奥斯卡最佳导演詹姆斯·卡梅隆TED英文演讲稿
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(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 "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, 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 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 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 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. 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: "terminator," "aliens" and "the abyss." and with "the abyss," i was putting together my love of underwater and diving with filmmaking. 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 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.
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 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 "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. (laughter) 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. (applause) 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 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, 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, "wow. i'm 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 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 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, "ok, 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, "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
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 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 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. 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, "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 awaybetween "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 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, "we had to 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 "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 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, "well, you know, 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 filmmakers 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, 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 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。
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15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。
所以，在我接下来的电影《终结者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“数字领域”。公司的概念是要跳过普通的电影制作直接进入数字电影制作。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》。
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。
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，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。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。
通过一种会飞行的自动探测仪，我可以坐在一个潜艇里探索泰坦尼克号的内部。当我在操作仪器时，我的脑子就像是在这些探测仪中。我感觉我自己真的到了泰坦尼克号上。这是一种最令人兴奋的似曾相识的感觉。我知道假如我在这里转个弯，我将会看到什么。因为我已
经在另一个完全一样的泰坦尼克号复制品上工作了好几个月。
这是一次不同寻常的体验。它让我感觉到，远程监控的能量。你的意识可以被注入这些机器或注入另一种存在中。这种体验非常深刻。或许几十年后，当半机器人出现，或者任何后人类生物出现时，人们会对这种感觉习以为常。
在这些探险之后，我开始真正感谢这些存在于海底的生物。这些生物基本上对于我们来说就是外星生物。它们生活在一个化学合成的环境之中。它们无法像我们一样存活于太阳之下。同时，从小被科幻小说影响的我对于太空科学也非常感兴趣。
我进入了nasa的顾问委员会，策划真正的太空行程，让宇航员带着3d摄像机进入太空站。这些非常有趣，但我真正想做的是将这些太空专家带入深海，让他们看看深海，取一些样本。所以我们既做了纪录片，也在做科学。这些事业将我整个人生很好地整合了起来。
发现团队的力量
在发现的旅途中，我学到了很多。我学到的不仅仅是科学知识，还有领导力。很多人以为作为导演，就一定具有很高的领导力。但我却是从这些探险中学到如何带领团队。
在探险时，有时候我会问自己，我为什么会在这里?为什么要做
这些纪录片? 我从中得到了什么? 我们并没有从这些纪录片中赚钱，还差点亏了本。我也没有赚到名声。很多人以为我在《泰坦尼克号》之后就一直躺在沙滩边享受。
那我在做什么呢?我做这些其实只是为了这件任务本身。为了挑战——海洋是现存最危险的环境;为了发现;也为了一种奇怪的关系——一个由很少人组成的紧密团队。我们这10到12个人在一起工作了很多年。有时要在海里一起工作2到3个月。
在这种关系中，我发现最重要的东西就是尊重。我在这里为了你，你在这里为了我。每个人做的工作都无法向其他人解释。我们必须建立起一种关系，建立尊重。
当我开始拍摄《阿凡达》时，我试着将这种互相尊重的领导力原则应用在电影拍摄中。很快情况就改变了。在《阿凡达》拍摄过程中，我的团队也很小，也在未知领地工作，创造新的科技，这非常有意思，非常有挑战。四年半时间，我们成为了一个家庭。这完全改变了我以前拍电影的方式。
有评论文章说，卡梅隆把海底的一些生物放到了潘多拉星球上是其影片成功的原因，而对于我来说，做事的基本法则以及过程本身改变了事情的结果。
最后，总结一下。我学到了什么?
