好莱坞x华尔街“故事医生”亲临：如何掌握AI时代下“让人主动
字幕摘录
| 时间 | 英文 | 中文 |
|---|---|---|
| 0:04 | Welcome everybody. | 欢迎大家 |
| 0:05 | Good evening. | 边 |
| 0:07 | My name is Peter Wen. | 我叫彼得·温 |
| 0:08 | I'm the Associate Director for Yale Center Beijing. | 我是耶鲁中心北京的副主任. |
| 0:11 | And welcome again to the Yale Center Beijing. | 并再次欢迎来到耶鲁中心北京. |
| 0:14 | So quick introduction, Yale Center Beijing actually started in 2014. | 如此快速的介绍,耶鲁中心北京实际上于2014年开始. |
| 0:20 | So this year is our 12th year. | 所以今年是我们第12年。 |
| 0:22 | So we have a lot of different activities at Yale Center Beijing. | 所以我们在北京耶鲁中心有很多不同的活动。 |
| 0:26 | And we welcome you to the center and look forward to you visit our future event as well. | 我们欢迎你们来到中心,也期待着你们参观我们未来的活动。 |
| 0:32 | Yale Center Beijing is actually the university embassy for Yale University and serving its 14 schools. | 耶鲁中心北京实际是耶鲁大学的大学大使馆,服务于其14所学校. |
展开字幕全文（1847 条）
| 序号 | 英文 | 中文 |
|---|---|---|
| 1 | Welcome everybody. | 欢迎大家 |
| 2 | Good evening. | 边 |
| 3 | My name is Peter Wen. | 我叫彼得·温 |
| 4 | I'm the Associate Director for Yale Center Beijing. | 我是耶鲁中心北京的副主任. |
| 5 | And welcome again to the Yale Center Beijing. | 并再次欢迎来到耶鲁中心北京. |
| 6 | So quick introduction, Yale Center Beijing actually started in 2014. | 如此快速的介绍,耶鲁中心北京实际上于2014年开始. |
| 7 | So this year is our 12th year. | 所以今年是我们第12年。 |
| 8 | So we have a lot of different activities at Yale Center Beijing. | 所以我们在北京耶鲁中心有很多不同的活动。 |
| 9 | And we welcome you to the center and look forward to you visit our future event as well. | 我们欢迎你们来到中心,也期待着你们参观我们未来的活动。 |
| 10 | Yale Center Beijing is actually the university embassy for Yale University and serving its 14 schools. | 耶鲁中心北京实际是耶鲁大学的大学大使馆,服务于其14所学校. |
| 11 | And also serve as the activity center in China in Beijing for the Yale University. | 并担任中国北京耶鲁大学的活动中心. |
| 12 | So today it is our honor to welcome Professor Richard Providence to be here to present. | 因此,今天,我们荣幸地欢迎理查德·普罗维登斯教授来到这里。 |
| 13 | I know it is a very hot topic. | 我知道这是一个非常热门的主题。 |
| 14 | So some of you might know that we have a program for Professor Kravlin tomorrow. | 你们中有些人可能知道 我们明天有个Kravlin教授的节目 |
| 15 | So actually it started with the morning session and it's quickly sold out. | 所以实际上它从上午的会话开始,并迅速售罄. |
| 16 | We have received many demands for more tickets or like more seats. | 我们收到了许多要求更多的票或像更多的座位。 |
| 17 | So after discussing with Professor Kravlin, we are opening an afternoon session and it's also sold out overnight. | 因此,在与Kravlin教授讨论之后, 我们开始一个下午的会议, 并且它也售出一夜。 |
| 18 | So we can see like how popular the topic is and also how popular Richard Kravlin is. | 所以我们可以看到这个话题有多受欢迎,以及理查德·克拉夫林有多受欢迎. |
| 19 | So it is really our honor to welcome Professor Kravlin to the Yale Center Beijing as well. | 因此,我们也非常荣幸地欢迎克拉夫林教授来到耶鲁中心北京。 |
| 20 | So without further ado, I will hand over the microphone to Professor Kravlin. | 所以,不做进一步的事, 我会把麦克风交给Kravlin教授。 |
| 21 | Thank you. | 谢谢 |
| 22 | Okay, so I talk fast, I talk loud and I talk in English. | 好吧,所以我说话快, 我大声说话,我用英语说话。 |
| 23 | So hopefully if you miss anything, it is in Chinese and the AI translation is pretty good. | 所以希望如果你错过任何东西, 它的中文和AI的翻译是相当好的。 |
| 24 | I want to talk today about storytelling and more specifically the relationship of AI and storytelling. | 今天我想谈谈讲故事 更具体地说 讲AI和讲故事的关系 |
| 25 | And AI is changing everything and we are going to talk a lot about that today. | 而AI正在改变一切 而我们今天将谈论很多关于这一点。 |
| 26 | But I wanted to begin by introducing myself a little bit more. | 但我想先自我介绍一下 |
| 27 | I have a very strong relationship with Yale. | 我和耶鲁有很强的关系 |
| 28 | I am very grateful for Yale for hosting me. | 我非常感谢耶鲁接纳我 |
| 29 | I know Yale and China have been interconnected for 178 years. | 我知道耶鲁和中国已经相互联系了178年。 |
| 30 | I don't know if you knew that. | 我不知道你是否知道这一点。 |
| 31 | But there is a long history. | 但历史悠久。 |
| 32 | The first Chinese student to get a degree in America was a Yale student. | 最早获得美国学位的中国留学生是耶鲁留学生. |
| 33 | And I think the cooperation between Yale and China is fabulous. | 我认为耶鲁和中国之间的合作是美妙的。 |
| 34 | And very important that we in different cultures learn about our common ground. | 在不同文化中,我们了解我们的共同点是非常重要的。 |
| 35 | And storytelling is the way that I find our common ground. | 讲故事是我找到共同点的方法 |
| 36 | Personally, my father was born from immigrants in America who had no money. | 个人来说,我父亲出生于美国移民,没有钱. |
| 37 | His father was a barber in New Haven, Connecticut on College Street, literally next to Yale and cut Yale students' hair. | 他的父亲是康涅狄格州纽黑文大学街(英语:College Street)的理发师,字面上与耶鲁相邻,剪了耶鲁学生的头发. |
| 38 | But they had no money for Yale and my father said, I will be a barber too and help support my family like a good person. | 但耶鲁没有钱 我的父亲说 我也会做理发师 像好人一样帮助养家 |
| 39 | And his father said no and his mother too. | 他的父亲说不,他的母亲也。 |
| 40 | Mother was very strong. | 母亲很强壮 |
| 41 | They said, no, you will study hard and you will go to college. | 他们说,不,你会努力学习 你会上大学。 |
| 42 | And so he studied very hard. | 所以他非常努力地学习。 |
| 43 | He was very smart. | 他非常聪明。 |
| 44 | So that would be 1947. | 那将是1947年。 |
| 45 | They had something called the New Haven Scholarship where they gave one worthy student in the city of New Haven, Connecticut a full ride to go to Yale. | 他们在康涅狄格州纽黑文市 给一位优秀的学生 上了耶鲁大学 |
| 46 | And I am going to cry. | 我会哭的 |
| 47 | They chose my father. | 他们选择了我的父亲。 |
| 48 | And so my father went to Yale and even went to Yale Law School. | 所以我的父亲去了耶鲁,甚至去了耶鲁法学院。 |
| 49 | We have some law school alumni here and became a successful lawyer in New Haven, practiced his whole life. | 我们有一些法学院的校友 并成为一名成功的律师 在纽黑文, 练习他的整个生活。 |
| 50 | And I was very lucky too. | 我也很幸运 |
| 51 | I went to all the Yale football games and I had Yale clothes. | 我参加了所有耶鲁足球比赛,我穿了耶鲁的衣服。 |
| 52 | You can see pictures of me as a baby with Yale clothes on. | 你可以看见我像婴儿一样 穿着耶鲁的衣服 |
| 53 | He said, you can go anywhere you want, Richie, but don't go to Harvard. | 他说,你可以去任何地方 你想,里奇,但不要去哈佛。 |
| 54 | And I got into Yale, went to Yale and I was going to go to law school and practice in New Haven. | 我进入了耶鲁大学,进入了耶鲁大学, 我打算去纽黑文的法学院和实习。 |
| 55 | And my senior year at Yale, I took a class called Introduction to Playwriting. | 我在耶鲁大学高年级的时候, 我上了一个名为《游戏写作介绍》的课。 |
| 56 | And Yale has a very strong drama school and playwriting program and it changed my life. | 耶鲁有一个很强的戏剧学校和剧本节目 它改变了我的生活。 |
| 57 | And it was the first time that I could stay up all night working just because I loved something so much. | 这是第一次,我可以熬夜工作 只是因为我爱的东西这么多。 |
| 58 | And I loved writing plays and movies and books and writing. | 我喜欢写剧本 电影 书籍 写作 |
| 59 | We have a young writer here who obviously loved writing. | 我们这里有一位年轻作家 显然喜欢写作 |
| 60 | It was very hard. | 这很困难。 |
| 61 | I turned to my parents and I said I don't want to go to law school. | 我转过身去跟父母说我不想上法学院 |
| 62 | I had taken my boards and this was last minute. | 我拿了我的板,这是最后一分钟。 |
| 63 | I lived at home for a year because I was too late to apply to film school. | 我在家里住了一年 因为我来不及申请电影学校 |
| 64 | So I lived at home and my mom cried a lot. | 所以我住在家里 我妈妈哭了很多。 |
| 65 | She thought I was wasting my life. | 她以为我在浪费生命 |
| 66 | And I got into UCLA and USC film schools probably because I was a Yale student and I was a history major. | 我进入加州大学洛杉矶分校和加州大学电影学院 可能是因为我是耶鲁大学的学生 也是历史专业的 |
| 67 | And the Yale history program is amazing. | 而耶鲁历史计划是惊人的. |
| 68 | So I tell people to study the liberal arts and then in grad school pursue your passion. | 所以我告诉人们学习自由艺术 然后在研究生院追求你的热情 |
| 69 | So I went to Hollywood, spent 30 years in Hollywood, a long time. | 所以我去了好莱坞, 在好莱坞度过了30年,很长一段时间。 |
| 70 | I'm only 27, so alright. | 我只有27岁,所以没关系。 |
| 71 | And ended up writing plays and movies and books and taught at USC and UCLA and many film schools. | 并最终在USC和加州大学洛杉矶分校以及许多电影学校执教写戏剧,电影和书籍. |
| 72 | So I've had an amazing journey and a lot of it is because of Yale. | 所以我经历了一段令人惊奇的旅程,其中很多都是因为耶鲁. |
| 73 | So I'm very grateful to what Yale has allowed me to do. | 因此我非常感谢耶鲁允许我做的事. |
| 74 | And so I wanted to share the wisdom and knowledge and that which I've learned. | 所以我想分享我学到的智慧和知识。 |
| 75 | So very exciting for me to spend so many years being a student at Yale listening and now for the first time. | 我花了这么多年时间在耶鲁大学听书 现在第一次 |
| 76 | Because I have not lectured in New Haven. | 因为我没有在纽黑文讲课。 |
| 77 | I'm going to the 40th reunion in a few weeks and my mother is still in New Haven. | 几周后我要参加第40届重聚 我妈妈还在纽黑文 |
| 78 | But this is the first time I'm doing a Yale lecture and I'm grateful to you. | 但这是我第一次做耶鲁语讲座,我很感激你. |
| 79 | So thank you. | 谢谢 |
| 80 | So I'm going to go fast. | 所以我会去快。 |
| 81 | I'm going to show videos. | 我要展示视频。 |
| 82 | It's going to be fun and sexy and full of life. | 将欲得乐而性感而充满众生. |
| 83 | But we're living in an amazing moment. | 但我们生活在一个惊人的时刻。 |
| 84 | AI has the ability now to do things that are incredible. | AI现在有能力做一些不可思议的事情. |
| 85 | All my friends in Hollywood who are actors are out of work. | 我在好莱坞的所有演员朋友都失业了 |
| 86 | It's bad. | 恶之. |
| 87 | The good news is for those of you who love writing, AI is not a good writer. | 好消息是你们这些热爱写作的人,AI不是好作家. |
| 88 | AI is very good at acting. | AI擅长演技. |
| 89 | Not good at acting, but good at creating beautiful actors who can articulate your words well. | 不擅长演戏,但擅长创造能很好地表达自己言论的美丽演员. |
| 90 | But AI is not great at telling interesting, wonderful, surprising, beautiful stories. | 但AI并不擅长讲述有趣,奇妙,令人惊讶,美丽的故事. |
| 91 | And that's where I come in and that's where you come in. | 那就是我进来的地方,这就是你进来的地方。 |
| 92 | And this is all I'm really going to talk about today, that you still have an opportunity | 这就是我今天真正要谈的 你仍然有机会 |
| 93 | and you still have a chance to tell wonderful stories and use AI as a tool to do that. | 你仍然有机会说出精彩的故事 用人工智能来做这件事 |
| 94 | It's another tool. | 这是另一个工具。 |
| 95 | We used to have typewriters and we got laptops and now we have AI. | 我们以前有打字机 还有笔记本电脑 现在有AI |
| 96 | And so I began with this and I found out I did research on this ancient Chinese curse. | 于是我从这个开始,发现我对这个中国古老的诅咒做了研究。 |
| 97 | Those of you who are Americans probably have heard this expression. | 你们中那些美国人 可能听过这种说法 |
| 98 | May you live in interesting times. | 愿你活在有趣的时代. |
| 99 | I've talked to Chinese people and they said that's not a real Chinese curse. | 我和中国人谈过了 他们说这不是真正的中国诅咒 |
| 100 | But it's a great saying no matter what. | 但是无论怎样,这都是个伟大的说法. |
| 101 | We live in interesting times and it's because of what I'm calling a 90-degree revolution. | 我们生活在有趣的时代 是因为我所说的90度革命 |
| 102 | Literally the screen is being turned sideways and that's changing everything. | 从字面上看,屏幕正在转向侧面 这正在改变一切。 |
| 103 | And that's what we're going to talk about today. | 而今所要论. |
| 104 | So what are people watching? | 那人们在看什么? |
| 105 | Where are their eyes? | 他们的眼睛呢? |
| 106 | They're watching. | 他们在看 |
| 107 | I was on the subway today. | 我今天在地铁 |
| 108 | Everybody on the subway is watching vertical entertainment. | 地铁上的人都在看纵向娱乐. |
| 109 | So it's extraordinary. | 所以这是非凡的。 |
| 110 | It's just truly extraordinary to think about what's happening. | 想想现在发生的事情 实在太不寻常了 |
| 111 | It took Hollywood 100 years to reach $6 billion a year in sales. | 好莱坞百年销量达到每年60亿美元. |
| 112 | China does everything faster. | 中国做的一切更快。 |
| 113 | China did it in five years with vertical entertainment. | 中国五年来以垂直娱乐方式完成. |
| 114 | So this is happening right now. | 因此,这正在发生。 |
| 115 | The problem is a lot of vertical entertainment ain't very good. | 问题在于很多垂直的娱乐不太妙 |
| 116 | That's where you fit in. | 这就是你适合的地方。 |
| 117 | A lot of the writing on these stories can be better. | 许多关于这些故事的写作可以更好. |
| 118 | And I want to talk about storytelling and writing today. | 我想谈谈今天的故事和写作。 |
| 119 | And that's where we fit in. | 这就是我们适合的地方。 |
| 120 | So if you look at this, and there you might notice the homage to Yale architecture right there. | 所以,如果你看看这个, 你可能会注意到对耶鲁建筑的致敬。 |
| 121 | AI is a tool, but it's a problematic tool. | AI是一个工具,但它是一个问题的工具. |
| 122 | You have to control AI. | 你必须控制AI。 |
| 123 | AI is what we call a cliché combiner. | 人工智能就是我们所说的陈词滥调 |
| 124 | Humans provide the soul. | 人类提供灵魂 |
| 125 | And this is really key. | 这才是关键 |
| 126 | I'm going to leave my podium now. | 我现在要离开讲台了 |
| 127 | I was in a very nice, beautiful mall today in Beijing. | 我今天在北京一个非常漂亮漂亮的商场 |
| 128 | I was playing, and I was listening to a player piano. | 我在弹琴,听钢琴演奏 |
| 129 | A player piano was a piano that had no human being playing. | 玩家钢琴是没有人类演奏的钢琴. |
| 130 | And it wasn't good. | 和它的不好。 |
| 131 | And I started thinking that as a wonderful metaphor for AI. | 我开始认为这是AI的一个美妙的比喻。 |
| 132 | Player piano, what is missing? | 弹钢琴,少了什么? |
| 133 | And so I want to talk about that, that soul, that thing that makes great art. | 所以我想谈谈那个,那个灵魂, 那个创造伟大艺术的东西。 |
| 134 | I want to think about that. | 我想考虑一下 |
| 135 | Why is there an emptiness with AI? | 为什么和AI有空虚? |
| 136 | So I want to go here. | 所以我想来这里。 |
| 137 | And this is my favorite quote. | 这是我最喜欢的引文。 |
| 138 | And if you want to tattoo, I think you should tattoo this onto your body because it's cool. | 如果你想纹身,我觉得你应该把它纹在你身上 因为这是很酷的。 |
| 139 | And you think about it. | 汝亦当思惟. |
| 140 | Whether your letters are these Western letters or Chinese letters, letters are symbols for sounds. | 无论你的字母是这些西方字母还是中国字母,字母都是声音的符号. |
| 141 | We had to codify letters so that we could have a system of sounds that we put together into words. | 我们必须编纂字母,这样我们就可以有一个声音系统,我们把这个系统拼凑成文字. |
| 142 | And words become metaphor in English. | 而词成为英语中的比喻. |
| 143 | That's what this is. | 这就是它是什么。 |
| 144 | Now let's see. | 现在让我们看看。 |
| 145 | Anybody know about great art? | 有人知道伟大的艺术吗? |
| 146 | This is a famous painting of a pipe in French. | 这是一幅著名的法语烟斗画. |
| 147 | Come on, it's got to be a French art lover. | 来吧,它必须是法国的艺术爱好者。 |
| 148 | Yell it out. | 大声喊出来。 |
| 149 | Anybody? | 有人吗? |
| 150 | Who painted a pipe and then in French wrote underneath the pipe, this is not a pipe? | 谁画的烟斗 然后用法语写在烟斗下面, 这不是烟斗? |
| 151 | Now what does that mean? | 这是什么意思? |
| 152 | So why did he, I'm going to put you on the spot here, but this is not, why would he paint a pipe? | 所以为什么他,我要把你放在这, 但这不是,他为什么要画烟斗? |
| 153 | It's a pipe, right? | 是管子,对吧? |
| 154 | He painted a pipe and then underneath on the painting he wrote, this is not a pipe. | 他画了一根烟斗 然后在他的画下面 这不是烟斗 |
| 155 | What is? | 这是什么? |
| 156 | Because it is what you perceive it. | 因为这是你所感知的 |
| 157 | 画 It. | |
| 158 | It's not a pipe. | 这不是烟斗。 |
| 159 | So this is a picture of a pipe that I just drew. | 这是一张我刚刚画的烟斗的照片。 |
| 160 | It's not very good, but okay. | 这不是很好,但没关系。 |
| 161 | So it's an image. | 故为影像. |
| 162 | It's a symbol. | 这是一个符号。 |
| 163 | It's art, okay? | 这是艺术,好吗? |
| 164 | And so I want you to think about, you're bombarded on a daily basis with images, with symbols, | 所以我要你想想, 你每天被轰炸 图像,符号, |
| 165 | and then what is art? | 然后什么是艺术? |
| 166 | Why is art important? | 为什么艺术很重要? |
| 167 | We don't really talk about art. | 我们不谈艺术 |
