我是在科幻小说的陪伴下长大的
I grew up on a steady diet of science fiction.
高中的时候 我每天要搭乘
In high school, I took a bus to school
一个小时的公交车往返学校
an hour each way every day.
漫长车程中 我总是沉浸在书本里
And I was always absorbed in a book,
那些科幻小说
science fiction book,
将我的思想带到其他的世界
which took my mind to other worlds,
以叙事的方式
and satisfied, in a narrative form,
满足了我当时强烈的好奇感
this insatiable sense of curiosity that I had.
除此之外 我的好奇心也展现在其他方面
And you know, that curiosity also manifested itself
每当我不需要上课的时候
in the fact that whenever I wasn't in school
我总会前往树林里
I was out in the woods,
远足和采集“标本”
hiking and taking "samples" --
青蛙呀 蛇呀 虫子呀 池水呀
frogs and snakes and bugs and pond water --
通通带回家中 放到显微镜下研究
and bringing it back, looking at it under the microscope.
我当时算得上是极品的科学狂人
You know, I was a real science geek.
但这一切都是为了尝试了解这个世界
But it was all about trying to understand the world,
了解可能的边界
understand the limits of possibility.
而我对科幻小说的喜爱
And my love of science fiction
也是与我周围的世界相呼应的
actually seemed mirrored in the world around me,
因为当时是60年代末期
because what was happening, this was in the late '60s,
人类开始登月
we were going to the moon,
开始潜入深海
we were exploring the deep oceans.
雅克.格斯特（法国电影摄影师）将他神奇的视觉特效
Jacques Cousteau was coming into our living rooms
带入我们的生活中 为我们呈现了
with his amazing specials that showed us
之前无法想象的动物
animals and places and a wondrous world
景观和一个美妙的世界
that we could never really have previously imagined.
这一切都似乎和科幻小说之间
So, that seemed to resonate
产生着共鸣
with the whole science fiction part of it.
与此同时 我也是名艺术家
And I was an artist.
我能绘能画
I could draw. I could paint.
我也发现因为当时没有电子游戏
And I found that because there weren't video games
特效电影的渗入以及现今传媒产业中
and this saturation of CG movies and all of this
大量的图像化
imagery in the media landscape,
我不得不在我的头脑中来创造这些图像
I had to create these images in my head.
相信大家小时候都和我一样
You know, we all did, as kids having to
在读书的时候 往往会在我们大脑中
read a book, and through the author's description,
把作者所描述的东西向电影一样播放
put something on the movie screen in our heads.
而我对此的回应则是描绘
And so, my response to this was to paint, to draw
外星生物 外星世界
alien creatures, alien worlds,
机器人 宇宙飞船 等等
robots, spaceships, all that stuff.
我躲在教科书后面涂鸦的行径
I was endlessly getting busted in math class
总是被数学老师给逮个正着
doodling behind the textbook.
正因此 我不得不为我的创造力
That was -- the creativity
寻求其他的宣泄途径
had to find its outlet somehow.
有趣的是 雅克.格斯特的影片令我惊喜地发现
And an interesting thing happened: The Jacques Cousteau shows
原来在这个地球上
actually got me very excited about the fact that there was
就存在着一个外星世界
an alien world right here on Earth.
我也许无法真的在有生之年
I might not really go to an alien world
乘坐宇宙飞船前往外星世界
on a spaceship someday --
这听起来太不着边际了
that seemed pretty darn unlikely.
但这个地球上确实存在着一个
But that was a world I could really go to,
我真的可以前往的世界——
right here on Earth, that was as rich and exotic
富饶而奇异
as anything that I had imagined
拥有着我通过书本所幻想的一切
from reading these books.
因此在我15岁的那一年 我决定成为一名
So, I decided I was going to become a scuba diver
潜水员
at the age of 15.
不过唯一的问题是 我当时
And the only problem with that was that I lived
住在加拿大的一个小村庄里
in a little village in Canada,
最近的海也要600英里远
600 miles from the nearest ocean.
但我却没有因此而心灰意冷
But I didn't let that daunt me.
我反复纠缠我的老爸 直到他在
I pestered my father until he finally found
纽约水牛市为我找到了一个潜水训练班
a scuba class in Buffalo, New York,
它就在美加边界的另一侧
right across the border from where we live.