第一：好奇心，这是你拥有的最重要的东西;
第二：想象力，这是你创造现实最重要的力量;
第三：对团队的尊重，这是比世界上其他定律更重要的定律。
有不少年轻电影导演向我讨教成功经验，我对他们说：“不要给自己划定界限。别人会为你去划边界，但你自己千万别去。你要去冒险。失败是你其中一个选项，但畏惧不是。从来没有一次探险是在有完全安全保障的情况下完成的。你必须愿意承担这些风险。”谢谢大家!(掌声)
目录 雷.安德森：谈为何商业可以做到可持续 (1) 詹姆斯.卡梅隆：失败是一个选项，畏惧不是 (4) 科幻的童年 (4) 电影魔法师与科学体验 (5) 发现团队的力量 (6) 保拉.安特那利：设计即艺术 (7) 卡梅龙.辛克莱：开源建筑理念与实践 (12) 韦利.斯密斯：重建森林，复兴经济 (24) 雷·安德森：谈为何商业可以做到可持续 雷·安德森（Ray Anderson）是著名的地毯生产产家Interface（界面地毯）的创始人兼CEO。在这个深情的演讲里，安德森讲述了自己从一个掠夺者到环保公益人士的转变。对于政府、企业和NGO，这篇演讲是难得的好题材，可以让我们直观的看到商业领袖自身在环境气候问题上的变化。 不管相不相信，我来这儿是要解决问题的。我们面对的问题很大，但今天我只想就问题在气候方面的影响发表看法。我要提供的这一解决方案，是给那些已经给地球造成巨大创伤、以及造成生物圈之消亡的人带来的。罪魁祸首是工业和商业，而这刚好是我1956年从乔治亚理工大学毕业之后的52年里一直在做的事情。我是一名工业工程师，也走过了从创业家到企业家的道路。我白手起家，创建了界面地毯公司，那时候是1973年，36年前了，我们为美国市场生产地毯，我们的客户主要是商业公司和研究机构。我经历了公司从草创到生存到繁盛到占领全球市场的过程。后来我读到了保罗·霍肯的一本书，《商业生态学》，那是1994年的夏季。在那本书里，保罗将商业以及工业称作导致生物圈破坏的罪魁祸首同时，这些商业公司也是唯一的有足够的市场资源和力量去引导人类走出困局的机构。顺便提一下，在那本书里，保罗称我是地球资源的掠夺者。 后来我对我的公司员工提出一个挑战。我希望带领我们的公司以及整个行业走向可持续的发展。最后我们对于我们这个石油依赖性很强的企业的新定位是：我们只使用可以在自然界迅速循环利用的地球资源，不再吞噬石油，也不再对生物圈造成破坏，不从大自然索取，也不伤害它。我只是简单的说，“假如保罗是对的”那么商业以及工业就应当行动起来。但谁将成为领导者呢？假如没有人成为领导者，没有人会愿意行动的。听起来很简单。为什么我们不成为领导者？多亏公司员工的支持，我现在已经慢慢的从环境掠夺者成为环境保护者。 我曾经跟《财富》杂志的作者说过，也许有一天，像我这样的人会被关进牢房的。那个采访于是上了《财
奥斯卡最佳导演詹姆斯·卡梅隆TED英文演讲稿 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(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 "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, 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 the late '60s,
英语演讲稿 经典名人英语演讲稿72：失败是人生的选项之一，但畏惧不是（导演詹姆斯.卡梅隆TED 大会演讲）mp3 72. Failure Is an Option, but Fear Is Not 72. 失败是人生的选项之一，但畏惧不是 So, when I came back to make my next 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 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. 当我开始拍摄《阿凡达》时，我试着将这种互相尊重的领导力原则应用在电影拍摄中。很快，情况就真的有所改变了。在《阿凡达》拍摄过程中，我的团队也很小，也在未知领地工作，创造新的科技。这非常有意思，非常有挑战性。四年半的时间，我们成为了一个家庭。
奥斯卡最佳导演詹姆斯·卡梅隆TED英文演 讲稿 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 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 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 1 / 19
英语演讲稿100篇 篇一：我最喜欢的学科Dear teacher and classmates:I am very glad to make a speech here in this class again! This time, I\d like to talk 英语演讲稿开场白精选范文篇一Today I come to Oslo as a trustee, inspired and with renewed dedication to humanity; I accept this prize on behalf of all men who loved peace and brotherhood. 