| 168 | We don't think about art. | 我们不考虑艺术。 |
| 169 | All I want to do tonight is talk about the nature of art, the meaning of art, why we need art. | 今晚我只想谈谈艺术的性质,艺术的意义,为什么我们需要艺术. |
| 170 | Start with this. | 从这个开始。 |
| 171 | What would our world be like if there was no art? | 如果没有艺术,我们的世界会是什么样子? |
| 172 | Think of how ugly our world would be. | 想想我们的世界会有多丑陋 |
| 173 | Think of how boring our world would be. | 想想我们的世界会有多无聊 |
| 174 | We need art. | 我们需要艺术。 |
| 175 | And so the third sentence is good art. | 故第三句为善艺术. |
| 176 | I probably said good art. | 我可能说好艺术。 |
| 177 | Good art is truth. | 好艺术就是真理. |
| 178 | We get to the truth. | 我们得到真相。 |
| 179 | I have, oh I left it in my bag. | 我有,哦,我把它留在我的包里。 |
| 180 | I have a bar of soap I bring to all my lectures. | 我带了一块肥皂来参加我的讲座 |
| 181 | And on the bar of soap it says this. | 在肥皂的栏杆上写着这个 |
| 182 | It literally says this. | 它字面上说这个。 |
| 183 | On the bar of soap it says these two words, luxury soap. | 在肥皂的栏杆上,上面写着这两个词,豪华肥皂. |
| 184 | And we were talking about branding and storytelling. | 我们在谈论品牌和讲故事。 |
| 185 | What is wrong with writing the word luxury soap on a bar of soap? | 把奢侈肥皂写在一块肥皂上有什么错? |
| 186 | If you understand that, you're halfway, 90% there to understanding art. | 如果你明白这一点, 你一半,90%在那里 理解艺术。 |
| 187 | Good art, this is bad art. | 好艺术,这是不好的艺术。 |
| 188 | You can't label soap luxury. | 你不能标注肥皂奢侈品。 |
| 189 | There's a class I'm teaching. | 有课我教. |
| 190 | One of the students in the class, I don't know if they're here tonight, | 班上的一个学生 我不知道他们今晚会不会来 |
| 191 | wrote a beautiful story about Christian Dior. | 写了一个关于克里斯蒂安·迪奥的美丽故事. |
| 192 | Christian Dior would never write the word luxury soap on his soap. | 克里斯蒂安·迪奥永远不会在他的肥皂上写上奢侈肥皂这个词. |
| 193 | He would maybe write the word Dior, | 他可能会写"迪奥"这个词, |
| 194 | or maybe put the image of a beautiful bird, | 或者把美丽的鸟的形象, |
| 195 | j'adore, right, an emotional j'adore. | 对,是情感上的 |
| 196 | That's emotion. | 这就是情感 |
| 197 | That has nothing to do. | 这没什么可做的。 |
| 198 | This is a statement, and the moment you call this soap luxury, | 这是一个声明, 当你称之为肥皂奢侈品的时候, |
| 199 | I say no it's not. | 我说不是 |
| 200 | It can't be luxury soap if you write the word luxury on the soap. | 如果你在肥皂上写上奢侈这个词,那就不算奢侈肥皂了. |
| 201 | So that's this understanding we have. | 这就是我们的理解。 |
| 202 | Art is about conveying more than words. | 艺术的传播不仅仅是文字。 |
| 203 | Art is emotion. | 艺术就是情感 |
| 204 | My favorite definition, the two favorite definitions of art, | 我最喜欢的定义, 两个最喜欢的定义 艺术, |
| 205 | art number one is an attempt to express the inexpressible. | 第一艺术是试图表达无法表达的 |
| 206 | Number two, art is the triumph of chaos. | 第二,艺术是混乱的胜利。 |
| 207 | No, I screwed that up. | 不,我搞砸了这一点。 |
| 208 | The triumph of order over chaos. | 秩序战胜混乱 |
| 209 | Art looks at the chaos of the world and selects. | 艺术看世界的混乱,选择. |
| 210 | Art is selectivity, and you select that which speaks to you, | 艺术是选择性的,你选择对你说, |
| 211 | and you make it your own, and then you make a message. | 然后给你发个信息 |
| 212 | We're going to talk about messaging via art. | 我们要通过艺术来谈信息 |
| 213 | Where's Ada? | 艾达呢? |
| 214 | Is Ada here? | 艾达在吗? |
| 215 | The name of the artist we saw today, the beautiful... | 我们今天看到的艺术家的名字 美丽的... |
| 216 | Okay, one of the great Chinese artists, | 好吧,伟大的中国艺术家之一, |
| 217 | and just had beautiful... | 刚刚有美丽的... |
| 218 | He took words and made art out of them. | 他把文字和艺术用它们。 |
| 219 | He took letters, symbols, and made you see. | 他拿了信,符号,让你看到了。 |
| 220 | So you see these things every day, but he changed them. | 所以你每天都看到这些东西 但他改变了它们 |
| 221 | He painted them freehand. | 他画的都是免费的 |
| 222 | There was no AI in his art. | 他的艺术中没有AI. |
| 223 | It was all about human expression, human expression via selection. | 这都是关于人类的表达, 通过选择的人类表达。 |
| 224 | He chose to pick certain animals that he painted, | 他选择挑选他画的一些动物, |
| 225 | certain words that he put on. | 他所说的话 |
| 226 | This is not a pipe. | 这不是烟斗。 |
| 227 | This is not luxury, so this is art, | 这不是奢侈品,所以这是艺术, |
| 228 | and that's what we're going to talk about today. | 这就是我们今天要谈的 |
| 229 | So what do we have here? | 我们这里有什么? |
| 230 | We have here the paradox of perfection with AI. | 我们在这里有 完美的悖论与AI。 |
| 231 | You could have 8K video, but 0K emotion. | 你可以有8K视频,但0K情感。 |
| 232 | So let's write that down. | 因此,让我们写下来。 |
| 233 | Art has to have an emotional quality. | 艺术必须具有情感品质. |
| 234 | Without emotion, I want to feel something when I see... | 没有感情,我想感觉到一些东西 当我看到... |
| 235 | So what's great art? | 伟大的艺术是什么? |
| 236 | Now, we could spend the whole time arguing what great art is, | 现在,我们可以花整个时间争论 什么是伟大的艺术, |
| 237 | and a great work of art might make you feel something and might not, | 和伟大的艺术作品 可能让你感觉的东西 可能没有, |
| 238 | but I think most great art creates a feeling among most people, | 但我认为最伟大的艺术 在大多数人中创造了一种感觉, |
| 239 | and maybe that feeling is joy or laughter or sadness, | 也许那种感觉就是快乐 欢笑 悲伤 |
| 240 | but there's an emotional quality to it. | 但它的情感品质。 |
| 241 | Efficiency without emotion is invisible, | 没有情感的效率是无形的, |
| 242 | and connection is the ultimate currency. | 连接是终极货币 |
| 243 | So I want you to think about art as a form of connection. | 所以我希望你把艺术当作一种联系形式。 |
| 244 | How do we speak to other people? | 我们怎么跟别人说话? |
| 245 | I grew up in New Haven, Connecticut. | 我在康涅狄格州纽黑文长大 |
| 246 | Very different culture, very different place. | 非常不同的文化,非常不同的地方。 |
| 247 | I'm here now in Beijing. | 我现在在北京 |
| 248 | Very different culture, very different place, | 文化差异很大,地点也非常不同 |
| 249 | but I would argue through art we can find our connection | 但我会通过艺术辩论 我们可以找到我们的联系 |
| 250 | to what all people, human beings, are connected. | 与所有的人,人, 都联系在一起。 |
| 251 | And AI has a certain flatness to it. | 而AI对此也有一定的平坦性. |
| 252 | Symptomatic of AI, one of the worst things is generic dialogue. | AI的症状,最糟糕的一件事是泛泛的对话. |
| 253 | So we want to think about, in storytelling, how important dialogue is. | 所以我们想在讲故事时 想想对话有多重要 |
| 254 | You can't just convey information. | 你不能只是传递信息。 |
| 255 | You need to convey transformation. | 你需要传达转变 |
| 256 | These are a lot of concepts. | 这些都是很多概念。 |
| 257 | I'm going to throw at you quickly, but I'll give you examples of them. | 我会很快地向你扔, 但我会给你们举个例子. |
| 258 | And you have to differentiate yourself through your storytelling, | 你必须通过讲故事来区分自己 |
| 259 | through your art. | 通过你的艺术。 |
| 260 | You have to be different. | 须是异相. |
| 261 | So let's go look at an example. | 让我们来看看一个例子。 |
| 262 | If you look, this is AI storytelling. | 如果你看,这是AI的故事。 |
| 263 | I heaved a heavy sigh. | 我大声叹息 |
| 264 | This was definitely going to be a mess. | 这绝对是一团糟。 |
| 265 | Well, what's the harm in trying again? | 那么,有什么危害 再次尝试? |
| 266 | Mom, mom, help, save me, please. | 妈妈,妈妈,救命,求你了 |
| 267 | The neighbors next door heard you shouting. | 隔壁的邻居听到你叫喊 |
| 268 | You've only been cleaning up for half an hour and something's gone wrong again. | 你只打扫了半个小时 又出事了 |
| 269 | This suitcase is such poor quality. | 这箱子太差劲了 |
| 270 | It broke as soon as I pulled it. | 我一拉出来就破了 |
| 271 | It's definitely not my fault. | 这绝对不是我的错。 |
| 272 | That was luxury soap. | 那是豪华肥皂。 |
| 273 | Understand now? | 明白吗? |
| 274 | She's telling us, never in a movie tell the audience what they've just seen. | 她告诉我们,从来没有在电影中告诉观众 他们刚刚看到的。 |
| 275 | Dialogue, voiceover, everything you do in a movie has to be beyond the visuals. | 对话 声音 电影中你所做的一切 必须超越视觉 |
| 276 | Movies are visual. | 电影是视觉的。 |
| 277 | Movies come out of a silent tradition where all the story was conveyed visually. | 电影出自一个沉默的传统,所有的故事都是通过视觉传播的. |
| 278 | So the dialogue must convey information beyond that which is conveyed visually. | 因此,对话必须传递超出视觉传播的信息。 |
| 279 | So what do we value? | 那么我们珍惜什么? |
| 280 | We value good dialogue. | 我们珍视良好对话。 |
| 281 | Think about this. | 考虑一下 |
| 282 | It's weak characters, poor dialogue. | 是人物软弱,对话不畅. |
| 283 | And the greatest thing here is suddenly she starts speaking with a British accent. | 这里最棒的是 她突然开始用英国口音说话 |
| 284 | I've got to wait a few days. | 得等数日. |
| 285 | I've got to do this. | 我必须这样做。 |
| 286 | It's great. | 赞曰. |
| 287 | Seriously? | 真的吗? |
| 288 | I shouldn't have let you pack alone. | 我不应该让你一个人收拾行李 |
| 289 | You're always so careless. | 你总是这么不小心。 |
| 290 | Can't even get a suitcase right. | 连行李箱都拿不好 |
| 291 | I shouldn't have let you pack alone. | 我不应该让你一个人收拾行李 |
| 292 | You're always so careful. | 你总是这么小心。 |
| 293 | She starts speaking with a British accent and then she switches back to an American accent. | 她开始用英国口音说话,然后又换回美国口音. |
| 294 | It's problematic. | 有问题 |
| 295 | Okay? | 好吗? |
| 296 | What I'm going to talk about today is character and story-based narratives. | 我今天要谈的是人物和故事叙事. |
| 297 | And that's what we as human beings, I think, all value. | 我认为,这就是我们人类的价值所在。 |
| 298 | And so what is this coming out of? | 那么这是从哪里来的? |
| 299 | So obviously we have a different aspect ratio which redefines the narrative scope. | 很明显,我们有一个不同的侧面比例 来重新定义叙述范围。 |
| 300 | I love this. | 我喜欢这个 |
| 301 | So this isn't... | 所以这不是... |
| 302 | I don't want to be pejorative. | 终不贬义. |
| 303 | I don't want to prioritize any form of storytelling over another. | 我不想把任何讲故事的形式 放在另一边 |
| 304 | But I can prioritize good art over not so good art. | 但我可以优先考虑好艺术 而不是那么好的艺术。 |
| 305 | I think these both... | 我想这两个... |
| 306 | You can see good examples of both of these. | 你可以看到这两个例子的好例子。 |
| 307 | They're just different. | 他们只是不同。 |
| 308 | Okay? | 好吗? |
| 309 | And I hope you understand the difference in... | 我希望你能理解... ... 的区别 |
| 310 | It's just a compression. | 这只是一个压缩。 |
| 311 | I think you look at the history of storytelling, | 你看看讲故事的历史 |
| 312 | you could argue it's a history of compression. | 你可以说这是压缩历史 |
| 313 | The original Shakespearean play was five acts long in about three and a half hours. | 最初的莎士比亚剧是在大约三个半小时内完成的五部剧集. |
| 314 | Okay? | 好吗? |
| 315 | A vertical now is what? | 现在垂直是什么? |
| 316 | Ninety seconds. | 90秒钟。 |
| 317 | Okay? | 好吗? |
| 318 | So that's compression. | 所以这是压缩。 |
| 319 | And you go from three and a half hour Shakespeare, five act, | 从莎士比亚的3个半小时开始 演了5场戏 |
| 320 | to 120 minute Hollywood film, | 120分钟好莱坞电影, |
| 321 | to a 30 minute TV film, | 到30分钟的电视电影, |
| 322 | to a 90 second vertical film. | 到90秒的垂直胶片。 |
| 323 | Is it better or worse? | 是好还是坏? |
| 324 | No, but it's different. | 不,但这是不同的。 |
| 325 | Do you need to have an understanding of the narrative to appreciate it? | 需要理解叙述才能欣赏吗? |
| 326 | Yes. | 对 |
| 327 | So we're going to look at that. | 所以,我们要看看。 |
| 328 | Look at the way we move story wise. | 看看我们如何把故事讲得明智点 |
| 329 | It's rising up. | 渐渐升起. |
| 330 | I hope you had a good English teacher or a good literature teacher. | 我希望你有好的英语老师或好的文学老师. |
| 331 | I should say because it doesn't have to be English. | 我应该说,因为它不必是英语。 |
| 332 | But in classic Chinese literature, classic English literature, | 但在经典中国文学,经典英国文学中, |
| 333 | you have a movement with a great story. | 你有一个运动 一个伟大的故事。 |
| 334 | Now you have Hook, Revelation, Clinox. | 现在你有胡克 启示录 克林诺克斯 |
| 335 | 胡克 启示录 Clinox. | |
| 336 | Bam, ba也. | |
| 337 | You got to grab them, you got to hold them, | 抓住他们,抓住他们 |
| 338 | and you got to get your subscription money. | 你得拿到你的订阅费 |
| 339 | Okay? | 好吗? |
| 340 | So that means you got to do some really good episodes, | 所以,这意味着你必须 做一些真正的好故事, |
| 341 | and then they're hooked, | 然后他们上钩了, |
| 342 | and then they give you subscription money, | 然后他们给你订阅钱, |
| 343 | and then you keep telling the story. | 然后你继续讲故事。 |
| 344 | Now this comes out of a tradition called the cliffhanger tradition in Hollywood. | 这出自好莱坞的悬崖式传统 |
| 345 | Hollywood storytelling in the 30s always had serials, | 好莱坞的故事讲 在30年代总是有系列, |
| 346 | and serials were very much like verticals. | 连载非常像垂直。 |
| 347 | They're stories that you would watch every week, | 这些故事你每周都会看 |
| 348 | and they ended literally, so that term cliffhanger, | 然后他们从字面上结束了, 所以这个术语悬崖, |
| 349 | you'd have a character you like hanging from a cliff, | 你会有一个你喜欢挂在悬崖上的角色, |
| 350 | and then you'd cut, | 然后,你会切, |
| 351 | and then you'd have to come back next week to see if they died or not. | 然后,你不得不回来 下周看他们是否死了。 |
| 352 | That's the cliffhanger tradition that the vertical producers have picked up on. | 这就是纵向生产商所继承的悬崖式传统。 |
| 353 | I've got to connect the audience to my character, | 我得把观众和我的性格联系起来 |
| 354 | I have to put my character in jeopardy, | 我得把我的角色置于危险之中 |
| 355 | and then I have to bring them up to a position of tension, | 然后,我不得不把他们带到一个紧张的状态, |
| 356 | and then I cut, and you have to pay to see what happens. | 然后我剪了,你必须付钱看看会发生什么。 |
| 357 | So it's a monetization of narratives. | 故为叙事之货币化. |
| 358 | So now we look at the next thing here. | 现在我们来看看接下来的事。 |
| 359 | It's just another way to say what I've just said. | 只是另一种说法而已 |
| 360 | Instead of large deep structural steps, | 而不是巨大的深层结构步骤, |
| 361 | you have 50 sharp identical microbears. | 你有50个尖端相同的微型熊。 |
| 362 | Better or worse? | 还是更糟? |
| 363 | No, different. | 不,不一样。 |
| 364 | And this is the future. | 这就是未来 |
| 365 | People are not going to the movies anymore. | 人们不会再去看电影了 |
| 366 | People are going to their phones. | 人们去他们的手机。 |
| 367 | So if you understand the storytelling today, | 所以,如果你理解今天的故事, |
| 368 | it's going to help whatever story you want to tell. | 它会帮助任何你想讲的故事。 |
| 369 | And so you can think of this as closed loop versus open cliffhanger. | 所以,你可以把这看作是闭环 相对于开放式悬崖。 |
| 370 | And I have to say bravo to the Chinese vertical producers for capturing eyeballs. | 我不得不对中国的纵向生产商说 捕捉眼球。 |
| 371 | That's what you're trying to do. | 令诸众生得如是法. |
| 372 | You are trying to capture eyeballs. | 你试图捕捉眼球。 |
| 373 | You're trying to create audiences, | 你想创造观众 |
| 374 | and they've been masterful in getting young audiences. | 他们很擅长吸引年轻观众 |
| 375 | And Hollywood is in big, big trouble. | 好莱坞有大麻烦了 |
| 376 | Big, big trouble as a result. | 由此而生大烦恼. |
| 377 | So it's amazing to witness. | 故能证得不可思议. |
| 378 | And I think there's a hybrid opportunity. | 我认为这是一个混合的机会。 |
| 379 | If you understand Hollywood storytelling, | 如果你理解好莱坞的故事 |
| 380 | and you understand vertical storytelling, | 你明白垂直的故事, |
| 381 | you can really succeed in this industry. | 你可以在这个行业里真正成功。 |
| 382 | So I'll say you, you, you. | 所以我会说你,你,你。 |
| 383 | See, this is you. | 你看,这是你。 |
| 384 | Well, you're more like me with the gray hair. | 嗯,你更像我的灰色头发。 |
| 385 | But this is a director-conductor surrounded by robots | 但是,这是一个导演-导体 围绕机器人 |
| 386 | because that's the way I feel right now. | 因为这就是我现在的感觉。 |
| 387 | It's all being done by robots, but yet I can rise above. | 这一切都是由机器人完成的, 但我可以升起。 |
| 388 | Human vision determines AI output. | 人类视觉决定了AI输出. |
| 389 | We are no longer storytellers. | 我们不再是讲故事的人了。 |
| 390 | We are prompt engineers. | 我们是迅速的工程师。 |
| 391 | I don't know if that's good or bad, but that's who we are now. | 我不知道这是好事还是坏事 但这就是我们现在的样子 |
| 392 | The better that you are at engineering prompts, | 越好 在工程提示, |
