honeytrap名人励志英语演讲视频：Failure Is an Option, but Fear Is Not 失败是一个选项，但畏惧不是--詹姆斯·卡梅隆
Speech to TED February, 2010
关于这场演讲：James Cameron的大笔预算（票房更庞大）的电影创造出想象的世界。在这个演讲中，他揭露了自己从小就喜欢奇幻体验的背景：阅读科幻小说，深海潜水，以及这一切如何转变成成功的巨片如《异形二》、《终结者》、《泰坦尼克号》与《阿凡达》。
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 n of curiosity that I had.featured是什么意思
杭州diceAnd you know that curiosity also manifested itlf 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 bringing them back, looking at them under the microscope. You know, I was a real scie
nce geek. But it was all about trying to understand the world, understand the limits of possibility.
And my love of science fiction actually emed to mirrored in the world around me, becau 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 imagined. So, that emed to resonate with the whole science fiction part of it.
And I was an artist. I could draw. I could paint. And I found that becau there weren’t video games and this saturation of CG movies and all of this imagery in the media landscape, I had to create the 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 respon 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.
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And an interesting thing happened——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 emed 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 the books.
So, I decided I was going to become an exotic 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 e the ocean, a real ocean, for another two years, until we moved to California.
Since then, in the intervening 40 years, I’ve spent about 3,000 hours underwater, And 500 hours of that were in submersibles. And I’ve learned that deep ocean environment, and even the shallow ocean, is so rich with amazing life that really is beyond our imaginat
优游自在>风向标的意思ion. 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 e when I make the dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.
But, when I cho a career, as an adult, it was film making. And that emed 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 n. And of cour the stories that I cho 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.
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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 animation that was ever in a movie. And even though the film didn’t make
any money, barely broke even, I should say, I witnesd something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.
You know, it’s Arthur Clarke’s law that any sufficiently advanced technology is indistinguishable from magic. They were eing 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.vice
