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.

我是在科幻小說的陪伴下長大的。高中的時候，我每天要搭乘一個小時的公交車往返學校。漫長車程中，我總是沉浸在書本里，那些科幻小說將我的思想帶到其他的世界，以敘事的方式，滿足了我當時強烈的好奇感。

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.

除此之外，我的好奇心也展現(xiàn)在其他方面：每當我不需要上課的時候，我總會前往樹林里，遠足和采集“標本”，青蛙呀、蛇呀、蟲子呀、池水呀，通通帶回家中，放到顯微鏡下研究。我當時算得上是極品的科學狂人。但這一切都是為了嘗試了解這個世界，了解可能的邊界。

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.

而我對科幻小說的喜愛也是與我周圍的世界相呼應的，因為當時是60年代末期，人類開始登月，開始潛入深海。雅克.格斯特（法國電影攝影師）將他神奇的視覺特效帶入我們的生活中，為我們呈現(xiàn)了之前無法想象的動物、景觀和一個美妙的世界。這一切都似乎和科幻小說之間產(chǎn)生著共鳴。

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 textbook. That was -- the creativity had to find its outlet somehow.

與此同時，我也是名藝術家。我能繪能畫。我也發(fā)現(xiàn)因為當時沒有電子游戲、特效電影的滲入以及現(xiàn)今傳媒產(chǎn)業(yè)中大量的圖像化，我不得不在我的頭腦中來創(chuàng)造這些圖像。相信大家小時候都和我一樣，在讀書的時候，往往會在我們大腦中把作者所描述的東西像電影一樣播放。而我則是在腦海中描繪外星生物、外星世界、機器人、宇宙飛船等等。我躲在教科書后面涂鴉的行徑總是被數(shù)學老師給逮個正著。正因此，我不得不為我的創(chuàng)造力尋求其他的宣泄途徑。

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.

有趣的是，雅克.格斯特的影片令我驚喜地發(fā)現(xiàn)，原來在這個地球上就存在著一個外星世界。我也許無法真的在有生之年乘坐宇宙飛船前往外星世界。這聽起來太不著邊際了。但這個地球上確實存在著一個我真的可以前往的世界——富饒而奇異，擁有著我通過書本所幻想的一切。

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.

因此在我15歲的那一年，我決定成為一名潛水員。不過唯一的問題是，我當時住在加拿大的一個小村莊里，最近的海也要600英里遠。但我卻沒有因此而心灰意冷。我反復糾纏我的老爸，直到他在紐約水牛市為我找到了一個潛水訓練班，它就在美加邊界的另一側。就這樣，在水牛市刺骨的深冬，在基督教青年會的泳池內(nèi)，我拿到了我的潛水證書。但在隨后的兩年里，我卻不曾親眼看見過大海，直到我們搬到了加利福尼亞洲。

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 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.

在那之后的40年里，我在水下度過了大概3000個小時。其中500個小時是在潛水器中度過的。我發(fā)現(xiàn)深海之中──即使是淺海之中──也會充滿了令人驚奇的生命，這遠遠超出了我們的想象。同我們?nèi)祟惇M隘的想象范圍相比，大自然的想象力是無邊無際的。直到今日，我潛水時所目睹的一切仍令我感到無比驚奇。我對海洋的熱愛始終如一、不曾改變。

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.

但當我長大成人，需要擇業(yè)的時候，我選擇了電影制作。在當時看來，這是將我講故事的渴求與創(chuàng)造圖象的欲望合二為一的最好途徑。在我還是個孩子的時候，我常常畫漫畫。而電影制作正好將圖象和故事結合在一起。理所當然，水到渠成。當然了，我講的故事都是些科幻故事《終結者》《異性》 和《深淵》。在《深淵》中，我將我對深海和潛水的喜愛與電影制作結合到了一起。將兩份熱忱，合二為一。

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.