关于英语演讲稿精选范文篇一Hello! I wonder whether everybody knows the meaning of these two words of energy-conservation and low carbon ? I assume as a matter of course and know. 英语演讲稿优秀范文篇一General IntroductionI am a third year master major in automation at Shanghai Jiao Tong University, P. R. China. With tremendous interest in Industrial Engineering, I am writing to apply for acceptance into your Ph.D. 精彩的英语演讲稿范文篇一I have a belief deep down within my heart that my future will be bright.My future will be bright with all my loving families. Whether time find us far apart or it keeps us close together, they are always standing by 英语演讲稿精选范文篇一Mans life is a process of growing up, actually Im standing here is a growth. If
奥斯卡最佳导演詹姆斯·卡梅隆TED英文 演讲稿 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(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 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, understand the
你认可这样的励志演讲吗 作者：一阳 来源：《学苑创造·c版》2014年第09期 “你追求加内特、詹姆斯、科比、麦蒂、邓肯、霍华德……你不学习，连一张季前赛门票都买不起。”“你追求金泰熙、宋慧乔、孙艺珍、全智贤、金秀贤……你不学习，全家搞一顿炸鸡啤酒你都要考虑考虑。”“没资本还不学习？没背景还不学习？长得不帅还不学习？智商不够还不学习？”日前，江苏省无锡市某中学副校长在学校升旗仪式上的演讲内容在网上热传，不少网友说自己看后被“雷”到了。对此，你怎么看？ 贺智雨：没什么不好，提神又醒脑。学习累了，想一想这话，兴许就来精神了。而且这位副校长所说的确实符合当前的国情啊，有好成绩就能进好学校，进好学校就能获得好教育，将来踏出校门就能找到好工作，由此看来，他的话没什么不对。 林锐和：社会是现实的。只要人的思想端正，不是盲目而疯狂地去追求那些明星，是没有问题的。而且为努力接近那些明星而奋发，心中有目标支撑着自己前行，也是不错的。宾志昌：话听起来是有些刺耳，但并非毫无道理，因为现实就是这样残酷。轻飘飘的劝告，不如犀利的诘问直抵人心。 施伟娇：这话说得不错啊！这样接地气的励志话语能让人对社会更加了解，对未来奋斗的目标看得更加清晰。样样条件都不如人，你还不拼，靠什么超越他人？靠做梦吗？ 施璐扬：理想很丰满，现实很骨感。对于某些学生来说，让他们学会认识现实并接纳现实，远比那些不着边际的心灵鸡汤类文章更能警醒他们。如果连几句真话都不能接受，那么，当你面对残酷的真相时，就真的可能被“吓死”。 张梦娇：无伤大雅！对于明星的追求，本来就是需要通过金钱来实现；而学习的最终价值也就是实现自己的人生理想，通过赚钱来实现自己的人生理想，这种做法可能世俗，但更实际。既然老师、校长也不能改变分数决定论的现实，那么，从自身出发，积极学习，将分数提升上去，应该是最好的选择。 沈学农：我觉得挺好的，很真实，说到了许多学生的痛处。人生的起跑线从来就不是平等的，贫富之间的鸿沟也是客观存在的。高考制度尽管常常被大家抨击痛骂，但不能不承认，它至今仍是草根阶层改变命运的最公平的制度，因为分数面前人人平等。 一阳有话说：以上同学之所以支持这一言论，是因为与许多假、大、空的“励志”言论相比，现实更容易让人清醒。大道理永远没有现实困境更有说服力，困境常常能刺激人奋起拼搏！但这样的言论有没有负作用呢？ 陈致和：一直以来，很多学生不停地被灌输这种所谓的“成功学”思想，这样一来，学习就失去了最纯粹的一面。学习不应该是为了功利的目的，而应该是为了富足自己的灵魂。 严海飞：只在意自己的功名利禄，不心系天下苍生；只追求考试的分数成绩，不重视学生健全人格的培养，这样的“励志”，是要误人子弟的。 雷新宏：这样的演讲看似接地气，但却是建立在把学习的所有目的都极端功利化、学习的价值极端夸大化的基础上的。向学生灌输“学习无所不能，不学习没有任何出路，不学习你就没脸生存”的极端思想，如同将一把看不见的刀子扎入学生的心灵，误导学生的人生方向。龙嘉齐：学生的压力本来就很大，如此带刺激性目的的观点，虽然能刺激一部分学生奋起学习，但也会让另一部分学生更感肩上学习压力的沉重，致使他们原本就岌岌可危的精神状态更加不堪。 肖书坦：这些话糊弄不了现在的中学生，正如某报纸刊登的一位学长所说：“高考是我现阶段很重要的事，但在我整个人生中，高考并不是非常重要。不认识朋友，不参加活动，将来人际交往都不行，也没什么特长，成绩再好，能找得到好工作吗？真的能赚得了那么多钱吗？而且人会真的快乐吗？”让学生无法相信的“教育”注定是失败的。
