奧斯卡最佳導(dǎo)演詹姆斯_卡梅隆TED英文演講稿

1、奧斯卡最佳導(dǎo)演詹姆斯卡梅隆TED英文演講稿以下這篇由應(yīng)屆畢業(yè)生演講稿網(wǎng)站整理提供的是阿凡達(dá)、泰坦尼克號(hào)的導(dǎo)演詹姆斯卡梅隆(jamescameron) 的一篇 ted 演講。在這個(gè)演講里，卡梅隆回顧了自己從電影學(xué)院畢業(yè)后走上導(dǎo)演道路的故事?？仿「嬖V你，不要畏懼失敗，永遠(yuǎn)不要給自己設(shè)限。更多演講稿范文，歡迎訪問應(yīng)屆畢業(yè)生演講稿網(wǎng)站!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 abso

2、rbed 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.and you know, that curiosity also manifested itself in the fact that whenever i wasnt in schooli was out in the woods, hiking and taking samples

3、 -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.and my love of science fiction actually seemed mirrored in the world a

4、round me, because what was happening, this was in the late 60s, 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 i

5、magined. so, thatseemed to resonate with the whole science fictionpart of it.and i was an artist. i could draw. i could paint. and i found that because there werent video gamesand this saturation of cg movies and all of this imagery in the media landscape, i had to create these images in my head. yo

6、u know, we all did, as kids having to read a book, and through the authors 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, allthat stuff. i was endlessly getting busted in mathclass dood

7、ling behind the textbook. that was - thecreativity had to find its outlet somehow.and an interesting thing happened: the jacques cousteau shows actually got mevery 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

8、 - 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.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 live

9、d in a little village in canada, 600 miles from the nearest ocean. but i didnt 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 at a ymca in the dead of winter in buff

10、alo, new york. and i didnt see the ocean, a real ocean, for another two years, until we moved to california.since then, in the intervening 40 years, ivespent about 3,000 hours underwater, and 500 hours of that was in submersibles. and ive learned that that deep-ocean environment, and even the shallo

11、w oceans,are so rich with amazing life that really is beyond our imagination. natures imagination is so boundlesscompared 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

12、strong as it ever was.but when i chose a career as an adult, it was filmmaking. 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, filmmaking was the way to put pictures a

13、nd 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 filmmaking. so, you know, merging the two passions.something inter

14、esting 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 thefirst soft-surface character, cg animation that was ever in a movie.

15、and even though the film didnt make any money - barely broke even, i should say - i witnessed something amazing, which is that the audience, the global audience, was mesmerized bythis apparent magic.you know, its arthur clarkes law that anysufficiently advanced technology isindistinguishable from ma

16、gic. they were seeingsomething 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, withterminator 2, which was my next film, we took that muchfarther. working with ilm, we created the liquid metal dude in that film. the

17、 success hung in thebalance 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.so, drawing a line through those two dots of experience came to, this is going to be a whole new w

18、orld, 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 leapfrog past the

19、 analog processes of optical printers and so on, and we would go right to digital production. and weactually did that and it gave us a competitive advantage for a while.but we found ourselves lagging in the mid 90s in the creature and character design stuff that we had actually founded the company t

20、o 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 theenvelope pushed back, and i

21、was told by the folks at my company that we werent going to be able to do this for a while.so, i shelved it, and i made this other movieabout a big ship that sinks. (laughter) you know, iwent and pitched it to the studio as romeo and juliet on a ship: its going to be this epicromance,passionate film

22、. secretly, what i wanted to do was i wanted to dive to the real wreck of titanic. and thats why i made the movie. (applause) and thats the truth. now, the studio didnt know that. but i convinced them. i said, were going to dive to thewreck. were going to film it for real. well be using it in the op

23、ening of the film. it will be really important. it will be a great marketing hook. and italked them into funding an expedition. (laughter)sounds crazy. but this goes back to that themeabout your imagination creating a reality. becausewe actually created a reality where six months later, i find mysel

24、f 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)now, that blew my mind. and it took a lot ofpreparation, we had to build cameras and lights and all kinds of things. but, it struck me

25、 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 godown to this dark hostile environment where there is no hope of rescue if you cant get back by yourself.and i thought like, wow.

