ted英文演讲稿3篇_演讲稿

ted

英文演讲稿

3

篇

以下这篇由应届毕业生演讲 稿网站整理提供的是

《阿凡达》

、

《泰

坦尼克号》

的导演詹姆斯·卡梅隆

(j ames

cameron)

的一篇

t ed

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，欢迎访问应届毕业生演讲稿网站

!

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

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

itself

in

the

fact that whenever i wasn't in school i was out in the woods,

hiking and taking

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 around me, because what was happening, this was in

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the

late

'60s,

we

were

going

to

the

moon,

we

were

exploring

the

deep s 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.

and

i

was

an

artist.

i

could

draw.

i

could

paint.

and

i

found

that because there weren't 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.

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.

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 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

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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 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 at a ymca in the dead of winter in buffalo, new york.

and

i

didn't

see

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

was

in

submersibles.

and

i've

learned

that

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 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 strong as it ever was.

but when i chose a career as an adult, it was filmmaking.

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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

and

stories

together,

and

that

made

sense. and of course the stories that i chose to tell were

science

fiction

stories:

and

abyss.

of

underwater

and

diving

with

filmmaking.

so,

you

know,

merging

the two passions.

something interesting came out of

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

witnessed

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

seeing

something

magical.

and

so

that

got

me

very

excited.

and

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i thought,

into

the

cinematic

art.

so,

with

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.

so,

drawing

a

line

through

those

two

dots

of

experience

came

to,

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 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 ourselves 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

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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

the

envelope

pushed back, and i was told by the folks at my company that we

weren't 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 know,

i

went

and

pitched

it

to

the studio as

this

epic

romance,passionate

film.

secretly,

what

i

wanted

to

do was i wanted to dive to the real wreck of

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,

real. we'll be using it in the opening of the film. it will be

really important. it will be a great marketing hook.

talked them into funding an expedition. (laughter)

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,

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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 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,

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 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

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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.

and so, i actually made a kind of curious decision. after the

success

of

i

said,

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

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 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.

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 vehiclethrough the corridor of the ship. when

i

say,

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

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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.

so, it was this absolutely remarkable experience. and it

really

made

me

realize

that

the

telepresence

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, really quite profound. and

it

may

be

a

little

bit

of

a

glimpse

as

to

what

might

be

happening

some

decades

out

as

we

start

to

have

cyborg

bodies

for

exploration

or

for

other

means

in

many

sort

of

post-human

futures that i can imagine, as a science fiction fan.

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're

basically

aliens

right

here

on

earth.

they

live

in

an

environment

of

chemosynthesis.

they

don't

survive

on

sunlight-basedsystem

the

way

we

do.

and

so,

you're

seeing

animals that are living next to a 500-degree-centigradewater

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plumes. you think they can't possibly exist.

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

through

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

--

taking

them

down

to

the

vents,

and

letting

them

see, and take samples and test instruments, and so on.

so, here we were making documentary films, but actually

doing

science,

and

actually

doing

space

science.

i'd

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

learned

a

lot.

i

learned

a

lot

about

science.

but

i

also

learned

a

lot

about

leadership.

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now

you

think

director

has

got

to

be

a

leader,

leader

of,

captain

of the ship, and all that sort of thing.

i didn't really learn about leadership until i did these

expeditions. because i had to, at a certain point, say,

am i doing out here? why am i doing this? what do i get out of

it?

even. there is no fame in it. people sort of think i went

awaybetween

someplace,

sitting

at

the

beach.

made

all

these

films,

made

all

these documentary films for a very limited audience.

no fame, no glory, no money. what are you doing? you're

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

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 two, three months at a time.

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,

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do

this,

and

the

fiber

optic,

and

the

attentuation,

and

the

this

and

the

that,

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.

so, when i came back to make my next movie, which was

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

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,

and put them on the planet of pandora.

a fundamental way of doing business, the process itself, that

changed as a result of that.

so,

what

can we

synthesize

out of

all

this?

you

know, what

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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 filmmakers come up to me and say,

for

doing

this.

and

i

say,

put

limitations

on

yourself.

other people will do that for you -- don't do it to yourself,

don't bet against yourself, and take risks.

nasa has this phrase that they like:

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. (applause)

