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關(guān)于這場演講：james cameron的大筆預(yù)算(票房更龐大)的電影創(chuàng)造出想象的世界。在這個演講中，他揭露了自己從小就喜歡奇幻體驗的背景：閱讀科幻小說，深海潛水，以及這一切如何轉(zhuǎn)變成成功的巨片如《異形二》、《終結(jié)者》、《泰坦尼克號》與《阿凡達》。

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 "samples"——frogs and snakes and bugs, and bringing them back, looking at them 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 to mirrored in the world around me, because what was happening, this was in the late’ 60s, we were going to the moon, we were e_ploring 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 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 games and 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 te_tbook. that was, the creativity had to find its outlet somehow.

and an interesting thing happened——jacques cousteau shows actually got me very e_cited 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 here on earth, that was as rich and e_otic as anything that i had imagined from reading these books.

so, i decided i was going to become an e_otic 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 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 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 imagination. 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 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 film making. 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, film making 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 together my love of underwater and diving, with film making. so, you know, merging the two passions.

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 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 e_cited. and i thought, "wow, this is something that needs to be embraced into the cinematic art." so, with terminator 2, which was my ne_t 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 e_perience, 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 that time, and it was called digital domain. and the concept of the company was that we would leap-frog 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 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 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. you know, i went and pitched it to the studio as romeo and juliet on a ship. it’s 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 that’s why i made the movie. and that’s the truth. now, the studio didn’t know that. but i convinced them. i said, "we’re going to dive to the wreck. we’re going to film it for real. we’ll 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 e_pedition.

sounds crazy. but this goes back to that theme about your imagination creating a reality. because we actually created a reality where si_ 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.

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. 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, "wow. i am like living in a science fiction movie. this is really cool."

and so, i really got bitten by the bug of deep ocean e_ploration. 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 e_perience that hollywood couldn’t give me. because, 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 e_peditions 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 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, "okay, i’m going to park my day job as a hollywood movie maker, and i’m going to go be a full time e_plorer for a while." and so, we started planning these e_peditions. and we wound up going to the bismark, and e_ploring it with robotic vehicles. we went back to the "titanic" wreck. we took little bots that we had created that spoolled 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 vehicle through the corridor of the ship. when i say, i’m 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 e_perience i’ve ever 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 e_act replica on the blueprints of the ship.

so, it was this absolutely remarkable e_perience. and it really made me realize that the telepresense e_perience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of e_istence. it was really really quite profound. and 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 e_ploration or for other means in many sort of post-human futures that i can imagine, as a science fiction fan.

so, having done these e_peditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing animals. they are basically aliens right here on earth. they live in an environment of chemosynthesis. they don’t survive on sunlight based system the way we do. and so, you’re seeing animals that are living ne_t to a 500 degree centigrade water plumes. you think they can’t possibly e_ist.

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 to 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 e_treme 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, 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. 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 e_peditions. because i had to, at a certain point, say, "what am i doing out here? why am i doing this? what do i get out of it?" we don’t make money at these damn shows. we barely break even. there is no fame in it. people sort of think i went away between titanic and avatar and was buffing my nails 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 2-3 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 e_plain 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 this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t e_plain 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 e_plain it. creates a bond, creates a bond of respect.

so, when i came back to make my ne_t movie, which was avatar, i tried to apply that same principle of leadership 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 avatar, coming up with new technology that didn’t e_ist before. tremendously e_citing. 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, well, 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 itself, 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. 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 film makers come up to me and say, "give me some advice for doing this." and i say, "don’t put limitations on yourself. other people will do that for you, don’t do it to yourself, and don’t bet against yourself. and take risks."

nasa has this phrase that they like: "failure is not an option." but failure has to be an option in art and in e_ploration, 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.

可以失敗，不能畏懼

詹姆斯?卡梅隆

ted大會上的演講

20__年2月

在我成長過程中，科幻小說一直是我的精神食糧。高中時我每天搭巴士上下學，單程要一小時。坐公車時，我總是沉浸在科幻小說里，仿佛被帶入另一個世界，書中講述的一個個故事極大地滿足了我無休無止的好奇心。

事實上，在課余時間，我常常在好奇心的驅(qū)使下，去徒步旅行，鉆進樹林去采集"標本"——青蛙、蛇、昆蟲之類，把它們帶回家，放在顯微鏡下觀察。我是個真正的科學怪人，總是想盡可能的去了解這個世界，去揭示它可能存在的極限。

我非常熱愛科幻小說，因為它們似乎就是現(xiàn)實的寫照，書中的一切都確實發(fā)生在我們身邊，60年代末期，人類登上了月球，探索了深海。電影攝影師雅克.格斯特讓我們在電視上看到了神奇的海洋生物，向人類展示了從未想象到的動物，竟和奇妙的水下世界。這似乎與科幻小說中的構(gòu)想遙相呼應(yīng)。

我還是個畫家，能繪畫，能創(chuàng)作。那時的我接觸不到電視游戲，缺乏登峰造極的cg電影技術(shù)，連多媒體領(lǐng)域的素材庫都沒有，所以我不得不在腦海中臆造這些形象。就像孩子們讀書時會想象書中的場景那樣，我們讀小說時，作者所描繪的影像就會腦海中不斷放映。這些影像一出現(xiàn)，我就會把它們畫下來，于是我開始畫外星人、外星世界、機器人、宇宙飛船等等。老師不止一次在數(shù)學課上逮到我在課本后面亂涂亂畫，因為我得給我的想象力開啟一扇讓其肆意奔涌的閘門。

