樣， 我看見正午驕陽下一條條由婦女兒童構成的長龍， 他們都拿著水桶， 等著水車 來給他們一些水。 于是我產生一個想法。 這一切是如何成為一個故事的？ 突然間，我意識到，我們正在走向災難。

So my next film is called "Paani" which means water. And now, out of the mythology of that, I'm starting to create a world. What kind of world do I create, and where does the idea, the design of that come? So, in my mind, in the future, they started to build flyovers. You understand flyovers? Yeah? They started to build flyovers to get from A to B faster, but they effectively went from one area of relative wealth to another area of relative wealth. And then what they did was they created a city above the flyovers. And the rich people moved to the upper city and left the poorer people in the lower cities, about 10 to 12 percent of the people have moved to the upper city.
于是，我的下一部電影，叫做《巴尼》 意思是水。 現在，源自神話， 我開始構建一個世界。 我構建了一個什么樣的世界？ 它的形象是怎樣產生的？ 在我的心里， 未來的人們開始建筑立交橋。 你們知道立交橋？好的。 他們開始建筑立交橋 希望更快的從A到達B。 他們希望高效地從一個相對富裕地區 去到另一個相對富裕地區。 之后他們所做是這樣。 他們在立交橋上建筑了一個城市。 有錢人都住到這個上層城市去 把窮人們留在下層。 只有10％到12％的人 可以搬到上層。

Now, where does this upper city and lower city come? There's a mythology in India about -- where they say, and I'll say it in Hindi, [Hindi] Right. What does that mean? It says that the rich are always sitting on the shoulders and survive on the shoulders of the poor. So, from that mythology, the upper city and lower city come. So the design has a story.
這上下兩層的城市是那里來的？ 那來源于印度的一個傳說—— 他們是這么說的，我要用印度語說， （印度語） 好了。這是什么意思？ 我說的是，有錢人總是坐在別人的肩上 在窮人的肩上生存。 就是這樣，從傳說中，產生了上下層城市的點子。 這個設計是有原因的。

And now, what happens is that the people of the upper city, they suck up all the water. Remember the word I said, suck up. They suck up all the water, keep to themselves, and they drip feed the lower city. And if there's any revolution, they cut off the water. And, because democracy still exists, there's a democratic way in which you say "Well, if you give us what [we want], we'll give you water."
就這樣，住在上層的有錢人， 他們把所有的水吸吮上去。 記住我的用詞，吸吮。 他們吸吮了所有的水，留在自己身邊。 他們只把水滴給下層的人。 如果有革命，他們就索性切斷水源。 而且，因為仍然有“民主”， 這就是民主， 你們聽話，我們給你們水。

So, okay my time is up. But I can go on about telling you how we evolve stories, and how stories effectively are who we are and how these get translated into the particular discipline that I am in, which is film. But ultimately, what is a story? It's a contradiction. Everything's a contradiction. The universe is a contradiction. And all of us are constantly looking for harmony. When you get up, the night and day is a contradiction. But you get up at 4 a.m. That first blush of blue is where the night and day are trying to find harmony with each other. Harmony is the notes that Mozart didn't give you, but somehow the contradiction of his notes suggest that. All contradictions of his notes suggest the harmony. It's the effect of looking for harmony in the contradiction that exists in a poet's mind, a contradiction that exists in a storyteller's mind. In a storyteller's mind, it's a contradiction of moralities. In a poet's mind, it's a conflict of words, in the universe's mind, between day and night. In the mind of a man and a woman, we're looking constantly at the contradiction between male and female, we're looking for harmony within each other.
哦，我的時間到了。 我本打算繼續向你們介紹 我是如何發展我的故事的， 還有我們的故事為什么就是我們本身 還有如何把這些原則用于不同的方面。 我的就是電影。 可是，說到底，什么故事？它只是一個矛盾。 萬物皆為矛盾。 宇宙是矛盾。 可是我們所有人，自始至終，都在尋找和諧。 當你起床時，看到日與夜的矛盾。 可如果你在凌晨4點起床， 那第一抹蔚藍，是日與夜正在向彼此 尋求和諧。 莫扎特的曲調并沒有給你和諧。 但他音符中的矛盾卻在暗示著和諧。 他以矛盾之聲表現和諧。 在詩人心中，這就是從矛盾 尋找和諧的方法。 這也是一個講故事者從矛盾中尋找和諧的方法。 在故事中，那時死亡與不朽的矛盾。 在詩人心中，那是語詞的沖突。 在宇宙心中，它是日夜的交替。 在男人與女人之間， 我們總是看到， 男女之間的不和。 但我們也從彼此處尋求和諧。

The whole idea of contradiction, but the acceptance of contradiction is the telling of a story, not the resolution. The problem with a lot of the storytelling in Hollywood and many films, and as [unclear] was saying in his, that we try to resolve the contradiction. Harmony is not resolution. Harmony is the suggestion of a thing that is much larger than resolution. Harmony is the suggestion of something that is embracing and universal and of eternity and of the moment. Resolution is something that is far more limited. It is finite; harmony is infinite. So that storytelling, like all other contradictions in the universe, is looking for harmony and infinity in moral resolutions, resolving one, but letting another go, letting another go and creating a question that is really important.
這一切都是關于矛盾。 接受矛盾才能講出故事， 而并不是要去消解這矛盾。 好萊塢的故事的問題， 同時也是許多電影的問題，正如［不清］在他的演講中所說， 就是我們總是試圖解決矛盾。 和諧并不是解答。 和諧是一件 遠比解決矛盾更大的多的事。 和諧是一件 包容萬物 包容永恒與瞬間的事物。 而解決矛盾卻是有限的。 和諧是無限的。 所以，講故事，就和宇宙中一切矛盾一樣， 是在死亡中探求和諧與無窮 解決一方面，放棄另一方面， 放棄一方面，提出一個真正關鍵的問題。

Thank you very much. (Applause)
謝謝各位。 (鼓掌)

更多 英語演講小短文、英文演講稿、英語演講稿 相關文章和資料，請繼續關注 英語作文大全