And so, I actually made a kind of curious decision. After the success of Titanic1, I said, "Okay, you know, I'm going to park my day job as a Hollywood movie maker2, and I'm going to go be a full time explorer for a while." And so, you know, we started planning these expeditions. And we wound up going to the Bismark, and exploring it with robotic vehicles. We went back to the Titanic wreck3. We took little bots that we had created that spooled4 a fiber5 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.
所以,我做了一个奇怪的决定。在《泰坦尼克号》成功后,我说:“好吧,我要暂停我的主业——好莱坞电影制作人,做一段时间全职探险家。”于是,你知道,我们开始计划那些冒险。我们紧张而又兴奋地去俾斯麦,用机器开发探险。我们又回到了泰坦尼克号的残骸处。我们带了一些自制的装着光纤眼的机器人。我们想的是到船里做一个以前从没有做过的内部调查。没有人看过残骸里面。人们没有方法这么做,而我们发明了这么做的技术。
So, you know, here I am now, on the deck of Titanic, sitting in a submersible, and looking out at
planks6 that look much like this, where I knew the band had played. And I'm flying a little robotic vehicle through the corridor of the ship. You know when I say, you know, I'm operating it, but my mind is in the vehicle. I felt like I was
physically7 present inside the
shipwreck8 of Titanic. And it was the most surreal kind of deja vu experience 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 exact
replica9 on the
blueprints10 of the ship.
所以我当时就站在泰坦尼克号的甲板上,坐在潜艇里,看着那些跟这个很像的木板,也就是乐团最后在甲板上演奏的地方。然后我操纵着一台遥控载具通过走道。在船上虽然我只是操纵,但意志却在这载具中。我觉得我仿佛整个人走入泰坦尼克号的残骸中,这是我这辈子最超现实的似曾相识感。因为我知道,在转过转角之前,甚至是在灯光照射到之前,我就知道后面的景象。因为我在拍电影时,就在布景上走过好几个月,而我们的布景则是完全复制船的蓝图。
So, it was this absolutely
remarkable11 experience. And it really made me realize that, you know, the telepresense experience 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 may be a little bit of a glimpse to what might be happening, you know, some decades out as we start to have cyborg bodies for exploration or for other means in many sort of post-human
futures12 that I can imagine, as a science fiction fan.
这真是不同寻常的经历。让我真正意识到,你知道,遥距体验的可能。你可以用这些机械代理人,把意识灌注到这载体上或是其他形式的存在物中。这真的让人非常着迷。让我们看看可能发生的事情,你知道,几十年后可能发生的情景,我们可以使用电子人进行探险或是别的工作。这是我作为一个科幻迷可以想象到的后人类时代的未来。
重点讲解:
1. wound up
adj. 焦躁不安的;紧张的;恼怒的;
eg. She was all wound up before the performance.
演出前她很紧张。
eg. He gets so wound up when he's arguing.
他一辩论起来就十分激动。
2. deja vu
似曾相识的感觉;
eg. What a strange feeling of deja vu!
很奇怪的似曾相识的感觉!
eg. For those who know their history, it’s déjà vu all over again —
literally13.
对于那些了解历史的人来说,这是一种似曾相识的情形——确实历历在目。
3. inject into
添加,注入(某种特性);投入(金钱或资源);
eg. The result might inject more sense into future bargaining.
其结果可能为未来的谈判注入更多的理性。
eg. He has injected £5.6 billion into the health service.
他已经为公共医疗卫生服务投入了 56 亿英镑。
名人简介:
成立公司
1994年由“数字领域”制作特效的第一部影片《真实的谎言》出炉。
这部影片试图把间谍惊险片和喜剧情节有机地结合起来,成功地发掘出了当时正处于低谷中的动作明星施瓦辛格,但它给人留下最深印象的还是结尾那一架“海鹞”式垂直起落战斗机。
它在海天一色的背景下发射“小牛”导弹打中跨海大桥的华丽场面;而后来的机翼上的搏杀又呈现出繁复和夸张的卡通风格。作为导演,詹姆斯·卡梅隆能够选中这种独特的武器扮演片中“重要角色”,又一次证明了他对机器美的特殊爱好和感悟力。
另一方面,和多数影片把特工人员描绘成冷酷无情的杀人机器相反,《真实的谎言》把他们描绘成传统意义上的普通人,再一次体现了卡梅隆的乐观主义精神。
投资3D
卡梅隆称,中国市场对3D电影的嗜好将最终转变成市场对拥有3D功能的平板电脑和个人电脑的需求。卡梅隆还补充称,他希望中国政府将帮助培育一个本土行业,将在未来某个时刻向海外市场出售中国制造的3D电影。他在谈及中国的3D电影时表示:“你会看到,这个市场将会创造出一个特殊位置。”
泰坦尼克号
1997年,詹姆斯·卡梅隆拍摄了著名的《泰坦尼克号》。一心追求自己心目中完美目标的他。在拍摄过程中,詹姆斯·卡梅隆对演员和职员也非常的严格。投资方的冷言冷语、演员及手下对他古怪脾气的埋怨和对抗、酷寒的海水,再加上拍摄过程中遇到的难以想象的困难,这一切使卡梅隆几乎到了崩溃的边缘,但他仍然坚持着,并且喊出了近乎悲壮的豪言:“‘泰坦尼克号可沉,《泰坦尼克号》不可沉!”
然而辉煌之后,詹姆斯·卡梅隆却出人意料地“销声匿迹”了,《泰坦尼克号》之后,他一直没有拿出什么特别出彩的作品。直到2005年,他才正式开始宣布开拍他的新片———《阿凡达》,这是一部真人表演结合电脑CG动画的科幻片。这位好莱坞最会“烧钱”的大导演自己也承认,此片在票房上肯定很难超越《泰坦尼克号》,但是他又补充了一句:“没人能超越《泰坦尼克号》。”