然而一件有趣的事——雅克.格斯特的電視節(jié)目的播出，著實讓我興奮不已，我相信地球上就存在一個外星世界。雖然我可能永遠無法進入這個世界，因為這確實不現(xiàn)實。但是我能游歷水下世界，它就在地球上，富饒又充滿異星情調(diào)，就像我讀了科幻小說后所幻想的那樣。

所以15歲時，我決定成為一個潛水員,去探索神秘的海洋。唯一的問題是，我生活在加拿大的一個小山村，距離最近的海也有600英里。但我沒有因此氣餒，而是纏著父親，而是纏著父親，直到他同意讓我參加在邊境紐約州布法羅市——需要從我家穿過美加國界線——的一個潛水培訓班。于是在一個寒冬，我在布法羅基督教青年會的一個泳池里獲得了潛水證書。然而，直到兩年后，我們?nèi)野岬搅思永Ｄ醽?，我才見到了真正的大海，進行真正的潛水。

從那時算起到現(xiàn)在的40年間，我在海底潛水共約3000小時，其中500小時是在潛水艇里度過的。無論是深海還是淺海環(huán)境，大海都豐富多彩，充滿奧秘，超乎我們想象。比起人類的想象力，自然的想象力更加浩瀚。直到今天，每次下潛時，我仍舊對眼中的海洋世界充滿敬畏，而我與大海的不解情緣仍在延續(xù)著，上演著。

但成年后，我并沒有以潛水為職業(yè)，而是選擇了電影攝制作為自己的事業(yè)。孩提時，我就喜歡畫漫畫，畫很多東西。我喜歡講故事，畫圖畫，而要把它們結(jié)合起來，電影攝制是再合適不過的工作了。電影攝制將圖片和故事有機結(jié)合，并賦予它們更深刻的意義。當然，我選來拍成電影的都是科幻故事，比如《終結(jié)者》、《異型》、《深淵》。 拍攝《深淵》時，我把自己對水下世界的愛、對潛水活動的愛融入其中，把對這兩件事的激情融合到了一起。

拍攝《深淵》時，又出現(xiàn)了些有趣的事：我們要塑造一個水狀的生物，為了解決這一特效上的問題，我們使用了"計算機生成動畫"技術(shù)，即cg。電影史上第一個軟表面的電腦繪制形象在此技術(shù)下誕生了。雖然這部電影沒讓公司賺到一分錢，還差點虧本，我還是得說，我看到了令人驚奇的一幕，全世界的觀眾都為這種像魔法一般的新技術(shù)神魂顛倒。

根據(jù)亞瑟?克拉克定律——任何非常先進的技術(shù)，初看都與魔法無異。很多觀眾都像是看到了神奇的魔法。這讓我非常興奮。我想cg技術(shù)也應(yīng)該用到電影藝術(shù)中去。所以，在下一部電影《終結(jié)者2》中，我們把這種技術(shù)又推進了一步。和工業(yè)光魔特效制作公司一起，創(chuàng)造了一個液態(tài)金屬人。這部電影能否大放異彩就要看特效了。事實證明，特效不負眾望。我們又一次施展了魔法，觀眾們依舊為之瘋狂。盡管這部電影還是沒讓我們沒賺到什么錢。

這兩次經(jīng)歷是一條分界線，對電影大師們來說，這意味著一個全新的、充滿想象與創(chuàng)造的世界即將誕生。于是我和好友斯坦?溫斯頓——拍攝前幾部電影時的首席特效化妝和角色設(shè)計師——創(chuàng)立了"數(shù)字領(lǐng)域"公司。這個名字意味著，我們要跳過光學影印模擬制作過程直接進入數(shù)字電影制作。實際上，我們也確實是這么做的，這使得我們在一段時間內(nèi)有了一定的競爭優(yōu)勢。

雖然我們確實已經(jīng)組建了公司進行造型設(shè)計，但在90年代中期，我發(fā)現(xiàn)我們有些落后了。 我寫了《阿凡達》這部電影，想要以此大力推動視覺效果和cg效果，用cg生成具有真實人類情感的角色，完全用cg詮釋主要角色和世界。但這電影不得不延期拍攝，因為公司員工告訴我，我們一時半會還沒有能力做到這點。

于是我把《阿凡達》擱到一邊，轉(zhuǎn)而制作了另一部電影，這部電影主要描述了一艘巨輪——"泰坦尼克號"——的沉沒。 我告訴電影制片方，我把它定位為巨輪上的《羅密歐與朱麗葉》，一部關(guān)于愛情的電影，就像羅密歐與朱麗葉的故事一樣凄美動人。而實際是因為我想潛入海底尋找真正的"泰坦尼克號"的殘骸，所以我才要做這部電影。但制片方并不知道這一真相。為說服他們，我說："我們要潛入海底，尋找真正的"泰坦尼克號"，這樣可以拍攝真實的畫面。如果把這個片段用在首映式上，會引起很大的轟動，也會有良好的市場反響的。"我真的說服了制片方組建了一支探險隊呢。

雖然這聽起來有些瘋狂，但這就回到了"想象創(chuàng)造現(xiàn)實"的主題。因為我們確實創(chuàng)造了現(xiàn)實，6個月后，我乘一艘俄羅斯?jié)撏?，在北大西?.5英里深的水下，從觀察艙里看到了真實的"泰坦尼克號"，不是電影里的，也不是高清屏幕上的，而是真實的"泰坦尼克號"。

《泰坦尼克號》的拍攝著實讓我興奮。我們做了很多準備工作，搭建相機、設(shè)置燈光及各種設(shè)備。但令我震驚的是，這次深海拍攝就像是一次太空任務(wù)，需要尖端的科技和周全的計劃。我乘坐潛水艇潛入深海，那里漆黑又充滿危險，如果無法靠自己返回水面，其他人也無法開展營救工作。我想："這就像生活在科幻電影中似的，真是太酷了。"