就这样 在水牛市刺骨的深冬
And I actually got certified
在基督教青年会的泳池内
in a pool at a YMCA in the dead of winter
我拿到了我的潜水证书
in Buffalo, New York.
但在随后的两年里
And I didn't see the ocean, a real ocean,
我却不曾亲眼看见过大海
for another two years,
直到我们搬到了加利福尼亚洲
until we moved to California.
在那之后
Since then, in the intervening
的40年里
40 years,
我在水下度过了大概3000个小时
I've spent about 3,000 hours underwater,
其中500个小时是在潜水器中度过的
and 500 hours of that was in submersibles.
我发现深海之中──
And I've learned that that deep-ocean environment,
即使是浅海之中──
and even the shallow oceans,
充满了令人惊奇的生命
are so rich with amazing life
远远超出了我们的想象
that really is beyond our imagination.
同我们人类狭隘的想象范围相比
Nature's imagination is so boundless
大自然的想象力
compared to our own
是无边无际的
meager human imagination.
直到今日 我潜水时所目睹的一切
I still, to this day, stand in absolute awe
仍令我感到无比惊奇
of what I see when I make these dives.
我对海洋的热爱
And my love affair with the ocean is ongoing,
始终如一 不曾改变
and just as strong as it ever was.
但当我长大成人 需要择业的时候
But when I chose a career as an adult,
我选择了电影制作
it was filmmaking.
在当时看来 这是将我
And that seemed to be the best way to reconcile
讲故事的渴求与创造图象的欲望
this urge I had to tell stories
合二为一的最好途径
with my urges to create images.
在我还是个孩子的时候 我常常画漫画
And I was, as a kid, constantly drawing comic books, and so on.
而电影制作正好将图象和故事结合在一起
So, filmmaking was the way to put pictures and stories
理所当然 水到渠成
together, and that made sense.
当然了 我讲的故事都是些科幻故事
And of course the stories that I chose to tell
《终结者》《异形》和《深渊》
were science fiction stories: "Terminator," "Aliens" and "The Abyss."
在《深渊》中 我将我对深海和潜水的喜爱
And with "The Abyss," I was putting together my love
与电影制作结合到了一起
of underwater and diving with filmmaking.
将两份热忱 合二为一
So, you know, merging the two passions.
而《深渊》也带来了另一种启迪
Something interesting came out of "The Abyss,"
为了更好的呈现
which was that to solve a specific narrative
影片的叙事模式
problem on that film,
创造出影片中的液体水生物
which was to create this kind of liquid water creature,
我们开始使用电脑动画技术
we actually embraced computer generated animation, CG.
电影业中的首个
And this resulted in the first soft-surface
电脑制作的软表面人物
character, CG animation
也因此而诞生
that was ever in a movie.
尽管那部电影票房不济
And even though the film didn't make any money --
刚好回本罢了
barely broke even, I should say --
我却因此而目睹了令人惊奇的一幕──
I witnessed something amazing, which is that the audience,
全球观众都被影片所呈现的魔法
the global audience, was mesmerized
深深吸引
by this apparent magic.
这就是阿瑟·克拉克定律──
You know, it's Arthur Clarke's law
先进的科技和魔法之间是难以区分的
that any sufficiently advanced technology is indistinguishable from magic.
而当时观众所目睹的正是这种魔力
They were seeing something magical.
这令我感到无比兴奋
And so that got me very excited.
我当时想到 “天呀 这项技术需要在电影艺术中
And I thought, "Wow, this is something that needs to be embraced
大范围推广 ”
into the cinematic art."
所以在我的下一部电影《终结者2》中
So, with "Terminator 2," which was my next film,
我们将这项技术推上了新的台阶
we took that much farther.
通过和“工业光魔”的合作
Working with ILM,
工业光魔 (ILM)电影特效公司
我们创造了影片中那个液体金属家伙
we created the liquid metal dude in that film.
而电影的成功与否将取决于这项技术能否奏效
The success hung in the balance on whether that effect would work.
结果它奏效了 我们再次创造了魔法
And it did, and we created magic again,
我们再次从观众那里得到了同样的回馈
and we had the same result with an audience --
不过那部电影的票房要稍微好一点
although we did make a little more money on that one.
综合这两次经历
So, drawing a line through those two dots
我们意识到
of experience
这将是一个全新的世界
came to, "This is going to be a whole new world,"
一个容许电影艺术者们施展想象力的
this was a whole new world of creativity
全新世界
for film artists.