| 393 | the better your story will be. | 你的故事会更好 |
| 394 | And the quality in is quality out. | 而质量是质量出。 |
| 395 | So I'm going to show you a video now. | 所以我现在要给你们看一段视频。 |
| 396 | You're going to say, this isn't a story, is it? | 你会说,这不是一个故事,是吗? |
| 397 | And I'm going to say, for today, | 我要说,今天, |
| 398 | we're going to go till 8.45, 8.50 straight through, | 我们到8.45,8.50 直接通过, |
| 399 | and we're just going to watch these videos, | 我们只看这些视频, |
| 400 | and then we'll take questions at the end. | 然后我们最后再提问 |
| 401 | I want you to put on your narrative glasses now. | 我要你戴上你的叙事眼镜 |
| 402 | I want you to think about structure. | 我要你考虑一下结构 |
| 403 | I want you to think about story as a construct. | 我要你把故事当作一个构思 |
| 404 | All stories are made up. | 所有的故事都是编造的. |
| 405 | They didn't just happen. | 他们不只是发生了。 |
| 406 | There's nothing organic about this, okay? | 没有什么有机的,好吗? |
| 407 | Watch this as a narrative and try to think about | 把这当成一个叙事 想想看 |
| 408 | what does he mean by why was it structured? | 他是什么意思 为什么是结构化的? |
| 409 | Why? | 为什么? |
| 410 | It's organic. | 这是有机的。 |
| 411 | She just walks on stage. | 她只是走在舞台上。 |
| 412 | She just walks on stage, and they start talking. | 她只是走在舞台上, 他们开始说话。 |
| 413 | Hi. | 顿 |
| 414 | What's your name, darling? | 你叫什么名字 亲爱的? |
| 415 | My name is Susan Boyle. | 我叫苏珊·博伊尔 |
| 416 | Okay. | 摆 |
| 417 | Susan, where are you from? | 苏珊,你来自哪里? |
| 418 | 我来自Blackburn, 在Bathgate附近,西洛蒂安。 | |
| 419 | That's a big town. | 这是一个大城市。 |
| 420 | It's a sort of collect... | 这是一种收集... |
| 421 | I do want you to know that this has over 100 million views. | 我确实想让你知道,这有超过一亿种观点。 |
| 422 | So they did something right here. | 所以他们就在这里做了一些事情。 |
| 423 | So I want you to study what did they do in this. | 所以我希望你研究一下他们在这件事上做了什么。 |
| 424 | You say it's not a story, | 你说这不是一个故事, |
| 425 | and I'm arguing it's completely a story. | 我觉得这完全是个故事 |
| 426 | There's a beginning and a middle and an end. | 有始有终. |
| 427 | There's a first act, the second act, the third act. | 有第一品,第二品,第三品. |
| 428 | There's a main character. | 有一个主角。 |
| 429 | There's a villain. | 有恶人. |
| 430 | There's conflict. | 有冲突. |
| 431 | There's tension. | 有张力. |
| 432 | There's everything you need to tell a good story | 有你需要的一切 说一个好故事 |
| 433 | planted in here. | 栽培在这里。 |
| 434 | And I'm going to be quiet and let you watch. | 我会安静的让你看 |
| 435 | It's a collection, Oliver. | 这是收藏 奥利弗 |
| 436 | Got me just... That's a bit clear. | 让我... 这有点清楚。 |
| 437 | And how old are you, Susan? | 你多大了,苏珊? |
| 438 | I am 47. | 我是47岁。 |
| 439 | And that's just one side of me. | 那只是我的一面。 |
| 440 | Okay. | 摆 |
| 441 | What's the dream? | 是什么梦? |
| 442 | I'm trying to be a professional singer. | 我试图成为一个专业的歌手。 |
| 443 | And why hasn't it worked out so far, Susan? | 为什么还没有成功呢,苏珊? |
| 444 | I've not been given the chance before, | 我之前没有机会 |
| 445 | but here's hoping it will change. | 但希望它能改变 |
| 446 | Okay. | 摆 |
| 447 | And who would you like to... | 你想请谁... |
| 448 | Did you see the girl whose eyes went up? | 你看到那个眼睛上升的女孩了吗? |
| 449 | This was in England on a Sunday. | 这是在英国的一个星期天。 |
| 450 | On Monday, that girl became the most hated girl in England. | 星期一,那个女孩成为英国最讨厌的女孩. |
| 451 | Okay. | 摆 |
| 452 | And so what's going on? | 所以这是怎么回事? |
| 453 | This is act one. | 这是第一幕。 |
| 454 | We're establishing characters. | 我们正在建立人物。 |
| 455 | Okay. | 摆 |
| 456 | I couldn't resist. | 我无法抗拒。 |
| 457 | I had to jump in. | 我不得不跳进去。 |
| 458 | I'm sorry. | 对不起 |
| 459 | I apologize. | 对不起 |
| 460 | We're establishing characters in act one. | 我们在第一幕中设定人物 |
| 461 | Is that the hero or the villain? | 那是英雄还是坏人? |
| 462 | That's the villain. | 这是坏人。 |
| 463 | He's the bad guy. | 他是个坏人 |
| 464 | Every story needs one, okay? | 每个故事都需要一个,好吗? |
| 465 | Our hero's on stage. | 我们的英雄上台了 |
| 466 | She's kind of the village weirdo | 她有点奇怪 |
| 467 | doing weird things. | 做一些奇怪的事情 做点奇怪的事情 |
| 468 | We're laughing at her. | 我们在嘲笑她 |
| 469 | Okay? | 好吗? |
| 470 | So this is constructed. | 所以这是构造的。 |
| 471 | They chose what outfit she's wearing. | 他们选择了她穿的是什么衣服。 |
| 472 | There's a lot of things they chose. | 他们选择了很多东西 |
| 473 | Meaning is determined. | 意义是确定的。 |
| 474 | This is how you tell a story visually. | 这就是你讲述一个视觉故事的方式。 |
| 475 | Meaning is determined through action and reaction. | 含义是通过行动和反应确定的。 |
| 476 | You punctuate meaning through picking specific shots. | 你通过选择特定镜头来暗示意义 |
| 477 | Visual storytelling is merely the juxtaposition | 视觉故事的讲述只是并列 |
| 478 | of one action next to another. | 一个动作的旁边。 |
| 479 | So she says a line of dialogue, | 所以她说了对话 |
| 480 | I'm going to be the biggest singing star in England. | 我要成为英国最大的歌星 |
| 481 | Elaine Page, top singing star in England. | 伊莲·佩吉,英国顶级歌星. |
| 482 | She says that. | 她说的 |
| 483 | What does that mean? | 这是什么意思? |
| 484 | I don't know. | 师曰. |
| 485 | And then you have a juxtaposition of a shot of a woman going, | 然后,你有一个并列 镜头一个女人去, |
| 486 | oh my God, she's an idiot. | 哦,我的上帝,她是一个白痴。 |
| 487 | She'll never be anything. | 她永远不会是任何东西。 |
| 488 | Look at her. | 看着她。 |
| 489 | 她太可怕了,她很讨厌 She's horrible. | |
| 490 | Okay? | 好吗? |
| 491 | That's two images juxtaposed together | 这是两个图像并列在一起 |
| 492 | to punctuate your meaning of what does this mean. | 来表达你的意义 |
| 493 | You don't have to know any of these people | 你不必认识这些人 |
| 494 | to understand everything. | 来理解一切 |
| 495 | So keep watching. | 所以继续看 |
| 496 | We're about to go into act two. | 接下来是第二幕 |
| 497 | To be as successful as? | 这么成功? |
| 498 | Elaine Page. | 伊莲·佩吉 |
| 499 | What are you going to sing for me? | 你要为我唱什么? |
| 500 | They're laughing at her. | 他们在笑她 |
| 501 | I drink the drink from the glass. | 我喝杯子上的饮料 |
| 502 | Okay. | 摆 |
| 503 | Thanks a lot. | 非常感谢 |
| 504 | Yep. | 对 |
| 505 | Act two. | 第二场 |
| 506 | I drink the drink from the glass. | 我喝杯子上的饮料 |
| 507 | Not to you. | 对你没有 |
| 508 | To you? | 对你? |
| 509 | No. | 没有 |
| 510 | I drink the drink from the glass. | 我喝杯子上的饮料 |
| 511 | He looks at you, what does he say? | 他看着你,他说什么? |
| 512 | You didn't expect that to happen, did you? | 你没料到会这样吧? |
| 513 | With the British accent, of course. | 当然有英国口音 |
| 514 | Okay? | 好吗? |
| 515 | You didn't expect that to happen, did you? | 你没料到会这样吧? |
| 516 | That's the key to storytelling. | 这是讲故事的关键 |
| 517 | Understanding audience expectation | 了解观众的期望 |
| 518 | and then giving them something else. | 然后给他们别的东西。 |
| 519 | The great director Alfred Hitchcock was asked | 伟大的导演阿尔弗雷德·希区柯克被问到 |
| 520 | what's the key to cinematic storytelling. | 什么是电影故事的关键。 |
| 521 | He said, I can tell you in three words, | 他说,我可以告诉你三个字, |
| 522 | never be boring. | 从不无聊。 |
| 523 | You have to be unpredictable. | 你必须不可预测。 |
| 524 | AI is predictable. | AI是可预测的。 |
| 525 | That's why AI is flat and boring. | 所以AI是扁平和无聊的. |
| 526 | Human beings, unpredictable. | 人,不可预知. |
| 527 | Unpredictable. | 不可预知. |
| 528 | I did not expect her to sound that good. | 我没想到她听起来那么好 |
| 529 | Unbelievable. | 不可思议. |
| 530 | And you see the way everyone's eyes light up. | 你可以看到每个人的眼神都闪亮 |
| 531 | So they're telling you, we didn't expect this. | 所以他们告诉你 我们没想到会这样 |
| 532 | The sun is long, no one to be seen | 太阳很长,没人看见 |
| 533 | But the time has come | 但时机已到 |
| 534 | With the voice of softest love | 用最柔软的爱的声音 |
| 535 | As you tear your hopes apart | 当你撕裂你的希望 |
| 536 | And can she do it? | 她能做到吗? |
| 537 | So they indicate, oh, is she going to make this moment? | 所以他们表示,哦,她会做出这个时刻吗? |
| 538 | And that's the key. | 这就是关键 |
| 539 | We go back to darkness. | 我们回到黑暗中 |
| 540 | She did it. | 暗 |
| 541 | It's been my dream | 这是我的梦想 |
| 542 | So this is the end of Emorat II. | 因此埃莫拉特二世的终结. |
| 543 | Great. | 不错 |
| 544 | We have to go to Act Three to decide who's still going forward in the contest. | 我们必须去第三幕 来决定谁还在比赛中前进 |
| 545 | Thank you very much, Susan Pearce. | 非常感谢 苏珊·皮尔斯 |
| 546 | Without a doubt, that was the biggest surprise I have had in three years. | 毫无疑问,这是我三年来最大的惊喜。 |
| 547 | When you stood there with that cheeky grin and said, I want to be like a lame page, everyone | 当你站在那笑着说 我想像一个无聊的页,每个人 |
| 548 | was laughing at you. | 笑着你 |
| 549 | No one is laughing now. | 现在没人笑了 |
| 550 | That was stunning. | 这真是太棒了。 |
| 551 | An incredible performance. | 令人难以置信的表演。 |
| 552 | Amazing. | 厉害 |
| 553 | I'm reeling from shock about you two. | 我从惊吓中想起你们两个。 |
| 554 | Okay, so I want you to listen to what she's about to say, because it's very important. | 好吧,所以我要你听 她要说什么,因为 这是非常重要的。 |
| 555 | When I talk about storytelling, I talk about change, character change, what we call in | 当我谈论讲故事,我谈论改变, 人物改变,我们叫什么 |
| 556 | Hollywood character arc. | 好莱坞人物弧. |
| 557 | That is the movement of the character from the beginning of the story to the end of the | 这就是角色从故事开始到结束 |
| 558 | story. | 故事的情节。 |
| 559 | And I'm going to argue that we watch stories. | 我要说我们看故事。 |
| 560 | We tell stories. | 我们讲故事。 |
| 561 | We think about stories because in real life, people don't change that much. | 我们思考故事,因为在现实生活中,人们不会改变那么多. |
| 562 | Your grandmother, well she wasn't very nice. | 你的祖母,她不怎么好。 |
| 563 | You know, she was very stingy. | 你知道,她很吝啬。 |
| 564 | She didn't spend money as a young woman, and as an old lady, she's still not spending money. | 她作为年轻女性并没有花钱,作为一位老太太,她仍然没有花钱. |
| 565 | That's who she is, and she's not going to change. | 这就是她是谁 她不会改变的 |
| 566 | But we as human beings want to believe in the potential for change. | 但我们人类希望相信变革的潜力。 |
| 567 | We want to believe that people can change and become better, okay? | 我们想相信,人们可以改变 和变得更好,好吗? |
| 568 | And listen to what she says right here. | 听她说的 |
| 569 | Because this is good storytelling, because both the character on stage and the audience change. | 因为这是很好的讲故事, 因为舞台上的角色和观众都变了。 |
| 570 | I am so thrilled because I know that everybody was against you. | 我太激动了 因为我知道每个人都反对你 |
| 571 | I honestly think that we were all being very cynical, and I think that's the biggest wake-up call ever. | 我真的觉得我们都非常愤世嫉俗 我认为这是有史以来最大的警钟 |
| 572 | And I just want to say that it was a complete privilege listening to that. | 我只想说,听到这个是完全荣幸的。 |
| 573 | It was incredibly cool. | 这是令人难以置信的酷。 |
| 574 | I knew the minute you pulled out... | 我知道你退出的那一刻... |
| 575 | I'm all silent! | 我无声无息! |
| 576 | Okay, so I'm going to stop this and talk a little bit more. | 好吧,所以我要停止这个 并多说一点。 |
| 577 | Simon, she said it was a privilege because we were all laughing at you, and now nobody is laughing. | 西蒙,她说这是一个特权 因为我们都在笑你, 现在没有人在笑。 |
| 578 | Why were they laughing at it? | 他们为什么要笑? |
| 579 | This is a very high-budget show, okay? | 这是一个非常高预算的节目,好吗? |
| 580 | Let's look at the screen. | 让我们看看屏幕。 |
| 581 | I don't know how many of you have worked in television here or anywhere. | 我不知道你们有多少人在电视上工作过 |
| 582 | When you do a television show, do you have someone in charge of hair and makeup? | 做电视剧的时候,有没有一个人负责头发和化妆? |
| 583 | Yes, you do. | 没错 |
| 584 | What did they... | 他们... |
| 585 | The producers run everything. | 制作人经营一切. |
| 586 | So the storytellers are the producers. | 所以说故事的人就是制作人 |
| 587 | They're constructing the story. | 他们在编故事 |
| 588 | The storytellers, the producers say, don't put any... | 讲故事的人,制片人说,不要放任何... |
| 589 | I don't know if you saw, they slap her number on her flesh. | 我不知道你有没有看到, 他们拍她的电话号码在她的肉。 |
| 590 | It's bizarre. | 这是奇怪的。 |
| 591 | They put her number, like, right up on her neck. | 他们把她的号码放在脖子上 |
| 592 | They don't fix her here. | 他们不能在这里救她 |
| 593 | They don't put any makeup on her. | 他们没给她化妆 |
| 594 | And they tell her to wear the... | 他们叫她穿... |
| 595 | That color is wrong! | 那颜色不对! |
| 596 | That's the worst color in the world for her to wear. | 这是世界上最糟糕的颜色 她穿。 |
| 597 | And I don't know that much about wardrobe, but I can tell. | 我不太了解衣橱 但我看得出来 |
| 598 | That's ugly hair. | 这是丑陋的头发。 |
| 599 | And let me tell you, she went to the finals. | 我告诉你 她参加了决赛 |
| 600 | And in the finals, okay, she had a beautiful black outfit on. | 在决赛中 她穿着漂亮的黑色衣服 |
| 601 | Do you remember the video? | 你还记得那个视频吗? |
| 602 | Her hair was perfectly done. | 她的头发整齐了 |
| 603 | There's like a million views in the finals. | 总决赛有如百万观. |
| 604 | Nobody watches it because there's no change. | 没人看,因为没有变化。 |
| 605 | There's no surprise. | 无惊无怪. |
| 606 | There's no unpredictability. | 亦无不测. |
| 607 | By the finals, we know she's got a great voice. | 决赛前 我们知道她的声音很好 |
| 608 | She's an unbelievable singer. | 她是一个不可思议的歌手。 |
| 609 | I don't care. | 我无所谓 |
| 610 | I guess I'll see if she wins. | 我想看看她是否赢了 |
| 611 | She does win, but it's kind of a foregone conclusion. | 她确实赢了,但这是一种 一种前所未有的结论。 |
| 612 | But here, we don't know. | 但在这里,我们不知道。 |
| 613 | And look at what they did. | 看看他们做了什么。 |
| 614 | But go back to what she said. | 回到她说的话 |
| 615 | It was a privilege because in watching you, human beings, | 这是一种特权 因为看着你,人类, |
| 616 | for hundreds of thousands of years, we have survived. | 我们活了几十万年 |
| 617 | Everything in storytelling is about a deep understanding of human nature. | 讲故事的一切 都是为了深刻了解人性 |
| 618 | We survived because I came out of my... | 我们活下来了 因为我从我的... |
| 619 | At the art exhibit today, there were lots of cave paintings. | 在今天的艺术展上,有许多洞穴画. |
| 620 | So let's go back to the time with cave people. | 故复与洞山人. |
| 621 | You live in a cave. | 你住在一个洞穴里。 |
| 622 | You come out. | 你出来 |
| 623 | You see another human being coming at you. | 你看到另一个人朝你走来 |
| 624 | What do you need to be able to do very quickly? | 你需要做什么 能够迅速做? |
| 625 | You need to judge, is this a threat to me? | 你需要判断,这是威胁我吗? |
| 626 | Where does the hand shake? | 手在甚么处摇. |
| 627 | Shake my hand. | 握着我的手 |
| 628 | Do you know where this comes from? | 你知道这是从哪里来的吗? |
| 629 | Oh, it comes from a good person. | 哦,它来自一个好人。 |
| 630 | Right. | 对 |
| 631 | I am showing you I'm not going to kill you. | 我要告诉你我不会杀了你的 |
| 632 | My hand is empty. | 手空无边. |
| 633 | And so I'm not a threat. | 所以我不是一个威胁。 |
| 634 | I have to be able to look at you and judge you instantly to survive. | 我必须能够看着你 立刻判断你 才能活下来 |
| 635 | And so we judge everyone all day. | 所以,我们判断每个人一整天。 |
| 636 | We're walking down the street judging, is this person going to be a good person? | 我们正走在大街上 判断,这个人会是一个好人吗? |
| 637 | Are they going to hurt me? | 他们会伤害我吗? |
| 638 | Are they going to do anything? | 他们要做什么? |
| 639 | And we judge people. | 我们判断别人 |
| 640 | And that's human nature. | 这就是人性 |
| 641 | But the thing is you can't judge people. | 但问题是你不能评判别人 |
| 642 | And that's exactly what the artist said in the museum. | 这正是艺术家在博物馆里说的。 |
| 643 | They should go to this museum. | 他们应该去博物馆 |
| 644 | It's amazing. | 不可思议. |
| 645 | In the park. | 在公园里 |
| 646 | What's it called? | 叫什么来着? |
| 647 | Yeah. | 对 |
| 648 | And so he said he's creating artwork to get us to look at each other a little bit more deeply | 所以他说他创作的艺术品 是为了让我们更深入地看待对方 |
| 649 | and not judge each other by surface elements. | 而不是用表面元素来判断对方 |