不過，我真的熱衷于海底探險。當然，探求科學的那種好奇心才是最重要的，科學需要冒險，需要好奇心，也需要想象力。只是在好萊塢拍電影是無法體驗到這些經(jīng)歷的。我能夠想象出一個生物并為它創(chuàng)造出視覺效果。但是透過潛艇窗戶看到的那些生物，這是我永遠想象不到的。在隨后的探險中，我在深海熱泉里看到了一些無人見過、無人知曉的生物，實際上，我們看到它們并拍下照片時，它們還沒有科學記載。

這一切讓我感到非常震撼，我必須做的更多。為了滿足自己的好奇心，我做了一個決定。 在《泰坦尼克號》成功后，我決定暫別好萊塢導演這一主業(yè)，做一段時間全職探險家。于是我們開始計劃一些探險，一行人興致勃勃的去了俾斯麥海域，在自動探測車幫助下，對這一海域展開了探索。然后我們重回"泰坦尼克號"的殘骸we took little bots that we had created that spooled a fiber optic.我們決定進到"泰坦尼克號"內(nèi)部做一次內(nèi)部調(diào)查，這是史無前例的，從沒有人看過沉船內(nèi)部，因為他們無計可施，然而我們想出了辦法。

我坐在潛水艇里，到了"泰坦尼克號"的甲板上，看著這些厚木板，感覺這里很像當年船上的樂隊演奏的地方。我操控著自動探測儀在穿廊間穿梭，操作儀器時，我的思想像是跟著它走了。我感覺我自己真的到了泰坦尼克號，這艘遇難船的內(nèi)部。這種似曾相識的感覺像夢一樣，從未有過。假如我想轉(zhuǎn)彎，沒等探測器的燈光照到那，我就能知道接下來會看到什么。這是因為還在拍電影的時候，我就在"泰坦尼克號"的模型上工作了數(shù)月，而那個模型恰恰是根據(jù)它的設(shè)計圖制作的精確復制品。

這是一次不同尋常的體驗。這次遠程控制的經(jīng)歷讓我清楚的認識到，我們可以把自己的意識注入這些機器化身中，它們是另一種形式上的生命存在。這種體驗意義重大。如管中窺豹，可見未來一斑，或許我們馬上就能用機器生命體進行科學探索，或者為未來的人類做各種事情，只要是我這個科幻小說迷能想到的。

在這些探險之后，我開始真正欣賞那些海底生物，比如我們在深海熱泉所見到的那些神奇生物。這些生物雖生活在地球上，但基本可以稱為外星生物。它們生活在一個化學合成的環(huán)境中。它們無法像我們一樣在太陽為生命基礎(chǔ)的體系下生存。在海底，還能看到生活在500攝氏度水汽下的動物。你無法相信它們能在那生存。

與此同時，因為從小受科幻小說影響，我對太空科學也非常有興趣。我迫不及待的加入了空間社，真正參與到nasa中，同咨詢委員會一起，策劃真實的太空任務(wù)，我們前往俄羅斯，參加前天體生物醫(yī)學會的研討等等諸如此類的任務(wù)，讓宇航員帶著3d攝像機進入國際空間站。這令人著迷，但我急切的想讓這些太空專家同我們一起潛入深海，天體生物學家，行星專家，都對特殊環(huán)境充滿興趣，帶他們?nèi)ド詈崛^察深海生物，取一些樣本，測試儀器等等。

所以我們既是在拍紀錄片，也在研究科學，更確切的說是在研究空間科學。i"d completely closed the loop between being the science fiction fan, as a kid, and doing this stuff for real.在探索發(fā)現(xiàn)的旅途中，我學到了很多，不僅僅是科學知識，還有領(lǐng)導能力。很多人認為導演就是領(lǐng)導者，像船長或者其他領(lǐng)導者一樣。

沒進行這些探險以前，我并不真正了解領(lǐng)導力的內(nèi)涵。因為有時我會問自己，我到底在這干什么呢?為什么要做這些節(jié)目? 我從中得到了什么? 我們并沒有從這些見鬼的節(jié)目中賺到錢，還差點破產(chǎn)。我也沒有賺到名聲。很多人以為我拍了《泰坦尼克號》、《阿凡達》后，就在沙灘上修磨著指甲，享受生活呢。 其實，我拍了這些電影，這些記錄片，只換來了為數(shù)不多的觀眾。

得不到名聲，等不到榮耀，也得不到金錢，我問自己，你在做什么呢?其實只是為了任務(wù)本身，是為了挑戰(zhàn)——海洋就是現(xiàn)在最具挑戰(zhàn)性的環(huán)境了;是為了探索發(fā)現(xiàn)時的驚喜;也為了一個小而緊密的團隊所產(chǎn)生的那種不可思議的團隊感。我們這10到12人在一起共事多年。有時要在海里一起工作兩三個月。

在這個團隊中，我發(fā)現(xiàn)最重要的東西就是互相尊重。每個人做的工作都無以言表。我回到海邊告訴其他人，我們必須這樣做，用光學纖維，用這種技術(shù)那種技術(shù)，各種技術(shù)，戰(zhàn)勝一切困難，考慮演員在海里的表現(xiàn)。這種互相配合并肩作戰(zhàn)的默契是無法言明的，這些事情只有警察或者參加過戰(zhàn)斗的人經(jīng)歷后才能明白，他們知道這是無法向他人表達的。我們必須建立起這種默契，建立起互相尊重的默契。

