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.

我是看科幻小說長大的。高中時，我每天乘公共汽車上下學，上學和放學都要 在公共汽車上花費一個小時。我在車上經常看科幻小說。這些書將我的思想帶到了 另一個世界，它們以一種敘述性的方式，滿足我永無止境的好奇心。

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. You know, I was a real science geek. But it was all about trying to understand the world, understand the limits of possibility.

每當我不上課在樹林中散步和尋找標本時，我總是會充滿好奇，我會將青蛙、 蛇、臭蟲或者池塘里的水作為標本帶回家放在顯微鏡下觀察。你知道，我真的是一 個科學迷。我總是試圖探索這個世界，想找到它可能存在的邊界。

And my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late 60’s，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.

我對科幻小說的熱愛或許是那個時代的寫照。上世紀60年代末期，人類登上了 月球，去探索深海。雅克寇斯托帶著他別具一格的節目出現在電視熒屏上，讓我們在客廳里便可以看到不同的動物和場所以及我們之前從未想象過的神奇的世界.這個節目與科幻小說一樣可以引起我的興趣。

And I was an artist. I could paint. And I found that because there weren’t 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 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 doodling behind the textbook. That was, the creativity had to find its outlet somehow.

我是一名藝術家。我會繪畫。我發現因為媒體界沒有游戲并且像CG電影以 及類似想象類作品的缺失，使我不得不根據自己頭腦中的想象進行創作。你知道， 實際上我們都曾經這樣做過，當孩子們讀一本書的時候，他們會根據作者的描述， 在自己頭腦中形成一些畫面。而我對此的反應是將我頭腦中的畫面描繪下來，畫外 星人，畫外星世界，畫機器人、宇宙飛船等等類似的東西。我甚至會上數學課時在 課本的背面亂涂亂畫，為此經常導致數學成績不理想。所有以上的種種行為，我想 歸咎于我的好奇心總想找到某種方式發泄吧。

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 really go to an alien world on a spaceship someday. That seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.

一件有趣的事情發生了：雅克寇斯托的節目真的使我相信地球上存在一個外 星世界，并且這使我很興奮。某天，我可能真的會乘太空飛船去外星世界。這看起 來是不可能的。但是在地球上確實有一個地方我可以去，那個地方既富饒又充滿異 國情趣，和我讀那本書時出現在頭腦中的地方一樣。

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 didn5t see the ocean, a real ocean, for another two years, until we moved to California.

所以在15歲時，我決定成為一名潛水員。而當時實現夢想唯一的問題是我生活在加拿大的一個小山村，離最近的海有6英里遠。但我并沒有讓這成為我夢想的 障礙。我糾纏著父親在邊境對岸的美國紐約州布法羅找到了一個潛水培訓班。于是 我便在布法羅的一個泳池里獲得了潛水證書，那時布法羅正值隆冬。我從未見過大 海，直到兩年后，我們全家搬到加州，我才第一次有機會看到真正的大海。

Since then, 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.

在這之后的40年里，我在海底大約總共花了3萬個小時，在潛水艇里花了50fKh 小時。我了解到不管是深水海域還是淺水海域都蘊藏著神奇的生物，這些神奇的生 物都是我們想象不到的。比起我們的想象力，自然的想象力完全沒有邊界。現在我 潛水時仍然對我所看到的一切很敬畏。我對海洋的熱愛一直未中斷，并且和最初時 一樣強烈。

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，當我長大后選擇職業的時候，我卻選擇了電影制作。我喜歡講故事，畫 圖畫，電影看起來是最合適我的工作。而且我童年時也一直在堅持畫漫畫。電影制 作是將圖片與故事融合在一起，那樣很有意義。當然我所要講述的是科幻故事，像 《終結者》、《外星人》、《深淵》等等。制作《深淵》時，我將對潛水的熱愛和電影融合在了一起。你知道就是將兩種熱愛之情融合在一起。

Something interesting came out of The Abyss, 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 animation 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.