26、 im like, living in a science fiction movie. this is really cool.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 hollywoo

27、d couldnt give me. because, you know, i could imagine a creature and we could create a visual effect for it. but i couldnt 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

28、before, sometimes things that no one had seen before, that actually were notdescribed by science at the time that we saw them and imaged them.so, i was completely smitten by this, and had to do more. and so, i actually made a kind of curious decision. after the success of titanic, i said, ok,im goin

29、g to park my day job as a hollywood movie maker, and im going to go be a full-time explorer for a while. and so, we started planning theseexpeditions. 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 crea

30、ted 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 didnt have the means to do it, so we createdtechnology to do it.so, you know, here i am now, on the deck of titanic, sitting in a

31、 submersible, and looking out at planks that look muchlike this, where i knew that the band had played. and im flying a little robotic vehiclethrough the corridor of the ship. when i say, im operating it, but my mind is in the vehicle. i feltlike i was physically present inside the shipwreck of tita

32、nic. and it was the most surreal kind of dejavu experience ive ever had, because i would knowbefore i turned a corner what was going to be therebefore the lights of the vehicle actually revealedit, because i had walked the set for months when wewere making the movie. and the set was based as anexact

33、 replica on the blueprints of the ship.so, it was this absolutely remarkable experience.and it really made me realize that the telepresenceexperience - that you actually can have theserobotic avatars, then your consciousness is injected into the vehicle, into this other form of existence.it was real

34、ly, really quite profound. and it may bea little bit of a glimpse as to what might behappening some decades out as we start to have cyborgbodies for exploration or for other means in manysort of post-human futures that i can imagine, as ascience fiction fan.so, having done these expeditions, and rea

35、llybeginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing,amazing animals - theyre basically aliens right here on earth. they live in an environment of chemosynthesis. they dont survive on sunlight-basedsystem the way we do. and so, youre seeing anima

36、ls that are living next to a500-degree-centigradewater plumes. you think they cant possibly exist.at the same time i was getting very interested in space science as well - again, its the science fiction influence, as a kid. and i wound up getting involved with the space community, really involved wi

37、th nasa, sitting on the nasa advisory board, planning actual space missions, going to russia, going through the pre-cosmonaut biomedicalprotocols, and all these sorts of things, to actually go and fly to the international space station withour 3d camera systems. and this was fascinating. but what i

38、wound up doing was bringing space scientists with us into the deep. and taking them down so thatthey had access - astrobiologists, planetary scientists, people who were interested in theseextreme environments - taking them down to the vents, and letting them see, and take samples and test instrument

39、s, and so on.so, here we were making documentary films, but actually doing science, and actually doing space science. id completely closed the loop between being the science fiction fan, you know, as a kid, and doing this stuff for real. and you know, along the way in this journey of discovery, i le

40、arned 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.i didnt really learn about leadership until i did these expeditions. because i had to, at a certainpoint, s

41、ay, what ami doing out here? why am i doing this? what do i get out of it? we dont make money at these damn shows. we barely break even. there is no fame in it. people sort of think i went awaybetweentitanic and avatar and was buffing mynails someplace, sitting at the beach. made all these films, ma

42、de all these documentary films for a very limited audience.no fame, no glory, no money. what are you doing?youre 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 sma

43、ll group ofpeople form a tightly knit team. because we would do these things with 10, 12 people, working for yearsat a time, sometimes at sea for two, three months at a time.and in that bond, you realize that the mostimportant thing is the respect that you have for them and that they have for you, t

44、hat youve done a taskthat you cant 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 attentuation, and the thisand the that, all the technology of it, and thedifficulty, the human-performance aspects ofworking at sea, you cant expla

45、in it to people. itsthat thing that maybe cops have, or people in combat that have gone through something together and theyknow they can never explain it. creates a bond, creates a bond of respect.so, when i came back to make my next movie, which was avatar, i tried to apply that same principle of l

46、eadership, which is that you respect your team, and you earn their respect in return. and it reallychanged the dynamic. so, here i was again with a small team, in uncharted territory, doing avatar, comingup with new technology that didnt exist before.tremendously exciting. tremendously challenging.a

47、nd 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 itse

48、lf, that changed as a result of that.so, what can we synthesize out of all this? you know, what are the lessons learned? well, i think number one is curiosity. its the most powerful thing you own. imagination is a force that can actually manifest a reality. and the respect of your team is more impor

49、tant than all the laurels in the world. ihave young filmmakers come up to me and say, give me some advice for doing this. and i say, dont putlimitations on yourself. other people will do thatfor you - dont do it to yourself, dont bet againstyourself, and take risks.nasa has this phrase that they lik

50、e: failure isnot an option. but failure has to be an option in artand in exploration, because its a leap of faith. and no important endeavor that required innovation wasdone without risk. you have to be willing to takethose risks. so, thats the thought i would leave you with, is that in whatever you