所以我和我的好友Stan Winston
So, I started a company with Stan Winston,
成立了一家公司
my good friend Stan Winston,
Stan Winston是当时的知名化妆师和造型师
who is the premier make-up and creature designer
公司的名字就叫做"数码领域"（Digital Domain）
at that time, and it was called Digital Domain.
而公司的理念就是
And the concept of the company was
跳过光学打印机等等的
that we would leapfrog past
模拟过程
the analog processes of optical printers and so on,
直接转入数码制作
and we would go right to digital production.
事实上我们的确做到了这一点
And we actually did that
使得我们在一段时间内占据了先机
and it gave us a competitive advantage for a while.
但在90年代中叶 我们发现虽然公司的初衷
But we found ourselves lagging in the mid '90s
是在生物 人物设计方面有所建树
in the creature and character design stuff
但我们在这一方面却是落伍了
that we had actually founded the company to do.
因此我创作了这个《阿凡达》的作品
So, I wrote this piece called "Avatar,"
旨在将视觉效果
which was meant to absolutely push the envelope
和电脑特效
of visual effects,
推向极限
of CG effects, beyond,
利用电脑动画制造出
with realistic human emotive characters
具有真实人类情感的生物
generated in CG,
主要角色将由电脑制作
and the main characters would all be in CG,
整个场景将由电脑制作
and the world would be in CG.
但我却碰了一鼻子灰
And the envelope pushed back,
我们公司里的人告诉我说
and I was told by the folks at my company
我们在当时的技术条件下
that we weren't going to be able
是无法完成这样的特效的
to do this for a while.
所以我将这个想法放置一旁
So, I shelved it,
转而制作了一部关于大船沉入海底的电影
and I made this other movie about a big ship that sinks.
我当时跟电影公司说
You know, I went and pitched it to the studio
这部电影将会是船上的“罗密欧与朱丽叶”
as "'Romeo and Juliet' on a ship:
将会是一部史诗般的
"It's going to be this epic romance,
浪漫激情的电影
passionate film."
但私底下 我的真实动机
Secretly, what I wanted to do was
是去拜访一下泰坦尼克的残骸
I wanted to dive to the real wreck of "Titanic."
这才是我制作那部电影的原因
And that's why I made the movie.
我说的是事实
And that's the truth.
不过电影公司当时是不知情的
Now, the studio didn't know that.
我说服了他们 我说
But I convinced them. I said,
“我们将潜入船骸 实地取景
"We're going to dive to the wreck. We're going to film it for real.
作为影片的开场
We'll be using it in the opening of the film.
此事至关重要 极具噱头 ”
It will be really important. It will be a great marketing hook."
于是我说服了他们投资于一场冒险历程
And I talked them into funding an expedition.
听起来很疯狂 但这件事归根结底 依旧是关于
Sounds crazy. But this goes back to that theme
如果用你的想像力来创造一个现实
about your imagination creating a reality.
事实上 我们的确在六个月后创造了一个现实──
Because we actually created a reality where six months later,
我在北大西洋2.5英里水下
I find myself in a Russian submersible
身处一个俄罗斯潜水器中
two and a half miles down in the north Atlantic,
通过一个视口观望真正的泰坦尼克
looking at the real Titanic through a view port.
不是电影 不是高清 而是身临其境
Not a movie, not HD -- for real.
那次经历令我大为惊叹
Now, that blew my mind.
前期的准备工作是很繁琐的 我们需要搭建摄像机
And it took a lot of preparation, we had to build cameras
灯光等等
and lights and all kinds of things.
但真正让我震惊的是
But, it struck me how much
这些深海潜水活动
this dive, these deep dives,
就如宇宙探险一样
was like a space mission.
两者都是高科技产物
You know, where it was highly technical,
两者都需要缜密的部署
and it required enormous planning.
你踏进船舱 踏入这漆黑
You get in this capsule, you go down to this dark
险恶的环境
hostile environment
如果你无法依靠自己的力量返回的话
where there is no hope of rescue
你是没有任何被营救的可能的
if you can't get back by yourself.
我当时想到 “天呀 我就好像
And I thought like, "Wow. I'm like,
活在一个科幻电影里面一样
living in a science fiction movie.
太酷了！”
This is really cool."
正因此 深海探险成了我新的嗜好
And so, I really got bitten by the bug of deep-ocean exploration.