而《深淵》也帶來了另一種啟迪：為了更好的呈現(xiàn)影片的敘事模式，創(chuàng)造出影片中的液體水生物，我們開始使用電腦動畫技術。電影業(yè)中的首個電腦制作的軟表面人物也因此而誕生。盡管那部電影票房不濟，剛好回本罷了，我卻因此而目睹了令人驚奇的一幕──全球觀眾都被影片所呈現(xiàn)的魔法深深吸引。

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.

這就是阿瑟·克拉克定律──先進的科技和魔法之間是難以區(qū)分的。而當時觀眾所目睹的正是這種魔力。這令我感到無比興奮。我當時想到，“天呀，這項技術需要在電影藝術中大范圍推廣。”所以在我的下一部電影《終結者2》中，我們將這項技術推上了新的臺階。通過和“工業(yè)光魔”(ILM)電影特效公司的合作，我們創(chuàng)造了影片中那個液體金屬家伙。而電影的成功與否將取決于這項技術能否奏效。結果它奏效了，我們再次創(chuàng)造了魔法，我們再次從觀眾那里得到了同樣的回饋。不過那部電影的票房要稍微好一點。

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.

綜合這兩次經(jīng)歷，我們意識到這將是一個全新的世界，一個容許電影藝術者們施展想象力的全新世界。所以我和我的好友Stan Winston成立了一家公司。Stan Winston是當時的知名化妝師和造型師。公司的名字就叫做"數(shù)碼領域"（Digital Domain）。公司的理念是，我們將超越光學打印機等的模擬工藝，直接進入數(shù)字生產(chǎn)。實際上，我們做到了，這在很長一段時間里給了我們競爭優(yōu)勢。

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.

但在90年代中葉，我們發(fā)現(xiàn)雖然公司的初衷是在生物、人物設計方面有所建樹，但我們在這一方面卻是落伍了。因此我創(chuàng)作了這個《阿凡達》的作品，旨在將視覺效果和電腦特效推向極限，利用電腦動畫制造出具有真實人類情感的生物。主要角色將由電腦制作。整個場景也都是由電腦制作。但我卻碰了一鼻子灰。我們公司里的人告訴我說，我們在當時的技術條件下，是無法完成這樣的特效的。

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. 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.?

所以我將這個想法放置一旁，轉而制作了一部關于大船沉入海底的電影。我當時跟電影公司說這部電影將會是船上的“羅密歐與朱麗葉”，將會是一部史詩般的、浪漫激情的電影。但私底下，我的真實動機是去拜訪一下泰坦尼克的殘骸。這才是我制作那部電影的原因。我說的是事實。不過電影公司當時是不知情的。我說服了他們。我說：“我們將潛入船骸，實地取景，作為影片的開場。此事至關重要、極具噱頭?！庇谑俏艺f服了他們投資于一場冒險歷程。

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)

聽起來很瘋狂。但這件事歸根結底，依舊是關于如何用你的想像力來創(chuàng)造一個現(xiàn)實。事實上，我們的確在六個月后創(chuàng)造了一個現(xiàn)實──我在北大西洋2.5英里水下，身處一個俄羅斯?jié)撍髦?，通過一個視口觀望真正的泰坦尼克。不是電影，不是高清，而是身臨其境。

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."

那次經(jīng)歷令我大為驚嘆。前期的準備工作是很繁瑣的，我們需要搭建攝像機、燈光等等。但真正讓我震驚的是，這些深海潛水活動就如宇宙探險一樣。兩者都是高科技產(chǎn)物，兩者都需要縝密的部署。你踏進船艙，踏入這漆黑險惡的環(huán)境，如果你無法依靠自己的力量返回的話，你是沒有任何被營救的可能的。我當時想到：“天呀！我就好像活在一個科幻電影里面一樣。太酷了！”

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.?

