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  • I grew up on a steady diet of science fiction.

    我在科幻的滋潤下成長。

  • In high school, I took a bus to school

    高中時,我每天坐巴士上學,

  • an hour each way every day.

    單趟就要一個小時。

  • And I was always absorbed in a book,

    而我常常沉醉於書本中 --

  • science fiction book,

    科幻書籍,

  • which took my mind to other worlds,

    它會把我的思想帶領到其他世界中,

  • and satisfied, in a narrative form,

    用文字的方式,

  • this insatiable sense of curiosity that I had.

    滿足我貪得無厭的求知慾。

  • And you know, that curiosity also manifested itself

    你要知道,我的好奇心很強烈,

  • in the fact that whenever I wasn't in school

    當我不在學校時,

  • I was out in the woods,

    我就在樹林中,

  • hiking and taking "samples" --

    遠足和收集樣本 --

  • frogs and snakes and bugs and pond water --

    青蛙,蛇,昆蟲和池塘水 --

  • and bringing it back, looking at it under the microscope.

    然後把它帶回家中放在顯微鏡下觀看。

  • You know, I was a real science geek.

    我是一個典型的科學怪胎。

  • But it was all about trying to understand the world,

    但這全因為我想瞭解世界,

  • understand the limits of possibility.

    瞭解所有可能發生的事的極限。

  • And my love of science fiction

    我對科學的鍾愛,

  • actually seemed mirrored in the world around me,

    實際上可反映在我週圍的世界中,

  • because what was happening, this was in the late '60s,

    因為在六十年代末發生了許多事,

  • we were going to the moon,

    包括人類登陸月球、

  • we were exploring the deep oceans.

    探索海洋的深處。

  • Jacques Cousteau was coming into our living rooms

    傑克.庫斯托(著名深海探險家)拍攝了

  • with his amazing specials that showed us

    奇妙的電視特輯 --

  • animals and places and a wondrous world

    包括我們從前從未想像過的

  • that we could never really have previously imagined.

    動物、景點及奇妙的世界。

  • So, that seemed to resonate

    所以這好像

  • with the whole science fiction part of it.

    與整個科幻領域產生共鳴。

  • And I was an artist.

    當時我是一位藝術家,

  • I could draw. I could paint.

    我會畫,也會上色。

  • And I found that because there weren't video games

    我發現我繪畫是因為那時沒有電視遊戲,

  • and this saturation of CG movies and all of this

    沒有這些色彩飽和的電腦動畫電影,

  • imagery in the media landscape,

    更沒有現代媒體所創造的影像,

  • I had to create these images in my head.

    我需要在我的腦中創造出那些影像。

  • You know, we all did, as kids having to

    就像小孩讀書一樣,我們所做的,

  • read a book, and through the author's description,

    是透過作者的描述,

  • put something on the movie screen in our heads.

    把畫面呈現在我們腦海中的電影螢幕上。

  • And so, my response to this was to paint, to draw

    所以,我的作法就是把它描繪出來,

  • alien creatures, alien worlds,

    把外星生物、外星世界、

  • robots, spaceships, all that stuff.

    機械人、太空船等所有這些東西畫出來。

  • I was endlessly getting busted in math class

    我不斷地在數學課中遭到挫敗,

  • doodling behind the textbook.

    只好躲在課本後面亂塗。

  • That was -- the creativity

    這是創意,

  • had to find its outlet somehow.

    需要找一些方式宣洩。

  • And an interesting thing happened: The Jacques Cousteau shows

    然後有一件有趣的事情發生了,傑克.庫斯托的節目

  • actually got me very excited about the fact that there was

    告訴我們地球上有一個外星世界存在,

  • an alien world right here on Earth.

    這讓我感到興奮極了。

  • I might not really go to an alien world

    我或許不會真的坐太空船

  • on a spaceship someday --

    到外太空,

  • that seemed pretty darn unlikely.