当然了 这归结于其中的好奇感 科学性
Of course, the curiosity, the science component of it --
它是万物合一 是探求未知
it was everything. It was adventure,
是好奇无边 是想象无限
it was curiosity, it was imagination.
是好莱坞无法给予我的难得经历
And it was an experience that Hollywood couldn't give me.
虽然我可以想象出一个生物
Because, you know, I could imagine a creature
然后利用电脑特效将它创造出来
and we could create a visual effect for it.
但我却无法想象出那天我透过潜水窗所看到的一切
But I couldn't imagine what I was seeing out that window.
在我们随后的探险过程中
As we did some of our subsequent expeditions,
我观测到过居住在热液喷口的生物
I was seeing creatures at hydrothermal vents
有时会看到我之前从来没有看过的东西
and sometimes things that I had never seen before,
有时会看到任何人之前都没有看过的东西
sometimes things that no one had seen before,
甚至是一些在我们当时目击并记录之前
that actually were not described by science
还没有被科学所描述的事物
at the time that we saw them and imaged them.
正因此 我对此是神魂颠倒
So, I was completely smitten by this,
不得不继续下去
and had to do more.
于是我做出了一个令人惊讶的决定
And so, I actually made a kind of curious decision.
在《泰坦尼克号》取得成功之后
After the success of "Titanic,"
我决定 “好吧 我在好莱坞制作电影的工作
I said, "OK, I'm going to park my day job
到这里就可以告一段落了
as a Hollywood movie maker,
在接下来的一段时间里 我要成为一名全职探险家 ”
and I'm going to go be a full-time explorer for a while."
因此 我们开始计划
And so, we started planning these
这些探险活动
expeditions.
我们前往俾斯麦沉船
And we wound up going to the Bismark,
利用机器人装置来探测它的残骸
and exploring it with robotic vehicles.
我们随后又回到了泰坦尼克的残骸
We went back to the Titanic wreck.
并且创造出了一批可以
We took little bots that we had created
缠绕光学纤维的机器人
that spooled a fiber optic.
目的就是深入到残骸中 探索其内部的样子
And the idea was to go in and do an interior
──一个前无古人的做法
survey of that ship, which had never been done.
在此之前 没有人看过残骸的内部
Nobody had ever looked inside the wreck.
他们没有所需要的技术
They didn't have the means to do it,
所以我们就创造出相应的技术
so we created technology to do it.
要知道 我当时就在泰坦尼克的甲板上
So, you know, here I am now, on the deck
坐在一个潜水器内
of Titanic, sitting in a submersible,
看着就如同这个的木质甲板
and looking out at planks that look much like this,
心想着曾在这里表演的乐队
where I knew that the band had played.
我操控着一个小型的机器人探索器
And I'm flying a little robotic vehicle
飞过船内的走廊
through the corridor of the ship.
虽然我在操控着它
When I say, "I'm operating it,"
我的思想却是在这个探索器内
but my mind is in the vehicle.
我感觉我确确实实地
I felt like I was physically present
置身在泰坦尼克的残骸中
inside the shipwreck of Titanic.
那是我所经历过的最难以置信的
And it was the most surreal kind
此曾相识的感觉
of deja vu experience I've ever had,
因为在机器人的探测灯照亮周围之前
because I would know before I turned a corner
我就已经知道每个转角背后
what was going to be there before the lights
所隐藏的一切
of the vehicle actually revealed it,
原因就在于电影制作的过程中
because I had walked the set for months
我花费了很多个月的时间在这个场景中走来走去
when we were making the movie.
而摄影棚中的道具就是依照这个船的设计图
And the set was based as an exact replica
所制造出来的一个真实模型
on the blueprints of the ship.
所以那一次的经历是非比寻常的
So, it was this absolutely remarkable experience.
它使我感受到了一种
And it really made me realize that
远程监控的经历──
the telepresence experience --
我们甚至上拥有这些机器人形态的阿凡达
that you actually can have these robotic avatars,
我们将我们的思想意识注入其中
then your consciousness is injected into the vehicle,
注入另外一种存在形式中
into this other form of existence.
这的确是很深刻的感受
It was really, really quite profound.
也许这一切可以让我们大致猜想几十年后的世界
And it may be a little bit of a glimpse as to what might be happening
会是怎样
some decades out
作为一名科学小说迷
as we start to have cyborg bodies
我可以想象各种
for exploration or for other means
后人类社会的未来
in many sort of
利用半机械人
post-human futures
来进行探险
that I can imagine,
以及其他活动
as a science fiction fan.