正因此，深海探險成了我新的嗜好。當然了，這歸結于其中的好奇感、科學性。它是萬物合一、是探求未知、是好奇無邊、是想象無限，是好萊塢無法給予我的難得經(jīng)歷。雖然我可以想象出一個生物，然后利用電腦特效將它創(chuàng)造出來。

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.

但我卻無法想象出那天我透過潛水窗所看到的一切。在我們隨后的探險過程中，我觀測到過居住在熱液噴口的生物，有時會看到我之前從來沒有看過的東西，有時會看到任何人之前都沒有看過的東西，甚至是一些在我們當時目擊并記錄之前，還沒有被科學所描述的事物。

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 these expeditions. 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.

正因此，我對此是神魂顛倒，不得不繼續(xù)下去。于是我做出了一個令人驚訝的決定。在《泰坦尼克號》取得成功之后，我決定：“好吧，我在好萊塢制作電影的工作到這里就可以告一段落了。在接下來的一段時間里，我要成為一名全職探險家?！币虼?，我們開始計劃這些探險活動。我們前往俾斯麥沉船，利用機器人裝置來探測它的殘骸。我們隨后又回到了泰坦尼克的殘骸。并且創(chuàng)造出了一批可以纏繞光學纖維的機器人。目的就是深入到殘骸中，探索其內(nèi)部的樣子──一個前無古人的做法。在此之前，沒有人看過殘骸的內(nèi)部。他們沒有所需要的技術，所以我們就創(chuàng)造出相應的技術。

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 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.

要知道，我當時就在泰坦尼克的甲板上，坐在一個潛水器內(nèi)，看著就如同這個的木質(zhì)甲板，心想著曾在這里表演的樂隊。我操控著一個小型的機器人探索器飛過船內(nèi)的走廊。雖然我在操控著它，我的思想?yún)s是在這個探索器內(nèi)，我感覺我確確實實地置身在泰坦尼克的殘骸中。那是我所經(jīng)歷過的最難以置信的卻又似曾相識的感覺，因為在機器人的探測燈照亮周圍之前，我就已經(jīng)知道每個轉角背后所隱藏的一切，原因就在于電影制作的過程中，我花費了很多個月的時間在這個場景中走來走去。而攝影棚中的道具就是依照這個船的設計圖所制造出來的一個真實模型。

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.

所以那一次的經(jīng)歷是非比尋常的，它使我感受到了一種遠程監(jiān)控的經(jīng)歷──你實際上可以擁有阿凡達的化身，然后你的意識被注入到車輛中，注入到另一種存在形式中。這的確是很深刻的感受。也許這一切可以讓我們大致猜想幾十年后的世界會是怎樣的。作為一名科學小說迷，我可以想象各種人類社會的未來，利用半機械人來進行探險以及其他活動。

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-based system the way we do. And so, you're seeing animals that are living next to a 500-degree-Centigrade water plumes. You think they can't possibly exist.

所以通過這些探險，我開始真正地欣賞海底的美妙，比如那些生活在深海裂口處的奇妙的動物們。它們算得上就是地球上的外星生物。它們住在一個化學合成的環(huán)境中，完全不需要我們賴以生存的太陽光照。所以當你看到那些生活在500度高溫的海底地柱周邊的動物時， 你也許會覺得它們完全不可能存活。

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.

與此同時，我也開始對太空科技感興趣。這自然也是受到了年少時候科學小說的影響。結果我和太空社區(qū)建立了很緊密的聯(lián)系，和美國航天局合作，成為了他們咨詢委員會的一員，策劃真正的太空任務，前往俄羅斯，參觀宇航員之前的生物科學協(xié)議等等一系列的事情，以便于我們帶著我們的3D攝影器材前往國際空間站。

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.

這種經(jīng)歷是令人難忘的。但我到頭來所做的，卻是說服太空科學家們跟隨我們前往海洋深處，讓他們可以切身體驗。太空生物學家、天體科學家等等對極端環(huán)境感興趣的人們都被我們帶到深海裂口處，讓他們能親眼觀看、采取樣品、探測儀器等等。

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.