| 650 | He's going deeper. | 他越来越深了 |
| 651 | That's what art does. | 艺术就是这样 |
| 652 | It goes deeper. | 更深处 |
| 653 | And so what is the definition here of storytelling that I want to deal with? | 那么我想处理的故事的定义是什么? |
| 654 | I'm going to get through it in one second. | 我马上就能熬过去 |
| 655 | But I want to start with a little exercise. | 但我想从练习开始 |
| 656 | So I want everyone to, okay, no, this is what we do in acting class. | 所以我希望大家,好吧,不, 这是我们在表演课上做的。 |
| 657 | We remove our hands. | 我们把手拿开 |
| 658 | So put your hands up. | 举起手来 |
| 659 | Okay. | 摆 |
| 660 | And now I want you to point at yourself. | 现在我要你指点自己 |
| 661 | Okay. | 摆 |
| 662 | And I want you to freeze. | 我要你冻结。 |
| 663 | And I want you to look around. | 我要你四处看看 |
| 664 | Everyone look around. | 诸人周视. |
| 665 | And I want you to see how many people are pointed at their head. | 我要你看看有多少人被指着头。 |
| 666 | How many people are pointed here at their neck? | 这里有多少人被指着脖子? |
| 667 | How many people are pointed in their heart? | 心中指着多少人? |
| 668 | How many people are pointed here? | 这里有多少人? |
| 669 | I'm going to argue. | 我要跟你争论 |
| 670 | That's engine. | 这是引擎。 |
| 671 | You're down at the heart. | 你压在心底 |
| 672 | We got a heart man over here. | 我们这里有个心脏男 |
| 673 | Human beings tend, what's Yale? | 人类会照顾耶鲁吗? |
| 674 | What's Yale? | 耶鲁是什么? |
| 675 | Yale's intellectual. | 耶律大智论. |
| 676 | Here, here, here. | 这里,这里,这里。 |
| 677 | Writers. | 作家们 |
| 678 | What do we do? | 我们该怎么办? |
| 679 | We think all day. | 我们想一整天。 |
| 680 | Drive everyone crazy. | 逼人发疯 |
| 681 | No one will go to the movies with me. | 没人会和我一起去看电影 |
| 682 | Because I analyze every moment of every movie all the time. | 因为我分析每部电影的每一个瞬间 |
| 683 | We live here. | 我们住在这里。 |
| 684 | Storytelling needs to touch us here. | 讲故事需要在这里触摸我们。 |
| 685 | So good stories take us out of our head and into our heart. | 所以好的故事让我们 走出我们的头 进入我们的心脏。 |
| 686 | And the most important thing to think about is this quote, | 而最重要的事情是 这个引文, |
| 687 | the bait must taste good to the fish, not the fisherman. | 鱼饵必须味道好 而不是渔夫 |
| 688 | If you're in marketing, if you're in storytelling, | 如果你在营销, 如果你在讲故事, |
| 689 | if you're in any form of communication, | 如果你在任何形式的交流, |
| 690 | you have to understand your audience. | 你必须理解你的观众。 |
| 691 | I made a lot of my living working with lawyers. | 我为律师做了很多工作 |
| 692 | And we got a lawyer in the room. | 房间里有个律师 |
| 693 | I had these great Yale Law School lawyers. | 我有这些伟大的耶鲁法学院律师。 |
| 694 | They were so good at talking to judges and other lawyers. | 他们擅长与法官和其他律师交谈。 |
| 695 | But they needed me to talk to juries. | 但他们需要我和陪审团谈谈 |
| 696 | Because in America, it doesn't matter what the judge thinks. | 因为在美国,法官怎么想不重要 |
| 697 | If you can't get the people on the jury to agree with you, | 如果你不能让陪审团的人同意你的意见 |
| 698 | and they talk down to the jury, | 他们和陪审团谈话, |
| 699 | you can't talk down to someone and have them like you. | 你不能低调地和别人说话 并拥有他们喜欢你。 |
| 700 | Good storytelling lifts people up. | 讲好故事能把人抬起来 |
| 701 | It doesn't push them down. | 它不会把他们推下去。 |
| 702 | So this is the basis for all the work I do. | 所以这是我所有工作的基础。 |
| 703 | The bait must taste good to the fish, not the fisherman. | 饵必鱼味,非渔夫也. |
| 704 | Stories need to entertain, teach, connect, engage, | 故事需要娱乐,教学,连接,参与, |
| 705 | feel genuine, and be authentic. | 感觉真实,真实。 |
| 706 | So this is heart-based communication. | 所以这是基于心脏的交流。 |
| 707 | And we spend too much of our lives giving data and PowerPoints. | 我们花太多时间 提供数据和PowerPoints。 |
| 708 | 我要用PowerPoint幻灯片 | |
| 709 | but I try to make them as visual as possible | 但我尽量让他们能看见 |
| 710 | because I want people to move out of their heads | 因为我要人们走出他们的头 |
| 711 | and into their hearts so I can connect to them. | 并进入他们的心中 让我可以连接他们。 |
| 712 | And that's what we do. | 这就是我们要做的。 |
| 713 | Think about it. | 考虑一下 |
| 714 | Why? | 为什么? |
| 715 | I was fascinated by this. | 我对这个很着迷 |
| 716 | If you and I sit in the same car and drive for one hour, | 如果你和我坐在同一辆车上 开车一个小时 |
| 717 | to your dinner party, okay? | 参加你的晚宴,好吗? |
| 718 | And we get to your dinner party that you've invited us. | 我们来参加你邀请我们的晚宴 |
| 719 | We sat in the same car, had the exact same experience. | 我们坐在同一辆车上,有同样的经验。 |
| 720 | Why would one person at your dinner party go, | 为什么一个人在你的晚宴上去, |
| 721 | hey, how was your day? | 嘿 你今天过得怎么样? |
| 722 | And they're like, well, I was at the office, | 他们喜欢,嗯,我在办公室, |
| 723 | and it was a hard day, and it's just boring. | 今天很难过,很无聊 |
| 724 | And then another person would go, | 然后另一个人会去, |
| 725 | oh my God, I saw the most amazing thing today. | 哦,我的上帝,我看到了今天最神奇的事情。 |
| 726 | So there's this person that, hey, you know. | 所以有个人,嘿,你知道的。 |
| 727 | And why do some people, you want some people | 为何有些人想要一些人 |
| 728 | at your dinner party and you don't want others? | 在你的晚宴上 你不想要别人吗? |
| 729 | Because that person's a good storyteller. | 因为那个人是个讲故事的好人 |
| 730 | They understand how to capture the events of the day | 他们知道如何抓住今天的事件 |
| 731 | in a narrative that is compelling to other human beings. | 一种对其他人有吸引力的叙述 |
| 732 | They might use comedy. | 他们可能用喜剧。 |
| 733 | They might use tension. | 他们可能会使用紧张。 |
| 734 | They might use drama. | 他们可能会用戏剧。 |
| 735 | But it's an ability to capture elements of life | 但它是一种捕捉生命元素的能力 |
| 736 | into the form of a narrative, which is how we talk. | 成为一种叙事的形式, 这就是我们说话的方式。 |
| 737 | If we come to work in the morning | 如果我们早上来上班 |
| 738 | and you say, how was your weekend? | 你说,周末怎么样? |
| 739 | You would never say, Friday night at 7.30, I watched a film. | 你永远不会说,星期五晚上7: 30,我看了一部电影。 |
| 740 | Then at 9.30, I went to bed. | 9点30分,我上床睡觉了 |
| 741 | And then Saturday morning, that's a PowerPoint. | 然后星期六早上, 这是一个PowerPoint。 |
| 742 | That's a data dump. | 那是个数据垃圾 |
| 743 | That's the way we communicate. | 这就是我们沟通的方式。 |
| 744 | We list things, but that's not the way humans communicate. | 我们列出事情, 但这不是人类的沟通方式。 |
| 745 | We tell stories. | 我们讲故事。 |
| 746 | Oh my God, Saturday was unbelievable. | 哦,我的上帝,星期六是难以置信的。 |
| 747 | I went to the flea market and I saw this guy, you know. | 我去跳蚤市场,看到这家伙,你知道的。 |
| 748 | And you tell a story. | 你讲一个故事。 |
| 749 | And so that's what we're looking at, narrative styles. | 这就是我们所看到的 叙事风格 |
| 750 | We want you to be heart-based in that style. | 我们希望你以这种风格为核心 |
| 751 | And we're talking about human nature | 我们谈论的是人性 |
| 752 | that cannot be changed with facts. | 事实无法改变。 |
| 753 | So I work a lot with brands. | 所以我经常和品牌打交道。 |
| 754 | Brands, this is exactly what you and I were talking about. | Brands,这正是你和我在谈论的。 |
| 755 | Brands think, I can tell you, oh, 80% of all tooth decay | 品牌认为,我可以告诉你, 哦,80%的牙齿腐烂 |
| 756 | can be removed with our toothpaste. | 用我们的牙膏可以去掉 |
| 757 | Well, yeah, OK. | 嗯,是的,没关系。 |
| 758 | But is anyone really going to buy your toothpaste? | 但是真的有人会买你的牙膏吗? |
| 759 | Because you give me a percentage form of data? | 因为你给了我一定百分比的数据? |
| 760 | And that's the way people used to advertise. | 这就是人们用来做广告的方式。 |
| 761 | And the key is this. | 关键是这个 |
| 762 | In America, we have radio stations like WII, | 在美国,我们有无线电台 像WII, |
| 763 | come on and listen to WIIFM, OK, where rock and roll happens. | 来吧,听WIIFM,OK,摇滚的发生。 |
| 764 | You know, the home, the heart of rock and roll, OK? | 你知道,家,摇滚的心脏,好吗? |
| 765 | That's a radio station. | 那是个电台 |
| 766 | But it's also an acronym. | 但它也是一个缩略语. |
| 767 | What's in it for me? | 对我有什么好处? |
| 768 | We want to tell our story. | 我们要讲我们的故事。 |
| 769 | I told a little story about my father today. | 我今天讲了一个关于我父亲的小故事. |
| 770 | But I had professors who spent all three hours | 但我有教授 花了三个小时 |
| 771 | of our class talking about themselves. | 我们班上谈论自己。 |
| 772 | And that's not good. | 这可不好 |
| 773 | You are in the class because you want to know what can I learn. | 你在课堂上是因为你想知道我能学到什么 |
| 774 | You're taking photos. | 你拍着照片呢 |
| 775 | Every form of communication has to be something that I can learn from it. | 每一种交流形式都必须是我能从中吸取的教训. |
| 776 | And it will help me move forward in life. | 这将帮助我 前进的生活。 |
| 777 | You're here to become better storytellers, better writers, | 你来这里是为了成为更好的讲故事的人 更好的作家 |
| 778 | better thinkers, better artists and learning something. | 更好的思想家,更好的艺术家和学习的东西。 |
| 779 | So when you leave today, what you do will be more informed | 所以当你今天离开, 你做什么会更加知情 |
| 780 | by my 30 to 40 some odd years of thinking about narrative. | 在我的30到40年里,我一直在思考叙事 |
| 781 | So what's in it for your audience? | 那对观众有什么好处? |
| 782 | That's the starting place of the lecture today, OK? | 今天的讲座从这里开始,好吗? |
| 783 | So now we're going to talk about, I do a lot of talking about brand storytelling. | 所以,现在我们要谈谈, 我经常谈论品牌的故事。 |
| 784 | Why? | 为什么? |
| 785 | Because brands are good at this. | 因为品牌擅长这个. |
| 786 | And let's learn from people who understand communication. | 让我们向理解沟通的人学习。 |
| 787 | And they hire researchers and they look at data | 他们雇用研究人员 研究数据 |
| 788 | and they do a lot of work to tell powerful stories to sell products. | 他们做了很多工作来讲述 强大的故事来销售产品。 |
| 789 | And so if you end up spending your career working with brands, | 因此,如果你最终花 你的职业生涯与品牌工作, |
| 790 | there's nothing to be ashamed of. | 没什么好羞愧的 |
| 791 | That my brother is a creative director in advertising. | 我哥哥是广告界的创意总监 |
| 792 | He's had an amazing career helping brands tell their story. | 他有一个惊人的职业生涯 帮助品牌讲述他们的故事。 |
| 793 | I love this story. | 我喜欢这个故事。 |
| 794 | And this story is, I think it's 60 or 90 seconds long. | 这个故事是,我想它有60或90秒长。 |
| 795 | Very short. | 非常短暂。 |
| 796 | It was made by a very famous Hollywood director | 是好莱坞著名导演做的 |
| 797 | and it won every award in the world. | 它赢得了世界上所有奖项 |
| 798 | OK? | 好吗? |
| 799 | So why did it win all the awards? | 那它为什么赢得所有奖项? |
| 800 | What's going on here? | 这是怎么回事? |
| 801 | What did this person do so well? | 这个人干得怎么样? |
| 802 | And I'll let you watch it. | 我会让你看的 |
| 803 | It's very quick. | 其脉甚急. |
| 804 | We get the lights. | 我们得到的灯。 |
| 805 | It's off in the light. | 灯光下断. |
| 806 | Essentially non-dialogue storytelling. | 本质上是非对话故事 |
| 807 | The only communication is done through music and visual. | 唯一的交流是通过音乐和视觉进行的. |
| 808 | We're looking at our main character. | 央视主角. |
| 809 | Our main character happens to be a lamp. | 我们的主角碰巧是盏灯 |
| 810 | And then we break the story in act three. | 然后我们在第三幕中打破这个故事。 |
| 811 | Many of you feel bad for this lamp. | 你们很多人都为这盏灯感到难过. |
| 812 | That is because you're crazy. | 那是因为你疯了 |
| 813 | It has no feelings. | 它没有感觉。 |
| 814 | And the new one is much better. | 而新的一个更好。 |
| 815 | I feel it on the board. | 我在董事会上感觉到了 |
| 816 | All right. | 好吧,我们走。 |
| 817 | Now he speaks with a Danish accent. | 现在他用丹麦口音说话 |
| 818 | They're very hard to understand. | 他们很难理解 |
| 819 | Why would this guy walk into the middle of a story | 为什么这家伙走进一个故事的中间 |
| 820 | and speak in a... | 说一个... |
| 821 | So everything is done for a reason. | 故一切法皆有因缘. |
| 822 | There's no... | 没有... |
| 823 | There's nothing here that isn't completely thought out | 这里没有什么是完全没有想到的 |
| 824 | and completely constructed. | 和完整的构造。 |
| 825 | So let's watch it as film students, | 让我们看它作为电影学生, |
| 826 | as narrative analysts. | 作为叙事分析家. |
| 827 | If you analyze this, you have act one. | 如果你分析这一点, 你有一个动作。 |
| 828 | We meet our main character. | 我们遇见了主角 |
| 829 | Our main character is taken out of the home. | 我们的主角被带出家门 |
| 830 | Well, it's interesting. | 这很有趣 |
| 831 | Do you see that? | 你看到了吗? |
| 832 | What is that called? | 这叫什么? |
| 833 | Any filmmakers here? | 这里有电影制片人吗? |
| 834 | What kind of shot is that? | 什么样的镜头是什么? |
| 835 | That's a POV shot. | 这是POV镜头。 |
| 836 | Point of view. | 观点. |
| 837 | Suddenly the camera... | 突然间摄像机... |
| 838 | How do we humanize a lamp? | 我们如何把灯人化? |
| 839 | We have the camera. | 我们有摄像机。 |
| 840 | So it's as if the lamp has eyeballs. | 故如灯有眼. |
| 841 | And suddenly we're seeing the room disappear | 忽然间我们看到房间消失了 |
| 842 | from the perspective of the lamp. | 从灯的角度。 |
| 843 | We're humanizing the lamp. | 我们正在把灯变成人性化 |
| 844 | We're giving the lamp feelings. | 我们给灯的感觉。 |
| 845 | Why? | 为什么? |
| 846 | Because we're human beings with feelings | 因为我们是有感情的人 |
| 847 | and we want human beings who are watching this | 我们想要看到这个的人 |
| 848 | to connect to the lamp. | 连接灯。 |
| 849 | So we stick the lamp outside. | 我们把灯插在外面 |
| 850 | It's not a beautiful night. | 这不是一个美丽的夜晚。 |
| 851 | It's not a warm, gorgeous night with a beautiful moon. | 这不是一个温暖,华丽的夜晚 与美丽的月亮。 |
| 852 | It's a horrible night. | 这是一个可怕的夜晚。 |
| 853 | 风y. | |
| 854 | It's cold. | 寒热. |
| 855 | And of course what happens, it starts to rain. | 当然会下雨 |
| 856 | We're making life miserable. | 我们让生活变得悲惨。 |
| 857 | But what happens with the camera? | 但摄像机怎么办? |
| 858 | The camera stays outside with our hero looking in. | 摄影机留在外面 我们的英雄看着里面。 |
| 859 | This is classic film language for alienation. | 这是用于异化的经典电影语言. |
| 860 | For isolation. | 为孤立. |
| 861 | It's using the lexicon of film to create | 它用电影的词典来创作 |
| 862 | an unconscious emotional response in the audience | 观众的无意识情绪反应 |
| 863 | non-dialogically, visually, in 60 seconds. | 非对称,视觉,在60秒。 |
| 864 | It's genius. | 这是天才。 |
| 865 | He spent his whole life understanding film | 他花了一辈子时间去理解电影 |
| 866 | and then he translated it into a 60 second spot | 然后他把它翻译成60秒 |
| 867 | where we almost start crying for a lamp. | 在那里,我们几乎开始 哭一个灯。 |
| 868 | It's crazy. | 太疯狂了 |
| 869 | And so what happens? | 发生什么了? |
| 870 | The lamp gets wet. | 灯弄湿了 |
| 871 | Look at how happy it is. | 观其欢喜. |
| 872 | It's beautiful, the new lamp. | 美丽新灯. |
| 873 | Look at that. | 看看这个。 |
| 874 | And the lamp's best friend is there with the new lamp. | 这盏灯的好友就在那里 带着这盏新灯 |
| 875 | It's horrible. | 这是可怕的。 |
| 876 | It's sad. | 悲'. |
| 877 | And the music rises. | 而音乐兴起. |
| 878 | So what do we use music for in video storytelling? | 那么,我们用音乐 视频讲故事? |
| 879 | Music punctuates emotions. | 音乐会激发情绪 |
| 880 | The music tells the audience what to feel | 音乐告诉观众什么感觉 |
| 881 | at every moment in the story. | 在故事的每一刻。 |
| 882 | That's the role of a good composer. | 这是好作曲家的角色. |
| 883 | Feel this now. | 感觉一下 |
| 884 | Okay? | 好吗? |
| 885 | And now we go inside and we see that little | 现在,我们进去 看到那个小 |
| 886 | pathetic lamp out in the rain. | 可怜的灯在雨中熄灭。 |
| 887 | And the story's essentially over. | 故事基本上结束了。 |
| 888 | The light's out. | 灯灭. |
| 889 | It's bedtime. | 该睡觉了 |
| 890 | And then this strange man walks into the shop. | 然后这个怪人走进店里 |
| 891 | Many of you feel bad? | 你们很多人都觉得不舒服吗? |
| 892 | Okay. | 摆 |
| 893 | Everyone knows IKEA is Swedish, right? | 大家都知道宜家是瑞典人 对吧? |
| 894 | They serve Swedish meatballs. | 它们服务于瑞典肉丸. |
| 895 | And so we have a Swedish man with a Swedish accent | 我们有一个瑞典人 有瑞典口音 |
| 896 | talking in a strange way saying, | 说着奇怪的话 |
| 897 | many of you feel sorry for this lamp. | 你们很多人都为这盏灯感到抱歉。 |
| 898 | Listen to this. | 听这个。 |