09级工商管理系财务管理3班崔姣 学号：2009091303 电影 Ⅰ：电影的历史 众所周知，电影是在十八世纪末发明的。1829年，比利时著名物理学家约瑟夫普拉多发现“视象暂留原理”，普拉多根据此原理于1832年发明了“诡盘”。“诡盘”能使被描画在锯齿形的硬纸盘上的画片因运动而活动起来，而且能使视觉上产生的活动画面分解为各种不同的形象。“诡盘”的出现，标志着电影的发明进入到了科学实验阶段。1834年，美国人霍尔纳的“活动视盘”试验成功。1853年，奥地利的冯乌却梯奥斯将军在上述的发明基础上，运用幻灯，放映了原始的动画片。 1893年，爱迪生发明电影视镜并创建“囚车”摄影场，被视为美国电影史的开端。1896年，维太放映机的推出开始了美国电影的群众性放映。19世纪末20世纪初，美国的城市工业发展和中下层居民迅速增多，电影成为适应城市平民需要的一种大众娱乐。 而如今，3D电影已经融入我们的生活。 Ⅱ：电影的分类 ⒈故事片是电影中一个很大的类别。故事片又分为：历史片、战争片、喜剧片、科幻片。 ⒉美术片是动画片、木偶片、剪纸片、折纸片的总称，是电影四大片种之一。它以绘画或其它造型艺术运用夸张变形手法进行创作。 ⒊新闻记录片是新闻片和记录片的统称，也是电影四大类别之一。其特点是以真人真事为表现对象，不经过虚构，从现实生活本身的形象中选取典型，提炼主题，直接反映生活。 ⒋科学教育片简称科教片，它以传播科学知识、推广新技术经验为基本目的，也是电影的四大类别之一。 ⒈纪实风格：纪实风格的影片要求逼真性而摒弃假定性，少用人为强化的冲突和情节，最好按照生活原型“纪实”。 ⒉溶合风格：溶合风格即把几种不同的风格溶合为一种风格。在传统的戏剧分类中，正剧、喜剧、悲剧的风格样式历来是泾渭分明的，而实际生活却是复杂多样的。 ⒊共现风格：电影作为一种综合艺术，已经从初级的综合走向高级综合，因此应在综合各种风格的基础上，形成一种“共现风格”，以便更全面、更真实地反映生活。 ⒋绘画风格：绘画风格是本世纪60年代出现的一种电影风格，强调挖掘镜头内的丰富表现力，注重镜头结构、场面调度、影调、照明、色彩变化，以及各种新的摄影方法，而且爱用长镜头。 ⒌电视风格：主要是60年代末、70年代初发展起来的。其特点是：要求极高的逼真性，甚至采取“隐藏摄影法”；多用采访片、报导片形式，或近似活的新闻特写；强调及时性，多拍最新题材，播送、放映力求迅速；提倡多集片形式，每集不宜过长，以便与电视的多节目性相协调。
詹姆斯卡梅隆ted演讲 推荐文章 •英国首相卡梅伦辞职演讲全文：我尽力了中英文版热度： •卡梅伦就苏格兰独立结果的演讲热度： •卡梅伦苏格兰的演讲热度： •关于初中生英语演讲稿3分钟热度： •六年级读书演讲稿热度： 詹姆斯卡梅隆ted演讲 詹姆斯·卡梅隆是一位加拿大电影导演，擅长拍摄动作片以及科幻电影，今天店铺给大家分享一些詹姆斯卡梅隆的ted演讲，希望对大家有所帮助。 詹姆斯卡梅隆ted演讲 1、科幻的童年 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。 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15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。 2、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。所以，在我接下来的电影《终结者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“数字领域”。公司的概念是要跳过普通的电影制作直接进入数字电影制作。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》。 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
詹姆斯.卡梅隆简介 卡梅隆简介 詹姆斯·卡梅隆，1954年8月16日生于加拿大的著名电影导演，擅长拍摄动作片以及科幻电影。他导演的这些电影经常超出预定计划以及预算，不过都很卖座。1984年推出自编自导的科幻片《终结者》后，使他一夜成名，多才多艺的他除导演外，又是编剧还是制作和剪辑，他的电影主题往往试图探讨人和技术之间的关系。目前电影票房史上最卖座的两部电影《泰坦尼克号》（1997）和《阿凡达》（2009）都是他执导的作品。其中《阿凡达》堪称世界电影之最，全球票房超过27亿美金，目前是全世界票房收入最高、也是历史之上最成功的电影之一。 家庭背景 詹姆斯·卡梅隆。他的父亲是菲利普，一位电气工程师。菲利普高中时认识了雪莉，她是一位艺术家。雪莉身材苗条，金发碧眼，精力充沛，曾在女子赛马会上开过运牲口的大车，她自立坚强。而她也成为《终结者》和《异形2》这些电影中强悍女性的来源。 1954年8月16日，他们的第一个孩子詹姆斯.卡梅隆降生了，比预期要迟了一个月，他出生时嚎啕大哭。当他18个月大的时候，卡梅隆踱进一位医生的办公室，伸出手说：“你好吗？医生。”菲利普夫妇才发现，自己的儿子有些与众不同。 一件卡梅隆幼时的趣事。 童年的詹姆斯.卡梅隆，有时显得太过聪明，由此给自己带来的麻烦。一年级快结束的时候，他的老师把雪莉找来，说他儿子要留级一年。老师说：“詹姆斯他不认识字，也什么都不做，只是坐在那，往窗户外面看。”雪莉问詹姆斯.卡梅隆：“詹姆斯，你识字吗？”詹姆斯.卡梅隆一脸得意的坏笑，他清楚的知道母亲知道他识字。雪莉叫儿子在老师的桌子上随意挑选一本书，他选了一本科学方面的书，然后大声朗诵了一段文字。老师大为吃惊，就问詹姆斯：“你为什么不告诉我你认识字？”詹姆斯回答说：“难道你认为我愿意整天坐在这里