    看起來也真的不大可能,

  • But that was a world I could really go to,

    但他所介紹的地方,是我真的可以去到的地方 --

  • right here on Earth, that was as rich and exotic

    就在這地球上,就和我讀科幻書

  • as anything that I had imagined

    幻想到的東西一樣豐富、

  • from reading these books.

    一樣奇特。

  • So, I decided I was going to become a scuba diver

    所以,在我十五歲那年,

  • at the age of 15.

    我決定學會潛水。

  • And the only problem with that was that I lived

    但唯一的問題是,

  • in a little village in Canada,

    我住在加拿大的一個小村莊,

  • 600 miles from the nearest ocean.

    離最近的海洋也有約一千公里之遠,

  • But I didn't let that daunt me.

    但我沒有被這嚇倒。

  • I pestered my father until he finally found

    我苦苦糾纏我父親,後來他終於發現,

  • a scuba class in Buffalo, New York,

    紐約水牛城有開設一堂潛水課,

  • right across the border from where we live.

    從我們住的地方跨過邊境就到了。

  • And I actually got certified

    而我真的在一個嚴寒的冬天裡,

  • in a pool at a YMCA in the dead of winter

    在紐約水牛城女青年會裡的游泳池,

  • in Buffalo, New York.

    取得了潛水資格。

  • And I didn't see the ocean, a real ocean,

    在那之前,我沒有見過真正的海洋,

  • for another two years,

    直到兩年後,

  • until we moved to California.

    我們搬到加州來。

  • Since then, in the intervening

    從那時起,

  • 40 years,

    四十年來,

  • I've spent about 3,000 hours underwater,

    我已在海底待了大約三千個小時,

  • and 500 hours of that was in submersibles.

    其中五百小時待在潛艇裡。

  • And I've learned that that deep-ocean environment,

    我發現,不論是在深海

  • and even the shallow oceans,

    或是淺海,

  • are so rich with amazing life

    都蘊藏了豐富且奇妙的生物,

  • that really is beyond our imagination.

    遠遠超過我們所能想像。

  • Nature's imagination is so boundless

    大自然的想像力是無邊際的,

  • compared to our own

    相較之下,

  • meager human imagination.

    人類的想像力貧乏的可憐。

  • I still, to this day, stand in absolute awe

    直至今天,

  • of what I see when I make these dives.

    我仍敬畏我在潛水時看到的景像。

  • And my love affair with the ocean is ongoing,

    我對海洋的愛是持續的,

  • and just as strong as it ever was.

    仍然和以往一樣強烈。

  • But when I chose a career as an adult,

    但當我像其他成年人一樣選擇職業時,

  • it was filmmaking.

    我選擇了拍電影。

  • And that seemed to be the best way to reconcile

    這好像是調和我想講故事與

  • this urge I had to tell stories

    我想創造影像這二種慾望

  • with my urges to create images.

    的最好方法。

  • And I was, as a kid, constantly drawing comic books, and so on.

    當我還是小孩時,我經常畫漫畫之類的東西,

  • So, filmmaking was the way to put pictures and stories

    而拍電影是把圖像、故事放在一起,

  • together, and that made sense.

    那很有意義。

  • And of course the stories that I chose to tell

    當然,我想要講的故事

  • were science fiction stories: "Terminator," "Aliens"

    是科幻故事,像是"魔鬼終結者"、"異形"、

  • and "The Abyss."

    和 "無底洞"等,

  • And with "The Abyss," I was putting together my love

    而在"無底洞"裡,我把我所愛的

  • of underwater and diving with filmmaking.

    海底世界、潛水拍成電影,

  • So, you know, merging the two passions.

    這等於是把兩種熱情融合在一起。

  • Something interesting came out of "The Abyss,"

    在拍攝"無底洞"時,發生了一些有趣的事情,

  • which was that to solve a specific narrative

    為了拍攝出影片裡所描述

  • problem on that film,

    的某些特殊景像,

  • which was to create this kind of liquid water creature,

    為了要創造出那個流體水怪,

  • we actually embraced computer generated animation, CG.