制作《深淵》時，發生了一些很有趣的事情，那就是當我們要塑造一個水狀的 生物時，我們使用了 “計算機生成動畫” CG。CG的應用產生了電影歷史上第一個軟 表面、電腦制成的形象。雖然這部電影使公司差點虧本，但是我要說，我發現全世 界的觀眾都為這種新技術所震撼。

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.

你知道，根據亞瑟克拉克定律——任何高難度的技術和魔法沒有什么區別， 很多人覺得自己看到了一些“神奇”的東西Q這使我感到很興奮。我想CG應該被用 到電影藝術中去。所以，在我接下來的電影《終結者2》中，我們把這種技術又推近 了一步，與光影魔幻產業公司合作，我們創造了一個液態金屬人。起先還對是否會 成功惴惴不安，可是結果真的成功了。我們又一次創造了奇跡。這部電影給觀眾帶 來了同樣的震撼。盡管那部影片確實沒為我們賺到錢。

So，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 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.

因此，從制作電影的兩次經歷中我得出了一些經驗：我們的世界將會是一個全新 的世界，對于電影藝術家們，將會是一個充滿想象力的全新的世界。于是我和好友斯坦溫斯頓創立了一家公司，斯坦溫斯頓是當時首屈一指的生物設計師。我們的公 司取名叫“數字領域”。公司的理念是要跳過普通的電影制作和模擬過程直接進入數 字電影制作。我們也是這么做的，這也使得我們在一段時間內有了一定的優勢。

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 I was told by the folks at my company that we weren’t going to be able to do this for a while.

但在90年代中期，我發現我們在人物和性格設計上有些落后了。而我們的公司 的主要業務就是人物和性格設計。因此，我寫《阿凡達》這部電影就是想要推動整 個視覺體驗以及動畫效果的進步。讓現實人物的情感在電影上詮釋，而電影中的主 要人物具有動畫效果。電影中的全部畫面具有動畫效果。但一開始，員工告訴我， 他們還沒有能力做到這樣。

So, I shelved it, and I made this other movie about a big ship that sinks. (Laughter) 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. (Applause) And that’s 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.

于是我把《阿凡達》放在了一邊，我開始制作另一部有關一艘大船沉沒的電影 (笑聲）。你們知道，我努力將給這部電影制作成一部發生在船上的“羅密歐與朱 麗葉”似的電影。那應該是一部凄美浪漫的愛情電影。悄悄告訴你們，實際上我想 要到真正的泰坦尼克號殘骸下潛水。那才是我制作這部電影的真正原因 (掌聲） 那是事實，但是電影制片廠并不了解這些。但是我使他們信服了，我告訴他 們，我們要沉入海底，拍攝泰坦尼克號真實的畫面。我們將把這個片段放在首映式 上展現，這將會引起很大的轟動，票房也會很好。令人意外，電影公司真的同意出 錢，支持我去探索泰坦尼克號。

Sounds crazy. But this goes back to that theme about 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 HD, for real. (Applause)

雖然到現在我仍覺得有些瘋狂，但這就是“想象創造了現實”。因為我真的經 歷了這種事情，六個月后我在北大西洋的一艘俄羅斯潛水艇里的海下2.5米處看到了 真正的泰坦尼克號，不是在電影中看到的，是在真實生活中看到的。

Now, that blew my mind. And 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 I thought like, “Wow. I am like living in a science fiction movie. This is really cool.”

現在，《泰坦尼克號》的拍攝體驗給了我很大的震撼。雖然我們要做很多準備 工作，我們要搭建相機、燈光和許多其他設備。但令我震驚的是，這次深海拍攝就 像是一次外太空旅行。你知道，在那里拍攝電影需要尖端的技術和繁雜的計劃。你 要待在船艙中，你要到黑暗的危險環境中去，如果你自己不能回來的話，連援救的 希望都沒有。我當時想/啊，我好像處在科幻小說中。那真的感覺很酷。

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 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. .