所以我們在制作記錄片的同時，卻是在研究太空科學。我把小時候身為科學小說迷的經(jīng)歷和真實從事這一行業(yè)的經(jīng)歷聯(lián)系到了一起。在這個探索之旅中，我也學到了很多東西。我學到了很多關于科學的東西。但我也學會了很多關于領袖才能的東西。畢竟導演必須得是一名領袖人才，是領導、是掌舵者之類的。

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 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.

但在這些探險之前，我對領袖才能卻是一無所知。因為我還得問自己：“我到底在做些什么呢？我為什么要做這些事情？我從中得到什么呢？”這些該死的紀錄片根本不賺錢。我們想回本都不容易。沒名沒份的。很多人都認為我在《泰坦尼克》和《阿凡達》兩部電影之間退居幕后，坐在沙灘上面修指甲罷了。但事實上我制作了這些電影，這些紀錄片，只有很少數(shù)的觀眾看過。

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.

沒名、沒份、沒錢。你到底在做什么呢？我做這一切是為了這個經(jīng)歷本身的價值，為了這個挑戰(zhàn)──而大海就是最富挑戰(zhàn)的環(huán)境，我做這一切也是為了探索發(fā)現(xiàn)的驚奇感，為了那種一小群人組成一個緊密的團隊時所撞擊出的奇妙的凝聚力。因為每一次我們都會和10到12個人一起工作上幾個年頭。有時要在海上呆上個2-3個月。

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.

而在那種凝聚力下，你意識到最重要的事情就是你與他們彼此之間的尊敬，你們共同完成了一個無法向他人解釋的任務。當你回到海岸上，你會說：“我們需要做這個，這個光學纖維，這個電律衰減，還有這個、那個。”各項技術、其中的難度、海上作業(yè)的工作效率──這些都是你無法向他人解釋的。這就好像那些同甘共苦過的警察、戰(zhàn)士一樣，他們知道自己是無法向其他人解釋其中的經(jīng)歷的。創(chuàng)造一個有凝聚力的團隊，創(chuàng)造一個充滿尊重之情的團隊。

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.

所以當我回來制作我的下一部電影 《阿凡達》的時候，我試著應用同樣的領導信條──尊敬你的團隊，他們才會回過頭來尊敬你。而這一信條的確是改變了團隊的活力。我再次和一個小團隊走到了一起，共同前往未知的領域，制作《阿凡達》，創(chuàng)造不曾存在過的新科技。這很振奮人心。

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.

充滿挑戰(zhàn)。在四年半的時間里，我們變成了一個大家庭。這個經(jīng)歷徹底改變了我制作電影的方式。人們評論說：你把海底生物帶回到人們視野中來，放到了潘朵拉這個星球上。對于我而言，則更側重于做事的基本法則和這個過程本身，這也會改變了事情的結果。

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."

所以我們從這一切中得到了什么呢？學到了哪些東西呢？我覺得第一點就是好奇心。這是你所擁有的最有力的東西。想象力是一種力量，一種可以反映現(xiàn)實的力量。而你團隊對你的尊敬要比這個世界上所有其他的桂冠都要重要。有時年輕電影導演會問我：“給我一些電影方面的建議。”我的回答是：“不要局限你自己。別人會來局限你，會為你去劃邊界，但你不要自己局限自己。不要賭自己會輸。要敢于冒險。”

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.

美國航空局有一則他們很喜歡的名言：“失敗不是一個選項?！钡谒囆g和探險中，失敗必定是個選項，因為這些都需要敢于挑戰(zhàn)的信心。沒有哪個需要創(chuàng)新的重要奮斗是在沒有風險的條件下完成的。你必須愿意承擔這些風險。而這就是我所想要留給你們的啟迪：無論你做什么，失敗都是其中一個選項，但畏懼卻不是。謝謝你們。