译 文：我是看科幻小说长大的。高中时，我连坐校车上下学时都

在读着科幻小说。

这些书将我带到另一个世界，

满足了我无止境的好

奇。

每当我在学校，

我总是在树丛中寻找一些“标本”——青 蛙、

蛇、

昆虫……我把它们放在显微镜下观察。

我总是试图认知这个世界，

想

找到它可能的边界。

我对科幻小说的热爱或许是那 个时代的写照。

60

年代末期，人

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类 登上了月球，

去了深海。

通过电视，

我 们看到了不同的动物和地方。

这都是我们不曾想象的。

这种氛围 中，

我不知不觉地喜欢上了科幻小

说。

每当我看完小说，

故事中的影 像就会在我脑海中不断放映。

或许

是因为创造力必须找到一个发 泄方式，我开始画外星人、机器人、飞

船……我甚至会在数学课上在课本的背面画画。< /p>

对科幻小说的不断接触让我 想到：外星人不一定生存在外太空，

他们很有可能就生活在我们星球上。所以

岁时，我决定成为一个

潜水员。

而当时实现梦想唯一的问题是我生活在加拿大的一个小山村，

离最近的海有< /p>

6

英里远。

但我父亲并没有让这成为我梦想的障碍，

他在边境对岸的美国纽

约州布法罗找到了一个潜水培训班。

于是我便在布法罗的一个泳 池里

获得了潜水证书。直到两年后，当我们全家搬到加州，我才第一次有

机会真正地潜水。

在这之后的

40

年里，我在海底大约总共花了

3

万个小时。大海

如此丰富多彩，众多神奇的生物生活 其中。比起我们的想象力，自然

的想象力完全没有边界。我想，至今我对大海的了解还是 很少，但我

对海洋的好奇却一直延续着。

电影魔法师与科学体验

但长大后，我并没有成为一名潜水员，我选择的职业是 电影。我

喜欢讲故事，画图画，电影看起来是最合适的工作。当然，我讲述的

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故事都是科幻的——终结者、外星人等等。

我也将我对潜水的热爱和电影融合在了一起。拍摄《深 渊》时，

我有了一些有趣的想法。

当我们要塑造一个水状的生物 时，

我们使用

了“计算机生成动画”——

cg

。

cg

的应用产生了电影历史上 第一个

软表面、电脑制成的形象。

虽然这部电影使公司差点亏本 ，但全世界

的观众被这种新技术所震撼。

根据亚瑟·克拉克定律——任何高难度的技术和魔法没 有什么

区别，

很多人觉得自己看到了一些“神奇”的东西。

这使我感到很兴

奋。我想

cg

应该被用到电影艺术中去。

2

》中，我把这 种技术又推近

了一步，创造了一个金属人。我又变了一次魔术。这部电影很成功，

我们赚了一些钱。

作为一个电影人，我看到了一个全新的世界，一个全新的未来。

于是我和好友 斯坦·温斯顿创立了一家公司，

叫做“数领域”。

公司

的概念是要跳过普通的电影制作直接进入数电影制作。

我们也是这么

做的，这也使得我们在一段时间内有了一定的优势。但在

90

年代中

期，我发现我们有些落后了。

我写《阿凡达》这部电影，就是想要推动整个视觉体验 以及动画

效果的进步。

让电影人物跳出人们想象的框架，

完全用动画效果诠释

人物表情。但一开始，员工告诉我，他们还没有能 力做到。于是我把

《阿凡达》

放在了一边，

转而制作了另一部电影——

《泰坦尼克号》

。

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文章来源网络整理，仅供参考学习

在为《泰坦尼克号》寻找投资商时，我告诉制作人这是一部关于

爱情的电影。

它的故事就像罗密欧与朱丽叶一样凄美动人。

而事 实上，

我自己真正想做的是，

潜入海底探寻真正的泰坦尼克号。

这是我的真

心话，电影公司并不知道。

我告诉他们，我们要沉入海底，拍摄泰坦尼克号真实的 画面。我

们将把这个片段放在首映式上展现，

这将会引起很大的 轰动，

票房也

会很好。令人意外，电影公司真的同意出钱，支持 我去探索泰坦尼克

号。

< /p>

虽然到现在我仍觉得有些疯狂，但这就是“想象创造了现实”。

两 个月后，

我在北大西洋的一艘俄罗斯潜艇里用肉眼看到真正的泰坦

尼克号。

《泰坦尼克号 》

的拍摄体验给我很大震撼。

虽然我们要做很多准

备工作，

但令我震惊的是，

这次深海拍摄就像是一次 外太空旅行——

尖端的科技，繁杂的计划，

环境的危险，我仿佛 置身于一本科幻小说

中。

我发现我们可以想象一个生物，

但是我想我永远无法想象出透过

潜艇窗所看到的那些生物。

我看见了一些我从未看见的东西，< /p>

也看见

了一些从来没有被人看见过的东西，

因为当我们拍下它们时，

他们还

没有被科学所描述。我被震撼 了。我必须做更多。

在《 泰坦尼克号》成功后，我做了一个决定：暂停我的主业——

好莱坞导演，做一段时间全职 探险家。于是我们开始策划一些探险。

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文章来源网络整理，仅供参考学习

在 自动探测车帮助下，我们去了些危险的地方。我们发明了技术，对

泰坦尼克号残骸做了一 次全面勘测，使它再次重现在人们面前。