因此，我想我好像被深海探索這只臭蟲咬了，對它著了迷。當然好奇心是深 海探索的核心部分。深海探索是一切，是冒險，是好奇，是想象，是好萊塢給不 了我的一種經歷。因為，你們知道，我可以想象一個我們可以為其創造視覺效果的 事物。但是我卻永遠無法想象出透過潛艇窗所看到的那些生物。當我們作進一步探 險的時候，我看到了深海熱泉里的生物，而且有時看到一些我之前從未看到過的生 物，任何人都未看到過的生物。我們看到它們想象它們的時候，它們還沒有被科學所描述。我被震撼了，必須做更多事情。

And so, I actually made a kind of curious decision. After the success of Titanic,! said, “Okay，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，we started planning these expeditions. And we wound up going to the Bismatk, 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.

在《泰坦尼克號》成功后，我實際上作了一個古怪的決定：暫停我的主業—— 好萊塢導演，做一段時間全職探險家。于是我們開始策劃一些探險。在自動探測車 幫助下，我們去了俾斯麥。我們回到了泰坦尼克號的殘骸上。我們將我們創造的 “馬蠅”纏在一個光纖上。我們想進到泰坦尼克號的內部對該船作進一步的研究， 這在之前從未有人做過。從沒有人看過該船遺骸的內部。他們沒有方法那樣做，因 此我們發明了技術做這件事情。

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 that the band had played. And I'm flying a little robotic vehicle through the corridor of the ship. When I say, 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.

于是，我現在這里，在泰坦尼克號的甲板上，從潛水艇里看著像這樣的厚木 板，我知道樂隊曾經在那里演奏。我乘著機器人車穿梭在殘骸間。當我操縱該機器 人車時，我的思想也集中在車上。我感覺自己真的到了泰坦尼克號上,這是一種最 令人興奮的似曾相識的感覺。因為我知道假如在這里轉個彎，我將會在機器人車燈 光的照耀下看到什么。因為制作電影期間，我已經在另一個完全一樣的泰坦尼克號 復制品上工作了好幾個月。

So, it was this absolutely remarkable experience. And it really made me realize that the telepresense experience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of existence. It was really quite profound. And may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyboerg bodies for exploration or for other means in many sort of post-human futures that I can imagine, as a science fiction fan.

因此，這是一次不同尋常的經歷。它讓我感覺到，遠程監控的力量,你真的可 以擁有這些機器人替身，然后你的思想全部集中在機器人車上，變成另一種形式的 存在。這種體驗非常深刻。或許幾十年后，當我們用半機器人探測，或者任何后人 類生物用其他手段探測時，人們會對這種感覺習以為常。這是我作為一名科學小說 迷所能想象到的事。

So, having done these expeditions, and 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.

在這些探險之后，我開始真正感謝這些存在于海底的生物，深海噴口處的特別 神奇的生物。基本上這些生物對于地球來說就是外星生物。它們生活在一個化學合 成的環境之中。它們無法像我們一樣存活于太陽之下。

At the same time I was getting very interested in space science as well, again, it's 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 astrobiologists, planetary scientists, people who were interested in these extreme environments, and letting them see, and take samples and test instruments, and so on.

同時，從小被科幻小說影響的我對于太空科學也非常感興趣。我激動地加入了 太空社區，進入了NASA的顧問委員會，我在咨詢委員會的董事會上設計可行的航天 任務，去俄羅斯，去研究前宇航員的生物醫藥學協議，做類似的許多事情，帶著我 們的3D電影攝像機進入太空站。這些非常有趣,但我真正想做的是把這些太空專家 帶入深海，讓這些對極端環境感興趣的行星科學家和天體生物學家們有機會進入深海，讓他們看看深海，取一些樣本，測試下儀器等等。

So, here we were making documentary films, but actually doing science, and actually doing space science. I’d completely dosed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real.