所以，我開始拍攝接下來的電影《阿凡達》時，試著運用了這種領(lǐng)導原則，我尊重我的團隊，他們也很尊重我。這讓團隊變得很有活力。所以，這次我也帶了一支小團隊，在未經(jīng)探索的地區(qū)拍攝《阿凡達》，創(chuàng)造前所未有的新技術(shù)，這非常有意思，也頗具有挑戰(zhàn)性。在這四年半多的時間里，我們就像一家人一樣。這完全改變了我拍電影的方式。 有人評論說，卡梅隆只是把一些海洋生物放到了潘多拉星球上。但我來說，建立這種互相尊重的默契不僅僅是做商業(yè)電影的基本法則，而是過程本身改變了事情的結(jié)果。

我能從這些經(jīng)歷中總結(jié)出什么，又能學到什么?首先要有好奇心，這是你擁有的最強大的東西;其次要有想象力，這是你展現(xiàn)現(xiàn)實的力量;第三：尊重團隊，這是比世界上一切榮譽都更為重要。 有不少年輕電影導演向我討教成功經(jīng)驗，我告訴他們："不要作繭自縛。別人會束縛你，但你自己不要作繭自縛。不要說自己不行，要敢于承擔風險。"

nasa里流行一句話："只能成功，不能失敗"但是，在藝術(shù)領(lǐng)域和探索發(fā)現(xiàn)時是允許失敗的，因為這是需要運氣的。只有冒險，創(chuàng)新，才能成功。你必須愿意承擔風險，這就是我給你們的建議，無論你做什么，可以失敗，不能畏懼。

失敗英語演講稿 模板3

閱讀小貼士：模板3共計1054個字，預(yù)計閱讀時長3分鐘。朗讀需要6分鐘，中速朗讀8分鐘，在莊重嚴肅場合朗讀需要10分鐘，有231位用戶喜歡。

成功與失敗英語演講稿（一）

failure is what often happens.it is everywhere in your life.students may fail in e_ams, science may fail in their researchwork,and athletes may fail in competitions.

although failure happens to everyone, attitudes towards failure are various. some people don't think their failure is a very important thing at all. so they pay no attention to it. as a result, they will have the same failure a previously later.they spend their thime and energy on useless things and they may really be fools as they have thought.

success is not easy to talk about because the word success it-self has hundreds of definitions. for some it means power, for some it means wealth, for others it is fame or great achieve-ments. but i have my own understanding of it.

success means to try your best.

many people believe that success means to win. in my opin-ion, it means to try your best when you do everything, no matter you will win or not. when you are taking part in a long-distance race, if you keep on running as fast as you can, you are successful, although you may be the last to pass the finishing-line. because you have showed your best to others, and you have made i your greatest effort to be the winner.

success means to work hard.

no one can succeed without any hard work. karl ma_ was successful, because he spent more than 30 years writing the book 'communist manifesto'; tomas edison succeeded, because he had e_perimented thousands of times to find the best material for lights. every success calls for hard work. if you want to suc-ceed, work hard first.

other people are quite different from the two kinds of people mentiond above. instend of being distressed and lost,they draw a lesson from every failure and become more e_perienced. after hard work, they will be successful in the end. it is said that failure is the mother of success. success will be gained after times of failures so long as we are good at drawong lesson from our failures.

in my opinion , failure is not a bad thing , the really bad thing is taking a failure as failure or even lose our heart after failure.

more importantly, today, the world is undergoing fast rhythm of changing, some issues occur in one way this time and reoccur in another way that time.such instability and inconstancy make many long-time-lasting conventions and traditions not valid any longer. people encounter pile of new conditions everyday in current society, it is hard to find adequate reference from the wisdom of conventions for all of these new thing, what can really lead people to success is rational mind and creative ways of thinking. to meet the requirement of new missions, only creative activities could give out adaptive strategies. without creative thinking ways, there would no such increasingly development of science and technology in the past two centuries, no new type america-style democracy in the world, no so many products making modern life so comfortable and convenient. creative practices and original idea are the engine of the fast development of modern life, and are most essential for people to accomplish successful achievement in all kinds of fields.

失敗英語演講稿 模板4

閱讀小貼士：模板4共計212個字，預(yù)計閱讀時長1分鐘。朗讀需要2分鐘，中速朗讀2分鐘，在莊重嚴肅場合朗讀需要2分鐘，有171位用戶喜歡。

no winning or no losing

perhaps the sky is still blue, but i can see the black sky. perhaps the flowers are still beautiful, but i can see the ugly flowers. perhaps the sun still shines, but there’s no sun in my world. perhaps the world doesn’t change, but my world is changing. the e_am has been over, but i can’t wake up because i think i did very badly.

but i know, even if you didn’t do well this time, but you can do well ne_t time. time can’t run backwards, you can try your best to do something well in the future.

i think, there’s no winning or losing in the world. tomorrow, the sun rises again; we will have a new day!

失敗英語演講稿 模板5

閱讀小貼士：模板5共計8686個字，預(yù)計閱讀時長22分鐘。朗讀需要44分鐘，中速朗讀58分鐘，在莊重嚴肅場合朗讀需要79分鐘，有168位用戶喜歡。

a man with a friend is not failed!

演說者：tanya menon

i started teaching mba students 17 yearsago. sometimes i run into my students years later. and when i run into them, afunny thing happens. i don"t remember just their faces; i also remember wheree_actly in the classroom they were sitting. and i remember who they weresitting with as well. this is not because i have any special superpowers of memory. the reason i can remember them is because they are creatures of habit.they are sitting with their favorite people in their favorite seats. they findtheir twins, they stay with them for the whole year.