    我們確實運用了一些電腦動畫技術。

  • And this resulted in the first soft-surface

    它是第一個在電影中,

  • character, CG animation

    運用電腦動畫

  • that was ever in a movie.

    所繪製出的流體角色,

  • And even though the film didn't make any money --

    雖然這部電影沒有賺錢,

  • barely broke even, I should say --

    或者應該說只是勉強打平而已,

  • I witnessed something amazing, which is that the audience,

    但我見證了一些奇妙的事 -- 就是觀眾,

  • the global audience, was mesmerized

    包含世界各地的觀眾,

  • by this apparent magic.

    都被這個魔法迷住了。

  • You know, it's Arthur Clarke's law

    你知道,這是亞瑟克拉克的定律,

  • that any sufficiently advanced technology is indistinguishable from magic.

    任何全然先進的科技都與魔法無異。

  • They were seeing something magical.

    他們見到一些神奇的事物,

  • And so that got me very excited.

    這令我很興奮。

  • And I thought, "Wow, this is something that needs to be embraced

    而我想: "嘩! 這是一項值得運用在電影上

  • into the cinematic art."

    的科技。"

  • So, with "Terminator 2," which was my next film,

    所以在接下來的電影"魔鬼終結者2" 中,

  • we took that much farther.

    我們更進一步與ILM合作,

  • Working with ILM, we created the liquid metal dude

    我們在片中創造了液體金屬怪物,

  • in that film. The success hung in the balance

    成功則取決於那個效果

  • on whether that effect would work.

    是否能發揮作用。

  • And it did, and we created magic again,

    那個效果真得很好,我們再次創造了魔法,

  • and we had the same result with an audience --

    觀眾的反應還是一樣好,

  • although we did make a little more money on that one.

    我們也在這齣電影中賺了多一點的錢。

  • So, drawing a line through those two dots

    把這兩個經驗

  • of experience

    結合起來,

  • came to, "This is going to be a whole new world,"

    可以讓我們看到一個全新的世界,

  • this was a whole new world of creativity

    這是電影藝術

  • for film artists.

    的全新世界。

  • So, I started a company with Stan Winston,

    之後我便和史丹.溫斯頓成立一間公司。

  • my good friend Stan Winston,

    我的好朋友史丹.溫斯頓,

  • who is the premier make-up and creature designer

    當時是一名頂尖的化妝及怪獸設計師,

  • at that time, and it was called Digital Domain.

    我們的公司名叫數碼領域。

  • And the concept of the company was

    公司的理念是要

  • that we would leapfrog past

    超越過去

  • the analog processes of optical printers and so on,

    類比光學沖印之類的玩意兒,

  • and we would go right to digital production.

    直接進入數位製作時代。

  • And we actually did that and it gave us a competitive advantage for a while.

    而我們的確做到了,還讓我們保持了好一陣子的競爭優勢。

  • But we found ourselves lagging in the mid '90s

    但在九十年代中期,我們發現自己

  • in the creature and character design stuff

    在人物和角色設計上落後許多,

  • that we had actually founded the company to do.

    那已經脫離了我們當時成立公司的目的。

  • So, I wrote this piece called "Avatar,"

    所以,我寫了一個劇本 "阿凡達",

  • which was meant to absolutely push the envelope

    我要把目前的

  • of visual effects,

    視覺效果、

  • of CG effects, beyond,

    電腦動畫效果推進到極限,

  • with realistic human emotive characters

    我要用電腦動畫畫出

  • generated in CG,

    有真人情感的角色,

  • and the main characters would all be in CG,

    所有主角都是由電腦動畫繪製,

  • and the world would be in CG.

    背景世界也是以電腦動畫繪製。

  • And the envelope pushed back,

    但當時的技術做不到,

  • and I was told by the folks at my company

    公司裡的同事們告訴我,

  • that we weren't going to be able to do this for a while.