职场励志中英文语录 职场励志中英文语录 1."When you're different, sometimes you don't see the millions of people who accept you for what you are. All you notice is the person who doesn't." --Jodi Picoult 1.“当你与别人不同时，无需理会所有反对你的人。你只需知道总有人在支持你。”——朱迪·皮考特 2."As soon as you trust yourself, you will know how to live." --Johann Wolfgang von Goethe2.“只要相信自己，你就会知道如何活。”——约翰·沃尔夫冈·冯·歌德 3."You cannot be lonely if you like the person you're alone with." --Wayne Dyer3．“学会独处，你就绝不会孤独。”——韦恩·戴尔 4."Just pick a goal, a goal you truly want to achieve, and take a clear-eyed look at your weaknesses--not so you'll feel less confident, but so you can determine exactly what you need to work on. Then get to work. Celebrate small successes. Analyze your weaknesses. Keep going. As you gain skill, you'll also gain a feeling of genuine confidence, one that can never be taken away--because you've earned it." (OK, that one is mine, he said, blushing.)4.“选一个目标，一个你真正想要实现的目标，然后认清你的弱点——这样并不是为了让你感到更不自信，而是为了让你明确自己应该朝哪个方向走。然后努力提升。要庆祝成果，也要分析弱点。继续努力。当你掌握了技能后，你也会获得真实的自信感，一种不会消失的自信感——那是因为这是你应得的。”（好吧，这句话是我自己说的） 5."Don't waste your energy trying to change opinions ... do your thing, and don't care if they like it." --Tina Fey5.“别浪费时间去让别人改变想法做好你自己的事，别理会别人会不会喜欢。”——蒂娜·菲 6."Pride is holding your head up when everyone around you has theirs bowed. Courage is what makes you do it." --Bryce Courtenay6.“当周围的人都向你鞠躬时，让你昂首挺胸的是荣耀。而让你获得荣耀的是勇气。”——布莱斯·考特尼 7."The way to develop self-confidence is to do the thing you fear and get a record of successful experiences behind you." --William
英语演讲稿100篇 英语演讲稿素材精选关于英语演讲稿精选范文1984 Democratic National Convention Keynote AddressTED英语演讲稿：内向性格的力量 When I was nine years old I went off to summer camp for the first time。And my mother packed me a suitcase full of books， which to me seemed like a perfectly natural thing to do。 TED英语演讲稿：拥抱他人，拥抱自己 Thandie Newton Embracing otherness, embracing myself拥抱他人，拥抱自己Embracing otherness. When I first heard this theme, I thought, well, embracing otherness is embracing myself. 美国总统感恩节演讲稿〔中英文〕 【20xx年感恩节演讲稿】Remarks of President Barack Obama on Thanksgiving DayNovember 22, 20xx美国总统感恩节致辞20xx年11月22日On behalf of the Obama family –Michelle, Malia, Sasha, Bo and me–I want to wish everyone a 美国总统感恩节英语演讲稿〔中英文〕 【20xx年感恩节英语演讲稿】Hi, everybody. On behalf of all the Obamas –Michelle, Malia, Sasha, Bo, and the newest member of our family, Sunny – I want to wish you a happy and healthy Thanksgiving. 