我教企業(yè)管理碩士學生有十七年的時間。有時，我會在幾年后巧遇我的學生。當我巧遇他們時，會發(fā)生一件有趣的事。我不只記得他們的臉，我還記得他們在教室中是坐在哪個位置，以及和誰坐在一起。我能記住這些，不是因為我有記憶超能力。是因為他們是習慣性的生物。他們會和最喜歡的人一起坐，坐在他們最喜歡的座位，找和自己極相似的人，一整年都和這些人待在一起。

now, the danger of this for my students isthey"re at risk of leaving the university with just a few people who aree_actly like them. they"re going to squander their chance for an international,diverse network. how could this happen to them? my students are open-minded.they come to business school precisely so that they can get great networks.

這情況對我的學生的危險之處在于他們擔當?shù)娘L險是只和極少數(shù)與自身非常相像的人一起離開大學，他們將會浪費掉國際性、多元化網(wǎng)絡(luò)的機會。他們怎么會發(fā)生這種事?我的學生是心胸開放的。他們來到商學院為的正是能取得很好的網(wǎng)絡(luò)。

now, all of us socially narrow in ourlives, in our school, in work, and so i want you to think about this one. howmany of you here brought a friend along for this talk? i want you to look atyour friend a little bit. are they of the same nationality as you? are they ofthe same gender as you? are they of the same race? really look at them closely.don"t they kind of look like you as well?

我們所有人在生活上、在學校、在工作中的社交都是狹窄的，所以，我希望你們能想想這一點。在座有多少人，帶了朋友一起來聽這場演講?我希望你們能看一下你們的朋友。他們的國籍和你相同嗎?他們的性別和你相同嗎?他們的種族相同嗎?真正去近看他們。他們是不是看起來也和你很像?

the muscle people are together, and thepeople with the same hairstyles and the checked shirts.

肌肉發(fā)達的人在一起，還有發(fā)型相同的人，都穿格子上衣的人。

we all do this in life. we all do it inlife, and in fact, there"s nothing wrong with this. it makes us comfortable tobe around people who are similar. the problem is when we"re on a precipice,right? when we"re in trouble, when we need new ideas, when we need new jobs,when we need new resources -- this is when we really pay a price for living ina clique.

我們在人生中都會這么做。我們在人生中都會這么做，事實上，這并沒有什么不好。和相似的人在一起讓我們感到舒服。當我們在危急處境中時才會有問題，對嗎?當我們有麻煩時，需要新點子時，需要新工作時，需要新資源時──這時，身在小團體中，就會要付出代價。

mark granovetter, the sociologist, had afamous paper "the strength of weak ties," and what he did in thispaper is he asked people how they got their jobs. and what he learned was thatmost people don"t get their jobs through their strong ties -- their father,their mother, their significant other. they instead get jobs through weak ties,people who they just met.

社會學家馬克格蘭諾維特有著名的論文，叫「弱連結(jié)的力量」，他在這篇論文中做的是去問人們他們?nèi)绾蔚玫剿麄兊墓ぷ?。他發(fā)現(xiàn)大部分的人不是從他們的強連結(jié)──父親、母親、另一半──得到工作，而是從弱連結(jié)──剛認識的人──得到工作。

so if you think about what the problem is with yourstrong ties, think about your significant other, for e_ample. the network isredundant. everybody that they know, you know. or i hope you know them. right?your weak ties -- people you just met today -- they are your ticket to a wholenew social world.

所以，如果你要思考強連結(jié)的問題在哪，想想比如你的另一半。這網(wǎng)絡(luò)是多余的。他們認識的人，你也都認識。我希望你認識他們，對吧?你的弱連結(jié)──你今天才認識的人──他們是讓你通往全新社交世界的門票。

the thing is that we have this amazingticket to travel our social worlds, but we don"t use it very well. sometimes westay awfully close to home. and today, what i want to talk about is: what arethose habits that keep human beings so close to home, and how can we be alittle bit more intentional about traveling our social universe?

問題是，我們有這張很棒的門票，可以遨游我們的社交世界，但我們沒有好好用它。有時，我們待在離家非常近的地方。今天，我想要談的是這個：是什么習慣讓人類持續(xù)待在離家近的地方，以及我們要如何更刻意一點去游遍我們的社交宇宙?

so let"s look at the first strategy. thefirst strategy is to use a more imperfect social search engine. what i mean bya social search engine is how you are finding and filtering your friends. andso people always tell me, "i want to get lucky through the network. i wantto get a new job. i want to get a great opportunity."

讓我們先來談第一條策略。第一條策略是要用更多不完美的社交搜索引擎。我所謂的社交搜索引擎是你如何找到和篩選你的朋友。人們總是告訴我：「我想要透過網(wǎng)絡(luò)來走運。我想要找份新工作。我想要有很好的機會?！?/p>

and i say,"well, that"s really hard, because your networks are so fundamentallypredictable." map out your habitual daily footpath, and what you"llprobably discover is that you start at home, you go to your school or yourworkplace, you maybe go up the same staircase or elevator, you go to thebathroom -- the same bathroom -- and the same stall in that bathroom, you endup in the gym, then you come right back home.

我說：「嗯，那真的很難，因為你的網(wǎng)絡(luò)基本上是非?？深A(yù)測的?！巩嫵瞿懔晳T的日常路徑，你很可能會發(fā)現(xiàn)，你從家里開始，你去上學或上班，你可能會從同樣的樓梯或電梯上樓，你去廁所，同一間廁所，用那廁所的同一隔間，你最后到了健身房，然后你就回家了。

it"s like stops on a trains chedule. it"s that predictable. it"s efficient, but the problem is, you"reseeing e_actly the same people. make your network slightly more inefficient. goto a bathroom on a different floor. you encounter a whole new network ofpeople.