    就算再過一段時間也無法做出這些。

  • So, I shelved it, and I made this other movie about a big ship that sinks.

    所以,我把它放回架上,然後做了那齣大船沈向海底的電影。

  • (Laughter)

    (笑)

  • You know, I went and pitched it to the studio as "'Romeo and Juliet' on a ship:

    你知道,我把這部片定調為在船上的羅密歐與朱麗葉,

  • "It's going to be this epic romance,

    這將會是部史詩般浪漫、

  • passionate film."

    熱情的電影。

  • Secretly, what I wanted to do was

    其實,我心裡想做的,

  • I wanted to dive to the real wreck of "Titanic."

    是潛入鐵達尼號的殘骸裡,

  • And that's why I made the movie.

    那就是我拍那部電影的原因。

  • (Applause)

    (鼓掌)

  • And that's the truth. Now, the studio didn't know that.

    這是事實,電影公司並不知道我的想法,

  • But I convinced them. I said,

    但我說服他們,我說:

  • "We're going to dive to the wreck. We're going to film it for real.

    「我們潛入船體殘骸,拍些真實的畫面回來,

  • We'll be using it in the opening of the film.

    把那些畫面當作電影的片頭,

  • It will be really important. It will be a great marketing hook."

    一定要這樣做,因為這是一個很好的賣點。」

  • And I talked them into funding an expedition.

    我說服他們資助我的這次探險。

  • (Laughter)

    (笑)

  • Sounds crazy. But this goes back to that theme

    聽起來很瘋狂,但這和我剛才所講的一樣,

  • about your imagination creating a reality.

    你的想像力可以創造出真實的東西,

  • Because we actually created a reality where six months later,

    而我們真的創造出真實的東西。在六個月之後,

  • I find myself in a Russian submersible

    我乘坐俄羅斯的潛艇,

  • two and a half miles down in the north Atlantic,

    來到北大西洋海平面四公尺以下的海裡,

  • looking at the real Titanic through a view port.

    從舷窗裡看著真實的鐵達尼號,

  • Not a movie, not HD -- for real.

    那不是電影、也不是高畫質影像,那是真實的鐵達尼號。

  • (Applause)

    (鼓掌)

  • Now, that blew my mind.

    那震撼了我!

  • And it took a lot of preparation, we had to build cameras

    我們要做很多準備,我們要架設攝影機、

  • and lights and all kinds of things.

    燈光及其他所有的東西,

  • But, it struck me how much

    但這些深海潛水,

  • this dive, these deep dives,

    更令我吃驚,

  • was like a space mission.

    因為要潛入海底,就像要去太空一樣,

  • You know, where it was highly technical,

    是高科技,

  • and it required enormous planning.

    需要龐大的計劃。

  • You get in this capsule, you go down to this dark

    你進入潛水艙裡,下到這個漆黑的、

  • hostile environment

    不熟悉的環境裡,

  • where there is no hope of rescue

    如果自己不能返回陸地,

  • if you can't get back by yourself.

    也沒有人會來救你。

  • And I thought like, "Wow. I'm like,

    我想: "嘩,我像是

  • living in a science fiction movie.

    活在科幻電影中,

  • This is really cool."

    這真的很酷!"

  • And so, I really got bitten by the bug of deep-ocean exploration.

    我愛上了深海探險,

  • Of course, the curiosity, the science component of it --

    這裡面充滿好奇及科學的原素,

  • it was everything. It was adventure,

    包含了一切。這是一種探險、

  • it was curiosity, it was imagination.

    好奇心及想像力,

  • And it was an experience that

    這是好萊塢所不能

  • Hollywood couldn't give me.

    給我的經驗。

  • Because, you know, I could imagine a creature and we could

    因為你知道,我可以想像出一個生物,

  • create a visual effect for it. But I couldn't imagine what I was seeing

    也可以為它創造出視覺效果,但我卻想像不出我在海底

  • out that window.