| 899 | For this lamp, that is because you're crazy. | 对于这盏灯,那是因为你疯了。 |
| 900 | And then he tells the audience they're crazy. | 然后他告诉观众他们疯了。 |
| 901 | You don't do that. | 你不这样做。 |
| 902 | It's funny. | 这很有趣。 |
| 903 | It has no feelings. | 它没有感觉。 |
| 904 | And the new one is much better. | 而新的一个更好。 |
| 905 | But why? | 为什么? |
| 906 | Why? | 为什么? |
| 907 | Why would you pay a million dollars | 你为什么付一百万? |
| 908 | and then millions of more dollars | 还要多出几百万美元 |
| 909 | to screen this all over the world | 将它显示在世界各地 |
| 910 | to tell your audience you're crazy? | 告诉你的观众你疯了? |
| 911 | And it's because the next sentence is | 是因为下一句话是 |
| 912 | the new one is much better. | 新的会更好 |
| 913 | What is IKEA's goal? | 宜家的目标是什么? |
| 914 | Throw out everything in your house | 扔掉你家里的一切 |
| 915 | and buy new ones at IKEA because they're better. | 和在宜家买新 因为他们更好。 |
| 916 | So it's challenging you to remove any... | 所以这是挑战你删除任何... |
| 917 | This necklace, or it should be a furniture. | 这项链,或者应该是家具。 |
| 918 | This podium, my father when he was at Yale | 这个讲台,我父亲在耶鲁大学的时候 |
| 919 | lectured at this podium. | 在主席台上讲演。 |
| 920 | I love this podium. | 我喜欢这个讲台。 |
| 921 | If you have a sentimental connection | 如果你有感情联系 |
| 922 | to a piece of furniture, | 到一块家具, |
| 923 | you're not going to throw it out. | 你不会扔出去的 |
| 924 | So it's trying to break that connection | 所以它试图打破连接 |
| 925 | and get you to throw it out | 让你扔掉它 |
| 926 | and come to IKEA and buy more stuff. | 来到宜家买东西 |
| 927 | It's the essence of consumerism in 60 seconds. | 这是60秒内消费主义的本质. |
| 928 | And it's quite brilliant. | 和它的相当辉煌。 |
| 929 | And it's funny. | 且作么生会. |
| 930 | So you laugh. | 所以你会笑 |
| 931 | So that's what storytelling does. | 这就是讲故事的目的 |
| 932 | And in one sentence, this is my golden rule. | 一句话,这是我的黄金规则。 |
| 933 | So if you want to write one thing down tonight, | 所以如果今晚你想写一件事 |
| 934 | besides that, I write this down | 除此之外,我写下来 |
| 935 | and I say this rule is non-negotiable. | 我说这条规则是不容谈判的 |
| 936 | Non-negotiable. | 无可商量. |
| 937 | What do I mean by that? | 这是什么意思? |
| 938 | You can't do some of these things. | 你不能做这些事情。 |
| 939 | You need to do all of these things. | 你需要做所有这些事情。 |
| 940 | So if the character is not engaging... | 所以如果角色没有参与... |
| 941 | I didn't say a nice person. | 我没有说一个好人。 |
| 942 | Your main character could be a lamp. | 你的主角可能是灯 |
| 943 | But we cared about the lamp. | 但我们在乎那盏灯 |
| 944 | It's engaging. | 它的接触。 |
| 945 | They actively overcome tremendous obstacles. | 他们积极克服了巨大的障碍。 |
| 946 | That's conflict. | 那是冲突 |
| 947 | That's desire. | 这就是欲望。 |
| 948 | And they try to reach a desirable goal. | 他们试图达到一个理想的目标。 |
| 949 | That must be desirable both for the person in the story | 这对故事中的人物来说都是可取的 |
| 950 | and also the character outside the story, | 和故事之外的角色, |
| 951 | i.e. | 即说. |
| 952 | the audience. | 观众。 |
| 953 | So we have to want them. | 所以我们要他们。 |
| 954 | So I call it, it's funny, rootability. | 所以我把它叫做, 这很有趣, 根性。 |
| 955 | I don't know if that's going to translate. | 我不知道这是否要翻译。 |
| 956 | It's the ability of the audience to root, to cheer, | 这是观众的根,欢呼, |
| 957 | to desire the main character to achieve their goals. | 渴望主角实现他们的目标。 |
| 958 | In any love story, we have to like the two people | 在任何爱情故事中,我们必须喜欢两个人 |
| 959 | and want them to... | 希望他们... |
| 960 | We have to be, oh my God, I hope he can get to the wedding | 我们必须,哦,我的上帝, 我希望他可以去婚礼 |
| 961 | before she says I do to the wrong guy. | 在她说我对错人之前 |
| 962 | We're cheering for him to get to the wedding, | 我们为他参加婚礼而欢呼 |
| 963 | to get to the woman he's supposed to be with. | 去找他应该和他在一起的女人 |
| 964 | We're rooting for that to happen. | 我们为这事而奋斗 |
| 965 | That means what happens with the audience, | 也就是说观众会怎样 |
| 966 | good storytelling, bad storytelling. | 好讲故事,坏讲故事。 |
| 967 | We're sleeping. | 我们在睡觉 |
| 968 | We're leaning back. | 我们向后倾斜。 |
| 969 | I hope tonight all of you are sitting on the edge of your seat. | 我希望今晚你们都坐在座位边上 |
| 970 | You're moving forward. | 你在前进 |
| 971 | You want to know what's going to happen next. | 你想知道接下来会发生什么 |
| 972 | Will this lecture go in a good direction? | 这个讲座会往好的方向走吗? |
| 973 | And I think it will. | 我想会的 |
| 974 | Okay, so let's keep moving forward. | 好吧,让我们继续前进。 |
| 975 | And the last aspect is change, | 最后一个方面是改变, |
| 976 | which I've already talked about with Susan Boyle. | 我已经和苏珊·博伊尔谈过了 |
| 977 | Is there character transformation? | 有角色转变吗? |
| 978 | Is there change? | 有变化吗? |
| 979 | Okay, you're going to see something cool now. | 好吧,你会看到一些很酷的东西了。 |
| 980 | This, we had two million... | 这个,我们有两百万... |
| 981 | I was involved in the making of this, | 我参与制作这个, |
| 982 | which is exciting for me. | 这让我兴奋。 |
| 983 | I taught in Hollywood for many years at USC Film School, | 我在好莱坞执教多年 在USC电影学校, |
| 984 | had many famous students. | 有很多著名的学生 |
| 985 | And then I wrote a bunch of books. | 然后我写了一堆书 |
| 986 | And the head of... | 还有... |
| 987 | I love this search. | 我喜欢这个搜索。 |
| 988 | The head of hair care for Unilever, okay? | 头发的头 关心联合利华,好吗? |
| 989 | And I don't have any hair and he didn't have any hair. | 我没有头发,他也没有头发 |
| 990 | But we still, he said we have to do something different. | 但我们还是说,我们必须做一些不同的事情。 |
| 991 | And he pulled me out of Hollywood | 他把我从好莱坞拉出来 |
| 992 | and pulled me into the brand world of brand storytelling. | 把我拉进品牌故事的品牌世界 |
| 993 | And I'm not going to tell you what this brand is here. | 我不会告诉你这牌子是什么 |
| 994 | But we had a theme. | 但我们有一个主题。 |
| 995 | So we had an image. | 所以,我们有一个图像。 |
| 996 | They said, we want to embody the theme of eternal love. | 他们说,我们想体现永恒的爱的主题。 |
| 997 | And we want our story to use, | 我们要用我们的故事 |
| 998 | it's a very kind of universal object, a gold ring. | 它是一种非常普遍的物体,一个金戒指. |
| 999 | And I saw the advertisement for Siegfried. | 我看到了西格弗里德的广告。 |
| 1000 | There's a gold ring in that for the opera. | 里面有一个金戒指 歌剧。 |
| 1001 | You know, gold is obviously has a lot of mythic energy | 你知道,黄金显然 有很多神话能量 |
| 1002 | and the ring is eternal | 环是永恒的 |
| 1003 | because the ring goes around and around. | 因为戒指会绕来绕去 |
| 1004 | So you're going to see now. | 所以,你现在要去看到。 |
| 1005 | So what they did, they flew me to Bali. | 他们把我飞到巴厘岛 |
| 1006 | They flew the writers and creative executives to Bali. | 他们把作家和创意主管飞到巴厘岛。 |
| 1007 | And we had a week to think about the best story | 我们有一个星期来想最好的故事 |
| 1008 | we could write to bring this theme of eternal love. | 我们可以写作带来永恒的爱的主题。 |
| 1009 | And they pitched all these stories | 他们播下了所有这些故事 |
| 1010 | and we developed a lot like what we're going to do tomorrow | 我们发展了很多 像我们明天要做的事情 |
| 1011 | in the sessions where we develop stories. | 我们写故事的会议。 |
| 1012 | And… | 还有... |
| 1013 | And this became my life's work. | 这成了我一生的工作 |
| 1014 | I left film school and I started working with brands. | 我离开了电影学校,开始与品牌合作. |
| 1015 | And so watch this narrative and see if you get this theme | 看这个叙事 看看有没有这个主题 |
| 1016 | of eternal love that goes over the ages and if we succeeded. | 永恒的爱, 历经岁月 如果我们成功。 |
| 1017 | And lights. | 还有灯光 |
| 1018 | And in this case, we had lots of money before AI. | 在这种情况下,我们在AI之前有很多钱。 |
| 1019 | There's no AI, there's 100%. | 没有AI,有100%。 |
| 1020 | We went six hours outside of, | 我们出去六个小时 |
| 1021 | there's a Forbidden City film set on gift. | 有一部紫禁城的电影是用礼物拍的 |
| 1022 | The Gold's power bestowed youthful radiance and love eternal. | 黄金的力量被赋予了青春的光芒和永恒的爱情. |
| 1023 | But as such, it was coveted by dark forces. | 但却被黑暗的力量所渴望 |
| 1024 | And so destined to be hidden by time, | 所以注定要被时间隐藏 |
| 1025 | Gold's noble power was reborn, | 高德的贵族权力重生了 |
| 1026 | permitting love to live eternal. | 允许爱情永生 |
| 1027 | New Pond's gold radiance recaptured the radiance of youth. | 新塘金光重现青春光辉. |
| 1028 | All right. | 好吧,我们走。 |
| 1029 | So I always, people always enjoy it | 所以我总是,人们总是喜欢它 |
| 1030 | until they see the bottle and then they laugh. | 直到他们看到瓶子,然后他们笑。 |
| 1031 | This is the fight you will have for the rest of your life | 这是你一生的战斗 |
| 1032 | if you work in brand storytelling. | 如果你在讲故事的品牌工作的话 |
| 1033 | I was like, can we not use the bottle | 我当时想,我们能不用瓶子吗? |
| 1034 | in the middle of the film? | 电影中间? |
| 1035 | Spending $2 million and then you interrupt the film. | 花了200万美元 然后你打断了电影。 |
| 1036 | And of course, what does the bald guy | 当然,秃头是什么? |
| 1037 | who runs the brand say? | 谁开的牌子? |
| 1038 | I want to, I'm spending $2 million, | 我想,我花了200万美元, |
| 1039 | I need them to see my product. | 我需要他们看到我的产品。 |
| 1040 | So he wins, he's paying for it. | 所以他赢了,他为此付出代价。 |
| 1041 | And the key to storytelling is who pays for it | 讲故事的关键是谁付钱 |
| 1042 | always gets the last say, okay? | 总是有最后的发言权,好吗? |
| 1043 | Gold radiance, they were willing to spend $2 million | 黄金光芒 他们愿意花200万 |
| 1044 | because it was a more luxury product, | 因为它是一个更奢侈的产品, |
| 1045 | eternal youth was what the strategy director came up with | 永远的青春是战略总监想出来的 |
| 1046 | because who's gonna buy this? | 因为谁会买这个? |
| 1047 | Young, beautiful young ladies with young skin | 年轻,漂亮的年轻女士 皮肤年轻 |
| 1048 | are not buying this, | 不买这个, |
| 1049 | nor do they have the money to buy this. | 他们也没有钱买这个 |
| 1050 | We want middle-aged and up ladies | 我们要中年和高龄的女士们 |
| 1051 | who are starting to see wrinkles | 他们开始看见皱纹 |
| 1052 | and who are willing to spend a little bit more | 愿意多花一点钱 |
| 1053 | after something that's got gold in it, okay? | 在有金子后,好吗? |
| 1054 | Does it work any better? | 有用吗? |
| 1055 | I don't know what gold has to do with wrinkles, | 我不知道金子和皱纹有什么关系 |
| 1056 | but people, if they're gonna spend more money, | 但人们,如果他们要花更多的钱, |
| 1057 | they like having gold. | 他们喜欢有金子。 |
| 1058 | So that's what we did. | 这就是我们所做的。 |
| 1059 | And we won lots of awards. | 我们赢得了许多奖项。 |
| 1060 | I think actually this won the People's Choice Award | 我认为这实际上赢得了人民选择奖 |
| 1061 | in China, which is kind of cool. | 在中国,这很酷。 |
| 1062 | And you said, I heard we have the same actors | 你说,我听说我们有同样的演员 |
| 1063 | because eternal love means the idea that true love | 因为永恒的爱意味着真爱 |
| 1064 | and I heard the word starts with an R. | 我听到这个词从R开始。 |
| 1065 | What's this? | 这是什么? |
| 1066 | Somebody said it over there, reincarnation. | 有人说在那里,转世。 |
| 1067 | That the souls keep dating. | 灵魂不断约会 |
| 1068 | They keep, maybe dating's the wrong word. | 他们一直这样 也许约会是错的 |
| 1069 | They keep meeting each other and going forward | 他们不断相遇,继续前进 |
| 1070 | and they recognize. | 他们认得 |
| 1071 | So you have that kind of moment | 所以你有那种时刻 |
| 1072 | where they see each other, they recognize. | 在那里,他们看到对方, 他们认出来。 |
| 1073 | The ending I thought was done well. | 我认为结局是好的。 |
| 1074 | The way they looked at each other, it was subtle. | 他们的眼神很微妙 |
| 1075 | It wasn't over the top. | 亦未过顶. |
| 1076 | And just, I thought a beautiful story | 我想了一个美丽的故事 |
| 1077 | and we had to put the bottles in. | 我们不得不把瓶子。 |
| 1078 | So what are we gonna do? | 我们该怎么办? |
| 1079 | We're gonna talk a little more. | 我们再谈谈 |
| 1080 | I've got about 40 minutes and then we'll take some questions. | 我还有40分钟 然后我们再问几个问题 |
| 1081 | So if you do have a question, write it down. | 所以如果你真的有问题 写下来 |
| 1082 | There is science for this, okay? | 这有科学的,好吗? |
| 1083 | This is not coming out of what Professor Trevlin likes, | 这不是特雷夫林教授喜欢的 |
| 1084 | although I'm showing you films I like, | 虽然我给你看我喜欢的电影 |
| 1085 | but there's science behind it. | 但背后有科学 |
| 1086 | Neurobiologists have studied attention | 神经生物学家研究过注意力 |
| 1087 | and when people are doing verticals | 当人们做竖起, |
| 1088 | where they're hooking you in the first three to five seconds, | 他们在前三到五秒内勾引你 |
| 1089 | that's because we know, especially in the modern era, | 那是因为我们知道,特别是在现代, |
| 1090 | people will swipe very quickly. | 人们会很快刷卡 |
| 1091 | And this is human nature. | 这是人性 |
| 1092 | Visuals don't matter without the hook | 视觉没有钩子不重要 |
| 1093 | and there is a biological basis for boredom. | 并且有生物学基础 无聊。 |
| 1094 | How the human brain processes and rejects unengaging content. | 人类大脑是如何处理和拒绝未激活内容的. |
| 1095 | So the people who understand this better | 所以,人们谁更理解这一点 |
| 1096 | are the ones who get the most eyeballs, | 是那些眼球最多的, |
| 1097 | get the most retention, get the most viewers, okay? | 获得最多保留, 获得最多观众,好吗? |
| 1098 | And so we're talking about creating emotion. | 所以我们在谈论创造情感。 |
| 1099 | We're talking about the 10 second rule | 我们谈的是十二规则 |
| 1100 | and we're talking about connection, | 我们在谈论连接, |
| 1101 | which happens as a result of emotional imagery, okay? | 由情感影像造成的,好吗? |
| 1102 | And we talked about arc. | 我们谈论了弧线。 |
| 1103 | I'm going very quickly because we don't have a lot of time. | 我走得很快,因为我们没有太多时间。 |
| 1104 | I'm trying to do a 15 week course in two hours. | 我试图做一个15周的课程 在两个小时。 |
| 1105 | But arc is movement. | 但弧是运动。 |
| 1106 | Arc is transformation, internal change, okay? | 弧是变换,内部改变,好吗? |
| 1107 | People sometimes do change. | 人有时会改变 |
| 1108 | I think the greatest stories in Western literature, | 我认为西方文学界最伟大的故事, |
| 1109 | I always talk about maybe the greatest story | 我总是谈论也许最伟大的故事 |
| 1110 | in Western literature in terms of change | 西方文学界的变化 |
| 1111 | is the story of the Christmas Carol. | 是圣诞卡罗尔的故事 |
| 1112 | Ebenezer Scrouge 查尔斯·狄更斯著,好吗? | |
| 1113 | In one night goes from the world's most selfish human being | 一天晚上 从世界上最自私的人身上走出来 |
| 1114 | and the course of one night, | 和一夜之间, |
| 1115 | I call it the greatest therapy session | 我称之为最伟大的疗程 |
| 1116 | in modern Western literature, | 在现代西方文学中, |
| 1117 | the ghost of past, present, and future. | 过去、现在和未来的幽灵 |
| 1118 | What do you do in therapy? | 你在治疗方面做什么? |
| 1119 | You revisit your past, your present, and your future. | 你重新审视你的过去、现在和将来 |
| 1120 | Force him to watch his life over again | 强迫他再看一次自己的生活 |
| 1121 | and see the decisions he made | 看着他的决定 |
| 1122 | and as a result of those choices, he changes | 由于这些选择,他改变了 |
| 1123 | and by the morning, he says Merry Christmas to all | 到了早上,他说圣诞快乐 |
| 1124 | and he gives his money away and he loves everyone | 他把钱捐出去,他爱每个人 |
| 1125 | and he goes and hopefully it's in a believable fashion. | 他走了,希望它是 以令人难以置信的方式。 |
| 1126 | He goes from the world's most selfish human being | 他来自世界上最自私的人 |
| 1127 | {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}一个晚上里 {\fn黑体\fs22\bord1\shad0\3aHBE\4aH00\fscx67\fscy66\2cHFFFFFF\3cH808080}对全世界最慷慨的人来说 | |
| 1128 | and if it's done well, you believe that journey. | 如果做得好 你相信那段旅程 |
| 1129 | That's arc, okay? | 这是弧形,好吗? |
| 1130 | And I'm sure you can find examples | 我相信你能找到例子 |
| 1131 | in Chinese culture of that. | 在中国文化中, |
| 1132 | We want that. | 我们希望这样。 |
| 1133 | We want to see human transformation | 我们希望看到人类的转变 |
| 1134 | and we want that on screen | 我们希望在屏幕上 |
| 1135 | and this takes us to why we even watch movies | 这让我们开始看电影的原因 |
| 1136 | in the first place. | 最初. |
| 1137 | I'm arguing tonight that we yearn for meaning, okay? | 今晚我争论 我们渴望意义,好吗? |