莫言诺贝尔文学奖致辞英文演讲稿 以下这篇演讲稿是中国当代著名作家莫言20xx年获得诺贝尔文学奖时在瑞典学院发表的领奖演讲《讲故事的人》(storyteller)，莫言在这次演讲中追忆了自己的母亲，回顾了文学创作之路，并与听众分享了三个意味深长的故事，讲述了自己如何成为一奥斯卡最好导演詹姆斯·卡梅隆TED英文演讲稿 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。 Ted英语演讲稿：How I held my breath for 1小编 Im going to try and explain why it is that perhaps we dont understand as much as we think we do. Id like to begin with four questions. This is not some sort of cultural thing for the time of year. Ted英语演讲稿:Be an Opportunity Maker时机创造者 Kare Anderson: Be an opportunity maker【TED】凯儿˙安德森: 给自己和 别人带来希望与意外斩获-时机制造者I grew up diagnosed as phobically shy,我从小就有社交恐惧症and like at least 20 other people in a room of this TED演讲英文演讲稿：内向性格的力量 When I was nine years old I went off to summer camp for the first time. And my mother packed me a suitcase full of books, which to me seemed like a perfectly natural thing to do. 微软CEO史蒂夫鲍尔默退休英语演讲稿 Moving Forward前行Aug. 23, 20xx20xx年8月23日I am writing to let you know that I will retire as CEO of Microsoft within the next 12 months, after a successor is chosen. “纳尔逊曼德拉国际日〞名人英语演讲稿 On Nelson Mandela International Day, I join women and men across the world in honouring a man whose strength, vision and magnanimity changed South Africa and the course of the 20th century.
詹姆斯卡梅隆的英文介绍 James Francis Cameron (born August 16,1954) is a Canadian film director,film producer,screenwriter,editor,and inventor.His writing and directing work includes Piranha II:The Spawning (1981),The Terminator (1984),Aliens (1986),The Abyss (1989),Terminator 2:Judgment Day (1991),True Lies (1994),Titanic (1997),and Dark Angel (2000–2002).In the time between making Titanic and his return to feature films with Avatar (2009),Cameron spent several years creating many documentary films (specifically underwater documentaries),and also co-developed the digital 3D Fusion Camera System.Described by a biographer as part-scientist and part-artist,Cameron has also contributed to underwater filming and remote vehicle technologies. In total,Cameron's directorial efforts have grossed approximately US$2 billion in North America and US$6 billion worldwide.Without adjusting for inflation,Cameron's Titanic and Avatar are the two highest-grossing films of all time at $1.8 billion and $2.7 billion respectively.In March 2011 he was named Hollywood's top earner by Vanity Fair,with estimated 2010 earnings of $257 million.