就像火車靠站時刻表一樣。就是那么可預(yù)測。它很有效率，但問題是，你遇見的人都一樣。讓你的網(wǎng)絡(luò)稍微不要那么有效率。去不同樓層的廁所。你會遇到一個全新的人脈網(wǎng)絡(luò)。

the other side of it is how we are actuallyfiltering. and we do this automatically. the minute we meet someone, we arelooking at them, we meet them, we are initially seeing, "you"reinteresting." "you"re not interesting." "you"re relevant."we do this automatically. we can"t even help it. and what i want to encourageyou to do instead is to fight your filters. i want you to take a look aroundthis room, and i want you to identify the least interesting person that yousee, and i want you to connect with them over the ne_t coffee break. and i wantyou to go even further than that. what i want you to do is find the mostirritating person you see as well and connect with them.

它的另一面，是我們實際上做篩選的方式。我們會自動篩選。在我們見到一個人時，我們會看他們，見到他們，我們一開始就會看到：「你很有趣?！埂改悴挥腥ぁ！埂改愫苤匾！刮覀儠詣幼鲞@件事。我們無法控制。我想要鼓勵各位做的是，對抗你的篩選器。我希望你們能環(huán)視一下這間房間，我希望你們找出你所看見最無趣的人，我希望你們能在下次休息時間去和他們做連結(jié)。我希望你們還能做更多。我也希望你們能去找到你們所看見最惱人的人，去與他們做連結(jié)。

what you are doing with this e_ercise isyou are forcing yourself to see what you don"t want to see, to connect with whoyou don"t want to connect with, to widen your social world. to truly widen,what we have to do is, we"ve got to fight our sense of choice. we"ve got tofight our choices. and my students hate this, but you know what i do?

做這項練習的目的是要強迫你自己去看見你不想看見的，去和你不想連結(jié)的人連結(jié)，去拓寬你的社交世界。要真正拓寬，我們得要做的是，我們得要對抗我們對選擇的感受。我們得要對抗我們的選擇。我的學生很討厭這樣，但猜猜我怎么做?

i won"tlet them sit in their favorite seats. i move them around from seat to seat. iforce them to work with different people so there are more accidental bumps inthe network where people get a chance to connect with each other. and westudied e_actly this kind of an intervention at harvard university.

我不讓他們坐在他們最愛的位子。我讓他們一直換位子坐。我強迫他們?nèi)ズ筒煌娜撕献鳎诰W(wǎng)絡(luò)中就會有更意外的顛簸起伏，讓人們有機會可以彼此連結(jié)。我們在哈佛大學就是在研究這種干預(yù)方法。

at harvard,when you look at the rooming groups, there"s freshman rooming groups, peopleare not choosing those roommates. they"re of all different races, all differentethnicities. maybe people are initially uncomfortable with those roommates, butthe amazing thing is, at the end of a year with those students, they"re able toovercome that initial discomfort. they"re able to find deep-level commonalitieswith people.

在哈佛，如果去看住宿的團體，會有新鮮人住宿團體，人們不選擇室友。他們都是不同的種族、不同的人種。許多人一開始對自己的室友感到不舒服，但，讓人驚奇的是，在年末，那些學生能夠克服一開始的不舒服。他們能在人身上找到更深層的共同性。

so the takeaway here is not just "takesomeone out to coffee." it"s a little more subtle. it"s "go to thecoffee room." when researchers talk about social hubs, what makes a socialhub so special is you can"t choose; you can"t predict who you"re going to meetin that place. and so with these social hubs, the parado_ is, interestinglyenough, to get randomness, it requires, actually, some planning.

這里要給各位的訊息不只是「找人出去喝杯咖啡」。還要更微妙一點。是「去咖啡廳」。當研究者談?wù)撋缃恢行臅r ，社交中心之所以特別，就是因為你無法選擇;你無法預(yù)測你在那個地方會遇見誰。關(guān)于這些社交中心，有趣的是一個矛盾：若要有隨機性，需要的其實是規(guī)劃。

in one university that i worked at, there was a mail room on every single floor. whatthat meant is that the only people who would bump into each other are those whoare actually on that floor and who are bumping into each other anyway. at another university i worked at, there was only one mail room, so all the faculty from all over that building would run into each other in that social hub.a simple change in planning, a huge difference in the traffic of people and theaccidental bumps in the network.

在我工作的其中一間大學，在每層樓都有一間收發(fā)室。那就意味著，會巧遇到的人都只有在同一層樓的人，而他們本來就會遇見彼此。在我工作的另一間大學，只有一間收發(fā)室，所以整棟大樓所有的教職員就會在那社交中心巧遇彼此。在規(guī)劃上做個簡單的改變，就能對人的交流及網(wǎng)絡(luò)中的意外巧遇造成很大的不同。

here"s my question for you: what are youdoing that breaks you from your social habits? where do you find yourself inplaces where you get injections of unpredictable diversity? and my studentsgive me some wonderful e_amples. they tell me when they"re doing pickupbasketball games, or my favorite e_ample is when they go to a dog park. theytell me it"s even better than online dating when they"re there.

我想要問各位的問題是：你能做什么，來讓你脫離你的社交習慣?你在什么地方能夠被注入無法預(yù)測的多樣性?我的學生給了我一些很棒的例子。他們告訴我：在比賽籃球時，和我最愛的例子──去公園遛狗時。他們告訴我，在那里甚至比在線約會還要更好。

so the real thing that i want you to thinkabout is we"ve got to fight our filters. we"ve got to make ourselves a littlemore inefficient, and by doing so, we are creating a more imprecise socialsearch engine. and you"re creating that randomness, that luck that is going tocause you to widen your travels, through your social universe.