| 1138 | And the best way to convey meaning is through story | 而表达意义的最佳方式就是通过故事 |
| 1139 | because luxury soap doesn't sell. | 因为奢侈肥皂不卖。 |
| 1140 | Do you understand now what I'm saying about luxury soap? | 你明白我的意思了吗? |
| 1141 | If you just say, okay, welcome to Yale Center, Beijing. | 如果你只是说,好吧,欢迎来到耶鲁中心,北京。 |
| 1142 | Tonight I want to tell you a story | 今晚我想告诉你一个故事 |
| 1143 | about why you shouldn't be selfish | 关于为什么你不应该自私 |
| 1144 | and you should be generous | 你应该宽宏大量 |
| 1145 | and the essence of this story is don't be selfish, | 这个故事的实质是 不要自私, |
| 1146 | be generous and you're just pedantic | 宽宏大量,你只是恋童癖 |
| 1147 | and you're pointing at people | 你指着别人 |
| 1148 | and you're telling them what to do | 你告诉他们该怎么做 |
| 1149 | and nobody likes to be told what to do | 没有人喜欢别人教我们怎么做 |
| 1150 | but everyone loves a good story. | 但每个人都喜欢好故事 |
| 1151 | So create a character. | 故创造个性. |
| 1152 | Have the people engage with that character. | 让人民参与这个角色 |
| 1153 | Have that character overcome odds to achieve a goal | 有个性能能能克服困难 达到目的 |
| 1154 | and they'll go along with you | 他们会跟你走 |
| 1155 | and when that character changes, they too will change. | 当这个角色改变时,他们也会改变。 |
| 1156 | So we watch Susan Boyle, we start crying when she sings | 我们看着Susan Boyle 她唱歌的时候就开始哭 |
| 1157 | and we don't know why we're crying. | 我们不知道我们为什么哭。 |
| 1158 | Why are we moved by this weird woman from England? | 为什么我们被这个来自英国的怪女人感动了? |
| 1159 | Because we thought she was weird | 因为我们觉得她很怪异 |
| 1160 | and yet she has this beautiful soul | 然而她却有着美丽的灵魂 |
| 1161 | which comes through the moment she opens her mouth | 从她张开嘴开始 |
| 1162 | and we're moved. | 我们搬走了 |
| 1163 | Maybe everyone has a special gift. | 也许每个人都有特别的天赋 |
| 1164 | Maybe everyone is important. | 也许每个人都很重要 |
| 1165 | Maybe, maybe, maybe and we start going through life | 也许,也许,也许, 我们开始经历生活 |
| 1166 | a little bit more open to the possibility | 更开放一点的可能性 |
| 1167 | of other people being special and gifted | 拥有特殊和天赋的其他人 |
| 1168 | which allows us to see them in a new way. | 这使得我们能以新的方式看到他们。 |
| 1169 | Okay, that's Arc, we talked about that | 好吧,这是Arc,我们谈过了 |
| 1170 | and we do it in three steps. | 我们分三步走 |
| 1171 | So this is all the way back to Aristotle. | 所以这是回到亚里士多德。 |
| 1172 | If you're interested in this, | 如果你有兴趣的话 |
| 1173 | get a book called Aristotle's Poetics. | 拿本书叫亚里士多德的诗 |
| 1174 | They teach it at Yale, they taught it at film school. | 他们在耶鲁教书,在电影学校教书. |
| 1175 | You don't hear about it much but what did he do? | 你很少听说 但他做了什么? |
| 1176 | Aristotle lived in a society in Greece | 亚里士多德生活在希腊的一个社会中 |
| 1177 | where there was no movies, there were no verticals. | 没有电影,没有垂直。 |
| 1178 | What was there? | 刚才是什么? |
| 1179 | In Greece, the thing they had was, | 在希腊,他们拥有的东西是, |
| 1180 | starts with a T, theater, theater, theater. | 开始是一个T,剧院,剧院,剧院。 |
| 1181 | And what I love, so once a year, | 我最喜欢的,所以一年一度 |
| 1182 | well they had, that's where the Olympics come from, | 嗯,他们有, 这就是奥运会的来源, |
| 1183 | they'd have athletic competitions | 他们有运动比赛 |
| 1184 | but they also had a theater competition, | 但他们也有一场戏剧比赛, |
| 1185 | study Greek theater and once a year, | 学习希腊戏剧 每年一次 |
| 1186 | everyone from the most educated | 教育程度最高的人 |
| 1187 | to the most uneducated person in Athens | 给雅典最未受过教育的人 |
| 1188 | would go to the theater to watch theater all week. | 整个星期都会去剧院看戏 |
| 1189 | I love that, they'd watch theater all week | 我喜欢,他们会看 整个星期的剧院 |
| 1190 | and what happened at the end of the week, | 和周末发生的事情, |
| 1191 | they would take a crown of laurels | 他们会拿一顶荣耀的王冠 |
| 1192 | and they'd put it on the head of the great playwright | 他们把它放在伟大的剧作家的头上 |
| 1193 | who wrote the best play of the week | 他写了本周最好的剧本 |
| 1194 | and they honored him or her | 他们尊敬他或她, |
| 1195 | but I don't think there's a lot of female players | 但我不认为有很多女选手 |
| 1196 | but still, it is a theater society. | 但它仍然是一个戏剧社会。 |
| 1197 | Aristotle then studied, | 亚里士多德就学了 |
| 1198 | what do all these good plays have in common? | 这些好戏有什么共同点? |
| 1199 | And he said they all have a beginning, a middle and an end. | 他说他们都有开始,中间和结束 |
| 1200 | They start with a setup, they have a confrontation | 他们从一个圈套开始, 他们有一个对抗 |
| 1201 | and there's always resolution, | 总是有解答, |
| 1202 | what I call a new normal, a new equilibrium | 我所说的新常态,新平衡 |
| 1203 | and if it's done in an interesting, unusual way, | 如果它以有趣和不寻常的方式完成, |
| 1204 | I am moved and don't forget to have a dark night of the soul | 我被感动了,别忘了有黑暗的灵魂之夜 |
| 1205 | about 60 to 70% of the way in there. | 大约60到70%的路在那里。 |
| 1206 | That's what AI doesn't do a lot. | 这是AI不做很多。 |
| 1207 | You have a negative moment, you have the hero stumble. | 你有一个消极的时刻,你有 英雄绊倒。 |
| 1208 | If the hero just, I wanna become a great singer | 如果英雄只是,我想成为一个伟大的歌手 |
| 1209 | and then they go to the Chinese opera | 然后他们去中国歌剧 |
| 1210 | and they sing and they're like, oh great | 他们唱歌 他们喜欢,哦,太好了 |
| 1211 | and they become a great singer, there's no story. | 他们成为一个伟大的歌手, 没有故事。 |
| 1212 | They need to go and the Chinese opera says, | 他们需要去 中国歌剧说 |
| 1213 | you're not good enough, go home | 你不够好,回家去吧 |
| 1214 | and they have to study for the next five years | 他们必须学习 未来五年 |
| 1215 | until they come back. | 直到他们回来 |
| 1216 | That's the dark night of the soul, | 那是灵魂的黑暗之夜 |
| 1217 | the great negative, the great no | 伟大的负面,伟大的不 |
| 1218 | and all stories need that. | 所有的故事都需要这样 |
| 1219 | Great stories thrive on that, okay? | 伟大的故事会以此为生,好吗? |
| 1220 | So you can break it down into a disturbance, | 这样你就能把它打成一片混乱 |
| 1221 | an empathy engine, want, need, desire. | 一个同情的引擎,欲望,需要,欲望。 |
| 1222 | I'm gonna go quick because I got a lot I wanna do. | 我要快点 因为我有很多事情要做 |
| 1223 | This is based on narrative architecture | 这是基于叙事结构 |
| 1224 | which I'm giving you, map the transformation beats, | 我给了你, 地图转换节拍, |
| 1225 | structure decline, okay? | 结构下降,好吗? |
| 1226 | And wrap information in story. | 和包装信息的故事。 |
| 1227 | Again, luxury soak, don't tell me, show me. | 再说一遍,奢侈的浸泡,别告诉我,给我看 |
| 1228 | Have the story convey that which you want. | 把故事传达给你想要的东西 |
| 1229 | Don't have the character say, mommy, my luggage just broke. | 别这么说,妈妈,我的行李破了 |
| 1230 | It's so unwell made. | 造得真难看 |
| 1231 | That's bad, that's information given direct. | 不好,这是直接得到的信息。 |
| 1232 | In real life, when I need my camera man, | 在现实生活中 当我需要我的摄影师时 |
| 1233 | I turn my camera man, I need a directing. | 我让摄影师转身 我需要指导 |
| 1234 | I need a shot of the over the shoulder shot, | 我要拍下肩膀上的镜头 |
| 1235 | three quarters shot here. | 3/4拍在这里。 |
| 1236 | I tell the director exactly what I need when I'm on set, okay? | 我告诉导演,我需要什么 当我在拍摄,好吗? |
| 1237 | That's direct interaction, very American, okay? | 这是直接互动, 非常美国,好吗? |
| 1238 | Very direct. | 非常直接的。 |
| 1239 | I would argue good storytelling is much more Chinese, | 我觉得讲好故事更像中国人 |
| 1240 | much less direct. | 更别提直接了 |
| 1241 | Good storytelling is information wrapped | 讲好故事就是把信息包起来 |
| 1242 | in subtle other elements. | 在微妙的其他元素。 |
| 1243 | So you're trying to convey what you want without saying it. | 所以你想不说就传达你想要的东西 |
| 1244 | Okay, say it without saying it. | 好吧,说不说。 |
| 1245 | That's good dialogue too. | 这也是很好的对话。 |
| 1246 | You would never write dialogue, you go, | 你永远不会写对白,你去 |
| 1247 | mommy, I am so sad right now. | 妈妈,我现在很伤心 |
| 1248 | Bad dialogue. | 糟糕的对话。 |
| 1249 | You would do something to convey sadness visually. | 你会做一些事 传达悲伤的视觉。 |
| 1250 | So that's what we're studying at film school. | 这就是我们在电影学校学习的 |
| 1251 | How do you do all this in an interesting, unusual way? | 你怎么做到这些的? |
| 1252 | And so you have a satisfying resolution, okay? | 所以,你有一个令人满意的解决,好吗? |
| 1253 | And you need to be the storyteller in chief. | 而你需要成为主讲故事的人。 |
| 1254 | So let's have fun and watch the movies. | 让我们玩玩看电影。 |
| 1255 | Okay, does anyone have a phone with AI on it right now | 好吧,有人有电话 AI现在在上面 |
| 1256 | that they can deep seek or something? | 他们能深入寻找什么? |
| 1257 | Turn to your AI and say write a 30 second script for me | 转到你的人工智能 说给我写30秒剧本 |
| 1258 | on to promote the use of condoms. | 推广使用避孕套。 |
| 1259 | Okay, I tried this today and it worked for me. | 好吧,我今天试了这个,它为我工作。 |
| 1260 | Let's see if it worked for you. | 看看对你有没有用 |
| 1261 | So what does AI say? | AI怎么说? |
| 1262 | How do you write a 30, does it give you a script? | 你怎么写30, 它给你一个剧本? |
| 1263 | It should, hopefully. | 希望它应该。 |
| 1264 | Okay, what am I doing? | 好吧,我在干吗? |
| 1265 | I'm watching how AI tackles a problem. | 我在看AI如何解决问题 |
| 1266 | Then I'm gonna show you how human beings | 然后我会告诉你 人是如何 |
| 1267 | tackle the same problem. | 解决同样的问题。 |
| 1268 | Anyone can do it on their phone. | 任何人都可以在他们的手机上做到这一点。 |
| 1269 | 30 second script, it would be interesting | 30秒剧本,会很有趣的 |
| 1270 | if different people did it | 如果是别人干的 |
| 1271 | and they had different solutions. | 他们有不同的解决方案。 |
| 1272 | Well, what are you getting? | 那么,你得到什么? 怎么样? |
| 1273 | I did it and it said, it showed data 98% of all STDs | 我做到了,它说, 它显示的数据98% 所有性病 |
| 1274 | are prohibited by the use of condoms. | 禁止使用避孕套。 |
| 1275 | So give me data. | 所以给我数据。 |
| 1276 | What does it give you in the script? | 剧本里有什么? |
| 1277 | Anybody have it? | 有人有吗? |
| 1278 | So it said, it wrote a script where two people | 所以说,它写了一个剧本 两个人 |
| 1279 | were about to become intimate and it said, | 即将变得亲密 它说, |
| 1280 | let's stop before and let's be smart. | 让我们停止之前,让我们聪明。 |
| 1281 | Did it give you the same script, basically? | 基本上它给你同样的剧本吗? |
| 1282 | And still, I can read what I got. | 但我还是能读到我的作品 |
| 1283 | Anybody, this all probably should be all about the same. | 任何人都可能都一样 |
| 1284 | What does it say? | 上面写着什么? |
| 1285 | So what does it say? | 那上面写着什么? |
| 1286 | A script which says. | 剧本上写着 |
| 1287 | A young couple is about to. | 一对年轻的夫妇即将。 |
| 1288 | Right. | 对 |
| 1289 | 并相笑 smiling. | |
| 1290 | They say, love is beautiful but safety comes first. | 他们说,爱是美丽的 但安全第一。 |
| 1291 | And you got the exact same. | 你也一样 |
| 1292 | You both used DeepSeek and it both gave you, | 你们都用DeepSeek,它都给了你们, |
| 1293 | essentially with the same prop, | 基本上用同样的道具, |
| 1294 | you got the exact same script. | 你得到了完全相同的剧本。 |
| 1295 | That's so interesting. | 这太有趣了 |
| 1296 | Okay, so it said love. | 好吧,所以它说爱。 |
| 1297 | What was the theme? | 主题是什么? |
| 1298 | Love is beautiful but safety comes first. | 爱是美丽的,但安全第一。 |
| 1299 | Okay, nothing wrong with that. | 好吧,没什么错。 |
| 1300 | But would that really work? | 那真的有用吗? |
| 1301 | I would argue the client's gonna say that's not very good. | 我想说客户会说那不好 |
| 1302 | And so I want you to watch how a human being | 所以我要你看着一个人 |
| 1303 | created a film with the exact same prop | 用完全相同的道具创建了影片 |
| 1304 | but a completely different response. | 但反应完全不同 |
| 1305 | And so I'm very happy right now with work | 所以现在我很高兴工作 |
| 1306 | because that's exactly what I wanted AI to say | 因为这正是我想AI说的 |
| 1307 | and that's what they did said. | 他们就是这么说的 |
| 1308 | So a little bit better than what AI wrote, don't you think? | 所以比AI写的好一点,你不觉得吗? |
| 1309 | You're gonna remember that. | 你会记得的 |
| 1310 | You're not gonna remember that. | 你不会记得的 |
| 1311 | And that's what we can do. | 这就是我们能做的。 |
| 1312 | This is like amazing to me when I came up with this | 我一想到这个就觉得很神奇 |
| 1313 | because this has always been one of my favorite films | 因为这是我最喜欢的电影之一 |
| 1314 | because it does something unpredictable. | 因为它做一些无法预料的事情。 |
| 1315 | It goes three years in the future | 未来三年内 |
| 1316 | and thinks about what might happen | 想想会发生什么 |
| 1317 | if you don't use condoms. | 如果你不使用避孕套。 |
| 1318 | And then it forces you to think that | 然后它迫使你认为 |
| 1319 | without giving you statistics about condom use | 没有给你关于避孕套使用的统计数据 |
| 1320 | and about diseases and years ago I showed this | 和关于疾病和 几年前,我展示这个 |
| 1321 | and I'd say let's do an exercise class, write a film. | 我想说,让我们做一个练习课,写一部电影。 |
| 1322 | And the majority of the people in my class | 和我班上大多数人 |
| 1323 | would write a movie where they would write about | 会写一部电影 他们写 |
| 1324 | or have a picture of someone with a disease, | 或者有一张病人的照片, |
| 1325 | write about scare tactics. | 写恐怖战术 |
| 1326 | This is a different form of scare tactics | 这是不同形式的恐吓战术 |
| 1327 | and I think it's very effective. | 我认为它非常有效。 |
| 1328 | So what are we doing? | 我们在做什么? |
| 1329 | We're going beyond AI and I'm gonna go quick. | 我们要超越人工智能,我要快点 |
| 1330 | We're using character, we're telling stories, | 我们用角色,我们讲故事, |
| 1331 | we have an emotional payoff. | 我们有感情上的回报 |
| 1332 | So I have a methodology I use. | 所以我有个方法 |
| 1333 | And it's in all my books. | 我所有的书里都有 |
| 1334 | And we're gonna do it tomorrow | 我们明天再做 |
| 1335 | for those people in the workshop. | 给车间里的人 |
| 1336 | But I'll give you an idea that how do you take an idea | 但我会给你一个想法,你如何采取一个想法 |
| 1337 | and develop it as a human being without any AI? | 把它发展成一个没有人工智能的人? |
| 1338 | This is what I've done for the past 30 years. | 这是我过去30年所做的 |
| 1339 | I start with an idea and I think about | 我从一个想法开始思考 |
| 1340 | visualizing my story in an image. | 用影像来描绘我的故事 |
| 1341 | What would the movie poster be? | 电影海报会是什么? |
| 1342 | What does it look like? | 它看起来像什么? |
| 1343 | What is it? | 这是什么? |
| 1344 | So that forces you to figure out | 这样你才会明白 |
| 1345 | what's your story really about in one image? | 你的故事到底在一个图像中是什么? |
| 1346 | And that's what every vertical, | 这就是每个垂直, |
| 1347 | you're scanning the verticals | 你在扫描垂直 |
| 1348 | and you pick the poster you like to watch that movie. | 你选你喜欢看电影的海报 |
| 1349 | So images are important. | 所以图像很重要。 |
| 1350 | This is an image-based storytelling system. | 这是一个基于图像的故事描述系统。 |
| 1351 | Now we're gonna have number two, the log line. | 现在我们有第二,日志线。 |
| 1352 | Can you distill your story into a single sentence? | 你能把故事提炼成一句话吗? |
| 1353 | Good stories should be compelling to someone | 好故事应该能吸引别人 |
| 1354 | in a single sentence. | 在一个单句。 |
| 1355 | They go, oh my God, that's great. | 他们走了,哦,我的上帝,这是伟大的。 |
| 1356 | I wanna see that vertical. | 我想看到垂直的。 |
| 1357 | I wanna see that movie. | 我想看电影 |
| 1358 | I care about that, okay? | 我关心,好吗? |
| 1359 | Now, the major elements, this is an American TV show. | 现在,主要元素,这是一部美国电视剧。 |
| 1360 | I don't know if you get it here. | 不知你在这里得到它。 |
| 1361 | I think you don't, but listen to, | 我想你不知道,但听着, |
| 1362 | he's gonna tell you everything you need to know | 他会告诉你所有你需要知道的 |
| 1363 | about storytelling in 47 seconds. | 47秒后讲故事 |
| 1364 | You ready? | 你准备好了吗? |
| 1365 | Good compelling protagonist. | 不错的主角。 |
| 1366 | So compelling protagonist, | 如此有说服力的主角, |
| 1367 | what we said, an engaging main character. | 我们所说的, 一个参与的主角。 |
| 1368 | Obstacle for him to overcome. | 为他克服障碍. |
| 1369 | Little story brewing there, working on. | 小故事在那里酝酿,工作。 |
| 1370 | Working on that for quite some time. | 研究了一段时间 |
| 1371 | Yeah, talking about that three years ago. | 是啊,谈论三年前。 |
| 1372 | Been working on that for a long time. | 已经做了很长时间了 |