詹姆斯·卡梅隆 1954年8月16日，詹姆斯·卡梅隆出生在加拿大安大略省的一个中产阶级家庭，他的父亲是一个电气工程师，母亲是一个艺术家，这似乎注定他一生下来就会具有工程和艺术两方面的才华。少年时的詹姆斯·卡梅隆就具有非凡的工程才能和组织能力，他曾经带领小伙伴们制造过一个足以在地面上留下弹坑的抛石机，以及用一个自制的潜水艇把一只老鼠送到了尼亚加拉河底。在艺术方面，他曾和母亲学习过多年的绘画，并且曾在家乡举办过画展，并且很小就开始写科幻小说，他12岁时所写的一部科幻小说被看作是他的科幻影片《深渊》故事的原型。在他14岁的时候，他看到了大师斯坦利•库布里克的《2001太空漫游》。当时詹姆斯·卡梅隆被惊呆了，在电影院里连续看了10遍之多，从此在他心灵中萌发了制作电影的愿望。他开始用父亲的8毫米摄影机拍摄一些简陋的影片。 中学毕业以后，詹姆斯·卡梅隆被加利福尼亚州立大学(California State University)的物理系录取，他很快就对大学的课程感到失望，跑出校园闯荡社会。他干过机械修理工，给别人开过大卡车。1977年，詹姆斯·卡梅隆看到了乔治•卢卡斯的经典科幻影片《星球大战》，他激动地意识到这就是他想要创造的东西。这使得詹姆斯·卡梅隆确立了自己的人生方向并开始为此忙碌起来，从未接受过专业训练的他开始到处寻找机会成为电影人，熟悉从镜头到摄影机导轨的各种电影制作器材，甚至和朋友制定了人生第一个拍摄计划，想要利用手头的设备和自制的模型制作一部10分钟的科幻影片！ 代表作-《深渊》 代表作-《深渊》詹姆斯·卡梅隆是幸运的，他的才华很快就得到了好莱坞制片人罗杰•卡曼的赏 识，从罗杰•卡曼那里他得到了人生第一份电影方面的工作——为卡曼工作室1980年的影片《星空大战》制作特技模型，第二年他就升职为这个工作室的另一部影片《恐怖星系》的第二小组导演和电影制作设计师。詹姆斯·卡梅隆是少有的以特技设计出身的导演之一，在以后的电影创作中，詹姆斯·卡梅隆一向把特技制作放在一个极其重要的位置，而且还经常亲自参与设计和实施特技的制作。在詹姆斯·卡梅隆的电影里，卓越的特技制作不但总是创造出令人目瞪口呆、热血沸腾的视觉效果，而且能够和情节自然地融为一体，丝毫没有生硬和炫耀的感觉。但这并不是说，特技就是詹姆斯·卡梅隆电影的全部。詹姆斯·卡梅隆不但是个优秀的特技工程人员，更具有一般的工程人员不具备的想象力，以及一些别的东西。1981年，詹姆斯·卡梅隆的第一部导演作品问世。这部名叫《食人鱼2：繁殖》的影片完全在意大利拍摄，詹姆斯·卡梅隆和一口意大利语的工作人员相处得并不愉快，而拍摄完毕后，制片方出于对这个羽翼未丰的导演的轻视，不让他参与影片的最终剪辑。25岁的詹姆斯·卡梅隆一气之下，用一张信用卡撬开了工作室的门，自己想方设法学会使用了意大利的剪辑机，用几个星期的时间自己剪辑了整部片子。在这个过程中，詹姆斯·卡梅隆下定决心不再为任何人卖命，一定要制作自己的电影。 在意大利期间，詹姆斯·卡梅隆备受疾病、饥饿和贫困的折磨。痛苦的经历使他每晚噩梦缠身，一次他做了一个非常清晰的噩梦：被一个来自未来的机器杀手追杀。根据噩梦的内容，詹姆斯·卡梅隆写了一个浸满其卓越才华的电影剧本《终结者》。他把这个剧本以一美元的价格卖给了制片人高尔•安尼•赫特，条件是让他以自己的方式导演这部影片。高尔答应了他的要求。1984年，詹姆斯·卡梅隆推出了他第一部自编自导的影片《终结者》。这部影片的
