奥斯卡最佳导演詹姆斯卡梅隆TED英文演讲稿2篇Word文档格式.docx

1、本文档根据演讲稿内容要求展开说明，具有实践指导意义，便于学习和使用，本文下载后内容可随意修改调整及打印。本文简要目录如下：【下载该文档后使用Word打开，按住键盘Ctrl键且鼠标单击目录内容即可跳转到对应篇章】 1、篇章1：卡梅隆TED英文演讲稿 2、篇章2：篇章1: 以下这篇由站整理提供的是阿凡达、泰坦尼克号的导演詹姆斯卡梅隆（James Cameron）的一篇TED演讲。在这个演讲里，卡梅隆回顾了自己从电影学院毕业后走上导演道路的故事。卡梅隆告诉你，不要畏惧失败，永远不要给自己设限。更多演讲稿范文，欢迎访问站! I grew up on a steady diet of science f

2、iction. 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. And you know, that curiosity also manifested it

3、self in the fact that whenever I wasnt 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, understa

4、nd the limits of possibility. And my love of science fiction actually seemed mirrored in the world around 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

5、 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. And I was an artist. I could draw. I could paint. And I found that because there werent video gamesand this saturation o

6、f 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 authors description, put something on the movie screen in our heads. And so, my response to this was to paint, to draw alien creat

7、ures, 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. And an interesting thing happened: The Jacques Cousteau shows actually got me very excited about the fact that

8、there was an alien world right here on Earth. I might not 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. So, I

9、 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 didnt let that daunt me. I pestered my father until he finally found a scuba class in Buffalo, New York, right across t

10、he border from where we live. And I actually got certified in a pool at a YMCA in the dead of winter in Buffalo, 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, Ive spent about 3,000 hours underwater, an

11、d 500 hours of that was in submersibles. And Ive learned that that deep-ocean environment, and even the shallow 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

12、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. 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 image

13、s. And I was, as a kid, constantly drawing comic books, and so on. So, filmmaking 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 tog

14、ether my love of underwater and diving with filmmaking. So, you know, merging the two passions. Something interesting came out of 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 animati

15、on, CG. And this resulted in the first soft-surface character, CG animation that was ever in a movie. 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 by this apparent magi

16、c. You know, its Arthur Clarkes 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

17、 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

18、 on that one. 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 make-up and creature designer at

19、 that time, and it was called Digital Domain. And the concept of the company was that we would leapfrog 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. But we found ours

20、elves lagging in the mid 90s 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

21、 CG, and the main characters would all be in CG, and the world would be in CG. And the envelope pushed back, and I 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 movie about a big ship that sinks. （Laughter） You kno

22、w, I went and pitched it to the studio as Romeo and Juliet on a ship:Its 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 thats why I made the movie. （Applause） And thats the truth. Now, the studio didnt know that. Bu

23、t I convinced them. I said, Were going to dive to the wreck. Were going to film it for real. Well 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. （Laughter） Sounds crazy. But this goes back to that

24、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） Now, that

25、 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 d

26、own to this dark hostile environment where there is no hope of rescue if you cant get back by yourself. And I thought like, Wow. 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 co

27、mponent of it - it was everything. It was adventure, it was curiosity, it was imagination. And it was an experience that Hollywood 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

28、 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 smitte

29、n 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 going 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 g

30、oing to the Bismark, 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. Th

31、ey didnt have the means to do it, so we created technology to do it. 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 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 felt like I was physically present inside the shipwreck of Titanic. And it was the most surreal kind of deja vu experience Ive ever ha