| 1373 | That's a little narrative beginning, middle, and end. | 这是一个小叙事开始,中间,和结束。 |
| 1374 | So he's defining everything | 所以他在定义一切 |
| 1375 | that Hollywood has been doing for the past 100 years. | 好莱坞在过去100年里一直在做。 |
| 1376 | Beginning, middle, end. | 开始,中间,结束。 |
| 1377 | Some friends become enemies, some enemies become friends. | 有些朋友成为敌人,有些敌人成为朋友. |
| 1378 | Friends become enemies, enemies become friends. | 朋友成为敌人,敌人成为朋友. |
| 1379 | That's reversal. | 这是逆转。 |
| 1380 | That's unexpected surprises. | 这是意外的惊喜。 |
| 1381 | At the end, your main character | 最后,你的主要角色是: 爱丽丝 |
| 1382 | is richer for the experience, yeah? | 经验丰富吗? |
| 1383 | That's character change. | 这就是角色变化。 |
| 1384 | Main character is richer for the experience. | 主角对经验更丰富. |
| 1385 | Yeah, yeah, you got that there. | 是啊,是啊,你得到了这一点。 |
| 1386 | Now, you deserve some time off. | 现在,你应该休息一段时间 |
| 1387 | And so, the thing I love best about it, | 所以,我最喜欢的东西, |
| 1388 | he's making fun of the dog, | 他在取笑那条狗 |
| 1389 | because the dog's been talking about writing for years | 因为狗已经谈论写作多年了 |
| 1390 | and never writes anything. | 从来不写任何东西。 |
| 1391 | So he's trying to give them the secret to writing. | 所以他试图给他们写作的秘密。 |
| 1392 | So this is interesting now. | 所以,这是有趣的了。 |
| 1393 | I'm getting to part three. | 我要讲到第三部分 |
| 1394 | And these are the questions. | 这就是问题所在。 |
| 1395 | These questions didn't come out of nowhere. | 这些问题不是从哪冒出来的. |
| 1396 | For 10 years, I was in film school. | 我在电影学校念了十年 |
| 1397 | Every semester, people would come in | 每学期都会有人进来 |
| 1398 | with an idea for a movie, okay? | 和电影的想法,好吗? |
| 1399 | And they'd pitch me the idea, | 他们会给我这个想法, |
| 1400 | and I realized when we developed the idea, | 我意识到当我们开发这个想法, |
| 1401 | I was asking the same questions | 我问同样的问题 |
| 1402 | over and over and over again. | 一次又一次 |
| 1403 | So I codified these into the seven most important questions | 所以我把这些编成七个最重要的问题 |
| 1404 | anyone should ask themselves | 任何人都应该问自己 |
| 1405 | when they're developing a story. | 当他们正在开发一个故事。 |
| 1406 | Question number one is all about main character. | 初问一切如来正等正觉. |
| 1407 | You have to have a main character. | 你必须有一个主角。 |
| 1408 | Who is your main character? | 谁是你的主角? |
| 1409 | Who is your single main character? | 你单身的主角是谁? |
| 1410 | They go, it's a love story. | 他们去,这是一个爱情故事。 |
| 1411 | They're two main characters. | 他们是两个主要角色. |
| 1412 | They're, well, I don't want that. | 他们,嗯,我不想。 |
| 1413 | I want one character. | 我想要一个角色。 |
| 1414 | One, the man or the woman. | 一,男或女. |
| 1415 | Who in the love story do we want to connect to? | 我们在爱情故事里想联系谁? |
| 1416 | One character, okay? | 一个角色,好吗? |
| 1417 | What do they want, need, or desire? | 他们想要什么,需要,还是渴望? |
| 1418 | We need to know what they want, okay? | 我们需要知道他们想要什么,好吗? |
| 1419 | And they must have both an inner emotional need | 他们肯定有内在的情感需要 |
| 1420 | and concrete physical goal. | 和具体的物理目标。 |
| 1421 | So let's take action movies. | 我们来拍电影吧 |
| 1422 | It's a good way to visualize this. | 观此妙法. |
| 1423 | In the good action movies, okay, | 在优秀的动作电影中,好吧, |
| 1424 | the main character wants to, | 主角想要的, , |
| 1425 | so take Die Hard, one of my favorite action, | 因此,采取Die Hard, 我最喜欢的动作之一, |
| 1426 | old Hollywood action movies. | 好莱坞老动作电影. |
| 1427 | He wants to stop these terrorists | 他想阻止这些恐怖分子 |
| 1428 | from blowing up the skyscraper. | 从炸毁摩天大楼。 |
| 1429 | But what's the key? | 但钥匙是什么? |
| 1430 | His wife is in the building, | 他老婆在楼里 |
| 1431 | and if they blow up the skyscraper, | 如果他们炸毁了摩天大楼, |
| 1432 | he'll lose his wife. | 他会失去他的妻子。 |
| 1433 | So he's got an inner need and both an outer need | 所以他有内需和外需 |
| 1434 | to stop them from blowing up the building, | 为了阻止他们炸掉大楼, |
| 1435 | but to stop them from also killing his wife, okay? | 但是要阻止他们 也杀死他的妻子,好吗? |
| 1436 | So there's inner and outer, | 所以有内有外 |
| 1437 | and then there's antagonist. | 然后就有对立者。 |
| 1438 | So if you watch my gold radiance commercial, | 所以如果你看我的金光广告 |
| 1439 | you have the lovers, | 你有爱人, |
| 1440 | and the lovers have like a second of happiness, | 和情人们一样幸福, |
| 1441 | and then people are trying to steal their gold. | 然后人们试图偷他们的黄金。 |
| 1442 | So instantly we have to have problems, | 所以,我们马上有问题, |
| 1443 | stories need problems, okay? | 故事需要麻烦,好吗? |
| 1444 | And then you get the last of the questions. | 然后你得到最后一个问题。 |
| 1445 | How do they achieve their goal? | 他们如何实现目标? |
| 1446 | And this is the important part in an unexpected, | 这是出乎意料的重要部分 |
| 1447 | interesting and unusual way. | 有趣和不寻常的方式。 |
| 1448 | People can't achieve their goals easily. | 人们不能轻易实现他们的目标. |
| 1449 | The number one note I put on my students' work | 我写给学生的第一字条 |
| 1450 | is two words, too easy, too easy. | 是两个词,太容易,太容易。 |
| 1451 | Can't be easy for them to achieve their goal, okay? | 他们不能轻易实现他们的目标,好吗? |
| 1452 | And then theme, what are you trying to say? | 然后主题,你想说什么? |
| 1453 | In my gold radiance film, you might've liked it, | 在我的金光片里,你可能喜欢它 |
| 1454 | you might've not liked the bottles, | 你可能不喜欢那些瓶子 |
| 1455 | but eternal love was everywhere. | 但永恒的爱随处可见 |
| 1456 | Eternal love drove that story. | 永恒的爱驱使着这个故事。 |
| 1457 | What are you trying to say? | 你想说什么? |
| 1458 | In that film, we're trying to say | 在这部电影里 我们想说的是 |
| 1459 | that love goes beyond death. | 爱超越死亡 |
| 1460 | Love lasts forever, and if you use this product, | 爱是永恒的 如果你用这个产品 |
| 1461 | your skin will last forever, okay? | 你的皮肤会永远存在,好吗? |
| 1462 | That's what we're going for, you know? | 这就是我们要去,你知道吗? |
| 1463 | Whether you buy it or not, you know, | 不管你买不买,你知道, |
| 1464 | whether you buy the product or not, that's up to you. | 无论你是否购买产品, 这取决于你。 |
| 1465 | How do you tell this story? | 你怎么讲这个故事? |
| 1466 | That's how I made my living for 40 years. | 我40年来就是这么谋生的 |
| 1467 | It's very hard to do this, | 很难做到这一点, |
| 1468 | so you have to do many, many, many drafts, | 所以,你必须做很多, 很多,很多草案, |
| 1469 | and most people are too hard on themselves. | 大多数人对自己太苛刻了 |
| 1470 | They try to do something good in one or two drafts, | 他们试图做一些好事 在一两个草稿, |
| 1471 | and then they get frustrated when I give them notes | 然后他们就会很沮丧 当我给他们的笔记 |
| 1472 | and say it's not ready yet. | 并说它还没有准备好。 |
| 1473 | You have to do the story you wrote, | 你必须做你写的故事, |
| 1474 | you have to rewrite and rewrite and rewrite. | 您必须重写、重写和重写。 |
| 1475 | It's hard, takes a long time, | 很难,需要很长时间 |
| 1476 | and that's why people hire me. | 这就是为什么人们雇用我。 |
| 1477 | That's why people go to writing classes. | 故人去书写课. |
| 1478 | We're going to try to create some writing class tomorrow, | 我们明天要创造一些写作课 |
| 1479 | and then beyond, I want to work with writing students | 之后,我想和学生一起写作 |
| 1480 | in China, I'm gonna be on Red Note, | 在中国,我会在红色笔记, |
| 1481 | and we'll create classes and follow me, | 我们会创造课程 跟着我 |
| 1482 | and you can work with me online, | 你可以在网上和我合作 |
| 1483 | even if I'm back in America. | 即使我回到美国。 |
| 1484 | If this is of interest to you | 如果你有兴趣的话 |
| 1485 | and you want to grow as a storyteller, | 你想成为一个讲故事的人, |
| 1486 | please reach out to me and we will make that happen. | 请联系我,我们会做到这一点。 |
| 1487 | That is question number six. | 这是第六个问题。 |
| 1488 | How will you tell your story? | 你怎么说故事? |
| 1489 | And then hopefully there is some character change | 但愿有改变 |
| 1490 | over the course of the story. | 在故事过程中 |
| 1491 | So if you were in my class, | 所以,如果你是我的班级, |
| 1492 | the next step is something called a scenogram. | 下一个步骤是 一种叫外观。 |
| 1493 | That's a map of the story, | 这是故事的地图, |
| 1494 | all the elements in a single page, okay? | 一页里的所有元素,好吗? |
| 1495 | And then in my work in film school, | 然后在我的电影学校工作 |
| 1496 | we always outlined everything. | 我们总是概括一切 |
| 1497 | You're not allowed to do a script | 不准你做剧本 |
| 1498 | until you do an outline first. | 直到你先做一个大纲。 |
| 1499 | Outline the story first, outline, outline, outline, okay? | 先提纲 提纲 提纲 提纲 好吗? |
| 1500 | And then you go beyond the first draft with many drafts. | 然后用很多草案来超越初稿. |
| 1501 | I love this. | 我喜欢这个 |
| 1502 | This is the entire story visually in one image. | 这是整个故事的视觉 一个图像。 |
| 1503 | So backstory, where did it all start? | 背面的故事,从哪里开始的? |
| 1504 | What happened before the story started? | 故事开始前发生了什么? |
| 1505 | Who's my hero? | 谁是我的英雄? |
| 1506 | What's at stake? | 关乎什么? |
| 1507 | People have to care. | 众生得大意. |
| 1508 | They care because if he doesn't | 他们在乎是因为如果他不关心 |
| 1509 | or she doesn't achieve their goals, | 或者她不能达到他们的目标, |
| 1510 | what will happen? | 会发生什么事? |
| 1511 | The ghost seed project, Hail Mary. | 鬼种项目万福玛利亚. |
| 1512 | If Ryan Gosling doesn't figure out how to do this, | 如果瑞安·戈斯林不知道该怎么做 |
| 1513 | the world will blow up or cease to exist. | 世界会爆炸或不复存在 |
| 1514 | He's got 10 years to save the world. | 复有十力救世间. |
| 1515 | That's the stakes. | 这就是赌注。 |
| 1516 | The disruption is there's this astrophage | 干扰者是天体辐射 |
| 1517 | that's eating the sun, okay? | 这是吃太阳,好吗? |
| 1518 | I'm sorry, if you go like this, | 对不起 如果你这样走 |
| 1519 | I'm gonna ruin the movie for you. | 我要毁了你的电影。 |
| 1520 | Antagonist is a little microscopic being. | 对抗者是个微小人物 |
| 1521 | It's not scary at first until we realize | 刚开始我们才意识到这很可怕 |
| 1522 | it's eating the sun. | 它在吃太阳。 |
| 1523 | What do we need as human beings? | 作为人类我们需要什么? |
| 1524 | We need the sun, okay? | 我们需要太阳,好吗? |
| 1525 | Destroying the world. | 摧伏众生. |
| 1526 | Mentor, his mentor turns out to be a rock, okay? | 导师,他的导师 原来是一个石头,好吗? |
| 1527 | It's a story about a boy and a rock | 这是一个男孩和石头的故事 |
| 1528 | who love each other very much, okay? | 谁很爱对方,好吗? |
| 1529 | He goes on a journey together with the rock. | 他和石头一起旅行 |
| 1530 | They achieve, okay, they do achieve victory | 他们实现了,好吧,他们确实实现了胜利 |
| 1531 | and not in a way, sorry, I'm ruining, | 而不是在某种意义上,对不起, 我毁了, |
| 1532 | spoiler alert, I'm ruining the movie. | 破坏者警报, 我毁了电影。 |
| 1533 | What's the moral? | 何等为道德. |
| 1534 | The moral is sacrifice, very Chinese theme, | 道德就是牺牲,中国主题 |
| 1535 | great theme, self-sacrifice. | 伟大的主题,自我牺牲。 |
| 1536 | The only way he can save the earth | 只有这样他才能拯救地球 |
| 1537 | is by never returning to the earth. | 永远不要回到地球 |
| 1538 | That's the greatest sacrifice he can make, okay? | 这是他能做出的最大牺牲,好吗? |
| 1539 | And the rituals are encoded in the story itself. | 而仪式则在故事本身中编码. |
| 1540 | So I just ruined that movie for you, but maybe not. | 所以我为你毁了那部电影 但也许不是 |
| 1541 | Okay, so let's watch visual storytelling. | 好吧,让我们看视觉故事。 |
| 1542 | One of my favorite films is Ratatouille. | 我最喜欢的电影之一是拉塔图耶 |
| 1543 | If you like Ratatouille, eating it or watching it, | 如果你喜欢拉图伊,吃它或看它, |
| 1544 | this is my favorite moment in this film. | 这是我在这部电影中最喜欢的时刻. |
| 1545 | It's very short and very powerful. | 它非常短而且非常强大。 |
| 1546 | Let me set up the context. | 让我来设定背景。 |
| 1547 | France's greatest chef happens to be a rat, okay? | 法国最伟大的厨师碰巧是一只老鼠,好吗? |
| 1548 | And the key to being a successful chef | 成为厨师的关键 |
| 1549 | is having what a critic give you Michelin stars, | 有评论家给你米其林的星星 |
| 1550 | having the harshest critic in the country | 国内最严厉的批评者 |
| 1551 | has to approve your work, | 必须批准你的工作 |
| 1552 | whether you're a student and that you need it. | 无论你是一个学生,你需要它。 |
| 1553 | We all face critics, and now Ratatouille | 我们都面对批评,现在拉塔图伊 |
| 1554 | has made his greatest meal for his greatest enemy. | 为他最大的敌人 做了他最伟大的晚餐 |
| 1555 | And we watch this story take place in front of us here. | 我们看着这个故事发生在我们面前。 |
| 1556 | So this is the enemy, the critic, | 所以这是敌人 评论家 |
| 1557 | the most powerful man in France in the food world. | 是法国食物界最强大的人 |
| 1558 | So if you are a critic, do you have a sword? | 如果你是评论家,你有剑吗? |
| 1559 | No. | 没有 |
| 1560 | What is your sword? | 你的剑是什么? |
| 1561 | It is your pen. | 这是你的笔。 |
| 1562 | The pen, and we know this pen, is mightier than the sword. | 笔,我们知道这支笔, 比剑更强大。 |
| 1563 | So the critic arms himself with his weapon. | 于是批评者用武器武装自己. |
| 1564 | He's going to destroy another chef right now. | 他现在要毁了另一个厨师 |
| 1565 | He gets ready. | 他准备好了。 |
| 1566 | We see a reaction. | 我们看到一个反应。 |
| 1567 | Oh, my God. | 须菩提. |
| 1568 | What's he going to think? | 他会怎么想? |
| 1569 | Puts it in his mouth. | 放入其口内. |
| 1570 | Close shot. | 近镜头。 |
| 1571 | Did you get it all? | 你都拿到了吗? |
| 1572 | Look at how much information. | 看看有多少资料 |
| 1573 | What is here? | 这是什么? |
| 1574 | Can you see the wheel? | 你能看见轮子吗? |
| 1575 | What's wrong with the wheel? | 转轮何妨. |
| 1576 | Can you see it? | 你能看到吗? |
| 1577 | Let me go back. | 让我回去。 |
| 1578 | You got to watch this. | 你得看看这个。 |
| 1579 | Look at his knee. | 看他的膝盖。 |
| 1580 | His knee is bloody. | 他的膝盖是血腥的。 |
| 1581 | This is good storytelling. | 这是很好的讲故事。 |
| 1582 | It's done so, so simply and so beautifully. | 如此简单而美丽 |
| 1583 | They go into his eyes. | 他们进入他的眼睛。 |
| 1584 | Watch it again. | 复观其身. |
| 1585 | Takes a bite. | 吃一顿 |
| 1586 | One bite. | 咬一口 咬一口 |
| 1587 | Into his eyes. | 进其眼. |
| 1588 | Same boy. | 同样的男孩。 |
| 1589 | Now, you see the wheel? | 你看到轮子了吗? |
| 1590 | Did you catch it? | 你抓住了吗? |
| 1591 | The wheel is bent, and his knee is bloody. | 车轮弯曲,膝盖流血。 |
| 1592 | So it's a whole story in less than a second. | 於是于一时不到一刹那即为全说. |
| 1593 | A whole story. | 整个故事 |
| 1594 | Bent wheel. | 弯轮. |
| 1595 | Bloodied knee. | 血伤膝盖. |
| 1596 | Look at how sad he is. | 看他多伤心 |
| 1597 | He goes home. | 他回家了,他回来了。 |
| 1598 | This is the critic as a young boy. | 这是评论家 作为一个小男孩。 |
| 1599 | And what does his mother serve him? | 他的母亲为他服务什么? |
| 1600 | Talk about change, sadness, happiness. | 谈论变化、悲伤、幸福 |
| 1601 | And what happens when you are disarmed? | 你被解除武装后会怎样? |
| 1602 | You lose your weapon. | 你失去了你的武器。 |
| 1603 | He falls to the burnout, and for the first time in his life, | 他跌倒在燃烧中, 在他的一生中第一次, |
| 1604 | he tastes food like his childhood mother did. | 他像他母亲一样品尝食物 |
| 1605 | And the main character has achieved victory. | 而主角也取得了胜利. |
| 1606 | He has won the critic over in one bite. | 他一咬就赢了评论家 |
| 1607 | And all that information was given without a single word of English | 所有的信息都是没有英语单词的 |
| 1608 | or Chinese or any language. | 或中文或任何语言。 |
| 1609 | It was given visually, beautifully. | 它被赋予视觉,美丽的。 |
| 1610 | And that's what great animators can do. | 这就是伟大的动画师可以做的。 |
| 1611 | They can do things visually. | 他们可以直视事物。 |
| 1612 | Because there's no actors helping them. | 因为没有演员帮他们 |
| 1613 | They have to define every image, every facial gesture. | 他们必须定义每个图像,每个面部姿态. |
| 1614 | Everything is defined. | 万物皆有定义. |
| 1615 | The camera angle. | 镜头角度 |
| 1616 | So in a way, they were the first prompt engineers that we have in AI now. | 从某种意义上说,他们是我们在AI中最早的即时工程师。 |
| 1617 | Animators had to figure it all out for themselves. | 动画师们必须自己想办法 |
| 1618 | So what are we looking at? | 我们看什么? |
| 1619 | We're looking at act structure. | 我们正在研究行为结构。 |
| 1620 | Let's watch some movies, and then we'll take some questions. | 让我们看一些电影, 然后我们采取一些问题。 |