我真正希望各位去思考，我們得要對抗我們的篩選器。我們得要讓自己不那么有效率，這么做時，我們就是在創(chuàng)造一個不那么精準的社交搜索引擎。你是在創(chuàng)造隨機性，它就是運氣，能拓展你在社交宇宙中所旅行的范圍。

but in fact, there"s more to it than that.sometimes we actually buy ourselves a second-class ticket to travel our socialuniverse. we are not courageous when we reach out to people. let me give you ane_ample of that. a few years ago, i had a very eventful year. that year, imanaged to lose a job, i managed to get a dream job overseas and accept it, ihad a baby the ne_t month, i got very sick, i was unable to take the dream job.

但，事實上，不只是如此。有時，我們真的會買到二等艙的票，在我們的社交宇宙中旅行。當我們接觸別人時，我們不夠勇敢。讓我舉個例子。幾年前，我有一年遇到非常多事。那一年，我失去了一個工作，在海外得到了一個夢想的工作，且我接受了，再下一個月我生了孩子，我病得非常重，我無法去接那份夢想的工作。

and so in a few weeks, what ended up happening was, i lost my identity as afaculty member, and i got a very stressful new identity as a mother. what ialso got was tons of advice from people. and the advice i despised more thanany other advice was, "you"ve got to go network with everybody." whenyour psychological world is breaking down, the hardest thing to do is to tryand reach out and build up your social world.

所以，在僅僅幾周，最后發(fā)生的結(jié)果是，我失去了教職員的身份，我得了到一個非常有壓力的新身份：母親。我還得到了人們給的一大堆意見。在所有意見中，我最鄙視的一則是：「你得要去和大家建立網(wǎng)絡(luò)?！巩斈愕木袷澜缭诒缐臅r，最困難的事就是試著向外伸出手，建立你的社交世界。

and so we studied e_actly this idea on amuch larger scale. what we did was we looked at high and low socioeconomicstatus people, and we looked at them in two situations. we looked at them firstin a baseline condition, when they were quite comfortable. and what we foundwas that our lower socioeconomic status people, when they were comfortable,were actually reaching out to more people. they thought of more people.

所以，我們更大規(guī)模地探究了這個想法。我們的做法是，我們?nèi)タ瓷鐣?jīng)濟地位高與低的人，我們在兩種情況下去看他們。我們先在基線條件下去看他們，也就是他們很舒適的時候。我們發(fā)現(xiàn)，社會經(jīng)濟地位較低的人在舒適的時候，其實比較會向外接觸更多的人。他們會去想更多的人。

theywere also less constrained in how they were networking. they were thinking ofmore diverse people than the higher-status people. then we asked them to thinkabout maybe losing a job. we threatened them. and once they thought about that,the networks they generated completely differed. the lower socioeconomic statuspeople reached inwards.

他們在建立網(wǎng)絡(luò)上比較沒有受限制。比起高社會經(jīng)濟地位的人，他們會去想更多樣化的人。接著，我們要他們?nèi)ハ胂罂赡苁スぷ鞯那闆r。我們威脅他們。一旦他們有那樣的想法，他們產(chǎn)生出的網(wǎng)絡(luò)就全然不同了。社會經(jīng)濟地位較低的人會向內(nèi)接觸人。

they thought of fewer people. they thought ofless-diverse people. the higher socioeconomic status people thought of morepeople, they thought of a broader network, they were positioning themselves tobounce back from that setback.

他們會去想的人比較少。他們會去想的人比較不多樣化。社會經(jīng)濟地位較高的人會去想比較多的人，他們會去想比較廣的網(wǎng)絡(luò)，他們會把自己放在受挫之后重整旗鼓的位置。

let"s consider what this actually means.imagine that you were being spontaneously unfriended by everyone in yournetwork other than your mom, your dad and your dog.

讓我們來想想這到底是什么意思。想象一下，你被你網(wǎng)絡(luò)中的所有人都自發(fā)性地解除朋友關(guān)系，只剩下你的媽媽、爸爸，和你的狗。

this is essentially what we are doing atthese moments when we need our networks the most. imagine -- this is what we"redoing. we"re doing it to ourselves. we are mentally compressing our networkswhen we are being harassed, when we are being bullied, when we are threatenedabout losing a job, when we feel down and weak. we are closing ourselves off,isolating ourselves, creating a blind spot where we actually don"t see ourresources. we don"t see our allies, we don"t see our opportunities.

基本上，這就是我們在最需要網(wǎng)絡(luò)的時刻所做的事。想象一下──這就是我們在做的，我們對自己做的事。我們在心理上壓縮我們的網(wǎng)絡(luò)，當我們被騷擾時，當我們被霸凌時，當我們被威脅會失去工作時，當我們感到消沉且軟弱時，就會發(fā)生。我們把自己封閉，把自己孤立，創(chuàng)造出一個盲點，讓我們看不見我們的資源?？床灰娢覀兊拿擞?，看不見我們的機會。

how can we overcome this? two simplestrategies. one strategy is simply to look at your list of facebook friends andlinkedin friends just so you remind yourself of people who are there beyondthose that automatically come to mind. and in our own research, one of thethings we did was, we considered claude steele"s research on self-affirmation:simply thinking about your own values, networking from a place of strength.what leigh thompson, hoon-seok choi and i were able to do is, we found thatpeople who had affirmed themselves first were able to take advice from peoplewho would otherwise be threatening to them.