    所看到的生物。

  • As we did some of our subsequent expeditions,

    當我們後續再進行其他探險時,

  • I was seeing creatures at hydrothermal vents

    我看見有生物在深海溫泉附近活動,

  • and sometimes things that I had never seen before,

    有些是我以前從未看過的,

  • sometimes things that no one had seen before,

    有些則是以前沒有人看過的,

  • that actually were not described by science

    在我們看到這些生物之前,

  • at the time that we saw them and imaged them.

    還沒有任何科學家描述過那些生物。

  • So, I was completely smitten by this,

    我被徹底的感動了,

  • and had to do more.

    我想要多做幾次深海探險,

  • And so, I actually made a kind of curious decision.

    所以我做了個令人驚訝的決定。

  • After the success of "Titanic,"

    在鐵達尼號成功後,

  • I said, "OK, I'm going to park my day job

    我說: "好,我要暫停我在好萊塢

  • as a Hollywood movie maker,

    的拍片工作,

  • and I'm going to go be a full-time explorer for a while."

    這段時間,我要做一個全職探險家。"

  • And so, we started planning these

    因此,我們開始計劃

  • expeditions.

    這些探險。

  • And we wound up going to the Bismark,

    我們很興奮地去找俾斯麥號,

  • and exploring it with robotic vehicles.

    用機械機具進行探索。

  • We went back to the Titanic wreck.

    我們回到鐵達尼號的殘骸,

  • We took little bots that we had created

    我們用自己製造的小機器人,

  • that spooled a fiber optic.

    將它捲在光纖上,

  • And the idea was to go in and do an interior

    把這個機器放進船艙裡,

  • survey of that ship, which had never been done.

    探索船內的情況,這是從來沒有人做過的。

  • Nobody had ever looked inside the wreck. They didn't have the means to do it,

    沒有人看過殘骸裡的情況,沒有適當的工具可用,

  • so we created technology to do it.

    直到我們發明了這項科技。

  • So, you know, here I am now, on the deck

    現在我在鐵達尼號的甲板上,

  • of Titanic, sitting in a submersible,

    坐在潛艇中,

  • and looking out at planks that look much like this,

    看著外面的地板,

  • where I knew that the band had played.

    我知道有樂隊曾在這裡演奏過。

  • And I'm flying a little robotic vehicle

    而我控制著一個小機具,

  • through the corridor of the ship.

    讓它穿過船的走廊,

  • When I say, "I'm operating it,"

    當我說我在操作它時,

  • but my mind is in the vehicle.

    我的心其實是在機具裡。

  • I felt like I was physically present

    我感覺有如置身在

  • inside the shipwreck of Titanic.

    鐵達尼號的殘骸中,

  • And it was the most surreal kind

    這是我從未有過的一種超現實、

  • of deja vu experience I've ever had,

    又似曾相識的經驗,

  • because I would know before I turned a corner

    在機具轉過某個轉角之前,

  • what was going to be there before the lights

    在機具的燈光照射到某樣東西之前,

  • of the vehicle actually revealed it,

    我就已經知道那裡會有什麼,

  • because I had walked the set for months

    因為我在拍攝電影的幾個月時間裡,

  • when we were making the movie.

    就曾走過這場景無數次。

  • And the set was based as an exact replica

    我們是根據鐵達尼號的設計圖

  • on the blueprints of the ship.

    複製出電影場景,

  • So, it was this absolutely remarkable experience.

    所以這絕對是一個前所未有的經驗。

  • And it really made me realize that

    這確實使我瞭解到,

  • the telepresence experience --

    這種遠程遙控科技

  • that you actually can have these robotic avatars,

    可以讓你遙控機具,

  • then your consciousness is injected into the vehicle,

    也可以將你的意識注入於機具之中,

  • into this other form of existence.

    讓你以其他方式存在。