| 1621 | We have a few minutes left. | 我们还有几分钟 |
| 1622 | Is this what I think it is? | 这就是我想的吗? |
| 1623 | Yes. | 对 |
| 1624 | OK. | 摆 |
| 1625 | I love this film. | 我喜欢这部电影。 |
| 1626 | I'm going to show you two more films, and then I'll take questions. | 我再给你们看两部电影,然后我再提问 |
| 1627 | And I'll stay here while we get it kicked out at 9.30. | 9点30分被赶出去时 我会留在这里的 |
| 1628 | I love this movie. | 我喜欢这部电影。 |
| 1629 | I want you to watch this short film and try to analyze. | 我要你看这部短片 试着分析一下 |
| 1630 | So we're in act one. | 所以我们是第一幕。 |
| 1631 | Look at the first shot. | 看第一枪 |
| 1632 | There's a little girl, and she's listening to beautiful music. | 有一个小女孩,她正在听美丽的音乐。 |
| 1633 | It's Thai with English subtitles. | 带有英文字幕的泰语. |
| 1634 | So now what do we have here? | 那么,现在我们这里有什么? |
| 1635 | Look at this image. | 看这个画面 |
| 1636 | So we see her listening to music. | 所以我们看到她听音乐。 |
| 1637 | So we're writing a story in our heads. | 所以我们在写一个故事 |
| 1638 | Good storytelling occurs in your audience's mind. | 在你的观众心目中 发生了讲故事的好事 |
| 1639 | You have to understand how people think and convey information. | 你必须了解人们是如何思考和传递信息的. |
| 1640 | Besides her school bag, she has a fiddle case. | 除了她的书包,她还有一个小提琴箱。 |
| 1641 | So what happened? | 发生什么事了? |
| 1642 | You think it's still that little girl? | 你觉得还是那个小女孩吗? |
| 1643 | They're tricking you. | 他们在骗你 |
| 1644 | We think she's seven years old, and she went out and bought a violin. | 我们认为她已经七岁了 她出去买了一把小提琴 |
| 1645 | Now the next shot is going to reveal it's seven years later. | 现在下一个镜头会揭示它已经过了七年了. |
| 1646 | Look at how they tricked us into thinking it's the same. | 看看他们如何骗我们 认为它是相同的。 |
| 1647 | So now we see she's much older. | 所以现在我们看到她年纪大得多了 |
| 1648 | She spent the last seven years studying the violin. | 她花了七年时间研究小提琴. |
| 1649 | And they did that in three seconds with two shots. | 他们用两枪在三秒钟内就做到了。 |
| 1650 | That's good storytelling. | 说得真好 |
| 1651 | And instantly we include the disturbance, | 我们马上把扰动包括进去 |
| 1652 | the antagonist, the enemy. | 对手,敌人。 |
| 1653 | We are only defined by our enemies. | 我们只是被敌人定义了 |
| 1654 | Everyone is happy and likes each other. | 一切众生皆欢喜喜喜乐. |
| 1655 | There is no story, basically. | 基本上没有故事 |
| 1656 | We need conflict. | 我们需要冲突。 |
| 1657 | And this girl is mean and a bully. | 而这个女孩是卑鄙和欺负。 |
| 1658 | So they're saying, do you still play the violin? | 他们说,你还弹小提琴吗? |
| 1659 | And she goes, why am I different from others? | 她说,为什么我和别人不一样? |
| 1660 | Why do you have to be like others? | 你为什么非得跟别人一样? |
| 1661 | Music is a visible thing. | 音乐是一种可见的东西。 |
| 1662 | He gave her her first violin. | 他给了她第一把小提琴 |
| 1663 | And now we're going into act three, the contest. | 现在我们开始第三幕比赛 |
| 1664 | And they have no time. | 他们没时间了 |
| 1665 | So they literally just take a shot of the poster | 他们只是拍了张海报 |
| 1666 | telling us there is a classical music contest coming up. | 告诉我们有古典音乐比赛即将到来。 |
| 1667 | Okay. | 摆 |
| 1668 | Now, did I mess up? | 现在,我搞砸了吗? |
| 1669 | Sorry, I promise I get you right where we are. | 对不起,我答应你,我们正处。 |
| 1670 | So I'm going to argue that in one shot, | 所以我要争辩一下 |
| 1671 | when she kind of smirks and she looks a little bit at the camera, | 当她笑着看镜头时, |
| 1672 | she's telling us that she hired these bully boys | 她告诉我们她雇了这些恶棍 |
| 1673 | to beat this girl and break her violin. | 打败这个女孩 打破她的小提琴。 |
| 1674 | And that's done just with the juxtaposition of two images. | 这仅仅是两个图像的并列。 |
| 1675 | And when they break the violin, she smiles a little bit. | 当他们把小提琴弄断时,她会微笑一点. |
| 1676 | And that tells us she has hired them to do this. | 这告诉我们她雇了他们来做这件事 |
| 1677 | That's what she wanted so she can win this contest. | 这是她想要的 这样她就能赢得这场比赛 |
| 1678 | She stands up. | 她站起来了。 |
| 1679 | We think she has won. | 我们认为她赢了。 |
| 1680 | And this is the end, now the climax. | 这是结束,现在是高潮。 |
| 1681 | The soul of the art hero is embodied in the musical instrument | 艺术英雄的灵魂体现在乐器中 |
| 1682 | and it has been patched together with scotch tape. | 和苏格兰磁带合在一起 |
| 1683 | But that is, I would argue, the most powerful image in the film. | 但是,我认为,这是电影中最强大的形象。 |
| 1684 | It is showing us that she has pulled herself together in the face of evil | 告诉我们她面对邪恶 凝聚在一起 |
| 1685 | and is moving forward to compete in the contest. | 并且正向前发展 竞争。 |
| 1686 | I love this moment because it's so silent. | 我喜欢这个时刻,因为它是如此沉默。 |
| 1687 | So remember I keep using the word juxtaposition. | 所以记得我一直用"和"这个词 |
| 1688 | That's the pressure of two moments pushed against each other. | 这就是两瞬间互相推压的压力. |
| 1689 | So you have this beautiful, loud music | 所以,你有一个美丽的,响亮的音乐 |
| 1690 | and then suddenly you have a moment of complete silence | 突然间,你完全沉默 |
| 1691 | and we don't know what's going to happen. | 我们不知道会发生什么 |
| 1692 | It's my favorite moment. | 这是我最喜欢的时刻。 |
| 1693 | Look at that shot. | 看看那个镜头 |
| 1694 | Is she going to win the contest? | 她会赢得比赛吗? |
| 1695 | Is she going to lose? | 她会输吗? |
| 1696 | Did he like it? | 他喜欢吗? |
| 1697 | Does he hate it? | 他讨厌吗? |
| 1698 | What's going to happen? | 怎么办? |
| 1699 | We're waiting. | 我们等着呢 |
| 1700 | We're on edge. | 我们很紧张 |
| 1701 | We're leaning forward. | 我们向前进。 |
| 1702 | We're completely engaged. | 我们完全订婚了 |
| 1703 | Then you need the shot of the loser in red. | 那你需要用红色拍摄失败者 |
| 1704 | She has lost. | 她输了 |
| 1705 | Look at how sad she is. | 看看她有多伤心 |
| 1706 | Evil has been overcome by good. | 恶已被善所克服. |
| 1707 | We are at the end of our story. | 我们到了故事的尽头。 |
| 1708 | And we realized this was paid for by Pantene. | 我们意识到这笔钱是Pantene付的 |
| 1709 | And so, sorry, I got you again. | 所以,对不起,我又找到你了。 |
| 1710 | Twice in one night, okay? | 一晚两次 好吗? |
| 1711 | And you can shine. | 而能发光. |
| 1712 | I talked about internal and external. | 我说的是内外 |
| 1713 | What we had to do in our hair commercials is show | 我们在发型广告里必须做的是表演 |
| 1714 | if your hair shines, your inner soul can also. | 如果你的头发闪亮, 你的内心灵魂也可以。 |
| 1715 | Your hair represents your soul. | 你的头发代表你的灵魂 |
| 1716 | If your hair is shiny, you must have a beautiful inner soul | 如果你的头发闪亮,你必须有美丽的内心灵魂 |
| 1717 | that shines out in the world. | 闪耀在世界上。 |
| 1718 | So there's one little film I want to share with you | 我想跟你分享一部电影 |
| 1719 | and we'll call it. | 我们会叫它。 |
| 1720 | I was very, very fortunate to teach a young man | 我非常,非常幸运 教一个年轻人 |
| 1721 | whose parents owned a tiny Chinese restaurant | 他的父母拥有一家小小的中国餐馆 |
| 1722 | in San Francisco. | 在旧金山。 |
| 1723 | He was 18 years old. | 时年十八岁. |
| 1724 | He was in my class. | 他在我的班级。 |
| 1725 | And the moment he came into class, | 他上课的那一刻 |
| 1726 | I could tell he was very special. | 我看得出来他很特别 |
| 1727 | His name was John M. Chu. | 他叫朱约翰 |
| 1728 | He had never made a movie before, | 他以前从没拍过电影 |
| 1729 | but he came into class. | 但他上课了 |
| 1730 | And the assignment was to tell a story | 任务就是讲故事 |
| 1731 | in five minutes or less with $500 and a digital camera. | 五分钟内用500美元和一台数码相机 |
| 1732 | Right at the beginning of digital technology. | 就在数字技术的开始 |
| 1733 | And this story was the first movie he made at USC Film School. | 这个故事是他在USC电影学院拍摄的第一部电影. |
| 1734 | I did not work with him on this story. | 我没有和他合作这个故事。 |
| 1735 | He was in my class the next semester | 下个学期他是我的班级 |
| 1736 | and I worked with him on a story about dance. | 我和他一起研究了一个关于舞蹈的故事 |
| 1737 | And he loved dance from that moment. | 从那时起他就喜欢跳舞 |
| 1738 | I could tell he was special though when I saw this film. | 我看得出来他很特别 当我看到这部电影时 |
| 1739 | So this film you can find on YouTube or anywhere else. | 所以,这部电影你可以在YouTube或其他任何地方找到。 |
| 1740 | This is a film about... | 这是一部关于... |
| 1741 | It uses sound very powerfully. | 它使用的声音非常强大。 |
| 1742 | I want you to look at the sound use. | 我要你看看声音的用法 |
| 1743 | So there was only one rule at USC Film School in the first year | 因此,在USC电影学校第一年只有一个规则 |
| 1744 | is no dialogue. | 不是对话。 |
| 1745 | No dialogue. | 没有对话。 |
| 1746 | You're not allowed to use dialogue. | 你不能使用对话框。 |
| 1747 | Why would they do that? | 他们为什么要这么做? |
| 1748 | Anybody? | 有人吗? |
| 1749 | What do you think? | 你觉得呢? |
| 1750 | Film is a visual medium. | 电影是视觉媒介. |
| 1751 | You have to learn how to tell stories with images pushed in order. | 你必须学会如何用图像按部就班地讲述故事。 |
| 1752 | Film comes out of a silent movie heritage. | 电影出自无声电影遗产. |
| 1753 | Tell this story with the image. | 用影像来讲述这个故事. |
| 1754 | You see a bloody knee. | 你看到一个血淋淋的膝盖。 |
| 1755 | You see a broken wheel. | 你看见一个破车轮。 |
| 1756 | You know the story of a mother serving rat tattoo | 你知道一个母亲为老鼠纹身的故事 |
| 1757 | to heal the soul of her child. | 治愈她孩子的灵魂 |
| 1758 | Okay? | 好吗? |
| 1759 | So there's not a line of dialogue in this film. | 因此本片没有一行对话. |
| 1760 | It still went on to win all the awards | 仍然能赢得所有的奖项 |
| 1761 | at all the student film festivals across the country | 在所有的学生电影节 全国 |
| 1762 | and went on to Steven Spielberg's desk | 然后去了史蒂芬·斯皮尔伯格的办公桌 |
| 1763 | and he had a huge career as a result of this movie | 这部电影给他带来了巨大的事业 |
| 1764 | and he did it for $500 many, many years ago | 他做了500美元 很多年前 |
| 1765 | with very few actors and it takes place in a single set essentially | 很少有演员, 并且它发生在一个组合 基本上 |
| 1766 | and I'll share it with you now. | 我现在就跟你分享 |
| 1767 | So the ending of the film is exactly the same as the beginning. | 因此影片的结局与开头完全相同. |
| 1768 | The main character sits down, drinks the water | 主角坐下来喝水 |
| 1769 | that they purchased in the store | 在店里买的 |
| 1770 | and then does something never do in film. | 然后在电影里做从未做过的事 |
| 1771 | The main character looks directly into the camera | 主角直接看镜头 |
| 1772 | and I talked to John about this. | 我跟约翰谈过了 |
| 1773 | This is not a mistake. | 这不是一个错误。 |
| 1774 | This is not a random moment he told the actor. | 这不是一个随机的时刻 他告诉演员。 |
| 1775 | It's not something that AI would ever do. | AI不会这么做的 |
| 1776 | Told the actor look directly into the camera | 告诉演员直接看镜头 |
| 1777 | for the final shot of my film and why did he do that? | 他为什么要这么做? |
| 1778 | So we remember in any film class | 所以我们在任何电影课上都记得 |
| 1779 | the first thing about directing is | 导演的第一件事是 |
| 1780 | tell actors never to look into the camera. | 告诉演员永远不要看镜头。 |
| 1781 | It's the number one rule and then he broke it. | 这是头号规则 然后他打破了它。 |
| 1782 | The final shot, don't look into the camera | 最后的镜头,不要看镜头 |
| 1783 | and he says, no, I want you to stare as hard | 他说,不,我希望你 凝视得像 |
| 1784 | and as strongly as you can directly into the camera | 并尽可能强烈,你可以直接进入镜头 |
| 1785 | to challenge every person who ever watches this movie | 挑战所有看过这部电影的人 |
| 1786 | anywhere in the world, do you judge people by the way they look? | 在世界上任何地方, 你判断人的方式 他们看起来? |
| 1787 | So this goes right back to Susan Boyle | 所以,这直接回到苏珊・博伊尔 |
| 1788 | at the beginning of this lecture. | 开始讲课。 |
| 1789 | You cannot judge another human being | 你不能评判别人 |
| 1790 | by that's the basis of all prejudice | 这是所有偏见的基础 |
| 1791 | and as an 18-year-old Chinese American film school student | 作为18岁的美国华裔电影学生 |
| 1792 | he created this work of art challenging all human beings | 他创作了这部艺术作品 挑战全人类 |
| 1793 | to reconsider the way they look at each other | 重新考虑他们彼此的眼神 |
| 1794 | and it's a very brilliant work for such a young artist | 对于一个年轻艺术家来说,这是非常出色的作品 |
| 1795 | and I've been sharing it for many years. | 多年来我一直分享它。 |
| 1796 | That's Silent Beasts. | 那是沉默的野兽。 |
| 1797 | And this is my final slide. | 这是我的最后一张幻灯片。 |
| 1798 | I'm about to close and I always end with this slide | 我就要关门了 总是用这张幻灯片结束 |
| 1799 | and I love it. | 我喜欢它。 |
| 1800 | So in America we have many Native American tribes | 在美国,我们有很多美洲原住民部落 |
| 1801 | that existed for a long time before America became America. | 在美国成为美国之前 已经存在很久了 |
| 1802 | It's only 250 years old. | 年仅250岁. |
| 1803 | China's a lot, lot older. | 中国人很多,年纪大很多. |
| 1804 | These people were living there. | 这些人住在那里。 |
| 1805 | This nation was called the Cree people. | 这个民族被称为克里人. |
| 1806 | The Cree people did not have books. | 克里人没有书 |
| 1807 | I love books. | 我爱书 |
| 1808 | These books, do you have some for sale? | 这些书,你有卖的吗? |
| 1809 | If people want to buy, I have a book that's been translated | 如果人们想买,我有本书已经翻译 |
| 1810 | into Chinese which is The 40 Life Lessons of My Life | 成为中国人,这就是我生命中的40个人生教训 |
| 1811 | and Ada will have copies if anyone wants a signed copy. | 如果有人想要一份签名副本 Ada会拿到副本 |
| 1812 | I'm happy to do that. | 我很高兴这样做。 |
| 1813 | These people did not have a book. | 这些人没有书。 |
| 1814 | These people had an oral tradition. | 这些人有口述传统. |
| 1815 | Their tribe did not revere politicians. | 他们的部落不尊重政客。 |
| 1816 | Their tribe did not revere warriors. | 他们的部落并不敬重战士 |
| 1817 | Their tribe revered, they looked up to the tribal storyteller | 他们的部落敬仰, 他们仰望部落的故事家 |
| 1818 | as the leader of the tribe. | 作为部落首领. |
| 1819 | The repository of the wisdom of the tribe was held in a storytelling | 部落智慧的宝库 保存在故事中 |
| 1820 | and of course I love that. | 当然我喜欢 |
| 1821 | The most powerful and important person in the tribe | 部落里最有权势的重要人物 |
| 1822 | was the person who knew all of the stories and every night | 是知道所有故事的人 每晚 |
| 1823 | people would gather around and he would tell stories. | 人们会聚在一起,他会讲故事。 |
| 1824 | The tribal storyteller said there are only four rules to live by. | 部落讲故事的人说只有四条规则可以生存. |
| 1825 | Four rules. | 四则. |
| 1826 | One, do one meaningful thing for someone else without them knowing it. | 第一,为别人做一件有意义的事情,而他们不知道。 |
| 1827 | That means you don't have to post it online. | 这意味着你不必在网上发布。 |
| 1828 | Practice anonymous service and generosity. | 实践匿名服务和慷慨. |
| 1829 | Be nice to people, essentially what they said. | 对人好一点,基本上他们说的话。 |
| 1830 | Rule two, try to teach one meaningful thing every day. | 规则二,尝试每天教一个有意义的东西。 |
| 1831 | Share your knowledge and wisdom freely with others to nurture learning. | 自由地与他人分享你的知识和智慧,以培养学习。 |
| 1832 | I hope I did that for you tonight. | 希望我今晚能为你这么做 |
| 1833 | Number three, learn one meaningful thing each day. | 第三,每天学一个有意义的东西。 |
| 1834 | Remain humble, curious and forever a student committed to grow | 保持谦卑,好奇,永远 一个学生致力于成长 |
| 1835 | and that's why it's wonderful to see young people here | 这就是为什么看到年轻人在这里是美妙的 |
| 1836 | but maybe even more wonderful to see people | 但也许更美妙 看到人 |
| 1837 | who are still learning and growing as students | 还在学习和成长 |
| 1838 | even though they might be a little bit older | 虽然他们可能年纪大一点 |
| 1839 | than some of the young people here. | 比这里的年轻人还年轻 |
| 1840 | And finally, respect all living things. | 最后尊重一切众生. |
| 1841 | Not respect some living things. | 不尊重一些活的东西。 |
| 1842 | Respect all living things. | 尊重一切众生. |
| 1843 | Honor the interconnected web of life and every action | 尊重相互关联的生活网和每一项行动 |
| 1844 | and let that guide your storytelling. | 让那个指引你的故事。 |
| 1845 | So I end with that. | 所以,我以这个结束。 |
| 1846 | This is me, Richard Crublin, | 这是我,理查德·克鲁布林 |
| 1847 | and I thank you for everything so much. | 我非常感谢你所做的一切。 |
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