因此，我們在做紀錄片，但實際上也是在作科學研究，在作太空科學研究.如今， 我將兒時對科學小說的熱愛變成了現實，這些事業將我整個人生很好地整合了起來。

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

在發現的過程中，我學到了很多。我學到的不僅僅是科學知識，還有領導力。 很多人以為導演就必須是領導者，必須是像船長似的領導者。

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. We barely break even. There is no fame in it. People sort of think I went away after Titanic and Avatar sitting at the beach. Made all these films, made all these documentary films for a very limited audience.

但我之前從未學過領導力直到做了這次冒險后。因為在某種程度上說我不得不 這樣做。在探險時，有時候我會問自己，我正在這里干什么？為什么要做這些事？ 我從中得到了什么？我們并沒有從這些紀錄片中賺錢，還差點虧了本。我也沒有 賺到名聲。很多人以為我在《泰坦尼克號》和《阿凡達》之后就一直躺在沙灘邊享 受。我制作的這些電影和紀錄片的觀眾非常有限。

No fame, no glory, no money. What are you doing? You're doing it for the task itself, for the challengeand 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.

沒有名聲，沒有榮耀，沒有金錢，那我在做什么呢？你做這些其實只是為了任 務本身。為了挑戰——海洋是現存最具有挑戰性的環境；為了激動人心的發現；為 了來自一個由少數人組成的緊密團隊間的微妙關系。我們這10到12個人在一起工作 了很多年。有時要在海里一起工作2到3個月。

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 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-

在這種關系中，你會發現最重要的東西就是彼此之間的尊重。每個人做的工作 都無法向其他人解釋。當你回到海岸后說“我們不得不這樣做，光纖怎樣，技術怎 樣，有什么樣的困難，人們在海下的工作效率怎樣，所有的這些，你無法向人們解 釋。那樣的事情或許發生在警察身上，又或許一起并肩作戰的戰友能體會到，但是 他們也永遠無法解釋。創建一種關系就要維系一種尊重。

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, 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 result of that.

因此，當我回來創作我的下一步作品《阿凡達》時，我試著將這種領導力應 用在電影拍攝中。這種領導力就是你尊重你的團隊，你的團隊也會尊重你作為對你 的回報。很快情況就發生了改變。在《阿凡達》拍攝過程中，我的團.隊也很小，也 在未知領地工作，創造之前從來沒有過的新科技。這非常激動人心，非常具有挑戰 性。四年半時間，我們成為了一個家庭。這完全改變了我以前拍電影的方式。有評 論文章說，卡梅隆把海底的一些生物放到了潘多拉星球上是其影片成功的原因，而 對于我來說，是做事的基本法則以及過程本身改變了事情的結果。

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, “Give me some advice for doing this.55 And I say, “Don’t put limitations on yourself. Other people will do that for you, don’t do it yourself, don’t bet against yourself. And take risks.”

因此，我們從這一切中可以總結出什么呢？我們學到了什么呢？我想第一：好奇心，這是你擁有的最強有力的東西；第二:想象力，這是你創造現實最重要的力 量；第三：對團隊的尊重，這是比世界上其他定律更重要的定律。有不少年輕電影 導演就某件事情詢問我的意見。我對他們說：“不要給自己劃定界限。別人會為你 去劃界限，但你自己千萬別去。不要_自己打賭，要去冒險。

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. Thank you.
 

美國宇航局有句他們很喜歡的話：失敗不是一種選擇。但是失敗在藝術和探索 領域不得不是一種選擇。因為那是信仰的飛躍。而且沒有不需要冒險但需要創新的 工作。你必須心甘情愿的去冒險。因此，不管你們做什么，我想讓你們懂得的是： 失敗是其中一個選項，但畏懼不是。謝謝。
 

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