所以通过这些探险
So, having done these expeditions,
我开始真正地欣赏海底的美妙
and really beginning to appreciate what was down there,
比如那些生活在深海裂口处的
such as at the deep ocean vents
奇妙的动物们
where we had these amazing, amazing animals --
它们算得上就是地球上的外星生物
they're basically aliens right here on Earth.
它们住在一个化学合成的环境中
They live in an environment of chemosynthesis.
完全不需要我们赖以生存的
They don't survive on sunlight-based
太阳光照
system the way we do.
所以当你看到那些
And so, you're seeing animals that are living next to
生活在500度高温的海底地柱周边的
a 500-degree-Centigrade
动物的时候
water plumes.
你觉得它们完全不可能存活
You think they can't possibly exist.
与此同时
At the same time
我也开始对太空科技感兴趣
I was getting very interested in space science as well --
这自然也是受到了年少时候科学小说的影响
again, it's the science fiction influence, as a kid.
结果我和太空社区建立了
And I wound up getting involved with
很紧密的联系
the space community,
和美国航天局合作
really involved with NASA,
成为了他们咨询委员会的一员
sitting on the NASA advisory board,
策划真正的太空任务
planning actual space missions,
前往俄罗斯 参观宇航员之前的
going to Russia, going through the pre-cosmonaut
生物科学协议
biomedical protocols,
等等一系列的事情
and all these sorts of things,
以便于我们带着我们的3D摄影器材
to actually go and fly to the international space station
前往国际空间站
with our 3D camera systems.
这种经历是令人难忘的
And this was fascinating.
但我到头来所做的 却是说服太空科学家们
But what I wound up doing was bringing space scientists
跟随我们前往海洋深处
with us into the deep.
让他们可以切身体验
And taking them down so that they had access --
太空生物学家 天体科学家
astrobiologists, planetary scientists,
等等对极端环境感兴趣的人们
people who were interested in these extreme environments --
都被我们带到深海裂口处 让他们能亲眼观看
taking them down to the vents, and letting them see,
采取样品 探测仪器等等
and take samples and test instruments, and so on.
所以我们在制作记录片的同时
So, here we were making documentary films,
却是在研究科学
but actually doing science,
研究太空科学
and actually doing space science.
我把小时候
I'd completely closed the loop
身为科学小说迷的经历
between being the science fiction fan,
和真实从事这一行业的经历
you know, as a kid,
联系到了一起
and doing this stuff for real.
在这个探索之旅中
And you know, along the way in this journey
我也是
of discovery,
学到了很多东西
I learned a lot.
我学到了很多关于科学的东西 但我也学会了很多
I learned a lot about science. But I also learned a lot
关于领袖才能的东西
about leadership.
你觉得导演必须得是一名领袖人才
Now you think director has got to be a leader,
是领导 是掌舵者之类的
leader of, captain of the ship, and all that sort of thing.
但在这些探险之前
I didn't really learn about leadership
我对领袖才能却是一无所知
until I did these expeditions.
因为我终究要问自己
Because I had to, at a certain point, say,
“我到底在做些什么呢？
"What am I doing out here?
我为什么要做这些事情？我从中得到什么呢？”
Why am I doing this? What do I get out of it?"
这些该死的纪录片根本不赚钱
We don't make money at these damn shows.
我们想回本都不容易 没名没份的
We barely break even. There is no fame in it.
很多人都认为我在《泰坦尼克》和《阿凡达》两部电影之间
People sort of think I went away
退居幕后 坐在沙滩上面
between "Titanic" and "Avatar" and was buffing my nails
修指甲罢了
someplace, sitting at the beach.
但事实上我制作了这些电影 这些纪录片
Made all these films, made all these documentary films
只有很少数的观众看过
for a very limited audience.
没名 没份 没钱 你到底在做什么呢？
No fame, no glory, no money. What are you doing?
我做这一切是为了这个经历本身的价值
You're doing it for the task itself,
为了这个挑战──
for the challenge --
而大海就是最富挑战的环境
and the ocean is the most challenging environment there is --
我做这一切也是为了探索发现的惊奇感
for the thrill of discovery,
为了那种一小群人组成一个紧密的团队时
and for that strange bond that happens
所撞击出的奇妙的凝聚力
when a small group of people form a tightly knit team.