我們要如何克服這狀況?有兩項簡單的策略。其一很簡單，就是去看你的臉書朋友名單，還有l(wèi)inkedin，讓你能夠提醒自己，除了自動出現(xiàn)在你腦海中的人之外，還有別人在。在我們自己的研究中，我們做的其中一件事是我們從自我肯定的角度來思考克勞德斯蒂爾的研究：只要想想你自己的價值，從一個有力量的地方建立網(wǎng)絡(luò)。邁克湯普森、崔勛石，和我一起做的是，我們發(fā)現(xiàn)，先肯定自己的人，能夠接受別人的意見，其他情況下，給意見者會被視為威脅。

here"s a last e_ercise. i want you to lookin your email in-bo_, and i want you to look at the last time you askedsomebody for a favor. and i want you to look at the language that you used. didyou say things like, "oh, you"re a great resource," or "i oweyou one," "i"m obligated to you." all of this languagerepresents a metaphor. it"s a metaphor of economics, of a balance sheet, ofaccounting, of transactions. and when we think about human relations in atransactional way, it is fundamentally uncomfortable to us as human beings. wemust think about human relations and reaching out to people in more humaneways.

以下是最后一個練習。我希望各位去看看自己的電子郵件收件匣，找出最近一次你請別人幫忙是什么時候。請看看你所使用的表意方式。你是否有說這類的話：「你是很棒的資源?！够颉肝仪纺阋粋€人情?！埂肝覍δ阌辛x務(wù)?！顾羞@些表意方式背后都有一個象征。那象征就是經(jīng)濟、資產(chǎn)負債表、會計、交易。如果你用交易的方式來看待人際關(guān)系，對我們?nèi)祟惗?，從根本上就會覺得不舒服。我們應(yīng)該要用更人性的方式，來看待人際關(guān)系及向外去接觸人。

here"s an idea as to how to do so. look atwords like "please," "thank you," "you"rewelcome" in other languages. look at the literal translation of thesewords. each of these words is a word that helps us impose upon other people inour social networks. and so, the word "thank you," if you look at itin spanish, italian, french, "gracias," "grazie,""merci" in french. each of them are "grace" and"mercy." they are godly words. there"s nothing economic or transactional about those words.

至于要怎么做，這里有個想法?？纯聪瘛刚垺?、「謝謝你」、「不客氣」這些詞在其他語言怎么說。看看這些詞的字面翻譯。這每一個詞，都是在協(xié)助我們利用社交網(wǎng)絡(luò)中的其他人。所以，針對「謝謝你」這個詞，它們在西班牙文、意大利文、法文分別是「gracias」、「grazie」，以及「merci」。意思都是「優(yōu)雅」和「慈悲」。它們是虔誠的詞。這些詞沒有任何經(jīng)濟或交易的元素。

the word "you"re welcome" isinteresting.the great persuasion theorist robert cialdini says we"ve got toget our favors back. so we need to emphasize the transaction a little bit more.he says, "let"s not say "you"re welcome." instead say, "i know you"d dothe same for me."" but sometimes it may be helpful to not think intransactional ways, to eliminate the transaction, to make it a little bit moreinvisible.

「不客氣」這個詞很有趣。偉大的說服理論學家羅伯特喬爾第尼說：我們得把人情要回來。所以我們得要多強調(diào)一點交易。他說：「讓我們別說『不客氣』」。改成「我知道換成你也會為我這么做?！沟袝r，不用交易的方式來思考，可能會比較有幫助，把交易元素除去，讓它更不顯眼。

and in fact, if you look in chinese, the word "bú kè qì"in chinese, "you"re welcome," means, "don"t be formal; we"refamily. we don"t need to go through those formalities." and "kembali"in indonesian is "come back to me." when you say "you"rewelcome" ne_t time, think about how you can maybe eliminate thetransaction and instead strengthen that social tie. maybe "it"s great tocollaborate," or "that"s what friends are for."

事實上，如果看中文怎么說，「不客氣」在中文的意思是「別這么拘泥禮節(jié)，我們是一家人，不需要這些禮節(jié)形式。」在印度尼西亞語中「kembali」的意思是「回來我這里」。下次當你要說「不客氣」時，想想看你可以如何除去一些交易元素，改成加強社交連結(jié)。也許說「能一起合作很棒」，或「朋友不就該如此嗎」。

i want you to think about how you thinkabout this ticket that you have to travel your social universe. here"s onemetaphor. it"s a common metaphor: "life is a journey." right? it"s atrain ride, and you"re a passenger on the train, and there are certain peoplewith you. certain people get on this train, and some stay with you, some leaveat different stops, new ones may enter. i love this metaphor, it"s a beautifulone.

我希望各位能思考一下要怎么用你手上的這張票，在你的社交宇宙中旅行。以下是一個比喻。它是常見的比喻：「人生是一趟旅程?！箤Π?它是趟火車旅程，你是火車上的一名乘客，有些人和你在一起。有些人會搭上這臺火車，有些人會留下，有些人會在不同的站下車，可能有新乘客上車。我喜歡這個比喻，它很美麗。

but i want you to consider a different metaphor. this one is passive,being a passenger on that train, and it"s quite linear. you"re off to someparticular destination. why not instead think of yourself as an atom, bumpingup against other atoms, maybe transferring energy with them, bonding with thema little and maybe creating something new on your travels through the socialuniverse.

但我希望各位能想想另一個比喻。身為火車乘客的這個比喻很被動，且它是很線性的。你要前往特定的目的地。為什么不改個方式，把你自己想成一個原子，和其他原子碰撞，也許和它們一起傳送能量，和它們結(jié)合一下，也許在你的社交宇宙中旅行時，創(chuàng)造出新東西來。

thank you so much. and i hope we bump intoeach other again.(applause)

非常謝謝。我希望我們有機會再次碰撞。(掌聲)

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