51、re doing, failure is an option, but fear is not. thank you. (applause)譯文：我是看科幻小說(shuō)長(zhǎng)大的。高中時(shí)，我連坐校車上下學(xué)時(shí)都在讀著科幻小說(shuō)。這些書將我?guī)У搅硪粋€(gè)世界，滿足了我無(wú)止境的好奇。每當(dāng)我在學(xué)校，我總是在樹叢中尋找一些標(biāo)本青蛙、蛇、昆蟲我把它們放在顯微鏡下觀察。我總是試圖認(rèn)知這個(gè)世界，想找到它可能的邊界。我對(duì)科幻小說(shuō)的熱愛或許是那個(gè)時(shí)代的寫照。60 年代末期，人類登上了月球，去了深海。通過電視，我們看到了不同的動(dòng)物和地方。這都是我們不曾想象的。這種氛圍中，我不知不覺地喜歡上了科幻小說(shuō)。每當(dāng)我看完小說(shuō)，故事中的影像就會(huì)

52、在我腦海中不斷放映。或許是因?yàn)閯?chuàng)造力必須找到一個(gè)發(fā)泄方式，我開始畫外星人、機(jī)器人、飛船我甚至?xí)跀?shù)學(xué)課上在課本的背面畫畫。對(duì)科幻小說(shuō)的不斷接觸讓我想到：外星人不一定生存在外太空，他們很有可能就生活在我們星球上。所以15 歲時(shí)，我決定成為一個(gè)潛水員。而當(dāng)時(shí)實(shí)現(xiàn)夢(mèng)想唯一的問題是我生活在加拿大的一個(gè)小山村，離最近的海有6 英里遠(yuǎn)。但我父親并沒有讓這成為我夢(mèng)想的障礙，他在邊境對(duì)岸的美國(guó)紐約州布法羅找到了一個(gè)潛水培訓(xùn)班。于是我便在布法羅的一個(gè)泳池里獲得了潛水證書。直到兩年后，當(dāng)我們?nèi)野岬郊又荩也诺谝淮斡袡C(jī)會(huì)真正地潛水。在這之后的40 年里，我在海底大約總共花了3 萬(wàn)個(gè)小時(shí)。大海如此豐富多彩，眾多神奇

53、的生物生活其中。比起我們的想象力，自然的想象力完全沒有邊界。我想，至今我對(duì)大海的了解還是很少，但我對(duì)海洋的好奇卻一直延續(xù)著。電影魔法師與科學(xué)體驗(yàn)但長(zhǎng)大后，我并沒有成為一名潛水員，我選擇的職業(yè)是電影。我喜歡講故事，畫圖畫，電影看起來(lái)是最合適的工作。當(dāng)然，我講述的故事都是科幻的終結(jié)者、外星人等等。我也將我對(duì)潛水的熱愛和電影融合在了一起。拍攝深淵 時(shí)，我有了一些有趣的想法。當(dāng)我們要塑造一個(gè)水狀的生物時(shí)，我們使用了計(jì)算機(jī)生成動(dòng)畫cg。 cg 的應(yīng)用產(chǎn)生了電影歷史上第一個(gè)軟表面、電腦制成的形象。雖然這部電影使公司差點(diǎn)虧本，但全世界的觀眾被這種新技術(shù)所震撼。根據(jù)亞瑟克拉克定律任何高難度的技術(shù)和魔法沒有什么

54、區(qū)別，很多人覺得自己看到了一些神奇的東西。這使我感到很興奮。我想cg 應(yīng)該被用到電影藝術(shù)中去。所以，在我接下來(lái)的電影終結(jié)者2中，我把這種技術(shù)又推近了一步，創(chuàng)造了一個(gè)金屬人。我又變了一次魔術(shù)。這部電影很成功，我們賺了一些錢。作為一個(gè)電影人，我看到了一個(gè)全新的世界，一個(gè)全新的未來(lái)。于是我和好友斯坦溫斯頓創(chuàng)立了一家公司，叫做數(shù)字領(lǐng)域。公司的概念是要跳過普通的電影制作直接進(jìn)入數(shù)字電影制作。我們也是這么做的，這也使得我們?cè)谝欢螘r(shí)間內(nèi)有了一定的優(yōu)勢(shì)。但在90 年代中期，我發(fā)現(xiàn)我們有些落后了。我寫 阿凡達(dá)這部電影，就是想要推動(dòng)整個(gè)視覺體驗(yàn)以及動(dòng)畫效果的進(jìn)步。讓電影人物跳出人們想象的框 架，完全用動(dòng)畫效果詮釋人物表情。但一開始，員工告訴我，他們還沒有能力做到。于是我把阿凡達(dá)放在了一邊，轉(zhuǎn)而制作了另一部電影泰坦尼克號(hào)。在為泰坦尼克號(hào)尋找投資商時(shí)，我告訴制作人這