因为每一次我们都会和10到12个人
Because we would do these things with 10, 12 people,
一起工作上几个年头
working for years at a time,
有时要在海上呆上个2-3个月
sometimes at sea for two, three months at a time.
而在那种凝聚力下 你意识到
And in that bond, you realize
最重要的事情
that the most important thing
就是你与他们
is the respect that you have for them
彼此之间的尊敬 你们共同完成了一个
and that they have for you, that you've done a task
无法向他人解释的任务
that you can't explain to someone else.
当你回到海岸上 你会说
When you come back to the shore and you say,
“我们需要做这个 这个光学纤维 这个电律衰减
"We had to do this, and the fiber optic, and the attentuation,
还有这个 那个 ”
and the this and the that,
各项技术 其中的难度
all the technology of it, and the difficulty,
海上作业的工作效率──
the human-performance aspects of working at sea,"
这些都是你无法向他人解释的
you can't explain it to people.
这就好像那些同甘共苦过的
It's that thing that maybe cops have, or people in combat that
警察 战士一样 他们知道
have gone through something together
他们是无法向其他人解释其中的经历的
and they know they can never explain it.
创造一个凝聚力 创造一个充满尊重之情的凝聚力
Creates a bond, creates a bond of respect.
所以当我回来制作我的下一部电影
So, when I came back to make my next movie,
《阿凡达》的时候
which was "Avatar,"
我试着应用同样的领导信条──
I tried to apply that same principle of leadership,
尊敬你的团队
which is that you respect your team,
他们才会回过头来尊敬你
and you earn their respect in return.
而这一信条的确是改变了团队的活力
And it really changed the dynamic.
我再次和一个小团队走到了一起
So, here I was again with a small team,
共同前往未知的领域
in uncharted territory,
制作《阿凡达》 创造不曾存在过的
doing "Avatar," coming up with new technology
新科技
that didn't exist before.
振奋人心
Tremendously exciting.
充满挑战
Tremendously challenging.
在四年半的时间里 我们变成了一个大家庭
And we became a family, over a four-and-half year period.
这个经历彻底改变了我制作电影的方式
And it completely changed how I do movies.
人们评论说 你把海底生物
So, people have commented on how, "Well, you know,
带回到人们视野中来
you brought back the ocean organisms
放到了潘朵拉这个星球上
and put them on the planet of Pandora."
对于我而言 更侧重于做事的基本法则
To me, it was more of a fundamental way of doing business,
和这个过程本身
the process itself,
从而改变了事情的结果
that changed as a result of that.
所以我们从这一切中得到了什么呢？
So, what can we synthesize out of all this?
学到了哪些东西呢？
You know, what are the lessons learned?
我觉得第一点就是
Well, I think number one is
好奇心
curiosity.
这是你所拥有的最有力的东西
It's the most powerful thing you own.
想象力是一种力量
Imagination is a force
一种可以反映现实的力量
that can actually manifest a reality.
而你团队对你的尊敬
And the respect of your team
要比这个世界上所有其他的桂冠
is more important than all the
都要重要
laurels in the world.
有时年轻电影导演
I have young filmmakers
会问我 “给我一些电影方面的建议 ”
come up to me and say, "Give me some advice for doing this."
我的回答是 “不要局限你自己
And I say, "Don't put limitations on yourself.
别人会来局限你 会为你去划边界 但你不要自己局限自己
Other people will do that for you -- don't do it to yourself,
不要赌自己会输
don't bet against yourself,
要敢于冒险 ”
and take risks."
美国航空局有一则他们很喜欢的名言
NASA has this phrase that they like:
“失败不是一个选项 ”
"Failure is not an option."
但在艺术和探险中
But failure has to be an option
失败必定是个选项 因为这些都需要敢于挑战的信心
in art and in exploration, because it's a leap of faith.
没有哪个需要创新的
And no important endeavor
重要奋斗
that required innovation
是在没有风险的条件下完成的
was done without risk.
你必须愿意承担这些风险
You have to be willing to take those risks.
而这就是我所想要留给你们的启迪
So, that's the thought I would leave you with,
无论你做什么
is that in whatever you're doing,
失败都是其中一个选项
failure is an option,
但畏惧却不是
but fear is not.
谢谢你们
Thank you.