詹姆斯·卡梅隆：我是世界之王 一群蓝色皮肤、高达10英尺的纳威人生活在潘多拉星球上。那里有900英尺高的参天古树，群山漂浮于半空之中，水溪悬挂于峭崖之上；在白天，森林里各种奇鸟怪兽穿梭打斗，而到 了夜晚，各类奇异的花朵和植物都会发出闪亮的彩光……这就是卡梅隆在《阿凡达》中幻想的世界，一个足以让观众屏声静气而又充满神奇遐想的梦境般国度。 今年56岁的卡梅隆出生于加拿大安大略省的一个中产阶级家庭，他的父亲是一名电气工程师，母亲是一个艺术家，这似乎注定他一生下来就会兼具工程和艺术两方面的特质与才华。 的确，少儿时期卡梅隆表现出的工程才能和组织能力并非一般，他曾经带领小伙伴们制造过 一个足以在地面上留下弹坑的抛石机，以及用一个自制的潜水艇把一只老鼠送到了尼亚加拉 河底。而在艺术方面，他曾和母亲学习过多年的绘画，并且曾在家乡举办过画展。不仅如此，卡梅隆12岁时就写出了一部科幻小说，据称这部小说就是后来《深渊》的雏形。 对于科幻的迷念在卡梅隆进入高级中学之后快速发酵。整个高中时代，卡梅隆几乎所有的课 余时间都泡在图书馆里读科幻，他那痴迷曲棍球的老爸一次次扔掉他手里的科幻书，也没能 遏制住儿子对科幻的狂热。当然，有一点让父亲得到满足，那就是卡梅隆阅读科幻书的数量 惊人，他所痴迷的作家也都是科幻界的大师级人物：阿瑟·C·克拉克、罗伯特·安森·海因莱因、雷·布莱勃利、冯内古特……。 中学毕业后的卡梅隆被一所大学的物理系录取，但还没有读到大二时就感觉大学课程枯燥无味，于是瞒着父母中止了学业。在接下来的一年多的时间内，卡梅隆干过机械修理工，当过 饭店勤杂员，也给别人开过大卡车。23岁时，卡梅隆看到了经典科幻影片《星球大战》，由 此他恍然大悟：唯有电影技术才能让梦境成真。然而，此时的卡梅隆连起码的摄像技术都不懂，于是，他从父亲手中要来摄影机不断地翻拆，直至完全熟练操作摄影制作和剪辑等全程 技艺。第二年，卡梅隆与两个朋友合写了一个名为《异种》的小剧本，并说服当地的牙科医 生资助2万美金拍摄了一支12分钟的片段。卡梅隆希望能用这个短片吸引到好莱坞投资， 让他能够拍摄一部自己的《星球大战》。 卡梅隆是幸运的，他的才华很快得到好莱坞制片人罗杰·卡曼的赏识，并很快从罗杰·卡曼那 里得到了人生第一份电影方面的工作——为卡曼工作室的影片《星空大战》制作特技模型， 次年，卡梅隆就升职为这个工作室的另一部影片《恐怖星系》的电影制作设计师。对于一般 人而言，一份工作仅仅是谋生的手段，但对于像卡梅隆这样的非常之辈，职业的经历必然产 生厚积薄发的惊人效果。1981年，由卡梅隆执导的第一部作品《食人鱼2》问世。不过，由 于这部影片完全在意大利拍摄，拍摄完毕后，制片方出于对卡梅隆这个羽翼未丰的导演的轻视，禁止他参与影片的最终剪辑。深深被刺痛的卡梅隆发誓不再为任何人卖命，而是一定要 制作出完全属于自己的电影。 机会在痛苦中出现。由于不适应意大利的气候环境，卡梅隆感染上了疟疾，而且一度贫困潦倒。不仅如此，悲惨的经历让卡梅隆每晚噩梦缠身，一次，他做了一个非常清晰的噩梦：被 一个来自未来的机器杀手疯狂追杀。醒来后，卡梅隆根据噩梦的内容迅速编写了一部浸满其 卓越才华的电影剧本《终结者》。他把这个剧本以一美元的价格卖给了一家小型制片公司， 条件是让他以自己的方式导演这部影片，对方竟然答应了他的要求。1984年，卡梅隆推出了 他第一部自编自导的影片《终结者》，这部投资仅650万美元的电影竟然在全球创下了12 倍的票房。 《终结者》并没有让卡梅隆终结下来，而是一发不可收拾。从《异形2》到《深渊》，从 《终结者2》到《真实的谎言》，直至《泰坦尼克号》横空出世，詹姆斯·卡梅隆打造出了一 部又一部堪称“经典”的超级大片，而且《泰坦尼克号》为卡梅隆赢得了11项奥斯卡大奖。时至今日，人们也依然记得卡梅隆在领取奥斯卡最佳导演奖时高昂着头颅说的那句话：“我是世界之王”！